Podcasts about sony venice

Emilia Pérez is about a Mexican cartel leader, Manitas Del Monte (Karla Sofía Gascón) who hires a lawyer (Zoe Saldaña) to help him disappear, undergo gender affirming surgery, and transition into a woman. But even as Emilia Pérez, she is unable to fully leave her dark criminal past behind. Director Jacques Audiard saw the film as a unique blend of gritty drama like Amores Perros and an opera. He approached cinematographer Paul Guilhaume, AFC to collaborate on his vision. With a combination of operatic grandeur, gritty realism, and dynamic camerawork, Paul Guilhaume has been nominated for an Academy Award for his visually stunning cinematography in Emilia Pérez. Paul was impressed with the story arc when he received the script for the movie. “There is something a bit like a classic drama or a very classic structure of a play,” he explains. “The actions of the past come back, and the darkness comes back in the film at the end.” This dramatic structure, combined with the operatic elements, presented a unique challenge. Audiard initially conceived Emilia Pérez as a five-act musical stage play before deciding to film it. The theatrical influence is apparent in the film's structure and visual approach. The drama unfolds during the musical numbers, revealing information about the story. All of the musical numbers were written into the script and became a thread interwoven throughout the film. Paul used a variety of styles to shoot each music scene. He chose classic shot-reverse-shot for intimate moments, to stylized, modern music video techniques and grand, classic musical visuals for moments of heightened movement and energy. Months of preparation and rehearsal allowed the actors to meticulously block and choreograph the dance scenes in tandem with the Steadicam, resulting in seamless integration of movement and camera. In Emilia Pérez, the camera is always in motion, matching the pacing of the music. “Jacques has an aesthetic of movement, the camera is almost never still,” says Paul. “There's something in motion in each and every frame that's not photographic composition, but cinematographic composition. Your eye is always in motion, taking you from one shot to the next.” The film's visual tone shifts as Emilia's past catches up with her. Paul responded to the shift with higher contrast, theatrical lighting, bringing up the darks with black walls and using an infrared camera. Despite the film's ambitious scope, it began as a small, independent production with a limited budget before being picked up by Netflix. This constraint led to the decision to shoot digitally with a Sony Venice, a choice that ultimately saved time and money. Paul and Audiard focused on crafting memorable moments, striving to create one key image per scene to build a lasting "visual memory" for the audience. Emilia Pérez is on Netflix. Find Paul Guilhaume: Instagram: @paul_guilhaume Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

We welcome back Phedon Papamichael, ASC, GSC for the fourth time on The Cinematography Podcast. Cinematographer Phedon Papamichael started preproduction on A Complete Unknown with frequent collaborator, director James Mangold in 2019, before being postponed by the pandemic. They began prepping in summer 2023 and shooting in earnest by the early spring of 2024, which worked well for capturing the changing of the seasons in New York. The long lead time was a huge benefit for both the cast and crew. Phedon and the production team had time to research the time period, create an extensive lookbook of period photos and mull over the script and characters. Actor Timothee Chalamet had time to practice guitar and harmonica and was able to perform most of the songs live. Phedon was very familiar with the music of Bob Dylan, and grew up listening to the artist. He wanted to capture how Dylan evolved and developed as a musician. The set was very intimate, and Chalamet completely absorbed the character of Bob Dylan, frequently watching playback on set, then finding something new with each take. “It was very much this organic process of us capturing and him discovering the character,” says Phedon. “And you could just see it was so enjoyable for every crew member. Everybody was inspired by it.” A Complete Unknown used very few sets and stages, and the production designers transformed two blocks of New York City streets into the 1960's. Phedon shot digitally on the Sony Venice 2 camera, which was then scanned to a film negative and then scanned back to digital. Influenced by the films Klute, The Godfather and The French Connection, he wanted A Complete Unknown to have the Kodachrome look with an earthy color palette. Phedon used lighting that was appropriate for the time period as well, using white and tungsten lights, enhanced with numerous practicals on the set. He embraced the mood of the nightclub scenes, with a single source spotlight hitting the performers on stage and the audience lit with candles on the tables. As the movie progresses into the '60's and Bob Dylan becomes more famous, Phedon began to change the look of the film. “It becomes a little bit more expressionistic, a little more aggressive,” he says. “The stage lights become a little bit bigger, the highlights are a bit hotter, the contrast and shadows are more extreme.” Phedon's ultimate goal as a cinematographer is to stay subtle. “I never want anybody to perceive or feel that I'm lighting something,” he says. “I never want it to feel like there's a craftsman behind it. I always like the photography to just allow us to focus on the character, and really not distract from it.” Find Phedon Papamichael: Instagram @papa2 Hear our previous interviews with Phedon Papamichael on The Trial of the Chicago 7, Ford v. Ferrari, and our live podcast interview. You can see A Complete Unknown currently in theaters. Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Venus Optics, Laowa lenses: https://www.venuslens.net/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Beetlejuice Beetlejuice cinematographer Haris Zambarloukos loved the original 1988 Beetlejuice as a young adult. With Beetlejuice cinematographer Thomas Ackerman as his inspiration, Haris wanted to pay homage to the first movie while pushing the boundaries of cinematic storytelling. “It was fun to make,” says Haris. “We really did enjoy ourselves, and it was a huge collaborative effort. It was a real delight and a pleasure to bring this to screen.” Haris chose to shoot Beetlejuice Beetlejuice on the Sony Venice 2. He likes the camera's ability to deliver a high-fidelity image with low-light sensitivity, which was perfectly suited for the film's atmospheric and often dimly lit settings. He worked closely with director Tim Burton to develop a meticulous lighting plan that would create an immersive and atmospheric environment for the actors. The spaces were designed to be functional in-camera, allowing for a more organic and spontaneous approach to lighting. The film's unique blend of live-action and animatronics was a high-stakes balancing act requiring exceptional coordination between the camera crew, lighting team, actors, and puppeteers. “On top of that, you've got Michael's incredible performance as Beetlejuice, which is full of energy,” says Haris. “And at that pace and that energy level, you only have so many takes. Then there's a camera move and 20 or 30 lighting cues just in a single 15 second take and that all has to work. So, in essence, we're all performing, and we don't want to let anyone down because the person that makes a mistake is the one that ruins it for everyone. I've never been on a film where we all worked in unison that way. But that's probably because I've only made one Tim Burton film, and there's no one else that works quite like him.” To create a distinctive visual language for the underworld, Haris used a palette of green and blue tones. Working with Burton, they pre-programmed RGB spectrum LED lighting for precise color control and creation of unique lighting patterns. The team was able to test and pre-light for a "repertoire" of looks that could be easily accessed and modified during filming. Haris used ARRI SkyPanel lights to control the time of day, creating a very theatrical, impressionistic effect of a lit sky outside the windows of the sets. Find Haris Zambarloukos: https://zambarloukos.com/ Instagram: @zambigram Hear our previous interview with Harris Zambarloukos: https://www.camnoir.com/ep162/ Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Stephan Fleet is the VFX Supervisor for the hit Amazon series The Boys and serves as Associate Producer and Co-Producer on its spinoff Gen V. With a diverse background in visual effects and production, Stephan has become a leading innovator in television VFX. Stephan has developed a reputation for creative problem-solving and empathetic leadership in high-pressure production environments. His work on The Boys has set new standards for tv series visaul effects, balancing realism with the show's signature style while pushing the boundaries of what's possible in episodic content. In this Podcast, Stephan Fleet talks to Allan McKay about the unique challenges of creating grounded superhero powers for The Boys, his innovative approaches to monitor comps, and the intricacies of on-set VFX supervision. He shares insights on workflow optimization using custom database solutions, and the importance of empathy in VFX leadership. Stephan also discusses his transition into producing roles with Gen V and how his VFX background influences his approach to overall production. This episode offers valuable advice for both aspiring and established VFX artists, as well as producers and directors interested in the evolving landscape of visual effects in high-end television production. Stephan's unique perspective, spanning both the creative and managerial aspects of VFX production, provides a comprehensive look at the current state and future potential of visual effects in prestige TV series. Key Highlights: 1. Superhero Power Development Stephan reveals the intricate process behind crafting iconic effects like Homelander's laser eyes and Butcher's grotesque tentacles. Learn how the team balances realism with the show's signature style. 2. Innovative VFX Techniques Discover the groundbreaking "monitor leader" approach that revolutionized on-screen graphics in "The Boys". Stephan explains how this technique has set a new standard for monitor comps in the industry. 3. Cutting-Edge On-Set Technology Get an inside look at how the VFX team utilizes state-of-the-art tools like Polycam for 3D scanning and Tentacle Sync devices for seamless timecode synchronization across multiple cameras. 4. Workflow Optimization Explore the custom solutions developed by Stephan's team, integrating Airtable and FileMaker for efficient VFX tracking and financial management within the production pipeline. 5. Leadership in VFX Stephan shares his philosophy on empathetic leadership in the high-pressure world of VFX production, offering valuable insights for industry professionals at all levels. 6. Cinematic Techniques in TV Learn how "The Boys" adapts high-end cinema techniques for television, including the use of Sony Venice cameras to achieve feature-film quality in a TV production schedule. Resources Mentioned: The Boys (TV series) Gen V (TV series spinoff) Polycam (3D scanning app) Tentacle Sync (timecode devices) PTGui (panorama stitching software) Nuke (compositing software) Airtable (database software) ShotGrid (production management software) Stephan Fleet's Instagram Tamron 35-150mm F2-2.8 lens XY Short Film   Don't miss this insightful conversation with one of the industry's most innovative VFX supervisors. Whether you're a seasoned professional or an aspiring VFX artist, this episode is packed with valuable knowledge and inspiration for pushing the boundaries of visual effects in television.      

