[Michael Palmer]

The native files are editable in some NLEs and not in others like Final Cut pro and I believe most miss handled errors occurred during the initial download. Make sure to always make a parent folder for each card you download and keep and permanent copy and you won have any issues. I would recommend using an external digital recorder and take advantage of what the camera has to offer with a Nano Flash or KiPro. I always record to the camera and an external recorder and redundantly record.

Good Luck
Michael Palmer

[Michael Palmer]

Go into the audio menu/input and look for an input db setting and match it to the good channel. Sound people sometimes change these setting for their mica and you my need to reset it back. I think for my lavs I’m a -47db. Also check to see if the auto gain is separate, my sound experience is limited and the manual may explain these setting better.

Good Luck
Michael Palmer

[Michael Palmer]

Make sure the F3 timecode is set to record run

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Michael Palmer

[Michael Palmer]

Make sure the F3 is sending out time code from the A spigot, and make sure the KiPro is set to record when it sees time code, it’s that simple

Good Luck
Michael Palmer

[Michael Palmer]

I have the Libec zoom control, and it works good. However I did have an issue with the original Libec zoom controls with my EX1 and EX3, and I returned them to Libec and they said they had resolved an issue and that Sony had made a change in how the controller needed to work properly with the lens. I had waited over 2 years to confront Libec about this and they had no problems exchanging the 2 zoom controllers I had. If I remember right Sony had issues with these lenses on the EX cameras, I just wonder if other companies had issues with their original zoom controls.

Good Luck
Michael Palmer

[Michael Palmer]

It is IMHO to shoot as many frames as possible, 60p would be my choice.

Good Luck
Michael Palmer

[Michael Palmer]

Clint, Its just amazing how there is a viral perception of single sensor digital video cameras. Red certainly gave the Indie film maker a complete camera package, while the DSLR’s had to build rigs to hold all that makes up a complete video camera. The ability to shoot 4K has raised the Red perception to an all time high, while most of what is seen from this camera is on the web were 4K is useless. The Alexa comes along with a complete package of HD/multiple codec choices and sound inputs priced properly around 60K and suddenly it has the best sensor to create even more latitude and color and was quickly adopted by most TV productions. Then the F3 was introduced as an introduction cinema camera by Sony as a complete camera to rival the SDLR market that also has 4:4:4 expandability to make an Indie feature film with a starting price of 14K and if fully out fitted with an external 4:4:4 recorder ending up somewhere in the 30-40K range, and because of the internal recording codec (appropriate for proxy) of 4:2:0 people somehow have a perception this camera shoots like a 3-chip video camera. The F3 was never a camera that was said to be an A camera for feature films, but it was said to be a B or C camera to the F35.

COM sensors are going to get even better, and there will always be sensor snubs and those who think they know each sensor in every camera, and the perception of the best will always continue. Each of these single sensor cameras are just tools and in the hands of the right craftsman these tools will create amazing results.

And lets not forget that Sony is among the largest CMOS sensor developer. Funny how Panavision shot themselves in the foot bailing out of a deal with Sony a few years ago, and now Sony has the F65, and IMHO the F65is the best digital camera available.

I wonder who makes Arri’s sensor??? Toshiba? I actually don’t know, but here is a link to show what makes the Alexa sensor work so well.
https://www.arri.com/camera/digital_cameras/technology/arri_imaging_technology/alexas_sensor.html

BTW Sony purchased Toshiba’s sensor division for 646 Million, and Sony was the largest CCD developer and has taken aim to be the largest CMOS developer.

Here is an older link from Sony and what they are up to.
https://www.sony.net/SonyInfo/IR/info/Semiconductor/2011_2.pdf

Rather than a viral perception I like a hands on experience and technical knowledge to make a logical choice of what works best for me.

Good Luck
Michael Palmer

[Michael Palmer]

I think your questions here is why didn’t I get more of a film look and what internal setting are owners using for a softer image with the F3???

I’m sorry Christian but if you had issues with the look of the video for your project you would have been able to change it during the shoot if you had hired a DP who knows the F3.

The F3 is no different than the Alexa or the Red. What makes a difference is the lenses in front of the sensor and how the DP chooses to use them, and yes there are picture profile setting is enhance any look you want from color to image quality. I would suggest hiring a DP who really knows their camera.

You should take the time to watch the Zacuto Shootout part 3 and you’ll see just how amazing the F3 really is.

https://www.zacuto.com/shootout-revenge-2012/revenge-of-the-great-camera-shootout-part-three

Good Luck
Michael Palmer

[Michael Palmer]

I totally AGREE with Rafael

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Michael Palmer

[Michael Palmer]

A friend has this recorder and he says it works well for his uncompressed HD video gigs. But you must realize just how big these files are. Yes there will be a huge difference in overall all image quality but you and your client base need to fit this workflow. If you are editing in Avid it will also compress to their DNxHD codec. Solid state driving are the future.
IMHO You can get higher quality video without the expense and time you’ll commit to this recorder with a Nano Flash or even the AJA Mini Pro.

Good Luck
Michael Palmer