For what you do, the FX9 is still perfect. Yes, the Burano has a stabilized sensor and that is a nice advantage for run and gun. However, you are doing a lot of 1080i stuff and that is not really what the Burano is made for. I wonder how Sony is sampling that 8k sensor down to 1080i. That is an absolutely massive 32 mega pixel scale-down. Is it 1080i line-skipped or is it heavily pixel binned to get the image down to 2 mega pixels for HD. I would guess that Sony engineers never expected customers to use the Burano heavily for 1080i projects? I think the Burano is intended for 4k and 8k work?
Shooting 1080i is no issue with a cinema camera. I shoot both broadcast and cinema stuff with an URSA G2. Yes that has 6k, but we just adjust the settings. There is no crop when you go down in resolution, but it does utilize the full sensor read out depending on what way you decide and format you save the footage.
Yes I agree with you. And also observe that majority of revenue producing views on all content, at all levels, is on a phone, PC, or TV at 1080i or less. UHD is the max my present clients need, so the question is, does this camera make my work better or days easier? Is $25k better invested elsewhere in my business or maybe a boat?
@@CrankyCameramanI’ve been thinking this with the Burano overall. It feels like it is going to be a hard sell for an FX9 user, just not sure there is a realistic benefit aside from a few bells and whistles.
I don't think you need it yet either. You might miss a job or two not having one, IF you're not happy to just hire one ad-hoc... Invest the cash elsewhere for 6-12 months then pull the trigger. Let everyone else iron out rigging and workflow best practices then jump in when ready (when you're roof's done and you've banked some cash again haha ;-). ) Great video as always.
The Amira sensor still looked better, but the burano looks great. I don’t think you need to upgrade from the FX9, especially because you have the Amira which I doubt will be retired any time soon.
Another great vid, thank you! For me as an FX9, FX6, A7SIII, DSMC 2 and now Burano owner...The IBS, Built-in ND, 16 Bit Color, Auto Focus....REALLY GOOD AF System makes for a great system. I especially love using the Sony Cinema Style 16-35m Servo Lens (AF, Image Stabilization) with an Easy Rig for handheld...Perfect setup!
Real world reviews are tough because they aren’t the jazziest looking for pro gear reviewers, but I really like this method of less than flattering light to stress an image. If you properly light a scene, the sensor/camera almost doesn’t matter anymore, and there’s so much more to learn by doing it this way. Even though we always try to avoid it, shooting under high noon sun could also be beneficial to see.
My last camera was a Nikon F2, 50 years ago, but I had to sell it to live. Now I have a Pocket 4K. Just a hobby that I love. Never had a camera with auto this or that, so I was not missing something I never had. The Sony tech for Auto Focus and Stabilisation looks very impressive, and that little CX3 is the perfect little run-n-gun. I think I'll stick with manual tech, and work on technique.
1st thing when i received the burano was the ergonomics gnna be an issue... the eyepiece is a huge problem... thing is we had alot of F55 bought 10years ago and sony couldn't repair the DVL 100 and hence pushed us the DVL 200 which are godsent compared to the DVL 100... one thing i couldn't fathom was sony could have done the proprietary connector to lemo which connects to DVL 200 and that will be almost perfect... for shoulder pads they are re-using the FS7 shoulder pad and it wasn't helpful and i used the small rig shoulder pad which could slide back a few inches back makes handheld more tolerable the hindsight is the camera grows taller... hopefully 3rd party accessories will make up for it... i forsee this camera more of a narrative or one with a small crew as definitely need some help like the F5/55... images out of this camera are good and i find it better than FX9... just that Brolls or gimbal sony better come out with something quick...
if the 28-135 is a little too tight for you theres always the sony 18-110 if you want a wider zoom lens with a very close telephoto end. That also has a much nicer zoom I'm told.
Thanks for the useful information and the operator's take on this camera. Suggestion: avoid the continuous proclamations of not doing post production. The "I just shoot it and pass it on..." stance isn't a good look for someone with your obvious skills.
Yeah, I hear you. And it was an editing fail no less. Recorded the intro after the interview test and intended to remove the redundant rant during the interview and failed.
