FS7: One Year On.
- Thread starter Liam Hall
- Start date
Liam, have you got any examples to show yet? I'd love to see something graded by you.
Nirv
Carbonite Member
+1
I'm unhappy with XAVC-I and the extreme blocky posterisation of skies and I'm considering going with the Odyssey 7q+ so a gander at some quality footage would be v. interesting.
Same, but having owned the FS700+Odyssey7Q, im not going that route ever again.
RED Raven truly caught my eye.
Liam Hall
Veteran
Not yet, the film I'm using it on is shooting on and off until April next year. So far, we've only shot one week, back in August, and we're off again in three weeks. I'm doing some testing next week, if I get the chance I'll post anything of interest.
Interestingly, I've had trouble with the internal ProRes recording rendering skies that are unusable due to compression artefacts. I even sent my XDCA back and got given a new one by Sony, but the issue is still there. I've never had an issue with XAVC-I though, and I've shot a lot of skies!
I know what you mean, my camera seems to be growing arms and legs. Though I think the Odyssey is worth getting just for the monitoring tools.
I will probably get the Odyssey 7 myself just for that reason. But having HD 10bit 422 and XAVC 4K internally really means the world to me. You dont _need_ to have arms and legs on the camera, and that makes all the difference in my eyes. Especially since its possible to grow arms and legs when needed.
Liam Hall
Veteran
I agree. The only reason we are going with O7Q+ and ProRes is a request from post. They've had major issues with XAVC and other similar codecs. So, I've now had to rig my small, neat and light camera with an XDCA, V-Lock batts, Israeli arm, rails, larger baseplate, O7Q+. I've then had to put that on a tripod that is 8KG heavier than my lightweight one. It also means switching frame rates is slow and cumbersome. It does balance better on the shoulder now and the image from that 12 bit file is fantastic, whether it is worth all the additional hassle is up to each individual user I guess.
Can you elaborate on the issues post has had?
mainstreetprod
Veteran
Wondering the same thing. Is the post house by chance using Premiere CC?
Liam Hall
Veteran
I believe the major issue was transcoding taking a lot longer with XAVC than ProRes. I think relinking was an issue too. They have quite a few suites using a shared access network and though I don't know the detail, I do know they'd got their fingers burned more than a couple of times. This isn't aimed at the FS7, it's their policy to only allow ProRes onto their system. Their posthouse, their rules, I have to get on with it. The only issue I've noted with the XAVC files has been some weird colour shifts round-tripping in and out of After Effects.
Yep, Premiere and Avid.
Chris Langer
Well-known member
This recent lens test I conducted was shot in FS7 RAW to UHD ProRes 422 through the 7Q+ - https://vimeo.com/139046904
Pretty happy with the footage. Recently shot something using the FS7 RAW to DNG and you have to be careful with your exposure. I shot everything exposed for the ProRes setting and when I placed it into Premiere it was very dark. Convergent Design suggests rating your camera 1-2 stops over your normal exposure.
Had to do some saving in Da Vinci but all is well. The ProRes conversion from RAW is really nice though and from now on will probably just use that option.
If I am not mistaken, all ProRes recordings from FS7 RAW is 10 bit, not 12 bit.
Pretty happy with the footage. Recently shot something using the FS7 RAW to DNG and you have to be careful with your exposure. I shot everything exposed for the ProRes setting and when I placed it into Premiere it was very dark. Convergent Design suggests rating your camera 1-2 stops over your normal exposure.
Had to do some saving in Da Vinci but all is well. The ProRes conversion from RAW is really nice though and from now on will probably just use that option.
If I am not mistaken, all ProRes recordings from FS7 RAW is 10 bit, not 12 bit.