The critically acclaimed horror movie Late Night With the Devil blends found-footage, mockumentary and 1970s late-night television into a movie with genuine scares. Cinematographer Matthew Temple, ACS used shaky camerawork, close-ups, and multiple video sources to add to the feeling of watching “behind the scenes” documentary found footage. Though they didn't use vintage tube cameras for the 1970's TV look, Matt and the camera operators used studio pedestal bases or a crane for the cameras. “Right from the get-go, (directors Cameron and Colin Cairnes) came at me with this word, 'verisimilitude,' which means to make something feel real.” says Matt. “And that was kind of the seed for the television show.” During the preproduction period on Late Night with the Devil, the Cairnes brothers gave Matt a lookbook that they'd created referencing documentaries from the time. Matt had honed his craft on Australian TV shows like Comedy Inc., a sketch comedy show that spoofed movies and TV shows. He learned how to deconstruct a movie and replicate a specific look. Matt used the same approach for the film and watched several late night talk shows from the 1970's to get the visual aesthetic right. As he learned and took notes, Matt made an extensive document setting out rules for the camera crew to follow to keep the look authentic. Using the studio pedestal bases and cranes were key, with Sony Venice cameras in 4K mode with Fujinon zooms. “We had three pedestal cameras. They were new Venices, but nonetheless they were on pedestals. Each operator had to do their own focus and zoom and trucking up the pedestals in shot. I was careful to hire two camera operators who really knew what they were doing with studio cameras because the last time I did that was 35 years ago.” Matt himself acted as the third camera operator. He would brief the other camera operators in preproduction, break down the scene, and map out how all the cameras would work together. It was critical that the cameras always have a logic and placement and appear to be moving together. Growing up in Australia, Matt was impressed with the Australian movie Mad Max as a teenager. After studying some photography and stage production, he got a trainee job at ABC Television in Sydney. He slowly worked his way up as an assistant, operator, Steadicam operator and DP in Australian television. Late Night with the Devil is Matt's first feature film as a cinematographer. He previously worked with directors Cameron and Colin Cairnes as a Steadicam operator on their first feature, 100 Bloody Acres. Matt thinks Australia is its own independent film and TV powerhouse because of their ability to innovate and work with very small budgets. Find Matthew Temple: https://www.matthewtemple.com.au/ Instagram @dpwolfie Late Night with the Devil is still playing in some theaters and is available on Shudder and VOD. https://www.latenightwiththedevil.movie/ Sponsored by Hot Rod Cameras www.hotrodcameras.com Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Ricki Bedenbaugh is a professional cinematographer based in Southern California. Originally born in Tennessee before moving down to Florida, Ricki grew up in the skateboarding world with dreams of becoming a professional skater.While Ricki didn't end up as a professional skater, he did end up as a professional cinematographer in the skate world. Ricki has been apart of some of the biggest skate parts in the industry, working at 411videomagazine, and is also responsible for shooting two of the biggest kickflips ever done in skateboarding: that of Dave Bachinsky at El Toro and Ryan Sheckler at the Costco Gap.We dive into all of this, plus Ricki's transition out of skating and into the dirt bike world working for Fox Racing and shooting projects with Adam Cianciarulo, Josh Hansen, Ken Roczen, Hunter Lawrence, Jett Lawrence, along with the struggles of learning a new action sport that wasn't skating, his new freelance career and working with Sony Cine on the new movie, Gran Turismo, to shoot the Sony Venice 2 with the Rialto 2 in action. This episode has a lot of rad stories, insights, and laughs about Ricki's long and very impressive career behind the lens. And, it's all thanks to the skateboard. This was a fun one and hope all enjoy!View Ricki's portfolio: https://www.keeponpushin.com/Follow Ricki on Instagram: https://instagram.com/rickithedude?igshid=MzRlODBiNWFlZA==The Failed Experiment on Patreon: https://www.patreon.com/TheFailedExperimentFollow The Failed Experiment on Instagram: https://www.instagram.com/_thefailedexperiment/Follow Kyle Cowling on Instagram: https://www.instagram.com/kylecowling/Support the show

Cinematographer Pawel Pogorzelski returns to Go Creative Show to discuss his latest film Beau Is Afraid and his collaboration with director Ari Aster. Pawel shares his experience filming with the Sony Venice and Rialto extension system, how he creates a cohesive palette for the film's many different looks, and the lens and lighting choices that gave Beau Is Afraid its many unique and surreal looks. We also answer audience questions and take a deep dive into how Pawel creates "vulnerability" in his cinematography. Pawel does his best to explain what the film is about, but after watching the 3-hour odyssey and our interview with Pawel, we still aren't completely sure… maybe that's the point? Regardless of your understanding, or even opinion of the movie, this interview will inspire and educate film enthusiasts and movie fans alike. Subscribe Now! What you will learn in this episode How BEAU IS AFRAID was pitched to Pawel (01:31) Camera techniques to show anxiety (06:15) Using wide lenses (12:37) The different looks of BEAU IS AFRAID (16:27) Using an LED wall for the cruise ship scenes (22:35) Why the Sony Venice was the best choice (30:46) Relationship with camera operators (37:08) Not putting yourself in a genre box with cinematography (40:11) Pawel's philosophy as a cinematographer (42:14) And more! Go Creative Show is supported by: Sony Cine For the month of May 2023, Sony is offering special financing on their entire cinema line, and extended financing on the  VENICE and VENICE 2 cameras. Visit SonyCine.com for details.   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BEAU IS AFRAID IMDb Follow Our Guest Pawel Pogorzelski's Instagram Pawel Pogorzelski's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website

