That you manage to get through a two-part review without anyone saying "like" or "actually" constantly is great. A clear, focused, comprehensive and "adult" review. Terrific.
Excellent review. Having used the FS700 on a shoot without any prep time, holding the camera for the first time was incredibly awkward. Like shooting with a chunk of firewood. I loved the super slow-mo, even with its limitations and am very happy to see the FS7 improvements to ergonomics and usability. Cool Dudes!
Nice review. Especially Jordan's sit down section at the end. The color grading by Jump really makes this camera's images work for me. Price of the camera is excellent for the quality and pro application.
You guys are awesome, very informative! I'm in the process of getting the FS7 for my first feature film. I feel much better because it does seem intimidating at first glance but most of my mental questions were answered here.
Fantastic work guys. Your effort and hard work always shows. I find your videos to be the most professional on UA-cam for camera information. Yet, you still have the great sense of humor to make them personable and entertaining. I would love love love to see you guys do a video showing the differences of shooting on mirrorless, dSLR, and a pro rig. How each shoots and works in the field vs. one another, how they edit, and pushing them to the edge in video output quality. Say a GH4, A7S, 5D3 or 1DC, and the FS7? Intensive, but it would be a UA-cam hit machine! Haha Great work.
Thanks Guys, I am considering this camera for my company & having a complete review like this is very helpful. I am just learning of LUT's, S-log & all since that was not an option on previous cameras I have used. I am also the editor so this is very useful information for me.
I've been waiting for part 2 as soon as you did part 1, the wait is over and what a good job guys and girls. Great work and first class explanations of slog3, thanks. Before FS7 i loved my trusty D5, now I'm selling a kidney to get my hands on one of these bad boys, love it. Thanks, Mark
I agree 100% im a small guy just like your buddy Levi there and im with him on the before getting one I was scared not scared but intimidated about a bigger cinema camera and everything to go with it. The batteries the storage, everything is pricier and bigger and heavier. Its alot more to worry about its not something you really wanna be a solo shooter like myself, i bring people with me now.. even using it for the first week its abit different then say a gh4. or a7s. or even a 5d mark3, yes i used all 3 of those cameras extensively. But yeah I love this camera.
Phenomenal, content filled video guys! Question though, what is better about the image quality with the FS7 compared to a GH4 or A7s? Seems to me that the image quality with those is quite excellent if care is taken with the normal elements of good videography/cinematography... ? Looking forward to learning from you on this point if you are able to write up a little answer. :)
The Sony A7S and GH4 create beautiful images, which is why we've often been using them to shoot episodes. The GH4 isn't great in low light and really needs a log profile to help with dynamic range and heavy grading (fortunately, firmware with V-Log should be coming soon). The Sony A7S has an amazing low light image, still better than the FS7, but the FS7 has 10 bit colour, much more natural highlight roll off, internal 4K, more filmic noise and SLOG3 profile. Also, the FS7 1080/180P slow motion capabilities haven't been matched by any mirrorless cameras yet. All that spec mumbo jumbo being said, a skilled cinematographer can get amazing results from any of these cameras. Check out Levi's film Heights, shot on the GH4. Jordan @ TCSTV
At 11:45 the full frame e-mount Sony FE PZ 28-135mm f/4 G OSS has a very unique focal length range for a constant f/4 aperture. Of course with a super 35 sensor is less wide than 28mm and more narrow than 135mm. I don't mind its price and I would like to use such a lens on my a7 camera but it is quite big and heavy for me. I don't know, maybe I will buy it the following years.
Jordan - what's your opinion on "ease of use" of the camera for a producer / shooter? I've heard many things (such as changing ISO) have to be done through menu, and that cameras like C300 are much easier / faster to use. Thanks for your input!
For the record, I was referring to the new video nerd. After hearing the announcement of Jordan's child on the way, I thought I'd make that clearer... Congrats on the new family member, Jordan. Now go get your own channel, k? :D
4:56 I was taking notes of the master at work. Music, wine, eye-gazing... Chris has got all the moves! Shame the place was haunted :) Great review guys.
great video but I have a problem. I've been shooting music videos on 5d M3 and recently the gh4 for about 3 years. I have been saving and looking to upgrade to a bigger camera that I consider "next level". Fs7 was one of those cameras so I really enjoyed this in depth review. My issue: Given the situation where you have a knowledgeable DP and sufficient lighting for your shoots, I just don't see a big enough difference in the image quality between something like the Gh4 vs Fs7 to justify the extra $6,000-8,000 that you would pay to upgrade. Yeah you got alot of cool extra features, but at the end of the day its about the quality of the image you are getting. Yes the Fs7 is "better" but for all of that extra money, I would expect to see a HUGE difference between that and the gh4. And I just don't, and that really bothers me. Have you or anyone else had similar sentiments?
