VENICE Remote Operation Cinematography Guide There are many protocol documents published by industry associations Remote VENICE Control over Wi-Fi Share and Review Content Fast from Set to Studio and agencies about social distancing and keeping safe on-set. These carefully thought through and detailed documents are an essential With the addition of the inexpensive Sony CBK-WA02 adapter, that ports into the The Sony CBK-WA100 offers HD proxy recording and reviewing on-set through camera via USB, you can fully control the VENICE camera* from up to 10 metres 3G, 4G, LTE and wireless LAN and at a greater distance. The adapter creates foundation in supporting high-end television and ’s return to the set. over Wi-Fi on a tablet or laptop. This allows the first AC or DIT to check and control lower resolution XAVC proxy files on to an SD card that can be uploaded to a In the same vein rental companies have published their own protocols every aspect of the camera’s recording and other functions from a safe distance cloud environment, such as the Sony Ci Workspace, for remote viewing by other adhering to strict camera, grip and lighting sanitisation and delivery including changing ISO, frame rates and VENICE’s 8-step ND Filters. members of the production team and the studio as well as for immediate WIP regimes. editorial without the need for end-of-the-day transcoding and delivery. * Version 5.0 or higher firmware required. While it is impossible to eliminate all social interaction, even for a solo Find out more about CBK-WA100 performance – for example hair and make-up - those productions that Find out more about CBK-WA02 have started or re-started shooting are finding creative approaches to reduce social interaction as far as possible. The Tyler Perry studio in Atlanta, Georgia has gone so far as to publish “Camp Quarantine” – a plan where talent and crew having tested negative collectively self- isolate ‘on campus’ for the duration of a shoot.

It is increasingly becoming an expectation that at least some if not all producers, VFX supervisors and production executives can review a day’s shoot remotely over the internet without the need for travel. This has extended to directors dialling in and supervising the day’s shoot from the other side of the world, which is understandably more common for shorter commercials shoots. This guide also explores some of the ways this can be achieved working from reliable proxies to the original asset.

There is no doubt that with our innate human ingenuity and adaptability Ci media management and collaboration we are finding new ways to get around logistical challenges in creative ways. This guide explores how tried and tested digital cinema technology Specifically developed for media professionals, Ci offers a secure, seamless and critically cloud-based workflow from shoot to post and studio. As well as XAVC proxy files it can also accept the VENICE’s X- OCN high contrast and wide colour gamut recording format from which can further support health and safety on-set by enabling the talent to it can create lower resolution proxy files like ProRes in the cloud for distribution to multiple locations. This allows WIP editorial to commence be socially distanced from the production crew and the production crew the same day and DI review for colour management. It also works both ways with the proxy files available back on-set for review on tablets from each other. or smartphones with minimal delay or having been worked on. Ci can be used as a stand-alone cloud storage system or can be integrated with existing workflows. James Bennett TELEVISUAL Find out more about Ci

View our short Social Distancing film For example, with the Fujinon Premista 28-100mm or 80-250mm Full Frame lenses you would have most shooting options fully covered on one or both of the lenses. Even when working Full Frame many cine-zoom lenses are considered largely indistinguishable from fixed glass recording the same shallow beloved by the modern cinematographer. Angenieux and Cooke even offer a range of anamorphic cine-zoom lenses. The clear advantage is removing the necessity to swap out lenses as often between shots, with more portable, faster set-ups while respecting that lens choice is personal to the cinematographer based around each lens having its Working with Cine-Zoom own distinct personality and characteristics and the ideal choice for the production.

