New Sony FS7

alaskacameradude said:
In reading Adam Wilt's review, he says:

"In HD, images from 1-60fps are downsampled from the 4K capture, showing clean detail up to 1080 TVl/ph with gentle aliasing beyond that point. In the S&Q HFR mode, the sensor readout is “binned” to allow the higher rates, and the detail rendering gets visibly coarser (on a test chart, that is) with some noticeable chroma artifacts near 1080 TVl/ph and more vigorous aliasing above – but on real-world images, I’ve found from F55 shooting, this coarser rendering is impossible to detect unless you go looking for pathological images like fine gratings, picket fences running into the distance, and the like."

http://www.dvinfo.net/article/acqui...s7-l-s-s-shoulder-mount-camcorder-part-1.html

I'm expecting, that much like the FS700, the HFR are not going to look quite as nice as the normal frame rates (up to 60). It may
be improved over the FS700, but it appears the sensor readout is still 'binned' at HFR.
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I wonder if there will be a 2K OLPF for HFR like there is on the F5/F55 to smoothen out the edges caused by pixel binning?

At this point it seems the FS7 includes the kitchen sink so probably.
 
harddrive said:
Fair enough, but it's horses for courses, and everything's relative. For differing applications, different things are more important - for other applications a GoPro may be more suitable than your FS700. There's no such thing as the universal perfect camera.

Personally, I'm impressed by the FS7 for what it is, and hats off to Sony for taking a lot of previous critique on board. Both the FS100 and FS700 didn't really excite me too much, and same with many of the other original large sensor video cameras like the AF100 - they all just seemed to have too many compromises, good though they all may have been in some ways. The FS7 seems to have been purpose designed from the word go by someone who knew what they were doing. Perfect? No, but any compromises seem to have been kept to a minimum, and as many others have said then why haven't we had this form factor in a large sensor mid-price video camera before?
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Very good assessment. FS7, where have you been all my life?
 
starcentral said:
I wonder if there will be a 2K OLPF for HFR like there is on the F5/F55 to smoothen out the edges caused by pixel binning?

At this point it seems the FS7 includes the kitchen sink so probably.
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According to a post on the Sony forum it doesn't have an interchangeable OLPF - one of the few plus points to the F5 it seems if you need to shoot high frame rates.
....but get ready for the £4,000 Sony upgrade and the free hack to allow it to be changed!

Steve
 
I've worked with 35-70 and 24-70 on S35 cameras and not missed much so 28-135 looks like a good range. If you want to have that price you have to compromise somewhere.
 
Osslund said:
I've worked with 35-70 and 24-70 on S35 cameras and not missed much so 28-135 looks like a good range. If you want to have that price you have to compromise somewhere.
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Hm, I don't know. I shot with the 14 - 140 Lumix on the GH4 at 4K an event 3 days ago. I must say I really missed a wider angle. And that was FOV of 14 * 2.3 crop. So that's 32mm. I kinda always had this notion that kit lenses should be at wide end somewhere around 30mm.

I would rather compromise and create a crop lens that is wider and with a constant F4. A lens that is dedicated to a smaller sensor. 28-135 really isn't meant for a S35 sensor. This range is meant for FF. So I'm not disputing the usability of this lens, I'm only disputing it's place as a kit lens...
 
the manufacturer's code "Mfr # PXW-FS7" is on that page, so that's probably it.

given the enthusiastic response sony may well price it above 8000
 
That's what I'm thinking. Sony says why not, we can charge 2000 more than we expected. Its still not a bad deal but keep in mind to achieve a RAW image that maximizes the sensor then the fs7 just became a $17000 camera. If that's the case I'd definitely go F5 and forgo the RAW for a better all around camera. That potentially shoots 14 bit with a nicely compact r5 recorder. Maybe that 2000 was the only thing keeping the fs700 somewhat relevant as well as the F5. It's funny how the Fs7 (great camera btw) made me fall in love with the F5. The fs7 strives to be everything the F5 is but just not quite there.
 
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The F55 and F5 originally had an "announced" price of $34,900 and $19,400 respectively, which ended up being $28,900 and $16,500.

So expect the FS7 to sell for 16%-20% less than the "announced" price hence $8000-$8995 for body only, $10,000 with lens.


That reminds me, remember the guys who screwed themselves pre-selling the F5/F55 before prices were even available? lol
 
Mitch, I think he meant can the BP-U be left in the camera with the adapter plate installed? If so, there'd be no access to the battery, but it'd be smaller and lighter.
 
DvxHerb said:
Mitch, I think he meant can the BP-U be left in the camera with the adapter plate installed? If so, there'd be no access to the battery, but it'd be smaller and lighter.
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Exactly.

Also, I don't understand why there's no footage beside the one so badly illuminated in Japan, I can't really watch it twice
 
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