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Sony VENICE camera - word on the street


coryw9@...
 

The 500 ISO doesn't bother me. I have been setting my ISO to 400 on most Alexa jobs to get the "cleaner" low-light look. 

I am interesting to know if you have to overexpose the Venice like all of Sony's Camera's. I find I have to be around +1 over get a true clean image out of the Sony Cameras. From any flavor of Sony, A7s-F65.

ND system is clutch though!

Cory C. Warner
www.corywarner.com
LA


Jeremey Shelton
 

It *appears* the new VENICE sensor is is quite clean so while I agree about previous Sony sensors needing overexposure to remain clean it seems this may change with the VENICE. My biggest question / concern is going to be color / skin tones...hopefully it is also different from previous Sony sensors in that respect too. 
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- Jeremey


Randy Wedick
 

Shot my own test film in a large variety of lighting conditions. Will have that at NAB in the Band Pro booth and possibly elsewhere. Have been grading on X300 4K HDR monitor and other rec709 SDR monitors.

Also conducted a test with a recent cinematography academy award winner where we compared Monstro to SXT to Venice.

All the flagship cameras look really nice.

Safe to say the Venice look is very filmic, a decent sized departure from previous Sony cameras. But also maintaining the excellent color accuracy of the F65 and expanding the gamut to include the entirety of rec2020 giving you more crayons to work with in the grade and allowing for smoother transitions from color to color.

The Venice seems to hold highlight and shadow saturation better than the other two cameras, they tend to lose saturation and clip to desaturated white sooner (like in the center of car brake lights, or on skin tones backlit by the sun, etc). The same was also true about color saturation in the shadows. The Venice has more subtle color in the shadow and it’s almost like a psychological cue to the viewer.

Said DP also told me he commonly shoots night exteriors at 400 iso on Alexa so as not to clip streetlights etc and maintain a realistic tone quality and nice S/N so the 500 iso was not a prob for them.

Many people need variable frame rate to shoot effectively though, this is true, but let’s not forget that when Alexa was first released it did not record Prores to SxS and was tethered dual link to an SRW-1 tape deck. Limiting for sure but this is how they shot the iconic film “Drive”.

If you need the look you find a way to make it work.

I know this was a long time ago but we are back again at the beginning of a new cycle.

Randy Wedick
Band Pro/LA