Jump to content



Photo

Anyone still see merit in the F900?


  • Please log in to reply
27 replies to this topic

#21 Mark Kenfield

Mark Kenfield
  • Basic Members
  • PipPipPipPip
  • 1214 posts
  • Cinematographer
  • Australia/Wherever The Wind Takes Me

Posted 19 July 2016 - 08:15 AM

To some people I guess £8k is cheap for a set of cinema lenses.
 
P


When they were originally $30,000 per LENS, it is! Quality always comes at a price, and the price of these incredible B4 lenses is dirt cheap at the moment.
  • 0

#22 Macks Fiiod

Macks Fiiod
  • Basic Members
  • PipPipPipPip
  • 1580 posts
  • Director
  • Og from DC, Now in NJ

Posted 19 July 2016 - 08:18 AM

Personally, I'd look towards an F23 instead. They're going dirt cheap (if you can find them) and it puts out the nicest 2/3" image I ever saw - with the advantage of offering you 12-bit 4:4:4 1080p at up to 60fps (which you can record simply and easily to an Odyssey 7Q.

 

I think what makes the F23 particularly appealing at the moment, is the INSANE deals you can get on world-beating B4 Cine lenses at the moment. Digiprimes and Zooms, and some of the high-end Fuji glass too - they're just spectacular pieces of glass, and a large-sensor-crazed market has made them worth almost nothing (for the time being at least).

 

So yeah, I'd look into that combo - perhaps with an eye to move up to the 2/3" version of the new Varicam when funds allow.

See that sounds good, but I can't find it on eBay or craigslist, is there a better source I should be looking?


  • 0

#23 Phil Rhodes

Phil Rhodes
  • Sustaining Members
  • 12342 posts
  • Other

Posted 19 July 2016 - 08:44 AM

When they were originally $30,000 per LENS, it is!

 

Well - yes - but when it's not something you're ever going to be able to get a rental out of I'm not sure it isn't worth - say - $3. People still seem to offer them for £250/day but I can't see it. Don't get me wrong, I'd be perfectly happy to see more 2/3" cameras in use in single-camera cinema sort of applications, but right now it isn't happening. About the only exception might be the Panasonic thing.

 

Of course it could happen, given Grass Valley's recent 4K 2/3" cameras, but I'm not sure they're in much of a hurry to repeat the Viper experience.

 

More's the pity.

 

P


  • 0

#24 Mark Kenfield

Mark Kenfield
  • Basic Members
  • PipPipPipPip
  • 1214 posts
  • Cinematographer
  • Australia/Wherever The Wind Takes Me

Posted 19 July 2016 - 09:00 AM

 

Well - yes - but when it's not something you're ever going to be able to get a rental out of I'm not sure it isn't worth - say - $3. People still seem to offer them for £250/day but I can't see it. Don't get me wrong, I'd be perfectly happy to see more 2/3" cameras in use in single-camera cinema sort of applications, but right now it isn't happening. About the only exception might be the Panasonic thing.

 

Of course it could happen, given Grass Valley's recent 4K 2/3" cameras, but I'm not sure they're in much of a hurry to repeat the Viper experience.

 

More's the pity.

 

P

 

Some jobs hire you for your gear, some jobs hire you for you (and you just bring whatever you have along). You're getting a fee either way, just don't expect to be line-iteming them. 'Zeiss Digiprimes' you can list though, cause they're sexy, and academy award winners have shot David Fincher films on them.

 

The big deal is that you picked up a $180,000 USD set of lenses for $11,000, so can afford to 'rent' them out at half the price of a set of CP.2s - whilst getting that incredible optical performance. And things that make your pictures prettier, help you get more work, which pays off the investment.

 

See that sounds good, but I can't find it on eBay or craigslist, is there a better source I should be looking?

 

Here's one: http://www.kpprovide...emart&Itemid=53

I'd go looking through the various forum classifieds and call around the various camera brokers. There'll be a couple that have been sitting on people's shelves unused and unsold for years and years.


