Sony Burano : a groundbreaking cinema camera

[kye]

10 hours ago, crevice said:

Most "YouTubers" only talked about specs, but none seemed to discuss or show real comparisons of how the actual A1 footage looks of compared to their other cameras, including the fx6/9.

That would have required work instead of waving it around, reading the spec sheet, and pontificating to camera!

[kye]

10 hours ago, OleB said:

So true! The better, yet even more perfect, the cameras are becoming, the less emotions can be felt in their footage. At least in my eyes. Personally, cinema is about diving into another world, which not necessarily resembles reality as close as possible.

I recently got organised and pulled a selection of sample footage from each of my cameras to develop colour grading looks and do experiments.  This includes the OG BMPCC and the BMMCC, Canon 500D with Magic Lantern as well as much more modern 4K cameras like the iPhone, XC10, GH5, GX85, GoPro and Sony X3000.  The footage from the modern 4K cameras look like video, and whatever I do to them is only small incremental improvements, but the BM footage looks like cinema camera footage straight out of the RAW tab and with literally no grades at all.

Something is seriously wrong when you can't grade GH5 or XC10 footage to look even remotely as good as ungraded footage from 2012.

[MrSMW]

6 hours ago, kye said:

Something is seriously wrong when you can't grade GH5 or XC10 footage to look even remotely as good as ungraded footage from 2012.

Logic says this should not be the case, but it does seem to be. At least in certain instances...

More on the stills side, but the first 2 Fuji X cameras, the original X100 and then the X Pro-1, produced the nicest files IMO.

There was something intangible about them that is difficult to define other than 'organic' and 'filmic'.

The cameras themselves were slow clunky though and with each new gen, that got better, but somehow the files worse.

There was a brief blip when it came good again, not 'as good', but better with the X Pro-2 and XH1, but then backwards again.

I left Fuji after the XT3 so can't comment further re. later Fuji cameras though views seem to be mixed.

Similar issues for me with S1H vs S5ii.

The S1H is supposed to be primarily a video-orientated camera with decent stills capability.

The S5ii, a hybrid.

The stills from the S1H are sublime.

The stills from the S5ii are a bit shite.

For my 17th wedding of the season a few weeks back, I thought I'd give my S5ii's a run out as my stills units instead of my S1H.

Same settings, same shooting style, same processing workflow.

Shite shite shite. What a mistake.

Is it the same sensor just with PDAF? I don't know, but I do know this and that is the S1H is in another league when it comes to stills compared with the more modern S5ii.

So was the S1R and that definitely had a different sensor and possibly the best one the full-frame Lumix's have had to date, photo and video.

I want to change my S1H because in order to use my lens of choice, the Leica 24-90, I have to use the battery grip and that means 2.8kg or in old money, about 6lbs.

I have been looking at all kinds of options but 2 contenders now rising to the top, especially after editing this S5ii shot wedding which I am doing right now, is the S1H and the S1R.

I might just get another S1H, ditch the grip, ditch the Leica 24-90 and instead run a pair of the things gripless and with the much smaller and lighter Sigma 28-70mm on one and the Sigma 105mm prime on the other.

OK, it means a pair rather than a single unit, but smaller and lighter units which have more range (I have the Sigma 16-28 also) and better in low light. And cheap as chips on the used market now, relative to their performance.

Or I could go back to S1R's, but despite the extra megapixels (desired), I much prefer shooting the S1H but did not care fir using the S1R despite it producing extremely fine results.

Most folks seem to prefer the video quality that came out of the original S5 over the S5ii.

I'm not sure about that one as I am getting better results from the S5ii, but that could be down to current technique and use case...

Which just goes to show that at least in my experience, newer stuff does not equal better and in some cases, just plain not as good.

[IronFilm]

2 hours ago, MrSMW said:

I want to change my S1H because in order to use my lens of choice, the Leica 24-90, I have to use the battery grip and that means 2.8kg or in old money, about 6lbs.

I have been looking at all kinds of options but 2 contenders now rising to the top, especially after editing this S5ii shot wedding which I am doing right now, is the S1H and the S1R.

I might just get another S1H, ditch the grip, ditch the Leica 24-90 and instead run a pair of the things gripless and with the much smaller and lighter Sigma 28-70mm on one and the Sigma 105mm prime on the other.

OK, it means a pair rather than a single unit, but smaller and lighter units which have more range (I have the Sigma 16-28 also) and better in low light. And cheap as chips on the used market now, relative to their performance.

