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Sony New CineAlta Venice
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  • Real beast!

    And nice to see Dual ISO.

  • Actually, there's no Dual ISO for the Venice. Its native is 500. Panasonic Varicams are the one with the dual ISO (800+5000)

  • @fotosiamo

    Now, continuing its approach of incorporating customer feedback into the camera's development, Sony is announcing several new capabilities including a "Dual Base ISO" mode. With 15+ stops of exposure latitude, VENICE will support an additional High Base ISO of 2500 utilizing the sensor's unique physical attributes.

    Check previous PR.

  • Oh you're right! I didn't even know there's a new Venice or announcement. Easy to lose that amidst through Alexa LF news =P

  • If they're still in business.

    Sony is crushing it in the mid range (FS7) and the low end (a7 series).

    And have a long and rich history on the high end (F35 etc).

    They're not going away anywhere soon.

    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.

    For three reasons:

    Lenses. Lenses. Lenses.

    Possibly Fujifilm will jump at this chance?

    Nope. But because Fujifilm has released those cinema lenses, you might want to hold your breath for a S35 cinema camera from them using their mirrorless X mount??

  • Yup, totally agree with all your comments Iron Film.

    The smart thing with the E-mount is that now Sony can also come out with an E-mount to Arri LPL adapter for the Venice and down. You can bet all your gear that the LPL will become a new cinema lens standard

  • @IronFilm yeah, Sony is cleaning up, the sensors are everywhere and there's some top quality products in every niche.

  • @MikeLinn Thanks for posting, I happened to hear Claudio Miranda speak today. He covered each of his films for 5-10 minutes. I had no idea that "THE DIG" was a Sony commercial :-) He mentioned they shot it in 2.66 and meant to crop it o 2.35, but, he liked the look so much he convinced the director, 2.66 was an acceptable format.

    He seemed like a bit a strange guy and a bit of a genius.

  • Working on a shoot tomorrow with the Venice! :-D

  • my first thought when I saw the footage of Venice in Venice: it could have also been done with a FS5 + Inferno or even a GH5/Gh5s. And the skin tone of the "real world test" looked of too much carots for diner

  • @peaceonearth

    You can look at camera as advanced light measurement device.

    So, yes, camera fans can sometimes resemble guys who argue that their voltage reading is better, because while number is the same screen and protection of multimeter are certainly better :-)

  • Crazy how this month marks a whole year since VENICE was announced! Guess it took a while for the camera to be developed, rolled out , and to gain growing acceptance.

    Was announced at IBC that Venice got a firmware update with a THIRTY SECOND pre-record feature! :-o

  • Sony will be upgrading the capabilities of its next-generation motion picture camera system, VENICE, by introducing High Frame Rate (HFR) shooting, advanced remote-control functionalities and Cooke/i3 and Zeiss extended metadata support, as part of its latest firmware update. Following the recent release of VENICE's firmware Version 3.0 and the upcoming launch of its Extension System (CBK-3610XS), which was developed in collaboration with James Cameron's Lightstorm Entertainment and is currently being used to shoot the AVATAR sequels, the latest upgrade will offer filmmakers even greater creative freedom, flexibility and choice.

    The new optional High Frame Rate license allows VENICE to shoot at speeds of up to 120fps at 4K 2.39:1, and 60fps at 6K 3:2 as well as up to 110fps at 4K 17:9 and 75fps at 4K 4:3 with anamorphic lenses. The new additional frame rates are particularly well-suited for drama, movie and commercial productions in 4K and 6K, as well as productions at 50/60p in 6K and VR productions using large viewing angle of 6K 3:2 in 60p.

    All High Frame Rates support X-OCN recording including X-OCN XT* implemented from Ver.3.0 and High Frame Rate up to 60fps support XAVC 4K and ProRes recording.

    "At Sony, we pride ourselves on working closely with our customers and partners to create solutions that enable modern filmmakers to bring their vision to reality just the way they intend to. In fact, High Frame Rate shooting was a feature that was frequently requested by our customers. We listened to their feedback and are excited to now offer this feature to all new and existing VENICE users," explained Theresa Alesso, Vice President and Head of CineAlta for Sony Electronics. "Last year at Cine Gear Expo, we announced that Version 4.0 will include 120fps in 2K. However, we are excited to announce today that, as a result of the hard work of our engineering team, Version 4.0 will now include 120fps in 4K. With firmware Version 4.0, our state-of-the-art VENICE will become even more powerful, fortifying its position as the go-to solution for cinematographers who want to create stunning imagery and capture emotion in every frame."Additionally, Version 4.0 of the VENICE firmware will introduce:

