Sony PXW-FS7 II Digital Cinema Camera
Street Price: $8,499
Since its announcement in 2014, the Sony FS7 has become one of the most popular digital cinema cameras on the market today. Featuring an impressive specs list that has yet to be matched by any camera under the $10K price point, the FS7 has become a favorite of many filmmakers and cinematographers in the commercial and documentary worlds. During that time the FS7 has also become one the leading go-to cameras for some of the most influential church film teams across the country, as well.
In November of last year Sony announced the forthcoming release of the much-anticipated FS7 II XDCAM Super 35 Camera System. We had a chance to spend a couple of weeks putting this iteration of the camera through its paces in order to get a better idea of the new and improved features. After spending significant time with the FS7 II we came away convinced that it could represent an essential step up from the original FS7.
The Big Picture
Rather than being positioned as a replacement or upgrade, the FS7 II is designed as a complimentary version intended to exist alongside the original FS7. Instead of introducing incremental upgrades to a set of specs that have already set the standard in its price range, with the FS7 II Sony has focused instead on improving the camera’s ability to film in documentary and ENG filming styles. From a technical perspective, the FS7 II features almost the identical core specs as the original FS7, with a few additional features and improved ergonomics for hand-held filming. Both cameras are built arounda Super 35mm sensor capable of capturing footage at a full 4K resolution. The camera records at extremely robust codecs up to and including 10-bit 4:2:2 color space. It also captures up to 14 stops of dynamic range internally when recording to the XAVC-I codec.
The camera can film internally up to 60fps at 4K resolution, and up to 180fps when filming in HD.
Another highlight aspect of the FS7 II is its ability to film in extremely high frame rates. The camera can film internally up to 60fps at 4K resolution, and up to 180fps when filming in HD. The HD frame rate can be pushed even higher, up to 240fps, when using the Sony raw external recorder. Even better, filmmakers can choose to record HD footage using the full sensor area, or by using a center crop of the sensor for a one-to-one pixel representation. The FS7 II records data to dual XQD cards, either in relay mode or simultaneously. Having to use proprietary cards can often feel like an unnecessary premium, but Sony’s XQD are actually a better value than the CFast 2.0 or expressP2 usually required to film 4K resolution at higher frame rates. While you wouldn’t want to make a camera decision based solely on the price of recording media, when memory card prices actually turn out to work in the system’s favor it’s a nice bonus.
Camera Improvement
So if the original FS7 still represents one of the best cinema camera values on the market, why would Sony need to roll out a new version of the camera at all? The answer to this question becomes much clearer after spending some time filming with the camera, especially in hand-held situations. For most users the biggest improvement to the new FS7 II will be the integration of Sony’s Variable ND technology. On most cameras users have the option of three or four levels of ND filtering in order to knock down light hitting the sensor. With Sony’s Variable ND technology cinematographers can dial in exactly the amount of ND needed for the shot, without having to compromise any other exposure settings. It’s one of the camera’s killer features, especially for filmmakers who spend a significant amount of time shooting outdoors.
We loved the ability to set the camera to Auto Variable ND, which allows for filming run-and-gun with the aperture wide open without worrying about over exposing. Another new feature on the FS7 II is the new locking E-mount that significantly improves the strength and stability of the lens mount. This could be an important factor for filmmakers using heavier cinema-style lenses that require the extra reinforcement. In practice the mechanism does feel absolutely rock solid, but the tradeoff is that mounting process is a bit more cumbersome.
In the Field
One of the most striking aspects of the original Sony FS7 was how the camera was designed to quickly transition from a traditional form factor into a shoulder-mounted configuration, without the need for external hardware. The FS7 II takes that concept a step further with some new ergonomic improvements. The rail that mounts the viewfinder to the camera has been squared off, which allows the operator to be sure the viewfinder stays level to the camera itself. The FS7 II features a new side arm design that can now be adjusted without the need for additional tools. The side grip has also been redesigned, and features two assignable buttons for pulling up features like focus assistance or exposure tools.
