FS7: So what IS the OMB ENG solution..
- Thread starter morgan_moore
- Start date
morgan_moore
Major Contributor
This is the 1080 that the FS7 delivers at 1080 25p using the whole sensor or the crop portion of the sensor. Clearly there is a stair-stepping/moiree that is not induced by the glass.
The methodology was to move the camera to equalise the FOV, between the two shots.
Both the images are enlarged 400%
This loss in quality (which is the same as HFR mode) is what puts me off centre scan solutions or certainly needs consideration.
The methodology was to move the camera to equalise the FOV, between the two shots.
Both the images are enlarged 400%
This loss in quality (which is the same as HFR mode) is what puts me off centre scan solutions or certainly needs consideration.
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Nirv
Carbonite Member
Set up All Files for your shooting and bring it somewhere near the top of your User Menu.
Since the later firmware updates the camera boot time was much reduced and I could go between Normal shooting 4k 50 fps 180deg to CC HFR 150 150ms in no time at all. It would be nice if the S+Q button to select a S+Q mode that has been previously setup and change the camera in an instant but the boot time was, what, 5-6 secs so not really a huge issue.
morgan_moore
Major Contributor
That is a subjective statement.
As Ive said for a running race finish is it an issue. Of course there are other solutions like multiple operators.
Ill try learning ALL FILES - so thanks for that tip.
Because I dont really trust my camera I tend to, after doing a big menu dive, like resolution change, go through every setting to check the camera has not popped on to STG gamma 360 shutter or something dumb. Such checks add to the change time, but maybe I need to trust the newer firmwares.
Nirv
Carbonite Member
This image perfectly shows the point I was going to make, surely however good optically and mechanically the S16 lens is it requires the FS7 to be using one of its least good modes and as such you're not getting the best IQ from the camera. I just think the video production market is just so competitive you run the risk of being beaten by Indie Kid and his A7Sx/GH5 who'll shoot a ton of material all on AF and will chop the OOF in post and deliver a much better picture.
Given that a decent S16 zoom isn't far off the asking price of a new Zeiss 21-100 I think you'd be mad to invest in the S16 lens rather than the Zeiss. You wouldn't need to take it off for ART you might in rare circumstance take it of for a nasty video looking wide shot, sorry if there's one thing that screams 'video' it's super bendy wide shots.
The Zeiss for my money has the best image quality out of all the 'affordable' OMB zooms and the most usable range too. It's a no-brainer. The only umming and ahhing I'd do is over the choice of mount.
Limiting oneself to 1080p when the market for online productions is inexorably moving to 4k would not be something I'd entertain from a business standpoint let alone an aesthetic one.
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Nirv
Carbonite Member
Here's how I would approach shooting the finish line.
I would shoot the approach to the finishing line and the collapse at the finishing line in HFR. I would speed up the necessary sections to look 'normal' and have HFR 'moments' of pain and the arrival/celebrations at the finishing line. It would not be a continual take, just shooting for the edit as HFR soon fills the cards. Since it's a race I'd get wild track audio of cheers and crowd reaction noise to other competitor finishes. Since the reactions are shown in slo-mo the crowd noise doesn't have to be synced.
I would tend to be either in normal e.g. shooting 50 fps 4k which gives a half speed slo-mo for free or in HFR for the 'emotion' shots of pain and elation at finishing. I wouldn't want to be flitting back and forth because 5-6 secs would be an issue.
morgan_moore
Major Contributor
Nirv I feel other posters, Donny for example, maybe Icarus , are not acknowledging this quality loss or are not aware of it.
For me I need to consider the trade offs between getting the coverage that I want and the quality rendered. Just like using HFR, one goes above 72PFS (or doesn't) in the knowledge of what it does to ones image.
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The finish line. Of course different ways to do it. Today I would probably go 28-80 at 80 crop HFR over the line and then kill the SQ and do the rest at (boosted) 28 normal scan FPS and audio.
Of course every time one cuts the camera one loses crowd ambience audio that can be pasted over the HFR - I don't get why audio is lost on HFR as a Sony norm.
Switching between crop HFR and regular scan 25p+audio is quick, S+Q button, iris down. While it is quick it is still slow. One cannot instantly hit record after hitting the SQ button.. doing that has lost me some shots.
S
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Iam aware of it..Ive had my F5 about 3 years now.. and said its less than HD .. but still it does look ok for TV.. not being blown up 400% .. with a decent lens on in the first place.. eg the video posted by Icarus.. I think the point being.. rather than an ENG zoom.. a s16 zoom in crop will look as good or probably better.. as its not designed for a 3CCD sensor.. and give you the OMB zoom range.. for about the same price or cheaper.. Im not saying its the best solution.. other wise I would have saved myself $35K buying the CN7 when it first came out..
.. which at the moment is the best range/fastest stop OMB zoom out there.. trade off heavy and expensive.. its like marriage Morgan.. expensive and full of compromises ..
Nirv
Carbonite Member
The CC mode is a shed load better than the Line Skip 2k mode but I found quite quickly that there was purple ringing in the specular highlights which are evident in your barcode images.
I guess we all try and pick battles we can win with these cameras, in like skip mode only shoot organic stuff and don't go near buildings, CC mode watch out for specular highlights and live with the softness.
For HFR shooting 50p 4k for half speed then with FCPX's optical flow retiming we could easily go to 1/4 speed with the right source was the best I could achieve with the FS7.
Yes it's a shame Sony shouldn't figure out how to record audio in HFR even if it ended up being a separate audio file on the card that could be referenced later.
I was browsing Sparky Films' Vimeo page (he used to post here), his Amira shot sporting clips in slow-mo are stunning. He shoots with Amira and Canon 17-120 I think, really nice brand film quality but that all comes at the next price point that the clients are prepared to pay. I never got there.
morgan_moore
Major Contributor
Nirv. I dunno if you ever shouldered an amera/17-120.. but Ill never get there with my puny build.
Exciting. Just got the call to do a Medivac exercise - yorkshire moors chopper lands, bloke on stretcher covered in fake blood job. They will not be stopping to pose or do stuff twice and it will be quick. Good fun, but it brings this all to the fore on a non forum basis
Exciting. Just got the call to do a Medivac exercise - yorkshire moors chopper lands, bloke on stretcher covered in fake blood job. They will not be stopping to pose or do stuff twice and it will be quick. Good fun, but it brings this all to the fore on a non forum basis
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Is it recording it in a cache ..rather than as the fs7/f5 does.. maybe thats the reason..
broughtonfilm
Well-known member
Disagree. Not wide enough for hand held work and not long enough for some interview stuff. Great image quality indeed though.
So does the audio play back slow too..? or normal pitch (if thats the right word ?)
Ben Scott
Veteran
I don't think I have ever shot an interview at over 100mm in my life.
jasonbrooks
Well-known member
Ditto, a 24-70 suits me just fine for 99% of IV setups. Again though, it does seem like a point of personal preference or dependent on the stylistic requirements of the specific job. There are a significant slice of potential clients who like to cut MCU/ECUs for IV sequences, and it's not always ideal (or even possible) to be sitting a metre in front of your talent at 70mm...
jason
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morgan_moore
Major Contributor
This is personal - I reckon 70-80 is about right but certainly not 50.
If one has a questioner one requires a reasonably straight eye-line
If one has lights one needs not to cast shadow
At 50 these things are compromised with a tight head.
Why a tight head? So I can jam the (shotgun) mic in real real close in imperfect audio situations.
Yes - when played back in camera or on "normal" speed timeline - it's slow (and often funny)
icarusfilm
Veteran
I was about to type exactly the same thing. 35, 50, 85 is what I use.