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Is a Sony F3 worthwhile buying in 2015??

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David Peterson

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Does a Sony F3 still make sense to people in 2015? Because have you seen on eBay lately just how cheap they're going? :-o You can pick up a Sony F3 for similar pricing to a new BMCC.




The expensive SxS media puts me off, but this appears to be an easy way to avoid that expense:


http://www.bhphotovideo.com/c/product/786662-REG/Sonnet_SD_SXS_E34_SDHC_Adapter_for_SxS.html


For the only extra grand or so over the cost of an AF100 or FS100 it would seem like an F3 is worth it if you're looking for an older large sensor camcorder on the ultra cheap.




(as I've been seriously looking into getting an AF100 for only a grand, just so I can have an "impressive" pro looking camera to impress the brides/guests at wedding shoots, with the rest of my kit being 1x GH4 + 1x GH2 + 2x GH1. I know images is all that should matter, and appearances shouldn't matter, but in real life first impressions do matter. If a few extra hundred dollars to get an AF100 over GH2 with the same image quality, then leads to more bookings, that it is money very well spent. But then this logic dangerously leads me down the path to spend even more on a Sony F3... as then I could use the F3 on serious jobs too)


For context, I also own a kitted out BMPCC (that I love love) but it can look like a glorified smartphone to some people :-/ (until they see the images produced! But again, first impressions do matter and last)
 
What do you think of the SONY PXW X200? I really am interested in this 3 chip camera.
 
SONY PXW X200 is a 1/2 inch sensor, which is far outside the scope of what I'm looking for.

Which is "cheap" (i.e. older) large sensor camcorders (with interchangeable lenses). As at least then it can double purpose as an additional tool in my toolbox for a few jobs other than weddings, and I can get nice usable footage from it from weddings in its "C camera" capacity too. (unlike say a DVX100, which arguably could serve the same purpose of a "window dressing" camera for show, but I wouldn't want to use even one second of footage out of that)

I thought this limited to me to going after either a Sony FS100 or Panasonic AF100 on eBay (or maybe if I get very very lucky, an amazing deal on a used Sony FS700. Am ignoring C100/C300 here for now, though if I came across a flat out ridiculous deal on one I would go for it).

But then I saw the prices of a Sony F3! Looks like they're ultra tempting at these low prices.
 
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I've also been tempted by the F3, I've been shooting on an EX1 almost exclusively since 2010 and I'm beginning to long for the look of a larger chip camera.
My only hang up has been that the lenses aren't sometime I can really afford. I think you can get 4:4:4 out of the F3 but only through an external recorder.
 
Wouldn't you rather get a Red One for nearly the same price?
 
Craig, I've already got a set of Rokinon Cine DS lenses, & many more :-) So lenses won't be a problem for me at all. But yeah, if you're starting from scratch that is sizeable wad of cash needed. Rokinon Cine lenses are the most dirt cheap "cine" lenses on the marketplace, yet to build up a complete set of them still costs a few thousand dollars.

And yup, 10bit 444 or 60fps FHD needs an external recorder. I'm thinking I could at least get the Blackmagic Design Video Assist for 60fps or 10bit 422, as it provides a very cheap option and its nice FHD screen means perhaps I could scrimp on skipping out investing in an EVF for a while.

Dunkan, that would be nice but its body is easily double what I could get a Sony F3 for. (and once fully kitted out, I suspect the price difference would only grow even larger)
 
The Network I work with here in Panama is using an F3 to shoot a flagship Telenovela project...which I found rather bizarre, but got me curious about the camera as well.
 
Stuart Hooper said:
The Network I work with here in Panama is using an F3 to shoot a flagship Telenovela project...which I found rather bizarre, but got me curious about the camera as well.
Click to expand...

Not too surprising, the Sony F series in general does seem to be even more popular with TV than film. And if they've got a restricted budget (who doesn't?), no need for 4K, and no need for slow motion beyond 60fps, why not use the cheaper F3 vs a F5/F55?

Tyler Dreher said:
I have one sitting around now if you're interested :)
Click to expand...

Thanks, but I'd prefer to find one more local :) But anyway, what would you be wanting for it?
 
I was going to list it on here for 2500. I have a pelican case for it, a zacuto baseplate, some carbon rods, and the 4:4:4 option
 
You should buy it, fly over to Europe and sell it there: http://www.ebay.de/itm/Sony-PMW-F3L...696?pt=LH_DefaultDomain_3&hash=item564e7e4d90

I was impressed by what the F3 delivered in Safety Not Guranteed https://www.youtube.com/watch?v=xE94RKIE7xQ .
But I guess it was fully kitted out and they had most other things at hand, that makes film film and not a wedding video.
Still, it was always rumored to have the same sensor as the F35, so with the S-log upgrade and maybe the upcoming BM Video Assist this "old" camera,
might still be a worthy investment.

