The PMW-F3 has two lens mounts out of the box. The PL mount (via a supplied adapter) and the new F mount. PL mount lenses were developed by Arriflex for use with movie cameras, so PL mount lenses are an obvious choice. You used to be able to pick up older PL mount lenses quite cheaply, but when RED came along most of these got snapped up, so now PL mount lenses tend to be expensive. Sony will be producing a low cost three lens kit comprising of 35mm, 50mm and 85mm lightweight PL mount lenses. If you want top quality then Zeiss or Cooke lenses are the obvious choice. If your budget won’t stretch that far there are a number of 35mm SLR lenses that have been converted to PL mount.
PL mount lenses often have witness marks for focus. This are factory engraved markings, individual to that lens for exact focus distances. They also often feature T stops instead of F stops for aperture. An F stop is the ratio of the iris opening to the focal length of the lens and gives the theoretical amount of light that will pass through the lens if it was 100% efficient. A T stop on the other hand is the actual amount of light passing through the lens taking into account aperture size and transmission losses through the lens. A prime lens with an f1.4 aperture may only be a T2 lens after loss through the glass elements is taken into account. A multi element zoom lens will have higher losses, so a f2.8 lens may have a T stop of T4. However it is the iris size and thus the f stop that determines the Depth of Field.
But what about the F mount on the F3. What will that let you use? well right now there are no F mount lenses, but Sony are planning on a motorised zoom for next year. I am expecting a range of F mount to DSLR mount adapters to become available when the camera is released. These adapters will allow you to use DSLR lenses. The best mount IMHO is the Nikon mount. Why? Well most modern DSLR lenses don’t have iris controls. The iris is controlled by the camera. Nikon are the only manufacturer that has kept manual control of the iris on the lens body. When choosing a lens you want to look for fast lenses, f2.8 or faster (f1.8, f1.4) to allow you to get shallow Depth of Field. You want a lens designed for a full frame 35mm sensor to avoid problems with vignetting or light loss in the corners of the image. You want a large manual focus ring to make focus control easy. Prime lenses (non zoom) with their simpler design with fewer lens elements normally produce the best results, but a zoom might be handy for it’s quick focal length changes. Do be aware however that zooms designed for stills photography normally don’t hold constant focus through the zoom range like a video lens so you may need to re-focus as you zoom. I have a nice Mk1 Tokina 28 to 70mm f2.6 Pro zoom. The optics in this lens are based on the Angineux 28 to 70mm and it’s a great all round lens. I also have a Nikkor 50mm f1.8, Pentax 58mm f1.4 and a few others. Of course you can also hire in lenses (DSLR and PL) as you need them.
The PMW-F3 has two lens mounts out of the box. The PL mount (via a supplied adapter) and the new F mount. PL mount lenses were developed by Arriflex for use with movie cameras, so PL mount lenses are an obvious choice. You used to be able to pick up older PL mount lenses quite cheaply, but when RED came along most of these got snapped up, so now PL mount lenses tend to be expensive. Sony will be producing a low cost three lens kit comprising of 35mm, 50mm and 85mm lightweight PL mount lenses. If you want top quality then Zeiss or Cooke lenses are the obvious choice. If your budget won’t stretch that far there are a number of 35mm SLR lenses that have been converted to PL mount.
PL mount lenses often have witness marks for focus. This are factory engraved markings, individual to that lens for exact focus distances. They also often feature T stops instead of F stops for aperture. An F stop is the ratio of the iris opening to the focal length of the lens and gives the theoretical amount of light that will pass through the lens if it was 100% efficient. A T stop on the other hand is the actual amount of light passing through the lens taking into account aperture size and transmission losses through the lens. A prime lens with an f1.4 aperture may only be a T2 lens after loss through the glass elements is taken into account. A multi element zoom lens will have higher losses, so a f2.8 lens may have a T stop of T4. However it is the iris size and thus the f stop that determines the Depth of Field.