Fantastic video and review. Very interesting seeing this footage compared to F5 and F55 material. It seems that all Sony S-log material suffers from the same problems with oversaturated primary colors. What was your workflow when grading the material? S-Log3 to Rec.709 with a 1D or 3D lut? Or individual grading scene by scene? In your short feature I noticed very desaturated red lights and in the first part I saw the same color clipping I experienced when grading a program for german television using Baselight version 4.4 and using the S-log3 to Rec.709 conversion.
Everything was graded by scene. For the film, we very deliberately emphasized the reds for the first half, and then switched to a green/blue palette. The rest of the video, with talking heads is graded to a very sharp, contrasty, saturated 'broadcast look'. The great thing about SLOG is the option to push every colour as far as you want. I'm no colorist, so you may have a better grasp of the image character, but I find the SLOG files to extremely flexible. I'm curious Jochen, which camera profiles you prefer to the various flavours of SLOG? Jordan @ TCSTV
Oh, of course I prefer S-log3. It's the most advanced lut Sony has to offer. But despite the fact that your REALLY make great presentations of the products it would be hintful to compare the FS7 to its sibblings and competitors. Just at the end of the last week I made a comparisson between the material of a F5 and a F55 as I have to grade a feature starting tomorrow. I noticed that the pictures of the F5 shows what you claims as the "bad" behavior oft the FS7. So I assume that the FS7 has a worse picture quality than the F5. - Maybe you could habe compared the FS7 to a C300/C500 vor an Amira. Yes thwy are more expensive, but you never invest just in a camara body but in a hole pipeline. By the way: Really the best luts are made by Arri.
Fantastic! One question: the reds seem to be a bit over-saturated/hot, particularly starting at 2 mins. Have you noticed this with the FS7 (or is it monitor, albeit calibrated)?
I'm considering getting the kit lens. It's probably going to be between that and a Canon zoom lens with speed booster. I'm looking forward to any review you have on the lens and the sharpness as well as the usability of it for documentary type shoots and handheld/following shots at the 28mm end.
It looks great based on my very early testing. As mentioned in the video, I do find the 28mm on a Super 35mm sensor very restrictive for tracking shots. Optically and handling wise though, it looks like an excellent optic. Jordan @ TCSTV
Hey, great review! One thing it was not covered in it. How easy or difficult is to work with the files that comes out of this camera? Do I need a kind of monster computer? What specs do you need to work with them nice and clean?
I think this is a great review series; you guys did a great job. My concern is so much work I've seen on this camera shows pinkish/magenta skin tones that don't look good. On your series I see it mainly on the review footage not the short-film content. I've seen it on other demos too. My understanding is that this is a know issue and that many hope for a firmware tweak? What do you guys think about this? Or am I the only one noticing this? Thanks!
Jon Grimson Most of this was shot with the Color set to 5600K, which leads to a weird magenta cast on the current FS7 firmware. You can fix this by doing a grey card white balance, which we have started doing on our most recent episode. The next FS7 firmware will fix the manual Kelvin weirdness.Jordan @ TCSTV
How would you compare the Blackmagic URSA to the Sony FS7? I know the Blackmagic only has UHD internal but it also has a global shutter. Just wondering, keep up the good work.
As some of the first FS7 footage I've seen, it looked blah. not sure if / what you are grading with but even the end looked pretty cyan. is that straight from camera ? having shot real film, beta SP, HDcam and a bunch of the newer cameras, there is one reason I stick with canon into the C series, they just look great and grade easily. I've found Wide DR with tweaks is the best starting place to optimize the amount of gradation being recorded. I've also been impressed with some GH4 stuff recently. With the FS7. to me even the overall color balance was off, desaturated, flat. looking at the waveform of those ext shots is a good example of where log can literally fall flat - its simply failing to use all the dynamic range of the codec. its tossing out 50% of the possible gradation available. in 10bit that isn't too bad, but if you pick a 8bit codec, you can literally make a 7 bit image. I'd love if get a couple of those clips in ProRes, grade them and send them back. I work on a TV show that shoots in winter and I can say that snow / ice and getting all the gradation you can out of it is always a struggle... and FWIW SG works best on the show for recovering / maximizing the highlights which is everything. got a drop box account to send me a couple clips ?
