SONY BURANO
“The only minor niggle with the footage is that, as the camera doesn’t have a global shutter and doesn’t read out its sensor signal quite as fast as the Venice 2, you can get minor rolling shutter effects”
TOUGH WORKOUT Black fabrics and a black background with ND filters can highlight any IR issues unless you’re shooting Raw
can drop to as low as 1fps if you like. So time-lapse shots are a breeze. The camera itself is solidly built and has lots of customisable buttons, though there is no power output socket to provide juice for accessories. You would need to use a V-Lock battery with a D-Tap socket for that. There is also no mic mount included, so you have to rig one up for yourself. An alternative is that the camera has the same contacts and top mounts as the FX9, so you could buy an FX9 top handle and fit that. This version has the MI Shoe, so you could push on one of Sony’s wireless receivers with no need for any extra cables. The camera itself offers two XLR audio inputs as well as four-channel audio recording with good-quality preamps. Our biggest gripe is with the three-inch touchscreen and loupe that turns it into an EVF, ideal for shoulder use. The screen is decent quality and has good buttons around it for adjustments. But to work with the loupe, you have to mount the screen on the top handle pointing sideways. So if you want to change to a tripod and use the screen for monitoring, you have to slide off the loupe then take the screen off
correctly and how to process the files properly. This is not a camera for beginners. All this work is the price you pay for simply stunning files. In all settings, all sizes – the camera produces rich colours and an incredible dynamic range of up to 16 stops. The footage is simply incredible; you can pull and push it around in the grade as much as you like. It’s forgiving of over and underexposure, too. In terms of colour, some early users reported that there can be issues when shooting things like black fabrics due to IR pollution – especially when dialling in the internal ND filters. We had no issues, but to be safe it’s best to do a custom white-balance when shooting XAVC. In Raw, there are no issues as white-balance can be accurately altered in post. The only minor niggle with the footage is that, as the camera doesn’t have a global shutter and doesn’t read out its sensor signal quite as fast as the Venice 2, you can get minor rolling shutter effects. But this is only in fast whip pans. For creative effects, the camera offers slow shutter speeds down to 64F, which is 2.5 secs at 25p, and
and re-fix it after turning it through 90°. It only takes a few seconds, but when you’re on a shoot it feels like a total faff. Several aftermarket companies have already come up with solutions ranging from a whole new screen and EVF combo to swivel mounts, brackets and more. It’s a shame Sony didn’t do a better job, as the actual screen and the way it displays shooting info around the edges of the frame is very good. You can also change settings on the touchscreen. Or you can hit the menu button – or push it in for a few seconds to open an expanded menu and use the mini joysticks. Sony’s menus often come in for criticism, but this one is about the best of the bunch. To review your shots, push the Clips button on the side, as you’d imagine. One foible is that it will only let you see and play back clips that have been shot in the same codec as the camera is currently set to. This is not perfect, and rebooting after codec changes takes a few seconds each time. Not bad for a heavyweight cinema camera, but still a pain. Booting the camera up also takes a couple of seconds, which is very quick.
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