Just got a new camera - Sony F35

Either IF box or monitor out port. 10-bit or dual-link 12-bit, the 24 is always PSF.

It would be interesting to know if the Sony recorders can actually record progressive from the F35.

Yes before Mitch and team were nice enough to do the F35 work, the answer to getting the dual link to work with recorders was to put it through the Aja LUT box that could convert PSF to Progressive.
 
yachacha said:
Either IF box or monitor out port. 10-bit or dual-link 12-bit, the 24 is always PSF.

It would be interesting to know if the Sony recorders can actually record progressive from the F35.

Yes before Mitch and team were nice enough to do the F35 work, the answer to getting the dual link to work with recorders was to put it through the Aja LUT box that could convert PSF to Progressive.
Click to expand...

Apologies to all then. I was trying to answer the academic question about what psf means, but I haven't had the camera in front of me this week. It may all be psf as Mitch suspects.
 
I am pretty sure the F35 always outputs PsF. I think they consciously chose not to support the "P" modes because at the time it wasn't universally supported.
 
Hey everyone. If somebody is currently looking for an F35 contact me. I have mine for sale as a complete shoot-ready-package with many accessories, so check out the sales section.
 
I had been thinking about replacing my old F35 which is long gone, as I really miss it. But ever since shooting with the F65, I have been saving my $$$, as it will be my next camera.

Good luck with your sale!


Dave
 
There is no real other logical progression. An ALEXA isn't - in my eyes - much of an improvement over the F35 (especially as to get RAW recording you have to add a full Codex setup). The F55 is very nice, but has a lower pixel count and is basically the opposite of everything the F35 stood for.

The F55 is also not really far off the F65 in price on the used market, for whatever reason.
 
JMtheDP said:
There is no real other logical progression. An ALEXA isn't - in my eyes - much of an improvement over the F35 (especially as to get RAW recording you have to add a full Codex setup). The F55 is very nice, but has a lower pixel count and is basically the opposite of everything the F35 stood for.

The F55 is also not really far off the F65 in price on the used market, for whatever reason.
Click to expand...


I have to fully agree with you on all accounts.
 
I'm also selling my Hyperdeck shuttle package with a custom drilled cage that will fit the f35! PM me for details!
 
I am also selling a Gemini 444 with 3 hard disks ( 2x512 + 1x256 ), case, cables and reader. PayPal and shipping included in 1200 euros.
 
Mike Krumlauf said:
I have a red one mx ready to shoot package that i would be willing to trade for a ready to shoot F35 package.
Click to expand...

I'm not sure there are many who would do this direct trade. Most F35s are either coming from original owners (rental houses, high end production companies, brokers) who are liquidating, or from second hand owners who need to finance a newer camera to secure clients. The Red One MX simply doesn't fit those marks. You'll probably need to sell your Red One first, then use the proceeds to get an F35.
 
Yes I agree. F35 owner will have to be crazy to trade for red. I would not trade mine for 2 reds. But yes, good luck. Maybe you will join community here.
 
no one will make that trade but a full red one mx package in nice condition will get you the 5k you need to buy a F35. Talk to the ebay sellers, F35 is dropping value. Strange viewfinder has kept highest value. I see many operators using these on other cameras. If i were to ball park the value now it is closer to 5k complete F35 with SRW1 and viewfinder. 3.2k bare F35 head. I still value IF box at $500 and as others have said, its kind of shady pulling the IF box from the package. Try to find one with a baseplate and top handle as well.

it is the nature of all the work anyone has to put in to get F35 up and running, a user owned F35 package is still closer to 6-8k with something like 7Q and Nikon mount conversion. There must be less than 20 Nikon F35's out there. The difference is big, you will end up having to do some work if you buy a bare F35 head without any cables/accessories. I have easily spend thousands on F35 extras.
 
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Mike,


As already said, I think it will be difficult to find somebody willing to go for such a trade. Best bet is selling your RED package and buying a F35, again as already suggested. Problem is you may lose some money in the transition, depending on what type of F35 package you want to put together.


Having said that, the RED One is a very capable camera. I myself prefer the F35. But the truth is we have crossed the point of diminishing returns long time ago. Aesthetics and personal preferences aside, it goes without saying the RED One can shoot any film the F35 can. The Social Network doesn't look any different today than it looked when it came out. If you liked how that looked the RED One will get you that forever.



Ever since the Panavision Genesis we crossed the point of diminishing returns. You look at things shot on the old F900 today on blu-ray and it doesn't really hold up. It never did actually. But movies shot on the Genesis and RED One still look great today and it's hard to say anything shot with newer cameras look any better without starting splitting seriously thin hair strands. And when it comes to F35 movies, the best examples fully hold up and even surpass movies shot on new cameras. Point of diminishing returns. We are gaining some just to lose some at the other end.


