In my opinion the real benefit of the Burano coming from a FX6/FX3 is the internal RAW codec which makes color balancing a breeze in post production. X-OCN is actually quite manageable in terms of files size considering its latitude and it's not that much taxing on CPU/GPU resources either using a Max/Ultra powered Apple's computer. With that said, you can still record ProRes RAW externally with the FX3/FX6. 8K is definitely overkill, 6K or even 5K would have been more than enough to reframe some shots and deliver a 4K project which is the vast majority of what has been done nowadays. Movies are screened in cinemas at a resolution of 2K or 4K at best, regular cable TV is HD, streaming platforms are 4K or HD. 8K resolution is totally unnecessary if not for (very) special VFX. The dynamic range of a sensor makes much more difference than the resolution itself in real world.
@@TenfoldProduction The noise you are getting when exposing properly could be because of the lack of noise reduction but this is just my theory. It's automatically applied in the FX3 and in the FX6 and FX9 I believe it's it can be toggled on and off. Maybe check that? Also, what IRE do you expose middle grey for the Burano? Usually you need to expose middle grey higher on Sony cameras like you said. I wish Sony would increase the dynamic range on their cameras to be better without noise reduction. When NR is off the dynamic range is like 10.5 stops which is disappointing.
Amazing video! I'm super impressed with your honesty and great visual explanations. A lot of videos are talking heads "only." I love that you not only "talk" about your experience, but "show" it as well. Instant sub from me. Keep killing it!
Great video! Although the image is nice out of the Burano, it actually looks a lot closer to the FX6 than the Sony Venice. The Sony Venice renders a much more organic look. Closer to an Alexa. The Burano looks very similar to the FX6. And frankly, I don’t really see where it fits anywhere. I mean, I shoot commercials and corporate work with an FX6 and FX3. My clients aren’t gonna pay me anymore to shoot with the Burano that costs $19k more. The camera just doesn’t make any business sense. Especially where we’re in an era of good enough. I also own an Arri Amira that I like to shoot with because I feel like it. And I love the image, but the truth is clients don’t care, I recently shot a whole job with an FX3 that had a pretty good budget Because I didn’t wanna deal with the weight of the Amira or the FX6. And I actually prefer the colors of the FX3. And it looked great, the client loved it, and nobody ever mentioned the camera. Of course I had a rigged up with all the batteries and all the stuff. But it just doesn’t matter anymore. And then to spend all that money on this new camera and have that IR pollution is ridiculous. And you forgot to mention the horrible rolling shutter. Cheers.
Not being able to view footage is not Sony’s fault. It’s up to your NLE on how fast they implement it into their update cycle. It was the same for when I bought the Venice and Burano. Adobe rolled out Burano file support in February. Davinci had support for Burano X-OCN at launch.
Appreciate the feedback! Again we had it for a few days and even with updating to different premiere versions on set, it was giving us issues. All is remedied and was noted in the video. Thanks for the info!
Bro I absolutely love your work, colors and lighting always on point and appreciate the industry tips you give, as I'm a newer DP in the commercial space (4 years in commercial, came from reality TV)
to piggyback off your noise results on the 2nd native ISO, we have 3 FX6's and 3 FX3's as part of our camera kit for our production company and we swear the 3's 12,800 is way cleaner than our 6's its wild. We've even tested internal NR on at different strengths and with it off for comparisons.
Appreciate the kind words man! Yeah we've found the fx3 12800 to handle most things well. Odd how big of a difference there is. Glad you're finding things helpful, let us know if there's anything you'd want to learn more of.
Would love a full commercial lighting course and/or courses in anything else related to production. Would happily pay. Thank you for all the knowledge you share through UA-cam. Also the lighting pdf was great! Also this is how product reviews should be, not listing all the cool marketing specs but instead how the product performs real world. That was refreshing 👍 you have my vote for mvp UA-cam channel for video production
Wow! Thanks so much for the kind words. We are actually working on this as we speak haha, appreciate you for the support and hope to see you in future courses!
