IronFilm

I'd kill for that low price!!

I'm most curious to see what Yuneec will do next. Their next drone is meant to be just around the corner and positioned somewhere between a Phantom and an Inspire.

Just fly me in from NZ :-P

ha!! As I expect it is an upscale from a little less than HD up to HD

Season One of Key & Peele was also shot with only the 8bit internal of the Sony F3.

Safety Not Guaranteed was shot on an F3: Interestingly is I believe it was shot entirely internally recorded and was done pre slog update. The difference between that F3 camera they shot with and an F3 with slog and external recorder is like the difference between a 90lb weakling vs Arnie Schwarzenegger in his prime and on steroids!

I own a RJ Lens Turbo (original version, I've had it for ages), which I use on all my many m4/3 cameras. Got it from Personal View forums. http://www.personal-view.com/talks/discussion/9086/rj-lens-turbo-m43-adapters/p1 If I had the cash to burn I'd also buy a Metabones BMPCC as well for my BMPCC, for the extra 2/3 stop boost. Zillions of Nikon F mount lenses to choose from!

Nah, more like a souped up C300 ;-) Other than size (debateable... I personally hated shooting with the top heavy C300. But then again an F3 needs a recorder), and being "Canon" (which is bullshit but unfortunately "real" reason that is given), a F3 (with external recorder) has a C300 beaten in absolutely every way.

Plus the low Nikon bitrate is as good as other companies' higher bitrates! Wouldn't worry too much over that right now

I kinda wonder *why* they'd shoot a whole feature with only one prime lens? (or almost only one lens) A very few times it makes sense. But other times... not so much, was it budgetary constraints? (the fact you can cut rental costs, and can shoot much faster if only using one lens) I can at least kinda understand shooting with only one zoom lens. I've done that on my last couple of film shoots where I used only (or nearly only) a 28-90mm f/2.8-4 or a 24-70 f/2.8 for the whole day's shoot. Perhaps back then they needed the extra speed of a prime in low light when shooting with film stock vs me now with the F3 that is a low light monster so I can take advantage of the flexibility of a zoom.

It is because they priced the Coolpix A waaaaay too high when it was first released! Though its close out pricing made me *VERY* tempted to buy one! As it is basically a D7000 paired with a nice prime lens. But I don't want one quite that wide :-/ If they'd gone with the Fujifilm X100 series FoV then I'd be a happy chappy (disappointed the X70 is wider than the X100, I'll likely skip the X70 too unless it goes for some crazy low sale prices).

I own an F3 myself and I've been quite an advocate online for giving this camera a fresh breath of life in 2015/2016. If you can overlook these factors: Isn't 4K (but 2K/1080 is still more than good enough for most deliverables for the next couple of years plus) Isn't raw (but raw is overkill for many people's projects. While I feel 10bit 422 is a perfect sweet spot for most cases) Isn't the latest shiny new toy (but you'll be like the Red Queen from Alice in Wonderland if you try to play that game, constantly running nonstop just to stay in place as you try to keep up. Because there will always be a new shiny toy just around the corner which is about to be released) Doesn't have super slow motion (but 60fps FHD can meet the majority of most people's slow motion needs for the bulk of their projects. And just rent an FS700 for cheap when you need better. Or even buy a Sony RX10 mk2 for cheap slow motion usage, it can double up as your matching gimbal camera as well! Has slog too) Doesn't have AF (but to many filmmakers that is a complete non-issue) Is rather bulky (but that extra weight can be beneficial for stability, means you're not left with those handheld "shakeycam" footage like you might get from a DSLR if shooting in the same manner. Plus unfortunately first appearances do matter.... thus for those kinds of clients they'll love to see your built up F3 rig!) ....then (if those factors above are not deal breakers) you've got what I believe is the best possible camera that you can buy today for under US$2k! As nothing in that price bracket (including many options costing thousands more) can offer what the F3 can in terms of: feature set, low light capability, S35 sensor, built in ND filters, XLR inputs, SDI outputs, 12bit 444, slog, 60fps FHD, dynamic range, solid & versatile interchangeable mount system (including expensive high end PL lenses or an affordable Nikon F set, or many other options), and more.

