Let’s keep it real. For 25,000 there should be nothing wrong with the camera, menu simplicity, ect. It is a nice camera for 12 to 13 K. Sony needs to get their act together and stop with the insanity.
That's also kind of the gripe I have with Sony cameras in general(and from doing lots of work with the FX9). They are soooo damn complicated. It feels like you need to be an image technician to properly operate the camera. It would just be great to be able to use all the resolutions in a true full frame readout instead of having to mess around with the right crop mode.
I've seen rolling shutter in feature films and tv shows. What makes it less noticeable is a good story. Most shots that had rolling shutter were so short that they didn't take away from the storytelling of the film itself. If you plan on sharing your work with a general audience, they're not likely to notice or care about rolling shutter. Plus, with Sony you can use Catalyst Browse to greatly reduce rolling shutter effects. Most shots I've run through Catalyst Browse take less then two minutes to process.
For 29k you can get a VISTA VISON global shutter with RAW ... NIkon ...I mean Red has this camera clobbered. I can see if a Production was all Sony but the V-raptor-X still smokes this.
It's absolutely insane that Sony won't allow Open Gate recording on their 25 thousand camera. Heck, a $1300 fuji XS20 allows you to use a full sensor, and Panasonic has been doing it for years. This cripple hammer is completely unacceptable
So a £25,000 camera has a similar readout speed to a Blackmagic 6K, which is £1700. And they’re targeting this at solo operators and documentary? Hard pass.
This test makes it awfully clear that cine cameras are only absolutely nessecary on the absolute highest end of productions. Comparing this to models in the 5-10 000 range, it's hard to find lots of reason to upgrade. To be honest, I thought I would be upset that the camera isn't blowing my mind, but instead I kinda feel happy that the democratization of video has reached its final form.
I feel the same though it was my fault for getting influenced by the hype. We won’t be seeing any bad “reviews” for the Burano for some time because nobody wants to either A) jeopardize their relationship with Sony or B) admit they spent over 25k on a mistake…
Thank you for the rolling shutter tests and formats breakdown - those were the most confusing to try to read specs and watch random tests on facebook groups. Very surprised at the sensor readout speeds
The rolling shutter speed is really disappointing. Why would Sony cripple it's performance in that particular area when it has to compete with Red's Global shutter offerings?
Is a little confusing; seems like it’s the sensor from the A1. I keep thinking that there’s no issue with the readout speed as long as it’s being used as an interview camera, but then why would anyone buy this camera to only use it for that?
After the initial reviews, I think the Burano is really situated in an odd place regarding its price point and features. Most doc and low to mid tier projects will be satisfied with FX9 + FX6 quality, and sure, having a Burano on those projects with X-OCN codec will be nice, but are they willing to shell out higher rental rates to use the Burano? And for higher-end productions in commercials and narratives, why would one choose a Burano if they likely have a budget to use the Venice or Alexa instead? Now that the Burano’s specs are more known, overall it’s not as exciting of a camera as I previously thought. It would be nice to have as an owner-operator, but I feel it’s a tough sell to clients + productions
Agreed. This camera should be priced at $15,000 and just replace the FX9 as it's direct successor model. No client that is already happy with FX9 footage is going to want to pay a higher rate for the Burano. Sony needs to get realistic, swallow their pride, and drop the price to $15,000.
@@SuperPhunThyme100Right, and to build the Burano to be a production-ready camera package, we’re realistically looking at around the $30k price point. Doc productions + lower budget commercials are probably not going to pay more to use this camera-FX9 & FX6 are plenty good for those and honestly, they probably prefer Sony’s XAVC codec over X-OCN for faster turnaround and simpler post work. Owner-Ops might be enticed to own this, but I feel that clients and productions are just NOT going to be attracted to Burano’s offerings. It’s too niche. Basically, why pay roughly $1k/day for a Burano when you can get either an FX9 for about $500/day or a Venice for $1,100/day? I doubt Sony will reduce the Burano’s price significantly, but I think it should be closer to $20k fully kitted out.
Just a little correction for you guys, a "Blonde" is a 2,000w open-faced floodlight (so-called because the original manufacturer Ianiro, made theirs with yellow-coloured housings). It's basically a bigger version of a "Red Head", which again, received its nickname from the red-coloured housing that Ianiro produced theirs with. Fresnel lights (like the Arri 1kw you've used for your IR test here) don't really have nicknames used for them outside of the USA. So in the UK, you'd just call it a "1k" generally. But inside the USA, those nicknames are: 100-watt Fresnel light is called an “inky.” 200-watt Fresnel is a “midget.” 650-watt Fresnel is a “tweenie.” 1k-watt Fresnel is a “baby.” 2k-watt Fresnel is a “junior.” 5k-watt Fresnel is a “Senior.”
Thank you for a great review. Could you please do a comparison between the Burano (XOCN-LT) and the Venice 2 (XOCN-XT) and show us how color corrected images images look on both? I've read that the LT will "break" earlier during grading, because it doesn't contain all the information that the XT contains. It would be nice to get a qualitative feel for this. Thanks much.
Sub-par readout speeds at anything over 4K, IR pollution, no open gate... What are we even doing here... could buy a Kinefinity camera and get far broader capabilities with a great image, or 1/2to 1/3 of the price...