Was the opening shots going into the studio shot on the Sony 28-135 lens? Do you feel it's up there with Canon lenses as far as sharpness? I'd be using it for documentary style shoots, following people around, etc.
The opening shot was on the Sony E-Mount 20mm F2.8 pancake to keep the weight down on the gimbal. It looks quite sharp @ 4K, but I'll be doing some still camera tests to see what it is capable of resolving. Jordan @ TCSTV
Did you shoot the short film in RAW - Which means you had the XDCA-FS7 and and external recorder like the Sony AXS-R5 or a Atoms or Odyssey7Q ? Or did you shoot it right to the XQD cards? Can you shoot in S-Log 3 and grade with the footage that comes off the XQD cards? Or can you only grade RAW footage?
If you´re investing 8000 dollars in a body, I would really suggest using Slog3 with S Gamut3.Cine color space and apply Sony's free LC709 type A LUT in post. Very similar to Arri Alexa image and great starting point for grading.
Dear Sir I noticed the shadow noise that you commented on in your excellent review. It turns out that Slog stands for "Senselessly low on genius" - or something similar :-) Could I lure to take a look at the link below, and perhaps try to see if you can duplicate it into the Sony? The GH4 High Light/Shadow overrides all other filters - so you need to look for a similar filter that has a consistent effect on the High Lights even when the contrast is cranked up. It also makes the shadows look very normal, and if you raise the shadows for a more "trendy" look, you will discover that you have loads of details, and much less noise than in "post contrasted flat profiles". The trick is to disregard all the Digital Alchemists, and treat any camera as 1) "having only one type of film (the sensor). 2) A lot of developers (film settings). 3) And an (1) enlarger lens with a maximum resolution that decreases if it becomes dirty (a maximum bit rate that "decreases" with the amount of (especially shadow) details that are added). - such as the overwhelming amount of shadow details in your "raw" footage - details that disappear in your final grade, except that the noise remains if you use the "Slog in camera - Anti Slog in post" road. So, if you won't need the shadow details in the finished film, contrast them away, and spare the bit rate to ensure better mid tone and high lights - that is better colours, less noise, nicer skin tonality etc. And the free time you gain by less grading- and rendering-time can easily run up to much more production value - or recreational time. Yours Sincerely M www.supertone.dk/#!GH4-Optimal-Film-Setting-works-in-stills-too/c24o4/8E18836A-F271-4A14-AF0D-C575B9D5F4B6
Would you mind clarifying what you meant by the 28mm focal length being restrictive on a Super 35 sensor? Does a 28mm crop differently on the FS7 from a DSLR 35mm sensor? Thanks for the episode. Really helpful!
Well, thanks for the heads up. Didn't know there was such a difference between full 35mm and Super 35. I better rethink my lens selection for the FS7. This is a handy FOV resource. www.abelcine.com/fov/
Hi! We're planning to build a studio. In that manner we're looking for decent cameras. Do you know whats the difference between SONY FS7 and SONY PXW X200? Which one we should choose? Thnks for your help :) Great video btw
Evli ve Oyuncu The Sony X200 is more of a breadcast/ENG camera with three 1/2" sensors and a built in lens. The FS7 is a cinema camera with a single, much larger Super 35 sensor. The X200 makes sense for an unmanned option, where the FS7 requires an operator. I prefer the aesthetic of a Super 35 camera with the option of shallow depth of field, but the X200 is a more complete, usable package right out of the box. Jordan @ TCSTV
This video is 17 min long. How long does it take in editing and grading to finalize? I never see much on the internet about the cost "in time spent" to move from consumer video production to "pro level" production. BTW, you guys do some great stuff. Thanks
It took about 4 days of regularly interrupted editing to make part FS7 1 & part 2. Most TCSTV episodes take me about 5 hours to cut. Basically, the more tests and comparisons in an episode, the longer the edit takes. Jordan @ TCSTV
Great job guys, can you do a review on the JVC GY-LS300 4KCAM this product appears to be ideal, but no one made a review yet. Thanks a lot, I appreciate t.
Ah ok thank you. That's sort of the conclusion I had come to, just couldn't work out if there was anything more to it i.e. a different mount or something. Thanks again, you guys do great work.
If you're capturing primarily in 4K, I think it's the best package in it's class, but if you tend to shoot in 1080P more, go for the FS5. It's less money and the electronic ND is the best thing to happen to cinema cameras in a long time. Jordan @ TCSTV
Why is this FS7 the game changer when Black Magic cinema and production, ursa cameras have been out way before this camera? I get that the codec options are different, but Black magic production is like $5k less than this FS7 and uses canon mounts for more lens choice without weird adapters, I think that's the real game changer.
