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November 16th, 2010, 09:35 PM | #91 |
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Makes me wonder who does? Why exactly do semi-pro/pro cameras have rear mounted view finders anyway?
Make it EX3ish, but removable.
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November 16th, 2010, 11:00 PM | #92 |
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A bunch of posts (not about the F3 but put here anyway) have been moved to a new thread:
http://www.dvinfo.net/forum/digital-...am-lineup.html Remember, different topic = different thread. Thanks all, |
November 18th, 2010, 02:11 PM | #93 | ||
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I can see so many people breaking this off by getting it caught on something. |
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November 18th, 2010, 03:16 PM | #94 |
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Giuseppe,
Yes, I saw that S-Log was mentioned. My understanding of S-log is it's a flat gamma curve, good for retaining as much dynamic range as possible, but it's not RAW - or am I misunderstanding something? Liam. |
November 18th, 2010, 05:45 PM | #95 |
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view finder ...
I am not a fan of such types of view finders either. I wonder why they didn't add the EX3 view finder on this camera?
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November 18th, 2010, 08:49 PM | #96 |
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Clearance. The EX3 finder is quite a bit farther forward of the mount for it to work as an eyepiece for shoulder work.
You can't have eyepieces like that with a lot of PL lenses and accessories...the finder gets in the way. I'm wondering how well something like the Redrock or Zacuto eyepieces will work with this, considering there's an HDMI output as a "spare". Then you can put one wherever you want.
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November 18th, 2010, 11:59 PM | #97 | |
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the LUTs will greatly help post and making sure that color timing will be correct and accurate, as well as retaining the most amount of information possible. At that level of control we are talking about motion pictures and tv, making sure the end result is the best possible and the more accurate when matching to projectors. Its not RAW but it does give you a great amount of control over the image vs. without using S-log. Someone more articulate in these manors might be able to explain a bit clearer on the hows and whys, I just know how to use it haha |
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November 19th, 2010, 12:33 AM | #98 | |
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"HDCAM SR (two modes) Color Sampling = 4:2:2, Bandwidth = 440 Mb/s, Compression 2.7:1, Precision = 10 bit, 1920x1080 Color Sampling = 4:4:4, Bandwidth = 880 Mb/s, Compression 4.2:1, Precision = 10 bit, 1920x1080 Read more: Specs on HDcam? - Cinematography.com Whether it will do 4.4.4 is still questionable.
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November 19th, 2010, 02:13 AM | #99 |
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November 19th, 2010, 02:38 AM | #100 | |
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white paper ...
Quote:
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November 19th, 2010, 05:22 AM | #101 | ||
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Anyway, that aside, does anyone know what the "upgrade" to dual link HD-SDI will encompass? Cost? Hassle? |
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November 19th, 2010, 08:39 AM | #102 |
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upgrade ...
Middle next year or summer probably. Cost ... humm ... I don't think it will be as cheap as some would like. I wouldn't even be able to take a shot in the dark on that. My guess is that you will have to take it to Sony for the upgrade and they will add an element inside the camera ... just my guess. Oh, heck ... stab in the dark $500 to $700 or there abouts ... could even be $1,000.
Anybody else want to take a guess? Dual link usually carries 4.2.2 in one link and 0.2.2. in the other so I don't understand the value if it doesn't work that way?
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November 19th, 2010, 02:44 PM | #103 | |
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As for the 4:4:4 please use google and read the tons of reviews from credible sources all saying the same exact thing it supports 10bit 4:4:4 raw, including I believe sony members talking about this on video. Just because its not in the white papers you have doesn't mean it wasnt announced after the white papers came out. I'll do some digging to get you the answer directly from a sony source if I have to. |
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November 19th, 2010, 02:57 PM | #104 |
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This is a quote from Film & Digital Times post HOSTED on the Sony Pro site
"At the rear of the F3, there are 2 Sony SxS ExpressCard slots. The F3 records natively onto SxS Cards at 35 Mbps in 4:2:0 8-bit XDCAM EX format. The SxS Cards are formatted in standard FAT file format; a 32 GB Card will record 100 minutes in highest quality. Many users will be happy with this. But, like Oliver Twist, many will want more. And they can have more–with the ability to use the onboard SxS Cards as immediately editable proxies, while simultaneously recording to a higher standard. That might include 4:4:4 10-bit S-Log HD-SDI dual link to an SRW-1 /SRPC- 1 SRW tape recorder at visually lossless 440 and 880 Mbps or (next year) 1 TB Solid State Memory Cards at 220 and 440 Mbps. There are HD-SDI dual-link outputs at the rear of the F3 for external recording (4:2:2 1080 50/59.94P normal; and RGB 1080 23.98/25/29.97PsF as an option)." The RGB upgrade is a full 4:4:4 stream, you just have to wait for it to be available for the upgrade. There would be no point for the dual link unless it supported 4:4:4 the HD-SDI output already does 10bit 4:2:2 out standard. the Dual link is for shooting in S-Log RGB at 4:4:4 theres no other reason to have it. Also answer to the whole RAW ordeal, pretty much what I said before, this is its "RAW": "You’ll be able to select S-Log and Hyper Gamma to seriously increase the dynamic range. S-Log is Sony’s take on RAW “Digital Negatives.” The image, uncorrected, looks pale and washed out (like a negative), but when a Look-Up Table (LUT) is applied, shows the full dynamic range of the image, giving you greater flexibility for color and contrast correction in post" |
November 19th, 2010, 03:33 PM | #105 |
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I found a confirmation from Sony stating once upgraded it will support 10bit 4:4:4 out .
HD Warrior Blog Archiv SONY F3 Press Launch in London go to the video and skip to 11mins and listen to the questions and answers. He said it will support 4:4:4 as long as you had the upgrade, otherwise its 10bit 4:2:2 standard. |
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