FS7: Urgent FS7 / 7Q slow raw problem - It's all gone a bit 80s Michael Mann

Ben Scott

Ben Scott

Veteran
Finally I have a day to test before a big high-ish end commercial slomo shoot tomorrow and I'm testing the 240fps workflow from start to finish.

Everything looks perfectly balanced on the EVF and on the 7Q but after merging the clips and checking in preview or photoshop on the macbook I'm getting the crazy magenta issues seen below which I can't dial out

00000000026_0002144_zps4dncnf39.jpg


Settings were:

FS7
Cine-EI
WB - 5500k
NTSC - base fps 23.97
S&Q at 240fps

Odyssey 7Q connected via extension unit raw out to SDI 1 and with 2x 512Gb drives
4k/2k Raw to RAW (.DNG)
Camera to trigger record
Project Rate: Follows input

Normally I would mess about for a week to sort this out but while i can test all day if anyone has a solution for it I would be eternally grateful. Mitch did mention that there is currently a perfectly usable raw workflow for the FS7 and 7Q at the moment, even if the image isn't quite as flat as it shold be - if anyone can help me get in that ballpark instead of 80s Miami Vice-ing up all my shots ahead of tomorrow that would be greatly appreciated.

Thanks in advance for any suggestions,

Ben
 
Hi Ben,

This is a known issue with the FS7+O7Q workflow. I've spoken to the guys over at Convergent Design, and they are fixing it as we speak. However, the next firmware update isn't expected for another couple of weeks.

The problems with the FS7+O7Q workflow can be broken into two categories: Raw to Raw and Raw to ProRes.

The problems with Raw to ProRes (Raw out of the camera extension back and converted by the O7Q into ProRes, either at HD or 4k), can be found here: http://www.dvxuser.com/V6/showthread.php?332196-Raw-to-the-Odyssey-7Q
Mitch has said on a couple of occasions that the footage from this is highly gradable, but that is not my experience. In my tests it appears that the blacks are clipping. The loss of shadow detail means that grading is very difficult to impossible. We aren't using these modes until the problem is fixed.

The second problem is with Raw to Raw (recorded as a .DNG file). We have experienced exactly what you are seeing, and there is no way around it. The problem seems to be a miscommunication between Sony and CD. Again, I've been assured that Convergent is working on this, however, the earliest fix is still a few weeks out. Mitch did mention that they may release a utility that would fix the metadata on already shot RAW footage. I'm a little wary about shooting in RAW and waiting around for that, though.
 
Interesting. I thought that application was for DPX files. Will check and come back. Thanks :)

EDIT: Did nothing I'm afraid.
 
Last edited:
ChristopherA said:
Hi Ben,

This is a known issue with the FS7+O7Q workflow. I've spoken to the guys over at Convergent Design, and they are fixing it as we speak. However, the next firmware update isn't expected for another couple of weeks.

The problems with the FS7+O7Q workflow can be broken into two categories: Raw to Raw and Raw to ProRes.

The problems with Raw to ProRes (Raw out of the camera extension back and converted by the O7Q into ProRes, either at HD or 4k), can be found here: http://www.dvxuser.com/V6/showthread.php?332196-Raw-to-the-Odyssey-7Q
Mitch has said on a couple of occasions that the footage from this is highly gradable, but that is not my experience. In my tests it appears that the blacks are clipping. The loss of shadow detail means that grading is very difficult to impossible. We aren't using these modes until the problem is fixed.

The second problem is with Raw to Raw (recorded as a .DNG file). We have experienced exactly what you are seeing, and there is no way around it. The problem seems to be a miscommunication between Sony and CD. Again, I've been assured that Convergent is working on this, however, the earliest fix is still a few weeks out. Mitch did mention that they may release a utility that would fix the metadata on already shot RAW footage. I'm a little wary about shooting in RAW and waiting around for that, though.
Click to expand...

If that is the case I am royally screwed. This is a really big job for me that the rest of my year rests on and while I can show stuff on the monitor, I'll be expected to hand a drive over to the Producer very early next week. So all that talk of 'The FS7 and 7Q is a viable shooting solution right now' appears to be not quite true - certainly for RAW.

Mitch or anyone at CD if you have a possible solution - even if it is a beta one - that might help me save this gig I would reeeaaaly appreciate it.
 
Certainly it can't be dialled out with camera RAW or in lightroom so I imagine Capture One would be the same.

What I don't get is how it looks perfect when played back on the 7Q.
 
That sucks Ben, nothing like having a great plan foiled by tech.

If I were you I would contact CD support directly by phone for quicker response and by email also. Hopefully its something easy to remedy or workaround for the time being.
 
Hey.. maybe a breakthough..

PUt it in Resolve,
Camera Tab
Select Colour Space and Gamma BMD film

green pops back leaving a 'thin' negative

S
 
Morton.
I dont think it is a cast it is miscomms of some sort - the BMD film 'source' in the resolve camera tab clearly jumps the green leaving a sort of correctly balacned log image to start with, but its still wierd!
 
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