13:08 omg what, how is that 350£? I do a lot of 3D design and 3D-Printing and a part like this takes at most 2-3h to design. 500ml of high quality resin are ~100 bucks and Anycubic SLA printer are also very affordable
I guess it could be worse but yeah I was expecting more like 12ms or less. The Venice 2 clocks in at 5ms, Raptor 8ms, and LF 7.4ms. It kind of makes sense that Sony wouldn't give us Venice 2 level at 1/3 the price of the Venice 2. The readout is very similar to the A1, slightly worse. I think this is basically an A1 in a different body. Could be cheaper but I think you are paying for the Sony name. The question is does this get you jobs beyond what an FX9 could? What types of jobs would it secure? Indie features that don't pay well? What kind of higher budget stuff would want this over an Alexa or Venice? For less premiere projects a RED Raptor would probably be suitable and its a better camera. IBIS, Auto focus and END are great features of course and can't be overlooked.
All the random bullshit you need to buy to get it up and running as it's priced now (rigging, mic mount, 3rd party viewfinder), you're shelling out $30,000 EASY for this. Not even remotely worth that.
These are exactly my questions & thoughts on the Burano. It’s situated in an odd middle ground regarding its price point and features. Most doc and low to mid tier projects will be satisfied with FX9 + FX6, and sure having a Burano on those projects will be nice, but are they willing to shell out higher rental rates to use the Burano? And for higher-end productions in commercials and narratives, why would one choose a Burano if they likely have a budget to use the Venice or Alexa instead? Now that the specs are more known, overall it’s not as exciting of a camera as I previously thought.
@@miknivek11 If a Venice 2 is the choice the form factor of the Burano might be nicer to use. I thought it could be Sony's Alexa mini. But considering the many choices they made with the design and limitations against a Venice 2 that obviously isn't what they were going for.
Excellent as always. I would love to see comparison of the LT codec vs other versions of the same codec. Also with REDs codec. Comparing to the Komodo X as well pls
Love you guys!! I would love to see this compared to the RED V Raptor X. You really are my favorite channel for getting news and technical specs and advice on cameras
Seems like an overall solid camera. Definitely a weird mix between a FX9ii and a test bed for Venice 3. I have a feeling it will age well, either with software updates to fix the biggest pain points, or a bargain deal in a few years haha
EDIT: I was wrong! CVP team explained it very well. Thanks for answering, you are the best! I just miss raw to UHD compressed crop. This chart with crops has fake information. Just calculate crop by yourself.... and you will discover that crop is a lot bigger than they say. I talked with Sony about that, and they confirmed thats not correct, but no one fixed it....
The false color LUT is amazing! Thank you for that. But it is made for S-Gamut 3 Cine not the regular S-Gamut 3 right? Do you also have one available for S-Gamut 3?
This is why I stopped shooting Sony some years back. They will neuter a camera to protect other cameras that will still be just fine in their lane. They make too manay cameras and limit others to not compete with those cameras.
Its quite the opposite usually sony usually always outdo their more expensive cameras with cheaper cameras. They put the newest tech even if the camera is less expensive. This is odd what they did with the burano
Reminds me of back in the later days of 1080p video production. I wrestled with this almost exact same problem with the Sony PMW-EX1, a great run and gun camera of its time that was ktherwise weighed down with the IR pollution problem. Not until about halfway of its life I got a similar IR cut filter recommended by the online community and was able to get rid of that awful magenta/brown cast on some sensitive black fabrics with only a minor color shift. Never had the same problem, or at least a similar problem to the same extent, with the other cameras I have used from the CCD Sonys, and the Canons with 1/3" sensors to fullframe. Strange.
The Venice suffers the same confusing output assignment structure with varying output options based on codec and resolution. I’m sad Sony didn’t prioritize the UX when making this newer camera.
If they dont drop the price, this thing is going to be a dud. That rolling shutter is ridiculous. And the random monitoring limitations is just comical.
I see ur point but the sony name will carry the camera through. And people will just compromise with the rolling shutter by using less data intensive modes to make the shutter faster. But it sucks sony needs to do better this is just dumb crippling it so hard
Personally, while the dual native ISO is great to have on this camera, and the IBIS could be nice, I'd rather keep using the Blackmagic URSA 12K OLPF and not have cropped sensor in different resolutions while having MUCH better rolling shutter performance and up to 120fps in 8K raw. For a camera that is 4 times the cost of the URSA, this Sony does not impress... Great info and review though as always!
Rolling shutter is a joke at $25K. The Sony a9III has global shutter at $6K. The Burano should be like $12K. Watching this video... it's one cripple hammer after another. "Can't do this, can't do that."
@@mattcarlson12 Yes but rolling shutter is so far down the list of important features that the a9iii doessn't have. This is a cinema camera, with nessecary cine features. It's pointless to compare the two.
I would love to see the the color science against the FS7. Can we use our old FS as B cams or will it be to different? BTW I would just rent it for some night shots. I understand the price for the features, but why the IR pollution and slow readout speeds? Also this feels a bit like a risk to bring it to a fully paid project. I'd rather go with a Nikon 😅
My tinfoil hat is that the Sony a1 has the same sensor has the BURANO, they are both 8.6k they both crop in 10% for 120P 4k and at 8k the a1 has a near identical rolling shutter speed. (Cine 5d messured 16.6 ms for the a1 at 8k, with 8.2ms for its’ downsampled/pixal binned 4k, and
Even if the sensor in the A1 can export raw frames at 16 bit per pixel (which has not been demosnstrated yet), there's isn't a codec available on the a1 to catch it. for cooked delivery, I had the impression that the best you can do over 12G SDI and HDMI 2.0 is 12 bit x 3 colors per pixel at 4K/60. The HDMI 2.0 connection itself is 18 gigabits, and I seem to recall Atomos claiming it was receiving 16bits of data per raw pixel from some of the sony cameras, and representing it a 12 bit log capture for ProResRaw for those sony cameras. We could hope that Sony and Atomos could allow/license higher quality OCN format recording in the Atomos 11 OS.
