Here’s my wish list for my Sony F3 from Sony in 2013:
- Could we get an upgrade for 4:2:2 internal recording with 50 m/bits throughput?
- Is there enough processing power to give us RAW out of the F3?
- If the sensor is 4K can it be De-Bayer’d down to 2K to an external recorder?
- Can we us the new faster SxS cards with an upgrade to the firmware?
- If not free, could this be done for a purchased upgrade under $2000?
Seems like there is ‘a storm a brewin’ for the 4K market but we won’t know anything until it passes. If these cameras can be upgraded for a few bucks now and stay relevant until the new crop (no pun intended ) of sensors is released – could be a good thing.
All in all a nice lens so far. More to follow…
Until next time, good shooting.
Most used this year: 5Dmk2
I’m not being asked to go 4K just yet. If need be I can rent an EPIC from VR and go crazy with resolution. Super Slowmo is great but likely to get overused in my circles and burn out quickly and again — EPIC if needed. Super Shallow DoF nice but not the end all be all. The F3 seems to fit the bill right down the middle.
I was very intrigued with the FS100 but not completely sold. And have been looking for a way to use my Canon EF glass to make the package a done deal. I found the Metabones adapter for the lensing and the battery support for running all my monitoring but was not just there yet… Then I was hipped to the FS700 last Monday and everything changed.
Looks like the new camera route might be to get the FS 700 ASAP. Shoot the 5Dmk2 for as long as I can. Rent the Mark III when needed. Adapte the 5D cage to the 700 for maximum use. If I still get requests for the 5D a lot upgrade later and replace the mark II….
Exciting times my friends… exciting times indeed!!!!
Good FS700 resources:
Well that’s it for now. Until next time, good shooting.
Ken Rockwell.com and eBay are your friends. We went through Ken’s sight and double checked our lenses for reviews, tips and tricks and finally general pricing considerations. We decided on covering a range from 28mm to 200mm with a 28-70 ƒ2.8 ED and a 80-200 ƒ2.8 ED. Really rugged, well built and clean.
The 80-200 came in a week ago and we were able to take it to Duclos Lenses in Conoga Park last week. REALLY nice guys Paul and Matthew. Boy do they know their stuff. As it turned out they were doing a run of Cinemods on 80-200 Nikkor lenses that week and just added our parts to the run. We dropped off the lens in the morning and went to lunch and it was done by the time we got back an hour later. Awesome!!!
To add to our collection we also got the 28-70 this week. We’ll test it out on a commercial shoot this coming week. We’ll have it modded probably later this week or next. The mod is great – they remove the “click-stops” in the aperture ring and add a focus gear. If you like they will upgrade to front flange to 80mm for consistency.
The look seems very nice from these lenses. Bokeh is pretty smooth. Don’t see that much vignetting in the way we use the lenses. All in all I think a good decision.
While we were at Duclos we checked out their 11-16 lens – very cool. Again – rugged!! Worked really well with the F3. Gives you a great wide look. They are so popular for the RED and EPIC and F3 that there is a fair sized waiting list – well worth the wait and the money.
More to follow as we put the lenses through some real world testing…
Until next time, good shooting
The F3 operates a lot like it’s EX brethren. Most of the same menu functions and settings apply. For instance, the audio knobs are in a different place and I had to remind myself to stop looking the the “Internal / External” mic switch. It’s back to old-school plug in the mics you want to use. We were running with one wireless for the day and decided to send the feed to both channels 1 & 2 and keep channel 2 at -6dB as a safety. Same as an EX1 or 3 to set up. I put the Sennheiser EW100 at 0dB AF output and ran the transmitter at -20dB sensitivity. At the end of the day I wish I would have run the transmitter at -30dB – our last interview had a booming voice at times and I got a little close on channel 1 to the red…
Another thing we noticed, from a mechanical stand point, is our matte box from our EX3’s is just a bit small for the shade on the RED 18-50 to fit through… saw a little vignetting. We made the decision to just push through the vignetting at 20mm – it was real close – no biggy. I’m talking to the manufacturer about a backmount flange replacement to solve this. Just the kind of things you find as you are going through… The matte box opening is 100mm and the shade is 114… Oops – my bad.
I set up the camera with the RedRock rails and support base. The sliding plate makes balancing a breeze. I have these plates and receivers on all my cameras and tripods. Sachtler plate $85 – Manfrotto 357 plate system $49, additional plates $27 — Duh =) This system works great with our matte box and RedRock v2 follow focus. We put an ARRI focus ring on the EX3’s. It’s nice all the PL lenses have the proper .8 focus rings/gears built in.
The HUD in the monitor is very informative just like the EX1 and 3. I use the dual zebras and peaking a lot. The histogram is handy depending on wardrobe. Audio levels metering is so nice after spending time this year working with my 5D+Zoom – I can see the levels through the picture and never have to look away at the Zoom. As I said, the RED lens talks to the camera so the aperture, zoom and focus distance displays all work – Cool.
Coming into the home stretch… Using the F3 with the 17″ HD client monitor was great – both for composition and focus watch dogs… The hardest thing about transitioning from the EX1’s and 3’s and other ENG cameras to the shallow DoF rigs is the tendency to still just “wing it”. You can do that with an ENG rig in running and gunning mode but with a 5D or F3 or any of the shallow DoF cameras it’s a challenge. I often have to “retrain” the producers I am working with to not just say “grab the camera and lets go… Oh by the way, I need this shot to be really shallow and sexy” – while we run along side a person moving through a back-lit office setting… It’s back to basics: good blocking + good rehearsal = good focus.
Well, thanks for checking out another TD Blog. Looking forward to the next time,