VENICE is a cinema camera created by and for the cinematographer. It’s equipped with a newly developed full-frame image sensor meeting the needs of the film industry in pushing the boundaries of large format image capture with exceptional picture quality.
The history of Digital motion picture camera technology started in 1999 when Sony released the first 24p digital motion picture production system. In 2006, Sony released the world’s first 4K digital cinema projection system which influenced and increased demand for high-quality digital content in 4K resolution. Following, Sony introduced the F65, F55 and F5 motion picture camera systems, all of which have been used on a significant amount of productions, and supported by many users from the cinema industry worldwide.
Now, Sony proudly introduces the next generation motion picture camera system, forward thinking to large format production, the VENICE.
VENICE features a newly developed full-frame image sensor. This camera has been created based on significant feedback from film industry professionals.
Regardless of any changes in technology or economy, our mission remains the same: to satisfy the ever-increasing demands of creative minds. Sony is committed to further elevating image quality and improving the visual experience so that filmmaker and audience can feel emotion in every frame.
With this in mind, the CineAlta logo symbolizes ’infinity’, which can also be thought of as ‘unlimited creative possibility’ and ‘endless pursuit of perfecting technology’.
36x24mm Full-Frame sensor for cinema
VENICE is equipped with a 36x24mm full-frame image sensor, designed specifically for the demands and performance of high end cinematography, and can capture images up to a maximum resolution of 6048 x 4032*. By switching imager modes, VENICE can natively support Super35 24.9×18.7mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.9×14.0mm 4096 x 2160 resolution (equivalent to 3-perforation motion picture film). In other words, VENICE’s new full-frame sensor can capture in almost any format, including full 18mm-height Super35 anamorphic and spherical and full-frame 24mm-height anamorphic and spherical*. Almost any aspect ratio can be conjured up: 1.85:1, 2.39:1, 17:9, the list goes on in full-frame* or Super35.
With VENICE, Sony is giving users the option to customise their camera by only enabling the features needed, according to their individual production requirements. Licenses will be available to expand the camera’s capabilities with new features including 4K anamorphic and full-frame*.
Full-Frame Full width 36 mm 6K*
In full-frame, you can use the full 6048 pixel width of the sensor 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.
*Firmware update required except for Full Frame 6K 3:2 mode.
Super35 full height 2x 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 are natively supported by VENICE. Current Super35mm PL mount lenses can be used.
VENICE has high speed readout sensor which minimises the jello effect that are typical in the CMOS sensors.
VENICE has an exceptional 15+ stops of latitude, with low noise for extraordinary performance in delivering phenomenal images in conditions from searing sunlight to almost no light. VENICE’s real-world performance also excels at High Dynamic Range imaging and allows unprecedented creative freedom in grading.
More colours for more expression
VENICE can exceed Rec. 2020 colour space. This means the colour range is wider than DCI-P3 and can beautifully reproduce the true colour of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony’s third-generation LOG gamma encoding (S-Log3), and ultra-wide colour space.
0 ～ 40℃
Approx. 3.9kg (8lb 10oz) (without lens, handle, VF attachment expansion bottom plate and accessories)
133 x 159 x 172 mm (without protrusion)
Imaging Device Pixel Count
24.7M (total), 24.4M (effective)
Imaging Device Size
36.2×24.1mm. 43.5mm (diagonal)
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)
E-mount (lever lock type, without supplied PL lens mount adaptor)
Select FPS*Imager mode:
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
2000~15000Kelvin and Green/Magenta adjust, AWB*
Recording Format (Video)
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(1920×1080): 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
Recording Format (RAW/X-OCN) *required AXS-R7RAW SQ:
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 25p, 29.97p, 50p, 59.94p
6K 3:2(6048 x 4032)*: 23.98p, 24p,
6K 2.39:1 (6048 x 2530)*: 23.98p, 24p, 25p, 29.97p
6K 1.85:1 (6048 x 3270)*: 23.98p, 24p, 25p, 29.97p
6K 17:9 (6048 x 3190)*: 23.98p, 24p, 25p, 29.97p
5.7K 16:9 (5672 x 3190)*: 23.98p, 25p, 29.97p
4K 6:5(4096×3432)*:23.98p, 24p, 25p, 29.97p
4K 4:3(4096×3024) :23.98p, 24p, 25p*, 29.97p*
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
Recording Format (Audio)
LPCM 4ch , 24-bit 48-kHz
DC InputXLR-type 4pin (male)
Battery DC Input
Square-shaped 5pin connector
12V: Hirose 4pin x1
24V: Fischer 3pin x2
BNC×4, (12G, 3G, 1.5G-SDI)
HD MONI OutputBNCx1 (1.5G-SDI)
Type A ×1
XLR-type 5pin (female) x1 (LINE/ AES/EBU / MIC / MIC+48V selectable)
SD card slot ×1