@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.

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.

@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. :)

@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.

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).

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.

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.

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.

@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.

@VK "I much more pefer cameras specifically designed for 3D. Not with dual lenses, but ones that you can connect via genlock and with design suitable for minimum possible interocular distance."

I never new this! TOTALLY AGREE! Would love these companies to put genlock into sub $10,000 detachable lens cameras... You are totally right VK... this is the way to go!

@RRRR I think that we should at least push for tech that exists- let alone tech that is not even mainstream yet... (however admittedly easy to implement - I learned long ago that ease has nothing to do with implementations when standards need to be 'universal')

@alcomposer It's a very valid point.. and I don't mind having genlock at all. If anything it's a very easy way to sync equipment. However, the kind of feature I'm talking about wouldn't need to be universal. Nikon have already shown the way, and such a (developable) feature in a high end cam would make a lot of sense.

Oh fuck... here we go again. I'm going to want to buy this. Well - assuming it's good as it sounds.