F3: 'The Hunt' (F3 still delivering the goods)

The first page of that thread.. the chap in the car has the dreaded lack of saturation and thinness to the file that made the F3 to me unusable for anything but 'faux log art'.. Grugs images have depth and saturation.. Numbers wise it would make complete sense that 444 recording 4096 tones could be the reason for this (beyond good cinematography, art direction etc.)
 
Yes probably because it was slog shot in 8-bit 420, not to mention I may have had matrix turned on as I did not really learn about turning it off until long afterwards.

Point of the link really was to the LUTs and relevant information as someone had asked about LUTs, etc. My image definitely is crap compared to Grugs. :)
 
Grug, what lead to your decision to use the F3 for this short film vs other cameras you might have had at your disposal?
 
Why'd I shoot on my crappy little F3 instead of on the amazing Alexa Studio that sits on the shelf next to it?

One simple reason really... no one was paying for the Alexa.

It's one of the real benefits of owning two cameras (one cheapy and one that's expensive as hell) instead of owning one mid-range camera (like the F5 I had before). You're never forced to put the expensive camera out on shoots that won't actually pay a fair rate for it.

And the great thing about having the F3, is that even if I don't get to use the Alexa (which is always a little sad), I can still get great images anyway.

The F3 lets me come out with some lights and grip gear for a very reasonable fee and get good results. Then when productions have the money for the nice toys, the Alexa comes out with all the lights and we can get great results. I find I suffer much less angst by having the two options available.
 
And a few more preliminary grabs:

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Great work as always!

Hey, just wanted to get a sense of how you treated those day exteriors. Were you mostly shooting on cloudy days? Were you modifying? Not sure if you're open to sharing but always curious to hear from folks more experienced than myself.

In any case, thanks for sharing!
 
Thanks guys, appreciate the kind words

abreu-canedo said:
Great work as always!

Hey, just wanted to get a sense of how you treated those day exteriors. Were you mostly shooting on cloudy days? Were you modifying? Not sure if you're open to sharing but always curious to hear from folks more experienced than myself.

In any case, thanks for sharing!
Click to expand...

Daytime exteriors were seriously rough on this one. We had a skeleton crew planned, with two people in LX to lug a generator and an an HMI around, but we lost one camera assistant and our best boy the night before the shoot. So in the end, the exteriors were entirely natural light (not a situation I'm particularly comfortable with).

I think we used a bounce board on a couple of shots at the one location where we could physically push a camera cart in (and therefore had the means to carry the bounce board with us). But other than that, it was all just a combination of natural light and careful time-of-day scheduling.

bill totolo said:
Great job Grug. Will we see a run on used F3's like we did on F35's? They're cheap as hell.
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The F3 is worth peanuts now, but I can't see a rebirth being likely. I only really consider the camera usable because I picked up one with the Element Technica body armour and the 4:4:4 SLOG upgrade. Without those two things, it holds a lot less appeal, and is much more difficult to work with in a conventional production setup.

As a sensor in a box though, it continues to punch well above its weight.
 
Being out of DVX due to health reasons. Just came back and watched this trailer. My my that is some lovely footage from the F3, and the Sigma Cine Zoom. Like you mentioned before, the F3 is worth peanuts, though having S-Log combined with that lovely sensor...my my. Got lucky when I got it for cheap with its 20hrs of use.
 
Grug said:
Thanks guys, appreciate the kind words

Daytime exteriors were seriously rough on this one. We had a skeleton crew planned, with two people in LX to lug a generator and an an HMI around, but we lost one camera assistant and our best boy the night before the shoot. So in the end, the exteriors were entirely natural light (not a situation I'm particularly comfortable with).

I think we used a bounce board on a couple of shots at the one location where we could physically push a camera cart in (and therefore had the means to carry the bounce board with us). But other than that, it was all just a combination of natural light and careful time-of-day scheduling.
Click to expand...

I think they came out really nicely. It says a lot that you could plan ahead for maximizing the sun and making sure you could be there on the right time of day. Thanks for sharing!
 
Grug...considering you are very familiar to F3 i need to buy some ND filters. I wish i would have the money for a full set but i dont for the moment. If you would be on a tight budget what ND 4x5.65 would you get...The strict essential lets say. Thanks in advance
 
Cristian Mihai said:
Grug...considering you are very familiar to F3 i need to buy some ND filters. I wish i would have the money for a full set but i dont for the moment. If you would be on a tight budget what ND 4x5.65 would you get...The strict essential lets say. Thanks in advance
Click to expand...

For the F3 specifically Cristian?

If so, with the camera's built-in 3-stop (0.9) and 6-stop (1.8) NDs. The only essential densities you need are one-stop (0.3) and two-stop (0.6). Between those two filters and the F3's internal ones, you can have anywhere from 1-8 stops of ND, and 9 if you stack both external NDs in the mattebox (and 9-stops is enough to shoot wide-open in even the brightest Australian sun).

Spend the money to get a solid, new-style of ND like the Formatt-Hitech Firecrests or the Tokina Pro NDs though. They are totally colour neutral (even at high densities), which older IRND most certainly were NOT!
 
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