At the top of the Sony Cinema Line tree is the Sony Venice, it has become the go to camera for the Drama and Feature market, Top-Gun 2, Bridgerton, The Crown, Ozark, Loki, to name a few. Up to 6K 90fps and 4K 120fps on board recording. 15 stops of Dynamic Range with a Base ISO of 500 and 2500. MPEG2, XAVC, ProRes, XOCN and RAW all available in the camera. The unique Dual Filter Wheel allow ND to be selected from 0 to 8 Stops in one stop increments at the press of a button.
The Venice; created by and for the cinematographer.
Equipped with a newly developed full-frame image sensor.
Meeting the needs of the film industry in pushing the boundaries of large format image capture with exceptional picture quality.
Beautiful image: freedom of expression is significantly expanded in grading and based on established workflow
The Venice is simple and intuitive. Usability and reliability of the camera is one of the major concerns for operators especially in tough or time critical filming conditions.
The features of the Venice allow you to concentrate on filming and not the camera.
36x24mm Full-Frame Sensor for Cinema
Venice is equipped with a 36x24mm full-frame image sensor designed specifically for the demands and performance of high end cinematography and can capture images up to a maximum resolution of 6048x4032. Venice's new full-frame sensor can capture in almost any format, including full 18mm Super35 and full-frame 24mm anamorphic and spherical, both anamorphic and spherical.
Sony is giving users the option to customise their camera by only enabling the features needed, according to their individual production requirements.
Full-Frame full width 36mm 6K:
You can use the full 6048 pixel width of the sensor for widescreen spherical 2.39:1 or Large Format Scope. Full-Frame can be used creatively in several ways.
Super35 full height 2x squeeze anamorphic:
For anamorphic shooting and production, Super35 full height 2x squeeze anamorphic is supported.
Super32 17:9 and 16.9
These popular imager sizes are natively supported by Venice. Current Super35mm PL mount lenses can be used.
Jello effect is something that we don't need when filming. Venice has high speed readout sensor which minimises the jello effect that are typical in the CMOS sensors.
Venice has an exceptional 15+ stops of latitude, with low noise for extraordinary performance in delivering phenomenal images in conditions from searing sunlight to almost no light. Venice's real-world performance also excels at High Dynamic Range imaging and allows unprecedented creative freedom in grading.
More colour for more expression
Venice can exceed Rec. 2020 colour space. This means the colour range is wider than DCI-P3 and can beautifully reproduce the true colour of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony's third generation LOG gamma encoding (S-Log3) and ultra-wide colour space.
PL Lens Mount
Venice comes with the industry-standard PL lens mount. IT is compatible with all Super35 and full-frame PL lenses, spherical and anamorphic. The lens mount includes contacts that support Cooke/iTechnology. Lens information is recorded as metadata frame by frame.
Lever Lock Type E-mount
E-mount offers unsurpassed compatibility with Sony lenses. E-mount (lever lock type) gives users the ability to change lenses by rotating the locking collar rather than the lens itself. This means that in most cases lens support rigs dont need to be removed as a result saving time during a production.
Depth of field
As the sensor size gets larger, depth of field becomes shallower. Venice's wide 36mm full-frame sensor can capture images that have the equivalent of 1-2 stops shallower dept of field compared to Super35.
Venice's support for anamorphic lenses combined with its ability to shoot 4:3 aspect ratio at a horizontal resolution of 4K allows the capture of breathtakingly beautiful images with stunning lens flare, bokeh and emotional impact.
6K High Resolution
The stunning full 6K resolution of the camera can be recorded directly in X-OCN (16 bit eXtended tonal range Original Camera Negative) file format. XAVC 4K can be captured onto SxS cards while still sampling from the full 6K resolution of the sensor.
Compact and Intuitive
Venice has a surprisingly compact design which allows easier shooting in confined spaces or on drones. Venice's control buttons reflect the requirement of camera operators, carefully positioned for intuitive operation. They even illuminate for easy use on dark sets. On-set monitoring ioeration is further enhanced by the addition of an extra HD ouput alongside the standard 4k-SDI. Venice can be powered by both 12 V and 24 V power sources that can be connected at the rear. A wide range of accessories are supported, including standard Fischer connectors. For enhanced durability in tough conditions, the viewfinder uses a LEMO connector.
Engineered to Survive
Venice's chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions. Its ventilation system is completely isolated from all electronic components to prevent ingress of dust, sand and splash. The silent-running fan can be cleaned or even swapped out on set quickly and easily.
Venice has a fully modular design and even the sensor block is interchangeable. You have the opportunity to upgrade as sensor technology develops in the future without investing in a new camera. The top handle and viewfinder are easily adjustable to maintain ergonomic balance for the operator. Base plates and other accessories used for the F55 can be used with Venice. The AXS-R7 recorder can be attached to Venice with just four screws.
World's First 8-step Mechanical ND Filters
Venice is the world's first camera of its class with a servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis. The ND filters greatly increase Venice's flexibility when being controller remotely on drones and cranes or in an underwater housing.
Intuitive and Familiar On-set Operation
Venice has control displays on both sides of the camera, with the main display on the camera outside for fast access to the camera settings by the camera assistant while shooting. The camera operators OLED mini display allows intuitive control of commonly accessed features such as ND filter, shutter, FPS, white balance and exposure index. The control interface is an all new design based on extensive researches with camera operators.
Next Generation Viewfinder
The DVF-EL200 was specifically created as the perfect partner for Venice due to its exceptional performance and additional control features. It has a 1920 x 1080 resolution OLED panel and exceptional high contrast, enabling precise, high resolution focusing and framing. It's all new ergonomic design allows for tool-free attachment/detachment and re-configuring within seconds. A rotary encoder provides instant access to brightness, peaking and contrast.