The Mid49 pivot joint for the EVF/monitor is necessary for this camera, the EVF/monitor design is one of the major sort of WTF things on the Burano. Easiest 90 bucks I've spent. So far liking the camera, curious what you think about the Internal ND's, others have reported IR pollution but we don't often shoot in bright outdoor scenarios so it hasn't been an issue for us.
Will be nice to see what extra will be added to the Burano over next year or so with firmware updates also definitely something I would like to pair up with my FX9 and FX6.
Hard to say honestly, as we're watching a video of another video (monitor)😅. But from what I can see, yes, the ARRI AMIRA appears more contrasted, but that's simply due to the conversion LUT. Moreover, even though the image is more contrasted (and richer in color), we can see by looking at the window that the Amira has a better dynamic range.
Burano is looking like a great contender. Thanks for the side by side with Amira. Curious how you’re mounting that neewer led panel on the lollipop style mount. Have only seen those with a U-bracket before. @ 8:12
I have preferred the image from Arri and Canon since the C300 and Alexa. But my clients shifted to Sony, so it’s the struggle of profitable business decision vs what I desire. Sony has done a great job with consistent color from mirrorless up to Venice and the respect of the decision makers. My high school tv teacher would often say, “you can’t go wrong buying a Sony camera,” (vs similar model and brand). First time to me in 1992. In my career that has played out as stated.
@@CrankyCameraman Alot of jobs I work on (LX/Cam combo assisting mainly) are shot on FX6 - very dynamic camera and do enjoy alot of the end results. I have just opted to buy an F6 over an FX6 as my main cam to combo w my S6, mainly due to price and gear I already have but may have been worth saving the extra cash for FX6
for me, I have a fx9 love the thing. Wanted a burano but no that i see it id rather put 20-25K into an alexa mini for my commercial work and keep my fx9 as a rental or a cheaper option for lower end clients if i get the mini.
Your shots bear out what I have been seeing. IMHO, based upon footage I've seen, the Burrito doesn't look significantly better, just a bit better than the FX9 for more than twice the price. Of course it's a great camera but will your clients pay more for it than an FX9? To me, even over RUclips, the Arri looks nicer. The CVP footage we saw from the intro day looked the same, it didn't look bad, but it didn't look like Venice, it looked more like an FX9. A $25k camera in 2024 is a weird place. It's not high end compared to an Arri or Venice but it's a lot more than the FX cams. For me, my clients and my use case, the Burrito is out, not worth the cost.
Nice review.Like the fact that you are actually using Flanders scientific monitors for accurate color .I will have to say that I don’t like the look of the older ARRI at all,compared to the Sony’s.I think the Burano is a great camera,but just a little overpriced.
Yes. Wish I had switched to it. I started in 1080 record mode on all cameras since I shoot so much tv and corporate in 1080. Then overlooked as we progressed. Today I shot a client project in FF6k UHD slog.
thanks for the reply! do you think you might need to add another ND filter on top for when it's really bright? I'm not as familiar with retaining 180 degree shutter angle for broadcast compared to filmmaking so maybe it's not as necessarily as the aperture can be narrowed down a lot? 🤔 @@CrankyCameraman
@@allen_bernardo_jr I shoot with FX6 which has the same ND range and I need to carry a 1 stop ND and a 4 stop ND. Because the internal sometimes is too much and not enough.
You can get a similar image on FX6/FX9 just by using the new Burano LUTS on the old cameras. The Burano is not a special camera, and I think it should have been priced at $12k to $16K for the 8K and the XOCN-LT. At $25K it's way overpriced, especially with that Canon 5DMK2 looking horrible rolling shutter, and the IBIS is the same as FX3 and looks sticky, and amateurish. The fact that Burano is in stock and readily available everywhere shows that it is in low demand. A lot of folks that will buy Burano may feel screwed when Sony comes out with FX6 Mark II (or similar), the same as many felt when Sony released FX6 shortly after FX9. The FX9 is still a great camera. You seem like a smart business guy, and at this point, Burano may not be a good investment. Hold off until you see significant demand, and then if the requests for the camera are there, buy it, it's not like you're going to have to place an order and wait.