On the other hand: Weddings are probably where 4K will be one of the few points to set oneself apart from the others, or in other words: Maybe in one year 4K is the standard for wedding video,
cause, it's forever, right?;)
 
The F3 and F35 sensor are a world apart.

F35 is a 12.something mp rgb stripe ccd, as used in the genesis.

F3 is a 3.4mp cmos Bayer pattern
 
Came across this interesting comparison from an owner of both an F3 and a RED Scarlet (which would be waaaaaay outside my price range to consider a Scarlet!):


http://timurcivan.com/2012/04/an-examination-of-sony-f3-and-red-scarlet-a-direct-comparison/


<<The biggest problem i have is deciding between the two cameras. The RED is simply razor sharp, has a punchy slick look, and has the easiest onset ergonomics and workflow. The footage is 16bit 4K RAW. I mean, the camera is the size of a Hassleblad and gives you amazing images.


The F3 on the other hand, is night vision, which makes for simpler indie shooting on lower budgets where you dont have access to bigger units. It also has more useable dynamic rage, and its color is in my opinion the best in digital right now short of the Alexa. ( Though REDColor3 is REALLLLLY good!) Case in point, in the skin tone test you just watched, the color of the wall in the F3 footage is completely accurate. Thats exactly what my wall looks like, but looks quite magenta in the RED footage. If I fight the magenta with a bit of green, the skin tone gets thrown out of whack. This green/magenta balancing act is a definite pitfall of the RED, even with REDColor3.


This real issue is that it comes down to image quality. I find myself, shooting films and documentary on the F3, but commercials, music videos, and corporate spots on the RED. When it needs to look natural, i use the F3. When it needs to look crisp and slick, RED.>>



This guy's logic is in a similar-ish headspace to where I am at too (C100 vs BMCC vs F3):
http://www.craigspenceley.com/dr-dynamic-range-love-chose-buy-sony-f3/
 
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As owner of both red ome mx and 3 f3s overall sharpness and motion feels better on red one mx but ease of recording to pro res w a samurai makes the f3 a more viable option for quick turnaround productions. Also cheaper cost of media.
 
I think the F3 (with log and 444 external recorder) is - like R1 - really a very underrated camera compared to to cams like the C300 (which plainly is kinda not so nice).
 
Like any Sony Cine Alta their sensors look amazing with Cooke lens can't loose.

I have an old F3 which I use for all my ProRes 2K jobs

Does really well with conserving battery and great low light capabilities.

I plan on getting the new black magic video assist so I can shoot all my footage at 60fps 422 10bit.

The new Pix E also look tempting but are $1000 more than black magic which gives you 4444 ProRes for full 12bit and is a great image.

ISO settings are weird and the white balance. Once you dial it in to your liking its a great work horse.

Use mine mainly for festival coverage FFF in Austin and Skateboarding coverage cause of high speed and handle build.
 
Timur, Cooke lenses are a tad bit outside my price range, is why I went with an F3 after all!
I'll be using my Rokinon lenses and other Nikon F mount lenses I own.
http://ironfilm.co.nz/rokinon-cine-lenses/

Cid, BMD Video Assist is top of my list to get too! Should transform it into a whole new camera :-D Cheap too.
Do you find V mount batteries over the top, as you mentioned the very good battery life? Yet mine is rigged up for V mount battery use when I purchased it. Didn't even come with a single BP-U60!
 
Having just got a recorder for the F3, I've written an entire blog post about my decision process to buy a recorder/monitor as I've been debating which to get for a long while (since even before I purchased the F3!!):




http://ironfilm.co.nz/which-recorder-monitor-is-best-for-the-sony-pmw-f3/




Basically my logic process then went, if:
a) you have a bit more cash, get the PIX-E5
Because aside from its price (which is pricey relative to a Samurai Blade or Video Assist, however PIX-E5 is cheap compared to any of its direct competitors!) it is practically almost flawless! Especially as I feel 5 inches is the “sweet spot” for an operator’s monitor while shooting, but if you disagree there is always the PIX-E7 instead with its 7 inch screen.




b) don’t mind focus peaking / waveforms / vector scopes / etc are missing, get the BMD VA!
Some people don’t mind living without these and don’t see what is the big deal, others would shudder at the thought of being without them….




c) otherwise…. am left with the last choice of the three :-P Get a Samurai Blade




Or at least, that is how my thought process went.




Thus personally I went for the Atomos Samurai Blade, which I’ll use with my PMW-F3. It arrives next week! (it just arrived today at my reshipper service in the USA)


You can now rip into me for making the wrong choice :-P Or give me tips on using them together. For instance, I think the tagging (thumbs up/down) on set feature in the Atomos recorders only can be used with Final Cut?? (even though Atomos promised it would work with other NLEs) If there is any way to make it work with Premiere Pro or Sony Vegas (or even DaVinci Resolve's editing?! Just I can't use Final Cut, as using a PC, as does everybody else I work with) please let me know.
 
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