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VENICE 2
Sony’s flagship full-frame digital cinema camera

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 color science, Dual Base ISO and 8-stops of built-in ND filters.

The VENICE 2 Extension System is now available and enables productions the ultimate flexibility. It allows you to separate the sensor block from the camera body - up to 40 feet away! It’s the perfect setup for handheld, gimbals, or for driving sequences.

Cinematographers on VENICE 2

The 3200 ASA is incredible. I think how clean it is – is definitely a big deal. 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.

Claudio Miranda, ASC, AIC

Features

New 8.6K Sensor

Extraordinary image quality and incredible low-light sensitivity

  • 8.6 K (8640 x 5760) full-frame CMOS sensor

  • 16 stops of total latitude

  • Dual-base ISO of 800/3200

  • VENICE color science for natural, accurate skintones

800/3200 Dual Base ISO

The VENICE 2 8K CineAlta camera has a dual base ISO of 800/3200

  • Capture clean images under a wider range of conditions

  • Superb low-light performance

  • Use with internal ND filters for maximum latitude and range

Internal Recording Options

Choose the VENICE 2 chassis that meets your needs

  • AXSM internal recording support X-OCN and Apple 4K ProRes 4444 and 422HQ without the AXS-R7 recorder

  • Two internal AXSM card slots

Interchangeable Sensor Block

More flexibility on-site

  • New full-frame 8.6K sensor

  • Original 6K VENICE sensor

  • Camera body automatically recognizes the change - no firmware exchanges or re-installs needed

Enhanced Connectivity

Based on feedback from current VENICE users

  • Ethernet moved to Camera Assistant side  

  • Lemo 2pin 12V output connector  

  • Internal microphone

Enhanced Usability

Based on feedback from current VENICE users

  • 4K output with LUT applied

  • Improved 3D LUT processing

  • EI changes directly applied to S-Log3 outputs

  • LUT/ASC-CDL control via Ethernet/Wi-Fi

Extend Your Vision

Rialto extension system moves the sensor block up to 18' away from the camera chassis

  • VENICE 2 6K sensor can be used with the existing VENICE Extension System

  • Next-generation Extension System for VENICE 2 8K is planned to be released by early 2023

