FS7: Odyssey 7Q S-Log3 compatibility update

Hi mitch

just bought a F5 but still have my fs700/7Q combo, which is great, but are there any plans to implement the F5 more into the 7Q ? Also thinking of the 5.0 firmware from Sony, that is hopefully out before x-mas.
Cheers
Rasmus from Denmark

Mitch Gross said:
We agree!

The Odyssey7Q will do everything on the FS7 that it does on the FS700. The only exception is the 4K 120p burst, because the FS7 doesn't have the internal buffer.

BTW, there's more FS7/FS700 functionality coming in the next firmware.
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gene_can_sing said:
Hi Mitch,

Any idea if you can record to 7Q SSDs and also to QXDs simulataneously for a backup?

That would be amazing and more secure for important shoots.
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I'm pretty sure that works just fine.

Don't hold me to this one, but I know there are some oddball combinations that Sony doesn't allow. Like I think if you use the accessory back and turn on the RAW output, then the HDMI output on the camera is reduced to HD instead of 4K. I might have that wrong, but it's not one you would particularly think of off the top of your head.
 
RaskTV said:
Hi mitch

just bought a F5 but still have my fs700/7Q combo, which is great, but are there any plans to implement the F5 more into the 7Q ? Also thinking of the 5.0 firmware from Sony, that is hopefully out before x-mas.
Cheers
Rasmus from Denmark
Click to expand...
What would you like to see? We have S-Log2 and S-Log3, and we will be adding the 709A color matrix when we implement custom LUTs. If you add the ability to record & output 4K video on the F5 then we can capture it to 4K ProRes today up to 30p. Right now we use four wires but in the next release it will have the option for two wires. We're working on the metadata for file names and we have the triggering working now. Anything else you'd like?
 
Mitch,
Will the Odyssey 7 eventually have 3D LUTs for Slog2 & 3 (i.e. the 709A LUT) or is that only for the 7Q? how soon do you expect to have that released?

Lenny
 
Thanks for the info. I just couldn't find the actual info on your website. Maybe I just didn't look hard enough.
Are there any plans to incorporate HFR from the F5, maybe as an endtrigger function in the 7Q or is it not able to buffer the data?
And again thank you for a nice product and for your time to read and reply to all these posts.



Mitch Gross said:
What would you like to see? We have S-Log2 and S-Log3, and we will be adding the 709A color matrix when we implement custom LUTs. If you add the ability to record & output 4K video on the F5 then we can capture it to 4K ProRes today up to 30p. Right now we use four wires but in the next release it will have the option for two wires. We're working on the metadata for file names and we have the triggering working now. Anything else you'd like?
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Hi Mitch,

From the FS7 to 7Q, can we still expect the same, super high quality and clean debayering that we were getting from the FS700 to 7Q? It would seem that since both cameras are Sony and 12-bit RAW and in the S-Log family, the image should be pretty similar in terms of quality, correct?

I've heard from a very reliable source that has both the FS700 + 7Q and the FS7, that the FS700 + 7Q is still cleaner than the FS7 internal XAVC; so I'm hoping for the same on the newer FS7 + 7Q, especially for 4K Pro-Res.
 
gene_can_sing said:
Hi Mitch,

From the FS7 to 7Q, can we still expect the same, super high quality and clean debayering that we were getting from the FS700 to 7Q? It would seem that since both cameras are Sony and 12-bit RAW and in the S-Log family, the image should be pretty similar in terms of quality, correct?

I've heard from a very reliable source that has both the FS700 + 7Q and the FS7, that the FS700 + 7Q is still cleaner than the FS7 internal XAVC; so I'm hoping for the same on the newer FS7 + 7Q, especially for 4K Pro-Res.
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Yes, you will get that same quality via the RAW output of the FS7, if not better. The camera is several years newer in design, so you can expect some incremental improvements. And most feel that S-Log3 is easier to grade than S-Log2.
 
God Josh you are a talented cinematographer but you whine and whine and whine. Again just ask C-D privately - please for the love of all things holy. Or just buy a Sony F55 or Sony F5 and stop complaining. Or buy another recorder that exists. Harassing Mitch about release dates doesn't help. It makes them nervous and rush things. Just take a chill pill man. God this thread is so annonying.
 
eddavid said:
God Josh you are a talented cinematographer but you whine and whine and whine. Again just ask C-D privately - please for the love of all things holy. Or just buy a Sony F55 or Sony F5 and stop complaining. Or buy another recorder that exists. Harassing Mitch about release dates doesn't help. It makes them nervous and rush things. Just take a chill pill man. God this thread is so annonying.
Click to expand...

Continually whining about other's whining is a form of whining in itself.
 
Mitch Gross said:
Yes, you will get that same quality via the RAW output of the FS7, if not better. The camera is several years newer in design, so you can expect some incremental improvements. And most feel that S-Log3 is easier to grade than S-Log2.
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hmmmm....this is arguable, Mitch...the Slog3 variants are designed for a HUGE color space, much larger than what current REC709 monitors can display. This is good for archival footage, but, I'm not convinced grading is easier than Slog2.

here's a quote relative to the F5, which I believe to summarize popular opinion and also be correct and relevant:
"practice seems to show pretty clearly that S-Gamut3.Cine and SLOG2 yeild (by some margin) the easiest combination from which to grade the F5's image for accurate and attractive colour - for skintones in particular. S-Gamut3.Cine and SLOG3 would be my second choice (the highlights aren't quite as smooth), and the other options fall a fair way by the wayside in comparison - they can all be graded back to pretty much the same place, but the other options seem to require far more work in terms of secondary colour corrections to bring them to back to where you'd want them to be in the first place."
-from the Sony Community forum.
 
cuervo said:
hmmmm....this is arguable, Mitch...the Slog3 variants are designed for a HUGE color space, much larger than what current REC709 monitors can display. This is good for archival footage, but, I'm not convinced grading is easier than Slog2.

here's a quote relative to the F5, which I believe to summarize popular opinion and also be correct and relevant:
"practice seems to show pretty clearly that S-Gamut3.Cine and SLOG2 yeild (by some margin) the easiest combination from which to grade the F5's image for accurate and attractive colour - for skintones in particular. S-Gamut3.Cine and SLOG3 would be my second choice (the highlights aren't quite as smooth), and the other options fall a fair way by the wayside in comparison - they can all be graded back to pretty much the same place, but the other options seem to require far more work in terms of secondary colour corrections to bring them to back to where you'd want them to be in the first place."
-from the Sony Community forum.
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Hey, fair enough. I've heard arguments both ways. Of course if you record the RAW you have the best of all.
 
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