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    VENICE: Top Gun 2 shot on the SONY VENICE (Claudio Miranda) (a few questions)
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    The upcoming Top Gun sequel is being shot on the Sony Venice based on this photo. https://twitter.com/BRUCKHEIMERJB/st...33006822612992

    If I'm not mistaken, it will be the first feature shot on the Venice.

    Claudio Miranda is the DP, which brings me to my questions:

    1. Is the Venice/Claudio Miranda the best fit for this type of movie? Miranda's work with Sony cameras (Oblivion, Tomorrowland, Tron, Only The Brave) are beautiful but a bit on the cold side. Can he switch up his style and go for the warmer, more summery/punchy look of Top Gun?

    2. And is Claudio Miranda better off using the Venice then say an Alexa LF or Alexa 65?


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    Senior Member Grug's Avatar
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    I've kept mum on this for a while now, as I was asked to keep quiet about it. But the cat's out the bag now, so I suppose it's fine. I was lucky enough to steal half an hour with Claudio at the ASC Masterclass a couple of months ago, and I can now tell you, that if you ever want to see some INSANE on-set photos, all you need to do is have a look through the photos on an ASC member's phone! :p we had a great chat about making pictures and particularly about this little film he was prepping for, called 'Top Gun'.

    They've gone with the Venice for a number of reasons. One being the detachable sensor block - which allowed them to squeeze a previously inconceivable amount of image quality into the cockpits of these fighter jets (think of it as the fanciest dash mount you've ever seen). Another being the effective global shutter of the Venice (I'm still confused as to how it's not a "global shutter", but also not a "rolling shutter", but whatever weird techiness lies behind it, it's effectively a global shutter (I tried an insane wobble test on one, and there's zero perceivable skew - so as far as I'm concerned it's a global shutter). And when you're using things called the 'CineJet' to capture air-to-air footage, that's apparently useful!

    As to your questions, personally Claudio's in my top 5 DPs of all time list, so I think he'll do just fine. But he's also the man who shot the video clip for "The Thong Song", so I suspect a bit of beach volleyball is within his abilities!

    As to 'better off' with the Venice? I think the reasons he mentioned sum it up pretty well. In their testing he said he was actually leaning towards the Sigma Cine primes, so I'll be very interested to know what they went for in the end.


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    My gosh. This is a treasure trove of info. I'm really pumped for Top Gun 2, so thank you so much. Hope I don't get you in trouble though haha.

    As for the Venice's use in Top Gun 2, I'm now entirely convinced that it's the right choice for the film thanks to your in depth explanation. Can't wait to see what Claudio has in store.
    Last edited by AlienRock; 08-08-2018 at 07:29 AM. Reason: punctuation


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    Quote Originally Posted by Grug View Post

    They've gone with the Venice for a number of reasons. One being the detachable sensor block - which allowed them to squeeze a previously inconceivable amount of image quality into the cockpits of these fighter jets (think of it as the fanciest dash mount you've ever seen).
    Good God. I can only imagine how immersive the cockpit scenes would look like. Probably some beautiful stuff that would not have been achieved on the 35mm cameras used on the first Top Gun.


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    From the online demos so far, the VENICE can hang with the Alexa LF and 65 in everything up to (but perhaps not quite) highlights. In terms of super-saturated pleasing color, including skintones (very hard to do), the VENICE looks to be a good match to the Alexas, and could possibly exceed them (would need to see side-by-side tests). In terms of alias-free super high detail and low noise performance, VENICE looks to be the top True 4K camera right now (6K sensor outputting alias-free 4K). The remote sensor block adds another useful function not available with any other high-end camera (though Reds are fairly small (Alexa Mini is not a True 4K capable camera)). In 2018 Sony could put the full power of the VENICE (and a lot more) into the size of a DSLR body if they really wanted to (probably could have done it in 2016 or even earlier).


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    GH5, Sony FDR-X3000,Nikon P1000 , a6300 , NX1 , GH4 , Leica DG Vario-Elmarit 8-18mm f/2.8-4 , Leica DG Nocticron 42.5mm f/1.2 ASPH Power OIS , Voigtländer Nokton 25mm f/0.95 ,Olympus M.Zuiko Digital 75 mm f/1.8 ED , 100-300mm F/4.0-5.6 OIS , Sony A7r , FE 70-200mm F4 G OSS , Sony Zeiss Sonnar T* FE 55mm f/1.8 ZA ,Sony Zeiss Sonnar T* FE 35mm f/2.8 ZA , 28-70mm FE OSS, 15mm F2.8 , 24mm F1.4, 50mm F1.4, 85mm F1.4


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    Quote Originally Posted by Grug View Post
    In their testing he said he was actually leaning towards the Sigma Cine primes, so I'll be very interested to know what they went for in the end.
    I think they're going with the Sigmas. https://www.instagram.com/p/BmgOu_uH...=insdangraming


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    Quote Originally Posted by Grug View Post
    I've kept mum on this for a while now, as I was asked to keep quiet about it. But the cat's out the bag now, so I suppose it's fine. I was lucky enough to steal half an hour with Claudio at the ASC Masterclass a couple of months ago, and I can now tell you, that if you ever want to see some INSANE on-set photos, all you need to do is have a look through the photos on an ASC member's phone! :p we had a great chat about making pictures and particularly about this little film he was prepping for, called 'Top Gun'.

    They've gone with the Venice for a number of reasons. One being the detachable sensor block - which allowed them to squeeze a previously inconceivable amount of image quality into the cockpits of these fighter jets (think of it as the fanciest dash mount you've ever seen). Another being the effective global shutter of the Venice (I'm still confused as to how it's not a "global shutter", but also not a "rolling shutter", but whatever weird techiness lies behind it, it's effectively a global shutter (I tried an insane wobble test on one, and there's zero perceivable skew - so as far as I'm concerned it's a global shutter). And when you're using things called the 'CineJet' to capture air-to-air footage, that's apparently useful!

    As to your questions, personally Claudio's in my top 5 DPs of all time list, so I think he'll do just fine. But he's also the man who shot the video clip for "The Thong Song", so I suspect a bit of beach volleyball is within his abilities!

    As to 'better off' with the Venice? I think the reasons he mentioned sum it up pretty well. In their testing he said he was actually leaning towards the Sigma Cine primes, so I'll be very interested to know what they went for in the end.
    I found a pic of the cockpit setup. Amazing stuff.

    https://pbs.twimg.com/media/DrfskcOVAAA6id2.jpg


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    Curious to see footage.


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