Sony Venice 2
Sony VENICE 2 Cinema Camera
Embrace the Future of Cinematography with Sony VENICE 2
The Sony VENICE 2 cinema camera heralds a new era of filmmaking excellence, building on the acclaimed legacy of its predecessor with groundbreaking enhancements in image quality, versatility, and performance. Designed to meet the evolving needs of the most demanding cinematographers, the VENICE 2 captures the imagination with its stunning full-frame sensor, exceptional color science, and unparalleled flexibility in a robust and compact design.
Key Features:
- Next-Generation Image Quality: At the core of the VENICE 2 is a newly developed full-frame sensor, offering breathtaking resolution in 8.6K (V2 8.6K sensor version), exceptional dynamic range, and a color palette that brings your vision to life with unmatched fidelity and depth.
- Dual Base ISO: Maximizing low-light performance, the VENICE 2 features a dual base ISO, enabling cinematographers to capture superior images under a wide range of lighting conditions without compromising on noise or detail.
- Advanced Color Science: Sony’s state-of-the-art color science provides natural skin tones, vibrant color rendering, and seamless integration with a wide range of post-production workflows, ensuring your creative intent is preserved from capture to screen.
- Compact and Modular Design: Engineered for operational efficiency, the VENICE 2 boasts a compact body that is perfect for gimbal, drone, and handheld shooting, while its modular design facilitates easy customization to fit any production requirement.
- Versatile Recording Formats: Supporting a variety of recording formats, including X-OCN and ProRes, the VENICE 2 offers filmmakers the flexibility to choose the optimal balance between image quality and file size, catering to diverse production needs.
- User-Centric Interface: With an intuitive interface and accessible controls, the VENICE 2 ensures a smooth and efficient shooting experience, allowing filmmakers to focus on their creative expression without operational distractions.
| Items | Qty |
| Camera Brain | 1 |
| DSMC2 V-Lock Expander Module | 1 |
| Lens Mount (PL, Canon, or Nikon) | 1 |
| 7″ Touch LCD | 1 |
| Bomb EVF | 1 |
| RED Mini Mags – 512gb | 3 |
| REDstation Cardreader | 1 |
| V-Mount or Gold Mount Battery Plate | 1 |
| DSMC2 Top Handle | 1 |
| DSMC2 Tacticle Top Plate | 1 |
| DSMC2 GEMINI | |||||
| SPECIFICATION | DESCRIPTION | ||||
| Sensor Type | GEMINI® 15.4 Megapixel Dual Sensitivity CMOS | ||||
| Effective Pixels | 5120 x 3000 | ||||
| Sensor Size | 30.72 mm x 18.00 mm (Diagonal: 35.61 mm) | ||||
| Dynamic Range | 16.5+ stops (Both Sensitivities) | ||||
|
Max Data Rates
|
Up to 300 MB/s using RED MINI-MAG® (480GB, 512GB, 960GB & 1TB) | ||||
| Up to 225 MB/s using RED MINI-MAG (120GB & 240GB) | |||||
| REDCODE® RAW Max Frame Rates1 | 75 fps at 5K Full Height 1.7:1 (5120 x 3000) 96 fps at 5K Full Format (5120 x 2700), 120 fps at 5K 2.4:1 (5120 x 2160) 120 fps at 4K Full Format (4096 x 2160), 150 fps at 4K 2.4:1 (4096 x 1728) 150 fps at 3K Full Format (3072 x 1620), 200 fps at 3K 2.4:1 (3072 x 1296) 240 fps at 2K Full Format (2048 x 1080), 300 fps at 2K 2.4:1 (2048 x 864) |
||||
| Playback Frame Rates (Project Time Base) | 23.98, 24, 25, 29.97, 47.95, 48, 50, 59.94, 60 fps, all resolutions | ||||
| Best Available REDCODE Settings1 | 3:1 REDCODE at 5K Full Height (5120 x 3000) and 24 fps 6:1 REDCODE at 5K Full Height (5120 x 3000) and 60 fps 2:1 REDCODE at 5K Full Format (5120 x 2700) and 24 fps 8:1 REDCODE at 5K Full Format (5120 x 2700) and 96 fps 2:1 REDCODE at 4K Full Format (4096 x 2160) and 24 fps 6:1 REDCODE at 4K Full Format (4096 x 2160) and 120 fps |
||||
| REDCODE RAW Acquisition Formats2 | 5K Full Height 1.7:1 (5120 x 3000), 6:5 and Ana 2x, 1.3x 5K Full Format (5120 x 2700), 2:1, 2.4:1, 16:9, 4:1, 8:1, and Ana 2x, 1.3x 4K Full Format (4096 x 2160), 2:1, 2.4:1, 16:9, 3:2, 4:3, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 3K Full Format (3072 x 1620), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x 2K Full Format (2048 x 1080), 2:1, 2.4:1, 16:9, 3:2, 4:3, 5:4, 6:5, 4:1, 8:1, and Ana 2x, 1.3x |
||||
| Apple® ProRes | ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 4K (4096 × 2160) up to 29.97 fps ProRes 4444 XQ and ProRes 4444 at 2K (2048 × 1080) up to 120 fps ProRes 422 HQ, ProRes 422 and ProRes 422 LT at 2K (2048 × 1080) up to 120 fps |
||||
| Avid® Codecs | DNxHR HQX at 4K (4096 × 2160) 12-bit up to 29.97 fps DNxHR HQ, SQ and LB at 4K (4096 × 2160) 8-bit up to 29.97 fps DNxHR 444 at 2K (2048 × 1080) 12-bit up to 120 fps DNxHD 444 and HQX (1920 × 1080) 10-bit up to 120 fps DNxHD HQ, SQ and LB (1920 × 1080) 8-bit up to 120 fps |
||||