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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

HBO 2017 CAS Camera Test - My Review

Too bad they did not include the Sony Venice in that test. Netflix is now strongly recommending the Venice and if Sony get's Prores Raw working on it that could be a nice setup.
 
Too bad they did not include the Sony Venice in that test. Netflix is now strongly recommending the Venice and if Sony get's Prores Raw working on it that could be a nice setup.

Prores Raw sucks. It's basically a generic raw implementation with a few presets with selectable color gamuts/spaces. It has no customized color science like every camera that shoots proper raw already uses, so it won't produce optimal results. Only advantage Prores Raw has is you can change white balance and have TRUE linear exposure controls, but even then that's mostly useless when considering the other trade-offs. There seem to be little or no real advantages to Prores raw over 4:4:4 Prores material.

For amateurs who can't properly white balance, it might produce better results for them, but for professional use it doesn't seem particularly useful.
 
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PS: Once the new Large(r) Helium Sensor will be out then all bets will be most absolutely OFF for all other cameras currently on the market, unless Arri pools a miracle rabbit out of an extra large hat of course, which I so very much so doubt according to my sources, as what they are working on will be only marginally better then the great Alexa65, and surely not even close to stand next to what in my expectations the new Helium Large Format Sensor will bring, especially if it will come out in it's newer and more advance then ever DSMC3 body ;)

Interesting. Is my math correct that a 36x24mm (SLR full frame) Helium sensor would be over 60 megapixels?
 
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