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Sony FS7 Part 1- Blog - Film Cameras & Lenses.

Pubicado el : 2016-03-04 14:41:12

Sony FS7 Part 1- Blog - Film Cameras & Lenses.

 Lately, I had the chance to work with the new Sony FS7 often enough, so I wanted to share my first impressions on this camera

What I like the most about this camcorder, aside for his compact design and small size, is the versatility that it offers. Because despite his price point (very far from the sony high end cameras such as F5 and F55, not to speak about other digital cinema cameras), seems to me that it can respond to a great deal of production situations.

Being designed for run-and-gun style shootings, with a single operator, is  much more comfortable even than her bigger and more expensive sisters, if we are speaking of an handheld situation. In fact, coming with the EVF and multi control handgrip included, is actually ready to shoot out-of-the-box. Plus, since his left side is inspired by the ENG style cameras, it can be easily operated by cameramen used to such cameras, being (let's not forget it) incomparably lighter.

Speaking about codecs, his good compression and his double slot for memory cards (with the possibility of hot swapping between cards) make it an interesting option both for documentary features and tv shows (live or recorded).

That said, there is a side of the camera that is absolutely digital-cinema oriented: the big super35 size sensor which gives a stunning cinematic look with shallow depth of field, the 4K internal recording, the E-mount (with the possibility to use EF and PL lenses with adaptors), the possibility to record on specially designed logarithmic gammas (or even RAW adding the dedicated module), in-camera ND filters that make possible to shoot with open iris even in exteriors and despite the native sensitivity of 2000 ISO.

 Unfortunately, not everything is good news: as often happen with others SOny camcorders, the menu is huge and is going to be complicated to master it completely during the first shootings. And there are quite a few quirks, for example the fact that if you don't set the lens aberration correction on "AUTO", you won't be able to display the waveform/vectorscope/histogram on the EVF.

Another quirk is that the HD SDI output number 1 is JUST for off camera recording, meaning that is not possible to see the overlays, the menu or the LUT applied on this output (unless you are recording on custom mode), since it is always just a clean signal. Ok, they don't seem to be a big deal, but I have the feeling that in the frantic environment of a production set, they may give us some trouble.

This isn't anyway nothing that you can't avoid with a consistent study of the user manual, which is of course highly recommended before any shooting with any camera you're not familiar with. And this aside, if you want my opinion, for low or normal budget productions, the FS7 can be your best choice, specially for situations where you're not exactly sure about the needs of the shooting and versatility is a must, without giving up the creative possibilities that the digital cinema gives us. So, if I had to go to a shooting without knowing anything… the FS7 would definitely be my best choice.

Fabio Giolitti - Focus puller

Fabio Giolitti - Focus Puller

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Hernán


2016-03-05 18:15:33

Excelente articulo. Solo puntualizar que rodando en CINE EI (logaritmico) si hay posibilidad de tener en el SDI1 salida con LUT. Menú > Video > Monitor Lut > SDI 1& Internal Recording. La cuestión es que hay que tener cuidado con esto, por que puedes estar tirando en logaritmico y si tienes tu salida SDI con LUT te llevas todo el material con la LUT; tanto el estuvieras almacenando el la cámara como el que pudieras estar grabando en un grabador externo. Saludos

Juan Meseguer


2016-03-05 13:27:35

Muy buen artículo compañero! Tan sólo añadiría que el esfuerzo para dotar a la FS7 de mayor versatilidad nos permite 2 modos grabación: CUSTOM: con el que podemos aplicar un look profile o hypergamma que nos ofrece una imagen con un look próximo a la imagen final, ideal para los rodajes Run and Gun o en los que no existe la posibilidad de etalonar CINE EI: con el que podemos aprovechar los 13/14 stops de rango dinámico que nos ofrecen las curvas logarítmicas Slog. Sin duda, para mí el mayor aliciente para elegirla es la posibilidad de grabar en 4:2:2 a 10 bits con dichas curvas con una cámara que puedes usar Out of the Box y a un precio mucho más económico que el de sus hermanas mayores. Es cierto que el menu puede resultar un poco engorroso a veces y que tiene sus limitaciones (muchas de ellas solventadas mediante actualizaciones de firmware), no olvidemos que estamos ante el eslavón perdido, este híbrido entre las top de gama y el universo compacto, a todos los niveles: no es una caja de zapatos ni una cámara perfectamente estabilizada y compensada para operar al hombro, no graba RAW (si con el respaldo vendido aparte) ni H264, no usa discos SSD ni tarjetas SD... Mi parte negativa: la elección de la óptica. Las ópticas SONY con montura E (la oferta es escasa) que he probado no me han dejado satisfecho, el anillo de enfoque electrónico es muy incómodo para vídeo y los adaptadores a otras monturas tanto propios como de terceros siguen sin ofrecernos una comunicación fiable entre la lente y el cuerpo dependiendo de la óptica que usemos. Una pena que SONY no haya extendido al resto del mundo su oferta de incluir un METABONES con la compra de la cámara como en EEUU. Siempre nos quedarán las lentes de focal fija de toda la vida y esperar a poder meterle mano al Canon 17-120mm, Fujinon 19-90mm, 85-300mm T2.9 ó Fujinon Cabrio Premier 20-120mm.

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