VENICE 2 Camera with Netflix Production Technology Alliance logo.

VENICE 2

Full-frame digital cinema camera with internal X-OCN recording and choice of 8K and 6K sensors.

View latest firmware >

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 colors 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 color 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.

36 x 24-mm full-frame sensor for cinema

VENICE 2 features one of two 36 x 24‑mm full-frame image sensors, designed specifically for the demands and performance of high-end cinematography. Each offers remarkable sensitivity, latitude and color 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.

Front view of VENICE 2 with 8K sensor

Full-Frame full-width 36‑mm 8K and​6K

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.​

Super35 Anamorphic​de-squeeze

For anamorphic shooting and production, a variety of de-squeeze formats are supported, enabling an even greater creative choice of lenses.

Super35 17:9 and 16:9

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 Super35 mm PL mount lenses can be used as well.​

8.6K sensor imager modes

VENICE 2 8.6K imager modes

6K sensor imager modes

VENICE 2 6K imager modes

8K Sensor Modes

Software LicenseImager modeResolutionW x H (mm)Project Frame RateSelect FPS
License not Required*5.4K 16:95434 x 305622.6 x 12.723, 24, 25, 29, 50, 591**–60, 66, 72, 75, 88, 90
License not Required*5.8K 17:95434 x 305624.1 x 12.723, 24, 25, 29, 47, 50, 591**–60, 66, 72, 75, 88, 90
License not Required*5.5K 2.39:15480 x 229622.8 x 9.5523, 24, 25, 29, 47, 50, 591–60, 66, 72, 75, 88, 90, 96, 100, 110, 120
Anamorphic​License5.8K 6:55792 x 485424.1 x 20.223, 24, 25, 29, 471**–48
Anamorphic​License5.8K 4:35792 x 427624.1 x 17.823, 24, 25, 29, 47, 50, 591-60
Full-Frame​License*7.6K 16:97680 x 432032.0 x 18.023, 24, 25, 29, 50, 591**–60
Full-Frame​License*8.1K 16:98100 x 455633.8 x 19.023, 24, 25, 291-48
Full-Frame​License*8.2K 17:98192 x 432034.1 x 18.023, 24, 25, 29, 47, 50, 591**–60
Full-Frame​License*8.2K 2.39:18192 x 343234.1 x 14.323, 24, 25, 29, 47, 50, 591–60, 66, 72
Full-Frame​License*8.6K 17:98640 x 455635.9 x 19.023, 24, 25, 29, 471-48
Full-Frame​License*8.6K 3:28640 x 576035.9 x 24.023, 24, 25, 291**–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 LicenseImager modeResolutionW x H (mm)Project Frame RateSelect FPS
License not Required*3.8K 16:93840 x 216022.8 x 12.823, 24, 25, 29, 50, 591–60
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, 291–48
License not Required*4K 2.39:14096 x 171624.3 x 10.323, 24, 25, 29, 47, 50, 591–60, 66, 72, 75, 88, 90, 96, 100, 110, 120
License not Required*4K 17:94096 x 216024.3 x 12.823, 24, 25, 29, 47, 50, 591–60, 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, 291–48
Anamorphic License4K 4:34096 x 302424.3 x 18.0 23, 24, 25, 29, 47, 50, 591–48, 49-60, 66, 72, 75
Anamorphic License4K 4:3

(Surround View)

4096 x 3024

(4552 x 3360)

24.3 x 18.0

(27.0 x 20.0)

23, 24, 25, 291–30
Anamorphic License4K 6:54096 x 343224.3 x 20.423, 24, 25, 29, 47, 50, 601–60, 66, 72
Full-Frame License*5.7K 16:95674 x 319233.7 x 19.023, 24, 25, 29, 50, 601–60, 66, 72
Full-Frame License*6K 2.39:16048 x 253435.9 x 15.023, 24, 25, 29, 47, 50, 591–60, 66, 72, 75, 88, 90
Full-Frame License*6K 17:96054 x 319236.0 x 19.023, 24, 25, 29, 47, 50, 591–60, 66, 72
Full-Frame License*6K 1.85:16054 x 327236.0 x 19.423, 24, 25, 29, 47, 50, 591–60, 66, 72
Full-Frame License*6K 3:26048 x 403235.9 x 24.023, 24, 25, 29, 47, 50, 591–60

*The Anamorphic license is required to enable ratio setting, other than Off (1.0x), for the de-squeeze function

Phenomenal Latitude

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.

More Colors for More Expression​

VENICE 2 can exceed the BT.2020 color space, with a color range wider than DCI-P3. This means it can beautifully reproduce the true color 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 Color space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colors almost perfectly, making your grading experience even better.

High Frame Rate

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.

Fast Shutter

Jello effect is something we don’t need when filming. VENICE 2 has high-speed readout sensors, which minimizes the Jello effect that is 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 12 m) without a repeater box, additional control buttons and a built-in gyro sensor.

