videosoul

Interesting! That's quite a major fault. I'm amazed that passed quality-control. Hopefully a straightforward repair.

I would definitely be interested in hearing the outcome of this! Good luck.

Sorry I don't personally have a recommendation. What country are you in?

That's very unusual! Have you reported this directly to Sony or your dealer?

That sounds similar to the veiling flare / purple grid issue that affected some F5/55 cameras.

Well well well... Catalyst Browse/Prepare 2024 versions have just been released with Apple Silicon support. BUT THEY STILL CAN'T PLAY VENICE 2 X-OCN 8K files! Madness.

I think the only issues with streaming direct from the camera are a) a bit less control over stream settings (bit rate etc), and b) can't insert any graphics, fades, other audio, etc.

As I understand it, S-Gamut is a large colour gamut, so better for scenes with intense saturated colours, neons, fluorescants etc. S-Gamut.cine is designed to be closer to rec709 primaries, and so should be easier to grade in "normal" environments with "normal" hardware (i.e. a rec709 display).

Sony themselves offer a data recovery service via Prime Support.

I don't think it's possible to record or output 1280x720 with an FX9. Except with the proxy feature.

From Sony Creative Software support when asked about VENICE 2 X-OCN 8K in Catalyst: Nice and vague! 🙄

What exactly are you finding problematically different with them? I use both and haven't had any significant issues matching.

You are correct. Most LUTs designed for slog3 seem to be for sgamut3.cine LUT creators should really specify! When people say "monitoring LUTs" they usually mean 33-point or 17-point, as most cameras and monitors will only accept these. But grading LUTs should be 65-point for best quality. https://www.4kshooters.net/2021/07/31/whats-the-difference-between-a-17grid-3d-lut-and-a-65grid-3d-lut/ FYI, if you haven't come across it, you can make your own LUTs with https://cameramanben.github.io/LUTCalc/ / https://apps.apple.com/gb/app/lutcalc/id1000409621?mt=12 (latest version is on the Mac App Store).

That's very strange! Wondering if it's perhaps faulty? Have you tried a hard reset of the camera? If you put the ND on "Auto" does it work? Is the lens iris auto or manual? Is this maybe something to do with the Bokeh Control setting? Is that On or Off?

Can anyone tell me (speculation is fun, but would be good to know for sure) what exactly "709tone" is? I see it's already available in the FR7... wondering if it's a LUT? Or will it be a Paint Menu present (Scene file / Picture Profile setting) like S-Cinetone. I'm also curious what it's "optimum"/"suggested" settings will be (white clip, black clip, legal/full range, matrix boundaries, 90% white, 18% grey, etc etc)? -- Also, I'm curious about the "integrated high-quality 3D LUT processes to mirror the VENICE cinema camera, which allows for more accurate color processing". What exactly does this mean? The FX6 already has LUT support. What's wrong with what it currently has? Or is this just an improvement in LUT "quality" (17x vs 33x 65x) or something like that? Funny it's being marketed as process to mirror the VENICE, when one of the selling points of that was the preferred use of ART files over LUTs! -- Also, direct-from-camera streaming in the FX30 and FX3... but no love for the FX6? I wonder why. Several news stations in the UK are now preferring the FX6 (a somewhat backward decision, in my opinion), so one would expect a demand for streaming in the FX6...

Paging @alisterchapman. He’s filmed northern lights in the north of Norway several times.

For anyone who might find this useful... finally an update! https://blackjetusa.com/pages/software-tx-1cxq

The first two of those will make the VENICE 2 less competitive.

@DougJensen I think Christopher is specifically referring to X-OCN files from the VENICE 2, not the VENICE 1. Same issue touched on here: https://www.liftgammagain.com/forum/index.php?threads/venice-footage-incompatible-with-any-nle.17667/ (though that's from January, so may have changed).

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.

Well, I suppose the other options could be straight rec709, or a custom LUT burnt in 🤷🏼‍♂️

Thanks for these Doug. “Face 1” looks very good, and I’ll aim to give that a try myself, along with the original “b-roll” ones. A news station in the UK I occasionally work for seem keen to make S-Cinetone the standard choice for ENG crews. Personally I think this is an odd choice given S-Cinetone is not strict legal levels and is best exposed lower than one typically expects for news. But these LUTs would certainly improve things! The “Face 2” one looks very desaturated to me though. Looks like skin tones have been lifted into the roll-off zone and so have lost colour information and contrast. Subjective, of course…

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.

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!

Regarding making one's own LUTs for FX6 Base Looks, on this guide by @alisterchapman it says: "For the best results you will want to use 33x LUTs, and the LUT should be designed for full/data range In and with full/data range Out." Is that correct? Surely rec709 is typically legal/video levels, whilst slog3/sgamut3(.cine) is full/data levels? Typically, I would have thought that most LUTs will be bringing the image into the realms of rec709... so therefore surely they should be full/data in, but legal/video out? Or is the the idea here to preserve superwhites to 109%... and in LUTCalc, that is referenced, isn't that done by turning the Hard Clip setting off or to "Unclipped"?