But if you are determined to switch to a F35, and I myself can fully understand it, try your best to do it the proper way.


The F35 is a great camera. But it's 2015. To me it only makes sense to get a F35 if you are going to use it to it's full potential. Meaning recording 12-bit 444 using the best glass you can get your hands on. If I would be limited to using the F35 to record 10-bit 422 on still lenses I would think I might as well go with a F3 and save money all around on a smaller and lighter package. Ok you would still get F35 aesthetics going to 10-bit 422 on cheaper glass. But today any run of the mill camera is doing 10-bit 422, in 4K. If you are going to use a 1080p camera, might as well go full out and edge them off on a few other things. It's a waste of the F35's potential if you don't use it to it's fullest.


When I got my first F35 package together I could have bought a brand new Sony F5 plus RAW recorder with what I spent. I didn't care and never hesitated. I knew I would be cranking out all the camera had to offer and when balanced against the other options I felt it tipped the scale towards the F35.


What I'm trying to say is, do not buy a F35 unless it comes with all accessories including the IF-Box and Assistant Panel.


And I know there's a financial temptation to convert the mount to Nikon and use cheaper glass such as Rokinon. Don't! Stick to PL.



Since car analogies seem popular around here and I'm also a car guy, it would be like buying a Ferrari and switching the engine for an inline-4 diesel because you couldn't afford the fuel. Might as well not buy the Ferrari then.


Sticking to PL will allow you to build a lens arsenal that will stay with you forever. PL can be adapted to pretty much any current mount out there. It will force you to buy “proper” cinema glass, which will only bring you benefits. You will be glad later.


To start, take the money you would pay for the Nikon conversion plus maybe what you get from selling your Nikon mount lenses and buy a set of three Sony PL lenses. The ones that used to come with the F3. They can be had for very reasonable money these days, thanks to wide spread misinformation. Take advantage of that and don't believe the bad things you may hear about them. Optically they are very, very good. Way better than Rokinon will ever be and on pair with most CP.2s and better than some. Mechanically they are still leagues ahead of Rokinon. Ergonomically they are superior to any stills lenses you may use. If you will not rent them out and will be personally using them they will hold up just fine. Once you save some more go for one of the rehoused wider angles in PL and you have a solid personal set for years to come.



Because one thing is for sure and I speak from personal experience. Once you buy and use a F35 you will be spoiled. You will not want to downgrade to lower cameras anymore. Chances are all the cameras you will fancy will have a PL mount from now on. You will be glad you started your PL collection when you did.


Then throw an used 7Q on it and you will be much happier than you ever would with a F35 with Rokinon lenses shooting to a Hyperdeck. You will be able to put your material against any camera out there and for every one of them which brags 4K over your HD you will be able to throw back your full RGB 444 (not debayered) skins, global shutter and classy highlight management at them. If you reduce the F35 to a F3 by shooting to the lowest denominator codec going through a degrading filter (the low quality glass) you just waste all it has over the other cameras and in my opinion defeats the point of using it.


I know it's a matter of economics and I have no idea if you are an indie filmmaker or run an actual business. But to me, when I invested in the F35 I saw it as a digital 35mm film camera that I can forever shoot on any time I wanted to shoot film but the project's budget wouldn't allow. I saw it as a camera I will keep as an alternative for the foreseeable future regardless of if tomorrow somebody releases a 8K camera with 16-stops of dynamic range and ISO10000 for $10,000. I'm sure it will never give me the look the F35 does, the closet to 35mm film. How could it with those specs? So I buy the new 8K camera to use when I want it to look digital and keep the F35 for, you know.



To wrap this up as it got very long already, if I was in your shoes, I would only give the RED One up if I could go full out on the F35. Otherwise I would stay where I am as it wouldn't make a lot of difference anyhow.


All the best.
 
Aaveum said:
Mike,


As already said, I think it will be difficult to find somebody willing to go for such a trade. Best bet is selling your RED package and buying a F35, again as already suggested. Problem is you may lose some money in the transition, depending on what type of F35 package you want to put together.


Having said that, the RED One is a very capable camera. I myself prefer the F35. But the truth is we have crossed the point of diminishing returns long time ago. Aesthetics and personal preferences aside, it goes without saying the RED One can shoot any film the F35 can. The Social Network doesn't look any different today than it looked when it came out. If you liked how that looked the RED One will get you that forever.



Ever since the Panavision Genesis we crossed the point of diminishing returns. You look at things shot on the old F900 today on blu-ray and it doesn't really hold up. It never did actually. But movies shot on the Genesis and RED One still look great today and it's hard to say anything shot with newer cameras look any better without starting splitting seriously thin hair strands. And when it comes to F35 movies, the best examples fully hold up and even surpass movies shot on new cameras. Point of diminishing returns. We are gaining some just to lose some at the other end.


