Sony Cinema Line & FX6

Btw does anyone know if you can record RAW from the A7SIII to the shogun (or whatever recorder it is that takes raw from the fx6)? Or is the ninja v the only one that can record RAW from A7SIII while the shogun is the only one to record RAW from fx6?
 
morgan_moore said:
Its not just wildlife, you could be hanging out with a politician who starts going on about grabbing pussy, race car crashes, many many situations.

Its the same with primes/zooms - none of us like zooms but know they are needed when doing real live jobs.

Wedding
Car arrives - wide scenic (24FF)
Bride exits car - 135FF (ideally S+Q)
Run into church disengage ND (no messing with screw on filters)
135 on door - bride enters
24 wide scenic as bride walks up aisle

You can do this live sequence without a zoom and proper ND
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Well as I recall, access hollywood was rolling continuously. They didn't use cache record to capture that comment. And I guess that I've always rolled continuously for stuff I'm waiting for but haven't done nascar or nat geo type stuff

I think the discussion about zooms is a joke, or at least became one. But I have shot wedding situations like that with a 50mm equivalent on gimbal and vari ND filter. zoom with your feet, pick your moment to twist the filter. You lose some speed and framings against a zoom but it can be done. but would i still shoot it that way with the kit i have now...not sure
 
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The Shogun 7 doesn't have any ProRes RAW support via HDMI last I checked (I think some are annoyed about this).
 
I watched the first one, a bit long winded but some good points. I never realized that stuff about film makers. Tragic.

James0b57 said:
https://www.youtube.com/watch?v=Cz2yaYefyik

*disclaimer, he's a "vlogger", I just laughed at his comments about film makers, and his take on this camera.


But in case this was too anti FX^, here is a whole distillation of the internets hate for Canon in a lulling likely drug induced monologue expressing bitter disappointment for Canon:
https://www.youtube.com/watch?v=4cBIccL7pfg
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markoconnell said:
I watched the first one, a bit long winded but some good points. I never realized that stuff about film makers. Tragic.
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Haha, yeah ,he is kind of an idiot, but I think he reads and looks at internet camera culture a lot, so, despite being long winded, you can glean a months worth of internet reviews in one of his videos.

Where he is intelligent is in his delivery, he has found his own hammer that he keeps hitting away at. The over cocky idiot who thinks they're smarter than everyone else is kind of a trope in comedy. I am a bit of a sucker for it. Probably because it is a parody of my own behavior, haha.
 
Teddy_Dem said:
Not a short film, but this short fashion spec was shot on the Sony FX6 with a Petzval 58mm lens rehoused by TLS:
https://vimeo.com/479432443

Behind the scenes:
https://www.youtube.com/watch?v=WDduUSQ-Prg&t=524s
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The Sony 'mojo' has the gold look. More brownish gold in their higher end, and then gradually gets more yellow from FX9, FX6, and then the fake cine tone on the A7s3.

That said, it is a look, especially on the FX6, and I still quite like it, for what it is.
 
I’m not sure what all the hype is about when the image quality literally looks like the A7S3 — and that cam is half the price.. Not trying to argue, or start anything - I’m genuinely confused. All this hype makes me feel like I should preorder this camera (I was in the middle of buying a FX9 when this was announced and backed off when so many people started calling the FX9 a dead camera) but I’m just not thrilled at the fact that I’d be getting a camera with an image that my two A7S3 cams already can already produce - and I believe Gerald Undone said the A7S3 image looks better.

To me the FX9 footage I’m seeing still looks much more pleasing than the tests I’ve seen so far with the FX6.

Would love to know why so many are dropping everything to preorder this cam.
 
1027Films said:
I’m not sure what all the hype is about when the image quality literally looks like the A7S3 — and that cam is half the price.. Not trying to argue, or start anything - I’m genuinely confused. All this hype makes me feel like I should preorder this camera (I was in the middle of buying a FX9 when this was announced and backed off when so many people started calling the FX9 a dead camera) but I’m just not thrilled at the fact that I’d be getting a camera with an image that my two A7S3 cams already can already produce - and I believe Gerald Undone said the A7S3 image looks better.

To me the FX9 footage I’m seeing still looks much more pleasing than the tests I’ve seen so far with the FX6.

Would love to know why so many are dropping everything to preorder this cam.
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Because the A7S3 doesn’t have internal in the filters, a true S cine tone color profile, or BNC For video and timcode
In out and some video people prefer the sensor in box shape.
 
James0b57 said:
The Sony 'mojo' has the gold look. More brownish gold in their higher end, and then gradually gets more yellow from FX9, FX6, and then the fake cine tone on the A7s3.

That said, it is a look, especially on the FX6, and I still quite like it, for what it is.
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Maybe it's because I worship at the feet of Delbonnel and Storaro a little too strongly, but I'm finding myself really, really taken by the new Sony colours. S709 pushes reds down and makes them a little darker and richer (much like Kodak's vision stocks), it doesn't let greens go nuclear (as the Sonys used to be want to) and its golden skintones just make everyone look great.

I'm actually wondering if maybe Storaro's feedback played a big part in where Sony have taken things with the Venice onwards? He was one of the few, vocal advocates for the F65, and I could certainly see his preference for golden tones making their way to the top brass in Japan.
 
Grug said:
Maybe it's because I worship at the feet of Delbonnel and Storaro a little too strongly, but I'm finding myself really, really taken by the new Sony colours. S709 pushes reds down and makes them a little darker and richer (much like Kodak's vision stocks), it doesn't let greens go nuclear (as the Sonys used to be want to) and its golden skintones just make everyone look great.

