Sony | Professional Europe

🎬 Step onto the set with cinematographer Paul Guilhaume AFC as he reveals the visual artistry behind Emilia Pérez, the Oscar-nominated masterpiece from Jacques Audiard, shot on Sony VENICE2. Paul shares: "The film doesn’t mean to be realistic and shouldn’t represent reality. It means to be a truly unfathomable fantasy full of completely unrealistic effects, with changing light and visible scenery changes: it’s meant to be like an opera.” "The VENICE 2 seemed to be the only one that fitted our needs." Nominated for 13 Academy Awards, including Best Picture and Best Supporting Actress – Zoe Saldaña, Emilia Pérez is a must-watch. 📽️ Watch the making-of now on: www.pro.sony/emilia-perez

Cinematographer Sebastian Klinger shot "Sew Torn" using the Sony FX6 paired with the FE 24-70mm f/2.8 GM II lens⛰️ "We didn’t have a focus puller, so I used the AutoFocus a lot, and it worked beautifully,” says Klinger. “Between the internal ND filters, AutoFocus, and the G Master Zooms, I was able to operate as a one-man camera department on multiple occasions without compromising on quality.” Mountains, mystery, and the perfect camera for the job 🎥 Originally based on a 6-minute short, Sew Torn follows a seamstress caught in a deadly web after a drug deal gone wrong. With its handheld-friendly design and theatrical-quality image, the FX6 was the perfect choice for shooting in challenging terrains. Directed by Student Academy Award winner Freddy Macdonald, the film was featured at the prestigious Piazza Grande at the Locarno Film Festival and also screened at EnergaCAMERIMAGE 2024. Read the full interview: https://bit.ly/41kdeh9

Get the ultimate peace of mind with Sony's Prime Support Elite! For a limited time, when you purchase a PTZ camera, you’ll receive a FREE upgrade to 3 years of Prime Support Elite. With Prime Support Elite, you’ll enjoy premium, fast-track service, priority repairs, and more, ensuring your PTZ cameras stay at their best for years to come. Plus, you have the option to extend your support up to 5 years for added flexibility. 👉 Find out more: https://bit.ly/42QBlVH

🦎HELLBENT Directed by Annie Roth (science journalist, filmmaker, and children's book author) and Justin Grubb (filmmaker, photographer, published author, and naturalist), this documentary tells the story of the efforts to protect the endangered hellbender salamander in a small Pennsylvania town. Nominated for the Environmental category of the Sony Future Filmmaker Awards 2024, the film highlights environmental challenges and the crucial role of the hellbender as an indicator of ecological health! The production team chose Sony cameras, known for minimizing environmental impact, to bring this story to life. Learn more: https://bit.ly/4jTCLoj

We’re excited to see you once again at BSC Expo 2025 in Battersea Evolution London, Europe’s leading event for Film and TV Technology. Visit us on stand 247 and check out our Cinema Line cameras from FX30 to the VENICE 2. We’ll also be showing a preview of the BURANO with Firmware version 2.0 alongside the EL Zone System for the Sony VENICE2 and a full Virtual Production Solution built around our Verona CLED panels and Virtual Production Tool Set. The booth will also include our Professional Audio solutions, On-set and Post Production Monitoring and Workflow tools like Ci Media Cloud. Come and speak to our experts and experience our extensive range of filmmaking technology. Don’t miss our panel on Friday 14th at 10:45 am “The importance of shooting with a versatile camera” ! Registration link: https://lnkd.in/e2yvsRbn

We had a great time at Microsalon AFC this year where we hosted a conference with DoP Charlotte Michel (UCO) and DoP Vadim AlSayed about their experience shooting with the BURANO. We have also showcased our CineAlta cameras on our AFC booth but also our Pro Audio range on the AFSI booth.

New Firmware V3.0 for SRG-A40/A12, offering even greater precision and flexibility for your production workflow! 🎯 Tracking Range: Restrict auto-framing to a pre-defined area for more controlled coverage. 🔒 Fixed Angle Position: Hold a set angle, pausing auto-framing to maintain focus on a specific area. 🎥 Lead Room Effect: Automatically adjust framing to create natural compositions based on the subject’s gaze. Arriving July 2025. Find out more: https://bit.ly/3CxXL3f

🎬 Step into the chaos of "Civil War" with renowned cinematographer Rob Hardy, BSC, ASC (Ex Machina, Annihilation, Devs, Mission: Impossible) as he breaks down key scenes from Alex Garland’s latest film, shot on the #SonyVENICE2 Rob says: "The VENICE 2… was the bedrock of the movie. It also allowed me to make the lens choices I wanted to make, in other words the Panavision H series lenses." A lot of the film takes place in and around the journalists’ car. The “coverage car” was fitted with up to 12 cameras carefully arranged to give a wide range of sight lines and views so that all four occupants of the car could be filmed while the car was being driven. Rob used a combination of VENICE 2 cameras mounted on the hood of the car with Sony A7S III cameras rigged around the outside of it looking in, as well as several positions inside the car. He says: "In terms of matching cameras, for example the VENICE 2 and the A7S, those two just kind of match quite naturally I think… especially after you’ve graded it…. You can barely tell the difference." Find out more about Civil War: https://bit.ly/4hv9S06

🎬 Go behind the scenes of '1992', the gripping new drama from Alex de la Iglesia shot on the #SonyVENICE with stunning cinematography by Luis Ángel Pérez, AEC. Now streaming on netflix, '1992' follows a grieving widow and a haunted ex-cop as they uncover a chilling web of murders tied to the Seville Expo '92. Don’t miss this intense thriller!   Cinematographer Luis Ángel Pérez, AEC says: "Álex de la Iglesia wanted to film '1992' with the #SonyVENICE as in his previous projects and he wanted to do it in 6K, because he really likes to play with reframing or making a 'postproduction' shake effect." "I agreed with this decision, not only because of the resolution, but because we had a lot of night, high lights and fires. I knew the camera, the ISOs, and I knew how it behaved. For example, at night I was very calm about things like noise, because I knew it works very well."..."We shoot at 2500 even indoors, and it works very well. I think there is a plan at 3200." Read the full article on @Camera & Light Magazine Pictures: ‘1992’, © María Heras / Netflix

We’re excited to be at Microsalon AFC this year, showcasing the CineAlta lineup, including the VENICE 2 and BURANO—plus an exclusive look at the new BURANO firmware V2 and the EL Zone System for the Sony VENICE! 📅 Join us for a special conference on Thursday, February 6th at 12:00 with cinematographers Charlotte Michel (UCO) & Vadim Alsayed, as they share their experiences shooting with the Sony BURANO. Don’t miss this opportunity to get hands-on with our latest cinema technologies! 📍 Microsalon AFC 2025 🗓️ February 6-7 📌 Parc Floral, Paris