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  1. Today
  2. I’m looking to shoot a short film this month and director and I are keen on 6k 3:2 full frame open gate format using the raw recorder (with mamiya 645 lenses and kipon speedbooster for some poor mans imax) but wondering if this can also be recorded as a proxy to the SxS cards and is that still retain the 3:2 aspect and at 4k prores or xavc? Be some time before I can get my hands on Venice to test and keen to figure that out sooner. Cheers for any help.
  3. Earlier
  4. Thank you for introducing the Burano. I have a few Enhancement requests: X-OCN ST and XT implemented. 8.6K 60 fps. Larger 2000nit monitor (5.5"?) Tri-band AX Wireless so apps can control camera including Focus Point. Full frame Open Gate. Best wishes and regards, DrOmalpalli
  5. The downside to baking in LUTs is they will only be 33x33x33 versions. Or possibly only 1x1x1. So banding etc may occur. Other than that, there is no reason it shouldn't work. Especially as you can now use LUTs in Custom mode on the FX6.
  6. I agree with 1 (and 4). It’s madness if Catalyst still doesn’t support their flagship camera. The disconnect between Sony Japan and Sony Creative Software is bizarre. It’s been this way for years. Sony have made great steps in bringing better unity to their cameras with the Cinema Line concept, but unity with their software is a long way off. Catalyst, RAW Viewer, Imaging Edge, Content Browser Mobile, Creator’s App, Creator’s Cloud, Ci, C3 Portal, Media Backbone Navigator/Hive… …it’s a confusing mess with inconsistent design styles, inconsistent compatibility, and weird overlaps.
  7. Can anyone please point me in the direction (or share with me) a technical drawing of the VMC-BNCM1 timecode adaptor for the FX3/FX30? Looking to create an accessory in CAD, so would be helpful to have original/official measurements to work with. Thanks!
  8. X-OCN is barely supported by Sony. Catalyst browse does not support Sony Venice 2 X-OCN. Purchased the $20k extension system 2 in the hopes of using the gyro data for stabilization? Well Sony doesn't care -> no support for reading the files in their own software. Want to adjust the raw settings in your NLE? Resolve supports it...and that's it. Premiere can read the files but without metadata raw adjustments. There is no way to use the files in FCP. Sony doesn't care about supporting their top-end users beyond milking them for every penny they can (see: AxS66 capacity: cost ratio; Venice licensing, et al.).
  9. Thank you for sharing this. It's disappointing that the Venice 2 is too weak to generate proxies unlike every other Sony camera. It doesn't help that Sony barely supports X-OCN. Since you wrote this, how did it work out for you?
  10. I just bought a DXC M3A at a thrift shop, and was going to try to get it into a usable/mobile state. I was wondering if you could give some insight on sourcing different parts I need such as wires or cables
  11. It's remarkable how far the tech has come in just a few years. You can control and monitor the ActionCam using the Imaging Edge Mobile app. The accessory monitor was a neat idea but I never got my hands on one. The small form factor lives on with the Sony RX-0. Designed for production with heavy metal chassis, monitor on the back, LOTS of mounting options, and lots of control options including ethernet. It's really remarkable what all this little camera can do.
  12. The original FS7 had a 15mm rod for the LCD. The square rod is there to prevent the LCD + loupe from drooping to the side and users potentially mistaking if the horizon if off. The square rod makes it basically impossible to make that mistake now.
  13. We're so happy you're here! Our Cine community takes advantage of the login & profiles that we already have built on our sibling site AlphaUniverse. This does add a little extra time to the login process but also makes it possible for users to have the same login on both sites & communities. It's actually been a great thing as users with more cinema specific questions can find answers here for topics like S-LOG and Dual ISO. As the SonyCine community grows we look forward to being able to develop new features and improve the overall experience, and this is one of the tech areas we hope to improve upon.
  14. Hello, I’ve downloaded some .art files from the Sony website. I loaded it onto an SD card. The camera sees the files but upon trying to upload to the camera I get an error saying NG. Any ideas on why? Fix? Thanks!
