FS7: Red Raven and FS7

The 12-bits in RAW not being enough to cover the entire dynamic range of the camera was just a speculative theory of mine based on the theory of a true linear gamma. Sony has to put some type of curve on it, otherwise there would not be enough data bits to cover the bottom range as shown in my table. I can't imagine Sony not considering this.

This could be a FS7 RAW -> to Odyssey issue and to prove it out, someone needs to test the FS7 RAW using the AXS-R5 and compare.
 
Thanks for clarifying that. So nobody has a clue at this point huh? It is pretty terrible. Do we know ETTR helps. I would certainly have exposed that stuff hotter and graded down no matter what.
 
I also just realized that the intro clip is slo-mo and the sensor read is totally different when over 60p. It means two things; aliasing due to pixel-binning (F5/F55 has 2K OLPF to address this) and extra gain added in order to maintain some level of decent exposure.

If you go look at the metadata in Sony software you can confirm the extra gain being applied.
 
The dodgy processing of these cameras in full-frame HFR recording is the reason I always try to switch to the 2k centre crop mode for high speed work above 60fps (if I can) - it seems to eliminate the artifacting.
 
Here is a dumb question for all of you who have experienced banding issues with the FS7.
Have you done APR?


You can't ignore APR completely- the camera has you do it at boot up every week or so.
 
Grug said:
The dodgy processing of these cameras in full-frame HFR recording is the reason I always try to switch to the 2k centre crop mode for high speed work above 60fps (if I can) - it seems to eliminate the artifacting.
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Yeah its a know thing.. its pixel binning over 60 fps.. the F5/55 has CC or the 2K OLPF .. as Denis points out.. the problem seems to be the Fs7 has neither of these as yet.And maybe some of the owners dont know whats happening over 60..
 
Lenilenapi said:
Thanks for clarifying that. So nobody has a clue at this point huh? It is pretty terrible. Do we know ETTR helps. I would certainly have exposed that stuff hotter and graded down no matter what.
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I exposed it as hot as the histogram was saying I was unclipped and brought it down. That's the issue with a white background, bright pale skin and then something with a touch of contrast in it.
 
Donny 123 said:
Yeah its a know thing.. its pixel binning over 60 fps.. the F5/55 has CC or the 2K OLPF .. as Denis points out.. the problem seems to be the Fs7 has neither of these as yet.And maybe some of the owners dont know whats happening over 60..
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As I say I've shot tonnes of internal high speed stuff at 150fps and while not perfect, it is plenty usable for certain purposes.

I hadn't reckoned on the issues with it being exacerbated many times when recording externally, which sort of flies in the face of every other external recording setup I've used previously.

Ah well. The whole thing is madness. Funnily enough the client loves it and hasn't noticed or mentioned that sort of artefact at all which I am sort of happy about and sort of not!
 
Sorry I wasn't meaning you personally didnt know about the pixel binning.. its very obvious you have shot alot with this camera and know it very well.. more a general observation ..
 
Ha! Everything I write in here now sounds like I am taking it personally... My point a general response to that and more the bewilderment that external recording is worse.
 
I can't believe you said that mate. Bang out of order. You just made 'the list' *







* There is no list
 
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I think Ben is right when he says don't try to shoehorn the FS7. The FS7 is a great camera for internal recording, but the high end external specs are not really what they sound like. So in that way the Sony line actually makes a bit more sense, with the F5 actually offering a very substantial difference in what it offers, because it can do the high end stuff for real.
 
I wonder though, for anyone who actually bought the FS7 based on paper (like we all do including myself) did you expect any short comings from the FS7 or put faith and trust that Sony would deliver?

I'm genuinely curious about it.
 
This is the first Sony camera I've bought and I jumped ship after getting annoyed at the Red upgrade process and instead selling my existing camera.

4k raw was a huge pull for me having become spoiled by redcode and I pre-ordered the extension unit at the same time as the main camera.

This then acted as a paperweight for an eternity.

I thought the grass would be greener in terms of customer service when I made the move and have found the exact opposite to be true.
 
I rally thought Sony would deliver. My first sony was the EX-3. I thought that camera was amazing at the time. It certainly didn't have any bug issues ( guess cameras have become a bit more complicated since then though).
I never expected all these issues the FS7 have from a company like Sony. I was getting used to firmware updates from my RED purchase 4.5 years ago. Heck, my Epic didn't even have playback for the first 6 months.
But the quality and features like the slowmo and the pace of the firmware updates kept me in awe none the less. I can't say the same about Sony now I'm afraid.
I used all of Sonys broadcast cameras over the years and they are built ( both in hardware and software ) like tanks, so all the issues with the FS7 was a big surprise to me
 
I bought the Sony on advertised specs, and as an early adopter (my camera is 0075) it really was a leap of faith. I have no complaint when shooting with XAVC, but and it is a big but, the RAW implementation is an absolute joke which having spent a decent chunk of money on XDCA/Odyssey only to get unusable internal ProRes and unusable 2K RAW HFR I must say I'm not impressed and will be considering my next camera purchase very carefully.
 
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I read that some people aren't happy with the internal ProRes recording via the XDCA extension unit. I haven't had any issues with it, maybe I'm not looking in the right areas? I've only been using it in CINE EI mode up to 60P.
 
starcentral said:
I wonder though, for anyone who actually bought the FS7 based on paper (like we all do including myself) did you expect any short comings from the FS7 or put faith an.
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Previous fs700 owner. Not sure about others, but I didn't make the leap to the fs7 specifically because it was a NEX product. The value per $ is excellent but what you save up-front you pay for in the long run(service, support, bugs, menus, usability, functionality). I did enjoy the footage out of the fs700 and shot many successful projects on it. Getting into a groove and being able to work without hindrance is important though, and this is where I found the cost savings & added features to not be worth the headache of usability.
 
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