Pxw-fs7

Mitch Gross said:
Odyssey SSDs are about $1.50 per minute, whereas the FS7 media is about twice that.
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How are you getting $1.50/min? For HD prores HQ, I calculate about $2.5/min

For 4k Odyssey SSDs are currently at best $30/min (4k DNG) though hopefully 4k prores will come out but it'll still be $10/min (Prores HQ)

Whereas for 4k on the FS7, the Sony XQD media works out to at best $2.2/min (XAVC-L) or at most $5.5/min (XAVC-I)

That highlights one of the beautiful, or at least convenient, things about the FS700, the media is about $0.10/min (AVCHD).
 
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nyvz said:
Well, for 4k Odyssey SSDs are currently at best $30/min

Whereas for 4k on the FS7, the Sony XQD media works out to at best $2.2/min
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How do you calculate that? Are you comparing RAW to compressed video? What's the point of that, especially since we just announced our own compressed video in the form of 4K ProRes?

So anyway, 4K ProRes will be about $8.19/minute while the new high density XQD drives (for 4K data rates) will be more than $3/minute. More expensive per minute? Yes, but it's ProRes so you can use it in everything unlike XAVC and it's less that three times the price, not 15x the price as your apples v oranges numbers present.
 
Mitch Gross said:
So anyway, 4K ProRes will be about $8.19/minute while the new high density XQD drives (for 4K data rates) will be more than $3/minute. More expensive per minute? Yes, but it's ProRes so you can use it in everything unlike XAVC and it's less that three times the price, not 15x the price as your apples v oranges numbers present.
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Yes, Pro-Res is hugely preferred (at least with the people I work with), which trumps the whole Price per minute ratios. In fact, on the bigger paid jobs one of the main questions I'm asked is: "Does that camera shoot in Pro-Res?"
 
Yes ProRes is preferred with some clients and some situations and is a very welcome option, and I would use it for some projects I do in HD, but unless you are delivering and expect people to be watching your content in 4K, it is almost definitely overkill and it is quite large when dealing 4K ProRes HQ. I think some people don't quite grasp how large it is, but at 4x the bitrate of HD ProRes, it's quite a bit larger than uncompressed HD RAW. If you aren't shooting Uncompressed HD because it seems like too much data, then you probably won't want to shoot 4K Prores HQ.

There will be a good time for 4K ProRes HQ when everyone has 4K monitors and all theatrical projects are screening in 4K, but that time is not here yet, so lighter-weight 4K is very much called for for most users. I think once people get the option, we'll find most people are shooting in Prores 422, LT or Proxy (especially LT) for the next couple years on their 4K projects instead of HQ.

Mitch Gross said:
How do you calculate that? Are you comparing RAW to compressed video? What's the point of that, especially since we just announced our own compressed video in the form of 4K ProRes?

So anyway, 4K ProRes will be about $8.19/minute while the new high density XQD drives (for 4K data rates) will be more than $3/minute. More expensive per minute? Yes, but it's ProRes so you can use it in everything unlike XAVC and it's less that three times the price, not 15x the price as your apples v oranges numbers present.
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I think I must have been editing my post while you posted, but hopefully my edit clarifies a bit. Yes in the part you quoted I was talking about the lightest weight 4K option currently available on the 7Q which is 4K DNG. I'm not sure what you were comparing in the earlier post, 7Q HD to FS7 4K? I was just comparing the 4K options that are or will be available for the FS7 and the 7Q. Obviously the FS7 is not out yet and neither is 4K ProRes HQ on the 7Q so it could change I suppose.

Are you saying you don't think the slower XQD media won't work with the FS7? Seems like even the slowest media that is specced at 80MBps writes is enough for the highest 600Mbps (75MBps) XAVC-I 4K 60p and most definitely enough for XAVC-I 24P 4K at 240Mbps (30MBps) and especially the lower XAVC-L 100Mbps 4K.
 
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Spartacus said:
As a C100 owner I hope that Canon either has something up their sleave too or let their marketing team start practicing deep bows while constantly repeating "I`m sorry I failed! I`m sorry I failed! I`m sorry I failed! I`m sorry I failed!"
Seriously, the fs7 so far looks like the first Sony camera I would actually consider buying for my doc-style work. Nice one Sony!

And here we go:

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I think that...on paper...the F7 looks to be a better overall camera. Being a RED & C100 owner, I am interested to see what its low light capabilities are (in comparison to the C100) and color science look like. I for one, really do not like the color the A7s produces. Hopefully it is a bit easier to get a pleasing look. Out of the gate...I am fairly interested.
 
For all it's vaunted compactness, it seems crazy that Sony's solution to record raw from this camera is to actually increase the bulk from the original set up, with the need of not only an extra attachment but also 2 vlocks, interface and recorder?! Unless of course there's something in the pipeline.
 
Look:
There are other Sony cameras with RAW options out there.
You want a most compact RAW-camera: BMPC4k
You want a ready to go 4k internal recording shoulder like "camcorder": FS7.
You need the optio of recording ProRes/RAW: You'll need the attachment in the back
(which will b.t.w. make a better shoulder camera because of the added weight in the back)
+ recorder (Sony or CG Odyssey).

There will never be "one for all".

If you're a RAW shooter most of the times, you can go another route. The FS7 is clearly build
for "one-man-band" or ENG style work. Just put a battery, a card and some lens on the camera
and you're ready to go. That's exactly what's missing until today in the whole range of S35 cameras.

I will rarely use RAW as 10bit XAVC 4k is just enough for me.

YMMV
 
C'mon!

It's just not meant for this, but it's at least possible.

If you want RAW - look anywhere: F5, F55, F65, AJA Cion, BMCC, BMPC, BM URSA...
It's like shooting ProRes Proxy with a BM - it's possible but you won't buy it primarily
for this, will you?
 
Thought you might bite! I'm loving the spec on this camera and chances are I'll buy it. IMHO though, this aspect could've done with a bit more thought that's all.
 
The funny part about that photo with the Sony solution is that it's chaper to go with the f5 and the R5 recorder. You'll actually save around $2000 bucks for a better camera with 14 bit vs 12.
 
I am glad Sony is at least offering the module if you want to add pro features. I would hate if they didn't have any option to get raw/Tc/prores/v mount on the camera. Recording internal pro res is huge for this camera. I could see it being the go to Doc/reality camera. Great codec options and framerates.
 
In the end, who will go with the Sony recorder bundle?

If you'll buy the FS7 with the additional back and the CG O7Q and some extra
storage you're there.

But the FS7 will show her beauty solo only - if, yes if the shoulder mount and
handle fit. In most of the videos, the people just don't use the shoulder pad but
put the camera more to the front. I think this is needed for still having a good
view with the finder and it's long loupe. Maybe the shoulder pad is just to close
to the front of the camera. The size is not ENG like.
We'll see, but this is the camera I like most within the last years
 
Marino215 said:
The funny part about that photo with the Sony solution is that it's chaper to go with the f5 and the R5 recorder. You'll actually save around $2000 bucks for a better camera with 14 bit vs 12.
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don't forget the missing viewfinder at the F5 plus more expensive media.
 
Marino215 said:
The funny part about that photo with the Sony solution is that it's chaper to go with the f5 and the R5 recorder. You'll actually save around $2000 bucks for a better camera with 14 bit vs 12.
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But FS7 does has its features, and you can rent the raw module for that two times you really need the raw.

F5 costs 1000 dollars more if you want internal 4K as well. Was that included?
 
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