FS7: New Sony F7 XDCAM 4K Super 35mm Camcorder

That's how it's meant to be.

I ask myself how I like to shoot for projects with missing CC abilities.
As Sam said, it might be best to shoot in custom mode and dial in the
look you want. You can still control nearly everything. The look of the
footage will correspond with your display.

CineEI is not for "best quality" but for a RAW-alike post workflow. It means
you always shoot the widest range of dynamic in SLog3, but can dial in the
look of your choice for the display or video outs. All colour correction/look
should be done in post. That's what CineEI is made for. White balancing and
baked in looks really don't make much sense in CineEI.

Custom mode doesn't mean your footage is neccessarily worse. It means you work
with a certain look you like and which doesn't need a lot of post work because it
already looks good. You may miss some stops of DR but who needs always 14 stops?
I rarely use the 11-12 stops of my FS100 but stretch the picture in camera to the whole
range.
 
I found the S-log mode on my F3 to be great in knowing that I couldn't frack up settings. But I guess it looks the same if you just choose S-log in Picture Profiles instead and have all settings set up properly. I guess it's just the same on the FS7.
 
Been notified of a December 1st delivery from CVP. Anyone know of anyone in the UK who can get me an FS7 earlier as I have a shoot on Nov 27th I need it for.

Have dropped ProAV an email.
 
Ben is that for body only or the FS7K kit with lens?

I've had word that CVP have been receiving some units, but the lens kit is coming later this month as you said.

If you pre-ordered you can have them transfer this over to the body only and it might arrive sooner.
 
I had a chance to look at fs7 in person yesterday. When comes to built quality it looks really decent except... CABLES (fixed connections).
Come on Sony, seriously!? This is going to break/cut sooner or later :( Grip and EVF cables are built in, so you will have to go to Sony to replace them. Connections are built and placed better then on FS700 but being fixed is still a problem. I wish they would do something like on C100/C300 where cable for grip is a separate part. And as a proof that this will be an issue have a look at Philip Bloom's instagram account: http://instagram.com/p/u-pU3JKKpr
 
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mcgeedigital said:
Not to defend Sony, but when you can find a cable that can take the bite of the needle-like teeth of a cat let me know.
Click to expand...
Well, I put it wrong, sorry for not being precise enough. Fixed connections, non detachable cables are the problem. I don't thing there are many things that can withstand cat's teeth. Graphene and diamonds maybe (if they'll be lucky).
 
I see little use of this camera for use handheld or on shoulder. It's great to have these abilities but my shooting is mainly on sticks and I'll probably leave the grip at home and find a way to mount the LCD in a better way. I can also see the fixed cables to be something that'll break sooner or later so better take care of protection for the cables.
 
Osslund said:
I see little use of this camera for use handheld or on shoulder. It's great to have these abilities but my shooting is mainly on sticks and I'll probably leave the grip at home and find a way to mount the LCD in a better way. I can also see the fixed cables to be something that'll break sooner or later so better take care of protection for the cables.
Click to expand...
One idea, though very cumbersome, would be to tie them nicely to evf/grip in some protective case and just use them as connections: plug in third party cables there.
 
alohype said:
One idea, though very cumbersome, would be to tie them nicely to evf/grip in some protective case and just use them as connections: plug in third party cables there.
Click to expand...

Not possible on the EVF as it is a wierd connector.

--

To me the killer apps of this cam are the EVF and handgrip which elevate it for solo shooting.. but those cable really worry me

Simply poor design

S
 
I have very little hope to get my unit before December. It would been nice to get it sooner than later but the upside to waiting is some of the quirks will be worked out.
 
I just happen to have a shoot before then that I really need it for so I've been trying to chase one down. Otherwise I'd agree that being the earliest adopter isn't always the cleverest move.
 
Hi everybody,

Here's what I shot on the FS7 for the Doritos spec commercials:

[video]https://crashthesuperbowl.doritos.com/gallery/submission/2899?share=true[/video]

[video]https://crashthesuperbowl.doritos.com/gallery/submission/2895?share=true[/video]

I'm still learning how to grade on this camera but overall I think they turned out good. Hope you guys enjoy :)
 
Responding to people about my desire to use filters in CINE EI mode:

How many of you guys get to do your own color correction after shooting a job? From what I read here it sounds pretty common. In my life though it isn't.

Moreover the person who is doing the color- usually the editor on my shows - is simply not very skilled and only using the correction tools in their NLE. Even some clients using Resolve have turned it over to a young trainee who's not an experienced colorist. Most of the time when I shoot with a RED they want a quick turnaround and largely go with the color I've put in the camera. They may make a few tweaks but often without going back to the RAW files. I have a client who likes to shoot on the Alexa because of its DR, but uses the 709 output because he doesn't have the time to correct. Frankly even on the tests people are showing here, its obvious that many don't have colorist skills.

Sure, I can just shoot in the standard files for those clients, but my understanding of this camera (haven't used it yet) is that the Slog3 looks way better and I often have situations where I want the DR badly (esp exteriors and windows.) The baked-in SLog3 > 709 800% and 709 Type A have gotten lots of praise as a big step up in look from the old standard files. I want to have that available for those clients and am wondering if it might even be my basic look with this camera. Even with people who will use the full Slog I want to provide them with something damn close to my vision right off the bat. This will make me more desirable as a DP.

Likewise I don't want to tell people - "hey I have this fabulous camera but first I need to give you a few tutorials on the new way you need to do post for this" . I want the job.

So for me the lack of control in CINE EI is a serious negative. In many cases I'm sure sticking with presets will be fine, but for others I will probably be carrying around some filters. That's how I worked in film/negative way back when. In fact it was the common way to shoot film. How many times have you read that some feature was shot with a Coral 1 or some other filter. Gordon Willis didn't just hand the Godfather films to Post. In film actually it was much more common to bring in the DP for the timing or the video> film transfer but those days are gone in my experience. I often offer to help out for free and rarely get taken up on it because they think I'll slow them down.

In Resolve 11 there is a wonderful tool where you can simply shoot a Macbeath card and the camera will instantly correct the picture to match. In film we used to shoot a clean chart then add whatever filters we wanted to the actual shot. That sounds like a great to shoot SLog.

Sure I will have clients who are spending enough to hire a good colorist but in many cases I may even want to give that person some guidance. So that's my 2 cents. I still won't have control over contrast but that's a harder nut to crack for now.

lenny
 
I think you're absolutely right about shooting for clients. If handing rushes over Slog3 and/or CINE EI are things which definitely need to be discussed - preferably with the editor or colourist before recording. Seeing people butcher lovely Red stuff I've shot despite me giving them the files with a word doc explaining everything that they never opened is soul destroying.

I'd imagine for 80-90% of uses, CINE EI would not be the most effective way to shoot but for the times when it is, it could be a great tool.
 
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