I recently purchased an FS7 and I had a few questions about the Shooting Mode and Color Space. I read the user guide and searched online, but I couldn't find anything that really broke each of these options down so that I could understand.

Basically, I would like some suggestions on what Shooting Mode and Color Space I should be using for a feature documentary (run and gun). We have an experienced colorist that will be grading the film using DaVinci Resolve so I want to shoot with settings that give him the most range and options in post. I'm shooting with the XAVC-I and MPEG HD 422 codec.

Specifically I would really appreciate some clarification on the following areas:

Shooting Mode - Custom or Cine El?
Color Space - S-Gamut/SLog2 / S-Gamut3.Cine/SLog3 / S-Gamut3/SLog3?

First of all, don't use the MPEG HD422 at all because it's only 8-bit. The MPEG codec is great when you're baking in the final look, but it's not designed for serious grading in Resolve

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


Doug

Are you sure about this though? Why is is called Mpeg HD422 if its 4:2:0 ?

Matthias,

Yes, you are correct. Thank you for catching my mistake. I hope you don't mind that I have edited my first post to avoid any further confusion.

MPEGHD422 does have 4:2:2 color sampling, but since it's still only 8-bit it still shouldn't be used where serious grading will be needed in post.

I wasn't even aware of the 8-bit issue with MPEG422. Good thing I ordered the XDCA Brick right away.

The answer to the OP Question would interest me also. Everybody is seemingly loving the Cine EI Mode with Slog3 for biggest latitude and most filmic look if I'm not mistaken.

The camera hasn't shipped to me yet and I enjoyed your first free chapter for the FS7. Do you adress the Shooting Modes in relation to latitude and color in further chapters?

Regards from Germany!

Just to be clear, you don't need the XDCA extension unit to get 10-bit. The MPEG formats are 8-bit, but almost all of the XAVC formats are 10-bit and you can record those internally without the XDCA.

There is no easy answer to the OP's original question and my advice can't be summed up in a brief online forum post. However, my training video goes into a lot of detail about Cine EI vs. Custom Shooting mode and the differences between various settings. But if you are looking for a head-to-head comparison of every combination of settings the camera offers, this is not that video. I spend most of the time describing the differences, explaining my reasons for choosing one set of settings over another in different shooting situations, and then I recommend the specific settings and workflows that I have chosen.

http://www.vortexmedia.com/DVD_FS7.html

.

I bought Doug's master class on vimeo and it answered every single question I had about the fs7. It was worth every penny.

I went on a documentary shoot last week and I captured some of the best footage I've ever taken. The fs7 is hands down one of the best camera options on the market for documentary filmmakers.

Thanks Oliver. That is the best kind of feedback to hear.

If you haven't already check out Hingsberg's Cinema Blog.
hingsberg's cinema blog | Toronto Based Award Winning Producer & Director of Photography (http://www.hingsberg.com/)
There's a ton of overlap with these cameras!