Robin R Probyn Posted June 3, 2017 Share Posted June 3, 2017 (edited) Sony announce new full frame sensor development for new camera or cameras in 2018.. apparently not a replacement of the F5/55 or F65.. but totally new sensor.. . and presumably with the variable ND system in the much lower end cameras.. Interesting .. hope there is a "cheap" version too ! http://www.newsshooter.com/2017/06/03/sony-to-launch-a-full-frame-36x24mm-sensor-cinealta-camera-next-year/ Edited June 3, 2017 by Robin R Probyn Link to comment Share on other sites More sharing options...
Scott Pickering Posted June 8, 2017 Share Posted June 8, 2017 And not above 4K either. Many new cameras are going 6K or even up to 8K now. Sony is a bit behind there. Link to comment Share on other sites More sharing options...
Robin R Probyn Posted June 8, 2017 Author Share Posted June 8, 2017 And not above 4K either. Many new cameras are going 6K or even up to 8K now. Sony is a bit behind there. Its a FF sensor so its over 4K.. most likely 8K.. (but Sony arnt saying yet)..are you sure your not reading the F5/55 release :) but yes down sampling to 4K is now the vogue .. the F65 did this from way back.. talking of late though .. Arri dont even have a 4K camera at all (except the Alexa 65).. not that it has done them much harm.. except Netflix/Amazon productions... which has given the Sony a bit of a well needed boost.. Link to comment Share on other sites More sharing options...
Stuart Brereton Posted June 8, 2017 Share Posted June 8, 2017 Arri dont even have a 4K camera at all (except the Alexa 65).. not that it has done them much harm.. except Netflix/Amazon productions... I've heard that the Netflix/Amazon 4k requirements can be flexible where Alexa is concerned. Open Gate 3.2k is close enough, according to some colorists I've talked to. Link to comment Share on other sites More sharing options...
Robin R Probyn Posted June 8, 2017 Author Share Posted June 8, 2017 I've heard that the Netflix/Amazon 4k requirements can be flexible where Alexa is concerned. Open Gate 3.2k is close enough, according to some colorists I've talked to. But for their own productions I believe they are pretty strict.. I have only shot corporate video for them a few times.. and they were very strict.. 17-9 4096 or nothing.. 16-9 3840 strictly verboten.. even if I owned an Alexa they would have said no.. luckily I have the much easier on the wallet F5 :).. the lens also had 4K "Spec".. I have the Canon CN7 .. which is.. as judged by some criteria ..I don't actually know what.. but was passed for use .. Link to comment Share on other sites More sharing options...
Brian Drysdale Posted June 8, 2017 Share Posted June 8, 2017 I'm not sure where they plan to screen these corporates, since theatrical release is the only place that you'd use the full 4k, as against the UHD.16:9 used everywhere else. Link to comment Share on other sites More sharing options...
Premium Member Mark Kenfield Posted June 8, 2017 Premium Member Share Posted June 8, 2017 And not above 4K either. Many new cameras are going 6K or even up to 8K now. Sony is a bit behind there. The suggestion is that a full aperture 4:3 S35mm crop from the sensor will be 4k. Whether that's downsampled or not, we'll have to wait and find out. But regardless, that means the full Vistavision coverage of the sensor will be significantly higher. At least 6k. Link to comment Share on other sites More sharing options...
Robin R Probyn Posted June 8, 2017 Author Share Posted June 8, 2017 The suggestion is that a full aperture 4:3 S35mm crop from the sensor will be 4k. Whether that's downsampled or not, we'll have to wait and find out. But regardless, that means the full Vistavision coverage of the sensor will be significantly higher. At least 6k. Funny that they are not saying.. but it would be surprising if they don't go the down sample road .. as everyone else is .. esp if its going to be a F65 in an F55 body type camera.. what ever they say Im sure the F65 will be phased out.. and maybe the F55 too.. Link to comment Share on other sites More sharing options...
Stuart Brereton Posted June 8, 2017 Share Posted June 8, 2017 But for their own productions I believe they are pretty strict.. I have only shot corporate video for them a few times.. and they were very strict.. 17-9 4096 or nothing.. 16-9 3840 strictly verboten.. even if I owned an Alexa they would have said no.. luckily I have the much easier on the wallet F5 :).. the lens also had 4K "Spec".. I have the Canon CN7 .. which is.. as judged by some criteria ..I don't actually know what.. but was passed for use .. I'm not sure where they plan to screen these corporates, since theatrical release is the only place that you'd use the full 4k, as against the UHD.16:9 used everywhere else. I've had a couple of jobs recently (not for Netflix or Amazon) where the producers have insisted on shooting 4k 17:9 for a TV finish. I've tried and failed to get an explanation for it, but nothing has made any sense. I suspect it comes down to a lack of understanding of the difference between 4k and UHD, and the confusion that has been sown by TV manufacturers appropriating the the term 4K when they really mean UHD Link to comment Share on other sites More sharing options...
Premium Member Mark Kenfield Posted June 8, 2017 Premium Member Share Posted June 8, 2017 I've also just had my first couple of shoots where the producers have insisted on 4k capture. They were pieces for NBC's coverage of the Winter Olympics next year, so I assume there's now a mandate for UHD coverage of the Olympics.We shot in 6k for good measure :p If we ever get decent 1080p HD broadcasts down here in Oz, I might start to look to a UHD future, but I don't think that'll be happening here for a long time to come (it's still a mostly SD world Down Under). Link to comment Share on other sites More sharing options...
Robin R Probyn Posted June 9, 2017 Author Share Posted June 9, 2017 I'm not sure where they plan to screen these corporates, since theatrical release is the only place that you'd use the full 4k, as against the UHD.16:9 used everywhere else. Haha.. I can assure you the corp shoots I have done for Netflix were not destined for theatrical release :).. I presume fancy computer screens ,that there were alot of in the office and possibly projection at events.. that could be on a fairly big screen I guess.. there were never instructions about 2.40 cropping etc.. the dir didnt know why.. I believe there is just this iron clad dictate from on high.. and no one is going to go around questioning it.. ! Link to comment Share on other sites More sharing options...
Robin R Probyn Posted June 9, 2017 Author Share Posted June 9, 2017 (edited) I've also just had my first couple of shoots where the producers have insisted on 4k capture. They were pieces for NBC's coverage of the Winter Olympics next year, so I assume there's now a mandate for UHD coverage of the Olympics. We shot in 6k for good measure :P If we ever get decent 1080p HD broadcasts down here in Oz, I might start to look to a UHD future, but I don't think that'll be happening here for a long time to come (it's still a mostly SD world Down Under). Yeah any big sports event will be 4K for sure.. at a minimum I guess soon.. HD is yesterdays news.. also good for replays.. they can crop in to the action .. I was surprised how fast 4K came on in the corp world.. last 2 years been shooting 4K alot.. was the death of the all ruling C300.. thankfully .. some for post skullduggery but now often also for "archive" purposes .. have been a few who want 17-9.. could be from confusion I dont know .. or just some mandate 4K means 4096.. and nothing else.. I just pan ,tilt and invoice .. But Im glad I have a camera with a full 17-9 sensor.. which I didnt think much about when I bought the thing.. an Amira was very tempting back in the day.. but all the licensing thing was a big put off.. and it was more than the Sony.. but had I gone for one if would be gathering dust for alot of corp shoots these days.. and some broadcast what wont except up rez.. but soon it will all be 6K minimum down sample or forget it.. !! Edited June 9, 2017 by Robin R Probyn Link to comment Share on other sites More sharing options...
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