Sony F23 vs Panasonic hpx3700

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David Matillo

Member
WGA writer in LA, moving into directing. Shot a short film on the F3 last year. Looking to get into the 2/3" game and was wondering if anyone can help compare the F23 and varicam 3700 in terms of filmic picture quality. I know F23 does 60p and has slog, but the varicam seems like a very solid set up with a more one man band user friendly set up. This will be used for music video/fashion films mostly, but I think modern post production used with these cameras could make something very unique that could still be used on features. Seems there are much more varicams in good shape on eBay than F23 or even F900r. Any advice would be appreciated.
 
Yeah James I've looked at that and there are some good condition ones on eBay, but there is virtually zero footage online, plus that thing is a beast. Body weighs almost 15 pounds.I've been told F23 has wider color gamut than SRW9000 as well so I'd just go for the F23 with Odyssey 7Q. Better form factor still I think.
 
The SRW9000 image should be virtually identical to the F23 in the same way the SRW9000PL is to the F35. The SRW9000 uses the same sensor as the F23. It is basically the camcorder version of the F23.

As with the SRW9000PL, there are supposed to be some improvements over the cinema body camera, since it is newer. But at least with the SRW9000PL it's not really noticeable over the F35. Never used a SRW9000, but I would not see why it would be inferior. Where did you get your info?

Is the reason you are pursuing 2/3" for filmmaking at this point because of green screen work and the cameras are three chip?
 
I had seen an interview and read a post saying the SRW doesn't have the same color as F23 but maybe that was just without the 444 board added. Not a lot of info out there. Pursuing 2/3" has nothing to do with keying vfx or anything like that. More to do with ccd and lenses and affordability. I personally love the look of 90's and early 00's film and there really is nothing like it right now. I watched Sidney Lumets final film "Before the Devil Knows Your Dead" saw it was shot on Genesis and went down this rabbit hole. I think I can get closer to the look of Requiem for a Dream and Heat and those past films with ccd than any modern camera. Plus Michael Mann is my favorite director and Collateral and Miami Vice stylistically are exactly what I'm about as a storyteller.

Also everyone is going huge big full frame sensor like it is somehow better. Just different tool and I think these small sensor ccd cameras can still be very useful tools, especially when trying to stand out from the crowd.
 
I highly recommend checking out a Blackmagic Micro Cinema Camera just for fun if nothing else.

I know it's the complete opposite of what you're looking for in many ways, but its 1080p sensor has a unique and distinguished lower-resolution 90s/2000s S16mm film look to it. The MFT sensor is manageable if 2/3" is of interest. Plus you'd get to use all kinds of amazing cinema glass on the mount, which is just as important as the sensor.
 
Yeah the micro cinema camera was on my list for a while before I got the Sony F3. I wanted to pair with S16 glass or sharp c mount. It has a fantastic image. But just too many workarounds with batteries, monitor, handheld, and all that. Would use as an action cam on feature for sure though. I know Hacksaw Ridge and Jason Bourne both used them.
 
The Original BMCC Pocket vignetting on some 16mm zooms. The 16mm zoom I had was not super16, and the image circle was off center to compensate for an audio strip, I assume. And Forget B4 without an adapter of course. I'd assume the BM micro is similar.

If you want light weight, the F23 strips down easily. The box is still wider than the average camera, but it becomes surprisingly nimble and light weight.
 
For all the aforementioned reasons like ccd chip, quality of b4 lenses, wanting to get a look closer to that of 90's film. Just watched the Disney Nature film CHIMPANZEE shot on the panasonic hpx3700 and it is nothing short of amazing. Low light is stunning. Very cinematic.
 
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David Matillo said:
I found the article where it says the SRW-9000 doesn't have the same wide color gamet prism of the F23 because the SRW was geared toward TV.

https://www.provideocoalition.com/nab_2009_zeiss_compact_primes_sony_srw_9000_etc/
Click to expand...

You are correct. the SRW and F23 do not have the same color.

As I told you in PM, I think the HPX3700 Varicam is your best bet. Its much lighter than both the F23 and SRW9000. Its more user friendly in terms of handling IMHO as most ENG bodies are, you still get RGB 4:4:4 DL LOG as you would out the F23 via HD SDI... to me after experience with the F23, its a no brainier.
 
I would also add that the 3700 was an incredibly quiet camera. The noise levels in the image are very low , increasing your useable dynamic range. It's a great camera.
 
Was “Flight of the Conchords” Season 2 shot on Varicams? The DP Patrick is a Panny guy, No?
 
Ok, that was around the time i was considering getting a 3700.

In many ways, that camera would have been amazing in the market i was in, but i ended up getting into indie film and 5Dmk2 and Red were fast changing the landscape, with Arri being off in the quiet distance, and BM on the horizon. Actually sold my DVC30 around that time. Miss that thing! About one of the few cameras to elegantly implement an audio breakout box.

Anyway, the 3700 will always be the first major camera i seriously considered. Only fate changed things. To be honest, i’f have probably made more money getting the 3700 and getting into sports work in that market.
 
Honestly man the 3700 is your best bet. Get the 3700 and a digiprime or digizoom and you are set! I cant begin to recommend those digi lenses enough. one of the smartest purchases ive ever made. a truly beautiful lens
 
I know James has probably been wondering, "Where the heck is Run? We're talking about VariCams".

I have two 2700's- The 720p version of the 3700. The 2700 is still my FAVORITE camera to actually use, to this day. The 3700's didn't sell well, especially compared to the 2700's, BUT the body is perfect from an operators perspective. Nothing else compares. Not an Alexa. Not an Amira. And definitely not an F23. Get the Panasonic color LCD VF and you'll never want to give that package up. I'm gonna ride mine until they or no one will hire me with them anymore.
 
Run, would you say the Sony F3 1080p(external HD-SDI out to recorder) image quality would be an upgrade to the 720p of HDC27H(external HD-SDI out to recorder)? Conflicted if I should pick up an F3 in addition to my HDC27H...but only if the image quality will be significant going from external 720p CCD to external 1080p CMOS.
 
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