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VENICE 2

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.

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

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Shot on CineAlta
Since 2017, Sony Cine Line cameras have been used on more than 300 theatrical, broadcast, cable, and streaming releases
Shot on CineAlta
product-image-2400w-mpc2_side_211014_05-Large.png
Since 2017, Sony Cine Line cameras have been used on more than 300 theatrical, broadcast, cable, and streaming releases
Incredible image quality with new 8.6K sensor
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camera test by 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

16 Stops Dynamic Range
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"Homecoming" by Robert McLachlan ASC, CSC
Technical Specifications
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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.
800/3200 Dual Base ISO
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"Homecoming" by Robert McLachlan ASC, CSC
Natural Skintones
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camera test by Claudio Miranda, ASC, AIC
Watch
“Take Me,” VENICE 2 8K film by Gonzalo Amat ASC
“Take Me” is the latest film shot on VENICE 2 8K by director and cinematographer Gonzalo Amat ASC. Shot in Brooklyn, New York using only available light, “Take Me” demonstrates the VENICE 2 8K’s ability to capture creamy skin tones, low light shots and highlights that roll off. After shooting with the VENICE 2, Amat offered this feedback on the camera: “The new Sony VENICE 2 has incredible latitude and color rendition. The color rendition and skin tones are truly cinematic. And for an 8K sensor, it still has the subtlety on faces that I haven’t seen since shooting in film.”
"Homecoming" with Robert McLachlan, ASC, CSC | VENICE 2 | Sony | CineAlta
The first reel shot on new CineAlta VENICE 2. Director of Photography: Robert McLachlan, ASC, CSC Watch the Director's cut of CineAlta, the VENICE 2 with 8.6K image sensor.
Behind the Scenes of “Homecoming” with Rob McLachlan ASC, CSC
Go behind the scenes with Rob McLachlan, ASC, CSC (Game of Thrones, Ray Donavan, Westworld, and Lovecraft Country) on the creation of his VENICE 2 short film, “Homecoming.” McLachlan, who used the Original VENICE in his latest series “Lovecraft Country” and “The Shining Girls,” filmed with the VENICE 2 over ten days and shot in two countries for “Homecoming.” McLachlan used nearly every kind of camera conveyance possible from handheld, tripod, Steadicam, drone, underwater and helicopter shots.
“The Camera Test” with Claudio Miranda, ASC
In “the Camera Test,” Oscar-winning cinematographer Claudio Miranda ASC tests the Original VENICE and the VENICE 2 8.6K to learn the strengths of each camera and showcase how the cameras can work together on a film. Miranda took inspiration from his 2017 film “The Dig,” and tested the cameras on location using anamorphic lenses.
Oscar-winning DP Claudio Miranda ASC’s analysis on “The Camera Test”
Cinematographer Claudio Miranda ASC provides insight and analysis on “The Camera Test,” with a breakdown on how well the Original VENICE and VENICE 2 intercut. Miranda also discusses what he thinks makes the VENICE 2 stand out.
VENICE 2 Aerial Shoot: Behind the Scenes with Curt Morgan
Go behind the scenes with filmmaker Curt Morgan for his first aerial shoot using the new VENICE 2. 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.
"Homecoming" with Robert McLachlan, ASC, CSC | VENICE 2 | Sony | CineAlta
The first reel shot on new CineAlta VENICE 2. Director of Photography: Robert McLachlan, ASC, CSC Watch the Director's cut of CineAlta, the VENICE 2 with 8.6K image sensor.
Behind the Scenes of “Homecoming” with Rob McLachlan ASC, CSC
Go behind the scenes with Rob McLachlan, ASC, CSC (Game of Thrones, Ray Donavan, Westworld, and Lovecraft Country) on the creation of his VENICE 2 short film, “Homecoming.” McLachlan, who used the Original VENICE in his latest series “Lovecraft Country” and “The Shining Girls,” filmed with the VENICE 2 over ten days and shot in two countries for “Homecoming.” McLachlan used nearly every kind of camera conveyance possible from handheld, tripod, Steadicam, drone, underwater and helicopter shots.
“The Camera Test” with Claudio Miranda, ASC
In “the Camera Test,” Oscar-winning cinematographer Claudio Miranda ASC tests the Original VENICE and the VENICE 2 8.6K to learn the strengths of each camera and showcase how the cameras can work together on a film. Miranda took inspiration from his 2017 film “The Dig,” and tested the cameras on location using anamorphic lenses.
Oscar-winning DP Claudio Miranda ASC’s analysis on “The Camera Test”
Cinematographer Claudio Miranda ASC provides insight and analysis on “The Camera Test,” with a breakdown on how well the Original VENICE and VENICE 2 intercut. Miranda also discusses what he thinks makes the VENICE 2 stand out.
VENICE 2 Aerial Shoot: Behind the Scenes with Curt Morgan
Go behind the scenes with filmmaker Curt Morgan for his first aerial shoot using the new VENICE 2. 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.

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