  • 0

#25 Phil Rhodes

Phil Rhodes
  • Sustaining Members
  • 12342 posts
  • Other

Posted 19 July 2016 - 09:01 AM

 'Zeiss Digiprimes' you can list though, cause they're sexy, and academy award winners have shot David Fincher films on them.

 

Well, yes, possibly, but you have to know what they are, and they have to fit a camera that's also sexy. And with very limited exceptions, they don't.

 

Also, can you even get the 60p out of an F23 without some custom piece of Sony madness?

 

P


  • 0

#26 Mark Kenfield

Mark Kenfield
  • Basic Members
  • PipPipPipPip
  • 1214 posts
  • Cinematographer
  • Australia/Wherever The Wind Takes Me

Posted 19 July 2016 - 09:19 AM

 

Well, yes, possibly, but you have to know what they are, and they have to fit a camera that's also sexy. And with very limited exceptions, they don't.

 

Also, can you even get the 60p out of an F23 without some custom piece of Sony madness?

 

P

 

Well if the F23 or the Varicam aren't sexy enough, you can also pair them with a B4 to S16mm adapter and mount them on a Sony F5(5) and record in 2k 16-bit Linear Raw from 1-240fps... that's kinda sexy. I came very close to doing that with my F5, but ended up selling the camera, so couldn't.

 

And no special hardware for 60p from the F23. You just need the standard interface box (that comes with every camera) to get dual-link output. With one interface box you can do 50p or 60p 4:2:2 in 10-bit to either ProRes or Uncompressed DPX on the O7Q - or if you want to get really fancy, you add a second interface box to the camera, run quad-link SDIs to a multiplexer, and then feed that multiplexer (via dual-link 3G-SDI) into the O7Q for 50/60p at 12-bit 4:4:4 (yummy!).

 

I've got an F35 at the moment, but very rarely do huge amounts of slow-motion work with it, so I haven't bothered going to extra mile to access 12-bit 4:4:4 for 50fps. Out of the box, both cameras will let you do 12-bit 4:4:4 at 24p/25p/30p though - and it's very tasty.


  • 1

#27 Greg Kubik

Greg Kubik
  • Basic Members
  • PipPip
  • 10 posts
  • Cinematographer
  • Austin, TX

Posted 07 July 2017 - 11:24 AM

 

I've been browsing some of those dirt cheap F900 listings just now too.

These are the big problems I see with the F900 in 2016:

 

a) the F900 lacks SDI out (I think?????) and for that you need to instead get the F900R to get SDI out, and the F900R go for a fair bit more than the original F900

 

 

You could buy a Miranda which mounted on the back where your V-mount or Gold mount plate would attach and this converted the RGB to SDI out. 


  • 0

#28 Michael Rodin

Michael Rodin
  • Basic Members
  • PipPipPipPip
  • 266 posts
  • Cinematographer
  • Moscow

Posted 09 July 2017 - 03:42 AM

The signal coming from a port on the back of F900 is parallel digital, and should be component 4:2:2, so there's actually no conversion (like analog to digital) going on in the Miranda box. Which's good as it means Miranda doesn't impact signal quality and is no worse (or better) than the HDSDI output of F900R.


  • 0


Ritter Battery

FJS International, LLC

Tai Audio

Abel Cine

Metropolis Post

Wooden Camera

CineLab

Broadcast Solutions Inc

Gamma Ray Digital Inc

Media Blackout - Custom Cables and AKS

Glidecam

Paralinx LLC

Rig Wheels Passport

Visual Products

New Pro Video - New and Used Equipment

Visual Products

New Pro Video - New and Used Equipment

Ritter Battery

Abel Cine

Metropolis Post

Glidecam

Gamma Ray Digital Inc

Media Blackout - Custom Cables and AKS

Wooden Camera

Tai Audio

Paralinx LLC

Rig Wheels Passport

FJS International, LLC

Broadcast Solutions Inc

CineLab