I also own and love that camera as well. The f3 will not disappoint.

Much appreciated

@@pedromiguelcosta9626 appreciated

@@sunnysidetales999 hey there, thanks so much for your words here, film is always he vibe and when it’s noticed it’s a special thing. Just know that in order to get 444 you will need the buy the f3 with the RGB upgrade without it you won’t be able to get all the camera has to offer, Making those recorders you mentioned pointless. But the q7 or Gemini works like a charm with this camera and are really solid recorders. Hope you get your hands on this camera, because if it’s film you want, this is truly it my friend. Best.

@@xavierdegreeves Agreed! After a lot of searching I found one with the RGB upgrade. I'm really excited to get my hands on this amazing camera. Do you know if an Atomos monitor would work as well as the Q7?

@spacekaren5007 awesome, the atomos won’t work for 444 only 422 so it’s best to just grab the other recorders. Keep me posted on everything and welcome to the club.

@@xavierdegreeves Just bought the F3 with the rgb uprgade and grabbed a good deal on the Odyssey 7Q+. Has a bunch of different licenses on the Odyssey and I found out that i can record 4444 SLog 12bit! cant wait.

@@buttercuppictures4793 so many to choose from on this camera. I love the sigma cine lenses for a clean neutral look.

@@linm-h8b much appreciated and I’m so glad that you’ve found some good stuff in the comment section. I absolutely adore the f3 it’s so amazing and with it we can tell stories that can help shape the world. One day the tutorial will come until then keep shooting and never let this camera go.

@@fernandogarcia3185 hey there, I truly wish I knew the answer to this. I’m Really not sure what changes will happen if you update the software. However, I only ever really use those two white balances anyway, sort of reminds me of film in many ways with the limited color temperatures. Hopefully you can still shoot despite not having this answer now, good luck and happy shooting.

@@xavierdegreeves thanks a lot anyway! I will continue to shoot for sure. I like the camera a lot. I thought exactly the same about the 3200k and 5600k feeling like using film stocks. I can always make little adjustments in post. But I was planning to use the camera also for multicamera live streamings, and in that cases I would need more flexibility . Anyway, again, thanks a lot. I will keep on investigating. Cheers!

@@fernandogarcia3185 Hey, so I don’t use filmconvert, I used to experiment with it back in the day and it was an awesome plug-in. You won’t find a profile for the f3, what I would use is the generic profile, meaning the one that’s automatically selected when you apply film convert. Just make sure to change the data levels if you’re using resolve change the data levels from auto to full. This will give you a much a leased crushed image, more neutral and when you apply the fill convert it should look really solid and nice. Let me know how that works out. Today I just use the file grain in resolve itself, the F3 already looks like film on its own, it’s one of the very few cameras that actually replicate film perfectly, so any color grading you do to the image is already going to look like film, and when you add the grain it should look great.

@@xavierdegreeves thanks a lot! I am actually using Resolve getting to know the camera and I liking it a lot so far. I only use filmconvert in premiere, so I was trying to find out a quicker workflow for casual fast edits. I would definetly try what you suggest about filmconvert profile. But now you got me thinking about the full levels in Resolve. Do you do that in the CST node? I,m also liking a lot the grain and other film fx built in into Resolve, mostly using the new film look creator plugin, wich I find pretty convincent for now. Again, thanks a log for your time!

@@fernandogarcia3185 you have to right click on the clip and go to “clip attributes” there you will find the data level and you can change it to full and you’ll see how much more information you see in the blacks and overall. The image will look very flat which is nice as a starting base. Good luck.

@@xavierdegreeves Oh! Thanks a lot! I didnt know about that!

