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First Footage from a 4K-Enabled Sony FS700 & How Much It Will Cost to Upgrade Your Camera

sony_nexfs700The Sony FS700 made quite a bit of noise at last year’s NAB, not only for its extremely high frame rates, but because the camera was going to get 4K RAW support at some point in the future. While concrete info was almost nonexistent at that time (and for many months later), the details have started to emerge, and it looks like 4K on the camera will only come with a paid hardware upgrade. We’ve also got more details from Convergent Design about their new monitor/recorder the Odyssey, and how that fits into Sony’s 4K/2K recording plan, as well as some of the first footage available showing off the 4K RAW mode.

Thanks to Jason Rosete for sending this my way, here’s the first footage from 4K on the FS700, using Sony’s recording solution:

Here’s a refresh about what the Sony 4K upgrade will enable:

Dan Keaton from Convergent Design has been talking about the Odyssey 7Q in the DVXuser forum, and what they’ll actually be able to get after the Sony hardware upgrade (this is slightly abbreviated from the full post):

1. As Mike Schell reported earlier today, the HD-SDI output is 8-Bits effective in the 10-Bit HD-SDI format.

2. The upgraded Sony FS700, in 2K Raw outputs 12-Bits linear. This is very good.

To obtain 12-Bits linear in a camera, one needs the image sensor to be greater than 12-Bits, say 14-Bits, but for image quality reasons, (and maybe some other reasons), the output is 12-bits.

Thus, when the Odyssey7Q records from the Sony FS700, in 2K Raw, up to 240 fps, we will be recording in 12-bit linear, in the Cinema DNG format.

Our test recordings have been at 12-Bit Linear Raw, in the Cinema DNG format. We have been recording in this format for a few days now.

And we have been using commercially available software to work with these industry standard files with great success.

We are planning, in the future, to take the 2K Raw 12-Bit output, decompress it, deBayer it, then record it compressed in Avid DNxHD (and another very popular codec later), in HD at the full 10-Bits.

He later mentioned where they are in terms of recording on the FS700:

Yes, we should be able to record 2K Raw, at lower frame rates, using just one 240 GB, 480 GB, or 960 GB SSD.

As I calculate it, 120 fps in 2K Raw, 12-Bit Linear, is around 385 Megabytes per second.

This is just slightly over our desired limit (which establishes a safety margin) of 380 Megabytes per second.)

And these calculations do not always consider the small header for each Cinema DNG file.

We will know more as we proceed with our testing, but up to 100 or more frames per second should be safe.

Later, we may find that 380 Megabytes per second is too conservative, if so, then we may be able to support 120 fps in this mode.

In case you have not heard, we are now successfully recording from the FS700, 240 fps, in 12-Bit Linear Raw, continuously, and the resulting Cinema DNG files are playing back perfectly in a normal Non-Linear Editor. I understand that the images are looking very good.

How much is it going to cost in total if you’re going to upgrade to 4K on the FS700? Thanks to FreshDV’s Matt Jeppsen for tweeting this from Cine Gear:

Convergent Design folks say that Sony will be charging $400 for the 4K firmware update.
Matt Jeppsen

Here are some prices, with max frame size and frame rates, as well as a similar card size for both:

Sony 4K Recording Solution

Total: $9,650

Convergent Design Odyssey 7Q

  • 4K Uncompressed DPX at 30fps, 2K RAW up to 240fps
  • Sony Hardware Upgrade: $400
  • Odyssey 7Q (Odyssey 7 will not have FS700 option): $2,300
  • Convergent Design 480GB SSD: $1,200
  • Odyssey FS700 Support: $1,500 (or $75 per day rental)

Total: $5,400

The cheapest memory option for the 7Q will be $600, and if you only wanted to rent the codec a handful of times throughout the year, that would bring the price to below $4,000 for the Odyssey. The SSDs for the Odyssey should be readable in any SSD reader, which is an advantage over Sony’s proprietary card reader. It should also be noted that Convergent Design has decided to include Avid DNxHD free with both the 7 and 7Q, instead of it being a separate option. If they are approved by Apple, they will also be including ProRes, but that may not happen until late this year or early next year.

So it will definitely be more cost-effective to use the Convergent Design Odyssey 7Q with the FS700, but you will be missing out on 4K RAW as well as higher frame rates at 4K. For more information on pricing, check out the PDF link below.

