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New Sony F3 Footage

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XDCAM

XDCAM

My understanding was that XDCAM is an MPEG-4 wrapped around an MPEG-2.
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Yes, I can see where that can cause confusion as to what the actual codec used is.

So according to Sony http://pro.sony.com/bbsc/ssr/product-PMWF3L/

" Uses the same MPEG2 Long GOP Codec and SxS recording media as the rest of the XDCAM EX family for full 1920x1080 HD Recording, utilizing the “ready-to-use” XDCAM EX file-base workflow "

So the compression is MPEG-2. XDCAM-EX just replaces XDCAM's .MXF file wrapper with a .MP4 file wrapper.
 
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Steven-Marc C. said:
Where did you get this information from? From the blog, it seems clear that the video we see on vimeo was finished on Baselight from the SR tapes. Unless I am reading it wrong.
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No, you are right.
I was the one who was reading it wrong, sorry but it was a long day and after editing for 10 hrs...

On the other hand, let´s not forget that HDCAM SR (despite the price) after all, is also only MPEG-4 (Part 2 Simple Studio Profile).

Frank
 
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Is anyone going to the Sony PMW-F3 launch event at USC tonight? I am going to the 7:30PM time slot.
 
This thing looks good. But Ultra primes look good on most anything. After three years it is time to upgrade the ex1. I think the form factor and simplicity may give it legs.
 
Stuart English said:
Yes, I can see where that can cause confusion as to what the actual codec used is.

So according to Sony http://pro.sony.com/bbsc/ssr/product-PMWF3L/

" Uses the same MPEG2 Long GOP Codec and SxS recording media as the rest of the XDCAM EX family for full 1920x1080 HD Recording, utilizing the “ready-to-use” XDCAM EX file-base workflow "

So the compression is MPEG-2. XDCAM-EX just replaces XDCAM's .MXF file wrapper with a .MP4 file wrapper.
Click to expand...

I believe they wrap it in a .MP4 file wrapper so it can contain the necessary metadata.
 
Looks good. Too bas they haven't posted the sxs version as well,
would have been nice to see the same footage graded with the cheaper workflow , how well it could keep up with the srw in real life.

They should do that. otherwise it's not a great product presentation I guess.


real smart , they come up with it now...

But it looks far apart from what the Red produceds as an image. Red and Alexa are more filmic and warmer. I found the skintones not too convincing.

At least it's a solution for those out there who really need a system.

It's a pretty lightweight system too. Red has to hurry a little, just a little to make us more happy.
 
No RAW, no dice.

I assume Sony is not providing 1080p overcrank?
 
I was looking at the AVCHD MPEG-4 standard, and it does support 2k digital cinema formats 2048 x 1152 and 2048 x 1080p at up to 4:4:4 color space. I wonder what the F3 will ultimately support?
 
I think this camera looks like it would be a great match for the Cinedeck Extreme.

Sony hasn't said how much the 4:4:4 upgrade is going to cost, but w/ the Cinedeck, which I think is supposed to be around $12K, you could capture 10-bit 4:4:4.
 
Alexander Ibrahim said:
Also... I believe we have another Sony fail with their new lens mount. I have yet to see mention of any compelling new features that justify a new mount. There is already entirely too much fragmentation in the lens market- and users often make camera choices based on their existing lens collections.
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The new mount has a shallow flange focal distance which has several advantages:

Underneath is a new stainless-steel Sony F3 mount. It is a little wider than a PL, somewhat reminiscent of Sony Ex-3 mounts. Why? Because of the second feature: notably the flange focal depth is remarkably shallow–I would guess around 18mm (though not measured or confirmed yet) — perhaps close to Sony’s NEX-5 and NEW-VG10 E-mount consumer still and video cameras. Shorter flange depth translates into lenses that are easier to build, non retrofocus, (think Leica M series rangefinder) and best of all, opens up the world of adapters.

We learned that Sony is also planning an affordable zoom lens with the Sony F3 mount (not PL). The shorter flange depth should allow this lens to be smaller and lighter than PL zooms.
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Source: http://www.fdtimes.com/news/?p=2923

The F3 apparently can't record 1080/60p (maybe because of a limitation of the XDCAM format), but it can output 1080/60p via HD-SDI.

The new NXCAM announced today is suppose to be able to record 1080/60p on AVCHD.
 
http://convergenceblog.co.uk/?p=36

From the blog:

"So I decided to go with set of Zeiss Ultraprimes which included: 10mm, 20mm, 24mm, 32mm, 50mm, 85mm, 100mm, 135mm. I added to the list a LMB-5 clip on matte box and a set of 4×5.65″ ND’s & a Pola, an Astro Waveform monitor, and a set of legs to finish things off. Sony informed me that the F3 was going to come supplied with some SxS cards and a SRW-1 HD-Cam SR deck (with SR Tape Stock) so that we could use the HD-SDI output of the camera to record on SR in 4:2:2 and simultaneously record onto the SxS cards in XDCAM for the offline edit."
 
MPEG-4

MPEG-4

I was looking at the AVCHD MPEG-4 standard, and it does support 2k digital cinema formats 2048 x 1152 and 2048 x 1080p at up to 4:4:4 color space. I wonder what the F3 will ultimately support?
Click to expand...

Again, we should not confuse AVCHD MPEG-4 with MPEG-2 XDCAM contained in a .MP4 wrapper.
 
Kinda lame that RED STILL hasn't gotten any footage out from the Scarlet or S35. The competition is really giving RED a pounding here.
 
Question: How much does this camera cost? No serious shooter would rely on this in-camera compression (our friend Jason Wingrove's F3 video on vimeo reveals compression strain/wash), and don't 4:2:2 recorders cost a little something?

Wouldn't it make more sense just to buy a used Red One MX? Then you'd have 4K res, RAW, + overcrank?

Am I missing something?
 
See. The camera is part of the equation. The Colors are SONY like (the way a film stock has characteristics) The biggest pert of the equation is the recording medium.

REDCODE has proven that it rivals film in the sense that none of the new offerings are giving me the opportunity to improve the look of footage over time.

This is major. It's like comparing 16mm film to betacam. You will always be able to get more out of 16mm film over time as the mode of scanning gets better.

REDCODE does that in a digital way. No one has come close to this half of the equation. Sure you can do full CMOS, blah, blah blah, but WHAT are you recording to?

AVDCHDCAMMPEG@MEG42EXSR........you get the point.

To me, the very most important factor is the technology in the recording medium and the closest replacement to film right now is the technology known as redcode.

David
 
Richard_JP said:
Kinda lame that RED STILL hasn't gotten any footage out from the Scarlet or S35. The competition is really giving RED a pounding here.
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I don't think they have rivaled the MX stuff I have seen. I think you are just complaining because of the wait.
 
I'm talking from a business point of view. People will buy this camera, and the AF100 and DSLR's and and and. They would have all been on the Scarlet or the S35 or the Epic by now, but they have lost the faith and gone elsewhere.

As fans of RED, this should concern you too. You surely want RED to be around for your entire career right? Well if they don't start releasing footage and showing some hard truth to the recent claims (The new release date of the S35 was far to close to the announcement of the F3 or it be coincidence!), they will be losing clients on a large scale. Not good for you and not good for RED.

Yeah I'm complaining. But hey, when I'm running behind on a deadline and my client starts to complain, I pull out the double espresso :)
 
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