Inherits Popular VENICE Features

  • 8-stops of built-in ND filters

  • PL mount and Sony’s native E-mount

  • Familiar user interface

  • Compatible with most VENICE accessories

Incredible image quality with new 8.6K sensor
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Dir. of Photography Jon Joffin ASC, "At Home"
Recording Formats
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16 Stops Dynamic Range
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Dir. of Photography Pete Konczal ASC, Aether Films' "Cowboy Currency"
VENICE 2 6k Menu Simulator
Explore the menu with this interactive learning tool.
VENICE 2 8K Menu Simulator
Explore the menu with this interactive learning tool.
VENICE 2 Frame Line Generator
Interactive tool to create frame line configuration files to upload to your VENICE 2 camera.
Natural Skintones
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Dir. of Photography Matthew Sakatani Roe, "Tonight We Ride"
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Shot on VENICE
Since 2017, the Sony VENICE and VENICE 2 have been used on more than 500 theatrical, broadcast, cable, and streaming releases
Shot on VENICE
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Since 2017, Sony Cine Line cameras have been used on more than 300 theatrical, broadcast, cable, and streaming releases
800/3200 Dual Base ISO
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Dir. of Photography Matthew Sakatani Roe, "Tonight We Ride"
Watch
Tonight We Ride – a VENICE 2 film
Cinematographer Matt Sakatani Roe (Purple Hearts) and camera operator Ryan Wood (Moon Knight, Yellowstone) capture the extremes of barrel racing in a way never seen before thanks to the VENICE 2 high frame rates and the Rialto 2.
A Ride with Rialto 2
Go behind the scenes of ‘Tonight We Ride’ a VENICE 2 film with cinematographer Matt Sakatani Roe (Purple Hearts) and camera operator Ryan Wood (Moon Knight, Yellowstone). The filmmakers showcase how they used the Sony VENICE 2 and VENICE Extension System 2 to capture barrel racing in a way that’s never been seen before.
Top Gun Maverick: One on One with Claudio Miranda ASC
Claudio Miranda ASC, Director of Photography, Top Gun: Maverick shares what it takes to capture the amazing aerial shots in Top Gun: Maverick. See how innovations like the Sony Venice help viewers experience what it's really like to be a Top Gun pilot.
Behind the Scenes of Avatar: The Way of Water with Russell Carpenter ASC and James Cameron
Dive into Pandora’s oceans with Cinematographer Russell Carpenter ASC, Producer John Landau, Chief Lighting Technician Len Levine, Director of Engineering Patrick Campbell, and Director James Cameron as they talk with Sony Cine about using the Sony VENICE to bring the alien world to life.
VENICE 2 Luts
Sony and Picture Shop have partnered to release a set of LUTs exclusively designed with the VENICE 2, Sony's flagship digital cinema camera. The new collection of LUTs was designed by legendary color scientists Chris Kutcka (Kill Bill, Pirates of the Caribbean) and Josh Pines (Saving Private Ryan, Forrest Gump, The Revenant). Pines is Picture Shop's Chief Color Scientist. He has worked on color grading on dozens of Academy Award-winning movies, from visual effects shot on film to look development on projects shot with digital cinema cameras. Pines describes the series of LUTs and shares examples of the LUTs in action.
A Ride with Rialto 2
Go behind the scenes of ‘Tonight We Ride’ a VENICE 2 film with cinematographer Matt Sakatani Roe (Purple Hearts) and camera operator Ryan Wood (Moon Knight, Yellowstone). The filmmakers showcase how they used the Sony VENICE 2 and VENICE Extension System 2 to capture barrel racing in a way that’s never been seen before.
Top Gun Maverick: One on One with Claudio Miranda ASC
Claudio Miranda ASC, Director of Photography, Top Gun: Maverick shares what it takes to capture the amazing aerial shots in Top Gun: Maverick. See how innovations like the Sony Venice help viewers experience what it's really like to be a Top Gun pilot.
Behind the Scenes of Avatar: The Way of Water with Russell Carpenter ASC and James Cameron
Dive into Pandora’s oceans with Cinematographer Russell Carpenter ASC, Producer John Landau, Chief Lighting Technician Len Levine, Director of Engineering Patrick Campbell, and Director James Cameron as they talk with Sony Cine about using the Sony VENICE to bring the alien world to life.
VENICE 2 Luts
