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Sony Unveils Flagship VENICE 2 Digital Cinema Camera with a new 8.6K Full-Frame Image Sensor with 16 Stops of Exposure Latitude to Capture Clean Shadows, Rolling Highlights and Natural Skin Tones

16/11/2021

Sony Unveils Flagship VENICE 2 Digital Cinema Camera with a new 8.6K Full-Frame Image Sensor with 16 Stops of Exposure Latitude to Capture Clean Shadows, Rolling Highlights and Natural Skin Tones posted: 15/11/2021

New VENICE 2 also Features Compact Body Design, Internal X-OCN Recording and ability to Interchange Sensors between Models to Further Enhance its Operability and Versatility

Today, 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[i] 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[ii] 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[iii] 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 industrys 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 Throne (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 wed 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 2 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:

Im 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 Ive 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 utilized 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 2 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.

The Success of the Original VENICE

Since its launch in 2017, VENICE has been used to shoot more than 300 theatrical, broadcast, cable, and streaming releases, including the Emmy award-winning series The Crown, and Paramounts upcoming feature Top Gun: Maverick. Regular firmware and hardware updates to meet the latest creative needs have been key to the wide adoption of VENICE.

We are so pleased to have seen the success of the original VENICE over the last four years. Based on our conversations with cinematographers and production companies around the world, we recognized an opportunity to improve by leveraging many of our latest imaging and sensor technologies. By doing so, we are taking the VENICE image quality to a new level. We also made the camera smaller and are offering internal recording to enable more creative freedom: whether that means using the camera on drones, Steadicams, aerial gimbals- or underwater housings, said Hiroshi Kajita, Head of Media Solutions, Sony Professional, Sony Europe.

User-influenced Upgrades

The VENICE 2 maintains many of the features which made the original VENICE a success including Dual Base ISO, 8-stops of built-in ND filters, compatibility with a wide range of lenses, including all PL mount and Sony's native E-mount which enables adapters for a multitu
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