VENICE 2
Full-frame digital cinema camera with internal X-OCN recording and choice of 8K and 6K sensors.
8K X-OCN Test Files
DoP Haris Zambarloukos, BSC, GSC reveals why VENICE 2 was the right choice to achieve a magical, but cohesive look for Tim Burton’s summer blockbuster – Beetlejuice Beetlejuice.
Trusted Creative Partner
VENICE 2 is a cinema camera created by and for the cinematographer. The camera comes with one of two full-frame image sensors, each offering exceptional picture quality. Thanks to new internal recording capabilities, users can capture even more colours and detail within the compact body they already know.
Remarkable Images
VENICE 2 offers a choice between 8K and 6K sensors, both of which boast incredibly wide latitude and gamut. Filmmakers have greater freedom of expression in grading than ever before, with either 16 or 15+ stops of latitude and exquisite colour rendition.
Simple and Intuitive
Operators need to know their camera is reliable and usable, especially during demanding shoots. VENICE 2 features simple menu navigation and connectors arranged to make life easier on set. With a durable, compact build, the camera is fast to set up for handheld or mounted shooting, so you can focus on filming, not the camera.
36x24mm Full-Frame Sensor for Cinema
VENICE 2 features one of two 36x24mm full-frame image sensors, designed specifically for the demands and performance of high-end cinematography. Each offers remarkable sensitivity, latitude and colour rendition, and because the sensor blocks are interchangeable, users can easily switch between sensors—without any extra firmware—and can even use the sensor from their original VENICE. The new 8K sensor can capture images up to a maximum resolution of 8640 x 5760, while the established 6K sensor offers up to 6048 x 4032. Both offer powerful oversampling for incredible 4K images.
In full-frame, you can use the full width of the sensors (6048 or 8640 pixels) for widescreen spherical 2.39:1 or Large Format Scope. Full-Frame can be used creatively in a number of ways – for example, to allow for extra shallow depth of field or super-wide shooting.
For anamorphic shooting and production, a variety of desqueeze formats are supported enabling an even greater creative choice of lenses.
These popular imager sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in these modes. Current Super35mm PL mount lenses can be used as well.
8K Sensor Modes
| Software License | Imager mode | Resolution | W X H (mm) | Project Frame Rate | Select FPS |
|---|---|---|---|---|---|
| License not Required* | 5.4K 16:9 | 5434 x 3056 | 22.6 x 12.7 | 23, 24, 25, 29, 50, 59 | 1**-60, 66, 72, 75, 88, 90 |
| License not Required* | 5.8K 17:9 | 5792 x 3056 | 24.1 x 12.7 | 23, 24, 25, 29, 47, 50, 59 | 1**-60, 66, 72, 75, 88, 90 |
| License not Required* | 5.5K 2.39:1 | 5480 x 2296 | 22.8 x 9.55 | 23, 24, 25, 29, 47, 50, 59 | 1-60, 66, 72, 75, 88, 90, 96, 100, 110, 120 |
| Anamorphic License | 5.8K 6:5 | 5792 x 4854 | 24.1 x 20.2 | 23, 24, 25, 29, 47 | 1**-48 |
| Anamorphic License | 5.8K 4:3 | 5792 x 4276 | 24.1 x 17.8 | 23, 24, 25, 29, 47, 50, 59 | 1-60 |
| Full-Frame License* | 7.6K 16:9 | 7680 x 4320 | 32.0 x 18.0 | 23, 24, 25, 29, 50, 59 | 1**-60 |
| Full-Frame License* | 8.1K 16:9 | 8100 x 4556 | 33.8 x 19.0 | 23, 24, 25, 29 | 1-48 |
| Full-Frame License* | 8.2K 17:9 | 8192 x 4320 | 34.1 x 18.0 | 23, 24, 25, 29, 47, 50, 59 | 1**-60 |
| Full-Frame License* | 8.2K 2.39:1 | 8192 x 3432 | 34.1 x 14.3 | 23, 24, 25, 29, 47, 50, 59 | 1-60, 66, 72 |
| Full-Frame License* | 8.6K 17:9 | 8640 x 4556 | 35.9 x 19.0 | 23, 24, 25, 29, 47 | 1-48 |
| Full-Frame License* | 8.6K 3:2 | 8640 x 5760 | 35.9 x 24.0 | 23, 24, 25, 29 | 1**-30 |
* The Anamorphic license is required to enable ratio setting, other than Off (1.0x), for the de-squeeze function.