What do you think about the pricing? Which option will you be choosing for your FS700?



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Description image 87 COMMENTS

  • Joe, thanks for posting. Was curious to finally see these images!

  • Any info for only the SLOG2 update?

    • I’m also curious about that. Specifically, will that be for internal recording also? And what format? SLOG in 8-bit AVCHD seems pretty limited.

      • Internal recording and external HD recording is still only 8-bit. However, as noted, Convergent Design, would be able to record 10-bit HD by using 2K raw as source stream

  • Odessey Codecs! What a rip!

  • Anthony Marino on 06.2.13 @ 8:27AM


  • Anthony Marino on 06.2.13 @ 8:45AM

    I wonder if that’s grounds for a class action law suite? “firmware update, Sony proprietary recorder”. Not one mention about any “hardware” upgrade over the last 11 months till NAB. It was obvious to me Juan clearly made a mistake telling Tony Reale about the hardware upgrade. Sony still wasn’t ready to let that cat out of the bag. They really promised us the F5 but instead gave us an fs100 with higher frame rates. “4k ready” baloney…yes so is the c100 with a hardware and firmware update. Sony has some explaining to do, I feel ripped off.

  • Andreas Kopriva on 06.2.13 @ 9:09AM

    Doesn’t seem too bad of an upgrade plan to be honest. Yes, the external recorders seem quite bulky – especially the Sony solution – but price-wise it’s still somewhat competitive.
    As an owner of both the FS700 and a Scarlet, I am now presented with two upgrade options – and comparatively, the FS700 upgrade path comes out cheaper than the Epic one.
    The only thing that is somewhat upsetting is the $1500 for FS700 support for the Odyssey – is this standard practice in terms of external recorders? For example, if I were to get an Atomos Samurai at this point, would I need to pay to have my camera supported, or pay separately for a particular codec?
    That sounds somewhat off to me. Either way, I’m pretty sure there will be other recording options available in the near future which will end up being cheaper.

  • 16bit vs 10(12)bit…

    • Stu Mannion on 06.2.13 @ 7:28PM

      Apparently the camera works at 12bit internally so more bits don’t help. Although that info could be wrong.

      • What…? then I can’t use the recorders for 16bit?

        Than I would get f5+ Recorder…

        Some how, I am very struggling between f5 vs fs700 now…for the future….

  • I think those new options are great. I can get a great monitor/recorder for 90% of my needs and if I need 3 days of 4K Uncompressed, I juts rent them. I just wish there would be only one Odyssey at the price of the regular 7 now and everything the 7Q offers, could be paid via upgrades or rentals. But considering hardware costs for the 7Q specific parts, that would only be good for customers, not Convergent Design ;)

  • Looks great, however, at these prices, might as well save up a little more for a Sony F5.

    • Anthony Marino on 06.2.13 @ 11:02AM

      In theory, but once you add the recorder, interface unit, media and viewfinder you’re up over $25,000.

    • I’m very impressed with the F5. Looks way better than any FS700 footage I’ve ever seen, and the RAW recorder pack isn’t too bulky and ‘fits’. Its at an odd price point, and if you were a serious owner/op you’d get the F55, but the F5 could end up being a sneaky bargain if you used it for the next 3-4 years.
      The Convergent Q7 is a really nifty unit, but that ‘codec rental’ idea seems a complete ripoff to me. Sorry.

      • Anthony Marino on 06.2.13 @ 1:10PM

        You’re commenting on an article about a $7000 camera. Of course the F55 or even the F5, a camera double the cost will look better. And as an fs700 owner I am a serious operator, for docs you can’t beat the fs700 versatility. In fact with my fs700 in about 11 months you’ll see it in action (a very serious high end production major cable) so not everybody needs to shoot with an Alexa to make money or be considered a “serious owner/op”. I like you’re comments, very informative but this one sounds like you’re sour for some reason. It’s not like you.

        • Marklondon on 06.2.13 @ 2:09PM

          Apologies. I really meant the ‘serious’ part as choosing between the F5 and F55. The F55 will probably have a longer life cycle and a higher day rate is what I meant. Poor choice of words on my part.
          I know plenty of people earning a living from the FS700 and its a well priced cam. I’m just not a huge fan of its base look, and I don’t like that its only 35mbs internal. I’ve used them on jobs though! And the SLog2, if you can add that on its own, would widen its possibilities enormously.

