PL Mount, Sony E/α Mount
Full Frame, Full Frame Anamorphic, Super-35, Super-35 Anamorphic (4:3)
4K, 6K, HD
VMI specifically stock the 6K version of the VENICE 2, as the data saving represents significant economies of DIT and post-production. The established 6K sensor is shared with the Venice 1 and offers up to 6048 x 4032 with powerful oversampling for incredible 4K images.
The Venice 2 allows Full-Frame full width 36 mm capture in either 8K or 6K depending on sensor used, though VMI is currently only supporting the 6K version for data saving considerations.
Full Frame can be used creatively in several ways – for example, to allow for extra shallow depth of field or super-wide shooting.
For anamorphic shooting and production, Super35 full height 2x squeeze anamorphic is supported.
These popular imager sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in these modes. Current Super35mm PL mount lenses can be used as well.
Using the 6K sensor, the camera records only the active area but the viewfinder and on-set monitors can display a 5% margin around it. Surround View supports three imager modes: 3.8K 16:9, 4K 17:9 and 4K 4:3.
VENICE 2’s 8K sensor has an exceptional 16 stops of latitude, while the 6K sensor boasts 15+ stops of latitude. This means that both imagers can deliver phenomenal images withvery little noise, in conditions that range from searing sunlight to almost no light. VENICE 2 also excels at High Dynamic Range imaging,allowing for unprecedented creative freedom in grading.
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. 8K sensor 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. 6K sensor offers an exposure latitude from 6stops over to 9 stops under 18% Middle Gray, for a total of 15+ stops.
VENICE 2 can exceed the BT.2020 colour space, with a colour range wider than DCI-P3. This means it can beautifully reproduce the true colour of the scene in front of your lens. The camera also provides a broad palette in the grading suite, using the established workflow of Sony’s S-Log3 and Ultra-wide Colour space, S-Gamut3. Plus, VENICE 2’s 8K and 6K sensors match colours almost perfectly, making your grading experience even better.
VENICE 2 can shoot at speeds of up to 120fps at 4K and 90fps at 6K, when using the 6K sensor. In combination with an anamorphic license, it also allows shooting at speeds of up to 75fps at 4K4:3 and 72fps at 4K 6:5. With the 8K sensor, VENICE 2 can achieve up to 60fps at 8.2K and 90fps at 5.8K.
Jello effect is something we don’t need when filming. VENICE 2 has high speed readout sensors that minimize the jello effects typical with CMOS sensors.
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 byframe. We have also added support for ZEISS eXtended Data.
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, saves time during a production.
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