The Extension System consists of a front panel cover and an image sensor block case with a choice of 3-m and 12-m extension cables. The new Extension System is fully compatible with VENICE 2 using the 8K or 6K sensors with the latest firmware. It is also compatible with the original VENICE using the latest firmware, including a gyro sensor and four assignable buttons.

Find out more >

Virtual Production made simple

Up to 8K recording, 16-bit colors and a very fast sensor readout speed allow cinematographers to focus on the art of shooting virtual sets rather than technical compromises. The flawless sync 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.

Diagram showing sensor compatibility for VENICE and VENICE 2

Color fidelity of In-Camera VFX

The VENICE 2 Version 3.0 update introduces “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.

In-Camera VFX Mode UI

Forward development

Sony is committed to extending the capability of VENICE 2 with powerful system upgrades based on ongoing discussions with filmmakers.

View firmware roadmap >

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.

ISO 800

VENICE 2 8K ISO 800 chart

ISO 3200

VENICE 2 8K ISO 3200 chart

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.

VENICE 2 and VENICE with AXS-R7 size comparison

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.

Lens mount flexibility

PL Lens Mount

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.

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, saving 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.​

VENICE 2 8-step mechanical ND filters image

Engineered to Survive

VENICE 2’s chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions, and the main frame structure enables the design of 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 robust chassis and airflow

Intuitive and familiar on-set operation

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.

Assistant display

VENICE 2 side view with assistant display

Operator display

VENICE 2 side view with operator display

Camera Menu Simulator

Sony’s VENICE 2 Camera Simulator is an interactive training tool that represents the CineAlta camera’s menu-driven user interface.

View Camera Simulator >

Zoom to Fit for monitoring

Full-frame 3:2 recording used to mean that users could not see their image without black bars on 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 the 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
Diagram showing both X-OCN Anamorphic and ProRes Anamorphic support with SDI/HDMI/Viewfinder Output.

High performance, proven recording formats

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.

X-OCN – 16-bit eXtended tonal range Original Camera Negative​

Full 4K, 6K or 8K 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 2’s 8.6K or 6K sensor far more practical in terms of file transfer times and storage requirements.

Apple ProRes 4K

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 color gradation.

VENICE 2 diagram showing 4K options and camera rear outputs

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.

Find out more >

Technicolor Look Collection illustrative images

Powerful tools for your workflow

Color Management

RAW Viewer is a free software download for color grading and transcoding capabilities that works in close alignment with third-party color grading applications and non-linear editing systems.

Download RAW Viewer >

 

Frame Line Customization

Sony’s Frame Line Tool is an online application for generating custom frame lines for CineAlta cameras.

View Frame Line Tool >

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 color space and HLG are selectable, and the 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 an 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 the 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.

VENICE 2 with RCP 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.

VENICE 2 with Ethernet connection to laptop computer

Specifications

General
Power Requirements
DC 12 V (11.0 to 17.0 V)
DC 24 V (22.0 to 32.0 V)
Power Consumption (Condition: 12 V DC Input, Temp 25 °C, without accessories)
VENICE 2 with 8.6K image sensor (MPC-3628): Approx. 76 W
(When recording X-OCN XT, 8.6K 3:2, 24 fps)

VENICE 2 with 6K image sensor (MPC-3626): Approx. 73 W
(When recording X-OCN XT, 6K 3:2, 24 fps)
Operating Temperature
0 to 40 °C
Storage Temperature
-20 °C to 60 °C
Mass (without lens, handle, VF attachment, and accessories)
VENICE 2 with 8.6K image sensor (MPC-3628): Approx: 4.3 kg (9 lb 6.6 oz)

VENICE 2 with 6K image sensor (MPC-3626): Approx: 4.2 kg (9 lb 4.2 oz)
Dimensions
5.98 x 6.22 x 9.84 in (W x H x D, excluding protrusions)
Camera
Imaging Device
35 mm full size, single-chip CMOS imager sensor
Imaging Device Pixel Count
VENICE 2 with 8.6K image sensor (MPC-3628): 50.0 M (Total)

VENICE 2 with 6K image sensor (MPC-3626): 24.8 M (Total)
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
VENICE 2 with 8.6K image sensor (MPC-3628): ISO800, ISO3200 (Dual Base ISO)

VENICE 2 with 6K image sensor (MPC-3626): ISO500, ISO2500 (Dual Base ISO)
Lens Mount
PL Mount
E-mount (lever lock type, without supplied PL lens mount adaptor)
Latitude
VENICE 2 with 8.6K image sensor (MPC-3628): 16 Stop

