A Claims & Features Deep Dive Of Sony’s Venice 2
A True Step Forward For The Global Cinematography Industry?
Four years and nine days after the original Sony Venice camera launched, Venice 2 arrives. Featuring an eerily similar design to its predecessor, this cinematic camera comes in a slightly more compact form and is available with two distinguishable sensor blocks: the new full-frame 8.6K 50MP 3:2 (8640 x 5760 pixel) sensor and the original Venice 6K 24.8MP sensor. Based on Sony’s claims, the new 8.6K sensor is capable of capturing up to 16 stops of dynamic range vs. the 15 stops with the 6K model. Even more, includes the same color science found in the Venice 1 camera and inherited the dual base ISO – though now 800/3200 as opposed to the initial 500/2500.
What Does This All Equate To?
All in all, Venice 2 is claimed to support various resolutions and crop ratios, such as full-frame 4K anamorphic, 4K Super35, and so much more. In addition, Sony indicates that the new Venice 2 8.6K model distributes less noise and is more sensitive within low light situations than in the earlier model, and both Venice 2 models exceed the BT.2020 color space. This is because both utilize the same S-Gamut3 color space as the F55 and F65.
And perhaps the most shocking news is that the Venice 2 no longer requires an AXS-R7 external recorder to record X-OCN ST/LT or XT files; This is now entirely done internally with the camera’s dual AXS slots. SxS cards, like in the original Venice, simply wouldn’t have been fast enough to record the data rates required for X-OCN files. Because of that, it made sense for Sony to go with the same media they had already created for the AXS-R5 and AXS-R7 recorders.
What & How Does Venice 2 Actually Shoot?
According to Sony Japan, Venice 2 is capable of HFR shooting at 4K up to 120fps. Furthermore, it is claimed that this cinematic camera can record:
- 8.6K 3:2 (8640 x 5760) in X-OCN up to 29.97p;
- 8.2K (17:9) up to 59.94p; and
- 7.6K (16:9) up to 59.94p.
Blueprints also indicate that if you drop down to an S35 recording mode, you could record 5.8K 6:5 (5792 x 4854) at up to 49p, and in 5.8K (16:9 or 17:9), you can go up to 90p. At this time, Sony dispelled that there are currently no 4K recording options on the Venice 2 8K on the first launch, but it will likely be implemented when Version 2 firmware gets released.
The downside? In general, the frame rates and resolutions of the Venice 2 are fairly substantial over the resolutions/frame rates that were available in the original Venice. However, like Venice 1, Venice 2 still requires additional paid licenses to unlock certain core features. Though high frame rates with Venice 2 no longer require a license, you will still need to pay extra for licenses to access the full-frame recording and anamorphic shooting modes.
Putting Claims To The Test – Interview With Camera Expert [insert name]
User-influenced upgrades such as a smaller/lightweight body and internal recording while keeping the original Venice’s intuitive operability; an interchangeable sensor design; higher image quality with excellent low-light sensitivity. These are the highlighted statements Sony released with their latest and greatest cinematic camera, Venice 2. But the real question is, do these claims hold validity in real-life project scenarios? To test Sony’s declarations, camera expert [insert name] shares his professional opinion and experiences while operating the acclaimed Venice 2.
- What are your experiences and overall professional opinion of Venice 2? Do you feel it is living up to Sony’s claims regarding user upgrades, range dynamicity, and quality?
- Do you feel that the newly developed 8.6K sensor indeed offers sensational latitude and color rendition, as stated by Sony?
- Are you happy about the AXS-R7 recorder not being required anymore?
- Sony states that the 8.6K sensor is capable of capturing up to 16 stops of dynamic range vs. the 15 stops with the 6K model. Did you put this to the test? If so, were the results accurate to the claim?
- Many cinematographers value the color rendition of the F65. Did you find that the color filters on the Venice 2 sensor’s photosites are the same as the F65, like Sony says they are?