PRODUCTION K ITS
I N ASSOC I AT I ON WI TH
SPECIAL IST OPINION
WHAT ADVANCEMENTS AND CREATIVE POTENTIAL DOES THE SONY VENICE OFFER OVER THE OLDER BUT MUCH-LOVED F55? SAM MEASURE TECHN I CAL SPEC I AL I ST
ground than many comparable cameras. It’s very accurate in its colour response – one of the best on the market – and because of that, it can capture virtually any look that a cinematographer could possibly want. Elsewhere, it’s extremely versatile, not only because it’s got a full-frame sensor, but also due to the fact that it can still produce a Super 35 4K file. That means there’s a broad selection of lenses that can be put on it, while still hitting that mandate for the big streaming platforms. It’s also got a very good dynamic range and, coupled with the dual base ISO, that gives it great potential on-set. Whether it’s a low-light or a well-lit scene, the Venice can still capture the shot with high fidelity. All of those factors naturally come together for a clean image when needed, but certainly people aren’t always going to want that technical accuracy for creative purposes. When they want to take the edge off digital cameras, typically they opt for vintage lenses to reduce some of that contrast and resolution slightly. In cases like that, the lenses help them bake in that desired look from the very beginning, but they also get the benefits of the sensor and the physical camera itself.
he Venice is broadly an evolution of the F55, and I’d say it’s one that’s more focused towards cinema and drama. And it’s not just the form factor and menu systems used by the DOP and crew that are better, the colour response and dynamic range have seen a massive improvement, too. The F55 was geared more towards the owner-op market, usually for documentaries, or documentary-style shooting. To some extent, it always had to fit around the drama world – it wasn’t necessarily crafted for that specific purpose. Now, Sony has made a camera that actually targets drama, and it’s a very good one at that. From a technical standpoint, the main improvements revolve around the actual sensor, particularly its colour response and dynamic range. It really is a vastly improved sensor. The F55 is somewhat old tech now. It had its place in high-end productions, but largely, the Venice has replaced it. Tech improvements accompany improved usability. It’s more geared towards a working environment on a scripted set, rather than that obs-doc approach. In terms of the actual image the Venice produces and what can be achieved with it, I’d say it’s more of a neutral
30 DEF I N I T ION | JANUARY 202 1
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