FREE Metabones EF Adapter w/ Fs7 & Fs5 Is Back!

For a while Sony had been running a promo where you received a free Metabones EF lens adapter with an Fs series of camera. However, they discontinued the promo a few months ago. The good news is the promo has just been brought back. Now, when you purchase any Fs7 or Fs5 camera, as well as the Fs700 and EA50, you qualify to receive a FREE Metabones Mark IV EF adapter.

It is important to note that this is a MAIL-IN claim system…. the adapter is not in the camera box. This has tripped up some buyers who were planning on using the adapter with the camera immediately only to discover that it takes 4-8 weeks to receive the adapter.

However, we’ve been helping customers out with what i call the Metabones buy-back plan. If you need to use a Metabones adapter right away simply buy one at the time you buy the camera. Then, when you receive your free Metabones adapter via the mail in 4-8 weeks, i’ll buy it from you. That way you get to start shooting with the adapter right away and it doesn’t really cost you anything additional in the end.

You can buy take a look at the Sony Fs7 here and the Sony Fs5 here.

Also, for any customers who purchased a Sony Fs series camera between May 10th and July 31st when the Metabones promo was suspended, Sony is officially honoring your claims for the FREE Metabones adapter.

TO RECEIVE THE REBATE BY MAIL:
1) End User must purchase a Sony NEX-EA50M, NEX-FS700R, NEX-FS700RH, PXW-FS5, PXW-FS5K, PXW-FS7 or PXW-FS7K series professional camcorder during the promotion period from a Sony AuthorizedReseller. Eligible product must be ordered by and shipped to the end user withinthe promotion period in order to qualify for this rebate.
2) End User must fill out online rebate claim form at Sony
Complete the online claim form and hit the “Submit” button to process the submission.
Print your Online Rebate Submission Form.
3) End User must send printout of completed online form, entire ORIGINAL UPC product code label from thebox of the Sony eligible camcorder purchased (photocopies of UPC not accepted), and a copy ofpurchase invoice from the same Sony Authorized Reseller, Reseller of a Sony Authorized Distributor orSony to Sony End User Award Headquarters at the following address, postmarked no later than November30, 2016.

mb_ef-e-bm2_01

Updated Breakdown of Sony CineAlta Camera Financing Options

With the announcement of the new Sony PXW-FS5 we’ve touched up our breakdown of the monthly payments and interest rates on the most popular Sony cameras via Sony Financial Solutions. All of these Sony CineAlta cameras have a 0% interest option. Our most popular financing term length is 36 months. At 36 months you can get one of the new FS5 cameras for only $171 a month. The FS7 comes in at only $245 a month. And the F5 is $491 a month.

We’ve been working with Sony Financial Solutions for over 5 years now. The low interest financing is a great solution for any one who is thinking about jumping into a new camera but is on the fence about price points. Perhaps you’d love an FS5 but you can only spring for an a7SII budget. Or you’re debating between an FS5 and an FS7? With around $70 a month difference it becomes a lot easier to justify moving up. Even if you have $10,000 in cash in the bank, why spend that all on front on a camera body when you could do the 0% financing and spread that out over 12 months.

The application process is simple. It takes about 3 minutes to Sony On-Line Credit Application. By simply filling out the application you’re not agreeing to anything, it is completely commitment free. If you chose not to keep going with the financing process the application simply is canceled after 90 days. Apply now and we’ll have your results back in less then 48 hours. And of course, let us know if you have any questions at all. That’s what we’re here for.

NEX-FS700r Body Only $123/month at 6.2% 36mo
NEX-FS700rh 18-200 Lens Kit $141/month at 6.2% 36mo
PXW-FS5 Body Only $171/month at 6.2% 36mo
PXW-FS5K 18-105 Lens Kit $187/month at 6.2% 36mo
PXW-FS7 Body Only $245/month at 6.2% 36mo
PXW-FS7K 28-135 Lens Kit $321/month at 6.2% 36mo
PMW-F5 Body Only $491/month at 6.2% 36mo
PMW-F55 Body Only $864/month at 6.2% 36mo

NEX-FS700r Body Only $334/month at 0.0% 12mo
NEX-FS700rh 18-200 Lens Kit $384/month at 0.0% 12mo
PXW-FS5 Body Only $467/month at 0.0% 12mo
PXW-FS5K 18-105 Lens Kit $509/month at 0.0% 12mo
PXW-FS7 Body Only $667/month at 0.0% 12mo
PXW-FS7K 28-135 Lens Kit $875/month at 0.0% 12mo
PMW-F5 Body Only $688/month at 0.0% 24mo
PMW-F55 Body Only $1,208/month at 0.0% 24mo

CineAlta

All About the Convergent Design Odyssey 7Q+

Convergent Design has begun shipping the new flagship model of the Odyssey Family of Products, the Odyssey7Q+. The Odyssey7Q+ expands on the capabilities of its predecessor the Odyssey7Q, while maintaining all of the functionality, performance and ease of use. The addition of HDMI 1.4b input means that the Odyssey7Q+ can capture 4K and Ultra-HD video over HDMI.

