Info from last nights CineAlta group meeting

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So last night I was invited to the Sony CineAlta meeting in nyc at their Sony Lab theater. We got to have hands on with the F3 as well as 9000PL

The meeting was mostly dedicated to speaking on the F3 and the use of S.Log as well.

Right off the top I'm going to give you some info that hasn't been released yet:

The 3D sync capabilities will be syncing the CMOS scan rates of two cameras within a pixel. This is great news.

The Sony PL lenses are using the Cooke i/ information, but they still haven't figured out how that data is being stored and then used. For instance how do we access the data within programs such as FCP or Avid off the SxS cards.

The S.Log will be available out of the HD-SDI as well as the Dual HD-SDI ports, and at the same time. You can actually apply LUT's to the HD-SDI for monitoring while capturing off of the Dual HD-SDI outs and simultaneously burning in the LUT''s on the SxS cards. The LUT can also be applied to the flip out LCD and the VF while all of this is happening.

The camera is and I quote "Not made out of plastic". They said that they don't have the information on what its made of yet, but I have a feeling on the 16th I'll have the answer for you. Our guess was some kind of composite (its not metal, if feels like plastic)

The flip out LCD on the camera seems to be useful for focus, its not the best, but it could be used for focus in a pinch or tight spot.

They said that you can use the same LUT's from the F35 and 9000PL on the F3, tho we were unsure of how they LUT's are applied and transferred since we didn't find an SD card slot anywhere.

More info to be posted, I'm on set and must run!
 
Giuseppe Pugliese said:
The flip out LCD on the camera seems to be useful for focus, its not the best, but it could be used for focus in a pinch or tight spot.
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Here is an under $200 solution that will give you a diopter based viewfinder. If you have used a Sony EX3 or a ENG style finder you will get the drift. In situations when you don't have the build time to put on a Marshall or you are out in the field and don't want to be handbombing an ostentatious frankenrig this will do just fine.
 
Ok to continue the update:

We were shown footage on a movie screen and a 24" HD broadcast monitor at the same time. Some sat on the floor in front of the monitors and others just watched on the big screen. The Projector was a 1080p projector on a fairly large movie screen in the sony labs theater. Sony stressed that the projector was not accurate and was just for reference, we will be shown the footage on a 2k projector soon. The footage held up really well on the big screen with the 4:2:0 sxs footage. Very nice and was a great way to see what the footage would look like in a film festival environment. The monitor footage was just stunning, and really showed off how amazing the footage looked even at 4:2:0.

Then they showed up some 10bit 4:2:2 footage out of the camera and wow... we thought the images before were nice on the projector, and then when we saw the 10bit, and it was just super nice, and this was on a consumer rated projector without this footage being colored for projection. It was just really clean and sharp.

They showed some footage to us that no one has seen yet, shot from different dps. This footage was very nice and very cinematic, and was a nice surprise because I thought they had put everything online, but this was all new footage.

Seeing the difference I could really tell the 4:2:2 from the 4:2:0 even in sharpness, BUT thats with a trained eye and actually looking for it. Both held up really well on the screen and to be honest depending on the distance you were sitting the average person would never be able to tell the difference between the 2. It was lovely to see it blown up on such a large screen, it really gave me confidence in this cameras abilities to handle shooting feature films with. I would say with a 4:2:2 or 4:4:4 recording in S.Log with this camera, it would be hard to tell it apart from the 9000PL (which was also there).

on the 16th I think I'll record some video at the next meeting and show you guys what its like.
 
Good to get a report on the image projected in both 4:2:2 and 4:2:0. I hope we don't have to wait until NAB to find out the nitty gritty on the recorders that Sony has paired for this unit.

Thank you for the update Giuseppe.
 
Thank you, Giuseppe, for the great report! Very excited to hear all the news about the F3!

