Sony F3

[Bryce O]

Wrong, it will do 1080/60p over dual link.

Well, I stand corrected. But still... having to be tethered to some other recorder just to get 60fps in 1080p is not very impressive. How does it not have a over-cranking feature like the 3x as cheap AF-100? I just don't get it.

Actually, never mind... everything I've been finding says the F3 tops out at 30fps in 1080p. No matter what. only 720p mode can hit 60fps.

 

[Aaron Newsome]

Actually, never mind... everything I've been finding says the F3 tops out at 30fps in 1080p. No matter what. only 720p mode can hit 60fps.

That's incorrect. It'll do 60fps 1080p over dual link SDI to an external recorder.

We get it, the F3 is not your cup of tea. No need to bash it though.

 

[Jim Retar]

How does it not have a over-cranking feature like the 3x as cheap AF-100? I just don't get it.

Give me 12-13 stops at 30p over 10 stops at 60p, any day of the week.

I'm desperately hanging on for an Epic-S... so I am not here to give Sony love, but time is running out for me and I need to shoot on something. The F3 is an attractive camera and it baffles me that people think it is over priced.

 

[Peter Moretti]

It seems that Sony will never learn. They got lucky that Jim hit some delays with Scarlet and Epic. They should have taken that time to completely change their business model. They should have dropped to their knees and begged forgiveness for a decade of fleecing their customers and withholding technology. But instead, it is now clear that Sony intends to keep on with their BS business practices all the way up until the end... which is coming soon. At this point, Sony is like Thelma and Louise heading for the cliff, foot still on the gas pedal.

Jim is about to put Cine Alta out of business, and they will have no one to blame but themselves.

Tom,

PLEASE don't take this as a personally in any way shape or form. It's absolutely not meant that way.

But FWIW, I have a completely different take on Sony's approach. Sony wants to get paid. I see nothing wrong with that. I feel like the whole industry is in a race to the bottom, and if Sony wants keep on trying to make money, then so beit.

Employees should get paid well, and that's only going to happen if the company charges fairly for its products (and people buy them of course).

Red should not be used as a benchmark for other companies. Red is exceptional and unique. And even Red has shown us that it's much more expensive and difficult to make a camera than it would appear. I think the delays Red has experienced and the price increase they have projected are much more than snags. They are a reality check to all of us that what Red is doing is exceedingly difficult.

 

[Michael Schrengohst]

Also this little $900 GH2 package equipped with Angenieux 17.5-75mm 16mm zoom using Extended Teleconverter mode

where you almost don't get any moire/aliasing artifacts could blow away the most of 1080p competitors...

That MatteBox probably cost more than the GH2, hell that PL adapter probably cost more than the GH2.

 

[Ben Graham]

I enjoyed shooting on the sony F3. I have used sony's for 20 years, but not even close to the same game as shooting redcode. After shooting RAW it really is almost impossible to go back. I try to self rationalize shooting on other formats when our REDs are out but they are all just a temporary compromise.

 

[Peter Moretti]

Ben,

I think you are definitely on to something. I find redcode and RedCine-X as impressive as the Red One itself.

 

[Jannard]

OK... this is probably enough. When other cameras are being discussed as options to the F3 (Sanjin's deleted post) it has strayed too far off the topic.

Jim