As a small production company specializing in authentic storytelling with real people, the equipment we purchase needs to work in a very specific way. Namely, it cannot get in they way of gaining access and intimacy with the people we film. This presents some unique challenges when selecting a camera package. It can’t be too large or cumbersome to set up, lest we miss an important moment or the subjects of our films get intimidated by a huge camera. Many filmmakers have successfully shot intimate stories with larger cameras, but we’ve found that we work much quicker, quieter and closer when our camera system is as unobtrusive as possible. Enter the Sony FS7.
After much research, we settled on the Sony FS7 as our next camera system (upgrading from an aging but truly solid and unique Panasonic AF100 system). I was sad to see the old AF100 go, as I really loved the M4/3 system for documentary storytelling. The smaller lenses allowed for more portability and the freedom to carry a variety of focal lengths in a small space. However, the 5 year old camera was lacking in dynamic range compared to the current crop of cameras, and it’s AVCHD codec was starting to become a weak point. At first glance, the FS7 would seem to be too large of a camera for our needs. With its “smartgrip” extension arm, awkward lcd/viewfinder attachment, built in shoulder pad and slightly heavier body, the FS7 was somewhere in-between a handheld camera and a shoulder-mount camera. However, all of those accessories could easily be removed, shedding at least 2 pounds from the total camera weight. I added on the tiny SmallHD 501 monitor in place of the included LCD, which I mounted on a Wooden Camera NATO handle. Going with the Hawk Woods BP-75UX batteries allows me to power the camera and the monitor simultaneously, freeing us of multiple battery systems and keeping the weight down. With these modifications, the full camera can be assembled in less than one minute and comes in at under 8 pounds, not an unmanageable weight for handholding throughout a shooting day. Coupled with the great image, lots of latitude, and efficient yet high-quality codec, the FS7 has been a great camera to work with so far. It has a seemingly infinite set of options and customizations, but I’ve found simply shooting in Cine-EI mode in Slog3 has produced the best results. Grading the final image in Premiere using the Sony created LCD709A LUT as a starting point has made post production a breeze. We’re looking forward to all the inspiring stories we’ll get to capture with the FS7 over the coming years.
Check out some of the first stories we shot with the FS7 this year for Franciscan Charities and Georgetown University:
