Just got a new camera - Sony F35

wow thats interesting. but its a bid at 4k so far, so who knows what the winning bid will be.

I just shot a video with th F65, compliments of Sony SA, with the new Sony PL set. Its a beast! gorgeous images from it. The blacks are soooo clean, full of natural detail. But honestly I dont think many would tell the difference between footy shot on F65 compared to F35. But its cool to have 4k Raw footy on my drive.

I also shot a video with the Alexa (client insisted) and once again, I think the F35 fairs equally (besides the convenience of onboard ProRes 444, and the 120P on both the F65 and Alexa)

It's been a good 2 weeks shooting on some of the best tools out there, and pleasing to see the F35 rubs shoulders with the best of them.
 
Wow, $15k. The bottom is falling out on these cameras.

In other news, I just got my shipping notification on my Atomos Samurai Blade. Not quite the 12-bit 4:4:4 some are going for, but 10-bit 4:2:2 is a big step up from the 8-bit 4:2:0 AVCHD I've been shooting the past several years. I'm just hoping the improved screen is good enough for focus.
 
CaptainSKA said:
Wow, $15k. The bottom is falling out on these cameras.
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Keep in mind that the F65 was not working. It was being sold by Adorama, which has been around for almost 4 decades and are straight up good retailers. But who knows how much the repair would cost at SONY. I'm guessing the $135/hr labor rate would end up looking like the cheap part of the bill.

Alan
 
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Convergent Odyssey 7Q anyone?

Convergent Odyssey 7Q anyone?

Okay, so you guys are really starting to win me over. Love the F35 images you all have been posting.

In July we saw Convergent Designs lower the prices on the Odyssey recorder's options and media. The 256G media at $395 is not much more than the base SSD cost. You gotta love Capitalism & competition! Their site says HD 444 up to 60fps both compressed and uncompressed. Couple these recording capabilities with a 7.7" OLED monitor and it would seem like the ideal recorder.

http://www.convergent-design.com/Products/Odyssey7Q.aspx#Recorder-Comparison-37

Am I missing something?

Alan
 
The CD O7 doesn't actually exist yet, and to get 444 50p u need 4x HD SDI out the f35, so either an extra If box, or one of the other solutions mentioned in this thread. That's the ball ache.
 
Hi - Im considering building one of these up for a feature - may I ask: all the HDMI - are you routing it out of the hyperdeck? I saw in a later post you have an EVF, a monitor, and the shuttle on there. It would help me a lot. Thanks
 
I'm routing my monitor through the hyperdeck, to be sure that the deck is getting a clean signal. If you want menus on-screen you'll have to connect to either the evf output or another SDI-connection, though, so that's what I'd do with the EVF.
 
After seeing the Red Dragon ftg, still happy I went the route of our saviour, Miguel, and went with 2 Sony F35s. But still now the Epic looks like a great slo motion camera if it didn't have so many flickering issues more than the Phantom. Also excited for the mass insanity that is making the F65 potentially be sold for very cheap as well.
 
I've spent the last 10 hours assimilating as much info about Slog as possible, and how to properly grade Slog footage from the F35. My brain might explode any moment.

In my opinion the film Apocalypto (shot on Panalog/Genesis) has a very filmlike tone curve (despite the ugly open shutter), at least the bluray I have. I really like the contrast, compression of highlights/shadows and skin tones. Of course, there's lot of grading there but I guess a good 3D LUT was involved on the process. Given that the F35 is the improved version of the Genesis, I don't see why we couldn't achieve the same results.

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Acording to the American cinematographer article on Apocalypto, the movie was shot mostly on the Genesis with slow motion shots shot on Kodak Vision2 500T 5218 (the DOP mentions he loves this emulsion and how they tried matching the Genesis to look like this)
Final copies were printed to Kodak Vision Premier 2393.

William Feightner, EFilm’s technical vice president, explains that the strategy involves emulating the look of Kodak’s Vision2 500T 5218 negative and then previsualizing the look of Kodak release-print stocks. “We decided with Dean to match a traditional film look, to make it look as though he’d shot and printed film,” says Feightner.
The EFilm team developed 3-D look-up tables (LUTs) to make the Genesis output resemble a 5218 negative. “Viewing LUTs” were also developed so that Semler could see on set what the image would look like after it was output to film and printed on Kodak Vision Premiere (2393); these LUTs were incorporated in a “Colorstreamer” box developed by EFilm.

So what I understand from this article is that basically Efilm created a 3D LUT that converted Panalog to Kodak 5218+release print stock. And this looked decent and filmlike.
If that's the case then that is exactly what I want to get, except that instead of Panalog as the source material, we'll start with S-log.

Then I also found this article, which is interesting in case anyone happens to find the Panalog curve. Now, I've seen graded tests Panalog vs Slog and the Slog looked identical except for a tiny bit more highlight detail, which is better.
http://www.mergecreativemedia.com/blog/?p=206


So here I am, trying to see what's the best workflow to get the most filmlike images from Slog. I've been playing with ICTs that convert from Slog to cineon and then applying a film stock LUT, and the results while not accurate, look so much better than what we've been doing so far with the luts posted here.

I wrote to Efilm to see if they would sell me that 3D LUT they developed for Apocalypto. I doubt it, but it would be sweet.
 
eddavid said:
After seeing the Red Dragon ftg, still happy I went the route of our saviour, Miguel, and went with 2 Sony F35s. But still now the Epic looks like a great slo motion camera if it didn't have so many flickering issues more than the Phantom. Also excited for the mass insanity that is making the F65 potentially be sold for very cheap as well.
Click to expand...

Red dragon looks basically the same as the now old RED MX. The same exact look, with a bit more DR. It's Technically good, but artistically not that great.
 
Yeah, I've been using those, working with the at this moment, but they're not that good. I am hoping to get something better.
Those LUTS are designed for cineon log files, and SLog curve does not match a film scanner, so the results won't look good.
 
Interesting post, Mac! Keep at it :) The proper s-log workflow is proving to be one elusive industry secret, but it WILL be cracked.
 
Mac,

Please let me know if you find the best process for converting slog to cineon, and the LUT you looking for, would help a lot.

What is ICT? and could you point me in the right direction so I can try converting to cineon?
 
Thanks Mac, I should've googled it, and I did. I see. What ICT are you using to convert to Cineon? I'm looking, but I'd appreciate the time saver
 
Nono, I don't have one yet. That's one of the steps I'm looking into. We might have to buy one (30e) or make one from the Slog whitepaper (I lack the knowledge).
 
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