Just got a new camera - Sony F35

Sparky,
Nice look and edit! What gamma are you shooting? What lens?
I like it. Other than your glitches, any other camera comments/issues?
 
LeavingTheCandy said:
Sparky,
Nice look and edit! What gamma are you shooting? What lens?
I like it. Other than your glitches, any other camera comments/issues?
Click to expand...

Thanks - I just can't wait for some decent weather and light to go and shoot something a little more interesting! Another day of snow here. Shot in CINE mode. As MAC said in a much earlier post - it is so simple to shoot with. You don't really have to change any settings - just switch on and go. The lens is a RED 17-50mm which affords you a nice range. I am going to dig out some SLOG F3 footage shot last summer - I remember it looking amazing - and post it here as a comparison of sorts. Not sure what the issue with the Samurai is - it occasionally records a black frame during a shot - I am using the recommended hard drive for it. Best, Sparky
 
I just looked. It says MODEL:01-100 MADE IN USA
No manufacturer or logo, etc.
It fits the camera perfect, so I assume that it was specifically made for it. It also weights a good bit.
 
Hi there. As you know I recently picked up an F35 and am getting to grips with it. I know there has been a few folks in this forum asking to compare F3 footage and F35 footage - and I appreciate that the two cameras are in essence in very different markets/ brackets. However, just to defend the F3 a little, I came across some footage I had on my system from last year.
https://vimeo.com/61665252
This clip is taken from a selection of rushes I shot during a documentary I produced. It's just a reminder to myself more than anyone really of how great the images are from the Sony F3 using S-LOG, can be. I would love to have been able to shoot the same footage with the F35 to compare - as with my humble eyes, the footage looks amazing, very 'film like' with wonderful skin tones and I couldn't have asked for much more. So I am going to crack on experimenting with the F35 but I shouldn't forget the little F3 sitting there, offering great images for a much easier workflow! Sparky
 
Yes I did, but left in one screw to give me something to 'push against' to allow me to tighten it. Best, Sparky
 
That's exactly what I did. I am going to modify mine by removing some of the material...I don't think they have to stick out so far. (half as much seems to be plenty)
So far that's the only lens that I have that will not fit with them on. My Ruby needs the stop taken out to fit, which I don't care much about.
 
For what it's worth, from next-month onwards I am going to have a semi-complete Zeiss Standard Speed set - 16/32/50/85 - which all work stunningly on the F35.

I ordinarily don't rent kit out, but I do fancy a holiday sometime so if anyone wants to rent any of my stuff off me I'd be quite happy for another F35user to have it.
 
Has anyone intercut (same scene, wide/tight) F35 footage with: F3, F5, or the C300? Curious about potential A/B camera usage, after color correction. What this is really leading to is a low light camera option with additional usage as a B cam. This is specifically for low budget narrative work.

As a disclaimer- I have not shot with any of these cameras. The highlight control on the F35 looks amazing. I've worked extensively with the Epic, and I'm looking for a better skin tone camera. I've shot with the Alexa, but that's usually out of production's budget.
 
klk said:
Has anyone intercut (same scene, wide/tight) F35 footage with: F3, F5, or the C300? Curious about potential A/B camera usage, after color correction. What this is really leading to is a low light camera option with additional usage as a B cam. This is specifically for low budget narrative work.

As a disclaimer- I have not shot with any of these cameras. The highlight control on the F35 looks amazing. I've worked extensively with the Epic, and I'm looking for a better skin tone camera. I've shot with the Alexa, but that's usually out of production's budget.
Click to expand...

Simple answer: If you plan on matching the F35 to any of the above, I'd choose the F3.
 
As MacGregor says, F3 is probably a wise bet. I'm pretty sure the bods at Sony sold the F3 as a low-cost alternative / B-Cam to the F35. Certainly in a studio or controlled environment, you should have no issue matching the two. Get the same glass on them both, and you'd have a hard time telling.

Disclaimer: I have not really used the F3 in anger, but I have seen a lot of camera tests with completely different cameras and after grading it can be damn difficult to tell them apart.
 
I'm shooting A/B with Sony f35 and f3 at the moment, both in s-log- they look pretty similar. The matrix is a bit different where the colors look more "clear" on the f35, but most people would probably never notice the difference. One big difference is f35 seems to lean towards warmer tones in daylight preset, at tungsten preset they are pretty much identical in white balance.
 
I was driving around today hoping to find this old man:


This is part of a longer interview. This man is a 70 year old goat shepherd. He lives in an island and has never seen mainland.

Anyway, this was more of a test of how the F35 could do in a guerilla docummentary style. And also a test to see how the rokinon cine lenses (85, 35, 24 T1.5) perform.
Workflow: Slog - monitor LUT, film grain, and a quick blur.
 
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Oh don't make me wish I had bought an f35 for guerilla docs. That man is intriguing.

You handle white well. Something I've liked about you since dvx100 days.
 
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