it, camera base plates are not really very exciting things. But they are very
necessary additions to most peoples kit, especially for any of the full size
super 35mm digital cinema cameras. From Red’s to F55’s to FS7 etc, they will
almost always need some form of base plate at some point.
So what’s different about the Vocas sliding system?
A complete Vocas sliding base plate system comprises two main parts. The first bit attaches to the camera and that will be either a generic flat camera mounting adapter plate or a custom camera mounting plate for cameras that don’t have flat bases, for example the FS7 or Venice where the adapter follows the curve or shape of the bottom of the camera.
The second part is a shoulder mount, shoulder pad or tripod plate or generic flat mounting plate that the camera adapter smoothly and securely slides onto.
One of the first benefits of this system is that you can easily alter the position of the camera relative to the base plate or shoulder pad. This makes balancing the camera on your shoulder or on a tripod much easier. A large red level locks the two sliding parts securely in place and there is a safety release catch that must be pressed if you wish to separate the mounting plate from the base plate, so they can’t come apart by accident. However if you need to move the camera forwards or backwards relative to the mounting plate all you need to do is release the large red locking lever.
Another benefit of the system is that it is very quick to reconfigure if you need to. For example many cinematography accessories are mounted using 19mm rails rather than the lightweight 15mm rails often used with ENG or smaller rigs. Perhaps you have been shooting handheld where a lightweight 15mm setup works better. Using the Vocas sliding system you can have a light weight base plate with a comfortable shoulder pad, 15mm front and rear rails that will clip in and out of a VCT style quick release tripod plate attached to the camera for your handheld shots. Then when you need to go to a bigger lens perhaps and 19mm rods, you simply slide off the 15mm base plate and slide on the Vocas 19mm plate. Quickly transforming the camera into a heavy duty rig that will then attach to an Arri style tripod plate. Need to keep the 19mm rods but now need a shoulder pad? Well that’s easy too as there is a matching shoulder pad for the 19mm base plate. It’s all very quick and very easy.
It also means that if you have multiple cameras all you is a mounting plate on each of your cameras then you can use the same base plate on all your cameras just by sliding it on and off as needed, or swap between lot’s of different types of plates depending on your needs.
If you don’t need a base plate with rods etc and just need a quick way to mount your camera to a tripod then there is also a basic tripod adapter that the camera can be slid directly onto. This gives you a really secure, quick release, low profile mounting system that is free from the wobble that often plagues other quick release mounts. It’s ideal for crash cams, car mounts and car rigs. Or for those situations where you just need something quick and compact. This would also help keep the weight down for use on gimbals or perhaps a stedicam. Need to go back to a shoulder mount or full tripod rig with rods, just slide the camera off the tripod plate and slide it on to your preferred 15mm or 19mm shoulder plate.
Nice touches on the VCT type base plates are the adjustable height rod mounts and also an adjustable tensioner for the rear mounting spigot. Normally on a VCT base plate the rear spigot doesn’t do a great deal to add stability to the system, it just helps to loosely locate the base plate. However Vocas have added the ability to put some tension on to the rear spigot to help pull the camera down onto the VCT plate. This can greatly decrease, if not eliminate the wobble and flex that is all to common with these quick release plates.
really nice touch is that the attachment screws for the mounting plate and an
allen key for adjusting the height of the rod mounts can be stored inside the
base plate so you should never loose them.
Any downsides? Well yes, any 2 part system like this is going to be a little more complex with more parts and a bit more metal than a basic fixed mounting plate, so the sliding base plate ends up a touch heavier than the equivalent fixed position base plate. It’s not a big difference, but it does add a bit of weight. However in most cases I believe it’s worth it. Especially if you are swapping between 15mm and 19mm systems frequently. Being able to quickly and easily re-balance the camera when handheld and you change lenses is very nice.
If you have more than one camera it makes it easier to share different mounting systems between them. So while the initial cost may be a bit more, in the long run you only ever need to add new mounting adapters to keep using all the different base plates you have with extra cameras or new cameras.