Hey Alexander, My mistake, the coupon code promo doesn't start until tomorrow morning. I didn't mention the start date as I didn't think I'd have this episode online as early as I did. Let me know how you like SpeedLooks! Jordan @ TCSTV
What to do, what to do. Keep my Nano Nikon 85mm 1.4 and trade my D800 for a D810 and save a small fortune, or go with the much more popular trendy and possibly get more work. The graded footage on the D810 is so lush and organic. I think the C100 Mark II is out. Anyway, Thanks guys! Very kind of you to respond.
Man, I'm nowhere near pro level, and was all confused when he's talking about SLOG and whatnot. Have no clue what that is. No matter, not like I can even afford a camera like this! (nor do I do any work that would warrant a camera like that!!) I think though my biggest hurdle in the video work that I do is that I need to get better at color grading.
+Philippe Orlando One of the great things about the FS7 is you can grade the files to taste. Having used the FS7 on a film shoot this year, I can certainly attest to the FS7's cinematic qualities when graded as such. Stay tuned for Metanoia in summer 2016! Jordan @ TCSTV
That you manage to get through a two-part review without anyone saying "like" or "actually" constantly is great. A clear, focused, comprehensive and "adult" review. Terrific.
This is the best video that you guys made honestly..
I agree 100%
Thanks! It was way more work than usual, but this is a special camera.
Jordan @ TCSTV
By far the best photo and camera reviews on the net. Great work guys. Congratulations Jordan, best wishes.
Can I just say...best camera reviews in the world. You guys are awesome!
Love the longer video formats & video sections. As always stellar work guys!
Great work as always. I look forward to more, beautiful looking FS7 episodes- no pressure Levi.
Very interested in knowing what mics you guys used for the short film. Great stuff.
Surely I wasn't the only person awed by just how sharp Jordan's shirt was!?
Great video, and congrats Jordan! looking forward to more from the TCSTV team soon
what a fantastic in depth review! thanks for all the effort the whole team put into this!
Excellent review. Having used the FS700 on a shoot without any prep time, holding the camera for the first time was incredibly awkward. Like shooting with a chunk of firewood. I loved the super slow-mo, even with its limitations and am very happy to see the FS7 improvements to ergonomics and usability. Cool Dudes!
Nice review. Especially Jordan's sit down section at the end. The color grading by Jump really makes this camera's images work for me. Price of the camera is excellent for the quality and pro application.
Congratulations Jordan!!
Good job guys, really love the show. Congrats on the baby!
Awesome! Definitely my favorite camera show by a long shot. I'm always looking forward to the next video. Keep up the great work guys!
Congrats Jordan on the soon to be new arrival, and Levi I'm sure it will all work out grand :)
Great review. I like when reviewers take thing seriously but still light weight
You guys are awesome, very informative! I'm in the process of getting the FS7 for my first feature film. I feel much better because it does seem intimidating at first glance but most of my mental questions were answered here.
Fantastic! Its like my bday everytime TCSTV posts something!
SLOG3 + speed looks = wow!
Fantastic work guys. Your effort and hard work always shows. I find your videos to be the most professional on UA-cam for camera information. Yet, you still have the great sense of humor to make them personable and entertaining. I would love love love to see you guys do a video showing the differences of shooting on mirrorless, dSLR, and a pro rig. How each shoots and works in the field vs. one another, how they edit, and pushing them to the edge in video output quality. Say a GH4, A7S, 5D3 or 1DC, and the FS7? Intensive, but it would be a UA-cam hit machine! Haha
Great work.
Chris needs to work on his acting skills! Felt like I was watching the intro to a porn shoot
Thanks Guys, I am considering this camera for my company & having a complete review like this is very helpful. I am just learning of LUT's, S-log & all since that was not an option on previous cameras I have used. I am also the editor so this is very useful information for me.
this seems to be a really great camera! GOOD JOB SONY!!!
I've been waiting for part 2 as soon as you did part 1, the wait is over and what a good job guys and girls. Great work and first class explanations of slog3, thanks. Before FS7 i loved my trusty D5, now I'm selling a kidney to get my hands on one of these bad boys, love it. Thanks, Mark
This is a really useful review - especially the section on S Log 3
Great Review ! Hope to see a part 3 purely on lens selection and would like to hear your take on the AJA Cion !
Fantastic job guys!
Congrats Jordan!
Loved this (these 2) videos!! Big thumbs up.
Congrats Jordan. That kid's life is gonna be well-documented!