          • Anthony Marino on 06.2.13 @ 9:24PM

            Haha. No worries friend. We’ll defend our camera choices till our dying day. I understand what you mean and always appreciate your insight Mark.

  • Two words: rental items

  • I already rent the FS700 for jobs, so I’ll likely keep doing so and invest in the hardware for the 4K path via the Convergent Design route. 4K RAW isn’t of interest to me right now, but shooting 2K RAW with the option of 240FPS for 1080P delivery is.

  • “4K Uncompressed DPX at 30fps, 2K RAW up to 240fps”
    -to do the 240fps you need 2 SSD on 7Q ? -or did i get that wrong?

    that would bring the price up to roughly 7k with two ssd cards

    7k or 10k, either way that almost doubles the price of the fs700

    Who ever thought it would be this much?

  • Hmm, I am not so impressed. The Sony price for 4K video (even with the FS700) is very high compared to the new 4K Blackmagic Cinema Camera, which offers raw as well, unlike the Sony. The very high framerates are nice on the Sony, but otherwise I do not see a great advantage.

    • It may depend greatly on your situation. The Blackmagic Production Camera 4K is nice because of its price, recording options (CinemaDNG, ProRes at full resolution, etc.), and simplicity of operation. The FS700, though, offers massively better low-light/high ISO performance, greater dynamic range (at 2K raw and 4K, at least… I’m not sure about regular AVCHD recording…), a much more flexible lens mount (it’s still Sony’s E-mount, which can use the Speed Booster, and can be adapter to use Canon EF lenses), built-in ND filters, XLR audio, space-saving/proxy lower bit-rate files, and, of course, its slow motion options.
      It’s a huge price difference between the two cameras, yes, but if you have the budget to rent or even buy an FS700 with a 4K set-up, it can be a much more practical camera in many situations. Obviously, depending on your budget, your choice of camera may be made for you.

    • It’s really depend on what you need. And there is a lot limitation on BMCC and the raw given it’s actually a compressed RAW as well and the sensor size isn’t actually a 35mm, a guy had list out very detail information about it. If it is really pro than anyone out there with 4k and the price, most of the brand will be dead because of the price and performance. BUT not, it’s because of what you pay= what you get, every product and price range got it’s own functionality.

  • Not impressed with the Sony. Too high a price for 4K video compared to the 4K Blackmagic. (which offers raw)

  • Ouch. While I didn’t buy the Fs700 because of the future 4k upgrade path, it still stings to see it cost this much. I don’t really care about the 4k, but the 2k raw has always interested me for narrative work and special fx. I could buy a fully kitted out black magic cinema camera for the price of this upgrade. It also stings to see convergent design charging a whopping $1500 to what I can only guess boils down to a simple firmware upgrade over the net just to let it record from my camera. Why is that by the way? Does Sony charge Convergent this as a licensing cost so they are forced to pass it on to the customer or is it purely for profit?

    • Toby Lockerbie on 06.2.13 @ 7:25PM

      @Kyron no, Dan at CD confirmed with me on dvxuser that the $1500 fs700 cost is not licensed from Sony which I assumed it was, its a purely CD cost they’ve added on for their effort in supporting it. I’m not sure I’ve seen something like that before and judging by the reactions here I dont think its a popular decision.

      • Stu Mannion on 06.2.13 @ 7:39PM

        Usually manufacturers obscure these costs from us because people hate paying for R & D. All CD have just done is make it overt (honest?). They’re still cheaper than the competitor.

        • The problem is people don’t like seeing those costs and as you say R&D costs are normally absorbed and hidden and spread across the product, this R&D cost is not spread, it’s only for FS700 users, I’m not sure I’ve seen that before. I understand the reasoning and the transparency, I’m just not sure people will appreciate.

          • It’s not for FS700 only. Canon RAW and Alexa RAW (and other codecs) would have similar fees.

  • The Sony recording solution actually includes the $400 firmware cost. You can remove that from the total.

  • Stu Mannion on 06.2.13 @ 7:52PM

    The best bit is that the upgrade by itself adds an S-Log2 gamma curve. Even in the internal 8 bits it looks much better in the highlights. Watch the test videos online.

    Don’t be put off this camera by the standard look it produces – as seen in most online videos. I’m using a customised version of AbelCine’s A_B Range colour profile and it looks much better. The only real issue is some aliasing on the fringe of blown highlight areas – and the S-Log2 upgrade fixes this.

