Action Magazine Issue 4

ction Issue 4

exploring digital cinematography & beyond

Spencer Chumbley

Documenting Conflict and Crisis on the FS7

Mark Forman zooms in with Sony FE lens Russ MacLaughlin Going Wild with Sony’s NEX-FS700R

Beyond Definition C1

LETTER from the EDITOR It’s hard to believe we’re already publishing our 4th edition of Sony’s @ction magazine. Since we first introduced this industry resource, the response from the creative and professional production communities has been terrific, and in each issue we’ve been able to highlight an incredibly diverse range of stories shared by creative users.

This 4th issue is no exception, starting with our cover story. Spencer Chumbley, an experienced journalist and filmmaker, travels to Nepal with his FS7, to document the 7.8 magnitude earthquake that devastated the region. He describes how the camera’s ergonomics helped him get through the physically and mentally demanding shoot, as he was shooting hand-held and shoulder-mount style from mountain tops to the roof of a van. He also talks about how the FS7’s 4K capabilities help him future-proof his career, making him ready to handle a bigger workload as more clients begin to require 4K delivery.

Next, we travel to South Africa, where wildlife cinematographer, naturalist and conservationist Russ MacLaughlin – a self-described “digital native” – talks about super slow motion and 4K imaging with Sony’s NEX-FS700R camcorder. He started shooting with Sony’s early SD digital camcorders then moved to tapeless, and now 4K has opened a new window to the world of nature for him. The FS700R’s fullsized Super 35mm sensor gives him amazing depth-of-field, and its interchangeable lenses, compact size and light weight make it an extremely versatile tool for operating effectively in the field – capturing cobras spitting, lion and cheetah hunting and leopards climbing trees. Oh my!

From capturing tricky shots in the field to shooting trick moves on a skateboard, Jared Prindle describes how high-quality capture technology is vital to the skateboarding community. He’s the executive director of 900 Films, which is skateboard legend Tony Hawk’s production company. For years, the company specialized in DVDs and TV work to

highlight their skills, and they’re now big into online video, with a new YouTube channel. The FS7 and its 28-135mm servo zoom lens is the new secret weapon in the company’s digital arsenal, along with the workhorse FS700 and other Sony cameras.

There’s also a Q&A with the production team at the New York Film Academy and their work with the FS7 to produce a mini-documentary series about the neighborhoods of Los Angeles, creatively telling three very different stories about people and the connections to their communities. The camera’s palette of creative options made each story come alive with its own distinct personality.

Finally, veteran shooter Mark Forman gives a technical review of Sony’s FE PZ 28-135 mm F4 G OSS Zoom Lens, and our friends at Convergent Design give an update on the Odyssey7Q+ and how it can work with Sony cameras.

Enjoy this issue, and keep us up-to-date on your experiences. Maybe we can include them in our magazine. And stay tuned for the next issue of @ction, which will feature the first production stories featuring our newest camcorder, the FS5. It’s sure to be the next exciting chapter in Sony’s professional digital imaging story.

Thank you for reading!

Chiyoko Yannette Senior Marketing Manager Professional Solutions Americas Sony Electronics Inc.

Table of Contents

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Documenting Conflict and Crisis on the FS7

11 17 27 35

Going Wild with Sony’s NEX-FS700R

My Experience with the Sony FE PZ 28-135mm F4 G OSS Zoom Lens

Sony, The Skateboarder Lover’s Camera Brand. Freestyling with the FS7.

Neighborhoods of Los Angeles: On A Journey With The FS7

The Odyssey7Q+ Unleashes the Power of the FS7 and FS700 Cameras

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* Images shown are from Gaza and Nepal.

Documenting Conflict and Crisis on the FS7

By Spencer Chumbley Spencer Chumbley is a journalist and filmmaker based in Washington, D.C. His work has been featured in VICE News, Al Jazeera English/America, The Economist, and TIME, among others. He also heads the documentary production company DISCOURSE. He’s been documenting breaking news stories all over the world including Gaza, Yemen and Nepal. Earlier this year, Spencer took his Sony PXW-FS7 to Nepal for VICE News to document the 7.8 magnitude earthquake that devastated the region.

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Documenting Conflict and Crisis on the FS7

I got my start at Al Jazeera English/America.

I remember my first digital photo camera – it was a Sony Alpha. Though I started my career as a photojournalist, I soon realized I wanted to move into video, so I taught myself to shoot on a DSLR. I never went to school for video production, so I progressed slowly into the space. I worked my way up to associate producer at Al Jazeera’s before moving on to VICE News, a web-based news agency that produces short

news documentaries. Today, I’m a freelance cinematographer and producer, continuing to work for news agencies worldwide.

