Sony VENICE II Digital Motion Picture Camera
Venice 2 เป็นรุ่นที่ต่อยอดมาจากรุ่นแรกที่เปิดตัวในปี 2017 รับประกันความสำเร็จทั้งในงานภาพยนตร์, ออกอากาศ, streaming มากกว่า 300 เรื่อง รวมไปถึงซีรีส์ที่ได้รับรางวัลอย่าง ‘The Crown’ และภาพยนตร์ ‘Top Gun: Maverick’
Venice 2 ใช้เซนเซอร์ขนาดฟูลเฟรมที่พัฒนาใหม่ล่าสุด ความละเอียด 8.6K (8640 x 5760) มีช่วง Dynamic Range กว้างถึง 16 สต็อป ในขณะที่ colour science ได้รับสืบทอดมาจากรุ่นแรกพร้อมเอกลักษณ์ที่ให้สีสันของ skin tone สวยงามเป็นธรรมชาติ
โดยมีความละเอียดสำหรับเซนเซอร์ 8.6K ให้เลือกใช้ได้ตั้งแต่
- 8.6K 3:2 30FPS / Full-Frame
- 8.2K 17:9 60FPS / Full-Frame
- 5.8K 6:5 Anamorphic 48FPS / Super 35
- 5.8K 3:2 30FPS / Super 35
ตัวเซนเซอร์เองยังถูกออกแบบมาให้สามารถถอดเปลี่ยนได้ ซึ่งสามารถถอดไปใช้เซนเซอร์ 6K รุ่นดังเดิมที่ให้เฟรมเรตที่สูงกว่าได้ครับ ความง่ายคือกล้องสามารถตรวจจับเซนเซอร์ที่เปลี่ยนเข้าไปได้แบบอัตโนมัติ ไม่ต้องลงเฟิร์มแวร์ใหม่หรือตั้งค่าอะไรวุ่นวาย
ในขณะที่ body มีขนาดที่เล็กลง 44mm และเบาลงกว่าเดิมถึง 10% รองรับการบันทึกวิดีโอแบบภายใน X-OCN, Apple 4K Pro Res 4444, 422HQ และการ์ดความเร็วสูงระดับ 6.6 Gbps AXS-A1TS66 สำหรับสำหรับบันทึก 8K 60p
Sony introduces Venice 2, the new flagship model and latest addition to its lineup of high-end digital cinema cameras. The Venice 2 builds upon the strength of the original Venice with new features including a compact design, internal recording and the option for two different sensors: the newly developed full-frame 8.6K sensor or the original 6K Venice sensor. The Venice 2 also inherits popular features from the original Venice including colour science, Dual Base ISO and 8-stops of built-in ND filters.
New Sensor Translates into Extraordinary Image Quality and Incredible Low-light Sensitivity
Paired with a newly-developed 8.6 K (8640 x 5760) full-frame CMOS sensor, the Venice 2 offers excellent image quality with 16 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. The VENICE 2 CineAlta camera has a unique dual base ISO of 800/3200 which allows filmmakers to capture incredibly clean, film-like images under a wide range of lighting conditions. It supports everything from full-frame, full-frame anamorphic to Super 35mm all at a minimum of 4K resolution, resulting in an outstanding and versatile camera system for cinematographers and productions.
To illustrate the strength of the Venice 2 and its new 8.6K sensor, Sony worked with the industry’s top cinematographers to test the camera’s image quality on two separate film shoots without using any professional movie lighting.
Award-winning cinematographer Robert McLachlan ASC CSC, who has worked on highly acclaimed productions Game Of Thrones (for which he received two Emmy nominations), Westworld and Lovecraft Country. McLachlan tested and filmed with the new 8.6K full-frame Venice 2 in two countries and offered his reaction.
“I really wish we’d had a large format, 8.6K sensor like Sony Venice 2 on Game Of Thrones. It would have made it feel even more epic and, at the same time, more engaging, thanks to the increased resolution, richness, and dimensionality. The increased speed, cleaner highlights, and shadows together with the potential for super-shallow depth of field would have been a huge asset.”
