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The first music video I shot on FS7 and edited on FCPX is now available to see.  The features of the camera were to use 4k 50fps to punch in and slow down the footage at certain moments, and use the 150fps in 1080p for dramatic effect. I don't think this video shows off the resolution/colour as such - but the creative options available with higher frame rates (lacking so badly in all things Canon).  The brief was to go with a unique, dark, grungy, imperfect and grainy look to suit the intensity of the track - this is very much an "editors" video and it might give you a headache - it's flashing all over the place! The GH3 was used on the projection scenes. We ran out of budget.  I have a 2nd video being edited now which is a pop track with a Maltese singer - this one is looking beautiful. It shows all the best features of the FS7. Out in 2 weeks.  My opinion on the camera.... best camera release since I can remember. Still, the menus and buttons are crap. Can't have it all! Watch now and protect your ears!!!    

Not sure what the confusion is. mm's is mm's. What camera you put a 24mm on matters for FOV, but mm is a measurement. millimeter. People that use s35 sensors/filmstock don't have a different metric system than someone shooting with a full frame, 4x5" film, or a m43 sensor. Forget the cameras anyway. That's actually irrelevant. You're talking about a lens. On your glass it's the distance from the point where light rays converge to the point where they form a sharp image onto the focal plane. 50mm is 1 millimeters plus 49 other millimeters. If you're arguing otherwise you've been misinformed. The idea that film shooters have special math that is unique for them is ... well, not right. This issue really gets convoluted because folks new to all this stuff (and even some pro's apparently) tend to overthink it and conflate various camera terminology. But if you just consider the lens, ultimately it's pretty simple. Which is why, if I was shooting a low budget action film with an ASP-C sensor, I'd tend towards the 40mm lens, as it would be a nice "standard" FOV. Not too wide, not too tight. But nothing wrong with a lens with a bit longer FOV either, you just adapt to what you got and go. I wouldn't burn time worrying about 10mm. I'd worry more about other aspects of film making. Actor and camera blocking, sets, design, stunts, lighting, acting, EDITING. Holy crap, that's the stuff that matters more. Try not to get wrapped up in gear-centric-fetishism on the low end of film making. If all that other stuff is half-assed I don't care what FOV you have, whatever film you're trying to make is going to suck. Make the most of what you have and be creative around your limitations.

Canon is going after Phase One's IQ250, which has 50MP, a 2.5xFF sensor but starts at $35,000. While they won't be able to match the quality of IQ250, they may just achieve an 1/2 or 2/3 of its performance for 10x times the price. It would actually create a completely new market, a to-own medium format market with massive volume sales and also retain Canon users who would otherwise have jumped ship to a new ecosystem. Very smart. Most of the ex-Canon photographers I know have either gone to Nikon D4s or IQ250 for low light sensitivity and better IQ, respectively. So 5DS and 5D4 are probably meant to stop this from happening.

People forget so quickly that the A7s doesn't shoot 4K internally.

​+1 you will need new lenses for 50mp. even medium format is on the edge at 50 mp... and this is a dslr. so there`s a high chance that buyers will fill up their hard drives in a breeze just to have higher resolving details in chromatic aberration and soft images, where`s the point in that?

Yes - 2K RAW on the Odyssey 7Q is best suited to slow motion, where it's the only option. You'll get a fair bit of aliasing and some softness - the mode wasn't really designed for normal capture, and sensor read out in 2K RAW mode simply isn't tuned for high detail capture. 4K RAW, on the other hand, is largely excellent. For short scenes where maximum DR is critical, 4K RAW is by far the best format. For everything else, aside from slow motion, you're likely better off exposing properly, and capturing in ProRes. Of course, be aware RAW files can be a bit of a pain to work with. In ProRes mode, you can do full 4K, or the 4K2HD mode, which debayers and down samples the 4K RAW signal on the fly, producing a considerably sharper image than the 2K output. If space is a premium, I'd recommend this mode. Otherwise, I recommend shooting in a mix of 4K ProRes, plus 4K RAW for scenes requiring extreme DR. You can use the 4K capture to create a 4K deliverable or, crop/re-frame/stabilize, then down sample to 1080p. Note that even if you shoot RAW, you'll still need to be very careful of exposure - the 7Q can show quite a bit of noise with SLOG2, so shooting in RAW doesn't mean you don't have to carefully light things. The FSRAW signal also bakes in a few details, so you'll still to properly white balance, just as you would with ProRes.

Feels like this is the price this camera should have been from the start.

2k RAW does alias- really best for slomo only.

I've only ever shot 120 or 240fps in 2K mode.... That has some aliasing. I will try a 24fps test and let you know.

​That was a marketing gag directed to retards.

Yeah, I was gonna suggest that. Fotga makes decent filters. I had one 62mm that I used on the 14-140mm back in the day with the GH2 that works pretty okay. They go for very cheap on eBay. If you're on a bit of a budget and pick the FZ1000 over an interchangeable lens system, I already take you expect your audience not to pixel peep that much. Because it's a variable ND, so you might run into some weird behaviour (saturation, reflections, patterns), especially stopped down close to the maximum, but otherwise, it doesn't even lose that much sharpness. Color is ok too. Gives you a bit more flexibility, on-the-go control and ease of use.

Hi JazzBox, Great to hear you enjoyed Crete, Vamos.... that's very close to where they shot the film "Zorba the Greek"!. But I see you came around, ...yeah Elafonisi is fantastic! I am not a native Cretan though, just taking time off to get some projects done ;-) Thanks for your "experience-talking", in the end I ended up buying a 10€ china ND filter, variable. If it doesn't work out then it's just 10€, after your post I am even less willing to buy an expensive one. Cheers!!

​The Aztec Pyramic. I know its not the best timeline workflow for this kind of work. I wish Adobe give a mode to change it to look like Premier. Still you can have an incredible IQ rendering from AE. Here i share a link for a video i just uploaded. Download for max quality: https://mega.co.nz/#!kIxzjBQD!-9Zm5zyaReDy04LKSMtt0nFZXGsI_tcKWJHcPqjZoGc