New Sony PXW-FS7 4k camera

[Clayton Burkhart]

But as many point out, and I guess is obvious and inevitable, the lower cost tools will keep improving to the point that the distinctions will be pretty much moot. And then what? I think it will come down to one is either making a living in their chosen profession or not. Skill. Contacts and opportunities. And perhaps camera people realizing they will have to become content people to survive.

Interesting times indeed. At least for now there isn't a chip for your dreams, or ideas, or stories, or vision.

The one thing you left out is personal style. It is the most important thing. Something that identifies you as you, and nobody else. It is what people pay for more than anything else, yet I hear so little about it. There are about a 100 technicians out there for every artist. Harmony Korine could shoot with an iPhone and we would still know it was him. Spike Jonze as well...etc. It is not just what you have to say, but also the way you say it. If that becomes a personal vocabularly over time which people like and recognize you will earn a good living. The rest is already moot in my opinion, no need to wait until the market equalizes all the camera equipment out there.

 

[Hrvoje Simic]

anyone know if 1080p is 10 bit?

Yup, 10 bit 4:2:2.
Internal codec and SDI out.

I can't say shooting Rec709 is my idea of fun.

Camera is not limiting you to shoot 709.
FS7 supports SGamut3.

Also interesting how a 12 stop DR sensor becomes a 14 stop sensor with some different boards...

One way is putting a higher bit depth A/D. If that makes sense based on what is coming out of the sensor.
In the case of FS7 the switch is to 16 bit A/D.

This was not the point. The point was comparing the FS7 with the F5.

Hence the

12 bit is definitely nothing to sneeze at. It's great. But 16 bit is better.

Of course.
The number of users in targeted market segment who will really notice the difference is another thing.

I'd say that if we've reached the period of being able to say "that camera is only 12 bit" that some things have become pretty good for creatives in this realm.

 

[Dane Henry]

Yup, 10 bit 4:2:2 ,


I'd say that if we've reached period "that camera is only 12 bit" that some things have become pretty good for creatives in this realm.

Yep, that made me chuckle as well. Pretty good days we live in.

-dane

 

[Mike S. M.]

Y
Of course.
The number of users in targeted market segment who will really notice the difference is another thing.

I'd say that if we've reached the period of being able to say "that camera is only 12 bit" that some things have become pretty good for creatives in this realm.

I see where you are coming from now. But I didn't mean only 12 bit as in only 12 bit in general or 12 bit being little. I meant only 12 bit compared to the F5 16 bit.

12 bit is high spec and still is.

 

[Dennis Hingsberg]

@ Dennis

Thanks for a F55 owner's take on this camera. I can't say shooting Rec709 is my idea of fun. Also interesting how a 12 stop DR sensor becomes a 14 stop sensor with some different boards....is this Sony's version of uprezing ; ).

You also confirmed my own observations (post earlier) about that Sony F5/55 look. However the F65 is a stellar image imo . slays the competition and yet it appears Sony is phasing it out ...way to go Sony.

Also some confusion about getting raw out of the F7. From your post you seem to be saying you need a "Odyssey or HXR ($2200) + R5 ($5300) " module . Do you need the combo or can it be one or the other?

EDIT: Just to clarify, the FS7 needs the "XDCA-FS7" intermediate "extension unit" ($2200-$2500) to allow the Sony R5 or 3rd party RAW recorders ie. the Odyssey. The FS700 is either direct to Odyssey or needs the HXR and R5 bazooka combo. For the F5/F55 you only need the R5.

Alister did some tests a while back comparing the RAW from the FS700 to the RAW from the F5 and he says there appears to be very little noticeable difference, but not sure how much under the microscope he went.


Regarding 12-bit RAW, I believe the original RED One recorded in 12-bit but there are many debates about that

 

[Les Dittert]

Show me a 5 micron room temperature sensor photosite that can give you 16 bits ( 65000 ) electrons worth of noise free information!
It's pretty much BS , as it's hidden behind a noise level that covers and masks everything. Noise is our friend here, as far as image 'depth' goes. Temporally it integrates in our brain to have higher perceived bit depth.

