Kit Sony BURANO 8K + 5 ARRI/ZEISS Ultra Prime Lenses

• BURANO 2.0 Firmware Update

  The much-anticipated BURANO 2.0 firmware update provides multiple enhancements and additional features created with input from existing BURANO users.

  New Recording Formats

  • Full-frame crop 3.8K 16:9, at rates up to 120 fps.
  • A dedicated anamorphic Super 35 4.3K in 4:3 imager scan mode at rates up to 60 fps.
  • Super 35 1.9K in 16:9 at rates up to 240 fps.
  • Adds a 1.8x setting to the anamorphic de-squeeze functions.
  • Adds 24 fps to the X-OCN 16:9 imager scan modes.

  More BURANO 2.0 Features

  • Standardization of SDI video output for monitoring across both X-OCN and XAVC modes.
  • Additional exposure tools, including High and Low keys.
  • Support for Active/High Image stabilization in full-frame crop 6K and Super 35 1.9K in 16:9.
  • Increased number of Slow and Quick selection increments: 66, 72, 75, 88, 90, 96, and 110 fps.
  • Expansion of the white balance memory positions from three to eight.
  • Inclusion of the VF gamma display assist while using S-Log3 for monitoring.
  • Support for “surround OSD camera status information” to camera output.
  • Support for breathing compensation and image stabilization metadata in X-OCN.

  Full-Frame 8.6K CMOS Sensor

  

  • The BURANO camera’s 8.6K CMOS sensor not only matches the VENICE 8K’s exceptional imagery, but it also incorporates Sony’s renowned autofocus technology—a huge boon for single operators when facing fast-paced environments with challenging focus.
  • The sensor also offers both full-frame and Super 35 modes, enabling you to select from a vast array of lenses to suit a variety of project types.

  ARRI PL and Sony E Mounts

  

  • The BURANO is equipped with the same rugged, reliable PL- and E-mount system as the VENICE series, enabling you to select your glass from a huge selection of lenses.
  • The PL mount is compatible with all Super 35 and full-frame PL lenses in both spherical and anamorphic versions. It also supports Cooke/I technology for frame-by-frame metadata and ZEISS eXtended Data.
  • The E-mount supports metadata when using Sony E-mount lenses.

  Autofocus

  

  • Available with Sony E-mount lenses, the BURANO camera’s autofocus options include Fast Hybrid AF (phase-detection AF/contrast-detection AF) and Human Eye AF for accurately capturing fast-moving subjects even when you’re operating alone.

  Image Stabilization

  

  • A feature unique to the BURANO is its in-camera image stabilization for both Sony E- and ARRI PL-mount lenses, a first in digital cine-style capture.
  • This new PL-mount lens feature provides 3-axis pitch, yaw, and roll stabilization with high, low, and off options. E-mount lenses benefit from 5-axis pitch, yaw, roll, x, and y stabilization with active, standard, and off settings.

  Variable ND Filter

  

  • A built-in, electronically variable ND filter enables solo operators to quickly and easily adjust their exposure when faced with changing light levels.
  • This dial-type filter ranges from 0.6 to 2.1 ND for a total of seven stops.

  Exceptional Latitude

  

  • The BURANO’s 8.6K sensor provides a massive 16 stops of dynamic range, producing phenomenal images with very low noise in conditions ranging from almost no light to blazing sunlight.
  • It also offers excellent HDR imaging (high dynamic range) with unprecedented freedom when color grading in post-production.

  Dual-Base ISO

  • Dual-base 800/3200 ISOs enable the BURANO to excel at low-light HDR capture.
  • Its wide exposure latitude ranges from 6 stops over to 10 stops under 18% middle gray, for a total of 16 stops.

  Versatile Frame Rates

  

  • The BURANO supports multiple resolutions and frame rates, including full-frame 8.6K at 30 fps, full-frame cropped 6K at 60 fps, Super 35 5.8K, and Super 35 cropped 4K at 120 fps.

  Up to 8K Recording with Multiple Codec Support

  • Support for resolutions ranging from HD to 8.6K enables the BURANO to obtain the highest quality images for all your productions.
  • Supported internal recording formats include the new XAVC H, which uses the highly efficient H.265 codec to record 8K files, X-OCN LT for stunning raw images with efficient storage, and both XAVC-I and XAVC-L for UHD 4K and HD.

