FS7: One Year On.

I've also enjoyed my FS7 much this past year and shot a lot with it. All in all it's the best videocamera I've had and it keeps putting out high quality footage every time. What a great camera this is!

Really like most of the interview clips in your video Liam!
 
Apologies all, client asked me to reinstate the password. Looks like I jumped the gun...

Grug, will send you a PM.
 
I watched before privatisation.

Firstly great to see 'proper colour' that is the bread and butter of most paying video work. No 'filmic' sepia tints here.. or horrid 'sony look' - just good solid colour.

A couple of things came to note.. management of LED and some shadow noise on INTs.

Is this EI, LutBurn, or Custom?

S
 
Very nice Liam, as Sam said, lovely, pleasing colours.

What are you using lens-wise, I was seeing quite a few optical artifacts here and there - slight softness and ghosting in some shots, pretty mushy corners in others. I'm sure none of it would be apparent watched on a regular TV screen from a normal viewing distance, but it does show up on a 27" computer monitor two feet from my face.
 
morgan_moore said:
A couple of things came to note.. management of LED and some shadow noise on INTs.

Is this EI, LutBurn, or Custom?

S
Click to expand...

Thanks Sam,

All shot Cine EI, except for some of the nightclub sequences which were Custom Slog 3, ISO bumped to 4000 or higher.

Shadow noise is pretty bad in the club, it looks much better on the master, though it was very dark in the club and encoding for Vimeo hasn't helped.

LEDs were horrific in a few of the rooms, most notably the nightclub and the Japanese restaurant. In the nightclub some of the stage lights rendered ugly, ugly highlights or created flicker. The Japanese had the worst lighting set-up I've ever come across, lots of individual down-lighters, none of which were in the same phase. A flicker nightmare.

Everything has been graded using the Lumetri plug-in in Premeire, mainly with LC709TypeA or Arri Alexa Luts there's nothing fancy going on. Mostly drag, drop, quick tweak. If I had time, I'd give some of those shots a bit more love.

This was mainly a one or two-man-band shoot. Occasionally, my eighteen-year-old or my wife were the second crew member. I was Director/DoP/Editor/Producer and voiceover, so inevitably it is a bit rough around the edges.


Grug said:
What are you using lens-wise, I was seeing quite a few optical artifacts here and there - slight softness and ghosting in some shots, pretty mushy corners in others. I'm sure none of it would be apparent watched on a regular TV screen from a normal viewing distance, but it does show up on a 27" computer monitor two feet from my face.
Click to expand...

Lenses... ....sheesh... ...would I love to have a set of proper lenses on a native mount!!

Everything was shot on a Speed Booster Ultra, Canon 16-35mm f/2.8, Canon 24-70mm f/2.8, Canon 70-200 f/2.8, Canon 100mm f/2.8 macro, Samyang Cine primes, 24mm, 35mm and 85mm.

Shooting with the Speed Booster, you gain something, you lose something... I'm guessing most of those artefacts are from my 16-35mm - it needs a service after taking a hit in Saudi.
 
Liam Hall said:
Lenses... ....sheesh... ...would I love to have a set of proper lenses on a native mount!!

Everything was shot on a Speed Booster Ultra, Canon 16-35mm f/2.8, Canon 24-70mm f/2.8, Canon 70-200 f/2.8, Canon 100mm f/2.8 macro, Samyang Cine primes, 24mm, 35mm and 85mm.
Click to expand...

A question about lenses, canon lenses on Metabones, is it possible to use the steady shot while shooting?

I'm using Nikkor lenses on SB Ultra but there's no stabilisation and I feel I'm lacking a high quality long zoom with stabilisation and wondered what the performance was like of the Canon 70-200 with stab, is it too snatchy to be used for video? I was shooting some kite surfers on a Nikkor long zoom and the wind buffeting of the camera ruined a lot of the footage so it's these types of situations I'd like coverage of without resorting to the 70-200 Sony with spongy focus.

Cheers
 
IS works on EF lenses with either the Smart, or SpeedBooster, adapter.

I don't own an EF 70-200mm & opted for Sony's 28-135mm instead. The Sony's IS seems well suited for filming.
 
Love to see it but Vimeo requires a password to view the private video.
I too am coming up on a year and have had lots of projects that have been made better because of the FS7.
Still waiting for the center punch with the upcoming upgrade which seems to be on hold.
 
Nirv said:
A question about lenses, canon lenses on Metabones, is it possible to use the steady shot while shooting?

I'm using Nikkor lenses on SB Ultra but there's no stabilisation and I feel I'm lacking a high quality long zoom with stabilisation and wondered what the performance was like of the Canon 70-200 with stab, is it too snatchy to be used for video? I was shooting some kite surfers on a Nikkor long zoom and the wind buffeting of the camera ruined a lot of the footage so it's these types of situations I'd like coverage of without resorting to the 70-200 Sony with spongy focus.

Cheers
Click to expand...

IS on the 70-200 works most of the time, but not all of the time. It very much depends on the type of move you are doing and the type of vibrations that are going through the lens. It can get confused and start twitching.
 
Liam Hall said:
IS on the 70-200 works most of the time, but not all of the time. It very much depends on the type of move you are doing and the type of vibrations that are going through the lens. It can get confused and start twitching.
Click to expand...

Thanks Liam.
 
Liam

How do the shorter focal length lenses behave i.e the 24-70 or do you only use IS on the longer zooms?

I enjoy the aesthetics of 35mm but I miss the easy peasy shooting of a decent parfocal broadcast lens with IS etc and if I could get IS that worked well on a daily use lens with decent manual focus I'd be a little happier. It's a shame the pricing of the Canon 300 MkII is so wacko as I might've been tempted.

Cheers
 
I have the 24-70 f/2.8 which does't have IS. I think it's only the f/4 version of that zoom that does. I've used a 24-105mm on my FS7 for some aerial shots and that worked great.

Using stills lenses on the FS7 has its benefits, cheap, varied high quality optics, but they do have some killer drawbacks too compared with a traditional broadcast zoom like a Fujinon Cabrio, not least how much my hand can ache after a day swapping lenses!
 
I've got the EF 24-70/2.8 & 24-105/4. Like the look of the 24-70mm more, but for handheld work with a nearly stock FS7 the 24-105mm's IS really helps to smooth out gitters.
 
Bern Caughey said:
I've got the EF 24-70/2.8 & 24-105/4. Like the look of the 24-70mm more, but for handheld work with a nearly stock FS7 the 24-105mm's IS really helps to smooth out gitters.
Click to expand...

Same, or, i use Sigmas 24-105 OSS. It fills the same role, is a tad sharper, and is the same brightness from 24mm to 105mm. My copy of Canon 24-105 was a stop darker at least at 105mm than at 24mm. Same goes for my 16-35 f/4L IS. Its a stop darker when zoomed in, and that makes run and gun footage time consuming to correct in post. Especially if you forget about the effect and zoom out after exposing. Then you burn your highlights.
 
You must log in or register to reply here.
Back
Top