Sony VENICE 2 with 6K Image Sensor - Body Only
Sony
£49,308.43
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£41,090.36
(Ex. VAT)
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Sony
Sony VENICE 2 with 6K Image Sensor - Body Only
Sony VENICE 2 with 6K Image Sensor - Body Only
The history of digital motion picture camera technology started in 1999, when Sony released the first 24p digital motion picture production system. In 2006, we unveiled the world’s first 4K digital cinema projection system, influencing and increasing demand for high-quality digital content in 4K. Then we introduced the F65, F55 and F5 motion picture camera systems, which have been used on many productions and supported by many users from the cinema industry worldwide.
Then, in 2017, Sony introduced a next-generation motion picture camera system, focused on large format production: the VENICE. Working with extensive and detailed input from the film industry, we designed VENICE to give cinematographers more creative freedom. A 6K image sensor offered incredible detail and colors. Dual-base ISO drove remarkable low-light performance. An 8-step internal ND filter mechanism saved precious time on set.
Now, VENICE 2 builds on this success, with new capabilities in a familiar, compact body.
At Sony, our mission remains the same: to satisfy the everincreasing demands of creative minds. We are committed to further elevating image quality and improving the visual experience so that filmmaker and audience can feel emotion in every frame.
This is why the CineAlta logo symbolizes ’infinity’. We believe in the unlimited creative possibility and the endless pursuit of perfecting technology.
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 color 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. Both offer powerful oversampling for incredible 4K images.
Creative Freedom
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. Full- Frame can be used creatively in several ways – for example, 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.
Phenomenal Dynamic Range
VENICE 2’s 8K sensor has an exceptional 16 stops of dynamic range, while the 6K sensor boasts 15+ stops of latitude. This means that both imagers can deliver phenomenal images with very 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 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 6 stops over to 9 stops under 18% Middle Gray, for a total of 15+ stops.
More Colors for More Expression
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 8K and 6K sensors match colors 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 4K 4:3 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.
Fast Shutter
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.
| General | |
| Power Requirements | DC12 V (11.0 to 17.0 V) |
| DC24 V (22.0 to 32.0 V) | |
| Power Consumption (Condition: 12 V DC Input, Temp 25 °C, without accessories) | Approx. 73 W (When recording X-OCN XT, 6K 3:2, 24FPS) |
| Operating Temperature | 0 to 40 °C |
| Storage Temperature | -20 °C to 60 °C |
| Mass (without lens, handle, VF attachment and accessories) | Approx: 4.2 kg (9 lb 4.2 oz) |
| Dimensions | 152 x 158 x 250 mm (WxHxD, excluding protrusions) |
| Camera | |
| Imaging Device | 35 mm full size, single-chip CMOS imager sensor |
| Imaging Device Pixel Count | 50.0M (Total) 24.8M (Total) |
| 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) |
| ISO Sensitivity | ISO500, ISO2500 (Dual Base ISO) |
| Lens Mount | PL Mount |
| E-mount (lever lock type, without supplied PL lens mount adaptor) | |
| Latitude | 15+ Stop |
| Select FPS | 4K 2.39:1 1-12-FPS, 4K 17:9/3.8K 16:9 1-110FPS |
| 4K 4:3 1-75FPS**, 4K 6:5 1-72FPS** | |
| 6K 2.39:1 1-90FPS***, 6K 17:9/6K 1.85:1/ | |
| 5.7K 16:9 1-72FPS*** | |
| 6K 3:2 1-60FPS*** | |
| Recording | |
| Recording Format (X-OCN) | X-OCN XT/ST/LT: |
| 6K 3:2 (6048 x 4032): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 6K 2.39:1 (6048 x 2534): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 6K 1.85:1 (6054 x 3272): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 6K 17:9 (6054 x 3192): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 5.7K 16:9 (5674 x 3192): 23.98p, 24p, 25p, 29.97p, | |
| 50p, 59.94p | |
| 4K 6:5 (4096 x 3432): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 4K 4:3 (4096 x 3024): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 4K 2.39:1 (4096 x 1716): 23.98p, 24p, 25p, 29.97p, | |
| 47.95p, 50p, 59.94p | |
| 3.8K 16:9 (3840 x 2160): 23.98p, 24p, 25p, 29.97p, | |
| 50p, 59.94p | |
| Recording Format (ProRes) | ProRes 4444/ProRes 422 HQ |
| 4K (4096x2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p | |
| QFHD (3160x2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p | |
| Recording Format (Audio) | LPCM 4ch, 24-bit 48-kHz |
| Inputs/Outputs | |
| DC Input | XLR-type 4 pin (male) |
| Battery DC Input | Square-shaped 5 pin connector |
| DC Output | 12 V: Lemo 2 pin x1 |
| 24 V: Fischer 3 pin x2 | |
| SDI Output | BNC x4, (12G, 6G, 3G, 1.5G-SDI) |
| HD MONI Output | BNC x1 (3G, 1.5G-SDI) |
| HDMI Output | Type A x1 |
| VF | LEMO 26 pin |
| Audio Input | XLR-type 5 pin (female) x1 (LINE/AES/EBU/MIC/MIC+48 V selectable) |
| Internal mic x1 | |
| Timecode Input | BNC x1 |
| Genlock Input | BNC x1 |
| AUX | BNC x1 (Timecode Output) |
| Remote | 8 pin x1 |
| Lens | 12 pin x1 |
| Lens Mount Hot Shoe | 4 pin x2, supporting Cooke /i Intelligent Electronic Lens System and ZEISS eXtended Data |
| Network | RJ-45 type x1, 10BASE-T, 100BASE-TX |
| External device connector | USB host, type-A x1 |
| Headphone Output | Stereo mini jack x1 |
| Speaker | Output Monoral |
| Media type | AXS Memory A-Series slot x2 |
| SD card slot x1 | |
| Notes | * X-OCN XT is not supported |
| ** CBKZ-3620A/AM/AW is required | |
| *** CBKZ-3620F/FM/FW is required |
