The camera itself had to be able to capture the darkness and the isolation of Manny's character, so the Sony Venice felt like a great choice. Having the freedom and flexibility to simply jump to the 2500ASA native rating was a make or break factor in our ability to light quickly, but also to keep the lighting subtle and grounded. We also benefited a lot from the Rialto system, which was brilliant for the tight spaces we were working in. As anyone who's spent time behind the camera in small spaces would know, those inches at the back can be so valuable when you're fighting against the wall. In addition, the internal 1-stop increment ND's are a game changer, freeing up time and mental bandwidth from having to place physical ND's – and allows you to play around with the exposure with creative freedom. The Venice is an incredible work horse and has become my favourite sensor for more involved productions due to its versatility and ease of use.