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09.20.2021

09-20-2021 - Events, Gear, News

73rd Emmy Awards – Sony VENICE Brings Home Gold

By: SonyCine Team

"The Crown," photo courtesy Netflix

On Sunday, September 19, the 73rd Primetime Emmy Awards were held.

 

“The Crown” was the night’s big winner, collecting the drama series award, and awards for outstanding cinematography (Adriano Goldman), actor (Josh O’Connor), actress (Olivia Colman), supporting actor (Tobias Menzies), supporting actress (Gillian Anderson), directing (Jessica Hobbs) and writing (Peter Morgan). “The Crown,” shot on VENICE, and Disney Plus’ “The Mandalorian” both tied for the most nominations at 24 each. “Bridgerton” earned 12 nominations for its first season.

 

Winners of each category below in bold with nominated shows shot on VENICE also noted.

"The Crown," photo courtesy Netflix

Drama Series

 

“The Boys” (Amazon Prime Video) 

 

“Bridgerton” (Netflix) – Fourth nomination in this category - VENICE

 

“The Crown” (Netflix) - VENICE

 

“The Handmaid’s Tale” (Hulu) 

 

“Lovecraft Country” (HBO) - VENICE

 

“The Mandalorian” (Disney Plus) 

 

“Pose” (FX) 

 

“This Is Us” (NBC) 

 

"The Flight Attendant," photo courtesy HBO Max

Comedy Series

 

“Black-ish” (ABC) 

 

“Cobra Kai” (Netflix) - VENICE

 

“Emily in Paris” (Netflix)

 

“Hacks” (HBO Max) 

 

“The Flight Attendant” (HBO Max) - VENICE

 

“The Kominsky Method” (Netflix) - VENICE

 

“Pen15” (Hulu) 

 

“Ted Lasso” (Apple TV Plus) 

 

 

Television Movie

 

“Dolly Parton’s Christmas On The Square” - VENICE

 

“Oslo”

 

“Robin Roberts Presents: Mahalia”

 

“Sylvie’s Love”

 

“Uncle Frank” - VENICE

"The Crown," photo courtesy Netflix

Outstanding Cinematography For A Single-Camera Series (One Hour)

 

Bridgerton • Art Of The Swoon • Netflix • A Netflix Original Series in association with shondalandmedia
Jeffrey Jur, ASC, Director of Photography - VENICE

 

The Crown • Fairytale • Netflix • Left Bank Pictures in association with Sony Pictures Television for Netflix
Adriano Goldman, ASC, BSC, ABC, Director of Photography - VENICE

 

Euphoria • Trouble Don’t Last Always • HBO • HBO in association with Reasonable Bunch, A24, Little Lamb, Dreamcrew, ADD Content Agency | HOT | Tedy Productions
Marcell Rév, Director of Photography

 

Lovecraft Country • Sundown • HBO • HBO in association with afemme, Monkeypaw, Bad Robot, and Warner Bros. Television
Tat Radcliffe, BSC, Director of Photography - VENICE

 

The Mandalorian • Chapter 13: The Jedi • Disney+ • Lucasfilm Ltd.
Baz Idoine, Director of Photography

 

Perry Mason • Chapter Two • HBO • HBO in association with Team Downey, Dwight Street Book Club, and Inflatable Moose
David Franco, Director of Photography - VENICE

 

The Umbrella Academy • Right Back Where We Started • Netflix • UCP for Netflix
Neville Kidd, ASC, Director of Photography

"Bridgerton," photo courtesy Netflix

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“Bridgerton” – Shot on VENICE – A Conversation with DP Jeffrey Jur, ASC – Part 1

Bridgerton is about eight close-knit siblings of the Bridgerton family looking for love and happiness in London high society. The series is inspired by Julia Quinn's bestselling novels. Jeff Berlin: First, congrats on Bridgerton becoming the biggest series debut on Netflix. Jeffrey Jur: Yes, it's unbelievable and I'm so proud of it. It was a great project to work on, a joy. I'm looking forward to going back for another season. I loved the crew, and the cast was amazing. Jeff: That's super cool. Shooting in such grand locations, historic buildings and fabulous rooms, what was your approach to working in those spaces and what kind of limitations were you running into with gear, rigging, etc. Jeffrey: Shooting in the locations is spectacular. Our show is set in 1813. There wasn’t much electricity back then so I knew I'd be dealing with candlelight. There's a beauty to some of the locations that is unsurpassed. Most of them are museums now, so they're beautiful but difficult production wise, because as a camera crew, you're used to putting things up, and moving things around, and in a lot of these locations, you couldn't really touch anything, or only touch very little.   There was a person in the room while you're working to make sure you follow the rules. So, it was difficult, lighting had to be floated. Balloon lights become a big part of our gear. And the British crews there know how to work in these locations. To black out windows, you don't hang black material on the windows, you build a frame and push it up against the building very carefully. The locations also offered a lot of uniform compositions. Symmetry is such a big part of the design and construction of these places that you can't help but want to frame accordingly.