FS700: Fire & Ice

More Super Slow Motion studio tests with Sony’s new LSS camcorder.

Setting up for ice drops and water pours.

The day after my fun with matches, Art Adams came by. We played with fire a bit more, then turned to water and ice.

I’ll let Art discuss the lighting aspects; I’ll just offer a few quick observations and then let the video play.

• After the camera buffers Super Slo-Mo, it writes it out to storage at about 60p, or 2.5 times faster than real time. Don’t watch this playback and think you’re seeing the slowness of motion you shot! As you’ll observe in the video, I had to speed up one shot 2x in post to make it work; it was too slow as shot, but we didn’t notice this because we were watching 60p while recording, as opposed to the 24p of playback.

• Now that I have a separate viewfinder, I could try out my handheld rig idea. I had the Tuner Kit from Hot Rod Cameras and a stub clamp from Shooting Machine.

Compact handheld rig, using the existing handgrip relocated to rails.

Shooting Machine’s stub clamp holds handgrip on Hot Rod Cameras Tuner Kit rod.

I plopped the rear end of the camera on my shoulder, sliding it back to brace the rear rod holder against me. The EVF is at my eye, my right hand is on the grip, and my left is free to fiddle with the lens.

It works a treat: stable, comfortable, not too heavy.

• The FS700 comes with an AC Adapter that’s separate from the battery charger. It allows you to run the camera while replenishing the battery, a nice touch.

• Cine gamma 4 used for all the shots in the video. Very nice highlight handling.

• We tried going to shorter shutter times to sharpen up individual frames, but we rapidly ran into flicker issues from the HMI and Diva-lite. Thus the 24p is at 1/48 sec; 240 fps is at 1/250 sec, and 480 fps is at 1/500 sec, and you’ll still see some flicker at that high speed.

• ISO 500 used for all shots.


Disclosure: Sony shipped me a pre-production NEX-FS700, which I’ll return to Sony at NAB. Hot Rod Cameras sent me a Tuner Kit, which I’ll return after testing is concluded; Shooting Machines sent me a ShotGrip handle and two stub clamps; ditto.

Meets The Eye LLC, my employer, provided the studio facilities, lights, Ultra Primes, Arri support kit, tripod, dolly, C-stands, glassware, water, and ice.

I own the Zacuto EVF and Panasonic 17″ monitor used in testing.

No material connection exists between me and Sony or any of the accessory vendors. No one has offered any payments, freebies, or other blandishments in return for a mention or a favorable review.


Adam Wilt

Adam Wilt has been working off and on in film and video for the past thirty years, while paying the bills writing software for animation, automation, broadcast graphics, and real-time control for companies including Abekas, Pinnacle, Omneon, CBS, and ABC. Since 1997 his website, adamwilt.com, has been a popular reference for information on the DV formats. He reviewed cameras for DV Magazine and started its “Technical Difficulties” column, and taught classes and led panels at NAB, IBC, and DV Expo. He co-authored the book, “Optimizing Your Final Cut Pro System”, part of the Apple Pro Training series. He currently writes for ProVideoCoalition.com and DVInfo.net, and creates iPhone apps like Cine Meter II and FieldMonitor.

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