Haha, it was definitely a fun piece of equipment to work with. We'll be diving more into this in the future!
9 місяців тому
Yeeeees the video about movements with heavy cameras would be amazing! A detailed video would be amazing, i know what tools are out there and what they do but since i have not used or installed all of them that would be the info i really would love to have. like what to look out for when laying down the dolly tracks, what to use to level everything etc.
Fair! When we were pulling it onto our computers, both premiere and DaVinci had issues with it. Obviously we could have spent time troubleshooting it, but at the moment it was pretty tough to work with. Appreciate the feedback!
I love to see a comparison where you make a commercial but use the bruano and another camera like a fx3 or even a a7iv and repeat the shots for each scene to see if there is a difference in the actual bodies.
honestly you can make any camera look good i personally have liked using my iphone 15 lately because of the apple log and using depth map to simulate bocah with ease especially with the new davinci 19 its just super easy
The rolling shutter and IR polution weren't a problem, then it would be a great camera imo. The 'small' form factor lends itself well to handheld and quick movements...
@@TenfoldProduction you cannot fix rolling shutter, it has to do with the relatively slow speed readout and that's a property of the physical sensor (same sensor as in the Sony A1)
You need 6K to get rid of the rolling shutter so you can get a clear 4K image. They really should be compensating for the rolling shutter like lens correction. Once you bake it into the video file then you can't undo the damage. They are downsampling anyways, so it doesn't make sense to not compensation for rolling shutter at this stage.
Hi guys, we've had the burano for a couple of months now, still having trouble seeing any major grain at 3200 iso (out of the ordinary fx6 style images) and the ir pollution seems non existent! we shot outside in bright sunlight and cloudy days and have not been able to see it. Having said that, all of our images exposed are at approx 60% on the waveform and we shoot 6k RAW. Puzzling, however, we did get a call from our supplier before our camera arrived saying there is a pre-shipment firmware update. Maybe they fixed that...who knows.
Strange to see a company that won the Red Dot Design Award for their fx6 model botch the Burano so badly. FX6 is product design in its purest form, while Burano - hmmm. Must have been a different team working on it...
The industry moves so quickly. What was once great sometimes gets stale quick. From our perspective, we use the entire Sony life frequently, the FX6 has quickly become the camera that we leave at home. The FX9 + Venice has a considerable jump up in quality and usability. The FX3 is perfect for portability. The FX6 fits in a weird middle ground. So does the Burano. The image is pretty solid, but can't seem to justify the price when there are so many small things that don't work the way we need it to.
yeah, was really hoping for a slam dunk out of the burano. as great as the fx6 is the form factor starts to get in the way when you try to do more than run and gun doc stuff. rigging accessories necessary for studio/commercial work (focus motors and mdr, wireless video transmission, external monitors, etc) becomes extremely cumbersome and inconvenient. unfortunately, while the burano is much more production friendly, there are some crazy drawbacks.
The Burano and the Fx6 have more noise because they have more controlled internal noise reduction, even the max internal nr is less than the automatic nr in fx3/a7s3, you should turn the nr off completely and then just apply nr in post (the standard resolve nr is wonderful), you get better results than if you just keep internal nr. Also, one thing for the burano, if you want to shoot with higher iso, even if it sounds weird, it's best to shoot XAVC instead of XOCN LT because the XAVC processing makes it less noisy as a starting point. XAVC with no internal nr looks actually better than XOCN LT with internal nr set to high.
I feel the same way about the fx6 in terms of exposure. The 12800 number thrown out as the second base issue should be 3200. That is the only way to get a fully clean image at "12800". I'd be curious if rating 3200 at 1600 actually gives you a clean image.
