Thanks for sharing your thoughts. Some great points here. 👍

What TANGIBLE benefit is there to the X-OCN though? This is not a new format, of course, and a few years back I was finding it hard to find samples or anything talking about the true, real world benefit of the linear 16 bit image. It's the same thing now with the Burano - there's barely any samples of X-OCN footage, and none of the ones I've seen make me think it's worth it. There's just a lot of people hyping it up as if it's worth it

You do not need S-Gamut3 for HDR production nor do you want Rec.2020. All commercial content is mastered to P3-D65. The goal of Rec.2020 was to standardize interchange or container primaries. It was never intended as native device primaries. To master Rec.2020 would be to seriously compromise the image for the viewer, as no display is Rec.2020 compliant. Colorists also find colors outside P3 objectionable, which is one of the reasons the DCI opted to retain DCI-P3 as the color gamut for the D-Cinema HDR specification/standard. Nearly all Netflix shows shot with Sony cameras use S-Gamut3.cine and virtually every custom LUT developed for Sony S-Log3 is for S-Gamut3.Cine, including those created by Technicolor and Picture Shop in collaboration with Sony for their flagship cinema cameras, the Venice and Venice 2. The key mastering engineers at Sony Pictures in Culver City also recommend S-Log3/S-Gamut3.cine.

@@SamEmilio2 There are several things I would say to respond: 1.) Look into Rec2020. It, by requirement requires an increase of 1 bit per channel to have equal or exceed precision to Rec709. In practical terms, this means full fat HDR, requires a 12 bit signal. While they did make an HEVC 10-bit version for broadcast, if you want to master anything you always want to have more data that you truncate into less data. And you never want to be in a situation where you try to take smaller amounts of bit-depth and try to stretch it over higher bit-depth. So immediately having at least 12-bits is immediately useful. 2.) For SDR, the difference is less noticeable because it's likely that you're mastering on a 10-bit display. By the very nature of the display you (and most people) aren't capable of seeing the difference. But just because a difference cannot be seen, it doesn't mean it isn't there. When taking 12+ bits down to 10-bit there are things like color variation that can still be seen. Most critically in skin-tones. If you want a reference outside of me, you can hear Cam Mackey talk about this in his FX6 vs Komodo-X head to head here: kzfaq.info/get/bejne/jKubfdui1M_Hqo0.htmlfeature=shared Otherwise the next step would be to obtain a 12-bit display and master on it. Especially one capable of at least TruBlack400 or HDR1000. I'm certain that if you spoke with any color technician at Technicolor or Dolby they would tell you they can see plenty of difference between a 10-bit and 12-bit file on a 12-bit display. Especially when working in a 12-bit timeline doing any "heavy" grade. "Heavy" as being defined as a Hollywood grade where everything is getting pushed and pulled around. 12-bit files simply will not fall apart as easily and will have more tonal variety. 3.) Finally I would say that 16-bit RAW perhaps isn't necessary either, and perhaps neither is RAW period. However I would argue that a 12-bit codec is incredibly beneficial. EG: I don't necessarily think ARRIRAW is "necessary" in comparison to 12-bit ProRES XQ 4444. In fact in that particular case as they are both pulled down from either a 16-bit or in the case of the Alexa35 18-bit signal into a 12-bit or 13-bit log format, virtually all of the data is there while using novel compression to minimize the file size. TL;DR: I think all next gen cameras should have a 12-bit option, and that is more important to me and I would say a majority of productions over specifically having a linear 12-bit linear RAW or 16-bit linear RAW option. Especially if the 12-bit option is in log and is pulled down from a 14+ bit sensor. However, X-OCN is full fat 16-bit RAW, and for productions that want maximum quality then it does check all the boxes without even thinking about compression, log, or gamuts, etc. It's everything in a single, smaller than 12-bit ProRes file. So the tangible benefit for X-OCN given the above is that productions know they're getting the absolute best file that the camera offers and even if the difference is "negligible" there will never be a question about it. And I would say that peace of mind does have value, even if you don't think it's tangible. And of course they can in post decode it however they want and also doing VFX work with all of that data is as I understand it much easier.