** In high base ISO 3200, 1-7FPS is no available. The selectable FPS value varies depending on the recording format and type of AXS memory card.
VENICE 2 6K Sensor Modes
| Software License | Imager mode | Resolution | W X H (mm) | Project Frame Rate | Select FPS |
|---|---|---|---|---|---|
| License not Required* | 3.8K 16:9 | 3840 x 2160 | 22.8 x 12.8 | 23, 24, 25, 29, 50, 59 | 1 - 60 |
| License not Required* | 3.8K 16:9 (Surround View) | 3840 x 2160 (4268 x 2400) | 22.8 x 12.8 (25.4 x 14.3) | 23, 25, 25, 29 | 1 - 48 |
| License not Required* | 4K 2.39:1 | 4096 x 1716 | 24.3 x 10.3 | 23, 24, 25, 29, 47, 50, 59 | 1-60, 66, 72, 75, 88, 90, 96, 100, 110, 120 |
| License not Required* | 4K 17:9 | 4096 x 2160 | 24.3 x 12.8 | 23, 24, 25, 29, 47, 50, 59 | 1-60, 66, 72, 75, 88, 90, 96, 100, 110, |
| License not Required* | 4K 17:9 (Surround View) | 4096 x 2160 (4552 x 2400) | 24.3 x 12.8 (27.0 x 14.3) | 23, 24, 25, 29 | 1 - 48 |
| Anamorphic License | 4K 4:3 | 4096 x 3024 | 24.3 x 18.0 | 23, 24, 25, 29, 47, 50, 59 | 1-48, 49-60, 66, 72, 75 |
| Anamorphic License | 4K 4:3 (Surround View) | 4096 x 3024 (4552 x 3360) | 24.3 x 18.0 (27.0 x 20.0) | 23, 24, 25, 29 | 1 - 30 |
| Anamorphic License | 4K 6:5 | 4096 x 3432 | 24.3 x 20.4 | 23, 24, 25, 29, 47, 50, 60 | 1-60, 66, 72 |
| Full-Frame License* | 5.7K 16:9 | 5674 x 3192 | 33.7 x 19.0 | 23, 24, 25, 29, 50, 60 | 1-60, 66, 72 |
| Full-Frame License* | 6K 2.39:1 | 6048 x 2534 | 35.9 x 15.0 | 23, 24, 25, 29, 47, 50, 59 | 1-60, 66, 72, 75, 88, 90 |
| Full-Frame License* | 6K 17:9 | 6054 x 3192 | 36.0 x 19.0 | 23, 24, 25, 29, 47, 50, 59 | 1-60, 66, 72 |
| Full-Frame License* | 6K 1.85:1 | 6054 x 3272 | 36.0 x 19.4 | 23, 24, 25, 29, 47, 50, 59 | 1-60, 66, 72 |
| Full-Frame License* | 6K 3:2 | 6048 x 4032 | 35.9 x 24.0 | 23, 24, 25, 29, 47, 50, 59 | 1 - 60 |
* The Anamorphic license is required to enable ratio setting, other than Off(1.0x), for the de-squeeze function
VENICE 2’s 8K sensor has an exceptional 16 stops of latitude, while the 6K sensor boasts 15+ stops of latitude. This means that both imagers can deliver phenomenal images with very little noise, in conditions that range from searing sunlight to almost no light. VENICE 2 also excels at High Dynamic Range imaging, allowing for unprecedented creative freedom in grading.
VENICE 2 can exceed the BT.2020 colour space, with a colour range wider than DCI-P3. This means it can beautifully reproduce the true colour of the scene in front of your lens. The camera also provides a broad palette in the grading suite, using the established workflow of Sony’s S-Log3 and Ultra-wide Colour space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colours almost perfectly, making your grading experience even better.
