This will mean that the F3 could be used as a B camera for users of Sony's high-end F35 and SRW-9000L cameras (which also use S-35mm sensors and PL mounts), and intercut seamlessly with the SRW-9000L in its optional 4:4:4 mode (where the F3 can record 1080 23.98/25/29.97PsF – it can also record 10-bit 4:2:2 1080 at 50 or 59.94p).
"This is very competitive for a true Super 35mm camera," claimed Bill Drummond, Strategic Marketing Manager at Sony Professional Europe. "There is a lot of competition in the 35mm world, but we need to compare this to a similar Super 35mm camcorder with a sensor that has been specifically designed for motion picture capture.
The PMW-F3K will include three Sony PL-mount prime lenses (35mm, 50mm and 85mm – all T2.0, manual focus with a 95mm filter diameter). Sony also plans to introduce a range of zoom lenses directly compatible with the F3 mount, and will show these at NAB - probably including a video style zoom.
The PL mount will be compatible with a variety of cine lenses such as Cooke, Arri, Fujinon and Zeiss, and there are also hot shoe interfaces for Cooke/i and Arri Lens Data System technology, allowing the camera to capture lens-related metadata.Sensor sensitivity
The approximately APS-C size Exmor Super 35mm CMOS imager boasts high sensitivity (ISO 800, F11) and low noise levels (a signal to noise ratio of 63dB in 1920x1080/59.94i mode), as well as wide dynamic range. "The latitude is 460% in standard mode or 800% in S-Log, which is equivalent to about 12 Stops of Dynamic Range," explained Drummond. S-Log and four levels of Hyper Gamma can be selected and will allow users to tailor their images during post-production in the same way they would in a film based workflow, with Look Up Table information recorded onto the SxS cards - making it an ideal format for colour grading.
Although CMOS sensors exhibit rolling shutter effects (such as skew), this is claimed to be "vastly reduced due to the fast refresh time of the CMOS sensor."
The F3 has a 3.5-inch 1920x480 pixel LCD Screen, which uses a hybrid design with both transmissive and reflective panels to offer clear viewing in bright sunlight (the same screen as the EX1R). There is also a 0.45-inch 16: 9 viewfinder.
It also has genlock and timecode interfaces for multi-camera use. A 3D system link option, coming in April, will allow users to synchronise timecode, genlock and control functionality with a single cable, locking together left and right cameras to simplify 3D acquisition.
Average power consumption is 24W, so it can record continuously for just under three hours (with dual-link option off) using a BP-U60 battery.
It weighs about 2.4kg (without battery or lenses), and the body measures about 15x19x21cm.
It records two-channel 16-bit, 48kHz linear PCM uncompressed audio, with two XLR connections. It comes with a stereo microphone (with windscreen).
There will be 2 SxS memory card slots, but an optional MEAD-MS01 or MEAD-SD01 Media Adaptor allows recording to a high-speed Memory Stick or SD memory card. However, these won't have the ability to record slow motion or to salvage files if the card is removed while recording.
Conclusion
It is likely that the F3 will be used to produce some great images, and will almost certainly find itself used for high-end productions, whether as a B camera for movies, or a compact camera on a Steadicam or in confined spaces for commercials, where the ability to record 4:4:4 will be particularly useful.
Certainly, anyone who might want to occasionally record 4:4:4 for movie or effects work should consider this camera. But, for anyone who just wants the 35mm shallow depth of field look, then the price of Panasonic's AF100/AF101 at €4,900 (list) makes it more appealing (especially given the high cost of SxS media compared to SD cards). However, the Sony has a bigger sensor (exact dimensions haven't been released, but it is probably about 30% larger), so it will give even shallower depth of field – similar to a much cheaper, but feature-limited APS-C sensor HD DSLR. For all practical purposes, the more efficient AVCHD codec of the AF101 at 24Mbps will at least match the older MPEG-2 compression at 35Mbps used by the F3.It might not be the death of the HD DSLR, which will still be the first option for those with lower budgets or stills photographers shooting occasional videos, but between this and the AF101, it should finally put paid to the market for 35mm adaptors for the EX1 and other small camcorders.
Related posts: Panasonic AF100 / AF101 - the movie, Sony's HD DSLR in a Handycam, Sony embarks on 35mm camera development and SRMemory lets Sony go beyond HD
By David Fox
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