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 :)

Sony F3

Status
Not open for further replies.
Effective Sensor Resolution (HxV) Approx. 3,36 Mega Pixels

http://www.matrixvideo.ca/pdf_folder/PMW-F3-BROCHURE.pdf

Interesting find Jiri. Thanks. We'd all been wondering what they're doing there. Really need to get one on our zone plate now!

That gives (1920*1.27) x (1080x1.27),
whereas Arri in Alexa use (1920*1.5) x (1080*1.5)

Unless, of course, they're using funky non-square pixels or some other thing, but the zone plate will tell us.

Graeme
 
Sony F3= too little, too late, for toooooooo MMMUUUUCCCHHHHH, though I am interested in the sony PL mount lenses... if they sell them without the cam
 
Owning (and loving) an EX 3 next to my Red I think the bottle neck is not the sensor here.

It is recording on the SxS cards which a max throughput of 35Mbits. Great codec for news acquisition where fast download is king - otherwise not so stellar.

(Meaning that you will definitely want a NanoFlash. = More dinero & cable/power salad.)

Generally everybody seems to be a little too obsessed with Sensor Resolutions these days. Processing and storing all the data of those big sensors in-camera seems to be were it gets dicey and pricey.

Otherwise we would all be very happy with the Canon 5D. Except the AVCHD codec is rather limited...
 
Sensor resolution is important if you don't want your image to look rather blurry, and important if you don't want nasty aliasing / moire artifacts to ruin your image. AFAIK, the SxS codec and cards are only for editing proxies - you're meant to record out to HDCAM SR for grading from.

Plenty of times we've compared camera footage on the big screen at RED and at various grading suites. Once you see images like we see all the time, you don't ask the resolution question any more...

Graeme
 
I never questioned that sensor resolution is king. This is why I own a Red One :-)

But I also think systems need to be coherent and make sense. I heard that SxS is only for proxies for the first time.
And I doubt there will be a lot of users who will buy a 13k camera and then shlep around a 70k HDcam SR recorder.

I guess a lot of people will be using NanoFlashs. But then why not integrate that right away ?

Maybe Mr. Graeme needs to work his genius and develop a codec for that camera. Not sure if Jim would dig that though :-)







Graeme Nattress said:
Sensor resolution is important if you don't want your image to look rather blurry, and important if you don't want nasty aliasing / moire artifacts to ruin your image. AFAIK, the SxS codec and cards are only for editing proxies - you're meant to record out to HDCAM SR for grading from.

Plenty of times we've compared camera footage on the big screen at RED and at various grading suites. Once you see images like we see all the time, you don't ask the resolution question any more...

Graeme
Click to expand...
 
Indeed I'd not do that...

It's not that resolution per-se is king, but what resolution enables in term of image quality is king.

Graeme
 
Sony is supposed to be developing a solid-state SR recorder for the F3 too. But I have a feeling a lot of entry level users will be happy with SxS and the EX codec to start with as long as they can get 35mm dof
I haven't had much exposure to Red yet, but having shot encoded video for a few decades, I really like the shift to a raw work flow paradigm and a more film like approach to exposure. i'm not buying another video camera.
 
Our MX is so good and meets every "fantasy request" I had before so well that I question, even, our need for an Epic, let alone some F3.
 
The thing to keep in mind is the workflow. This has always been a hang-up for many first time red people/projects.
They love the sensor size, lens optionsof the REDONE/EPIC etc etc. But the F3 will not require a demosaic step. Many productions/producers will love this for cost and time factor. This is why a lot of people have pushed for an RGB (mxf/mov) module of sorts for Epic...of course we can use nanoflashes too I suppose.
 
Re: workflow:

Rob Ruffo said:
We have an order of 26 one-hour shows, shot 90% on Red. We drag and drop R3D files into PPro CS5, and never transcode anything but the final timeline (takes about 6-8 hours or so for one hour of timeline content - a commercial driven 44 minute "hour" would take even less). We have access to a Redrocket, and it's great and worth every penny, but necessary? Not really, not at all.
Click to expand...

It seems that every day the practical concerns about posting RED shrink.
 
Well... I think the direct no conversion workflow is still important.

Obviously I agree that the RED way is best (hence being here) but there is a lot of comfort with the old way.

XDCAM EX is a great codec for what it is- but it isn't the answer. I do think a lot of people will be happy shooting it though. After a lot of folks are thrilled to tears with the EX1 etc.

I also doubt that you'll see a lot of users choosing Sony's SR technology for the F3 unless they are already using it elsewhere. In other words, you'll likely only see SR recorders with F3s when its a B cam on a shoot that is using SR elsewhere.

I expect that AJA KiPro and the AJA KiPro Mini will get a lot of sales due to the F3.

I expect to see Cinedeck Extreme's on that thing too. At just $10000 its a great solution.

As to RED... I think they will make an external recorder with a nice fast RGB codec.

Their own version of the Cinedeck Extreme or KiPro, perhaps as an epic module. If it had SDi and/or HDMI input as well...

I'd also love to see a RED codec more directly comparable to ProRes or Cineform. I think those are great codecs... and frankly I don't know if RED has anything to offer in that space, but I'd be interested to see what they might come up with.
 
Do I take it from this discussion that 1080p RGB codec is no longer part of the Scarlet package? I always felt it was an important feature - for the fixed Scarlet in particular.
 
Angus Mackay said:
Do I take it from this discussion that 1080p RGB codec is no longer part of the Scarlet package? I always felt it was an important feature - for the fixed Scarlet in particular.
Click to expand...

Scaled 1080p RGB is still in the cards I think. We don't know what the format will be though. Maybe Mjpeg 2000?
 
Thanks David, I thought that was the case but wondered if I had somehow missed its being dropped.

I think Axel raises issues that are very relevant for many people in the here and now. In the medium term Moore's law will eradicate them, but right now they matter. That's why I've always considered the 1080 solution of some importance to the initial success of Scarlet.
 
Michael Olsen said:
Re: workflow:

Originally Posted by Rob Ruffo
We have an order of 26 one-hour shows, shot 90% on Red. We drag and drop R3D files into PPro CS5, and never transcode anything but the final timeline (takes about 6-8 hours or so for one hour of timeline content - a commercial driven 44 minute "hour" would take even less). We have access to a Redrocket, and it's great and worth every penny, but necessary? Not really, not at all.

It seems that every day the practical concerns about posting RED shrink.
Click to expand...

Very true. But there are some serious hurdles to jump with reguard to AVID still. And its the big player for the time being. (yes i know BBC jumped ship)
FCP is falling behind too.
 
Status
Not open for further replies.
Back
Top