  15. Sometimes I hear people say that Sony's XAVC-I codec isn't good enough for shooting LOG and that they prefer recording Apple's ProRes codec with an external recorder. Using an external recorder for this reason always seemed like a huge waste of time and effort to me, but I'd never done a comparison between the two. So I decided to do some tests between XAVC-I and the HQ version of ProRes. XAVC-I @ 24 fps records at 240 Mbps while ProResHQ is over 700 Mbps. That means that (all other things being equal) a ProResHQ file will be 3x larger than the XAVC-I version. In other words, you can get 3x more footage on a memory card when you shoot XAVC-I. But do you pay a penalty in image quality when using XAVC-I? To answer that question, I decided to shoot a few test shots with my FX6 to see how the two codecs compared. I recorded XAVC-I internally onboard the camera while simultaneously recording the camera's 10-bit output via HDMI to a Blackmagic 5" Video Assist. In these split-screen tests, the XAVC-I version is on one side of the screen . . . and the ProResHQ version is on the other. Both were shot with the exact same camera settings (S-LOG3) and have had the same grading applied in post. Only very minor adjustments have been made in Resolve to fine-tune and match the Lift/Gamma/Gain. Can you tell which is which?
  16. Sometimes I hear people say that Sony's revolutionary Electronic Neutral Density Filter (found on the FX6, FX9, Z280, etc.) affects the picture quality and isn't as good as using a traditional glass ND filter. So I decided to shoot a few test shots with my FX6 to see if that was true or not. In these split-screen tests, the Variable ND Filter (set to 1/8 ND) is on one side of the screen . . . and a very good Tiffen .9 ND filter (3-stops) is on the other. Both were shot with the exact same camera settings (S-LOG3) and only very minor adjustments have been made in Resolve to fine-tune and match the exposures. Having the white card in the shot helped me match exposures and check for white balance variations -- there were none Can you tell which is which?
  17. Yes this is a must but i don't think they all this for FX line. Sony is selling FF license for Venice line and its around $5000 :)
  18. I recently had the pleasure of shooting for two days in NYC. I can't tell you why yet but we'll soon all find out. Belive it or not, this was my rig and yes, it worked like a charm. I can't wait to share frames and footage from what I captured with this bad boy. The FX6 is such a powerful little camera. The lens is the Leica R 15mm f3.5.
  19. I am continually impressed by the FX6 and love the combination I get with vintage lenses especially this wild Leica R 15mm f2.8. I wanted to share these frames below. The second stack of three frames was taken using the Leica R 28m f2.8. When shooting the FX6 one of my priorities is to protect the highlights and not clip. As long as I do that, all is well. I am really happy with the images and look I am getting out of the camera and can't wait to keep creating!
  20. @DougJensen haha thank you Doug. Back at you!
  21. Dear community ; i am not able to activate raw recording on my FX9. both my camera and attachment are with in the latest Firmware: PXW-FX9 V4.02 / XDCA-FX9 V2.20 I use CINE EI have the raw module XDCA attached my shogun 7 is attached with a 12 G SDI cable SDI in 1 and the raw output of the XDCA-FX9 the raw options codec are visible but greyed out and not selectable.
  22. Curious, what internal camera settings are you using to display anamorphic, since I think the 1.5 is in between the anamorphic options of 2x and 1.3x
  23. I got to get an early look at the new Atlas Mercury lenses including the prototype 54mm - all shot on the Sony FX6. Below are frames from the 72mm and 36mm. Nothing but good things to say about the lenses so far! So stoked on what we got. Film to come! Let me know if you have any questions.
  24. Hi Alister. I’ve been following you since the FS5 and Shogun Inferno and love using your amazing Venice lut for slog 2. That’s said, I am planning on taking back the fx30 today. Aside from the extra noise when using 120, I still feel that it produces significant noise when shooting indoors with adequate lighting on 4KS-I and ProRes Raw at 24 frames. I feel that the FS5 produces a much cleaner and less noisy image than the Fx30 indoors using the same lighting. Only difference is I’m shooting fs5 w/shogun inferno in slog2 and fx30 w/Atomos ninja V+ in slog 3. I bought the fx30 to be a direct upgrade from the FS5. Aside from all the bells and whistles that the fx30 brags about with a 6K sensor 16bit down to 4.7K 12bit, I didn’t expect my image quality to be better on the FS5. Are you having the same results or are you achieving a better image quality on the fx30 than on the fs5? Thank you for your time.
  25. I recently got the new GM ii version of the 24-70mm f2.8. I can't say enough good things about its size, weight, build quality, and image but I think there is an auto focus issue on the FX cameras and not on the Alpha cameras. I saw some other reports of this - that is where I first heard about it. It's a real bummer and hopefully fixed on the next FX firmware update. The newest and best workhorse zoom not working properly on the FX6? Doesn't make sense. Can anyone else confirm or deny? Thanks!
  26. Verrry interesting and I am glad I know this now and not on set the first time I try this. Thank you!
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