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  1. Hello, an article about a rumor for a supposed compact version of the Sony Venice was on my feed and I was intrigued but not sure about some of the details as it seems like a mishmash of specifications like the usage of cfexpress type a over b, or the necessity of having half the readout time of Venice 2 considering how good that was already. Some of this seems not implausible, but just kinda odd, so I wanted to ask if anyone can speak to any part of this https://www.sonyalpharumors.com/wild-rumor-venice-compact-e-mount-camera-coming-in-2023/amp/
  2. Hey, I know that the Arri lf sensor has a native 1.43:1 aspect ratio and that interested me a lot, but i know that the venice is not that much shorter at 1.5:1, so i want to know if there has been any project that has utilized the venice for 1.43:1 IMAX exhibition and if so, how it went.
  3. Hi everybody! I'm starting as DP on a tv-series with the Venice2 next week. I have run into an issue with SDI outputs. There seem to be a delay around 4 frames. We tried all outputs, also Monitor Out. Settings: 5.4k s35 in X-OCN ST Vaxis 3000 Transmission system First the focuspuller noticed it during the tests, we changed different monitors and transmission systems. We found something faster but still not as fast as the Alexa systems. But it's manageable. The problem lies more with the sound-department. If we want to give playback to the crew, there is a delay on the video while the audio is playing back instantly. Anybody found a work-around? Maybe but delay on the audio too of 4 fps. Or something else? Anybody reached out to Sony yet? I have the feeling the delay is a bit worse then the Venice1. In commercials this is all fine but fiction, my crew is a bit worried... For such a high-end cinema camera this is a bit embarrassing... Thanks in advance for your time.
  4. Back in February Ciarán gave me a call telling me that he was going to have the opportunity to shoot a commercial in Italy for the Gillette Venus brand and he asked me if I would like to go with him and shoot it for him. Knowing how passionate Ciarán is and how much he cares about the projects he picks I said yes straight away. The script was the story of a relationship between a mother and a daughter and the fragile moments when each of them are vulnerable and don't know how to approach each other because of puberty. After that initial call we started developing the tone and the approach that we thought could suit the story we had in our hands. I had a very strong reaction to the script because I had a difficult relationship with my parents during my puberty (I was pretty much a loose bullet ?) but perspective (and age) made me realise that my parents were absolutely right about everything they said and they taught to me so this project for me was pretty much my Thank you letter to my parents (especially to my mum!). I feel that every time that you're able to make a personal connection with a project that project becomes something else, is attached to you forever and you do the best you can to make it as wonderful as you can. Ciarán told me that he wanted to go back to how we used to work together when we first met, just being free to create a scene and shoot it as freely as we could. Basically the idea was to use the script as a base to shoot a short-film and work on it as if we were shooting a longer narrative project. I like telling stories and I love telling stories in longer formats so I was delighted when he said that. From my side, as a DP, I think that I am at a point where I am gravitating towards a more documentar"ish" approach in my lighting (whatever that means) and letting the beautiful flaws of documentaries to fall into my lighting decisions, I do think that if the natural and available light of a location is already perfect for the story you want to tell there is no point on trying to be better than nature! I suggested that we approach the script from that angle and make use of whatever tools we could to create a rougher and more real than usual look for the brand. After a couple of consultations with the client we were all on board with that approach and we started taking a look at how we were going to do so. Because the script was about confrontation and vulnerability I thought that we could make use of a panoramic aspect ratio (2.40:1) and not center the characters. In terms of the camera language, since you usually are extremely focus and unaware of your surroundings when you're picking a fight with somebody I thought that we could start the project with extremely close ups of the mother and the daughter while they are arguing and open the frame a bit towards the end. For the confrontation scenes I thought that using a hand-held camera could add more emphasis to the vulnerability of both characters but a more gentle steadicam and intimate approach should be used while the characters where on their own to show that they were in their safe spaces. Thankfully Ciarán had the same thoughts! In order to be able to focus on the characters more I wanted to shoot with the Sony Venice in full frame anamorphic and I wanted to use the flaws of old anamorphic