Sony proudly introduces its next generation motion picture camera system with forward thinking full frame sensor, phenomenal colour science and user-friendly operation.

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“Daydream” shot by Jon Joffin, ASC on VENICE with Version 4.0 firmware and High Frame Rate license (CBKZ-3610H).

Reliable partner for creativity

VENICE is a cinema camera created by and for the cinematographer. It’s 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

Satisfied with the current condition? With the wide latitude and gamut recorded by the VENICE, freedom of expression is significantly expanded in grading and based on established workflow.

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. With a user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction, using VENICE you can simply concentrate on filming, and not the camera.

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Full-Frame sensor for cinema

VENICE features an all-new Full-Frame sensor with the classic 36 x 24mm dimensions that have been a staple of photography for over 100 years. Designed exclusively for high-end cinematography, this sensor can capture images up to a maximum resolution of 6048 x 4032.

Switchable imager modes mean VENICE can support an unprecedented number of cinematic aspect ratios for complete creative freedom:

Full width 36 mm 6K

In full-frame, you can use the full 6048 pixel width of the sensor for 6K imager modes such as 3:2, 2.39:1*, 1.85:1, 17:9 and 16.9*. Equivalent to 4-perforation motion picture film, these 6K modes allow for extra shallow depth of field, super-wide shooting and other creative effects.

Super35 anamorphic 4K

For super wide screen productions, VENICE offers two full height 2x squeeze anamorphic imager modes that include 6:5 and 4:3 recording modes for 12:5 (known as 2.39:1) and 8:3 (2.66:1) scenes respectively.

Explore how VENICE can meet your production requirements with the firmware and licensing requirements in the aspect ratio chart:

The information in this image is represented in the table below.

VENICE Imager Modes

* Firmware update required

Required software licenceImager modeResolutionW x H (mm)Supported project FPSSelect FPS
-3.8K 16:93840 x 216022.8 x 12.823, 24, 25, 29, 50, 591-60
-4K 17:94096 x 216024.3 x 12.823, 24, 25, 29, 50, 591-60
Anamorphic lense4K 4:34096 x 302424.3 x 18.023, 24, 25, 291-48
Anamorphic lense4K 6:54096 x 343224.3 x 20.423, 24, 25, 291-30
Full frame license5.7K 16:9*5670 x 319033.7 x 18.923, 24, 25, 291-30*
Full frame license6K 17:96054 x 319236.0 x 19.023, 24, 25, 291-30
Full frame license6K 1.85:16054 x 327236.0 x 19.423, 24, 25, 291-30
Full frame license6K 2.39:1*6048 x 253435.9 x 15.023, 24, 25, 291-30*
Full frame license6K 3:26048 x 403235.9 x 24.023, 24, 251-25

Fast shutter

VENICE’s high speed readout sensor minimises the jello effect typical in CMOS sensors.

Phenomenal latitude

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 colours 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.

Dual Base ISO

VENICE has a base ISO of 500 to provide the optimal dynamic range for typical cinematography applications with on-set lighting. A secondary High Base ISO of 2500 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15 stops. High Base ISO 2500 is ideal whenever you’re using slow lenses or shooting dimly lit environments. Combining ISO2500 with VENICE’s internal eight-step Optical ND filter system offers the ability to emulate different ISO’s while maintaining maximum latitude of +6 and -9 stops, enabling you to use VENICE as an ISO1250 camera.

ISO 500

ISO 2500

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/i Technology. Lens information is recorded as metadata frame by frame.

Lever lock type E-mount*

Choose from the growing eco-system of E-mount lenses and, via third party adaptors, the world of SLR and rangefinder lenses. Lever lock operation provides added security with large lenses and in most cases lens support rigs don’t need to be removed when changing lens. Switching from PL Mount to E-mount is can be done by simply removing six hex screws while E-mount lens iris operation is controllable via assignable button.

Anamorphic look

VENICE’s support for 2x squeeze anamorphic lenses, combined with its ability to shoot 4:3 and 6:5 aspect ratios at a horizontal resolution of 4K, allows the capture of breathtakingly beautiful images with stunning lens flare, bokeh and emotional impact for both 2.4:1 and 2.66:1 widescreen cinema releases.

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. Also, XAVC 4K can be captured onto SxS cards while still sampling from the full 6K resolution of the sensor.

*Firmware update required.

Select FPS

The Select FPS function lets you choose frame rates from 1 frame per second to as high as 60 fps, depending on imager mode. Firmware Version 2.0 supports Select FPS for all the available imager modes, while Version 3.0 enables Select FPS for the two additional imager modes noted in the firmware timeline.