I agree 100% im a small guy just like your buddy Levi there and im with him on the before getting one I was scared not scared but intimidated about a bigger cinema camera and everything to go with it. The batteries the storage, everything is pricier and bigger and heavier. Its alot more to worry about its not something you really wanna be a solo shooter like myself, i bring people with me now.. even using it for the first week its abit different then say a gh4. or a7s. or even a 5d mark3, yes i used all 3 of those cameras extensively. But yeah I love this camera.
Best video ever and that slowmo was amazing!
Thanks! The tobogganing looks even better in part 1, where it's playing at the correct framerate.
Jordan @ TCSTV
Phenomenal, content filled video guys!
Question though, what is better about the image quality with the FS7 compared to a GH4 or A7s? Seems to me that the image quality with those is quite excellent if care is taken with the normal elements of good videography/cinematography... ? Looking forward to learning from you on this point if you are able to write up a little answer. :)
The Sony A7S and GH4 create beautiful images, which is why we've often been using them to shoot episodes. The GH4 isn't great in low light and really needs a log profile to help with dynamic range and heavy grading (fortunately, firmware with V-Log should be coming soon). The Sony A7S has an amazing low light image, still better than the FS7, but the FS7 has 10 bit colour, much more natural highlight roll off, internal 4K, more filmic noise and SLOG3 profile. Also, the FS7 1080/180P slow motion capabilities haven't been matched by any mirrorless cameras yet.
All that spec mumbo jumbo being said, a skilled cinematographer can get amazing results from any of these cameras. Check out Levi's film Heights, shot on the GH4.
Jordan @ TCSTV
TheCameraStoreTV Thanks Jordan! :)
Oh, and best of luck to you and your wife or GF on the new arrival!!!
At 11:45 the full frame e-mount Sony FE PZ 28-135mm f/4 G OSS has a very unique focal length range for a constant f/4 aperture. Of course with a super 35 sensor is less wide than 28mm and more narrow than 135mm.
I don't mind its price and I would like to use such a lens on my a7 camera but it is quite big and heavy for me. I don't know, maybe I will buy it the following years.
8:07 What’s causing his hair to be red? Is it the grading?
Might be light coming off of the red neon sign in the background. It does affect his hair very unevenly though...
Aurongel It's the 'Editing In Progress' LED. Didn't bother me in the wides, but it's a bit distracting in closeups.
Jordan @ TCSTV
Jordan - what's your opinion on "ease of use" of the camera for a producer / shooter? I've heard many things (such as changing ISO) have to be done through menu, and that cameras like C300 are much easier / faster to use. Thanks for your input!
Excellent review guys!
Awww, Jordan's got himself a mini-Jordan.
For the record, I was referring to the new video nerd. After hearing the announcement of Jordan's child on the way, I thought I'd make that clearer...
Congrats on the new family member, Jordan. Now go get your own channel, k? :D
4:56 I was taking notes of the master at work. Music, wine, eye-gazing... Chris has got all the moves! Shame the place was haunted :)
Great review guys.
And this ladies and gentlemen is how to make an amazing review.
What is the viewfinder resolution of the FS7? And the bitrates of UHD recording formats available in camera? Thanks for posting -great review.
great video but I have a problem. I've been shooting music videos on 5d M3 and recently the gh4 for about 3 years. I have been saving and looking to upgrade to a bigger camera that I consider "next level". Fs7 was one of those cameras so I really enjoyed this in depth review. My issue: Given the situation where you have a knowledgeable DP and sufficient lighting for your shoots, I just don't see a big enough difference in the image quality between something like the Gh4 vs Fs7 to justify the extra $6,000-8,000 that you would pay to upgrade. Yeah you got alot of cool extra features, but at the end of the day its about the quality of the image you are getting. Yes the Fs7 is "better" but for all of that extra money, I would expect to see a HUGE difference between that and the gh4. And I just don't, and that really bothers me. Have you or anyone else had similar sentiments?
Great review!!! I wish the camera was in my budget. Do you think that the A7S is in anyway comparable to the FS7 in terms of budget?
Fantastic video and review. Very interesting seeing this footage compared to F5 and F55 material. It seems that all Sony S-log material suffers from the same problems with oversaturated primary colors. What was your workflow when grading the material? S-Log3 to Rec.709 with a 1D or 3D lut? Or individual grading scene by scene? In your short feature I noticed very desaturated red lights and in the first part I saw the same color clipping I experienced when grading a program for german television using Baselight version 4.4 and using the S-log3 to Rec.709 conversion.
I'd be curious to hear the answer to this as well.