VENICE 2 with 6K image sensor (MPC-3626): 15+ Stop
Select FPS
VENICE 2 with 8.6K image sensor (MPC-3628):
5.4K 16:9 1-90FPS
5.5K 2.39:1 1-120FPS
5.8K 17:9 1-90FPS
5.8K 4:3 1-60FPS**
5.8K 6:5 1-48FPS**
7.6K 16:9 1-60FPS***
8.1K 16:9 1-48FPS***
8.2K 17:9 1-60FPS***
8.2K 2.39:1 1-72FPS***
8.6K 17:9 1-48FPS***
8.6K 3:2 1-30FPS***

VENICE 2 with 6K image sensor (MPC-3626):
3.8K 16:9 1-110FPS
3.8K 16:9 SV 1-48FPS
4K 2.39:1 1-120FPS
4K 17:9/3.8K 16:9 1-110FPS
4K 17:9 SV 1-48FPS
4K 4:3 1-75FPS**
4K 4:3 SV 1-30FPS**
4K 6:5 1-72FPS**
5.7K 16:9 1-72FPS
6K 2.39:1 1-90FPS***
6K 17:9/6K 1.85:1/5.7K 16:9 1-72FPS***
6K 3:2 1-60FPS***
Recording
Recording Format (X-OCN)
VENICE 2 with 8.6K image sensor (MPC-3628):
X-OCN XT/ST/LT:
8.6K 3:2 (8640 x 5760): 23.98p, 24p, 25p, 29.97p
8.6K 17:9 (8640x4556): 23.98p, 24p, 25p, 29.97p, 47.95p*
8.2K 2.39:1 (8192x3432): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p*
8.2K 17:9 (8192 x 4320): 23.98p, 24p, 25p, 29.97p, 47.95p*, 50p*, 59.94p*
8.1K 16:9 (8100x4556): 23.98p, 24p, 25p, 29.97p
7.6K 16:9 (7680x 4320): 23.98p, 24p, 25p, 29.97p, 50p*, 59.94p*
5.8K 4:3 (5792x4276): 23.98p, 24p, 25p, 29.97p, 47.95p*, 50p*, 59.94p*
5.8K 6:5 (5792 x 4854): 23.98p, 24p, 25p, 29.97p, 47.95p
5.8K 17:9 (5792 x 3056): 23.98p, 24p, 25p, 29.97p, 47.95p*, 50p*, 59.94p*
5.5K 2.39:1 (5480x2296): 23.98p, 24p, 25p, 29.97p, 47.95p*, 50p*, 59.94p*
5.4K 16:9 (5434 x 3056): 23.98p, 24p, 25p, 29.97p, 50p*, 59.94p*
VENICE 2 with 6K image sensor (MPC-3626):
X-OCN XT/ST/LT:
6K 3:2 (6048 x 4032) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
6K 1.85:1 (6054 x 3272) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
6K 17:9 (6054 x 3192) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
6K 2.39:1 (6048 x 2534) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
5.7K 16:9 (5674 x 3192) 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
4K 6:5 (4096 x 3432) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
4K 4:3 (4096 x 3024) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
4K 4:3 SV (4552 x 3360) 23.98p, 24p, 25p, 29.97p
4K 17:9 (4096 x 2160) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
4K 17:9 SV (4552 x 2400) 23.98p, 24p, 25p, 29.97p
4K 2.39:1 (4096 x 1716) 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
3.8K 16:9 (3840 x 2160) 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 SV (4268 x 2400) 23.98p, 24p, 25p, 29.97p
Recording Format (ProRes)
ProRes 4444/ProRes 422 HQ
ProRes 4444 / ProRes 422 HQ / ProRes 4444 XQ
QFHD (3160×2160)
QFHD (3840×2160)
Recording Format (Audio)
LPCM 4ch, 24-bit 48-kHz
Inputs/Outputs
DC Input
XLR-type 4 pin (male)
Battery DC Input
Square-shaped 5 pin connector
DC Output
12 V: Lemo 2 pin x1
24 V: Fischer 3 pin x2
SDI Output
BNC x4, (12G, 6G, 3G, 1.5G-SDI)
HD MONI Output
BNC x1 (3G, 1.5G-SDI)
HDMI Output
Type A x1
VF
LEMO 26 pin
Audio Input
XLR-type 5 pin (female) x1 (LINE/AES/EBU/MIC/MIC+48 V selectable)
Internal mic x1
Timecode Input
BNC x1
Genlock Input
BNC x1
AUX
BNC x1 (Timecode Output)
Remote
8 pin x1
Lens
12 pin x1
Lens Mount Hot Shoe
4 pin x2, supporting Cooke /i Intelligent Electronic Lens System and ZEISS eXtended Data
Network
RJ-45 type x1, 10BASE-T, 100BASE-TX
USB
USB host, type-A x1
Headphone Output
Stereo mini jack x1
Speaker Output
Monoral
Media type
AXS Memory A-Series slot x2
SD card slot x1
SV is a abbreviation of Surround View.
* X-OCN XT is not supported
** CBKZ-3620A/AM/AW is required
*** CBKZ-3620F/FM/FW is required

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