An ultra-wide color space, full-frame flexibility and a high-speed read-out for LED sync make VENICE ideal for Virtual Production.
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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.
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, VENICE lets you simply concentrate on filming, and not the camera.
VENICE is equipped with a 36 x 24-mm full-frame image sensor designed specifically for 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 24.3 x 18.0 mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.3 x 12.8 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 as needed, according to individual production requirements. Licenses are available to expand the camera’s capabilities, including 4K anamorphic and 6K full-frame.
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.
For anamorphic shooting and production, Super35 full height 2 x squeeze anamorphic is supported.
These popular imager sizes are natively supported by VENICE. Current Super 35 mm PL mount lenses can be used.
*The Anamorphic license is required to enable ratio setting, other than Off (1.0x), for the de-squeeze function.
**When a High Frame Rate (HFR) License is activated,
***When a High Frame Rate (HFR) License is activated. And AXS recording is supported, but AXS playback is not supported on the unit.
****Requires Firmware Version 6.0 or higher
The VENICE Digital Motion Picture Camera was created out of intense dialog with cinematographers to capture stunning visuals in almost any format, including full-frame 36 x 24 mm, Super35 and Anamorphic. It is also certified for the ‘Filmed in IMAX’ program due to its stunning imaging quality and integration with IMAX proprietary post-production workflow process. The IMAX program provides best practice guidelines to take advantage of each cameras’ highest possible capture qualities and settings in order to maximize The IMAX Experience®—including IMAX’s exclusive expanded aspect ratio.
The optional High Frame Rate license allows VENICE to shoot at speeds of up to 120fps at 4K 2.39:1, and 60fps at 6K 3:2 as well as up to 110fps at 4K 17:9, 90fps at 6K 2.39:1, 72fps at 6K 17:9, 72fps at 6K 1.85:1 and 75fps at 4K 4:3 with anamorphic license.
VENICE’s high-speed readout sensor minimizes the jello effect typical in 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.
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.
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 ISOs while maintaining maximum latitude of +6 and -9 stops, enabling you to use VENICE as an ISO1250 camera.
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.
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 can be done by simply removing six hex screws, while E-mount lens iris operation is controllable via an assignable button.
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.
The VENICE and VENICE 2 have a fully modular design and even the sensor block is removable. This allows filmmakers to separate the sensor from the camera body with the Camera Extension System*. VENICE 2 owners have the ability to change between the original 6K sensor or the all-new 8K sensor, similar to film stock. In order to improve ergonomic balance for operators, the top handle and viewfinder are easily adjustable. As the height of the camera from the bottom to the optical sensor 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.
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.
VENICE has control displays on both sides of the camera, with the main control display on the camera outside for fast access to the camera settings by the camera assistant while shooting. The camera operator’s 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.
Sony’s VENICE Camera Simulator is an interactive training tool that represents the CineAlta camera’s menu-driven user interface.
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.
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 the 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 29.97 fps (project) and 48 fps (variable).
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 Color 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.
Sony is committed to extending the capability of VENICE with powerful system upgrades based on ongoing discussions with filmmakers.
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.
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 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.
Full 4K and 6K resolution, with extraordinary color reproduction, nicely suits Sony’s third-generation color 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’s 6K sensor far more practical in terms of file transfer times and storage requirements.
And X-OCN XT captures the highest quality imagery when using the AXS-R7 portable memory recorder. X-OCN XT is ideal for demanding visual effects work and productions requiring the utmost image quality from VENICE. The new X-OCN XT profile maintains economical file sizes comparable to Sony’s RAW file size, making the workflow affordable and efficient. In comparing X-OCN with Sony’s RAW format, X-OCN has superior reproduction in low-light areas and high-light areas. In VENICE’s 4K 17:9 imager mode, users will have the flexibility to record three X-OCN profiles (XT, ST, LT) and Sony RAW.
VENICE 3D look-up-table image (left) and .ART image (right).
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.
ACES is a free, open, device-independent color 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.
*Fixed FPS only
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.
6G/12G-SDI switchable output enabling single 4K SDI output during RAW/X-OCN and HD simultaneous recording using a single BNC cable to simplify on-set operations.
For highest quality on-set monitoring, Sony’sPVM-X1800 and PVM-X2400 TRIMASTER 4K HDR monitors offer precision reproduction at ultra-high definition with a resolution of 3840 x 2160 pixels and an impressive brightness of all-white luminance of 1000 cd/m2. To empower filmmakers to make critical imaging decisions, their wide color gamut matches the industry-leading BVM-HX310 TRIMASTER HX master monitor. The PVM X Series are highly portable to support 4K HDR production for applications such as on-set monitoring for a DIT cart and/or Video village.
The unit supports control from an RM/RCP panel that can be used with broadcast camcorders and system cameras. When connected, ITU-R Rec. 2020 color space and HLG are selectable and adjustment of various paint parameters is supported.