I'd suggest that Sony's strategy in making the camera 8K is that they wanted the S35 cutout to be oversampled or at least bigger than 4096 native? This mode will be the one most used. For example the ALEXA 35 is native 4096 in S35. At the same time offering 8K mode for those users and applications that would benefit from that, and as a matter of also allowing FF short DOF look. I swore off Sony after SWR9000 and F65 fiasco(s) essentially for their misrepresentations and withholding information, and am very happy to just have ALEXA 35 cameras now, although I totally get that there's a gigantic market for BURANO type camera. Horses for courses as us old timers like to say. Best advice is use the best camera you can get, and this camera checks a lot of boxes at an attainable price. But I think it still thrives on the original RED fan boy type energy, where reason is sometimes blurry. Cheers!
the non viewable media issue would be the fault of adobe, not sony.. did you try opening the project in resolve, Final Cut, or avid? or just premiere? as far as I'm aware. The burano did not impress me. I actually bought an F55 after the burano came out to put me on track to get a Venice down the road, and I've been absolutely loving it so far.
As an FX9 user I am underwhelmed that Sony never fixed the issues and quirks my camera has, but instead solved most of it in the FX6. I am now going over to the Canon C400 as it does almost everything the Burano does. Can’t trust Sony.
Let’s start out with… Nobody needs 8k? No … you don’t need 8K doesn’t mean other people don’t. The next problem is you working in Premier Pro… Which is a joke. If you were a real production person you would be working in da Vinci resolve. Most of what you have been saying is true. The look of your commercial was mediocre at best. No pop no life in the images… Very dull looking almost like a soap opera. Is that the camera or is that your lighting? I would imagine it’s your lighting.
Thanks for the feedback! Always love these types of conversations. We don’t use 8k, most people we work with don’t. Multi hundred thousand to million dollar projects shot in 4k. We’re just giving you our take on the camera. We work with some of the top editors in the commercial world, editors working on massive music videos and commercials all edited on premiere and avid. Not sure why you think that there’s strict rules to filmmaking. It’s a place of freedom of expression. What if I told everyone you’re not really making filmmaking or commercials unless you were shooting on signature primes and m18’s. Mostly people just colour on davinci or baselight that were around. Appreciate your take on our work, we think it looks good and it works for the clients that we sell and work with and that’s what matters to us. Not trying to impress everyone out there, can’t make everyone happy. :)
We used film grain from two other scenes to match the one that we didn't add film grain to. Resolution differences don't really matter to us as we're not trying to run up that storage, plus not much was digitally reframed within the edit.
In my opinion the real benefit of the Burano coming from a FX6/FX3 is the internal RAW codec which makes color balancing a breeze in post production. X-OCN is actually quite manageable in terms of files size considering its latitude and it's not that much taxing on CPU/GPU resources either using a Max/Ultra powered Apple's computer. With that said, you can still record ProRes RAW externally with the FX3/FX6.
8K is definitely overkill, 6K or even 5K would have been more than enough to reframe some shots and deliver a 4K project which is the vast majority of what has been done nowadays. Movies are screened in cinemas at a resolution of 2K or 4K at best, regular cable TV is HD, streaming platforms are 4K or HD. 8K resolution is totally unnecessary if not for (very) special VFX. The dynamic range of a sensor makes much more difference than the resolution itself in real world.
Yes please to the breakdown video on movements!
Thanks for the feedback Kyle! We'll give it a shot soon.
@@TenfoldProduction The noise you are getting when exposing properly could be because of the lack of noise reduction but this is just my theory. It's automatically applied in the FX3 and in the FX6 and FX9 I believe it's it can be toggled on and off. Maybe check that?
Also, what IRE do you expose middle grey for the Burano? Usually you need to expose middle grey higher on Sony cameras like you said.
I wish Sony would increase the dynamic range on their cameras to be better without noise reduction. When NR is off the dynamic range is like 10.5 stops which is disappointing.
What's the name of the arm that allows for the rotational movement?
Huge respect for the honesty and straight talk. I have yet to see a Burano review that has a big plus positive.
Thanks Scottie! Appreciate your support
Amazing video! I'm super impressed with your honesty and great visual explanations. A lot of videos are talking heads "only." I love that you not only "talk" about your experience, but "show" it as well. Instant sub from me. Keep killing it!