When I traveled to Nepal earlier this year, it was the first time I had ever shot breaking news coverage, since I come from a background in documentary. I brought the Sony PXW-FS7 with me because I needed an ergonomic camera on what would be a fairly active shoot with a lot of shoulder-mounted work.

“I brought the Sony PXW-FS7 with me because I needed an ergonomic camera...”

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Documenting Conflict and Crisis on the FS7

The shoot was extremely difficult – not just physically, but mentally. We were documenting the impacts of a devastating natural disaster and once you got out of Kathmandu, you realized the severity of the destruction. I wanted to commiserate with those who lost their homes, but while I can sympathize, I can never truly understand the scope of their feelings.

It was very interesting to work in that type of environment from a video perspective.

Keeping with the VICE News style, I shot a

lot of hand-held, shoulder-mounted work following people in different places. In Nepal, we were everywhere – on top of mountains, in vans, on the street. I don’t think I put the camera on a tripod the entire time I was in Nepal. The FS7’s ergonomics were helpful for operating in more of a run-and-gun situation.

The camera survived some very hot days. The backwards compatibility was also a lifesaver – I was able to deliver rushes and produce footage in a simple format that could easily be used by broadcasters.

“The FS7’s ergonomics were helpful for operating in more of a run-and-gun situation.”

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Documenting Conflict and Crisis on the FS7

In the time I’ve worked as a video journalist, I’ve gotten my hands on a fair share of cameras. I went from the Sony still camera to a Nikon and then I ended up moving to the Canon C100. When younger shooters – like me – move up, we tend to stay with the DSLR brand we learned to shoot on, which was Canon. But when my workflow needs started changing, I started looking at other options. I had to be able to deliver and broadcast new codecs and bitrates, and I was starting to do more shouldermounted work. Getting certain cameras on the shoulder takes a lot of work, and I didn’t want to use external recorders when filming.

Luckily, I read and write a lot about the industry – outlets like newsshooter.com and other camera blogs. That’s part of my daily routine of keeping up with the industry and knowing what tools are available for the type of work I do. I first heard about the FS7 through these publications and the specs looked great on paper.

I held off for some time, but then my colleague got an FS7 and seemed very happy. I thought, “Well, maybe this is the camera for me.” I’m actually really glad I made the choice. A couple of different media outlets I know have switched over to the FS7 for documentary and news work because there’s a lot of value for such a small price.

Two things about the FS7 make it vital for my work. First, I’m attracted to the ergonomics of the camera. It’s laid out better for a single operator for shouldermounted work, which is a lot of what I do both for VICE News and independently.

The idea of getting a cinema camera was – in my opinion – to get better ergonomics, but still record footage that caters to a non-4K audience because I’m not shooting in 4K yet.

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“...media outlets I know have switched over to the FS7 for documentary and news work because there’s a lot of value for such a small price.”

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“...one of my favorite features is the horizontal and vertical digital levels from the viewfinder.”

I’ve made some adjustments to the camera to suit the way I work. I use a shoulder base plate and went with a different grip and configuration for the top handle so I can store it more easily.

Overall, the FS7 has a winning design.

The second selling point is that I won’t have to buy another camera when I start shooting in 4K. As a freelancer, I’ve always been very conscious of budget, so I wanted a camera that wasn’t going to get replaced or become obsolete in two years. The 1080 workflow is going to continue to happen so including features for broadcast delivery is crucial.

Honestly, one of my favorite features is the horizontal and vertical digital levels from the viewfinder. People don’t understand how 9

important it is and it’s something that often gets overlooked on pro-level cameras. I also love working with the look-up tables and color options available in the camera to get the desired look. I shoot a lot of environmental work and the FS7 has options to use slow-mo, or high frame rates. At other shoots we’ve had to rent an FS700 to do slow-mo, so it’s nice to be able to have one camera that does it all for a variety of projects.

With ergonomics that are friendly to a run-andgun shooter, a size that is easy to transport and the ability to future-proof my work as technology moves towards 4K resolution, I have no doubt the FS7 will be on my shoulder as I capture more documentaries and breaking news in the U.S. and abroad.

Documenting Conflict and Crisis on the FS7

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Going Wild with Sony’s NEX-FS700R Digital technology has created a Golden Age for documenting wildlife and a camera like Sony’s NEX-FS700R camcorder, with Super Slow Motion and 4K imaging, opens windows into worlds that could not be glimpsed before.

By Russ MacLaughlin

My passion for being a wildlife cinematographer, naturalist and conservationist started when I was growing up in South Africa. My mother is from Malawi, my father is from Zimbabwe, and we traveled throughout Africa for his conservation work. Now, my dream of sharing my love of African flora and fauna with the world has come true. For the past nine years, I have been filming wildlife documentaries for the BBC, National Geographic, Animal Planet and other networks.

