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

Cheers,

as as far as I know most lights that can take DC power whether the be led or dedos will be flicker free. Don't quote me on that though!

i'm really looking at these higher powered low budget Led fresnels now to try and get more punch so I can stop down a bit and be sharper in the extreme macros.
 
Ben Scott said:
as as far as I know most lights that can take DC power whether the be led or dedos will be flicker free. Don't quote me on that though!
Click to expand...


LEDs by nature are DC, but if they are dimmable, they flicker when they dim. It's the way LEDs are dimmed, generally.

The only factor important at that point is, how fast is the frequency they dim at? The faster the freq, the safer they are for high speed work. Also more expensive.

My Zylight is fine when I dim it, it's made for video work. My Philips Hue bulbs, scattered about my house, they cause rolling shutter artifacts when dimmed. I do not know the frequency the dimming for them is driven at, but it's something too close to the shutter/frame rate (probably a harmonic of AC line current, so 120hz or something like that).
 
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Thanks for chiming in Nate.

These were all very little inexpensive little fixtures and were all left undimmed. I forgot to add that bit.

Slightly off-topic, but is it the Zylight Z8 you use? If so, how do you find it?
 
have a look at the fiilex p360 (ex) they pack an amazing punch for the size (and price) and with the pq fresnel adapter the throw is pretty amazing...unheard of for anything that size....great CRI, you can run them off batteries and adjustable color temp....
 
Thanks Paul, but reading a few reviews they seem to have half the output of an Arri 300 which isn't enough for what I am after. Might be a great accent light though.
 
Resurrecting this thread just to post some stills of a short I shot last week. 4K recorded to HD Pro Res on the 7Q and now seeing the 'other' problem people are having with this camera/recorder combo. Amazing monitor but the amount of contrast/tinting being recorded compared to what the camera is seeing means if I was shooting all over again I would have just shot internally to UHD until this is fixed. Exposure really was so much guesswork and the dark contrasty image on the 7Q with magnolia tint bore no relation to the S-Log3 exposure. That said, I managed to luck into some decent shots along the way.


Some stills from the shoot.


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr


Ringtone - Short Film grabs by Soma Pics, on Flickr
 
Liam Hall said:
Blimey, mercury vapour lights?
Click to expand...

Ha,the extreme tints in these are actually on purpose :)

The fs7 >> 7q tint I was moaning about is somewhat dialled out via filmconvert but the overall magentaness is still visible there.

all daylight, led, tungsten or an hmi for one day.
 
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Hi All,

Just a bit of an update to this. After being introduced by Mitch Gross I met up with Nick Shaw of Antler Post who is a Post-workflow specialist currently (among other things) aiding Convergent Design with developing solutions for the the current FS7/7Q issues.

First of all I'll say he's a lovely chap and seriously knows his stuff, and secondly, Nick has been working on a series of LUTs which reverse the incorrect information that is currently being automatically being applied to FS7 raw footage in metadata. I've seen them used in Resolve now and they work brilliantly - automatically getting you straight back to how the footage looks when played back on the 7Q / How it looked on the day without any hint of a magenta cast. I believe they are still in the process of being finalised and they'll be going through testing with CD directly, but I'm sure this will filter through official channels in the not too distant future and be made available in some form or other - presumably either as LUTS or (hopefully) with the fixes incorporated into the next 7Q firmware.

So I just wanted to let you know I've seen a fix firsthand and I'm sure it won't be long until it is publicly available either through CD or released by Nick with their permission.

With regards to the unwanted contrast/cast applied to Raw >> Pro Res recordings - we shot a few quick tests at different settings and Nick is going to have a look at that as well. Fingers crossed!
 
Ben,

That's very encouraging to hear. We are setting up for a big shoot, and had largely resigned ourselves to not being able to use our 7Q. Fingers crossed that the LUT will be out in time... I'm hesitant to shoot in RAW before it's out, I doubt my clients will go for the "I'm waiting on the recorder's manufacturer to release a fix before I can finish your piece" excuse.

Regarding the ProRes issue, I highly doubt that any post processing will be able to fix this problem. With RAW, it was an issue of confused metadata, but the data was still there. With Prores, It appears that data is actually being clipped. Once clipped, there is no recovering it.
 
I doubt there will be a post-fix for already pro res recorded material but I certainly can see a fix for the 7Q for the future as it appears to be implementing some sort of curve on top of the existing Slog one and it should (in my head) be a simple thing to stop that happening down the line. As of today I would rather shoot internal than 7Q Pro Res, but as for Raw *.dng shooting, I now feel a lot less scared about it and know I can get good results. As for the clients - show them on the 7Q as it looks perfect in-monitor :)

Although the occasional banding in the shadows in raw is a whole other issue and one I suspect is purely a Sony problem....
 
looking forward to seeing this fix. have the same problem and hoping this can be applied to already-shot raw footage. thanks!
 
Fantastic Nick. great to see this stuff's out in the open now. Great work. You have saved a lot of people's projects with this, not least my own :)
 
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