IronFilm

I have posted here a few times already about my recent Sony F3 purchase. I'll admit one big factor behind it was the intention to help distinguish myself apart from other "DLSR shooters". And it is a cheap cheap way to do so, I got the body for just US$1.2k after all. No client I ever work for can name the differences between a F3 vs F23 vs F65 (slim chance in telling apart Sony vs other brands either), heck even most directors I work with (thus who at least have a passion for film, unlike corporates or clients) would not have a clue as to the differences between those three! So why squander money on a F65 that I can't afford? But they can see a difference between the person who shows up with a Canon 5Dmk3 vs a Sony F3, and who are they more likely to call back again? (Assuming all things are otherwise equal) Thus a big reason why I purchased an F3, even the my BMPCC is still perfectly capable. When I find 4K in the future being demanded, I'll hire/borrow for that. Then a bit further down the track, buy one once they too are very affordable on the second hand market. Such as a F5 or FS7 a few years from now. I'll not bother with buying a current generation very expensive camera until my work demands require it and can pay for it.

What is the current state with the Samsung NX500 for filming with? Time limit with no auto restart like the NX1? Crop mode with 4K? Correct? Tossing up in my mind as to if it is too crippled or not, because it is on sale currently.

Yup. With top plate, the original 444 upgrade, a great baseplate / shoulder rig, lightweight dovetail, V mount plate, & 2x 32gig SxS cards.

The current price for a new F3 is only US$3,995 now, a huge reduction from its original price: http://www.bhphotovideo.com/c/product/848144-REG/Sony_PMW_F3L_RGB_PMW_F3L_Super_35mm_Full_HD.html I can tell it dropped from US$4,995 sometime in the last 48hrs based on Google's cache: http://webcache.googleusercontent.com/search?q=cache:f3DRVKbhbYQJ:www.bhphotovideo.com/c/product/848144-REG/Sony_PMW_F3L_RGB_PMW_F3L_Super_35mm_Full_HD.html+&cd=1&hl=en&ct=clnk&gl=nz I was hoping Archive.org could give me insight into the price history over the past year. But sadly the most recent copy it shares at the moment is from October 2014 when it was $14,995: https://web.archive.org/web/20141006031730/http://www.bhphotovideo.com/c/product/848144-REG/Sony_PMW_F3L_RGB_PMW_F3L_Super_35mm_Full_HD.html Adorama sadly doesn't sell it currently, just a kit for $13,800: http://www.adorama.com/SOPMWF3G444.html But it does have three in used condition (V condition $2,100, E- condition $2,400, E condition $2,575): http://www.adorama.com/catalog.tpl?op=recommend&sku=US_VDCSOPMWF3 And on eBay I can see sold listings for US$2K. I believe if people look around at their local private sales they'll find it even cheaper, I picked up one myself three weeks ago for US$1.2K via that. Incredible price drop from 2011 when the Sony PMW-F3 first came out and it was nearly $20,000! ($16K for the body plus initially US$3,800 for the firmware upgrade) It has had a far faster price drop than similar cameras of that era (give or take a year) which were priced similar (or even cheaper than the F3 was), such as: Canon C300, RED Scarlet, RED One, Sony FS700, BMCC. They've all seen big price drops, falling half in price, or even more. But none have seen the price fall to a tenth of the original cost! (or even less!) I wonder why. I've got a few theories, it is was a rather popular enough camera in its niche (TV / documentaries / etc). Thus lots of F3 cameras were sold, which is causing mismatch in supply vs demand. As there is low demand because it never caught on amongst amateur/indie filmmakers (because they too quickly got distracted by the next shiny item, such as RED or BMD), who'd be the people who could soak up the supply of F3 cameras on the second hand market. As professional TV crews wouldn't be buying up F3 cameras in large numbers, they'd instead be moving on to an F5/F55. So why are there not more indies picking up these cheap F3 bodies? I'd say there are a few reasons: its bulk, it is "only 1080", no raw, PL mount (too pricey for many indies), and SxS cards are pricey. (last two reasons are non issues, as under that PL mount you've got the FZ mount, and there are dirt cheap adapters for SxS to use standard SD cards. But many people won't realise this initially, and just be put off from getting an F3) Makes you wonder what camera now which are priced way outside our reach will then be very affordable by 2019? Alexa Mini? Doubt it, it will still hold onto its popularity and prestige for a long time. Sony F5? Well... is the one directly after the F3, kinda makes it the obvious candidate to keep an eye on. The F5 after all is already feeling pricing pressure from Sony's own cheaper FS7, URSA Mini and other cameras will keep up the pressure. KineFinity KineMAX 6K? Doubt it will sell enough to create a future large supply vs demand in balance. Sony FS7? Perhaps this is the one to watch for 2019 deals, but it is already starting from a very affordable point. So it surely will fall to a similar price point by 2019 I guess, but it certainly won't fall to being a tenth of its original price. AJA Cion? Eh, I suppose it might... but I doubt I'd pick it over my own F3! Other candidates? Thoughts?

