REMOTE PRODUCT ION | TECHNOLOGY
“THE CI SYSTEM LETS CREWS ON SET PUSH DAILIES QUITE QUICKLY”
FAR-OFF FRAMING As a response to the ongoing
push dailies quite quickly into post- production. So, even if it’s just about working on a proxy level, things are getting easier,” Leske explains. “It’s an automatic design, so no one needs to push a button anymore. When you stop the recording, that file is pushed into a certain predefined folder. And then someone elsewhere can pick that up directly and work on it. “There is no huge, challenging education needed to use our remote tech because we really want to keep things as simple as possible,” Leske surmises. “The filmmakers on set have enough to concentrate on without having to deal with any difficulties from the Venice.” THE SILENT REVOLUTION Remote access to the camera is one thing, but what about the matter of physical control? For that, you need some advanced machinery. Camera Revolution is a key player in the world of large-scale support
pandemic, Sony recently published a remote operation cinematography guide, with special emphasis on the Sony Venice’s ability to support social distancing. Sebastian Leske, Sony’s European broadcasting & cinematography product manager, tells us more. “Full functionality of the Venice can be controlled remotely,” Leske says. “Via Ethernet cable or Wi-Fi, you can use your laptop or tablet to get access not only to the sub displays, but the main menus of the Venice, too. Customers are really benefitting from the unique controls, like the internal ND grad filter or dual-base ISO, for example. “In a social distancing sense,” Leske continues, “it means the AC can get access from well outside a safe 3m distance.” Serendipitously, the aforementioned Rialto extension system has found a useful, new application. “With the recording media inside the body block, virtually everything the assistant needs to get access to can be accessed without going closer than 5.5m to the DOP,” Leske explains. “A longer viewfinder cable has also just arrived. Similarly, this new 2.7m version was created in order to keep the maximum length between the assistant or the DOP and the central hub. These are ideal solutions for staying safe on set.” For some, at least, the set can be avoided altogether. “Our cloud system – Sony Ci – lets crews on set
– notably, arms and heads. “One of our flagships, the Tyr Arm, is unique in that it can be fitted to the roof of a hero vehicle and can be controlled wirelessly from a chase car,” says Camera Revolution’s operations manager, Douglas Low. “It can also be mounted on to the roof of a camera tracking vehicle. It’s different from other remote arms available as it articulates, thus allowing you to track in and out of the shot, as well as pan left and right.” Though bubbles on set are still necessary. “With tools like this, it’s very difficult to create separation. So, it’s a case of just creating bubbles,” adds Camera Revolution’s owner, Ian Speed.
BELOW Camera Revolution’s Tyr Arm, used with other remote kit, prevents people huddling around the camera
NOVEMBER 2020 | DEF I N I T ION 43
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