DRAMA K ITS
SPECIALIST OPINION
IN ASSOCIATION WITH
OUR VIEWING SCHEDULE HAS BEEN AMPED UP BY THE ARRIVAL OF SOME SERIOUSLY EPIC PERIOD DRAMAS IN RECENT YEARS, AND THE SONY VENICE IS BECOMING A MORE POPULAR CHOICE TO SHOOT THEM ON. WHY IS THAT?
“When shooting period dramas, getting your coverage quickly is key, so having a camera that is fast to operate is a huge benefit. The VENICE has taken inspiration from previous digital cameras and now has a fantastic user interface that any operator will feel at home using. Pair that with its snappy menu system, and getting the camera prepped for the next take will be super-quick. “The form factor of the camera makes it quick and easy to move between set-ups, and the VENICE extension set or Rialto means that you can put the camera in some interesting positions and rigs. It doesn’t matter which rig you use it on – it could be stripped down with the Rialto on an Easyrig or it could be in a fully rigged studio set-up. The VENICE is designed to fit any bill.
“Unlike other cameras on the market, it has the ability to record in a range of formats, the most popular being full-frame 6K and 4K Super 35mm. You can also shoot anamorphic or spherical, and the VENICE will record and, most importantly, correctly monitor it due to the range of anamorphic formats and desqueezes. “The image that the VENICE produces has attracted a lot of filmmakers since it has excellent dynamic range, highlight roll-off and beautiful colour science. Colour accuracy is vital for period dramas because of how important costume and make-up design is to keeping the piece feeling authentic. Luckily, colour reproduction is something the VENICE excels at, even when pushing the camera to its exposure limits.”
JAKE RATCL I FFE TECHN ICAL SPECI ALIST
OCTOBER 20 1 9 | DEF I N I T ION 69
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