Lenses Many lens vendors have also adopted Cooke Optics’ /i Technology that collects lens metadata captured alongside the main media. This There are many Full Frame and Super 35 cine-zoom lenses with PL mounts available allows a continuous remote readout of the precise focus setting, for the VENICE from Angenieux, Cooke, Fujinon, Zeiss and many others. While there depth of focus and even T stop, which allows both the first AC and is an immediate and obvious benefit in shooting with a longer focal length, this DIT to receive valuable recording data without having to approach the might not always be desirable. With lens manufacturing improving the quality and camera or take measurements while shooting. (The lens metadata speed of cine-zoom lenses every year, there were already an increasing number recorded by /i Technology is also used to support later VFX and DI of cinematographers who chose to work with high-end cine-zooms, rather than calibration work and saves valuable time in post.) a full set of PLs, prior to the pandemic. More cinematographers again regularly deployed cine-zooms to second units to act as ‘variable’ prime lenses. Find out more about Cooke Optics’ i/Technology Full Remote Lens, Focus Assist and VENICE Camera Control Your first AC has been adjusting focus, iris and zoom cmotion’s cvision focus assist further helps with from their own (often remote) station for some time range-finding with detailed optical measurements working on a variety of lens control systems, like using two measuring up to 250,000 the Preston Cinema Focus and Microforce, Chrosziel reference points in real time. The and data can MagNum and the Teradek RT range. It’s a fully evolved then be displayed as a stereoscopic depth map on a methodology with near universal use and one where touch PC (cabled or wireless) where the AC can not many first ACs additionally bring their own familiar only activate autofocus but measure the set by simply lens control system on-set. touching an area on the screen with their finger or stylus and eliminate the need to run around set With cmotion’s cPro lens control system this has with a tape measure (laser or otherwise) measuring been taken to a greater level of development. With distances to props and nervous actors. Taking social an additional low-cost license the same unit from distancing to an extreme, cmotion are even looking the same dedicated RF can be used by up to three at how a first AC might be effectively focus pulling operators with the cPro hand unit (for example, AC, from home by way of a LAN interface. DIT and cinematographer) to have full Sony VENICE camera control remotely in ‘RCP’ mode from which to Find out more about the cmotion cPro lens control system change most camera functions including frame rates, ISO, shutter, white balance, the built-in variable NDs and playback. RF and the Virtual Video Village

We’ve been using RF (Radio Frequency) for some time for camera cloud from a single modem or bonded (that is using multiple control and remote picture review in real time, for example for drone internet connections) configuration that with Teradek’s dedicated shooting. There are many applications for RF picture review including cloud-based management system can be passed securely through jibs, cranes, vehicle mounts, wire mounts and other remote camera the internet for truly remote review. This is a protocol that will be positions. familiar to outside broadcast and news providers.

In the last few years, RF technology has evolved considerably and Complementary to Teradek’s socially distanced ecology is the new Teradek has become synonymous with on-set RF. Teradek’s Bolt Serv Pro; a hardware streaming device that connects to cameras 4K has a range of up to 1,500metres from the camera and works over local networks, including an advanced WiFi option (which with seamlessly with the Sony VENICE delivering 4K DCI HDR to up Teradek Link has a 300 meter range), and allows up to 10 iPhones to six receivers (monitors and operating stations) with no detectable and iPads to monitor a video feed in HD with stereo audio with latency. (The new Bolt 4K Max can transmit to an unlimited number a two-frame delay. Working with Teradek’s free iOS-based Vuer of receivers.) The resolution and colour gamut of the images on the application, the same 10 users can add professional monitoring monitor is an impressive 4K DCI, 10 bit 422 at up to 60 frames per tools including vectorscopes, false colour and focus peaking. Serv second and with sufficient dynamic range to review as HDR10, HLG Pro can be used by other members of the production team like or PQ. script supervisors, wardrobe and hair and make-up, all of whom can work at a safe distance from each other while keeping in touch Teradek have taken their on-set RF model one step further to facilitate with the day’s shoot. what they call a ‘Virtual Video Village’. Teradek have taken their on-set RF model one step further to facilitate what they call a ‘Virtual Video For more about Bolt 4K Village’. With a consistent minimum 10 Mbps internet connectivity, For more about Teradek’s Virtual Video Village the 10bit signal is compressed to H.265 (HEVC) and sent up to the For more about Teradek Serv Pro and Vuer Affordable Best-in-Class 4K HDR On-Set Monitoring

With directors, first ACs, cinematographers and DITs needing to work consistent and continuous colour management from on- remotely from the camera and each other, best-in-class, visually set through post production while offering the best possible precise and consistent monitoring is all the more important to identify monitoring and review on-set, short of bringing a more expensive hot spots or how much detail is being recorded in the shadows, as and less rugged and compact grade 1 reference monitor. well as extraneous items in shot. The PVM-X range monitors are compact, light, extremely portable Launched in 2020, the affordable 18.4” PVM-X1800 and 24” PVM-X2400 and can run off batteries making them easier to deploy within TRIMASTER 4K HDR monitors are designed for on-set use. The PVM-X stand-alone workstations. They can also be used for super-accurate range perfectly matches the wide colour gamut of the Sony BVM- on-set dailies and by WIP editorial wanting an affordable but highly HX310 and BVM-X300 monitors - as widely used throughout high- accurate 4K HDR image to work from. end post - and shares the same, familiar menus and functions. The PVM-X range also incorporates (2Wx2W) stereo speakers, as well With the need for the director, cinematographer, first AC, DIT and as various scopes, quad view and ‘Dynamic Contrast Drive’ that is video village to work at a distance one from the other, it’s crucial particularly useful for shooting night scenes with a 1,000,000:1 that everyone is looking at the same, reliable image with the same contrast ratio. resolution and colour values. The Sony PVM-X TRIMASTER 4K HDR monitor range represent a step-change in giving more members There has been an ever-increasing expectation from many of the of the crew (and editorial) access to critical monitoring within a studios to pursue a joined-up approach to colour management reasonable budget. that starts in pre-production and carries through production to post (often following ACES guidelines). With a precise greyscale For more about the PVM-X2400 monitor and accurate colour rendition the PVM-X monitors represent For more about the PVM-X1800 monitor The Flexible Sony VENICE Extension System