CES 2023 was chock-full of amazing tech that's ready to hit the market. In this episode of The Black Futurist podcast, we'll take a look at the products that impressed us most at this year's event. From Sony's motion capture suite to the Sony PS VR2 and the Sony Venice 2 camera, we'll give you all the details about the technology that's set to revolutionize the industry. Tune in to find out more, and subscribe to The Black Futurist! Consumer Electronics Show - CES ® - #CES2023 #TheBlackFuturist Team: Johnny J. Jones - Segment Producer - https://instagram.com/johnnyjjones.me Dwayne Meekins - Gaming and Screens - https://Instagram.com/SaltySuiteGaming Bryndan D. Moore - Host and the plug - https://instagram.com/bemor - BryndanMoore.com --- Send in a voice message: https://anchor.fm/theblackfuturist/message

We welcome cinematographer Matthew Libatique, ASC for his third time on the podcast. For this interview, Matty, Ben and Illya have a more technical discussion about lenses, LUTs and cameras used on Don't Worry Darling, A Star is Born and The Whale. For the film Don't Worry Darling, Matty found it easy to find the right mid-century modern visual style, since the production design, costumes, hair and makeup were all influenced by that distinctive look from the 50's and 60's. Director Olivia Wilde wanted to invoke the Rat Pack era of Las Vegas and Palm Springs. She also heavily referenced the 1975 movie The Stepford Wives, along with an 80's and 90's thriller element from movies like Devil's Advocate. They were able to shoot some of the exteriors at the historic Kaufmann Desert House in Palm Springs, while all the interiors were sets. Matty chose the Arri Alexa Mini LF camera for the larger sensor, so they had more focus fall off on the wider focal lengths. He also wanted as much color in the frame as possible, and chose a LUT that accentuated the reds, oranges and yellows without affecting or oversaturating the skin tones. The lenses he used were Blackwings and Sigma Classics, because he liked the multiplicity of lens flares. Matty immediately went from shooting Don't Worry Darling into prepping and shooting The Whale with director and frequent collaborator Darren Aronofsky. They spent some time figuring out how to take a play and translate it into a film, where Charlie, the main character, spends most of his day stationary on a couch. Matty and Aronofsky realized that using 4:3 framing to hold the vertical in the foreground solved the problem. Aronofsky also wanted to block the scenes so that the camera wouldn't be stationary and static the entire time. Matty chose to use the Sony Venice camera for the first time, due to its light sensitivity, with Angenieux Optimo Prime lenses. The camera movement was dictated by the characters who come and go around Charlie, so different scenes were marked with a wide shot, then pans and forced cuts to make it more visually interesting. As for the composition of each scene, the camera had to follow the eyeline of where each character is looking. Matty also used as much minimalist, naturalistic lighting to tell the story. He used the windows as a light source to show subtle changes in the weather outside of the apartment, and while there were not a lot of windows, it helped show the passage of time and affected the mood of the film as the days pass in the story. Find Matty Libatique: Instagram @libatique Don't Worry Darling is available streaming on Hulu and HBO. The Whale is currently in theaters. Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

AVATAR: THE WAY OF WATER director of photographer Russell Carpenter ASC talks with Go Creative Show host Ben Consoli about the making of the film and using the custom-made 3D Sony Venice. Russell also dives deep into the underwater motion capture system, the process of virtual filmmaking, lighting in a virtual world and so much more.  Subscribe Now! What you will learn in this episode Russell's thoughts on critics (02:40) Filming the incredible underwater scenes with motion capture (07:37) Why Russell decided to film with the Sony Venice (15:28) Deep dive into the lighting of AVATAR: THE WAY OF WATER (26:09) Was the Sony Venice Rialto born from AVATAR: THE WAY OF WATER? (33:10) Filming at 48 frames per second (37:44) The cinematographer's role in a VFX-heavy film (43:10) AVATAR's production workflow explained (52:16) Why it's important for filmmakers to embrace new technology (01:01:07) And more! Go Creative Show is supported by: Sony Venice   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links AVATAR: THE WAY OF WATER IMDb Follow Our Guest Russell Carpenter ASC's IMDb Russell Carpenter ASC's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

BLACK PANTHER: WAKANDA FOREVER director of photographer Autumn Durald Arkapaw ASC joins Go Creative Show host Ben Consoli to discuss her camera, lighting and lens choices. We also discuss her early career, filming Underwater “dry for wet," night exterior and Autumn's experience with the Sony Venice. Subscribe Now! What you will learn in this episode Lighting philosophy of Wakanda Forever (02:04) A cinematographer's role in visual effects (06:33) Filming Talokan and underwater cinematography (13:57) The cameras and lenses used on Wakanda Forever (24:13) Why Autumn chose the Sony Venice (27:03) Filming night exteriors (30:56) Filming the Namor flashback sequence (40:11) Why Autumn loves the Okoye firing scene (43:58) Filming in Boston (47:35) Autumn's early days in filmmaking (50:25) And more! Go Creative Show is supported by: Sony VENICE   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Black Panther: Wakanda Forever IMDb Black Panther: Wakanda Forever trailer Follow Our Guest Autumn Durald Arkapaw IMDb Autumn Durald Arkapaw Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Cinematographer Jason McCormick breaks down his cinematography for the Netflix hit series, DAHMER - MONSTER: THE JEFFREY DAHMER STORY. Jason and Go Creative Show host, Ben Consoli, discuss the gritty cinematography, challenges of working with episodic directors, shooting with the Sony Venice, and we break down some of the series' most brutal scenes. Subscribe Now! What you will learn in this episode Controversy of DAHMER (01:21) Storytelling techniques of DAHMER (07:13) Are locked off shots boring for cinematographers? (16:21) Shooting on the Sony Venice (23:46) Warm approach to lighting (32:27) Tribe Blackwing 7 lenses (40:21) How to deal with reflections in glasses (42:44) And more!   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links DAHMER trailer DAHMER on Netflix DAHMER IMDb TRIBE BLACKWING 7 Lenses Follow Our Guest Jason McCormick's IMDb Jason McCormick's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Peter Phok is having an amazing year — he executive produced both X, released in March, and its prequel Pearl, released in September. And he's planning ahead to MaXXXine, the third film in the horror trilogy directed by Ti West and starring Mia Goth, who co-wrote Pearl with West.Phok goes way back with West — they attended NYC's School of Visual Arts together —but he's also produced horror hits separately from the director, including the Netflix hit 1BR, which we covered in a previous episode of this podcast. Phok is an extremely hands-on producer, even when working remotely, as he did for Pearl and X. He talks with us about achieving the 1970s grit of X and the early cinematic Technicolor majesty of Pearl with the same camera, the Sony VENICE. And he tells us about his cinematic white whale... a Ti West film set in space.We conclude by asking for some details on MaXXXine, and discuss what it will take to get Mia Goth an Oscar nomination. Hosted on Acast. See acast.com/privacy for more information.

En el episodio de hoy continuamos con la serie dedicada a la Cinema Line de Sony con la Venice 2, una cámara full frame 8.6k con grabación RAW interna y 16 pasos de rango dinámico.Recuerda, si tienes alguna duda o comentario escríbenos en instagram o Facebook a wrapitup.mexico, no olvides visitar nuestro nuevo sitio web wrapitup.mx en el cual podrás acceder a las últimas y mejores noticias tecnológicas en español de la industria audiovisual.Support this show http://supporter.acast.com/wrapitup. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup. Hosted on Acast. See acast.com/privacy for more information.