Everything was graded by scene. For the film, we very deliberately emphasized the reds for the first half, and then switched to a green/blue palette. The rest of the video, with talking heads is graded to a very sharp, contrasty, saturated 'broadcast look'. The great thing about SLOG is the option to push every colour as far as you want. I'm no colorist, so you may have a better grasp of the image character, but I find the SLOG files to extremely flexible.
I'm curious Jochen, which camera profiles you prefer to the various flavours of SLOG?
Jordan @ TCSTV
Oh, of course I prefer S-log3. It's the most advanced lut Sony has to offer. But despite the fact that your REALLY make great presentations of the products it would be hintful to compare the FS7 to its sibblings and competitors. Just at the end of the last week I made a comparisson between the material of a F5 and a F55 as I have to grade a feature starting tomorrow. I noticed that the pictures of the F5 shows what you claims as the "bad" behavior oft the FS7. So I assume that the FS7 has a worse picture quality than the F5. - Maybe you could habe compared the FS7 to a C300/C500 vor an Amira. Yes thwy are more expensive, but you never invest just in a camara body but in a hole pipeline. By the way: Really the best luts are made by Arri.
Fantastic! One question: the reds seem to be a bit over-saturated/hot, particularly starting at 2 mins. Have you noticed this with the FS7 (or is it monitor, albeit calibrated)?
FS7 is more camera than Hollywood has 10 years ago. Very amazed how pro level quality gears are affordable to small budget production now.
I'm considering getting the kit lens. It's probably going to be between that and a Canon zoom lens with speed booster. I'm looking forward to any review you have on the lens and the sharpness as well as the usability of it for documentary type shoots and handheld/following shots at the 28mm end.
It looks great based on my very early testing. As mentioned in the video, I do find the 28mm on a Super 35mm sensor very restrictive for tracking shots. Optically and handling wise though, it looks like an excellent optic.
Jordan @ TCSTV
Any plans for a video test shoot and review on the lens?
wonderful stuff you guys!!
Good luck for Levi. those are big shoes to fill.
The camera is way over my budget but it's cool to be informed.
Thanks for this honest and great review!
Hey, great review!
One thing it was not covered in it. How easy or difficult is to work with the files that comes out of this camera? Do I need a kind of monster computer? What specs do you need to work with them nice and clean?
Great video! Congratulations on your upcoming baby Jordan! :-)
I take it from Jordan and Levi's comments it delivers superior quality than the A7S and GH4? Congrats on the kid Jordan!
I think this is a great review series; you guys did a great job. My concern is so much work I've seen on this camera shows pinkish/magenta skin tones that don't look good. On your series I see it mainly on the review footage not the short-film content. I've seen it on other demos too. My understanding is that this is a know issue and that many hope for a firmware tweak? What do you guys think about this? Or am I the only one noticing this? Thanks!
Jon Grimson Most of this was shot with the Color set to 5600K, which leads to a weird magenta cast on the current FS7 firmware. You can fix this by doing a grey card white balance, which we have started doing on our most recent episode. The next FS7 firmware will fix the manual Kelvin weirdness.Jordan @ TCSTV
Always helpful, always interesting. Yes I want one!!
Surely the "moire issues" mentioned at 10:26
should be "aliasing issues". :)
Oops, you're right! Good catch.
Jordan @ TCSTV
How would you compare the Blackmagic URSA to the Sony FS7? I know the Blackmagic only has UHD internal but it also has a global shutter. Just wondering, keep up the good work.
As some of the first FS7 footage I've seen, it looked blah. not sure if / what you are grading with but even the end looked pretty cyan. is that straight from camera ? having shot real film, beta SP, HDcam and a bunch of the newer cameras, there is one reason I stick with canon into the C series, they just look great and grade easily. I've found Wide DR with tweaks is the best starting place to optimize the amount of gradation being recorded. I've also been impressed with some GH4 stuff recently. With the FS7. to me even the overall color balance was off, desaturated, flat.
looking at the waveform of those ext shots is a good example of where log can literally fall flat - its simply failing to use all the dynamic range of the codec. its tossing out 50% of the possible gradation available. in 10bit that isn't too bad, but if you pick a 8bit codec, you can literally make a 7 bit image.
I'd love if get a couple of those clips in ProRes, grade them and send them back. I work on a TV show that shoots in winter and I can say that snow / ice and getting all the gradation you can out of it is always a struggle... and FWIW SG works best on the show for recovering / maximizing the highlights which is everything. got a drop box account to send me a couple clips ?
Great review guys and congrats Jordan! I was wondering are you guys going to review the Sony FDR-AX33 and the Panasonic WX970 camcorders anytime soon?
great as always.