I sure do

This brings me back memories. I remember having. High hopes for black magic when they first came out with the 2.5k bmcc and was eager to make some beautiful images with it, it’s one of those cameras along with the og bmpcc, that at first gives you the impression that you’ll be able to make cinematic masterpieces as you’re shooting, but once you bring it into the color suite, and spend some time with the footage in post any professional would have to admit horror stories for all the many ways Black magic cameras fall apart in editing… The cheaply made camera cuts too many corners and is missing so many vital components inside its system that you might overlook as forgivable at first, but when it’s time for you to achieve that look you saw in your favorite movie, you’ll be pulling your hair out comparing a still of yours next to the still of your reference spending more time having to rescue your footage than actually coloring it. wondering why are the shadows crunching like that? Where did all this fixed pattern noise come from in the blacks? Why is the footage in this scene so brown and not responding to the color wheels? When Working with this camera it will require more and more knowledge, knowledge as you use it, but not the kind of knowledge where you’ll get better as an artist or technician, but the kind of knowledge you get from troubleshooting a new unexpected technical failure with every project you do. To the untrained eyes who are excited to have a lightweight camera system and run around experimenting this will not be their experience, but In the end, any movie projected to an audience shot by a Black Magic will dull in comparison to the F3. I cannot in good faith recommend so many of these other cameras compared to the F3 and F35, not just cause the F3 was thousands more dollars than the bmpcc with a sensor built like a tank, but because it behaves so easily in post that it allows the filmmaker to apply their effort to their creative eye and taste for looks. No wrestling with power windows and bombarding forums with color grading questions. One can shoot their movies with proper exposure and creative choices already out the box with an F3 and achieve an image that already behaves like film and is basically ready for presentation… and every creative choice made after that in post is as simple as a shift here or there to taste on the color and contrast wheels. A bit of grain or creative use of the camera noise to replicate film stock etc etc. it’s all Very user friendly and a perfect choice for the independent filmmaker, all in all the F3 just has more integrity. independent artists often have to wrestle with so many technical substitutions that it puts them at a disadvantage to those who have financing for large scale productions which use time tested gear, giving anyone a faulty camera image will only add to that stress and result in less time focusing on the elements that matter. Hope this truly helps inform your decision. Good luck.

@@xavierdegreeves your response is very inspired and helpful! thank you so much for putting so much time and thought into it. truly one of the first responses i've received from someone on the other end of the screen who actually seems to care, thanks! it definitely does seem as though the bmpcc or even bmcc fall short due to issues you mentioned, along with what i've heard mentioned with regards to aliasing etc. for a beginner like me, what would you say are the essentials for a run and gun kit for the f3? i know i'll need an external monitor (possibly the pix-e5), but what are the other most needed accessories?

Hey you caught me right while I’m online :) and thanks so much. For your words. ok so the f5 or f55 is not at all like the f3. I own both of those systems (very nice indeed) they just don’t look like authentic film in any way. A lot of people thought the f5 and f55 was an upgraded f3 but it truly truly isn’t.

@@xavierdegreeves Lucky timing :) wow! thank you for sharing. I have been really considering the f55 but I really prefer the filmic look. you have really opened my mind. thank you. I can't wait to follow more of your videos!

@alexamickey absolutely , and if film is what you want, the F3 will truly blow your mind. It can literally shoot in any style imaginable. If you get your hands on one, keep me posted. Brings me great joy to see others using this camera. Happy filmmaking.

@@xavierdegreeves looking around for one now! what are some lenses that you like to use with yours?

@@xavierdegreeves I got my hands on an F3! Having fun so far. Any tips for a newbie?

