Other: Sony full frame unveiled, named "VENICE"

Donny 123 said:
I thought they would ..I should have taken some bets.. dont think that PL like E mount on the Fs7 was only for that camera ..
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The more I think about it, the more I look at it as a "two mount" camera. The PL more or less "bolts on" over top of the E-mount and doesn't appear to "lock in to it" or anything like that. In other words, the E-mount does not appear to be the base mount, like how the FZ is on the F3, 5 & 55. But then you can remove the PL and there's an E-mount underneath it.
 
Run&Gun said:
The more I think about it, the more I look at it as a "two mount" camera. The PL more or less "bolts on" over top of the E-mount and doesn't appear to "lock in to it" or anything like that. In other words, the E-mount does not appear to be the base mount, like how the FZ is on the F3, 5 & 55. But then you can remove the PL and there's an E-mount underneath it.
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Yeah seems its not an adapter .. its just underneath the PL.. not really sure its something I would to mess with in the field though.. but I guess if it works it works.. even though I thought they would make it multi mount.. have to say it is a bit odd to have an E mount on this camera that now we see it really is an f65 replacement .. its not really anything close to a doc/corp camera.. all main controls on the dumb side.. says it all really.. but it costs less than my digibeta did.. thats pretty amazing .. and for those with that type of work.. might see alot more DP,s buying them.. I would for sure.. its a steal..
 
Nate Weaver said:
One more thought before I pack it in:

Full frame modes on this camera will not come until Fall 2018. It's only really then that the real value proposition on this camera will be known. And even then, it takes months for people to try it out once its avail and get a handle on if it's a genuine improvement for dynamic range and noise or not.

So in the short term, it's a nice upgrade for jobs that would have gone F55. But not much else.

The entire reason we're wading off into the full frame world is the promise of better dynamic range and lower noise. And we won't even know where we stand on that with this camera for almost a year from now.
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Yeah, I can't really see it mustering much interest for at least another 12 months (when it can actually offer Vistavision and 4k full-height anamorphic recording).
 
Grug said:
Yeah, I can't really see it mustering much interest for at least another 12 months (when it can actually offer Vistavision and 4k full-height anamorphic recording).
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Yeah, it seems like a promising step/platform for Sony, but I think for many, the image would have to be better than the Alexa if the price point remains around the US$40k area they have suggested. After all, the Alexa with open-gate/RAW and high-speed license is about US$46k.

I'm still excited, hoping that the Venice will have nice color, 16bit RAW supersampled 4k, 12bit 4444 4k/2k ProRes/XAVC, Proper LUT for monitoring and baking-into proxies, and hopefully one day not needing the external recorder. So you know, I'm hopeful...haha
 
downloadable version of THE DIG https://www.dropbox.com/s/kamaj8er4rl6hxm/The dig shot on Sony Venice - hacked.mp4?dl=0

I agree with Nate, I'm surprised Sony would unveil a FF camera but only make it available with s35 when it ships. August for FF much to far way... what could possibly require that much lead time? I kinda of feel like this camera has too long a roadmap for anyone to really care. I hope I'm wrong, but what I really hope for is F35 mojo.

In THE DIG I definitely see halation on light sources, etc, but that could be filters, post, who knows. I doubt that there's going to be a single independent owner / operator to grab one of these - what do you guys think?
 
abreu-canedo said:
I think for many, the image would have to be better than the Alexa if the price point remains around the US$40k area they have suggested. After all, the Alexa with open-gate/RAW and high-speed license is about US$46k
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Don't forget you need $7k for R7, $4k for cards, $5k for OLED, and permanent FF and ana licenses are $12k.

This is $75k out the door and you provide your own batteries :beer:
 
starcentral said:
... I agree with Nate, I'm surprised Sony would unveil a FF camera but only make it available with s35 when it ships. August for FF much to far way... what could possibly require that much lead time? I kinda of feel like this camera has too long a roadmap for anyone to really care.
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It had to have been a strategic decision by the corporate to "release" the camera at this point without any deliveries for several months. They must know something that we don't (such as the competing products or pricing adjustments from ARRI, Panasonic, Red, Canon ... and naturally Black Magic Design).

