Great deal and great looking sample footage, Mike! And I agree, you don’t need to spend a lot to get a lot these days - something I talk about in an upcoming video. Thanks for sharing, good stuff!
Great vid! I have an FS7 m2 and love the image quality- tweaking the color is not an issue… it works as a great companion with my FX3. I was born in Bakersfield- love seeing someone on here with a Bakersfield connection! Oh yeah and the Phantom Luts are awesome!
Hey Mike, nice video! I have the FX30 and love it! but I've also been eyeing out the fs7 for it's documentary capabilities; XLR ports, internal nd, dials and buttons on body for OTF audio and video control, etc. Don't you think it's worth it to make the switch for documentary focused jobs? :)
@@julianmcintoshfilms Hi Julian! It all really depends. I honestly feel like I could take the FX 30 and build it up to be a documentary camera. This is especially true when you want to get into places that wouldn’t allow such a large camera like an FS7. You could simply tear down all that you’ve built up and take the small FX 30 wherever you need to go and film discreetly. When it comes to the FX 30, you can add the XLR handle and you can also add external NDs. It really comes down to every operators own preferences. The best way to find out is to rent an FS7 and see how it feels on a documentary style shoot.
"Sony color," I recently learned this was intentional as an attempt to match the previous generation of Sony cameras, going all the we way back to tube televisions cameras. The purpose was to apply gradual color change to make equipment upgrades incremental for big operations. Example, a truck OB company with a fleet of 12 trailers x 12 cameras, can spread out the capex over a few years with gradual impact to operators & customers.
I've been shooting on the FS7 since this year. This camera is still very capable, it only seems to be bad when you compare it to modern Sony cameras (FX9. FX3, FX6 and of course the burano). The S35 it not having the new Sony electronic NDs aren't really a con, but the lowlight and unreliable AF sometimes slow you down. My only real complaint is the build quality. The plasitc body feels a bit cheap and not a durable. But again this camera is from 2014.
I agree, this camera is absolutely capable. It has been used on so many productions, it’s crazy. It’s a tried and true production workhorse. The new innovations that’s in the newer cameras are nicer and make life easier, but if you can get this thing at a good price, it’s hard to pass on it.
Mike - have you tested the stock phantom fs7 luts vs the WB offset versions in a multicam setup? I love them with my fx6 and am about to test a setup with both regular vs WB offset. Keen to see if you have any thoughts on using the two styles of LUT. Picked up a fs7mii last week fully stocked with shape hardware + vct plate; 5 128GB XQD's; batteries all for 1kUSD. Have been wanting a second camera for ages and this seemed to be the way to go. Paired with a fujinon mk 18-55
@@butters1yo Wow! You got a great deal! So glad that you got large memory cards, and a good amount of them too! Those are expensive to come by. Concerning the Phantom LUTs, I use the offset versions. Those match closer to the newer color sciences of the current line of cameras, such as my A7S III or the FX3 and FX6 that we use at work.
I have both an FX6 and an FX3, with hopes of being a day 1 FX9II buyer if/when it comes, and I’m interested in getting an FS7II and FS5II. Part of it is because they’re cameras I missed out on buying “back in the day”, and I just love to have toys, and another part is that they are still workhorses that can make you money. Like I would love to take the FS5II on my fishing trips over my more expensive FX6. Sometimes I still marvel at images I see out of FS7 stuff. Maybe it’s the S35 look, who knows. I’d skip the MK1 and go for a II, personally. If you want to buy one to use on jobs, be sure you have the timecode module. A gig I did sound on, the DP didn’t have that and so we kinda dropped the ball for the production company.
If someone were to ask me what camera to buy right now and they did not want to spend the $10,000 (with tax and accessories) takes to get an FX6 operational, or the $7,000 it takes for an FX3, or the $3,000 it takes for an FX30, I would suggest an old FS7II all day. Still being used on TV and web all the time. Can be a piece to help get you work. 💯
@@billmakesmovies I feel the exact same way. I often want to purchase old cameras that I wanted to buy when they came out back in the day. Nowadays, we can get them for a few hundred bucks. I’ve often wanted to buy an old Canon T2i, just to have it and see what I can create with it.