'cant get the viewfinder forward to balance' this is a sony horror! I never go my fs7 blanaced until spending another grand on a third party finder. terrible design that is not acceptable for $5g let alone $25g
Burano is much more green than the Amira and maybe the Amira is more magenta than is ideal-though hard to know for certain since you’re pushing the colors through another camera and out RUclips. Nevertheless, I suspect that moving the tint adjustments of both cameras towards a middle ground would clear up a significant portion of the mismatch.
All cameras were AWB off a white card in the key light. Any subtle shift in tint is part of the color science or LUT in play. And the images looked much better on the monitor vs the iphone vlog footage.
@@CrankyCameramanJust a reminder how various camera companies evaluate white in different ways relative to the Planckian and daylight curves. AWB against a white card will only take you so far when trying to match cameras from different brands.
Thanks, makes sense. I was looking at what the factory settings yield for a typical interview, vs attempting to match beyond a AWB and cycling through a few LUTs or Scene files.
@@CrankyCameraman I will credit Andrew Luck of the channel “Gaffer and Gear” for drilling the Planckian curve and the need for +- green adjustments for lighting into my head. Plus I’ve done enough color correction and shot matching over the years that significant tint issues become obvious. And keep in mind that +- green problems can be exacerbated by the output of your lighting. Some fixtures are well tuned across the kelvin range, others can diverge quite a bit and not in a consistent way if you use bi-color or RGB lights to match other ambient light.
I think Sony really dropped the ball on this one. On paper it could of been perfect, but they crippled the Burano to protect the Venice systems in a way it just seems like an overpriced camera. HFR only on S35 crop? Actual good menu overlays only on HDMI out? No false color tool? No split SDI channels? The list goes on. We’re talking 30 grand here, and then you need third party gear to ‘fix’ the camera like the shitty eyepiece and short viewfinder cable
You're right about it being overpriced, but the Burano's antiquated sensor that is the same as Sony A1, is not even close to the organic, film-like image of Venice. The Burano's image looks a lot like the FX6, and if you use the new Burano LUTs on the FX6 you get a very similar image. I'm going to wait for FX6 Mark II.
@@willvazquez3218 Agreed. I also run a built out FX6 right now and almost pulled the trigger on the Burano as a nice upgrade. But it’s just not worth it as far as I am concerned. I even talked to Sony officials about the concerns, and all they came up with is some big maybe’s on the future firmware possibilities and nonsense about limitations in processing power. Good note on trying out the Burano LUTs on the FX6. Gonna try that out
Agreed, this is Sony's way of using old off the shelf Sony A1 sensor with IBIS and using internal VND from FX6 and charging a lot of money for bigger profit margins. They will sell a few of these cameras and then release an FX6 Mark II in a few months that will be the real value camera. By the looks of the camera being in stock everywhere, it may not be selling too well.
The things you’re concerned about are mind-boggling… The only thing that’s important is image quality. Everything else takes a far far backseat. Who cares if it takes four seconds or five seconds or 10 seconds to come on. It’s all about image quality… But since you don’t do any post, you wouldn’t understand that. You have the Burano in your hands and you’re not shooting log and taking it into resolve… What a shame.
You obv don’t shoot news or any doc scenario where things kick off and every second counts. As mentioned his clients are fast turnaround and taking into resolve isn’t his workflow. This is a real world test for his shooting requirements, plenty of resolve action on other channels I’m sure.
I agree that the image is most important, but in news, speed is a must. Heck, they don't even schedule meals and bathroom breaks for news. As far as Burano goes, not worth the $25K.
Your testing is exactly what it needed to be. Your case scenario. Thanks for keeping it real.
For what you do, the FX9 is still perfect. Yes, the Burano has a stabilized sensor and that is a nice advantage for run and gun. However, you are doing a lot of 1080i stuff and that is not really what the Burano is made for. I wonder how Sony is sampling that 8k sensor down to 1080i. That is an absolutely massive 32 mega pixel scale-down. Is it 1080i line-skipped or is it heavily pixel binned to get the image down to 2 mega pixels for HD. I would guess that Sony engineers never expected customers to use the Burano heavily for 1080i projects? I think the Burano is intended for 4k and 8k work?