With the addition of 4K/UHD recording over HDMI, the Odyssey7Q+ continues to be the most advanced, most capable, most versatile monitor/recorder in the world. The Odyssey7Q+ can record HD/2K/UHD/4K. It can record them via SDI and HDMI. It can record RAW (with Record Options), uncompressed DPX, and Apple ProRes 422 (HQ). The Odyssey7Q+ weighs a little over one pound, is just one inch thick and can run on any power source from 6.5-34 volts.

The Odyssey7Q+ offers uncompressed HD/2K recording in DPX stacks as well as HD/2K/UHD/4K video recording in Apple ProRes 422 (HQ), all included in the unit. In addition, Record Options for the Odyssey7Q+ are available for purchase. Options include ARRIRAW (ALEXA), Canon Cinema RAW (C500), FS RAW (Sony FS7 & FS700) and POV RAW (IO Industries and Indiecam cameras). In addition to capturing RAW data from these cameras, on certain cameras the Odyssey7Q+ also supports converting the RAW data into video and recording it as UHD or HD Apple ProRes 422 (HQ).

The Sony FS RAW recording option will deBayer the RAW data and convert it to a 1920×1080 video signal for viewing on the Odyssey7Q’s OLED panel as well as output over the Odyssey7Q’s SDI and HDMI ports. The Odyssey7Q will also playback recorded Sony FS RAW files, and allow switching between Sony S-log, REC709 and REC709 (800%) images.

The Sony FS cameras can output Sony RAW in 4096×2160 (4K) or 2048×1080 (2K). Frame rates in 4K are up to 60p and in 2K up to 240p. On the FS700 there is also burst mode to allow brief 4K shooting at up to 120p. Sony RAW is recorded by the Odyssey7Q in 12-bit .DNG files and is readable in any post program capable of reading Cinema DNG files.

The Sony FS RAW record option also features a unique “4K2HD” mode. A 4K RAW data signal is deBayered and converted to 4K video, then super-sampled to a high quality HD video signal, which is then recorded as Apple ProRes 422(HQ) in HD up to 60p.

The FS cameras will be compatible with 4K RAW to 4K Apple ProRes. A 4K RAW data signal is deBayered then the high quality RAW signal is compressed to Apple ProRes 422(HQ) in Ultra HD 3840×2160 up to 30p.

Odyssey 7Q+

All About the Sony XDCA-FS7 Expansion Module

The Sony XDCA-FS7 is perhaps one of the most intriguing parts of the new FS7 camera. By building certain key features into an optional expansion dock Sony is able to offer the FS7 camera body at a lower price with out cannibalizing their other cameras. The FS7 camera sells for $7,999, the expansion module sells for $1,999. Together this puts the camera system at about $10,000, in between the $6000 FS700 and the $16,500 F5.

But what does the XDCA-FS7 module do? And, most importantly, do you need to buy one? The module is wonderfully designed fitting seamless onto the back of the camera, only adding a couple of inches and about a pound to the overall size of the camera. It attaches the the camera via a custom multi-pin connector that transfers all data and power. It is not some ungainly “rig” that needs another 4 pounds of rods and rails to hold it together.

The module enables several key features. It upgrades the cameras battery system from the BP-U series batteries to V-Lock brick batteries. This will allow you to use full size batteries capable of delivering true all-day runtimes. It also ads 4-pin DC power input and 4-pin Hirose power output for expanding the power options of the FS7 even further.

Probably the biggest feature that will draw most people to the XDCA-FS7 is the enabling of 12-bit RAW output of the camera. With out the module the camera can output uncompressed video via SDI but the module allows for 4K RAW to be output at 12-bit sampling up to 60fps. It also allows for 2K 12-bit output up to 240fps. When combined with the Odyssey 7Q recorder/monitor this becomes a very powerful acquisition tool. The FS700 can natively output 12-bit RAW to external recorders, the F5 can natively output 16-bit RAW to be recorded. By making the RAW output an optional module for the FS7 it allows people who won’t use it to skip it and save some money at the same time.

