TomTheDP

Biggest difference is the one looks softer, would assume it's the Pocket. The color of the foliage also looks different but it's not as noticeable.

It's a great sensor. The DSMC2 System is light weight and the powerdraw isn't bad about 50wh. The C300 and FX9 powerdraw are probably half of what the Dragon is though. R3D and the red color science are really nice and the Dragon has pretty outstanding dynamic range. The dragon also is a bit of a baby. For optimal results you want to bring it up to temp and then blackshade it, which takes around 10 minutes. You probably won't want to venture much past 400 iso though, where as you can shoot at 4000 iso with the FX9 and 1600 on the C300 MKII with pretty clean results.

Didn't realize it only shoots X-OCN LT. Though if the end delivery is 4k, that is still probably plenty for most productions.

I'll do one with a grey card next time. what looks glaringly off to you in the above comparison?

It's gonna be a personal preference thing in the end. You'll get cleaner high ISO performance on the Sony. The Canon has internal RAW vs you need with an Atomos or the unit to do it with the Sony. The Sony can't do full sensor 4k 60p. You have more lens options with E-mount. The canon is easier to mount on a gimbal. If your only gripe with the FX6 is the mount then you can get a locking EF mount that has bottom support, making it bullet proof. Of course that isn't an option with emount. Although I feel emount lenses don't really need a locking mount as they are pretty light. You'll love Sony E-NDs. The FX6 is pretty amazing for fast paced stuff. It barely weighs anything yet the body is big enough where it isn't awkward to rig up. E-ND's are out of this world nice to have.

@kye I used your hue adjustment technique as a starting point. I think that improved it a lot, no more pink/magenta from the Sony. Might have went too far though. I still have hope for the FX3 as an A cam. 😅

@PannySVHS Here is the Sony with the Alexa. I just adjusted the Hue on the sony and applied the Emotive Color ARRI Daylight lut. Now this is a really bad lighting situation. Sunlight, combined with Tungsten, and also bright green walls in the room lol. here is the raw video from both cameras as well as PNG stills of the LOG image if anyone wants to play with them. https://drive.google.com/drive/folders/1fYuQyBHEq9zvrIB_pQ-GBMXWOKxIhP8W?usp=sharing

Venice 3?

You have to go further then simply exposing the cameras the same and having them set to the same WB. For example having say the Alexa set to 5600k and the FX30 the same in a daytime situation will yield very different results.

Yeah I purchased his luts, as well as emotive color(probably more precise), and the trendy Phantom luts.

Man I could do it but it would be tough. I mean moreso than my ability, all my jobs would be gone as none of the productions I am on can afford to shoot motion picture film LOL.

I don't do enough multi cam stuff for it to be worthwhile. I prefer to shoot 1 cam for narrative which is 99% of what I do at this point. If I were to go back a year though when I was mostly doing multi cam corporate it definitely would make more sense. It looks like this weekend I'll be using the Alexa(requested by director), a Fuji XH2S (directors personal camera), and maybe an FX30 or Pocket 4k as a C cam. We'll see how the color chart does 😅

I think its the Burano honestly. Same sensor as the 80K Venice 2. Doesn't require the bulky raw recorder, weighs 3 pounds less. Why would you get the old 6k Venice when you can get the Burano for 25k. Now at 18k the original Venice is tempting, but for just a few more Ks you get brand new camera. The Burano doesn't have as many output or power output options though, but neither does the Alexa mini.

