David Peterson

Then you'll like the Sony F35! http://www.dvxuser.com/V6/forumdisplay.php?284-Sony-F35-F65 Because as much as the D21 is a pain to use, the F35 is relatively easier.... or at least it has a much more "modern" support thanks to the community of users. And the F35 is around the same price, if not cheaper than a D21 would be. And I see 5 euro is around US$7K, you're only roughly another US$1K more away from buying an Arri Alexa Classic! (which goes for around $10K, but $9K is very common, and even $8K is not that unusual to easily see listed now and then) And an ARRI ALEXA Classic is much more userfriendly by a large margin, and in higher demand. As is of course the sensor which is the "industry standard" and still hotly desire even today in 2018 Although I'd honestly suggest a person buys a modern URSA Mini Pro or Kinefinity Terra 4K instead.

The HDMI spec on the F3 is a very old HDMI spec, it seems to not even support timecode! And the output is still only 8bit If you want 422 (or better) or you want 10bit then you must go with SDI, and not HDMI

When I've very rarely seen them for sale, it felt like it made no sense at all to buy a D21 at those prices. Because for roughly the same price you could buy the well regarded Sony F35 that has an enthusatic following on the 2ndhand market over at dvxuser who can support you on your journey. Or you could for only a couple of thousand more buy an ARRI ALEXA Classic which is much much better than D21 .

Even the Panasonic GH4 could transmit 10bit over HDMI Anyway, this Nikon Z6 looks very appealing! Perhaps the best of the year

You'd probably be color grading the scan as well?

Thanks! Forwarding that info on to a local kiwi producer, as they've got a music video which will need to be developed (both S8 and S35).

Where does Super 8 (and S35?!) in Australia? (assuming there is nowhere in New Zealand, or is there?)

Just got the new Tentacle Sync E:

I guess, and I suppose more of them will offer this with time, for instance I think the new Tentacle Sync E does this as well?

If you want that, you can also just grab a DSLR and shoot as well in a similar small crew / low impact manner.

Care less about what Netflix "wants", and just shoot on the best camera for your project!

It is an action film so the almost non-existent rolling shutter of the Venice will surely be very appealing.

Started a new thread for this, as it is an area (timecode!) in which the sound department overlaps with the camera department thus it might interest the camera geeks here as well. Because I got to try out the NanoLockit for the first time, was impressed with its feature in how it can autodetect FPS But Ultrasync ONEs remain my favorite! And the Tentacle Syncs are still handy for DSLR/mirrorless shoots that lack a TC input on the camera.

redcode only applies to the small niche of cameras which are RED cameras, nothing else uses it. So yes, it is great, but not in anything else non-RED. ProRes RAW has the potential to become the standard for everything else, just like ProRes has (ProRes has become so popular as standard that in RED's DSCM2 bodies they're even offering ProRes themselves!! ProRes RAW will not become popular overnight though, will take a while though, for it to trickle down and get implemented in more and more cameras internally. At the moment it is very rare indeed.

If the FS700 wasn't so cheap now, I'd be quite tempted to buy a 2nd F3 as I've really enjoyed my years with my F3, but instead I'm toying with the idea of a FS700 maybe?

What kind of specificity do you recommend?

Yes, but you make your own luck!

Yes of course, thus my point about "depends" and "know your situation you're in". If it is a demand from Discovery then don't even bother trying to argue them, you'll be wasting your breath. But if it is an indie director self funding a short film? Then (depending on the details) you might have more wiggle room to push back or dodge the question of doing 4K. I agree! My minor amount of DoP work is just a small portion of my work (mostly I'm a sound mixer) and on the lower end, so I can probably get a couple more years out of my Sony PMW-F3. But even I am seriously debating if now is a good time to buy a FS700 for its 4K and HFR capabilities. Have had a good run of over three years with my Sony PMW-F3, I reckon I could get a good solid three years out of a secondhand FS700 with 4K raw. Would be worth it? I agree , the world is mad!

How have you found reality to be different?

Every situation is of course going to be different, and a lot of it comes down to how you can read the situation and what you know about their real needs vs wants. For instance I was DP on a film last weekend that I successfully convinced the director/producer that for their budget and for the script they had (a lot of pages! But very little time) then it made an awful lot more sense to shoot on 2x Sony PMW-F3 cameras than on one RED Weapon. And that is what we did!

Eh, true, so yeah depends on which Alexa you have as to how you'd respond to it. If I had an Alexa Classic I'd probably just deflect it and talk about all the great movies shot with the Alexa (many many! Plus of course my own work), rather than staying and dwelling on a sticky topic of 4K. Don't fight battles you can't win! (like a battle of resolution or frame rates, they'll just go with RED instead) Instead shift the playing field to where you have your strengths.

If they're asking that they're probably a "low information producer", so you can tell them "yes we'll record the Arriraw output" (which gives you 3.4K? Meaning just a small uprez to 4K. Of course if you have say an AMIRA or Mini then they can do that in camera)

Exactly! And often rather ironically many of these n00bs getting confused about the simple "crop factor" never have had any experience with 135 Format cameras anyway! As they've spent all their lives with the likes of a Canon Rebel DSLR or whatever.

I'm normally a sound recordist though, but I own a Sony PMW-F3 and borrowed a second so we could go multi camera.

You're a few answers short, so I'll add mine: No! I suggest you get a Samurai Blade or a BMD VA. But if you want extreme compactness, you could hook this up: https://www.atomos.com/ninja-star Personally I used a Samurai Blade, Ninja 2, and Shogun Inferno on the Sony PMW-F3 cameras I was shooting with this past weekend for a feature film: