Sony PMW-F3 Slog vs Sony FS700 linear raw?!

I

IronFilm

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Am pondering buying a Sony FS700 (as you might see from the other thread)

The FS700 does 12 bit compressed linear raw from its SDI output, which seems like a backwards step vs the 10bit Slog out of the F3? As you really need to get 16bit linear raw before it is better than 10bit Slog. (such as say the F5 does with its 16bit raw, so as to be better than the internal 10bit Slog)

So does this really make it worth it?

And additionally, how do the external recorders handle the conversion from 12bit linear to 10bit ProRes HQ recordings? I assume they're applying some sort of gamma curve.
 
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Dan Keaton (from Convergent Design, so an expert on this topic) says that a gamma curve is applied by the FS700 before outputting its "raw" signal, which is how it squeezes more than 12 stops into 12 bits:


http://www.dvinfo.net/forum/converg...13-fs700-raw-output-slog-3-a.html#post1918899


Ah good, I am feeling better about this now.

But am still wondering what is happening in the details of when a 10bit ProRes HQ file is being recorded in the Odyssey or Shogun from a FS raw signal from the FS700?

Is a further extra curve being applied to squeeze those 12bits of into down into 10bits?
 
Yes I read FS700 RAW is not linear which is the problem with 12 bit RAW from FS7. But if this is better or worse I don't know. Also interested in this.
 
Oh linear is certainly worse! If you're trying to squeeze more stops of dynamic range isn't a smaller number of bits.
 
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