I am happy to announce that my Master Class for the FS7 is now online and ready to roll.

6 hours total
26 chapters
$85 for on-demand streaming only (no downloads)
Rental term is for 6 months.

http://vimeo.com/ondemand/fs7

The first chapter (42 minutes) is online for free so you can watch it before you decide whether or not to order the other 5 hours of content. Doug Jensen's Sony PXW-FS7 Master Class - CHAPTER ONE FREE! on Vimeo

BTW, I’m still not sure if I’ll do a DVD version or not, but if I do, it is at least several weeks away from shipping.

I hope you like it. I'm just glad to be done.

I'll give a HUGE shoutout for Doug's camera training... I first encountered it on the EX1 AFTER having shot several broadcast docs with the camera. Even after all that experience I learned new and better ways of using the tools at my disposal. Doug's training is an absolute MUST for people new to a particular camera and especially those new to video production with more complicated cameras.

Great job Doug,

Your videos and field guides are a great compliment to the manuals and I would say a must have with new cameras like the FS7.

I have watched about half of the vids so far and I have picked up quite a few things I did not get from playing around with the camera and reading the manuals.

Congratulations on the project, I know how much it takes to do something like this. You do a great job helping shooters get familiar with the camera. It saves me lots of time and frustration trying to decode what the manual is saying.

Thanks.

This Master Class is a must for every FS7 owner. This is not some demo review of the camera. It's 6 HOURS long with 26 chapters and extremely detailed!

Doug Jensen is an F55 pro operator so explaining the menu system, and all the important features and workflow considerations is second nature to him and he does it with chapters so you can go back and easily review specific sections.
Throw the manual back in the box - This is the best FS7 training video - period.

Brilliant! I am no pro but I do own the Sony FS7. Doug's master class is what I needed to become confidant with this great camera. Worth every penny.

Doug,
I'm finding the tutorial really helpful. I'm already on chapter 9. I do have a couple of questions.
1-I've been using a Zacuto EVF with my fs100. All of the info on the led screen on the fs100 also displays on
the zacuto. But when I connect the zacuto to the fs7 by hdmi, I don't get anything except the audio meters.
The model is the z--EVF-15 ( or IS...) small writing and I can't tell which. The zacuto has it's own on board peaking and zebra, but that's all that comes through. On the fs100, the camera's colored peaking also comes through, in addition to everything else.
I tried changing settings in the zacuto, but no luck. Any ideas?

2-You mention "relay recording" where you can use two cards and when one fills up, the camera automatically starts recording on the second card. Is that a default function, or do you have to set anything?

I've already done a few jobs with the camera, and love it. I may have to get a few bits to make a more ergonomic and comfortable rig.
Thanks
Bruce Yarock
VIDEO PRODUCTION FORT LAUDERDALE (http://www.videoproductionfortlauderdale.com)

Doug
I meant to post my questions in this fs7 section, and by mistake, put it in the f55 thread. I just bought your FS7 tutorial , really like it, and had a few questions. I couldn't figure out how to copy it and put it in this thread.
But it's in the F55 thread.
Thanks
Bruce Yarock

Hi Bruce,

I looked at your questions on the other page, and here are my answers:

1)
There are two menus that need to be set correctly to overlay viewfinder data on the HDMI output.
Video > Output Display > HDMI
Video > Output Setting > HDMI Target Device

But the bigger question is, why would you bother? The FS7's viewfinder is better than the Zacuto EVF so why would you want to go to all the hassle of using a 3rd party viewfinder? My advice is to keep things simple and just forget about it.

2)
Relay recording between the memory cards is the default mode.

I hope that helps.


Doug Jensen's Sony PXW-FS7 Master Class (http://www.vortexmedia.com/DVD_FS7.html)


.

Thanks, Doug.
I find that focus is easier for my 66 year old eyes with the Zacuto. But to keep things simple, I'll try and stick with the Sony for now. If I had the business to justify it, I'd probably go with the new Zacuto Gratical and their
recoil rig.
Bruce Yarock

Just logging in to endorse this product: oh wow, you HAVE to get this if you are new the the Sony FS7!

