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How does the Sony a1 compete with cinema cameras like the Arri Alexa Mini LF and the Red Komodo? That's what I wanted to know when I was buying my Sony a1. I discovered that the subtle changes that Sony made to the video side of their flagship made a big difference in bridging that gap, sending it ahead of some established Hollywood cameras and into the competition.
This is an in-depth look at the features, stats, dynamic range tests, and sample footage of the Red, Arri, ZCAM E2, and Sony. There are a lot of stats, a lot of observations, and a lot of opinions here- so lots for folks to pick at. And that’s what the Comment sections is for! just remember to be kind and polite- we’re all working artists here, it’s hard to condense information without throwing some nuance out, and probably no one is a scientist is Sony, Arri, or Red. And I KNOW there will be some who say, “well X Camera can do the same thing” to which I say... you’re probably right. We’ve been gifted with magnificent machines. These are my observations of one camera, not a criticism of other cameras.
If you want to skip around, use the Index!
Index:
Intro: 0:00
Why the Sony a1 is Different: 0:42
Intro to Specs: 2:12
Sony vs Red Specs: 3:08
Sony vs Arri Specs: 7:23
ZCAM E2 Specs: 11:25
Sony vs ZCAM sample footage exterior: 12:45
Sony vs ZCAM studio examples: 13:45
Full frame vs cropped sensors: 15:04
Sony a1 Personal Review: 16:39
SLOG 3 Performance: 18:30
The magic in 8K: 20:20
RAW issues: 21:20
Why RAW doesn't outperform h.265/264 by much: 27:16
Missing cinema camera features? 29:30
Dynamic Range of other competitors: 33:39
Conclusion: 34:36
Special thanks to:
CineD ( / cined )
Stefan Mitterwallner ( / @stefanmitterwallner9614 )
The Buff Nerds ( / thebuffnerds )
www.hurricaneimagesinc.com