En el episodio de hoy analizaremos las características sobresalientes de la Sony Venice 1, una cámara capaz de tirar en Raw Linear a 16 bits con 15 pasos de Rango Dinámico.Recuerda, si tienes alguna duda o comentario escríbenos en instagram o Facebook a wrapitup.mexico, no olvides visitar nuestro nuevo sitio web wrapitup.mx en el cual podrás acceder a las últimas y mejores noticias tecnológicas en español de la industria audiovisual.Support this show http://supporter.acast.com/wrapitup. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup.

Learn how cinematographer Simon Dennis BSC created an authentic and super saturated early 1980's world for CANDY on Hulu. Simon and Go Creative Show host, Ben Consoli, discuss why he chose the Sony Venice and custom tuned lenses to create CANDY and how the look was inspired by William Eggleston and Napoleon Dynamite.  We also dive deep into the 1:66 aspect ratio, the challenges of working with child actors, how to make multi-camera look like single camera, and much more! Subscribe Now! What you will learn in this episode How color and saturation represents plot (03:35) Being influenced by Nepolioan Dynamite (09:15) Recreating the 1980s through cinematoraphy (13:18) Shooting with limited daylight hours (17:14) Why the 1.66 aspect ratio is important (20:10) Simion's approach to shooting wideshots (24:09) Creating a "vinyl" look with detuned lenses (30:31) Approach to lighting CANDY (36:25) Working with actor Justin Timberlake (40:32) Deconstructing the court room scenes (50:02) And more! Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links CANDY IMDb CANDY trailer CANDY on Hulu William Eggleston - unseen Kodachrome dye transfer process photos Napoleon Dynamite The Magic Of The 1.66:1 Aspect Ratio Follow Our Guest Simon Dennis' IMDb Simon Dennis' Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

May 18th, 2022. I talk about wanting a Sony Venice, having new gigs coming up, and wanting to produce a short film under five minutes long.

CODA cinematographer, Paula Huidobro, discusses the Oscar-winning film and unique challenges of filming actors using sign language. Plus, her thoughts on the Will Smith slap incident. Paula and Go Creative Show host, Ben Consoli, share techniques for lighting natural looking interiors, letting the camera take a back seat, embracing harsh sunlight and the cinematic beauty of New England. We also talk about how she captured the 1980s with her work on the show PHYSICAL. Subscribe Now! What you will learn in this episode CODA's Oscar win and reaction to Will Smith slap (01:23) How sign language affects cinematography (06:27) Realistic approach to lighting interiors (13:14) How the Sony Venice allowed for low light cinematography (20:38) Capturing the Look of New England (24:45) Why all boat scenes were shot in the ocean (28:45) Embracing harsh sunlight for exteriors (32:15) Go-to lighting fixtures and filtration (37:26) Shooting the 1980s period comedy drama PHYSICAL (40:37) Taking a backseat approach to shooting CODA (45:53) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links CODA IMDb CODA trailer CODA on Apple TV+ PHYSICAL IMDb PHYSICAL trailer PHYSICAL on Apple TV+ Follow Our Guest Paula Huidobro's IMDb Paula Huidobro's Instagram Paula Huidobro's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Award-winning series DOPESICK is a masterclass in breathtaking cinematography and storytelling. Director of photography Checco Varese ASC shares how he evolved the show's visual approach throughout the series. Checco and Go Creative Show host, Ben Consoli, discuss the importance of dailies looking as close to final as possible, making office spaces visually-appealing, lighting an entire house for a oner, and much more! Subscribe Now! What you will learn in this episode Evolving color palette of DOPESICK (04:31) Pairing the Sony Venice and FX3 with Zeiss lenses (16:57) Importance of having dailies represent a final look (26:39) Cinematography of people under the influence (34:00) Making office spaces visually appealing (40:05) Lighting an entire house for one continuous shot (46:49) How COVID impacted the production of DOPESICK (50:04) Importance of historical accuracy (55:36) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Amazon's Them Cinematography (with Checco Varese ASC) The Cinematic Violence of IT Chapter 2 (with Checco Varese) DOPESICK IMDb DOPESICK on Hulu DOPESICK trailer Tiffen 4 x 5.65" Solid Color Chocolate 1/2 Filter - 45650CH12 Follow Our Guest Checco Varese ASC's website Checco Varese ASC's Instagram Checco Varese ASC's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Connor Crosby's website Follow Dave Siegel (sound mixer) Dave Siegel's website

En el Wrap It Up! de hoy hablaremos sobre las dos nuevas adiciones a la lista de cámaras aprobadas por Netflix durante lo que va del año y tocaremos algunas de sus características que las hicieron llegar ahí.Support this show http://supporter.acast.com/wrapitup. See acast.com/privacy for privacy and opt-out information. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup.

SEVERANCE is a mind-bending and visually stunning thriller and one of this year's best series. Cinematographer Jessica Lee Gagné shares why she was hesitant to take on the show, and her incredible work throughout the season. Jessica and Go Creative Show host, Ben Consoli, discuss her visual approach to the “innie” and “outie” worlds, making a bland stark-white office space visually interesting, psychological tricks with cinematography, working with Ben Stiller and Christopher Walken, and more! Subscribe Now! What you will learn in this episode Why Jessica did not want to film SEVERANCE (01:43) Approach to filming Lumon (04:15) Visual approach to the outside world (09:50) Pairing the Sony Venice with vintage lenses (15:23) Challenges of soft lighting in Lumon (22:15) Developing lighting plans with the gaffer (31:43) Achieving the severed transition look (35:13) Filming the maze of hallways (37:44) Dividing characters in the framing (40:14) Working with Ben Stiller and Christopher Walken (42:39) Importance of self-reflection at work (45:39) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links SEVERANCE IMDb SEVERANCE on Apple TV+ SEVERANCE trailer Follow Our Guest Jessica Lee Gagné's Instagram Jessica Lee Gagné's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

Emission la longue marche, trouver le temps et perdre son souffle. On a mis un crabe dans le bocal où deux poissons s'ennuyaient entre deux films de bazar, ils vivaient là tranquillement, mais les deux pinces de métal menacent leurs écailles à présent.Dispo itou sur le tube:Au programme cette semaine:* La Légende du Roi Crabe, réalisé par Matteo Zoppis et Alessio Rigo de Righi.Tuscie et Terre de Feu, contes, chants, traditions orales, pan pan et pastorale herzogienne.Recommandé pour son écoutage: Il Nuovo Canzoniere Italiano – Bella Ciao - Chansons Du Peuple En ItalieLe chef op' Simone D'Arcangelo parle rapido de son travail avec la Sony Venice.* Deux rééditions chez Carlotta Films Temps sans pitié (Joseph Losey)  et Jazz à Newport (Aram Avakian, Bert Stern) Ce dimanche 20 mars, on file en Irlande avec les copains du Cinéma est mort pour l'un des plus merveilleux chef-d'œuvre du monde ! Notre vedette Justine est depuis quelques temps la nouvelle directrice artistique de Court en Betton / Festival du film de l'ouest. Gros entretien avec plein de mots dedans ! Coups de cœur:THOMAS: Vers un destin insolite sur les flots bleus de l'été (Lina Wertmüller) + L'Inconnu de Shandigor (Jean-Louis Roy)JUSTEEN: Les Amants passionnés (David Lean - dispo sur Arte par exemple jusqu'au 5 avril)PLAYLISTPrégénérique / Extrait Temps sans pitiéEddy Mitchell / Je file droitMahalia Jackson / Didn't it rain

En el Wrap It Up!, de hoy hablaremos sobre los nuevos accesorios que #arri diseño para la nueva #cámara #Sony #Venice2 y algunas de las mejoras que hizo sobre los viejos diseños. PARA MÁS CONTENIDO SIGAN NUESTRA CUENTA DE INSTAGRAM: @wrapitup_mexico.Support this show http://supporter.acast.com/wrapitup. See acast.com/privacy for privacy and opt-out information. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup.

