“ Igor Martinovic and I pushed to use VENICE on with Jason Bateman,” Semanoff recounts. Semanoff, who also has directed two episodes of Ozark, says he had used VENICE as A-camera/Steadicam operator on the Peter Berg feature Spencer Confidential (shot by Tobias Schliessler, ASC) and loved the form factor along with the Rialto attachment, which allows users to pull off the front block of the camera, essentially making it just a small housing for the sensor that is tethered via a fiber umbilical cable back to the main body to record the data. The Sony VENICE offered Ozark’s directors of photography a much larger capture sensor, but in a small, lightweight body.
“It manages to be both, simultaneously, and the characters come right into living rooms.” “It’s almost equal to old VistaVision film, where you have these wide landscape shots, yet there is character in it, too,” Kutchins notes.
“Shooting full-frame brings the characters forward in the image,” describes Kutchins, who (at the suggestion of A-camera/Steadicam operator Ben Semanoff, SOC) switched, in Season 3, from the 4K Panasonic VariCam to the 5.7K Sony VENICE. Season 3’s new tribulations for the Byrde family required Kutchins and Salas to dive ever deeper into the narrative rabbit hole, with full-frame capture and a shallow depth of field proving the best visual track. The cinematography choices are explained in an excerpt from ICG Magazine's article 'Devil In The Details': For the third season, the choice of camera shifted from the Panasonic Varicam to the large-format Sony Venice, paired with Cinescope and TLS Rehoused Leica R lenses, and a TLS rehoused Leica Noctilux 50mm 0.95 lens. TLS is thrilled to learn that its lenses were used to film season 3 of of Netflix crime drama, Ozark.
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