“Sony didn’t do enough testing”
I think you summed up this camera
Great video! Although the image is nice out of the Burano, it actually looks a lot closer to the FX6 than the Sony Venice. The Sony Venice renders a much more organic look. Closer to an Alexa. The Burano looks very similar to the FX6. And frankly, I don’t really see where it fits anywhere. I mean, I shoot commercials and corporate work with an FX6 and FX3. My clients aren’t gonna pay me anymore to shoot with the Burano that costs $19k more. The camera just doesn’t make any business sense. Especially where we’re in an era of good enough. I also own an Arri Amira that I like to shoot with because I feel like it. And I love the image, but the truth is clients don’t care, I recently shot a whole job with an FX3 that had a pretty good budget Because I didn’t wanna deal with the weight of the Amira or the FX6. And I actually prefer the colors of the FX3. And it looked great, the client loved it, and nobody ever mentioned the camera. Of course I had a rigged up with all the batteries and all the stuff. But it just doesn’t matter anymore. And then to spend all that money on this new camera and have that IR pollution is ridiculous. And you forgot to mention the horrible rolling shutter. Cheers.
Not being able to view footage is not Sony’s fault. It’s up to your NLE on how fast they implement it into their update cycle. It was the same for when I bought the Venice and Burano. Adobe rolled out Burano file support in February. Davinci had support for Burano X-OCN at launch.
Appreciate the feedback! Again we had it for a few days and even with updating to different premiere versions on set, it was giving us issues. All is remedied and was noted in the video. Thanks for the info!
Bro I absolutely love your work, colors and lighting always on point and appreciate the industry tips you give, as I'm a newer DP in the commercial space (4 years in commercial, came from reality TV)
to piggyback off your noise results on the 2nd native ISO, we have 3 FX6's and 3 FX3's as part of our camera kit for our production company and we swear the 3's 12,800 is way cleaner than our 6's its wild. We've even tested internal NR on at different strengths and with it off for comparisons.
Appreciate the kind words man! Yeah we've found the fx3 12800 to handle most things well. Odd how big of a difference there is. Glad you're finding things helpful, let us know if there's anything you'd want to learn more of.
Would love a full commercial lighting course and/or courses in anything else related to production. Would happily pay. Thank you for all the knowledge you share through UA-cam. Also the lighting pdf was great! Also this is how product reviews should be, not listing all the cool marketing specs but instead how the product performs real world. That was refreshing 👍 you have my vote for mvp UA-cam channel for video production
Wow! Thanks so much for the kind words. We are actually working on this as we speak haha, appreciate you for the support and hope to see you in future courses!
Would like to know what equipment was used to do the orbit shot at 5:35. Thanks!
Would love to know more about the tools you used for the camera movement
Far more interested in the Chapman dolly than I am in the Burano lol
Haha, it was definitely a fun piece of equipment to work with. We'll be diving more into this in the future!
Yeeeees the video about movements with heavy cameras would be amazing! A detailed video would be amazing, i know what tools are out there and what they do but since i have not used or installed all of them that would be the info i really would love to have. like what to look out for when laying down the dolly tracks, what to use to level everything etc.
Please to drop a dedicated video on how you achieved these movements.
Coming soon!
I’ve shot 5 projects with my Burano cameras and never once saw any IR issues with the NDs. Also, Resolve plays 8K XOCN-LT without issue.
Fair! When we were pulling it onto our computers, both premiere and DaVinci had issues with it. Obviously we could have spent time troubleshooting it, but at the moment it was pretty tough to work with. Appreciate the feedback!
Would like to see a image quality comparison versus a1 with an external recorder.
Thanks for this comprehensive review! Is there film grain added to the footage? Specifically looking at 7:25, or is that the noise you mentioned?
All of the "grainy footage" was the deodorant shots of the commercial. There was film grain added to the rest to match the deodorant shots.
I love to see a comparison where you make a commercial but use the bruano and another camera like a fx3 or even a a7iv and repeat the shots for each scene to see if there is a difference in the actual bodies.