Was the opening shots going into the studio shot on the Sony 28-135 lens? Do you feel it's up there with Canon lenses as far as sharpness? I'd be using it for documentary style shoots, following people around, etc.
The opening shot was on the Sony E-Mount 20mm F2.8 pancake to keep the weight down on the gimbal. It looks quite sharp @ 4K, but I'll be doing some still camera tests to see what it is capable of resolving.
Jordan @ TCSTV
TheCameraStoreTV Wondering how does the combo looks like, but so far very impressed by that lens
TheCameraStoreTV great work, Just wondering what gimbal set up you were working with?
Ryan Walker We used a DJI Ronin, my go to gimbal.
Jordan @ TCSTV
Did you shoot the short film in RAW - Which means you had the XDCA-FS7 and and external recorder like the Sony AXS-R5 or a Atoms or Odyssey7Q ? Or did you shoot it right to the XQD cards? Can you shoot in S-Log 3 and grade with the footage that comes off the XQD cards? Or can you only grade RAW footage?
+MXCorpMedia This was shot internally to XQD cards. We didn't receive the XDCA until after the review was completed.
Jordan @ TCSTV
If you´re investing 8000 dollars in a body, I would really suggest using Slog3 with S Gamut3.Cine color space and apply Sony's free LC709 type A LUT in post. Very similar to Arri Alexa image and great starting point for grading.
Dear Sir
I noticed the shadow noise that you commented on in your excellent review. It turns out that Slog stands for "Senselessly low on genius" - or something similar :-)
Could I lure to take a look at the link below, and perhaps try to see if you can duplicate it into the Sony? The GH4 High Light/Shadow overrides all other filters - so you need to look for a similar filter that has a consistent effect on the High Lights even when the contrast is cranked up.
It also makes the shadows look very normal, and if you raise the shadows for a more "trendy" look, you will discover that you have loads of details, and much less noise than in "post contrasted flat profiles".
The trick is to disregard all the Digital Alchemists, and treat any camera as
1) "having only one type of film (the sensor).
2) A lot of developers (film settings).
3) And an (1) enlarger lens with a maximum resolution that decreases if it becomes dirty (a maximum bit rate that "decreases" with the amount of (especially shadow) details that are added). - such as the overwhelming amount of shadow details in your "raw" footage - details that disappear in your final grade, except that the noise remains if you use the "Slog in camera - Anti Slog in post" road.
So, if you won't need the shadow details in the finished film, contrast them away, and spare the bit rate to ensure better mid tone and high lights - that is better colours, less noise, nicer skin tonality etc. And the free time you gain by less grading- and rendering-time can easily run up to much more production value - or recreational time.
Yours Sincerely
M
www.supertone.dk/#!GH4-Optimal-Film-Setting-works-in-stills-too/c24o4/8E18836A-F271-4A14-AF0D-C575B9D5F4B6
Would you mind clarifying what you meant by the 28mm focal length being restrictive on a Super 35 sensor? Does a 28mm crop differently on the FS7 from a DSLR 35mm sensor? Thanks for the episode. Really helpful!
Well, thanks for the heads up. Didn't know there was such a difference between full 35mm and Super 35. I better rethink my lens selection for the FS7. This is a handy FOV resource. www.abelcine.com/fov/
Hi! We're planning to build a studio. In that manner we're looking for decent cameras. Do you know whats the difference between SONY FS7 and SONY PXW X200? Which one we should choose? Thnks for your help :) Great video btw
Evli ve Oyuncu The Sony X200 is more of a breadcast/ENG camera with three 1/2" sensors and a built in lens. The FS7 is a cinema camera with a single, much larger Super 35 sensor. The X200 makes sense for an unmanned option, where the FS7 requires an operator. I prefer the aesthetic of a Super 35 camera with the option of shallow depth of field, but the X200 is a more complete, usable package right out of the box.
Jordan @ TCSTV
Thank you very much for this useful info Jordan. Fs7 suits us more too from what i understand :) thnx again :)
How does the FS7 stand up today?
Have you tested the Autofocus of the Camera?
Hi there I am confused between the c500 and the Sony fs7 for my wildlife cinematography which would be a better choice
watch in 4k. looks great on 1080 tv. very clean and smooth video
What do you all think of the Panasonic AG-DVX200 at half the price?
This video is 17 min long. How long does it take in editing and grading to finalize?
I never see much on the internet about the cost "in time spent" to move from consumer video production to "pro level" production.
BTW, you guys do some great stuff.
