There seems to be a new camera every week but here is some more in the field test and geeking over the new Sony pmw_F3, The PMW-F3 is part of the CineAlta 24P family of digital cinematography products and its support for multiple frame rates includes a filmic 23.98P as well as S-Log workflows.
Sony’s Exmor™ Super35 CMOS sensor was designed with the benefit of two decades experience in Digital Cinematography, pioneering digital HD acquisition for feature films and broadcast TV through the legendary CineAlta product range. It brings a true ‘film look’ and superior image quality into reach for independent movies, pop promos, commercials and other applications, as well as making the PMW-F3 an ideal B-camera for high-end feature film production.
The PMW-F3K is supplied with three high quality Sony lenses and an industry standard PL Mount adaptor providing compatibility with industry standard 35mm lenses. (Also available is the lens-less PMW-F3L.)
Exceptional flexibility is a key feature of the F3 along with with multiple workflow options. XDCAM EX’s proven high-speed, intuitive workflow offers seamless integration with leading nonlinear editing software - as standard. In addition, a 10bit 4:2:2 HD-SDI output opens up hybrid recording possibilities with a variety of external recording devices. And from April 2011, a Dual Link HD-SDI option will enable 10bit RGB uncompressed signal output - ideal for the high-end film production.
PrimeSupport
This product comes with PrimeSupport – fast, hassle-free repairs and a helpline offering expert technical advice. Which gives you the peace of mind that Sony is looking after your equipment, and your business.
New York City, NY (April 18, 2011) Next Level Pictures in association with Tstop Cinema teamed
up with Abel Cine, Kessler Crane, Wide Open Camera, Angenieux, Carl Zeiss, Cooke, Tyler
Mounts, and Miller to unveil the worlds first ever camera test using the Sony F3 with S-Log. SLog isn’t scheduled for official release until late summer 2011 so we are proud to get our hands
on the camera and put it through several latitude tests to include helicopter aerials by Vincent
Laforet, vibrant Vegas city lights, and skin tone tests of two models in ten different locations
throughout Las Vegas at NAB 2011. The crew of twelve had only ten hours with the camera to
produce and film the entire project. The purpose of this test is to compare the latitude and image
quality of the new S-Log firmware to native EX codec.
Also chk out the in depth BTS (put together by Tyler Ginter
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