    • 700 Protocol - A control protocol developed by Sony to connect VENICE to a remote-control unit (RM-B750 or RM-B170) and an RCP-1500 series remote control panel, giving filmmakers greater flexibility in bringing their visions to life. Further expanding on the camera's existing remote-control capabilities, the VENICE now offers paint control, iris control, recording start/stop, clip control, and more. The upgraded remote-control function also adds new workflows to extend VENICE's use in multi-camera and live production settings, such as live concerts and fashion shows.
    • Support for Cooke's third generation metadata Technology, /i3 and ZEISS eXtended Data technology (based on Cooke Technology) -- Extended lens metadata can now be embedded straight into a RAW/X-OCN/XAVC file and HD-SDI output without the need for additional metadata equipment. The new function allows distortion and shading caused by supported lenses to be easily rectified, significantly reducing post-production costs.

    Further features include an extended Mask+Line setting in the Frame line set-up, selectable functions for the assignable buttons of the DVF-EL200 viewfinder and pure Progressive HD-SDI output in 25p and 29p.

    Both the free upgrade to firmware Version 4.0 and the optional HFR license will be available in June 2019.

    To learn more about VENICE, please join Sony at BSC Expo 2019 in Battersea Evolution, Battersea, London at stand 545 or visit

    *Excluding 6K 3:2 50p/60p

  • New software

    Designed exclusively for high-end cinematography, VENICE continues to deliver not only exceptional images, but also complete flexibility, creative freedom and its established workflow to match filmmaker's shooting requirements. Newly released version 3.0 software added two new imager modes: 5.7K 16:9 and 6K (full-width) 2.39:1, as well as X-OCN XT and Cache REC. Version 3.0 software also enables the use of Sony's new portable and lightweight CBK-3610XS Extension System, which allows for cabled separation between the VENICE camera body and image sensor block.In addition, Version 4.0 firmware was recently announced, which adds High Frame Rate (HFR) shooting of 4K 120fps and 6K 60fps with an optional license. Version 4.0 firmware is planned to be available in June. VENICE has been used for principal photography for Sony Pictures' "Bad Boys for Life" and "Peter Rabbit 2" releasing in 2020.

  • Cinegear PR

    Sony Announces Version 5.0 Firmware for the Sony VENICE camera with advanced HFR capabilities up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9, HD ProRes 4444 and more. The announcement was made at the grand opening of Sony's Digital Media Production Center (DMPC) in Los Angeles. The DPMC is the industry's most complete capture to display facility.

    HOLLYWOOD, CA -- May 30, 2019 -- At the grand opening of Sony's Digital Media Production Center (DMPC), the industry's most complete capture to display facility, Sony Electronics is connecting users and creators to deliver the artists' intent by driving hands-on experiences with the latest technology in Cinema. The DMPC in Hollywood is the flagship of several such facilities around the world, and is designed to be a resource for cinematographers, photographers, and anyone involved in image making. The venue* will host a press conference tonight revealing technology advancements with its VENICE full-frame digital motion picture camera. VENICE will receive additional High Frame Rate (HFR) capabilities and added workflow flexibility with a new Version 5.0 firmware update planned for January 2020.

    Following the Version 4.0 firmware release this June, which includes an HFR license to support 120fps at 4K 2.39:1, 110fps at 4K 17:9, 75fps at 4K 4:3 and 60fps at 6K 3:2, VENICE's Version 5.0 update will further enable cinematographers to shoot at speeds of up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9/1.85:1. This addition enables VENICE to capture three times slow motion at 24p, even in 6K. Cinematographers can utilize the same camera across multiple speeds, maintaining the full-frame shallow depth of field, as well as the high picture quality of oversampling in 6K.

    "Through an ongoing dialogue with cinematographers, we have continued to evolve VENICE to meet the needs of top talent," said Neal Manowitz, deputy president for Imaging Product and Solutions Americas at Sony Electronics. "To date, more than 100 features and episodic productions have been shot on VENICE. The new Version 5.0 firmware will allow the camera to be even more flexible, ultimately increasing its benefit and versatility to all cinematographers."

    Notable projects shot on VENICE include this summer's action thriller from STXfilms "21 Bridges" (DoP Paul Cameron, ASC), Sony Pictures' "Bad Boys for Life" (DoP Robrecht Heyvaert) and the Johnny Depp drama "Minamata" (DoP Benoît Delhomme).

