Director Simon Smyth and DoP Balazs Bolygo BSC, HSC recently shot a short film with the Sony VENICE 6K Full-Frame camera. “Shadow” demonstrates extensive capabilities of the top dog CineAlta camera, with impressive dynamic range and low-light performance due to its dual native sensitivity.
The Sony VENICE has garnered industry recognition and prestige by being selected as the official camera system for the upcoming AVATAR sequels , which is to use the VENICE Extension system for lighter 3D rigs, and also the VENICE was used as an A Cam on the new, and yet to be released Top Gun sequel.
Earlier in the year, Firmware 2.0 gave Sony VENICE users access to the new Dual native ISO (500/2500) as well as a variety of new sensor imager modes such as 4K anamorphic, 6K 3:2, in addition to unlocking the E-mount hiding beneath the PL mount, allowing for further access to a variety of G-Master and other high-quality lenses in the native E-mount.
Sony has been doing a great job promoting the camera with solid dramatic pieces, such as “Shadow”, which you can see below.
Sony VENICE Highlights/Features
- Full-Frame 36 x 24mm CMOS Sensor (Large Format)
- 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
- 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
“Shadow” DoP Balazs Bolygo BSC HSC shares his experience filming “Shadow” on the Sony VENICE in the behind the scenes featurette below.
The VENICE rubs shoulders with the ALEXA LF and RED Monstro cameras in the “large format” arena, which is naturally highly competitive, but I do think that unlike with the F65, Sony may have created their best digital cinema camera to date, and one that DPs actually want to shoot with.
The F65 never really achieved the success and market penetration Sony were hoping for – it was too big, bulky, complicated and expensive. But the VENICE gets a lot of things right – size, a more simplified workflow, a competitive price, and of course – gorgeous organic images.
What are your thoughts on the Sony VENICE? Have you shot with the camera yet? Maybe you are a high-end owner/op – there are a few of those out there, or maybe you run a production company or rental house? Do share in the comments below.
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