As always with Vocas products the quality of the engineering is first class. The parts fit together beautifully. Only high quality materials are used and the finish is very nice. So if you are looking for a really nice base plate for your camera – or cameras – do take a look at the Vocas sliding system. It’s really very well thought out and something that will last for a very long time.
I have a good relationship with the guys at Vocas. I had been shown this system
at various trade shows and it looked interesting, so I approached Vocas for the
loan of a review system so I could write this article.
Coming just a few days after the release of the Venice version 3 firmware, Sony have just released details of the next major Venice update which is planned to be released in June of this year. Last year when Sony started talking about HFR (high frame rates) for Venice it was expected that 4K would reach at least 96fps. However it has now been confirmed that the version 4 update will include the option to purchase an HFR licence that will allow you to shoot in 4K at up to 120fps.
It is worth noting however that 120fps will only be available when shooting 2.39:1. When shooting 17:9 the limit will be 110fps, still better than the originally promised 96fps. As well as 4K HFR you will also be able to shoot at 60fps in 6K 3:2 and 75fps 4K 3:2 ideal for use with 2x Anamorphic lenses.
The full press release is below:
Basingstoke, UK, 31st January 2019: Sony will be upgrading the capabilities of its next-generation motion picture camera system, VENICE, by introducing High Frame Rate (HFR) shooting, advanced remote-control functionalities and Cooke/i3 and Zeiss extended metadata support, as part of its latest firmware update. Following the recent release of VENICE’s firmware Version 3.0 and the upcoming launch of its Extension System (CBK-3610XS), which was developed in collaboration with James Cameron’s Lightstorm Entertainment and is currently being used to shoot the AVATAR sequels, the latest upgrade will offer filmmakers even greater creative freedom, flexibility and choice.
The new optional High Frame Rate license allows VENICE to shoot at speeds of up to 120fps at 4K 2.39:1, and 60fps at 6K 3:2 as well as up to 110fps at 4K 17:9 and 75fps at 4K 4:3 with anamorphic lenses. The new additional frame rates are particularly well-suited for drama, movie and commercial productions in 4K and 6K, as well as productions at 50/60p in 6K and VR productions using large viewing angle of 6K 3:2 in 60p. All High Frame Rates support X-OCN recording including X-OCN XT* implemented from Ver.3.0 and High Frame Rate up to 60fps support XAVC 4K and ProRes recording.
“At Sony, we pride ourselves on working closely with our customers and partners to create solutions that enable modern filmmakers to bring their vision to reality just the way they intend to. In fact, High Frame Rate shooting was a feature that was frequently requested by our customers. We listened to their feedback and are excited to now offer this feature to all new and existing VENICE users,” explained Sebastian Leske, Product Marketing Manager, Cinematography, Sony Professional Solutions Europe. “Last year at Cine Gear Expo, we announced that Version 4.0 will include 120fps in 2K. However, we are excited to announce today that, as a result of the hard work of our engineering team, Version 4.0 will now include 120fps in 4K. With firmware Version 4.0, our state-of-the-art VENICE will become even more powerful, fortifying its position as the go-to solution for cinematographers who want to create stunning imagery and capture emotion in every frame.”
Additionally, Version 4.0 of the VENICE firmware will introduce:
· 700 Protocol – A control protocol developed by Sony to connect VENICE to a remote-control unit (RM-B750 or RM-B170) and a RCP-1500 series remote control panel, giving filmmakers greater flexibility in bringing their visions to life. Further expanding on the camera’s existing remote-control capabilities, the VENICE now offers paint control, iris control, recording start/stop, clip control, and more. The upgraded remote-control function also adds new workflows to extend VENICE’s use in multi-camera and live production settings, such as live concerts and fashion shows.
· Support for Cooke’s /i third generation metadata Technology, /i3 and ZEISS eXtended Data technology (based on Cooke /i Technology) – Extended lens metadata can now be embedded straight into a RAW/X-OCN/XAVC file and HD-SDI output without the need for additional metadata equipment. The new function allows distortion and shading caused by supported lenses to be easily rectified, significantly reducing post-production costs.