But what about the F mount on the F3. What will that let you use? well right now there are no F mount lenses, but Sony are planning on a motorised zoom for next year. I am expecting a range of F mount to DSLR mount adapters to become available when the camera is released. These adapters will allow you to use DSLR lenses. The best mount IMHO is the Nikon mount. Why? Well most modern DSLR lenses don’t have iris controls. The iris is controlled by the camera. Nikon are the only manufacturer that has kept manual control of the iris on the lens body. When choosing a lens you want to look for fast lenses, f2.8 or faster (f1.8, f1.4) to allow you to get shallow Depth of Field. You want a lens designed for a full frame 35mm sensor to avoid problems with vignetting or light loss in the corners of the image. You want a large manual focus ring to make focus control easy. Prime lenses (non zoom) with their simpler design with fewer lens elements normally produce the best results, but a zoom might be handy for it’s quick focal length changes. Do be aware however that zooms designed for stills photography normally don’t hold constant focus through the zoom range like a video lens so you may need to re-focus as you zoom. I have a nice Mk1 Tokina 28 to 70mm f2.6 Pro zoom. The optics in this lens are based on the Angineux 28 to 70mm and it’s a great all round lens. I also have a Nikkor 50mm f1.8, Pentax 58mm f1.4 and a few others. Of course you can also hire in lenses (DSLR and PL) as you need them.
As promised here is a picture of the base of an F3. It is the same size tripod mount as on the EX1R, plus an additional off-set 1/4 hole towards the rear of the base (which is flat).
PMW-F3 Base
Below is a picture of the lens mount with the PL adapter removed. I was surprised to find that this appears to be the same mount as the EX3 except with the electrical contacts in a different position and a small pin in that locates with a cutout in the top lens mount flange. It looks to me as though an Adaptimax or MTF EX3 to Nikon adapter would go directly on the F3 with just a small slot cut in the top flange of the adapter to clear the extra mounting pin.
PMW-F3 "F" Mount lens mount.PMW-F3 PL mount adapter rear flange
Hi all. This is a quick day one report from Interbee in Tokyo. Sony today revealed the often rumoured “other” 35mm camera to feature in their product line up that will be sold along side the already announced PMW-F3 (more on that later). This new camera from Sony’s Shinagawa factory, which at the moment has no name or product number is part of the NXCAM product line, so it will almost certainly record Sony’s version of AVCHD to SD cards and memory sticks. The camera is of a fully modular design with a 35mm sensor housed in a square sensor module that has a flip out LCD panel on the left side. There are separate hand grip and microphone modules so you can put the camera together in a configuration to suit your needs. In the rear of the camera module there is a very large recess which looks too big to be just a battery compartment to me. Perhaps there will be a removable media storage device in this area. The lens mount appears to be the same mount as used on Sony’s NEX range of cameras. The prototype was in a plastic tiffany case so no chance of a real close look.
Sony Low Cost 35mm Camera at InterbeeThe business end of the 35mm NXCAM
This new camera will be a direct competitor to the Panasonic AF100/AF101 which is being well received by those that have had a chance to play with one. It’s obviously a slightly different approach to the Panasonic with it’s modular design so it will be interesting to see how it performs in the real world. I have no details about the sensor being used, but my guess would be that it is an adapted DSLR/NEX sensor with a new optical low pass filter tailored to video as opposed to stills. One thing to note is that like the Panasonic it appears that this camera will be able to shoot 1920x1080P at up to 60fps.
PMW-F3… So we saw this getting announced a week ago and many details have already been given. I pressed the engineers for more information about the sensor, but they are keeping very tight lipped. All they would say is that it has been developed specifically for this camera and as a result has some very big pixels which is why the sensitivity is so high and the gain so low.
PMW-F3 at Interbee
The native sensitivity (0db gain) is ISO 800 with normal gammas and hypergammas and ISO 1600 when using S-log, that’s pretty impressive. There are two PMW-F3?s on display here at Interbee along with a set of the new PL mount lenses that will be available with the cameras. The PL mount lenses are very impressive to look at, they look like big Ziess primes with chunky lens barrels and big fat control rings. The three lenses all look the same, only the writing on the side tells you which is which. There are 35mm, 50mm and 85mm lenses in the kit and the F3 with any one of these on the front certainly looks the part. The camera body is about the same length as an EX3 body, but is quite wide and overall the camera looks a fair bit bigger than an EX3, but it doesn’t weigh much more. The biggest surprise with the PL mount lenses is the weight. These are not heavy lenses, in fact they are really light. There is a lot of plastic used in their construction. I have mixed views on this. The lightness of the lens helps prevent the F3 from being front heavy, so you can use it handheld without it trying to tip forwards under the weight of the lens. On the other hand when you pick up a Zeiss prime it feels like a high quality piece of kit and these new low cost PL’s just don’t have that feel.
Low Cost 85mm PL mount lens.
Of course you do have to consider that there is a huge price difference between a Zeiss PL prime and these lenses, so it’s not fair to expect them to be the same and a heavy Zeisss (or Cooke) lens on the front of the F3 would make it all but impossible to use handheld. While looking at the front end of the camera I had a good look at the lens adaptor. The F3 has it’s own proprietary lens mount, the F3 mount. In front of this, as standard, is fitted an F3 to PL mount adapter. The adapter is easily removed and is about 25 to 30 mm deep. This means that the flange back from the F3 mount to the sensor is short enough for adaptors for Nikon and Canon DSLR lenses to be used. As yet no one has such adapters but I image there will be a race to produce them as soon as the camera hits the streets.
