Sony has introduced Venice, the company’s first full-frame digital motion picture camera system and the newest of its CineAlta camera lineup, which is designed to expand the filmmaker’s creative freedom through immersive, large-format, full-frame capture of filmic imagery that enables production of natural skin tones, elegant highlight handling and wide dynamic range.
Venice was officially unveiled on September 6 to American Society of Cinematographers (ASC) members and a range of other industry pros. Sony also screened the first footage shot with Venice, a short film, The Dig, that was produced in anamorphic, written and directed by Joseph Kosinski, and shot by Academy Award-winning cinematographer Claudio Miranda, ASC.
“We really went back to the drawing board for this one,” says Peter Crithary, marketing manager, Sony Electronics. “It is our next-generation camera system, a ground-up development initiative encompassing a completely new image sensor. We carefully considered key aspects such as form factor, ergonomics, build quality, ease of use, a refined picture and painterly look — with a simple, established workflow. We worked in close collaboration with film industry professionals. We also considered the longer-term strategy by designing a user-interchangeable sensor that is as quick and simple to swap as removing four screws, and can accommodate different shooting scenarios as the need arises.”
Venice features a newly developed 36x24mm full-frame sensor to meet the demands of feature filmmaking. Full frame offers the advantages of compatibility with a wide range of lenses, including anamorphic, Super 35mm, spherical and full-frame PL mount lenses for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter and wider lenses. User-selectable areas of the image sensor allow shooting in Super 35mm 4-perf. Future firmware upgrades are planned to allow the camera to handle 36mm-wide 6K resolution. Fast image scan technology minimizes “Jello” effects.
A new color management system with an ultra-wide color gamut gives users more control and greater flexibility in working with images during grading and post production. Venice also has more than 15 stops of latitude to handle challenging lighting situations from low light to harsh sunlight with a gentle roll-off handling of highlights.
Venice uses Sony’s 16-bit RAW/X-OCN via the AXS-R7 recorder, and 10-bit XAVC workflows. The new camera is also compatible with current and upcoming CineAlta camera hardware accessories, including the DVF-EL200 full-HD OLED viewfinder, AXS-R7 recorder, AXS-CR1 and high-speed Thunderbolt-enabled AXS-AR1 card reader, using established AXS and SxS memory card formats.
Venice has a fully modular and intuitive design with functionality refined to support simple and efficient on-location operation. It is the film industry’s first camera with a built-in stage glass ND filter system, making the shooting process efficient and streamlining camera setup. The camera is designed for easy operation with an intuitive control panel placed on the assistant and operator sides of the camera. A 24-V power supply input/output and LEMO connector allow use of many standard camera accessories designed for use in harsh environments.
Users can customize Venice by enabling the features needed, matched to their individual production requirements. Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities, with new features including 4K anamorphic and full frame sold separately.
The Venice CineAlta digital motion picture camera system is scheduled to be available in February 2018.