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Sony New CineAlta Venice
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    Specs

    • Full-Frame CMOS Sensor, 24.7M (total), 24.4M (effective)
    • Lot of Built-In ND Filters - Clear, 0.3(1/2), 0.6(1/4), 0.9(1/8), 1.2(1/16), 1.5(1/32), 1.8(1/64), 2.1(1/128), 2.4(1/256)
    • Native ISO 500
    • PL Mount or E-mount (lever lock type, without supplied PL lens mount adaptor)
    • Latitude - 15+ Stop
    • Modes - 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
    • S-Log3
    • Record formats
      • XAVC 4K Class480: 23.98p, 24p, 25p, 29.97p
      • XAVC 4K Class300: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
      • XAVC QFHD Class480: 23.98p, 25p, 29.97p
      • XAVC QFHD Class300: 23.98p, 25p, 29.97p, 50p, 59.94p
      • MPEG HD422(1920x1080): 23.98p, 24p, 25p, 29.97p, 50i, 59.94i
      • HD ProRes 422HQ*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 60i
      • HD ProRes 422*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
      • HD ProRes 422 Proxy*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
    • BNC×4, (12G, 3G, 1.5G-SDI) connectors
    • HDMI Output
    • ExpressCard/34 slot×2, SD card slot ×1
    • 133 x 159 x 172 mm
    • Approx. 3.9kg (8lb 10oz)

    Sony Electronics is announcing plans for its next-generation CineAlta digital motion picture camera system. This latest addition to the CineAlta family is being developed through careful research and close collaboration with creative professionals including Directors, Cinematographers and Digital Imaging Technicians. Through the implementation of features demanded by the industry, Sony is demonstrating its commitment to innovation and the creative freedom needed for feature filmmaking and production.

    Technology highlights and key benefits:

    • Full Frame 36x24mm sensor exclusively designed for this Digital Motion Picture Camera
    • Aspect ratio-agnostic – including Full Frame, Super35 4K 4-perf 4:3 Anamorphic and 4K spherical 3-perf 17:9
    • New image sensor enabling exceptional picture quality
    • Maintains the workflow established with Sony’s 16bit RAW/X-OCN and XAVC
    • Compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).

    Sony CineAlta Background:

    Sony pioneered high-end digital motion picture production technology, with the first 24p digital camera system (HDW-F900), the first RGB recording system (HDC-F950 and SRW-1) and the Super 35mm image sensor camera (F35).

    CineAlta raised the standard of motion picture production with cutting-edge digital imaging technology, greatly contributing to 3D, 4K, HDR; and will continue to innovate in the future.

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  • 23 Replies sorted by
  • If they're still in business.

  • Not that I'm not super excited to go full frame cinema- but this kind of will make lenses even bigger than they are now.

    Full Frame will also probably allow 8k to be realised with current tech, much larger pixels than equivalent on s35.

  • @alcomposer

    Yes, 8K seems like organic fit.

  • Back to the future: so, does this make the 2012 Sony NEXVG900 the official first of the next gen full-frame CineAlta... five years too early?

  • I don't know why Sony isn't just skipping full frame and going straight to medium format. That would make it much easier to build larger photo-sensors.

    Plus they could introduce another mount that would cause even more market fragmentation.

    Obviously Medium Format will become the next battle ground after Full Frame is standard.

    Possibly Fujifilm will jump at this chance?

  • Finally announcement date

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  • @bannedindv

    Do you plan to attend?

  • Yes - hope to. Taking care of a newborn family member so may or may not be able to make it

  • PR

    Basingstoke – 6 September 2017: Sony Professional Solutions Europe is unveiling VENICE – its first full-frame digital motion picture camera system. VENICE is the next generation of Sony’s CineAlta camera system, designed to expand the filmmaker’s creative freedom through large-format, full frame image capture of filmic imagery with natural skin tones and expressive dark areas. VENICE was designed through close collaboration and careful research with the creative community, fulfilling the various requirements from filmmakers and production professionals.

    VENICE is officially unveiled globally on 6th September with events in Europe at Sony’s Digital Motion Picture Centre at Pinewood Studios with renowned cinematographer Ed Wild B.S.C., and in the USA at the Cary Grant Theater, Sony Pictures Studios. At both events Sony will also screen footage produced with the new camera, directed by Joseph Kosinski and shot by Academy Award winning cinematographer Claudio Miranda, ASC.

    “The launch of VENICE demonstrates our strong relationship with filmmakers around the world, and our commitment to developing tools that support directors, DOPs and cinematographers in bringing their vision to the screen as they originally intended it,” said Sebastian Leske, Product Marketing Manager, Cinematography, Sony Professional Solutions Europe. “We’ve not only focused on features to deliver the most true to life images, including colour reproduction for natural skin tones. We also thought about the best usability and operability, without compromising on quality. We’re looking forward to seeing how VENICE will be used to create Emotion in Every Frame.”

