36x24mm Full-Frame Sensor for Cinema
VENICE 2 features one of two 36x24mm 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. Bothoffer powerful oversampling for incredible 4K images.
Full-Frame full width 36 mm 8K and 6K
In full-frame, you can use the full width of the sensors (8640 or 6048 pixels) for widescreen spherical 2.39:1 or Large Format Scope. FullFrame can be used creatively in several ways – forexample, to allow for extra shallow depth of field or super-wide shooting.
Super35 full height 2.0x squeeze Anamorphic
For anamorphic shooting and production, Super35 full height 2x squeeze anamorphic is supported.
Super35 17:9 and 16:9
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.
Surround View (Look Around)
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.
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. 8K sensor excels inlow-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.
More Colours for More Expression
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 cameraalso 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.
High Frame Rate
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.
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 byframe. 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 mostcases lens support rigs don’t need to be removed, saves time during a production.
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.
- 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.
VENICE 2’s chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions as well as main frame structure enabled to design 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.
- High performance, proven recording formats
VENICE 2 offers complete production flexibility. The camera supports internal recording of X-OCN or 4K ProRes recording onto AXS memory cards, removing the need to attach additional recording hardware.
X-OCN – 16-bit eXtended tonal range Original Camera Negative
Full 4K, 6K or 8K resolution, with extraordinary colour reproduction, nicely suits Sony’s third generation colour development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the camera’s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.
16-bit X-OCN offers significant file size reduction, which makes working with full resolution content from VENICE 2’s 8.6K or 6K sensor far more practical in terms of file transfer times and storage requirements.
Apple ProRes 4K
Apple ProRes, including ProRes 4444 and Apple 4K ProRes 422 HQ, are popular in post-production, and VENICE 2 supports Apple ProRes 4K. This means there’s no need for transcoding; you can simply handle these 4K ProRes formats directly from the camera.