Sony PMWF3L/RGB Brochure page 15

"
A full set of cinematic
tools and great
"
sensitivity.
—Zach Zamboni, DP ,
"Anthony Bourdain:
No Reservations" and
"The Layover"
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"'No Reservations' has progressed from Panasonic DVX100s
and Sony 2000 DV cameras to HVX200, Sony Z7U, and then
Sony EX1s and EX3s with Canon 7D and 1D mixed in. With
the Sony F3, I feel the shows are finally looking the way we
always intended, entirely in digital 35 mm. Travel is supposed
to be cinematic. In the F3 we have affordable Super 35 in
a camera I can truly work on my shoulder and has all the
functionality of professional video. We have access to great
PL lenses coupled with terrific sensitivity and low noise. SxS
integrates into our existing workflow.
"The sensitivity of the F3 is terrific. On 'No Reservations'
we find ourselves in every sort of scenario, and often
unexpected ones. Sensitivity is very important in situations
where you don't have a lot of time or control, or where
you want to tread lightly. Bourdain often has dinner in
the homes of ordinary families, people who have never
been in front of the camera. Intensive lighting can be
intimidating for them. The F3's sensitivity allows us a smaller
lighting footprint, which helps our hosts relax and feel a bit
less like there's a camera crew at the dinner table.
"We record native XDCAM EX 4:2:0 onto Sony SxS cards. To
eliminate data wrangling in the field, we always travel with
enough cards for the whole show—at least 70 hours. The
EX stuff is very dependable. We've shot in 120 degree heat
in Iraq, 99% humidity in Singapore, beaches, boats, and the
snow—places where other cameras would certainly shut
down. We've never lost a single frame. Post is very happy
with the SxS card workflow."
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