Sony VENICE 2 8K Full-frame Digital Motion Picture Camera - includes HFR License

VENICE 2 | 8K

Full-frame digital cinema camera
With internal X-OCN recording

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 colours and detail within the compact body they already know. CBKZ-3610H high frame rate functionality is now automatically included with New Venice 2. No need to purchase as an option separately.

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 colour 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 24mm 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 colour 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.

VENEZIA
By Rob Hardy

Behind the Scenes of VENEZIA
By Rob Hardy

Internal 16-bit X-OCN and 4K ProRes Recording in a Compact Body

New for VENICE 2, cinematographers and colourists can unlock the incredible creative possibilities of 16-bit X-OCN recording, without an external recorder.
Users can enjoy the full dynamic range and colour 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.

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.

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.

Forward Development

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

Claudio Miranda
“The Camera Test”

Behind the Scenes of “Homecoming”
With Rob McLachlan

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.

VENICE 2 6K Extension System

VENICE 2 users can expect the same image quality and integrity when using the robust CBK-3610XS Extension System, which makes VENICE 2 more mobile and discreet. The system is fully compatible with VENICE and VENICE 2 camera systems that use the 6K image sensor block* and is ideal for countless mounting set-ups and filming scenarios. These could include use with gimbals, handheld stabilizers, underwater and helicopter housings, and 3D/VR rigs, as well as in tight and unconventional spaces, such as in vehicles, on cranes, or Russian arms.

*Extension System for VENICE 2 8K is planned to be released by early 2023

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.

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.

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.

Camera Menu Simulator

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

Technicolour Look Collection

The Look Collection for VENICE allows anyone to add the artistry and experience of Technicolour colourists 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.

Powerful Tools for Colour Management and On-Set Workflow

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

*Support for 8K will be available in February 2022.

4K LUTs for Monitors

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 colour gradation.

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 colour space and HLG are selectable and adjustment of various paint parameters is supported.

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.