@@videopromike I did get to use the T2i right when it came out! Made some pretty okay stuff on that. Then I had the 60D, with its flippy screen, followed by a 70D. The Canon APS-C line did okay if you gave it lots of light and fast glass. Used the 70D for all kinds of personal project stuff, even up until 2019. Still have it for stills. Got to shoot some 5D in the teens, but never enough to justify buying one before everything went to “cinema” camera land with the C300, C100, RED, and FS7 dominating things. Didn’t need to buy any of those camera at that time personally, used what was given to me to use. I decided to go FX6 and FX3 in 2022 when I got back into it, which was really just the perfect time for buying my own 4K cameras. They really are just so good! Barring some overnight shift in codes and resolutions, I don’t see a need to replace them for years. Probably won’t ever sell them either. Kinda don’t want to sell cameras for upgrading anymore. I like sentimental value more than cash value… there’s a DVX100B and a Canon HV40 and XF100 out there that were my old workhorse cameras that I wish I still had to play with today! Still want the FS7II and FS5Ii for some reason, so many good shows shot on those things, though don’t have any desire for a C300/200/100 at all. Would totally buy an old RED Epic, but only if I could also get the Zeiss CP.2 glass to go with it like I got to play with all the time in 2015. Of course it just might be the S35 look that I like compared (sometimes) to full frame. I would love for them to put the FX30 sensor in an FX6 body and sell it for $4300, I’d buy that!
Great deal and great looking sample footage, Mike! And I agree, you don’t need to spend a lot to get a lot these days - something I talk about in an upcoming video. Thanks for sharing, good stuff!
@@RZtheDP I look forward to your next video
Just picked up a used FS7 Mark ii through a similar scenario. It arrives tomorrow. Pretty excited.
Congrats! You won't be sorry.
Just purchased one for $700 from KEH. Excited to get my hands on it & glad I’m not the only one showing interest in these still
@@bryce_grier 😮😮😮 That’s Awesome!!! They are such good cameras. They’re a little heavy, but still so good.
Great vid! I have an FS7 m2 and love the image quality- tweaking the color is not an issue… it works as a great companion with my FX3. I was born in Bakersfield- love seeing someone on here with a Bakersfield connection! Oh yeah and the Phantom Luts are awesome!
@@gee4zfpv That’s amazing! Small world we live in. We have to connect if you ever come back into town.
@@videopromike I definitely will!
Hey Mike, nice video! I have the FX30 and love it! but I've also been eyeing out the fs7 for it's documentary capabilities; XLR ports, internal nd, dials and buttons on body for OTF audio and video control, etc. Don't you think it's worth it to make the switch for documentary focused jobs? :)
@@julianmcintoshfilms Hi Julian! It all really depends. I honestly feel like I could take the FX 30 and build it up to be a documentary camera. This is especially true when you want to get into places that wouldn’t allow such a large camera like an FS7. You could simply tear down all that you’ve built up and take the small FX 30 wherever you need to go and film discreetly. When it comes to the FX 30, you can add the XLR handle and you can also add external NDs. It really comes down to every operators own preferences. The best way to find out is to rent an FS7 and see how it feels on a documentary style shoot.
@@videopromike yeah the versatility is a big plus of course. Perhaps I'll save up to have both in my arsenal 😄👍 thanks for your thoughts! 🙏
Thanks for sharing! You got an awesome deal on that one!
@@GeorgeGuillory Thanks for watching!
"Sony color," I recently learned this was intentional as an attempt to match the previous generation of Sony cameras, going all the we way back to tube televisions cameras. The purpose was to apply gradual color change to make equipment upgrades incremental for big operations. Example, a truck OB company with a fleet of 12 trailers x 12 cameras, can spread out the capex over a few years with gradual impact to operators & customers.
I made lots of money with an FS7 but it took me so long to get the color right.
@@daniellove162 It is a fantastic camera. Do you still use it for work?
I've been shooting on the FS7 since this year. This camera is still very capable, it only seems to be bad when you compare it to modern Sony cameras (FX9. FX3, FX6 and of course the burano).
The S35 it not having the new Sony electronic NDs aren't really a con, but the lowlight and unreliable AF sometimes slow you down. My only real complaint is the build quality. The plasitc body feels a bit cheap and not a durable.
But again this camera is from 2014.