Agree, supply/chain marketing is a big problem. Far far far too few stores have Sony/Samsung/Panasonic high end camera in stock. The best solution to both of those points is for Sony and Panasonic to update their current entry level large sensor camcorders. It wouldn't take much! (so long as the price is right) For Panasonic: simple put the GH4 sensor in the AF100 (and bring along a few of its features too, such as focus peaking). For Sony: add ND filters to the FS100 and make it the more ergonomic design of the FS7 instead of the awkward FS100. (heck, you can even keep the old specs and sensor of the FS100 if you just make those two small changes I suggested! So long as the price is right, and it is priced similar to the FS100 is now and much less than a C100), These are not overly ambitious suggestions. But it means for a much better solution than YAGH or XLR-K2M, and means there will be many more people who when they move on up to a higher pro level than DSLR shooting can have as their first stepping stone an AF200 or FS200. Thus both your points with can easily be dealt with at once with my very modest suggestion. ​

Good guys Panasonic NZ! :-D Moments like this make me proud to be a kiwi ;-)

I can't seem to find online the specific "TILTA LSW Baseplate" which I own (that is the words on the side of it). Guessing it is a bit older model which is not being sold anywhere. As far as I can tell by looking over Tilta's current products they make two kinds of dovetails: Arri standard and Sony VCT-U14. Unless... is "Lightweight Standard" a third standard for dovetails? I'm unfortunately suspecting it is! Although that doesn't make sense: http://www.bhphotovideo.com/c/product/992650-REG/ikan_tt_c07_12_2060_2575_120ex_dovetail_plate.html http://www.bhphotovideo.com/c/product/992649-REG/ikan_tt_c16_10_lightweight_dovetail_plate.html They're both called "lightweight", yet the 1st one doesn't work with mine (I know as I have an "Arri Standard" dovetail which doesn't work, unless... "Lightweight Arri Standard" is something specific and different to "Arri Standard". While the second one looks like it is identical to the one which came with my camera, and is what I'm seeking a second one of) Is Tilta with their 15mm baseplates using their own made up "standard"??

"4K video is a huge part of the FZ300 experience. You can record 4K/UHD (3840 x 2160) video at 30p or 24p with full-time AF, manual controls, zebra stripes, 'cinelike' gamma, and much more - all at a bit rate of 100Mbps. If that's a bit too much, 1080/60p and lower resolution modes are also available. If you want to produce slow motion clips, there's a mode which records at 120 fps (1280 x 720). As mentioned earlier, the FZ300 combines optical and digital image stabilization to produce a 5-axis hybrid IS system, though as we've already noted that only kicks in when shooting HD (and lower resolution) video." If you look past its fixed lens and tiny sensor (similar to a camcorder), then this appears to be a kick ass camera and at very low price! I won't buy it now, but when it comes on sale at half price in a year or two? Hell yeah. (its RRP at release is already under six hundred dollars) 4K video, weather sealing, 25-600mm zoom, constant f/2.8, 'cinelike' gama, 100Mbps, zebras, manual controls, 120fps @ HD, 5 axis stabilisation, mic jack input, and more!! This could be a wonderful run and gun camera for a reporter, or as a back up camera to keep in the car. (need to grab a quick shot but it started dumping with rain? No problem with the FZ300! Got to get a very far away shot that you didn't bring a quite long enough lens for? No problem with the FZ300! Want a wide angle B cam to shoot 4K in an interview so you can punch in later? No problem with the FZ300! etc etc.... This won't ever be a camera which is perfect at any one specific thing, but will serve as a wonderful jack-of-all-trades to keep around in your tool kit "just in case") http://***URL removed***/articles/1065643550/fast-zoom-what-you-need-to-know-about-panasonic-lumix-dmc-fz300?slide=8

Is there more than one standard for these dovetails??? :-/ I had guessed there was only the Arri standard dovetail. As I ordered this (which is Arri standard): http://www.proaimshop.com/pas/CAMTREE-19-15mm-Base-Plate-With-Dovetail-Tripod-Plate-ARRi-Standard.html I've attached an image of my camera, with its baseplate and dovetail that it came with (TILTA LSW baseplate).

