2021From a Facebook group: The Steadicam Group
Sony Venice with fast fixed focal-length photo lens on live broadcast: focus depth and remote control trade-offs in unpredictable motion
What the thread found
- The Sony Venice was chosen for integration with remote control panel (RCP) in the broadcast truck, allowing color correction, filtration and aperture control from the van; manual focus was accepted as a trade-off.
- A 35 mm fixed focal-length photo lens was selected to achieve a desired look at wide aperture and to enable remote aperture adjustment via lens motor from the truck; the drawback was insufficient focus throw for precise focus pulling.
- Operating at aperture 1.4–2.0 with rapidly moving subjects and moving operator created severely marginal focus margin; no focus assistant was permitted due to crew limitations; the operator advocated for a broadcast zoom lens offering greater depth of field.
- Focus belt showed no slipping; alternative gear ratios and motors had been tested beforehand.
- GPI Pro Titan Arm specifications allow only one spring per section, or springs of different strength (grey/black) in combination.
- Broadcast cine focus aids were discussed as potential solutions for similar high-speed live applications.
Depends on
- Aperture choice (1.4–2.0) was mandated by the broadcaster and favored narrow depth of field over operability.
- Success depends on lens focal length, subject speed, operator movement and available crew for focus assistance.