I’m what you’d call a “Digital Native” – my career has coincided with the digital imaging revolution. Sony camcorders have been my goto since I started, and I always eagerly await the latest cameras. At first, digital imaging was mostly about convenience and economy.

It offered a practical alternative to film, with tradeoffs that purists raised on film found problematic. Those days are now long behind us, with the latest advances providing quality and utility, which were not possible before.

I started with a Sony PD170 DVCAM® camcorder. It was a classic in the SD miniDV era: light and reliable with great battery life that made it terrific for field use. That it was also affordable allowed me to learn my trade with 1/3" sensors with a whopping .38 megapixels. Next, I was an early adopter of Sony’s Z1U, basically an HD upgrade to the PD170 and one of the first affordable HDV camcorders. Then, I went tapeless and to full HD with Sony’s EX1 XDCAM® camcorder. Solid state recording is an important advancement because it is inherently more reliable, ending all the tape transport maintenance issues. The EX1 added depth-of-field with 1/2" sensors and the 35mps 4:2:0 recording was a great improvement over HDV’s 25mbps and 1440x1080 HD. 11

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Going Wild with Sony’s NEX-FS700R

When the FS700R was first announced in late 2013, I knew I needed to get my hands on it. It was an important leap ahead in so many ways.

Combining Super Slow Motion with the ability to shoot 4K RAW in a single camera at an affordable price makes this camcorder a reliable, practical tool to go beyond HD. The full-sized Super 35mm sensor allows amazing depth-of-field. It is also my first camcorder with interchangeable lenses so it’s a far more versatile tool. It’s terrifically compact, light and with great battery life – all essential for operating effectively in the field. Most importantly, the pictures it produces are just extraordinary.

My primary use for the FS700R is shooting Super Slow Motion. This delivers the most beautiful look and feel, especially when using the Sony FE PZ 28-135 f/4 lens. At 240fps, you gain new insights seeing cobras spitting, lions and cheetahs hunting and leopards climbing trees. These, and other animal behaviors, are simply too fast for the unaided human eye, much less traditional film, to fully capture.

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Going Wild with Sony’s NEX-FS700R

In addition to the Sony camcorder and lens, my Odyssey 7Q external recorder is an essential accessory. I put this kit through its paces on a recent project – my first filmed completely in 4K RAW. Being able to cover the rhino poaching crisis in South Africa in 4K was not only entirely enjoyable, but it will also help get attention for this issue worldwide. As 15

with adopting any new format, I was concerned with support for editing. It turns out that working with this content (in Adobe Premiere) is a breeze, easy and fast.

I often find myself on the road shooting projects and then putting together a quick edit for social media.

Now, following my experience working in 4K on

the FS700R, I have been working on additional 4K projects including a new blue-chip series on wildlife using the Sony F5 and F55 cameras. Other new dimensions for my work involve aerial filming and photography. As always, I stay on top of Sony’s latest, paying close attention to the smaller, mirrorless cameras that are ideal for drone work. I’ll soon be

working with the Sony Alpha a7R MKII, the first fullframe camera capable of in-camera 4K recording.

Next stops for me includes a trip to the Arctic to film polar bears, then onto the deserts of Namibia.

Throughout, I’ll have my trusty FS700R by my side.

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My Experience with the Sony FE PZ 28-135mm F4 G OSS Zoom Lens

By Mark Forman of Mark Forman Productions, Corp.

Photos: Š Mark Forman Productions, Corp.

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My Experience with the Sony FE PZ 28-135mm F4 G OSS Zoom Lens

For motion and still photography, I have used many lenses over the years. In most cases a lens is better at either still or motion picture work, but not both.

Focus barrels on still lenses have a small angle of rotation, while motion picture lenses have focus barrels with a greater degree of rotation, usually 300 degrees. A motion picture zoom lens also needs to keep the subject in the center while zooming. These lenses do not breathe appreciably, which is a plus when using a cinema lens.

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Until now, to achieve this, full frame lenses were usually more than $10,000 and made in very limited quantities – a very expensive proposition for the average shooter.

The Sony FE PZ 28-135mm lens achieves many of these goals at a much lower cost, coming in around $2,500. As expected, at this price point there are some compromises, but it held its ground when compared to many lenses that cost a significant amount more. The lens is f/4 and covers only 28135mm, where other lenses usually go wider in

now, to achieve this, full frame “Until lenses were usually more than $10,000 and made in very limited quantities... “ both the aperture and zoom range. Those lenses for the most part weigh more and require lens rods and adaptors to safely use them with Sony FE and E mounts.

The 28-135mm can be directly mounted to any Alpha camera, including the Alpha 6000. It is also the kit lens that comes with the Sony PXW-FS7K and communicates seamlessly with all lens controls on that camera and handgrip.