After having the chance to film with the FS7 in a variety of environments it’s clear that a lot of thought and effort has gone into improving the FS7 II’s shoulder mount ergonomics. The camera isn’t necessarily heavy, but it weighs enough to feel right at home on a shoulder. The side grip includes full menu control, so filmmakers can make most system adjustments without even having to take the camera off their shoulder. For filming outdoors Sony has included a unique hood that mounts to the FS7 II’s viewfinder. It’s a design choice that will feel familiar to users of Sony’s previous FS100 and FS700 camcorders. This device blocks out glare from any external light sources, allowing users to see the viewfinder clearly.
While the solution works in most scenarios, we sometimes experienced significant fogging on the glass element when filming in humid conditions. The menu system is vintage Sony, which will some users will likely find frustrating the first few times they try and navigate it. The FS7 II has a lot of options packed into it, but finding what you’re looking for can be a bit difficult to get your head around initially. It’s fine once you get the hang of everything, but first-time users will want to give themselves a day or two to get oriented.
All about the Image
While specs and features matter, the most important feature of any camera is the footage quality, and it’s definitely where the FS7 II shines most brightly. The imagery coming off this camera is gorgeous, and it’s the reason the original FS7 has become one of the most in-demand digital cinema cameras on the market today. The footage certainly has that trademark Sony look to it, but the dynamic range of the files means filmmakers will have a lot a latitude to push it in whatever direction they wish. The camera films in two basic modes: Custom and Cine-EI. Contrary to what its name might imply, Custom mode is more of a standard, what-you-see-is-what-you-get way of shooting.
On the other hand, Cine-EI is designed for filmmaking. This means that footage shot in this mode will likely produce the best end result, but will also require a significant amount of color grading in post. Of course, there’s no such thing as a perfect all-around camera, and while the FS7 II shines in a number of fronts, its biggest weakness is the quality of footage filmed in low-light scenarios. For some users this may not be a big issue, especially for those filming mostly in daylight or controlled lighting situations. But filmmakers who depend on filming in sub-optimal lighting may find themselves a bit disappointed with the noise levels present in the footage.
Optional Sony Servo Lens
For the purposes of this review Sony also included the Sony E PZ 18-110mm f/4 G Lens, an optional add on that can be purchased as a kit with the FS7 II. The E-mount lens is a solid option for documentary filming, with a constant f/4 aperture across its wide zoom range. It also features a built-in servo motor zoom, which can be controlled from the camera’s side handle, top handle, or from a rocker built directly into the lens itself.
The E PZ 18-110mm f/4 G features three dedicated rings for manual control of the lens’ iris, zoom and focus settings. It also includes Sony’s Optical SteadyShot, which can be engaged to help stabilize the shot and reduce blur with filming in motion. Unfortunately, the lens has a minimum focal distance of 16 inches, which is the only real disappointment on an otherwise stellar piece of glass. Best of all, the lens itself weighs only 2.4 pounds, making it ideal for longer, ENG-style filming sessions.
In Conclusion
As we mentioned earlier, at $8,499 the Sony FS7 is already widely considered one of the best camera values anywhere near that price point. Given that the FS7 II maintains that same great footage quality, the important question becomes whether the improved features merit the new $9,999 price point for. Depending on the type of filming you gravitate to, the answer to this question could either be a resounding “yes,” or it might be a “probably not.”
The FS7 II represents one of the best choices currently available to church film teams looking for a camera that can switch-hit between cinema and documentary-style applications.
If your work often finds you filming outdoors in a run-and-gun shoulder mounted configuration you will definitely want to go with the FS7 II. The Variable ND technology, along with the improved ergonomics of the camera, makes the decision a very easy one. On the other hand, if most of your work involves mostly locked down shots in environments where lighting is well controlled, the original FS7 may be just the camera you need. For most church film teams, flexibility is one of the most important factors in any camera purchase decision.
Many teams want a camera that can film both narrative projects and concept work, but also excels at event work like filming baptisms, summer camps and outreach events. For these kinds of teams, the power and flexibility of the FS7 II may actually make it the more attractive option of the two. Either way, the FS7 II represents one of the best choices currently available to church film teams looking for a camera that can switch-hit between cinema and documentary-style applications.
The Sony FS7 II XDCAM Super 35 camera system retails for $9,999; the bundle including the Sony E PX 18-110mm f/4 G lens sells for $12,999. Visit www.sony.com/fs7ii to find out more.
