I accidentally posted this on the NEX Cameras thread instead of directly on the FS700 thread earlier this week so I am sorry for reposting if you happen to have already caught this. The mojority of it was shot on the FS700 with the 7Q so I really meant to place it here.
I am in love with the 7Q! It was a bumpy road getting my system up and running after a month of trouble shooting communication issues between my 7Q and FS700. It ended with me having my VC control board replaced in my FS700. Sony Services ended up doing this for FREE and covered shipping both ways which was fantastic! During the first part of trouble shooting Convergent Design overnighted me a free SDI cable as that was the first thing to try which was very nice as well.
All the band footage was shot with the FS700 + 7Q. All the storyboard shots that took place during the day were shot on the FS700 + 7Q minus the very very first shot of the video that was shot on the A7s. The night shots of the storyboard were shot on the A7s using just karosene lanterns to light the set. I only had the A7s for one day before I had to shoot this. Ultimately, the A7s saved the day for this night shooting but I definitely wish I had some more testing time with it before the actual shoot. Still very happy with the end product though and look forward to delving deeper into this little mega cameras potential.
The FS700 O7Q footage was all shot in the 4K2HD ProRes minus one shot that was 2K RAW for slo mo. That's right, there is only one slo mo shot in the whole video!!! LOL. I use some very saturated grades throughout this pretty loud looking rock video and was sooo happy with the color grading options the 7Q opened up. I have never been able to achieve such smooth gradients and this video really called for it with the intense lighting schemes of the band footage. Can't wait to unlock more power out of the A7s once the 7Q becomes a companion for it.
Internet compression has never hurt so much. LOL. I say this because of how gorgeous the original final file is but I am experiencing some macroblocking issues in a few select areas that has been driving me nuts. Mitch from Convergent pointed out that the amount of film grain and scratch filters I have on a lot of areas are probably what is pushing the compression so hard when streaming. That makes a lot of since and I would have to agree. But there is this one area of the MOONSHINER in the begging that has little to no movement and no filters on top but it shows a bunch of macro issues? So open to any thoughts on that.
Anyway, have fun with this one, it gets a little campy. The album was produced by John Kurzweg (Creed, Puddle of Mudd, Jewel) and I story boarded, directed, filmed, edited, and color graded it. Don't think I can go back to AVCHD again. THANKS CONVERGENT!!!!!
I am in love with the 7Q! It was a bumpy road getting my system up and running after a month of trouble shooting communication issues between my 7Q and FS700. It ended with me having my VC control board replaced in my FS700. Sony Services ended up doing this for FREE and covered shipping both ways which was fantastic! During the first part of trouble shooting Convergent Design overnighted me a free SDI cable as that was the first thing to try which was very nice as well.
All the band footage was shot with the FS700 + 7Q. All the storyboard shots that took place during the day were shot on the FS700 + 7Q minus the very very first shot of the video that was shot on the A7s. The night shots of the storyboard were shot on the A7s using just karosene lanterns to light the set. I only had the A7s for one day before I had to shoot this. Ultimately, the A7s saved the day for this night shooting but I definitely wish I had some more testing time with it before the actual shoot. Still very happy with the end product though and look forward to delving deeper into this little mega cameras potential.
The FS700 O7Q footage was all shot in the 4K2HD ProRes minus one shot that was 2K RAW for slo mo. That's right, there is only one slo mo shot in the whole video!!! LOL. I use some very saturated grades throughout this pretty loud looking rock video and was sooo happy with the color grading options the 7Q opened up. I have never been able to achieve such smooth gradients and this video really called for it with the intense lighting schemes of the band footage. Can't wait to unlock more power out of the A7s once the 7Q becomes a companion for it.
Internet compression has never hurt so much. LOL. I say this because of how gorgeous the original final file is but I am experiencing some macroblocking issues in a few select areas that has been driving me nuts. Mitch from Convergent pointed out that the amount of film grain and scratch filters I have on a lot of areas are probably what is pushing the compression so hard when streaming. That makes a lot of since and I would have to agree. But there is this one area of the MOONSHINER in the begging that has little to no movement and no filters on top but it shows a bunch of macro issues? So open to any thoughts on that.
Anyway, have fun with this one, it gets a little campy. The album was produced by John Kurzweg (Creed, Puddle of Mudd, Jewel) and I story boarded, directed, filmed, edited, and color graded it. Don't think I can go back to AVCHD again. THANKS CONVERGENT!!!!!
