THE NEW VERSATILE SONY VENICE EXTENSION SYSTEM MINI

Sony Electronics introduces the VENICE Extension System Mini (CBK-3621XS), an ultra-compact accessory for the award-winning VENICE 2 digital cinema camera. This latest addition to the CineAlta lineup will debut at NAB Show 2025 in Las Vegas, opening on April 6. 

The VENICE 2 builds upon its predecessor with a compact design, internal recording, and the choice between a newly developed 8.6K full-frame sensor or the original 6K sensor, maintaining popular features such as Dual Base ISO, advanced color science, and built-in ND filters.

The VENICE Extension System Mini is a significantly smaller alternative to the existing VENICE Extension System 2, offering filmmakers enhanced creative flexibility. It integrates the VENICE 2’s 8.6K full-frame CMOS sensor into a body roughly the size of a smartphone, approximately 70% smaller than its predecessor. 

"I love the size of the VENICE Extension System Mini,” says Director of Photography Claudio Miranda ASC who was one of the first people in the world to use the system. He continues, “I love that you can put it anywhere, like a Formula One race car when you’re racing. You have the full resolution of a real cinema camera. It’s nice to have that flexibility without compromising image quality.”

Designed for handheld and extreme action shots, the Mini system allows the sensor block to be separated from the camera body by up to 40 feet, making it ideal for gimbals, vehicle rigs, and immersive cinematography. Maintaining Sony’s high standards for image quality, the VENICE Extension System Mini includes a custom drop-in ND cartridge system with nine glass Neutral Density (ND) filters, including a clear ND, ensuring seamless integration with the VENICE 2. 

The system also offers enhanced mounting and rigging options, with a detachable, thinner connection cable for easier installation in confined spaces. A PL mount adapter expands lens compatibility while supporting lens metadata input.

A notable feature is the ability to use multiple VENICE Extension System Mini units for stereoscopic imaging, matching the average human interpupillary distance of 64mm. This setup is ideal for virtual reality and VFX applications, allowing filmmakers to create immersive, high-fidelity visuals. The compact design, flexible cable system, and customizable rigging options make it a versatile tool for modern productions.

Since its launch, the VENICE series has been widely adopted in Hollywood blockbusters like Top Gun: Maverick and Avatar: The Way of Water. The VENICE Extension System Mini continues this legacy, delivering next-generation cinematography in an ultra-portable form. 

🎥🎬👉🏿Available in summer 2025 for a suggested retail price of $25,000, the system includes optional accessories like a 12m extension cable (CBK-12C3621) and an ND filter kit (CBK-ND1K), expanding its capabilities for diverse shooting environments.

THE FORMIDABLE & AFFORDABLE ARRI ALEXA 35 BASE MODEL

The ARRI ALEXA 35, a 4.6K Super 35 camera, is renowned for its exceptional image quality, extensive dynamic range, and versatile capabilities, making it a top choice for high-end film productions. Now, ARRI has introduced a more affordable “Base Model,” which retains the same powerful hardware as the premium version while lowering the cost of entry. Featuring a 4.6K ALEV 4 sensor, 17 stops of dynamic range, and ARRI’s REVEAL color science, the ALEXA 35 delivers a natural and cinematic look, ensuring top-tier performance across various production styles.

Designed for flexibility, the ALEXA 35 supports multiple recording formats, including ARRI RAW and ProRes, catering to a wide range of filmmaking needs. Despite its advanced technology, the camera remains compact and lightweight, making it well-suited for diverse shooting environments. ARRI has also introduced the Codex Compact Drive Express, a more budget-friendly media option specifically designed for use with the ALEXA 35 Base model. Additionally, the Base model offers a flexible licensing system, allowing users to unlock additional features as needed, further expanding its usability.

What makes the ALEXA 35 a game-changer is its unparalleled image quality, rich color reproduction, and exceptional detail, all of which contribute to its cinematic appeal. Its ability to perform reliably in both low-light and high-contrast conditions enhances its versatility, solidifying its status as an industry standard for high-end productions. With the introduction of the Base model, ARRI has made this cutting-edge technology more accessible, enabling a broader range of filmmakers to experience its renowned performance and reliability without compromising on quality.

4.6K Super 35 Sensor. Wide Lens Choice.

ALEXA 35 can be used with a vast array of modern or vintage, anamorphic or spherical, and Super 35 or large-format lenses, giving you a broader lens choice if you want to shoot with ARRI cameras while fulfilling 4K mandates. For instance, the exceptionally wide focal length range of the ARRI Signature and Ensō lens series make them just as suitable for Super 35 as for large format, delivering rich and textured images that take full advantage of the ALEXA 35 sensor.

