I’m ecstatic to announce that I have dramatically upgraded my equipment inventory. Over the last few months, I’ve added 2 more 2’ 4Bank Kino Flo lights and what amounts to almost a 1-ton grip package (yes, my car hates me). Camera side, I just purchased a Sony FS7 4K cinema package that is decked out and ready for productions of all sizes and formats.
Discounted packages are available and the detailed price list is here. I will happily rent the camera to friends/productions in need of gear as well. Please spread the news!
Thanks to the XDCA-FS7 Extension Unit, the camera has Time Code sync, can record Apple ProRes 422 or HQ at 1080p internally to XQD cards, and most notably 12-bit 4K RAW when using my Odyssey 7Q+ HD OLED Monitor & 4K RAW Recorder to SSD drives. While the data rate in doing so is extremely high, the quality is phenomenal!
If you prefer 10-bit 4K recording in ProRes HQ, 422, or LT, then the Odyssey can deliver those as well. However, most productions will be satisfied with the FS7’s robust internal recording codec: XAVC Intra (10-bit 4:2:2).
The camera currently shoots slow motion internally up to 60FPS in 4K or 180FPS in 1080p. Users can even select any frame rate in between, which facilitates “standard film” rates of 48FPS through 168FPS. Furthermore, when the shutter is set to angle mode, it automatically remains relative to the frame rate ensuring proper motion blur. When paired with the Odyssey, it’s possible to record a 2K image up to 240FPS!”
The Odyssey 7Q+ can also be used on a variety of cameras with great results. Aside from capturing ARRIRAW from the Alexa and Canon Cinema Raw from the C500/C300 Mk ii, it records Uncompressed DPX files or ProResHQ from the 8-bit 4:2:2 HDMI output from my Canon 5D Mk iii. The ProRes files from my test look quite nice! It also records 10-bit 4:2:2 4K ProRes files from the HDMI on the GH4 and A7S.
I’ve been anxious to buy a new camera for some time. Until Canon’s much-anticipated C300 Mark ii announcement, I was almost positive that it would be my next move. I’ve been a Canon man ever since my mom gave me her 35mm EOS Rebel eons ago and I’ve assembled an arsenal of Canon EF glass.
After reading the C300 Mark ii specs, my conviction to purchase one evaporated. I vividly remember Canon’s initial C300 unveiling. I asked myself, who would spend so much money on a glorified 5D when that same day RED announced a scaled back EPIC with exponentially more features at the same price point (the Scarlet)?
I bet the C300 Mark ii will be popular, but I wanted to find a better match for my needs. After spending some time with the FS7 on a shoot for Microsoft in Redmond, Washington, I fell deeply in love.
When one purchases the C300 they must choose between EF or PL mounts. Thanks to Wooden Camera’s PL-mount adaptor and the Metabones SpeedBooster ULTRA EF adaptor, I always have access to both worlds of lenses. Furthermore, the SpeedBooster gives my full frame glass an extra stop of light sensitivity and a wider field of view than they would enjoy on a C300 or other Super 35mm sensor!
Canon shockingly lowered the C300 Mk ii’s native ISO from 850 to 800. In SLog3, Sony natively rates the FS7 at 2,000 ISO which is actually 4,000 ISO when you factor in the SpeedBooster’s boost. Along with it’s slow-motion capacity, this easily separates the FS7 from its peers.
One last element of my kit that I want to highlight is the Zacuto Gratical HD OLED EVF. I had seen it the last two years at CineGear and marveled at its resolution and design. Its unique 4×3 display gives the operator constant access to 3 large scopes: waveform, histogram, and vectorscope at all times. These tools are crucial for getting perfect exposure and I couldn’t be happier with the Zacuto Recoil system overall!
If you’re curious to read Sony’s literature on the camera, click here. Otherwise tell me about your favorite camera in the comments section.