  • I'll Be Back on 06.2.13 @ 10:16PM

    Hey guys,

    I have visual confirmation that the fs700 will be used on the next Terminator film!

  • shaun wilson on 06.2.13 @ 10:18PM

    Joe, with the Sony recording option, how is the combined unit powered? is there an additional VLock that needs to be factored into these costs above? Just curiously to see where the unit draws power (and where the camera battery would be positioned once these add-ons are bolted onto the camera).

    • That’s a good question. I guess you’d probably have to add batteries to that equation. I don’t think the camera itself has the power with the tiny Sony batteries to also power the recorder even if it could.

      • The R5 is powered separately by Sony v-mount or DC 4pin.

        Found that info in this interview @2mins40

        • Joe Marine on 06.3.13 @ 5:22AM

          Right, so then the best setup is using the batteries that are powering the recorder to also the power the camera. That should be something you can rig up. Otherwise you’ll need two separate batteries for both the camera and the recorder.

  • This is interesting! However, I think the price is quiet little high for this model but, it is still okay. F5 is also another wonderful choice.

  • As an FS700 owner, I just don’t see many of us buying either of these options as they cost nearly or much more than the camera itself. Technically, Sony fulfilled their end of the bargain, but they did the minimal amount they were required to. Actually they did less than the minimum since we have to pay for the upgrade which was nowhere advertised when the camera came out. The Sony recorder + interface is extremely large and would just be a pain the ass to rig. Everything about the upgrade just screams “intential crippling” by Sony to protect the F5. Even if they did give the FS700 10-bit 4:2:2, that’s still nothing compared to the F5s 4:4:4 10 bit with 2 extra stops of DR.

    The only thing that excites me about the upgrade is the S-Log which looks pretty good from tests. I’m just hoping that it will work decently with the internal codec. Strapping recorders on is such a workflow joy killer.

    The whole FS700 4k debacle has really left a bad taste. It’s really just an HD camera (one that I like very much), and Sony wants to keep it that way by charging exorbitant prices and major workflow issues with the 4k upgrade to try and discourage people from using 4k with it. I mean… Come on! The 4K setup is massive size wise. It looks more like a missile launcher than a camera.

    • Ultimately it boils down to Sony wanting to sell 4K tvs, so I do not believe they put enough thought in this fs700 camera.

  • what’s the overall cost comparison with D1 C for the full rig?

  • Michael Keane on 06.3.13 @ 3:01AM

    I wanted to convey this info since I read and enjoy this site often.

    I am a FS700 owner and I was at Cinegear this weekend. I did get a lot of info regarding the 4k upgrades but it definitely didn’t leave me with any feelings of certainty regarding which direction I would want to go. Juan Martinez from Sony announced that the factory upgrade will be available in about two weeks for the price of $400 dollars. According to Juan this was not a money making endeavor from Sony but simply the cost of technician time. The best news from the upgrade is that will change the native iso from 500 to 2000 in s-log. Still 8 bit without expensive add ons, but it may increase the low light capabilities quite a bit.

    I also attending a presentation by Adam WIlt and Art Adams who shot with the FS700 for a week. It was projected at 2k so it was hard to get full appreciation for the samples. They kept joking how, “it looks great in 4k”. From what I could see there was great sharpness and detail in the footage, but as the shots were somewhat clinical it was up to the imagination to imagine the “cinematic ” possibilities. There were a couple of night time shots that were very impressive, one of the San Francisco skyline and the moon that was shot at iso 8000 and was pretty much noise free, at least to my eye. In terms of the bazooka like length of the add-ons they pointed out the ease of simply having the adapter and 4k recorder tethered by the sdi cable and laid in a location conveniently near the camera rather than attached.

    I also had a chance to speak with Dan Keaton of Convergent design and I must say I really like his vibe and demeanor. He really seemed like a great guy with a passion for his products. If I had to make a decision I would choose their solution based on the flexibility of their product (you get a great oled monitor with impressive features that you can also use with other high-end cameras). He did mention that it may in a few months allow 10 bit avid dnxhd recording without any codec purchase.

    Just fyi, Sony was also announcing a package deal on the f5 for $22.942 that includes the oled viewfinder an ef lens adapter, battery, charger, 32 gb sxs card, a reader and hard case. So if you are considering spending 10 grand on upgrading your fs700 you might also want to think about selling it and getting this deal. I was playing with the camera at the expo and it is in another league in terms of build and functionality.

