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While the Sony PMW-F3 has earned a niche in a wide range of production scenarios, the camera presents some potential difficulties as a handheld unit. Priced at $12,200 list ($9,900 street), the SCLZ18xl40 provides the only solution for the F3 integrated with the camera's zoom rocker, the only image- stabilized lens and the only lens with auto /manual options. Similar in form factor to the Sony SRW-I portable digital video recorder, the SR-Rl records Dual Link to proprietary Sony memory cards, recording HDCAM SR at data rates up to 880 Mb/s.
New Rig Gets the Camera Going
While the Sony PMW-F3 has earned a niche in a wide range of production scenarios, the camera presents some potential difficulties as a handheld unit. Despite various third-party handheld options, ENG-style lenses are indicated for many run-and-gun situations. After all, the F3 was equipped with a zoom rocker that had no functionality until Sony released the SCLZ18xl40 zoom lens.
While the internal XDCAM EX 35 Mb/s codec may be adequate for some productions, higher-end productions need more robust codecs. Third-party products do provide more robust options; however, many environments, particularly those in broadcast television, have standardized on HDCAM SR. The other component of the rig, the SR-Rl solidstate recorder, brings Dual Link HDCAM SR recording to the F3 or any other Dual Linkcapable camera.
I had the privilege of testing these products with F3 owner/operator/DP Timur Civan and DIT/editor/colorist Tom Wong. Additional evaluations were performed by Andy Shipsides of AbelCine in New York. Individually and together, we looked at different aspects of the system and formed our impressions.
SCL-Z18X140 LENS: 18-252mm 03.5-6.3
Sony showed this lens under glass at NAB. Shipments will begin in Ianuary 2012.
The first thing you'll notice is the size of the lens. While large enough to cover a Super 35 sensor, it nonetheless weighs less than 5 lb.
The lens attaches directly to the native F3 mount. It provides complete electronic connections to the camera, including the ability to use the rocker switch as a servo zoom controller.
The SCL, designed to be an ENG-style lens, is patterned after the Sony EX lenses. All controls are in the same lens positions as on the EX models. It provides the options of auto or manual control and, most importantly, the same image stabilization as is available in the EX lenses.
In order to keep the weight down, Sony opted to use what appears to be a combination of metal, carbon and some plastic construction. Our only concern about this construction is a plastic-enclosed motor mechanism on the right side of the lens: Our fear is that it could be damaged with heavy use. This is, after all, a lens that may see some intense use by virtue of its portability.
Civan immediately noted that the focus may have been indicated on the lens, but there are no focus marks. As a DP accustomed to working with 35mm lenses, both zoom and prime, this presented some issues for him. It presented less of a concern to me, since shooting run and gun means you don't have the time even to measure a shot. But there were more serious concerns about the focus mechanism that all of us raised.
Andy Shipsides and Mitch Gross from Abel observed that the range of focus from closest to infinity was less than a 90 -degree rotation of the focus ring. It becomes most obvious at the extreme distant end of the focus range. Civan found that the distance on the lens between, say, 30 feet and infinity is only a very slight turn. Pulling focus becomes very difficult. I attempted some rack focus shots and must say that it was difficult to hit an exact focus.
While some may be critical of the lens for its slow speed, the slower speed- meaning larger f-stops- could reduce depth of field sufficiently to give more leeway in focus.
For me, this is not a deal breaker. If one requires a zoom with more precision, stay with a PL-mount zoom, or as many of us call it, a "variable prime." The fact remains, there is nothing else like this lens.
By any standard, whether motion picture or still, 18-252 is a long range for a lens. The SCL-Z18xl40 takes full parfocal advantage of that range. Exposure may be a different matter. Shipsides' testing indicated that 18- 100mm seemed the sweetest exposure spot. Beyond 100mm it approached the //6.3 limit.
Image stabilization worked very well, reminding me very much of the EX cameras' stabilization characteristics.
The focus ring had a bit of play. While a great ENG lens, it doesn't have the feel of a higher-end ENG lens- but it is at least half the price of a high-end ENG lens. Iris ring turned smoothly and provided continuous, click-free ramping.
