So as rumored Sony has announced the SRR1 it's on the website but I've yet to see any prices. Also sony has posted a place holder for the SCLP 11x15 which is wide PL zoom does anyone have a pic or price for that at NAB? Has anyone seen a price on the CBKRGB01 it's the 444 upgrade, I've heard rumors all over the place but no one seems to have concrete information.

P.S. I jsut got my F3K on thursday and I love it, I'm slightly annoyed that it has almost the same specs as the NEXFS100 but I feel like the lenses and the ability to get the "raw" and 444 out (as well as just an HD-SDI out make the f3 worth the price difference... maybe)

CBKRGB01 Firmware upgrade has listed street price of 3300.00 and will have an unlock code per Sony....

http://pro.sony.com/bbsc/video/chann...rder_training/

The answer I got today regarding the recorder is it will be about 15K bare. Once you add drives and accessories to get it working it will be mid to upper 20s.

With that as a comparison the new nano recorder is a steal at about $9k ready to shoot.

I've attached a frame grab of the 1.5x wide zoom and the 18-252mm zoom. The 1.5x is no bigger than a Zeiss Ultra prime, but the zoom range is minimal, not sure it's really worth it. The 18-252 is a monster of a lens, huge!!! But has auto iris and servo zoom, very nice, but wont be cheap.

The wide angle does have a pretty useless range for everyday film making. Perhaps they're trying to fit in something different to the much more common (and useful) 17/18mm-50mm range zooms.

Having the other 3 Sony Primes...i really need this wide lens.

It is a variable prime and not a zoom, so it's like having 2 primes in one lens.
And if the price is similar to the other 3 it would be great,better than getting an MTF or a Duclos.

As a 1.5 x variable focal length lens, I'd find the 17mm to 25mm range more useful than the 11-16mm range, if you've already got the primes starting at 35mm. Those are the workhorse focal lengths that you use all the time.

I was hoping for a 25mm and maybe a 135 or so lens. But if the 11-15 is on par price and quality wise with the primes I think I'll still end up wanting to pick it up. I like the 18-252 but I shutter to think at how much more it'll cost.

Tony, you might want to try out the Tokina 11-16 f2.8 with the MTF adapter before you write it off. The lens is between well under a grand is very light and gives a rectilinear image. Quite a few people are usiing them and the results are stunning. Even people who use mostly PL lenses are using it. For something less wide there is the Nikon 17-35 f2.8 and again it gives a rectilinear image and the lens quality is very good.

Alister do you have a sense of the price of the 18-252 lens?

BTW I went around the Sony booth looking for you and Doug today but couldn't find you blokes.

Andrew,

Sorry I missed you. I was teaching my workshop in the morning and didn't get to the booth until after 2:00. Try again tomorrow if you are still around. Would be nice to meet in person. Dennis Dillon is in the booth most of the day, too.

BTW, I've read that the Sony PL lenses only work w/ the F3. Is that true? How are they prevented from working with other PL mounts?

Thanks.

That's not true, they are just normal PL mount lenses with Cooke /i data. Who ever wrote what you've read is obviously one of those internet experts who has never actually seen an F3 :D

Some NAB Sony F3 related photos.
Kinotehnik.c om EVF prototype

Cheese plate, F3 viewfinder removed

Anton Bauer mounting plate 19 and 15mm rods adjustable. pic is sideways.
OConnor mounting plate, clever hinged to access mounting screws for camera

How in the heck did they slap that cheeseplate on there?

i got a hint of the 18-252mm lens costing somewhere in the same ball park as a similar 2/3" broadcast lens. My guess would be around the $14k mark.

The big zoom uses the Sony F3 mount and is not PL mount, so it can only be used on an F3.

At that price, I doubt very many people will invest in it unless the F3 REALLY takes off, or they keep that mount around for 2-3 camera iterations. Not at all an investment lens the way a set of PL primes are or an Optimo zoom is.

Here's a video of some accessories:

NAB 2011: Sony F3 Solutions | CineTechnica (http://blog.abelcine.com/2011/04/14/nab-%E2%80%9911-sony-f3-solutions/)

Abel; Cine's adapter that scaled up a normal B4 lens with all its power controls was pretty cool. You lost 2.5 stops, but on a fast F3 it might be tolerable and they said no resolution loss. It put a regular broadcast lens on an F3. I think around $5K but maybe cheaper.

While I was working for Sony at NAB I was told by someone within the company who should know, that their PL lenses are not universal. So, it is true that those lenses will not mount on certain cameras. I can't tell you exactly why they are incompatible or which cameras they will or will not work on, but they are NOT 100% universal.

It could be that the rear optics go too far back. There are PL mount lenses that you can use on digital cameras, but not film cameras because the shutter will hit the rear of the lens.

Really? Ok, I've only seen them on a RED and my own F3. No issues. Can't see why they wouldn't work on all, but of course I haven't personally tested all cameras. Now I'm very curious to hear other first hand reports?

Abel; Cine's adapter that scaled up a normal B4 lens with all its power controls was pretty cool. You lost 2.5 stops, but on a fast F3 it might be tolerable and they said no resolution loss. It put a regular broadcast lens on an F3. I think around $5K but maybe cheaper.

Yes it looked pretty cool, but indoors the light loss is a real concern. Here are a couple of pictures of it I took.

Sorry, pictures didn't attach. HDx35 here;

There's always going to be trade off with max aperture against physical size with large zoom range lenses on the S35 sensor camera. The result would be a DOF pretty close to a 2/3" camera with the modified lens used wide open. For interior work a f2.8 smaller zoom range lens may make more sense.

I was put off by 2.5 stops loss also but at NAB - pretty bright of course - it produced lovely pics at +6. Figuring you can shoot the F3 clean +12 and mild noise at +18. It makes it pretty useable. Especially for the kind of shows where you really want a traditional video zoom. It makes your camera useful say for meeting or event work or sports.