PL Mount, Sony E/α Mount
Full Frame, S35 Open Gate Anamorphic (4:3), Super-35
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
Consider also using the Sony Venice Rialto Extension System, which allows the front image block from the Sony Venice to be relocated to a much smaller housing for easy shoulder-mount or portable operation. This combination allows the Venice to be used in much tighter spaces than previously capable with the normal body size.
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).
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.
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.
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.
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.
“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:
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.
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.
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.
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