@@KeithSklower yeah the a1 spits out 16bit linear raw to a ninja which records as 12bit log 4k ProRes. (Which brings up the decade old argument is ‘Red Raw better for being 16bit linear, or is Arri raw just as good at 12 bit log?’ Every colorist I have asked says they are identical, but I am not a colorist. So I defer to you if that is bad information I have been fed) However I believe the hdmi is 2.1 which would allow 8k output similar to the canon r5. But with the similarities to the BURANO, I don’t think Sony will ever allow 8k raw, nor do I think they will update with any of the amenities the fx3/as7siii has been receiving (true 24p, E.I instead of ISO, 1/48 video shutter speed, the newer video menu display, anamorphic de squeeze, user load able LUTS) Sony wants to protect their more expensive camera from ‘cannibalism’ and the A1 is an alpha camera so there is the inter-department politicking to consider.
Hello, could be possible a comparison between the Burano and the Sony a7IV? When the Burano was announced it came to my mind immediately because of the 8k and the slow readout of the rolling shutter. Also the a7IV has an incredible dynamic range according to CineD
Can this camera be used without the default monitor? Or does it always have to be used? Example, use it on a gimbal with an external Shinobi monitor attached to the handle.
Wait... If you're able to make a VF extension cable for the FX6, wouldn't you then also be able to make a VF to XLR adapter cable that plugs into the FX6 body and allows XLR sound utilization without the use of the stock top handle? I've seen countless people (including myself) wonder about this in the FX6 Users group page!
The Burano feels rushed a bit. It's crazy because Sony has had perfect releases these last few years. A7SIII, FX9, FX6, FX3, FX30. All those accessories should come in the box at $25K, including the Side Handle w/ the extension and top Handle. Camera read-out speeds should also be perfect in 2024 as the processing power is there.
How did Mid49 do that 3D print of the Burano? I’d like to borrow that! ☝🏾 Burano looks great except the readout speed is disappointing. My 6KPro has a similar speed and lateral movement looks terrible on it sadly..
For future reviews, you guys should really do a little more pixel peeping on the different modes to know how much detail it's actually resolving. The 6K crop mode has a little under UHD detail level from what I can tell. It matches my FX6 internal codec (FX6 raw is actually sharper). It's currently just a big waste of data, but the only option to do any fps over 30 in FF. I'd rather have a 4K downsample from 8K that's super detailed and can get faster frame rates (and maybe RS).
I actually think the 6K looks softer than FX6 XAVC 4K. I've never looked at my FX6 footage and thought 'soft', but the moment I saw this 6K, it jumped out as being subpar. 6K 'res' you can't crop in on makes it a massive waste of time. Think they need to offer a 6K crop on the sensor mode - somewhere between FF and s35.
Nikon buys Red...stay tuned for the next big battles Sony vs. Red vs. Arri. Probably a few years away. I've used the original Venice and it was really nice. Apparently the II is even nicer and this camera is close. Will we see a global 4/6k camera with 16 real world stops?
With all the negative, I think I'll buy a red dragon 6k for a 1/4 the cost and have just as good, if not better, of an image! Then again, I am a poor hobby filmmaker, so there's that!
I was very excited when this camera was announced, as the specs sound great and I could've seen myself renting this over an Alexa on certain productions. I don't care about the rolling shutter, it's an overrated topic in my opinion, but I care about usability: The bad EVF design, which in real use is what should have separated it the most from an FX6, is what makes me skeptical. That and all those little things that can put stress on you during a shoot - e.g. the director has no signal bc you forgot that it will only output the feed under certain conditions. No power outlet for focus/video transmitter. These are the things that make life hard on set and that I can forgive on an FX3 or FX6, but that I expect at this price level. Curious to see what all this means for the FX6 II.
Sony: people love the a7rv. I bet we could package it in a magnesium box, put a cine badge on it and charge 8x more for it. Of course we will give them some extras, internals nd’s and x-ocn. Actually, scratch the x-ocn. Eh screw it, give em x-ocn but LT only. Tell them cf Xpress type B cards can’t handle anything higher if they complain. Consumers: what about open gate, will it have it? Sony: well unfortunately our $2k cameras don’t have that yet and we wouldn’t want to step on their toes.. I really wanted this camera at launch… shame.
I purchased 2 Brurano's. Image quality is great but there's much to do with the firmware. I find the LCD dull looking and I'd like to have a detail or sharpening feature added to make it look sharper. The peaking also needs improvement. It "shimmers" and the lines are too big making for a distracting image. The SDI outputs need to be made uniform regardless of format/codec. There's also some concern with pixel binning in the 6K FFc mode. I hope SONY is listening as there's so much to like: IBIS, VariND
Pixel binning on 6K mode is baaaad. If they can't get it right, I'd rather have 4K FF downsampled from 8K. At least that would match the actual detail being recorded.
