Venice 8K X-OCN test files

I downloaded a couple of them recently but haven't had much of a chance to play around with them. Not surprisingly, they do seem pretty fantastic in the grade. Also I was pleasantly surprised at how well they played back in Resolve on my M1 MBP, but I'm not sure if that's a testament to the files themselves or the M1.
 
drboffa said:
Also I was pleasantly surprised at how well they played back in Resolve on my M1 MBP, but I'm not sure if that's a testament to the files themselves or the M1.
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A bit of both, probably. I was surprised at how well they played back in real time on a PC running at 5 GHz on SSDs. Running an 11 GB GPU. Quite surprised, actually. And yes, they grade really well.

Chris Young
 
cyvideo said:
Anyone had a play with the Venice 2 8K Prores 4444 and X-OCN files that were put up? I will say they are a delight to grade in Resolve. It's the first time I've had the opportunity to look at 8K Venice 2 files. Anyone want to try them out? The link is below with another link on how to work with them.

https://www.newsshooter.com/2023/04/...cn-test-files/

https://www.newsshooter.com/2023/05/09/sony-x-ocn-explained/

Chris Young
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Hello everyone,

Yes. I have downloaded Sony Venice footage X-OCN XT, ST, and ProRes.
I’m testing the footage in Davinci Resolve Studio 16—the later version.
Resolve playback back is delighted.

The only anomaly I have found is that some clips using the same format (except the resolution 4K and 6.K ) are clipped in the highlights.
For example, using the same color management settings, clips A005C024, A005C045, XT, and ST, respectively, are clipped. Respectively, different takes of the same shot clips, A005C020 and A005C022, in the same formats, are playing back without the highlights being clipped.

MacOS Catalina
Color Management Settings
- Color Science: Davinci YRGB Color Managed
- Input Color Space: Bypass. Except for the ProRes codec, I’m using the Sony Color Space Transform at the node level,
- Camera RAW: As Project, Clip, and As Shot
- HDR10: ST2100/2084
- Limited Output Gamut limited: P3-D65
- Max. Timeline Luminance: 10000 nits.
 
Willian Aleman said:
Hello everyone,

Yes. I have downloaded Sony Venice footage X-OCN XT, ST, and ProRes.
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It's been a few months now. I recall a few odd issues but can't recall what they were.

Interestingly watching Goldman's work on season 6 of "The Crown", shot on the Venice II doesn't look immensely different to his earlier Crown work on the F55. Shows I think how good the old F55 was at the time, in spite of some of its downsides operationally.

Chris Young
 
I didn't say anything about F55 or Venice. Doesn't matter to me what it was shot on. The Crown is consistently perfect in execution.
 
stewhem said:
In terms of production values, it's excellent. In terms of script decisions, not so. Getting heavy criticism in the UK, FWIW.
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Like most "doco" depictions. If all the characters and most of their offspring are dead and gone, then not too much controversy and blowback. The closer to the living you get in your depictions the more flack you run into as you are now dealing with living memory and people who most likely know how much veracity there is in the tale being told. One history doco series I worked on started to come under much tougher scrutiny from legal when we started on the post WWII material because we still had retired military and political folk alive who may take offense if we got it wrong. Agreed, Tom. I do like the crown. Technically well done and aesthetically pleasing to my old jaded eyes. :)

Chris Young
 
Tom Roper said:
I didn't say anything about F55 or Venice. Doesn't matter to me what it was shot on. The Crown is consistently perfect in execution.
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Hi Tom,
Since your original post was not specific to the writing, production, or postproduction aspects, and previously, the thread mentioned the Crow associated with the Sony F55, It was my assumption you were referring to the technical camera aspect. My apologies for quoting you wrongly.


Best regards.
 
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Regarding the technical and aesthetic production values, and besides, the Venice is a full-frame sensor, and the F55 a super 35, jumping from episode to episode between seasons 1 to 3 and further, those seasons shot on the Venice; the main differences I can see are a softer, less videoish, and less saturated images, which to me, benefits a better more natural skin tone.
But this can be attributed -as the cinematographer, Goldman has said on American Cinematographer magazine interview on June 16, 2020:

"in Seasons 3 and 4, for instance — we can finally embrace modern architecture, furniture and design. Our two worlds are now very separate — we have the royal-family side of the story, and then the political side. [And we also] have the U.K. in the 1960s and ’70s, and that culture — you know, the Beatles, et cetera. And in Season 4, we introduce Margaret Thatcher and young Diana. So now we have two amazing characters [who add] to all of those layers.” Somewhere in the article, he said they went for a less saturated image.

A similar treatment was used in Marco Polo seasons 1 and 2, shot on Sony F55. Progressively, they went for a less saturated image to the point that it looked like they used a different camera.
Marco Polo, The Crow, and Game of Thrones (the latter until season 6 because of the bad writing in the following episodes.) are my favorite period series.

I recently rewatched Marco Polo and finished The Crow, season 6, for educational purposes. A great learning experience from all angles of both productions.

My favorite quote in this article is: “I don’t think good cinematography can save a bad script.”
https://theasc.com/articles/regal-dr...l%20thus%20far.
 
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