F3: Why I bought an F35 instead of going 4K with the F5/F55

Okay. Serious discovery/correction.

The SR-R1 will record a 50fps feed from the F35 in 422. Just set the F35 to output 50P base. However, you'll still need to conform it down to 24p in post - it plays back at 50fps.

So what the SR-R1 currently doesn't seem to support is the variable frame rate settings, or slow and quick playback that's integrated with the F3.
 
Viddovation said:
Okay. Serious discovery/correction.

The SR-R1 will record a 50fps feed from the F35 in 422. Just set the F35 to output 50P base. However, you'll still need to conform it down to 24p in post - it plays back at 50fps.

So what the SR-R1 currently doesn't seem to support is the variable frame rate settings, or slow and quick playback that's integrated with the F3.
Click to expand...

Niiiice.
 
Does the camera trigger record on the SR-R1? It's not a huge deal, but is nice when your face is planted into a viewfinder.
SRW1 is big but has a lot of nice features which I outlined on the other thread. It's also 880Mbps 4:4:4 which for all intents and purposes is "uncompressed" or 4x ProResHQ.
I'll totally use mine for studio shoots. I can't see ever putting the F35 on my shoulder anyway.
 
Viddovation said:
*12bit RGB 444 recording with F35..
Click to expand...

If you're really going for more of a film-like look, I believe that this here ^ is what is going to do it for you. In my honest opinion 10-bit even if it's SLOG is not "enough" umfff to get close enough to a "film look". I don't know if its the lack of color space information or what but even though I love the F3 dearly and it was a big step forward I felt it really never delivered a film-like look. It still has that videoy look to me no matter what footage I see from it. 10-bit RGB might be better but there isn't enough of it to really judge. But 12-bit from the F35 or Alexa should be proof enough that it's the next big improvement on image.

12-bit is exactly what the F5/F55 are missing. Your choice is 10-bit XAVC or 16-bit RAW and nothing in-between.

Viddovation (and others) you may be very well onto something. :happy:
 
LeavingTheCandy said:
Does the camera trigger record on the SR-R1? It's not a huge deal, but is nice when your face is planted into a viewfinder.
SRW1 is big but has a lot of nice features which I outlined on the other thread. It's also 880Mbps 4:4:4 which for all intents and purposes is "uncompressed" or 4x ProResHQ.
I'll totally use mine for studio shoots. I can't see ever putting the F35 on my shoulder anyway.
Click to expand...

Unfortunately no. Not as far as I can tell. I've asked Sony for a firmware update to address this, but hell's not frozen over yet.

I do think I'll add a dock for the SR-R1 control panel on the right side next to the assistant panel, so the AC can manage starting and stopping.
 
I've asked Sony for a firmware update to address this, but hell's not frozen over yet.
Click to expand...

Sony's request department is headed up by Mrs. Waite. Her first name is Helen. So, when you need a feature go to Helen Waite.

Having a control panel for AC is another reason to like the SRW-1 too (or DIT). You could put it anywhere and let them do their thing. (the F35's assist panel rocks too.). The ability to tap into it via Ethernet is always brilliant.
 
By the way - you can use the SR Codec files in Avid and Final Cut. Still checking into Premiere.

For Avid you need their free plugin as well.

For Final Cut 7 & X you need a free Sony plugin, and you need to rewrap the .mxf files into .mov files using the SR View software (also free).

This works all the way up to the 12 bit RGB 444 files. Totally editable and transcodable.
the free Sony SR Viewer
 
"Right now you can buy an Arri-D21 with optical viewfinder for $10k."

Hey, I've been looking all over the net for used Arri D21 cameras for sale. Where can you find them?
 
This is all I can find on bit rates for ProRes, 12-bit RGB 444, 330mbps is listed there. I also know ARRIRAW is 12-bit log.


From ARRI's website:
arri-in-camera_zps2a7312d3.jpg
 
hmmm yes it seems that pro res 4444 is 12 bit. Maybe the AJA guy wasn't right about that pro res is only a 10 bit codec - maybe pro res 4444 is 12 bit! Nice even more colors.
 
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By the way, Premeire Pro CS5.5 for mac will read the .mov rewrapped files from the SR-R1. Doesn't like the direct .mxf files.

And macgregor seems to be having no trouble using the native .mxf files from the SR-R1 in Sony Vegas.
 
eddavid I'm by no means Alexa expert, if anything only Google expert. :happy:

But I remember when pix announced 12-bit prores 444 support I was asking if prores was only 12-bit since F3 only 10. I recall it being both.

12-bit is holy grail I'm convinced.
 
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