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Sony CineAlta Venice 2 8.6K Cinema Camera


androidlad
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1 hour ago, Video Hummus said:

LOL, yeah all those countless documentaries I'e watched filmed on C100, C200, C300, FX9 and on and on were unwatchable with horrible fixed pattern PDAF noise.

So there you go.  GH5 not succumbing to the lowered standards that Sony only stoops to on their consumer cameras and not on their flagship cinema camera, and which ARRI etc do not consider at all!

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  • 2 weeks later...

Only took half a dozen posts to get on to AF......or lack thereof 🤦‍♂️

High end cinema cameras don't really need AF.

For a start, there aren't many lenses out there used in cinema that have internal focus motors. 

Secondly, there is a thing called a 1st AC or 'Focus Puller' that is usually on set when a camera of this calibre is used. 

Thirdly, there are plenty of manufacturers such as Arri, CineRT, Teradek RT, Preston etc etc that are working on and already provide AF in their lens control systems that CAN be used with manual cine lenses.

Pulling focus is part of the narrative, until a lens or AF System can read a script, I don't thing AF will be common in Cinema.

Lastly, Imagine watching a film on the big screen.......I would MUCH prefer to see the organic way a Focus puller finds focus to how many AF systems occasionally hunt and snap into focus. It would look awful on the big screen and extremely distracting.

I'm not against AF all together.....it has a time and a place but in a camera like this? I don't think so.

An autofocus system on a true cinema camera can be used to complement the Focus Puller and used in certain cases. It is part of the focus pullers tool kit and therefore I believe, that it should be incorporated into the lens control system rather than the camera itself. 

 

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2 hours ago, A_Urquhart said:

Only took half a dozen posts to get on to AF......or lack thereof 🤦‍♂️

High end cinema cameras don't really need AF.

For a start, there aren't many lenses out there used in cinema that have internal focus motors. 

Secondly, there is a thing called a 1st AC or 'Focus Puller' that is usually on set when a camera of this calibre is used. 

Thirdly, there are plenty of manufacturers such as Arri, CineRT, Teradek RT, Preston etc etc that are working on and already provide AF in their lens control systems that CAN be used with manual cine lenses.

Pulling focus is part of the narrative, until a lens or AF System can read a script, I don't thing AF will be common in Cinema.

Lastly, Imagine watching a film on the big screen.......I would MUCH prefer to see the organic way a Focus puller finds focus to how many AF systems occasionally hunt and snap into focus. It would look awful on the big screen and extremely distracting.

I'm not against AF all together.....it has a time and a place but in a camera like this? I don't think so.

An autofocus system on a true cinema camera can be used to complement the Focus Puller and used in certain cases. It is part of the focus pullers tool kit and therefore I believe, that it should be incorporated into the lens control system rather than the camera itself. 

While the lines between videography and cinematography are continuing to blur, there are a number of aspects where the two differ greatly.  AF being one, and resolution being another.

The responses on almost all Internet forums quickly reveal that the membership are videographers, not cinematographers.  This makes sense, as the sheer quantity of video content (social media, weddings, corporates, marketing, most of TV productions, etc) overwhelms the amount of content created for cinematic release, probably by a factor of thousands or millions to one.

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1 hour ago, kye said:

While the lines between videography and cinematography are continuing to blur, there are a number of aspects where the two differ greatly.  AF being one, and resolution being another.

The responses on almost all Internet forums quickly reveal that the membership are videographers, not cinematographers.  This makes sense, as the sheer quantity of video content (social media, weddings, corporates, marketing, most of TV productions, etc) overwhelms the amount of content created for cinematic release, probably by a factor of thousands or millions to one.

Agreed.

The lines are further blurred because 95% of people out there who call themselves ‘cinematographers’ really aren’t. They are videographers. 
There is so much more to cinematography than just pointing a camera…..just because you own a Red  doesn’t make you a ‘cinematographer’ but that’s a discussion for another post. 

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6 hours ago, A_Urquhart said:

Agreed.

The lines are further blurred because 95% of people out there who call themselves ‘cinematographers’ really aren’t. They are videographers. 
There is so much more to cinematography than just pointing a camera…..just because you own a Red  doesn’t make you a ‘cinematographer’ but that’s a discussion for another post. 

Indeed!

I am most definitely a videographer, shooting the travels of my family and friends.  

I sometimes contemplate about the middle ground between the two.  That's where most of the action of the DSLR revolution has been.

Personally, I've been trying to learn how more about the artistic elements of film-making so that I can improve my own work, but because I don't follow the normal production process, and because there doesn't seem to be the depth of knowledge associated with videography, I've been struggling trying to find resources for such things.

I suspect that I might have to read and watch things aimed squarely at the traditional route, and just cherry pick the parts that are useful to me and throw the vast majority of it away as it doesn't apply.  I'm still searching, but I suspect that the people that really do understand the things I want to know are out there doing it rather than explaining it to others outside the industry.

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