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05.15.2025

05-15-2025 - Filmmaker Interviews

White Lotus DP Ben Kutchins, ASC, Shares How Sony VENICE Made Season 3 a Reality

By: Yaroslav Altunin

Go behind the scenes of Season 3 of The White Lotus with award-winning Director of Photography Ben Kutchins, ASC. Kutchins shares his experience filming the hit series and explains how he elevated the look this season by going full frame with the help of the Sony VENICE and how he leveraged special lenses to alter the images as the season progressed.

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“Bridgerton” – Shot on VENICE – A Conversation with DP Jeffrey Jur, ASC – Part 2

Continued from Part 1. Bridgerton is about eight close-knit siblings of the Bridgerton family looking for love and happiness in London high society. The series is inspired by Julia Quinn's bestselling novels. Jeff Berlin: I’d love to hear about rehearsals and blocking. How did that go on Bridgerton? Jeffrey Jur: Rehearsal is everything for me. We can make a shotlist ahead of time, have a grand design, and you can write things down in advance, but it’s not until I see the actors actually moving in a space, and how they look at each other, that informs me where the camera should be, what the light should be, and everything that goes with designing the style for a particular scene. So it's really important to do a rehearsal. Jeff: How did you settle on the VENICE for this project? Jeffrey: I had heard about the VENICE and started looking into it. My friend Jon Joffin has been working with it so I asked him how he liked it. He said, "You're going to love it and I think you'll be really happy," saying the camera exactly addressed my concerns. He said he was happy with it and encouraged me to try it.   When I started testing it, it all made sense. Seeing the 2,500 ISO as a base was exciting for me. The built-in NDs were really key. It’s great to not have to put another piece of glass in front of the lens. The speed at which you can change ND when you're outside and the weather's changing, and to easily and quickly be able to use ND as a tool for depth of field, which is a key part of photography for me, I also liked.   For example, I'd look at a shot at a T5.6, but then open it up two stops, maybe to T2.8 or even T2, look at the background and say, "Okay, let's put an ND6 in," or whatever was needed to get to that stop to get that specific depth-of-field look. So the internal ND system was a key part of the toolkit for the design of the photography.