Of course you can have all the bells and whistles in the world on a camera, but the important thing is the image quality. On the Sony booth they had a mixture of pre recorded footage plus the two demo cameras that are connected to nice big HD monitors for you to see the results first hand. Once again the images have amazed me. There is simply no obvious noise visible in the footage. Shoot with the standard gammas or hypergammas and the noise figure is 63db. Take my word for it…. you can’t see the grain in the pictures. Colours are beautiful and well balanced, the images of autumn (fall) leaves that Sony have shot look incredible as do the live pictures on the camera stand. In addition the images have a very nice organic look showing very high resolution but without any obvious edge enhancement or electronic artefacts.
PMW-F3 on the camera set.
I think that once again we are seeing a game changing camera in the Sony XDCAM EX stable. While I am quite sure that the Panasonic AF100 (AF101) will do very well as it appears to be a very competent camera the F3 takes you up to another level. This is a true movie making tool at a price that is very attractive. I can see many programmes that would have traditionally been shot with HDCAM or DVCPRO-HD being shot with one of these. It is a great shame that the internal recording is only 4:2:0, 35Mb/s, while a good codec capable of great things, it just isn’t going to do justice to the beautiful images this camera produces. 50Mb/s 4:2:2 would have been sooo much better. Then this camera would probably have been accepted for broadcast production straight out of the box, but as it stands your really going to want to record on to something else like a NanoFlash or KiPro. Another entrant in the small recorder arena that may be suitable is the new and much talked about “Ninja” ProRes recorder.
Atamos Ninja ProRes recorder.
Still only in it’s prototype stage, although production promised soon, this small device acts as both a monitor and ProRes recorder. It comes with an empty caddy to take a 2.5? laptop type SATA drive. This could be a really cheap hard drive or a more expensive SSD. Frankly I would not want to trust valuable rushes to a hard drive, so for me the only option would be the SSD. It looks like a very attractive device especially when you consider the $1000 USD price tag. We shall see. Having experienced getting stuff from design through to production the one thing I’ve learnt is that it’s very hard to go from the drawing board to full scale production and even harder to meet your target price point.
Atamos Ninja ProRes recorder.
Talking of which, for the first time we are showing the Genus Hurricane Rig on the Manfrotto stand. The Hurricane Rig is my light weight, easy to use, low cost 3D rig. I have been working frantically with Genus to get the rig into production over the last few months (hence the lack of posts) and we are very close now. In fact we have started a run of 15 rigs which will be going out to customers early next month. Manfrotto will be distributing the rig around the world. The price has crept up a bit and is now $7995 USD. But for that we are now including a fold flat mirror box which makes the rig incredibly easy to pack up and take on your travels. Also being shown here is the new optional lower stiffener and tripod mount that tilts the tripod head forwards through 30 degrees so that the front heavy nature of the rig can be offset against the counterbalance springs in the tripod head. There are several other small changes to the rig including a new stiffer mirror tray, stronger mirror frame with mirror locks and improved left camera pivot.
Fold Flat Mirror Box
So lots to see here at Interbee. Tomorrow I will be getting some hands on time with the F3 and doing a video report. I have my SxS cards ready to try to shoot some footage with it and share it here with you all, so please check back soon. These are exciting times. Once I finish writing this I’m placing an order for an F3. I can’t wait to really start putting it through it’s paces and playing with the different picture profiles and scene files. I have a big shoot in Norway at the end of Jan and I’d love to try and get an F3 for that, but they might not be shipping by then. Later in the year I will buy a second F3 so I can pair them up and use the 3D link function for stereoscopic production.
The new Sony PMW-F3 can record using normal standard gammas and hypergammas, which compress highlights and increase the dynamic range to 460% and S-Log which is, as it’s name suggests an “S” shaped logarithmic gamma curve that compresses both highlights and lowlights giving upto 800% dynamic range. However the noise figures given by Sony are very different for S-Log and Hypergammas.
It will be interesting to see what the ramifications of the F3?s, 63db noise figure using standard gammas and hypergammas, vs the 57db nf using S-Log.
