Camera kits

Sony Venice 4K Full Frame Camera with FF and Anamorphic Licence

Sony Venice 4K Full Frame Camera with FF and Anamorphic Licence

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The top of the range Sony Digital Film Camera, supplied fully loaded with anamorphic and Full Frame Licence, this camera is suitable for S-35 and Full Frame acquisition and is described by Sony as 'Aspect Ratio Agnostic', which means that by using and masking the extremely large image sensor (36x24mm), it can be used to capture every Aspect Ratio, including S35 spherical and S35 4:3 anamorphic, FF spherical, S35 4:3 anamorphic and also 3:2 anamorphic in UHD 4K and HD picture formats.  This camera is fully UHD 4K compliant, though it can capture images up to a maximum resolution of 6048 x 4032*.

*Firmware update may be required for this functionality

Aspect Ratio “Agnostic”

Sony describe the Sony Venice as “aspect ratio agnostic”, so by using and masking the extremely large image sensor (36x24mm), you can use it in every Aspect Ratio within Full Frame and S35: widescreen spherical, widescreen anamorphic (1.3x, 1.5 and 2x squeeze), 2.39:1, 1.85:1, 1.66:1, 1.33:1, 17:9, Univisium…

Most importantly, it is capable of Super35 24.9×18.7mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.9×14.0mm 4096 x 2160 resolution (equivalent to 3-perforation motion picture film).

Full UHD 4K and more

Whereas the ARRI ALEXA can only shoot 4:3 in 2.8K, the VENICE is able to shoot 4:3 in 4K and as the sensor is actually capable of full 6K resolution in full frame mode, it means that 4K anamorphic S35 and also anamorphic FF (with suitable lenses) is also possible.   

Built-in ND FIltering

A servo-controlled 8 step mechanical ND filter mechanism is built into the camera chassis offering an ND range of 0.3 to 2.4 range.

Native ISO500 and 15 stops of Latitude

The camera is rated at ISO500 rating and 15 stops of latitude are possible with little detectable no noise.  A new colour management system and wide colour gamut makes this suitable for HDR grading.

Record onto on-board SxS Cards or with external dockable recorder (supplied)

VENICE supports in-camera XAVC or ProRes recording onto SxS cards, though VMI supplies this as standard with a Sony AXS-R7 external recorder attached and which integrates seamlessly. 

The benefit of using the AXS-R7 recorder is that you can record visually lossless RAW or X-OCN onto AXS cards and also permits 16-bit linear RAW in 4K capture and using the 6K X-OCN codec (future upgrade), permits 16-bit capture with significantly smaller files.

XAVC H.264/AVC intra-frame is another option for cost-efficient recording in 4K 10-bit and HD high-frame-rates.

Multiple Frame Rates up to 60p

“Jello” and similar rolling shutter artefacts are minimised, in spite of the Venice shutter not being a true global shutter.

You can record multiple frame rates of up to 60P, depending on the image size of acquisition:

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

Ergonomics

This is a compact camera and comfortable to use with controls are where you expect them to be. Not as small as the Alexa Mini but more compact than the ARRI LF with convenient LED panels with menus and buttons on both camera left and right sides—ready for operator, assistant or DIT. Menus are streamlined, logical and intuitive.

Futureproof with removable modules

The VENICE is entirely modular in design with both the external recorder being removable, as well as the sensor block, opening the possibility in the future for replacing the sensor instead of the entire camera.

Standard Workflow

The VENICE is based around the existing and established CineAlta workflows permitting 10bit internal XAVC recording to SxS cards or more likely, 16bit RAW X-OCN via the external AXS-R7 recorder, which we supply as standard with the camera.

Main Features

  • Full Frame Sensor 24×36 mm
  • 6K Full Frame 6048 x 4032 maximum resolution
  • 4K Super35 window
  • Full Frame, full 6048 photosite width of the sensor
  • Widescreen spherical 2.39:1 or Large Format ‘Scope
  • Super35 full height 2.0x squeeze Anamorphic
  • 8-Step, 8-Stop Internal NDs
  • PL and Ruggedized E-mount
  • Spherical FF & S35
  • Anamorphic FF & S35
  • 15+ Stops of Exposure Latitude
  • Native ISO 500 
  • Retains highlights and colour detail 6 stops overexposed and 9 stops into the shadows
  • Power:  both 12 VDC and 24 VDC

VMI Sony VENICE Camera Package

  • Sony VENICE camera body with anamorphic and Full Frame Licences
  • Sony DVF-EL200 Electronic Viewfinder (EVF)
  • Sony AXS-R7 External Recorder
  • 3x 512GB AXS-A512S48 cards
  • 5 x Anton Bauer 150WH Dionic XC on-board batteries
  • 1 x Anton Bauer 4 way charger
  • ARRI Bridge Plate with 15mm & 19mm bars system

The top of the range Sony Digital Film Camera, supplied fully loaded with anamorphic and Full Frame Licence, this camera is suitable for S-35 and Full Frame acquisition and is described by Sony as 'Aspect Ratio Agnostic', which means that by using and masking the extremely large image sensor (36x24mm), it can be used to capture every Aspect Ratio, including S35 spherical and S35 4:3 anamorphic, FF spherical, S35 4:3 anamorphic and also 3:2 anamorphic in UHD 4K and HD picture formats.  This camera is fully UHD 4K compliant, though it can capture images up to a maximum resolution of 6048 x 4032*.

