Official Sony NEX-VG10 Thread

Barry_Green said:
And where has there been any authoritative statement (not rumor sites) about any EX-1 version?
Click to expand...

There are no "authoritative" statements about an EX-1 version, to my knowledge, just rumors.

That said, even without the rumors, you don't have to be a genius to see that historically, Panasonic and Sony have competitive cameras. Sony hasn't announced a competitor to the AF-100. I believe they will, and that it'll be XDCAM EX camera with HD-SDI output and XLR inputs, along the lines of an EX-1 (but without the lens). Time will tell.
 
Erik Olson said:
IMPORTANT NOTICE: No media files are hosted on these forums. By clicking the link below you agree to view content from an external website. We can not be held responsible for the suitability or legality of this material. If the video does not play, wait a minute or try again later.
I AGREE


Very interesting.
Click to expand...


This is truly impressive. I just got goosebumps when watching this demo. It´s the possibilities of such a system what amazes me.
If it truly is progresive (psf) this is the freaking most amazing camera i´ve seen in ages.
Huge sensor.
Really low price. (scarlet? panasonic? who wants those?)
Sure it´s compressed, but for these days broadcast quality level (ie: youtube) it´s more than enough, having in mind that the next step in quality might be something like an Alexa.

I really have no words for what this camera means. It´s truly the merge between photography and video.

Note: i hope it has some kind of gamma control, because those hyperboosted midtones don´t look very filmlike to me, but again, the target of this camera is pretty nice vacation footage.
Note2: what other cameras does this camera share the sensor with?
 
Last edited:
macgregor said:
This is truly impressive. I just got goosebumps when watching this demo. It´s the possibilities of such a system what amazes me.
If it truly is progresive (psf) this is the freaking most amazing camera i´ve seen in ages.
Huge sensor.
...
Note2: what other cameras does this camera share the sensor with?
Click to expand...

It shares the sensor with NEX3 and NEX5 of which I have NEX5 and I must say that this camera is absolutely great :) (except for manual exposure control in video mode)

These NEX cameras do record progressive put into 50/60i container.
Premiere for exaple sees this as progressive and there are no interlace artefacts, nothing.

One could download many many original NEX clips from Vimeo and analyze these to death to find any interlace problems. Again this 50/60i talk here is just plain ingnorant - these cameras are shooting 25/30p just the container is "i" if the new NEX is the same it will be of no problem.

I don't know of course if this new NEX vg10 is 25/30 switchable or just region dependent. No manual audio :(

Now if you pair this camera with all the legacy lenses for Leica bajonet mount...
My f1.1 gets a whole new life. Not to talk about PL mount adapters and lenses etc etc...

No fun with EF lens apertures :(

Great times ahead.

T

T
 
Hey Mac

I just downloaded the 1gb "original" sample file from Vimeo. Probably it has been through a few stages of compression, but it's 1080p at least.

It's awesome - true progressive, low noise, etc - except for DSLR-style softness and aliasing. Not quite as bad as 7D IMHO, but still nowhere near as sharp as a good HD camera like an EX1.

Agree - for YouTube it's more than enough, for sure.

Agree also - the possibilities of this system are amazing. Version 2 or 3 or whatever of this cam could be killer if they just keep improving the sensor and the scaling / encoding silicon incrementally (which they will - eg Moore's law plus we're just at the beginning of this large-sensor game - they haven't even bothered optimizing sensor and OLPF for HD yet!). I think this sensor is the same as in the NEX3 / NEX5 - eg generation ONE.

The idea of having this tiny cam with a massive sensor is really the right way to go and I love the understated light weight of it. You really see where the money went.

Let's face it - we're in a crazy sensor / chip development war right now - I don't fully understand the RED idea of putting everything in a militaristic heavy expensive case. OK, it won't break BUT on the other hand the sensor's still going to go out of date in a few years - give me two cheaper plastic-body cameras over one expensive heavy one any time given the same sensor and encoding chips :)

Bruce Allen
www.boacinema.com
 
Bruce, thanks for the report! This camera (along with the mirrorless still cameras) is groundbreaking, the start of a whole new roadmap for Sony.

bruceallen said:
It's awesome - true progressive, low noise, etc - except for DSLR-style softness and aliasing.
Click to expand...

The good news is that ProRes 422 from the uncompressed HDMI feed will help somewhat with the softness and aliasing, especially in areas of high detail that tend to turn to mud. Nevertheless, my plan is to downres the graded ProRes files to 1536x640, which is a 2.4:1 aspect ratio, and the same width Toy Story was rendered with. That'll be the "master", and I can upres to 2K for theatrical, write the master directly to film, or downres further to 720p for iTunes.

I expect the 1536x640 master will look quite good and remove most, if not all, of the softness and aliasing at that resolution.

