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    #21
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    It's not the skin tones but the RED ONE look which impresses me. It seems the edges are less sharp than the ones you see on mid range cameras.


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    #22
    Senior Member James0b57's Avatar
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    RED ONE look?


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    #23
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    JCS said -

    And it still looks great, right? Super-detailed & super-saturated is hard to do. And with super shallow DOF- quite an amazing look!

    With high detail there's typically aliasing/artifacts which tends toward a digital look. With weak color science, it's hard to super-saturate skin. Sony's doing super detail, super saturation, and super shallow DOF all at the same time and it works.

    Here's deep DOF with saturated colors along with amazing dynamic range. This footage (shot for IMAX) viewed on a 4K desktop monitor is the first footage that has me thinking a large 4K display in the living room is finally going to be worth it. Finally a "Nyquist Limit" 4K camera is here: look at the bricks and high detail shots- super clean and no aliasing!


    While I'll bet a 4K display would be worth it, what's most amazing to me is that on my 1080 display, I feel like I'm finally watching what HD was supposed to be all along. Footage this good will breathe life into all sorts of displays!


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    #24
    Senior Member James0b57's Avatar
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    Some real world Venice content popping up in the Sports TV world:

    https://www.facebook.com/Route30Film...3146470824899/


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    #25
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    Looks like the Venice made its way to the NFL's biggest stage...not positive but pretty sure it was used for Rock's intros looking at that monitor and seeing a base ISO of 2500.

    Rock_Mahomes.jpg



    Pic source: https://twitter.com/bfg728


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    #26
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    This probably could be posted in multiple threads on this forum, but here are some cool behind-the-scenes from a recent Hollywood film:



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    #27
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    A while back it was mentioned that BBFL was shot on Venice possibly, but of the few cameras in the video, just saw Alexas. Was the Venice used in VFX work? It is always interesting to see when they choose to use multiple camera systems. And how the helps them achieve a shot.


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    #28
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    Quote Originally Posted by James0b57 View Post
    A while back it was mentioned that BBFL was shot on Venice possibly, but of the few cameras in the video, just saw Alexas. Was the Venice used in VFX work? It is always interesting to see when they choose to use multiple camera systems. And how the helps them achieve a shot.
    Some of the cameras that I can make out in the video above are Venices. You can see the Sony logo or just random screenshots based on the accessories they use or one like below showing they are shooting X-OCN Standard. IMDB still says Venice. I have no clue what else was used...motion pictures have indeed mixed and matched.

    X-OCN.jpg


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    #29
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    Quote Originally Posted by NorBro View Post
    This probably could be posted in multiple threads on this forum, but here are some cool behind-the-scenes from a recent Hollywood film:

    I know they were saying the Venice was used on BB3 but to me the quick shots of production cameras and the video village monitors, it looked like alexa. maybe i wasnt looking too close...
    Cameras
    Panavision Genesis Cinema Camera
    Panasonic AJ-HDC27H Varicam Cinema ENG Camera

    LENSES
    Fujinon Xa16 HD B4 Lens
    28mm F2.8 Custom Made Panavision Prime Lens

    Recorders
    AJA Kona 3 PCIe 4:4:4 Dual Link Card W/ Breakout Box
    Sony SRW1/SRPC1 HDCAM SR Recorder


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    #30
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    Post #28. A couple of monitors in the video show Sony's RAW being used...so if the ARRIs shoot that now then maybe.

    I don't doubt ARRIs would be involved but not sure the old ALEXAs would be used for a film like this. That camera won't be used too much anymore, IMO.

    If anything, they'd get the Mini in but most likely the Mini LF.

    [You can also google the movie and the VENICE and there are multiple articles linking the two.]


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