Sony has some really nice presentations at NAB this year. I enjoyed the presentation by Dave Stump, ASC, about futureproofing your film and the new workflow for upcoming color standards in cinematography, specifically, working in ACES, color space comparisons, and more. Very cool stuff.
The big eye-catcher for the Sony booth was their huge 4K HDR LED display, which was, in a word, gorgeous. The photo doesn’t do it justice.
And of course, Sony had all of their goodies on display for our enjoyment and envy. There was a lot of opportunity to handle the gear and get familiar with it.
It’s been a while since I last posted on this blog, and it’s because I’ve been so busy with assignment work. 2016 has been crazy-busy, which is great for business, but of course when I’m shooting and editing all the time, the blog and other hobbies suffers.
So, what’s happened since the last post? Probably the biggest event (videographically-speaking, that is), is that I have switched my main video system over from Panasonic to Sony. Yes, that happened. I’ve been a Panasonic fanboy for the longest time, but it’s also no secret that I’ve not been happy with a lot of their decisions regarding product and design direction, with their most major offense being the decision to let the AF100 line twist in the wind. I guess the DVX200 could be considered to be the AF100’s “replacement” but in my opinion Panasonic missed the mark overall. The DVX200 is a nice camera, though, don’t get me wrong. But, after talking to a few friends who invested in it, it seems that it also suffers from the other thing that turned me off of Panasonic: poor performance in low light conditions. But enough about that.
After much deliberation with myself I decided to switch my main video system over to the Sony PXW-FS7. I wanted to wait for the Blackmagic URSA Mini 4.6K PL, but delays in shipping the units finally forced my hand and I had to consider other options. Work was piling up and I couldn’t afford to wait any longer. I needed a camera immediately, so I went with the FS7, and I’m glad I did.
The FS7 has proven itself to be the freelancer’s dream camera. Features such as interchangeable lenses, a base ISO of 2000, overcranking, the ubiquitous XDCAM format, SLog3, optional RAW recording, and a ton of other amenities add up to make one solid camera system for shooting anything from news to weddings to cinema and everything else in between. The versatility of the FS7 is superior. The picture quality is superb, although some have complained that it is too noisy in the shadows. There is some truth to that but remember that “too noisy” for Sony is different than “too noisy” for other manufacturers (you know who you are).
My favorite way to shoot the FS7 is in SLog3 while exposing to the right (ETTR). This stacks more signal in the shadow areas of your picture, eliminating a lot of noise, and the FS7 has enough latitude to keep from blowing out highlights in most normal shooting situations. I made a series of custom LUTs to use on FS7 footage in Resolve, including one that takes care of shadow noise when shooting in low-light or especially contrasty scenes where ETTR isn’t really possible. It works out great for me. What are your thoughts on the FS7?
I’m pissed off. Say that in your head like Eric Cartman would, because that’s how I’m saying it over here…
I’m pissed off at Panasonic for letting the AF100 line just die. It hasn’t been discontinued, but it hasn’t been updated. It looks like they’re just not thinking about it at all, and to me, that’s a damned shame, because the AF100 is still one of the best workhorse run-and-gun cameras I’ve ever used. If Panasonic had continued to innovate and update the camera, then by now it could very well have been Panasonic’s “Sony FS7” and I think that’s why I’m choosing now to get riled up about it.
Sony released the FS7, and on paper, it looks pretty bad-ass. And in pictures, it strongly reminds me of the AF100 in size and form, which got me to remembering how much it sucks that the AF100 hasn’t been updated since the fake-10-bit “A” variant. The FS7 looks really, really good, but I’m a Panasonic guy. I love the way Panasonics shoot, and I love their picture quality. They look so much more organic and filmic to me than the Sonys do. Dammit, Panasonic, don’t make me buy a Sony!!!
That’s the reason why I’m so upset; I’ve admitted to myself that I really want the FS7, but if the AF100 hadn’t been forgotten, it could easily have evolved by now to what the FS7 is: a sub-$10K large-sensor, interchangeable-lens 4K camera with flexible ergonomics and overcranking abilities. I keep looking at the specs of the FS7 and I can’t find anything wrong with it, even though I really want to. The only thing that made me scrunch my face up was that ProRes recording requires an extra module and a “future upgrade.” Sounds fishy to me. And expensive. But hey! 4K DCI 12-bit RAW external recording? I’d buy a Shogun for that. For sure.
There really is no other point to this post than me blowing off steam, and begging Panasonic to surprise me with something awesome before I pay off my AJ-PX270 and start saving for the FS7. Maybe by Christmas? I’ve been a very good boy, after all.
I ran across this old blog post at ProVideoCoalition.com that features a fairly comprehensive comparison of the resolving powers of the Panasonic AF100 and the Sony PMW-F3, among other cameras such as the Sony EX3 and EX1, the ARRI Alexa and the RED Mysterium. It’s a pretty interesting and tech-heavy read.