The XDCA-FS7 also contains a codec board for Apple ProRes 1080p encoding. By attaching the module to the back of the camera the camera now has the ability to record ProRes in-camera, natively, to the same XQD cards that you would normally record XAVC to. It’s very similar to what Sony has done with the F5 & F55, selling optional ProRes boards that, when installed, provide fully native ProRes recording in-camera.

Finally, the XDCA-FS7 provides studio-style connectivity for multi-camera live switching productions. This includes Gen-lock, Reference, & Timecode in and output. This completes the true “broadcast” feature set of the camera, putting it on par with larger, more expensive broadcast camera connectivity.

FS7 Expansion Module

All About the Sony PXW-FS7

Physical Design

The FS7 has a unique new compact design meant to be used on the shoulder “out of the box” with a built-in adjustable grip and handle which features zoom control (for compatible lenses). No rig required. The camera has 4 built-in ND’s which are mechanically switchable with a dial similar to the one on the F5 and F55. The LCD viewfinder comes with a newly designed attachable loupe. The camera has been purpose-built to provide a versatile range of creative shot options while sitting comfortably on the shoulder, even after hours of operation. The supplied grip, easily adjustable viewfinder and fully-sealed, die-cast magnesium chassis have been designed to provide robust usability in dusty or humid environments and for ‘run and gun’ applications.

The FS7 grip, designed for easy handling and oper- ability, is the result of exhaustive consultation with vid- eographers and cinematographers, as well as the pro- duction of various prototypes.The shape supports long periods of camera use and flexibly accommodates subtle differences among various users’ gripping styles. The angle of the grip can be easily adjusted with the press of a button. In addition to a zoom button and Rec Start/Stop, the grip also has several programmable buttons that can be customized for easy access to any other functions such as the focus magnifier function.

The length of the arm section of the FS7 can be ad- justed just by turning a knob. Another knob at the joint makes it easy to adjust the angle of the camera. So a user can choose a comfortable style that suits his or her physique and shooting position. The FS7 is equipped with a shoulder pad for stable shoulder-style shooting. Users can also choose oth- er supported shooting styles including handy style, chest style (using the curved rear part of the FS7), tripod shooting, etc. depending on conditions.

What it Records

It can shoot 4K in XAVC (up to 600Mbit/s in 60p, 300Mbit/s in 30p) in 10-bit 4:2:2 I-Frame in up to 60 frames per second. It can shoot slow motion in up to 180fps in proper 1080p resolution, also in 10-bit 4:2:2 I-Frame 100Mbit/s compression . Support for QFHD 3840 x 2160 resolution is available now but 4096 x 2160 resolution support will be provided by firmware update scheduled for early 2015. The camera can or will support for a variety of recording formats including XAVC Intra, Long GOP, MPEG HD422 (XDCam422) and Apple ProRes 422 (some codecs available early 2015 by firmware update).

SlowMotion up to 180fps or even Full High Definition with 60/50 progressive frames is possible. By using the optional extension unit FS7 is capable of natively recording in Apple ProRes 422 codec, planned to be available in early 2015 by firmware update. In addition the optional extension features optional RAW interface, meaning the PXW-FS7 is capable of 4K/2K 12-bit RAW recording up to a maximum 240fps with the Convergent Design Odyssey 7Q.

Sensor, Media, Lens Mount

The FS7 features the same image sensor that is found in the much more expensive PMW-F5. The PXW-FS7 is able to capture great image quality without needing significant lighting support. It has high-speed image readout characteristics, such as 240 fps while recording 2K RAW on an external recorder, responsive sensitivity (ISO 2000) and a high signal-to-noise ratio. The PXW-FS7 supports QFHD up to 60 fps with an upgrade to 4K 4,096 x 2,160 resolution due to be made available in early 2015.

The FS7 uses Sony’s Alpha E-mount system. There is a wide variety (and growing number) of high quality light weight lenses that are natively design for the E-mount system. The E-mount features a very shallow flange. When this is combined with the nearly universal compatibility of the Super35mm size image sensor the camera can be adapted to nearly any lens mount in the world. It is very common, and easy, to adapt the E-mount to Canon EF, Nikon F, Arri PL, or even Sony’s Alpha A-mount lens lines.

The FS7 uses a media called XQD. This is not a proprietary media card. Rather, it was developed in conjunction with the Compactflash Association to be the Next Generation media that takes over as Compactflash reaches its final limitations. XQD gives the necessary read and write speed to handle the very high bit rate XAVC codec at the high frame rates that todays media professionals require. The FS7 features two internal XQD memory card slots.

PXW-FS7

Why Sony is Set to Take Over the Cinema World

Here’s an interesting editorial by Noam Kroll.