Incredible Dynamic Range

ALEXA 35 measures at 17 stops of dynamic range (exposure latitude), far more than any other digital cinema camera. Filmmakers gain 1.5 stops in the highlights and a stop in the shadows over previous ALEXA cameras, while retaining the naturalistic, film-like highlight roll-off. Sophisticated stray-light suppression ensures that the full character and contrast range of each lens is captured. Together, the increased dynamic range and stray light control make it easier to handle any lighting conditions on set, maximize flexibility in post, and provide the best possible source for HDR (High Dynamic Range) projects.

Enhanced Sensitivity 

17 stops of dynamic range, with 2.5 more stops than previous ALEXA cameras, with filmic highlight roll-off. Improved sensitivity: lower noise, higher ISO. EI 160 to EI 6400, with color accuracy maintained at all exposure levels. Enhanced Sensitivity option for even cleaner images in low light

Accurate Colors

ARRI’s discussions with filmmakers and careful review of the image pipeline have led to significant image quality enhancements and a faster, easier workflow. REVEAL Color Science is a suite of new image processing steps used by ALEXA 35 internally and also available through leading third-party postproduction tools for ARRIRAW processing. 

20 Recording Formats

A total of 20 ARRIRAW and Apple ProRes recording formats, incorporating efficient in-camera downsampling and anamorphic de-squeezing, allow you to optimize data rate, resolution, and other parameters, based on your individual needs. Whatever your aspect ratio choice and whatever your deliverable requirements, there is an ALEXA 35 recording format ideally suited to your production. 

Configure your Camera System 

Already established as the industry’s camera system of choice, ALEXA 35 is now available to a wider range of users via a new, lower-priced ALEXA 35 Base model. The fully featured existing camera is the Premium model, while the Base model has a core feature set that can be upgraded via temporary or permanent licenses. Costs are further reduced with the new Codex Compact Drive Express for ProRes recording. 

👉 Base model from €49,800 - US$53,899

 

The ALEXA 35 Base model is available in a choice of eight sets that all bring accessory savings, grouped within three categories: Base Entry Sets, Base Operator Sets, and Base Production Sets. The Entry Sets offer the most affordable way to acquire a lightweight, ready-to-shoot camera package and put the ALEXA 35 at a price point comparable to the original ALEXA Mini. Owner operators and sports productions will be drawn to the Operator Sets, while the Production Sets are suited to high-end narrative productions and include accessories that would come as standard from a rental house.

ARRI’s new feature licensing concept makes the Base model future-proof because users can unlock specialist features whenever they need them. Each of the licenses can be installed for seven days, 30 days, one year, or permanently, so owner-operators can activate them for a short-form job, a longer-term project, or a new career direction. 

 License Details

The ALEXA 35 Base model will adapt and grow with the customer, giving them a more accessible route to ARRI image quality while helping to progress their career. With the five individual licenses installed, a Base model becomes as fully featured as the Premium model. The Premium License achieves this by combining all five in a cost-effective bundle; in fact, the Base model plus a permanent Premium License costs the same as a Premium model.

With the 120 fps License installed, users will be able to utilize the maximum frame rates possible for all recording formats that are enabled in the camera, for example up to 120 fps in 4K UHD 16:9.

The ARRIRAW License allows uncompressed, unencrypted ARRIRAW recording for all recording formats installed on the camera, providing maximum image flexibility in post.

 

The Open Gate/Anamorphic License enables all the ALEXA 35 Open Gate and anamorphic recording formats (4.6K 3.2 Open Gate, 4.6K 16:9, 3.3K 6:5, 3K 1:1, and 2.7K 8:9), as well as anamorphic de-squeeze for ProRes recording and monitor imaging paths.

 

The Look License provides access to all ARRI Textures in the camera and on the ARRI website, the ARRI Look Library with 87 unique looks, and Custom Color Management for full control of the image processing path.

 

The Pre-record License equips the camera with a buffer that continually stores up to 20 seconds of images which are then added to the start of a clip once recording begins, allowing unpredictable events to be captured.

 

The Premium License is a bundle package that includes all five of the individual feature licenses detailed above: 120 fps, ARRIRAW, Open Gate/Anamorphic, Look, and Pre-recording. 

Choose your Digital Film Stock

ARRI Textures allow you to alter the amount and character of grain in the image, and the amount of contrast at different levels of detail, perceived as sharpness. Previous ALEXA cameras were pre-programmed with a default texture, but ALEXA 35 lets you choose from a menu of ARRI Textures, like selecting a film stock. Texture attributes can be very subtle and are best viewed on a large, high-quality HDR monitor. Example images below have been zoomed in around 500% from the original frame size, in order to illustrate the effect of ARRI Textures on fine detail.