    VENICE Version 5.0 Firmware

    Version 5.0 also offer various features to achieve enhanced shooting usability and efficient production workflow. Highlights include:

    • HFR Capabilities -- Up to 90fps at 6K 2.39:1 and 72fps at 6K 17:9.\
    • Apple ProRes 4444 -- Record HD videos in high picture quality with SxS PRO+, without Sony's AXS-R7 recorder; this is especially effective for HD VFX workflow\
    • 180 Degree Rotation Monitor Out -- Flip & flop images via viewfinder and SDI\
    • High Resolution Magnification via HD Monitor Out -- Existing advanced viewfinder technology for clearer magnification is now extended to HD Monitor Out\
    • Improved User Marker Settings -- Menu updates for easier selection of frame lines on viewfinder

    Commitments to Best Imaging & Workflow Practices

    In addition, regardless of VENICE firmware version, Sony has announced a new commitment with a key industry organization dedicated to achieving the highest quality image and preserving the filmmaker's creative intent:

    • ACES Support - VENICE has joined Sony's F65, F55 and F5 in earning the ACES logo, meeting the specifications laid out in the ACES Product Partner Logo Program; with a newly available IDT and properly configured ACES color managed workflow, VENICE ensures a consistent color experience that preserves the filmmaker's creative vision

    Cine Gear Expo

    To see VENICE in person, including the Version 4.0 HFR capabilities and the popular VENICE Extension System, visit Sony at booth #S101 in Stage 6 of Cine Gear Expo at Paramount Studios.

    Additionally, Sony will present the following screenings and seminars during Cine Gear Expo:

    Free Screening of the Netflix feature Wine Country, which was Shot on VENICE

    Friday, May 31 | 7:00pm | Paramount Theater

    In honor of Rebecca (Rachel Dratch)'s 50th birthday, Abby (Amy Poehler) plans a scenic Napa getaway with their best, longtime friends. Workaholic Catherine (Ana Gasteyer), post-op Val (Paula Pell), homebody Jenny (Emily Spivey), and weary mom Naomi (Maya Rudolph) are equally sold on the chance to relax and reconnect. Yet as the alcohol flows, real world uncertainties intrude on the punchlines and gossip, and the women begin questioning their friendships and futures. A hilarious and heartfelt comedy directed by Poehler, Wine Country co-stars Tina Fey, Jason Schwartzman and Cherry Jones.

    6K Imaging with a Powerfully Small Camera Package

    Friday, May 31 | 4:30pm | Sherry Lansing Theater

    DIT Arthur To (The Revenant, Live by Night, End of Watch) is no stranger to harsh production environments. When it came time to shoot a documentary about a humanitarian program in Iraq, he chose Sony's VENICE camera to handle the demanding needs of a war-zone situation. Hear how to pair a Sony Alpha 7R III and Sony's G-Master lenses with VENICE's time-saving features to craft a nimble approach that maximized his creative freedom. Moderated by Debra Kaufman, frequent contributor to ETCentric.

    Get the Best Image Quality with the Fastest Turnaround

    Saturday, June 1 | 10:15am | Screening Room #5

    Cinematographer Alister Chapman will give a practical, live demo of just how easy it is to work with the amazing data available in the 16 bit X-OCN files of Sony's VENICE camera. Chapman will then examine the many other ways VENICE provides efficient solutions for creating great images, including the internal ND filter system, using different LUTs for monitoring and exposure checking in addition to adding your creative look to the camera's output, and the ease of swapping lens mounts or detaching the imaging block to utilize the VENICE Extension System.

    Crafting the Look of Guilty Pleasure TV

    Saturday, June 1 | 11:30am | Screening Room #5

    Join DP Star Berry, 1st AC Colin Duran and DIT Eric Henson for a case study of their work on the CW series Dynasty. Moderated by Jay Holben -- producer, director and frequent contributing writer for cinematography publications.

    Mixing Cameras in Documentary Production

    Saturday, June 1 | 2:45pm | Sherry Lansing Theater

    In documentary filming, where you need to capture every single moment with the maximum excitement, there are often situations when a single camera cannot cover the best shot. Using examples from a production chasing thrill-seeking paragliders, award-winning cinematographer Robert William Scribner will share the ease of matching several different cameras in post-production using an S-Log workflow. See how a variety of Sony cameras --- including FS7 II, FS5 II, Alpha 7R III and RX0 II --- were utilized in this high-altitude adventure shoot.

    About the Sony Digital Media Production Center

    The DMPC features a professional production stage for cinema camera and lens testing, along with a workflow suite for ingest and grading, and a viewing room with both 4K projection and Sony's Crystal LED (CLED) display. At more than 23 feet wide, the CLED display has an aspect ratio of 2:66:1, ideal for 6K anamorphic VENICE content. New to the relaunched DMPC is a photo studio for hands-on classes with Sony's Alpha cameras and E-Mount lenses, and a Sony Pro Support service center.