But if you are determined to switch to a F35, and I myself can fully understand it, try your best to do it the proper way.


The F35 is a great camera. But it's 2015. To me it only makes sense to get a F35 if you are going to use it to it's full potential. Meaning recording 12-bit 444 using the best glass you can get your hands on. If I would be limited to using the F35 to record 10-bit 422 on still lenses I would think I might as well go with a F3 and save money all around on a smaller and lighter package. Ok you would still get F35 aesthetics going to 10-bit 422 on cheaper glass. But today any run of the mill camera is doing 10-bit 422, in 4K. If you are going to use a 1080p camera, might as well go full out and edge them off on a few other things. It's a waste of the F35's potential if you don't use it to it's fullest.


When I got my first F35 package together I could have bought a brand new Sony F5 plus RAW recorder with what I spent. I didn't care and never hesitated. I knew I would be cranking out all the camera had to offer and when balanced against the other options I felt it tipped the scale towards the F35.


What I'm trying to say is, do not buy a F35 unless it comes with all accessories including the IF-Box and Assistant Panel.


And I know there's a financial temptation to convert the mount to Nikon and use cheaper glass such as Rokinon. Don't! Stick to PL.



Since car analogies seem popular around here and I'm also a car guy, it would be like buying a Ferrari and switching the engine for an inline-4 diesel because you couldn't afford the fuel. Might as well not buy the Ferrari then.


Sticking to PL will allow you to build a lens arsenal that will stay with you forever. PL can be adapted to pretty much any current mount out there. It will force you to buy “proper” cinema glass, which will only bring you benefits. You will be glad later.


To start, take the money you would pay for the Nikon conversion plus maybe what you get from selling your Nikon mount lenses and buy a set of three Sony PL lenses. The ones that used to come with the F3. They can be had for very reasonable money these days, thanks to wide spread misinformation. Take advantage of that and don't believe the bad things you may hear about them. Optically they are very, very good. Way better than Rokinon will ever be and on pair with most CP.2s and better than some. Mechanically they are still leagues ahead of Rokinon. Ergonomically they are superior to any stills lenses you may use. If you will not rent them out and will be personally using them they will hold up just fine. Once you save some more go for one of the rehoused wider angles in PL and you have a solid personal set for years to come.



Because one thing is for sure and I speak from personal experience. Once you buy and use a F35 you will be spoiled. You will not want to downgrade to lower cameras anymore. Chances are all the cameras you will fancy will have a PL mount from now on. You will be glad you started your PL collection when you did.


Then throw an used 7Q on it and you will be much happier than you ever would with a F35 with Rokinon lenses shooting to a Hyperdeck. You will be able to put your material against any camera out there and for every one of them which brags 4K over your HD you will be able to throw back your full RGB 444 (not debayered) skins, global shutter and classy highlight management at them. If you reduce the F35 to a F3 by shooting to the lowest denominator codec going through a degrading filter (the low quality glass) you just waste all it has over the other cameras and in my opinion defeats the point of using it.


I know it's a matter of economics and I have no idea if you are an indie filmmaker or run an actual business. But to me, when I invested in the F35 I saw it as a digital 35mm film camera that I can forever shoot on any time I wanted to shoot film but the project's budget wouldn't allow. I saw it as a camera I will keep as an alternative for the foreseeable future regardless of if tomorrow somebody releases a 8K camera with 16-stops of dynamic range and ISO10000 for $10,000. I'm sure it will never give me the look the F35 does, the closet to 35mm film. How could it with those specs? So I buy the new 8K camera to use when I want it to look digital and keep the F35 for, you know.



To wrap this up as it got very long already, if I was in your shoes, I would only give the RED One up if I could go full out on the F35. Otherwise I would stay where I am as it wouldn't make a lot of difference anyhow.


All the best.
Click to expand...

beautiful poem written to the f35. I picture you writing this under a beautiful night sky with your head on a tree
 
http://www.provideocoalition.com/non_technical_f35_guide

I'm sure most have seen this, I just revisited it looking through old F35 material.

Most interesting point I noticed, the F35 in Hypergamma mode could potentially result in better final image than a SLOG captured because all the color corrections are made to the 14-bit signal in camera in hyper gamma mode, while we are limited to 12-bit color from the SLOG captured image with Post manipulation. The F35 in SLOG might capture the most information from the sensor mapped onto the rec709 space, however the best possible time to color the F35 footage is in 14-bit color and this is only possible in camera. Could there be more highlight magic to F35 in hyper gamma mode??
 
i haven't had too much luck in the hypergammas but some people like them fine - that smooth as silk roll off in the highlights makes it all worth it - also 12 bit vs 14 bit - I don't know if that gives that much more punch to color and luminance. But I am not a scientist.
 
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