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06-09-2024 - News

Out Now: The Film and Digital Times Sony Cine Special Report

By: SonyCine Team

Film and Digital Times is a publication that looks behind the curtain of the film industry to understand the nuts and bolts of high-end productions. Published and edited by best-selling author and Director of Photography Jon Fauer ASC, FD Times is a must-read for creatives still in school and for creatives who are defining our industry.

The last year has seen some truly epic stories, either in scale or emotional depth. The Sony VENICE ecosystem, along with the new BURANO and Sony CinemaLine, have helped capture much of these films and series.

The Film and Digital Times Sony Cine Special Report dives deep into these camera systems and shares the behind-the-scenes stories from the epic productions they brought to life.

Here are the technical details and interviews included in this Special Report.

Shōgun - Capturing Historic Japan

After its 10-episode run, Shōgun received critical acclaim for nearly every facet of its production. A historical drama set in Japan, this series was captured on the original Sony VENICE cinema camera. The production also utilized a Sony FX3 to “add to the texture of the edit,” as shared by one of the show’s cinematographers, Christopher Ross, BSC.

The FD Times Sony Cine Special Report interviews Ross and Sam McCurdy, ASC, BSC, about their work on the Shōgun. The report covers not only camera, lighting, and lens choice but also how they structure their days to film a historical drama during a global pandemic.

The Two Gentlemen - Supporting Director Guy Ritchie

Following Shōgun, Fauer interviews Ed Wild, BSC, who had shot Guy Ritchie’s new feature, The Ministry of Ungentlemanly Warfare, and the first two episodes of Netflix’s The Gentlemen.

In the interview, Wild shares how he utilized three different VENICE 2 cinema cameras to capture three and a half weeks of night shoots, his choice of lenses for his projects, and why large format cinematography reminds him of anamorphic. 

Bridgerton - Like a Fairy Tale

From one British series to another, season three of Bridgerton, which is set in an alternative London Regency era, was shot on the original Sony VENICE. In the Sony Cine Special Report, Fauer interviews cinematographer Alicia Robbins, who shares her love of the VENICE and her familiarity with the ARRI Signature Primes.

On Bridgerton, Robbins tackled the difficulties of working during a strike and talked about how the ISO of the original VENICE allowed for sustainable lighting.

Sugar - A Modern Day Noir

Bringing us back to the present day, Fauer then interviews César Charlone, ABC, who helped director Fernando Meirelles create a modern day noir thriller on the Apple TV series, Sugar. Set in modern-day LA, the series follows a private eye recruited by a wealthy movie producer.

On the show, Charlone used the Sony VENICE 2, which he discusses in the interview. He shares his love for the sensor and the Rialto Extension System and explains why he prefers to use zooms. Charlone even reveals how he paired the VENICE 2 with footage shot on Apple iPhones.

Behind the Scenes of Ferrari

From TV to silver screen, Erik Messerschmidt, ASC, sheds light on his work with Michael Mann and Ferrari, a biopic about the Italian supercar creator. In his interview with Fauer, the DP reveals Caravaggio's influence on the project, the importance of the color red for the film, and how the brand-new (at the time) VENICE 2 cinema camera helped streamline production.

From internal NDs and dual ISO functionality to the Rialto 2 Extension System, Messerschmidt shared how the VENICE 2 helped his team keep up with Mann’s love of shooting up to six cameras at a time.

Under The Bridge - A Human Story

Checco Varese, ASC, shot several episodes of the Hulu Original Under The Bridge, a true crime miniseries starring Lily Gladstone. In his interview for the Sony Cine Special Report, the cinematographer shared his love of the Sony VENICE color science.

Varese shot his episodes on the Sony VENICE 2, which allowed him to create what he called “sensual and scary” darkness. He even shared how he used a Sony FX3, and his colorist couldn’t tell the difference, revealing just how far Sony cinema cameras can go in capable hands.

Original - BURANO Meets VENICE 2

Original is a dance film directed by Unjoo Moon and shot by Dion Beebe, ACS, ASC, specifically for Shot on BURANO to demonstrate how easily creatives can intercut the Sony VENICE 2 and the BURANO.

In their conversation with Fauer, Beebe shares their expectations for both cameras and their want to understand the compatibility between the two systems. While the BURANO and VENICE 2 can intercut quite seamlessly, they are cameras for different needs.

All The Cameras Compared

To round off the amazing interviews above, Fauer provides a details technical charts of the entire Sony Full-Frame cinema line up and details the new BURANO Firmware Updates.

Fauer includes Imager Modes for the BURANO and VENICE 2 V2.00 firmware and specs for each camera in Sony’s cinema line.

Get a copy of The Film and Digital Times Sony Cine Special Report to read all of these interviews in detail, by clicking here Sony Cine Camera Reports - Film and Digital TimesFilm and Digital Times (

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