starcentral
Veteran
Been thinking this for a while and quite happy with my F3, but my question to all you is what will it take for you to move to 4k?
what will it take for you to move to 4k?
- Thread starter starcentral
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starcentral
Veteran
$20k? How do you mean?
Viddovation
Veteran
+1. As much as I love my toys, it's a business. If I have the client load for it, I'll make the switch.
Price for a modest Scarlet package.
Tata Steva
Well-known member
Jason Davenport
Well-known member
When clients quit making freak'in DVD masters, and can actually see it.
I am actually flirting with the idea of going 4k soon... My clients are asking for it, and I would LOVE to stay with my F3, but if I dont see an upgrade path for 4k from sony soon other than the 700 or f65, im going to have to make the jump soon.
Unfortunately this means selling all my gear and re-buying just about everything I have to accommodate the different needs.
I really wish Sony would have an upgrade path for a 4k sony f3... if the damn 700 can do it, they should sure as hell have something like the f3 in a 4k option pretty soon. If not, it might be time to jump ship. Love sony, but if I get asked for 4k so many times, its starting to hurt.
Unfortunately this means selling all my gear and re-buying just about everything I have to accommodate the different needs.
I really wish Sony would have an upgrade path for a 4k sony f3... if the damn 700 can do it, they should sure as hell have something like the f3 in a 4k option pretty soon. If not, it might be time to jump ship. Love sony, but if I get asked for 4k so many times, its starting to hurt.
Matt Gottshalk
Resident Preditor
I jumped on the Scarlet when it came out.
C'mon in, the water is fine.
C'mon in, the water is fine.
stefanhuberfilms
Veteran
i'll jump over when there are huge 4K lcd-tv's hanging in my clients lounges, when they get as cheap as HDTV's are nowadays...
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krost-audiovisual
Well-known member
hmmm...
120fps
14.5 stops of real DR (no trickx)
Raw and Prores
Active adapters for Nikon and Canon
4times stabilized zoom lens starting a 18mm
global shutter
18.000.- dollars
maybe have to wait a year or two though... ;-)
cheers
120fps
14.5 stops of real DR (no trickx)
Raw and Prores
Active adapters for Nikon and Canon
4times stabilized zoom lens starting a 18mm
global shutter
18.000.- dollars
maybe have to wait a year or two though... ;-)
cheers
Viddovation
Veteran
It's worth noting that even though we're Sony F3 owner operators, 4k is just a rental house away if a client needs it. That's why my most recent investment was in glass, not in a camera. If a client asks me for 4k, I don't intend to lose the work because I don't own the camera. Once I'm booking enough 4k work that I'm *losing* money by *not* owning a specific 4k camera package, that's when it's worth considering purchasing.
It'd be lovely if the F3 were 4k. But a whole lot of delivery in the corporate and television world in in HD. Hell, I have one client who persistently wants me to shoot 720 30p on the F3.
The 4k package costs *will* come down over time, and I'd rather not spend more than I need to to buy into that economy. Plus, it'll virtually necessitate an upgrade of my ancient Mac Pro 1.1 tower.
It'd be lovely if the F3 were 4k. But a whole lot of delivery in the corporate and television world in in HD. Hell, I have one client who persistently wants me to shoot 720 30p on the F3.
The 4k package costs *will* come down over time, and I'd rather not spend more than I need to to buy into that economy. Plus, it'll virtually necessitate an upgrade of my ancient Mac Pro 1.1 tower.
stefanhuberfilms
Veteran
perfect example, we can deliver crisp and nice content though we do not have the highest resolution...
scocklin
Well-known member
Buying gear these days is a timing dilemma, you need to maximize the resale price of your old (technology) equipment while getting the best price (and product) for your new (technology) equipment. I think Sony is way ahead of the curve in knowing when to put their new 4K F3 on the market.
It would be nice to know what is going to move 4K into the main stream market. Admittedly there is a nich demand for 4K now but on a whole I think DP's buying 4K cameras and trying to push it on our clients isn't going to work for most of us right now. My main concern with buying 4K now is how will it be sold to the consumer, where is the 4K quality at today's bandwidth? Are the networks implementing 4K technology now? And how many consumers are going to buy 4K TV's in this current market?
