Forget low-light, Sony VENICE 2 can shoot in moonlight. Here’s what Robert McLachlan, ASC, CSC thinks this means for the future of cinematography.
This content is brought to you by Sony.
A few decades before Game of Thrones and Westworld, Rob McLachlan was eking out a living making documentaries in his own production studio. His ethos? Make good work, and make it efficient so he could keep the lights on. That philosophy has followed him on every project, no matter the size, for the last twenty years. And it’s landed him the DP gigs of a lifetime.
“I’m always looking for ways to do things better and faster,” McLachlan told No Film School. “That’s one of the reasons I’m enamored with Sony VENICE.”
The high ISO and genius dual-base ISO is his first reason.
“And it’s even better in the new VENICE 2 at 3200 and 800. Even at 3200, the shadows are the cleanest I’ve seen yet.”
Author: Sponsored Content
This article comes from No Film School and can be read on the original site.
