New Sony PXW-FS7 4k camera

[David Mullen ASC]

It doesn't. The XDCA-FS7 module gives you 12-bit 4K/2K RAW Data Output, a Built-In 1080p ProRes 422 Encoder, Timecode & Genlock I/O, and 4-Pin XLR DC Power Input and 4-Pin Hirose DC Power Output.

So why do people keep saying they just need an Odyssey or Atomos to record 4K raw off of the FS7 when they actually need the XDCA-FS7 module in between the camera and the raw recorder?

 

[Matt Gottshalk]

Because they are uninformed.

 

[Nick Morrison]

It doesn't. The XDCA-FS7 module gives you 12-bit 4K/2K RAW Data Output, a Built-In 1080p ProRes 422 Encoder, Timecode & Genlock I/O, and 4-Pin XLR DC Power Input and 4-Pin Hirose DC Power Output.

Matt I thought this module only recorded Prores internally? It enables RAW capture, but to RECORD RAW I was under impression you need an additional recorder?

On B&H website, it mentions:

The Sony XDCA-FS7 Extension Unit attaches to the back of your PXW-FS7 via a MultiPin connector, adding additional I/O and enabling RAW data output for recording 12-bit 4K/2K RAW footage to compatible external recorders.

The compatible recorders made me assume the extension unit itself COULD NOT record RAW...but I could be wrong!

best

 

[David Mullen ASC]

I recall the Sony guy at IBC telling me that you needed both the XDCA-FS7 and a separate recorder to record 4K raw, that there were other Sony cameras where it was easier to record 4K raw.

 

[Mike Garrick]

Typical Sony with thier weird product code numbers and how they market this camera.

With the raw recorder and the pro res back module thingy your getting towards F5 territory in price ....plus the whole thing becomes so cumbersome ......why would anyone do it ?

P.s. From the pic I posted earlier it appears you also need a 2nd v mount to power it all as well ?

 

[David Mullen ASC]

I think the answer is that the main market for this camera is for people who find that the internal 4K 422 XAVC recording option is good enough for their applications -- and if they want a 4K raw cinema camera, they should be looking at the F55.

 

[Mike Garrick]

Yep that's what it is designed for and it appears to be a crowd pleaser at that level .

Myself with XAVC not so sure, but broadcast will luv it , I think.

 

[Matt Gottshalk]

Matt I thought this module only recorded Prores internally? It enables RAW capture, but to RECORD RAW I was under impression you need an additional recorder?

On B&H website, it mentions:



The compatible recorders made me assume the extension unit itself COULD NOT record RAW...but I could be wrong!

best

That is correct.

The extension only gives you the RAW SDI out that enables external RAW recording.

But it also enables INTERNAL ProRes 4:2:2 recording.

 

[Matt Gottshalk]

I think the answer is that the main market for this camera is for people who find that the internal 4K 422 XAVC recording option is good enough for their applications -- and if they want a 4K raw cinema camera, they should be looking at the F55.

I think that is what Sony is doing yes.

A 10bit internally recorded 4:2:2 signal, combined with a flange distance that allows you to mount every lens out there competes directly with the Canon C300.

 

[John_F]

Matt I thought this module only recorded Prores internally? It enables RAW capture, but to RECORD RAW I was under impression you need an additional recorder?

Nick, you are correct you need external recorder for raw, and the XDCA- FS7 creates a Prores encoding, it does not record in itself. The recording is made on the XQD cards in the camera.

Mike, the v mount on the XDCA-FS7 will provide power to camera etc... No second power source needed.

 

[Humberto Ramos]

I read that the internal ProRes with extension is only for 1080p

 

[Humberto Ramos]

I probabilidade will need one, but i think Dragons will come first...

 

[John_F]

Because they are uninformed.

So true Matt. I saw it on the Internet - so it must be true. Problem is that some folks speculate on these types of forums on what the new cameras will be called, what functions they will have and how they will operate. Pair that with "planned options" or announced designs or features / accessories from various manufacturers that never materialize or do but a year or more after originally expected and we can see how it all gets mashed up.

 

[Joachim Hoge]

I think i will use this camera with mostly internal recording. Bring out the REDs when it matters.
This can be a great b-cam that is easy to take out of the bag and grab some shots.
It could also see this camera take over for the Sony EX-3 in broadcast over here on certain productions.

 

[Blair S. Paulsen]

If I had the right clientele, I could see getting an FS7 to acquire compressed UHD/4K in a tidy package. I wouldn't buy the interface/recorder hardware for 4K RAW, but it's certainly a nice feature that I could rent them when it made sense for a particular project rather than having to rent an entire camera package. At the end of the day, as others have noted, the biggest reason not to get cameras such as these is that they don't offer as much creative control which makes it differentiating yourself as an artist more challenging.

Cheers - #19

 

[Rehan K]

So why do people keep saying they just need an Odyssey or Atomos to record 4K raw off of the FS7 when they actually need the XDCA-FS7 module in between the camera and the raw recorder?

You need XDCA-FS7 module and Odyssey 7Q . You don't need the Sony raw recorder from F5/F55 as shown in the image earlier

 

[Matt Gottshalk]

So I downloaded the original ungraded file of this:vimeo.com/110498281

and applied the Film Convert Sony F55 SLog2 SGamut Lut to it.

Really nice skin tones:

The girl's color balance was off, so I did a quick three way cc then applied the same lut:

Really digging the tones this camera can produce.

 

[Diego Ramirez Budowski]

So here is where i stand, My perspective as a director/executive producer who sometimes is a cinematographer

The camera with memory cards, card reader, and batteries is about $9000 according to bh photo video. With raw recording via a shogun and media , its about 15 to 16k....

Pro's

-It has a top handle
-It has an evf
-minimal riggin is required
-It has slog forclients who wont pay for raw and raw to get cinema caliber image quality
-Enables 240fps slow mo in raw, 180fps in slog (i'm assuming based on what i've heard brand reps say, and also the reality with fs700 and f5). That is damn near epic territory. I don't know of any cameras except for the fseries and the red epic that can do that
- According to the reps, slow mo is downscaled from the full sensor not cropped in like the reds
- Can rent slog version for cheaper, and premium red like raw version for more premium price, which can be a nice alternative to anyone who wants raw but can not afford to rent dragon
- Can rent to the doc guys, event guys,and news guys...something i cant currently do with my bmcc and its cinema style approach
-14 stops in raw might come pretty close to dragon IQ

Cons:

-Worried that the raw version will fit on a ronin. But the weight seems to be fine and im guessing it will be back heavy with stills glass so it will have to be mounted more towards the front.
- Worrried about the raw workflow, which, if the bmcc is any example of, will be nightmarish in terms of storage
-Color science does not seem to be as good so more work for the colorist
-Worried about the resale value because of the lack of brand recognition (red has this mystique to it here)
-Worried that Blackmagic will comeout with a 6k raw 240 fps camera at nab for $10k or less that makes me bite myself.
-No mounting holes (where am i supposed to put my noga arm for my monitor) but i suspect its nothing a cheese plate cant fix
-4k is not 6k which means it wont be supersharp 4k, but it will be great for hd

Conclusion

If this camera gets me 90% of dragon image q in raw,and near red epic frame rates then it might be worth the hassle. 5tb drives are cheap now, I could just own a couple and hire a dit, which i pretty much have to do anyway. As far as the added weight well yeah, but almost 50% of the cost of a dragon m body for a full shooting package is hard to beat compared to the advantages. For the cost of a scarlet dragon with ssd and lens mount i get a near epic dragon camera with media and batteries and all required accesories.

Sure I would love to ownn a red one day, but for right now this seems pretty sweet.