@@JonPais Hey Jon, I will first off the top say that you likely know significantly more than me about specifically color spaces and industry practices, but I will say that I'm coming from a place where data preservation matters and I generally strongly dislike when gamuts are introduced that affect the cameras original white point, black point, and color primaries. And this is very specifically what s-gamut3.cine does. I'm also aware of the organizations you mentioned that recommend shooting in s-gamut3.cine. As best as I can see, even with the objections you raised, it is mostly that it's faster and easier to deal with colors and tonalities inside of a specific range. But anyone could easily use a CST in Resolve to remap s-gamut3 to s-gamut3.cine in post or a 65x lut for that purpose. With the argument being that should the data be desired for any reason they have access to it. But if the primaries are remapped in camera, there isn't a way to re-expand the gamut. Sony themselves in their document regarding S-gamut3/s-gamut3.cine, agree with this premise. As they state that S-Gamut3 is much better for archival and is recommended for ACES workflow. Whereas S-Gamut3.cine is recommended for DCI-P3 workflow. Both statements found here: pro.sony/s3/cms-static-content/uploadfile/06/1237494271406.pdf (I paraphrased their statements, but I promise I did not skew their intent). Which again to reiterate reflects my data-preservationist and wanting as much of the original values as possible. I understand other people don't think like me, and they perhaps would rather use the tools that make their jobs more expedient, which is exactly what s-gamut3.cine was designed for. All this to say, I would state humbly that it isn't cut and dry that s-gamut3.cine should simply be used for everything. Though also the reverse can also be argued for anything in which preserving data is not required.

Never say never. You get what you wish for.

You had me at hello. Unscripted flowstate review. Fantastic. This had all the personality and expertise that made mr undone required viewing and a must see. Value proposition returns. Absolutely perfectly entertaining honest and informative. This is what KZfaq should be all about. Just perfect. Thank you so much.

If using state of the art technology yes, but not if we compare different generations.

My constant thought when mentioning the "Built to do it all" Idea is that this is precisely what the A1 is, and it seems to do it better. The A1 was sold as a Jack of all trades camera. Sony can get it right sometimes - just that the Burano with this firmware is a bit of a disappointment.

My thoughts exactly! :D I’m so happy I don’t want a Burano, even though I never wanted one in the first place because I’m just a dude who is happy with his A7C II. :D In a way, I shouldn’t even really be watching reviews on professional cinema cameras because I’m totally not the target audience for a camera like that.

🤣

Hahaha!!! Me too!

Well put!

🤞🏿🤞🏿 Hard to even wrap my head around that patent, and this video shows how delicate and hard camera hardware is, but if the compromises make it a better camera than it already? Generational camera.

I hope so, but at what cost? Will it have an OLPF (Panasonic has been removing those, introducing more moire, which should be dead, back into video), or a decently fast rolling shutter (the performance on the S5IIX is horrible.) Internal NDs would be awesome and i agree, but not if image quality suffers.

I sure hope so

Let's not pretend it's the first time. Just add it to the list ZV-1M2, a7C, ZV-1F, a6500, etc.

People talk about “Sony fanboys”, but honestly what I see more of is people who are fanboys of hating Sony, and accusing others of being fans when they are just using what they feel is the best tool for the job.. so odd lol

That's true, I (haven't even made my first camera purchase) am seeing a lot of these hate comments on KZfaq but reddit says otherwise​@@RustyShackleford9000

Bro it’s a good camera, at about 6,000 bucks. Rolling shutter is Not acceptable. Colors are good, the eye piece is amazing, ND is great. It honestly should be an fx7. But the fx6 kinda kicks its ass in 8/10 areas

Maybe its because Nikon is about to steal some of their market. E to Z mount mixes it up

Not really, this is only a Sony issue, since Sony mirrorless and cinema camera uses mostly same tech, and share same sensor tech. Sony dont make delicated high power and high performance CMOS sensors that only designed to be used on large Cinema cameras, such as the sensors used on ARRI and RED cameras, those sensors has significantly better dynamic range than the CMOS used on mirrorless cameras. For example, the V Raptor has better dynamic range, much lower rolling shutter effect, and can shoot 8k at 120fps raw, and that camera is still cheaper than this Sony Buranos...

@@qiyuxuan9437 Bear in mind that the A7siii and A1 have had far less frequent firmware upgrades than their FX series cameras.

There's a lot of truth in that statement

Honestly, they don't care

WHy does it matter. If a big company is hurt over a criticism, that's on them.

