Welcome to our community

Be a part of something great, join today!

Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

f65 next to Epic impressions

C

Christopher Mills

Well-known member
Joined
Jan 10, 2012
Messages
673
Reaction score
0
Points
16
Visited a set today using both at same time....
Talked to the knowledgeable 1st AC and DIT..
my impressions..
on set grade matched nicely...
the sony was much larger.. but had a much easier to use interface.. and the remote was stable.
F65 much quieter in standby.
Epic much better ergonomically in handheld mode.
Did not like the dedicated Sony SSD reader.. it looks much more complicated than RED's
I like the sony ENG eyepiece... Have not had a chance to see the OLED RED one...
Timecode box is required by post for both cameras... it's easier to plug into the Sony.
I would use either... and probably will be asked to...
As I do not think handheld capability is a sign of careful drama production (my preference), the handheld superiority of the Epic is less important to me...


Not present on that set.. Alexa.. which has the menu screen and buttons on the dumb side.. I am not sure it's so dumb, if the AC is going to be using the menu buttons..
seems like the Sony's operator might get annoyed at the AC reaching next to their face to use the onboard camera control buttons...
the RCU fits neatly on the dumb side, so that might be useful.

Forgot to research the compression level on the F65.. they were getting 155 minutes on a 512gb Sony SSD
 
Do you have any stills you can show us? would love to see a comparison...
 
Very cool. I came this () close to buying an F65 just a few days ago, but I decided to get a set of Ultra Primes, and a set of RPP's instead. This glass will last 20 years + if I take good care of it, but these cameras are gonna be junk in 20 years, lol. EPIC maybe not because of upgrades, but the F65 for sure.
 
Christopher Mills said:
Visited a set today using both at same time....
Talked to the knowledgeable 1st AC and DIT..
my impressions..
on set grade matched nicely...
the sony was much larger.. but had a much easier to use interface.. and the remote was stable.
F65 much quieter in standby.
Epic much better ergonomically in handheld mode.
Did not like the dedicated Sony SSD reader.. it looks much more complicated than RED's
I like the sony ENG eyepiece... Have not had a chance to see the OLED RED one...
Timecode box is required by post for both cameras... it's easier to plug into the Sony.
I would use either... and probably will be asked to...
As I do not think handheld capability is a sign of careful drama production (my preference), the handheld superiority of the Epic is less important to me...


Not present on that set.. Alexa.. which has the menu screen and buttons on the dumb side.. I am not sure it's so dumb, if the AC is going to be using the menu buttons..
seems like the Sony's operator might get annoyed at the AC reaching next to their face to use the onboard camera control buttons...
the RCU fits neatly on the dumb side, so that might be useful.

Forgot to research the compression level on the F65.. they were getting 155 minutes on a 512gb Sony SSD
Click to expand...


all the impressions are pretty spot on, but sounds like they were shooting SR codec in 422 mode for 155 minutes. sr codec is about 6 gb a minute, so that math doesn't add up either. and the full raw gives you about half an hour on a 512, and raw lite gives you close to 50 min possibly more.

f65 has a new reader coming out that will click directly to esata and allow simple drag and drop. sony really did something weird with their big box that you have to access via web browser just to download your footage. most needlessly complicated item in the whole package.

i personally think the red oled bomb is probably the best eye piece you can get. never much was a fan of sony eyepieces.
 
Jon Jones said:
Very cool. I came this () close to buying an F65 just a few days ago, but I decided to get a set of Ultra Primes, and a set of RPP's instead. This glass will last 20 years + if I take good care of it, but these cameras are gonna be junk in 20 years, lol. EPIC maybe not because of upgrades, but the F65 for sure.
Click to expand...


20 YEARS?????? bwahahahahah!!!!!
 
How many times have you rented out super speeds that were around 20 years old? Well we have lots of times. There's nothing funny about that, except that I bought the glass brand new and debt free, now that's a bwahahahahahaha!!!!! moment ;)
 
BRANDON JAMESON said:
But you dont imagine ANY of these cameras will be more than doorstops in a few years????
Click to expand...

Why not? Somewhere out there someone is probably shooting something on Panavision Genesis someone else is shooting with an f900 and some other person is probably shooting serious work with a digibeta camera so why wouldn't they last more then a few years however much a few years is.
 
One of my biggest pet peeves on this forum, is when there is a post about a certain subject matter, and people are posting on that subject, but then somebody has to come and scrutinize the people that are posting on that subject. So I will post on the subject matter, but then someone will come along and make a post about how stupid my post is, forget about the subject matter, lets just start a little sub argument about my post, and derail the entire thing...

So anyway, Christopher on your original post, the F65 is a great camera, buy it if you like but it'll cost ya $85,000. I personally would not buy it over an EPIC, but if I already had an EPIC, and SCARLET, which I do, I might buy it later on after I have all the glass that I desire.
 
BTW, I did not say a few years Richard, I said 20 years. That's one of my other griefs on this forum, when someone knowingly takes your words and twists them around, to make you look like an idiot.
 
Not planning on buying it.
Just thinking it will be one of the cameras I end up operating at some point or other..
I find that owning lenses has been the constant all these years.. And has been my best shot at maintaining controlled and predictable looks on my shoots.

I do own cameras, and am thinking I will buy something from Red in the near future.
As I am about to start a long term project (1 year) on which I will not be able to get equipment rental, my urgency for owning a high end camera is lower than it was earlier in the year..
(Currently use my Sony f3 and EX3, Canon 7d, and rented Epic and M1 packages-- used to use Aaton and Arri s16 and 35mm cameras, and a Sony f900-- liked different things about each)
AND RE:20 Years...
yeah.. Doorstops...
the internal transistors, resistors, cpu chips and other ICU and ASIC components will not be produced and stocked for 20 years on anything electronic...
it is already getting complicated to find all the components to maintain a Sony f900. many third party components used in that camera are just no longer made or stocked... and that camera is about 10-13 years old.
 
Last edited:
Tom.Wong said:
all the impressions are pretty spot on, but sounds like they were shooting SR codec in 422 mode for 155 minutes. sr codec is about 6 gb a minute, so that math doesn't add up either. and the full raw gives you about half an hour on a 512, and raw lite gives you close to 50 min possibly more.

f65 has a new reader coming out that will click directly to esata and allow simple drag and drop. sony really did something weird with their big box that you have to access via web browser just to download your footage. most needlessly complicated item in the whole package.

i personally think the red oled bomb is probably the best eye piece you can get. never much was a fan of sony eyepieces.
Click to expand...

Check +
 
You must log in or register to reply here.
Back
Top