Sony Venice 2

Sony Venice 2

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Trusted Creative Partner

VENICE 2 is a cinema camera created by and for the cinematographer. Extraordinary image quality, exquisite colour science and incredible low-light sensitivity. Filmmakers have greater freedom of expression in grading than ever before, with either 16 or 15+ stops of latitude and exceptional colour rendition.

Complete Creative Vision

A choice of two full-frame image sensors, internal recording and a more compact body provide exhilarating creative freedom. Now in 2025, we will take this even further. Shoot handheld with a sensor block that fits in the palm of your hand. All the quality of 8K with up to 12 m connection to recording body. Every single shot – handheld, gimbal, VFX and stereoscopic – is attainable with our groundbreaking camera system.

Simple and Intuitive

Operators need to know their camera is reliable and usable, especially during demanding shoots. VENICE 2 features simple menu navigation and connectors arranged to make life easier on set. With a durable, compact build, the camera is fast to set up for handheld or mounted shooting, so you can focus on filming, not the camera.

Front view of VENICE 2 with 8K sensor

36x24mm Full-Frame Sensor for Cinema

VENICE 2 features one of two 36x24mm full-frame image sensors, designed specifically for the demands and performance of high-end cinematography. Each offers remarkable sensitivity, latitude and colour rendition, and because the sensor blocks are interchangeable, users can easily switch between sensors—without any extra firmware—and can even use the sensor from their original VENICE. The new 8K sensor can capture images up to a maximum resolution of 8640 x 5760, while the established 6K sensor offers up to 6048 x 4032. Both offer powerful oversampling for incredible 4K images.

 

 
Full-Frame full width 36 mm 8K and​ 6K

In full-frame, you can use the full width of the sensors (6048 or 8640 pixels) for widescreen spherical 2.39:1 or Large Format Scope. Full-Frame can be used creatively in a number of ways – for example, to allow for extra shallow depth of field or super-wide shooting.

Super35 Anamorphic​ desqueeze

For anamorphic shooting and production, a variety of desqueeze formats are supported enabling an even greater creative choice of lenses.

Super35 17:9 and 16:9​

These popular imager sizes have native support in VENICE 2, and the 8K sensor makes it possible to capture 5.8K footage in these modes. Current Super35mm PL mount lenses can be used as well.

 

VENICE 2 8.6K imager modes
8.6K sensor imager modes
 
 
VENICE 2 6K imager modes
6K sensor imager modes

 

8K Sensor Modes​
Software License Imager mode Resolution W X H (mm) Project Frame Rate Select FPS
License not Required* 5.4K 16:9​ 5434 x 3056 22.6 x 12.7​ 23, 24, 25, 29, 50, 59​ 1**-60, 66, 72, 75, 88, 90​
License not Required* 5.8K 17:9​ 5792 x 3056 24.1 x 12.7​ 23, 24, 25, 29, 47, 50, 59​ 1**-60, 66, 72, 75, 88, 90​
License not Required* 5.5K 2.39:1 5480 x 2296 22.8 x 9.55 23, 24, 25, 29, 47, 50, 59 1-60, 66, 72, 75, 88, 90, 96, 100, 110, 120
Anamorphic​ License 5.8K 6:5​ 5792 x 4854​ 24.1 x 20.2​ 23, 24, 25, 29, 47​ 1**-48​
Anamorphic​ License 5.8K 4:3 5792 x 4276 24.1 x 17.8 23, 24, 25, 29, 47, 50, 59 1-60
Full-Frame​ License* 7.6K 16:9​ 7680 x 4320​ 32.0 x 18.0​ 23, 24, 25, 29, 50, 59​ 1**-60​
Full-Frame​ License* 8.1K 16:9 8100 x 4556 33.8 x 19.0 23, 24, 25, 29 1-48
Full-Frame​ License* 8.2K 17:9​ 8192 x 4320​ 34.1 x 18.0​ 23, 24, 25, 29, 47, 50, 59​ 1**-60​
Full-Frame​ License* 8.2K 2.39:1 8192 x 3432 34.1 x 14.3 23, 24, 25, 29, 47, 50, 59 1-60, 66, 72
Full-Frame​ License* 8.6K 17:9 8640 x 4556 35.9 x 19.0 23, 24, 25, 29, 47 1-48
Full-Frame​ License* 8.6K 3:2​ 8640 x 5760​ 35.9 x 24.0​ 23, 24, 25, 29​ 1**-30​

* The Anamorphic license is required to enable ratio setting, other than Off (1.0x), for the de-squeeze function.​

** In high base ISO 3200, 1-7FPS is no available. The selectable FPS value varies depending on the recording format and type of AXS memory card.