They're damn bloody annoying. Especially when typing on a mobile phone screen, as they take up so much space and when we're typing away quickly writing a post it is very easy to have one of these pop up underneath your finger which then gets hit upon and sends the browser away to that new page..... losing everything you've been writing :-( As just happened to me!! Was 98% through writing a rather looong reply to a member on a thread where when the pop up made me lose next to everything :-( :-( INFURIATING!!!!!!! I still want the notifications to go through and be added to my notifications list, as that is very handy. But I just do not want to see the pop up!! (or at the very least disable it completely for when using a mobile browser) http://www.eoshd.com/comments/notifications/options/

Obviously if you can, you want to buy a secondhand F3 with the paid version of the firmware upgrade if you can. But practically speaking most of us would see only a minor if any benefit in getting one over another. (Paid vs free upgrade) As the main benefit of the paid upgrade is gaining 444. But up until recently 444 recorders have been VERY expensive. At least now we've got a great option with the Video Devices PIX-E5. But even that is too pricey for some (I don't have one. But I'd like to have one!), while the 10bit 422 recorder options have become *AMAZINGLY* cheap!!! :-o We've got multiple options which are sub 500 dollars. Plus not all projects are suitable for 444 anyway. As it means a large leap in data requirements, that not everything will benefit for. While 10bit 422 is the "sweet spot" I feel personally for high quality but easily manageable amounts of data.

Not everybody here owns an F3 or has experience with one. I do however own and use one :-) Used mine most recently just last Sunday on a feature as their DoP. 444 would be 12bit not 10bit. You'd be thinking of the more common 10bit 422 S-log's history on the F3 is thus: Originally the F3 shipped without, then later a *VERY* expensive firmware upgrade was announced (thousands of dollars! But when the launch price of the camera was some fourteen thousand dollars or so, perhaps not really that much extra.... relatively speaking), but then the Canon C300 got announced... Sony responded to this announcement in a couple of ways. Two of which was to drop hugely the price of the s-log update (under a thousand bucks) and to announce a free firmware upgrade for the F3 which gave slog as an option but missed some parts of the of the paid upgrade (such as 444).

It is a CR2 rumor. Or in other words: slightly more reliable than the one I pulled out of my arse about unicorns delivering my next Ultra Ultra UHD 32K camera.

It is a fantastic camera. Especially check out slog3 with LC709a If you can't make great content with the F5 then it won't be the camera's fault! :-P

It is my favourite run and gun E mount lens!

Look for older AI lenses. Easy enough to get them cheaper than new Rokinon Cine DS lenses.

My math indicates a S16 crop of the Arri Alexa S35 2.8K sensor would be 1.2K (or other words, a tiny bit less than 720P). Even if they stuffed a S16 720P camera with features (ND filters, raw, ProRes, multiple SDI outputs, LUT options, slow motion, etc) I can't see such a 720P camera having much appeal in 2016 aside from being an educational tool. Certainly they could safely release an Arri Alexa S16 720P camera without worrying about it cutting into their main camera sales. Edit: Curious... I googled for more info and found it has been confirmed it is coming: http://www.imago.org/index.php/news/item/374-arri-edc-educational-digital-camera-16-mm.html It is a S16 crop of the Arri Alexa sensor but strangely it is FHD??? Wonder if they're doing the same sneaky uprezzing to get "4K" like they do with others, so perhaps it is 720 uprezzed to 1080

Likely because of the lens. And because it gets mucked up in your pocket...

Depends on what look you want. Either Rokinons (good choice going with 16mm over 14mm!) Cine DS (in Nikon F mount) or Nikkor AIS (or AF-D) are good choices.

F5 was for a long while the best value mid range camera there is for owner ops. But the arrival of the FS7 has killed off some of the appeal of buying an F5. But if you want raw and a PL mount then on both counts an F5 will be much superior to an FS7 (I've been on shoots with an FS7 /F55 / F3, no F5 yet however! Strange. I'd like to upgrade from my F3 to an F5 one day)

That is a HUGELY DEEP mount for mirrorless :-o The deepest we've ever seen, aside from that one from Pentax using the Pentax K mount.

Still less bulky and heavy than using a 70-200mm f2.8 on a BMMCC!! :-o