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  • 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´s forthcoming `NXCAM' line-up

I wonder if they would force the SONY pictures division to use this technology....
 
Someone should really inform them that professionals (for the most part) don't use AVCHD. Supported NLE's are, what, Vegas, and that's it? Come on, guys.


(side-note: I was recently asked at the last minute to shoot a friends' wedding on an AVCHD camcorder. I have been severely burned by the codec when trying to create a workflow with FCP, so I may be a little bitter).
 
It could be possible that Sony was watching too much of my "quick and dirty" :laugh: lens tests with my R1 and of course they were also listening:

"In addition, a very short flange back distance (the distance between lens mount surface and sensor surface) allows various A-mount lenses be mounted
via a lens adaptor (LA-EA1). Furthermore, it is also possible to attach a range of other lenses using third-party lens adaptors. With such flexibility, users
will be able to experiment with various creative expressions by exploiting the characteristics of different optics."

Digital acquisition shows us that a glass is the most important thing in that chain: glass + sensor + RAW converter + postproduction workflow.

What about Epic/Scarlet in that way?

Leica M lenses as the best manual lenses in the still image industry were "kicked out" of Epic use (but that fact I still have to check out with my own eyes).
 
Liam Hall said:
It's like Sony and Panasonic are in competition to see who can design the ugliest and least ergonomic camera...
Click to expand...

They still didn't get that future is DSLR like ergonomic and look camera.

Interesting thing is Panasonic who didn't realize that with AF100/101 that they still tailoring and try out to match (or even to kill it like a HDMI GH2 clean signal out) some with the features available in GH2.
 
I think the Sony announcement shows just a body concept, far from the final design.
Interesting that they would present us a Hassy-like box, mimicking EPIC & SCARLET to a certain degree.
I wonder who would hold her/his breath for this duckling until summer 2011 while you could already get a perfectly ugly one from Panasonic at the end of this year.

Of course the name of the game is: `Oh, what a wonderful day tomorrow!´
And so they keep repeating their spiel of announcing half - obsolescent gear every now and then. They better hurry up this time, before SCARLET hits them all.
 
I don't know, i think they're actually doing pretty well, and considering the F35 and Pana's Genesis were the only 2 "competitors" for RED, they've at least got my attention.

What I'm not saying is that either this camera or the F3 is viable competition for the RED cameras. Now that I've seen the F3 footage, does it look good? Yeah, but about as good as stuff coming out of a 5d mark ii with the advantages of workflow accessibility and PL mounts, however, if I'm talking the difference between a 5d mark ii with nice still glass that requires a learning curve for under $5k, as opposed to $21k for a few advantages and a picture that isn't a whole lot better, I'm getting the 5D. If I could afford an Epic? Would there really be any question? Please.

I will say, the NXcam has my interest. I still think Scarlet will kill it, but depending on it's price range, it may just be the 5D killer, and this is coming from a guy that actually loves the 5D. I am a fanboy, but I"m not dying on the "Canon is all that exists" hill. I just want to see more full-frame competition and Sony seems to be the only one entering the ring.

Things are getting exciting. But as I said, in comparison with Epic and Scarlet....why bother :) ?
 
Just politics. They are just showing that they are already working on something, because this RED stuff is coming and shareholder are asking etc. etc. But its all low res and low bitrate stuff ... and they even have 4K projectors :))
 
Brennan Klensch said:
I don't know, i think they're actually doing pretty well, and considering the F35 and Pana's Genesis were the only 2 "competitors" for RED, they've at least got my attention.

What I'm not saying is that either this camera or the F3 is viable competition for the RED cameras. Now that I've seen the F3 footage, does it look good? Yeah, but about as good as stuff coming out of a 5d mark ii with the advantages of workflow accessibility and PL mounts, however, if I'm talking the difference between a 5d mark ii with nice still glass that requires a learning curve for under $5k, as opposed to $21k for a few advantages and a picture that isn't a whole lot better, I'm getting the 5D. If I could afford an Epic? Would there really be any question? Please.

I will say, the NXcam has my interest. I still think Scarlet will kill it, but depending on it's price range, it may just be the 5D killer, and this is coming from a guy that actually loves the 5D. I am a fanboy, but I"m not dying on the "Canon is all that exists" hill. I just want to see more full-frame competition and Sony seems to be the only one entering the ring.

Things are getting exciting. But as I said, in comparison with Epic and Scarlet....why bother :) ?
Click to expand...

No aliasing, far better codec, way, way more dynamic range, way better highlight roll-off - to say this looks no better than a 5D is, sorry to say, to show a lack of a critical eye and/or serious ignorance. Besides, this is true 1080p, no 4K, sure, but still - a 5D barely gets above 600p in actual, resolved resolution.
 
Rob Ruffo said:
to say this looks no better than a 5D is, sorry to say, to show a lack of a critical eye and/or serious ignorance.
Click to expand...

Wow... that was arrogant.