Shooting 1080i is no issue with a cinema camera. I shoot both broadcast and cinema stuff with an URSA G2. Yes that has 6k, but we just adjust the settings. There is no crop when you go down in resolution, but it does utilize the full sensor read out depending on what way you decide and format you save the footage.
Yes I agree with you. And also observe that majority of revenue producing views on all content, at all levels, is on a phone, PC, or TV at 1080i or less. UHD is the max my present clients need, so the question is, does this camera make my work better or days easier? Is $25k better invested elsewhere in my business or maybe a boat?
@@CrankyCameramanI’ve been thinking this with the Burano overall. It feels like it is going to be a hard sell for an FX9 user, just not sure there is a realistic benefit aside from a few bells and whistles.
I don't think you need it yet either. You might miss a job or two not having one, IF you're not happy to just hire one ad-hoc... Invest the cash elsewhere for 6-12 months then pull the trigger. Let everyone else iron out rigging and workflow best practices then jump in when ready (when you're roof's done and you've banked some cash again haha ;-). )
Great video as always.
The Amira sensor still looked better, but the burano looks great. I don’t think you need to upgrade from the FX9, especially because you have the Amira which I doubt will be retired any time soon.
13:15 Viewed on a phone the iphone blur looks natural. crazy to think where we'll be in a few years if they can refine it to be better
Honestly it looks like shit. Having it in normal-mode (no blur) would have been way less distracting/better.
Another great vid, thank you! For me as an FX9, FX6, A7SIII, DSMC 2 and now Burano owner...The IBS, Built-in ND, 16 Bit Color, Auto Focus....REALLY GOOD AF System makes for a great system. I especially love using the Sony Cinema Style 16-35m Servo Lens (AF, Image Stabilization) with an Easy Rig for handheld...Perfect setup!
Crikey, the Arri looks great.
but the sofa color is really off.
@@ephemere82 based on what... the colour from the vlog camera???!
Great video - there are plenty of Burano reviews but this is the only one that feels like it is being reviewed for real-world use.
Appreciate this… I’ve shot a few simple assignments since this vlog and will discuss next vlog.
I don’t shoot Sony but I just enjoy listening to you go through this stuff! Thanks heaps for your time doing it!
Real world reviews are tough because they aren’t the jazziest looking for pro gear reviewers, but I really like this method of less than flattering light to stress an image. If you properly light a scene, the sensor/camera almost doesn’t matter anymore, and there’s so much more to learn by doing it this way. Even though we always try to avoid it, shooting under high noon sun could also be beneficial to see.
Being an influencer has it's perks! 😁 Congrats on getting the Burano to test out!
Good effort on your son for being such a great stand in, most people get shifty in their seat and drop their head a lot
Yea I kept thinking it was a still image 😂
I’ll let him know. Thank you.
My last camera was a Nikon F2, 50 years ago, but I had to sell it to live. Now I have a Pocket 4K. Just a hobby that I love. Never had a camera with auto this or that, so I was not missing something I never had. The Sony tech for Auto Focus and Stabilisation looks very impressive, and that little CX3 is the perfect little run-n-gun. I think I'll stick with manual tech, and work on technique.
1st thing when i received the burano was the ergonomics gnna be an issue... the eyepiece is a huge problem... thing is we had alot of F55 bought 10years ago and sony couldn't repair the DVL 100 and hence pushed us the DVL 200 which are godsent compared to the DVL 100... one thing i couldn't fathom was sony could have done the proprietary connector to lemo which connects to DVL 200 and that will be almost perfect... for shoulder pads they are re-using the FS7 shoulder pad and it wasn't helpful and i used the small rig shoulder pad which could slide back a few inches back makes handheld more tolerable the hindsight is the camera grows taller... hopefully 3rd party accessories will make up for it... i forsee this camera more of a narrative or one with a small crew as definitely need some help like the F5/55... images out of this camera are good and i find it better than FX9... just that Brolls or gimbal sony better come out with something quick...