System Configuration and Forward Development
Sony is committed to extending the capability of Venice with powerful system upgrades.
High Performance Recording Formats
Venice offers complete production flexibility. Internally, Venice can support XAVC, ProRes or MPEG HD recording onto SxS memory card. Additionally, by using the AXS recorder, it can record 16 bit RAW or X-OCN onto AXS memory card.
XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. Venice supports XAVC Class480, which is the highest bitrate and quality available.
Apple ProRes including ProRes 422 proxy formats are popular in postproduction and are supported by Venice. This means there's no need for transcoding; you can simply handle these formats directly from the camera.
This ultimate 16-bit linear RAW format preserves all the information captures in 4K, with 16 times more tonal values than 12-bit RAW.
X-OCN: 16-bit eXtended Tonal Range Original Camera Negative
Full 4K and 6K resolution with extraordinary colour reproduction nicely suits Sony's third-generation colour development, S-Gamut 3. In particular, 16 bit scene linear tonal gradation retains the camera's full dynamic range with far greater capacity for visual expression than 10-bit or 12-bit digital formats. 16-bit X-OCN offers significant file side reduction which makes working with full resolution content from Venice's 6K sensor far more practical in terms of file transfer times and storage requirements.
Simultaneous Recording for Faster Workflow
A key benefit of Venice is simultaneous recording using two recording media. Venice is designed to support both the highest quality imagery and high speed workflows.
Powerful Tools for Colour Management and On-Set Workflow
Catalyst Browse and the RAW Viewer are free software downloads for colour grading and transcoding capabilities that work in close alignment with third-party colour grading applications and also with non-linear editing systems.
|Power Requirements||DC12V (1117.0V)|
|Operating Temperature||0 to 40|
|Storage Temperature||-20 to 60|
|Mass||Approx. 3.9kg (8lb 10oz) (without lens, handle, VF attachment expansion bottom plate and accessories)|
|Dimensions||133 x 159 x 172 mm (without protrusion)|
|Imaging Device||Full-Frame CMOS|
|Imaging Device Pixel Count||24.7M (total), 24.4M (effective)|
|Imaging Device Size||36.2x24.1mm. 43.5mm (diagonal).|
|Built-In ND Filters||Clear, 0.3(1/2), 0.6(1/4), 0.9(1/8), 1.2(1/16), 1.5(1/32), 1.8(1/64), 2.1(1/128), 2.4(1/256)|
|Lens Mount||PL Mount|
|E-mount (lever lock type, without supplied PL lens mount adaptor)|
|Select FPS*||Imager mode:|
|3.8K 16:9, 4K 17.9: 1-60FPS|
|4K 4:3: 1-48FPS|
|4K 6:5, 5.7K 16:9, 6K 17:9, 6K 1.85:1, 6K 2.39:1: 1-30FPS|
|6K 3:2: 1-24FPS|
|White Balance||2000~15000Kelvin and Green/Magenta adjust, AWB*|
|Recording Format (Video)||XAVC 4K Class480: 23.98p, 24p, 25p, 29.97p|
|XAVC 4K Class300: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p|
|XAVC QFHD Class480: 23.98p, 25p, 29.97p|
|XAVC QFHD Class300: 23.98p, 25p, 29.97p, 50p, 59.94p|
|MPEG HD422(1920x1080): 23.98p, 24p, 25p, 29.97p, 50i, 59.94i|
|HD ProRes 422HQ*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 60i|
|HD ProRes 422*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i|
|HD ProRes 422 Proxy*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i|
|Recording Format (RAW/X-OCN) *required AXS-R7||RAW SQ:|
|4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p|
|3.8K 16:9 (3840 x 2160): 23.98p, 25p, 29.97p, 50p, 59.94p|
|6K 3:2(6048 x 4032)*: 23.98p, 24p,|
|6K 2.39:1 (6048 x 2530)*: 23.98p, 24p, 25p, 29.97p|
|6K 1.85:1 (6048 x 3270)*: 23.98p, 24p, 25p, 29.97p|
|6K 17:9 (6048 x 3190)*: 23.98p, 24p, 25p, 29.97p|
|5.7K 16:9 (5672 x 3190)*: 23.98p, 25p, 29.97p|
|4K 6:5(4096x3432)*:23.98p, 24p, 25p, 29.97p|
|4K 4:3(4096x3024) :23.98p, 24p, 25p*, 29.97p*|
|4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p|
|3.8K 16:9 (3840 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p|
|Recording Format (Audio)||LPCM 4ch , 24-bit48-kHz|
|DC Input||XLR-type 4pin (male)|
|Battery DC Input||Square-shaped 5pin connector|
|DC Output||12V: Hirose 4pin x1|
|24V: Fischer 3pin x2|
|SDI Output||BNC4, (12G, 3G, 1.5G-SDI)|
|HD MONI Output||BNCx1 (1.5G-SDI)|
|HDMI Output||Type A 1|
|Audio Input||XLR-type 5pin (female) x1 (LINE/ AES/EBU / MIC / MIC+48V selectable)|
|Timecode Input||BNC x1|
|Genlock Input||BNC x1|
|AUX||LEMO 5pin (female) x1 (Timecode Output)|
|Lens Mount Hot Shoe||4pin x2, conforming to Cooke /i Intelligent Electronic Lens System|
|Network*||RJ-45 type x1, 10BASE-T, 100BASE-TX|
|USB*||USB host, type-A x1|
|Headphone Output||Stereo mini jack x1|
|Media type||ExpressCard/34 slot2|
|SD card slot 1|
|*||Firmware update required|