Further features include an extended Mask+Line setting in the Frame line set-up, selectable functions for the assignable buttons of the DVF-EL200 viewfinder and pure Progressive HD-SDI output in 25p and 29p.
Both the free upgrade to firmware Version 4.0 and the optional HFR licence will be available in June 2019.
This was asked for on one of the online groups I follow. It’s a simple Black and White LUT that gives a wide dynamic range black and white image. The LUT has been designed to give a pleasing and gentle highlight roll-off with a reasonably contrasty mid range. I decided not to go too contrasty via the LUT so that more contrast can be added in post if needed. The output is legal range (broadcast safe). There is a single camera LUT for use in camera as well as a set of exposure compensated LUT’s going from -2 to plus 2 stops in half stop steps.
As always (to date at least) I offer these as a free download available by clicking at the bottom of the page. It takes time to create them and money to host them. I feel that this LUT set is worth $5.00 and would really appreciate that being paid if you find the LUT’s useful. But I will let you pay what you feel is fair, all contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future.
Please feel free to share a link to this page if you wish to share these LUT’s with anyone else or anywhere else.
To make a contribution please use the drop down menu here, there are several contribution levels to choose from.
I’ve uploaded these LUT’s before, but they are tucked away under a slightly obscure heading, so here they are again!
There are 4 different LUTs in this set. A basic 709 LUT which is really good for checking exposure etc. It won’t give the best image, but it’s really good for getting your exposure just right. Diffuse white should be 85%, middle grey 43% and skin tones 65-70%.
Then there are 3 film emulation LUT’s that mimic 3 different types of film stock form different manufacturers. These are primarily designed for post production or for use on a client monitor on set. My recommendation is to use the 709 LUT for your viewfinder and exposure and then add the film emulation LUT later in post.
As always (to date at least) I offer these as a free download available by clicking on the links below. However a lot of work goes into creating and hosting these. I feel that this LUT set is worth $25.00 and would really appreciate that being paid if you find the LUT’s useful. Try them before you decide then pay what you feel is fair. All contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them, tell your friends and send them here. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future.
Please feel free to share a link to this page if you wish to share these LUT’s with anyone else or anywhere else.
To make a contribution please use the drop down menu here, there are several contribution levels to choose from.
Here are the links to my Venice Look Version 3 LUT’s. Including the minus green offset LUTs. Make sure you choose the right version and once you have downloaded them please read the README file included within the package.
This is a part of a much larger project I have been working on recently for Philips. The Philips “Extreme Earth” project. The idea being to show of some of the latest technologies in their HDR Ambilight TV’s.
Last year we started the project up in Norway filming the Northern Lights. This year we travelled to Nevada and Arizona to shoot the second set of films under the “Canyon” headline, then we spent another couple of weeks travelling all over the Midwest shooting what will be the 3rd set of films under the headline “Storm”. We are now looking ahead to next year with several ideas being looked at from Volcanoes to Rain Forests.
For the Norway and Canyon shoots competitions were run ahead of the shoots in various consumer technology magazines . The winners getting to come on our adventures, stay in nice hotels and take part in various activities such has horse riding.
The main Canyon film was shot by myself on a Sony Venice using Sigma FF Primes as well as an Angenieux EZ zoom. The 1000fps Super Slow motion by Dustin Farrell on a Phantom Flex. I shot some additional 4K 120fps footage on an FS5 on a gimbal recording ProRes raw to a Shogun (horse riding and some tracking shots). The interviews and behind the scenes footage was shot by the projects director Leigh Emmerson of Persistence of Vision Productions (POV) using an A7sII, but there is a fair bit of FS5 (ProRes Raw) footage that I shot in there too.
The main film was produced at 60fps in HDR (I did the grade and encoding) and will be shown at the IFA trade show next month. The other films are all SDR.
Here is the HDR main video. To view this correctly ensure your HDR TV or HDR monitor is set to HDR10 (ST2084 gamma with Rec2020 colour).
