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

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

 

Reliable partner for creativity

VENICE is a cinema camera created by and for the cinematographer. Itā€™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, VENICE lets you simply concentrate on filming, and not the camera.

 

 

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:

 

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

 

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. VENICEā€™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 Sonyā€™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 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 youā€™re using slow lenses or shooting dimly-lit environments. Combining ISO2500 with VENICEā€™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.

ISO 500

Anamorphic look

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.

 

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.

 

 

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.

Worldā€™s first 8-step mechanical ND Filters*

VENICE is the worldā€™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 VENICEā€™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 operatorā€™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).

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

 

Assistant display

Wired LAN Control

Control VENICE from a PC or MacĀ® 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.

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 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.

 

X-OCN: 16-bit eXtended tonal range Original Camera Negative

Full 4K and 6K* resolution, with extraordinary color reproduction, nicely suits Sonyā€™s third-generation color development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the cameraā€™s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.

16-bitĀ X-OCNĀ offers significant file size reduction, which makes working with full resolution content from VENICEā€™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.

 

 

Apple ProRes

Apple ProRes including ProRes 422 proxy formats are popular in postproduction and are supported by VENICE. This means thereā€™s no need for transcoding; you can simply handle these formats directly from the camera.

 

XAVC

XAVCĀ 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.

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. VENICE can also record XAVC 4K and RAW/X-OCN* simultaneously. Therefore, another option would be to use XAVC 4K for quick turnaround mainstream production while using simultaneous 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.

 

 

SKU: VENICE Categories: , Tags: , , , ,
Model Name

Model Name
MPC-3610
General

Power Requirements
DC12V (11ļ½ž17.0V)
DC24V (22~32.0V)
Operating Temperature
0 ļ½ž 40ā„ƒ
Storage Temperature
-20ā„ƒć€œ60ā„ƒ
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
36.2×24.1mm. 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(1920×1080): 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(4096×3432)*:23.98p, 24p, 25p, 29.97p
4K 4:3(4096×3024) :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-bitā€‚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
BNCƗ4, (12G, 3G, 1.5G-SDI)
HD MONI Output
BNCx1 (1.5G-SDI)
HDMI Output
Type A Ɨ1
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 slotƗ2
SD card slot Ɨ1

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