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My Experience with the Sony FE PZ 28-135mm F4 G OSS Zoom Lens

My personal experience with this lens is using it in conjunction with my Alpha 7S and Alpha 7R Mark II. I also have more limited experience with it on the FS7.

Last fall, when the lens was introduced, I got to play with an early prototype on a preproduction FS7, which prompted me to think about getting 21

it. A lot of people said the lens was too big for stills work, but I saw potential for using it when shooting with both of my Alpha 7 cameras. Those same people also said the front heavy camera would be unwieldy. I chose to give it a try to find out and decide for myself, as I was considering the 28-135mm, as well as the Sony-Zeiss 24-70mm f/4.

people said the lens was too “Abiglotforofstills work, but I saw potential for using it when shooting with both of my Alpha 7 cameras.

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I ultimately opted to buy the FE PZ 28-135mm lens this March and waited for it to arrive. I received it the day before I flew out to Las Vegas to cover the NAB Show for Film and Digital Times.

NAB turned out to be a good way to use it – so good in fact, that I kept the lens on my Alpha 7S for nearly the duration of the 5 days I had to shoot stills and

video. You can see the shots for NAB Days 1, 2, 3 and at the 40th anniversary of the Steadicam.

The only real issue I found at NAB was the near focusing distance, which is a little longer than I like in some situations. It is 0.95 meters at tele and 0.4 meters at wide (Sony specifications).

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ultimately opted to buy the FE PZ “I28-135mm lens ... NAB turned out to be a good way to use it – so good in fact, that I kept the lens on my Alpha 7S for nearly the duration of the 5 days I had to shoot stills and video.

“

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My Experience with the Sony FE PZ 28-135mm F4 G OSS Zoom Lens

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My Experience with the Sony FE PZ 28-135mm F4 G OSS Zoom Lens

The maximum aperture of f/4 never was an issue, nor was the 2.5 pound weight of the lens.

The lens hood is well designed and attaches via a bayonet mount.

I grew to like hand focusing with it and used it almost all the time when photographing product.

Focus is achieved using a silent servo and is incredibly smooth, to the point I could focus on an exact part of the frame very easily. To turn on manual or auto focus, the focus ring slides forward or backwards on the lens barrel.

Optical filters have a 95mm diameter thread to mount to on the front of the lens.

I did not have many issues with flare and internal reflections were minimal in my experience. If I were to describe a look I would say it has the

Zooming is also on a servo control and is a little slower than I liked, but it really did not stop me.

You have a choice of using the zoom ring, a side mounted lever or externally on handgrip of the FS7.

One issue I encountered was that the lens clamp could have been a little tighter so I ended up shimming it slightly to achieve the proper tension to prevent any movement.

to describe a look I would “IfsayI were it has the qualities of an Angenieux – very clean with no reduction in color intensities...

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qualities of an Angenieux – very clean with no reduction in color intensities, very pleasing throughout.

Other things I liked are the large diameter rubber focus and zoom rings, plus the dedicated aperture ring. I also liked the stabilization, which can be shut off if needed.

I also have used the lens with my Alpha 7R Version 1 in Manhattan and I can say it does resolve very well at 36 megapixels and 42 megapixels on my Alpha 7R Mark II. To see more details on Sony’s 28-135mm lens click here.

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Sony, The Skateboarder Lover’s Camera Brand

Freestyling with the FS7

By Jared Prindle Executive Director, The Ride Channel Producer and Director of Photography, 900 Films, Inc.

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Sony, The Skateboarder Lover’s Camera Brand

As a lifelong skateboarder, the Sony brand has always been rooted in our community. Skateboard kids were brought up shooting videos on Sony gear, especially the VX1000, which was the iconic skateboarding camera of a generation. Many people all around the world still use that camera for its look, as well as its long history associated with the skateboarding lifestyle.

I too began filming on a Sony, when I was 14, starting with the Handycam line and recently moving up to a combination of Sony’s latest professional cameras to capture skateboarding in its true element. My newest camera of choice is the PXW-FS7K. I’ve had a little bit of proper professional training through school, but a majority of my skill has come from learning to look at my footage and trying to change it and make it better going forward.

sports as proper as possible, by working with the actual athletes.

For the past four years, a majority of our focus and attention has been on web videos, but we remain dedicated to the same principle of capturing action sports from the participant’s perspective.

Our main platform is YouTube, where we run The Ride Channel, which just recently hit the one million subscriber mark. In addition to the YouTube channel, we have a website, TheRideChannel.com, and we partner with Complex Media in New York to create content for the channel. In a given year, we post about 800 videos, a third of which we create in-house. Because we are continually making content, every single day, it is important to have tools that can keep up with us.

Currently, I run 900 Films, which is Tony Hawk’s production company. Tony started it because he wanted some control over the videos of himself that were getting out to the public. At the time, there weren’t many production companies that really understood skateboarding and he felt it was an opportunity to do a better job portraying the sport and also work with other skaters who had experienced the same frustrations.

