@duch. I assumed person was refering to no tc in/ out plus genlock. At least that's how I thought it was meant. Not thinking anyone is going to run these camera's through a switcher, so gen lock would be the least of his worries. Regardless, it's not an issue for me without genlock or tc.
Was really asking if there was anything else I was missing.

You can always get the camera and use it in full HD for everyday stuff, and just rent the 4K add ons for the occasions when you need them.

Hi all, just one opinion if the F3 is $16,800.00, with all the extras of a professional camera, i doubt that this small model will pass the 10,000 price range. (really hard) even considering a professional external recorder who needs more than a Black magic ($345) FULL HD 10bits 4:2:2 uncompressed or .mov (really) well the sd card are expensive but when filming professionally to use these formats, you have the budget for SSD's. If really need 4k, well get a large SDI cable to you workstation with a rocketraid tower and this http://www.blackmagic-design.com/products/decklink4k/ and you have serious stuff.

I think this 28Mbit thing is caused by not camera makers restrictions, but instead playback devices restrictions. As many of them have hard time playing even just p60 footage, and with higher bitrates it can be no go.

Lots of talk on this camera today. This might be the camera that gets me to splurge on an (in my eyes) expensive camera which I qualify as anything over $3500 if it's in the $8k range with a lens. I've seen higher numbers today so I'm assuming these are speculation or testing numbers being thrown around.

Only negative that I heard voiced today that was a deal breaker for someone was "no genlock" ... With plural eyes in my world, that's not a deal breaker.

What has thrown a caution flag up (something to check out in coming months) is a statement in Dan Lennie's http://www.denlennie.com/2012/04/sony-nex-fs700-on-location.html preliminary write up today about his experience using a pre production camera:
1. The camera feels very familiar to the FS100 but with the added benefit of ND filters and an HD-SDI. It's designed to sit between the F3 and FS100. 2. Specs for Internal recording is using AVC HD at 24/28mb/s .

Calling it a beefed up FS100 with HD-SDI out, ND filters, AND the high speed burst mode recording in 1080--- seems it's going to compete and beat down some of the 13-15k cameras.

So, my questions would be, when using internal recording, is the 24/28mb/s going to cut it for some of our corporate work (spoiled from Driftwood and other settings)? Some times I like to shoot light without out a lot of extras hanging on the camera.

Assuming one has lens, LCD screen, mics, SDHC cards, etc, anything else needed outside of a 2k or 4k recorder and lens adapter? What else am I missing (I've never shot with a FS100 or FS3).

@thepalalias Me too. :) Although it is about time for a new graphics card... my current one has been spazzing out a bit every so often.

@pvjames "You should also plan upgrading your computer for the increased file sizes."

Oh it need not be upgraded... I can already run Cinema4d, After Effects, and edit 4k prores files all at once. :)

Strange discussion on Canon products. Their stills cameras are primarily intended as such. Not much to fuzz about.. mkIII without aa-filter looks pretty similar to the gh2. For video, the dslr releases over the last few months (from all manufacturers) have been pretty dissapointing. However, bigger steps are inevitable and the FS700 will no doubt help to push the market forward.

Re: advertising 4k-ready and the absence of a recorder.. I don't see why this is a problem, quite the contrary - I welcome manufacturers to think ahead (as far as it is possible) so that there is expandability in a product. If you spend 10k, 20k, 30k - really there is no room for a product that has no possibility to evolve in any way - at least from my POV, regarding the camera as a tool which is supposed to pay for itself during it's lifetime. If there are possibilities for things to evolve, you can be sure they will given there is any interest/action around them. The gh2 is a prime example, and that was a development which Panasonic had not envisaged.. So what is wrong then, when manufacturers plan for development?

With that said, I'm not saying the "upgradeability" of the fs700 will make it successful by itself.

Red is a front-runner in this sense (upgradeability), although I personally have issues with them.

@peaceonearth Fair enough: our workloads are almost opposite, so I can understand. :) But if it is mainly studio work, do ever venture into Phase One or Hasselblad territory? I keep thinking of renting an IQ180 for a landscape shoot but I would think they would be even more attractive for a studio photographer.

@thepalalias

no I am not exited about 1D X. We are working for advertising in studio and on location and mostly we never shoot less than 200 ISO, rarely 400 ISO. If the light is low we use lights. If it's too dark we charge another shooting day ;-) High ISO is no issue for us. It's probably appropriate to GH2 hack and low light. Indie film makers and documentary shooters maybe very interested but advertising or narrative shooters are probably more interessted in detail quality sharpness grading etc.. 1D X means to explain your customers why you shoot now with less pixels than before and half pixel size than competitors with Nikon. If I had the 36MP brand new Nikon I would use it immediately for marketing action. Maybe it's like shooting on film in 8x10" or 4x5". There was no reason why you really needed 8x10" but there where many good reasons to shoot with 8x10". Sorry Vitaly for wandering from the topic.

@danyell I agree about the information, though I cannot fault a company for trying to market a future upgrade path at all. Consumers just have to be smarter.

@peaceonearth You are not excited about the 1D X? Have you seen how much they improved the lowlight/high ISO performance? It blows the 1DMkIII away. I am very excited about the stills side, though very much waiting and seeing on the video one. The D4 and 1D X deliver so many things that I wanted as far back as 2010 and the 1D X would not require switching glass (for either one of us) so I think there is a lot to be said for them, especially on the stills side. What are you missing from them on the stills side?

@thepalalias @pvjames

what could that be regarding Canons other products? Remember the big ballyhoo in the run-up to the Paramount presentation? I am still disapointed about the result. Not that the C300 is a bad camera but way far too expensive. At what price point could they launch a "next thing" if they want to keep the C300 in the market?

And it's not only their video product line, same in still photo products too. We are also in stills photo business with 1DsM3, 5DM2 and 8 L lenses from 17mmTSE to 100-400. Believe me we are a little scared whether this investment is future-proof. No plans for a 5Dm3, least of all for a 1D X

Sounds like a great new camera. Would love to rent one.