Both webinars will feature a Q&A session where you will be able to ask questions online. You will find the full details about both webinars by following the links above, including how to register. The webinars are free but registration is required to obtain the login details for the events.
Just over a week ago I was in Cape Town with a few hours to spare before my flight home and access to a Sony Venice. So what could I do other than go out and shoot. Here is some of the footage with a quick grade applied – in HDR.
The workflow: I shoot X-OCN ST at 25p and 50p on the Venice camera. 25p was requested by Visual Impact South Africa, the owners of this camera as this is the most common frame rate used in productions they are involved with. The material was backed up to a small portable USB3 raid unit so I could bring it home. Then it was graded using DaVinci Resolve and it’s ACES colour managed workflow with the output set to Rec2100 ST2084. I used a Shogun Inferno and both an LCD HDR Sony Bravia TV and an OLED HDR Philips TV to get a feel for how the images would look on both LCD and OLED technologies.
The file was exported as a UHD ProRes file so that the file direct from Resolve could be uploaded to YouTube. Because I used a colour managed workflow Resolve adds the correct HDR flags to the clip when you render the timeline out. As a result YouTube knows the file is HDR and if you view with a computer or SDR TV YouTube applies it’s default HDR10 to Rec709 LUT and you see the video in SDR. Watch with a direct connection to YouTube with an HDR TV (for example using a browser or YouTube player built in to the TV) and you will get the HDR version. This is probably the simplest way to reliably get HDR clips to play properly on YouTube (which currently does not accept HEVC files).
So here’s the clip.
IMPORTANT: The clip is HDR10, designed to be watched directly on an HDR TV using the TV’s built in web browser or YouTube player application.
Those watching on a normal computer, SDR TV or any other non HDR device will see the HDR clip with YouTube’s SDR/Rec709 LUT applied, so it isn’t exactly optimum for SDR. The YouTube HDR to SDR LUT causes some slightly odd colours in some of the clips. If you can, watch the clip directly on YouTube with an HDR TV.
Hello all. So after numerous problems for some people trying to download the official Sony s709 LUT for Venice, I decided to create my own Venice Look LUT’s. These LUT’s have been created using image matching techniques plus some small tweaks and adjustments to make the LUT’s work well with the 14 stop cameras.
Venice is a 15 stop camera with a new sensor and as a result the official s709 LUT’s are not quite right for the current 14 stop cameras like the FS5, PMW-F55, FS7 and even the A7 series. So the LUT that I have created is slightly different to allow for this.
The end result is a LUT that gets you really close to the way Venice looks. It won’t magically turn your FS5 into a Venice, there is something very, very nice about the way Venice handles the extremes of it’s dynamic range, plus Venice has Sony’s best colour filters (similar to the F55 and F65). So Venice will always be that one very nice step up. But these LUT’s should get you close to the default Venice 709 look. This LUT should NOT be used with Venice as it this LUT is restricted to 14 stops.
Of course do remember that the default look and indeed the official s709 LUT was designed as a first pass look. An instant viewing output for a DIT or for on set viewing. It is not really meant to be the final finished look. It would be normal to grade the Venice material, perhaps from scratch rather than using the s709 LUT for the final output. But, s709 is what comes out of the cameras SDI connectors if you use the default LUT/Look. This is what this LUT set mimics, with some tweaks for the lower cost cameras.
This is one of the largest and most comprehensive LUT sets I have ever created. There are versions designed specifically for grading in Resolve or other grading suites. The bulk of the LUT’s are designed to be used with S-Log3 and SGamut3.cine. There are monitoring versions with offsets for use in monitors such as the Atomos range. I have created a set with offsets for both the Zacuto and Small HD viewfinders and monitors and finally I have also created sets of LUT’s for use with S-Log2 so users of the original A7s or those that wish to shoot with S-Log2 on an 8 bit camera are not left out.
The LUT’s work best with the PMW-F55 as this has the closest native color to the Venice camera, but I think they work really well on the rest of the Sony range.
