FX-7 for dance recitals at DVinfo.net

David Stoneburner · January 5th, 2009, 01:28 PM

I shoot a couple of dance recitals every year, currently with a DVC-80. Although I'm not delivering HD, I have been thinking about shooting HD. I have experience with the Z1u and was wondering if anybody has used the FX-7 for stage events. Things like a dance recital or Nutcracker ballet performance. Any input would be appreciated.

Adam Gold · January 5th, 2009, 02:43 PM

I use two FX7s paired with two FX1s for stage shows. The FX7s perform outstandingly if there's enough light. Very clear, sharp, crisp images -- sharper than the FX1 by a wide margin -- and the colors pop. Just don't expect to shoot in zero light. Gain up to 9db almost invisible in terms of grain.

Just lock them on indoor white balance, activate SPOTLIGHT and perhaps CINEMATONE GAMMA, and shoot away on full Auto.

David Stoneburner · January 5th, 2009, 03:14 PM

Thanks for the quick reply. I'm thinking about upgrading and I like the price point of the FX-7's. I'm also interested in the Panny 150's but they are out of my price range, with the return on they type of extra work that I do.

Robert Altman · January 6th, 2009, 09:46 AM

I have shot a lot of dance with the FX-7. Excellent camera--VERY under-appreciated IMHO!

My one recommendation is to use manual exposure instead of Auto--I do this with indoor WB, but not the spotlight function. Cinema Gamma crushes the blacks too much, you loose too much detail. Use the zebras @100% and the histogram to make sure your exposure is good.

Victor Wilcox · January 6th, 2009, 04:45 PM

Robert,

I just got my FX7 in November.

Do you recommend turning the enhanced contrast off in low light? I seems to also crush the blacks.

Arkady Bolotin · January 7th, 2009, 03:58 AM

I’m not Robert, but I can answer your question too.

I think that the widespread judgment of CINEMATONE Gamma as a setting crushing the picture blacks too much is ... a little bit exaggerated.

Just look please at these two attached screenshots; the left one was made in the standard video mode, and the right one was captured when CINEMATONE Gamma plus SPOTLIGHT were activated (in such mode the function of enhanced contrast is unable).

Robert Altman · January 7th, 2009, 09:36 AM

I will stick with my feeling that cinema gamma is best left off. I am comfortable with Final Cut's 3-way color corrector, and I will adjust blacks/midtones/highlights there in post--trying to get as much info on tape initially to work with. If the blacks are crushed before hand you can never get that data back.

I do leave the contrast enhancer function on--it is supposed to protect the highlights from blowing out, but I have to be honest that I haven't checked that myself.

I still advocate setting your exposure manually--theatrical spotlights etc. can make your auto exposure function do too much intrashot adjusting.

My 2 cents.

David Stoneburner · January 7th, 2009, 11:51 AM

Good information. Currently I shoot with a DVC-80. I prefer to run my exposure manually and do a white balance at center stage with full stage lights. If I can't get the white balance, then I use the indoor setting on my GL-1 but the 80 doesn't have a way to lock it into the indoor. Of the 2 pictures I think the one on the right looks better.

Robert Altman · January 7th, 2009, 01:21 PM

Superficially the one on the right will grab your eye--it has the greatest dynamic range, with the blacks crushed.

The problem is when you use the cinema gamma on scenes that are darker you may have a lot of picture information in the crushed black portion of the curve that is gone forever. It is in bright scenes where you have a lot going on in the brighter areas that the crushed black works. In darker scenes you have to stretch out all of the picture info in the dark areas to create more image.

So, I would rather leave myself the option to crush the blacks in post!

Leslie Wand · January 7th, 2009, 04:59 PM

Quote:

Originally Posted by Robert Altman

So, I would rather leave myself the option to crush the blacks in post!

agree completely! you can't get back what's not there, but if it's there in the first place you can manipulate it to whatever you want (or it will take ;-))

leslie

January 5th, 2009, 01:28 PM	#1
David Stoneburner Major Player Join Date: Jun 2003 Location: Orlando, FL Posts: 493	FX-7 for dance recitals I shoot a couple of dance recitals every year, currently with a DVC-80. Although I'm not delivering HD, I have been thinking about shooting HD. I have experience with the Z1u and was wondering if anybody has used the FX-7 for stage events. Things like a dance recital or Nutcracker ballet performance. Any input would be appreciated.

