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Sony FX6 camera makes The Bachelor more eligible with excellent visuals

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The Sony FX6 Cinema Line camera and its clever full-frame sensor have succeeded in giving The Bachelor, one of the world’s most successful dating and relationship reality television series, an excellent visual with true cinematic qualities. 

Having debuted in the USA in 2002, the show’s success has resulted in international franchises including The Bachelor Australia which is one of the most viewed programmes on Network 10. 

Warner Bros Discovery Director, Dave Wallace, explained, “As a worldwide brand, The Bachelor looked to evolve and rejuvenate the format for Season 10. As the series director and alongside our DP, Geoff Thomas, I was tasked with giving the series an overall visual with true cinematic qualities. The Sony FX6 was the perfect camera for this job.”

The Bachelor has very high production values and to that end, Wallace and his team wanted a full frame camera that could handle any situation and their significant volume of shooting. The FX6 body size allowed Thomas and operators to shoot off the shoulder, mount on cars, a jib or Steadicam.

“The low light capabilities are incredible, which helps us approach the grade differently,” said Wallace. “The FX6 also slotted in perfectly from a production and post-production perspective. Transitioning from the Sony F5 to the FX6 is seamless for the Warner Bros. post-production team. Our camera department is very familiar with the Sony system so the FX6 was the perfect upgrade.

“With up to eight camera operators rolling for up to 10 hours a day, the FX6 camera is a true workhorse. As a result, all of our principal photography is shot on the Sony FX6.

“The post team is amazed by the FX6’s ability to handle any lighting environment, whether it is the middle-of-the-day sun or a scene lit only with street lamps, and they love working with the footage.

“It’s a real win-win for everybody involved in the production.”

For Wallace and the crew, a typical workflow involves shooting 1920x1080 with the XAVC codec and in SLOG3 Cine. Their frame rates are regularly 25fps and at 50 or 75fps when they are off speed.

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Sony FX6 camera makes The Bachelor more eligible with excellent visuals

Add Your Heading Text Here

The Sony FX6 Cinema Line camera and its clever full-frame sensor have succeeded in giving The Bachelor, one of the world’s most successful dating and relationship reality television series, an excellent visual with true cinematic qualities. 

Having debuted in the USA in 2002, the show’s success has resulted in international franchises including The Bachelor Australia which is one of the most viewed programmes on Network 10. 

Warner Bros Discovery Director, Dave Wallace, explained, “As a worldwide brand, The Bachelor looked to evolve and rejuvenate the format for Season 10. As the series director and alongside our DP, Geoff Thomas, I was tasked with giving the series an overall visual with true cinematic qualities. The Sony FX6 was the perfect camera for this job.”

The Bachelor has very high production values and to that end, Wallace and his team wanted a full frame camera that could handle any situation and their significant volume of shooting. The FX6 body size allowed Thomas and operators to shoot off the shoulder, mount on cars, a jib or Steadicam.

“The low light capabilities are incredible, which helps us approach the grade differently,” said Wallace. “The FX6 also slotted in perfectly from a production and post-production perspective. Transitioning from the Sony F5 to the FX6 is seamless for the Warner Bros. post-production team. Our camera department is very familiar with the Sony system so the FX6 was the perfect upgrade.

“With up to eight camera operators rolling for up to 10 hours a day, the FX6 camera is a true workhorse. As a result, all of our principal photography is shot on the Sony FX6.

“The post team is amazed by the FX6’s ability to handle any lighting environment, whether it is the middle-of-the-day sun or a scene lit only with street lamps, and they love working with the footage.

“It’s a real win-win for everybody involved in the production.”

For Wallace and the crew, a typical workflow involves shooting 1920x1080 with the XAVC codec and in SLOG3 Cine. Their frame rates are regularly 25fps and at 50 or 75fps when they are off speed.

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