OZARK returns for its final season with a new cinematographer - Shawn Kim. Learn how Shawn evolved the show's iconic cool-blue look while getting darker with each episode.  Shawn and Go Creative Show host, Ben Consoli, discuss the psychological effects of lens focal lengths, the complexity of lighting day exteriors, how to keep cinematography fresh and interesting, plus so much more! Subscribe Now! What you will learn in this episode Finding work during COVID (01:08) Evolving visual approach to OZARK (05:44) How focal length affects audience perception (13:12) How OZARK is a filmmaker's dream (18:31) Lighting daytime exteriors completely artificially (22:19) Fresh filming approach to the Byrde's home (29:44) Why the Sony Venice was the best choice (35:07) Psychological approach to cinematography (40:20) Creating OZARK's signature blue look (45:01) Memorable scenes in season 4 (50:40) Challenges of shooting in rainstorms (56:26) And more! Go Creative Show is supported by: Filmmaker's Academy - Master Your Craft Use code GOCREATIVE10 for 10% off a membership   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links OZARK IMDb OZARK on Netflix Leica Noctilux-M 50mm f/0.95 ASPH., black anodized Building Rialto - 3 VENICE Extension System Sample Builds | Sony Cine Follow Our Guest Shawn Kim's IMDb Shawn Kim's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram Follow Dave Siegel (sound mixer) Dave Siegel's website

AMERICAN HORROR STORY DOUBLE FEATURE cinematographer Andrew Mitchell had a massive challenge to overcome: how to film two unique stories with distinct looks in a cohesive way. Learn his visual approach for each half of the season and how he transitioned from camera operator to DP. Andrew and Go Creative Show host, Ben Consoli, discuss the essential skills every DP should have, using visual effects and clever editing to fake Sarah Paulson being on set, converting color to black and white, and so much more! Subscribe Now! What you will learn in this episode Working with Ryan Murphy (01:04) Transitioning from camera operator to DP (02:57) Skills a DP should have (15:03) Muted cold visual approach to Part 1 (18:27) LUTs affecting skin tones (24:43) Filming Sarah Paulson scenes without her (30:03) Using Helios tubes for fire scenes (32:14) Shooting Belle's massacre at 96 fps (35:48) Shooting on the Sony Venice with diopters (39:03) Converting color to black and white (41:57) Referencing CLOSE ENCOUNTERS for Part 2 (47:06) Blooming effect using filtration (50:48) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links AMERICAN HORROR STORY IMDb DOUBLE FEATURE Part 1 trailer DOUBLE FEATURE Part 2 trailer Follow Our Guest Andrew Mitchell's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Im 73. Electronic Yard Podcast erzählen Eski & Erik über Heizaccessoires von Stoov & Zippo, DJI‘s Mavic 3, Røde‘s AI-Micro, Web 3.0, Metaverse, Sonys‘s neue Venice 2, Zhiyun‘s Crane M3, Canon R5c Rumors, WhatsApp Web und Erik‘s neue Kamera. 00:00:00 Intro 00:01:43 Getränk der Woche 00:03:28 Zippo Heatbank 00:05:35 Erik's Sony A7S III 00:09:23 Störung I 00:10:15 Störung II 00:15:50 No Go der Woche 00:22:01 Stoov 00:24:41 WhatsApp Web 00:25:46 DJI Mavic 3 00:30:28 Zhiyun Crane M3 00:32:25 Canon EOS R5C 00:33:19 Sony Venice 2 00:35:49 Røde AI-Micro 00:39:26 Video der Woche 00:44:56 Fremdwort der Woche LINKS des Podcasts Erik's Video der Woche: Gary Vaynerchuck x Mark Zuckerberg - Web3/Metaverse: https://youtu.be/iwyyxEJCIuU

Philip Barantini shares how a restaurant gig inspired a one-take feature film with no cuts and no time for traditional actor's notes... In this episode, we talk about… How acting can help or hinder your path to directing  Acknowledging imposter syndrome and pushing forward The inspiration behind filming a feature in one take  Adapting the Sony Venice to film for 92 minutes  2 Rules of filming Boiling Point: The camera is never allowed to just float off on its own—it has to always be motivated by a person   Never repeat a move How Philip directed a one-take film during the onset of COVID lockdown  Links to Resources: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at editor@nofilmschool.com!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dans le FLASH ACTU nous faisons un point commenté sur les dernières actualités avec un focus sur la caméra Sony venice 2, le Nikon Film festival et le festival de Montier-en-Der. Le FLASH ACTU est présenté par PHOX.FR le site des spécialistes de l'image.  Aux micros : Arthur Azoulay, Benjamin Favier, Florence Joubert, Jean-Christophe Béchet. Ce FLASH ACTU est issu de l'épisode S308 - « Le documentaire photo, la voie du moyen format » du podcast Faut Pas Pousser les ISO diffusé le 18 novembre 2021.

Will Movie Pass make a comeback? Plus tech news about Sony's Venice 2 and Quasar Science's new light... In this episode, we talk about… Whether Movie Pass can bounce back from bankruptcy Gym and vegetables vs. donuts and movies people  Movie Pass' business model and well movies  New Venice 2 and changes to color science Venice's improvements and acknowledging smaller camera bodies are a big deal  Red's RAW recording patent and victory over Apple and Sony Details about Quasar Science's Double Rainbow tube light Links to Resources: Please like us on Facebook: https://www.facebook.com/nofilmschool Follow us on Twitter: https://twitter.com/nofilmschool Subscribe to our YouTube channel: https://www.youtube.com/user/nofilmschool  Check us out on Instagram: https://www.instagram.com/nofilmschool Ask us questions at editor@nofilmschool.com! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Cinematographer Simon Dennis BSC of IMPEACHMENT: American Crime Story masterfully depicted one of the most iconic moments in American history while capturing portrayals of Monica Lewinsky, Linda Tripp, and of course Bill & Hillary Clinton. Simon and Go Creative Show host, Ben Consoli, discuss the show's desaturated look, claustrophobic feeling, why he chose the Sony Venice, working with split diopters, and inventing a new visual genre… “Gloom Glam”. Subscribe Now! What you will learn in this episode Balance of filming non-fictional projects (00:59) "Glamorous gloom" visual approach (10:08) Simon's stylistic lighting approach (12:58) Warm visual approach to the White House (17:53) Dreary look of the Pentagon (20:40) Not having characters motivate cinematography (27:46) Using a split diopter (30:37) Why Simon chose the Sony Venice (36:15) Feeling of claustrophobia (42:02) Why the jury trial scene was so challenging (46:37) Making the mundane exciting through cinematography (49:24) Monica Lewinsky's involvement with the show (53:05) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links AMERICAN CRIME STORY IMDb AMERICAN CRIME STORY on FX Networks Follow Our Guest Simon Dennis IMDb Simon Dennis on Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

