How to Match the Sony FS7 EVF to the Odyssey7Q Screen

Sony’s mega popular 4K FS7 Camera and Convergent Design’s Odyssey7Q monitor/recorder are not only robust professional tools on their own, but together they’ve become a super powerful and efficient combo that unleashes the full potential of high-quality Raw recording from the Sony 4K juggernaut. The ability of the Sony FS7 to output a 12bit Raw signal via a single 3G-SDI connection that can be easily recorded on the Odyssey7Q as a sequence of 12-bit CinemaDNG files is an extremely popular way of capturing the highest-quality footage from the camera. Sony also have their own proprietary 4K Raw recorder – the AXS-R5 ($5,350 at B&H), however, it requires an interface ($2,200) and costs quote a few $$$. For reference – a 512GB AXS card costs $1,800!

It may make sense for an F5/F55 user, but not so much for a more budget oriented FS7 or future FS5 owner. However, the O7Q offers a handful of advantages not just in terms of cost. Still, there are some misconceptions what is the best way to match up both devices. That’s why Convergent Design put together an insightful tutorial showcasing how to set the FS7 so that its EVF image matches the Odyssey OLED screen when using standard and exposure-compensated LUTs.

Matching the appearance of the FS7 EVF and the Odyssey Screen from Convergent Design on Vimeo.

In particular, the workflow shows how to match the viewfinder of the FS7 to that on the screen of the Odyssey7Q when recording either Raw or S-Log3 ProRes files. In the first occasion, you need to set the Shooting Mode of your FS7 to CineEI mode and Colour Space to S-Log3. Furthermore, Convergent Design suggests using the 2LC -709typeA LUT on the FS7 which also comes as a preset in the Odyssey7Q. You should make sure that the MLUT is enabled for all of the outputs of the camera as shown in the screen grab below.


The preset LUTs in the Odyssey 7Q include three versions of the 2LC -709typeA LUT. There is a normal along with -1 stop and -2 stop exposure compensated versions of it. In order to achieve the desired effect, the FS7 should be set in a way to match those three LUTs. To do so, in the ISO/Gain/EI settings of the Camera Menu three gain settings corresponding to the three versions of the 2LC -709typeA LUT should be set as follows:

  • 2000EI/6.0E – the equivalent to the standard Odyssey LUT
  • 1000EI/5.0E –  the equivalent to the -1stop LUT
  • 500EI/4.0E – the equivalent to the -2stops LUT


It’s worth noting that changing this three in-camera settings only affects camera’s outputs that have MLUTs enabled which means that this doesn’t affect the Raw signal send to the recorder. Finally, you need to choose the appropriate matching LUT on the Odyssey 7Q.

As the recorder decodes the Raw signal from the camera to an S-Log 3 image you need to enable appropriate LUT to match both the display of the recorder and that Viewfinder of the FS7.  As mentioned earlier, the standard 2LC -709typeA LUT matches the MLUT from the camera at 2000EI. You can choose the other two options in the Odyssey7Q+ LUTs menu as shown below.


Convergent Design recommends this particular workflow based on the fact that generally all digital cameras capture the least amount of information in the darker areas of the image.


So, overexposing and darkening the image in post makes the noise in the shadows less prominent, which can be easily spotted in the waveform side-by-side comparison where the footage exposed at ISO 2000 has a lot more noise than the one at ISO 500, despite the fact that in normal mode both images look superficially identical.

[via: Cinescopophilia, source: Convergent Design]

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