I bought Doug's video for the EX3 six years ago when I switched to that camera, and it was a huge help.

So when I just got my new FS7, I wondered if he had made a video for this camera, and he had!

At first sight, the $85 price tag seemed a bit steep since the EX3 video was cheaper, but after getting it and streaming it, I can say it is worth every penny!

There are several small idiosyncracies with this camera I never would have found on my own (or after much frustration), like the fact that you can't use an MLUT on monitor out if using Lens Correction (only ONE example of what I am talking about).

I love it. Doug's a rock star. Five out of five stars!

That's a great testimonial for the video, Brian! Thanks for taking the time to post.

Doug,
Do you know if Sony plans to come out with a firmware update to allow moving around the frame while using magnification? On the FS 100, you can toggle around while in focus magnification. The FS 7, unless I'm missing something, doesn't let you do this. So if you're framed up and want to magnify to check focus on the eyes, for example, you have to tilt the camera after magnifying. I did a TelePrompter shoot the other day, and it was a royal pita not being able to do what I'm used to on the the fs100.

My niece just got a job running the media dept. for the pro soccer team in Portland, Oregon. She told me they'll be getting an FS 7, so I gave her your info and told her to order your tutorial.
Bruce Yarock

Hi Bruce,

I have not heard anything from Sony about adding that capability to the FS7. That doesn't mean it won't happen if enough people ask for it, but I'm just saying I've never heard the subject mentioned when I talk to Sony.

Doug,
I followed your instructions on the 2 settings to enable out put through hdmi. It worked fine. I picked up a cheap hp monitor to use as another reference, and got no signal. So I tried the fs7 through three other hdmi devices, and nothing. I hope it's a setting problem, and not camera repair needed.
All the monitors work fine, because I checked them with the fs100.
Any ideas?
Bruce Yarock
P.s,- Still plugging away on the the tutorial. Lots of great info.

Clarification
Once I enabled the correct setting, it worked we'll for at least a week.
Bruce Yarock

Bruce,
This probably isn't the answer, but I'll mention it just in case:
Some monitors will display 30 fps video just fine, but can't display 24 fps video, unless 3:2 pulldown frames have been inserted. Maybe when putting your camcorder in some mode, it might output 24 fps without the 3:2 pulldown?

Ken,
I'm pretty sure that I've had it in the same frame rate as when it did work...24p. And my fs100 is also in 24 and plays fine, so it's something else.
Thanks for trying.
Bruce Yarock

I did some further testing , and went into the out put format. Here are my results:
1-The Fs7 is displayed on the older zacuto EVF both in 1920x1080 and 1920x1080i (2-3pd, whatever that means).
2-0n my sony 42" , model KDL 46s200, it only plays through in 1080i. Thr strange thing is that I'm almost positive that it played through before in 1080p. But I'll do a google check on the model.
3- Still nothing on the HP V242h monitor. I was told at Tiger Direct that it was 1080p, but I'll check further.

Another thing is that I don't remember going into that menu (output format) before...
Bruce Yarock

. . . 1-The Fs7 is displayed on the older zacuto EVF both in 1920x1080 and 1920x1080i (2-3pd, whatever that means). . .
"2-3pd" means "2:3 pull-down", which is really the same as "3:2 pull-down".
With some camcorders, you can switch pull-down insertion on or off, while all the time staying in 24 fps.

EDIT: Look at "Video Formats and Output Signals" on pages 94 thru 96 of your camcorder's Operating Instructions. You will see that some SDI settings will disable the HDMI output.
It looks like any "PsF" setting will disable HDMI output.

Ken,
Thanks for the info...I'll check that out.
I went to Tiger a Direct today and tried the camera through several inexpensive, but 1080p monitors, and the fs7 wouldn't play through any. Then I hooked it up to a Samsung 4 k monitor, and it played fine, both in 1920 and 4k.
Bruce Yarock

Just logging in to endorse this product: oh wow, you HAVE to get this if you are new the the Sony FS7!