If you find the LUT’S useful, please consider buying me a beer or a coffee using the “Buy Now” button below. There are different drink options depending on what you feel is fair, it takes time to prepare these and there are costs associated with hosting the files. I’m not paid to run this website and every little bit helps and is greatly appreciated.
If you don’t wish to buy me a coffee, that’s cool. But please don’t host the files elsewhere. Feel free to link back here and share the link, but please don’t distribute these anywhere else.
Here’s the link to the zip file containing the my Venice Look LUT set:
If you are new to XDCAM-USER.COM please take a look around at the various tutorials, guides, tips and tricks that are hosted here. Click on the green search button at the top right to open a search window or follow the links in the drop down menus at the top of the page. Thanks for visiting!
Sony’s new Rec-709 style LUT for the Venice camera is now available. This Lut was designed to work with the Venice camera to provide a new film like look with beautiful highlight roll-off. In it’s current form it only works with S-Log3/S-Gamut3.cine material, although you could use the excellent LUTCalc app to create different versions.
Although designed for Venice the LUT works really well with footage from the FS5, FS7, F5 and F55 etc.
I recently completed a week long shoot with a Sony Venice in the USA, so I thought I would tell you about my experience. The camera I used had a beta of the dual ISO firmware so it could shoot at both the native ISO of 500 and the second native ISO of 2500. This was particularly useful for the shoot as a lot of the filming was done in some very dark places.
I can’t show any of the footage to you yet. But I will be able to link to the finished films once they are released a little later in the year by my client. I have to say straight away that I think the footage looks pretty amazing.
The first location was Las Vegas. I shot a number of views of the Las Vegas strip from the balcony of my hotel room in the Cosmopolitan hotel. These were pretty straight forward thanks to the cameras dual ISO capabilities. One of the shots was a day to night sequence, shooting locked off shots during the day and then at night to be blended together to go from day to night. The day time shots were done at the base 500 ISO and then the night shots done at 2500 ISO.
Sigma FF Fast Primes.
For these shots I used one of the really nice 24mm Sigma full frame high speed PL primes and the camera was setup in the 6K x 4K full frame mode.
For most of the shoot we did however shoot using the s35mm 17:9 DCI mode shooting at 60fps, and we made quite a few changes to the frame rates and frame sizes in the course of the shoot. The Sigma FF Primes are really beautiful lenses. Very well built, solid lenses that produce very sharp images even when wide open. The ability to shoot at T1.5 or T2.0 turned out to be a huge benefit on this shoot as many shots were done either at night or in some very dark locations.
One thing to note here is that I was working on my own. Venice is set up as a camera for high end shoots where it is expected that there will be a camera assistant working with the cinematographer or camera operator. During the shoot I made many changes to the cameras frame rate and aspect ratio. These changes are most easily done using the LCD screen and hot keys on the side of the camera away from the camera operator. So there were many times when I had to walk around to the other side of the camera or spin the camera around on the tripod to make these changes. It’s not really a big deal, but it is something to be aware of if you are going to use Venice as a “one man band”.
On the operators side of the camera there is a small LCD panel where you can change the shutter speed, ND filter, EI and white balance. But for anything else you need to either use the LCD panel on the other side of the camera or go into the main menu. Talking of the menu system – it’s very well laid out and quite logical.
Venice is a much simpler camera to use than the F55. In part because at the moment the feature set is still a little limited – there are no high speed modes, time-lapse, picture cache or other stunt modes. But the main reason it’s simpler is the design and layout of the main LCD and hot keys has been simplified and is better organised.
The “Home” screen has they key functions that you are likely to change while shooting – shutter speed, EI, ND and white balance. There is also a control for the frame rate, although the options for this are currently quite limited with it currently normally being locked to a single fixed speed set in the project settings. The Home screen also tells you how much space is left on your media, the aspect ratio and frame size, clip name, recording format(s), the battery status. Plus there are audio level displays for channels 1 and 2.
If you need to make any other changes to the cameras setting then you press the large menu button to bring up the main menu. This is divided into 5 sections each with it’s own hot key – Project – TC/Media – Monitoring – Audio – Info. The 6th hot key takes you into further settings for some of the menu pages.