Hey there, so this has been one of the longest asked request from me in regards to the F3. You know this camera is magical to me in so many ways. And the single thing I love most about it is its ability to be styled in any fashion the creator sees fit. I never felt a strong need to solidify any special parameters around creativity regarding the f3. There truly is no correct way to grade this footage as it’s all based on creative integrity. You can honestly create any look you want on this sensor, ANY. I guess if others truly like the specific look I get then I’ll continue with what I’m currently trying to create in order to share my unique approach. However it’s very important for me to not limit anyone with rules they must follow. Selfishly I truly want to see others work with this camera in their own style that way I myself can have other f3 content to enjoy from others as well besides all footage looking like my own. My hopes is that more films that hit the big screen and TV utilize this camera in order to help sell good stories and bring that magic back to cinema. I find too many great movies with great scripts go unnoticed because of the camera they’re shot on. Story is obviously important, but filmmaking is nothing without a camera to display events so it does matter in ways that so many don’t think about. The F3 is an exciting camera system, underrated, and looks like film over every single camera on the market besides the F35 by Sony. Film emulation isn’t just a stylized choice (although some feel it is), it’s way more than that, the look of film actually does something to the body chemistry of the viewer, and the fact that Sony replicated that perfectly is an achievement worth its weight in gold to those who notice this. Hang tight and one day the sharing of my approach will be available to all.

You are very welcome

Hey there , I most certainly do but mainly for the content on this channel I use the sigma 18-35 cine version a lot.

Nope everything is done organically here besides adding some film grain to the image. No LUT’s no filters just straight. I believed I used some old Nikon lenses for its vintage qualities too.

@@xavierdegreeves These are awesome man. Gonna save up to buy an F3. Looking at coupling that with a black magic video assist 3G!

Haha. Honestly it’s been a long time I’ve been asked to create a tutorial. I guess some of us just aren’t cut out for it, I however do the best I can always explaining exactly my process in order to help those who really want to get the look I tend to get. It’s what I love about this camera so much. It doesn’t matter as long as you expose correctly this camera truly shines in all areas. At this point any film emulation would look great on this sensor. Any other system, you throw emulation on it and it still looks like attempted film. This is possibly why I don’t have the pull towards making a tutorial however I’ve been working on something different in order to outline exactly how to achieve whatever my process is. Happy filmmakingZ

@@xavierdegreeves super cool! looking forward to what's coming

Indeed indeed. How you loving your f35 still?

100 percent and you don’t have to. 👍

For real, I can’t believe how so many have no idea about the dancehall scene. Funny you was able to spot it. Likkle John is fire.

You are very welcome, I’ll do all I can to keep them alive.

No it was 422 out of a black magic video assist.

Thanks mate

Start to finish

Man I’m so happy you joined the F3 team, it’s truly a remarkable machine. Glad I was able to inspire you, and somewhere surburban always has delicious content. Enjoy yourself with it and share it when you can.

Couldn’t agree with you more my friend.

Appreciate.. for this I used the sigma art 18-35 cinema version.

Hey there. Appreciate the comment. Ok so I get this question a lot about the F5 I also own a few of them. What I can tell you about the camera is that it isn’t a 4k version of the F3 at all. I know it seems that way with the F being in the title but it’s a whole different kind of work horse. If you are looking for some great 4k HD footage I believe the f5 is underrated. When it comes to making movies that achieves a film look you certainly will have to work with it in post to render anything that the f3 can output aesthetically. They’re totally different systems. I would use an F5 for doc work or a modern day TV show since these shows today don’t focus on a film look anymore. U could make a movie with it as long as you like the look of the movies today which are shot on the new Alexa35, red, or Sony Venice, if you love those cameras you will love the F5. The F3 isn’t better than the F5 it’s just that the f3 really looks like an image designed for movies with an incredible ability to suspend any viewers disbelief. The F5 doesn’t have this ability no matter the setting. Happy shooting and great luck. Thanks again.

@@xavierdegreeves Thanks for taking the time to elaborate! I shoot 16mm as well and I'm always on the lookout for a digital cam that can get me close to those results and I don't mind putting in some work grading it, I don't care about the 4K on the F5 by the way, there are other advantages I see (framerates, internal codecs, ergonomics, optional raw, decent evf), anyway since you own F5's as well, have you been able to get the film result you're after by putting in more work into the grade? Because if it's just a matter of doing some thorough testing and establishing a decent node structure for resolve, I don't mind doing that. Thanks!