I bought Doug's video for the EX3 six years ago when I switched to that camera, and it was a huge help.

So when I just got my new FS7, I wondered if he had made a video for this camera, and he had!

At first sight, the $85 price tag seemed a bit steep since the EX3 video was cheaper, but after getting it and streaming it, I can say it is worth every penny!

There are several small idiosyncracies with this camera I never would have found on my own (or after much frustration), like the fact that you can't use an MLUT on monitor out if using Lens Correction (only ONE example of what I am talking about).

I love it. Doug's a rock star. Five out of five stars!



I agree! I purchased Doug's course in anticipation of buying an FS7 and it was the best 85 bucks I ever spent. I'm out on a still shooting assignment but I brought my new FS7 with me to go through Doug's seminar with the camera in my hands. Because I have already gone through his master class twice, prior to buying the Sony, going through it now, with the camera, is much more intuitive.

Thanks Doug! Your course is excellently executed and worth multiples of the fee you have set.

Hi James, thanks for the feedback!
It is great to hear you comments and I couldn't have written a better testimonial if I had tried. I really thank you for taking the time to let me know.

Doug

Hey how about us poor people that can not afford a $15000 camera, I have purchased a few videos from you, kinda was hoping you would be doing one on the X70 / X160 / X180 as there are so many new settings from the older EX range, or maybe do a short update video on all the new paint setting in these cameras.
Regards Robert.

Hi Robert,

I really appreciate the suggestions, but I have limited time that I can devote to these training materials so I have to pick and choose which cameras very carefully based on a number of factors. For example, the FS7 book and video took over 500 man-hours to research, test, write, shoot, edit, layout, etc. That's 12 weeks of full-time work just for one camera. Not to mention the costs of buying the cameras and any additional accessories that might be needed. And then when I'm done, Sony won't help promote it, so I'm pretty much taking a big risk all on my own.

I don't know very much about the X70, but I did have an X180 that Sony loaned me for awhile and I felt that it was just too similar to the PMW-200 video I already produced. Yes, there are differences, but not nearly enough to justify investing the time and effort it would require into producing a whole new video or book. At this time, there aren't any new cameras on my radar at all.

If you want my unsolicited advice, buy an FS7. It's only $8K and you can use any SLR lens you can want. Add a couple of memory cards and you are ready to roll right out of the box with no extra accessories needed. It's a hell of a deal and the investment will pay for itself quickly. There is no camera that even comes close to matching the value of the FS7.

Hi James, thanks for the feedback!
It is great to hear you comments and I couldn't have written a better testimonial if I had tried. I really thank you for taking the time to let me know.

Doug

Dear Doug,

You are most welcome, well deserved! Feel free to use it anywhere that it might benefit your marketing. I don't think I mentioned it to you in our conversations, but I got one of the first X180 cameras shipped out (not always a good idea) in October of last year. The 180 functioned normally for about an hour, then performed as if it was possessed, turning off by itself, refusing to turn off without removing the battery, not recording, giving me warnings that made no sense, like media full with newly formatted memory cards. I shipped it back and decided to continue my search for the "perfect" camera, and as you have said, this one is pretty perfect. Interestingly, I bought an X70 to play with in the interim. I've found it to be a great little camera, obviously not within a country mile of the FS7, but for a couple of grand it is a very capable camera, takes some technique and understanding to keep from blowing highlights in certain situations, but worth the money.

JW

It's good to hear the X70 is working well for you. One thing I like about Sony is that there is a camera for every purpose and budget. I think I failed to mention that I loved the X180 and was very tempted to buy one. It certainly blows away my old EX1, but I don't have the need for a camera like that very often, so I'll keep my money in my pocket for now.

