https://imago.org/news/the-character-of-shadow-by-alfonso-parra-aec/

Best regards

Alfonso Parra AEC

www.alfonsoparra.com

I hope you find it interesting.

https://imago.org/highlights/alfonso-parra-aec-adfc-noise-study-on-the-sony-ilme-fx3-camera/

Best Regards

Alfonso Parra AEC, ADFC

www.alfonsoparra.com

Imago ITC member

Colombia/Spain

Sony rep was telling them that a new camera was coming soon. They could not remember the exact name, but they said it was another Italian name like Venice or Burano. They said that they believe that the Sony rep said it was going to be full frame 6K, to compete with Canon C400. That is all they remember. This person is not a “gear head” like me, but they wanted to share this info. No more specs. A full frame 6K camera would make sense now that the FX9 is discontinued, and not to compete with 8K Burano.

At my company, we are currently thinking of buying a better quality camera and lenses. We currently have an FX3 and we're thinking of getting a Sony Burano with the new DZOfilm Arles range. We would aim for a budget of USD 50,000. 

We're also thinking of adding a Ronin 2 stabiliser as our RS2 won't be able to handle the weight of the Burano.

We mainly shoot documentaries and fiction, we also have a project with Netflix so we want our camera to be Netflix-approved. Occasionally, we shoot commercials.

Do you think a Burano with DZO Arles lenses is a good choice? 

I have also heard that the built-in ND filter in the Burano has a serious IR problem... Since we're based in Cambodia, where it's sunny and 35°C every day, I think we'll have to deal with that problem...  

We also want to stay a small crew, meaning 1 or 2 people operating the camera.

Thanks for your feedback! 

I’m about to shoot a fiction in upcoming days. And the camera options provide to me are Sony F55 or Sony FS7 M1.

We would we shooting prores due to budget constraints in post. Hence I needed your inputs on which one should I select. I understand that the Sony F55 has its advantages with global shutter and raw recording with R5 extension.  However as we would be primarily shooting prores, should I select F55 or FS7. 

Thanks,

H

Much appreciated

After reading after that reading, it had something to do with the theory of doubling the photosites to ensure optimal quality, but is there any way to rig it so it records at a higher resolution?

I saw some guy on eBay saying he was recording at 4K with no quality loss, but could this be the chroma subsampling taking a hit for luma resolution?

Thank you!

I hope that will be of interest of you

https://imago.org/news/the-noise-in-venice-camera-i/

Regards

Alfonso Parra AEC,ADFC
ITC member (International Federation of Cinematographers)
www.alfonsoparra.com
Tel Colombia 57 3115798776
Tel Spain 34 639109 309

I get all of this when shooting in daylight or well lit scenes (I for one rely on zebras or false color), but I can't wrap my head around how you would "properly" expose a scene using these methods, with or without a human subject in lowlight or night scenes. i.e living room scene at night, with subject lit only by a lamp and the distant glow of a television, or on the street at night with subject or scene lit only by street light, nearby signage etc. 

Following the standard rules/tools above, exposing the skin tones or even a middle gray card in these settings with zebras set to 55 +/- for examples would expose the rest of the scene in a way that is to bright and inaccurate..?

Then, for night time/low lit scenes without a human subject, how do properly expose these with S-Log 3? I sometimes use zebras at 94+ and aim to not blow out the light source (such as the lamp, or street lights from the examples above) But is this accurate?

Maybe I'm overcomplicating this because I'm not seeing a ton of info on it, but I would love a good breakdown of how to expose in these scenarios. Thanks in advance!

I posted this on the general discussion group by mistake. Didn't realise there was a specific forum i should use. 

I have to shoot a project which has a final deliverable for a 2:1 aspect ratio. I want to use the sony venice with the arri master anamorphic 2x. It yields a natural 2.39:1 aspect ratio in the 6:5 anamorphic mode. I was wondering if there is a way i can achieve the 2:1 aspect ratio while using 2x anamorphic system? 

I'm starting as DP on a tv-series with the Venice2 next week. I have run into an issue with SDI outputs. There seem to be a delay around 4 frames. We tried all outputs, also Monitor Out.

Settings:

5.4k s35 in X-OCN ST

Vaxis 3000 Transmission system

First the focuspuller noticed it during the tests, we changed different monitors and transmission systems. We found something faster but still not as fast as the Alexa systems. But it's manageable.

The problem lies more with the sound-department. If we want to give playback to the crew, there is a delay on the video while the audio is playing back instantly. Anybody found a work-around? Maybe but delay on the audio too of 4 fps. Or something else?

Anybody reached out to Sony yet? I have the feeling the delay is a bit worse then the Venice1.

In commercials this is all fine but fiction, my crew is a bit worried... For such a high-end cinema camera this is a bit embarrassing...

Thanks in advance for your time.

Google wasn't exactly giving the clearest of answers, just irrelevant advertisements and articles.

What precise link do I visit to take care of this upgrade? Is it impossible to do in the current year?

Thanks for any input.