Why did you warp stabilise the footage - looked terrible motion artifact-wise - i wouldve left it as is or omitted it....says very little for your trust for the "stabilized sensor"
I also think it‘s a bit, like a like a bit too much overpriced. I mean look at the rolling shutter, it is bad, and I really don’t get it why Sony is cropping the sensor to super35 in 4K to get 120 frames per second. I mean it costs with fees and taxes almost 30k in Europe. In comparison to the V-Raptor from RED, it’s kinda disappointing and even smaller cine cams like the new DJI Ronin 4D-8K doesn’t crop and all of them gives RAW somehow - Sony?! But the quality and the auto focus of the Sony cameras are hella good, so that’s why it’s still something to think about. But all in all, a good video;)
So I just upgraded from 3 LUMIX G85’s to 3 Buranos. This is my first time shooting on anything bigger than a micro 4/3 sensor. I thought my existing lenses would work but they don’t fit. It’s quite a bit over whelming. I do miss the LUMIX menus and the weight. However, despite that I am so glad these cameras have AWB as I am still learning how to nail perfect WB as some of my shots lean blue-ish and almost purple-ish at times. Despite my challenges, I am really looking forward to learning these cameras with the new lenses that the awesome B&H customer rep suggested. Didn’t know cine lenses could be so expensive! However, it comes with 5 prime lenses (T-stop, idk what the difference between this and F stop) and a hard shell traveling case which I found interesting. 🤔 If you need a videographer in the Ellis, Idaho area, please feel free to reach out to me. My rates includes 3 cameras angle shots for 80$ an hour. Final edits are burned onto a CD at no additional cost. Looking forward to posting my review soon maybe in the summer.
Unrelated to the Sony lol, anyone know what teleprompter they are using at 00:13? I've been looking for something this small that isn't made for phones!
@@chrisabruceI've been seeing it and it looks awesome, but I am searching for something small like the one here that can be used outside without needing a tripod! I work with a bunch of real estate agents and I need something compact that I can walk around with through a house! The Elgato looks awesome though, just not my use case.
Amazing you just kinda brush the rolling shutter off. It is so bad for a $25k camera. I hope Sony has ways to improve it, but no way someone should pay so much for this camera. imo
Since the sensor is stablised, I assume that it's also embedding gyro data into the file. If so, this might allow post processing in Catalyst-browse to 'clean up' some of the Jello.
@@mungewellHaving to do post processing to fix rolling shutter in a 25K camera is fucking ridiculous. We were doing that in 2011 with $3000 DSLR cameras 😂
![How is the RED V-RAPTOR [X] SO GOOD?!](http://i.ytimg.com/vi/m-LiDnZlMMY/mqdefault.jpg)
![How is the RED V-RAPTOR [X] SO GOOD?!](/img/tr.png)
Let’s keep it real. For 25,000 there should be nothing wrong with the camera, menu simplicity, ect. It is a nice camera for 12 to 13 K. Sony needs to get their act together and stop with the insanity.
That's also kind of the gripe I have with Sony cameras in general(and from doing lots of work with the FX9). They are soooo damn complicated. It feels like you need to be an image technician to properly operate the camera. It would just be great to be able to use all the resolutions in a true full frame readout instead of having to mess around with the right crop mode.
That read out speed is absolutely diabolical and completely unforgivable at this price point.
Rolling shutter is just insane for that price. Can’t believe it 😮
I've seen rolling shutter in feature films and tv shows. What makes it less noticeable is a good story. Most shots that had rolling shutter were so short that they didn't take away from the storytelling of the film itself. If you plan on sharing your work with a general audience, they're not likely to notice or care about rolling shutter. Plus, with Sony you can use Catalyst Browse to greatly reduce rolling shutter effects. Most shots I've run through Catalyst Browse take less then two minutes to process.
At $25K, the readout speed should perfect. That’s crazy.
For 29k you can get a VISTA VISON global shutter with RAW ... NIkon ...I mean Red has this camera clobbered. I can see if a Production was all Sony but the V-raptor-X still smokes this.
@NoSuRReNDeR001 but then you have to build it out.
It's absolutely insane that Sony won't allow Open Gate recording on their 25 thousand camera. Heck, a $1300 fuji XS20 allows you to use a full sensor, and Panasonic has been doing it for years. This cripple hammer is completely unacceptable
I think they are waiting for a faster processing chip. Because this is absolutely insane
I wonder if the rolling shutter would be even worse
Does Sony VENICE support Open Gate?
@@asafblasbergpianistyes. Venice 2 has open gate.
Thanks!
So a £25,000 camera has a similar readout speed to a Blackmagic 6K, which is £1700. And they’re targeting this at solo operators and documentary? Hard pass.
this is not a cine camera
@@SamueleApperti "...8K CINEalta camera"
This test makes it awfully clear that cine cameras are only absolutely nessecary on the absolute highest end of productions. Comparing this to models in the 5-10 000 range, it's hard to find lots of reason to upgrade.
To be honest, I thought I would be upset that the camera isn't blowing my mind, but instead I kinda feel happy that the democratization of video has reached its final form.
I was super excited about the burrano, but after watching this I feel deflated, completely changed my mind about getting one.
I feel the same though it was my fault for getting influenced by the hype. We won’t be seeing any bad “reviews” for the Burano for some time because nobody wants to either A) jeopardize their relationship with Sony or B) admit they spent over 25k on a mistake…
Agreed
@@westwolf117With all the disappointment surrounding this camera, Sony is going to have to drop the price.
This is a $15,000 camera, max.
Thank you for the rolling shutter tests and formats breakdown - those were the most confusing to try to read specs and watch random tests on facebook groups. Very surprised at the sensor readout speeds
Realistically, this is what the FX9 II should be for around $12k.
Nah, I'd rather prefer FX9 II have the a9III global shutter sensor...
This camera should be more like $12k, this is crazy!
not gonna lie, CVP makes one of the best camera review videos on youtube. hard to believe that such high quality content is free to watch.
