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    #21
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    Quote Originally Posted by JPNola View Post
    Here are a couple photos of the Venice fully "built-up", feature-film style, in two different configs:
    As a single camera operator, I don't prefer how they have moved the lcd display to the other side where I can't see it.


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    #22
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    Quote Originally Posted by Tom Roper View Post
    As a single camera operator, I don't prefer how they have moved the lcd display to the other side where I can't see it.
    The reason is the Venice most likely wasn't designed for single operators.


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    #23
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    Quote Originally Posted by AlienRock View Post
    Saw that video. Really great footage. Yeah it does seem "too sharp" out of the box but as you said with a diffusion filter, or tweaks in the DI, it can look less sharp and more "filmic". Might be a reason for ARRI fans to stick with ARRI since it seems to have the "milky details" out of the box. But to me the Venice looks the least "digital" out of all the Sony CineAlta Cameras.
    By the way, do you know any good tutorial on how to replicate diffusion through NLE?
    Yeah, it's super easy and runs in real-time in Premiere Pro (and will do the same in FCP X, Resolve, etc.):

    https://www.youtube.com/results?sear...+pro+diffusion
    https://www.youtube.com/results?sear...late+diffusion

    Simple example: copy video track above original. Add Gaussian Blur to top track. Change Blend Mode to Overlay. Experiment with Blur amount and Opacity % of top track (as well as Blend Mode). Many variants based on this concept (including working on highlights only)- see links.
    Also a cool plugin (have tested- seems to work pretty well): https://digitalanarchy.com/beautyVID/main.html . Another trick for skin issues is to use Neat Video: https://www.youtube.com/watch?v=KeXhzmcdsQ4


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    #24
    Senior Member Grug's Avatar
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    Quote Originally Posted by Tom Roper View Post
    As a single camera operator, I don't prefer how they have moved the lcd display to the other side where I can't see it.
    It's a $90,000 camera, it really isn't intended for single-operators. That said, you appear to be able to access everything you'd need to in the moment, from the operators side. And you can have full menu control via wifi on your phone, if needed - which saves you the trip to the other side of the camera.

    Other features like the internal NDs and 5-second boot time, would actually make life vastly easier for a solo operator.

    Operationally, I think the Venice is probably tied for first place alongside the Panavision DXL2 now. Sony did a fantastic job of listening the the features that would make camera operation easier on set.

    The five-second boot time and internal NDs alone, would cumulatively probably save me about 15-20 minutes (at minimum) on-set EVERY SINGLE DAY. That's a substantial injection of shoot time back into the schedule. Which is fantastic.


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    #25
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    Quote Originally Posted by Grug View Post
    It's a $90,000 camera, it really isn't intended for single-operators. That said, you appear to be able to access everything you'd need to in the moment, from the operators side. And you can have full menu control via wifi on your phone, if needed - which saves you the trip to the other side of the camera.

    Other features like the internal NDs and 5-second boot time, would actually make life vastly easier for a solo operator.

    Operationally, I think the Venice is probably tied for first place alongside the Panavision DXL2 now. Sony did a fantastic job of listening the the features that would make camera operation easier on set.

    The five-second boot time and internal NDs alone, would cumulatively probably save me about 15-20 minutes (at minimum) on-set EVERY SINGLE DAY. That's a substantial injection of shoot time back into the schedule. Which is fantastic.

    Wifi I use now on my F55, full operational menu control from the phone is possible but not the parameter readouts. Would be nice if it were possible to monitor the live recording as well.

    If the camera operator could access everything needed with wifi, the AC would have been able to do the same thing had the LCD been on the operator side. 5 second boot time would be wonderful. (I'm not getting one..


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    #26
    Senior Member JPNola's Avatar
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    Quote Originally Posted by Tom Roper View Post
    As a single camera operator, I don't prefer how they have moved the lcd display to the other side where I can't see it.
    I get your criticism. I mean, would it have been that difficult to design the camera with the full lcd display on both sides? One reason they may not have is that it is somewhat redundant since the cam op has all that info in the VF.

    The dumb-side display and control is so that an AC can access items in the camera menu without having to get into the Operator's space or ask them to move. Cam Ops on features are almost always sitting at the camera. And what with the hierarchy it is kinda uncool for the AC to make the Operator move from his position. The Cam Op might be watching rehearsal or thinking out his move. You don't want an AC to have to interrupt that for his tinkerings in the camera menu. He or she can do that from the dumb-side controls and menu display.
    Big sources matter.


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    #27
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    The URSA 4K (big one) has monitors on both sides (and a third main 10" one)..it's definitely the way to go, but I assume something did not match up internally (no room?) with Sony's design.


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    #28
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    Quote Originally Posted by NorBro View Post
    The URSA 4K (big one) has monitors on both sides (and a third main 10" one)..it's definitely the way to go, but I assume something did not match up internally (no room?) with Sony's design.
    Or, Sony just didn't see any need? Sony didn't put an in-body display on the fs7 at all. Was that to keep the weight of the camera down, to keep the price down, or motivated by the knowledge that use of an on-board monitor is pretty much standard practice these days? Hmmm. We may never know.
    Big sources matter.


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    #29
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    I think most people wouldn't mind a small screen on the body on both sides. You don't need a state-of-the-art 4K panel to critically analyze your image with. But having something to see the picture and make changes is pretty convenient if you ask me. The ole "standard practice" where someone HAS to be HERE or THERE is just silly outdated thinking.

    It's 2019; put a monitor on both sides.


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    #30
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    Quote Originally Posted by NorBro View Post
    The ole "standard practice" where someone HAS to be HERE or THERE is just silly outdated thinking.
    I think this is part of the problem why discipline is going to the dumpster on sets today. What you call outdated thinking is what has made it worked like a well oiled machine all these years. Only people I come across who have a problem with the old discipline are mostly people who have never worked in the system before. The system works. No need to change it IMO.

    It's also a big part of why the Alexa is still smashing every other camera in the production world, specially mainstream Hollywood after being in production for basically 10 years. Arri understands the system and plays within its rules. While other companies trying to be post modern and reinvent the wheel don't have the penetration Arri has.


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