Paired with a 6K (6048 x 4032) full-frame CMOS image sensor, the Sony Venice 2 with 6K Sensor offers excellent image quality with 15+ stops of total latitude to capture beautiful images with excellent colour separation and shadow detail. The camera also inherits its colour science from the original VENICE, which is highly regarded for its natural skin tones. VENICE 2 is a cinema camera created by and for the cinematographer.

Key Features:

Dual Base ISO

VENICE 2 features dual base ISO, meaning that the 6K sensor has Base ISO500 and Base ISO2500. High Base ISO 2500 offers an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15+ stops.

Interchangeable Image Sensors​

VENICE 2 allows you to easily remove and replace the image sensor, swapping between the original 6K image sensor and the new 8.6K as required. This also means the 6K sensor can be swapped between VENICE and original VENICE 2.​

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 camera also 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 6K and 8K 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 4K 4:3 and 72fps at 4K 6:5.

Fast Shutter

Jello effect is something we don’t need when filming. VENICE 2 has high speed readout sensors which minimizes the jello effect that are typical with CMOS sensors.

Forward Development

Sony is committed to extending the capability of VENICE 2 with powerful system upgrades based on ongoing discussions with filmmakers.

Full-Frame Full Width 36 mm 6K

In full-frame, you can use the full width of the sensor (6048 pixels) for widescreen spherical 2.39:1 or Large Format Scope. Full-Frame can be used creatively in a number of 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.

Anamorphic Look

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 6K sensor can shoot both 6:5 and 4:3 at 4K.

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.

Internal 16-bit X-OCN and 4K ProRes Recording in a Compact Body​ ​

New for VENICE 2, cinematographers and colorists can unlock the incredible creative possibilities of 16-bit X-OCN recording, without an external recorder. Users can enjoy the full dynamic range and color reproduction of the image sensor, capturing in 4K ProRes 4444 and 422 HQ. With such a compact design, and no external recorder, set-up is faster, simpler and easier, particularly for gimbals, Steadicams and drones.

Ethernet and WiFi Control

Using WiFi or an Ethernet connection, LUTs, CDLs and ART files can all be imported directly onto cameras, so there’s no need to physically upload them using SD cards. CDLs can then be controlled and adjusted via a web interface and embedded in clip metadata.​

Paint Control from RM/RCP Units

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 colour space and HLG are selectable and adjustment of various paint parameters is supported.

Zoom to Fit for Monitoring

Full-frame 3:2 recording used to mean that users could not see their image without black bars at the sides of their monitors. Our Zoom to Fit function allows VENICE 2 to record in Full-frame 3:2 and deliver a 17:9/16:9 monitor output simultaneously, so directors, cinematographers and crew have a bigger picture for on-set monitoring.

4K LUTs for Monitors

For those who want to see on-set images that are closer to the final look of their project, VENICE 2 can apply 4K or HD LUTs to its monitor output. HD output also benefits from improved LUT processing, with richer images and colour gradation.

Technicolor Look Collection

The Look Collection for VENICE allows anyone to add the artistry and experience of Technicolor colorists to their VENICE productions. Free downloads of LUT (Look Up Table) files can be used for on-set monitoring, as well as be applied in post-production. Also included are .ART files, Sony’s new proprietary file format, which offers enhanced performance compared to 3D LUTs.

Powerful Tools for Colour Management and On-Set Workflow

The RAW Viewer are free software downloads for colour grading and transcoding capabilities that work in close alignment with third-party colour grading applications and also with non-linear editing systems. *6K support available now, support for 8K will be available in February 2022.

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.

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.

Engineered to Survive

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.

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 most cases lens support rigs don’t need to be removed, saves time during a production.

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 by frame. We have also added support for ZEISS eXtended Data.