{"id":1637,"date":"2021-12-16T05:29:10","date_gmt":"2021-12-16T10:29:10","guid":{"rendered":"https:\/\/www.brokenmount.com\/bm\/2021\/12\/16\/game-of-thrones-dp-rob-mclachlan-shares-his-favorite-cinematic-images-and-his-new-favorite-camera\/"},"modified":"2021-12-16T08:25:13","modified_gmt":"2021-12-16T13:25:13","slug":"game-of-thrones-dp-rob-mclachlan-shares-his-favorite-cinematic-images-and-his-new-favorite-camera","status":"publish","type":"post","link":"https:\/\/www.brokenmount.com\/bm\/2021\/12\/16\/game-of-thrones-dp-rob-mclachlan-shares-his-favorite-cinematic-images-and-his-new-favorite-camera\/","title":{"rendered":"&#8216;Game of Thrones&#8217; DP Rob McLachlan Shares His Favorite Cinematic Images and His (New) Favorite Camera"},"content":{"rendered":"<div>\n<p><a href=\"https:\/\/nofilmschool.com\/game-of-thrones-dp-favorite-camera\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/nofilmschool.com\/sites\/default\/files\/styles\/article_medium\/public\/dp_robert_mclachlan_bts_homecoming_sony_venice_2.jpg?itok=zNxSFNt8\" width=\"400\" height=\"225\" alt=\"\"><\/a><\/p>\n<p>Forget low-light, Sony VENICE 2 can shoot in<em> moonlight.<\/em> Here&#8217;s what Robert McLachlan, ASC, CSC thinks this means for the future of cinematography.<\/p>\n<p>\n<em>This content is brought to you by Sony. <\/em>\n<\/p>\n<p>\nA few decades before<em> Game of Thrones<\/em> and <em>Westworld<\/em>, Rob McLachlan was eking out a living making documentaries in his own production studio. His ethos? Make good work, and make it efficient so he could keep the lights on. That philosophy has followed him on every project, no matter the size, for the last twenty years. And it\u2019s landed him the DP gigs of a lifetime.\n<\/p>\n<p>\n\u201cI\u2019m always looking for ways to do things better <em>and<\/em> faster,\u201d McLachlan told No Film School. \u201cThat\u2019s one of the reasons I\u2019m enamored with Sony VENICE.\u201d\n<\/p>\n<p>\nThe high ISO and genius dual-base ISO is his first reason.\n<\/p>\n<p>\n\u201cAnd it\u2019s even better in the new VENICE 2 at 3200 and 800. Even at 3200, the shadows are the cleanest I\u2019ve seen yet.\u201d\n<\/p>\n<p><a href=\"https:\/\/nofilmschool.com\/game-of-thrones-dp-favorite-camera\">Read More<\/a><\/p>\n<\/div>\n<p>Author: Sponsored Content<br \/>\nThis article comes from <i>No Film School<\/i> and can be <a href=\"https:\/\/nofilmschool.com\/game-of-thrones-dp-favorite-camera\" target=\"_blank\" rel=\"noopener\"><b>read on the original site.<\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Forget low-light, Sony VENICE 2 can shoot in moonlight. Here&#8217;s what Robert McLachlan, ASC, CSC thinks this means for the future of cinematography. This content&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_customify_content_layout":"","_customify_sidebar":"","_customify_page_header_display":"","_customify_disable_header":"","_customify_disable_header_top":"","_customify_disable_header_main":"","_customify_disable_header_bottom":"","_customify_disable_page_title":"","_customify_disable_content_vertical_padding":"","_customify_disable_footer_top":"","_customify_disable_footer_main":"","_customify_disable_footer_bottom":"","_customify_breadcrumb_display":"","_customify_header_transparent_display":"","footnotes":""},"categories":[35],"tags":[38,37,43,42,39,40,44,41,36],"class_list":["post-1637","post","type-post","status-publish","format-standard","hentry","category-video-news","tag-editing","tag-film","tag-guide","tag-info","tag-news","tag-tips","tag-topics","tag-tricks","tag-video"],"rttpg_featured_image_url":null,"rttpg_author":{"display_name":"Brokenmount","author_link":"https:\/\/www.brokenmount.com\/bm\/author\/sysop\/"},"rttpg_comment":0,"rttpg_category":"<a href=\"https:\/\/www.brokenmount.com\/bm\/category\/video-news\/\" rel=\"category tag\">Video and Film News<\/a>","rttpg_excerpt":"Forget low-light, Sony VENICE 2 can shoot in moonlight. Here&#8217;s what Robert McLachlan, ASC, CSC thinks this means for the future of cinematography. This content&hellip;","_links":{"self":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/1637","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/comments?post=1637"}],"version-history":[{"count":1,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/1637\/revisions"}],"predecessor-version":[{"id":1649,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/posts\/1637\/revisions\/1649"}],"wp:attachment":[{"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/media?parent=1637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/categories?post=1637"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.brokenmount.com\/bm\/wp-json\/wp\/v2\/tags?post=1637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}