PS. A side note, while the footage from "Venice" won't be made for the YouTubers, searching for "Venice" will invariably result in hits related to Venice, Italy, Venice Beach, CA, etc. They would have been better served to give it both the same and the model number.
 
The body is a nice size and shape. The buttons are very alexic.

Disappointments:
- proprietary codec to proprietary media. Would rather it have been CinemaDNG (lossless and lossy, like BlackMagic does) to CFX cards. Open standard + faster.
- rolling shutter. Odd considering the F55 already was global and so are several of Sony's industrial sensors. A camera seems incomplete to me as long as its frames lack integrity :)
 
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Donny 123 said:
Yeah seems its not an adapter .. its just underneath the PL.. not really sure its something I would to mess with in the field though.. but I guess if it works it works.. even though I thought they would make it multi mount.. have to say it is a bit odd to have an E mount on this camera that now we see it really is an f65 replacement .. its not really anything close to a doc/corp camera.. all main controls on the dumb side.. says it all really.. but it costs less than my digibeta did.. thats pretty amazing .. and for those with that type of work.. might see alot more DP,s buying them.. I would for sure.. its a steal..
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Yeah, it seems a little strange to me. By putting the main control panel on the assistant side, it definitely says "I'm aimed at the high-end production world", but the E-mount being there underneath the removable PL mount, the pictures of it with Sony still lenses on it and the price say it's do-able as an owner-op camera, too. A lot of us remember, not that long ago, that ~$45K for a camera was actually not bad, especially when 790 Digi Betas(SD!)* and F900's were six figures.

*Had a friend who bought a 790 brand spanking new from Sony. Probably one of the worst mistakes he ever made.
 
starcentral said:
I agree with Nate, I'm surprised Sony would unveil a FF camera but only make it available with s35 when it ships. August for FF much to far way... what could possibly require that much lead time?
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This is exactly what happened with the 55. The night after the (identical to last night) Culver debut (on 10/30/2012), I put in my deposit at Abel. They said at the time: LUTs, 240 @2K, RAW, 60 @4K RAW.

When the camera shipped, and I did not know it until about a few days before I got my camera in Feb 2013 (I believe it was the 10th body Abel had delivered), that I was limited to 30fps, there was no 240, and there were no LUTs. I was not happy. Some of it came in V2 firmware towards the end of summer, LUTs had to wait until V3 I think which was spring 2014 I think.

So thankfully this time they are saying up front with asterisks what you're going to have to wait for. Which is a bunch.
 
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starcentral said:
I agree with Nate, I'm surprised Sony would unveil a FF camera but only make it available with s35 when it ships. August for FF much to far way... what could possibly require that much lead time? I kinda of feel like this camera has too long a roadmap for anyone to really care. I hope I'm wrong, but what I really hope for is F35 mojo.
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Yes me too. But I have to say I didn't really see it in The Dig. It looks way better than the F55 and F65 though. It never looks like video, which these 2 sometimes do. But I didn't see F35 mojo in there. But it's only one film.

But it does look very, very good. Organic in ways I never saw from the FS7, F5, F55 or F65. Although we are looking at a 720p file. Maybe the softness of the lower resolution is helping. They should have released at least a 1080p file. This very compressed file is not doing them any favors either.

But so far I'm liking what I'm seeing.
 
Nate Weaver said:
Here here. I have no idea why people want so many pixels; in my experience only a few types of work really need them. You give a director and editor too many pixels and they start reframing your shots. It’s not fun.
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Aside from reframing it's really tough on the talent. Unless you're a 16 year old virgin, no one has skin that holds up to such scrutiny and there's a severe shortage of virgins in Hollywood.... Costumes, props and sets have to be build to higher standards at greater costs.

Arri spent a lot of time tuning the OLPF in the A65 to ensure that the camera produces an image that is sharp, but not unpleasantly sharp.

There really is a limit to how many pixels you need and I'm glad that Sony stopped at 6k.


I know it’s tiresome to hear how LA does it, but that’s been going on here now for almost two years. If you have a rehoused set of Cooke Panchros or Baltars you’re printing money. No joke.
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Yep. I have a set of Super Baltars that I got about 20 years ago, when people were tossing them in the trash, that will have to be pried from my cold dead hands. They were great on film and are even better on digital.
 
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