Sony Venice?

SJX

SJX

Veteran
Venice is out now for a while. Where are the movies being shot with it? Anything important? Varicam came and stayed in TV. Canon never made it. I don't know of any hollywood wide release movie made with them. Will Venice be same? Will movies stay arri and red only? Not hearing much about venice being used. IMDB is now useless for this. Newer movies don't show camera anymore. Shotonwhat is also useless. Any good source for cameras being used in movies?

Is venice selling well? Any here buy it?
 
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SJX said:
Venice is out now for a while.
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Nah, not really, not until the new firmware (which I've had a short play around with the beta version of, so this isn't too far away from happening) is officially launched will you see the Venice used in any serious numbers. As until that happens there isn't any real major point in people buying up Venice cameras.
 
Sony has much work to do if they want venice to be a hit. I just read articles about cannes films. In 2017 from 29 movies all are basically arri or film. Only 1 with red camera and a few with DSLRs probably indies. But arri dominated. In 2018 cannes not different. From 32 movies 1 red camera. The rest all arri or film. No F55, F65 or varicam. F55 and varicam are big in tv and netflix because cheaper etc. But in cinema arri dominance is actually humiliating. So sony needs to work hard to make venice a hit. Is the panavision dxl even being used a lot? I'm not hearing it either.
 
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After seeing Oblivion and Lucy I realized Sony could compete with ARRI at the high end.

After studying the new Alexa LF (and Alexa 65, including working with ARRIRAW footage from both cameras), I'll be the first to say it:

Sony's VENICE can (finally) compete with the latest ARRI cameras. Does ARRI still have the edge in DR and/or highlight roll off? Probably. Does Sony have the edge in clean low noise detail? Probably. So ARRI gets the highlights and Sony gets the low lights. A tie?

Skintones: what's better, Kodak or Fuji film? Different flavors, both excellent. Chosen based on intended look/content. The same is true for the Alexa LF and VENICE. The amazing thing is the VENICE is over 2x lower cost. Given the VENICE is closer to the F55 than the F65, it appears the VENICE will be far less power hungry vs. anything from ARRI. Part of the VENICE look comes from using the F65 color filters.

More amazing VENICE footage here: http://www.dvxuser.com/V6/showthread.php?360234-Sony-VENICE-Impressive-Skin-Tones

How will the market prove out this statement one way or the other? The same way ARRI proved it: by the number of different productions that produce excellent quality content, at all budget levels. While there are bad ARRI examples, ARRI content tends to look better on average than all the other cameras.

Some folks think there's too much detail in these new 6K => 4K (True 4K) cameras. It's always an advantage to have a camera provide more real, actual detail/information (vs. false detail/oversharpening). One can always blur in post or use a diffusion filter or softer lens. Which brings up the new Zeiss Supreme and Leica Thalia lenses: amazing detail when you want it! And truly a new look when combined with extra shallow DOF provided by the full frame sensors!
 
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