FS7: Shane Hurlbut weighs in on the FS7

Donny 123 said:
No one is Bashing the guy.. and everyone knows he is a top "hollywood" guy and all that... but thats also the reason people get a bit peeved when comes out with his "colorful and sweeping statements".. cause people listen to him.. he's in a position that what he says will affect someones choice in camera ..
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I think at this point there are plenty of "influencers" out there at all different levels--not necessarily sure that a majority will take Shane's word as gospel over the next guy, and I don't think that is what Shane is going for in any event. I wouldn't expect any prospective F55 buyers will suddenly change their order to an FS7 over this.

Otherwise: thank you guys for the nice words on Key & Peele, very much appreciated.
 
Yup nobody would ever dispute that he knows his stuff to a great level. It's just that he'll be looking at different things to a lot of owners and his opinions on stuff like that are no more valid than yours or mine, whereas his opinions of crafting light and crafting a scene I would defer to all day every day.
 
I'd love to do Shane's job on a big-budget film. I'm sure it would be fun. I'd also love to see how Shane would cope with some of my jobs. I'm sure that he'd have fun too.

BTW anyone is welcome to come and watch me work, anytime they like - you'll have to carry some gear though:-)
 
I really liked the film Deadfall, which Shane was the DP for.

I think once you get to his level (which perhaps many of us aspire to) you're not on the forums 24 hours a day worrying about camera tech and detailed specifics. So maybe he's not up on the tech specs for all the Sony cameras, big deal. Also maybe what he said was taken out of context. I know many people here prefer the form factor of the FS7 over the F5/F55… so maybe it can be said that FS7 is "better" in some respects.

Maybe he looked at the FS7 when it was first out when it ONLY came with slog3/sgamut3.cine whereas the stupid F55 and F5 has gamut (the original) and matrix combination in custom mode which can look pretty crappy quite easily.

Lots or possibilities, maybe someone can tweet him and ask if they care enough to know why he said what he said.
 
starcentral said:
Maybe he looked at the FS7 when it was first out when it ONLY came with slog3/sgamut3.cine whereas the stupid F55 and F5 has gamut (the original) and matrix combination in custom mode which can look pretty crappy quite easily.
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I'd wager this is exactly it. Slog3/Sgamut3.cine shot in CineEI sheds a lot of what some users call the Sony look.
 
Technically all three cameras (F7S/F5/F55) have S-Gamut, S-Gamut3, and S-Gamut3.cine color spaces.

Now whether they all produce the same color is where we start splitting hairs, the F55 has the CFA from the F65 whereas the FS7/F5 has a 'REC709' type of CFA.

You might only see color differences under certain circumstances but we can argue the color science is the same can't we?
 
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yes your right.. but could not the thickness of the colour filter,or density.. over the photocell have some impact on the amount of light that gets through.. as the dyes are different .. ? ..
 
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Sure, there may be other factors that have minor impacts on the sensitivity, but the majority is clearly due to the two types of shutters.
 
More technically speaking the global shutter on the F55 are like actual switches at each photosite on the sensor, hence the photosite is smaller on the F55 and hence the sensitivity is less.

At least that's the theory.
 
starcentral said:
More technically speaking the global shutter on the F55 are like actual switches at each photosite on the sensor, hence the photosite is smaller on the F55 and hence the sensitivity is less.

At least that's the theory.
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Indeed. CMOS sensors like the F5/F55/F3/RED/Arri/etc... (all of them) ... they can't hold an electric charge without leaving the photosite open to keep collecting more charge. This is a problem because it's not practical for the camera to collect the charges from every photosite simultaneously. On cameras like the F5, you end up with rolling shutter, because they camera flushes and reads the charges line by line. To fix this, the F55 has the photosites flush simultaneously, each to their very own holding cell. That holding cell is on the sensor next to it's photosite, and takes up space. Then, the camera can still read the holding cells line by line.
 
Except for flash photo,s going off I haven't found the F5 rolling shutter to be a problem.. even shooting from fast trains..or the on Arri for that matter.. must be pretty fast sensor.. . CFA is different... but now the F5 has internal 4K.. which I thought was the really big difference.. is gone.. I,d rather have the extra ISO in the back pocket if needed.. if I shot fashion,weddings or period drama with a lot of guns going off the F55 would be the better bet..
Film camera,s are also rolling shutter after all..
 
The coolest thing that happened to me with my F55 and a flash was not getting any of the flash in the footage when the director was actually trying to use it as a visual marker in the footage… that was pretty funny and I had to think about why there was no flash and then explained, "well the camera missed catching the flash".
 
haha .. thats good .. at least the F5 you would be sure to have half of it :)..dir still would have complained for sure.. on a film camera I guess if you didnt see it ,would mean its on film .. I guess you cant tell with an electronic shutter..?
 
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