F3: Why so many F3s for sale?

Noel Evans said:
I think its a misnomer for anyone to think they may get hired based on the camera they own.
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Perhaps, but I've been directly told by producers that if I don't own camera "X" then they wouldn't consider me. SO while you might not get hired because you own the newest toy, you certainly could lose work if you don't. There are many a thread dedicated to jobs lost by AF100 owners because producers wanted a Mark II, etc...

It's stupid, but it does happen.
 
jdv said:
Perhaps, but I've been directly told by producers that if I don't own camera "X" then they wouldn't consider me.
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Lenilenapi said:
Just tell people you have or can easily get whatever they want then rent it.
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In my experience that's an ENG/EFP/broadcast thing. They like to hire owner/ops with the "correct" camera for the broadcaster.

If "film" production people are doing that, run away. They should be budgeting camera rental separately, no matter where the camera comes from, you or a rental house. AND they're putting the camera over YOU, which means when push comes to shove, they will not value your opinion or experience. Those jobs suck.
 
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morgan_moore said:
The 8-vs 10 bit - Ive failed to be convinced - seeing raw as the benchmark of post flexibility - but Im open to the concept that the difference may indeed be 'huuuuge'


And of course the F3 is only 10bit with a Pix (etc.) isnt it?

S
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IMHO the jump from 8-bit to 10-bit video, is far more substantial than the jump from 10-bit video to 12/16-bit raw.


Unlike 8-bit, you can push 10-bit files around quite a lot, raw just takes that further obviously, but there's a point of diminishing returns.
 
starcentral said:
Yes we all get hired for our reels, quality of work, work ethic, and reputation we've built with our clients and continue to build. But if camera truly didn't matter one bit then we'd be shooting with hacked GH2's or 5D/7D's because "we know how to light". There are plenty of guys making a living shooting on a 5D so what's so special about the "other" cameras we use then, or chose to use?
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I get hired, then I choose the most appropriate camera for the job. If that is one I own, then great, otherwise I rent it in. Often, it helps to be camera agnostic.
 
Liam Hall said:
I get hired, then I choose the most appropriate camera for the job. If that is one I own, then great, otherwise I rent it in. Often, it helps to be camera agnostic.
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I don't disagree at all. But for one reason or another we all chose to own camera "X" over camera "Y". If it's not because you/we think it would be most "appropriate" for the job then what reason is it?
 
Even directors are gadget freaks and often wants to work with the new thing. A couple of years ago I was hired for a three day shoot around Sweden and Denmark just because they wanted to shoot with a 7D.

Since I got my F3 last fall the directors I've worked with have all loved the outcome. If the camera hadn't delivered I would have lost at least some jobs. The only downer is that when I tell them we have to drop to 720 to do slowmotion it's not a to happy grin I get. On the other hand when they do the post and sees how great even 720 looks all is well again.

Gaffers also like the F3 due to how easy it is to work with a log camera when it comes to lighting.
 
Nate Weaver said:
In my experience that's an ENG/EFP/broadcast thing. They like to hire owner/ops with the "correct" camera for the broadcaster.
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Agreed. And in the event someone comes to me and says, "hey you got a XYZ camera", I never say no anyway. I always say we have access to anything. The rental companies arent that far from me and I just add it in to price. In a wink as of today I can get Epic / Scarlet / HPX2700 and 3100 / F3 / 5dMKII / 1DC / BMC / Alexa and just got a message last week that the F5 and F55's are in. These guys are awesome as well as theyll let me go in any day before i need to shoot (assuming the camera isnt out on rental) and let me set up in their studio for a few hours to get my head around anything I dont know. It doesnt hurt to have something capable in house and Im not shy about saying so on my website, but really thats for people who dont know.
 
^ Yep I said something to that effect earlier as well. "I will shoot on anything you want, even 35mm film".

But still I'd love to hear more insight as to why people chose camera "X" as the one to own when many of us say we are not hired by our gear. Perhaps a different thread, place and time.


So anyone have any luck selling their F3 recently?
 
I simply picked the F3 because it's a camera that delivers when it comes to what I want to do and most importantly what my clients wants to do. I could have purchased a couple of other cameras but felt that a used F3 gave me the best I could get comparing price/quality. I see this as a wise choice given the kind of jobs I've got lately. Rather than wanting a particular camera I think my clients expect a certain quality and the F3 provides that. It could be an Alexa or a Red as far as they are concerned, or a Sony F3.
 
I wish I could have kept my F3 as 2nd camera but F55 sucked the well dry, and then some, and then some from the neighbor, and then....
 
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