    Full frame sensor and wide range of lens compatibility to visualize the image of filmmakers

    The camera combines a newly developed 36x24mm full-frame sensor and compatibility with a wide range of lenses, including anamorphic, Super 35mm and full-frame PL mount for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to handle E-mount lenses for shooting situations that require smaller, lighter, wider and more characteristic lenses. User-selectable areas of the image sensor allow shooting in Super 35 mm 4 – perf. Future firmware upgrades are planned to allow the camera to handle 36mm wide 6K resolution. Fast image scan technology minimizes the so-called “Jello” effect.

    New color management system and established workflow for flexible post-production

    A new color management system and wide color gamut gives users more control and greater freedom to work with images during grading and post-production. VENICE also has more than 15 stops of latitude to handle challenging lighting situations from low-light to harsh sunlight.

    VENICE achieves high quality and efficient file-based production through Sony’s established 16-bit RAW/X-OCN and XAVC workflows using the portable memory recorder AXS-R7. VENICE is also compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).

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    Intuitive design and refined functionality to support smooth on-site operation

    VENICE has a fully modular and intuitive design with refined functionality to support smooth and efficient on-site operation. It is the film industry’s first camera with a built-in 8-stage glass ND filter system, enabling to reduce the replacement work of the external ND filter and make shooting progress efficient. The camera is designed for easy operation with an intuitive control panel placed on the left and right sides of the cameras. A 24 V power supply input/output and Lemo connector allow use of many standard camera accessories and make use in harsh environments easier.

    License options for individual production requirements

    With VENICE, Sony is giving users the option to customize their camera by enabling the features needed, matched to their individual production requirements. Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities with new features including 4K anamorphic and full frame, each sold separately.

    The VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018.

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  • License options for individual production requirements

    With VENICE, Sony is giving users the option to customize their camera by enabling the features needed, matched to their individual production requirements. Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities with new features including 4K anamorphic and full frame, each sold separately.

    Absolutely mad at this, as capitalist restricts tool to get profits. Crime against humanity.

  • Well, it's definitely an improvement... I used to be a Sony fan girl back in the day of 3 chip cameras, owned a PD150 and DSR500 - shot with a F900 and loved them all, and then they got lost in the wilderness with bad single sensor technology... looks like they're finding their way back. I don't hate the skin tones like I do with the other F series cams, so there's that... but not in love with it over say an Alexa.

  • Looks like they are pricing it with the Alexa mini , lets see if its close or better in image to the mini (I doubt it )

  • I am laughing that Sony launched a camcorder with FF 24MP sensor in 2012 (though with crippled HD codec), and now they announce a pro FF CineAlta version shipping 2018 claiming it a first...

    But alas, codecs aside, buying a camera that CHARGES YOU "RENTAL FEES" (aka licensing fees) to unlock it's capabilities? It has to be an AI meets Adobe Cloud concept brewed in CEO land... This is really a rental camera friends...

    looking forward, this should really be a native "8K" 32MP FF sensor, but I assume that's what the upgradable sensor block and codec licensing nonsense is all about...

    How about the industry release a "connected" 8K camera which bitcoin mines when we are not actively shooting, and refund us portion of purchase price and licensing when we shoot in 4K or below? hahaha...

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  • "The Dig" - short film shot by Claudio Miranda,ASC

    Looks fantastic. Compelling camera and film. A hint of what may come in the future

    https://www.dropbox.com/s/kamaj8er4rl6hxm/The%20dig%20shot%20on%20Sony%20Venice%20-%20hacked.mp4?dl=0

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    It should be notes that FF modes requires additional license :-)

    For actually it is APS-C camera originally :-)

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  • More videos

  • ...even More videos

    higher res Dig:

  • I got a chance to watch The Dig at the Los Angeles unveiling on Sony Studio's theater, and it looked fantastic there as well as their HDR monitors on the next stage where we got to handle the Venice. They have a real winner here, and as someone who works around ARRI Alexas, REDs, Sony F55s, and a few Blackmagic all day, I can't wait to see more from Venice.

    That being said, I don't think Departure is that good at all. Just shows that you still need a great story, excellent director, and talented DP + Crew for any camera you have.

  • One of Japanese sensor blogs spotted one thing.

    In Venice making of video you can briefly see sensor and it happens to be 1:1 same to Sony A9 sensor

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    As the complexity rise unification also happens across products.

    LSI can be different, of course, but can be even same with bigger memory and better cooling.

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