[John Treffer]

Thanks! I will look into it.
Filenaming is coherent, but extension is different, that is where it went wrong last time. I also heard they worked on relinking in the 12.5 update, so that might help as well.

[John Treffer]

Basically the EX1 is not up to the job. To capture this “flat” footage you need an enormous dynamic range which the EX1 doesn’t have. The CINE curves from the EX1 are a bit more flat than the STD curves.

But the best is to shoot as close to the final colours as you can.

[John Treffer]

Okay. Why not MXF?

To me the pain is editing FS7 footage. Resolve is to slow to properly edit the footage, so I choose FCP X.
FCPX is fast, but transcripts all the files to movs. Fine.
When I want to go to grading I can transfer the edit to resolve, but resolve can’t read the movs.

I am still looking for the proper workflow.

[John Treffer]

The lens looks like the crappy lens that came with the FS700. It is confirmed by the price.

It really is a petty of such a beautiful camera. The FS7 kitlens (Sony FE PZ 28-135mm f/4 G) is a very beautiful lens, with the same focus ring as the EX1.

You have to get used however to a more limited zoom range in one lens than the EX1. This is a big downside from a bigger sensor.

I switched from an EX1R to a FS7 8 month ago. I get very positive reaction to the images I am filming now. More because of the great colours than the depth of field. But also the better codec 24-bit audio, great light sensitivity and slow-motion are big extra’s.

The 28-135 kitlens is great, I combine it with Canon mount lenses. A 16-35 F4 with a Metabones speedbooster is a must for me and I have Metabones adapter with a 70-200 2.8 canon zoom. Now and than I rent a Zeiss ZE 50mm 1.4 and sometimes 85mm 1.4 if sensitivity or better optics are required. The Metabones adapter and Speedbooster give me more focal distance options with the same primes.

However the camera is bigger than an EX1 and changing lenses is slow, so I decided to keep the EX1 for the occasional job that needs it.

I hope this helps.

Good luck on the choice,

John

[John Treffer]

“If this is the only graphics card in the system, you are under spec for 4K anything.”

I also ran into Carls problem, but with a 6-core new Mac Pro with 2 D500’s. The thing is if you have proxy’s of ProresLT at HD resolution, you are not dealing with 4K and you’re actually dealing with a very easy codec at less than 20MB/sec.

BMD support advised me to take a look here for some optimisation settings: https://ilovehue.net/?p=461#
(It is about version 10, but BMD said it was still valid for version 12.)

I am editing 4K AVC-L media now, where first HD AVC-I gave problems.

Good luck, John

[John Treffer]

It is unchecked, but unfortunately that doesn’t help.
I tried check it > restart resolve > uncheck it > restart resolve. But it doesn’t help.

I presume it is possible to archive all projects and reset Resolve, but I hope to find an easier way.

Thanks in advance,

john

[John Treffer]

It could be a backfocussing problem. I had it once with my EX1R. I had it fixed at the dealer. But it possible to do it yourself: https://blog.abelcine.com/2010/07/01/adjusting-back-focus-on-an-xdcam-ex-camera/

At least something that is easy to try.

Good luck!

[John Treffer]

I read the long post here: https://community.sony.com/t5/FS7/Cine-EI-White-Balance-Presets/td-p/475930
which really has some nice info (between the cockfighting).

Unfortunately it seems to confirm the problem that there is no way to set white balance other than the Default presets. And it seems that there is no easy way in resolve to correct white balance.

My workflow is to shoot with the closest WB preset, and do a pre-grade in resolve with LUT and White Blance using seperate RGB curves/gain before it goes to the editor.
If the white balance issue is solved and the editor can use LUT’s it would save the time of the pregrade and all the extra data involved.

If people have ideas on better workflows to deal with the situation I’m curious to hear them.

[John Treffer]

I’d say Convergent Design is the best quality and Atomos is the best bang for the buck.
If HDMI is reliable enough for you’re ready with a $295 ninja star. If you want very sharp monitoring, 4K recording and SDI the Shogun is a good option. For real good build quality go to Convergent Design.

I own a Shogun and am happy with the sharpness and the waveform, but more hesitant about the build quality, although it never failed me.

John

[John Treffer]

It is striking indeed that I also found the datarate to be around 3.2 MB/s(25Mbit/s). I thought HDV 1080i used the full DV space, but I think this is due to audio compression.
HDV 720p has a bitrate of about 2.4MB/s(19Mbit/s).