How is it ignorant to say something "looks" no better than something else? The 5D looks allot better than many more expensive cameras... and yea, it does look like this F-3. I mean, the 5D already looked like the F-35 and film, so why wouldn't it? The "quality" however, is debatable, especially in terms of resolving power... but the look of it really isn't that far off from this cam. In fact, in terms of pure "look" the 5D still wins in some areas for the Full-Frame factor... wide-glass with shallow DOF looks epic and almost Imax-like. I also wouldn't say that it has "way more dynamic range". I'd bet it holds highlights better due to S-log, but its really hard to beat the shadow detail of the 5D. Just because somebody can't tell the difference between video that has maybe 2-stops more of dynamic range doesn't make them ignorant. Face it... the 5D hit that "pro look" threshold and now everything is going to be continually compared to it. That's just how it is. And for good reason too. The DSLR crase didn't spawn out of nowhere and it's not just because they are cheap HD cams... because we've had those for a while now. It came to be because normal people look at these "prosumer" cameras and see the same image as $100k+ movie cameras.

These comments just make you sounds extremely jealous and close-minded. The era of the professional being a professional just because of his equipment is over. Prosumer gear is going to look more and more professional each year... get used to it. Just because something costs $20k doesn't mean that it's going to look any better than something from Best Buy anymore. Welcome to 2010.

IMO, the only way to justify selling a camera in this price range is with crazy specs... like 120fps 5k RAW. Now that's a camera that goes above and beyond. The specs on Epic are no-less than what I would expect a $20-30k camera to cost in this day and age. Thanks Red, for actually developing a camera that's technology matches it's price tag. No offense to Sony... I'm sure the F-3 is going to be a great cam. To bad it's about 3-4x over-priced on the tech-curve.
 
For those sniggering about the word professional.... it has 4:4:2, 10 bit uncompressed out.

This is a very interesting looking camera. It is reported to have the F3 sensor and will likely hit the streets around $6k with kit lens. If it has 12 DR like the F3... i'm sold (unless scarlet arrives).
 
The Product Manager for this camera presented last night at a SMPTE event and he did toss out a few interesting bits of info, but also stated that the specs were still a bit up in the air.
 
Jim Retar said:
For those sniggering about the word professional.... it has 4:4:2, 10 bit uncompressed out.

This is a very interesting looking camera. It is reported to have the F3 sensor and will likely hit the streets around $6k with kit lens. If it has 12 DR like the F3... i'm sold (unless scarlet arrives).
Click to expand...

But for $20 grand why is the only on-board recording format 8-bit 4:2:0 at a lower bit-rate than a T2i? My money's on Sony trying to sell external recorders... it makes sense, since that would be a very "Sony" thing to do.
 
Mitch Gross said:
The Product Manager for this camera presented last night at a SMPTE event and he did toss out a few interesting bits of info, but also stated that the specs were still a bit up in the air.
Click to expand...

Mitch,

nothing is in the air except that Sony PMWK3 is based on XDCAM EX technology and a bit more brand new features:

- XDCAM EX Camcorders was backed by George Lucas>>>

- Immediate recording start and no overwriting footage

By virtue of recording on flash memory card, the
PMW-F3L can start recording virtually the instant the
camcorder is turned on. Moreover, the PMW-F3L automatically
records on an empty area of the card -
there’s no danger of overwriting existing content.
This is extremely convenient, as camera operators do
not have to worry about accidentally recording over
good takes, and they don’t have to search through
footage for the correct position to start the next recording.
In short, it means the camera is always
ready for the next shot!

LINK>>>


- Cooke /i Technology and ARRI LDS

A lot of readers have been emailing questions about Cooke /i Technology and ARRI LDS on the new Sony PMW-F3.
Here’s what the PL mount looks like (above). Notice the gold-plated lens data 4-pin contacts at 12 o’clock and 3 o’clock.
They’re the same contacts you’ve seen before on Arricams, Alexa Plus, Sony SRW-9000PL and other cameras.
They also have 4-pin cable connectors for cameras without lens data contacts.
Lens data is gaining importance in post production and 3D.
It provides frame by frame information as metadata for each image–providing detailed descriptions of the lens, serial number,
focal length, T-Stop, focus distance and much more.
This speeds up production (fewer camera notes to keep by hand) and is a great asset in post production for compositing, 3D, match-moves, and more.

LINK>>>

These are more or less two main things that are missing from RED Epic/Scarlet announced specs but also everything there is subject to change...
 
Sanjin, this thread is not about the F3 but a different camera just announced by Sony, an NXCAM with a 35mm sensor, recording AVCHD, available summer 2011.
 
Steven-Marc C. said:
Sanjin, this thread is not about the F3 but a different camera just announced by Sony, an NXCAM with a 35mm sensor, recording AVCHD, available summer 2011.
Click to expand...

Steven-Marc C.,

as I was understood NXCAM would not have HDSDI out and F3 it has or..(?), more or less the sensor is about the same S35mm sized or APS-C and all is about tailoring specs for the specific market price...

and again you should listen to Big George:

XDCAM EX Camcorders was backed by George Lucas>>>
 
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