For a similar example with the C300, here you go: Dixter is right.The C300 is outdone by all of the above..importantly (to me) is the fact that you have to buy a C300 with the PL *or* EF mount (so it is *less* compatible with different lenses.) F3 does both.Sony, in a move that will either please or anger some F3 owners, is releasing S-Log for free in a new firmware update.
I too am simply waiting for them to become very cheap. in fact I TRIED to buy one cash in the UK and NY 3 months ago for a job, but due to that 'ship with S-Log' update round, no stores had any in stock.
Sony was not smart about that - there were none to be had for about 5 weeks, and I moved on as a consumer.
The F3 changes between EF and PL as fast as changing a lens.
This is not possible with the C300, and takes a couple minutes with the Reds b/c you have to unbolt 4 screws...it's not really so efficient to change lenses from shot to shot if you have a mixed collection of lenses (as I will have, b/c I'll be buying PL lenses one at a time).
As I've alluded to before, there is no super35 camera in the sub K category that can compete with it for DR, lowlight sensitivity and, with output to a Ki Pro or other recorder at 10bit, 422 Pro Res (and capable of 444, for that matter, with a proper device), sheer ease of use, from camera to timeline. Then, you have any flavor of Pro Res 422 you want, way better than the codec of the C300. Joe, sorry to make this a camera competition but, this is an issue close to my heart so, my apologies in advance.
Pro Res drops into the timeline of FCP immediately. The F3, with it's original mount and included PL adapter make it compatible with virtually every lens out there... That's before you even get to S-log which, makes the F3 a C300 killer all by itself. I think they both have their place, there are uses for both and situations that can call for both.I wish more people knew how powerful the camera really is.But F3 I will be there to pick you up used a few years down the road when HD is not sexy and you are beyond affordable even though you're still gonna be a beast and a classic always.If you've been thinking about an F3 purchase, there has never been a better time than the present.Here is Abel Cine's Andy Shipsides with a video discussing the new update and how it affects the overall camera system: It's great that we can get S-Log on any F3 camera we want now -- and there isn't a huge difference between 4:2:2 and 4:4:4 if you're worried about that.Probably, in part, to so much chest-beating in the Canon camp over the C300.... That comment might be slightly incendiary but, it's always irked me that a less deserving and more expensive camera got far more press than it deserved and a much more capable camera went virtually ignored.