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Sony Venice – Full Frame Digital Cinematography Camera
- vortico 8y agoNice! I like this trend. It directly rivals the Canon C700 (https://www.usa.canon.com/internet/portal/us/home/explore/cinema-eos-c700-series https://www.usa.canon.com/internet/portal/us/home/explore/ci...) and Red DSMC2 (https://www.red.com/dsmc2 https://www.red.com/dsmc2). Is Panasonic next?
- dylan604 8y agoWhich trend are you referring? Cameras getting larger frame sensors? The form factor? Features? Panasonic has the VariCam line of cinema cameras: https://info.panasonic.com/varicam-cinema-cameras.html https://info.panasonic.com/varicam-cinema-cameras.html
- vortico 8y agoFull-frame sensors in cine cameras.
- deleted 8y ago[deleted]
- enb 8y agoThere was a comment here with details about the sensor and dual nature of the ISO. Why did it get deleted?
- sctb 8y agoUsers can delete comments within a certain time window if there aren't any replies.
- enb 8y agoIt's interesting that this $45000 camera has a high speeding rolling shutter CMOS sensor (rather than a global shutter). They're spiel claims to minimise the jello effect rather than eliminate it. Would have expected more at that price.
- KaiserPro 8y agoI've been out of the film world for about 5 years now, but from what I remember, RED's cameras are all rolling shutter. I suspect that this is the tradeoff for pixels of that size and speed on CMOS.
- phkahler 8y ago>> I suspect that this is the tradeoff for pixels of that size and speed on CMOS. Probably. I find it interesting that people in the film industry prioritize everything having to do with light (bit depth, color gamut, resolution) over spatial/temporal characteristics. Not saying it's the wrong choice, it's just interesting.
- dharmab 8y agoI guess you can hide temporal artifacts with camera work and editing, but poor lighting and color are harder to fix.
- rjplatte 8y agoThey're nigh-impossible, if the data isn't there.
- dylan604 8y agoExactly. Work within the limitations of the gear you are using. If you can’t do swish pans and other fast camera movements as a trade off to get higher resolution, higher bit depth, larger dynamic range, etc, then so be it. The one tell I see with the rolling shutter is light flashes where only part of the frame catches the flash. The next frame is then usually flipped as to which part of the frame caught the flash.
- dagmx 8y agoYou also need to account for the speed of the rolling shutter. Not all rolling shutters are equal and most modern cinema ones are fast enough for most use cases without artifacts. If it was egregious, people would definitely choose less artifacts over light performance. It's all compromises and we're just getting better at making those compromises smaller.
- ttoinou 8y agoRAW This ultimate 16-bit linear RAW format preserves all the information captured in 4K, with 16 times more tonal value than 12-bit RAW. I would be interested in real-world benchmarks by professionals not affiliated to a camera company about this. I myself have shot in RAW 12 bpc with Magic Lantern and was very impressed, I am wondering if going higher has advantages, for example less noises in the shadows
- Steve44 8y agoNikon DSLRs can use either 12 or 14 bit RAW and there is quite a lot of discussions regarding that. The consensus seems to be that for a well exposed picture you can't tell any difference, it's only in some heavily processed edge cases there may be an advantage. Remember it doesn't give a wider dynamic range, it just gives a greater number of graduations within that range. How the image is displayed also affects how it looks, but having a better source should give your less degradation during processing and display.
- Joeboy 8y agoI guess it means you still get 12-bit tonal range even if you're four stops underexposed.
- jacobush 8y agoNo, that's not it.
- KaiserPro 8y agoits more used for "fuckit fix it post". It allows the DI people to pull out/mix&match bits of the frame that would otherwise be lost to noise. Its also useful in VFX for things like matchmoving, as you can crank up the exposure so the tracker can grab onto something (again assuming low noise.) That's the theory, with RED it never delivered, being noisy and not very sensitive (see DoP/ set deisgner's mutterings in the hobbit.)
- KaiserPro 8y ago
- easytiger 8y agoI know near on nothing about cameras let alone pro grade equipment, but I just love the industrial design of these things.
- jacobush 8y agoIt reminds me of certain Super 8 cameras.
- franga2000 8y agoAm I reading this correctly? "Anamorphic license", "full-frame license"... This is insane! The camera already costs 45k and they want to sell firmware feature unlocks?
- dingo_bat 8y agoThat's pretty common in similar cameras like alexa.
- deleted 8y ago[deleted]
- coldtea 8y ago>This is insane! The camera already costs 45k You say that as if it costs too much. In fact, given what it does, and what analogous cinema cameras cost, this is a bargain.
- franga2000 8y ago> You say that as if it costs too much That's not what I meant. I am fully aware that this is a great value. What I was saying is that, given the price (and IMO regardless of the price), that kind of "feature unlock" model is ridiculous. The profit margins on this level of gear tend to already be very high. They do not need to charge even more, especially for what I assume are fairly trivial firmware differences.
- draw_down 8y agoGuess the market will decide how ridiculous it is. Ticketmaster and Comcast have been doing just fine for quite a while, you know.
- deleted 8y ago[deleted]
- dylan604 8y agoThis is standard MO for Sony. They make cameras capable of more features that must be purchased separately. However, Sony is not the only company to do this. It is much easier/cheaper to manufacture one thing that is capable of everything, but limit features based on locking them behind a software license.
- dylan604 8y agoDid I completely miss it, but I didn’t see anything about the record media type. Did they come out with yet another media format for this? The F55 used AXS cards, and were expensive. It would be right out of Sony’s playbook to come up with another media format. Would really love it if cameras could accept an M.2 form factor. They are fast enough while being significantly cheaper. Never have looked into the robustness of the chips on “professional” media formats. I always just assumed they can change so much because of the special form factor.
- deleted 8y ago[deleted]
- kevin_thibedeau 8y agoM.2 isn't designed for hot swap. It would have to engineered into a carrier that can provide the necessary electrical and mechanical interface to permit that.
- dylan604 8y agoLike a cover over the slot that closes and opens that has a switch connected? This is a pretty standard thing for media slots on cameras. For the Canon 5D series, it is even suggested to wait for the access light to flash once the door is opened before removing the media. The Canon C100 won't even acknowledge a card is present while the lid is open.
- kevin_thibedeau 8y agoThat is only to permit writes to complete. The removable media still won't be damaged by unexpected removal because it has been designed to accommodate that. M.2 has no such protections.
- kpil 8y agoWhy not simply unlock the hatch when the device is powered down using a simple electromechanical device like every laptop cdrom ever.