Something else a first time Venice shooter should be aware of is that the cameras audio input is via a single 5 pin XLR connector. This can be set up as either a 2 channel analog line/mic input (with switchable phantom power) or an AES/EBU digital input. There are no 3 pin XLR’s on Venice so make sure you have the right cables or adapters.
While Venice isn’t a big camera, it is very dense. That is to say – a lot of electronics has been packed into quite a small body. It is…. shall we say… reassuringly heavy! I guess I have been a bit spoilt by the light weight of the F55. Venice is quite a lot heavier even though it isn’t really all that much bigger. I was shooting using the R7 recorder, recording to 16 bit X-OCN files as my primary material. With the R7 and a couple of Pag Paglink batteries on the back the camera was nicely balanced with the Sigma primes.
I was pleasantly surprised by the power consumption. A single 95Wh Paglink battery would run the camera for over an hour and a PL150 for around 2 hours which is a pretty respectable run time for a digital cinema camera. Certainly a lot more that I would get from an F65 or Arri.
The new DVF-EL200 viewfinder is a big step up from the DVF-EL100 often used on the F55 and F5 cameras. The image is brighter, higher resolution and the dipoter adjustment much better. Venice puts the information displays outside the picture area so the image isn’t obstructed by any text information. The large rotary encoder on the front of the viewfinder controls peaking, brightness and contrast.
Rating the camera – I had already done a few camera tests with Venice so I knew that the base ISO’s of 500 and 2500 matched well with my light meter. I also knew that there is very little noise at 500 ISO and only a little bit more at 2500. For most daylight shots I shot at 500 ISO/500 EI. I don’t feel that there is the same need to rate the camera 1 to 2 stops lower as I do with the F55, FS7 or FS5. It just isn’t necessary for normal light levels. For some scenes that had low average brightness levels I did choose to shoot at 500 ISO/320 EI as it seemed a waste to shoot at 500 EI when the scene highlights were no where near clipping. The slightly lower Ei helped to put just a little more information into the already highly detailed shadow areas of my images. For the darker locations and night scenes I switched the camera to the higher base ISO of 2500 to gain a pretty decent sensitivity boost. When using the 2500 ISO mode I found I ended up shooting at 1600 EI to keep the noise levels very similar to the noise levels at 500 ISO/500 EI.
The noise that you do get when shooting at the 2500 ISO base is really pleasing. I’m not normally a fan of any noise, my personal preference is normally for clean images as these tend to give the greatest post production flexibility. But there is something that just looks nice about the little bit of extra noise that there is at 2500. It’s very, very fine grain that is different in every frame. Dare I say it looks very film like? I need to experiment with this further, but I suspect that many people may choose to use 2500 ISO even when they have plenty of light as the noise adds some character and a pleasing texture to the shots. I’m not going to get into too much of a debate here about the merits of shooting with a bit of grain verses adding it in post. Personally I would probably normally opt to shoot clean and add any noise later, but Venice certainly brings some interesting options to the table and I would not rule out deliberately choosing 2500 ISO, even when there is plenty of light, to take advantage of the really nice looking noise.
We shot a lot of the film in the bottom of a deep Slot Canyon. For those that don’t know what this is – it is a very narrow, very deep, steep sided twisting gully carved out over millions of years by flood water. The Slot Canyon we shot in was often only 2 or 3ft wide (1m) and around 60ft (20m) deep. In most parts sunlight never reaches directly to the bottom, so it’s often very dark. But in a few spots very narrow shafts of light just about make it to the bottom when the sun is directly overhead. This creates some areas of incredibly high contrast as beams of full desert sun penetrate into near total darkness.
Venice was the perfect camera for this situation. The high base ISO mode and the 2500 ISO exposure rating allowed me to capture the dark textures of the sandstone walls of the canyon, while the 15 stop latitude meant that I could also capture the almost laser like light beams as they created intense pools of light. In addition towards the upper parts of the Canyon you get incredibly vivid reds and oranges as the sunlight reflects of the red rocks. To the naked eye it looks like the canyon walls are on fire and Venice did an amazing job of capturing these intense colours.