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.

Easily configurable

VENICE has a fully modular design and even the sensor block is interchangeable. So, as sensor technology advances in far future, you have the opportunity to upgrade without investing in a new camera. In order to maintain ergonomic balance for operators, the top handle and viewfinder are easily adjustable. As the height of the camera from the bottom to the optical center of the lens mount is the same as the F55, 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. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (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.

*Based on Sony market research.

Intuitive and familiar on-set operation

VENICE has a surprisingly compact design which allows easier shooting in confined spaces or on drones. Control buttons are carefully positioned for intuitive operation and even illuminate for easy use on dark sets. There are control displays on both sides of the camera, with the main display positioned on the camera outside for fast access to settings by the camera assistant while shooting. The camera operator’s OLED mini display allows intuitive control of commonly accessed features, on-set monitoring operation benefits from an extra HD output alongside the standard 12G-SDI (capable of 4K content on a single BNC cable).

The control interface is an all-new design based on extensive researches with camera operators.


Assistant display

Operator display

Sony’s VENICE* Camera Simulator is an interactive training tool that represents the CineAlta camera’s menu-driven user interface.

View Camera Simulator >

Precision Monitoring Performance

High Resolution Magnification

High resolution content requires highly precise focus. VENICE offers up to 4.0x Dot-by-Dot magnification of the viewfinder image for superb focus accuracy.

Surround View (Look Around)

Camera operators always appreciate a warning when mic booms or other distractions
threaten to enter the frame. Using Surround View mode, the viewfinder and on-set monitors can display a 5% margin around area being recorded.

NOTE: Surround View is available on 3.8K 16:9, 4K 17:9 and 4K 4:3 imager modes on VF, SDI 3/4 and HD Monitor outputs. Maximum supported frame rates are up to 29.97fps (project) and 48fps (variable).

High/Low Key

This powerful tool makes it easy to attain perfect exposure settings. Simply press the assigned button to cycle from Normal Exposure to 64 EI (Base ISO 500) to 320 EI (Base ISO 2500) and back to Normal on your VF and Monitor.

User 3D LUTs

Customise VENICE to deliver the precise look you desire. Install up to 16 user-generated LUTs (Look Up Tables) or 33 cube files.

Next generation viewfinder

The DVF-EL200 was created as the perfect partner for VENICE. A 1920 x 1080 OLED panel enables precise, high resolution focusing and framing, including False Colour Display at the touch of a button. A rotary encoder provides instant access to brightness, peaking and contrast. An all-new ergonomic design allows for tool-free attachment/detachment and reconfiguring within seconds. The industry-standard LEMO connector offers exceptional durability.

System configuration and forward development

Sony is committed to extending the capability of VENICE with powerful system upgrades based on ongoing discussions with filmmakers.

Wired LAN Control

Control VENICE from a PC or Mac® using a web browser and Ethernet cable. For control of multiple cameras, simply add an Ethernet router. With V2.0, you can control Record Start/Stop, Assignable Buttons and Frames per Second, Exposure Index, Shutter, ND Filter and White Balance. In Version 3.0, all menu settings will be supported.

Ethernet cable (Direct connection)
Ethernet router (Multi-connection)

High performance, proven 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-R7 recorder, it can record 16 bit RAW or X-OCN (16-bit eXtended tonal range Original Camera Negative) onto AXS memory card.

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XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. Naturally, VENICE supports XAVC Class480, which is the highest bitrate and quality available.

Apple ProRes

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 captured 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 size reduction, which make working with full resolution content from VENICE’s 6K sensor far more practical in terms of file transfer times and storage requirements.

X-OCN is supported by leading non-linear editing software tools such as Adobe Premiere CC, Apple Final Cut Pro X via Calibrated{Q} Sony RAW Decode plug-in, Avid Media Composer via nablet Sony RAW AMA plug-in, Blackmagic DaVinci Resolve, Colorfront OSD and FilmLight Baselight, to name a few.


ACES is a free, open, device-independent colour management and image interchange system that can be applied to almost any current or future workflow. It was developed by hundreds of the industry’s top scientists, engineers and end users, working together under the auspices of the Academy of Motion Picture Arts and Sciences. Sony is committed to supporting ACES-based workflows in the highest quality possible.