It is definitely a better option to shoot on 3 of the same exact model camera or shoot high res and just punch in. Though it's fairly common now to use a cinema camera and then use a cheaper camera for a B & C cam. I'll use whatever I am given lol. Every video I have watched comparing a cinema camera to a lower end camera they say something like they can be matched in post, but then when the person attempts to do it they can't. This doesn't bode well with productions that won't have a color house doing the color grade in the post process. The whole post production scene that I usually deal with is a nightmare. Now it still stands that it probably wouldn't matter what camera I shot with in terms of the directors/audience noticing the final product. I am super tempted to try to start just using an FX30 on everything despite how much I dislike the SOC look. Would make my life easier. 😅

I am seeing Venice 6k kits with all the licenses and the RAW recorder for 20k now. I just saw one go for 17k, another for 13k(with no licenses). Pretty wild considering a few months ago they were around 30k +

Unfortunately or maybe fortunately depending how you look at it, the skill to get in now doesn't need to be as high anymore. Even many people at very lofty levels of the film industry are not as skilled as they used to be. DP's can utilize high resolution color accurate monitors to see what they are getting rather than light metering. Cameras are so sensitive now you don't need crazy light fixtures. A lot of big budget shows are now are using mostly small LED fixtures combined with natural lighting. There's certainly a level of skill still required especially on the biggest of productions but it's become less and less. Think about changing a 35mm film mag vs digital media. Same with getting good results shooting 35mm film for a wedding vs digital. Night and day

Sounds like a good method. I didn't use the color chart in a precise way, it was held closer to the camera, probably a 6ft difference. Plus I shot the color chart about 20 minutes later. That said I'd still imagine it being closer than it was. It was a room with Cyan walls, so there is a lot of tinted light going on. I am going to try it again today and make sure I do it properly and see if it makes any difference. A normal shooting situation would involve more pure lighting. Skitones are a large reason I choose to shoot with an Alexa or at least RED. Every time I have done a mixed camera situation the colorist comments on how nice the Alexa/Red skin tones look compared to 10 bit DSLRs.

I was really excited about the Sony lineup after seeing its usage on the creator. That said after using I am not impressed with the image. I would say Sony's low end cameras seem to have the worst color out of the box compared with Canon or Blackmagic. It doesn't carry over to the Venice line of course. It's really just a matter of balancing skin tones and accurate colors. I am sure it's not a problem for a post house to do. But for lower budget stuff where you are relying on the camera more, its annoying.

Looks like a winner on the FX30. Gimbal one and done lens maybe

That is very true. The only thing would be very interview situations where you have an A and B cam on the same subject. I haven't done one in almost a year now but I have a gig coming up where we are going to be doing that. I used the color match tool in resolve, using an xrite chart. So you can set the color space and gamma, which I set to ARRI's. I did it on both cameras so it changed up the way the Alexa originally looked as well, with its preset white balance. This method would fall apart with creative lighting though. Let's say you wanted to do an orange tinted light as a key with blue for fill or something wacky. The chart is only useful for getting normal colors. Yes someone pointed both out to me. I didn't see them at first but its very apparent now. Definitely got it much closer than my manual attempts. I think with more fine tuning it could come closer.

Yeah boot times don't bother me too much. I am used to them with older red cameras or Alexas. 2k 444 is ideal for me codec wise. Should be pretty nice if its downsampling from the 4k sensor. Rolling shutter is a bit annoying but 15ms is very usable. I have honestly never noticed rolling shutter ever across my life shooting videos, other than for strobe lighting.

The RED naming has always confused me. But I am talking about the RED Epic Dragon vs the RED Scarlet X. Having used both the Epic Dragon has a lot more highlight latitude and the colors are more neutral.

lmao, why the hell did they not use the FX6. It's such a way better ND option than a vari ND. It's not even a pound difference 1.4lbs vs 2lbs. I don't think the Creator will become hollywood standard as its just way too smart of a way to approach making a movie. Hollywood is too dumb to make that a standard. The high end film industry knows how to waste money like no one else.

Such a shame the Varicam LT never took off. It really is an incredible cost/performance camera. Thought I guess it just sat in that awkward place between smaller and bigger projects.

Somewhat unrelated to the topic. My attempt at matching an ARRI Alexa Classic and an FX30. Used an Xrite color checker passport chart. I guess that is cheating but I wanted to see if I could match them this way 100%. I think these are very close but maybe not 100%. Thoughts? The more stylized one I switch the color space and gamma to RED and then put a Kodak lut on. The other two are just ARRI color space with the ARRI 709 lut.