Over the Christmas break I needed to shoot some test footage ith my FS7 and one of my teenage daughters (senior in high school) said she wanted to come and shoot too. So I gave her about a 30 minute training session on the X180 and turned her loose with it. And then I gave her about 30 minutes of training in FCP7 and she edited a couple highlight reels. I think it’s not too bad for someone that never shot with a pro camera before, and nothing set to auto. Young people catch on so fast, don’t they?

https://vimeo.com/user35998281

Hey Doug,

I have been spending an hour or so each night with the FS7 and your Master Class, it's been great. I still feel like I'm drinking from a fire hose, but I think I have reached that point where I need to head out and get some real world time with it, then go back to the master class. I became familiar with this scenario in aviation, you can overload yourself with book knowledge to the point of confusion, but a little time in the cockpit brings it all into focus (as it were:).

So pleased with everything about the FS7..........................except, what was Sony thinking when they made the decision to substitute a McDonald's large drink lid for a lens cap? Really, did the marketing department take the day off when that idea was floated? They create a sensational system, I spend 15 grand right out of the gate, and I keep wanting to poke a straw through my "lens cap".

Hi Jim,

Thank you for the nice comments about the video, and I know exactly when you mean about needing to get out and put the information into action so that it can sink in. I have to do the same thing.

Doug

Good Morning Doug,

Just received the Metabones e mount adapter. Are there some issues with that unit, or are the concerns all from early units? I'd like to build an inventory of lenses, other than my Canon glass, for the FS/7, is the 16-35 OSS Zeiss unit for Sony a good choice?

Thanks!

JW

Hi Jim,

I can tell you just about anything you want to know about the FS7, but when it comes to lenses and adapters I try to limit my opinions to things I have actually used myself. And I have no experience with anything from Metabones or the Zeiss lens you mentioned. There is a time, place, and budget for almost any lens, but with that said, I personally would find a 16-35mm lens to be extremely limiting.

Thanks Doug. I'm going to play a little with my Canon glass on the FS7 and see how it goes. My philosophy has always been not to scrimp (not that my L lenses are scrimping), just bite the bullet and buy the best gear and accessories you can find. That way one doesn't find on'e self wondering where in the production chain a lack of quality is coming from.

Honestly, I'm not terribly excited about dropping 40K on my next lens, but 4-6 would be an acceptable range. I need some more experience so I don't venture out and buy something that doesn't fit my subject matter.

Jim, I agree with everything you've said.

I would start by deciding what focal lengths I needed and at what ranges where I want the focal lengths to overlap. That's very important in order to avoid constantly having to change lenses. Then I would eliminate everything that didn't have a constant maximum aperture of at least f/2.8 or maybe f/4 for longer lenses. And then I would decide what mount I wanted. And finally I would choose the best lenses I could afford that fit all the other criteria.

I can live with the following four lenses as my workhorses for 90% of everything I shoot:

11-16
15-45
50-150
300

Doug
I copied your third scene file from the field guide (Universal-1) and installed and saved it. I've been shooting a sports project for the last week, and like the scene file. Yesterday I tried to use an mlut, but when I go to the Video menu and choose "monitor Lut" it doesn't let me in. The area is greyed out and the following message pos up "can not proceed".
I didn't download the scene file from your site, but did copy it as written in your field guide. Also couldn't find answer on tutorial.
What am I not doing correctly?
Thanks
Bruce Yarock
P.S I'm getting a lot of good info both from the tutorial and field guide

I called Sony Pro services and they told me you can only use an mlut in cine I mode? Is that correct?
Bruce Yarock

Doug
I copied your third scene file from the field guide (Universal-1) and installed and saved it. I've been shooting a sports project for the last week, and like the scene file. Yesterday I tried to use an mlut, but when I go to the Video menu and choose "monitor Lut" it doesn't let me in. The area is greyed out and the following message pos up "can not proceed".
I didn't download the scene file from your site, but did copy it as written in your field guide. Also couldn't find answer on tutorial.
What am I not doing correctly?
Thanks
Bruce Yarock
P.S I'm getting a lot of good info both from the tutorial and field guide


Hi Bruce,

You can't use an MLUT at the same time you are using a Scene File, nor would you want to. It would be counter productive to do so. You can only use an MLUT if you're using the camera's Cine EI shooting mode. This point is made a few times in the training video and in my book, but I know it is a lot of information to absorb all at once so things can get a little confusing when you first start out with the camera. It might be helpful to go back and watch chapters 2 and 14-17 again. I'll bet they make more sense now that you have more experience with the camera.