I recommend you put completely 100% out of your head any thoughts about how "future proof" your ability to use your camera in 5 years will be. We're moving at a far too fast a pace for that to matter. And cameras are far too cheap for that to matter. Instead pick what is right for you right now. (or perhaps in the next 6 months, or 12 months, but don't be looking any further out than that) Look at a couple of examples: Sony PMW-F3 is a camera that I just purchased last week for not much more than a grand, yet less than five years ago this camera cost US$20,000! (when you factor in the s-log upgrade) This was one of the hottest cameras back then, and was very very pricey. Now consider the Panasonic GH2, also only less than 5 years old, and also was for its time the hottest camera around and cost a not terribly dissimilar amount to what a GH4/NX1 costs today. How much do they go for now? Only a couple of hundred bucks or so. Conclusion: in 5 years time you'll be able to pick up the (former) hottest tech for pennies on the dollar, and also you'll be able to affordably buy new tech which is leaps and bounds ahead of it.

​I'd disagree about rolling shutter to be in the cons column. Because in 1080p mode it has the best control over rolling shutter of any! (right up with Arri Alexa level quality). Yeah 4K is bad, but manageable, you can always switch over to 1080 if the situation calls for it. Mainly it is lack of mainstream NLE support that is holding me back from picking up a NX1. But if I see it at the right price I will anyway! BMD cameras are amazing (I own a BMPCC, which I reckon is their best one they sell currently), but not what I'd recommend as a person's first ILC or as their only camera. I agree the D750 is nice :-) But unless a person is doing half or more of their pro work in still photos too, then I wouldn't recommend it over a NX1/GH4/A7s/BMD. Careful... if you play the "next camera" waiting game... you'll find yourself waiting forever! *IF* you are going to play the waiting game, at least pick up a cheap as NEX-5N / GH1 to hold you over and keep you busy until that "next camera" does come along.

I agree, this is one reason why I was considering getting a Sony FS100 / Panasonic AF100 (though I ended up with a Sony PMW-F3 instead, for basically the same price). Even though they only produce an image similar to a Sony NEX-5N / Panasonic GH1 (which is more than adequate for many purposes, so you can get by with them), they do have the "real gear" look to them. And they're so incredibly cheap, you can quickly recover their cost vs renting. Agreed again :-) A Sony A6000 / A5100, Nikon D5200, or Panasonic GX7 / G6 are amazingly great value!

I've almost completed my initial kit out for now. The last remaining items I still need to decide on buying is: a second dovetail (one for the tripod, one for the monopod. The camera already came with one dovetail), a fluid head for the monopod that can handle 10kg or more, and maybe a tripod (as I expect my current one won't quite handle the full set up). Haven't looked enough into which fluid head, so still quite clueless as what to get! I'd appreciate any suggestions? Am considering a couple already, but they're only capable to a max 8kg payload, which I suspect in a worse case scenario could come up a couple of kilos short. http://www.ebay.com/itm/Pro-JY0506-video-DSLR-Camcorder-Fluid-Tripod-Head-Drag-slider-rail-max-8KG-load/121491999464 http://www.ebay.com/itm/Miliboo-MYT801-Pro-Tripod-Monod-Ball-Head-Quick-Release-Plate-for-Canon-Nikon-/271837439808 I'm looking at one of these dovetails: http://www.ebay.com/itm/Lanparte-15mm-Slide-Dovetail-Plate-230mm-Long-For-Tripod-Baseplate-DSLR-Rig-BMCC-/370856985673 http://www.ebay.com/itm/45cm-long-Dovetail-Plate-Arri-standard-with-1-4-20-3-8-Hole-InnoCamera-/171787795433 http://www.camtreerigs.com/camtree-19-15mm-base-plate-with-dovetail-tripod-plate-arri-standard.html http://www.bhphotovideo.com/c/product/891108-REG/Wooden_Camera_WC_151100_Safety_Dovetail_8.html/prm/alsVwDtl http://www.bhphotovideo.com/c/product/1100200-REG/lanparte_dp_15_dovetail_plate.html This is the tripod I'm considering: http://www.came-tv.com/came15t-pro-carbon-tripod-for-red-epic-cage-dslr-rigs-p-573.html This is almost the same price as a new A7s in NZ (& I got mine for quite a bit less):http://www.trademe.co.nz/electronics-photography/video-cameras/professional-cameras/auction-911356034.htm You're not in NZ however, but look around and I expect with enough effort and time you'll be able to find similar deals on your local marketplaces. Just takes time and patience, and a bit of initiative. (I googled the seller and hunted about, so I could contact him directly and work out a deal in person rather than just going via the auction) ​ ​Thanks, that reminds me now that I should add IR-cut filters to my shopping list.