VENICE 2 can shoot at speeds of up to 120fps at 4K and 90fps at 6K, when using the 6K sensor. In combination with an anamorphic license, it also allows shooting at speeds of up to 75fps at 4K 4:3 and 72fps at 4K 6:5. With the 8K sensor, VENICE 2 can achieve up to 72fps at 8.2K and 120fps at 5.5K.
VENICE 2 can select 33.33 variable FPS when the project frame rate is set to 24/25/50.
Jello effect is something we don’t need when filming. VENICE 2 has high speed readout sensors which minimizes the jello effect that are typical with CMOS sensors.
VENICE Extension System 2
The CBK-3620XS VENICE Extension System 2 allows for new levels of shooting flexibility with no compromise to image quality. Developed alongside VENICE 2 it offers wider bandwidth to support the VENICE 2’s 8K sensor, over twice as much cable distance (up to 12m) without a repeater box, additional control buttons and a built-in gyro sensor.
The Extension System consists of a front panel cover, image sensor block case with a choice of 3m and 12m extension cables. The new Extension System is fully compatible with VENICE 2 using the 8K or 6K sensors with latest firmware. It is also compatible with the original VENICE using latest firmware, including gyro sensor and four assignable buttons.
Virtual Production made simple
Up to 8K recording, 16-bit colours and a very fast sensor readout speed allow cinematographers to focus on the art of shooting virtual sets rather than technical compromises. The flawless synch with advanced Crystal LED controllers is unique in the industry. In addition, there is enhanced support for third-party LED display via Genlock phase shifting and the ability to display the locked frequency in the sub-display.
Interchangeable Image Sensors
VENICE 2 allows you to easily remove and replace the image sensor, swapping between the 8.6K and original 6K image sensor as required. This also means a 6K sensor can be swapped between VENICE and original VENICE 2.
Colour fidelity of In-Camera VFX
VENICE 2 Version 3.0 update introduces the “In-Camera VFX Mode”. This setting includes parameters such as “Wall Temperature” and “Light blend ratio” to enhance color fidelity when mixing practical lighting and LED volumes as lighting in In-camera VFX. These setting parameter are recorded as metadata on X-OCN and baked into ProRes.
Forward development
Sony is committed to extending the capability of VENICE 2 with powerful system upgrades based on ongoing discussions with filmmakers.
Dual Base ISO
VENICE 2 features dual base ISO, meaning that the 8K sensor offers Base ISO3200 in addition to Base ISO800, while the 6K sensor has Base ISO500 and Base ISO2500. High Base ISO3200 excels in low-light, High Dynamic Range capture, with an exposure latitude from 6 stops over to 10 stops under 18% Middle Gray, for a total of 16 stops. High Base ISO 2500 offers an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15+ stops.
Internal 16-bit X-OCN and 4K ProRes Recording in a Compact body
New for VENICE 2, cinematographers and colorists can unlock the incredible creative possibilities of 16-bit X-OCN recording, without an external recorder. Users can enjoy the full dynamic range and color reproduction of the image sensor, capturing in 4K ProRes 4444 and 422 HQ. With such a compact design, and no external recorder, set-up is faster, simpler and easier, particularly for gimbals, Steadicams and drones.
Anamorphic look
VENICE 2’s support for anamorphic lenses allows for the capture of breathtakingly beautiful images. When combined with the ability to shoot 4:3 and 6:5 aspect ratio at high horizontal resolutions, this can give users stunning lens flare, bokeh and emotional impact. The 8K sensor can shoot 5.8K with an aspect ratio of 6:5, while the 6K sensor can shoot both 6:5 and 4:3 at 4K.
VENICE 2 comes with the industry-standard PL lens mount and is compatible with all Super35 and full-frame PL lenses – spherical and anamorphic. The lens mount includes contacts that support Cooke/i Technology, and lens information is recorded as metadata, frame by frame. We have also added support for ZEISS eXtended Data.
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, which means that in most cases lens support rigs don’t need to be removed, saves time during a production.
8-step Mechanical ND Filters
VENICE 2 follows the world first of VENICE, with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to 2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.
