The official FS700 video is up. I would just like to take a few moments to go through my footage they used and tell you more about how I recorded it. As you can see there are clips from three different movies which will be released starting next week.
First is about a girl and her car. This shot was recorded on SLR Magic HyperPrime CINE 50mm T0.95 lens. The creamy bokeh perfect for this scene as the sequence is about her memories. I helped myself with nailing the focus by using Genus follow focus and SmallHD DP4 with its great new peaking function.
Two shots from the car were made using a car rig a described in previous post. For this I used Sony’s kit lens 18-200 as it has a stabilizer. It is very important how you place the suction cups on the car as a small change in placement can make or break the shot. The first shot also has a small CFL light (powered by converter) on the co-drivers seat to lighten the shadows a bit.
For the front car shots I lie down in the trunk of another car with camera on a Hi Hat with Manfrotto 504HD head and some dense foam. I also used the kit lens. There were some problems with the car head lights as they are LED lights and they are prone to flickering.
Some obligatory slider shots. An old Glidetrack with Manfrotto ball head and Manfrotto 577 Quick Release plate.
This shot was made from a hill with an old Sigma 70-300mm F4-5.6 APO DG Macro lens. It was the only 300mm lens I had at my disposal and it turned out o.k. for this shot.
The second movie will be about a motocross rider. Filmed with Nikon 80-200mm and 17-55mm lens. Everything was recorded in super slow motion at 200fps (50Hz). It will be hard to make a short movie out of the footage as every clip is a minute long. (:
The last few clips were made in my kitchen under ArriSun 18 HMI light. I had the light from another shoot in my trunk, paid for them till the morning and I thought: “Why leave them useless in my car?” Let’s use them. Black cloth for the background and some fizzy drinks. I shoot it on Sony’s 50mm f/1.8 OSS lens. Great little lens. I like more and more every day.
This are all frame grabs from the video on Vimeo and can as such present some compression artifacts.
UPDATE: Frank Glencairn was using the pre-production FS700 before me so he left me a special picture profile in the settings. He said it is something between G-Log and K-tone. I quickly tested all the profiles that were pre set on the camera and found this one the most pleasing for me. I didn’t have time to test some of my settings. So here it is. First custom picture profile from Frank Glencairn.
Black level +2
Gamma Cine2
Black gamma – range middle, level -2
Knee – point 105%, slope 0
Color mode – type Cinema, level 8
Color level +2
Color phase -2
Color depth – R 0, G 0, B 0, C 0, M 0, Y 0
WB shift – all 0
Detail – level 0
You can see the shots again in motion here.
Sorry if this will sound negative, but who did the color grade? Was it outsourced? There’s generally a purple color cast that I find inexplicable as a stylistic choice, and more likely just an example of bad judgment…
Color grade was done by James Tonkin and it was a stylistic choice. Some will like it and some won’t.
I liked the choice of a purple touch in post. :-)
Brrrr…if it’s purple, someone’s gonna die ! ;-)
http://www.amazon.fr/Its-Purple-Someones-Gonna-Die/dp/0240806883
Phew! I was scared that purple horror was camera’s fault. Btw, while I respect artistic liberty when it comes to color grading, this video is clearly meant to represent the camera features and not what James Tonkin likes. So for me, it’s really strange that you guys didn’t leave the original footage intact – or at least use only minimal corrections.
Was the footage recorded in camera to the internal cards? Or, did you output to a Pix240, Ninja, Ki Pro ect?
@Fred Maybe someone will die. (;
@bob Everything was recorded in camera. I think Den Lennie used external recorder.
I read that you can record slowmo with an external recorder because the camera playback the 200fps at 23,98fps after the shot…. is it true ?
And, in this case, is it still uncompressed footage (8bit 422) from the buffer, or just a read from the AVCHD codec SD card ?
I hope this slowmo record mode is not a gadget, and allow us to work with the maximum quality possible, with exact frame rate and precise color space…… I cross my fingers !!
(by the way….. I like purple !! ; D )
Den tried this slow motion to external recorder so you should ask him on this blog. Here is the link. http://www.denlennie.com/2012/04/sony-nex-fs700-on-location.html
Thanks, I will ask to him…
but just a last question to you :
did you find the FS700 have less or more dynamic range than the FS100 ?
and did it crush on the highlight ?
Because I think the most important for us, is to find a way to choose between the C300, the F3, the Scarlet, and this new little bomb….
of course, in all mind, the Scarlet have a huge advantage with the dynamic range, and the HDR, but…. who knows….. maybe the FS700 will be the challenger….
If you have the right to give your opinion, what is your mind about those 2 cameras ?
I know it’s hard, but….. I think it will help everyone…… ;)
I think that Frank Glencairn said that highlight handling is better thanks to the new gamma curves.
In regards to dynamic range. I had overcast weather. So the contrast was quite low and I didn’t noticed any problems with the crushing of the black or highlights.
As this was a preproduction camera I didn’t conduct any scientific tests as they would be meaningful. I only tested it in real life situations and as such preformed perfectly.
You are asking me to help you choose between C300, F3, Scarlet and FS700. You know that this camera is in lower price range as other cameras. I think it provides a lot for the buck.
But they are all quite different cameras and you should choose in regards to your needs.
I know that my answers rare vague but it is difficult if you don’t have all the cameras in front of you. Maybe a Zacuto shootout will do the trick.
odlično!
I’m a FS100 user in Japan.
Do you have any side by side comparison footage
of FS700 and FS100?
What is the difference you found between the two super35 sensors?
sharpness? low light sensitivity? rolling shutter?
Thanks!
As it was a preproduction camera I didn’t do any side by side comparison of the footage, because the software of this camera is still being modified.
I can only state the obvious difference: better build, ND filters…
4K sensos should mean better sharpness and Frank found out it is slightly less sensitive. If you go and see my film you can notice that there wasn’t any problems with rolling shitter even with fast panning.
http://blog.domisljije.si/2012/04/09/racing-with-planes/