InCinematographer - Issue 3 - 4

4

www.incinematographer.com | Issue 3

Sony Reveals FF Camera System
Sony's VENICE is a 36x24mm full-frame digital motion picture camera system...

S

ony's first full-frame digital motion picture
camera system, VENICE represents the next
generation of Sony's CineAlta camera system
technology, designed to expand the filmmaker's
creative freedom through large-format, full-frame
image capture of filmic imagery with natural skin
tones and expressive dark areas.
VENICE was designed through close collaboration
and careful research with the creative community,
fulfilling the various requirements from filmmakers
and production professionals.
First footage
VENICE was unveiled in front of a select audience
of American Society of Cinematographers (ASC)
members and high-profile industry professionals,
who saw the first footage produced with the new
camera - THE DIG directed by Joseph Kosinski and
shot by Academy Award winning cinematographer
Claudio Miranda, ASC.
"Sony pioneered high-end digital
motion picture production technology,
with the first 24p digital camera
system (HDW-F900), the first RGB
recording system (HDC-F950 and SRW1) and the Super 35mm image sensor
camera (F35)," said Anthony Kable,
Content Creation Group Manager, Sony
Australia. "This latest addition to the
CineAlta family demonstrates Sony's commitment
for innovation and creative freedom for feature filmmaking and drama productions."

Short film: THE DIG written and Directed by Joseph Kosinski; captured by Cinematographer Claudio Miranda, ASC

Sony's VENICE
full-frame digital motion
picture camera system

(with firmware update). Almost any aspect ratio can
be conjured up - from 4:3 to 2.39:1 - from full-frame
6k 3:2 or Super 35.
The lens mount can also be changed to handle
E-mount lenses for shooting situations that require
smaller, lighter and wider characteristic lenses.
User-selectable areas of the image sensor allow
shooting in Super 35 mm four-perforation. Future
firmware upgrades are planned to allow the camera
to handle 36mm wide 6K resolution. Fast image scan
technology minimizes "jello" effects.

to work with images during grading and postproduction. VENICE also has more than 15 stops of
latitude to handle challenging lighting situations
from low-light to harsh sunlight.
VENICE achieves high-quality and
efficient file-based production through
Sony's established 16-bit RAW/X-OCN
and XAVC workflows using the portable
memory recorder AXS-R7. VENICE
is also compatible with current and
upcoming hardware accessories for
CineAlta cameras (DVF-EL200 Full HD
OLED Viewfinder, AXS-R7 recorder,
AXS-CR1 and AR1 card reader, AXS and
SxS memory cards).
Intuitive operation
VENICE has a fully modular and intuitive design
with refined functionality to support smooth and
efficient on-site operation. It is the film industry's
first camera with a built-in eight-stage glass ND filter
system, minimizing the replacement work of external
ND filters and making shooting progress efficiently.
The camera is designed for easy operation with an
intuitive control panel placed on the left and right
sides of the cameras. A 24V power supply input/
output and Lemo connector allow the use of many
standard camera accessories and make use in harsh
environments easier.

Full-frame sensor
The camera combines a
newly developed 36x24mm
full frame sensor and
compatibility with a wide
range of lenses, including
anamorphic, Super 35mm
and full frame PL mount for
a greater range of expressive
freedom with shallow depth
Sony VENICE
6k 3:2 sensor
of field.
The 36x24mm full-frame image sensor is designed
Color management
specifically for the demands and performance of
A new color management system and wide color License options
high-end cinematography, and can capture images
gamut gives users more control and greater freedom
With VENICE, Sony is giving users the option to
up to a maximum resolution of 6048
customize their camera by enabling
x 4032. (firmware update required).
the features needed, matched to their
By switching imager modes, VENICE
individual production requirements.
can natively support Super 35
Optional licenses will be available
24.9x18.7mm, 4096 x 3024 resolution
in permanent, monthly and weekly
(equivalent
to
four-perforation
durations to expand the camera's
motion picture film) and Super
capabilities with new features
35 24.9x14.0mm 4096 x 2160
including 4K anamorphic and full
resolution (equivalent to threeframe, each sold separately.
perforation motion picture film).
The full-frame sensor can capture
The VENICE CineAlta digital motion
almost any format, including full
picture camera system is scheduled to
18mm-height Super 35 anamorphic
be available in February 2018.
and spherical, and full-frame 24mmheight anamorphic and spherical
www.sony.com.au
Operator display
Assistant display


http://www.incinematographer.com https://youtu.be/ailtSg2TkOw http://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-Venice.shtml?PID=I:hp_top_banner:Venice http://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-Venice.shtml?PID=I:hp_top_banner:Venice http://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-Venice.shtml?PID=I:hp_top_banner:Venice http://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-Venice.shtml?PID=I:hp_top_banner:Venice http://www.sony.com.au

Table of Contents for the Digital Edition of InCinematographer - Issue 3

In This Issue
InCinematographer - Issue 3 - Intro
InCinematographer - Issue 3 - Cover1
InCinematographer - Issue 3 - Cover2
InCinematographer - Issue 3 - In This Issue
InCinematographer - Issue 3 - 4
InCinematographer - Issue 3 - 5
InCinematographer - Issue 3 - 6
InCinematographer - Issue 3 - 7
InCinematographer - Issue 3 - 8
InCinematographer - Issue 3 - 9
InCinematographer - Issue 3 - 10
InCinematographer - Issue 3 - 11
InCinematographer - Issue 3 - 12
InCinematographer - Issue 3 - 13
InCinematographer - Issue 3 - 14
InCinematographer - Issue 3 - 15
InCinematographer - Issue 3 - 16
InCinematographer - Issue 3 - 17
InCinematographer - Issue 3 - 18
InCinematographer - Issue 3 - 19
InCinematographer - Issue 3 - 20
InCinematographer - Issue 3 - 21
InCinematographer - Issue 3 - 22
InCinematographer - Issue 3 - 23
InCinematographer - Issue 3 - 24
InCinematographer - Issue 3 - 25
InCinematographer - Issue 3 - 26
InCinematographer - Issue 3 - 27
InCinematographer - Issue 3 - 28
InCinematographer - Issue 3 - 29
InCinematographer - Issue 3 - 30
InCinematographer - Issue 3 - 31
InCinematographer - Issue 3 - 32
InCinematographer - Issue 3 - 33
InCinematographer - Issue 3 - 34
InCinematographer - Issue 3 - 35
InCinematographer - Issue 3 - 36
InCinematographer - Issue 3 - 37
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InCinematographer - Issue 3 - 48
InCinematographer - Issue 3 - 49
InCinematographer - Issue 3 - 50
InCinematographer - Issue 3 - Cover4
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