LOS ANGELES—I recently used Sony’s Venice camera on a new TV series pilot, “Chiefs.” Obviously, coming to a new show, a pilot, with a brand-new camera was a bit of a risk, but the preliminary testing that I did with the camera showed me it was the right tool for the job.
The newer technology of Sony’s full-frame Venice camera has made working onset easier for me. I’m able to rely on it more to accomplish all of my photographic needs.
The production for the Pilot had us shooting in various locations, from Los Angeles to Atlanta, with many different shooting conditions.
I’ve been extremely pleased with everything that we asked of the Venice. We put it through its paces—it’s been in the rain, humidity and the heat, as well as some VFX work, and the camera performed flawlessly. The Sony Venice renders its images closer to what I see with my eye, more accurately capturing the colors that I want, and more accurately representing the exposure values that I’m looking for.
Sony designed Venice specifically for cinematography, in close collaboration and careful research with the creative community to meet the various requirements from filmmakers and production professionals.
What has impressed me so far about Venice is its filmic image quality, camera design, ergonomics and workflow.
The colors that I am photographing are actually being captured the same way that I am seeing them. Color rendition, tonality, exposure value is spot-on to what I’m looking for. I could not be happier with the advancements that Sony has made with Venice. If given the opportunity, I’d be happy to use the Venice camera again.
Sony’s Venice full-frame motion picture camera began shipping in February and already is in heavy use shooting high-budget commercials, music videos, television productions, and features.
Sidney Sidell has worked behind the camera for over 36 years and is a member of the American Society of Cinematographers (ASC). He can be reached firstname.lastname@example.org.
For more information on Sony, visithttps://prosony.com.
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