
Sony Venice – Full Frame Digital Cinematography Camera - troydavis
https://pro.sony/ue_US/products/digital-cinema-cameras/venice
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enb
It's interesting that this $45000 camera has a high speeding rolling shutter
CMOS sensor (rather than a global shutter). They're spiel claims to minimise
the jello effect rather than eliminate it. Would have expected more at that
price.

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flyinglizard
It’s not for saving money. Rolling shutter sensors have better dynamic range
and better light sensitivity (e.g. BSI is only possible on rolling shutter
sensors). Rolling shutter sensors can also have stacked RAM which results in
very, very fast readout and cancels rolling shutter artifacts.

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pvarangot
Even on non-BSI stacked sensors rolling shutter results usually in better IQ
because it's a "simpler" pixel and readout logic.

Global shutter is more a feature for machine vision sensors only now, where
artifacts are not tolerable because you are processing the image assuming
absolute and precise temporal locality in each pixel's information and
acceptable image quality for those products has flatlined the last few years
on ~60% QE and around 15ke- FW.

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franga2000
Am I reading this correctly? "Anamorphic license", "full-frame license"...
This is insane! The camera already costs 45k and they want to sell firmware
feature unlocks?

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coldtea
> _This is insane! The camera already costs 45k_

You say that as if it costs too much. In fact, given what it does, and what
analogous cinema cameras cost, this is a bargain.

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franga2000
> You say that as if it costs too much That's not what I meant. I am fully
> aware that this is a great value. What I was saying is that, given the price
> (and IMO regardless of the price), that kind of "feature unlock" model is
> ridiculous. The profit margins on this level of gear tend to already be very
> high. They do not need to charge even more, especially for what I assume are
> fairly trivial firmware differences.

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easytiger
I know near on nothing about cameras let alone pro grade equipment, but I just
love the industrial design of these things.

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jacobush
It reminds me of certain Super 8 cameras.

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vortico
Nice! I like this trend. It directly rivals the Canon C700
([https://www.usa.canon.com/internet/portal/us/home/explore/ci...](https://www.usa.canon.com/internet/portal/us/home/explore/cinema-
eos-c700-series)) and Red DSMC2
([https://www.red.com/dsmc2](https://www.red.com/dsmc2)). Is Panasonic next?

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dylan604
Which trend are you referring? Cameras getting larger frame sensors? The form
factor? Features? Panasonic has the VariCam line of cinema cameras:
[https://info.panasonic.com/varicam-cinema-
cameras.html](https://info.panasonic.com/varicam-cinema-cameras.html)

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vortico
Full-frame sensors in cine cameras.

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dylan604
Did I completely miss it, but I didn’t see anything about the record media
type. Did they come out with yet another media format for this? The F55 used
AXS cards, and were expensive. It would be right out of Sony’s playbook to
come up with another media format. Would really love it if cameras could
accept an M.2 form factor. They are fast enough while being significantly
cheaper. Never have looked into the robustness of the chips on “professional”
media formats. I always just assumed they can change so much because of the
special form factor.

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kevin_thibedeau
M.2 isn't designed for hot swap. It would have to engineered into a carrier
that can provide the necessary electrical and mechanical interface to permit
that.

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dylan604
Like a cover over the slot that closes and opens that has a switch connected?
This is a pretty standard thing for media slots on cameras. For the Canon 5D
series, it is even suggested to wait for the access light to flash once the
door is opened before removing the media. The Canon C100 won't even
acknowledge a card is present while the lid is open.

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kevin_thibedeau
That is only to permit writes to complete. The removable media still won't be
damaged by unexpected removal because it has been designed to accommodate
that. M.2 has no such protections.

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kpil
Why not simply unlock the hatch when the device is powered down using a simple
electromechanical device like every laptop cdrom ever.

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ttoinou

      RAW
    
      This ultimate 16-bit linear RAW format preserves all the  
      information captured in 4K, with 16 times more tonal value  
      than 12-bit RAW.
    

I would be interested in real-world benchmarks by professionals not affiliated
to a camera company about this. I myself have shot in RAW 12 bpc with Magic
Lantern and was very impressed, I am wondering if going higher has advantages,
for example less noises in the shadows

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KaiserPro
its more used for "fuckit fix it post". It allows the DI people to pull
out/mix&match bits of the frame that would otherwise be lost to noise.

Its also useful in VFX for things like matchmoving, as you can crank up the
exposure so the tracker can grab onto something (again assuming low noise.)

That's the theory, with RED it never delivered, being noisy and not very
sensitive (see DoP/ set deisgner's mutterings in the hobbit.)

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KaiserPro
Actually something is coming back to me.

Its useful for "day for night" shots. Originally one would slap a blue filter
on your lights and under expose the footage by x amount.

Assuming the sensor has a dynamic range wide enough, you can just alter the
exposure in post, without clipping the blacks too much.

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enb
There was a comment here with details about the sensor and dual nature of the
ISO. Why did it get deleted?

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sctb
Users can delete comments within a certain time window if there aren't any
replies.

