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

Well Im sure you can expose but if there is a shift then you have an issue - if I gave you a roll of film labelled 1600 but it was actually 25 you would probably find exposure was your problem..

Im not sure where you are going with this - I thought you have a shoot next week and you need exposure and post all silky.. id do more tests?

S
 
I'm saying what I got out of the odyssey was exposed just as badly and exactly the same as what I put into it and expected to see.

And my shoot is tomorrow!
 
While certainly not ideal, one way to safely get the files out would be to record everything onto the Odyssey7Q+ and then simply play out each clipped record the SDI output either to another recorder or fed directly into a computer by a Deckling or other interface. I know that this is certainly not what you should have to do with our product but I also understand that you have an important shoot tomorrow and need a solution in hand.
 
More than anything, we need an update. I love my 7Q+ but I don't understand why updates are so slow. Atomos fixed their frame issue and added clip playback within a week or two.
 
Mitch has put me in touch with one of their engineers to offer a solution for the time being which is pretty much along the lines what Sam discovered with Resolve.

Hopefully it will get me through my weekend.

Will report back after the shoot. Thanks for your quick response Mitch. Much appreciated.
 
Here is the suggested settings in Resolve. Please note that this is for the FS7, not the FS700. Even though the FS RAW Record Option supports both, their signals are different.

In the CinemaDNG settings,

- Change the White Balance to "As Shot"
- Select "BMD Film" for the Color Space and Gamma

This should deliver usable Log-like images that are fully gradable. The Offset controls may be needed to adjust the colors some, but there should be no magenta cast and the files should be properly gradable to whatever look you desire.
 
The only way to grade RAW footage from the FS7+O7Q at the moment is to do as Mitch has suggested. Setting the Color Space and Gamma to "BMD Film" does lower the apparent magenta, however that's partially because it's desaturating all of the colors in the image. If you attempt to add saturation, the magenta will return.

To correct out the magenta requires individually adjusting color balance in the shadows, mids, and highlights. I've been able to get a somewhat acceptable image, however it took a lot of work. I'd sooner use the internal recording than go through this method.
 
ChristopherA said:
The only way to grade RAW footage from the FS7+O7Q at the moment is to do as Mitch has suggested. Setting the Color Space and Gamma to "BMD Film" does lower the apparent magenta, however that's partially because it's desaturating all of the colors in the image. If you attempt to add saturation, the magenta will return.

To correct out the magenta requires individually adjusting color balance in the shadows, mids, and highlights. I've been able to get a somewhat acceptable image, however it took a lot of work. I'd sooner use the internal recording than go through this method.
Click to expand...
Another recommendation that is my own, not the engineers, is to stick with the camera presets for tungsten or daylight. This is similar to the CineEI modes on the F5 & F55 as well as other Sony technology. I know you think that because it is rAW that such settings make no difference but I can tell you it is not true with respect to the way Sony handles its RAW data.
 
Since my 7Q+ will ship tomorrow, I'm pretty anxious for a fix as well ;)

In the case of the FS7->Odyssey issues, CD has to deal with Sony as well as with its own internal team. And they want to deliver a solution that works. Atomos released Shogun knowing that work in progress was incomplete but they felt that the recorder was useable as is-- that is, record but no playback. So it seems that the fix came quickly when in reality it was a part of the development cycle all along. I think both Atomos and CD are transparent about known issues, fixes and future features.

I'll give that Resolve tip a try when my 7Q+ arrives.

Ned Soltz
 
jshbckr said:
More than anything, we need an update. I love my 7Q+ but I don't understand why updates are so slow. Atomos fixed their frame issue and added clip playback within a week or two.
Click to expand...
We had six firmware updates in 2014. We are working both on our own as well as directly with Sony and there was another inter-company conference call meeting just yesterday. We would all like to simply have it fixed and if it meant putting in nights & weekends then we would be doing it. But we also need to work with another company so there are delays and stopping points inherent in the process.

This happened when the FS700 was first released as well. We'll get it all sorted out.
 
Off to the shoot in a sec. Will update the thread on the process and on using the workaround over the weekend :)
 
I managed to work around this issue with a few tweaks in Resolve and a bit of grading. I made a custom cube LUT of the grading that I can share.

But first, what you need to do in the .dng decoding options is to : set colorspace to BMD, of course check the "preserve highlights" box, then, the trick is to set the color temperature to the lowest value possible, 2000K and most important, set tint to -150.

It's a good starting point, then you need to tweak a bit the color wheel (I mean the "offset" one) to remove this light last strain of magenta off the picture.

Hope that helped a bit.

Cheers.
 
Hi all,

Had the shoot yesterday and first I'll say it all went very well. Talent happy. Client happy. Director happy. Shooting raw @ 240fps I was getting about 2hrs 30mins out of 1 x 96wh V-Lock battery powering the camera directly and then the 7Q via D-tap.

Monitoring and recording went lovely - after a couple of hours scrubbing through long playbacks was a touch glitchy but you expect that from something working so hard across two drives and the final clips didn't have that issue.

Onto post and I followed Mitch's guidelines before further tweaking the offset and then generating a LUT which I copied to all the clips before export. I'm pretty happy with where I've got the footage now.

Stephane above was kind enough to send me his LUT and workflow and I'll test it against my own as soon as my exports have finished :)

As an aside... 240fps looks gooooooood :)
 
Tiny snippets from about 4hrs of slomo footage. 'Fixed' and exported to pro res 422 but ungraded.




password: flame

Still a touch of magenta in there in the second video but it's easy enough to go from here as a starting point.
 
Ben,

The footage looks great! If you don't mind, I have a couple of questions that aren't Camera related.

1) I'm surprised that you aren't seeing flicker at 240fps. What were you using to light this (HMI, LED, etc)?

2) How was the flame in the first video created?
 
Thanks Christopher. It was lit with DC powered LEDs and the glass of booze was burning with an invisible blue flame and the spray from the Orange caused the little explosion.
 
I knew that LED's were better with flicker, but I had no idea that they'd hold up this well at 240fps! I've used some of the HIVE plasma lights for high speed, but I didn't think that anything else other than a 5k (or greater) would give consistent light at this high a frame rate. Does the fact that you're feeding the LED's DC make a difference?

Awesome effect with the flame.
 
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