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Sony F900R


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#1 Mitch Gross

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Posted 17 December 2005 - 02:16 PM

Sony just announced the new F900R which replaces the F900/3 CineAlta. They needed to release a new model to comply with the new EU regulations about lead-free solder (which is why there's new updates and cameras coming out for just about every camera from every manufacturer, all the way down to a DVX100B). Some upgrades in the new F900R include lighter weight, slimmed down size, less power consumption and a built in downconverter of some kind. Not sure but I think there may be an HD-SDI port as well. No clue as to how soon these cameras will be readily available and unlike the previous upgrades available (a Sony F900/3 is essentially an original design F900 with some software upgrades), the F900R is by necessity a completely new machine so it may be sometime before rental houses replace their stock.

It certainly sounds to be more Steadicam-friendly!
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#2 LeighWanstead

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Posted 17 December 2005 - 02:30 PM

Hi Mitch,

Do you know the weight of the F900/3 CineAlta?

Thanks

Regards
Leigh
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#3 Eric Fletcher S.O.C.

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Posted 18 December 2005 - 12:56 AM

Hi Mitch,

Do you know the weight of the F900/3 CineAlta?

Thanks

Regards
Leigh



When I flew it on "Family Affair" equipped with the Telecast Copperhead box, Canon HD Short Zoom, Arri MB-18, the Aladdin follow focus prototype (For Iris control) and three focus motors the camera came to be 44" long and 46 lbs. Add the sled suit and arm and it was a 90lbs beast
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#4 Mitch Gross

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Posted 19 December 2005 - 12:09 PM

Hi Mitch,

Do you know the weight of the F900/3 CineAlta?

Thanks

Regards
Leigh



At least ten pounds more than it should be!


It is hard to say because there are so many ways to configure a camera. If it was just camera body with no viewfinder, no lens and no battery, my guess is about 24 pounds. But as Mr. Fletcher noted, that can more than double as the toys are added on. I don't think a functioning unit could come in under 30 pounds.
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#5 LeighWanstead

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Posted 19 December 2005 - 01:08 PM

Hi Efletcher,

Thanks for the information.

May I ask how long can you last to continue carry 90lbs weight for shooting? One hour?

Regards
Leigh

Hi Mitch,

Do you know the weight of the F900/3 CineAlta?

Thanks

Regards
Leigh



When I flew it on "Family Affair" equipped with the Telecast Copperhead box, Canon HD Short Zoom, Arri MB-18, the Aladdin follow focus prototype (For Iris control) and three focus motors the camera came to be 44" long and 46 lbs. Add the sled suit and arm and it was a 90lbs beast


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#6 Eric Fletcher S.O.C.

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Posted 19 December 2005 - 02:03 PM

Hi Efletcher,

Thanks for the information.

May I ask how long can you last to continue carry 90lbs weight for shooting? One hour?



I have been know to stay in it for over 2 hours at a time.

2 weeks ago with a 80lbs rig over the course of a 13.7 hour day I flew the rig for over 7 hours total with 2 over one hour stints with the rig on.

Every director we have says that they have never met an operator that wears it for as long as I do.
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#7 LeighWanstead

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Posted 19 December 2005 - 03:00 PM

Hi Eric,

May I ask how to get to your level to hold the rig that longer? What exercise will help?

I can carry 25kg for an hour without problem. I have not tried 40kg. I thought that might kill me.

TIA

Regards
Leigh

I have been know to stay in it for over 2 hours at a time.

2 weeks ago with a 80lbs rig over the course of a 13.7 hour day I flew the rig for over 7 hours total with 2 over one hour stints with the rig on.

Every director we have says that they have never met an operator that wears it for as long as I do.


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#8 Eric Fletcher S.O.C.

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Posted 19 December 2005 - 06:01 PM

Hi Eric,

May I ask how to get to your level to hold the rig that longer? What exercise will help?

I can carry 25kg for an hour without problem. I have not tried 40kg. I thought that might kill me.

TIA



Doing it for 20 years....

Anyone who has met me will attest to my massive legs. Honestly I don't feel the weight on me anymore
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#9 Marc_Abernathy

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Posted 19 December 2005 - 06:57 PM

yeah if you saw eric you would think he was a big mean bully..