Director of photography Checco Varese's most ambitious work yet can be seen in the gripping new limited series, Dopesick. The series is set to premiere Oct. 13 on Hulu. The eight, eye-opening episodes of the highly-anticipated show center around the opioid epidemic that is ravaging America and the corrupt Big Pharma, which created it. From the perspective of a distressed Virginia mining community to the hallways of the DEA, this true story is inspired by the New York Times bestselling book by Beth Macy. A teaser trailer is available here. The series—starring and executive produced by Michael Keaton—is directed by Barry Levinsion, Michael Cuesta, Patricia Riggen and Danny Strong (also credited as creator, writer and executive producer). As sole director of photography, Varese photographed all eight episodes of Dopesick with the Sony Venice and Zeiss Lenses. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/followingfilms/support

Welcome to Season 2 of the Art of the Shot! Season 2 will dive even deeper into the minds of master filmmakers, and I can't wait to share more with you soon. Joining me for this episode are two familiar voices, cinematographer Paul Cameron, ASC and production designer Howard Cummings, back on the Art of the Shot and in conversation together for the first time ever on a podcast. And they're here to discuss their work and collaboration on Reminiscence, the feature film directorial debut from Lisa Joy. In this episode, you'll discover: —The beginning of their collaboration. (00:05:12) —How cinematographers work with production designers vs how directors work with them. (00:09:10) —The importance of feeling comfortable and safe to explore ideas with your collaborators. (00:13:17) —How to best communicate with your production designer. (00:17:07) —The biggest challenge for each of them on Reminiscence. (00:24:16) —How the flooded sets and locations were orchestrated. (00:29:44) —Discussions on style and references for Reminiscence. (00:35:32) —How they created a flooded future Miami. (00:37:36) —Paul's task of visualizing memory in multiple ways as a meta-commentary on filmmaking. (00:45:00) —Why IMAX is the best way to experience the film. (00:56:14) —How Reminiscence avoided needing any reshoots--a first for Paul Cameron. (01:00:16) —How Lisa Joy got her passion project made, while keeping her creative vision. (01:06:01) —Advice for first time directors for a successful shoot. (01:12:50) —Creative and technical considerations behind shooting on the Sony Venice camera. (01:24:21) —Adding live film grain and the magic of film. (01:25:02) —On the choice of using Cooke anamorphic lenses. (01:27:06) —Breaking down one of the shots. (01:36:12) —Paul's philosophy of where to put the camera in a scene. (01:41:36) —What was really important at the start of Paul's career, which no longer is. (01:43:45) —A film worth studying to remember what matters most in filmmaking. (01:46:53) If you haven't yet, please subscribe to be notified of future episodes, and share this podcast with others to help grow the show and spread the knowledge! And if you're on Apple Podcasts, a review would be very appreciated! Follow Art of the Shot: Instagram Facebook Twitter Derek Stettler: Instagram Paul Cameron, ASC: Instagram IMDb Howard Cummings: IMDb --- Support this podcast: https://anchor.fm/art-of-the-shot/support

BLACK WIDOW marks the return of the Marvel Cinematic Universe. Cinematographer Gabriel Beristain ASC BSC comes on to explain his filmmaking philosophy of treating the camera like a character. Gabriel and Go Creative Show host, Ben Consoli, discuss the visual references of the film, why Gabriel always used 3 cameras on set, not being ashamed of relying on filmmaking fundamentals, and more! Subscribe Now! What you will learn in this episode Responding to movie critiques (01:12) Visual references for BLACK WIDOW (04:36) The camera being a character (10:57) 3 camera setup on set (18:35) Not be ashamed to use filmmaking fundamentals (26:44) Shooting on the Sony Venice (33:32) Filming car chase scenes (38:23) Challenges on set of BLACK WIDOW (43:39) Lessons learned as a cinematographer (53:01) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BLACK WIDOW IMDb BLACK WIDOW trailer BLACK WIDOW on Disney+ Follow Our Guest Gabriel Beristain's IMDb Gabriel Beristain's Instagram Gabriel Beristain's website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

BRIDGERTON is Netflix's most-watched series ever. Cinematographer Jeffrey Jur ASC explains how he used the Sony Venice camera and lighting using candles to bring us back in time to 17th century London. Jeffrey and Go Creative Show host, Ben Consoli, discuss his contemporary cinematic approach, his career switch from film to TV, using 2-6 cameras on set, breaking down the most challenging scene in the series, and more! Subscribe Now! What you will learn in this episode Contemporary cinematic approach of BRIDGERTON (02:00) Best uses for intentional camera movement (05:46) Planning a shot list based off rehearsals (09:08) How Jeffrey preps for film shoots (10:49) Low light cinematography with Sony Venice (15:51) Creating a clean lifted look in post (21:01) Shooting with 2 cameras on set (29:25) Approach to lighting candle lit scenes (34:21) Using sparklers to light a scene practically (48:36) Jeffrey's most challenging scene on BRIDGERTON (51:39) Switching from a film career to TV (55:23) Reflecting back on DIRTY DANCING (59:02) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links BRIDGERTON IMDb BRIDGERTON trailer BRIDGERTON on Netflix SHOTDECK :: Fully Searchable High-Res Movie Images Camera Systems Lenses ARRI Signature Prime Lenses Tiffen 4 x 5.65" Soft FX Filter Wendy Light Follow Our Guest Jeffrey Jur ASC's IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Dave Siegel (sound mixer) Dave Siegel's website Dave Siegel's Instagram Follow Connor Crosby (producer) Ignition Visuals' website Ignition Visuals' Instagram

En el WIU! de hoy analizamos en Firmware 6.0 de la SONY VENICE que promete versatilidad + libertad creativa.Descubre las cuatro mejoras importantes que este firmware nos otorga!Support this show http://supporter.acast.com/wrapitup. See acast.com/privacy for privacy and opt-out information. Con tu apoyo podemos llegar a más oídos https://plus.acast.com/s/wrapitup.

[PLATEAU D'EXPERTS] A l’occasion du lancement de la caméra FX6, venez découvrir la gamme Sony Cine Line, conçue par et pour les créateurs d’image. Au programme :• Présentation des nouvelles fonctions de l’emblématique Sony VENICE par Fabien Pisano• PXW-FX9, la caméra Full Frame de tous les possibles – nouveautés 2021, présentée par Anna Doublet• Découverte de la nouvelle FX6 avec Anna Doublet Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Season 4 of THE CROWN is the most exciting and anticipated yet. Listen as cinematographer Adriano Goldman ASC BSC ABC shares behind the scenes stories, filming Princess Diana and bringing the royal family to the screen. Adriano and Go Creative Show host, Ben Consoli, discuss the show's visual evolution, lighting and cinematography challenges, why season 4 is special to Adriano, shooting on the Sony Venice, and much more! Subscribe Now! What you will learn in this episode Remotely collaborating with the colorist (01:32) Evolving look throughout the seasons (08:29) Biggest lighting challenge of seaons 4 (18:37) Portraying Princess Diana (29:02) Shooting season 4 on the Sony Venice (35:59) Prepping for a new Star Wars show (42:44) Filming with 4 cameras (45:24) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links The Crown on Netflix The Crown Season 4 trailer Follow Our Guest Adriano Goldman's Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