I'm actually wondering if maybe Storaro's feedback played a big part in where Sony have taken things with the Venice onwards? He was one of the few, vocal advocates for the F65, and I could certainly see his preference for golden tones making their way to the top brass in Japan.
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Ha! I never thought about it, but you may be right about the Storaro influence. His digital work does lean into the yellows. But his work generally embraces the whole rainbow.


Here what he does with the F65:
https://www.youtube.com/watch?v=Rl4X6pFfmTI

https://www.youtube.com/watch?v=Vya-2ncEmuw
 
Other examples of the Venice against other cameras are in the show "The Boys" Where the first season was RED and the 2nd season was Venice, and the other show is "The Crown" where the first couple seasons were the F55 and the last Season was Venice. In both cases, I am inclined to think the Venice improved the image quality for both shows overall.

The Boys Season 1 (RED):
https://www.youtube.com/watch?v=06rueu_fh30

The Boys Season 2 (Venice):
https://www.youtube.com/watch?v=MN8fFM1ZdWo

The Crown Season 3 (F55):
https://www.youtube.com/watch?v=K_TE8yi58S8

The Crown Season 4 (Venice):
https://www.youtube.com/watch?v=OiXEpminPms

It seems real easy to push the new Sony colour science around and either enhance or neutralize the 'mojo' aspect. The Venice is Sony's best camera ever, literally. However, by the time this colour science mojo has trickled its way down to the A7s3 and Fs5 or Fx6, it gets a little funky look, but still rather nice. And at times I rather like it. But the Venice is completely in its own league amongst the Cinealta cameras.
 
1027Films said:
I’m not sure what all the hype is about when the image quality literally looks like the A7S3 — and that cam is half the price.. Not trying to argue, or start anything - I’m genuinely confused. All this hype makes me feel like I should preorder this camera (I was in the middle of buying a FX9 when this was announced and backed off when so many people started calling the FX9 a dead camera) but I’m just not thrilled at the fact that I’d be getting a camera with an image that my two A7S3 cams already can already produce - and I believe Gerald Undone said the A7S3 image looks better.

To me the FX9 footage I’m seeing still looks much more pleasing than the tests I’ve seen so far with the FX6.

Would love to know why so many are dropping everything to preorder this cam.
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Not to mention having active cooling. At a bare minimum, that will probably give you marginally cleaner high ISOs.

My A7S3 threw its first temperature warning today, after I shot for a few hours straight with wifi smartphone control. I inferred that the smartphone connection was the problem and after I shut it down, the warning went away. But the remote control had been super convenient.

Of course, I prefer the A7S3 form factor on my Ronin-S, it has IBIS, and it has touch tracking. Samyang 18 autofocus totally smoked my 30-minute lagstream gallery walkthrough today
 
Grug said:
Maybe it's because I worship at the feet of Delbonnel and Storaro a little too strongly, but I'm finding myself really, really taken by the new Sony colours. S709 pushes reds down and makes them a little darker and richer (much like Kodak's vision stocks), it doesn't let greens go nuclear (as the Sonys used to be want to) and its golden skintones just make everyone look great.

I'm actually wondering if maybe Storaro's feedback played a big part in where Sony have taken things with the Venice onwards? He was one of the few, vocal advocates for the F65, and I could certainly see his preference for golden tones making their way to the top brass in Japan.
Click to expand...

I have a pre-order in place, and I do love the colors and no question about the specs and feature set for the price. My hesitation after seeing the initial samples out so far is about the lack of texture, or what looks like too much noise reduction. I know you can dial the NR way down/turn it off, but I'm not sure what setting is being used in all of the footage that we are seeing. ALL of it looks like someone used too much Neat Video on it. Everything is smoothed over to a degree that looks plasticky to my eyes. I really want to get past that, because I'm really liking the colors and the DR is looking great too, but I do want to see some footage come out of it with more texture.
 
ozmorphasis said:
My hesitation after seeing the initial samples out so far is about the lack of texture, or what looks like too much noise reduction. I know you can dial the NR way down/turn it off, but I'm not sure what setting is being used in all of the footage that we are seeing. ALL of it looks like someone used too much Neat Video on it.
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I think you’re just seeing evidence of the FX6’s high signal-to-noise ratio. It has maybe the most efficient sensor of its size ever made. And that size is big. There just won’t be much noise in the image until you get to silly-high ISO settings. So it’s not noise-reduction on display but negligible noise to begin with. Fake it in post?

The α7S III, in contrast, enforces more noise-reduction than is always desirable. Bloom’s review of the FX6 has a few comparisons.
 
ozmorphasis said:
I have a pre-order in place, and I do love the colors and no question about the specs and feature set for the price. My hesitation after seeing the initial samples out so far is about the lack of texture, or what looks like too much noise reduction. I know you can dial the NR way down/turn it off, but I'm not sure what setting is being used in all of the footage that we are seeing. ALL of it looks like someone used too much Neat Video on it. Everything is smoothed over to a degree that looks plasticky to my eyes. I really want to get past that, because I'm really liking the colors and the DR is looking great too, but I do want to see some footage come out of it with more texture.
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I'd be wary of judging anything too deeply through the horrors Youtube compression.

Even Sony's direct launch video footage looked pretty horrible (oversharpened to buggery), but it's highly unlikely that the camera's base settings are responsible for that. I'm sure that (just like with every other camera) once you turn off all of the noise reduction, and all of the sharpening settings, you'll get a normal image from the sensor.
 
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