  X-OCN 16-Bit Original Camera Negative

  • Ideal for even the most advanced workflows, X-OCN (extended tonal range Original Camera Negative) codecs combine 16-bit precision with moderate bit rates to produce amazing color reproduction using manageable file sizes.
  • X-OCN is supported for multiple resolutions and frame rates up to 8.6K 16:9 30 fps.

  Viewfinder/LCD

  

  • The detachable VF/LCD combo functions as both a viewfinder and touchscreen controller for the BURANO.
  • A handy Home button replicates the “big six” (fps, EI, Shutter, ND, Look, and WB) functions that will be familiar to VENICE users.

  Media Type

  • Dual media slots on the BURANO enable it to record to CFexpress Type B cards; it also incorporates an SD card slot for utility functions only.
  • Sony CFexpress Type B TOUGH Series Memory Cards are now available in 960 and 1920GB versions.

  Interface, Optional Grip

  

  • The BURANO’s advanced interface includes 12G/6G/3G-SDI, 3G-SDI, and HDMI outputs, 3-pin XLR audio Inputs, timecode, genlock, and reference input/outputs, a 1000BASE-T LANC terminal, and built-in, dual-band Wi-Fi.
  • The interface also includes a port for linking to the new, separately available GP-VR100 Remote Control Grip.

  Lightweight, Compact Form

  

  • Based around a chassis and body made of a magnesium alloy, the impressively robust yet lightweight and compact BURANO is made to withstand the harshest conditions.
  • Its ventilation system is completely isolated from the electronics, preventing the ingress of dust, sand, and splashes of water.
  • The fan runs silently and can be easily swapped out for a new unit.

Based on the latest in design methods, optical glass, and findings on suppression of reflexes and stray light Carl Zeiss and its partner ARRI have introduced a new generation of fast prime lenses for 35mm film, the Ultra Primes.
Ultra Prime lenses come with large, easy to read calibrated scales, uniform diameters and position of focus and aperture drive rings, and uniform position of exit pupil. Ultra Prime lenses are particularly robust and easy to service. The optical performance is superb, even wide open. Floating elements keep the optical performanc up all the way to the close-focusing limit. Distortion is well controlled and so is breathing, especially with the wider angle lenses, where it counts most.
The Zeiss/ARRI Ultra Primes currently are the largest set of cine prime lenses. And Carl Zeiss and ARRI are already working to add to it further.

The exceptional image quality and shallow depth of field achievable with ARRI Ultra Primes allow cinematographers to create a more emotive and immersive visual narrative. This can be especially powerful in scenes where emotion is conveyed through close-ups or where the background needs to be artistically blurred to focus on the subject.

• Focal Length: 16, 24, 32, 50, 85mm
• Max Aperture: T/1.9
• Lens Format: Full Frame
• Lens Type: Wide
• Lens Mount: PL Mount

Arri Ultra Prime lenses are a popular choice for cinematographers for several reasons:

1. Image Quality: Ultra Prime lenses are known for their exceptional image quality. They provide sharp, crisp images with great contrast and resolution. This makes them ideal for high-end film productions where image quality is paramount.
2. Consistent Color Rendition: These lenses offer consistent color rendition across the range, which is crucial when using multiple lenses on a set. This consistency ensures that shots match seamlessly in post-production.
3. Wide Aperture Range: With a wide aperture range, Ultra Primes allow for a shallow depth of field, enabling cinematographers to focus attention on the subject while creating a beautifully blurred background.
4. Low Distortion: These lenses exhibit minimal distortion, ensuring that straight lines in the scene remain straight in the image, which is particularly important for architectural shots or scenes with geometric patterns.
5. Build Quality and Durability: Arri Ultra Primes are built to withstand the rigors of professional film production environments. Their robust construction ensures longevity and reliability on set.
6. Compatibility and Versatility: They are compatible with a wide range of cameras and offer a variety of focal lengths, making them versatile for different shooting requirements, from wide-angle to telephoto shots.
7. Industry Standard: As an industry-standard, they are widely available for rent or purchase, and many crews are familiar with their operation and characteristics.

In summary, Arri Ultra Prime lenses provide a combination of exceptional image quality, consistency, versatility, and durability, making them a preferred choice for many cinematographers in the film industry.