FS7 Mark II or FX6 as B cam for F55?

Samuel Berger · September 24

I've started planning the workflow for the web series I'm involved in. I know I will be needing a B cam for the production, which will be shot in ProRes 4444 on the Sony F55. Do you think the FX6 can match the older Sony color science, or would I need to go back in time for that? Would a FS7 Mark II be a better choice? I actually am planning on a C80 down the road but I think that keeping it Sony would maintain the integrity of the colors. @Tyler Purcell

Giray Izcan · September 24

I would just get an fx6 between the two - matching any one of those two to an f55 wouldn't be a problem.

Edited September 24 by Giray Izcan

victor huey · September 25

depends on your lens, FX6 is FF sensor, FS7 is s35 as is the F55, so depending on the lens you own or intend to buy. I have F55 and Fs7 and can use all my S35 lens, I dont intend to buy new FF lens sets, but as the Chinese continue to come out with affordable FF lens sets, it makes one consider the choice. My major investment over the years has been in S35 lens, so I will stick to S35 bodies for now.

Edited September 25 by victor huey

Samuel Berger · September 25

I've been watching some videos on YouTube and the FS7 II looks smudged. It also has complete junk AF. The FX6 seems like it's the way to go.

Nicolas POISSON · September 25

Just in case: the FX6 can shoot in S35 mode, but the resolution is then limited to 2K (same on the A7s3).

Samuel Berger · September 25

43 minutes ago, Nicolas POISSON said:

Just in case: the FX6 can shoot in S35 mode, but the resolution is then limited to 2K (same on the A7s3).

I actually intend to deliver in HD. 4K for me is really just for reframing. Has 4K delivery become the standard yet, or is everybody still delivering HD?

Edited September 25 by Samuel Berger

Samuel Berger · September 25

Now this is really cool, I heard that the FX6 will soon have the ability to record BRAW via Blackmagic's video assist. Huge if true!

Tyler Purcell · September 26

10 hours ago, Samuel Berger said:

I actually intend to deliver in HD. 4K for me is really just for reframing. Has 4K delivery become the standard yet, or is everybody still delivering HD?

Honestly, 6k or 8k for acquisition and 4k for finish/delivery, is basically what everyone should be doing today. The only reason why it's not done as commonly is thanks to the modern Arri's being stuck at 4k. Any show shooting on an alternative camera, is going to shoot in 6k or 8k. I prefer 8k for post, but 6k is adequate for slight cropping here and there, with 4k deliverables.

My first entirely 8k show was in 2021, 8k in and 8k out. Since then, I have helped many people conform their 8k shows to 8k deliverables. The reason why is very simple, 8k is beyond future proof. We will all have 8k TV's in a few years, as they'll stop making 4k ones. They need 8k to differentiate what you can buy on physical media, from what they can stream to you in the house. So the days of "just 4k" are actually behind us in my opinion. The industry has been nearly entirely 4k for the last decade and now it's moving on.

So yea, HD today is basically 480i and 4k is the industry standard, the "new" HD. The reason why is very simple; bandwidth. HD bandwidth is horrible, it really is pitiful on streaming platforms. When you finish in 4k, the bandwidth is so much higher, the streaming looks WAY better, night and day honestly, even if you still deliver in h264 like I do. I have yet to find any benefits in .h265 deliverables FYI OR uploading Pro Res, there really aren't any benefits. But HD vs 4k, it's night and day, even if you're only playing back in 1920x1080. So most companies will require scripted or documentary series to be delivered in UHD. Things like game shows and unscripted, generally deliver in HD still today. Shit, even my races have been shooting and streaming in 4k since 2016.

So yea, HD = dead.