Thanks!
nice camera's i'm still happy with my fx6 and also respect for you're son for helping daddy out.
if the 28-135 is a little too tight for you theres always the sony 18-110 if you want a wider zoom lens with a very close telephoto end. That also has a much nicer zoom I'm told.
the 18-110mm is APS-C and does not cover frame sensor.
Thank you Cranky Camera Man’s Son, for sitting in that chair for us! It was helpful seeing the camera be used and compared on someones skin!
The ARRI looks so much better and still has the dynamic range. Usually when you have more contrast you lose some dynamic range.
Thanks for the useful information and the operator's take on this camera. Suggestion: avoid the continuous proclamations of not doing post production. The "I just shoot it and pass it on..." stance isn't a good look for someone with your obvious skills.
Yeah, I hear you. And it was an editing fail no less. Recorded the intro after the interview test and intended to remove the redundant rant during the interview and failed.
The Mid49 pivot joint for the EVF/monitor is necessary for this camera, the EVF/monitor design is one of the major sort of WTF things on the Burano. Easiest 90 bucks I've spent. So far liking the camera, curious what you think about the Internal ND's, others have reported IR pollution but we don't often shoot in bright outdoor scenarios so it hasn't been an issue for us.
Your son is a good sport! Great review, thanks for sharing
Will be nice to see what extra will be added to the Burano over next year or so with firmware updates also definitely something I would like to pair up with my FX9 and FX6.
Hard to say honestly, as we're watching a video of another video (monitor)😅. But from what I can see, yes, the ARRI AMIRA appears more contrasted, but that's simply due to the conversion LUT. Moreover, even though the image is more contrasted (and richer in color), we can see by looking at the window that the Amira has a better dynamic range.
really fascinating seeing all your fx9 settings. might copy some of these onto my fs7
Great video! One thing that is missing from the Burano is the assistant screen.
I guess they don't want to step on the Venice toes , and keep the price a lot lower . And a different market buyer.
@@robinprobyn1971 That's true.
sick I would love to get one to test out. thanks for the video CC!
Burano is looking like a great contender. Thanks for the side by side with Amira. Curious how you’re mounting that neewer led panel on the lollipop style mount. Have only seen those with a U-bracket before. @ 8:12
Lights are original with the lollypop mount. Love them for travel. Very compact and decent output and CRI.
Man, why so cranky. Love it. Great coverage.
The 17 hour days, 60 day terms and 20+ years. Thanks!
Cheers cranky - zcamer here, never been massive on Sony but enjoy checking it all out
I have preferred the image from Arri and Canon since the C300 and Alexa. But my clients shifted to Sony, so it’s the struggle of profitable business decision vs what I desire. Sony has done a great job with consistent color from mirrorless up to Venice and the respect of the decision makers. My high school tv teacher would often say, “you can’t go wrong buying a Sony camera,” (vs similar model and brand). First time to me in 1992. In my career that has played out as stated.
@@CrankyCameraman Alot of jobs I work on (LX/Cam combo assisting mainly) are shot on FX6 - very dynamic camera and do enjoy alot of the end results. I have just opted to buy an F6 over an FX6 as my main cam to combo w my S6, mainly due to price and gear I already have but may have been worth saving the extra cash for FX6
@@CrankyCameraman You're right about the "Sony" brand. It's like that old saying "nobody ever got fired for buying IBM".
Come Arri where you at we need a new Amira!
for me, I have a fx9 love the thing. Wanted a burano but no that i see it id rather put 20-25K into an alexa mini for my commercial work and keep my fx9 as a rental or a cheaper option for lower end clients if i get the mini.
Thank you for the testing video!
the color of the sofa in the background is completely off with the amira and the burano. the fx9 looks the closest to reality(showed by an iphone)
Yes. Sam observed the same on site. The couch color, FX9 was the closest reproduction with factory settings and a AWB.
Your shots bear out what I have been seeing. IMHO, based upon footage I've seen, the Burrito doesn't look significantly better, just a bit better than the FX9 for more than twice the price. Of course it's a great camera but will your clients pay more for it than an FX9? To me, even over RUclips, the Arri looks nicer.