Any hints on what device they used to record the 4:2:2?
 
love the report ...

love the report ...

adamr316 said:
Thanks for the report!
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One major thing that remains to be seen is the IR contamination and whether that has been fixed? Another question is about ramping ... is that possible on the F3 ... or is it like the EX3 where you can set the fps but cannot ramp?
 
IR contamination was fixed in the EX1R and ramping is considered a high end feature. It MAY be released with the firmware upgrade but no one is talking about the features in the firmware upgrade at this point. Regardless, ramping would have been touted by now by both Sony and the DPs and Cinematographers that have had their mitts on the unit.
 
Mike McNeese said:
Thank you, Giuseppe, for the great report! Very excited to hear all the news about the F3!

Any hints on what device they used to record the 4:2:2?
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I believe they used their SRW1 recorder for the 4:2:2 footage.

I would like to make up a list on here for any questions that you guys would like me to ask on the next CineAlta meeting we have on the 16th. So far the questions I will be asking are:

What are the Sony Prime lens barrels made out of metal or plastic?
Will Sony allow someone with an F3 to upgrade their kit and buy the primes, or do you HAVE to buy the kit with the primes, and thats the only way to get them?
How is the Cooke i/ and Arri lens info being stored on the SxS cards and how do we retrieve the data?
Are the 1/4'' mounts on the top handle on top of body mounted directly to a metal substructure?

Any other questions you guys might have let me know, and I'll try to make a list.
 
What are the Sony Prime lens barrels made out of metal or plastic?
They will prob be metal skeletons with plastic barrels. They make very very hard and durable plastics now, not really a concern. For me.

How many other Sony PL primes will there be, and what mm. And yes can we buy them later.
Price of 444 upgrade. And price of new Recorder
 
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I'll be at the event on the 16th as well and my #1 question will be regarding the zoom servo lenses they'll be releasing. Especially the cost.
 
Fotojorno said:
I'll be at the event on the 16th as well and my #1 question will be regarding the zoom servo lenses they'll be releasing. Especially the cost.
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Hey Bill, hunt me down on the 16th, we shall chat. As far as the Zoom info, I believe they will not be giving us any information on that for a little while longer, it was only last week that the last meeting was held and "Sony Joe" had no information at all about the lens, it seems they are still working on it, and will most likely be available around the same time the software updates are available. I had asked about 3D sync with their servo zoom lenses, and to give you the short answer: it would be extremely difficult to sync the zoom lenses, even with all the servo control over everything.

There is a much longer explanation but it comes down to, its extremely hard and although theoretically would work, the actual sync of the lenses would be insanely hard to do at a low cost.
 
Giuseppe, I'll keep a eye out for you. I cant remember where I read it but it stated that Sony was making 2 servo-zooms for the F3, with one being wider. Kind of like the two that are made for the EX-3.
 
Ask them if we are going to have to buy a new completely resigned and improved (however) " F-4. In a year or so. " I want some longevity (in video terms) to this camera. Not a year of use, before buying again.

Wishful thinking I know but...
 
JDDalllas said:
Ask them if we are going to have to buy a new completely resigned and improved (however) " F-4. In a year or so. " I want some longevity (in video terms) to this camera. Not a year of use, before buying again.

Wishful thinking I know but...
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I believe this camera has staying power, its built to be upgraded and really supports the same kind of quality you see from the F23/F35/9000PL cameras. This camera was built from the ground up with a completely new targeted market. Besides upgrading gear is never based upon the camera, its based upon the market. I know some corporate event guys that are still using the XL1s cameras and still make their living with them. Its a matter of what your nitch is. there are plenty of HDV cameras out there that put out some great clean images: JVCHD110. The footage off that 720p chip was amazing when it came out, for people who still only need 720p and tape to archive im sure its still in use all over the world.
 
Yeah, your right, It's just buyer paranoia. Gear is just improving so fast now days.
Did you happen to attend the New York unveiling? Any new info on the lens, now there is rumor now that the lens we have been seeing are possible prototypes. All this hear say is driving me nuts!
 
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