The Sony pxw FS7 records in XAVC codec on internal XQD media cards in UHDTV 4K resolution (3840×2160), and with a firm update some time this quarter it will also capture full 4K (4096×2160). It can also acquire 12 bit 4K RAW footage when it is paired with the Sony AXS-R5 recorder and the HXR-IFR5 deck. Alternatively, it is also possible to capture RAW using the Convergent Design monitor and recorder Odyssey 7Q. If its promo work or run and gun shooting the Sony FS7 also captures HD in 10bit 4:2:2, which is an amazing format for a super 35mm senor in this price range. Slow motion is capable at 60fps in 4K and 180fps at HD resolution.
Our package can include the new Sony Zoom lens 28-135mm F4 which is fully integrated with the ergonomic handgrip (Start/Stop & Zoom Control) for those that are using the camera in ENG / Broadcast mode.
Sony pxw FS7 Consultation
There have been amazing reviews about the Sony FS7, feel free to drop in and shoot some test footage with us or call and speak to one of our professional rental agents for any questions you may have regarding this camera for your next project.
Check Sony F55 Availability Here!
You can accessorize the F55 however you like that’s best for you and the job in hand, but we have put together our version and we would like to share it with you.
For this camera package we used the O’Connor 2565 fluid head on Ronford-Baker sticks with a standard Mitchell plate. Being a studio setup we decided to use 19mm rods with an additional Arri Quick Release on the bottom.
As for follow focus for this package we recommend the O’Connor CFF-1 since it is accurate, solid and can be mounted on 19mm rods, or 15mm rods with an adaptor or if you decide to use a single channel wireless focus system, the Hedén HLC-DA is a great choice.
When the camera is in studio mode with 19mm rods we used the Arri Matte Box MB-28 that comes with a rich kit of adaptor rings, hard matte mask and barn doors. When the camera is used hand-held style with the lightweight mini 15mm rods we suggest our light weight clip-on Matte Box, Arri LMB15.
An important mechanical accessory for this F55 package is the MTF lens adaptor. This mount adaptor allows you to mount Canon EF lenses on a camera that normally features a PL mount. At Hollywood Camera/Bertone Visuals we have a full set of six Canon Cinema CN-E primes that besides being 4K certified lenses they also have 11 iris blades for nice circular bokh. However, the PL mount is always an option if DP’s want to go for our Zeiss CP2, Cooke S4i or the phenomenal Leica Summilux-C.
A Full Post Production Facility on Wheels. They call it the “Dreadnought“.
A portable post production created after years of research and development by Gianluca Bertone of Bertone Visuals, the Dreadnought is the set solution that every production needs.
Simply put, the Dreadnought 4K is a mobile system that allows one to Edit, Grade (Secondary Color Correction/Power Windows) and Execute Raw Footage on LTO-5 supports.
Directors, DPs, Editors and Colorists can work from set, the production office or even back at the hotel! Post production made easy.
Powered by CUDA technology, the Dreadnought 4K can reproduce in real time any 3K/4K raw footage, like Arri Raw, Sony Raw or Canon Raw. With additional accessories, the Dreadnought can even project 4K on a big screen (Rec 709 Color Space, Ultra HD and 4K Resolution).
The Dreadnought 4K can read digital magazines from ANY 4K digital cameras (like the Sony F65), and ingests “digital assets” (i.e. footage) with 6G SAS and 10 Gigabit fiber optic technology. Rest assured that your entire feature or multi-camera commercial will be stored safely.
This is a powerful system that can transcode for dailies (Apple Pro Res, Avid DNxHD, h264 codec, etc.), and can even make a ROUGH CUT with Avid Media Composer, Adobe Premiere CS6/CC or DaVinci Resolve 11.
Finally, the entire system is transported via a Nissan Cargo Van HD3500 with hydraulic lift, and comes with a skilled technician.
I had the privilege of meeting Sean Bobbitt whilst attending NYFA during a private screening of 12 Years of Slave, which was followed by Q&A.
Sean Bobbitt has been behind the camera for a good part of three decades, starting as a news cameraman in the 1980’s. He began working as a cinematographer in the late 1990’s and it was in 2002 when he started his collaboration with Steve McQueen on films such as Western Deep (2002), Hunger (2008) and Shame (2011). It was his work on 12 Years of Slave (2013), which he is most known for and has filmmakers and cinematographers alike discussing his creative techniques.
