New Sony F3 questions

Joe Walker

Joe Walker

Well-known member
Hey all,

For those in the know on the new Sony F3, I have a few new questions to ask:

1. The PL mount; is it strong enough to hold A) Zeiss Compact Primes B) Cooke Panchro/S4i C) Angenieux Rouge zooms/Zeiss Lightweight zooms WITHOUT support and if so how is that possible? Or (in other words) is this pl mount stronger/better than the hotrod pl on the AF100?

2. Playing devil's advocate here, but if one were to purchase/rent/use the upcoming SR-R1 off-board recorder using the dual link and s-log, what is the workflow like for an FCP editor? Same question but for CS5 Premiere? I'm talking from ingest to output.

3. The 64GB SXS cards; I see that they are not the "Pro" version like the 32GB ones. I was reading that they are not rated to last as long. I've run into this with Panasonic's E-series P2 cards and have found that in most cases, you are fine with the shorter life span cards but I was curious does anyone else have experience with this issue? Has anybody been able to wear out a 64GB SXS card in a very short period?

Thanks, look forward to the answers.
 
Joe Walker said:
Hey all,

For those in the know on the new Sony F3, I have a few new questions to ask:

1. The PL mount; is it strong enough to hold A) Zeiss Compact Primes B) Cooke Panchro/S4i C) Angenieux Rouge zooms/Zeiss Lightweight zooms WITHOUT support and if so how is that possible? Or (in other words) is this pl mount stronger/better than the hotrod pl on the AF100?

2. Playing devil's advocate here, but if one were to purchase/rent/use the upcoming SR-R1 off-board recorder using the dual link and s-log, what is the workflow like for an FCP editor? Same question but for CS5 Premiere? I'm talking from ingest to output.

3. The 64GB SXS cards; I see that they are not the "Pro" version like the 32GB ones. I was reading that they are not rated to last as long. I've run into this with Panasonic's E-series P2 cards and have found that in most cases, you are fine with the shorter life span cards but I was curious does anyone else have experience with this issue? Has anybody been able to wear out a 64GB SXS card in a very short period?

Thanks, look forward to the answers.
Click to expand...

Joe

I found that the mount was strong enough with the Cooke S4's I had on it without support. Since the Zeiss Compact Primes are lighter it should be fine, and I'm interested in the Angenieux Rouge zooms as a nice lightweight zoom option. It shows it as around 4 pounds which is the same as the 21mm and 100mm Cookes. Now, that was only over a weekend.
 
Some really good questions Joe. The CP.2s are largely around a kilo or 2 pounds. The 100mm is 1.5kg.

Final Cut/Premiere question is an excellent one and people should be concerned about this. I don't have the answer but I am certainly going to investigate it. Let's hope it isn't a $5,000 software solution. At the very least you should have a desktop system set up with a hardware RAID that uses a 16 lane RAID card that will give you the through put necessary for the high bitrate source files
 
For most of the work I do, the uncompressed s-log dual link 3g stuff wouldn't be necessary, HOWEVER, that being said, I'd still love to know how the workflow goes as I tend to be (these days) more of a post heavy kind of guy. I would assume at some point that the material recorded to the SR-R1 would need to be converted into something the edit system can see, I'd love to know how. I know Fincher supposedly had a method when he did Benjamin Button, IIRC, that was all shot on Viper and F23 in S-Log and edited in FCP so there has to be some kind of route to take.
 
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That helps a good bit, thanks JD. Okay, so let me get this straight, basically I would need something sort of like Cineform Neo Scene to take the S-Log SR-R1 files and then convert those to the quicktime flavor of my choice for ingest in FCP (probably like Uncompressed 10bit) and from there I could theoretically plug away, correct?
 
About FCP:

S-Log, without decoding modifications, is pretty easy on the eyes. Not like LOG DPXs, or Arri's LogC. At most, a little contrast filter would make things pop enough for offline viewing.

As for wrappers/codecs/datarates, here's the deal (based on Mr. Crithary's info in the Rule video):

1-There will be a Quicktime based codec to decode native HDCAM SR material

2-He did not specify what wrapper the files would be in straight off the SR-R1, but it's a fair bet it will be something like XDCAM 4:2:2 MXFs. Therefore, these files would need to be ingested like XDCAM is now, with a plugin or software tool, which would then strip the native wrapper off and rewrap into Quicktime with the HDCAM SR codec.

3-These Quicktimes would then be either 22MB/sec (megaBYTES), 44MB/sec, or later, 88MB/sec. Therefore, HDCAM SR 220 and 440 will not be too rough on systems. Incidentally, ProRes 444 is about 330megabits/sec as well, and does not tax my 2 drive RAIDs at all. It's only slightly slow on single drives.

In other words, HDCAM SR via SR-R1 in FCP is gonna be pretty easy and awesome.
 
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