@@BaltasarThomas you’re very welcome indeed. For me it comes down to the starting point, it’s the negative that makes me want to use the camera in the first place. The negative inspires my grade so therefore I’ll grade it because of the sheer beauty of the negative. When shooting with the F5 or any other digital sensor (besides the f3 and F35) It always requires so much work to get to a sweet spot. You can certainly add a beautiful grade to the F5, you can add all the film emulation in the world it always renders as a film look on top of digital that’s the best way I can describe it. The only other camera I’ve seen that can achieve an accurate film look while really getting busy in the color suite is the Alexa classic. That camera can take grading for film emulation like a boss. The F3 just gets you there quicker is all hence why I choose it over the Alexa. And even if you did manage to get the f5 to look like true film the amount of Processing power it would take in resolve to render per frame would Be mind boggling. We talking node structures that are over loaded with plugins and I can’t see why anyone would spend that kind of money to build a machine capable of true film emulation alone. Id opt to just shoot on a camera that gives me film and then grading can be a normal process like any other film. So to directly answer your question, In my opinion I do not feel the F5 can create an authentic film look because the textural separation just isn’t there in the sensor. Even what I shot here I truly believe it can’t be achieved with the F5. It can come close to film since you’re skilled but it will always be visibly different even to untrained eyes. Hopes this gives you some insight. Much love.

@@xavierdegreeves Thanks for your thoughts. "it’s the negative that makes me want to use the camera in the first place. The negative inspires my grade so therefore I’ll grade it because of the sheer beauty of the negative" this is a lovely insight. The excitement of film coming back from the lab and seeing that magic, is truely inspiring indeed, it can really fuel your energy to create. I can understand why you love this camera, if it gives you something close to that excitement. I might try to get my hands on both of them and do some comparisons, it's the only way I can get a good sense of it.

@@BaltasarThomas oh absolutely and please keep me informed, always love when others experiment and make magic. You will enjoy them so Wish you the best of luck.

Oh yea? Thats totally awesome. What made you say this?

@@xavierdegreeves you convinced me on this camera instantly after a year of thinking about it

@glamorous4eva so happy to hear it. The F3 is magical, and the more exploration I do with it I find nothing on the market comprable in regard to film image quality and replication. I hope you use it well, and that you express all of your creative truths with it. Best of luck to you on your journey.

Much appreciated, so this was recorded externally on one of the cheapest recorders. The first generation black magic video assist. You can find one for dirt today it’s an amazing recorder.

@@xavierdegreeves thank you! I’m looking now to get one. I own a bmpcc OG and this reminds me so much of the look. Do you record in Slog 4:4:4?

@@alinko414 that OG blackmagic was some fun experiments I used to do in the past with that camera. Everything on this page in regards to f3 and f35 are all shot in 422

@@xavierdegreeves just here to mention I just got this camera two days ago. thanks for all your F3 content. I hope to add to the community. such a lovely camera

@alinko414 you are very very welcome. I’m happy to know yet another person has jumped on this system. It’s a true powerhouse and has so many strengths. Keep me updated and congrats.

Hey man long time no hear, absolutely the image from this sensor is just remarkable. It’s odd how some just look over this camera yet still going for a true film look. I’m going to be shooting some very very low light stuff soon…

Honestly I haven’t done much internal recording with the F3, but the ones I did do the images were great still. But there is a difference shooting with the recorder which allows for the 422 and 444 options. For a recorder they can be very cheap to purchase as long as they do 422 you’re good to go. The blackmagic assist recorder (first gen) that I use I only payed 100 dollars for it and I use it to film almost everything. No need for anything upgraded unless you need 444, and then things get super expensive. Out of all the years I’ve had 444 recorders I seriously never use them for anything really beyond testing and pixel peeping. So please experiment with it if you get the f3, and let me know what you think if you can. It’s a beautiful system in so many ways.