I think the high point of this video was the "sounds of us touching it" section. At least we got something nice out of the Burano 😅
The ‘Sony Cripple Hammer’ hit harder than we ever thought possible. How does it have the same FOV and readout speeds as a BMCC6K FF?
for 10X the price!
The rolling shutter speed is really disappointing. Why would Sony cripple it's performance in that particular area when it has to compete with Red's Global shutter offerings?
Id guess because its their mid-tier camera.
Its not far off from the price of the Red.
Who in their right mind would pick this over the Red in this price bracket?@TwatMcGee
Is a little confusing; seems like it’s the sensor from the A1. I keep thinking that there’s no issue with the readout speed as long as it’s being used as an interview camera, but then why would anyone buy this camera to only use it for that?
Exactly. At 25k, you would expect at least some degree of versatility @@SamEmilio2
Too many usability problems for a $25K camera IMO. And the rolling shutter is a dealbreaker
Thanks for this. I’ll keep my trusty old fx6. That’s a maddening camera.
Fx6 is not that old
After the initial reviews, I think the Burano is really situated in an odd place regarding its price point and features. Most doc and low to mid tier projects will be satisfied with FX9 + FX6 quality, and sure, having a Burano on those projects with X-OCN codec will be nice, but are they willing to shell out higher rental rates to use the Burano? And for higher-end productions in commercials and narratives, why would one choose a Burano if they likely have a budget to use the Venice or Alexa instead? Now that the Burano’s specs are more known, overall it’s not as exciting of a camera as I previously thought. It would be nice to have as an owner-operator, but I feel it’s a tough sell to clients + productions
Client: "What kind of camera do you want to use?"
Burano owner, hesitant: "Well... how much fast motion will there be?"
Agreed. This camera should be priced at $15,000 and just replace the FX9 as it's direct successor model.
No client that is already happy with FX9 footage is going to want to pay a higher rate for the Burano.
Sony needs to get realistic, swallow their pride, and drop the price to $15,000.
@@SuperPhunThyme100Right, and to build the Burano to be a production-ready camera package, we’re realistically looking at around the $30k price point. Doc productions + lower budget commercials are probably not going to pay more to use this camera-FX9 & FX6 are plenty good for those and honestly, they probably prefer Sony’s XAVC codec over X-OCN for faster turnaround and simpler post work. Owner-Ops might be enticed to own this, but I feel that clients and productions are just NOT going to be attracted to Burano’s offerings. It’s too niche. Basically, why pay roughly $1k/day for a Burano when you can get either an FX9 for about $500/day or a Venice for $1,100/day? I doubt Sony will reduce the Burano’s price significantly, but I think it should be closer to $20k fully kitted out.
Just a little correction for you guys, a "Blonde" is a 2,000w open-faced floodlight (so-called because the original manufacturer Ianiro, made theirs with yellow-coloured housings). It's basically a bigger version of a "Red Head", which again, received its nickname from the red-coloured housing that Ianiro produced theirs with.
Fresnel lights (like the Arri 1kw you've used for your IR test here) don't really have nicknames used for them outside of the USA. So in the UK, you'd just call it a "1k" generally. But inside the USA, those nicknames are:
100-watt Fresnel light is called an “inky.”
200-watt Fresnel is a “midget.”
650-watt Fresnel is a “tweenie.”
1k-watt Fresnel is a “baby.”
2k-watt Fresnel is a “junior.”
5k-watt Fresnel is a “Senior.”
Thank you for a great review. Could you please do a comparison between the Burano (XOCN-LT) and the Venice 2 (XOCN-XT) and show us how color corrected images images look on both? I've read that the LT will "break" earlier during grading, because it doesn't contain all the information that the XT contains. It would be nice to get a qualitative feel for this. Thanks much.
This should have been an FX9 mark ii with better rolling shutter and for $5k less.
This is prestine work, complete to the details. Good work fellas!
Sub-par readout speeds at anything over 4K, IR pollution, no open gate... What are we even doing here... could buy a Kinefinity camera and get far broader capabilities with a great image, or 1/2to 1/3 of the price...
13:08 omg what, how is that 350£? I do a lot of 3D design and 3D-Printing and a part like this takes at most 2-3h to design. 500ml of high quality resin are ~100 bucks and Anycubic SLA printer are also very affordable
Heh at least they "tried to keep the price down as much as possible."
The tangerine one is even aluminium and half the price.
That rolling shutter is trash. No way would I consider buying this camera. What the fuck Sony.
I’m sure Sony had to make some Sacrifices to get it at $25K, it’s not going to be exactly like a Venice which is more than double the price!
I guess it could be worse but yeah I was expecting more like 12ms or less. The Venice 2 clocks in at 5ms, Raptor 8ms, and LF 7.4ms. It kind of makes sense that Sony wouldn't give us Venice 2 level at 1/3 the price of the Venice 2. The readout is very similar to the A1, slightly worse. I think this is basically an A1 in a different body. Could be cheaper but I think you are paying for the Sony name. The question is does this get you jobs beyond what an FX9 could? What types of jobs would it secure? Indie features that don't pay well? What kind of higher budget stuff would want this over an Alexa or Venice? For less premiere projects a RED Raptor would probably be suitable and its a better camera.
IBIS, Auto focus and END are great features of course and can't be overlooked.
All the random bullshit you need to buy to get it up and running as it's priced now (rigging, mic mount, 3rd party viewfinder), you're shelling out $30,000 EASY for this.
Not even remotely worth that.