Cinematographer Robert McLachlan ASC CSC takes us behind the scenes of HBO's Lovecraft Country and teaches us how he blends fantastical science fiction with a grounded 1950's period look.  Robert and Go Creative Show host, Ben Consoli, discuss how Indiana Jones and The Goonies inspired his work, creating believable science fiction, natural lighting, strategies for filming underwater, how to light legendary actors, and so much more! Subscribe Now! What you will learn in this episode Stock vs custom Zeiss lenses (01:33) Working with and lighting talent (14:10) Why Robert chose the Sony Venice (26:47) Natural approach to lighting Lovecraft Country (32:33) Challenges of filming with water (41:38) Filming underwater in Lovecraft Country (50:46) And more! Go Creative Show is supported by: MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Zeiss Supreme Prime Lenses Dedolight Octodome Arri Maxima Litra Lights Follow Our Guest Robert McLachlan’s IMDb Robert McLachlan’s website Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

Learn what it takes to shoot incredible sci-fi and action films with Devs, Annihilation, and Mission Impossible: Fallout cinematographer Rob Hardy BSC.  Rob and Go Creative Show host, Ben Consoli, discuss the unique visual and lighting approach of Devs, working with director Alex Garland, shooting and lighting VFX shots in Annihilation, the incredible sky diving sequence in Mission Impossible: Fallout, and so much more! Subscribe Now! What you will learn in this episode Rob's career after Ex Machina (03:28) Collaborating with the production designer on Devs (09:42) The unique way of lighting the cube set (11:57) Why Rob and Alex Garland don't reference other films (20:16) Lighting philosophy of Devs (24:55) Camera and lens tests and shooting on Sony Venice (36:00) Resuming production after COVID-19 (43:47) Rob's love for shooting anamorphic (47:30) The long take style of Devs (51:01) Lighting outdoor scenes of Annihilation (52:50) Shooting VFX heavy shots (56:38) Filming stunt shots on Mission Impossible Fallout (59:34) Filming the skydiving scene in Mission Impossible Fallout (01:12:42) And more! Go Creative Show is supported by: MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Devs on Hulu Devs trailer Devs IMDb Bathroom fight scene in Mission Impossible: Fallout Skydiving sequence in Mission Impossible: Fallout Follow Our Guest Rob Hardy’s IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

Go behind the scenes of Netflix’s hit series HOLLYWOOD with cinematographer Simon Dennis BSC. Simon and Go Creative Show host, Ben Consoli, discuss the visual approach to the series, working with director Ryan Murphy, shooting on the Sony Venice, his approach to lighting iconic scenes, and more! Subscribe Now! What you will learn in this episode Working with director Ryan Murphy (02:24) Paying homage to 1940's Hollywood (16:32) Simon’s visual approach to the series (21:14) Recreating 1940s film styles with "Meg" (32:36) Shooting on the Sony Venice (36:10) Using tons of haze in scenes (39:29) Using colored lights for the theater and bar scenes (41:48) Why Simon under-exposed while filming (45:03) How lens focus affects production design (47:14) Camera movement of HOLLYWOOD (51:35) Filming the table read scene (54:48) Classic movies that influenced the visual approach (58:31) And more! Go Creative Show is supported by: MZed - Education for Creatives PostLab - Stress-free collaboration for Final Cut Pro X   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links HOLLYWOOD IMDb https://georgehurrell.com Follow Our Guest Simon Dennis’ website Simon Dennis’ Twitter Simon Dennis’ Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

Go behind the scenes and learn about the cinematography of Netflix’s hit series Ozark season 3 with director of photography Ben Kutchins. Ben Kutchins and Go Creative Show host, Ben Consoli, discuss how the series has evolved visually, shooting on the large format Sony Venice camera, overcoming shooting challenges, and more! Subscribe Now! What you will learn in this episode How Ozark has evolved visually (03:09) Shooting on the Sony Venice (07:08) Benefits of shooting on a large format camera (11:55) Visual approach to the Missouri Belle casino (19:10) Challenges of filming with slot machine lighting (24:16) Challenges of shooting on water (26:38) Lighting and filming Omar Navarro's home (31:42) Why season 3 may have a different look (35:05) Using Astera LED light tubes (37:27) Blocking and camera movement (41:59) The challenges of filming daylight exteriors (49:00) The lenses of Ozark (53:20) And more! Go Creative Show is supported by: MZed - Education for Creatives   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Show Links Ozark season 3 trailer Ozark on Netflix Follow Our Guest Ben Kutchins on Instagram Ben Kutchins website Ben Kutchins IMDb Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

HBO's adaptation of Stephen King's THE OUTSIDER is a masterclass in camera movement, framing and focus. Listen as the cinematographers share how they achieved its dark and moody look. Two of the series directors of photography, Igor Martinovic and Zak Mulligan, and Go Creative Show host, Ben Consoli, discuss how Igor transitioned from cinematographer to director, shooting on the Sony Venice, lighting and exposing for dark cinematography, and more! Subscribe Now! What you will learn in this episode Transitioning from cinematographer to director (03:32) Stephen King’s involvement in THE OUTSIDER (06:44) Collaboration between the director and cinematographer (10:55) Ensuring a consistent look across cinematographers (12:29) How to film dark cinematography (12:29) Filming with the Sony Venice (30:18) Tips for lighting and exposing for dark cinematography (34:36) Working with the production designer (37:30) Framing and composition of THE OUTSIDER (38:31) Value of a single shot scene (45:20) The use of focus in THE OUTSIDER (51:05) Camera movement in THE OUTSIDER (56:32) Challenging the audience to think and engage (01:03:43) And more! Show Links The Outsider IMDb The Outsider trailer Transcendental Style In Film by Paul Schrader Go Creative Show is supported by: Rule Boston Camera - Buy Rent and Create at Rule Post Lab - Stress free collaboration for Final Cut Pro   Subscribe + Follow Go Creative Show Twitter Facebook Apple Podcasts Stitcher Google Play Podcasts iHeart Radio YouTube Follow Our Guests Igor Martinovic’s IMDb Zak Mulligan’s IMDb Zak Mulligan’s website Zak Mulligan’s Instagram Follow Ben Consoli BC Media Productions BenConsoli.com Twitter Instagram  Follow Matt Russell Gain Structure Sound Twitter

Randy Wedick is Senior Technical Consultant, for Band Pro Film and Digital. In this podcast, Randy talks about Band Pro Burbank’s all-new Lens and Camera service department, the new Sony Venice Firmware 3.0, and the Rialto Tethered Extension system for the Sony Venice. A cinematographer in his own right, Wedick also talks about shooting a […] The post Podcast – Randy Wedick of Band Pro on their new service center, Sony Venice Rialto and Shooting a documentary in Israel & Europe appeared first on INDIE Shooter.

From Jeff's website (http://berlincreative.com/aviation/):  Jeff Berlin began his creative career chasing models down the streets of New York City… with a camera. They knew he was there, it was cool. He liked this so much he spent five years shooting in Milan and Paris before moving back to NYC to continue his career. Over the years, he’s collaborated with top fashion magazines and brands like Vogue Italia, L’Oreal, British Elle, Estée Lauder, Esquire, Bloomingdale’s, Miss Vogue, Macy’s, Vogue Pelle, Madame Figaro and many others. Recently, Jeff transitioned to motion pictures. He was producer and camera operator on the feature film Three Days in August, which played at multiple film festivals and ran in select theaters nationwide. It’s now available on major streaming platforms. Jeff has both shot and directed an online spot for the Professional Bull Riders (PBR), a fashion brand film for noted designer Norma Kamali, as well as a number of short films and online spots for Sony. His latest film project, Stormchaser, a short with an award-winning director, was shot on the new Sony VENICE motion picture camera and is currently in post production. Jeff is a Sony Artisan of Imagery and an experienced aviator. He is also a published writer and was editor of three national consumer aviation magazines -- Plane and Pilot, Pilot Journal and PilotMag.