I agree, this camera is absolutely capable. It has been used on so many productions, it’s crazy. It’s a tried and true production workhorse. The new innovations that’s in the newer cameras are nicer and make life easier, but if you can get this thing at a good price, it’s hard to pass on it.
Is the Sony FS7 Mark 2 a full frame cinema camera or a crop sensor cinema camera
@@ruff1draft It is a crop sensor also. The camera that followed it was the Sony FX9 and that is a full frame sensor.
@videopromike Thanks for letting me know. Does the Sony FS7 Natk 2 have internal ND Filters
@ yes it does. Both the mark one and mark two have them.
Mike - have you tested the stock phantom fs7 luts vs the WB offset versions in a multicam setup? I love them with my fx6 and am about to test a setup with both regular vs WB offset. Keen to see if you have any thoughts on using the two styles of LUT.
Picked up a fs7mii last week fully stocked with shape hardware + vct plate; 5 128GB XQD's; batteries all for 1kUSD. Have been wanting a second camera for ages and this seemed to be the way to go. Paired with a fujinon mk 18-55
@@butters1yo Wow! You got a great deal! So glad that you got large memory cards, and a good amount of them too! Those are expensive to come by. Concerning the Phantom LUTs, I use the offset versions. Those match closer to the newer color sciences of the current line of cameras, such as my A7S III or the FX3 and FX6 that we use at work.
I have both an FX6 and an FX3, with hopes of being a day 1 FX9II buyer if/when it comes, and I’m interested in getting an FS7II and FS5II. Part of it is because they’re cameras I missed out on buying “back in the day”, and I just love to have toys, and another part is that they are still workhorses that can make you money. Like I would love to take the FS5II on my fishing trips over my more expensive FX6. Sometimes I still marvel at images I see out of FS7 stuff. Maybe it’s the S35 look, who knows. I’d skip the MK1 and go for a II, personally. If you want to buy one to use on jobs, be sure you have the timecode module. A gig I did sound on, the DP didn’t have that and so we kinda dropped the ball for the production company.
There are some new in box ones out there that I keep eyeing too… but I’m trying to be good and get glass and be ready for the FX9II.
If someone were to ask me what camera to buy right now and they did not want to spend the $10,000 (with tax and accessories) takes to get an FX6 operational, or the $7,000 it takes for an FX3, or the $3,000 it takes for an FX30, I would suggest an old FS7II all day. Still being used on TV and web all the time. Can be a piece to help get you work. 💯
@@billmakesmovies I feel the exact same way. I often want to purchase old cameras that I wanted to buy when they came out back in the day. Nowadays, we can get them for a few hundred bucks. I’ve often wanted to buy an old Canon T2i, just to have it and see what I can create with it.
@@videopromike I did get to use the T2i right when it came out! Made some pretty okay stuff on that. Then I had the 60D, with its flippy screen, followed by a 70D. The Canon APS-C line did okay if you gave it lots of light and fast glass. Used the 70D for all kinds of personal project stuff, even up until 2019. Still have it for stills. Got to shoot some 5D in the teens, but never enough to justify buying one before everything went to “cinema” camera land with the C300, C100, RED, and FS7 dominating things. Didn’t need to buy any of those camera at that time personally, used what was given to me to use. I decided to go FX6 and FX3 in 2022 when I got back into it, which was really just the perfect time for buying my own 4K cameras. They really are just so good! Barring some overnight shift in codes and resolutions, I don’t see a need to replace them for years. Probably won’t ever sell them either. Kinda don’t want to sell cameras for upgrading anymore. I like sentimental value more than cash value… there’s a DVX100B and a Canon HV40 and XF100 out there that were my old workhorse cameras that I wish I still had to play with today! Still want the FS7II and FS5Ii for some reason, so many good shows shot on those things, though don’t have any desire for a C300/200/100 at all. Would totally buy an old RED Epic, but only if I could also get the Zeiss CP.2 glass to go with it like I got to play with all the time in 2015. Of course it just might be the S35 look that I like compared (sometimes) to full frame. I would love for them to put the FX30 sensor in an FX6 body and sell it for $4300, I’d buy that!
Tommy Beal uses one of these to! Awesome camera!
Yes he does, but he just recently upgraded to the FX9! I foresee the FS7 going away soon 😁