Read more >

Simultaneous recording for faster workflow

A key benefit of VENICE is simultaneous recording using two recording media. For example, a production could use RAW/X-OCN data recorded by AXS-R7 for online editing and also use XAVC, Apple ProRes or MPEG HD for offline editing without waiting for any file conversion. As VENICE can also record XAVC 4K and RAW/X-OCN* simultaneously, another option would be to use XAVC 4K for quick turnaround mainstream production while using simultaneously recording RAW/X-OCN as a future-proof archive suitable for the highest quality HDR applications.

Even without using AXS-R7, VENICE itself can record XAVC 4K and Apple ProRes 422 Proxy* simultaneously. VENICE is designed to support both the highest quality imagery and high speed workflows.

VENICE supports onboard recording of MPEG HD (fixed FPS only) and HD ProRes Proxy* in XAVC 4K and XAVC QFHD onto SxS media.

*Firmware update required.

VENICE with AXS-R7 supports both RAW and X-OCN recording of MPEG HD (fixed FPS only), HD ProRes, XAVC 4K* and XAVC QFHD* onto SxS media.

*Firmware update required.

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
DC12 V (11~17.0 V)
DC24 V (22~32.0 V)
Operating Temperature
0 ~ 40℃
Storage Temperature
-20℃ 〜 60℃
Approx. 3.9kg (8lb 9.6oz) (excluding handle, VF attachment, bottom cover)
Dimensions: H x W x L
158 x 147 x 235 mm (6 1/4 x 5 7/8 x 9 3/8 inch) (excluding protrusions)
Power Consumption
Approx. 60 W
Imaging Device
35 mm full size, single-chip CMOS image sensor
Imaging Device Pixel Count
24.8 M (total)
Imaging Device Size
36.2 x 24.1 mm 43.5 mm 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)
ISO Sensitivity
ISO 500, ISO 2500 (Dual Base ISO)
Lens Mount
PL Mount
E-mount (lever lock type, without supplied PL lens mount adaptor)
15+ Stop
Select FPS
4K 2.39:1 1-120FPS, 4K 17:9 1-110FPS, 3.8K 16:9 1-60 FPS
4K 4:3 1-75 FPS, 4K 6:5 1-30 FPS
6K 2.39:1 1-90 FPS, 6K 17:9/1.85:1 1-72 FPS, 5.7K 16:9 1-30 FPS
6K 3:2 1-60 FPS
White Balance
2000~15000Kelvin and Green/Magenta adjust, AWB
Gamma Curve
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 (1920 x 1080): 23.98p, 25p, 29.97p, 50i, 59.94i
HD ProRes 422HQ: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
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
HD ProRes 4444: 23.98p, 24p, 25p, 29.97p
Recording Format (RAW/X-OCN) Required AXS-R7
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
6K 3:2 (6048 x 4032): 23.98p, 24p, 25p
6K 2.39:1 (6048 x 2534): 23.98p, 24p, 25p, 29.97p
6K 1.85:1 (6054 x 3272): 23.98p, 24p, 25p, 29.97p
6K 17:9 (6054 x 3192): 23.98p, 24p, 25p, 29.97p
5.7K 16:9 (5674 x 3192): 23.98p, 24p, 25p, 29.97p
4K 6:5 (4096 x 3432): 23.98p, 24p, 25p, 29.97p
4K 4:3 (4096 x 3024): 23.98p, 24p, 25p, 29.97p
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
4K 2.39:1: 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-bit 48-kHz
DC Input
XLR-type 4pin (male)
Battery DC Input
Square-shaped 5pin connector
DC Output
12V: Hirose 4pin x 1
24V: Fischer 3pin x 2
SDI Output
BNC x 4, (12G, 3G, 1.5G-SDI)
HD MONI Output
BNC x 1 (1.5G-SDI)
HDMI Output
Type A x 1
LEMO 26pin
Audio Input
XLR-type 5pin (female) x 1 (LINE/ AES/EBU / MIC / MIC+48V selectable)
Timecode Input
BNC x 1
Genlock Input
BNC x 1
LEMO 5pin (female) x 1 (Timecode Output)
8pin x 1
12pin x 1
Lens Mount Hot Shoe
4pin x 2, conforming to Cooke /i Intelligent Electronic Lens System
RJ-45 type x 1, 10BASE-T, 100BASE-TX
USB host, type-A x 1
Headphone Output
Stereo mini jack x 1
Speaker Output
Media type
ExpressCard / 34 slot x 2
SD card slot x 1
Product contains pre-installed software
This product contains pre-installed software and requires the purchase of licence keys to activate some functions.

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