Sony presented it as the next generation motion picture camera system with forward thinking full frame sensor, phenomenal color science and user-friendly operation. See with your own eyes what VENICE can do.
Behind the Scenes with Sony’s VENICE is an invitation for you to sit down and simply relax watching some of the initial footage captured with Sony’s new CineAlta camera. For the pure pleasure of watching what cameras are created for.
The information about the new camera is everywhere, so there is no need to repeat it all here. ProVideo Coalition also published articles about Sony’s VENICE, so by now you’re fully aware that the camera is equipped with a 36x24mm full-frame image sensor, designed specifically for the demands and performance of high end cinematography, and can capture images up to a maximum resolution of 6048 x 4032, with a promised update.
By switching imager modes, VENICE can natively support Super35 24.9×18.7mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.9×14.0mm 4096 x 2160 resolution (equivalent to 3-perforation motion picture film). In other words, VENICE’s new full-frame sensor can capture in almost any format, including full 18mm-height Super35 Anamorphic and spherical and full-frame 24mm-height Anamorphic and spherical, again through an update of firmware. Almost any aspect ratio can be conjured up: 1.85:1, 2.39:1, 17:9, the list goes on in full-frame or Super35.
VENICE is an interesting solution which Sony developed to give users the option to customize their camera by only enabling the features needed, according to their individual production requirements. According to Sony, licenses will be available to expand the camera’s capabilities with new features including 4K anamorphic and full-frame (with the already mentioned firmware update).
That’s all very interesting, but the purpose of this Behind the Scenes is not to give you more reading material, but to invite you to go full screen and enjoy some of the first footage created with the Venice, along with the opinions of people working with the camera.
Watch the first reel shot on the brand new CineAlta VENICE, The Dig, and go Behind the Scenes, to hear from the film’s Director of Photography, Claudio Miranda, ASC; Writer, Director, Joseph Kosinski; First Assistant A Camera, Dan Ming; Sr. Colorist at Technicolor, Mike Sowa; D.I.T, Alex Carr and Aerial Cinematographer, David Nowell, ASC about the process.
On the second Behind the Scenes, Cinematographer Ed Wild shares his experience of being the first to use VENICE detailing the camera’s capability. So, take a seat on the first row and enjoy. Now it is time to look at what is Behind the Scenes for Sony’s VENICE.