That's a great idea! We'll be creating a lot more comparison videos in the near future. Thanks Sloop!
What was the double-jointed mount you used to orbit the camera around the subject?
yes make a video on the movements
honestly you can make any camera look good i personally have liked using my iphone 15 lately because of the apple log and using depth map to simulate bocah with ease especially with the new davinci 19 its just super easy
The rolling shutter and IR polution weren't a problem, then it would be a great camera imo. The 'small' form factor lends itself well to handheld and quick movements...
Yeah exactly, they are two pretty important things that need to be fixed for the camera.
Sorry… but neither are a problem.
@@spotshooter1 fair, everyone has their opinion on what's important for their projects. Appreciate the feedback!
@@TenfoldProduction you cannot fix rolling shutter, it has to do with the relatively slow speed readout and that's a property of the physical sensor (same sensor as in the Sony A1)
Rolling shutter wont matter unless your shooting sports. IR is an easy fix.
You need 6K to get rid of the rolling shutter so you can get a clear 4K image. They really should be compensating for the rolling shutter like lens correction. Once you bake it into the video file then you can't undo the damage. They are downsampling anyways, so it doesn't make sense to not compensation for rolling shutter at this stage.
Looks like I'll be waiting for a Burano Mark II ... too many things Sony needs to sort out on this version.
Next time try Schneider IR cut filter with the Burano the ND system.
Appreciate the heads up. Rental house didn't have any avail! Will try em for next time.
Amazing🔥! The quality is top tier
What is the device/mount that the camera is hanging from that is making the rotational shots?
Can I use this lens with the Sony FX3?
Did you report all of this to Sony?
Hi guys, we've had the burano for a couple of months now, still having trouble seeing any major grain at 3200 iso (out of the ordinary fx6 style images) and the ir pollution seems non existent! we shot outside in bright sunlight and cloudy days and have not been able to see it. Having said that, all of our images exposed are at approx 60% on the waveform and we shoot 6k RAW. Puzzling, however, we did get a call from our supplier before our camera arrived saying there is a pre-shipment firmware update. Maybe they fixed that...who knows.
Strange to see a company that won the Red Dot Design Award for their fx6 model botch the Burano so badly. FX6 is product design in its purest form, while Burano - hmmm. Must have been a different team working on it...
The industry moves so quickly. What was once great sometimes gets stale quick.
From our perspective, we use the entire Sony life frequently, the FX6 has quickly become the camera that we leave at home.
The FX9 + Venice has a considerable jump up in quality and usability. The FX3 is perfect for portability. The FX6 fits in a weird middle ground. So does the Burano.
The image is pretty solid, but can't seem to justify the price when there are so many small things that don't work the way we need it to.
yeah, was really hoping for a slam dunk out of the burano. as great as the fx6 is the form factor starts to get in the way when you try to do more than run and gun doc stuff. rigging accessories necessary for studio/commercial work (focus motors and mdr, wireless video transmission, external monitors, etc) becomes extremely cumbersome and inconvenient. unfortunately, while the burano is much more production friendly, there are some crazy drawbacks.
The Burano and the Fx6 have more noise because they have more controlled internal noise reduction, even the max internal nr is less than the automatic nr in fx3/a7s3, you should turn the nr off completely and then just apply nr in post (the standard resolve nr is wonderful), you get better results than if you just keep internal nr. Also, one thing for the burano, if you want to shoot with higher iso, even if it sounds weird, it's best to shoot XAVC instead of XOCN LT because the XAVC processing makes it less noisy as a starting point.
XAVC with no internal nr looks actually better than XOCN LT with internal nr set to high.
I dont get any noise at 3200 iso RAW with NR off. It's weird. Xavc does add some though.
I feel the same way about the fx6 in terms of exposure. The 12800 number thrown out as the second base issue should be 3200. That is the only way to get a fully clean image at "12800". I'd be curious if rating 3200 at 1600 actually gives you a clean image.