TERADEK RT+CTRL.5 LENS CONTROL REDEFINED

TERADEK RT+CTRL.5 LENS CONTROL REDEFINED. A DREAM FOR FOCUS PULLERS

The RT System, an infinitely-customizable wireless lens-control platform, now features CTRL.5 + CTRL.OS, an evolution of SmallHD’s award-winning PageOS software. Pull focus, view critical lens data overlays, calibrate lenses to pre-marked focus rings, access real-time data from multiple on-set devices, and more.

CTRL.5 finally brings a page-based operating system to a hand unit. Like SmallHD’s PageOS, CTRL.OS is built for focus pullers, camera technicians, and DITs. Customize control functions and data visibility via touchscreen and 11 programmable function buttons. Add unlimited digital marks, and instantly view focus and iris scale, rangefinder information, depth of field, and more.

 Enhanced Information Visibility

A high-readability display for clearer text and brighter images, delivering faster recognition of key data when you need it most. Customizable Interface. Unlimited Focus Marks. Enhanced Lens Mapping. Automated Workflows

Hand Grips

The three-piece lightweight Bocote wood Hand Grip Kit consists of a Palm Grip to hand-balance the unit, a Thumb Grip for traction, and a Ring Guard to secure the tightening knob.

Monitor Mount

The low-profile, bolt-on monitor hinge cube keeps the monitor close to the handset. A hinged rosette with removable anti-twist pins ensures a stable connection and the ability to  mount additional accessories to the cube.

Lightweight Kickstand

Supports your CTRL.5 at a 90º or 45º angle on a flat surface. Mounts to the top or bottom of the handset to provide additional ⅜”-16 and ¼”-20 mounting points.

Colored Silicone Knob Grips

Color code to your camera or personalize your controller with color knob grips. The grips feature finger grooves around the cap which maximize comfort.

SmallHD Lens Data Overlays

Teradek’s reputation for innovation and collaboration allows us to build beyond our own ecosystem of products. Teradek RT, when paired with SmallHD monitors, can now display an intuitive, unobtrusive overlay of zero-latency lens data, including focus, iris, and zoom marks. Keep your eyes on the shot without looking down at the hand unit to check marks. Zero-latency. On-screen focus markers. Pinch-to-zoom focus scale. Integration with TOF.1 Rangefinder. Axis limits.

For more information and price, visit TERADEK  

97TH ACADEMY AWARDS BEST CINEMATOGRAPHY AND BEST PICTURE WINNERS

The Best Cinematography nominees by the Academy of Motion Picture Arts & Sciences (AMPAS) for the 97th edition of the Oscars Awards, are “The Brutalist” (Lol Crawley, BSC), “Dune: Part Two” (Greig Fraser, ASC BSC), “Emilia Pérez” (Paul Guilhaume), “Maria” (Ed Lachman, ASC) and “Nosferatu” (Jarin Blaschke).

BEST COSTUME: Wicked 

BEST LEADING ACTOR: Adrian Brody. The Brutalist 

BEST LEADING ACTRESS: Mikey Madison. Anora

BEST SUPPORTING ACTRESS: Zoe Saldaña. Emilia Perez 

BEST PRODUCTION DESIGN:Wicked

BEST VISUAL EFFECTS: Dune II

BEST ORIGINAL SCORE: The Brutalist 

BEST SHORT DOCUMENTARY: Only Girl in the Orchestra 

BEST DOCUMENTARY: No Other Land

BEST ORIGINAL SONG: El Mal. Emilia Perez

BEST MAKE UP/HAIR: The Substance 

BEST SOUND: Dune II

BEST ADAPTED SCREENPLAY: Conclave

BEST FILM EDITING: Anora

BEST ORIGINAL SCREENPLAY: Anora

BEST INTERNATIONAL FEATURE FILM: I’m Still Here. Brazil

BEST DIRECTOR: Sean Baker. Anora

BEST CINEMATOGRAPHY: The Brutalist. Lol Crawley, BSC

BEST PICTURE: Anora. Sean Baker

IN MEMORIAM: Rest In Peace all Lost Talent & Gene Hackman

THE BRUTALIST. Written by Brady Corbet and Mona Fastvold. Starring Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Emma Laird, with Isaach De Bankolé, and Alessandro Nivola. Brady Corbet, Director. Lol Crawley BSC, Cinematographer. Shot in 16mm, 35mm, and VistaVision 70mm.

Lol Crawley BSC breaks shooting The Brutalist in VistaVision

ZEISS UNVEILS NEW OTUS ML LENSES FOR UNPARALLELED PHOTOGRAPHY

ZEISS returns to the forefront of photography with the brand-new Otus ML lens family. Inspired by the legendary Otus series, these next-generation masterpieces are designed exclusively for mirrorless mounts (Sony E, Canon RF, Nikon Z). With optical excellence for the finest details, utterly precise mechanics for full control over the image, and the highest craftsmanship for an unparalleled touch and feel, these lenses are designed for those who seek exceptional quality.

