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Sony Venice 4K Full Frame Camera with FF and Anamorphic Licence / CompactPrime T2.1-2.9/3.5 Set (18-85mm)
Shoot Kit 9- MB19/20/FF4/O'Con 2060/2575/Tall/Short
NEW!
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
Shooting kit comprising
Lenses
Carl Zeiss Compact Prime film lens with DSLR optics (CP.2). PL or EOS mount.
These are effectively T2.1 Zeiss ZF DSLR Prime lenses optimised to work with large sensor DSLR cameras rehoused in film lens housing to give superior focus movement.
Focus direction is the same direction as motion picture lenses, no reversible follow focus unit required.
Full frame coverage 24x36mm for focal lengths 21-85mm and all have front element of 114mm including 18mm.
300 degrees focus range.
Some people want to know why we have broken with tradition and do not supply a conventional 18, 25, 35, 50, 85mm set. This is because these are not a speed-matched set with a common T stop, so this will become 18mm/T3.5 (slow), 25mm (T2.9), then the other 3 with common T2.1. Instead a 21mm has T2.9 and the other 4 are matched T2.1 we find a better combination. Also the jump between an 18mm and 25mm is quite large, so 21, 28, 35, 50, 85 is a happy compromise!
Zeiss Compact Prime set
- 18mm CP T3.5
- 21mm CP T2.9
- 28mm CP T2.1
- 35mm CP T2.1
- 50mm CP T2.1
- 85mm CP T2.1
Other focal lengths available: 100mm/T2.1
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
- Venice 4K Full Frame Camera with FF and Anamorphic Licence
- CompactPrime T2.1-2.9/3.5 Set (18-85mm)
- 2575D Ultimate Tripod Head
- MB19 4x5.65 Prod. Matte Box
- FF4 Follow Focus Unit
- Moy Mount Heavy Duty Tall Legs
- Moy Mount Heavy Duty Short Legs
Package Price
£1180/day,
£3540/week
Guides
Everything you wanted to know about 4K but were too afraid to ask...
Do we adopt 4K now or wait for 8K?
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)