January 6th, 2009, 04:45 PM	#5
Victor Wilcox Major Player Join Date: Sep 2006 Location: Iron Horse Guest Ranch, Waller County, TX Posts: 340	Robert, I just got my FX7 in November. Do you recommend turning the enhanced contrast off in low light? I seems to also crush the blacks. __________________ Vic Wilcox, http://wilcoxvideoproductions.com/Default.aspx Sony FDR-AX100, DJI Phantom 4 Pro, GoPro Hero 8 Blk, Vegas Pro 15, DaVinci Resolve 18

January 7th, 2009, 03:58 AM	#6
Arkady Bolotin Regular Crew Join Date: Sep 2008 Location: Beersheba, Israel Posts: 111	I’m not Robert, but I can answer your question too. I think that the widespread judgment of CINEMATONE Gamma as a setting crushing the picture blacks too much is ... a little bit exaggerated. Just look please at these two attached screenshots; the left one was made in the standard video mode, and the right one was captured when CINEMATONE Gamma plus SPOTLIGHT were activated (in such mode the function of enhanced contrast is unable). Attached Thumbnails

January 5th, 2009, 02:43 PM	#2
Adam Gold Inner Circle Join Date: Jan 2007 Location: Woodinville, WA USA Posts: 3,467	I use two FX7s paired with two FX1s for stage shows. The FX7s perform outstandingly if there's enough light. Very clear, sharp, crisp images -- sharper than the FX1 by a wide margin -- and the colors pop. Just don't expect to shoot in zero light. Gain up to 9db almost invisible in terms of grain. Just lock them on indoor white balance, activate SPOTLIGHT and perhaps CINEMATONE GAMMA, and shoot away on full Auto.

January 5th, 2009, 03:14 PM	#3
David Stoneburner Major Player Join Date: Jun 2003 Location: Orlando, FL Posts: 493	Thanks for the quick reply. I'm thinking about upgrading and I like the price point of the FX-7's. I'm also interested in the Panny 150's but they are out of my price range, with the return on they type of extra work that I do.

January 6th, 2009, 09:46 AM	#4
Robert Altman Regular Crew Join Date: Jun 2007 Location: New York Posts: 28	I have shot a lot of dance with the FX-7. Excellent camera--VERY under-appreciated IMHO! My one recommendation is to use manual exposure instead of Auto--I do this with indoor WB, but not the spotlight function. Cinema Gamma crushes the blacks too much, you loose too much detail. Use the zebras @100% and the histogram to make sure your exposure is good.

January 7th, 2009, 09:36 AM	#7
Robert Altman Regular Crew Join Date: Jun 2007 Location: New York Posts: 28	I will stick with my feeling that cinema gamma is best left off. I am comfortable with Final Cut's 3-way color corrector, and I will adjust blacks/midtones/highlights there in post--trying to get as much info on tape initially to work with. If the blacks are crushed before hand you can never get that data back. I do leave the contrast enhancer function on--it is supposed to protect the highlights from blowing out, but I have to be honest that I haven't checked that myself. I still advocate setting your exposure manually--theatrical spotlights etc. can make your auto exposure function do too much intrashot adjusting. My 2 cents.

January 7th, 2009, 11:51 AM	#8
David Stoneburner Major Player Join Date: Jun 2003 Location: Orlando, FL Posts: 493	Good information. Currently I shoot with a DVC-80. I prefer to run my exposure manually and do a white balance at center stage with full stage lights. If I can't get the white balance, then I use the indoor setting on my GL-1 but the 80 doesn't have a way to lock it into the indoor. Of the 2 pictures I think the one on the right looks better.

January 7th, 2009, 01:21 PM	#9
Robert Altman Regular Crew Join Date: Jun 2007 Location: New York Posts: 28	Superficially the one on the right will grab your eye--it has the greatest dynamic range, with the blacks crushed. The problem is when you use the cinema gamma on scenes that are darker you may have a lot of picture information in the crushed black portion of the curve that is gone forever. It is in bright scenes where you have a lot going on in the brighter areas that the crushed black works. In darker scenes you have to stretch out all of the picture info in the dark areas to create more image. So, I would rather leave myself the option to crush the blacks in post!