The CVP footage we saw from the intro day looked the same, it didn't look bad, but it didn't look like Venice, it looked more like an FX9. A $25k camera in 2024 is a weird place. It's not high end compared to an Arri or Venice but it's a lot more than the FX cams. For me, my clients and my use case, the Burrito is out, not worth the cost.
agreed, id go arri instead. i have a fx9 and i agree 100%
Nice review.Like the fact that you are actually using Flanders scientific monitors for accurate color .I will have to say that I don’t like the look of the older ARRI at all,compared to the Sony’s.I think the Burano is a great camera,but just a little overpriced.
Thanks
Seems like the Burano is a winner on almost all fronts.
Except it costs a shit tonne and barely delivers for that price compared to the competition. I'd much rather run the C500 mkii.
It appears to have terrible dymanic range
if fx6 hast the a7siii sensor and the fx9 somethink else is this then the sony a1 sensor or something completely new
I thought the FX9 had a Venice sensor.
Hey! I'm curious if you tested or care about rolling shutter issues that have been documented on the Burano? Did that stand out at all?
A non issue for me. Appears better than my FX9. And I’ve never had an issue on the FX9.
Hurlbut put out a nice LUT for the Burano i think gets closer to Amira look than s709
Thanks, I will check it out.
Thanks, great! What about the plasticy-looking body surface of the Burano?
I think the Burano is overpriced, but I tested the camera and the body is metal and feels professional. The image is "meh" for $25K.
@@willvazquez3218 Thanks. "Meh" meaning?
@@gerthenriksen8818 it means that it is underwhelming. Nothing special.
@@willvazquez3218 Tnanks. Waiting for firmware updates before considering buying,
happy to Sony Burano ?
My choice is Arri of these 3 cameras
Sony calls me allll the time too.. 🙂
Definitely different middle greys for sure.
Sorry side issue , did you ever work out a system to tilt your panel light ?
Have not had a chance to resist. Possibly this week.
Thanks for the insight, would the FF6Kc mode be a better option to get closer to the the FX9 .
Yes. Wish I had switched to it. I started in 1080 record mode on all cameras since I shoot so much tv and corporate in 1080. Then overlooked as we progressed. Today I shot a client project in FF6k UHD slog.
@@CrankyCameraman that just seems to be the sweet spot for me, if I had one!!
😲how many stops of internal ND does the Burano have? 🤔apologies if you answered this in the video lol
0.6 - 2.1. Shooting today with some shots F1.4 at ND 2.1. Slow motion.
thanks for the reply! do you think you might need to add another ND filter on top for when it's really bright? I'm not as familiar with retaining 180 degree shutter angle for broadcast compared to filmmaking so maybe it's not as necessarily as the aperture can be narrowed down a lot? 🤔 @@CrankyCameraman
@@allen_bernardo_jr I shoot with FX6 which has the same ND range and I need to carry a 1 stop ND and a 4 stop ND. Because the internal sometimes is too much and not enough.
@@willvazquez3218 thank you for the info 🙏
Wow! How awesome!
Is that IR pollution on the Burano?
You can get a similar image on FX6/FX9 just by using the new Burano LUTS on the old cameras. The Burano is not a special camera, and I think it should have been priced at $12k to $16K for the 8K and the XOCN-LT. At $25K it's way overpriced, especially with that Canon 5DMK2 looking horrible rolling shutter, and the IBIS is the same as FX3 and looks sticky, and amateurish. The fact that Burano is in stock and readily available everywhere shows that it is in low demand. A lot of folks that will buy Burano may feel screwed when Sony comes out with FX6 Mark II (or similar), the same as many felt when Sony released FX6 shortly after FX9. The FX9 is still a great camera. You seem like a smart business guy, and at this point, Burano may not be a good investment. Hold off until you see significant demand, and then if the requests for the camera are there, buy it, it's not like you're going to have to place an order and wait.
