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COMMENT by Ben Sheriff R ecently TV-BAY - Kit Plus came to East London’s Brick Lane showcasing a roadshow packed with great seminars and kit to whet our appetites in advance of BVE in February. It was no great surprise that, for the DPs and camera operators at least the star of the event was the Sony PXW-FS7. Sony’s latest large chip offering has been called by some the ‘Canon C300 beater’ and I have no doubt that as more of them come on stream and production managers and producers start to see the results they will be persuaded to move away from the trusty old C300. The ergonomics of Sony’s camera certainly beat that of the C300 but it will be interesting to see how Canon responds in the coming months. It is hard to really make a full analysis of the system until the full frame servo zoom lens (SEL-28135G 28-135mm) from Sony is released later in the year as well as the XDCA-FS7 that will expand the possibilities for 12-Bit RAW output (with a third party recorder), genlock, timecode and V Mount power. That aside with a Canon 24-70mm lens and the Metabones Speed Booster adapter it produced a stunning looking image when viewed on a monitor. come straight off the FS700. Having said this using a higher spec EVF will be straightforward. The menu system and all the buttons seem to be exactly where you would want them and where you expect on a Sony and the build quality seems pretty good (except for the viewfi nder which seems plasticy). Whilst people are getting excited by the price point I would highlight that by the time you add the Sony XDCA- FS7 and a recorder such as the Atomos Shogun 4k to enable RAW recording and (early 2015) Pro Res internally on the XQD cards, you are going to end up spending over ten thousand pounds - a fair amount of money. But that said, the ability to shoot with existing Canon lenses and the slow and quick motion potential of this camera in various formats are going to make it extremely popular. I for one am looking forward to shooting some content with it. The viewfi nder is okay but seems to me to be a compromise given as it lands somewhere between ‘viewfi nder’ and ‘LCD monitor’ being, as it is, switchable between the two. The loupe is pretty poor and seems to I have yet to have had the opportunity to get up close and personal with a Blackmagic Ursa and so I jumped at the chance by the Blackmagic Design demo vehicle - which is one tricked out van! After checking out the ATEM switchers Tired of working for clients who only want the best price? this book will transform your life! business for filmmakers is a blueprint for allowing a predictable six-figure income for filmmakers producing corporate videos and industrial films for commercial clients. Downlo ad a Free Chapter www.b u at: s for filmm iness akers .com KITPLUS - THE TV-BAY MAGAZINE: ISSUE 96 DECEMBER 2014 | 37