A lot has changed since we began 16 years ago.

For example, DVDs were a big part of our initial business. We had several best-selling discs on trick tips and capturing tours, and we did a lot of television work. When we began, we never really intended to create scripted programming or web videos, but as technology evolved and the sport changed, we became committed to making action

The FS7 is the secret weapon in our arsenal. While it is evident that the camera and its lens are amazing for interviews, and there are many people using it for that purpose, I feel that very few people are using it in the same way that we do – to shoot skating.

When I first read the specs for the FS7,

I said “wow that seems like an amazing camera for the money.

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The FS7 camera and its 28-135mm lens offer some pretty exciting features that continue the long-standing tradition of skateboarding and Sony going hand in hand.

The FS7 camera and its 28-135mm lens ...

continue the long-standing tradition of skateboarding and Sony going hand in hand.

Growing up filming, the newer, better products were always enticing to me, but not always entirely cost-effective or necessary. Our company was quick to get into HD, but we hadn’t made the jump to 4K yet – until now. When I first read the specs for the FS7, I said “wow that seems like an amazing camera for the money.” I had been using Panasonic’s HVX200, which I bought the first week it came out and I literally went around the world in eight days with that camera. I learned it well, editing in the back seat of a road race that went around the world. That was a great camera for what we did, for the time, but as 4K becomes an inevitability in this line of work, we needed to upgrade.

For us, the idea of shooting 4K in the camera itself was a really big factor in choosing the FS7. In addition, the camera has a higher bitrate and the picture is just beautiful. It’s definitely a step up, all around.

It is great to be able to shoot 4K in-camera, just for the sake of saving time, being able to go back in and crop it, and having an image that is easy to work with and manipulate based on our needs. That’s another great thing about 4K, not just exporting in 4K and making a 4K file, but saving time when you’re shooting certain things. Even though we can put out videos in 720p or 1080p, having so many extra pixels is almost like having a second camera. For example, I was shooting art at a big event for Tony’s foundation and we had a limited time to shoot all of the pieces and do close-ups, so we shot in 4K and got the most out of it – a wide shot and a tight shot all in one.

We also own and currently use Sony’s NEX-FS700 and have for quite some time. We use it for shooting high speeds, which was the main reason we initially chose that camera, and we still actively use it for that purpose and love it. Mixing and matching footage from the FS7 and FS700 is really easy and looks seamless, which is another benefit.

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Sony, The Skateboarder Lover’s Camera Brand

In addition, we use Sony’s A7S when we need something small, compact and portable and Sony’s Action Cam for time-lapse videos.

Interestingly, this is another reason we chose to use the FS7 and the other Sony cameras. They all shoot, handle and look really similar, in addition to working really well together. All my Sony cameras, to be honest, excel at shooting in low light, especially with that S-Log picture profile. There is a certain “Sony look” that I like and that I’m used to and with the S-Log straight out of a camera it winds up being a look you can create in post.

Another great feature on the FS7 are the neutral density filters that pop-in. After holding a tight camera like an A7S and thinking, “I’m shooting in low light and there is nothing this camera can’t do,” you realize it would be nice to have some ND filters, and it would be nice to have bigger manual controls that you don’t have to go into menus for.

Big manual controls aren’t something that sounds appealing to a marketing team, but it’s probably one of the most important features when you need it. When you have to make a change on the fly, the last thing you want to do is go through a bunch of menus. I know it’s boring, but those types of tactile buttons are so important to me. Being able to set a menu up for yourself, with

Another great feature on the FS7 are the

neutral density filters that pop-in.

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the assignable buttons, is a great and thoughtful feature.

We have a ramp in our office that’s 14 feet off the ground and we’ll actually skate on the deck and shoot on the top platform of the ramp, while the skateboarders are doing tricks. The FS7 is especially great for shooting in this manner and environment. The camera is a nice, small, contained package and produces a really great image despite the poor standard fluorescent lighting in our office above the ramp. The skating area, which in addition to being 14 feet tall, is almost 100 feet wide and about 40 feet in length, so it’s a big surface area to cover

for us, and it has great ergonomics. The weight is really centered on the handle itself and when you have a short lens – we are usually shooting with wide angle lenses – it’s just a great package that works for something like that.

You’ve just got to be super nimble and in a warehouse-like setting and we are able to do it easily with the FS7.

the FS7 helps us achieve that.

