Great video! Love watching reviews from actual pros doing actual work with a paying client. That thumping noise is the IBIS calibration. Happens in my FX30 when I turn it on
Fellow Burano owner here, it definitely takes a little getting used to. But if you've worked in the Sony ecosystem, it's very familiar. It's truly a master of none, but does a lot of things very well: color, power consumption, lightweight, XOCN-LT Raw, internal ND, IBIS, PL and E mount native, built in dual XLR, dual ISO, etc. If you only need XAVC and 709 deliverables, you can stick with an FX6. But for higher end shoots using proper color management, the Burano stands next to the Venice with it's highlight rolloff and DR. Sony's always have a rough launch, look at the Venice release, 3 firmware updates in 15 months. Once it gets a couple firmware updates (that probably should have shipped with the camera), things will get much easier and better. So many FX6 users wanted this to be the FX6 MKii for much less, but it's not it's replacement nor in the same tier. The FX6 is a great camera, especially for the price. But there is always the dream of a swiss army knife camera, and this is close, but it's not quite there. Use it for what it's designed for: high end solo/small crew shoots that want to take advantage of the resolution, DR, IBIS, and OCN-LT.
People often compare the burano with other cameras. I am just looking at the people that use burano, that is where I see the biggest difference. Really😊
If the budget is low I would go for a Raptor as the readout is twice as fast as the Burano and it is lighter and more power efficient while having probably more dynamic range and latitude. If there is a bigger budget I'd go ARRI. I can see why it would be appealing as an owner OP cam in some ways. Honestly the FX6 does just fine and is more run and gun friendly due to weight and power draw.
I have around 500 channel subscriptions on RUclips, and I always watch your videos at my first opportunity! EXCELLENT content!! Regarding the Burano, I was recently on a Netflix series shoot, documentary style, and the crew was using a Burano. They were very happy with the Burano.
If I am spending that much, it's hard to consider since the speculations hint at the Ursa Cine 17K with a freakin 65mm sensor is to be priced cheaper. And the Cine 12K is retailing now for 10K less. Although a well built camera, my guess is the pricing is gonna turn this into another f65 debacle.
Back in 18.5 Resolve added a feature that allows Sony XAVC Codec Files to be controlled by the Raw Controls Panel. I don't really know why they did it, but it comes with a bunch of advantages, mainly that when you under expose cine-ei footage to bury any noise, etc, it can read that meta data and display as intended. Instead of having to make notes. My guess is that why using the raw controls panel they can use that built in metadata to expose adjust as intended without showing an over exposed video clip.
Super interesting. Thanks for the info. Make sense that it was done to help carry over the ISO information, as if it does not work in the same codec when shooting custom.
@@OBP_ Yah, I think it's a big help for those shooting Cine-EI and rating their sensor up or down as needed. Having that iso metadata comething is a big deal for those expecting to see a properly exposed image.
Thank you for the clearifications. for a person filming with the Burano for the first time, for an indoor shoots. would you advise 800 ISO? and what's the Native ISO on the Burano? thank u in advance.
Great review as always. However I have noticed something. Every time a new camera comes along no matter the price point, Blackmagic Design is always the comparison. I personally think that speaks volumes seeing that the majority of BMD cameras are under $4000.
What thoughts do you have comparing the Burano to the upcoming C400? I’m wanting to add a next generation full frame cine camera to my kit and at least in terms of up front budget and headline specs the Canon seems to match up well with the Burano. On the flip side of course is the limited number of RF mount lenses and the single CFE slot. Any other pluses and minuses you would add?
I can't wait to get my hands on a C400. I am yet to see that footage that looks super impressive but am sure it is possible with it. Other than no XLR (full size), No V Mount and no Pl mount. It looks to be an amazing camera.
@@OBP_ Mini XLR isn’t an issue to me. I already have adapter cables (from needing them on the BM cameras) and there’s no question Wooden and others will come up with mounted adapter blocks which will provide a solid full sized XLR input attached to the cage. In terms of batteries, I prefer the approach of having a standard camera battery always mounted and then adding an external plate for a preferred block battery mount. This way you don’t need a shark fin or other monstrosity to allow for hot-swapping. And there is a PL mount for this camera. It costs an extra $1600 (ouch!!!) but it’s available, though it doesn’t look as slick as the dual mount system that Sony uses. I know I’m not spending $25k at this stage but I would at least like to know what Sony will bring to market next in the FX line so I know my options. Hopefully they gives us a sneak peek soon.
@@OBP_ A little, but only in-so-much as it swivels...as long as you make sure the hex screws are snug it's very solid while in evf config and I would say 'not unreasonably so' when flipped over for monitor mode. When I'm working fast and need to go back and forth some.. it's essential. Looks like they have some new additional mounting options: ruclips.net/video/QomShgEjASM/видео.htmlfeature=shared&t=191. I'm not associated with them in any way, but did purchase a few things and found the company to be super responsive and helpful in getting me gear in time for a big overseas production.