'cant get the viewfinder forward to balance' this is a sony horror! I never go my fs7 blanaced until spending another grand on a third party finder. terrible design that is not acceptable for $5g let alone $25g
The fact you are shooting with a 10 year old cinema camera should tell everyone you DONT need to get the latest and greatest. 😊
Burano is much more green than the Amira and maybe the Amira is more magenta than is ideal-though hard to know for certain since you’re pushing the colors through another camera and out RUclips. Nevertheless, I suspect that moving the tint adjustments of both cameras towards a middle ground would clear up a significant portion of the mismatch.
All cameras were AWB off a white card in the key light. Any subtle shift in tint is part of the color science or LUT in play. And the images looked much better on the monitor vs the iphone vlog footage.
@@CrankyCameramanJust a reminder how various camera companies evaluate white in different ways relative to the Planckian and daylight curves. AWB against a white card will only take you so far when trying to match cameras from different brands.
Thanks, makes sense. I was looking at what the factory settings yield for a typical interview, vs attempting to match beyond a AWB and cycling through a few LUTs or Scene files.
@@CrankyCameraman I will credit Andrew Luck of the channel “Gaffer and Gear” for drilling the Planckian curve and the need for +- green adjustments for lighting into my head. Plus I’ve done enough color correction and shot matching over the years that significant tint issues become obvious. And keep in mind that +- green problems can be exacerbated by the output of your lighting. Some fixtures are well tuned across the kelvin range, others can diverge quite a bit and not in a consistent way if you use bi-color or RGB lights to match other ambient light.
I think Sony really dropped the ball on this one. On paper it could of been perfect, but they crippled the Burano to protect the Venice systems in a way it just seems like an overpriced camera.
HFR only on S35 crop? Actual good menu overlays only on HDMI out? No false color tool? No split SDI channels? The list goes on. We’re talking 30 grand here, and then you need third party gear to ‘fix’ the camera like the shitty eyepiece and short viewfinder cable
You're right about it being overpriced, but the Burano's antiquated sensor that is the same as Sony A1, is not even close to the organic, film-like image of Venice. The Burano's image looks a lot like the FX6, and if you use the new Burano LUTs on the FX6 you get a very similar image. I'm going to wait for FX6 Mark II.
@@willvazquez3218 Agreed. I also run a built out FX6 right now and almost pulled the trigger on the Burano as a nice upgrade. But it’s just not worth it as far as I am concerned. I even talked to Sony officials about the concerns, and all they came up with is some big maybe’s on the future firmware possibilities and nonsense about limitations in processing power.
Good note on trying out the Burano LUTs on the FX6. Gonna try that out
Burano looks blown
Amira really looks amazing frankly. Fact that a 10 year old sensor eats a brand new 8K sensor with Venice colour science is surpising
Sure the cables were t mixed up 😂
The Amira looks better to me...I dont like sony digital look
Dont do it!
Most overrated camera over priced in past 10 years
Agreed, this is Sony's way of using old off the shelf Sony A1 sensor with IBIS and using internal VND from FX6 and charging a lot of money for bigger profit margins. They will sell a few of these cameras and then release an FX6 Mark II in a few months that will be the real value camera. By the looks of the camera being in stock everywhere, it may not be selling too well.
Has nice gear, still shoots on iphone... Lol
Best vlogging camera... And rapidly becoming the number one camera in journalism, or we already cross that point.
@@CrankyCameraman totally. The worst part about iPhone is you can't let your clients see you using it. 😅
@@CrankyCameraman A scary truth, good quality and much smaller files.....
Sony HVR-z5u is lot better lens then this camera. cone on sony go back to making real shoulder mount cameras. not this crap.
The things you’re concerned about are mind-boggling… The only thing that’s important is image quality. Everything else takes a far far backseat. Who cares if it takes four seconds or five seconds or 10 seconds to come on. It’s all about image quality… But since you don’t do any post, you wouldn’t understand that.
You have the Burano in your hands and you’re not shooting log and taking it into resolve… What a shame.
You obv don’t shoot news or any doc scenario where things kick off and every second counts. As mentioned his clients are fast turnaround and taking into resolve isn’t his workflow. This is a real world test for his shooting requirements, plenty of resolve action on other channels I’m sure.
I agree that the image is most important, but in news, speed is a must. Heck, they don't even schedule meals and bathroom breaks for news. As far as Burano goes, not worth the $25K.