Oscar-winning cinematographer Claudio Miranda ASC ACC used the original Venice on Top Gun: Maverick and tested the Venice against the original in the pitch darkness of the California desert. He offered this assessment:
“The 3200 ASA is incredible. I think how clean it is – is definitely a big deal,” said Miranda. “In the film, there is still fidelity in the shadows, and the wide shots are pretty spectacular. There were no film lights on this shoot at all. There were just headlights of the car, the fire, and that was the point. It was to go to the middle of nowhere and put a big fire and see how far the new sensor could light up the mountain, without noise.”
Rob Hardy BSC, the British cinematographer known for his ground-breaking work on Mission Impossible: Fallout, Ex-Machina, DEVS and winner of the BAFTA for cinematography for Boy A, amongst others, also commented:
“I’m used to using the original Venice and I would say, I am a pretty much an advocate of that camera. The opportunity to use this Venice 2 is actually a really fantastic one. This is the first time I’ve ever used that larger sensor, the 8.6K and we were lucky enough to get some anamorphic lenses that were set for the full cinematic effect and that really utilised that whole sensor. The ISOs have been bumped up so that enables me to shoot at a higher speed in the low light levels which is something what wasn’t really an option before, and that’s the big gain for me.”
With the 8.6K sensor providing ample oversampling, images shot on Venice will benefit from less noise and enriched information in a 2K or 4K production. It also means the camera is well suited for VR, in camera VFX and Virtual Production setups, delivering an immersive experience and realistic images, especially in combination with Sony’s high-contrast and large-scale Crystal LED displays.
Featuring internal recording onto a high-speed ASX card, internal recording formats up to ProRes 4K 4444 and 422, an interchangeable sensor, and updated usability and body design, the 6K 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 6K VENICE 2 uses the same sensor as the original VENICE, and it has a dual ISO range of 500/2500. The updated camera body allows you to swap the 6K sensor for an 8.6K sensor to gain a higher-base ISO and higher-resolution images, though the 6K sensor allows for higher frame rates. 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 seven stops of ND in one-stop increments.
The VENICE 2 allows you to work in a color space, sensitivity, and resolution that you have become accustomed to, as it uses the same sensor as the original VENICE camera. This allows to seamlessly intercut the footage between the two, making for an obvious A/B camera setup. Plus, the optional 8.6K sensor block (not included) can be swapped into the VENICE 2 in the field, avoiding a trip to a service facility.
Free yourself from an external recorder for raw and high-data-rate recording, as the VENICE 2 is capable of recording directly to AXS cards internally. Featuring two AXS card slots, you can capture X-OCN and 4K ProRes (both 17:9 and 16:9) internally and use relay recording for virtually unlimited recording time. Additionally, the VENICE 2 supports cache recording and has twice the cache memory as the original VENICE camera.
New VENICE 2 Functions
4K output with LUT applied
Improved 3D LUT processing to improve picture quality¿
EI changes directly applied to S-Log3 outputs
Ethernet connector position changed to camera assistant side¿
Lemo 2-pin 12V output connector¿
Internal scratch track microphone installed¿
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
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
Functions from VENICE
- Imager modes 6K 2.39:1 and 5.7K 16:9 (with Full-Frame License)
- Support for the X-OCN XT recording format
- Compatibility with Rialto VENICE Extension System
- De-squeeze ratios: 1.25x, 1.3x, 1.5x, and 1.8x
- Cache rec function
- AXS Relay rec function
- Simultaneous format
- SxS recording folder structure selection
- 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
The sensor features more than 15 stops of dynamic range and has been designed to exceed the BT.2020 color space, which is larger than the DCI-P3 color space, enabling you to create stunning images with a camera that already exceeds future specs.
In full-frame, you can use the full 6048-pixel width of the sensor for widescreen spherical 2.39:1 or large-format scope. A firmware upgrade and license are required for full-frame recording. It also supports Super35 for 17:9 or 16:9 images.
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 underwater housings.
Dual-Base ISO Sensor
The 6K VENICE features dual-base ISO, which offers Base ISO2500 in addition to Base ISO500. The High Base ISO2500 excels in low-light High Dynamic Range capture, with an exposure latitude from 5+ stops over to 10 stops under 18% Middle Gray, for a total of 15+ stops.
No Jello Effect
The high-speed readout of the VENICE 2 sensor minimizes the Jello effect typical with CMOS sensors.
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. A planned firmware update is required to take full advantage of the E-Mount.
In the Box
- Sony VENICE 2 Digital Motion Picture Camera
- PL Mount
- Circular Shim
- 15 x 1/3 Arc ShimLens Mount Cover