Oliver Daniel

Thanks for all the positive comments. (and for fixing the embed Andrew) Inazuma - The lenses used on the FS7 were Canon FD primes, and on the GH3 it was FD primes and the SLR magic 12mm. To create the transitions, sometimes I make these from scratch by lens whacking with a light in a dark room and using speed to make it more frantic. I also use plugins from Pixel Film Studios http://store.pixelfilmstudios.com/ , probably the most comprehensive set of FCPX plugins on the web! Digital Ed - I did actually notice that punching in on the 4k footage does look worse than the exact same frame/shot if it was down converted to 1080p, Sony are right, sort of. I could get away with it on this video as the label didn't want super-sharp clarity, they wanted grain and dirt. HOWEVER, It really depends on how much resolution your lens is resolving and the quality of light. Zooming and cropping really amplifies any noise and can make the image look like 360p if you are not careful! This video was a low light shoot and noise was an issue... I do have another video coming up which was very well lit with Kino Flo's and Arri's in a controlled environment. I've punched in and the results are very good. 4k is no replacement for proper tools such as jibs, sliders and gimbals.

​ Yes there are workarounds - however I do think you need a decent EVF/Monitor with peaking etc as focusing in 4k is critical. I think it produces a lovely image, but it's still a very hard purchase to justify for my uses with other options available. It's a great stills and narrative camera and ... but for anything else, I think there are much better choices.

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!!!    

​People also seems to forget that the 1DC has terrible ergonomics for video. An expensive EVF helps. They should of really made it a "Cinema DSLR" instead of just throwing a 4k mode with LOG into it. Also the lack of good slow motion sadly makes it a "no-go" for me. Nice image though. Beautiful stills. Tank like quality. I'd buy it if I was rolling in cash.

Thanks for all the responses. It's the DS line I'm looking at, and they only seem to be retailing in the USA at the moment. Whatever happened to the Rokinon Raw by Duclos Lenses?

I'm a big fan of "character" lenses, but there are many times when the highly stylised weirdo approach isn't required - which brings me to the Rokinon/Samyang Cine DS line. I'm attracted to these lenses as they are reportedly a bargain for the money and have de-clicked apertures, gears, same filter sizes etc. I find the workarounds to get these features on stills lenses very annoying and a bit crappy! Has anybody used this line of lenses, or their predecessors? Can't seem to find the Cine DS line in Uk and Europe, only in the USA! *sigh* Thanks.

The large majority of stuff I've seen shot with the NX1 on the web has looked very poor - but I'm not sure if it's the camera or the users. The DR always looks very low and the images very "electronic" and brittle. There is very little out there on the NX1 so it's hard to judge. Personally i'm compelled by the toolset of this camera (video and stills) and how it progresses - are any owners attempting cinematic/organic looking footage with the camera, now ther eis new gamma modes? In comparison, the A7S has a huge professional following, but aesthetically, it's image seems light years ahead of the NX1 for cinematic work (SLog2 helps!). But the A7S is used a lot for professional work, and will obviously seem much better - seen as the user base is bigger and attracts many skilled filmmakers. Something in my gut tells me there is something special about this camera. I just haven't seen it yet. Maybe it's a case of more talented people unlocking it's potential.

​I make music videos for a living. If we are talking traditional music videos, there is no better editor than FCPX. The multi-cam feature is outstanding - it automatically syncs every clip to the audio, then you can edit your clips with the music embedded very fluidly. And you only need one "track". Don't like a certain shot? One click and it's changed for a better one. If you are putting cutaways into this video, you can simply place a connected clip where it needs to go on top of the multi-cam clip. If this is not a multi-cam music video, simply choose your first shot on the main storyline. Then connect the audio underneath. Go along and edit the clips to the track on the magnetic timeline and the audio won't move. Easily swap shots around, trim, choose a different in and out point without ever leaving the timeline. It's very, very fast and intuitive. And the audio won't move out of line. After a while, you realise that track based editing is some ancient dinosaur times and THIS is the future of editing. Many people dismissed FCPX - but I don't think those people actually bothered to see what it can do. Learn and marvel.

I told you FCPX is a beast! I know you mentioned in the article that it's way different than FCP7 and other edit programs, which put you off, but the way it's different is the best thing about it. It's actually modernised where other programs haven't dared to change with the times. FCPX was an idea ahead of its time on release, and now it's matured into the edit program of the future. In comparison, FCP7 is a rotting old dinosaur... It feels really, really old now. You can also work a lot faster on FCPX than other edit programs. The design is so simple and intuitive, making changes is an absolute breeze and you can focus on being creative. On top of that the features are very well done - syncing, multi-cam, media management, transcoding.... And if you don't like the magnetic timeline you can just do it the old boring way. Plugin support is also immense. Pixel Film Studios, MotionVFX, Crumplepop, Red Giant... Just to name a few. Those who dismiss FCPX need there head feeling. I learnt it in an hour. So can you Andrew. There is no going back.