6K Sensor Modes
Software License Imager mode Resolution W X H (mm) Project Frame Rate Select FPS
License not Required* 3.8K 16:9 3840 x 2160 22.8 x 12.8 23, 24, 25, 29, 50, 59 1 – 60
License not Required* 3.8K 16:9

(Surround View)

 3840 x 2160

(4268 x 2400)

 22.8 x 12.8

(25.4 x 14.3)

 23, 25, 25, 29 1 – 48
License not Required* 4K 2.39:1 4096 x 1716 24.3 x 10.3 23, 24, 25, 29, 47, 50, 59 1-60, 66, 72, 75, 88, 90, 96, 100, 110, 120
License not Required* 4K 17:9 4096 x 2160 24.3 x 12.8 23, 24, 25, 29, 47, 50, 59 1-60, 66, 72, 75, 88, 90, 96, 100, 110,
License not Required* 4K 17:9

(Surround View)

 4096 x 2160

(4552 x 2400)

 24.3 x 12.8

(27.0 x 14.3)

 23, 24, 25, 29 1 – 48
Anamorphic License 4K 4:3 4096 x 3024 24.3 x 18.0 23, 24, 25, 29, 47, 50, 59 1-48, 49-60, 66, 72, 75
Anamorphic License 4K 4:3

(Surround View)

 4096 x 3024

(4552 x 3360)

 24.3 x 18.0

(27.0 x 20.0)

 23, 24, 25, 29 1 – 30
Anamorphic License 4K 6:5 4096 x 3432 24.3 x 20.4 23, 24, 25, 29, 47, 50, 60 1-60, 66, 72
Full-Frame License* 5.7K 16:9 5674 x 3192 33.7 x 19.0 23, 24, 25, 29, 50, 60 1-60, 66, 72
Full-Frame License* 6K 2.39:1 6048 x 2534 35.9 x 15.0 23, 24, 25, 29, 47, 50, 59 1-60, 66, 72, 75, 88, 90
Full-Frame License* 6K 17:9 6054 x 3192 36.0 x 19.0 23, 24, 25, 29, 47, 50, 59 1-60, 66, 72
Full-Frame License* 6K 1.85:1 6054 x 3272 36.0 x 19.4 23, 24, 25, 29, 47, 50, 59 1-60, 66, 72
Full-Frame License* 6K 3:2 6048 x 4032 35.9 x 24.0 23, 24, 25, 29, 47, 50, 59 1 – 60

* The Anamorphic license is required to enable ratio setting, other than Off(1.0x), for the de-squeeze function

 
Phenomenal Latitude​

VENICE 2’s 8K sensor has an exceptional 16 stops of latitude, while the 6K sensor boasts 15+ stops of latitude. This means that both imagers can deliver phenomenal images with very little noise, in conditions that range from searing sunlight to almost no light. VENICE 2 also excels at High Dynamic Range imaging, allowing for unprecedented creative freedom in grading.

More Colours for More Expression​

VENICE 2 can exceed the BT.2020 colour space, with a colour range wider than DCI-P3. This means it can beautifully reproduce the true colour of the scene in front of your lens. The camera also provides a broad palette in the grading suite, using the established workflow of Sony’s S-Log3 and Ultra-wide Colour space, S-Gamut3. Plus, VENICE 2’s 6K and 8K sensors match colours almost perfectly, making your grading experience even better.

High Frame Rate​

VENICE 2 can shoot at speeds of up to 120fps at 4K and 90fps at 6K, when using the 6K sensor. In combination with an anamorphic license, it also allows shooting at speeds of up to 75fps at 4K 4:3 and 72fps at 4K 6:5. With the 8K sensor, VENICE 2 can achieve up to 72fps at 8.2K and 120fps at 5.5K.

VENICE 2 can select 33.33 variable FPS when the project frame rate is set to 24/25/50.

Fast Shutter

Jello effect is something we don’t need when filming. VENICE 2 has high speed readout sensors which minimizes the jello effect that are typical with CMOS sensors.