Engineered to Survive
VENICE 2’s chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions as well as main frame structure enabled to design the body to be more durable. 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 2 has control displays on both sides of the camera, with the same layout as VENICE. A 3-inch LCD display provides the camera assistant with fast access to settings during shooting, while on the other side, the camera operator’s OLED mini display provides easy control of commonly accessed features, such as ND filter, shutter, FPS, White Balance and Exposure Index.
Based on user feedback, the menu interface has been upgraded for even easier on-set operation. Many of VENICE 2’s connectors have also changed location and type, such as the Lemo 12V out and the Ethernet connector moving to the camera assistant’s side.
Camera Menu Simulator
Sony’s VENICE 2 Camera Simulator is an interactive training tool that represents the CineAlta camera’s menu-driven user interface.
Zoom to Fit for monitoring
Full-frame 3:2 recording used to mean that users could not see their image without black bars at the sides of their monitors. Our Zoom to Fit function allows VENICE 2 to record in Full-frame 3:2 and deliver a 17:9/16:9 monitor output simultaneously so directors, cinematographers and crew are able to utilize the full display area of their on-set monitor.
Zoom to Fit function also supports shooting with anamorphic lenses and it is possible to output the same image as the viewfinder to the Monitor out when viewfinder is selected as Monitor Out Source.
Version 3.0 firmware extends the Zoom to Fit 2.39:1 when the setting is 5.8K 17:9 with 2.0x Anamorphic De-squeeze.
- Improvement of Zoom to fit 16:9 for 3:2 imager mode
- Zoom to fit 2:39:1 for 3:2 imager mode
VENICE 2 offers complete production flexibility. The camera supports internal recording of X-OCN or 4K ProRes recording onto AXS memory cards, removing the need to attach additional recording hardware.
Full 4K, 6K or 8K resolution, with extraordinary color 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 size reduction, which makes working with full resolution content from VENICE 2’s 8.6K or 6K sensor far more practical in terms of file transfer times and storage requirements.
Apple ProRes, including ProRes 4444 and Apple 4K ProRes 422 HQ, are popular in post-production, and VENICE 2 supports Apple ProRes 4K. This means there’s no need for transcoding; you can simply handle these 4K ProRes formats directly from the camera.
Advanced LUT support
VENICE 2 supports embedded LUT and CDL data within MXF clip files. These are recorded in the same folder as a separate clip to simplify post-production workflow.
Also, for those who want to see on-set images that are closer to the final look of their project, VENICE 2 can apply 4K or HD LUTs to its monitor output. HD output also benefits from improved LUT processing, with richer images and colour gradation.
Picture Shop Look Collection
The Picture Shop Look Collection for VENICE allows anyone to add the artistry and experience of world-leading colorists to their VENICE productions. Free downloads of LUT (Look Up Table) files can be used for on-set monitoring, as well as be applied in post-production. Also included are .ART files, Sony’s new proprietary file format, which offers enhanced performance compared to 3D LUTs.
RAW Viewer is free software download for colour grading and transcoding capabilities that works in close alignment with third-party colour grading applications and non-linear editing systems.
Sony’s Frame Line Tool is an online application for generating custom frame lines for CineAlta cameras.
Paint Control from RM/RCP Units
VENICE 2 supports control from an RM/RCP panel that can be used with broadcast camcorders and system cameras. When connected, ITU-R Rec. 2020 colour space and HLG are selectable and adjustment of various paint parameters is supported.
With Version 3.0 firmware, when RM/RCP Paint Control is on, the Look can now be selected as a LUT and applied to various video outputs. Use of User 3D LUT is also supported. Additionally, Saturation and Skin Detail functions have been added to Paint menu. When RM/RCP Paint Control is off (standard mode), you can now set whether to control the white balance function and shutter function from a remote control unit.
Ethernet and WiFi control
Using WiFi or an Ethernet connection, LUTs, CDLs and ART files can all be imported directly onto cameras, so there’s no need to physically upload them using SD cards. CDLs can then be controlled and adjusted via a web interface and embedded in clip metadata.
PrimeSupport for VENICE Family
