Cinematographer Philip Lozano AFC Uses Sony Rialto Mini for Evil Dead Burn Car Fight Sequence

Cinematographer Philip Lozano AFC used the Sony Rialto Mini (VENICE Extension System Mini) for the interior car fight sequence in Evil Dead Burn, directed by S bastien Vani ek. The film was shot on Sony VENICE 2 with Panavision Ultra Vista anamorphic lenses. The Rialto Mini separates the sensor block from the camera body via a tether, allowing Lozano to maintain the same lens set and image quality in a space too tight for a conventional camera package. Sony Australia loaned the production a unit for the days allocated to the scene, with Panavision Australia and New Zealand supporting logistics.

I was willing to use it for the specific interior crazy car fight scene where spaces were so tiny as I thought the mini Rialto could be a real asset and make a real difference, says Lozano. Space was so tricky in the car as we couldn't move many pieces of the interior. Every inch would count to be able to be a bit wider and lighter, to operate fast handheld camera moves. Without the mini Rialto it would have been way more complicated, not to say sometimes impossible, as with many shots I was at the very limit and out of options. It worked amazingly well and it definitely helped make the shots better by having the ability to work in that tiny environment.

It's size and weight. Basically I almost ended up holding just the lens weight as it's so light and small. I could have chosen lighter and smaller lenses for that specific scene but I really wanted to keep a consistent anamorphic look with the rest of the film, so the Rialto Mini was the perfect tool to make the camera smaller, lighter and easier to use in such a small environment, without compromising the look in any way. It is an amazingly light camera package, like no other 8K camera can give you and getting such a wonderfully textured look from the Sony VENICE 2.

We shot the entire scene handheld. S bastien wanted the scene to be as brutal and visceral as possible. Having such a light camera configuration permitted us to easily shoot almost any kind of shot and to also be able to be a few inches wider and away from actors when necessary, because of its reduced inner size. The audience and press feedback on that action car fight scene has been excellent. The Rialto Mini helped us make S bastien's vision possible due to its incredible size, flexibility and camera moves.

There is no difference with shooting with normal Sony Venice 2. It is just amazing. To me there's nothing that competes with the Sony Rialto Mini in terms of size, weight and being able to shoot in 8K anamorphic with Ultra Vista Panavision lenses. For me the only choice is the Rialto Mini. End of story.

LINK:	https://www.sportsvideo.org/2026/10/13/cinematographer-philip-lozano-a...
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