lenses to wrap the characters around them in a subtle way. Now, I am not a big fan of anamorphic lenses but I think that I found THE ONES in this project. Initially I thought about using either the B or C series from Panavision but Panavision was not in Milano where the production was going to take place so the camera rental house that was suggested by the production company came back to me with a selection of old anamorphic lenses that they had, including the beautiful JDC Xtal Express!!!!!!. They weren't sure if any of the lenses from that selection could cover Full Frame either in the Venice so I went to the camera rental house after the scouting, shot a couple of tests with different lenses and found out that I had fallen in love with the Xtals. The 35mm and the 50mm covered just about the 2.40:1 area in full frame but from the 75mm onwards we were good. In the end we used the 35mm and the 50mm, with the 75mm + diopters for extremely close-ups Moviepeople, the camera rental house, told me that those lenses hadn't been used in years and they went to calibrate and collimate them. Run by Casta Diva in Italy the production was absolutely fantastic, we flew to Milano for two days to look for the right location to shoot on and after we saw several of them we picked the most interesting one BUT the most difficult one from the production point of view. It was a 4th floor with not very good access to natural light, no balconies and streets where it was impossible to put either a cherry picker or a condor to light from outside. On top of that it wasn't very production friendly in the way that it didn't have an operating lift and it didn't have much space to put the agency and the client either! And yet, we picked that one because it had a soul and we felt that the rooms could tell a story as well. Everybody was so passionate and supportive about the project that we knew that we could make it work no matter what difficulties we were going to find. I like operating and I'm not a fan of giving away the camera to a steadicam operator but our fabulous producer brought a fantastic steadicam operator whose name is Luca Sportelli, he was so amazing that I only want to work with him from now on!!! ? On the lighting side I am very fixated on what I want and the fixtures I want to create the mood / tone I am looking for and it takes me a while for me to trust somebody I don't know.. however, again, our producer brought a gaffer who is just THE BEST one I have worked with in my short-time as a DP, Francesco Galli, (Call Me By Your Name, Suspiria, The New Pope are just some of the movies he has worked on) and if I could I would work exclusively with him from now on (well, him and Sergio Fuidia! ?). When I talked to him about the kind of tone I want and shared references with him he came back to me with paintings and frames of different movies / projects. Since that moment I knew that I had found my soulmate gaffer-wise. Seeing Ciarán direct our two wonderful talent, Louise Anne Cole and Scarlett-May Grant was fantastic; he is so subtle that when he changes something you don't realise it until the talent have unfolded the scene! it is just mind-blowing! Everybody in this project was extremely caring, passionate and gentle, from our PA to the people from Gillette that kindly took us under their wing and offered this opportunity to us that I miss them so much!!. Now, here is the commercial! ?
  5. Last Summer I had the chance to work with my friend Jota on a really really really small project that was going to have a bit of narrative in it. I was absolutely delighted when Jota gave me a call and told me that he wanted me to shoot it because I had wanted to work with him on something with no client / agency since we started working together (we have only worked together on narrative commercials yet still commercials). When I first met him he had finished directing his first movie, IRA, which I thought that was extraordinary and having seen how he directs, the way he blocks actions and how he likes moving the camera to add dynamism I jumped onto the wagon and said: yeah!. The video was going to be for a dance teacher friend of him and, obviously, the budget was pretty thin (kind of around 4K if I remember correctly). They had the money to pay for the location, we made a deal with a camera rental place and a lighting rental place in Madrid that I'm friends with and we shot for one day. We shot on the Sony Venice at various ASA (from 2500 to 10000) with a couple of Zeiss Supreme Prime lenses, and we had a lot of fun! My lighting package was: 2 mirrors, 1 china ball and 1 x 2.5K. Colour grading was done in El Colorado with my usual colour grader Noemi Lallave, who did an amazing job with the little time that she had available for us. And here it is! Expulsive Thanks for watching it and hopefully you like it! ?