This is why I can color correct even 8 bit GH4 footage further than I would have guessed I could have. Noise = dithering .

 

[Note Suwanchote]

Yup, 10 bit 4:2:2.
Internal codec and SDI out.



Camera is not limiting you to shoot 709.
FS7 supports SGamut3.



One way is putting a higher bit depth A/D. If that makes sense based on what is coming out of the sensor.
In the case of FS7 the switch is to 16 bit A/D.





Hence the




Of course.
The number of users in targeted market segment who will really notice the difference is another thing.

I'd say that if we've reached the period of being able to say "that camera is only 12 bit" that some things have become pretty good for creatives in this realm.

Oops I meant the 180fps

 

[Dennis Hingsberg]

@Mike - I updated my previous post, it turns out the FS7 needs an extension unit to do RAW to the Odyssey - or to the R5 recorder. The FS700 was direct to the Odyssey without anything in-between. Guess it's Sony's way at getting another $2k out of the camera for those who want 12-bit RAW access.

 

[Mike Garrick]

Thanks Dennis

I saw this ......

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Obviously this camera can do a lot of things fairly easily................. raw isn't one of them ; )

 

[Note Suwanchote]

Anyone know if 180fps is in 10bit 422?

 

[Hrvoje Simic]

I saw this ......

Looks like a techy version of a ball and chain.

 

[Mike Garrick]

@ Hrvoje LOL
Now you mention it, yes it does.

It redefines the meaning of hand held.

 

[Bob Gundu]

It redefines the meaning of hand held.

Ha ha.

 

[Humberto Ramos]

Thanks Dennis

I saw this ......

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Obviously this camera can do a lot of things fairly easily................. raw isn't one of them ; )

Yes that is a way to see theFS7...

Personally I see it with a Odyssey 7Q or Atomos Shogun.

I intent to buy an Epic Dragon soon, but for shure the FS7 will be my mine as B cam and for sure lots of time as A cam.

For less than 15.000€ (Euros, not dolars) will get a fully functional camera with 4K 60fps raw and ProRes to 7Q or Shogun, with powered zoon lens, spare batteries, several memory cards, viewfinder and 7" lCD 1080p if I choose Shogun, 14 stops and 2000 native ISO, ND filter of course, shoulder mount...

Buy a Scarlet dragon with all accessories that come with the FS7 and see how much you will spend, for shure more than 30K €...

I do Wildlife and I need the 4K 50p (PAL Region) my RED ONE can´t do it, the Scarlet MX can´t do it, so my options where EPIC, SCARLET DRAGON or EPIC DRAGON, in the near future will have URSA, CION and FS7, for me this is a good thing, its always a good thing when people have options, without option we all would always eat egs, without options we even´t would have got RED...

RED is an excellent option, probably the best, that's why I will buy an EIPC DRAGON, but I like to have my mind open cause happily I still can see in several directions.

 

[Rehan K]

Thanks Dennis

I saw this ......

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Obviously this camera can do a lot of things fairly easily................. raw isn't one of them ; )

You don't need this setup for raw. odyssey7Q would do raw and would be even cheaper than this, too.

 

[Vladimir Druts]

I'm contemplating switching to this from the Scarlet.. Is it certain that it won't do 4KRAW output to Odessy without another addon

 

[Jake Wilganowski]

I would buy that over scarlet, but no way over epic dragon

 

[David Mullen ASC]

I thought the FS7 doesn't output 4K raw without an additional box.

 

[Philipe Ratton]

I´m getting one for a doc coming uo next year.
And yes, I'd buy it over a scarlet as well.

 

[Matt Gottshalk]

I thought the FS7 doesn't output 4K raw without an additional box.

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.