Oliver Daniel

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.

​Hi Andrew, could you elaborate on why this is an issue? I film and edit music videos daily and find that tweaking each and every scene is a given with every camera I use as the variables change throughout the day, such as the choice of lighting, direction of the light source, the time of day, the lens used, change in weather, change of location..... (Doing everything you can on set to make it as close as possible for each scene). ..... Every single shot gets tweaked to match in the grade so the style, feel etc are consistent throughout. If I put the exact same grade on every clip and kept it that way, it would look a mess as a whole. (If used, I would use the same LUT but change the colour parameters on each clip so it all runs seamlessly). So by saying each scene needs it's own nob fiddling, I find that just as usual as anything else in filmmaking. Just asking just in case I've missed something, I've mis-understood you or we are just different in our work and approach. Thanks.

​I just thought your initial post was "challenging", which is fine. Everybody needs to be challenged. Your input into these topics are very useful (sometimes beyond my brain receptors) so thank you. I thought lafilm's reply was inappropriate and could of potentially fuelled a few emotions of the more opinionated members. Everyone makes mistakes when they get angry eh? Ebrahim is a top guy, he is spot on. Topics like this are important to follow for the technical check-list - I'm trying to make a buying decision and this post involves those very cameras. These camera are very very close in DR. What matters is the price difference as per performance. Great sign for the future!

What JCS said was challenging, but lafilm has made it much worse with his comments, there is no need for such confrontational attitudes from anyone. Especially in that tone. It's fair for people to judge from their own conclusions, different eyes see different things. At least be civil about it.

​I've heard Cinema5d getting incredibly criticised on the Internet regarding the lab tests. I personally have no idea if they are right or not. Where are they wrong? ​Another cool solution I've seen away from the hotshoe is the Edelkrone Modula 3 upwards. It's a shoulder based rig with a classic camcorder grip, the Shogun to the left (so it's in front of your face) and a mount option at the back to fit in an external device, such as extra power. It seems like the most intuitive solution I've seen... The hot shoe mount seems like a pain.

I'm planning to change my workhorse camera setup soon, and I've been favouring the A7S plus Shogun for a while above other options. Shooting lots of music videos and some corporate stuff. I was planning to go the extra mile with the FS7, and completed one pro shoot on that camera. Not done editing yet - but to get the most out of the cameras features the files are huge - the cost of storage would be too much, so I'll be renting this out on a selection of shoots. The A7S combo concerns me though, with reports of poor battery life, poor build quality and Slog2 not working correctly. I do love the image that the a7S is capable of above other cameras in this price range. Pretty stuck on what to do..... what is everyone's take from the research online so far?

Wow. Moving onto topic.... What do you think to this solution for rigging an Atomos Shogun? http://www.edelkrone.com/eu/5-modula-series It looks really useful and the grip looks pretty neat.

​Well it looks like you are doing a great job. Earning money from blogging is very tough, so that's a lovely achievement you have attained and kept up. Thanks for sharing! I know what you mean about chasing commercial work. It's a massive yo-yo of peaks and troughs. I do get a lot of work but the focus is to get higher quality work with better financial rewards. It's happening! Also wanting to work on some personal stuff to keep flowing in the background. Time is the caveat!! ? Shogun - looking forward to your footage plus any improvements in 1080p 50/60 capture and 120fps on a7S and NX1, hopefully ?

​Since you put it that way, I think it's a decent purchase - assuming you have enough funds for other stuff. ? I've used the 1DC on a pro shoot before as the main camera. My handheld driven style didn't suit it at all, ultimately finding it a pain to use with a fixed monitor with "bolted-on" 4k. The footage looked quite poor - but I think this was all down to me and my vision not working correctly with this tool. I realised my choice was pointless and sticking with my GH3 would of been a much better result, given the "guerrilla" style intended. A question you don't have to answer, but just curious, does your blog generate all the income required to buy all these new cameras? I'm assuming you might also sell stock footage and do the odd-job here and there? Doing a great job clearly! I film and edit full time - and every purchase (if any) has to be absolutely justified or I will die of starvation. Will get more lucrative, I'm sure ? Anyway, looking forward to your Atomos findings. It's on the wishlist.