My hotel room in the city of Page, Arizona was decorated with photographs taken in Slot Canyons. In many of the photos the shafts of light were completely over exposed with no detail or texture. I’m pleased to say that the footage from Venice almost always retained some detail and texture, even in the the most extreme cases. This for me has been one of the most impressive things about the way Venice behaves. There is something very nice about the way that Venice reaches the extreme ends of it’s exposure range, something the F55 doesn’t quite do and I really like it. Venice seems to hang n to those exposure extremes just that bit better. In addition Venice also retains an amazing amount of color information in the deepest darkest shadow areas.
Another location we shot at was the Grand Canyon’s Horseshoe bend. This a well know spot and frankly, if you have good light, it’s tough to make a bad picture. This is one of those locations where everything is on a grand scale. So it deserved a big image. Time to use the 6K x 4K full frame mode and those beautiful Sigma FF primes again. In the grading suite whenever I show people the shots from Venice at Horseshoe Bend there is almost always a “wow” moment. The texture and detail in the shots is amazing and starting with a 6K image for a 4K production gives you quite a bit of room to crop in to the image if you wish.
What about skin tones? Well we did shoot some Navajo dancers doing traditional native American dances and hoop dances. Even in the very harsh Arizona light the skin tones looked great.
With so many different locations to shoot at in one week, some of them very remote, being highly mobile was really important to us. While Venice is heavier than the F55 that I normally shoot with, it is still an easy camera to transport. We had to lug the kit by hand across the desert to get to the Slot Canyon. I used a Miller CX18 fluid head with a 100mm bowl on a set of Miller carbon fibre legs. This is a pretty light tripod setup, similar to that used by ENG news crews. I didn’t need to go to a 150mm bowl or heavier tripod than this for this shoot because Venice is a very manageable weight and it worked very well.
One scene was a nigh time campfire scene. For the Venice camera shooting at 2500 ISO and paired with the Sigma T1.5 primes this wasn’t really too much of a challenge. The fire was a large wood fire and it was producing enough light to illuminate the faces of the subjects in the scene. Although perhaps this could have been shot without any additional lighting it was decided to add a little bit of extra light to fill in a few shadows and add a small amount of detail into the background of the wide shots.
For this I used a Light and Motion Stella Pro 5000 Led lamp. For a one man band these waterproof LED lights are really excellent. They produce lots of good quality light and can be fitted with all kinds of modifiers. For this application I used a Fresnel lens to narrow down the light cone. In addition they can be remotely controlled using a simple hand held Elinchrom remote control. This makes getting the light level just right really easy as you can look in the cameras viewfinder while dimming the lamps with the remote. It’s possible to control several lamps with one remote.
I shot using Sony’s X-OCN codec recording on to AXS cards in the R7 recorder. These 16 bit linear files are surprisingly easy to work with. The compact file size was a huge help. I didn’t get through more than 2 x 512GB cards in a day, even though we were shooting 4K 60P or 6K 24p. This really helped with data management in the evenings. There’s big difference between backing up 1TB of X-OCN compared to what would have been around 5TB if it had been uncompressed raw. Yet there are no signs of any artefacts in the material. The X-OCN files are also very easy to handle in post production, I can even preview them in real time on my laptop at half resolution. In post production the 16 bit linear files handle beautifully, revealing amazing amounts of picture information.
At the end of this shoot I am left with a big problem though. Now I’ve shot a real production with Venice – I don’t want to shoot with anything else. I have been telling myself that I will stick with my F5/R5 for a bit longer, maybe upgrade the F5 to an F55 and then hire in a Venice as needed. But now I want to shoot with Venice whenever possible. Every time I pick up a Venice and go and shoot with it I come back with images that surprise me. They just seem to look great with very little effort. So now I think I might just have to figure out a way to buy one.
Camera setup, reviews, tutorials and information for pro camcorder users from Alister Chapman.