S-Log on the F3 will give you almost an extra stop of dynamic range but doubles the amount of noise. In most grading situations noise is the defining factor as to how far you can push the image in post. With normal gammas, at 57db the noise level is at the point where 10 bit recording brings little advantage as the noise is still around the minimum sample size. But S-Log is different as the distribution of data across the gamma curve is not linear, you must have 10bit recording for S-Log to work correctly. With the standard gammas at 63db there will be a definite advantage to recording 10bit.
The noise behaviour suggests that the true zero point noise level for the F3 is 57db, but that for “normal” use, due to the sensors very large dynamic range I suspect that Sony have chosen to reduced the gain by 6db, thus reducing both the noise and dynamic range. In effect the camera is operating with -6db gain switched in as default. However the sensor is sensitive enough to still give excellent low light performance despite the reduced gain and has more than enough dynamic range to still give the 11 stops that can be recorded with Hypergammas. This points to excellent low light performance as with +6db of gain switched in (with standard or hypergammas) your still going to have a 57db noise figure and at +9db gain it should have about the same amount of noise as an EX1 at 0db! Ah.. the delight of big pixels.
This was on show at IBC, but no details were available. Today Sony issued a press release with in depth information about this new 35mm camera. It’s a little disappointing that it only records at 35Mb/s 4:2:0 internally (just like an EX), but encouraging that there will be a dual link HDSDi option do full 4:4:4 external recording will be possible (hmmm thinks NanoFlash at 180Mb/s). The pictures I saw from it at IBC looked amazing and reading the specs I note that the noise figure is 63db which is astounding. An EX3 is 54db and PMW-350 is 59db, so the F3 has around 40% less noise than a PMW-350 and around 70% less noise than an EX1 or EX3. For me picture noise is crucial as the noise in an image will limit what you can do in post. Another important note is that when you use S-Log gamma curves you get 800% Dynamic range (PMW-350/PMW-500 maximum is 640%) or around 12 stops. The numbers are remarkable close to those for the F35. The price is very attractive at 14,500 Euros List for the body only, so expect a street price of around £11k to £12k.
The camera has a special Sony lens mount but is supplied with a PL mount adapter. A range of low cost PL mount lenses will also be available and as most of us used to working with TV broadcast cameras these lens kits will be a good option as to buy a set of PL mount primes is a major investment. PMW-F3K with three lenses (35, 50, 85mm F2.0) – Euros 20,700. At NAB next year Sony will also show dedicated zoom lenses for the F3.
In addition there will be a ’3D link” option for stereoscopic applications. Will it sell? Well I’m sure it will, but there will be some stiff competition from Red with Epic at 4K and Panasonic with the much cheaper AF100.
I hope to get some hands on time with one at Interbee in Japan next week and then on the Sony Roadshow event in Oslo on the 23rd of November. I’ll keep you posted!
Well one of the big NAB announcements was the intention by Sony to release a compact 35mm equipped camera. A prototype unit was briefly shown at the press event but little details were given. I’ve been trying to find out more but Sony are being very tight lipped. It was announced that it will be available prior to next NAB, so that means that there is likely to be some other launch event in, at my guess 6 to 8 months time, of course there may be more news before then. Last year Sony announced the PMW-350 at Satis which this year is October 19th/20th, so I would expect more news by then. What I would say is that the prototype appears to be more than just a simple mock up as it shows some new switch and control designs that I’ve not seen on a Sony camera before. It has also been stated that this new unit is just part of Sony’s 35mm road map so perhaps there will be more than one new camera. As for pricing, well all that Sony will say is “affordable”. My guess is it will be in the XDCAM EX1 price area depending on lens options. If it uses DSLR lenses and can be purchased without a lens, my guess is that it would be cheaper than an EX but more expensive than a Canon 5DMk2, my guess would be £4k.
So what features can we expect to get? The sensor should have large pixels so it should be good in low light and offer high dynamic range. As it has a 35mm sensor I expect it will shoot 24P, 25P, 30P plus I would hope over-cranking at up to 60fps. It would be really nice if it did 1080P60. It should have decent audio controls and it’s going to need a really, really good viewfinder. I would imagine that you will have a number of different lens options via some form of adapter, possibly being supplied with a Sony Alpha lens mount. The prototype was shown with a PL mount lens and very few users will be able to afford to use them, so there will have to be a lower cost option.
These are exciting times. In the next 12 months we will see a huge change in the tools available for video production. The new 35mm and 4/3? cameras from Sony, Panasonic and Canon will change the way TV is made forever. They won’t be ideal for some applications such as news or run and gun, where you don’t want the focus problems that a big sensor will bring, but for drama, documentary and low budget movies I think we will see a dramayic change in the way things are done.
Cinematographer and film maker Alister Chapman's Personal Website