Two focal lengths kick off the Otus ML lineup in 2025:

• ZEISS Otus ML 1.4/50mm – Your versatile prime lens: Retail Price $2,499 
• ZEISS Otus ML 1.4/85mm – The portrait expert: Retail Price 2,999 

Continuing the legacy. With the new generation, ZEISS carries forward the legendary Otus tradition – known since its 2013 debut for exceptional image quality and outstanding craftsmanship.

Designed with ultimate precise mechanics you are able to capture every detail with unparalleled sharpness, vibrant colors and a nearly three-dimensional effect that brings your story to life. With the Otus ML, manual focusing becomes more than a technique, it's an experience itself and an indispensable tool for your creative freedom. The precisely engineered focusing allows for accurate settings, giving the confidence that every shot turns out exactly as envisioned. 

With the ZEISS Otus ML lens family you can rely on your lens in every situation.  The Otus ML 1.4/50 is indispensable in every photographer's toolbox. Whether you're capturing portraits, street scenes, or cinematic moments, this lens is your perfect partner for bringing your creative vision to life. Capture the moment as you see it, as you feel it and focus on your story.

Available late Spring 2025, for more info: ZEISS OTUS ML

EDWARD LACHMAN WINS ASC OUTSTANDING ACHIEVEMENT AWARD FOR MARIA

The American Society of Cinematographers (ASC). Edward Lachman, ASC earned the 2025 theatrical feature film award for “Maria.” The 39th ASC Outstanding Achievement Awards, was held  at the Beverly Hilton, also recognized Jomo Fray for “Nickel Boys” in the Spotlight Award category, and Michael Dweck and Gregory Kershaw for the documentary “Gaucho Gaucho.” Winners in the television categories included Robert Elswit, ASC for “Ripley,” Sam Mccurdy, ASC, BSC for “Shōgun”.

This is Lachman’s first win in an ASC theatrical or television category. He was previously nominated for “Far From Heaven” (2003), “Mildred Pierce,” (2011), “Carol” (2016), and “El Conde” (2024). Lachman was honored with the ASC’s Lifetime Achievement Award in 2017.

Below is the complete list of winners.

THEATRICAL FEATURE FILM (presented by Caleb Deschanel, ASC & Emily Deschanel)

Edward Lachman, ASC for “Maria” (Netflix)

SPOTLIGHT AWARD (presented by John Conroy, ASC and Dean Cundey, ASC)

Jomo Fray for “Nickel Boys” (Orion Pictures / Amazon MGM Studios)

DOCUMENTARY AWARD (presented by Buddy Squires, ASC)

Michael Dweck and Gregory Kershaw for “Gaucho Gaucho” (Jolt)

This is the second ASC Award for Dweck and Kershaw who won in 2021 for “The Truffle Hunters.”

LIMITED / ANTHOLOGY SERIES/ MOTION PICTURE MADE FOR TV(presented by Oliver Bokelberg, ASC, BVK & Kevin McKidd)

Robert Elswit, ASC for “Ripley” - Episode “Lucio” (Netflix)

EPISODE OF A ONE-HOUR REGULAR SERIES (presented by Patrick Cady, ASC & Titus Welliver)

Sam Mccurdy, ASC, BSC for “Shōgun” - Episode “Crimson Sky” (FX)

EPISODE OF A HALF HOUR SERIES (presented by Jennifer Arnold & Patti Lee, ASC)

Richard Rutkowski, ASC for “Sugar” - Episode “Starry-Eyed” (Apple TV+)

 MUSIC VIDEO AWARD (Claudio Miranda, ASC & Sofia Isella)

*Pepe Avila del Pino, AMC for “313” (Performed by Residente, Sílvia Pérez Cruz and Penelope Cruz

Honorary awards at the ceremony included Kathleen Kennedy receiving the ASC Board of Governors Award (presented by Greig Fraser, ASC, ACS). Andrzej Bartkowiak, ASC was bestowed the ASC Lifetime Achievement Award (presented by Michael Douglas). 

The Career Achievement in Television Award was given to Michael Goi, ASC, ISC (presented by Diane Baker and Randal Kleiser). John Simmons, ASC was awarded the Presidents Award (presented by Bradford Young, ASC), and Joan Churchill, ASC earned the Lifetime Documentary Award (presented by Buddy Squires, ASC). Pete Romano, ASC received the Curtis Clark Technology Award (presented by Cynthia Pusheck, ASC).

For more information regarding the ASC Awards, visit the ASC website at www.theasc.com.