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    Senior Member Run&Gun's Avatar
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    How the heck do they release a camera in their cine line without DCI or true 24p?


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    I always shoot 25p.. until Iím hired to do some movi jib work (establishing exts the actual action was in a studio in a different country) on a lb feature.. my favourite kind of assignment. 24p of course it is. Even the fs7 was hell at 24p cos it kicks out psf whatever the fook that is.. which doesnít work with half of monitors
    CliŽnt 24p
    Me no problem
    The day ďoh fook bummed by Sony againĒ

    Im a simpleton and I donít even get why 23p or 27p is not an option


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    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by morgan_moore View Post
    I always shoot 25p.. until I’m hired to do some movi jib work (establishing exts the actual action was in a studio in a different country) on a lb feature.. my favourite kind of assignment. 24p of course it is. Even the fs7 was hell at 24p cos it kicks out psf whatever the fook that is.. which doesn’t work with half of monitors
    CliŽnt 24p
    Me no problem
    The day “oh fook bummed by Sony again”

    Im a simpleton and I don’t even get why 23p or 27p is not an option
    They’re not standardized “playback”, broadcast or cinema frame rates. Depending on the camera, you can acquire(shoot) in those frame rates, but they are either going to playback as slow(over crank) or fast(under crank) motion. Or is the question, “Why do we shoot/watch at 24 frame, 25 frame, 30 frame, etc. and not some other seemingly random frame rate”?


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    Quote Originally Posted by Run&Gun View Post
    How the heck do they release a camera in their cine line without DCI or true 24p?
    Not much demand for either in my experience. Not to disrespect your want of it. I had to look up ďDCIĒ after reading your post in order to be reminded what it is.

    Apparently the cooling system was a big priority with this camera model. Making room for it while keeping the body small meant sacrifices / non-inclusions. One being to go without a VF. Maybe having DCI capability takes room that would have been adverse to keeping the body-size small? Or maybe it is a function of the lack of demand I mentioned.

    You have many clients wanting true 24? I do not. Maybe 1 out of every 200 gigs do they want true 24.
    Big sources matter.


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    Senior Member ahalpert's Avatar
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    the camera has more than 4096 pixel wide resolution so DCI would just be a firmware option for a different cropping

    but yeah the "cinema" terminology seems to just mean "fan inside"


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    Senior Member JPNola's Avatar
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    Actually it’s the holes.

    You drill holes in something, it becomes “cinema”.

    Cine-holes.

    I should trademark that.
    Big sources matter.


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    Holes and a fan count as a weak effort.

    Iím hearing the noise-reduction canít be turned off, either. Can anyone confirm?

    It doesnít have software features like a waveform monitor or shutter-angle control, either. On the plus side, those omissions donít exclude the α7S III from eventually getting them (whereas if Sony had given the FX3 those features, it might have been a sign that the α7S III would never get them).


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    Senior Member JPNola's Avatar
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    Give Sony some credit. Apparently making it weather-sealed and also have cooling was no small feat, involving creating an inner-body within the body, the cooling mech outside the inner but still able to cool it. I read some doubters saying no way it has cooling and weather-sealing only to be informed that, yes, Sony pulled it off. Responses countered that weather-sealing isn’t important to them, that’s what rain-covers are for.
    Big sources matter.


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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by JPNola View Post
    Give Sony some credit. Apparently making it weather-sealed and also have cooling was no small feat, involving creating an inner-body within the body, the cooling mech outside the inner but still able to cool it. I read some doubters saying no way it has cooling and weather-sealing only to be informed that, yes, Sony pulled it off. Responses countered that weather-sealing isn’t important to them, that’s what rain-covers are for.
    didn't the panny S1H do weather-sealing with a fan first? with the same type of implementation as you describe?


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    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by JPNola View Post
    Not much demand for either in my experience. Not to disrespect your want of it. I had to look up “DCI” after reading your post in order to be reminded what it is.

    Apparently the cooling system was a big priority with this camera model. Making room for it while keeping the body small meant sacrifices / non-inclusions. One being to go without a VF. Maybe having DCI capability takes room that would have been adverse to keeping the body-size small? Or maybe it is a function of the lack of demand I mentioned.

    You have many clients wanting true 24? I do not. Maybe 1 out of every 200 gigs do they want true 24.
    I've never been asked for true 24.00P, to the best of my current recollection. But I have shot 2K(which is a DCI format by definition) and 4K(the same; not UHD) numerous times. Whether is was truly necessary is another matter(doubtful). It just seems like an oversight if you are making a camera in a "Cinema Line" and every other camera in the series does it.


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