 

Interchangeable Image Sensors​

VENICE 2 allows you to easily remove and replace the image sensor, swapping between the 8.6K and original 6K image sensor as required. This also means a 6K sensor can be swapped between VENICE and original VENICE 2.​

Colour fidelity of In-Camera VFX

“In-Camera VFX Mode” setting includes parameters such as “Wall Temperature” and “Light blend ratio” to enhance color fidelity when mixing practical lighting and LED volumes as lighting in In-camera VFX. These setting parameter are recorded as metadata on X-OCN and baked into ProRes.

 
Dual Base ISO

VENICE 2 features dual base ISO, meaning that the 8K sensor offers Base ISO3200 in addition to Base ISO800, while the 6K sensor has Base ISO500 and Base ISO2500. High Base ISO3200 excels in low-light, High Dynamic Range capture, with an exposure latitude from 6 stops over to 10 stops under 18% Middle Gray, for a total of 16 stops. High Base ISO 2500 offers an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15+ stops.

 
VENICE 2 8K ISO 800 chart
ISO 800
VENICE 2 8K ISO 3200 chart
ISO 3200
 
Internal 16-bit X-OCN and 4K ProRes Recording in a Compact body​ ​
VENICE 2 and VENICE with AXS-R7 size comparison

New for VENICE 2, cinematographers and colorists can unlock the incredible creative possibilities of 16-bit X-OCN recording, without an external recorder. Users can enjoy the full dynamic range and color reproduction of the image sensor, capturing in 4K ProRes 4444 and 422 HQ. With such a compact design, and no external recorder, set-up is faster, simpler and easier, particularly for gimbals, Steadicams and drones.

 

 

Anamorphic look

VENICE 2’s support for anamorphic lenses allows for the capture of breathtakingly beautiful images. When combined with the ability to shoot 4:3 and 6:5 aspect ratio at high horizontal resolutions, this can give users stunning lens flare, bokeh and emotional impact. The 8K sensor can shoot 5.8K with an aspect ratio of 6:5, while the 6K sensor can shoot both 6:5 and 4:3 at 4K.

 

Lens mount flexibility

PL Lens Mount​

VENICE 2 comes with the industry-standard PL lens mount and is compatible with all Super35 and full-frame PL lenses – spherical and anamorphic. The lens mount includes contacts that support Cooke/i Technology, and lens information is recorded as metadata, frame by frame. We have also added support for ZEISS eXtended Data.

Lever Lock Type E-mount​

E-mount offers unsurpassed compatibility with Sony lenses. E-mount (lever lock type) gives users the ability to change lenses by rotating the locking collar rather than the lens itself, which means that in most cases lens support rigs don’t need to be removed, saves time during a production.

 

8-step Mechanical ND Filters​

VENICE 2 follows the world first of VENICE, 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 2.4 (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.

 

Engineered to Survive

VENICE 2’s chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions as well as main frame structure enabled to design the body to be more durable. Its ventilation system is completely isolated from all electronic components to prevent ingress of dust, sand and splash. The silent-running fan can be cleaned or even swapped out on set quickly and easily.​​

 

Intuitive and familiar on-set operation

VENICE 2 has control displays on both sides of the camera, with the same layout as VENICE. A 3-inch LCD display provides the camera assistant with fast access to settings during shooting, while on the other side, the camera operator’s OLED mini display provides easy control of commonly accessed features, such as ND filter, shutter, FPS, White Balance and Exposure Index.

Based on user feedback, the menu interface has been upgraded for even easier on-set operation. Many of VENICE 2’s connectors have also changed location and type, such as the Lemo 12V out and the Ethernet connector moving to the camera assistant’s side.

 

Zoom to Fit for monitoring
Diagram showing both X-OCN Anamorphic and ProRes Anamorphic support with SDI/HDMI/Viewfinder Output.

Full-frame 3:2 recording used to mean that users could not see their image without black bars at the sides of their monitors. Our Zoom to Fit function allows VENICE 2 to record in Full-frame 3:2 and deliver a 17:9 / 16:9 / 2.39:1* monitor output simultaneously so directors, cinematographers and crew are able to utilize the full display area of their on-set monitor.

Zoom to Fit function also supports shooting with anamorphic lenses and it is possible to output the same image as the viewfinder to the Monitor out when viewfinder is selected as Monitor Out Source.

* When the setting is 5.8K 17:9 with 2.0x Anamorphic De-squeeze

Intuitive, consistent exposure monitoring with EL Zone System™
An image showing the EL Zone System™ for intuitive and consistent exposure mapping, using 18% grey as the reference exposure.

The EL Zone System, created by cinematographer Ed Lachman, ASC, allows for exposure mapping in stops, using 18% grey as the reference exposure.

