Just got a new camera - Sony F35

Infact the 25p was 10bit 444 cineform Fs2, and the 50p was 8bit 422 fs1.
so no, I didn't try both on 8bit.
ill try both on 8bit same cineform and also post examples of what I was saying asap...
 
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Damn, same as always, I was just watching Scary movie 4 and until they switched to 1/24th shutter speed I didn't even realize this was shot on the Genesis. It looked as filmic as... well, film.
 
Mac,

I know exactly what you mean. I always knew Apocalypto was a mix of film and Genesis, assuming Genesis to be "the stuff with the shutter off". It wasn't until the DP told me otherwise that I realised it was actually a mostly Genesis shoot, with film being used for the odd bit of high speed work

JM
 
Hi Guys

Here's a music video I shot in Ghana. Graded in Premiere CC, although wish I had had time to learn resolve and finish it there rather, but it is what it is.
I also shot in stupid Prores 444 and looking back would have rather used cineform instead (which keeps the full range highlights)
As for night shooting challenges, I think the F35 is stellar, for music videos I always shoot shutter of 100th at 25P, 200th at 50P, and with only 2 x 2k arri blondes bounced off poly white boards and one direct for backlight in some scenes, I had enough stop for a decent image. A little neat for noise.
I'm not ecstatic with myself, how it turned out, but I'm still getting into it. Theres plenty room for improvement.
The F35 rocks.



http://vimeo.com/69428051
 
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Been lurking since page 1 - I love this.

Color looks great (on my Macpro with Dell 2408s).
I'll get in trouble for this, but I haven't ever seen a CMOS-based camera deliver this kind of skin tone without having to mask out the backgrounds and treat skin as secondary. It has been my personal, obsessive, observation that CMOS-based cameras - even stills - tend to lack enough sensitivity to the red channel in skin - making it tend to be slightly yellowish - which is fine if you're going for a nostalgic grade. Even The Hobbit required adding red to the actors' makeup. Alexa, Red, whatever, all seem to treat skin the same.


When I saw this, my heart skipped. In the dark, on dark skin, the skin tones are sweet - for instance, the guy in cyan clothing and cyan-lettered hat has great skin-tone, while the saturation in his cyan clothing shows no sign of being contaminated with red (which would happen if you were trying to bring the reds back into skin-tones that had been robbed by a different sensor or set-up). I was in shock when I saw that.

Anyway . . . not trying to turn this into an F35 vs CMOS thread.

Great job, Justin.
 
Your highlight info is still there in Premiere, you just have to remap your colors. Put a Fast Color Corrector (I'm pretty sure that's it) onto the footage. Leave Input Levels at 0-255, but change Output Levels to 16-235. That should bring the highlights and shadow details back within broadcast legal levels, dropping your contrast and removing clipping. This works on almost all gamma-shifted footage that QuickTime messes up, as well as AVCHD footage with full range color space (like is possible with the FS100).
 
Some stills from an afternoon spent at local park with my SRW-9000PL. Only pl-mount lens I own is an Arsat 80mm 2.8 with cobbled on PL adapter. Have started rating the camera 200asa to minimize noise/grain. When shooting cine mode light meter is the way to go. alert dog.jpgCapture0031 (0-00-00-00).jpgCapture0031 (0-00-06-21)2.jpgCapture0031 (0-00-11-13).jpgCapture0031 walking.jpgfamily walking.jpggreen street.jpglook iphone.jpgrunning.jpgshades.jpgunderexposed.jpg
 
Well, you weren't wrong, but it was way worse than your warning. My "F35" arrived yesterday. Sort of. It was mis-addressed, so it was undeliverable. When I called the post office to check it out, they found three packages that had all arrived that day with the same wrong address from three different parts of the country. None of them were camera sized/shaped. They were all the size and shape of a book / DVD. The local postmaster confiscated all three packages to open a fraud case. So now I get the fun of trying to get my money back from eBay/PayPal. The good news is, it went on a credit card, so I'm sure we'll get it back eventually.

Now, for the second problem - I still don't have an F35 (or actually any camera at my new position)... and after this thread, I'm pretty set on an F35.

yachacha said:
A word of warning to those looking at used F35, I've seen the last few no reserve auctions sell the black PL mount F35 which is missing the lens data port. Although this isn't a big issue in itself, could it imply that the cameras selling at these prices are the bottom end of the F35's, the ones which haven't been serviced by Sony in the longest time. Mine came with loose screws inside, which was an easy fix, but I would have to imagine they are selling off the oldest, most worn F35's. Although it's not easy, I think in any case a buyer should sit down with the tools to test the camera before they purchase. Think of buying a F35 like buying an old Arri 35mm camera, although they may include the same parts, the condition and maintenance of the camera is what gives it value.
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I thought it was a scam from the beginning. I bid on that package as well. Asked the seller a number of questions but never got a reply so I stopped bidding. Hope it isn't too difficult to get your money back.
 
That was the thing, he answered every question I had and seemed to know what he was talking about... Oh well, you live and you learn.

stats79 said:
I thought it was a scam from the beginning. I bid on that package as well. Asked the seller a number of questions but never got a reply so I stopped bidding. Hope it isn't too difficult to get your money back.
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Sorry to hear that Captain.
Take2Films in UK has a few F35's, if you can contact them I'm sure they will be a better bet.
 
CaptainSKA said:
Your highlight info is still there in Premiere, you just have to remap your colors. Put a Fast Color Corrector (I'm pretty sure that's it) onto the footage. Leave Input Levels at 0-255, but change Output Levels to 16-235. That should bring the highlights and shadow details back within broadcast legal levels, dropping your contrast and removing clipping. This works on almost all gamma-shifted footage that QuickTime messes up, as well as AVCHD footage with full range color space (like is possible with the FS100).
Click to expand...

Man! Call me a noob but I'm glad i read this thread from time to time, i've been trying to figure out this issue for a while! Thanks man! There should be a own thread about this - i'll start one... :)
 
Mac, been editing and finishing a few urgent jobs. I'll try get out tomorrow and do it.

btw, Cineform is definitely keeping the full range. So shooting in it always now. No more stupid prores 444.
 
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