Where a lot of filmers and DPs build out their cameras with long rods and a mattebox and focus pull, we generally keep our cameras really small since we are actually skating while holding the cameras. We’ve got to keep up with the action, and it’s not something I could get a dolly or a car for. You’ve just got to be super nimble and the FS7 helps us achieve that. The idea that we can have a camera with a little handle on top is ideal 32

Sony, The Skateboarder Lover’s Camera Brand

The 28-135 mm powered zoom lens that comes with the camera is awesome. I love using it for long lens shots, like when one camera might be on a tripod and one rolling around on a dolly. It is really ideal for interviewing. I do interviews on that camera for a show that takes place in my office. For interviews it’s the best lens we have.

It makes my life easier because of the servo zoom and it makes it easy for shooting an hour and a half interview show. It’s nice to be able to punch in and pull out in a simpler way than just rolling the manual zoom.

Another overlooked and underappreciated feature that I like is the level check on the batteries. I’m never hooked into the V batteries or wired through AC. I like to use the small battery because we tend to want a smaller package. For whatever reason, Sony batteries always seem to be the best of all the brands I’ve ever had. Having the gauge on there is so simple and wonderful, and Sony does so many things like that. Whether you are skating or in the field, if you have a battery in the camera and one in your pocket you’re all set. It’s these small conveniences that are great to me and Sony really excels at that.

In my decades of observing skating, I’ve learned that you can’t just tell someone to do something amazing on a board, on command.

It takes months and months of practice and trial and error. The same is true with capturing skateboarding. You can’t necessarily spend time setting up and finding a spot that looks great. It’s much more organic than a director saying “roll” and then capturing the action. Everything is on the fly, and for me the spontaneity is what I love about it, and I’ll never tire of it. While I may not be a skate kid of 14 any longer, I still get that same familiar thrill when I know I’ve shot something amazing, something that may have never been captured on film before. I’ve managed to catch these once in a lifetime moments again and again on Sony camcorders, and I hope to for years to come.

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I’ve managed to catch these once in a lifetime

moments again and again on Sony camcorders...

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Neighborhoods of Los Angeles: On a Journey with the FS7 Q and A with a New York Film Academy Cinematographer The New York Film Academy gathered an award-winning team of industry professionals, including Director Nick Sivakumaran, Producer Ana Menendez and Cinematographer Travis Hoffman to produce a mini-documentary series about the neighborhoods of Los Angeles. Three very different people shared their stories and the story of their community. Each episode, told with cinematic flair and shot with the new Sony PXW-FS7K camera, guides the audience on a journey to discover the authenticity and soul of each neighborhood. This Q & A with Cinematographer Travis Hoffman documents his work with the Sony FS7.

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Neighborhoods of Los Angeles

Cinematographer Travis Hoffman

This is an interesting documentary idea. Why did you choose to shoot with the FS7?

Travis Hoffman: We are doing a cinematic docuseries highlighting the different boroughs or districts of LA to give people a feel of the art, culture and vibe of each area. We wanted to keep a high production value with cinematic content, not the reality TV look, since we are coming from a background in film, and teaching it at a school. I worked with Sony’s PMW-F55 and F65 before and really loved the cameras all around, but I knew for this we needed something more run-and-gun, something a little more non-modular – something we could work with on the fly, but also be able to build in more of a studio setting in a controlled environment. We completed tests with the F5, but felt the FS7 worked out perfectly, not only for the run-and-gun and on-the-fly footage, but also the set up that offered a cinematic feel.

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Director Nick Sivakumaran

Producer Ana Menendez

Did you use the FS7 to capture in 4K or HD? TH: We shot in 4K, but also used the S-Log3 and S-Gamut3 color space and gamut space. I was absolutely blown away.

The sensor holds an unbelievable amount of latitude, especially when we were runand-gun on the streets. I didn’t have a lot of time to control the lighting, but at the end of the day, we were pulling 14 stops out of the image and it really gave me a lot of control as a cinematographer to move fast and get a high production quality.

“We shot in 4K, but also used the S-Log3 and S-Gamut3 color space and gamut space. I was absolutely blown away. The sensor holds an unbelievable amount of latitude...”

How many cameras were you using overall?

TH: For our more cinematic b-roll and interviews, we had two cameras set up.

We built the FS7 into an ENG-style camera and put it on a slider and a dolly in a studio configuration for more controlled situations. It was so functional and easy to use. It made our days and helped us keep the production values we are used to.

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Did you use the 28-135mm, powered zoom lens?

TH: Yes. I was actually really surprised. The 28-135 was extremely useful and had a wide range of focal lengths to use for the medium wide to longer shots. Nowadays digital lenses are almost too snappy. What I really liked about this lens was that it was very natural, with cinematic roll-off that you don’t find today in newer lens designs. This really helped the image quality without use of filtration. This lens gives a realistic reproduction of the world around us.

“The skin tone reproduction and the color rendition is extremely impressive ... This camera does a really good job of giving the natural reproduction of the world out there which is hard these days.“

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What features are most useful for you?