These are exactly my questions & thoughts on the Burano. It’s situated in an odd middle ground regarding its price point and features. Most doc and low to mid tier projects will be satisfied with FX9 + FX6, and sure having a Burano on those projects will be nice, but are they willing to shell out higher rental rates to use the Burano? And for higher-end productions in commercials and narratives, why would one choose a Burano if they likely have a budget to use the Venice or Alexa instead? Now that the specs are more known, overall it’s not as exciting of a camera as I previously thought.
@@miknivek11 If a Venice 2 is the choice the form factor of the Burano might be nicer to use. I thought it could be Sony's Alexa mini. But considering the many choices they made with the design and limitations against a Venice 2 that obviously isn't what they were going for.
Please do a thorough comparison with the Burano, C400 and Red Raptor!
Excellent as always.
I would love to see comparison of the LT codec vs other versions of the same codec. Also with REDs codec. Comparing to the Komodo X as well pls
Love you guys!! I would love to see this compared to the RED V Raptor X. You really are my favorite channel for getting news and technical specs and advice on cameras
Meaningless IBIS and slower readout than an FX30 lmao Sony what are you doing
That’s what I was thinking!
I'm really liking IBIS on the Burano. It has its place.
Seems like an overall solid camera. Definitely a weird mix between a FX9ii and a test bed for Venice 3. I have a feeling it will age well, either with software updates to fix the biggest pain points, or a bargain deal in a few years haha
Brilliant review as per usual!
EDIT: I was wrong!
CVP team explained it very well.
Thanks for answering, you are the best!
I just miss raw to UHD compressed crop.
This chart with crops has fake information.
Just calculate crop by yourself.... and you will discover that crop is a lot bigger than they say.
I talked with Sony about that, and they confirmed thats not correct, but no one fixed it....
Sorry which chart is incorrect?
@@CVPTV about crop in 6k"FF" mode (I send on your CVP FB screen with description)
Have just replied on Facebook. Sorry but what you are saying is incorrect. Jake
The false color LUT is amazing! Thank you for that. But it is made for S-Gamut 3 Cine not the regular S-Gamut 3 right? Do you also have one available for S-Gamut 3?
I do not plan to buy Burano ever, but this is great and informative video ... :D. Thx.
This is why I stopped shooting Sony some years back. They will neuter a camera to protect other cameras that will still be just fine in their lane. They make too manay cameras and limit others to not compete with those cameras.
Which is odd because they didn't seem afraid to kind of cannibalize the FX9 with the FX6.
But they seem to protect the Venice at all costs.
Its quite the opposite usually sony usually always outdo their more expensive cameras with cheaper cameras. They put the newest tech even if the camera is less expensive. This is odd what they did with the burano
Killer review as always.
Sony, please add the surround view mode to the FX6, and please allow surround view output. PLEASE
That 58mm lens looks perfect on the Burano. Good choice for the thumbnail. 🤌
Reminds me of back in the later days of 1080p video production. I wrestled with this almost exact same problem with the Sony PMW-EX1, a great run and gun camera of its time that was ktherwise weighed down with the IR pollution problem. Not until about halfway of its life I got a similar IR cut filter recommended by the online community and was able to get rid of that awful magenta/brown cast on some sensitive black fabrics with only a minor color shift. Never had the same problem, or at least a similar problem to the same extent, with the other cameras I have used from the CCD Sonys, and the Canons with 1/3" sensors to fullframe. Strange.
The Venice suffers the same confusing output assignment structure with varying output options based on codec and resolution. I’m sad Sony didn’t prioritize the UX when making this newer camera.
I would love to see a comparison between X-OCN and R3D
If they dont drop the price, this thing is going to be a dud.
That rolling shutter is ridiculous. And the random monitoring limitations is just comical.
I see ur point but the sony name will carry the camera through. And people will just compromise with the rolling shutter by using less data intensive modes to make the shutter faster. But it sucks sony needs to do better this is just dumb crippling it so hard
Personally, while the dual native ISO is great to have on this camera, and the IBIS could be nice, I'd rather keep using the Blackmagic URSA 12K OLPF and not have cropped sensor in different resolutions while having MUCH better rolling shutter performance and up to 120fps in 8K raw. For a camera that is 4 times the cost of the URSA, this Sony does not impress...
Great info and review though as always!
How about including something more out of the box like the Blackmagic Cinema Camera Full Frame in a comparison?
They can have a rolling shutter-off 😆 In all seriousness I bet the Ursa 12k image would hold up very well against this Burrito
Rolling shutter is a joke at $25K. The Sony a9III has global shutter at $6K. The Burano should be like $12K. Watching this video... it's one cripple hammer after another. "Can't do this, can't do that."
a9iii and burano are completely different cameras. They're not comparable at all.
The point is the rolling shutter vs global shutter of the sensor. @@MarkusFinholt
@@mattcarlson12 Yes but rolling shutter is so far down the list of important features that the a9iii doessn't have. This is a cinema camera, with nessecary cine features. It's pointless to compare the two.
@@MarkusFinholt Maybe down the list for you. Hope you enjoy the Burano.
@@mattcarlson12 Lmao I'm never buying this overpriced garbage. Clearly you don't work in the industry if you think global shutter trumps connectivity.
I would love to see the the color science against the FS7. Can we use our old FS as B cams or will it be to different? BTW I would just rent it for some night shots. I understand the price for the features, but why the IR pollution and slow readout speeds? Also this feels a bit like a risk to bring it to a fully paid project. I'd rather go with a Nikon 😅
Do you have a link to where we can buy the Burano LCD on it's own. (thinking for use with FX6 depending on price).