​ It's incredible how many people ignore the importance of lighting when making "filmic" images, or any images for that matter. Lighting is more important than the camera, it can make the image of a "sub-standard" camera look much better than "the best camera ever" that was used without additional lighting. Obviously. Sony A7S is the best choice IMO (for your needs). Regardless of its's high sensitivity, don't ignore a set of lights either

Do you have a link? I searched the ML forum and found nothing.

It's unfortunate not to see any mention of Final Cut Pro X in this article. The release of the new design troubled many Final Cut Pro 7 users, but the majority who were annoyed at the drastic changes seem not to have experienced what it is like today. You should definitely try FCPX as it's grown into an incredible program that is very intuitive, easy and fast to use, has top notch pulgin support and most of all - makes editing fun and leaves more time to be more creative. I've also heard several editors mention that the quality of the exported files from FCPX are much better than those from Premiere. I know that Noam Kroll did a blog post about it. I recommend that you get into FCPX Andrew, as it sounds like you are not satisfied with Premiere. The bad press it got on release is irrelevant now. It is absolutely fantastic now. More editors need to wake up!!

Hi Jimmy, I've only ever used the FS700 with the internal codec. I've used it countless times, but haven't experienced the full potential with the Odyssey. The dynamic range is superb though on the FS7, you can pull it around quite a lot in post, if exposed correctly. I didn't maximise the dynamic range as I slightly underexposed the image to retain the highlights in a location with bright light and dark shadows. It isn't raw though. It's much better than the FS700, however, don't think that this camera is a quick setup, small kind of thing. A lot of work needs to be done on set with profiles such as Slog3 and it also gets a bit heavy on the right arm after a while. My back & arm was destroyed after the shoot, had to get the girlfriend to rub it better! The FS700 is a lot lighter although a pain in the ass ergonomically. Also, if using the Extension Module - you really need another person to help out. Once you add that thing on, this ain't no one man band!

Yes you can turn sharpening down, there are loads of options. I'm delivering for 1080p - so only actually been able to see the 4k res briefly. Might go back to the originals and have a play if I have time. The rolling shutter is decent, not noticed an issue really. I've yet to swing it side to side like a lunatic. The 1080p slo-mo is great, but you have to be careful of.... wait for it... noise! (shock, horror!) Also the 4k 50p/60p is very good, incredibly useful when I need some subtle slow motion in the 25p timeline. I''m pleased so far... the creative choices have pulled off due to the helpful tools in this camera, just need more practice exposing Slog3.

I have been editing the first project this week and had a few more thoughts on the FS7. The SLog3 is very powerful, however, I think I've slightly underexposed the image (having retained the highlights very well) as I have some ugly bits of noise in the shadows. It's not a big deal, this is a very very loud and gritty rock music video. Done a few quick grades, seems to be coming out quite nicely! I can't push the shadows that much, but there is loads of room in the highlights. Also it seems the SLog3 profile has "fell off" a couple of shots. This must of reset when the camera was playing cheeky buggers and crashing, but you can't tell from the image due to the Monitor LUT being Rec. 709. Colour is ok, but I can't judge that until I've graded it properly - like A7S footage it takes a lot of time to get right but it's easier due to the more robust codec. Also, the colour science definitely prefers green and blue. Lucky for me, that's the colour I want! Resolution isn't overly sharp, it's spot on really. Doesn't look brittle like some of the cheaper 4k cameras.

Thanks Andrew - I can't release any originals due to Model Release and strict confidentiality. The artists are signed to record labels. When the edits are done I could fire out some cutaway shots, atmospherics etc. The menu thing depends on what you are shooting. If you are sticking to one frame rate, it's ok. I change them frequently for different shots, and doing this takes a lot of time. They really need this as a custom option, so switching from 4k to 150fps is swift. Actually navigating the menu is ridiculous. It's very slow and unresponsive, and it's arranged in a very complicated way. For example, to change codec settings is under System (eh?) and it's buried at the bottom of a long list of confusing menu headings. When you want to change the high frame rate option, first you have to turn on high frame rates into "Full Scan", then you can change the HFR option. Pain in the ass. Boot time is 5-10 secs. If you boot in 4k 50/60fps, the image crashes. You have to change it to something else and back again to fix it. Also when re-booting (such as changing battery), most of the settings reset (beside codec and pic profile). JCS - I think you are again on the right track. Don't know the science here, just the "emotion". GREAT news on the Kine Mini 4k - those camera are capable of spellbinding cinematic quality. I think the image is unique. They deserve more coverage!

That RED article went straight over my head, interesting though! I don't know what it is, the way the camera captures motion looks much different on various cameras, there is something about how the frames move. The Digital Bolex has my favourite motion characteristic on the market, the science behind that motion is beautiful. Poor grading and lighting blocks the characteristic - our eye needs to see the contrast, detail, exposure etc to connect with us artistically and emotionally.