TH: The build of the camera is absolutely brilliant. It reminds me of the F55 because the smart set of the camera is very user friendly, whether I have an AC or I’m by myself. I can easily navigate through the menu settings. Everything is very quick and very customizable. The ease of using it for either an ENG or a run-and-gun type build was ideal. You could break it down, put a follow focus and a mattebox on it and use it for more of a studio setup. It’s light, but it balances really well. Many newer, more modularly designed cameras have a front balance issue and can be very taxing after a whole day of shooting. I felt I could put this camera on my shoulder for 12 hours – it was great.

I also really liked the S&Q function on the camera – it made it extremely easy when the director wanted to hop into slow-mo real quick. I had it programmed at the touch of a button and could jump into 48, 60, 36 – whatever frames he wanted for that shot and then pop back out to 24 for when we continued shooting.

You also mentioned about the hand grip and arm earlier, the design and ergonomics. How did you find this helpful while shooting?

TH: I usually work with separate proprietary hand rigs, but I really loved the design of the new hand rig on the FS7. Not only the ease of where to put it – it’s quick, easy and I can adjust it on the fly – but also

“The ease of using it for either an ENG or a run-and-gun type build was ideal.”

there are so many customizable functions within that handgrip. I don’t have to take my eyes off of the viewfinder and can control everything right off my right hand, which is extremely useful. I also absolutely loved the color and gamut space.

Can you talk about the imagery the FS7 produces?

TH: The skin tone reproduction and the color rendition is extremely impressive. In the digital age, where we are going, digital cameras have a really tough time rendering skin tones and rendering colors true and not too “digital.” This camera does a really good job of giving the natural reproduction of the world out there which is hard these days.

Lastly, I really loved the built-in LUTs. I think they were absolutely genius. For me as a cinematographer it is really, really important to preserve the maximum amount of an image as we can get, especially with digital. I call it the digital negative, compared to film, and I loved that I could shoot in the log, raw format. Clients can view everything in the Rec 709 like an HD television, and what they see is near to the final image.

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Neighborhoods of Los Angeles

Indoors, outdoors, interviews, on the street – Tell us how the camera performed in each of these conditions. Could it seamlessly transition from one setting to the other?

TH: It was a seamless transition between setups outside and inside. Really quick and easy. Whenever we were inside we had the follow focus trigger built on, but also quick release ready to go. So once we were finished with our interviews and our cinematic b-roll inside, we just popped it off, threw on the handle and changed if the director needed any kind of slow-mo. We wouldn’t have been able to meet the production needs and pace without this camera.

It helped not only with keeping time and pace and transitioning from cinematic setups to more of our run-and-gun setups, but also keeping up the high production values we’re all used to.

Can you talk about the performance of the XQD memory cards?

TH: The XQD cards were amazing. We were in the highest quality you could get without the external recorder and I was getting through the entire interview – about 33 minutes per card. There are also dual slots so we could have two cards loaded at the same time. It was really useful because we could keep rolling and rolling and let the director get

what he needed out of the talent without having to stop to say, “Hey wait, we need to change the cards.”

Those are things you have to do with other cameras.

Any final comments from your side?

TH: From a cinematographer standpoint, I’m extremely, extremely pleased with the camera. Like

“We wouldn’t have been able to meet the production needs and pace without this camera. It helped not only with keeping time and pace and transitioning from cinematic setups to more of our run-andgun setups...“

I said, I’ve worked with the F65, F55 and F5 before and I’ve been really happy with those, so this is a new and versatile tool in my arsenal.

The final content can be viewed in a web series premiering on www.nyfa.edu.

“It was a seamless transition between setups outside and inside. Really quick and easy.

Whenever we were inside we had the follow focus trigger built on, but also quick release ready to go.

So once we were finished with our interviews and our cinematic b-roll inside, we just popped it off, threw on the handle and changed if the director needed any kind of slow-mo.”

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The Odyssey7Q+ Unleashes the Power of the FS7 and FS700 Cameras

By Mitch Gross Director of Communications Convergent Design

The Convergent Design Odyssey7Q+ Monitor/Recorder is designed as a companion tool to any camera. But it is the most integrated with two versatile cameras from Sony, the NEX-FS700R and the PMW-FS7. Paired with either of these cameras, the resulting system offers some of the most powerful and varied production tools in the industry.

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The Odyssey7Q+ Unleashes the Power of the FS7 and FS700

Recording The prime benefit to pairing an Odyssey7Q+ with an FS7 or FS700 is the expanded range of recording formats and frame rates allowed. With the Odyssey RAW Bundle enabled on the Odyssey7Q+, the FS RAW 12-bit linear data outputs from the cameras can be utilized. Note that the FS700 must be an “R” model or have been upgraded to an “R” model by Sony and the FS7 requires the XDCA Extension Unit to output RAW data.