I've never seen a more compromised camera for such an astonishing asking price. Hard pass from me. Thanks for the vid!
Thanks for watching Jezza! Appreciate you
how about not being able to use my smallHD onboards
I'd suggest that Sony's strategy in making the camera 8K is that they wanted the S35 cutout to be oversampled or at least bigger than 4096 native? This mode will be the one most used. For example the ALEXA 35 is native 4096 in S35. At the same time offering 8K mode for those users and applications that would benefit from that, and as a matter of also allowing FF short DOF look. I swore off Sony after SWR9000 and F65 fiasco(s) essentially for their misrepresentations and withholding information, and am very happy to just have ALEXA 35 cameras now, although I totally get that there's a gigantic market for BURANO type camera. Horses for courses as us old timers like to say. Best advice is use the best camera you can get, and this camera checks a lot of boxes at an attainable price. But I think it still thrives on the original RED fan boy type energy, where reason is sometimes blurry. Cheers!
please break down movements!
the non viewable media issue would be the fault of adobe, not sony.. did you try opening the project in resolve, Final Cut, or avid? or just premiere? as far as I'm aware.
The burano did not impress me. I actually bought an F55 after the burano came out to put me on track to get a Venice down the road, and I've been absolutely loving it so far.
For the price, a V Raptor is the way to go.
Definitely a strong option! We still need to give the raptor a try
@TenfoldProduction I've had mine for over a year and it's phenomenal. Going to upgrade it to the X.
@@picxlproductions awesome! Hopefully can get our hands on it shortly.
does it have ibis, built in nd filters and auto focus? (couldn't care less about the latter)
I was incredibly excited for this camera. So disappointing.
I subscribed
Wow is Sony doing anything to fix the IR issues
As an FX9 user I am underwhelmed that Sony never fixed the issues and quirks my camera has, but instead solved most of it in the FX6. I am now going over to the Canon C400 as it does almost everything the Burano does. Can’t trust Sony.
So what I'm hearing is.... Used Alexa Mini! 👀✅
Haha used Minis are still pretty pricey, but def always worth it!
FX6 + FX9 are not prosumer. What are you talking about???
fx6 is prosumer. Fx9 is professional.
@@LoungearoundTVtell that to all the professional shoots using the fx6
@frontfoot1035 great for non-cinema productions. I remember using the sony vx2000, 720x480p, that was prosumer too. We used that TV at the time.
@@LoungearoundTV smh
the comercial look good but is too dark
Thanks for your opinion! Appreciate it
How did you achieve the movements?
Video coming out mid May! Thanks for supporting
Terrible camera. Real shame as had big potential
Let’s start out with… Nobody needs 8k? No … you don’t need 8K doesn’t mean other people don’t. The next problem is you working in Premier Pro… Which is a joke. If you were a real production person you would be working in da Vinci resolve.
Most of what you have been saying is true. The look of your commercial was mediocre at best. No pop no life in the images… Very dull looking almost like a soap opera. Is that the camera or is that your lighting? I would imagine it’s your lighting.
Thanks for the feedback! Always love these types of conversations.
We don’t use 8k, most people we work with don’t. Multi hundred thousand to million dollar projects shot in 4k. We’re just giving you our take on the camera.
We work with some of the top editors in the commercial world, editors working on massive music videos and commercials all edited on premiere and avid. Not sure why you think that there’s strict rules to filmmaking. It’s a place of freedom of expression. What if I told everyone you’re not really making filmmaking or commercials unless you were shooting on signature primes and m18’s.
Mostly people just colour on davinci or baselight that were around.
Appreciate your take on our work, we think it looks good and it works for the clients that we sell and work with and that’s what matters to us.
Not trying to impress everyone out there, can’t make everyone happy. :)
If film grain was added in post, the resolution that the Burano shoots is overkill
We used film grain from two other scenes to match the one that we didn't add film grain to. Resolution differences don't really matter to us as we're not trying to run up that storage, plus not much was digitally reframed within the edit.