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Sony VENICE 2 Full Frame Digital Cinema Camera


VENICE 2 is a cinema camera created by and for the cinematographer. The camera comes with one of two full-frame image sensors, each offering exceptional picture quality. Thanks to new internal recording capabilities, users can capture even more colours and detail within the compact body they already know.

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VENICE 2 is a cinema camera created by and for the cinematographer. The camera comes with one of two full-frame image sensors, each offering exceptional picture quality. Thanks to new internal recording capabilities, users can capture even more colours and detail within the compact body they already know.

Remarkable Images

VENICE 2 offers a choice between 8K and 6K sensors, both of which boast incredibly wide latitude and gamut. Filmmakers have greater freedom of expression in grading than ever before, with either 16 or 15+ stops of latitude and exquisite colour rendition.

Simple and Intuitive

Operators need to know their camera is reliable and usable, especially during demanding shoots. VENICE 2 features simple menu navigation and connectors arranged to make life easier on set. With a durable, compact build, the camera is fast to set up for handheld or mounted shooting, so you can focus on filming, not the camera.

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 colour 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.

Full-Frame full width 36 mm 8K and 6K

In full-frame, you can use the full width of the sensors (6048 or 8640 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.

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.

8K Sensor Modes

Software License Imager mode Resolution W X H (mm) Project Frame Rate Select FPS
License not Required* 5.4K 16:9 5752 x 3056 22.6 x 12.7 23, 24, 25, 29, 50, 59 1**-60, 66, 72, 75, 88, 90
License not Required* 5.8K 17:9 5434 x 3056 24.1 x 12.7 23, 24, 25, 29, 47, 50, 59 1**-60, 66, 72, 75, 88, 90
Anamorphic License 5.8K 6:5 5792 x 4854 24.1 x 20.2 23, 24, 25, 29, 47 1**-48
Full-Frame License* 7.6K 16:9 7680 x 4320 32.0 x 18.0 23, 24, 25, 29, 50, 59 1**-60
Full-Frame License* 8.2K 17:9 8192 x 4320 34.1 x 18.0 23, 24, 25, 29, 47, 50, 59 1**-60
Full-Frame License* 8.6K 3:2 8640 x 5760 35.9 x 24.0 23, 24, 25, 29 1**-30

*The Anamorphic license is required to enable ratio setting, other than Off(1.0x), for the de-squeeze function.

** In high base ISO 3200, 1-7FPS is not available.

Phenomenal Latitude

VENICE 2’s 8K sensor has an exceptional 16 stops of latitude, 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.

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. 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 which minimizes the jello effect that are typical with CMOS sensors.

Interchangeable Image Sensors

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

Forward development

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

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. High Base ISO3200 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. 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.

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.

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 8K sensor can shoot 5.8K with an aspect ratio of 6:5, while the 6K sensor can shoot both 6:5 and 4:3 at 4K.

Lens mount flexibility

VENICE 2 with 4 different lenses

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.

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.

CBK-3610XS VENICE 2 6K Extension System

VENICE 2 6K Extension System

VENICE 2 users can expect the same image quality and integrity when using the robust CBK-3610XS Extension System, which makes VENICE 2 more mobile and discreet. The system is fully compatible with VENICE and VENICE 2 camera systems that use the 6K image sensor block* and is ideal for countless mounting set-ups and filming scenarios. These could include use with gimbals, handheld stabilisers, underwater and helicopter housings, and 3D/VR rigs, as well as in tight and unconventional spaces, such as in vehicles, on cranes or Russian arms.

*Extension System for VENICE 2 8K is planned to be released by early 2023

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.

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.

VENICE 2 side view with assistant display

Assistant display

VENICE 2 side view with operator display

Operator display

Camera Menu Simulator

Sony’s VENICE 2 Camera Simulator is an interactive training tool that represents the CineAlta camera’s menu-driven user interface.

Coming soon

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.

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.

X-OCN – 16-bit eXtended tonal range Original Camera Negative

Full 4K, 6K or 8K resolution, with extraordinary color reproduction, nicely suits Sony’s third generation colour development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the camera’s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.

16-bit X-OCN offers significant file size reduction, which makes working with full resolution content from VENICE 2’s 8.6K or 6K sensor far more practical in terms of file transfer times and storage requirements.

Apple ProRes 4K

Apple ProRes, including ProRes 4444 and Apple 4K ProRes 422 HQ, are popular in post-production, and VENICE 2 supports Apple ProRes 4K. This means there’s no need for transcoding; you can simply handle these 4K ProRes formats directly from the camera.

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.

*Support for 8K will be available in February 2022.

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.

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.

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.