Finally, a Sony camera with a catchy name instead of a confusing number, which from a marketing point of view, has got to be a good start. Although Venice is Sony’s first 36x24mm Full-Frame digital motion picture camera system, it’s great to see it uses the already established and very efficient 10-bit XAVC or 16-bit RAW/X-OCN with the R7 recorder. So that’s SxS or AXS cards and compatibility with other CineAlta hardware. However, it also looks like a future firmware upgrade will also give the option of internal ProRes which is a format still favoured by many in post production who’d rather not transcode.
In many ways this feels like Sony are aiming to compete directly with Arri in the Cinema market, so the concept of having different licences for various camera features will also be a familiar one. Out of the box, the Venice looks like a 4K S35 sized camera. If you want to try some Full-Frame loveliness or even Anamorphic formats you’ll need to purchase an optional licence. These licences will be available on a permanent, monthly or weekly basis.
Ignoring the expected cost and complication of various licence options, there’s still plenty to drool over. A claimed 15 stops of dynamic range, ultra wide colour space, 8 step ND filters, PL or E-Mount lens options and that lovely Full-Frame shallow look. Venice also has a modular design that apart from allowing additional options like RAW recorders, opens up the possibility of even upgrading the sensor in the future.
In many ways, the fact that this is only 6K resolution on a full frame sized sensor could be seen as a disappointment, especially as Sony already → continue…
From:: Extra Shot