    Oh, if you buy the 2 thousand dollar adapter for the FS700 Sony will waive the $400 upgrade fee. Personally I think I will look at the odyssey 7q and see what the 4k BM camera has to offer when I hopefully receive it in late July.

    • David De Vlaeminck on 06.4.13 @ 7:24AM

      Finally someone that went the extra mile to go and ask all these questions straight at Sony at Cine Gear and report back to us. Thanks for that!

      So if I understood you correctly there won’t be 10 bit 422 output externally on the upgraded FS700? Only 12 bit RAW or 8 bit 422.

      And the hardware update would be mainly to increase the native iso. How I understood the reason for adding the S-Log2 is that is introduced as a monitoring option through the HDMI/composit output to be able to monitor the raw recording. Am I making the right assumption?

      • Michael Keane on 06.4.13 @ 6:20PM

        Thanks David its my pleasure. Unfortunately there is still some mystery around your questions. The CD 7q option will give you a number of different choices. The most interesting option from a non-codec buying perspective is that Dan mentioned that the 7q may allow you to record 10 bit from the fs700 in a “popular format” WITHOUT paying or renting the extra codec options. He mentioned that this may be available by December. He was not legally allowed to confirm this but it did seem there was a twinkle in his eye conveying some certainty. You do seem to be right about the purpose of s log but as a side note you will be able to record s-log onto your avchd cards as well, albeit still in 8-bit. Personally I really liked the small company, hands-on approach of CD and will probably buy into their option rather than the Sony offering.

  • Adrian Kuciel on 06.3.13 @ 6:49AM

    Does anybody know how about SSD Disks?
    Are they always required to be Convergent Media Disks?

    According to this article:
    “In order to use the “free” codec options you must use a Convergent Design supplied SSD.”

    What if i buy “FS-700 Codecs pack” – will it let me use other brands ssds?

    • Michael Keane on 06.3.13 @ 2:13PM

      For the odyssey solution you will need to use their drives only. According to them they QA every disk and they use the best enterprise class drives available. They are pricey at around 1200 for a 480 gig drive. You will also need two drives to achieve the highest data rates.

  • Has anyone heard the argument that the FS700 was designed for 4K? The sensor has enough pixels, 11.6mega, but 1080 was an after though. The argument would be that 1080 optimization is sacrificed in the name of the best 4k image possible. I know I am not defining the “argument” or the word “optimization” or the word “sacrificed”, but just thinking out loud.

  • I originally though I was hands down CD bound. I’m starting to rethink what I want to invest my money in. I feel like if my next body will be the f5 or the f55, being able to use the recorder on my next camera would be a great path. However I’m thinking about scraping sony all together and just renting because I don’t want to buy anymore dated cameras. I just feel like the f3 owners are really bummed right now. When are we gonna be really bummed?

  • I will not be throwing any more money Sony’s way , having bought an FS700 last year and had no answers from Sony Prime Support about a solution for the dreadful time lag on external monitors and EVF’s or when it will be possible to have any external monitoring when shooting HS I think I will be looking at buying a second hand Alexa in a few years time. In the meantime I will keep on using the F3 with AJA mini Ki pro and the FS700 as a door stop.

  • I’ve thought about it a bit more, and if Convergent Designs didn’t charge that bloody $1500 to turn a firmware switch on to support the camera, It would probably be getting near an actual affordable level for most of us. This just tips the price up into a realm where you could buy a whole new camera system for that sort of money. I really want to jump onto their bandwagon and improve my images, but for me at least, they have priced it right out my reach. It’s a shame because I was really excited about getting some raw images out of my camera :(

    Having already spent $9000 on the body (in Australia) this pushes it well past a 15k investment (It will cost a lot more than the $5400 quoted above for those of us not in the States.) I’m sure CD will still sell an absolute bucket load of those 7Q’s though. I can’t help but think that 15k investment could be spent more wisely with todays suite of awesome image making machines!

    Ah well, Magic Lantern is where I’ll keep my raw hopes alive for now!

  • Keep in mind that, as it stands now, Sony’s 4k RAW will require about 6x less media and less storage than CD’s 4k uncompressed RGB DPX’s. 3x more for RGB vs RAW, 3.6x more for uncompressed vs 3.6x compression. And the Sony’s 4k RAW will still be 2-3x more data than common RED 4k RAW datarates and too much data for most productions…

  • I’m confused… where are all these people buying BMCC 4K cameras that beat the pants off an 4K modified and recorder-equipped FS700, both in performance and price? I’m thinking most of this stuff is still read-about, not ready-for-sale and use.

