Featuring an impressive 16-stop dynamic range, internal recording onto a high-speed ASX card, internal recording formats up to ProRes 4K 4444 and 422, and an interchangeable sensor with updated usability and body design, the 8K Sony VENICE 2 Digital Motion Picture Camera is a step up for DPs, camera assistants, colorists, VR, and VFX departments thanks to its high-resolution capture and filmlike imagery.
The 8.6K VENICE 2 can shoot and record 8.6K footage at 30 fps and 8.2K in either 17:9 or 16:9 at up to 60 fps. Its sensor raises the camera’s dual-range base ISO to an impressive 800/3200 for cleaner images in a variety of situations. The 8.6K sensor can be swapped with the 6K sensor from the original VENICE to allow for higher frame recording with the original camera. As with the original VENICE, the VENICE 2 comes with a removable PL Mount that supports the Cooke /i Technology lens metadata protocols, allowing you to work with cinema-style glass ranging from vintage to modern. Remove the PL Mount to reveal a Sony E-Mount, to accept native E-mount lenses. Eight integrated and motorized ND filters range from clear to eight stops of ND in one-stop increments.
The VENICE 2 with an 8.6K sensor features a dual-range ISO setting with 800 and 3200 base settings while sharing the same color science as the original 6K sensor. The new 8.6K sensor improves on the original sensor, providing more flexibility in the image for post-production work while still intercutting well with the 6K sensor. The 6K sensor block (not included) can be swapped into the VENICE 2 in the field, avoiding a trip to a service facility. This can be useful for capturing higher frame rates.
Please note, though you can use the 6K sensor from the original VENICE in a VENICE 2, you cannot put the 8.6K VENICE 2 sensor into the original VENICE camera. Swapping sensor blocks is not a permanent change, as you can swap back and forth. No software or firmware changes are required when swapping sensors, as the camera recognizes the different sensor blocks and automatically adjusts. The sensor supports oversampling from 8.6 to 4K, or you can window in the camera to output 4K.
- Zoom to Fit Monitoring crops the viewing outputs (VF/SDI/HDMI) to the desired aspect ratio while recording the full frame of the sensor for VFX and potential post-production reframing
- Apply LUTs to your 4K or HD (6G/1.5G-SDI) output
- LUT/ART/CDL file import via Ethernet/Wi-Fi
- ASC-CDL values control via Ethernet/Wi-Fi allows you to have LUT and CDL values applied by the camera using either an Ethernet cable or Wi-Fi via a connected computer using a GUI; CDL values are now embedded in clip metadata
- VENICE 2 supports control from an RM/RCP panel that can be used with broadcast camcorders and system cameras. When connected, ITU-R Rec. 2020 color space and HLG are selectable, and adjustment of various paint parameters is supported
- The camera features a built-in assistant-side info screen, along with a smaller basic info display screen on the operator side of the camera
- Imager modes: 5.8K 17:9 and 5.4K 16:9 (no license required) / 5.8K 6:5 (needs Anamorphic License) / 7.6K 16:9, 8.2K 17:9, and 8.6K 3:2 (need Full-Frame License)
- Support for the X-OCN XT recording format
- De-squeeze ratios: 1.25x, 1.3x, 1.5x, and 1.8x
- Cache rec function
- AXS Relay rec function
- Simultaneous format
- Support for 6G/12G output SDI
- Improved imaging assist function
- Support for CBK-WA02 Wireless LAN Adapter
- Improved VF menu operations and Frame Line setting
- Support for CDL files
- 5.7K at 16:9 up to 72 fps
- 4K at 6:5 up to 72 fps
- 3.8K at 16:9 up to 110 fps
- 3D LUT viewable in the viewfinder
- ART (Advanced Rendering Transform) file imports
- Updated switching for SDI 1-4 3G-SDI level A/B
- Addition of second user frame line of 9:16 and 1:1 preset
- Record beep and alarm volume adjust
- Ability to maintain CamID+Reel# when loading ALL file
- Displaying of Genlock and TC lock status on OSD
- Setting of de-squeeze on/off via the USER button
- Updated RCP Call function
- Record gyro information in metadata
- Support for ZEISS eXtended Data from FUJINON Premista-series lenses
These popular imager sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in 17:9 or 16:9 in Super 35mm mode, which allows you to use Super 35mm PL mount lenses.Built-In ND Filters
- The servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis offers a massive ND range from Clear (no ND) and 0.3 (1/2 = 1 stop) to 2.4 (1/256 = 8 stops). The servo control also greatly increases VENICE’s flexibility when being controlled remotely on drones, cranes, or in an underwater housing.
- Color Gamut
- The VENICE 2 can exceed the BT.2020 color space, with a color range wider than DCI-P3. This means it can beautifully reproduce the true color 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 color space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colors almost perfectly, making your grading experience even better.
- Dual-Base ISO Sensor
- The 8.6K VENICE features dual-base ISO, which offers Base ISO3200 in addition to Base ISO800. The High Base ISO3200 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.
- No Jello Effect
- The high-speed readout of the VENICE 2 sensor minimizes the Jello effect typical with CMOS sensors.
- PL Mount
- The VENICE 2 comes with the industry-standard PL lens mount. It is compatible with all Super35 and full-frame PL lenses, spherical and anamorphic. The removable lens mount includes contacts that support Cooke /i Technology. The camera’s lens information is recorded as metadata frame by frame.
- Removing the PL Mount exposes the camera’s E-Mount, which allows compatibility with E-Mount lenses. This E-Mount is designed with a lever lock that eliminates the need to rotate your lens when mounting, and the lever lock secures the lens in the mount, minimizing play. Rotating of the locking collar means that in most cases, lens support rigs don’t need to be removed, which saves time during production.