  6. I hop Y'all are staying safe and staying productive during this staycation! Below are some really nice camera packages I have for sale priced to sell. I did put the Sony FX9 1st that is brand new and we are shipping and have a few in stock. I do deal in new equipment as well for most of the major manufacturers and we are working and can ship most. Please contact me directly for pictures New Sony PXW FX9's in Stock with Accessories that can ship right away! Sony 28-135mm F4/4 Lens $2,498.00 CORE CXV-FX9 V mount adapter back for Sony fx9 $485.00 (NEW) Below are a few pre owned cameras for sale. Sony VENICE 6K Digital Motion Picture Camera $50,000.00 Only 359 Hours Comes with Sony MPC-3610 CBKZ-3610A Anamorphic License CBKZ-3610F Full Frame License CBKZ-3610H High Frame Rate License 1-Sony AXS-R7 RAW Recorder 1-Sony AXS-AR1 AXS Media Reader Sony DVF-EL200 OLED Viewfinder RED DSMC2 MONSTRO 8K VV (Woven Carbon Fiber) $44,500.00 Comes with ONLY 113 HOURS Comes with DSCMC2 RED Touch 7.0" LCD Brand (New in Box) DSMC2 RED EVF (OLED) W/Mount Pack (Brand New in Box) DSMC2 LCD/EVF Adaptor A DSMC2 LCD/EVF Adaptor A DMC2 LCD/EVF Adaptor B DSMC2 Side Handle DSMC2 V-Lock I/O Expander DSMC2 Jetpack-SDI Expander DSMC VV AL PL Mount 2.0 DSMC VV AL Canon Mount RED Brick Power Pack with 6 Batteries RED Mini-Mag 480 GB RED Mini-Mag 480 GB RED Mini-Mag 240 GB RED Station RED Mini-Mag USB 3.1 Power Adapter Various Cables DSMC2 VV Standard OLPF RED Clutch system Quick release platform DSMC2 Universal Handles RED Arms DSMC Modular Assaut Plate Sony PXW-FS7M2 4K XDCAM XDCA-FS7 Ext. Unit $6500.00 ONLY 184 HOURS ! Comes with Body Cap Viewfinder Eyepiece Grip Remote Control Wireless Adaptor Bracket Sony BC-U1 Battery Charger - for BP-U30 and BP-U60 Lithium-Ion Batteries Sony BP-U30 Lithium-Ion Battery - for PMW-EX1 2 x Power Cord USB Cable LCD Viewfinder Lens Hood ARRI Alexa Mini Camera Pkg. $36,000.00 1826 HOURS Comes With ALEXA Mini 4:3 License Key ALEXA Mini ARRIRAW License Key ARRI Look Library License Key Mini Viewfinder MVF-1 k2.0005861 Viewfinder Extension Bracket Arri K2.74000.0-VEB3 Mini Side Bracket MSB-1 k2.0006348 MSB-1 Arri Center Camera Handle k2.73002.1-cch-2 Arri Mini adptr plate k2.0006347 Arri Mini Side Bracket MSB-1 k2.0006348 Arri CSP-1 Shoulder Pad k2.0006807 Arri BPA-4 Bridge Plate k2.0006352 Wooden Camera A-box 5-Cards Arri Alexa Classic with Hi Speed & Pro Res Licenses $10,250.00 Only 981 Hours! Comes with Only 981 Hours! 1-Arri Alexa EV Classic Body 1-High Speed License (up to 120fps) 1-ProRes License (up to 4444) 1-SXS Module s/n 2916 1-PL Lens Port Cap 1-Center Camera Handle CCH-1 1-Handle Extension 1-3mm Allen Wrench 1-5mm Allen Wrench 1-Electronic Viewfinder EVF-1 s/n 3954 1-Viewfinder Mounting Bracket VEB-1 2-Short Viewfinder Cables KC150-S 2-Medium Viewfinder Cables KC151-S 1-Wedge Adapter for ENG Quick Release Plate WA-1 1-ENG Style Quick Release Plate Sony VCT-14 1-Shoulder Pad SP-3 1-Leveling Block LB-1 1-IDX V-Mount Battery Plate BAB-V 4-IDX V-Mount Endura Elite Batteries 150wh 1-IDX V-Mount 2-Place Battery Charger with AC cable 1-Abel Cine 24volt AC Power Supply with AC cable 2-Alexa Power Cable to 3-Pin 24v XLR KC-20S 1-12volt Accessory Power Cable 2-pin to 4-Pin XLR KC 154 SP-S 1-Alexa Ethernet Cable KC-153-S 1-Audio Cable 5-Pin to 2x3Pin XLR 1-Arri BP-12 19mm Bridge plate 1-Short 19mm rods 1-Slider dovetailed plate 2-Medium 15mm rods 1-Innerspace Custom Body Case 1-4gb SD Data card (for saving settings) 4-32gb SXS Pro Memory Cards 1-64gb SXS Pro Memory Card 1-Camera Operation manual on CD Lenses Set of 12 Cooke S4 lenses Asking $141,000.00 (14,18,21,25,27,32,40,50,65,75,100 & 135mm) Angenieux Optimo 28-76mm Zoom Lens $15,000.00
  7. For Sale Sony Venice Camera Pkg. In Stock and Ready to ship. Latest 4.0 Firmware Only 133 Hours Comes with Sony DVF EL200 Sony AXS-R7 Arri plate for Sony k2.0017137 Arri Top Plate for Sony k2.00017024 Arri Camera Center Handle k2.0017270 Sony CBK3610XS/S VENICE Extension System Sony CKZ-3610F Full Frame Permanent Software License for Venice Sony CKZ-3610A Anamorphic Permanent Software License 4-Sony AXSM 512GB S48 Cards 1-Shipping
  8. Earlier in June I was asked to shoot a 4 days commercial for UK director Matt Houghton. To say that I was scared and pretty nervous is a understatement because I was beyond that.. Matt, having worked with people like Rachel Morrison, Rina Yang and the likes was a very imposing figure for an upcoming cinematographer like me. Anyways, we went on to shoot this GAA commercial for Supervalu (an Irish food chainstore) which was all about roots, family, community, etc and along the way I discovered one of my flaws as a dop, which made me really happy. We shot on the Sony Venice with the Canon K35 and I just fell in love with this camera that Sony has created. The richness of the blacks and the tones is spectacular. The way I tried to light it was just by enhancing what was already on the locations, with a very minimal approach as we were travelling ALL AROUND Ireland for 4 days with minimal crew. Matt Branton from Windmill Lane in Ireland did the colour grading. He is really really good and the way he approached the grading was really honest and truthful to the material. I have to say that our director, Matt Houghton knows how to look into the soul of any given character to bring what makes him / her human, it was such a wonderful experience to be by his side on this project. Supervalu - GAA - Where You Are From I hope you like it! Have a lovely day!
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