I felt it was for years we directors of photography have been waiting for the next stock from Kodak, whether it was a finer grain high-speed stock or a slightly boutique high-speed stock, or whatever. And when the VENICE came out I felt, 'Okay, here's a full frame sensor, a larger sensor, but with a newer color space than the previous digital capture systems from Sony.” That combination put me over the edge. I think digital cinematography has been on this path of trying to become as good as film for the better part of the last 10, 12 years.
It was the full frame sensor and full frame lenses that upped the ante for digital capture.
She directed and I shot, and I had a chance to use the VENICE and the Supremes and got amazing results with both.
Paul : When I got the call to do 21 Bridges, I had just shot a short film for my wife, Laura Stabilini, in Los Angeles which was for actually for the ZEISS Supremes. Jeff: Tell me a bit about how you decided on the VENICE for 21 Bridges.