I really wanna hear Jake say that the Burano got "absolutely slated" in the comments 🤣
My tinfoil hat is that the Sony a1 has the same sensor has the BURANO, they are both 8.6k they both crop in 10% for 120P 4k and at 8k the a1 has a near identical rolling shutter speed. (Cine 5d messured 16.6 ms for the a1 at 8k, with 8.2ms for its’ downsampled/pixal binned 4k, and
Even if the sensor in the A1 can export raw frames at 16 bit per pixel (which has not been demosnstrated yet), there's isn't a codec available on the a1 to catch it. for cooked delivery, I had the impression that the best you can do over 12G SDI and HDMI 2.0 is 12 bit x 3 colors per pixel at 4K/60. The HDMI 2.0 connection itself is 18 gigabits, and I seem to recall Atomos claiming it was receiving 16bits of data per raw pixel from some of the sony cameras, and representing it a 12 bit log capture for ProResRaw for those sony cameras. We could hope that Sony and Atomos could allow/license higher quality OCN format recording in the Atomos 11 OS.
@@KeithSklower yeah the a1 spits out 16bit linear raw to a ninja which records as 12bit log 4k ProRes. (Which brings up the decade old argument is ‘Red Raw better for being 16bit linear, or is Arri raw just as good at 12 bit log?’ Every colorist I have asked says they are identical, but I am not a colorist. So I defer to you if that is bad information I have been fed)
However I believe the hdmi is 2.1 which would allow 8k output similar to the canon r5.
But with the similarities to the BURANO, I don’t think Sony will ever allow 8k raw, nor do I think they will update with any of the amenities the fx3/as7siii has been receiving (true 24p, E.I instead of ISO, 1/48 video shutter speed, the newer video menu display, anamorphic de squeeze, user load able LUTS) Sony wants to protect their more expensive camera from ‘cannibalism’ and the A1 is an alpha camera so there is the inter-department politicking to consider.
informative video Thanks CVP.
Hello, could be possible a comparison between the Burano and the Sony a7IV?
When the Burano was announced it came to my mind immediately because of the 8k and the slow readout of the rolling shutter. Also the a7IV has an incredible dynamic range according to CineD
Wow for that much money there needs to be an ultra fast rolling shutter or even global shutter. It’s 2024!
Love that you followed up on this camera!
Can you please tell me what adapter you used with the zeiss otus and the burano ? Also does this adapter give you iris control over your F stops ?
Can this camera be used without the default monitor? Or does it always have to be used?
Example, use it on a gimbal with an external Shinobi monitor attached to the handle.
Wait... If you're able to make a VF extension cable for the FX6, wouldn't you then also be able to make a VF to XLR adapter cable that plugs into the FX6 body and allows XLR sound utilization without the use of the stock top handle? I've seen countless people (including myself) wonder about this in the FX6 Users group page!
The Burano feels rushed a bit. It's crazy because Sony has had perfect releases these last few years. A7SIII, FX9, FX6, FX3, FX30.
All those accessories should come in the box at $25K, including the Side Handle w/ the extension and top Handle.
Camera read-out speeds should also be perfect in 2024 as the processing power is there.
How did Mid49 do that 3D print of the Burano? I’d like to borrow that! ☝🏾
Burano looks great except the readout speed is disappointing. My 6KPro has a similar speed and lateral movement looks terrible on it sadly..
I'm not defending this camera but I will defend rolling shutter. I think it looks cool.
Does this camera have better dynamic range than the Sony A7SIII?
Pretty similar
@@Wildridefilms oh that is disappointing. I heard the Sony A7SIV will be a huge improvement for dynamic range.
Excellent Video! I would love to see a comparison to Rapter, Alexa, C500. Also, the image in FF6K is very soft, it is no better than my A7IV.
How does one buy the Burano monitor to upgrade their fx6?
At 25k it is a difficult choice. Would defo pick it up if it ever drops to around 16-18k
For future reviews, you guys should really do a little more pixel peeping on the different modes to know how much detail it's actually resolving. The 6K crop mode has a little under UHD detail level from what I can tell. It matches my FX6 internal codec (FX6 raw is actually sharper). It's currently just a big waste of data, but the only option to do any fps over 30 in FF. I'd rather have a 4K downsample from 8K that's super detailed and can get faster frame rates (and maybe RS).
Since it would still be scanning the 8.6k sensor, I don't think downsampling from 8K to 4K recording would allow for higher framerates either.
I actually think the 6K looks softer than FX6 XAVC 4K. I've never looked at my FX6 footage and thought 'soft', but the moment I saw this 6K, it jumped out as being subpar. 6K 'res' you can't crop in on makes it a massive waste of time. Think they need to offer a 6K crop on the sensor mode - somewhere between FF and s35.
@@SuperPhunThyme100The Sony A1 manages faster readout and more frame rates by doing exactly that in FF.
I'd like to see it compared with the red v raptor x
Nikon buys Red...stay tuned for the next big battles Sony vs. Red vs. Arri. Probably a few years away. I've used the original Venice and it was really nice. Apparently the II is even nicer and this camera is close. Will we see a global 4/6k camera with 16 real world stops?
You get the same I age, if not better from the blackmagic 6k full frame
It feels wierd that a camera at that price point needs so many third party adjustments to work as a proper camera to be honest.
Could you test the read out speed again but in its full FF 16.9 mode and not the slightly cropped, 17.9.
is that an false colour LUT?
very well articulated
The rolling shutter.
Can I buy the monitor from the BURANO for my fx6 😅?
What about autofocus with ef adapted lenses?
