What Is Today’s Workhorse Camera?

[Rick Amundson]

Sony F3 with an Atomos Samuri ProRes recorder.

Best of luck!

Rick Amundson
Producer/Director/DP
Screenscape Studios
Bravo Romeo Entertainment
http://www.screenscapestudios.com
http://www.bravoromeo.com
http://www.indeliblemovie.com

[John Sharaf]

There’s no doubt that the Arri Alexa is the best for what you describe, but the investment for a full kit is in the $150K territory. Next best is F3, but it takes the same lens kit and lots of add-on gack to be completely useful at about a little more than half that amount for all the bells and whistles (meaning a short lightweight zoom or two and/or set of PL mount primes).

Investing in PL lenses is a good idea, although the new larger and/or more densely packed sensors will soon obsolete all but the best and most modern lenses that have been developed for them in mind.

JS

[Todd Terry]

I’ll echo… to exactly fit the bill for the various must-haves that you described, the Sony F3 is probably it (unless you have an Alexa budget).

We don’t have an F3 yet… but will probably be our next camera. Right now we shoot with the XLH1 with P+S Technik adapter. Since the vast majority of the cost of our present rig is in the PL mount primes, we are a little ahead of the game and swapping out the camera body isn’t going to be a huge deal.

John… do you really think my PL mount primes will be obsolete soon (Leitz superspeeds re-barreled by Panavision)? If so, I just might have to cry.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[John Sharaf]

Todd,

Unfortunately this is true. With oversized sensors like Epic 5K, and highly packed sensors like the F65 (which records the dense pack as 8K 16bit Raw) and even the 3.5K Alexa in Raw mode many legacy lenses have too small an image circle to be sharp to the edges when “projected” onto the sensor.

Right now the only really safe lenses to buy are the new Leica Summicrons and Fujinon Premier zooms. Even the highly desired 12X Optimo will be an issue on the wide end.

As long as you are recording a de-bayered 1920×1080 or 2K format you’ll be fine but if you’re going Raw for the additional resolution, you’re going to have problems, and this is the direction it’s all going.

JS

[Todd Terry]

Well that is sad indeed (light sobbing beginning)…

My lenses are worth more than my first house.

Well, then again, maybe not worth more based on your response… but cost more. Booohoooo….

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Robin Probyn]

It seems there is much more a difference between doc camera,s and drama/commercial camera,s in the video world now.. eg F900R used alot on doc,s and also drama.. even feature films with a bit PL mount lenses. etc..

Alexa /F3 etc with all the bells and whistles primes etc.. great camera,s for sure.. but far from idea for the average doc shoot.. let alone the budgets needed to hire this gear..

So I think basically you are going to need two camera,s if you do doc and drama shoots.. a 2/3 inch chip 3CCD camera with a decent HD wide angle zoom.. Pana 3700 or Sony XDCAM 800 probably being the main work horses as I know it..

[Jan Crittenden livingston]

No body asked what the budget is and I think that is relevant. In the sub $5000 range would be the Panasonic AG-AF100. Nice camera and lots of features for the cinematic world. Has a large imager and you can mount PL lenses to it with a PL adapter, and virtually any other lens with an adapter. Check here for more details, presentation and a link to footage: https://www.panasonic.com/AF100.

Hope this helps,

Jan

Jan Crittenden Livingston
Product Manager, AVCCAM, AG-3DA1, AG-AF100
Panasonic Broadcast & TV Systems

[Mark Suszko]

The AF 100 makes an absolutely gorgeous image. I would like it more if I could move the VF to the side somehow. A lot of the cameras I looked at put the VF on the back and they don’t suit a shoulder-riding style. An LCD on the side is not the same as an honest to God Viewfinder cup.

[Robin Probyn]

Zacuto do a very good EVF.. from the HDMI plug.. which is ofcourse the weak point .. a few companies have been clever and seen a market for EVF with these camera,s that can be used for profession work,but still have the pro sumer design.. ( manufacturers just being able to use the parts they already make..) ie Eye piece right where you dont want it..

[Angelo Lorenzo]

Personally, I don’t mind the Red One. I haven’t got my hands on the Epic yet, but I feel cozy with it.
I like the workflow and my production partner and I have worked out a DIT scheme that works for us.

At the end of the workflow there are the editing software choices you make. We use Premiere Pro which has native support for R3D, as does Avid. I’ve seen people try to use the Red with FCP but, in general, the workflow becomes a s-storm really quickly.

I’m interested to see Canon’s possible cinema level offering. I’ve used the Arri Alexa and it’s nice, but the price point puts it a notch above the RED, even for rentals.

Panasonic AG-AF100 is a really attractive low budget choice, but I’ve not used it so I can’t speak on it’s behalf other than my partner and I put some thought into purchasing it.