It is a pity that the Tamron 20-40mm f/2.8 and Tamron 35-150mm f/2-2.8 are not available in L Mount. 

I wonder if it might ever come out in L Mount? 

As if you're looking for two lenses that cover the 24mm to 105mm ish range, then that might be an even better combo to consider??

[IronFilm]

  

2 hours ago, MrSMW said:

OK, it means a pair rather than a single unit, but smaller and lighter units which have more range (I have the Sigma 16-28 also) and better in low light. And cheap as chips on the used market now, relative to their performance.

Then again, perhaps that pair of lenses would be too bulky and heavy for your preferences 

[MrSMW]

15 minutes ago, IronFilm said:

I wonder if it might ever come out in L Mount?

Very unlikely though the Samyang equivalent of the 35-150 is supposed to be coming. The only thing about that lens is it is slightly bigger than the Tamron and suffers from awful lens creep.

[Malick]

Do guys think sony will charge $5000 for Open Gate license on Burano? ( its $5000 for unlocking open gate on Venice )

[Ilkka Nissila]

On 9/21/2023 at 10:04 PM, MrSMW said:

It makes perfect sense to me that ALL sensors today, other than that intended for cinema/TV should be square because then best of both worlds!

Just set up custom overlays on the screen and it's easy to see what is possible from any scene.

With my photography hat on, I'd MUCH prefer to shoot this way without having to continually rotate the camera physically, but see the projected result/cropping on the screen instead.

But how much would you be willing to pay extra for the larger sensor and lenses that cover it? After all, many lenses have masks that minimize flare but also limit the image coverage to a rectangle.  Let's say lenses for a square 36 mm times 36 mm sonsor would have 1/2 stop smaller apertures and 50% higher price as a result, and camera body would also be 50% more expensive. Flash sync speed would be 1/125 s and sensor read time 50% longer. Would you still want it, and would you expect that everyone would be fine with it so that mass production would be realistic and square sensors would replace rectangular ones all over the market?

[MrSMW]

I’m talking in ‘my ideal world’, rather than real life marketing/cost reality.

But I would spend ‘more’ for an upgraded version of a base spec camera.

For instance, my two gripes about the S5ii are the rear screen which is ‘OK’ and the sound and feel of the shutter button.

If Lumix were to offer a more premium version with updated rear LCD and shutter mech from the S1H, for +50%, I’d buy a pair of them.

If I could send my S1H in somewhere and have the sensor replaced with that of the one in the A7RV, I’d happily pay 2.5k

But re. the square sensor, all irrelevant if we use the height and not the length as the basis for the sensor dimension, such as chop your 8000 x 6000 sensor down to a 6000 x 6000.

I don’t care what the majority would like or think they would like because the majority don’t care or think about such things, but selfishly what I would like and that is a big fat square sensor to match the 1:1 crop mode some cameras already shoot in.

Kind of ties in a bit with @Andrew Reid latest musings on 8k sensors. I am very much considering a high megapixel FF or MF camera, mainly for my stills work, so I can set it in 1:1 crop mode, shoot everything err… landscape (or is it in a Christopher Nolan Tenet sense still landscape…) and then choose my crops and orientation in post.

Just my opinion however.

[Kino]

@Andrew Reid Burano has shipped with X-OCN LT. If Sony charges you $25K for the lowest quality 16-Bit codec, it means that you will never see that on any Sony mirrorless. The smaller bodies wouldn't be able to deal with the heat management involved in 16-Bit readout, processing, and recording for video. This is also a slap in the face for those shooters who were hoping to see X-OCN in the FX series, since that is also less likely to happen for several years. It is Sony's answer to REDCODE, although it doesn't violate RED's patents as it is not technically RAW.

[Davide DB]

 

[Davide DB]

42 minutes ago, Davide DB said:

 

 

the film (3 minutes)

 

 

[Marcio Kabke Pinheiro]

2 hours ago, Davide DB said:

 

the film (3 minutes)

 

 

Chivo is a monster, the 0:20 take with the horizon being a breaking wave was beautiful.

Bit I follow the guy on Instagram, he could make a great shot from a Galaxy S3.

[Davide DB]

The photography is very distinctive. Very documentary-like.

The underwater shots totally without contrast. It must be a stylistic choice but the underwater ones are unwatchable.

 The BBC sleeps soundly

 

 

[SRV1981]

 

[kye]

To compliment Geralds tech-but-not-filmmaker review, here's a filmmaker-but-not-tech review.

TLDR; he's also not so impressed, once you consider the price.