There are a few things that can make your green screen life a whole lot easier. Using a neoprene Digi-green will save you hours. Its stretchy and so saturated and reflective that a lot of the time the ambience in your set will be enough to have it lit. If your using an old cotton green screen your already behind. green saturation is most important. Use green tubes on your lights to saturate the green screen while not adding greens and blues to it.

It is worth noting that the Compact Zoom range and the CP.2 t1.5 set have been around for about 3 years now and are not new releases by any means.

killer film, killer crew, killer vision by GM

Who cares? it really doesn't matter. He still gets the pick of top tier films and directors.

Thanks for the info. I tried to do it with the day i spent using it and couldn't work out how to do it. Good to know its possible, thanks for the info. Maybe sony can work on some other exposure info like false colour perhaps.....

Ive used the fs7 on quite a few projects now and think it is a highly capable camera, one thing has always bugged me about it though, and thats the exposure tools (or lack there of) available in cine EI mode. The only thing here i have to judge exposure is 2 zebra levels. Firstly, how can anyone even judge where midtone and shadow values are sitting when all you get is highlight value???? This brings me to point of this post, I used the fs5 recently and discovered that Sony hasn't even provided a way to switch zebras on and off without going into a menu. I tried to assign buttons to toggle some functions like peaking and zebras, but found this wasn't possible. At least the fs7 has these buttons on the viewfinder. My question is, how can users of the fs5 have any clue of their exposure values with such a lack tools available, that is without going into a menu every time to turn on and off the most basic functions. For a so called run and gun camera this seems like a seriously lacking function.