The latitude that the codec gives you is amazing given that the file size is relatively small. It’s definitely not RAW, but it’s also not a bajillion gigabytes per minute (if any of you have shot on RED, you’ll know that footage can eat up Terabytes upon Terabytes no matter the content). The ability to capture so much detail on a compressed codec is amazing! The camera captures plenty of detail in highlights and shadows that’s on par with much more expensive cameras. This alone is probably the best part about shooting on the Sony FS7. The good outweigh the bad, so I’ll start with what I really liked about shooting with the Sony FS7. Borrowlenses suggested I try the Sony FS7. I had read many great reviews about it and it did suit my needs well. When I was hired to document the Golden State Warriors championship run I wanted a camera that was lightweight, easy to use, and shot 4K/SlowMo internally. But none of them had all of the features I wanted at an appealing price point…until now. I’ve shot on many cameras before, including the Canon 5D Mark III, Canon C300, Sony FS700, RED Scarlet/Dragon, Black Magic Cinema/4K Production. You name it, I’ve probably shot on it. Here he breaks down why the Sony FS7 may be the camera he’s been waiting for…but is perhaps not perfect yet! Read our review to see if the the Sony FS7 is the camera for you.ģ Things That Are Annoying About The Sony FS7 His films have been featured by the three major Bay Area professional sports teams and his requirements are high quality RAW recording and relatively lightweight rigs for his run-and-gun shooting style.

San Francisco-based freelance filmmaker and photographer Matt Maniego recently had the opportunity to see how the new Sony FS7 would stand up to the standard of his professional shooting needs.

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