Just got a new camera - Sony F35

So, I read Sparky's RedShark article, bid on an F35 on eBay, and spent two days reading this thread. I won the eBay auction a day ago, so it looks like I'm joining the club. I think I'm going to pick up some OCT 18 LOMO glass as I sorta double spent the allotted 4k budget for a BMPC. I'm gearing for a new organization, so there's no support gear at all - I've always had gold mount gear before, but it seems like most people on this thread went V-Lock. Is there more support for V-Lock these days or with these cams in particular?

anyway, I'm sure I'll have more questions after I have the cam. Thanks for the inspiration guys.
 
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I'm stoked after reading through this thread.

When I was aiming for a much smaller camera, I knew exactly what I wanted gear wise - but with a bigger camera like this, I'm thinking a simpler baseplate with rails out the front for lens support and a shoulder pad on the back should be enough. I'm planning to mount a mount a battery off the back and use a Samurai Blade for monitoring and recording - so I need a top handle and mount for that. Any suggestions for baseplate and monitor rigging?
 
The hyperdeck mounted to the ca joint and Anton Bauer plate is very sturdy, I put a Hytron 140 on it with no wiggle at all. The trick is finding short screws that won't rub, I had to file down the ones I found a little bit. If you bought the Anton Bauer plate from Abel and then put a gold mount to v mount plate it would be the best of both worlds, you could have camera power and d-taps. The only problem I've had is the damn sdi plugs, the sdi out was already yanked out when it slipped on a cable, I'm waiting for a deal to show up on eBay to replace it, I can live with only hdmi out for a bit.

ive had to put the f35 on the back burner for a while due to work. I hope to get back to it soon.

Also if anyone is looking at hdmi viewfinders, avoid the cheap feel world model, it can not handle the pull down from the f35.
 
There was an article in this week's RedShark newsletter about how F35 prices had plummeted. I figured if they were for sale they'd still be $100k+, so it wasn't even on my radar until the article, despite being in the market for a camera.
 
Some random video production mailing list I wound up on. I couldn't tell you how. I believe Sparky said he writes for them a few pages back.
 
Captain,

When u get up to speed on the camera you won't be disappointed.
This thread has been such a comfort and a great help.

If Miguel (aka mcgregor) hadn't teased us with his "just got a new camera" thread, we would never had thought it possible to own a cinema camera of this caliber. It's not 4k but who cares (except for stabilizing and reframing) but the Alexa isn't 4k.
i do miss the option I used to have of flicking a switch and shooting 200fps on the FS700, but really couldn't care less after the difference I've witnessed in evey way possible. No more rolling s*%tter, resolution galore, creamy curved highlight handling, no more 8 bit 420 but rather 10bit 444 grading, great cadence motion, hand held is now an option and looks fantastic also due to the weight and it goes on.

But the best thing about this cam is that it forced me to start the real journey of cinema film making, as finally all the boxes were ticked, and the image can be so good that now no more excuses and blaming the tool. Now I need to actually make art and get everything in front (and around) the camera right. Time to "focus" on what really matters, story telling and cinematography.

also as it is 450 ISO, I had to learn a big lesson and stop being lazy and always bring lights and paint nice pictures.

but interestingly enough, I thought I've lost my low light abilities with the F35, but even if challenged in really low light, its no slouch. Ive found it a champ in all conditions.
I can use settings to compensate (like switch off extended dynamic range, use the iSO 800 gamma wich gives an equivalent 800 ISO (yikes! i might get flak for this here ;), a 30% NR, switch off "matrix" and other destructive settings) and ALSO with the abilty of higher but depth and Colour, I can fix it in post and land up in better position image wise than a lot of other cameras that are so called low light beasts in this price range (except the C300, but that's too video ish for me , I owned one for a while, sold it)
 
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Only LUT applied:

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Where da noise at?
 
Nice grabs there Mac!

Questions: Are you using Slog exclusively? Grading in Resolve exclusively? Are you at all interested in ACES workflow, as I know Vegas supports ACES and has the necessary IDT for the F35 Slog, wheras Resolve ACES only has the Slog 2 IDT for F65, BMCC etc.
Would you suggest Vegas (and therefore a PC) as a posed to Premiere Pro and Mac?

Also, Ive had an issue with the 25 PsF, I know its still progressive, but my final masters on TV are definitely missing a field, it looks awful especially on wides with horizontal lines. I'm editing and exporting with "no fields" as I always did with 25P, but something is wrong on air. Im aware TV sends interlaced signals, but it should split the fields automatically, but it doesn't appear so. Do you stay in Progressive all the way? or Final export with Uppers first?
 
macgregor said:
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Where da noise at?
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Yes, that looks very clean. Which makes me think I've got a lemon. Mac, is there anyway I can get you to record some video to your shuttle with the lens capped? Want to see how the noise in the blacks compares to my camera. 3 or 4 seconds would be more than enough. you could upload the uncompressed file to dropbox. Would really help me out.
 
Jusgorilla said:
Nice grabs there Mac!

Questions: Are you using Slog exclusively? Grading in Resolve exclusively? Are you at all interested in ACES workflow, as I know Vegas supports ACES and has the necessary IDT for the F35 Slog, wheras Resolve ACES only has the Slog 2 IDT for F65, BMCC etc.
Would you suggest Vegas (and therefore a PC) as a posed to Premiere Pro and Mac?

Also, Ive had an issue with the 25 PsF, I know its still progressive, but my final masters on TV are definitely missing a field, it looks awful especially on wides with horizontal lines. I'm editing and exporting with "no fields" as I always did with 25P, but something is wrong on air. Im aware TV sends interlaced signals, but it should split the fields automatically, but it doesn't appear so. Do you stay in Progressive all the way? or Final export with Uppers first?
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While I'm not an expert on ACES, I don't see the advantage of using it with the kind of work we do. ACES sounds great when you want to postproduce a feature film with heavy grading, VFXs and multiple outputs, such as cinemas, bluray, web, TV, etc, so image quality is consistent.
I use Vegas for all my post work, and I export to Davinci for projects that require heavy grading and then back to vegas as Sony MXF.
I did try using ACES workflow in Vegas but found the performace so slow, filters behaving weird, most exporting options would not work, and the manual was too confusing for me to get the whole workflow to work.
So far with Davinci resolve and the custom made LUTs I'm happy. Finding a good colorist seems more important anyway than the benefits of a wider color space.

About PSF, that seems to be a post issue, definitely not the camera. THe choice of codec? compresion settings? Stupid prores? Output graphic card?
 
They look great. You're making me reconsider taking a DSLR kit to Liberia this August. I'm wondering if I can single man the F35…
 
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