On Wednesday, September 6, Sony unveiled VENICE, its latest flagship CineAlta full frame (36mm x 24mm) and S35 motion picture digital  camera at the Cary Grant Theater in Sony Pictures Studios, Culver City, California.

Sony Picture Studios George Leon/Filmcastlive
The evening  presentation started with the introduction of the new VENICE camera features and the showing of  the short film "The Dig"  photographed by Claudio Miranda, ASC and directed by Joe Kosinski, followed by a Q&A panel moderated by Peter Crithary, Sony’s marketing and production manager for media solutions and production technology. The presentation ended at Stage 7 with a hands-on time with the cameras, lenses and workflow demos.

Peter Crithary, Sony’s marketing and production manager, introducing the next generation of CineAlta motion picture camera systems engineered from the ground up with a new ergonomic design, strong build quality, high dynamic range, high speed shutter readout sensor, 24x36mm Full-Frame 6K Sensor in a modular up-gradeable block design, ease of operation menu navigation,  8 step/ 8 stops mechanical ND filters built inside, PL and E lens mount making aspect ratio agnostic, full frame, widescreen, S35, anamorphic and more.

VENICE comes with a 24x36mm full-frame 6K sensor with 15 stops +  of dynamic range and up to a maximum resolution of 6048 x 4032 (firmware update). Also it can be configured to S35 window mode, Super35 18.66 x 24.89 mm, 4096 x 3024 (4-perf film equivalent) and S35 Window mode 14 x 24.89 mm, 4096 x 2160 resolution, similar height as previous Sony CineAlta (3-perf equivalent).

VENICE’s new full frame sensor can capture full frame 24mm high anamorphic, S35 18mm high anamorphic, S35+ 20mm high anamorphic, FF spherical, S35 spherical, S35 14mm high (as in F65, F55), etc. meaning you could use practical any still photo lens out there.

VENICE is the world’s first camera of its class with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.

 VENICE has control displays on both sides of the camera, with the main display on the camera outside for fast access to the camera settings by the camera assistant while shooting. The camera operator’s OLED mini display allows intuitive control of commonly accessed features such as ND filter, shutter, FPS, White Balance and Exposure Index. The control interface is an all-new design based on extensive researches with camera operators.

Interchangeable Sensor Block assembly with full frame sensor and E-mount. This module can be  easily swapped by the user on the field. No camera house services need it. Upgrade to future sensors available by Sony, keeping the camera.

VENICE can record two streams simultaneously onto two separate media cards. RAW or X-OCN on the AXS-R7 as a digital negative and XAVC or ProRes onto internal SxS cards for editing. VENICE will also, with a firmware update, record RAW or X-OCN on the AXS-R7 and XAVC 4K internally at the same time. When not using the AXS-R7, VENICE can record both XAVC 4K and ProRes simultaneously. If you’re using one SxS card, it would be ProRes 422 Proxy.

XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. VENICE supports XAVC Class480, which is the highest bitrate and quality available. Apple ProRes including ProRes 422 proxy formats are popular in postproduction, and are supported by VENICE. Using16-bit linear RAW format preserves all the information captured in 4K, with 16 times more tonal values than 12-bit RAW.

X-OCN - 16-bit eXtended tonal range Original Camera Negative. Full 4K and 6K* resolution, with extraordinary color reproduction, nicely suits Sony’s third generation color development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the camera’s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.

The DVF-EL200 was specifically created as the perfect partner for VENICE due to its exceptional performance and additional control features*. It has a 1920 x 1080-resolution OLED panel with exceptional high contrast, enabling precise, high resolution focusing and framing. Its all-new ergonomic design allows for tool-free attachment/detachment and reconfiguring within seconds. A rotary encoder provides instant access to brightness, peaking and contrast. The industry-standard LEMO connector offers exceptional durability. * V2.0 firmware required
VENICE has a surprisingly compact design which allows easier shooting in confined spaces or on drones. VENICE’s control buttons reflect the requirements of camera operators, carefully positioned for intuitive operation. They even illuminate for easy use on dark sets. On-set monitoring operation is further enhanced by the addition of an extra HD output alongside the standard 4K-SDI. VENICE can be powered by both 12 V and 24 V power sources that can be connected at the rear. A wide range of accessories are supported, including standard Fischer connectors. For enhanced durability in tough conditions, the viewfinder uses a LEMO connector. Suggested List Price: 42,000

Peter Crithary moderated the Q& A panel with Claudio Miranda ASC, and director Joe Kosinski. Claudio Miranda described the look of VENICE: “It has a very cinematic look. Colors are really beautiful. It is a sort of softer, cosmetic, tonally well rounded look, with skin tones that are gorgeous. It doesn’t feel video-like. It’s not harsh. This is a leap forward. Color rendition is really nice. Tonal values hold true in the lower toe of exposure. It holds highlight detail and color information. It doesn’t go red in the shadows. I would say there’s more dynamic range than the F65".

Jeffrey A. Reyes, BandPro Flm & Digital Inc., Sales Manager placed the same evening an order for fifty new CineAlta VENICE digital motion picture cameras. Preorder the new Sony VENICE at Band Pro and get it first!  Call your BandPro Salesperson at 1-888-BAND-PRO or email today.

Les Zellan, Chairman of Cooke Optics was one of the vendors at Stage 7 outfitting the new Sony VENICE camera with one of his Cooke s7/i 32mm lenses.

Peter Crithary, Sony’s marketing and production manager (l),  Dan Ming, Focus Puller of the short film "The Dig" and Claudio Miranda at  Sony Pictures studio 7 at the unveiling of Sony's CineAlta VENICE Full Frame & S35 digital motion picture camera.

Sony’s VENICE Features:

    Full Frame Sensor 24×36 mm
    Painterly Look
    6K Full Frame 6048 x 4032 maximum resolution
    4K Super35 window
    Full Frame, full 6048 photosite width of the sensor
    Widescreen spherical 2.39:1 or Large Format ‘Scope
    Super35 full height 2.0x squeeze Anamorphic
    8-Step, 8-Stop Internal NDs
    PL and Ruggedized E-mount
    Spherical FF & S35
    Anamorphic FF & S35
    15+ Stops of Exposure Latitude
    Native ISO 500  (maybe 800)
    Retains highlights and color detail 6 stops overexposed and 9 stops into the shadows
    Power:  both 12 VDC and 24 VDC

some text source courtesy of FDTimes

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