@@miniatureface Sales matter more than opinions. All these camera companies can do so much more but they rather save money and make more profit by leaving things out or doing dumb things, or so they think...

@@miniatureface But I wonder how many people who have $25k to drop on a camera will be swayed by his review. If it was a $500, then yeah. For sure. That's not to say that there won't be someone convinced not to buy it by this video. But I think the market for this is so different that we have to consider the implications of that.

Sony should offer to fix the IR Pollution issue at no extra cost. Like a warranty replacement.

@@tunnellightstudios5183 It's been opined in the Burano facebook group that this is a consequence of having to make the ND filter thinner so that there's space for it and IBIS, and would therefore be unfixable. Of course, Sony corporate would never give their engineers permission to speak freely about something like that.

Yeah - cancelled my Burano order and got a VV-Raptor. Would have loved the internal ND, but there are way fewer limits especially as far as high frame rates and raw recording. 120FPS at 8k FF in Compressed Raw ...

@@mattuhry Hey Matt! Cheers from Japan! 😊

Oh, did you shoot the Kondor Blue stuff? Nicely done! 👍

@@geraldundone yup! And I can’t help but to agree with a majority of your points after testing it myself during that filming process and again on 2 other projects. Great video! Accurate points.

Their video wasn't about green screen spill so I don't grasp why you think it's somehow relevant to a gear reviewer being humble about their niche.

@@charliecooper3030 they literally said the “green screen spill ruins shots”. Exactly in these words, in a video uploaded today. This is about being aware of your knowledge and experience vs not trully knowing what they talk about but present it as fact.

Yeah, I had just finished the video before reading your comment. They're hyping the rediscovered technique by pointing out some of the tedium of using green screen. The connection to this video's intro is tenuous at best and you're purposefully misinterpreting their complaints about a technique when you know they're just giving background knowledge for the audience. ​@@unspecialist

Z8 is a no brainer as long as you don't mind the overheat warnings of the Z8 and using Davinci Resolve for NRAW. A bonus might be the potential inclusion of R3D. The HDMI-out of the Z8 is way better than any Sony mirrorless too. And Nikon has a dedicated hand control grip for their Z cameras.

@@raredreamfootage - Only thing I kinda worry about is the low light of the 45mp sensor of the Z8. It gets grainy quick

Gerald doesn't do paid work, and I would say you should not pick either. Get yourself a Sony FX6! Or if that is too expensive (even though by professional standards it is very cheap), then get yourself either an older secondhand camera such as a F5 or FS7 or a new FX3 / FX30

@@SoundSpeeding I was thinking the FX3. I like it overall. Size. Features.

@@IPGAuto if the FX6 is outside your budget, and you don't want an older FS7/F5/F55 then I suggest the FX30. It's significantly cheaper than the FX3, and it's identical to the FX3 but with a S35 sensor. The lower cost means it will be easier to save up for a truly professional camera, the Sony FX6.

The Venice had 3 firmware updates in it's first18 months. Hopefully some of the "easier" fixes like surround view, LT playback thumbnails, clip renaming, false color, and display outputs can be addressed sooner rather then later.

🤓

IR pollution is pretty big If you're doing docs.

@@jassirhere9631 yeah its pretty stupid. wtf?? i spend this much and then my internal NDs give my footage a cringe 2010 youtube ass color grade edit?? bruh

The ulanzi fan works well

In some ways this is the best sony a1 promotion I've seen.

It has its own issues… Firmware fury

@@righthererightnowproductio9525 Yes, alas.

I run both of mine off v-mount, yeah, but also make sure your firmware is updated. Later firmware versions brought fan control for the Ninja

@@geraldundone I"ll do this, thanks for the help.

no one use fx3 when size does not matter. operators want physical buttons etc..

@@frankbregulla564 did you forget low light, autofocus, xlr, 4k 120? Documentary films and high end reality shows for streaming and platforms are going to love the burano.

can't wait for the mark ii of the 4D (if that will be made)

nah, Ronin 4d is quite different than I thought. its actually quite unique tool. You virtually don't need to build up the camera and it can immediately begin to work if you need some stabilized shot its such fast tool and you can get everything(wireless video/wireless video feed) also you can go to the Rialto setup in very very tight space like put inside a car it used to only been done in probe lens.