I to haven't noticed any issues with rolling shutter, its on par with an fx9 so if you shot a lot with that camera it won't really be any different. The good news if you drop it down to S35 scan modes then you will be near the Arri Range of RS so it doesn't even become an issue. So if you have something where you'll do fast pans, just shoot in S35 and plan accordingly. Also even though the Dynamic Range isn't ground breaking on this camera (it falls in the standard average range of pro camera offerings from most manufactures) the latitude is. Latitude > than Dynamic Range. It's what gives more of the so called film look. Because at the end of the say most cameras including this one have a DR range greater than looks good in distribution. Most footage looks good squeezed down to 10 stops or less so the image doesn't look flat and has pleasing contrast. The the highlight retention on the Burano is best I've seen in a Sony yet but where it more stands out is in the shadows which has been the weakness of most Sony cameras this one fixes that. Also I agree with the images looking like photos and a lot of times footage looks so good there isn't much to do. I just did a interview shoot that I was excited to grade in Davinci because it looked good on set, but when I finally got it in to color grade after doing the Color Space Transform there wasn't must to do because it looked so good as is. I was really planning to bring out a look, but it didn't give me much to do because there wasn't anything to really fix to make it better.
Canon C400. I've seen plenty of footage that confirms my purchase. September!! I've seen a Las Vegas DP that bought a few of the Buranos and gave an early on honest opinion of the Burano. It was hard to watch. He was not clicking his heels together...
Am sure this is the reason Sony don't list the A7siii as having dual native ISO anywhere, a rep said in an interview it's because there is less dynamic range and higher noise floor at 12800.
Great point, I dont think we will see an FX3 mark 2 for 3/4 years (its still selling out today) and it will be 6K not 8K and also only have IBIS only not V-NDs.
Yeah I'll bite. So, xavc is not raw. It's compressed, de-bayered and chroma subsampled for further compression (the 4:2:2 designation). You get the "raw settings" because the xavc compressed video files are in an mxf wrapper which contains the shooting live metadata. That's why resolve can read that data and approximate the necessary adjustments to closely resemble changing those settings. However, b-raw or xocn is true raw as it's not de-bayred in camera... At least not fully debayered in case of b-raw. It's compressed using other complex mathematical processes which is more or less visually lossless.
Yeah but here is where it gets confusing, moving the camera into custom shooting mode (still MXF) removes the controls under the RAW panel. So one MXF file has RAW controls and the other MXF file does not.
@@OBP_ understandable confusion. mxf is just the container. The xocn raw files will also have the same mfx wrapper. But thankfully resolve always shows what the footage actually is. Not sure why custom shooting mode disables it. Haven't used the burano but I've worked with venice and all the FX line cameras. But either way the underlying theory doesn't change. For some reason the dynamic metadata is not present or can't be read by resolve. But if you can share some shots i might be able to find out what's up. (I'm a colorist)
Great video! Love watching reviews from actual pros doing actual work with a paying client. That thumping noise is the IBIS calibration. Happens in my FX30 when I turn it on
Fellow Burano owner here, it definitely takes a little getting used to. But if you've worked in the Sony ecosystem, it's very familiar. It's truly a master of none, but does a lot of things very well: color, power consumption, lightweight, XOCN-LT Raw, internal ND, IBIS, PL and E mount native, built in dual XLR, dual ISO, etc. If you only need XAVC and 709 deliverables, you can stick with an FX6. But for higher end shoots using proper color management, the Burano stands next to the Venice with it's highlight rolloff and DR. Sony's always have a rough launch, look at the Venice release, 3 firmware updates in 15 months. Once it gets a couple firmware updates (that probably should have shipped with the camera), things will get much easier and better.
So many FX6 users wanted this to be the FX6 MKii for much less, but it's not it's replacement nor in the same tier. The FX6 is a great camera, especially for the price. But there is always the dream of a swiss army knife camera, and this is close, but it's not quite there. Use it for what it's designed for: high end solo/small crew shoots that want to take advantage of the resolution, DR, IBIS, and OCN-LT.
People often compare the burano with other cameras. I am just looking at the people that use burano, that is where I see the biggest difference. Really😊
Thank you so much for this, the TRUE "real world" experience is always appreciated!.
great channel ,.......... does the codec X AVC I ,. with any sony camera with cine EI have the RAW controls davinci ??
What about the upcoming Ursa Cine 12K? Would You Consider Switching To It when it releases?
If the budget is low I would go for a Raptor as the readout is twice as fast as the Burano and it is lighter and more power efficient while having probably more dynamic range and latitude.