*Firmware update may be required for this functionality

more...


Guides

Everything you wanted to know about 4K but were too afraid to ask...

Do we adopt 4K now or wait for 8K?

The Case for and against 4K

Shooting with HD Video lenses on large sensor cameras

ARRI Alexa Version 5 User Manual

Types of Apple Prores codecs and recording durations

Everything you wanted to know about 4K but were too afraid to ask...

Large Sensor Cameras - Everything that you need to know

Specifications

Sensor 35 mm format ARRI ALEV III CMOS with Bayer pattern color filter array
Photo sites 16:09
(with surround view) HD: 2880x1620 (3168x1772)
  2K: 2868x1612 (3154x1764)
  3.2K: 3200x1800 (3424x1926)
  4K UHD: 3200x1800 (3424x1926)
   
  04:03
  2K: 2867x2150 (3168x2160) *
Shutter Electronic shutter, 5.0° to 356.0°
Exposure latitude 14+ stops over the entire sensitivity range from EI 160 to EI 3200 
as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure index EI 800 base sensitivity
Filters Built-in motorized ND filters 0.6, 1.2, 2.1
Lens mounts Titanium PL mount with L-Bus connector and LDS
EF mount
PL mount with Hirose connector and LDS
B4 mount with Hirose connector
Recording media CFast 2.0 memory cards
Recording formats HD 1920x1080
2K Cine 16:9 2048x1152
2K Cine 4:3 2048x1536 *
3.2K 3200x1800
4K UHD 3840x2160
ARRIRAW 2.8K 16:9 2880x1620 *
ARRIRAW 2.8K 4:3 2880x2160 *
Recording codec ProRes 4444XQ, 4444, 422 (HQ), 422, 422(LT), ARRIRAW *
Color output Rec 709, custom look or Log C
Look control Import of custom 3D LUT, ASC CDL parameter (slope, offset, power, saturation)
Adjustable image parameters Knee, gamma, saturation, black gamma, saturation by hue
Focus and exposure control Peaking, zebra, false color
White balance Manual and auto white balance
Sound level < 20 dB(A) at standard frame rates
Environmental -20° C to +50° C (-4° F to +122° F) @ 95% humidity max, non-condensing
Splash and dust-proof through sealed electronics
Viewfinder Multi Viewfinder MVF-1 (OLED and LCD ) with flip-out LCD screen 
and military-grade connector to camera
Control interface Soft buttons and OSD on SDI output, 
integration of Transvideo StarliteHD touch interface *
ARRI lens motor control Built-in radio interface for ARRI lens control
L-Bus motor output for daisy-chainable cforce lens control motors
Wi-Fi remote control Built-in Wi-Fi interface and web-based remote control from phones,
tablets and laptops
Custom control Optional GPIO interface for integration with custom control interfaces
Power input Lemo 8-pin, 10.5-34 V DC
Video outputs 2x HD-SDI out 1.5G and 3G: uncompressed HD video with embedded audio
and metadata, SDI-6G interface to external CODEX recorder *
Inputs SDI-Genlock (optional activation through ARRI Service),
timecode (in and output)
Other interfaces USB 2.0 (for usersets, looks etc.)
Ethernet
EXT accessory interface w. RS pin
* Standard Option on VMI cameras.  

Recording and Frame Rates

Mode Recording Resolution (2) Recording File Setting Internal      Recording  
  CFast 2.0 128 GB
16:09 ProRes HD 422 200
422 HQ 200
4444 200
4444 XQ 120
2K Cine 422 200
422 HQ 200
4444 200
4444 XQ 120
3.2K 422 60
422 HQ 60
4444 60
4444 XQ 30
4K UHD 422 60
422 HQ 60
4444 60
4444 XQ 30
ARRIRAW** 2.8K   30
4:3** ProRes 2K Cine 422 150
422 HQ 150
4444 120
4444 XQ 60
ARRIRAW 2.8K Full 30
2.6K Cropped 30

** available ARRIRAW option requested
(1) Minimum frame rate is always 0.75 fps
(2) The "recording resolution" determines the number of horizontal pixels that will be recorded (the number of vertical pixels is dependent on the recording file type and sensor mode)

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