Manufactures are starting to develop 4K "Future" cameras and putting them out on the market today (JVC GY-HMQ10). I think once demand starts there will be plenty of choices to consider.
It would be nice to know what is going to move 4K into the main stream market. Admittedly there is a nich demand for 4K now but on a whole I think DP's buying 4K cameras and trying to push it on our clients isn't going to work for most of us right now. My main concern with buying 4K now is how will it be sold to the consumer, where is the 4K quality at today's bandwidth? Are the networks implementing 4K technology now? And how many consumers are going to buy 4K TV's in this current market?
Manufactures are starting to develop 4K "Future" cameras and putting them out on the market today (JVC GY-HMQ10). I think once demand starts there will be plenty of choices to consider.
Douglas Villalba
Well-known member
A lot of the best features out there where shot 1080 and no one is complaining about low res.
Broadcast TV just moved to digital in the US. 1080 or 720 is optional. Why would they want to go through the expenses of another change again?
Most of my work is TV Commercials and even tho I mostly deliver 1080i, I have to make sure that everything fits in a 4:3 SD format. There is still a whole lot of people that still don't have either an HD set or signal.
I have seen how good the F3 shows in a large theater in 1080 even from a Blu Ray. If a client is stock on shooting anything but 1080, at that time renting is the only option for me.
Broadcast TV just moved to digital in the US. 1080 or 720 is optional. Why would they want to go through the expenses of another change again?
Most of my work is TV Commercials and even tho I mostly deliver 1080i, I have to make sure that everything fits in a 4:3 SD format. There is still a whole lot of people that still don't have either an HD set or signal.
I have seen how good the F3 shows in a large theater in 1080 even from a Blu Ray. If a client is stock on shooting anything but 1080, at that time renting is the only option for me.
David W. Jones
Veteran
As a former Red One owner, 4K shooter, I'd have to say clients with the post budget for a 4K/Raw workflow.
Working mostly exclusively in the feature film/short film side of the industry, I find more and more they don't want 1080p which is why I'm seriously considering 4K. There is also a name branding thats happening with cameras...
I keep hearing producers asking for specific gear, and caring less about the DP and more about their camera (which is really stupid). But thats the reality of things. People hear "RED" and they think "the highest quality". which its really not, its just the highest resolution. But its the same pixel craze that we had in the photography world... More mega pixels didnt mean better quality.
I had a 5.3 megapixel nikon D1x which was the top of the line dslr for stills photography when it came out. Other consumer cameras had 8-10 megapixels and everyone kept saying... "but my little point and shoot has twice the megapixels than your camera..."
People dont understand that theres quality in a chip and processing that the camera can do. So while I do believe RED has some good quality, I regard Alexa as the best (as well as most TV shows) which is "only" 1080p
BUT with that said, there seems to be this name game. Not many people know about the F3 in my feature world, they know RED and they know Alexa and they know 5D (which I HATE) but they dont know what the heck an F3 is...
So with that said, its annoying, and I hate it, but if I'm losing out to the damn kid with mommys money that bough him a scarlet, over my years of experience... well then I better jump in before I just get wiped out.
I keep hearing producers asking for specific gear, and caring less about the DP and more about their camera (which is really stupid). But thats the reality of things. People hear "RED" and they think "the highest quality". which its really not, its just the highest resolution. But its the same pixel craze that we had in the photography world... More mega pixels didnt mean better quality.
I had a 5.3 megapixel nikon D1x which was the top of the line dslr for stills photography when it came out. Other consumer cameras had 8-10 megapixels and everyone kept saying... "but my little point and shoot has twice the megapixels than your camera..."
People dont understand that theres quality in a chip and processing that the camera can do. So while I do believe RED has some good quality, I regard Alexa as the best (as well as most TV shows) which is "only" 1080p
BUT with that said, there seems to be this name game. Not many people know about the F3 in my feature world, they know RED and they know Alexa and they know 5D (which I HATE) but they dont know what the heck an F3 is...
So with that said, its annoying, and I hate it, but if I'm losing out to the damn kid with mommys money that bough him a scarlet, over my years of experience... well then I better jump in before I just get wiped out.