Other: Sony full frame unveiled, named "VENICE"

abreu-canedo said:
I too don't mind the 500EI base so much.

Plus, I can see a lot of people renting the Venice on a low budget project, renting the T1.5 Sigma cinema primes with Canon mount, throwing a speed-booster on it, and shooting S-35 mode 4K for 2K DCP finish. I'm curious to see how the new gamma curve will distribute bit depth across that stated 9 stops below mid.
Click to expand...

500 ISO is fine for so many things. Any outdoor daytime shooting is made easier, plus most people shoot with much faster lenses than in the past so 500 is much less of an issue. On a lot of the features I've worked on we've had ND in the camera for the entire day (the DP also shoots everything a 1.4 on Master Primes).
 
Donny 123 said:
I guess it must come down to optical quality .. for the very high end maybe the Vari ND doesn't actually standup to investigation.. but I agree its a fanatic feature and I wish I had it on an F5..
Click to expand...

That's my guess too. I would think optical NDs are of better quality.
 
DLD said:
It's on YouTube now (in 720p only, however).

Click to expand...

I must say though. Sony has considerably raised the bar for demos. Big name director, big name DP, well known cast and production values of a Hollywood film. It's also a short film which is the right demo for a cinema camera. Not random shots as most demos. Random shots of people in parks, landscapes, water falls, animals, slow motion bore galore, people doing random stuff or working on something, you know the usual camera demo was always boring and underwhelming. But after this it will look even worse.
 
morgan_moore said:
500 ISO at 15 stops DR =

1000 ISO at 14 Stops DR

2000 ISO at 13 Stops DR

4000 ISO at 12 Stops DR

8000 ISO at 11 Stops DR

16000 ISO at 10 stops DR.
Click to expand...


No rather you would shift DR from bottom to top. Rate it 2000 and you would have 7 stops below and 8 stops above middle grey which sounds ideal to me on a sunny day. Then rate it 500 interior etc and you get clean and long blacks. In theory that is.
 
morgan_moore said:
500 ISO at 15 stops DR =

1000 ISO at 14 Stops DR

2000 ISO at 13 Stops DR

4000 ISO at 12 Stops DR

8000 ISO at 11 Stops DR

16000 ISO at 10 stops DR.
Click to expand...

In EI /Slog mode the DR will stay the same.. thats built into the sensor.. you would be shifting your grey level up or down..
 
Of course but with that much DR one should be able to have ones whites at 4-5 stops below clip and still make goodness from a 10stop scene.

Being realistic I would suggest that 3200 would be very usable.

S
 
morgan_moore said:
Of course but with that much DR one should be able to have ones whites at 4-5 stops below clip and still make goodness from a 10stop scene.

Being realistic I would suggest that 3200 would be very usable.

S
Click to expand...

Agreed sir.. Im sure this 500 ISO can be pushed alot higher .. very least 1000 would make no difference..
 
macgregor said:
I'm not a fan of Sony's RAW workflow. Too slow.
Click to expand...

I'm still hoping to get a reply to my request for more information on this statement. In what way is Sony's RAW workflow slower than other cameras? I'd really like to know because I haven't worked RAW from other cameras.
 
Pardon my ignorance, but what in the world is a permanent full frame license? The software / firmware that runs it?
 
Doug Jensen said:
I shoot F55 RAW almost every day. What do you find slow about it? I haven't shot RAW on other brands of camera so I cannot compare, but I find it hard to imagine what could be faster than F55 RAW. I transfer to an SSD and begin grading in Resolve immediately. Rendering is about 15-30 fps out of Resolve, depending on the complexity of the grade. What is faster about RAW from other cameras?
Click to expand...

I think there are two issues?

1) the F65 was Grim upon release with its IP based card reader

2) While (afaik) you 'shoot/edit/deliver' getting a nice roundtrip workflow dailies, editor, colourist might be a little more complex - but AFAIK no more complex than C200, Red or whatever?

Clearly the way is simple.. (but beyond most manufacturers)
1) lutted (or not) proxies proRes in 720 or greater
2) raw files (meta data and chosen lut/EI stored and readable)
3) same file names

in and expensive camera..

4) option to burn TC/Filename to proxy and also present greyed out aspect ?
5) 4:3 proxy with that at bottom and meta data?
6) GPS/Accelerometer and lens data for interacting with the VFX world.
 
Last edited:
karma17 said:
Pardon my ignorance, but what in the world is a permanent full frame license? The software / firmware that runs it?
Click to expand...

You can "RENT" the full frame or anamorphic function on the camera for a limited time, similar to how some external recorders provided codec for a limited time basis, or you can buy it permanently for the Venice. $6K for full frame, and $4K for anamorphic. These prices are estimates only, there is no word on final pricing yet.
 
Renting.. Personally Im not a fan - we know the capability is there and can just be switched on..

Paying for future work by the development team .. let us say the FS7 offered 500FPS on a new firmware.. Id pay to cover the expenses of the new work done.
 
Renting isn't great, knowing that the feature is there.. but to include all features means a bigger initial price tag. As much as I agree and I hate renting too, this is the right way to go.

I heard that Venice will include ProRes as well, without any extra cost. So Sony is definitely king of doing weird things.
 
You must log in or register to reply here.
Back
Top