Sony f35 with odyssey 7q - ongoing experiences and evolutions

Hunterqual said:
Baddgsx, why not get a BMCC in EF mount (or MFT with Speedbooster adapter) and be done with it? You will be happy with the onboard SSD recording, small form factor, EF mount, and shooting Prores with the film gamut will get you something similar to the F35's slog. You may not notice the difference.

I really wouldn't recommend trying to fit a camera like the F35 into constraints like a EF lens collection. It deserves to be used on its own terms.
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because you can not compare the bmcc to the F35. 2 different cameras , two different looks. I want to use the F35 along side with the FS7Q with media and lens. That way everything is efficient in post. I already spend a decent amount on CD media. Id like to use them with other cameras if possible.
 
I get wanting to use the 7Q in as many situations as possible. Not sure you'll think the FS700 and F35 cut together better, even though they're both Sony cameras.
 
Hunterqual said:
Good luck with the F35 and getting raw DNG. Haven't seen that this is possible.
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Not possible. Never will be. DPX is though on the F35. I've been shooting with F35 and FS700 and going straight to prores on each, except for any slow mo instances which then I go to DPX or DNG depending on the camera.

And as far as cutting them together, it's not too bad, but you can tell they are both birthed from Sony to some degree. FS7Q to prores actually looks pretty decent next to the F35. Colors are WAY better on the F35 though, so either you accept that or you sort of fudge them both together. FS700 might have more dynamic range honestly, but in a different way (sees into shadows more), and doesn't look as nice.
 
eBay is your best bet--right now there are two types of IF boxes on there for the F35 (I'm not familiar with the thinner version, looks interesting). That will get you 4:4:4. Framerates are dialed in on the camera itself--you can have anywhere from 23.98p to 24p to 25p to 30p to 50i.

If you don't have the IF box, you use the Monitor Out from the camera body, which gives you 10 bit 4:2:2 max.
 
Baddgsx said:
to get 4:4:4 i would have to get the IF box. what is the IF box, such a funny name. i bet its not cheap. And if i just fed sdi from the F35 to the 7Q i would only get 24p at 10bit4:2:2 im guessing?

http://www.youtube.com/watch?v=Oh_mVN61llA check this test footage out. i like this image quality.
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"IF" is just an abbreviated way of say "Interface" - so it's just a box to interface with the camera, that's all.

Every F35 was sold with an interface box, so if you're buying a camera, ask the seller to include it or grill them on why it's not included.

I'm working on methods of getting video from the F35 without an IF box, but it's not ready yet.

As it stands, without the IF box the camera only has monitor out ports, and those are 10bit 422.
 
Is there honestly much difference in using the 422 out compared to the IF? I understand for big green screen projects but, is it worth the space and hassle?
 
VinceinLA said:
Is there honestly much difference in using the 422 out compared to the IF? I understand for big green screen projects but, is it worth the space and hassle?
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In many cases the 4:2:2 10 bit is perfectly sufficient. However, I'm personally not a fan of recording out of monitor ports as a practice. In fact, just recently I did so to get a tricky shot on a small set with minimal crew, and ended up not realizing I'd left overlays on that got burned into the shot, and ruined it. Mind you, someone recording permanently on their monitor port wouldn't likely make such a mistake, but they would also lose the ability to utilize all of those markers and tooks since their monitor port is being used as a record port.

As far as 444 vs 422 and such, I would agree that 422 is plenty for most projects that aren't VFX heavy. That said, if you're trying to pitch the F35 to a producer currently thinking 4k, you may be able to pitch 444 10/12bit as something superior to "regular" 1080, and as being competitive with the RED and such. Marketing, really.

And I think having the capability is very handy, whether you use it or not.
 
I did 29 days straight on an F3/SDI out to a Blade with no issues but then it has the two dedicated video-only outs. So when you have the IF on the F35, you still have monitor-out on camera, and dedicated 444 dual link from the IF?
 
VinceinLA said:
I did 29 days straight on an F3/SDI out to a Blade with no issues but then it has the two dedicated video-only outs. So when you have the IF on the F35, you still have monitor-out on camera, and dedicated 444 dual link from the IF?
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Short answer: yes.

To be clear, the IF box output is whatever the user set output is, although a 50/60p 444 output requires 2 IF boxes. So if the user sets 422, then the IF box will only output 422.

The camera then has monitor out ports, which can be clean 422 feeds, but which have the capability to have numerous overlays, markers and such added to them, as well as LUTs.
 
The audio inputs on the F35 have always intrigued me. They sound quite nice, and I'm sure if you connected them to a mixer at line level you could get pretty nice finished audio through the camera. I've plugged onboard mics in though and seems they have a limiter built in or something, as I never got any clipping even in loud environments. Or something. But there's no audio info in any of the menus I can find.
 
Am I right in thinking that the SRW9000 differs from the F35 in that it has single link 3G HDSDI? And that this would be a benefit in some way - ie allowing 12 bit 444 on certain recorders?
Steve
 
steve phillipps said:
Am I right in thinking that the SRW9000 differs from the F35 in that it has single link 3G HDSDI? And that this would be a benefit in some way - ie allowing 12 bit 444 on certain recorders?
Steve
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The F35 does not have 3G speed ports, although an inline converter box can modify this. If the SRW9000 does have 3G out, that is indeed a distinction, and a convenient one.
 
Says in the manula that the HD SDI outputs can be configured as single link 1.5G, dual link 1.5G or single link 3G. Not very well up on my links and Gs!
Steve
 
Anyone successfully setup 12 bit 4444 recording on the f35 with convergent 7q? I set it to 25p in the camera and its a strange pattern on the 7q (picture attached)...It doesn't get the signal...Yesterday at least it got a picture with green or pink cast...Strange thing is: With 50p 422 (which also needs both if outputs into 7q) it works and is immediately recognized...At least the full signal gets recognized as 25p 4444 when i am in dpx mode - you can see in the picture.

Another thing: If recording to 25p 422 prores and having both cables in the odyssey it doesn't recognize the signal. I have to detach one cable - while i understand why - is there any way to keep both cables attached and switching from 4444 to 422 modes? I am so happy with this setup now, last 2 things i have to sort out...Second picture attached is the mic pre we set up with the F35DSC_0166.jpg

DSC_0165.jpg
 
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