Full-Frame sensor for cinema:
VENICE features an all-new Full-Frame sensor with the classic 36 x 24-mm 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.
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.
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 ISOs while maintaining maximum latitude of +6 and -9 stops, enabling you to use VENICE as an ISO1250 camera.
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 can be done by simply removing six hex screws, while E-mount lens iris operation is controllable via an assignable button.
VENICE supports 2x squeeze anamorphic lenses and is able to shoot 4:3 and 6:5 aspect ratios at a horizontal resolution of 4K. This 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.
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.
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 centre 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.
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, and on-set monitoring operation benefits from an extra HD output alongside the standard 12G-SDI (capable of 4K content on a single BNC cable).
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.
Wired LAN Control:
Control VENICE from a PC or Mac® using a web browser and Ethernet cable. To control 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.
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.
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 makes working with full resolution content from VENICE’s 6K sensor far more practical in terms of file transfer times and storage requirements.