TheRenaissanceMan

Well gang, I regret to inform y'all that I'm finally selling my F3. Love the camera, got tons of great footage out of it, but the thing basically gathers dust these days. It deserves to be in the hands of a shooter who really needs it. 

If anyone's interested in a solid 4:4:4 body with all the essential accessories, feel free to DM me. 

Test clips are nice, but any chance of seeing an actual finished product shot with this camera?

On 10/25/2022 at 9:43 AM, nickname said:

I's a real pity that Fuji doesn't give you the unprocessed noise. For me that's one of the main differentiators between hybrid and cinema.

They kinda do as long as you're willing to shoot+process RAW

Looks like Sony footage. The lens kind of makes it look like an RX10, but I'm guessing it's an A7 III/A7R III with some native lens I don't recognize

I technically do, since all the new OLEDs are 10-bit displays

I'd definitely want to see some nice samples before deciding if I want one of these adapters

On 7/24/2022 at 5:56 AM, PPNS said:

i disagree, but it can look pretty good just like in some of the examples. if you need an external recorder to get good results out of your camera i dont think its worth anyones effort. 

That depends heavily on how you shoot. Almost everything I do has it least 1-2 crew members, a client monitor, and something big onboard for operator/crew. In that environment, there's no real downside to making that onboard monitor a recorder. 

On 7/24/2022 at 11:30 AM, webrunner5 said:

The F3 was never meant to not be rigged out to the max.Heck they even made a Cine Lens kit just for it. A lot depends if you are using stuff for fun or if you are making a living from it. If the latter you wold have everything they make hanging off of the camera.

 

it is by no means a run n gun camera like a C100 can be.

The wealth of mounting points on the camera would completely contradict the idea that the F3 wasn't meant to be rigged up, no? It's primarily a studio camera that needs some rigging to work its best, unlike the canon C-series that excelled as a stripped down all-in-one DSLR upgrade.

6 hours ago, IronFilm said:

On the topic of old Sony CineAlta cameras, the Sony PMW-F55 just turned 10 years old:

 

Now THAT'S a camera I could see having a second life as prices plummet. Amazing codec, strong DR, and the siren song of global shutter...

Black rip stop nylon and visqueen are probably the cheapest, but duvetyne will do the best job

4x4 floppies and 6x6/8x8 solids are useful for negative fill. Anything dark you can put up--a duvetyne, black visqueen, black rip stop nylon, etc--will help block the light bouncing off those bright walls and restore contrast to the setup.

7 hours ago, Attila Bakos said:

Ah I see. To create Fujifilm Film Simulation LUTs I need to have the camera for 1-2 weeks, and I don't know a single person in my area who owns it. The other thing is that it takes quite a lot of time for me to create these packs so I mainly go for cameras with large user base. In this regard I'm not sure about the F3.

Honestly, that's completely fair re: F3. It's a pretty niche market. 

So these are tailored to specific cameras, not just the color space + gamma? That's amazing. I'm assuming that means I can't just use a color space transform to put an incompatible camera into an appropriate color space, or at least wouldn't be guaranteed optimal results?

1 hour ago, Attila Bakos said:

But that's already there in Resolve:

 

I was talking about the Fujifilm Emulation LUTs, for which you listed several other formats. 

This is great! Any chance of an SLOG1/SGamut version for us F3 users?

Stills from F3 ProRes 422. Happy caturday!

No, you'd just go through Lee directly for that.

Some of us really like that camera Shot in its sweet spot, that sensor cranks out gorgeous pictures with very little fuss. Think of it as digital slide film.

http://www.bmcuser.com/forum/blackmagic-camera/general-discussion/17753-no-more-love-for-the-4k?17318-No-more-love-for-the-4K=

Human vision blurs while watching fast action or moving your gaze in real life. When I watch 60fps, it strikes me as much less natural--too fast and sharp to feel like natural vision . 

Not to mention you'll never get a high frame rate movie distributed unless you're a big deal, and even then...

Maybe a combination of longer Cardellini/Mathellini and a suction cup rig for glass, carefully safetied, would cover your bases?

Standard mafer/cardellini clamps not doing it for you?

Good for those who deal with H.265 a lot and like the Apple ecosystem. Neither applies to me. Combined with its other computing shortcomings, it's gonna be a hard pass. I can see this being nice for one man bands who shoot on the road and do all their own post, though.

7 hours ago, majoraxis said:

Delivering 4K in camera maybe a delivery requirement for some productions, so getting it right in is essential.  Plus, there may be times when shooting an interview or an all day conference etc where you would want the highest quality at the lowest bit rate.

Why would you use an expensive 12K camera to shoot a conference?

6 hours ago, BenEricson said:

I was told it was the same sensor as the FS7? I guess they were misinformed. 

I kinda think something like a C300 Mk2 Or C200 might make sense at that price point. (Unless you want all the high speed stuff.) 

I haven’t seen another model of Sony camera that has the magical quality of the F3, besides the F35. 

It's unclear if the FS7 sensor is a stripped down version of the F5 sensor or an updated version of the FS700's, but either way it doesn't offer any unique look or capabilities. 

On 10/19/2020 at 9:44 AM, Antoin e said:

What are your thoughs on the pmw F5 ? I've seen some for sale online at around 4000/5000€ and im curious about it.

I see it can do 4K internally with a small hack and 16bit raw, but i've not seen any very good footage like the F3.

Does it have the same sensor (same color science and all) as the F3 or is it completely different ? 

 

No, it's the same sensor as the F55 with a lower end CFA array, slightly different color science, and no global shutter. A really nice image and good workhorse, but the price puts it out of casual purchase territory. As a business investment, it's a little long in the tooth to make your ROI back in a timely manner. Personally, I would reach for other Sony bodies.

How does a $1900 camera cannibalize sales of a ~$600 camera? 

I would love to do an F3 challenge. No idea what the challenge would BE, but having an excuse to shoot something sounds great.