Civan noticed some softness of detail when we got into post and started looking at our footage. But his perspective was from the Cooke prime lenses he owns.
Our colorisi, Tom Wong, noted flat images without a lot of contrast. Again, this is characteristic of the lens and can potentially be seen as a negative.
Priced at $12,200 list ($9,900 street), the SCLZ18xl40 provides the only solution for the F3 integrated with the camera's zoom rocker, the only image- stabilized lens and the only lens with auto /manual options. It does so in an easyto -carry package with very reasonable quality. It is a welcomed addition to the F3 product line.
SR-R1 HDCAM SR RECORDER
The SCL-Zl 8x140 zoom lens is a great product.
The SR-Rl recorder is a revolutionary product.
HDCAM SR has become the standard in much of broadcast television, and the SR-Rl extends its functionality.
Similar in form factor to the Sony SRW-I portable digital video recorder, the SR-Rl records Dual Link to proprietary Sony memory cards, recording HDCAM SR at data rates up to 880 Mb/s. The SR-Rl ships with a 256 GB S15 orange card. Cards will be available in capacities up to 1 TB and throughput up to 880 Mb/s. The 256 GB card holds a bit over an hour of material at its 440 Mb/s rate at 59.94Ì, climbing to over 75 minutes at 23.98PsF.
The device records full RGB 4:4:4 via Dual Link HD-SDI with simultaneous record to internal SxS and the recorder. It supports variable frame rates (17-60 fps) directly from SDI.
The test unit was mounted on rails to the back of the F3 via a Chrosziel mount designed for the SR-Rl. A V-mount battery powers the unit.
With Wong's extensive machine room experience, he was able to operate it without opening the documentation. Its menus are identical to HDCAM SR deck menu structures.
The SR-Rl recognizes the start-stop control signal native to the F3, rather than a timecode start-stop utilized by other outboard recorders. This configuration ensures complete sync with the SxS cards if recording internally, allowing easy matching in an online-offline edit scenario.
Sony will be releasing a number of card reader transfer station devices. The SR-PC4 is a portable unit that will interface via Ethernet to a network and is useable in the field. The SRPC-5 is a rack-mounted transfer station for studio or truck. With this unit, it is possible to connect to the SRW-5800 HDCAM SR deck and perform digital transfer to and even from tape.
In other words, the SR-Rl is to be seen as part of a total HDCAM SR ecosystem.
Free plug-ins are available to ingest native HDCAM SR footage via Apple Final Cut Pro 7 and Avid AMA.
In our case, we could transfer the material only via SDI. The deck outputs both 3 G and Dual Link, and we tested both. We tested ingest with Wong's Blackmagic Design 4:4:4 card and myAIAK0NA3G.
The SR-Rl with a 256 GB card lists for $12,500. The 256 GB card itself is around $1,500, rising to about $8,000 for the 512 GB high-speed 880 Mb/s card. In its base configuration, the SR-Rl is priced in line with competitors that record uncompressed or to other compressed codecs. The advantage the SR-Rl brings is the superiority of the HDCAM SR codec.
The SR-Rl will prove an invaluable acquisition device for production workflows already based around HDCAM SR. It will provide the highest- quality acquisition and will reduce edit turnaround times because the codec remains constant throughout the pipeline. It is priced reasonably enough for broadcasters and productions including documentary, reality TV and other on-the-go shoots to own or rent multiple units. Its rock- solid professional construction means it can take a licking in the field. By the way, it weighs about 4 lb. without battery, which puts it in the same range as other outboard recorders.
PUTTING THE PACKAGE TOGETHER
Whether considering just the lens, just the SRRl or a total package, these products expand the versatility of the PMW-F3 camera. The SCLZ18xl40 lens is an adequate zoom that adds automated functions. The SR-Rl expands the production capabilities of any camera capable of putting out a Dual Link HD-SDI signal.
For their respective uses, both of these products are winners,
Copyright New Bay Media LLC Jan 2012