  • So, people really bought a 2k camera that cost them so much to upgrade, that they could have stuck with their existing fullhd camera, or even bought another, and then a 4k camera, at a cheaper price by the time 4k upgrade is out. Or, bought a Red Scarlet or BMCC 4k. This is just a manufacturer game. I have a $69 fullhd camcorder bought last year, guess how much 4k is worth 4x$69+ (manufactures can make one by stringing together the chips inside of the $69 camera, set each to do alternating gops, assemble in memory buffer and assemble and write out synchronised results). :( Official cheap ultrahd cameras should be out this year.

    • Well, it’s the only camera that does slow motion don’t forget that, the BMCC 4K does not have slow motion, the red scarlet neither, so for 20 000 $ (buy a fs 700 + SD cards for HD + battery + viewfinder + all the material from Sony for the 4K upgrade) , you have the most cheaper slow motion camera on the market. And slow motion is so important

  • Maybe there is no clear answer to this yet, but does anyone know if you will be able to record 10-bit 4:2:2 via SDI onto a Pix-240 after the update? I could care less about raw, but recording 1080p S-Log2 10-bit 4:2:2 ProRes would be pretty nice.

    • “1080p S-Log2 10-bit 4:2:2 ProRes would be pretty nice.” – yes that is what i am waiting for! 10bit 4:2:2 is just the broadcast standard in Germany. So I am very curious if the firmware update will enable the FS700 to output at least this to an external recorder. 4K is a nice to have at a certain point in time bur right now…. please 10bit 4:2:2.


      • This is what I would like as well. I don’t have any clients asking for 4K, but being able to output and even higher quality 2K/HD to a Black Magic Hyperdeck Shuttle or something as reasonably priced would be attractive. I wonder if the upgrade allows 12bit 2K RAW @ 240pfs out the SDI to a BM Hyperdeck?

  • Just think – you could get two 4K Black Magic Production Cameras for the price of the Sony upgrade solution.

    The FS-700 does have some nifty features: high frame rates, built-in ND, and I think (although I don’t know the details) better audio.

  • Absolutely ludicrous. The BlackMagic production camera seems the way to go. The only reason Sony can sell a FEW of these is the fact that it can do high-speed. I guess I’d rather rent one for the few occasions it is needed… If BlackMagic can come with an upgraded version next year that can do anywhere from 72fps or up, at least for a limited period of time, that really would cover everything needed for 99% of occasions.

    Sony should be ashamed for charging this much for the 4K upgrade.

  • You forgot batteries and charger

  • I do agree with Myles, BMD 4K is from far a great solution. But my concern is about hand holding (reaction speed etc…) FS700 is a little better on that. As cameraman it’s a bit easyer to work on different projects with the FS700. I never used the BM, but seems to me you would use it on a “shorf film” or “advertising” something you do have time to prepare the shot! Anyway If I would have to buy one… I would go cheaper than this upgrade! Wich is really too expenssive nowadays.
    One last thing, why don’t they use SxS cards on FS700? I’d love that!

  • The cost of the upgrade to 4K is definitely pricier than anybody expected, especially the Sony option. But looking closer to what you get it is not such a bad deal after all. So, upgrading with the Sony option will run you almost 10K which added to the 7.5K cost of the camera, will set you back about 17K. But with that you’ll be able to capture 4K RAW even in slow motion, and high frame rates even if in burst mode of 4 seconds. Added to that, you have XLR audio inputs and NDs. The Scarlet can’t do that. The Scarlet is a great 4K camera but when it comes to slow motion it is very limited. And you can’t really use the Scarlet for certain types of projects that require a more dynamic camera with audio inputs. So, with the Sony FS700 you have a super 35 sensor, more flexibility and 4K RAW in super slow motion. Not bad.

    • that’s it ! It’s the best buck with its slow-mo !!! I was afraid that the slow motion disapear with the 2/4K and it’s not the case hopefully, 120 FPS in 4K? Give me that camera now !!!

  • You should update this article. Its going to cost $3,880 to get the Odyssey7Q with the FS700 codec.

    • That’s good to hear, can you point us to those new numbers? My 700 is going in for the upgrade soon.

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