Just got a new camera - Sony F35

I will measure it in a few. I just got out my digital caliper (since size does matter here). Of course, the battery was dead. Scrounging...standby.
 
If both those lenses do clear the camera, I'd be the first to jump for joy as I absolutely love Angenieux lenses, but the full-on Optimos are a fortune to rent.

I know none of them are suitable for spinning mirror cameras, but the F35 doesn't use quite as much space as a full spinning mirror.
 
The protection glass is not as close as it might seem. In the manual you can find all the measurements. Photo lenses don't protrude back as some PL mount lenses do, so we're safe on that. Not a big deal.
 
I stand corrected. Measurement in the manual is 30mm, I could still swear I found a document with the measurements of the angie lens and one of them might not (theoretically) clear... but I can't find it for now.

It's still something that's handy to be *aware* of I'm sure we'll agree. The F35 is different to many other digital cameras in many respects, including it's contemporaries.
 
29mm on the DP 30-80. 31mm on the F35 flange to filter screw. (add another 1/2mm or so for distance past screw).
Whew! That's tight,but works fine. It's stellar on mine.

Doing some test shooting today for macg : 444 vs 422
Standyby
 
LeavingTheCandy said:
29mm on the DP 30-80. 31mm on the F35 flange to filter screw. (add another 1/2mm or so for distance past screw).
Whew! That's tight,but works fine. It's stellar on mine.

Doing some test shooting today for macg : 444 vs 422
Standyby
Click to expand...

Thanks sir.

I'm contemplating the idea of getting the new sony PL set. What I like about the set are the right focal lenghs for me, including a 135mm. All other similar lens sets end at 95 or 100mm, which feels too short for me. The downside with the Sony set is that 20mm is not wide enough for documentary shots (I'm happy with 20 for narrative, I never go that wide anyway). Thoughts?
 
JM...no harm done. It's the collaboration of knowledge/research here that is awesome! So, my measurements have confirmed it. Makes me aware, however that the depth is shorter than some newer gen cameras and obtaining a spare filter ahead of time might be prudent. Looks very easy to replace.
 
FWIW I found the greatest difference in 4:2:2 and 4:4:4 comes in scenes quite heavily laced with either blue, or red, for obvious reasons. Things like car lights etc... look vastly better in 4:4:4 IMHO.

The easiest way to compare I guess is to get some 4:4:4 footage and compress to 4:2:2. I will see if I have some too from my cinedeck.
 
That's why you need a Ruby 12-24. I tried that one, but the mount-stop has to be mod'd or removed to fit.
Of course the Duclos 11-16 fits with room to spare. The 1st Gen Sony PLs fit too.
 
LeavingTheCandy said:
That's why you need a Ruby 12-24. I tried that one, but the mount-stop has to be mod'd or removed to fit.
Of course the Duclos 11-16 fits with room to spare. The 1st Gen Sony PLs fit too.
Click to expand...

The ruby is 14-24, so not particularly wide.
The tokina 11-16, at least the still lens, has terrible CA at all apertures. It's a pity because other than that, it's a great lens. I just ordered the version II to see if they improved the lens by any chance.
 
In my world, 12 is pretty darned wide. I rarely ever even go that wide, but I'm TOTALLY with you that I need a 135mm!
My Century/Nikkor 200mm/f2 is absolutely STELLAR...I love it, but rarely find the opportunity to go that far.
 
Yeah, it took a while to arrive at that arrangement. Basically the cinedeck is screwed into a plate which I had custom-machined to fit in the F35's dock. Sadly it's just a mechanical connection, but for a fifth of the price of a codex unit, it works damn well.

The unit is made so that if you dock the cinedeck on top of the camera, it sits perfectly level.

I prefer it out the back otherwise the camera gets too top-heavy and tall, although my assistants don't love it. My justification is that being out back means the weight is better balanced, plus for focusing you don't need to see a level image.

Here's a picture more in profile. I am using Zeiss Standard Speeds, and ARRI FF-5 follow focus, MB-19 matte box.

DSC_0061.jpg
 
Nice warning there!
How are you powering the camera?

And most important, I see you have a power cable coming out the 12-24v port from the camera to the cinedeck. Where did you get that lemo connector?
 
Oh yeah, that's my assistant... he got lazy and used to REDs and DSLRs and forgets his black balance. I left the sticker on. You'll also note what I've named the Cinedeck - should give you a clue of what I think about it.

The camera is powered by a block battery which supplies both 12 and 24v - it's a 12v battery with a step-up transformer in it. The official one is Anton Bauer, but I couldn't afford those. Mine is a custom-made hawkwoods unit.

LEMO connector for the cinedeck? Uh... lots of fun that one. Fortunately, I have a very good rapport with the useful chaps at hawkwoods who kindly made it for me. Sadly, LEMO connectors are not cheap. The 5m power lead for the camera is £180 ($300), the cinedeck cable was about £50 ($80ish).

My next mod would be from a company called Professional cinema interfaces, they have modded the interface box and made one which sits flat on the camera. Means I could do without the interface box sitting where it does. Would save me a lot of room!
 
JMtheDP said:
Oh yeah, that's my assistant... he got lazy and used to REDs and DSLRs and forgets his black balance. I left the sticker on. You'll also note what I've named the Cinedeck - should give you a clue of what I think about it.

The camera is powered by a block battery which supplies both 12 and 24v - it's a 12v battery with a step-up transformer in it. The official one is Anton Bauer, but I couldn't afford those. Mine is a custom-made hawkwoods unit.

LEMO connector for the cinedeck? Uh... lots of fun that one. Fortunately, I have a very good rapport with the useful chaps at hawkwoods who kindly made it for me. Sadly, LEMO connectors are not cheap. The 5m power lead for the camera is £180 ($300), the cinedeck cable was about £50 ($80ish).

My next mod would be from a company called Professional cinema interfaces, they have modded the interface box and made one which sits flat on the camera. Means I could do without the interface box sitting where it does. Would save me a lot of room!
Click to expand...

Are you talkig about that plate that sells for $2500? I'd totally get it if it wasn't so expensive.
If you could share the lemo conenctor model number, that would be fantastic, so I can order one.

So would you mind giving some thoughts about the cinedeck?
 
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