Thanks
It took about 4 days of regularly interrupted editing to make part FS7 1 & part 2. Most TCSTV episodes take me about 5 hours to cut. Basically, the more tests and comparisons in an episode, the longer the edit takes.
Jordan @ TCSTV
TheCameraStoreTV Thanks Jordan
TheCameraStoreTV I wonder who's doing the interrupting :D...
Dammmmmn fine, 'boys'! Outstanding review...
i was wondering why it looked so clean compared to what i shoot with old JVC & Fujinon. It's 4K :D
***** when you have screens with resolution higher than 1080, yes, it does look different :)
***** i can :D
Great job guys, can you do a review on the JVC GY-LS300 4KCAM
this product appears to be ideal, but no one made a review yet.
Thanks a lot, I appreciate t.
How would you say it compares to the black Magic URSA?
Slightly naive question here maybe, but what (if anything) is the difference between FS7 and FS7K? Or is it just a labelling thing?
Nick Woolgar The FS7K includes the 28-135 F4 Power Zoom lens. Jordan @ TCSTV
Ah ok thank you. That's sort of the conclusion I had come to, just couldn't work out if there was anything more to it i.e. a different mount or something. Thanks again, you guys do great work.
What color grading do you recommend for Nikon D750 and FCX?
2:55 - Russian car called Volga 21! :)
GAZ 24 or 2410
Сарибек Карапетян ой... Лоханулся :(
2:39 - Russian vodka))
what about rollin shutter ?
How do you think about the flexibility of using FS7 for wedding video production..
If you're capturing primarily in 4K, I think it's the best package in it's class, but if you tend to shoot in 1080P more, go for the FS5. It's less money and the electronic ND is the best thing to happen to cinema cameras in a long time.
Jordan @ TCSTV
Excellent .. Thanks for the response
What about the codec differences? I've heard the FS5 files are a bit slower in editing. I'm still debating between the two!
where can i watch the f5 review?
does it have a nikon adapter for all nikon lens?
Why is this FS7 the game changer when Black Magic cinema and production, ursa cameras have been out way before this camera? I get that the codec options are different, but Black magic production is like $5k less than this FS7 and uses canon mounts for more lens choice without weird adapters, I think that's the real game changer.
Good job Jordan , finally right person for right job . You should cooperate together , together you are just do better job .
For less money, doesn't the Ursa Mini 4.6K offer much more than the FS7, not to mention a much more cinematic look?
Wow, this was posted over a year ago, and we still haven't received a BM Ursa Mini 4.6K for testing...
Jordan @ TCSTV
Hey guys I'm trying to place the discount code 'camerastorelog' and it says invalid... thoughts?
Hey Alexander,
My mistake, the coupon code promo doesn't start until tomorrow morning. I didn't mention the start date as I didn't think I'd have this episode online as early as I did. Let me know how you like SpeedLooks!
Jordan @ TCSTV
it is worth talking about! ty!
Why is your blue shirt flickering? At what shutter speed this you shoot this?
please check out the kinemini. 96fps slowmotion, uncompressed 4k on regular SSD's and very cheap.
I agree! The KiniMini looks very interesting! EOSHD just did a review on it.
Excellent
Great Video....
Nice crew
Ya!
That was the best short movie i ve ever seen.
Did I miss something, we here 4k but I see no set up for that? No add on, which is required is it not?Thanks
No add on required for UHD 4K, to get access to Cinema 4K (slightly wider) you'll need an external recorder.
Jordan @ TCSTV
What to do, what to do. Keep my Nano Nikon 85mm 1.4 and trade my D800 for a D810 and save a small fortune, or go with the much more popular trendy and possibly get more work. The graded footage on the D810 is so lush and organic. I think the C100 Mark II is out. Anyway, Thanks guys! Very kind of you to respond.
Man, I'm nowhere near pro level, and was all confused when he's talking about SLOG and whatnot. Have no clue what that is. No matter, not like I can even afford a camera like this! (nor do I do any work that would warrant a camera like that!!)
I think though my biggest hurdle in the video work that I do is that I need to get better at color grading.
I looked at this again and the shots in the chalet look so...electronic and sharp? Not at all cinematic at all!
+Philippe Orlando One of the great things about the FS7 is you can grade the files to taste. Having used the FS7 on a film shoot this year, I can certainly attest to the FS7's cinematic qualities when graded as such. Stay tuned for Metanoia in summer 2016!
Jordan @ TCSTV
+TheCameraStoreTV OK! That makes sense considering the DR of this cam and the Slog and 4: 2: 2 color space.
Say it with me: YES!