The Sony FS7 II has been around for years, but it is still a workhorse for events, weddings and documentaries. The menus follow broadcast camcorder logic and can be confusing at first. Set the baseline below and most shoots will go smoothly. Menu names can vary slightly by firmware.
1. Shooting mode: Cine EI or Custom
| Mode | What it does | Use it for |
|---|---|---|
| Cine EI | Always records S-Log3; only the monitoring exposure index (EI) changes. Base ISO 2000 | Anything you will color grade |
| Custom | Free control of gamma, gain and white balance; records close to finished (e.g. Rec.709) | Fast turnaround, event coverage without grading |
Change it in System → Base Setting → Shooting Mode. If you plan to grade, start in Cine EI.
2. Color space and gamma
- In Cine EI, use S-Log3 / S-Gamut3.Cine. It is easier to grade than S-Gamut3 and maps more comfortably to Rec.709 deliverables.
- In Custom mode, pick
STD5(Rec.709-style) or one of theHG(HyperGamma) curves depending on the scene.
3. S-Log3 exposure targets
| Reference | S-Log3 level |
|---|---|
| 18% gray card | ~41% IRE |
| 90% white | ~61% IRE |
| Light skin | Roughly 45–50% IRE |
- FS7 II S-Log3 shows noticeable shadow noise, so many shooters rate the camera at EI 800–1000 (about 1 to 1⅓ stops over) and bring it down in the grade.
- Combine zebras (for example 61% for white) with the waveform for accurate exposure.
- The FS7 II has an electronic variable ND, so you can lock the aperture and fine-tune exposure with the ND dial. It is a big help when moving between indoor and outdoor spaces.
4. Monitoring LUTs
Raw S-Log3 looks flat and gray, which makes exposure and focus hard to judge. In Cine EI, turn on MLUT and apply s709 or 709(800%) to the viewfinder and SDI outputs. The LUT is for viewing only; files stay in S-Log3. Check each output’s setting so you do not bake the LUT into a recording by mistake.
5. Codecs and media
| Codec | Notes |
|---|---|
| XAVC-I (Intra) | 4K/UHD/HD 10-bit 4:2:2; easy to edit, best quality, large files |
| XAVC-L (Long GOP) | Smaller files for long event recordings; heavier to decode in editing |
| ProRes 422 HQ | HD recording with the XDCA-FS7 extension unit |
- The camera records to XQD cards; use fast G-series class cards for 4K high frame rates.
- Match frame rate to delivery: 23.98p or 29.97p for most web work, 59.94p for slow motion conformed in the edit.
6. Things people forget on set
- Timecode: for multicam, run TC as Free Run on time of day or jam-sync to an external source
- Assignable buttons: put zebra, peaking, magnify and MLUT on/off within reach
- Audio: check CH1/CH2 input source (INT/INPUT1/INPUT2) and phantom power; peak around -12 dB
- Clip names: set camera IDs to A and B so multicam media is easy to sort