BTW, don't forget that the Universal-1 scene file is going to require some grading in post, so if you're not prepared to that, you might be better off starting off with one of the other two scene files I provide because they are designed to be WYSIWYG. Good luck.

Thanks,Doug.
That's what I did...went back to those chapters and watched again. And I found the section where you specifically mention that mlut can only be used in cine I.
I had been using a rec 709 setting similar to your first scene file, but wanted to try something with slog and more latitude . Although I don't edit, my partner and also one of the guys who I hire occasionally, both edit and do grading. After some post work, we were real happy with the results, using your third scene file. I'll load the other two and try them.
Bruce Yarock

I also like Universal-1 the best. I use it almost exclusively on the FS7 and rarely ever shoot with the Cine EI mode. There are some many limitations on gotchas with the Cine EI mode that it just isn't worth the extra effort, and I'm not even sure the final results are actually better anyway even if you do jump correctly through all the hoops in post. With Universal-1 you get the benefits of S-LOG's dynamic range and highlight handling, but the grade is a lot closer to finished right out of the camera.

For times when you already know what your final look will be, I think it is better to come as close as you can to that goal right in the camera, before any compression or image degradation, and then push it over the top in post. That's my philosophy anyway and it works great with the 10-bit XAVC codecs.

Doug,
What's the 300 mil lens you mentioned?
Bruce Yarock

It's a hard to find RED 300mm f/2.9 prime with a PL mount like this one:
RED Pro 300mm Lens | Rent Red Cameras | Cine Camera (http://www.borrowlenses.com/product/camera-bags/RED_300mm_Lens)

I probably shoot more with that lens on my camera than all my other lenses combined. Beautiful images and a pleasure to work with, it is unlike any 300mm SLR lens. However, as much as I love it, I'm moving to a longer lens very soon, so if you are interested, it might be going up for sale. I'll be asking $3100 when the time comes to let her go.

What kind of adapter do you need to use that lens on fs7?
Bruce Yarock

I had an old PL to e-mount adapter made my Hot Rod Cameras that had been been sitting in a box since I sold my FS100 a couple of years ago. It suddenly found new life with the FS7.

Doug
Have you ever used any of the Alpha lenses with adapters? Any experience with the sal70-400g? It looks like it might be for good for some of the stuff I do, but I heard that there were problems with the FS7.
Plus it's not par focal, right?
Bruce Yarock

Bruce, no I don't have any experience with Alpha lenses to share. I'm sure some are good and some are bad . . . but I personally won't be investing in any Alpha or e-mount lenses because they aren't going to be mainstream enough when it comes time to move to a new camera or sell the lenses. Plus that particular 70-400 doesn't have a constant maximum aperture so that makes it dead in the water as far as I'm concerned no matter what kind of mount it has. Now that there are dozens of affordable cameras that are capable of making nice images, investing in the right lenses is more important than ever. My 2 cents.

Doug,
So for the situations where I need to be able zoom and re frame, plus need more than the 200 mm on my sony kit lenses,
I guess I'd have to do the following-
Get the 1.4 or 2x extender and use my canon 70-200 f2.8. Short of spending a huge amount of money on a cine zoom, it looks like that's my only solution. But with the Canon , you lose af. I could get an extender for my 18-200's, but at full zoom, it would be super slow...f6.3 plus one or two stops for the extenders.
Any other ideas?
Bruce Yarock

An extender on the 70-200 sounds like a good alternative if you have enough light for it. That's nice lens and you don't need the AF anyway because you will be better off in the long run weaning yourself off of AF.

Also, the FS7 may be the wrong camera for the job. You might get better results with an EX1R, PMW-160, or another camera with a smaller sensor and longer zoom range built-in. The days of one camera being good for everything are long over.