​Carl Ziess ZF.2 for sure.

oops, and forgot to say it came with 2x 32gig SxS cards too :-D

So long as you can sing "lalalala lalalala" and cover your ears as you pretend raw / slow motion (beyond 60fps that is) / 4K doesn't exist, then with a Sony F3 you're good to go for years to come!! ;-) Oh, and its weight is a bit of a pain if you want to go with gimbal usage. But then I've got my BMPCC for that purpose. Or I suppose a person could get a Sony A7s for the same reason for when they want a gimbal shot (though an A7s costs way more than I paid for my F3 today). Everything else can be a niche hire/borrow scenario. At least for the next couple of years, then I'll likely have moved up in the world and will be able to pick up either a Sony FS7 or URSA Mini 4.6K on the cheap! ;-) Relatively speaking compared to their current prices.

Ummm... actually I ended up getting it for only US$1.2k! :-o *AND* it comes with the absolutely fantastic Tilta baseplate with a lightweight dovetail and V mount battery plate. (just these parts are worth several hundred!) So yes, I now possess my own personal F3! :-D ​ ​Oh wow, I was just checking out that film last night! Didn't realise that is you. Got to LOVE the internet how it brings the world closer and allows me to talk directly to the guy who made it :-) Looking forward to seeing it on VoD/DVD when it comes out!

​It is always much much much better idea to spend more on lenses, and less on the camera body. Get even a Panasonic G6 on sale, or a second hand GH2, and leave the rest of your budget for areas that matter such as a few nice lenses.

​*THIS*, it is the direction I am going in. I'm going to pick up Sony F3 for a similar price to an old Canon 5Dmk2 (once you've kitted that out with a basic cheap audio recorder and monitor, to at least pretend to match the same basic functionality of a F3!). How could a person say no?? I was planning to (somehow???) get an URSA Mini 4.6K at a stretch, but now my plan will be: 1) once I magically win lotto / get rich, then I'll get an URSA Mini 4.6K 2) once the first price drop happens to the URSA Mini I'll get one (like what happened with the BMPCC, BMCC, and BMPC4K to a greater or lesser extent). 3) once URSA Minis start showing up on the second hand market at a decent discount So in other words, I'll let my F3 last me some 12 to 24 months, and then I'll jump on an URSA Mini 4.6K :-)

j.f.r. What did you prefer about the F3's image vs the A7s?

I believe they're worth it, I blogged my reasoning in getting Rokinon Cine DS in Nikon F mount here: http://ironfilm.co.nz/rokinon-cine-lenses/ I assume the v2 Samyangs are the same as the new Rokinon Cine DS series but with Samyang branding.

Bit late now, but I'd have advised to get the cheaper D5200 instead (same sensor basically) so you could've got the sigma 18-35mm immediately, as that is what you'll do in the long run anyway.

They're too expensive for my tastes! (I'll be using my Nikon F Mount set of Rokinon Cine DS lenses) Unless they're found for a fraction of the cost. Also apparently Sony's first generation of PL lenses had quite a few issues, so I'd avoid them unless theyre going dirt cheap. But their current new version on sale at B&H are greatly improved, and one of the best bang for buck PL lens sets you can find!

Came across this interesting comparison from an owner of both an F3 and a RED Scarlet (which would be waaaaaay outside my price range to consider a Scarlet!): http://timurcivan.com/2012/04/an-examination-of-sony-f3-and-red-scarlet-a-direct-comparison/ <<The biggest problem i have is deciding between the two cameras. The RED is simply razor sharp, has a punchy slick look, and has the easiest onset ergonomics and workflow. The footage is 16bit 4K RAW. I mean, the camera is the size of a Hassleblad and gives you amazing images. The F3 on the other hand, is night vision, which makes for simpler indie shooting on lower budgets where you dont have access to bigger units. It also has more useable dynamic rage, and its color is in my opinion the best in digital right now short of the Alexa. ( Though REDColor3 is REALLLLLY good!) Case in point, in the skin tone test you just watched, the color of the wall in the F3 footage is completely accurate. Thats exactly what my wall looks like, but looks quite magenta in the RED footage. If I fight the magenta with a bit of green, the skin tone gets thrown out of whack. This green/magenta balancing act is a definite pitfall of the RED, even with REDColor3. This real issue is that it comes down to image quality. I find myself, shooting films and documentary on the F3, but commercials, music videos, and corporate spots on the RED. When it needs to look natural, i use the F3. When it needs to look crisp and slick, RED.>> This guy's logic is in a similar-ish headspace to where I am at too (C100 vs BMCC vs F3): http://www.craigspenceley.com/dr-dynamic-range-love-chose-buy-sony-f3/

Whoa... why do you own *three*? How do you think it is better than a C300? How do you find the weight of the F3, it makes even the C300 look small, which concerns me (as when I've used the C300 I find its weight a little daunting at times to handhold).