Is the F3 a baby F35?

F3 with basically any aftermarket recorder makes very very pretty pictures. Only when you start encountering rolling shutter issues does it start to let itself down, but for the most part it's just decent images.
 
Thanks for the reply. Yes I would always go to a recorder. Thats honestly why Im leaning towards the F3 over even a used C300 because of the 10bit.
 
Macgregor...honored to have your voice in my post. What do you recommend shooting on with the F3 then if not S Log? Or would you advise completely agains even using a F3 in 2016?
 
Ha!
While Not a fan of the colorimetry of the F3 I've shot quite some projects with it, aleays in Slog.
It's totally fine in 2016, just nit my cup of tea regarding the look.
But there was that docummentary shot with it in Nepal that look pretty decent.
 
I'm ready to upgrade from using blackmagic cameras for the last two years. I have $4,000 to spend. I was leaning towards the F3 mainly for the 10bit and ease of use, but would you recommend going with something else? I'm a freelance DP and need a new workhorse. 1080p is fine. Color and bit depth is way more important to me than resolution. I'm inbetween getting a used C300 or a used F3. Macgregor, what would you recommend?
 
If you go with the F3 and want to get the most out of it shoot uncompressed 10bit RGB 444 sLOG to something like an Odyssey recorder and then look into an ACES workflow.

I've had my F3 for about 3 years and without a doubt ACES is giving me the best results I've ever seen out of the camera.
 
Harry Lime said:
If you go with the F3 and want to get the most out of it shoot uncompressed 10bit RGB 444 sLOG to something like an Odyssey recorder and then look into an ACES workflow.

I've had my F3 for about 3 years and without a doubt ACES is giving me the best results I've ever seen out of the camera.
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What IDT do you use for original SLOG Harry?
 
Harry Lime said:
Compared to what camera? The F3 has been accused of many things, but I don't think I've ever heard of it be referred to as a noisy camera. I shoot regularly at 1600 in uncompressed 444 and it's quite clean.
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Exposed in Slog at 800ISO, the thing is pretty noisy.
 
ultramaze said:
Thanks for clarifying this. A used F3 is super cheap now days and so I was considering getting one over a used C300 with slog and a 10bit recorder. I'm needing a solid 1080p camera and have a $4,000 to spend
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If you're not locked into the Canon EF ecosystem then go for an F3 for sure.

An F3 with slog and 10bit recorder will run rings around the 8bit C300!

However the F3 will then be a bit bulkier than the C300.

I recommend buying a BMD Micro Cinema Camera as well (or a Sony A63000, a secondhand A7s mk1, or a BMPCC. A BMPCC is what I have, along with my F3).

As even together a BMMCC with an F3 will cost much less than a C300 mk1 secondhand. (F3 for US$1500ish is not unusual, and the BMMCC is US$1k)

Use the BMMCC for your gimbal/stealth/aerial/steadicam/casual camera, and the F3 for everything else.
 
starcentral said:
Just go for F3 for now, it has FZ mount so you can get any adapter for it you need. F35 is PL only with limited, if any, adapter use.

Pix 240i is a good recorder for F3 so you can get 1080p in 60p from the camera. It can only record 720p in 60p internally and again it's all 8-bit if internal.
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Pix 240i is kinda pricey... I'd suggest the BMD Video Assist or Atomos Samurai Blade instead for only US$495. Makes it good match for a camera which now only costs US$1500ish to buy.

If I was to spend more for a recorder (I have the Samurai Blade), I'd go for the PIX-E5 instead (which I think would still be cheaper than a Pix 240i secondhand??? As Pix 240i prices on eBay seem very high).
 
PIX240 gives you great audio, 4:4:4, and much better monitoring features than the Blackmagic though. Tops out at 720p60 for slow motion work though, the Blackmagic will give you 1080p60.

PIX-E5 would also be my choice for maximum versatility.
 
ultramaze said:
Thanks yoclay. Is there a reason youre suggesting the PIx-E5 or E7 over an atomos? I really like the new Shogun that just came out with the HDR screen. Seems to do the same framerates and resolutions.
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Video Devices are more robust build.
Having a 5" screen vs 7" is something a lot of us seem to prefer.
And the PIX-E5 / E7 can use the PIX-LR with it for other projects, which has the legendary Sound Devices quality pre amps in it.
 
I'm shooting a feature documentary this year. It will have a limited theatrical release through fathom events. They only want 1080p delivery. I own a set of duclos modded CONTAX Zeiss lenses. But want the ability to rent PL glass for bigger jobs. Majority of my work is one man band promos and music videos here in Nashville.
 
I didn't realize that the sound devices products had such a leg up when it comes to recording audio too. Now I see why you guys are recommending it.
 
I already own BMPCC and have owned BMCC 2.5k in the past. I'm done with Blackmagic. I don't want to deal with them anymore. I'd rather go with a used a7S mk1 for a gimbal camera at this point honestly.
 
IronFilm said:
Video Devices are more robust build.
Having a 5" screen vs 7" is something a lot of us seem to prefer.
And the PIX-E5 / E7 can use the PIX-LR with it for other projects, which has the legendary Sound Devices quality pre amps in it.
Click to expand...

Only thing that gives me pause with the new PIX-E5/E7 was a review I read that said that the audio from the PIX-LR attachment wasn't as good as the older PIX240, had more line noise or something (I know nothing about audio and only have one ear that actually works, so I won't begin to guess at the technicalities of it all). Probably has something to do with the cost differences between the new recorders vs. the old.
 
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