(For those wondering, it's better to have a uniformly good image of lower resolution than a higher resolution image that is good in some areas, but soft or aliased in others. It's just how people's eyes work. The former, probably with some slight sharpening will be seen to be "really good" while the latter will be seen to have problems.)
 
I'm still holding high hopes for Nikon to come up with some interesting products as well; they may have seen Canon eating some of their lunch lately with the DSLR video buzz. They're anxious to gain DSLR market share, and they have no professional video division to hold them back. They've already announced a mirrorless product line at some point as well. It may not take on a videocam form factor, but who cares if it produces high quality video.
 
Compression doesn't cause aliasing, so I doubt it's going to help there. In fact, softening an image actually decreases the sharpness of the aliasing so if anything, aliasing and moire will be MORE prevalent in a sharper uncompressed image.
 
JMG100 said:
VG10 Technical Question:

According to some, you can grab 24p from the 60i stream once in your NLE. Is this possible?

http://www.nexvg10.info/
(go to 'Forums' tab)

Any answers are appreciated.
Click to expand...

The person who wrote that has a severe lack of understanding of CMOS sensors. He somehow thinks that AVCHD and 60i are going to solving rolling shutter problems, which have NOTHING to do with rolling shutter (ie, skew and jello).

I also don't get the assertion that 60i can be easily made into 24p. Yes, I understand that it's progressive 30p in a 60i container, but for 24p you have 6 extra frames you'd have to drop per second. For any sort of motion that's going to cause some juddering.
 
grimepoch said:
The person who wrote that has a severe lack of understanding of CMOS sensors. He somehow thinks that AVCHD and 60i are going to solving rolling shutter problems, which have NOTHING to do with rolling shutter (ie, skew and jello).

I also don't get the assertion that 60i can be easily made into 24p. Yes, I understand that it's progressive 30p in a 60i container, but for 24p you have 6 extra frames you'd have to drop per second. For any sort of motion that's going to cause some juddering.
Click to expand...

Gotcha, that makes sense- thanks.
 
sigamy said:
Sorry for repeating this question but how does this new Sony compare the to Panny HMC40?
Click to expand...
Pretty much in the same way that a pickup truck compares to a motorcycle. They're both vehicles, but on entirely opposite ends of the spectrum.

HMC40 is a professional camcorder with all the controls and features that that entails, including niceties like a waveform monitor built in, and a 3-year warranty from the Panasonic Broadcast division. It'll do 1080 at 24p, 30p, and 60i, and 720 at 24p, 30p, and 60p (which can be used for slow-mo) But it's a 1/4" chip with nearly infinite depth of field, and the lens is not interchangeable.

The Sony is a consumer model with none of the pro features at all. And it can't do the various frame sizes and frame rates either. And it will likely have the same moire/aliasing issues as DSLRs. But, it has a large sensor for shallow DOF, and interchangeable lenses.

Both are video cameras that can take stills, although I'd wager the video from the HMC40 is probably going to be better than the NEX, and the stills from the NEX are probably going to be better than the stills from the HMC40.
 
shaocaholica said:
Its half way through 2010, why should I have to deconstruct 60i into 24p from a $2k camera?
Click to expand...

Couldn't agree more. What I find interesting as well as the people who tell others to get over 24p and shoot with something else. I am all for leaving 60i in the camera if someone else wants to use that, I am not going to pass judgement on their preference. What I will pass judgement on is what *I* prefer. Clearly 24p is a lot easier to transfer than 30p :) It's less data! And I prefer to work in it.

It's just plain stupid for it not to be included as ANYONE with a computer and the internet can read the plethora of complaining people have done about MANY cameras that companies have gone back and added it with newer firmware OR a newer model.

And we complain because it's the ONLY way these companies are going to get the hint eventually.
 
shaocaholica said:
Its half way through 2010, why should I have to deconstruct 60i into 24p from a $2k camera?
Click to expand...

Well said, I agree!

On the other hand, I understand that Sony had to cripple it given it's consumer target group and pricing. What else could they have left out than framerate options? Sadly, this makes the camera kind of miscarried.
 
stip said:
Well said, I agree!

On the other hand, I understand that Sony had to cripple it given it's consumer target group and pricing. What else could they have left out than framerate options? Sadly, this makes the camera kind of miscarried.
Click to expand...

I guarantee you that Sony didn't leave out 24p because it costs more to have it... that's just simple programming (well it's simple for a team of engineers).

They left it out because they didn't want Gertrude with her handycam being able to produce more artistic footage than the TV station that just dropped $5 mil on XDCAM equipment (which she arguably could have).

I'm sure of that because I've sold equipment to TV stations in the past, and I know that Sony's professional division and their supply chain are harda$$ed mothers.
 
You must log in or register to reply here.
Back
Top