Since their release of the initial 5D MK II and continuing on until just a couple of years ago, Canon had the strongest foothold in the low-budget market. In 2011/2012, just about everyone I knew owned a 5D, and many of those shooters eventually moved on to Canon’s cinema lineup (namely the C100 and C300). Once Canon’s development and innovation started to plateau though, lots of shooters started looking for other solutions. Many went to smaller companies like Blackmagic/RED, others turned to Panasonic (in particular the GH4), and some have simply been hanging on to their Canon gear, waiting for something else to come along. For those that are in the latter category – it’s looking like Sony may be offering the exact tools that they have been waiting for.

My rationale behind that is pretty simple – Sony is covering every last corner of the camera market, and doing an exceptional job at it. They now have one of the best DSLRs (or DSLMs) out there – the A7s, the incredibly powerful and affordable FS7, numerous broadcast cameras, and their cinema lineup (F5/F55), just to name a few key highlights. The fact that they are not only covering the needs of such a wide spectrum of filmmakers, but also pushing ahead technology (by offering unmatched lowlight performance, high frame rates and more) is simply staggering.

Read the rest here. Post by Eric C. Petrie

FS7 w/ Servo Zoom

Zacuto Reveals Recoil Rigs for Sony FS7 CineAlta Camera

With this First Look video of the Sony FS7, Zacuto shows us how this camera can be used with the new Recoil system. Using just a few elements, you can turn your Sony FS7 into a Recoil rig that offers true balance and camera control for the cinema verite style set up. The camera is wonderful but it’s important to understand that when a shoulder pad is in the back you are holding the camera up, not operating a balanced camera. Moving the camera back causes some issues because you need to move the grip and EVF forward. Watch and see how we can solve these issues in various ways. Post by Eric C. Petrie

 

First Look at the Sony Fs7 from Zacuto from Zacuto on Vimeo.

Sony XQD Cards In-Stock Can Mean Only One Thing….

Look what i got in-stock today. The newest generation of Sony’s XQD media cards are in stock on my shelf. Of course these media cards are required for the new Sony FS7 digital cinema camera. Now that i have the cards i just need a camera to put them in. The cameras should be in-stock soon. I’m still filling back orders… slowly. By the way, currently the price on the XQD cards are: $799 for a 128GB, $359 for a 64GB, and $165 for a 32GB. With the FS7 in 4K at 30p each minute of footage equals 3GB of data. So a 128GB card will give you about 45 minutes of footage. To pre-order your FS7 please email me at epetrie@provideoandtape.com or call me at 503-598-9142 . Post by Eric C. Petrie

XQD in stock

Sony PXW-FS7 Launch Party & Workshop

I’m extremely excited for the new Sony PXW-FS7 CineAlta camera. It’s poised to be one of the biggest cameras on the market for the next few years. To celebrate this I’ll be hosting a launch party and workshop for the FS7 sometime around the end of January. I haven’t locked down the details yet. I’m completely open to suggestions. I want to have plenty of hands-on access for as many people as possible to really play with the camera. I want to have a real-world user who’s worked with the camera talk about his or her experiences, good and bad. And I want it to be a social event with food & drink. Stay tuned for more details. If you have something you’d like to see at this event let me know, epetrie@provideoandtape.com . Post by Eric C. Petrie

Sony FS7 Launch Party

Special Offer: FREE Metabones Canon EF Lens Adapter w/ Sony FS7 Camera

I’m very excited to announce that I’m now able to offer you a free Metabones brand Canon EF lens to Sony E mount adapter with the purchase of the new Sony FS7 camera. This is a $300 value. The adapter provides full electronic communication between the Canon lenses and the Sony E-mount body of the camera. This retains image stabilization and electronic iris control. And it’s all yours for free with the new FS7.

I’ve been offering this promotion for quite a while on the FS100 and FS700 cameras, and it’s still continuing on those as well. The FS7 is Sony’s very highly anticipated addition to the CineAlta family. Using the same sensor as the F5, the FS7 offers S-Log3 color and gamma, 180fps internal recording, 4K internal recording in 10-bit, 4:2:2, I-Frame XAVC, and options for 12-bit RAW output and ProRes recording. The native E-mount of the camera makes it compatible with a wide range of Sony lenses, including their new 28-135mm f/4 budget cine-servo. The other advantage of the E-mount is how easy it is to adapt to PL, EF, F, or virtually any lens mount you can think of. The Metabones EF mount adapter is yours free when you purchase with me, Professional Video. Post by Eric C. Petrie

mb_ef-e-bm2_01 FS7 w/ Servo Zoom