Doug,
The only other camera of that style which I own is the nx5u ( which you reccomended a couple of years ago).
I have a corporate event on the 22 and 23, where I'll be 45 feet back. Unless they're ok with a wide shot, I'll probably use the nx5.
On the 25, 26 and half of the 27th, we'll be shooting a pilot for a ocean cruise comedian show, and will use a couple of fs7's exclusively. But saturday night , we'll be shooting the actual show, and the main camera on each performer (one at a time) will be 30 feet from the stage. So I'll probably rent
1-Extender for the Canon 70-200, and
2-The Sony lens I mentioned with an Alpha to emount adapter.
3-Bring nx5
Actually , I'll probably bring both 1 and 2 to the corporate shoot also, and decide during rehearsal.
I know what you mean about one camera no longer being used for everything.
Bruce Yarock

I agree with Doug on this one. I would use a cam like the EX1 or EX3 or even a ⅔" cam with ENG lens for this type of shoot.

The large DOF makes it easy to manually focus in the changing scene. I often make mental Q-spots on stage or wherever I am shooting something like this and use my 15 cent follow focus to help nail the focus points (a Zip tie around a manual focus lens like the EXcams in full manual mode, and either a mental memory of the angle of the "post" or even a card behind it with marks) super easy for one person to run the camera and nail focus.

Even the Canon 70-200 f 2.8 is not parfocal so you can't use follow focus marks to nail focus.

AF can easily ruin a shot. With manual focus you are in charge, of course you can then only blame yourself for blowing focus. But blaming a blown shot on camera screwing up AF is a pretty lame excuse.

Thanks Olaf,
Due to budget restraints, I'll have to use my nx5u, which has a deeper dof, zooms farther, and is easier to manually focus.
Bruce Yarock

Hi Doug.
May I ask what brand of lenses you are referring too? I have been looking at the same focal lengths and as far as I am aware Tokina is offering 11-16 and 50-150 mm

The Red 300 mm is interesting but I am currently using a Canon C300 with EF so guessing that would not work well. Actually not work at all.

TokinaJim, I agree with everything you've said.

I would start by deciding what focal lengths I needed and at what ranges where I want the focal lengths to overlap. That's very important in order to avoid constantly having to change lenses. Then I would eliminate everything that didn't have a constant maximum aperture of at least f/2.8 or maybe f/4 for longer lenses. And then I would decide what mount I wanted. And finally I would choose the best lenses I could afford that fit all the other criteria.

I can live with the following four lenses as my workhorses for 90% of everything I shoot:

11-16
15-45
50-150
300

Here are the lenses that I was referring to that get me through most of my shooting, but there are many other options out there that would work:

11-16mm Duclos f/2.8 PL
15.5-45mm Zeiss LWZ f/2.6 PL
50-150mm RED f/2.8 PL
300mm RED f/2.9 PL

--

I also currently own:

35mm Sony f/2.0 PL
50mm Sony f/2.0 PL
85mm Sony f/2.0 PL

25mm Schneider Cine-Xenar f/2.0 PL
35mm Schneider Cine-Xenar f/2.0 PL
50mm Schneider Cine-Xenar f/2.0 PL
75mm Schneider Cine-Xenar f/2.0 PL
95mm Schneider Cine-Xenar f/2.0 PL

17-35mm Nikon f/2.8
35-70mm Nikon f/2.8
80-200mm Nikon f/2.8
300mm Nikon f/4

55mm Konica macro f/1.8
28mm Konica f/1.8 (my favorite lens on the A7s)
40mm Konica f/1.8
70-150mm Konica macro f/3.5
(Konica to e-mount adapter for use on my A7s and FS7 only)

18-105mm Sony f/4 e-mount
20mm Sony f/4 e-mount

11mm Canon fisheye f/2.8
200mm Canon f/2.8

And it looks like I'll be adding a Canon 200-400 f/4 with built-in 1.4x extender by the end of the month.

Plenty of lenses!