Sony and Picture Shop have partnered to release a set of LUTs exclusively designed with the VENICE 2, Sony's flagship digital cinema camera. The new collection of LUTs was designed by legendary color scientists Chris Kutcka (Kill Bill, Pirates of the Caribbean) and Josh Pines (Saving Private Ryan, Forrest Gump, The Revenant). Pines is Picture Shop's Chief Color Scientist. He has worked on color grading on dozens of Academy Award-winning movies, from visual effects shot on film to look development on projects shot with digital cinema cameras. Pines describes the series of LUTs and shares examples of the LUTs in action.
Rialto 2 Extension System
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Behind the Scenes of "Tonight We Ride"
Technical Data
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VENICE 2
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VENICE 2 with 8.6K image sensor
VENICE 2 6K image sensor
General
Power Requirements
DC12 V (11–17.0 V)
DC24 V (22–32.0 V)
Power Consumption
(Condition: 12V DC Input, Temp 25°C without accessories)
Approx. 76W
(When recording X-OCN XT, 8.6K 3:2, 24fps)
Approx. 73W
(When recording X-OCN XT, 6K 3:2, 24fps)
Operating Temperature
0°C ~ 40°C
Storage Temperature
-20°C-60°C
Mass
(without lens, handle, VF attachment and accessories)
Approx. 4.3 kg (9 lb 6.6 oz)
Approx. 4.2 kg (9 lb 4.2 oz)
Dimensions:
152 x 158 x 250 mm (WxHxD excluding protrusions)
Camera
Imaging Device
35 mm full size, single-chip CMOS image sensor
Imaging Device Pixel Count
50 M (total)
24.8 M (total)
Built-In ND Filters
Clear, 0.3 (1/2), 0.6 (1/4), 0.9 (1/8), 1.2 (1/16), 1.5 (1/32), 1.8 (1/64) 2.1 (1/128), 2.4 (1/256)
ISO Sensitivity
ISO 800, ISO 3200 (Dual Base ISO)
ISO 500, ISO 2500 (Dual Base ISO)
Lens Mount
PL Mount
E-mount (lever lock type, without supplied PL lens mount adaptor)
Latitude
16 Stop
15+ Stop
Select FPS
5.8K 17:9 1–90 fps, 5.4K 16:9 1–90 fps, 5.8K 6:5 1–48 fps**, 8.2K 17:9 1–60 fps***, 7.6K 16:9 1–60 fps***, 8.6K 3:2 1–30 fps***
4K 2.39:1 1–12 fps, 4K 17:9/3.8K 16:9 1–110 fps 4K 4:3 1–75 fps**, 4K 6:5 1–72 fps** 6K 2.39:1 1–90 fps***, 6K 17:9/6K 1.85:1/5.7K 16:9 1–72 fps*** 6K 3:2 1–60 fps***
Recording
Recording Format (X-OCN)
X-OCN XT/ST/LT: 8.6K 3:2 (8640 x 5760): 23.98p, 24p, 25p, 29.97p 8.2K 17:9 (8192 x 4320): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p*, 59.94p* 7.6K 16:9 (7680 x 4320): 23.98p, 24p, 25p, 29.97p, 50p*, 59.94p* 5.8K 6:5 (5792 x 4854): 23.98p, 24p, 25p, 29.97p, 47.95p 5.8K 17:9 (5792 x 3056): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 5.5K 16:9 (5452 x 3056): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
X-OCN XT/ST/LT: 6K 3:2 (6048 x 4032): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 6K 2.39:1 (6048 x 2534): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 6K 1.85:1 (6054 x 3272): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 6K 17:9 (6054 x 3192): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 5.7K 16:9 (5674 x 3192): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p 4K 6:5 (4096 x 3432): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 4K 4:3 (4096 x 3024): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p
4K 2.39:1 (4096 x 1716): 23.98p, 24p, 25p, 29.97p, 47.95p, 50p, 59.94p 3.8K 16:9 (3840 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
Recording Format (ProRes)
ProRes 4444/ProRes 422HQ 4K (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, QFHD (3160 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
Recording Format (Audio)
LPCM 4ch, 24-bit 48-kHz
Inputs/Outputs
DC Input
XLR-type 4pin (male)
Battery DC Input
Square-shaped 5pin connector
DC Output
12 V: Lemo 2 pin x 1
24 V: Fischer 3 pin x 2
SDI Output
BNC x 4, (12G, 3G, 1.5G-SDI)
HD MONI Output
BNC x 1 (1.5G-SDI)
HDMI Output
Type A x 1
VF
LEMO 26pin
Audio Input
XLR-type 5 pin (female) x 1 (LINE / AES/EBU / MIC / MIC + 48 V selectable)
Internal mic x1
Timecode Input
BNC x 1
Genlock Input
BNC x 1
Timecode Output
BNC x 1
Remote
8 pin x 1
Lens
12 pin x 1
Lens Mount Hot Shoe
4 pin x 2, conforming to Cooke /i Intelligent Electronic Lens System and ZEISS eXtended Data
Network
RJ-45 type x 1, 10BASE-T, 100BASE-TX
USB
USB host, type-A x 1
Headphone Output
Stereo mini jack x 1
Speaker Output
Monoaural
Media type
AXS Memory A-series slot x 2
SD card slot x 1
*X-OCN XT is not supported
**CBKZ-3620A/AM/AW is required
***CBKZ-3620F/FM/FW is required
This product contains pre-installed software and requires the purchase of license keys to activate some functions.

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