ENG/EFP with an FS7?

[Peter Newsom]

Does the SDI port of an FS7 output 1080 60i HD, regardless of whether you record progressive HD, or 4K? Is it the same with an FS5?

A lot of my work gets fed through a Dejero box to a TV station, and all they want is 1080 60i for their broadcast. However, I would like to shoot some things in slow or fast motion or various progressive rates and have it converted to 60i, while hopefully preserving the look.

Still trying to decide on which camera to buy, FS7 or 5. Difficult choice for me for some reason.

[Jack Zhang]

FS7 has more weight to it which makes it better for EFP/ENG run and gun with less rigging. Also, believe it or not, the FS5 does NOT support legacy XDCAM codecs the stations all request. The FS7 does support XDCAM HD422 if you need to FTP the files. Also supports V-mount with the extension module.

The FS7 has 2 SDI outputs with assignable output options, which you can limit some outputs to 1080i for 4G streaming. One can go to a non-Sony EVF if you choose, the other goes to the streambox.

[Peter Newsom]

Thanks Jack,
I have had the opportunity to bring home both the FS5 and the 7 for a few days at a time, and I now have a pretty good idea of how I would find the physical aspects of each camera in the field. Both have their charms and drawbacks.

The FS7 to me represents a firm move up into 4K shooting, which at the moment I don't really have a client base for. However, I am a believer in the 'build it and they will come' philosophy, and can certainly make a personal argument to choose this camera. There are a few things that I am not crazy about, though none of them deal breakers.

Mostly what I don't like is the feel of the switches, particularily the joy stick, the lack of a strap on the hand grip, and the slowness of the two rotary wheels that control audio and iris. Also setting this camera down involves repositioning the arm to the rear or forward plus a grip adjustment.
Other than those things I like the FS7 a lot.

On the other hand, the FS5 is a joy to behold and to handle, especially after years of lugging twenty pound broadcast cameras around. It was love at first sight when it came out of the box. It took some time to sort out how best hold it, but once I figured it out, I was able to get very smooth shots in various positions and on a monopod. The switches and hand grip have been improved from those of the FS7, and no doubt the next version of the 7 will reflect this evolution. However, the FS5 seems more rooted in the HD world with some capability in 4K, which is a little worrisome, whereas the FS7 is full blown 4k.

The newer formats that each of these cameras offer don't concern me too much because typically what Sony offers gets accepted in the broadcast world sooner or later. When I bought my f350 I was concerned about it only offering a 420 35mbs codec, only to see broadcasters happily accept 6mbs h264 transmissions over FTP or SDI through a Dejero box at 6mbs. Things change.

If I stay rooted in the HD world, the FS5 offers me a nifty addition to my f350 package with each camera complementing the other's strengths and weaknesses. The FS7 on the other hand is a departure for me, that while pricier, is likely to stay relevant a little longer over the next few years. However, being in my early 60's some would say that buying green bananas is a bit of a risk.

I hope to move towards independent documentary production in the arts and commercial world in parallel with my current broadcast work and either camera will likely fill the bill.

So I guess it is down to which wins, my head or my heart.