Any new genlock cameras at NAB?

[Jesse Blanchard]

I'm looking at purchasing a couple Scarlets, F3's, or similar. Anyone have a camera with genlock they're particularly excited about I should consider? Thanks!

[Wolfgang Schmid]

Jesse,

I would like to see your rig with two Scarlets... :)

... will be a nice investment, if I understand you right.

Sorry that I have no answer to your quesiton.

[David M. Cole]

Originally Posted by Jesse Blanchard

I'm looking at purchasing a couple Scarlets, F3's, or similar. Anyone have a camera with genlock they're particularly excited about I should consider? Thanks!

Scarlets are workhorse 3D cameras... mine are racking up the sensor hours even as I type. Not quite as simple to rig as 2 EX3s, but close. Quality is outstanding. RAW workflow is addicting. 4K immediately becomes essential, even for 1080P productions. A horizontal image translation from a parallel rig is a dream when you have all that resolution to spare. Don't underestimate the cost, however... the RED tax gets ya with every cable, every gig of SSD, touch screens, etc.

[Jesse Blanchard]

Thanks David for the response; it really takes my anxiety about the Scarlets down. How's post been? I'd heard before it was a nightmare but it looks to be pretty streamlined now. I'm on mac with CS6 (migrating from FCP7). Do you feel a Red Rocket is a must?

Wolfgang - I would love to see my rig with a couple Scarlet's too... :)
I'm dreaming of having all that resolution to play with for HIT.

[David M. Cole]

Originally Posted by Jesse Blanchard

How's post been? I'd heard before it was a nightmare but it looks to be pretty streamlined now. I'm on mac with CS6...

I love the RED RAW workflow. It's freaking amazing not to have baked in decisions about gain and white balance. I guess if your an expert at getting everything right "in camera" then RAW is an extra hurtle. But, I am decidedly NOT such an expert.

You don't even need to touch the footage in REDCINE-X anymore, if you don't want to. I either first-light in Speedgrade, get the 3D and color all trued-up and export to Premiere Pro - or - do everything in Premiere Pro with Dashwood Stereo Toolbox and RE:Vision's StereoMatch plug-ins.

[Tim Dashwood]

I'm personally most excited about the Sony F5. It's small, lightweight, has simple Alexa-style controls, and it has a dedicated "frame" connector that guarantees shutter sync with another F5, separate from the genlock. Each body can be purchased for under $17,000. 2K internal and 4K external record, with SLog2.

The Convergent Design Odyssey7Q will also be an interesting device for anyone working in 3D.

The F3 price has dropped considerably but I wouldn't shoot with them again unless I had the CBK3DL01 key+cable kit to go with them. I've had sync issues in the past just using genlock with them.

[Jesse Blanchard]

Wow! Both the F5 and the Odyssey recorder look great. Not too hard to see a time when all the camera parts will be interchangeable from brand to brand. I love all the modular designs.