The Sony F3 has quickly become a popular high-end digital solution for cinematographers who want broad format support for file-based workflows. That includes RGB 4:4:4 baseband output with S-Log gamma for external recording, an important feature for customers requiring an HDCAM-SR workflow.
But recent tests point to Cinedeck as a viable alternative to SR tape. Cinedeck reported that the Chicago-based boutique digital creative agency Evolve IMG -- which works closely with ESPN and the ESPN SportsCenter show -- has completed extensive testing of the Sony F3 with the Cinedeck EXTREME in preparation for an ESPN shoot. The results of the tests have indicated that the EXTREME is a higher-value, lower cost alternative to SR with more functionality.
In its tests, Evolve IMG focused on recording, file format and rigging support with the Sony F3 and the Cinedeck EXTREME. Evolve IMG Films' cinematographer/technical director Joel Edwards says he was able to confirm "numerous file-based workflow enhancing benefits for the Sony F3 for filmmakers and production crews," especially using the Cinedeck EXTREME's workflow when shooting S-Log/444 mode with the Sony F3.
"High-end RGB 444 recording off the Sony F3's sensor is a game changer for filmmakers," says Edwards. "Cinedeck EXTREME makes it simple with so many options to fit your workflow, taking the technical stress out of a shoot." Edwards said he quickly learned "how Cinedeck EXTREME can take the F3's functionality so much further.
"When shooting in S-Log/444 mode, we discovered the third SDI port and HDMI out of the F3 no longer work in all frame rates," he says. "This is where Cinedeck saved the day: we were able to use the Cinedeck EXTREME's outputs for EVF monitoring. This is an awesome feature that's crucial for the crew, producers and clients. This feature alone is worth the price of admission."
Edwards also emphasized that Cinedeck EXTREME gave him so many recording options for the RGB 444 stream, "another one of those really nice options to have," he said. "That's very compelling, especially when space is limited or the highest end codec is not required. For example, we discovered we could use ProRes HQ and still get the 14 stops of dynamic range S-Log output quality without mastering to true 444."
None of this comes as a surprise to Cinedeck CEO Alan Hoff, who has gotten feedback from numerous cinematographers about the Cinedeck EXTREME. "What they tell us is that the images they are attaining are 'A' camera quality," he says. "These are images they're able to be put up against the images from rigs that are many times more expensive. For that reason and others, we believe we're providing a significant workflow advantage for F3 users."
"Cinedeck EXTREME unlocks the power of the Sony F3 S-Log firmware by providing unsurpassed 444 recording choice: ProRes, CineForm, uncompressed or even the space efficient DNxHD when 422 is enough," Hoff continues. "Our customers are using the F3/Cinedeck combo at all levels of production: 444 for independent documentary, and 422 for television episodics."
Other Cinedeck EXTREME features include cinema-grade S-Log recording; simple RGB 444; 3G single link BNC; Dual-link HDSDI BNC; live output of Cinedeck EXTREME feeds EVF; support for a wide variety of codes; and flexible arm mounting. Additionally, Cinedeck EXTREME natively supports numerous edit-ready formats: Avid DNxHD (MXF wrapped); Apple ProRes (including 4444); CineForm Digital Intermediate; Uncompressed 422 (.mov); and Uncompressed 444 (.mov).
Pricing for Cinedeck EXTREME starts at $8495.
Cinedeck LLC will demonstrate support for the Sony F3 camera with its portable, affordable camera-mountable cinema-grade recording and monitoring device, Cinedeck EXTREME at IBC, in the Oxygen stand (Hall 10, Stand B44) and the Avid stand (Hall 7, Stand J20).
|Related Articles / Tutorials:|
Sony F Series & PDW Series Cameras
Cinéma Vérité with the Sony PMW-F3
Two-time Creative Arts Emmy Award™ winner Zach Zamboni puts the cinéma vérité in cinema with the Sony PMW-F3. More sensitivity in the F3 means more possibilities -- shooting longer after sunset, more available light and more ambient fire in on-the-fly situations.