The video is a 90 minute ARRI workshop where Sean Bobbitt was invited to discuss the art of hand held cinematography and its place in filmmaking.
It’s a must watch if anyone is serious about filmmaking, from directors to cinematographers I would highly recommend finding a spare 90 minutes sitting by yourself, or your super cool hipster film buddies, and listening in to what he has to say.
Hand Held Cinematography Video
All our products including our MoVi M10’s when returned from our clients are checked over and serviced by our service team in the rental department. Marko is checking over the MoVI M10 by Freefly Systems, making sure everything is in working order so its ready for our next client.
Check out these pictures we put up that show some of the steps needed for the MoVi M10 to be set up. Today he is testing and balancing the RED Dragon with the Leica Summicron-C 29mm lens.
The M10 is custom designed and custom built. The brushless motors are the perfect blend of performance and weight while the entire rig runs virtually silently. The M10 gives filmmakers total control over the stabilizer with multiple modes for single operators and dual operators.
A good friend of Hollywood Camera Pierre Chemaly who’s been a DP since 1992 dropped in to run some camera tests for his upcoming feature film. Pierre’s shot features/shorts, commercials and Aerial work all over Eurpoe, Africa and the US and like most has seen the transition from film to digital.
Gianluca Bertone from Bertone Visuals and Pierre discuss the pros and cons of the Sony F55 and the Arri Alexa Plus. Pierre wanted a camera package that was the best choice for the job, he wanted something lightweight and shoots 4k Raw, so he has the option to go to a theatrical release and not be restricted in quality.
Nice too see 2K, 3K, 4K, 5K, and 6K sensor size vs different film formats.
Here is a great write up regarding the RED DRAGON 6K sensor by Phil Holland.
6K is the maximum resolution of the RED Epic Dragon. 6144×3160 or 19.4 megapixels at a 1.94:1 aspect ratio.
6K is 9.36 x more pixels than 1080p.
6K is 8.78 x more pixels than 2K.
6K is 2.2 x more pixels than 4K.
6K is 1.4 x more pixels than 5K.
At 300 DPI you can make a 20.48 x 10.53 inch print from a full 6K Dragon image.
At 150 DPI you can make a 40.96×21.067 inch print from a full 6K Dragon image.
6K is 14% more resolution than 5K for a pristine full debayer down to 4K. Meaning it’s a 66.7% down sample/debayer to 4K.
If we’re thinking about a 4K finish, having more resolution effects color and luminance in a good way. It also gives a bit more freedom for creative re-framing, cropping, or leveling. Fine and high frequency details will actually down sample into 4K and benefit from that extra resolution. There are many ways to work with and finish REDCODE for screen and print use. Over sampling and the use of a debayer pattern help eliminate aliasing artifacts. If you want crisp and detailed images there’s options. If you want a smoother feel there’s options. Just depends on what you’re after and the workflow you choose.
1) Connect the camera to DC power supply
2) Complete a factory restore on Operating System
3) Set the camera project to the desired Resolution, Frame Rate, and Codec
4) Insert SSD media into the camera
5) Format the SSD using the media menu
6) Shoot 3 shots over 2 min each
7) While shooting the test shots attach a lens to the camera and remove lens cap
It is important that the test shots have variation of color, exposure, and distance to objects. I would suggest pointing the camera around the room and focusing on different objects.
This is because when the camera is only creating black pixels it isn’t really testing the camera’s ability to record an image.
We are very proud to announce the arrival of the Angenieux Optimo Anamorphic 56-152mm 2S Lens here at Hollywood Camera. Optical performance never seen before from any other anamorphic zoom, with a 2x squeeze, no ramping or breathing and a fast aperture of T:4. The unique optical design combines spherical and cylindrical elements in the same group giving this anamorphic lens exceptional sharpness and low distortion.
With a 2.7x zoom range this lens allows great flexibility for framing without needing to move the camera set up. Compact and very light, weighing in at only 4.8 lbs.
To enquire about renting this lens visit the product page by clicking here or call 818 972 5000 to speak to a rental specialists.