Superhero movies and TV series shot on Sony VENICE

With Disney's Marvel Cinematic Universe and a slate of new superhero-based productions on Netflix, the comic book genre is now more popular than ever. More recently, Sony VENICE has become the go-to camera for cinematographers and directors shooting superheroes. We've rounded up some recent comic book movies & TV shows shot on Sony VENICE and to see what the filmmakers are saying about the camera.

Loki

Credit: Marvel Studios

In Marvel Studios' 'Loki' shot by DP Autumn Durald Arkapaw in VENICE, the mercurial villain Loki (Tom Hiddleston) reprises his role as the god of mischief in a new series set after the events of 'Avengers: Endgame' . Kate Herron is directing and Michael Waldron is head writer.

When cinematographer Autumn Durald Arkapaw ("Mainstream") first interviewed Kate Herron ("Daybreak") about filming "Loki," it was the first time a director gave her a hand. a lookbook. Normally it is the other way around during preparation. Sure, there were images of “BladeRunner” and “Brazil,” but also “Zodiac,” which figured prominently in discussions of the central location: the mysterious Time Variance Authority (TVA). It was definitely a retro look for this trippy sci-fi noir about alternate timelines, variants of Loki, and digging deeper into Tom Hiddleston's God of Mischief.

Arkapaw shot with the Sony Venice digital camera using anamorphic T-series lenses from Panavision which she had zoomed and detuned to her liking for quality of flare, fall, and focal length.

Credit: IndieWire interview with Bill Desowitz

Jupiter's Legacy

Credit: Netflix

After nearly a century of protecting humanity, the world's first generation of superheroes must look to their children to carry on the legacy. But tensions mount as the young superheroes, eager to prove their worth, struggle to live up to their parents' storied public reputations - and exacting personal standards.

One of the interesting things about the series is that it was shot in two different aspect ratios. How do you handle this on your end?...

did you shoot in a different aspect ratio? Or were you just shooting in 4, 5, 6K?

We have hidden the different aspect ratios. We still shot full screen, but we shot in camera for those aspect ratios, but of course you can move things around. 1.78 is full frame, so that's what you get with the Sony. But on 2.39, it could have moved. I don't think they did much. I think it stayed pretty true to what we framed.

[But] at the end of the day, for me, the most important thing is the sensor, and the Sony VENICE is awesome, it's an awesome camera. And we've had a great experience with that on the show, and it's been great for the show, and it's been great for the visual effects, and all that good stuff. So, it was a good experience, definitely.

Credit: David L. Lebovitz interviewing Nicole HirschWhitaker for Looper

Black Widow

Credit: Marvel Studios

Natasha Romanoff, aka Black Widow, faces the darkest parts of her ledger when a dangerous conspiracy from her past comes to light. Directed by Cate Shortland, shot in VENICE by Gabriel Beristain, ASC, BSC, AMC.

Sony, with its VENICE camera, has made great strides in achieving that “filmic” look that everyone has been striving for, and in a camera that is ergonomic, flexible and easy to use.

You have to keep up. It was only 11 years ago, Steven, I was shooting the pilot for Hawaii Five-O, and the producer asked me if I had ever shot digital. I hadn't. It either. We have therefore tested all the cameras on the market. Big oversized cameras. Cameras that produced terrible images, others inconsistent. It is remarkable how far we have come.

And Sony was there all along, releasing different cameras, none of which I liked. But they persevered and then suddenly here they are, announcing, "We've got a compact, portable, versatile camera you can use to shoot 4K, 6K, you can use all your lenses on, you can even become anamorphic, that you can use all your frame rates, that you can use all your formats. Incredibly, you can even separate the front of the camera and make it very compact with their Rialto system."

Credit: Gabriel Beristain in conversation with StevenBernstein for Sony CINE

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