...well he is kinda.. :P

kiddin' Eric.. kiddin'...

seriously, endurance. if you do this stuff constantly.. such as on a sitcom, your body will build up the endurance.

i worked for comcast for a while as a data tech and i had to carry a ladder a lot.. at first i was like "no way"... eventualy i could throw that thing up on my shoulder like it was a broomstick...

endurance..

but.. eric is a solidly built guy so im sure that helps too. one day on a set he let me pick up his working sled (atleast 80 lbs 435, cinetape, primes, etc) with my bare hands, no steadicam arm, and i was amazed at how heavy it was.. but of course to eric he was like "ahh... its nutin'..."
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#10 Morgan Lowndes

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Posted 16 February 2007 - 07:57 AM

hi folks
im camera op on a feature in a couple of weeks with the F900R.
its still undecided weather we shoot with a set of ziess digi-primes or the pro35 with set of ziess cine primes.
can anyone tell me just How much more control of depth of focus we will have if we go the pro35 route...
also theres lots of car interiors, is the 900 with pro35 gonna be way too long? i know its gonna be tight even with a digi-prime...
thanks
morgs
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#11 Chris Konash

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Posted 16 February 2007 - 08:49 AM

The 900R is a nice new camera. I personally would use it with the Digi-primes and Digi-zooms and never with the pro35. I have never liked the look of the pro35. Plan on the camera being about 3 feet long if you do decide to go with the Pro 35. I just set up an f900r with pro35 and some PV Primo lenses for a shoot in NYC and all everything ended up being around 4 feet long. The Digi Primes are great lenses, very uniform, you'll be very happy with your DOF. I would do your best to call the renal house and set up a demo with the Pro35 and Digi-Primes. I demo these two options all the time. 33% of the people go Pro35, %33 Ziess, and %33 go back to film.

If you do go with the Pro35 during the check out make sure your witness marks are on, if they are off ask them to shim the mount on the pro 35 to get the optics exactly 2.250" apart.

Good luck, if you have a good DIT that knows the 900r you'll have a good experience, if it's his first shoot with that camera well, good luck. The menus are nothing like the older F900.

Chris
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#12 Morgan Lowndes

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Posted 16 February 2007 - 01:46 PM

thanks Chris

i think were gonna try and get to the rental house next week to check it out and see what we prefer.
at the mo its looking like the pro35 look is favourite but i guess we'll see...
thanks for the advice - much appreciated.
morgs
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#13 MarkKaravite

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Posted 18 February 2007 - 10:20 AM

Hey Morgan,

I've used both Digi Primes & PRO 35 quite a bit. It really depends on the specs of the shoot, as to which way to go. A few things to keep in mind:

PRO 35:

1) Zeiss T2 standard speeds do not all cover the PRO 35, many lenghts vignette. You need to go with Super Speeds, Ultra Primes, Master Primes or Cookes.
2) Play with the rotation speed of the oscillating ground glass. When you stop down on the taking lens, you tend to see the grain of the ground glass more (deeper focus). In prep, note what speeds are necessary at what T Stop, and don't vary from your findings. You can always stop down on the PRO 35 itself, and not see anymore grain.
3) The 900's are long, and even longer with a PRO 35. Keep mind of panning inertia. If you're panning between actors, you really need to anticipate your move, because it's hard to get that pig moving, and hard to get it to stop (compared to a film camera). The first time I did some quick pans with that rig, I was late everytime. It takes some getting used to.
4) Remember that the PRO 35 looses 1 stop of light. This may be a factor if you have a lot of night shooting.

DIGIPRIMES:

1) For Steadicam, talk production into renting the Digizoom 6 - 24mm. It is a great range for Steadicam, and will save you time in lens changes & backfocus checks.
2) Speaking of backfocus, make sure the AC checks it in the morning, at lunch and if there are any huge temperature changes. It will drift.
3) Regarding depth of field, the PRO 35 will have a shallower depth of field, it's just physics. On most DigiPrime jobs, you end up going on a longer lens, and shooting wide open to soften backgrounds. Although this works, the result is a much tougher time for the AC pulling focus. Living on a long lens at T1.6 takes skill on the AC's part. Make sure they are up to the task before you put them in that situation.

Goodl luck,

Mark Karavite

A Camera / Steadicam Operator
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#14 Chris Konash

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Posted 18 February 2007 - 01:21 PM

If you really want to get technical, the light loss through the Pro 35 can not be referred to linearly.

Testing the Pro 35 shows is has differences in regards to light loss.


Taking Lens / Light Loss
T1.9 / 1&2/3 STOP LOSS
T2.0 / 1&2/3 STOP LOSS
T2.8 / 1&1/3 STOP LOSS
T4.0 / 1 STOP LOSS
T5.6 / 2/3 STOP LOSS
T8.0 / 1/3 STOP LOSS
T11 / 1/3 STOP LOSS
T16 / NO LOSS
T22 / NO LOSS
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#15 Charles Papert

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Posted 18 February 2007 - 01:50 PM

Interesting Chris. Do you know if that same phenomenon occurs with the Mini35?
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