If there is a bigger budget I'd go ARRI.
I can see why it would be appealing as an owner OP cam in some ways. Honestly the FX6 does just fine and is more run and gun friendly due to weight and power draw.
really cool hearing how your real world experiences have been working with this. thx for sharing man!
🙌🏼🙌🏼
I have around 500 channel subscriptions on RUclips, and I always watch your videos at my first opportunity! EXCELLENT content!!
Regarding the Burano, I was recently on a Netflix series shoot, documentary style, and the crew was using a Burano. They were very happy with the Burano.
Thank you for giving me your time 🙌🏼
@@OBP_ Thank YOU!
What is that dolly!!? Looks amazing
X-AVC I is just H.264 High Profile 5.1 with Metadata available. That's why you have the RAW controls available but its definetly not RAW
If I am spending that much, it's hard to consider since the speculations hint at the Ursa Cine 17K with a freakin 65mm sensor is to be priced cheaper. And the Cine 12K is retailing now for 10K less. Although a well built camera, my guess is the pricing is gonna turn this into another f65 debacle.
Hi. If you don't want to scratch your camera with the arm just add a rosette spacer.
Great video as always, what slider is that?
Prosup Tango Rollor. It’s amazing!
@@jasperbruijns7449 Thanks man!
Back in 18.5 Resolve added a feature that allows Sony XAVC Codec Files to be controlled by the Raw Controls Panel.
I don't really know why they did it, but it comes with a bunch of advantages, mainly that when you under expose cine-ei footage to bury any noise, etc, it can read that meta data and display as intended. Instead of having to make notes. My guess is that why using the raw controls panel they can use that built in metadata to expose adjust as intended without showing an over exposed video clip.
Super interesting. Thanks for the info. Make sense that it was done to help carry over the ISO information, as if it does not work in the same codec when shooting custom.
@@OBP_ Yah, I think it's a big help for those shooting Cine-EI and rating their sensor up or down as needed. Having that iso metadata comething is a big deal for those expecting to see a properly exposed image.
Sony needs to knock 10k USD off the price of this camera
Minimum -- especially with newer cameras coming out that have a better price to value
AGREEEED
Facts, for this price might as well get a V-Raptor
@@wxjunkie honestly, I'm waiting for the Ursa Cine 12k-- going to be the best bang for the price
Agree
Thank you for the clearifications. for a person filming with the Burano for the first time, for an indoor shoots. would you advise 800 ISO? and what's the Native ISO on the Burano? thank u in advance.
Great review as always. However I have noticed something. Every time a new camera comes along no matter the price point, Blackmagic Design is always the comparison. I personally think that speaks volumes seeing that the majority of BMD cameras are under $4000.
What thoughts do you have comparing the Burano to the upcoming C400? I’m wanting to add a next generation full frame cine camera to my kit and at least in terms of up front budget and headline specs the Canon seems to match up well with the Burano. On the flip side of course is the limited number of RF mount lenses and the single CFE slot. Any other pluses and minuses you would add?
I can't wait to get my hands on a C400. I am yet to see that footage that looks super impressive but am sure it is possible with it. Other than no XLR (full size), No V Mount and no Pl mount. It looks to be an amazing camera.
@@OBP_ Mini XLR isn’t an issue to me. I already have adapter cables (from needing them on the BM cameras) and there’s no question Wooden and others will come up with mounted adapter blocks which will provide a solid full sized XLR input attached to the cage. In terms of batteries, I prefer the approach of having a standard camera battery always mounted and then adding an external plate for a preferred block battery mount. This way you don’t need a shark fin or other monstrosity to allow for hot-swapping. And there is a PL mount for this camera. It costs an extra $1600 (ouch!!!) but it’s available, though it doesn’t look as slick as the dual mount system that Sony uses. I know I’m not spending $25k at this stage but I would at least like to know what Sony will bring to market next in the FX line so I know my options. Hopefully they gives us a sneak peek soon.
Have you tried the mid49 monitor swivel? My most used Burano accessory..
I've seen a few people say it makes the monitor a bit wobbly, so I avoided it. Have you experienced any issues with the wobble while using it?
@@OBP_ A little, but only in-so-much as it swivels...as long as you make sure the hex screws are snug it's very solid while in evf config and I would say 'not unreasonably so' when flipped over for monitor mode. When I'm working fast and need to go back and forth some.. it's essential. Looks like they have some new additional mounting options: ruclips.net/video/QomShgEjASM/видео.htmlfeature=shared&t=191. I'm not associated with them in any way, but did purchase a few things and found the company to be super responsive and helpful in getting me gear in time for a big overseas production.
Thanks great info. Did I hear you say that the Burano is made of the same material as the fx6?(plastic?)