​@@xavierdegreeves Great work btw. I'm just a little novice film guy so these older Cine Cams are all new to me tbh. I currently shoot on a the original C300. After shooting on Sony Mirrorless, BMPCC4k/6k, and New Canon Mirrorless systems, I must admit, there's something about older 1080p sensors that just look more pleasing. I do think I may buy an F3 and record to just a BMD Hyperdeck though. I love the way the F3 looks. But and Video assist also sounds great, especially if I get my hands on an FS7 ii or something later on down the line!

@@sixofsix Much appreciated man. Yeah the old style cameras really do shine in so many regards, and now with things looking very digital it’s nice to have such wonderful systems that allow us to tap into the true look of motion picture stock. There’s a big reason the f3 costs $16,000 in 2011 when it first came out. Today that would be the equivalent of $22,000 dollars so this camera isn’t a joke at all. All skin tones look amazing on the f3. Since you like the c300 I know you must have style because that camera is sweet. You will absolutely adore the images that come from this system without a doubt. The hyper deck will serve you extremely well, very light weight and goes nice with the f3. The canon c300 mark 1 will always have a soft spot in my heart. It creates beautiful images still. Once again $20,000 in 2012 and would be $27,000 today. Some people don’t take this into account, but I sure do, and it shows in the final images. Once those highlights aren’t clipped on the c300 you are golden. It’s going to be hard to find a camera made today that can get you that look. You don’t have to take my word here, but I seriously own every single digital cinema camera currently in the market both past and present. And nothing comes close to these two sensors f3 and f35 which would be $380,000 today. Other cameras are awesome, others are amazing, others are spectacular, but these cameras are just film. Not saying it’s beautiful or better than any other it’s just film replicated to perfection. Also that c300 you got outshines anything the new Alexa 35 can ever produce take that from an owner of 2 of them. You are certainly on the right track for even being here in this corner in the first place. Appreciate you big time.

@@xavierdegreeves Man thanks for all the advice. I take whatever I can get from folks who have more experience. My filmmaking channel is @stgfilmmakers if you ever get bored one day and have time to check out what I shot so far! The C300 DEFINITELY has a sweet spot you HAVE to hit. Its the balance between ETTR and not clipping (too much) It seems like I can clip EVER SO SLIGHTLY, then bring them back in post to save shadows. But I'm sure you have more or even better advice. but I do notice that if I shoot conservative, meaning don't clip highlights (in certain scenes obviously), the shadows are non recoverable. So the more I can "overexpose" the sensor then bring down the levels in the curve the better. I'm torn between learning the F3 sensor, grabbing a C300 mark ii, or stepping into an FS7 mark ii. The two latter choices would serve commercial and documentary productions well. But the F3 would serve me well, haha.

@sixofsix I love what you’ve done this far on the c300 it’s beautiful and I love how you film your kids and family. It’s amazing. The way of editing and your use of filming signage is an art form. The F3 won’t disappoint, it’ll only assist in holding the viewers attention even longer. Let me know how it goes and keep up the great work.

Hey there, the f3 is a beautiful camera in so many ways. I hope you find one soon.

Hello, I currently own 8 Sony fs700 and in it’s Time I always had many live concerts that rented them out as they looked lovely in controlled staged environments for broadcast. However, that violent film looks great from the trailer. The fs700 simply just “came out” after the F3, but it didn’t come in the same line or had any relation to the f3 in any way as an upgrade or replacement. Both cameras are very different target markets and completely different price brackets so it isn’t fair for me to compare specs and color science. $6,000 for the fs700 vs $16,000 for the f3 However, the fs700 is a true workhorse of a camera and obviously as you proved can make some beautiful cinematic content. Thanks for sharing this.

Haha it certainly was man, funny you spotted that.

Always appreciate you man. Old Soviet is exactly the vibe I was going for. Very deep textures snd grungy in a way. You spotted correctly my friend.

@@xavierdegreeves Awesome. Digging that vibe.

Appreciate

Many thanks!

I’m glad to hear it.. oh much much more is coming. The f35 is a beast and the images are world class.