Sony VENICE BTS with Claudio Miranda + Learn How to Change the Sensor Block on the VENICE 6K FF CineAlta

Recently, we posted about the release of the two official promo films shot with the new flagship (link here), and now you can check out the behind the scene video for the US promo film “The Dig”, in which Oscar winning cinematographer, Claudio Miranda, ASC shares his experience shooting with the new Sony VENICE 6K full-frame CineAlta camera.

In addition, you can hear input from the writer/director, Joseph Kosinski; First Assistant A Camera, Dan Ming; Sr. Colourist at Technicolor, Mike Sowa; D.I.T, Alex Carr and Aerial Cinematographer, David Nowell, ASC about the process of shooting “The Dig” with the Sony VENICE camera.

Sony VENICE CIneAlta 6K FF

SONY VENICE 6K FF CineAlta Features

  • New Full-Frame 36 x 24mm CMOS Sensor
  • 15+ stops Dynamic Range
  • Interchange-able Sensor Block – for future sensor upgrades (user serviceable)
  • 6K Full-Frame 3:2 mode (6048 x 4032)
  • 4K Anamorphic 4:3 and 6:5 (4096 x 3432)
  • 4K Super 35 mode (window)
  • Support for FF & S35 spherical lenses
  • Support for FF & S35 Anamorphic lenses
  • 8-step Mechanical Built-in ND filter (8 Stops ND)
  • PL mount (Cooke i technology supported)
  • Locking E-mount
  • Recording Codecs/Formats:
    • X-OCN Compressed Raw onto AXS-R7 Raw Recorder
    • 4K XAVC – Class480/300
    • ProRes HQ/422/LT
    • MPEG HD
  • Recording Media – SxS cards, AXS cards for RAW (external recorder)
  • Price: £37,000/$45,000 Body
  • Available: February 2018
  • 6K Full-Frame – License Only – approx. €6,000 to buy
  • Anamorphic Mode – License Only – €4,000 (or around €10K for both)
    • There will be also rental options for day/week/month for both
  • Compatible with existing CineAlta accessories:
    • AXS-R7 4K Raw recorder
    • DVF-EL200 viewfinder

To hear another perspective from another award-winning DP – Ed Wild, BSC, who shot “The Departure” promo film (which you can check out in our post here) for the European premiere of the Sony VENICE, you can check out the video below, in which he shares his experience shooting with the new camera in an interview with Sebastian Leske from Sony.

Looking at the features and specs of the new Sony VENICE, it is a bit perplexing that (as of the moment) there aren’t any high frame rates available as in-camera options. The AXS-R7 Raw recorder does offer 4K/120fps and even higher frame rates in lower resolutions with the PMW-F55, but then again the VENICE has a totally new sensor. And the more interesting bit is that the VENICE has an interchangeable sensor block, which hints at a possible high-frame rate sensor in the future that can be swapped into the same camera body.

To see how how to remove the sensor block on the new Sony Venice check out the video below:

No doubt the VENICE is positioned as the next big thing when it comes to high-end filmmaking, and it would be interesting to see what other big budget productions will be shot on the VENICE in the future. The Sony VENICE is due to ship in the Spring of next year, with Full-Frame and anamorphic functionality coming later in a firmware update.

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  • Jean-Yves Durocher

    As this is a 90% rental camera, one wonder’s where is the marketing plan. As far as I know, the market share of Arri is over 60%. Still if the sell 1,000 at 40K$ plus they make some money