The New F

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What I don´t get is, when they release the 4 K Raw Recorder (if they release one...) why would you buy an F5 over an FS700? Both most likely will have the same sensor and just put this sensor data out on SSDs/CF Cards
The F3 had Slog and much better signal processing than the FS100/700 but if they both output raw all what´s left for the F5 is better onboard codec for 1080p...
 
nsoltz said:
No ;) But will definitely chime in with something as off the wall as fixed lens ;)
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Given the rather enthusiastic impressions of those who know, it would seem unlikely that the New F would be less capable than the FS700. So both some provision for RAW recording, and high frame rates would be highly likely.

Cheers.
 
I think the key is what pricepoint these two new camera are at. If the F5 is to replace the F3 at the same price I don't see any reason to go all out on this model if there's a F55 camera priced to match Canons C500. Often manufactures talk about being so many steps ahead but it's usually one or two features added.

4K ready might be the thing for the F5 and improved functions compared to the F3. Question is if either F5 or F55 will better the F3 in light sensitivity? 4K as in the FS700 meant less light gathering as we know.

As Sony has high FPS in the FS700 I would be surprised if the F5 didn't get atleast 120fps. RAW is something that will come and now is probably the time for Sony to show what they already did in the FS700 and which device to capture it with and be used with newer cameras.

What would be even more exciting is if we finally get higher DR than the Alexa. The combination of high DR/RAW capture is just what Blackmagic strived for and actually built a camera so for Sony it's easy. They are also known for going their own way and put things on the market noone has thought of. Just look at the odd duck FS100 and FS700. One can hope they do come with a decent formfactor, like the Alexa, and only have the FS-line as handheld cameras. I'd rather either be on sticks or on shoulder when shooting.

Global shutter is also a thing in high time to be put in a videocamera. Could the "5" line be the first?

As for SxS recording I suspect that if internal RAW recording becomes real for Sony it's SSD and it's Sony SSD drives and only Sony SSD drives inside.

Anyway there are lots of things one F5 could be.
 
I just hope "some"of the thousands dollar accessories I bought for the F-3 work on this one. Be nice if two Arri rosettes were on the front bottom.
Can you say Ned, that if we buy the new F-"Blank" we will not have to worry about a replacement, a year in a half later. These times,.. our pocket books can't keep up with technology...
 
I just got my F3 :) so it will be interesting if I will feel the need to make my F3 time short or long. Anyway, it's only money.
 
I just hope "some"of the thousands dollar accessories I bought for the F-3 work on this one. Be nice if two Arri rosettes were on the front bottom.
Can you say Ned, that if we buy the new F-"Blank" we will not have to worry about a replacement, a year in a half later. These times,.. our pocket books can't keep up with technology...
 
morgan_moore said:
Sony dont seem big on raw - not mentioning it on the F65 homepage
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Shooting a ready-to-go format that doesn't need transcoding is one of the big draws for Alexa. I'm finding that in LA, producers are becoming just as savvy about formats as DPs and what the implications are for the post schedule.

I had a job I was up for a couple weeks ago, and I had a brief convo with the EXECUTIVE (as opposed to line) producer, and she read my mind when she said "well, they might have mentioned Red, but with that post schedule they just sent me, it's more Alexa". People are wising up.

Anyway, I suspect Sony knows all about this shift, and would like to position their 4K solution as one that can be less post intensive than Red.
 
Jason Davenport said:
I just hope "some"of the thousands dollar accessories I bought for the F-3 work on this one. Be nice if two Arri rosettes were on the front bottom.
Can you say Ned, that if we buy the new F-"Blank" we will not have to worry about a replacement, a year in a half later. These times,.. our pocket books can't keep up with technology...
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I think it is always difficult to predict what is coming along. I subscribe to the principle that "if it does what you need it to do, it isn't obsolete." Having said that, NewF will be more future-proof. For a great many users, F3 will continue to be a great camera and I in no way denegrate it.

My pocket book is still paying for the last round of technology.

As far as Nate's comments regarding post, I think that Sony has already answered some of that concern in the F65 inasmuch as SR codec does not require the intensive post-processing of R3D files.

Red will continue, for very good reasons, to have major play in the market. The target, though, is Alexa. Alexa has such wide adoption in the market, particularly episodic TV, that it becomes a very ambitious target.

In 8 days (writing this 10/22), I'll be interested in hearing reactions. Needless to say, I'll be writing extensively.

Ned
 
"Future proof" That's what I wanted to hear!
The F-3 will be a awesome B cam to the new F. Instead of going A with F3 and B with FS700, now we can go A with F5 and B with the F3. I would go for that! And it would last.
 
haha..
well, a 4 times fixed lens with OS would not be bad though...;-)
hopefully Sony will give us F3 users a 25-105 2.9 OS AF Zoomable lens sometime...
anyway -
will be 4k at max30 fps via dual link sdi
1080 with max 240fps in 30 sec buffer
1080 with 120fps continuos

no global shutter
new viewfinder (from a99)
SSD optional
audio board optional
sxs
slog2
15 stops DR

20.000 USD estimate


just guessing ;)
 
morgan_moore said:
Is there actually a concept that the FS700 can do raw 4k?

For a start does it not need dual SDi ?
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Yes, the FS700 has a promised upgrade path to 4K RAW.
It can output about 30 fps 4K RAW over the 3G SDI

From the brochure:
The first 4K-ready Super35mm camcorder in its class – providing an assured upgrade path to 4K acquisition and delivery – with full HD 1080p for today.The camcorder will also have the capability to produce 4K RAW 3G-SDI output via a future upgrade.
 
Nate Weaver said:
Shooting a ready-to-go format that doesn't need transcoding is one of the big draws for Alexa. I'm finding that in LA, producers are becoming just as savvy about formats as DPs and what the implications are for the post schedule.
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Absolutely - thats what I find confusing - coming from stills we find a raw workflow far faster and simpler and cheaper from set to delivery, but we worked through the myths a decade ago

(and yes it did change 'post schedule' or rather the ratio of set crew to DIT crew if you are that big)

I absolutely dislike twonking in colour, and now resolve, it just feels so clunky to the click white, add curve, paste to all process that I am used to (and getting great colour from all sorts of mixed sources)

And you will mention data mass - it is a fair comment, but in terms of a larger production Im not sure that the cost of a few HDs is really the issue

S
 
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