With all the negative, I think I'll buy a red dragon 6k for a 1/4 the cost and have just as good, if not better, of an image! Then again, I am a poor hobby filmmaker, so there's that!
What do you think Nikons purchase of RED will do to the camera industry?
What is the dynamic range?
@CVP which lens did you use to shoot the in Studio Closeups's oft the camera's body?
Thanks in advance :)
love the asmr part
I was very excited when this camera was announced, as the specs sound great and I could've seen myself renting this over an Alexa on certain productions. I don't care about the rolling shutter, it's an overrated topic in my opinion, but I care about usability: The bad EVF design, which in real use is what should have separated it the most from an FX6, is what makes me skeptical. That and all those little things that can put stress on you during a shoot - e.g. the director has no signal bc you forgot that it will only output the feed under certain conditions. No power outlet for focus/video transmitter. These are the things that make life hard on set and that I can forgive on an FX3 or FX6, but that I expect at this price level. Curious to see what all this means for the FX6 II.
Can I paly back 2x 3x 4x 8x rev or fwd？
Hey, is it possible to download those charts at 6:56?
Sony: people love the a7rv. I bet we could package it in a magnesium box, put a cine badge on it and charge 8x more for it. Of course we will give them some extras, internals nd’s and x-ocn.
Actually, scratch the x-ocn.
Eh screw it, give em x-ocn but LT only. Tell them cf Xpress type B cards can’t handle anything higher if they complain.
Consumers: what about open gate, will it have it?
Sony: well unfortunately our $2k cameras don’t have that yet and we wouldn’t want to step on their toes..
I really wanted this camera at launch… shame.
At $25,000 a sensor readout of 17ms is absurd. At 25k you can buy a Red V Raptor with a Global Shutter.
I purchased 2 Brurano's. Image quality is great but there's much to do with the firmware. I find the LCD dull looking and I'd like to have a detail or sharpening feature added to make it look sharper. The peaking also needs improvement. It "shimmers" and the lines are too big making for a distracting image. The SDI outputs need to be made uniform regardless of format/codec. There's also some concern with pixel binning in the 6K FFc mode. I hope SONY is listening as there's so much to like: IBIS, VariND
Pixel binning on 6K mode is baaaad. If they can't get it right, I'd rather have 4K FF downsampled from 8K. At least that would match the actual detail being recorded.
Why did you warp stabilise the footage - looked terrible motion artifact-wise - i wouldve left it as is or omitted it....says very little for your trust for the "stabilized sensor"
I also think it‘s a bit, like a like a bit too much overpriced. I mean look at the rolling shutter, it is bad, and I really don’t get it why Sony is cropping the sensor to super35 in 4K to get 120 frames per second. I mean it costs with fees and taxes almost 30k in Europe. In comparison to the V-Raptor from RED, it’s kinda disappointing and even smaller cine cams like the new DJI Ronin 4D-8K doesn’t crop and all of them gives RAW somehow - Sony?! But the quality and the auto focus of the Sony cameras are hella good, so that’s why it’s still something to think about. But all in all, a good video;)
YIKES
It's biggest weakness is that it isn't an ARRI
So I just upgraded from 3 LUMIX G85’s to 3 Buranos. This is my first time shooting on anything bigger than a micro 4/3 sensor. I thought my existing lenses would work but they don’t fit. It’s quite a bit over whelming. I do miss the LUMIX menus and the weight. However, despite that I am so glad these cameras have AWB as I am still learning how to nail perfect WB as some of my shots lean blue-ish and almost purple-ish at times.
Despite my challenges, I am really looking forward to learning these cameras with the new lenses that the awesome B&H customer rep suggested. Didn’t know cine lenses could be so expensive! However, it comes with 5 prime lenses (T-stop, idk what the difference between this and F stop) and a hard shell traveling case which I found interesting. 🤔
If you need a videographer in the Ellis, Idaho area, please feel free to reach out to me. My rates includes 3 cameras angle shots for 80$ an hour. Final edits are burned onto a CD at no additional cost. Looking forward to posting my review soon maybe in the summer.
Unrelated to the Sony lol, anyone know what teleprompter they are using at 00:13? I've been looking for something this small that isn't made for phones!
Not sure what they using but Elgato has a brand new amazing teleprompter.
@@chrisabruceI've been seeing it and it looks awesome, but I am searching for something small like the one here that can be used outside without needing a tripod! I work with a bunch of real estate agents and I need something compact that I can walk around with through a house! The Elgato looks awesome though, just not my use case.
24:10 Burano ASMR
the read out speed is disappointing
Not having an SDI overlay any of the xavc record modes is a total deal breaker, please fix this Sony 😮
id rather use a bmpcc 8k
No open gate, no false color, no xt and st quality, bad rolling shutter. No thanks
raptor vs burano vs alexa 35 vs alexa mini lf
Amazing you just kinda brush the rolling shutter off. It is so bad for a $25k camera. I hope Sony has ways to improve it, but no way someone should pay so much for this camera. imo
Since the sensor is stablised, I assume that it's also embedding gyro data into the file. If so, this might allow post processing in Catalyst-browse to 'clean up' some of the Jello.
@@mungewellHaving to do post processing to fix rolling shutter in a 25K camera is fucking ridiculous.
We were doing that in 2011 with $3000 DSLR cameras 😂
@@SuperPhunThyme100 Lol. Truth! Don't we just love to flex our minds on Sony workarounds.
Are we not gonna talk about how Nikon just bought RED
Idk I'm not that impressed by this one. REd (nikon) wins this round but you gotta love that sony AF and being able to go to ISO Michael Jackson tho