The Sony VENICE Extension System was originally designed in collaboration with Lightstorm Entertainment’s Jon Landau and Jim Cameron to facilitate a Sony VENICE-based 3D rig to shoot the Avatar sequel.

The Extension System (CBK-3610XS) enables cabled separation of the VENICE camera body and block by up to 5.5m (18 feet) while retaining all of the VENICE camera functionality and image integrity without any degradation (with Version 3.0, 4.0, 5.0 and 6.0 firmware). The Extension System also comes with HD-SDI output and a 12V or 24V output for powering accessories such as lens servo motors and monitoring. Multiple screw holes on all surfaces make it easy to accessorise and fit on to a wide variety of rigs while the main weight of the camera can be supported elsewhere.

The VENICE Extension System enables single-operator mounting and operating options for lighter gimbals, rigs, vehicles, on wires and cranes, jibs or Russian arms. At 1.9kg (with PL mount) and 1.4kg (with E-mount) the separated sensor block with lens is even small and light enough for the talent to self-shoot. This additional flexibility and manoeuvrability not only help operators work at a distance from each other, but also supports faster set-ups.

Find out more about the Sony VENICE Extension System intensive and ideally require multiple operators working together and so require more time and planning.

Within one single system, the AGITO Modular Dolly Rapid Remote System from Motion Impossible allows the operator to replicate moves encompassing jibs, dollies, Steadicam, sliders and tracking vehicles as well as Camera simply changing the camera position (as you would a ), but crucially all done at a safe distance from Deployment the camera and the talent. The remotely controlled dolly can run on tracks or, perhaps more appropriately for the current times, is and Tracking best used free-roaming on tyres. The Agito delivers smooth pan, tilt and roll stabilisation with multiple Some of the more recent gimbals have been designed gimbals. From low to two metres the Agito can carry with multiple applications in mind. In some of the various flight heads (Shotover, Ronin, Arri…), or the sequences within the film that accompanies this PDF, camera can simply be mounted on a Mitchell Plate we simply moved the same Ronin 2 gimbal with full with a payload of 32kg and more. VENICE camera from being mounted on the back of a vehicle, hung on a wire and even mounted on a The remote operator can remotely mimic almost heavy-lifting drone. The Ronin 2 gimbal was also used all ground-based camera moves as executed by for handheld work and all the changed applications a cameraperson or small crew and with a lot of were carried out by one operator. (With the VENICE additional tracking alternatives. The VENICE could Extension System and camera body in a backpack, be mounted on an Agito all day and only come into single handed operation is easier again and on lighter contact with the (single) operator to change height gimbals and saddles.) Avoiding swapping out the configuration, batteries, media or lens. For maximum gimbals for a camera between set-ups requires less flexibility and ease of set-up, the VENICE Extension crew involvement and proximity as well as speeding System sensor block and lens can sit within a relatively up the day’s shoot. light flight head while the camera body is tethered to the chassis of the Agito. The full VENICE camera can Filmmakers have been using tracks for physical dolly also be mounted within larger gimbals. Working with moves as well as sophisticated cranes and motion the VENICE and the Agito can efficiently speed up control arms with outstanding and beautiful results. the day’s shoot and represents an affordable way to However, most alternatives revolve around either capture cinematic movement and for the operator to bespoke set-ups and fixed locations or are labour- remain remote from the physical camera.

Find out more about the Ronin 2 Find out more about the Agito Further Thoughts?

The above observations are far from exhaustive: for example, we haven’t detailed how soft-light LEDs are now more portable than ever before, easier to solo operate, faster to set-up, less power hungry and can be almost universally controlled remotely; or the advances in LED displays that with ever smaller , higher resolutions and when shooting Full Frame can provide in-camera environmental image depth; or how invisible VFX can create fully photorealistic environments, to recognise but a few.

Our intention is to further encourage and inform an internal conversation bringing in the studio, production company, crew and rental house about how tried and tested digital cinema technology in combination with published social distancing protocols and human ingenuity can play a significant role in helping the talent, crew and production team stay safe and well on-set.

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