VENICE

Next generation camera with forward thinking full frame sensor, phenomenal color science and user-friendly operation.

$42,500.00 U.S. List Price
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VENICE

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

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Emotion in Every Frame

The history of digital motion picture camera technology started in 1999 when Sony released the first 24 p digital motion picture production system. As technology advances, our mission remains the same: to satisfy the ever-increasing demands of creative minds. CineAlta stands for “unlimited creative possibility” and “endless pursuit of perfecting technology.”

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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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36 x 24mm Full-Frame sensor for cinema

VENICE is equipped with a 36 x 24 mm 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 6048 x 4032.* By switching imager modes, VENICE can natively support Super35 24.9×18.7 mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.9×14.0 mm 4096 x 2160 resolution (equivalent to 3-perforation motion picture film). In other words, VENICE’s new full-frame sensor can capture in almost any format, including full 18 mm-height Super35 anamorphic and spherical and full-frame 24 mm-height anamorphic and spherical.* Almost any aspect ratio can be conjured up: 1.85:1, 2.39:1, 17:9, the list goes on in full-frame* or Super35. With VENICE, Sony is giving users the option to customize their camera by only enabling the features needed, according to their individual production requirements. Licenses will be available to expand the camera’s capabilities with new features including 4K anamorphic and full-frame.*

*Firmware update required except for Full Frame 6K 3:2 mode.

Creative freedom

Full-Frame Full width 36 mm 6K*

In full-frame, 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 a number of ways – for example, to allow for extra shallow depth of field or super-wide shooting.

*Firmware update required except for Full Frame 6K 3:2 mode.

Super35 full height 2 x squeeze anamorphic

For anamorphic shooting and production, Super35 full height 2 x squeeze anamorphic is supported.

Super35 17:9 and 16:9

These popular imager sizes are natively supported by VENICE. Current Super 35 mm PL mount lenses can be used.  

Fast shutter

Jello effect is something that we don’t need when filming. VENICE has high speed readout sensor which minimizes the jello effect that are typical in the 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 colors for more expression

VENICE can exceed Rec. 2020 color space. This means the color range is wider than DCI-P3 and can beautifully reproduce the true color 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 color space.

Dual Base ISO

VENICE has a base ISO of 500 to provide the optimal balance of dynamic range for typical cinematography applications with on-set lighting. A secondary High Base ISO of 2500 is intended for night-time exteriors, dimly lit interiors, working with slower lenses or where content needs to be graded in High Dynamic Range while maintaining maximum shadow details.*

*High Base ISO 2500 will be available from firmware version 2.0.

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*

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.

*Firmware update required.

Depth of field

As the sensor size gets larger, depth of field becomes shallower. VENICE’s wide 36 mm full-frame sensor can capture images that have the equivalent of 1-2 stops shallower depth of field compared to Super35.*

*Firmware update required.

Anamorphic look

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

*Firmware update required.

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 requirements of camera operators, carefully positioned for intuitive operation. They even illuminate for easy use on dark sets. On-set monitoring operation is further enhanced by the addition of an extra HD output 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.

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

Assistant display

Operator display

Next generation viewfinder*

System configuration and forward development

Sony is committed to extending the capability of VENICE with powerful system upgrades.

High performance, proven recording formats

VENICE offers complete production flexibility. Internally, VENICE can support XAVC, ProRes or MPEG HD recording onto an 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

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.

*Firmware update required.

 

RAW

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

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, 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 ProRes 422 Proxy* simultaneously. VENICE is designed to support both the highest quality imagery and high speed workflows.

*Firmware update required.

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 color management and on-set workflow

Catalyst Browse and the RAW Viewer are free software downloads for color grading and transcoding capabilities that work in close alignment with third-party color grading applications and also with non-linear editing systems.

Catalyst

RAW viewer

Specifications

Model Name
Model Name
MPC-3610
General
Power Requirements
DC12V (11~17.0V)
DC24V (22~32.0V)
Operating Temperature
0 ~ 40℃
Storage Temperature
-20℃〜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)
Camera
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)
ISO Sensitivity
ISO500
Lens Mount
PL Mount
E-mount (lever lock type, without supplied PL lens mount adaptor)
Latitude
15+ Stop
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*
Gamma Curve
S-Log3
Recording
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
X-OCN ST/LT:
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-bit 48-kHz
Inputs/Outputs
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
BNC×4, (12G, 3G, 1.5G-SDI)
HD MONI Output
BNCx1 (1.5G-SDI)
HDMI Output
Type A ×1
VF
LEMO 26pin
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)
Remote*
8pin x1
Lens*
12pin x1
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
Speaker Output
Monaural
Media type
ExpressCard/34 slot×2
SD card slot ×1
Notes
*
Firmware update required

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