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Cinematographers Schweiz Suisse Svizzera Svizra unites talented professionals based in Switzerland.

Field Notes.

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Inside “The Zone of Interest” with Sony VENICE

Winner of the 2023 Cannes Grand Prix award and an Academy Award for Best International Feature, The Zone of Interest is loosely based on a novel by Martin Amis. It follows a German family living in occupied Poland during WWII. Hedwig is the mother of five children and carries on with her life, blissfully unaware of the horrors of the nearby Auschwitz concentration camp. Her husband is Rudolf Höss, the camp commandant, who is deeply involved in the horrors of “the final solution.” Director Jonathan Glazer began development of the film in 2014 and conducted extensive research before the shoot began in 2021. The film was shot with an observational style using ten Sony VENICE cameras. Oscar-nominated and ASC award-winning Polish cinematographer Łukasz Żal, PSC, together with DiT Krzysztof Włodarczyk, take us behind the scenes of this emotionally charged film.

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Cinema Line FX5 Concept | Sony | α | All shot on FX5

All footage in this film was shot on Cinema Line FX5. Lighting a creative path, the FX5 empowers filmmakers to step confidently into the next stage of their professional journey. Bringing an evolved cinema look and refined operability together in a compact, lightweight body, the FX5 gives creators the freedom to realize their vision with greater precision, confidence, and expressive potential. From immersive 5K Open Gate capture and internal 16-bit X-OCN recording, to high frame rate shooting, Dual Gain Shooting, and three Base ISO settings, the FX5 adapts to the creative demands of every scene. AI Subject Recognition, precise and reliable autofocus, and advanced image stabilization help creators stay focused on storytelling, wherever inspiration leads. Up to 5K 60 fps and 4K 120 fps with more frame rate capability coming. (FX5 to support 5K 120 fps and 4K 240 fps via firmware update planned for August 2027 or later.)

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Product Announcement Cinema Line FX5 | Sony | α

All footage in this film was shot on Cinema Line FX5. Lighting a creative path, the FX5 empowers filmmakers to step confidently into the next stage of their professional journey. Bringing an evolved cinema look and refined operability together in a compact, lightweight body, the FX5 gives creators the freedom to realize their vision with greater precision, confidence, and expressive potential. From immersive 5K Open Gate capture and internal 16-bit X-OCN recording, to high frame rate shooting, Dual Gain Shooting, and three Base ISO settings, the FX5 adapts to the creative demands of every scene. AI Subject Recognition, precise and reliable autofocus, and advanced image stabilization help creators stay focused on storytelling, wherever inspiration leads. Up to 5K 60 fps and 4K 120 fps with more frame rate capability coming. (FX5 to support 5K 120 fps and 4K 240 fps via firmware update planned for August 2027 or later.)

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Why Your Camera Will Never Look Like ARRI — And How to Get Close

Hi I'm Wade. I’m a visual artist working across commercial video, and 3D/CG-driven storytelling. ▶︎My Website (Showcase) https://tomonoma.com/studio Why does the ARRI Alexa look so cinematic even compared to modern cameras like the Sony FX3 and Canon C70? In this video, I break down the secrets behind the ARRI look: color science, skin tones, highlight rolloff, and how to get closer to it on any camera. I also cover what makes ARRI's approach to color unique and why "imperfection" is part of what makes it beautiful. https://tomonoma.com/studio/journal/why-arri-color-looks-beautiful

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ARRI, 12 Points: How Eurovision 2026 Was Shot on 24 ALEXA 35 Live Cameras