No, much better, feels a lot more professional. I think it may scratch easier tho, although that's a theory av never owned an FX6 only rented.
@@OBP_ Thanks, owns a fx6 . Hence the question.
I to haven't noticed any issues with rolling shutter, its on par with an fx9 so if you shot a lot with that camera it won't really be any different. The good news if you drop it down to S35 scan modes then you will be near the Arri Range of RS so it doesn't even become an issue. So if you have something where you'll do fast pans, just shoot in S35 and plan accordingly. Also even though the Dynamic Range isn't ground breaking on this camera (it falls in the standard average range of pro camera offerings from most manufactures) the latitude is. Latitude > than Dynamic Range. It's what gives more of the so called film look. Because at the end of the say most cameras including this one have a DR range greater than looks good in distribution. Most footage looks good squeezed down to 10 stops or less so the image doesn't look flat and has pleasing contrast. The the highlight retention on the Burano is best I've seen in a Sony yet but where it more stands out is in the shadows which has been the weakness of most Sony cameras this one fixes that. Also I agree with the images looking like photos and a lot of times footage looks so good there isn't much to do. I just did a interview shoot that I was excited to grade in Davinci because it looked good on set, but when I finally got it in to color grade after doing the Color Space Transform there wasn't must to do because it looked so good as is. I was really planning to bring out a look, but it didn't give me much to do because there wasn't anything to really fix to make it better.
Great to hear I am not alone 👌🏼
Clicking sounds like it could be the IBIS shutting off and back on.
Canon C400. I've seen plenty of footage that confirms my purchase. September!!
I've seen a Las Vegas DP that bought a few of the Buranos and gave an early on honest opinion of the Burano. It was hard to watch. He was not clicking his heels together...
Where can we find this video?
This is great insight
Thanks for the video. How do you change the aperture/iris when using Sony photo lens without aperture ring?
There's a wheel on the side of the camera and also the wheel on the hand grip if you are using that also.
@@OBP_ Thanks a lot. All the while, I thought it's only for menu.
what dolly is that?
I have not noticed almost any difference between dual ISO's on the Sony A7Siii, the 640 and 12800 look almost identical to me. (using SLOG 3)
Am sure this is the reason Sony don't list the A7siii as having dual native ISO anywhere, a rep said in an interview it's because there is less dynamic range and higher noise floor at 12800.
H.265 is made to be processed woth Nvidia gpus and is super performance on them. That's likely why you were struggling
H.265 is so much more faster on apple silicon. It's not tailor made for Nvidia nor for any other company. The speed simply depends on encoders.
Does it fit into ronin rs3 pro?
Never tried but my guess would be yes. With an emount lens and powered by cable
I also own a camera that costs 3 times the value of the car I drive, and I have an FX30 😂
😂😂 stop it bro
The Burano scares me cause the FX3 is so close…. How will Sony come out with a mark 2 fx3 if it cant be better than the Burano….
Great point, I dont think we will see an FX3 mark 2 for 3/4 years (its still selling out today) and it will be 6K not 8K and also only have IBIS only not V-NDs.
No anamorphic support though
They just added a bunch more in the last update I believe.
@@OBP_ perhaps, but I’m not sure if the sensor will support it. Maybe I’m wrong. I think it supports anamorphic de-squeeze
Yeah I'll bite. So, xavc is not raw. It's compressed, de-bayered and chroma subsampled for further compression (the 4:2:2 designation). You get the "raw settings" because the xavc compressed video files are in an mxf wrapper which contains the shooting live metadata. That's why resolve can read that data and approximate the necessary adjustments to closely resemble changing those settings.
However, b-raw or xocn is true raw as it's not de-bayred in camera... At least not fully debayered in case of b-raw. It's compressed using other complex mathematical processes which is more or less visually lossless.
Yeah but here is where it gets confusing, moving the camera into custom shooting mode (still MXF) removes the controls under the RAW panel. So one MXF file has RAW controls and the other MXF file does not.
@@OBP_ understandable confusion. mxf is just the container. The xocn raw files will also have the same mfx wrapper. But thankfully resolve always shows what the footage actually is.
Not sure why custom shooting mode disables it. Haven't used the burano but I've worked with venice and all the FX line cameras. But either way the underlying theory doesn't change. For some reason the dynamic metadata is not present or can't be read by resolve.
But if you can share some shots i might be able to find out what's up. (I'm a colorist)
The really poor rolling shutter, IR pollution and low dynamic range is inexcusable for a camera at this price.
With you thick accent, the last thing you need in the background is the music. IF YOU MUST, at least turn the music volume way down, PLEASE. Thanks
Buy hearing aids grandpa
@@Yupthereitism English is not my first language and I too, struggle to understand what he says because of the music
@@davidvchrn520 it’s good practice for you