Both cameras can output 4K RAW at 23.98p (24p), 25p, 29.97p (30p), 50p and 59.94p (60p). This can be recorded by the Odyssey7Q+ as uncompressed CinemaDNG RAW data files, or processed into video and recorded in Apple ProRes (422HQ, 422, or 422LT). In Apple ProRes, the 4K can be reformatted to UHD, or the signal SuperSampled to a high quality 2K or HD. Both the FS7 and the FS700 can also output 2K FS RAW at high speed frame rates. The Odyssey7Q+ can record 2K RAW as CinemaDNG files at all frame rates the cameras can output. For processing and recording in HD Apple ProRes, available 2K frame rates are 100p, 120p, 200p and 240p. By recording HD 240p Apple ProRes, the pairing of either an FS7 or an FS700 with an Odyssey7Q+ achieves a new benchmark in performance. No other camera, recorder, computer system or any other device can capture HD Apple ProRes at 240p.

When recording in Apple ProRes, the Odyssey7Q+ can note the FS700 Picture Profile setting in the camera and emulate it for recording in the video file.

S-Log2, IT709 and IT709(800%) will all be recreated in the 4K/UHD/2K/HD Apple ProRes recording.

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The FS700 has an additional recording function.

The camera has an internal memory buffer that allows it to capture 440 frames of 4K FS RAW at 100p or 120p. The Odyssey7Q+ can capture this short burst of 4K high speed material and record it as 4K RAW CinemaDNG, 4K Apple ProRes, reformatted UHD Apple ProRes, or SuperSampled 2K and HD Apple ProRes. The Odyssey7Q+ has two SSD card memory slots with memory available in 128GB, 256GB, 512GB and 1TB sizes. This allows for exceptionally long record times in all formats. The Odyssey7Q+ supports both Convergent Design SSDs as well as qualified 3rd party media. For an up to date list please visit www.convergent-design.com.

“The prime benefit to pairing an Odyssey7Q+ with an FS7 or FS700 is the expanded range of recording formats and frame rates allowed.�

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The Odyssey7Q+ Unleashes the Power of the FS7 and FS700

Monitoring The Odyssey7Q+ is also an exceptional onboard monitor. It features a 7.7" OLED screen for true blacks and accurate colors. The Odyssey7Q+ is the only onboard monitor to allow viewing of the full 17x9 image from a true 4K or 2K source. The Odyssey7Q+ will also send a 17x9 letterboxed within a 16x9 signal out its two SDI and one HDMI outputs so that other monitors can see the full frame coming from the camera. If an anamorphic lens is used on the camera, the Odyssey7Q+ also features an Anamorphic De-Squeeze menu with six different monitoring options for popular modes. The de-squeezed image is again viewable both on the OLED screen as well as over the SDI and HDMI outputs. There is no other device that offers this functionality.

There are numerous exposure tools built into the Odyssey7Q+ that complement the FS7 and FS700 cameras. False Color, Zebras, Waveform, Histogram and Vectorscope all allow detailed analysis of the camera output. For focus, a three-mode Focus Assist and a Pixel Zoom that can magnify up to 12x allows precise focus control.

The Odyssey7Q+ includes the powerful Odyssey LUT System, which is directly integrated with the capabilities of the FS7 and FS700 cameras. S-Log2 and S-Log3 are both supported with presets in the LUT menu. Many cinematographers enjoy the look of these cameras when overexposing in a log mode and then darkening the image in post, so the Odyssey LUT System also includes Exposure Compensation LUTs in one-stop and two-stop overexposure for converting either S-Log2 to LC709A or S-Log3 to LC709A. Additionally, up to 140 custom 3D-LUTs can also be loaded into the Odyssey7Q+. The selected LUT can be applied individually to the OLED screen, the Odyssey exposure tools, and each of the three video outputs (two SDI and one HDMI). Combined with the MLUT viewing capabilities built into the FS7, this offers an unprecedented powerful monitoring capability in a single camera system.

Battery plates are available to power the Odyssey7Q+ from the same battery types as either the FS7 (Sony U-series) or FS700 (Sony L-series). Only a single type of battery and charger are needed for the camera system.

The Odyssey7Q+ monitor/recorder compliments the Sony FS7 and FS700 cameras in ways no other device can. It is an excellent monitoring and exposure tool, utilizing aspects of the cameras’ outputs like no other device does. It is a powerful recorder, capturing all of the output capabilities of these cameras and even interpreting them into additional formats. Together they can capture in ways unavailable in any other system.

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“The Odyssey7Q+ is the only onboard monitor to allow viewing of the full 17x9 image from a true 4K or 2K source.�

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Š2015 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony, DVCAM, XDCAM, and the Sony logo are trademarks of Sony Corporation.

All other trademarks are the property of their respective owner.