Projects
THE NEW RHYTHM Ben Spence and Olly Wiggins describe how the F3 is causing a bit of a stir in the world of music and docs
this because simple, basic things they
Proof that Sony’s PMW-F3 camcorder is making early inroads into music content production is underlined by two recent productions supplied by hire company S+O Media. On MTV’s Studio in Session from Pulse Films, live performances and behind the
a showcase of
scenes footage from up and coming bands, a high quality large sensor camera capable of multicamera shooting was required. This ruled out DSLR camcorders would have been a nightmare to sync together, according to S+O Media’s Olly Wiggins. On the second film – a Partisan Films’ documentary about DJ and producer David Guetta – shot by director of photography Ben Spence the F3’s design as a modular camera which can be stripped down to its basics appealed. Says Spence: “I’d always be worried about using DSLR for broadcast work like
20 theproducer Summer 2011
lack. Finding focus is a lot more difficult because of the poor viewfinder. In comparison the F3 offers longer record times shooting to SxS memory, plus a range of tools such as peaking (assisted focus finding) and which are there to help you take proper pictures quickly. Plus the F3 is the only 35mm sensor camera I’ve seen with a built in ND filter switch which can save on using a Matt box in bright conditions. These might sound like little things but when shooting genres such as documentary they are incredibly important because not having to swap out ND filters really aids the usability of the camera.”
The F3’s PL mount adapter gives you the
ability to choose from a huge range of glass, adds Spence, with both RED zooms and Prime lenses used on Studio in Session. Pulse hired four F3s from S+O Media complete with SxS cards, which
Wiggins insists are the best and most reliable on the market. Wiggins notes that the industry has reacted positively to the F3, with its ability to create shallow depth of field, but he advises using more experienced shooters to get the benefit.” Large sensor cameras have other benefits, he “You can worry less about backgrounds as
adds.
the shallow depth of field produced by the 35mm sensor will give beautiful bokeh. I’m generally using less lighting as the sensors are great in low light and background details that I would previously have lit on a 2/3 inch sensor are now out of focus.” The introduction of cameras like the F3 could help
bring about a change in the culture of production, adds Wiggins. ““With 35mm sensors, producers have to stop and think about what they are shooting because of lens choices. There’s less of a tendency to shoot everything and worry about it in post.”
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