Just got a new camera - Sony F35

One of the main upsides to the F35's way of doing things is the processing power involved is only a fraction of that needed with RAW formats - for a very similar quality.

I once shot a feature and was made to choose the RED because the producer insisted "HDCAM SR is only a third of the resolution". So, we shot RED. Guess what format the film was mastered to....
 
JMtheDP said:
One of the main upsides to the F35's way of doing things is the processing power involved is only a fraction of that needed with RAW formats - for a very similar quality.

I once shot a feature and was made to choose the RED because the producer insisted "HDCAM SR is only a third of the resolution". So, we shot RED. Guess what format the film was mastered to....
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Don't you hate when this happens? Clients and producers who know nothing about cameras choosing the camera for you just because they heard the name 1 too many times?
 
I've only recorded 10-bit 442 so far, but I'm editing and grading it in realtime on my macbook pro. Editing from an SSD is probably quite important when dealing with the 12-bit files
 
mlysbakken said:
I've only recorded 10-bit 442 so far, but I'm editing and grading it in realtime on my macbook pro. Editing from an SSD is probably quite important when dealing with the 12-bit files
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10bit 422 I do everyday in my current system and I don't even have SSDs. ;)
 
SJX said:
But was it 12bit 444?

What are the format options to which you can record the 12bit 444 from the F35 to?
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no, 10bit 444 cineform or 10bit pros 444, also fine on my system.

I was using the Cinedeck which can do these formats, but not 12bit.
Ive switched over to the Odyssey 7Q now, and only does 10bit 444 uncompressed dpx (but promised prores soon), which i convert to Prores 10bit 422 HQ anyway (I find not much difference just using 10bit 422 HQ)
 
I find traditional spinning disk hard drives will have issues with low compression 10-bit 4:4:4 material, depending on the quality of your drive. I definitely recommend a RAID or SSD setup - I think HDD speed is much more of an issue than CPU speed for F35 footage.
 
For those expressing concern about editing with high bit rate files (12bit RGB 444), there's no need to edit with them - just do an offline edit. Use DaVinci or the like to process an offline copy for editing, then roundtrip back to DaVinci for final grading.
 
Viddovation said:
For those expressing concern about editing with high bit rate files (12bit RGB 444), there's no need to edit with them - just do an offline edit. Use DaVinci or the like to process an offline copy for editing, then roundtrip back to DaVinci for final grading.
Click to expand...

I mean if your system is good enough to grade 12bit 444 in Resolve it will probably be good enough to edit it too. So no point in doing an offline I guess.
 
Speaking of powering, I went ahead and fed the power from the vlock through into the IF box.
so now no xlr cables, clean and ready to rock.


What u guys think?


image.jpg
 
I think that looks awesome justin. Did you drill a hole straight through the IF box to route the cable? My camera is so new (to me at least) i'm still a bit worried about messing with it too much, but hiding that cable would make it so nice and so clean.... Id love more details/pictures if you have any!
 
Yes, drilled a hole through into the IF box.
u can't see it, and I've had my f35 for a year now so I'm not as pedantic as u might be ;)

I'll try find the time to take it apart and show pics, but it's a ball ache to disassemble (for me at least, my patience is low at the mo :)
 
Hah - I just cracked mine open.. very interesting inside. A lot of space too. I couldn't figure out how to get the 4pin xlr connector INSIDE the box though, without cutting a chunk off the top of the box too. The square ridges prevent it from doing that. I think you could maybe just wire your plate directly to the wires inside the unit, assuming that won't mess with the power going to the camera...

I'll mess with it more later, but I love the idea of not having that cable always there, especially since mine is a straight XLR not a right angle, it's even more protruding from the back.
 
I actually like having the cable there. It's an easy way to cut off all power from the camera, instead of having to unmount the whole battery.
 
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Or you can buy a V-mount plate which has a general switch. Best of both worlds and a more elegant solution.
 
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