Sony F900 & PDW Series
Sony XDCAM HD PDW-F350: First Impressions
In this prosumer hd dv camcorder review from The Creative COW Magazine, Timothy Duncan discusses his first impressions with the CineAlta-branded XDCAM HD PDW-F350, along with the PDW-F70 recording deck. Sony's XDCAM HD F350 is an optical disc-based variableframe-rate camera that shoots in both HD and Standard Definition DVCam.
|Recent Articles / Tutorials:|
Production Designer Hannah Beachler on the Go Creative Show
Film and broadcast production designer Hannah Beachler talks with Go Creative Show host Ben Consoli about her work on Creed, Moonlight, and the upcoming Black Panther. Hannah Beachler is a prolific production designer with an affinity for realistic design that emphasizes emotional drama. Over the past few years, Hannah’s designed some of the hottest films like, Miles Ahead, Creed, Moonlight, Beyonce’s Lemonade, and the much anticipated upcoming film Black Panther. Hannah and I discuss the role of a production designer, how she collaborates with the camera department, working with director Ryan Coogler and how she finds inspiration for each of her films.
Feature, People / Interview
The Other Side of GoPro's November 30, 2016 Announcement
When GoPro announced on November 30, 2016 that they would be cutting 200 full-time jobs, closing the entertainment division, and that their president would be leaving the company, the internet came alive with those who were predicting the company's demise. But there really is another side to the story and as is often the case, the loudest voices are not always the ones with the real story. In this article, Creative COW's co-founder, Ronald Lindeboom, looks at GoPro's announcement and gives his thoughts from his point of view. As Lindeboom concludes at the end of the story, "That GoPro stumbled is not surprising to me, what is surprising is that they had such a remarkable unbroken string of success until 2016."
Editorial, Feature, Business
Letters to the COW Team
Creative COW's Brand New News Dept. Features and Functions
Creative COW's co-founders have been quietly at work cleaning up and rebuilding the Creative COW News section. While they've been at work, they've been adding new features and functions that will make the news department much more useful in the days ahead. If it's been a while since you've visited the news section, visit it soon but read this short introduction to what it is and how things are working. We hope these new changes make your research and keeping on top of industry news much more productive.
Editorial, Feature, Business
Business & Marketing
12 Things I Know About Business at 55 That I Wish I'd Known at 25
12 Things I Know About Business at 55 That I Wish Id Known at 25 appeared in Creative COW Magazine and was one of our most popular articles. It is a true timeless classic in which COW leader, contributing editor, and Senior Business Adviser to Creative COW, Nick Griffin shares wisdom he's learned the hard way in over 30 years in business. His experience will help you to avoid mistakes, manage clients, and prepare yourself to achieve your greatest success.
Editorial, Feature, Business
Don Burgess aligns with Light Iron and Panavision for ALLIED
Don Burgess, ASC trusts Light Iron. His last seven films can attest, so Burgess chose Light Iron to support him again with digital dailies and post finishing services on Allied. Directed by Robert Zemeckis and starring Brad Pitt and Marion Cotillard, the World War II-set film sees an intelligence officer's romance with a French Resistance fighter tested when high command thinks a double agent might be in play.
Editorial, Feature, People / Interview, Business, Project
Art of the Edit
More Than One Path to Success: Senior Editor Mae Manning
We talk a lot about things like “accessible tools” and the “democratization of video production” -- what has this meant for the emerging talent whose creative development has taken place largely, or even entirely, within this democratized landscape? Mae Manning is one such editor, who taught herself to edit music videos, and caught the eye of a local production company. Several years later and now their Senior Editor, she cuts corporate and industrial training videos, promotional videos, sketch comedy, short films, and everything else that gets thrown her way. Mae’s story is an inspiration for anyone that thinks there is only one path to success in the industry.
Editorial, Feature, People / Interview