Sigh… Sorry about the bad headers thing. That’s an annoying interaction between my iphone and my mail server that happens when I reply to long email chains. I’ve yet to find out why it happens

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This was the main reason why I got the FS5 instead - you can record RAW straight from the camera to a suitable external recorder without needing this extra piece of Sony gear. Jessica

Note that to record RAW the FS7 must be using the $2000 XDCA back - to an external recorder. Jesse David Harris Cinematographer | Editor - NYC

That’s when you’d switch to the F5 (same sensor as FS7, better ergonomics) and it supports the Sony recorders and O-XCN. Of course with a $7K recorder you're no longer in the $10K camera

Correct - and as an FS7-specific conversation no disagreement… though I wonder if a Sony O-XCN recorder will be available as a piggy-back the way the Odyssey does… I would think not - why would

>>>And recording RAW on an Alexa does use much more storage space than ProRes 4444, and it adds up on a feature film, especially when one considers that 3 copies, minimum, are required for securely

Hard drive storage is now only around $30/TB. Sony RAW is about 2 hours / TB = ~ $15/hour (minimum wage in some places). 3 copies x $15 = $45/hour. I really

You make the assumption that the cameras internal colour science in moving from native sensor colourspace to a defined log colourspace does the job well. As you know there are many ways to massage a

ProResRaw is also supported in Scratch and BaseLight. ----------------------------- Rakesh Malik about.me/WhiteCranePhoto Director of Photography, Colorist http://WinterLight.studio

If one is shooting a project that will be color corrected in post, if often doesn’t matter much if one records RAW vs LOG. When one records RAW, one still needs to de-mosaic the image before actual

Don’t forget that The FS7/FS5 etc can now record ProRes Raw via a Shogun, CDNG is not the only choice. A very nice format that gives a very compact and easy to work with 12 bit raw file. At the

That’s a fair distinction. However, at the below $10K market these options are limited. We were speaking of the FS7, which does not record RAW natively but can via the Odyssey record CDNG. It also

Don’t conflate RAW with uncompressed. I just shot a Sony Venice job and recorded X-OCN LT which is the most compressed of the three “flavors” of RAW (ie not de-bayered) recording formats

It’s not so much the ability to process RAW, but the card space on set and the transfer times (assuming you use CDNG RAW files). The FS7 gets heavy use in the corporate editorial and general

That's not unreasonable, and no doubt most would agree. Polaroid championed the one step approach -- shoot/bake(develop), and while I enjoyed playing with black and whites back in

Add the FS7 to that. It can record RAW (via extension unit) and has the same sensor as the F5. Though it’s hobbled by providing only 12bit linear RAW signal, which may disqualify it for some people,

As per your previous comment, it's the Reds that Sony produces that IMHO causes more workflow issues than anything else. Natively they're outside 709 space. If you use RAW then you can manage that

Yes, as does F5/55 RAW. The beauty of shooting RAW is that as color science improves, so do your old shots. Noel SterrettAdmit One Pictures

I agree 100%. Best reds I've ever seen from Sony. Noel SterrettAdmit One Pictures