Hi JCS, video cadence or motion cadence is something I "feel" when watching the footage, the way motion moves frame by frame. I don't know the technicalities of this, it is a characteristic I see as an artistic attribute. From your explanation, that seems on the right path. Motion cadence is one of the most important features (for me) in camera choice for cinematic work. The timing of the frames seem "slower" (with no artefacts) for cinematic "film" motion, whereas other cameras feel "faster" which feels more "video". This is based on 24/25p at 1/48, 1/50 shutter. Not 48fps. Not interlaced. 5D Mk 3 ML Raw is a superb example of "film" motion cadence, the Digital Bolex, Alexa, BMCC, Kine Mini 4k, RED, 1DC....... "Video" motion cadence is seen on most DSLRs, FS700, GoPro.... The FS7 sits in the middle, but I can't judge that until I've graded it. Maybe some other techies on here can elaborate, people don't talk about it much.

​This camera deserves more exposure. The footage it is capable of is immense.

On my first shoot with the Sony FS7 - I was very impressed with the image out the camera and the ergonomics, but I was very disappointed with the performance of the firmware. It was slow, glitchy and hard to use. (The video is out Jan 29th - edit this week). I chose the FS7 again for another shoot as the client was adamant on 4k and slow motion. I agreed and received a brand new unit from my rental provider. Things were a bit different this time, as the body had the extension unit and battery bolted onto the back, plus a Vocas railing system underneath. I chose ProMist filters to diffuse the skin of our lady pop star with a matte box, locked off on a Satchler tripod. I shot the video in XAVC-I 4k 25fps and slow motion in 1080 150fps, SLog3. I had plenty of lighting such as Kino Flo, Arri and Dedolights so I could light the vast location which was a decadent seaside theatre room. I have to say, the dynamic range wowed me even more. Lighting the large interior was a smooth process. Detail is very impressive. The zebras and peaking are very good. Noise looks minimal. Motion cadence however does look a little 'video', although I can't judge this fully until the grade. Handling the camera was fine on the tripod, as expected. An annoying issue with the extension unit is that it gets in the way of the HDMI port. You have to really force it. We didn't get it to work in the end. May have been an issue elsewhere, so we used the very good LCD throughout. Firmware wise - the camera performed better than before. I'm not sure if the unit before was a bit faulty, as it was slow and crashed a lot. Still - it wasn't as responsive as I'd expect. The menus are dreadful and over complicated, it takes so much time just to change the most simple settings. As a user experience - the firmware performance and user experience is very poor. I've got used to it, but it really does need a complete overhaul. The button layout on the side of the camera is also slow and fiddly. They really need to come up with a modernised way of button layouts on these types of cameras. Finding where to play a clip was a nightmare, until I found a little button called 'Thumbnail.' Not the best name! Another issue was the Speedbooster. Changing aperture on an EF lens was terrible, as the aperture setting would go crazy and go from f2 to f16 with a slight dial. Metabones and Sony need to chat. With these issues aside, the camera is great to shoot with and delivers a lovely image. It makes the FS700 look like a toy. For the money, it is fantastic. I much prefer using this camera compared to a RED Epic and Blackmagic CC. I do miss the quicker setup times with a DSLR/DSLM camera, but you gain quality features for a better picture. I will definitely use it again and can't wait to edit the 2 music videos I've shot. When they are released, I will share! Here is me and the camera:

This is an incredibly interesting camera, shame there isn't much footage online (and most of what's available is rubbish). I think I might just buy it and film loads of music videos, I have the feeling in my gut that when the camera is pushed at a professional level, there is going to be some very special sauce in there somewhere!

Ok, now I'm seriously interested. The great thing about Samsung is that they don't have more expensive cameras to protect, and they listen!

​Yes I have, but haven't started editing yet. Shot in 4k 50fps and some 180fps. I also have another shoot this Friday using the FS7 in SLOG 3. To my eye, it did seem a lot better than other Sony cameras underneath it. I'll post the videos when they are complete, I'm not allowed to show anything until they are released, end of Jan. Curious to see what comes out this year, this is surely a "big" one for cameras.

​ In my experience, grading is very consistent with Blackmagic, RED & Canon. I always have a challenge on my hands with GH3 and all Sony cameras. I use the latter by far the most due to the high FPS (music videos) and all are Sony sensors. I have to twiddle every nob imaginable, don't mind much, just more time consuming! Canon and Blackmagic lack the high frame rates so I don't use them no where near as much, although they are much, much easier to grade. This is the reason I've stalled on a new purchase on the "new era."

If this means something to people, I would think the 1DC shouldn't be in the Top 5 at all due to the release being March 2013. Lists are of no concern anyways, different ideas, different cameras, different people..... Thanks to Andrew for his thoughts regardless.