Liebe Liebenden, wir sind zurück. Dieses mal mit einem weitaus geringerem Abstand als letztes mal - juhu! Es war Photokina-Zeit und wir berichten ausgiebig über unseren Messebesuch am Freitag und die interessantesten Neuigkeiten bzw. über das, was wir am spannendsten fanden. Ansonsten gibt es wieder einerlei aus unserem hoch-spannenden Leben zu erfahren und wir sprechen ausgiebig über die immer konkreter werdende Zukunftsausrichtung dieses Podcasts, hier in unserer vorletzten Folge. Viel Spaß! ____________________ Unsere Shownotes zu Folge 24: Sony Venice: https://pro.sony/ue_US/products/digital-cinema-cameras/venice Darth Maul Kurzfilm: http://www.filmstarts.de/nachrichten/18501840.html Fuji GFX 50R & Fuji GFX 100S: https://bit.ly/2DZ6exg Broncolor F160: https://bit.ly/2NpRerG Sigma neue Linsen: https://bit.ly/2OFE66x EOS R: https://bit.ly/2zU4jWT Panasonic S1 / S1R: https://bit.ly/2PahXdD Black Magic Pocket Cinema: https://bit.ly/2RofUnI CaptureOne supports GFX50s: https://bit.ly/2OFUjbS GoPro Hero7: https://bit.ly/2P8qb5Y Flume - Instagram App: https://flumeapp.com/ Havanna Sol: https://bit.ly/2NngL4U Schuppen 52: https://www.facebook.com/Schuppen52/ New Love - Villa Heinepark http://www.love-hamburg.de/ Simon Reinhardt: https://simonreinhardt.de/ Saal Digital: https://www.saal-digital.de/ LAX Diamond: https://www.facebook.com/LaxDiamond/ ____________________ Christian: www.christian-verch.com www.instagram.com/christianverchweddingfilms www.facebook.com/christianverchweddingfilms www.facebook.com/christian.verch.3 www.vimeo.com/user32230392 Kai: www.khschroeder.com www.instagram.com/khschroedercom www.instagram.com/kaihendrikschroeder www.facebook.com/khschroedercom www.facebook.com/kaihendrik.schroeder Schroeder und Verch: www.schroederundverch.com www.youtube.com/channel/UCrXdn_bMQkMRSMbL63CIxFQ www.instagram.com/schroederundverch/ www.facebook.com/schroederverch/ www.soundcloud.com/schroederundverch

In episode 35: We know... it's a little late for the first episode of the new year, but we do hope all of you are having a busy start to 2018! The BSC Expo in London has now become our first "must go to" event of every year and 2018 certainly had a great buzz about the place with new camera launches and plenty of desirable gadgets. We talk to Barry Griffin from Canon, get surprised by RAW, and of course, reveal the Alexa LF with Marc Shipman-Mueller from Arri. After 90 years, the 2018 Oscars have finally nominated a female cinematographer.  Rachel Morrison could make history, but we wonder why hasn't there been more?  With new toys, a new studio and a touch of decorating, we hope you enjoy this packed episode.  Steve & Paul   Available on ExtraShot.co.uk Available on iTunes ExtraShot on YouTube ExtraShot on facebook Our twitters: @extrashotcafe @gomediavideo @paulream Links:  Arri Alexa LF https://www.arri.com/largeformat Canon C200 www.canon.co.uk/video-cameras/eos-c200 Sony Venice http://https://www.sony.co.uk Tokina 1.6x Expander http://www.tokinacinema.com Intel - Olympic drones https://www.youtube.com/watch?v=fCd6P7Ya160 Rachel Morrison - 2018 Oscars http://www.independent.co.uk BSC Expo http://www.bscexpo.com Kinefinity - Terra 4K http://www.kinefinity.com  

Ben talks bout being super tired from his first 2 weeks on Witless 3, and some secret relationship gossip too.Ed loves flame bars.Ben doesn’t mind an easyrig (but only for eyelines http://easyrig.se/).Ben does love a Litegear Litemat (http://www.litegear.com/).Ed talks about prepping for Vera and spending long hours in a recce bus.Ed talks about moving away from movi work for this series a bit.Ed discusses his lens choice for Vera.Ed talks about his camera choice, he likes Arri cameras but has a secret love for the Sony F65.Ben really likes the Alexa sensor because it means he can be lazy with protecting this highlights.Ed is very diplomatic about all cameras (but he likes Alexa most).Ben and Ed reminisce about Canon Xl1s and XLH1’S and their funny lenses.Ed talks about his Canon 5d and how much he loved it.Ben tells a couple of possibly alternative fact about old school tv cameras and VCT14 tripod plates (https://www.sony.co.uk/pro/product/broadcast-products-camcorders-tripods-supports/vct-14/overview/).Ed and Ben realise they are becoming THOSE old dp’s talking about old cameras and things.The podcast gets interrupted by a call from Bens, previously mentioned, girlfriend.How many working DPs are there in the UK? (Ed knows!)Ben and Ed talk about the new Sony Venice camera and what they think it might be like (https://www.sony.co.uk/pro/product/broadcast-products-camcorders-digital-motion-picture-camera/venice/specifications/)Ed really really likes a mirrored shutter.Ed talks about shooting on film with DP Dale McCready (http://www.dalemccready.com/) and a few beginners film faux pars.Ben and Ed finally solve digital vs film (they don’t).Ben finally relishes that having and iPad and Shot Designer might infact be a useful tool (https://www.hollywoodcamerawork.com/shot-designer.html).Ed thinks someone should update the lighting designer app and talks about Omnigraffle (https://www.omnigroup.com/omnigraffle/ios) and Airtable (https://airtable.com/)Ben shows off about his Tesla, again.Ed and Ben gush about the sci fi books of Ian m banks (https://www.iain-banks.net/books/#sf).

In episode 34: In this special Christmas episode, Steve and Paul are joined by Mark Langton for his annual festive quiz... and he manages to make us all look stupid! We also take a look at our favourite kit of the year, the jobs we've enjoyed and try to answer the old question of how to get a start in the industry. One prediction we can make for next year is that all the smart crews will be wearing our new cool shirt...  Steve removes his coat to reveal all.  A very happy Christmas to all our listeners and all the best for the New Year ahead.    Hope you enjoy Steve & Paul   Available on ExtraShot.co.uk Available on iTunes ExtraShot on YouTube ExtraShot on facebook Our twitters: @extrashotcafe @gomediavideo @paulream Links:  Sony Venice http://https://www.sony.co.uk Sharp 8C-B60A http://www.sharp-world.com Boston Dynamics - Atlas https://youtu.be/fRj34o4hN4I Symmetrical Eyes Indicate Dyslexia https://www.the-scientist.com Zheyun Crane 2 https://youtu.be/A1BKDxHsv_4 Demolition - cameraman picks wrong position https://youtu.be/IM7r4GQNecQ Rent Granada https://youtu.be/zFZaG6KGbvM Radio Rentals https://youtu.be/HWLnB1D89Mg 

Erik Naso from Newsshooter dot com joins us to discuss all the latest news and announcements from IBC 2017 including the Sony Venice, Go Pro Hero 6 and Fusion, Panasonic EVA 1 and much more.  The Go Creative Show is supported by Hedge For Mac Kessler Crane Rule Boston Camera PremiumBeat News Shooter

Diese Woche gab es wieder eine Menge neue Produktankündigungen für uns Filmemacher. Song: https://soundcloud.com/trmbrm/mushy Torsten: http://movie-grinder.com