For the first time ever, the Eurovision Song Contest was shot entirely on cinema cameras. We spent more than six weeks embedded with ARRI to document how 24 ALEXA 35 Live systems took over the world's biggest live music event, watched by roughly 180 million people. ARRI defines how movies look. The vast majority of Oscar-winning films are shot on ALEXA, yet in live broadcast, a world ruled for decades by Grass Valley and Sony, the company had essentially zero presence. Eurovision 2026, hosted by ORF at the Wiener Stadthalle in Vienna, became the most demanding proving ground imaginable: 24 ALEXA 35 Live cameras across box lenses, Steadicams, wireless rigs, remote dollies, cable cams, and giant telescopic cranes, all matched and shaded live. This documentary follows the entire journey, from cameras hand-built out of milled aluminum and titanium in Munich, to integration into an OB van designed for completely different cameras, to a custom look pipeline that treated each of the 35 competing songs like its own live music video (over 50 looks in total). We don't skip the hard parts either: the friction over creative control, the physics of B4 lens light loss, the network-traffic surprises, the tally bugs fixed on site, and the one broken cable that froze a frame during the grand final. Featuring ARRI's Sean Dooley, Jannik Abelt, Thomas Stoschek, and colorist Florian Rettich, NEP's Erhard Thüringer, ORF's Michael Kogler and Max Meissl, and Riedel Communications CEO Thomas Riedel on the acquisition that brought cinema cameras and broadcast infrastructure under one roof. A CineD production in collaboration with ARRI.

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ZEISS Aatma | Welcoming Grace

In Welcoming Grace, two virtual friends meet for the first time in real life, but things don't go as smoothly as expected. Sharing the same space and time unsettles Grace and Audrey in ways they can't quite put into words, despite their will to enjoy their time together in the City of Light. It will take a "kidnapping", a ray of winter sunshine, and a timeless melody to try to reconnect... “Welcoming Grace” was shot on Sony Venice 6K, with the ZEISS Aatma 25, 35, 65 and 85 mm.

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Introducing XLR Adaptor XLR-A4 | Sony | Accessory

Connect XLR microphones to an α camera and capture high-quality audio within the Sony ecosystem, with 96 kHz / 32bit float recording that handles everything from whispers to sudden loud sounds while reducing the need for gain adjustments and maximising post-production flexibility.

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New Tilta Nucleus Autofocus Adapter

Introducing the brand-new Tilta Nucleus Autofocus Adapter – a solution that brings classic manual cinema lenses to life with modern autofocus performance. Many filmmakers appreciate the character of vintage and cinema lenses but avoid them due to the limitations of purely manual focus. Tilta bridges this gap by combining the emotional appeal of these lenses with the speed and convenience of modern autofocus control. This system utilizes the camera's native phase-detection autofocus and transmits this data directly to external motors via the Nucleus-M II Wireless Control System. An integrated lens library enables quick and easy calibration, while the adapter intercepts the AF data to drive the motor with precise and responsive focus. The system is compatible with both the Nucleus-M II Motor and the Nano II Motor. For traditional workflows, the Nucleus-M II FIZ unit can override the autofocus, providing a familiar focus-pulling experience. The E-mount autofocus adapter is compatible with Sony cameras up to the FX6; support for other lens mounts will follow shortly. Sony E-mount will be supported first, followed by RF-mount.

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Hello. Meet The CineAlta Creators | Director, Stefan Pollak | Sony

“Hello." Meet the creators will focus on creators from around the world who are pioneering a new world of visual experiences with CineAlta, or (and) Cinema Line. In this video, we introduce UK-based film director Stefan Pollak. Director's Profile Stefan Pollak, Professional film director Discover the power of storytelling through the journey of Stefan Pollak, a UK-based director from Reigate, whose passion for creative expression was shaped by growing up with a physical disability. In this intimate short film, Stefan shares how creativity—whether through acting or writing—became his voice and path into filmmaking. His breakthrough project, “ALT Jay”, is a moving short documentary spotlighting identical twin brothers, including Jay Southern, who lives with multiple disabilities. The film captures their deep bond and shared resilience, earning recognition as a shortlisted work for the Sony Future Filmmaker Awards. Stefan also speaks candidly to emerging filmmakers: rejection is inevitable, but persistence is what transforms passion into a career. Inspiring, heartfelt, and authentic—this story reminds us why filmmaking matters. Equipment The film ALT Jay was shot on Sony’s CineAlta camera BURANO, with the Sony’s FX6 used as a secondary camera.

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Monitor & Control | Sony | Creators' Cloud

Monitor & Control is a mobile app for visual content creators that enables high-precision monitoring, exposure and focus control, and multi-camera monitoring via wireless or wired connections from a smartphone, tablet, or Mac.

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