This tool facilitates accurate communication regarding lighting adjustments on-set and the reproduction of exposure during reshoots.

By integrating this tool into the VENICE 2, cinematographers can utilise the original raw sensor data, which provides the best representation of how the camera reacts to individual stops and offers accurate review of clipping points.

 

High performance, proven recording formats

VENICE 2 offers complete production flexibility. The camera supports internal recording of X-OCN or 4K ProRes recording onto AXS memory cards, removing the need to attach additional recording hardware.

X-OCN – 16-bit eXtended tonal range Original Camera Negative​

Full 4K, 6K or 8K resolution, with extraordinary color reproduction, nicely suits Sony’s third generation colour 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.

16-bit X-OCN offers significant file size reduction, which makes working with full resolution content from VENICE 2’s 8.6K or 6K sensor far more practical in terms of file transfer times and storage requirements.

Apple ProRes 4K

Apple ProRes, including ProRes 4444 and Apple 4K ProRes 422 HQ, are popular in post-production, and VENICE 2 supports Apple ProRes 4K. This means there’s no need for transcoding; you can simply handle these 4K ProRes formats directly from the camera.

Look settings can be also be previewed during playback of ProRes clips recorded in Log*.

* Available from Version 4.0 firmware

 

Advanced LUT support

VENICE 2 supports embedded LUT and CDL data within MXF clip files. These are recorded in the same folder as a separate clip to simplify post-production workflow.

Also, for those who want to see on-set images that are closer to the final look of their project, VENICE 2 can apply 4K or HD LUTs to its monitor output. HD output also benefits from improved LUT processing, with richer images and colour gradation.

LUTs developed with Picture Shop

Signature LUT

The Signature LUT was developed by Sony in collaboration with Picture Shop and Supervising Colorist Mitch Paulson, and is provided as a preset for on-set monitoring during shooting. Based on natural and neutral color reproduction, it delivers smooth highlight roll-off, rich shadow detail with preserved tonal gradation, and a well-balanced overall look. It also ensures consistent and natural skin tones across the tonal range.

*Pre-installed from Ver.5.00 or later

Picture Shop Supervising Colorist Mitch Paulson is an award-winning colorist with more than 20 years of experience in film and television. He has worked with many of the industry’s most acclaimed filmmakers on features including Blade Runner 2049, Skyfall, Sicario, and Alien: Romulus.

 

Picture Shop LUT Collection

The Picture Shop LUT Collection for VENICE allows anyone to add the artistry and experience of world-leading colorists to their VENICE productions. Free downloads of LUT files can be used for on-set monitoring, as well as be applied in post-production. Also included are .ART files, Sony’s new proprietary file format, which offers enhanced performance compared to 3D LUTs.

 

Paint Control from RM/RCP Units

VENICE 2 supports control from an RM/RCP panel* that can be used with broadcast camcorders and system cameras. When connected, ITU-R Rec. 2020 colour space and HLG are selectable and adjustment of various paint parameters is supported.

When RM/RCP Paint Control is on, the Look can be selected as a LUT and applied to various video outputs. Use of User 3D LUT is also supported. Additionally, Saturation and Skin Detail functions are available on the Paint menu. When RM/RCP Paint Control is off (standard mode), you can set whether to control the white balance function and shutter function from a remote control unit.

 

Ethernet and WiFi control

Using WiFi or an Ethernet connection, LUTs, CDLs and ART files can all be imported directly onto cameras, so there’s no need to physically upload them using SD cards. CDLs can then be controlled and adjusted via a web interface and embedded in clip metadata.​

CBK-3621XS VENICE Extension System Mini with VENICE 2 and lens

Go small, shoot big
Designed to deliver the next generation of visual content, in a super-compact form. The VENICE Extension System Mini preserves the image quality of VENICE 2, thanks to a built-in 8.6K full-frame CMOS sensor , while being approximately 70% smaller than the VENICE Extension System 2*.

Flexibility reaches every corner of the compact design. A thin, supple, detachable connector cable unlocks greater filmmaking freedom, as well as opening up XR content creation and stitch shooting. A PL mount adapter supports more lens choices and metadata recording. Assignable buttons and numerous mounting holes allow cinematographers to rig up and film exactly how they want.

This compact system is perfect for handheld, gimbal, and POV shooting. Its radical, compact design will transform stereoscopic and 360° filming.

* Volume ratio of the image block excluding the cable unit.

 

Features

Built-in 8.6K full-frame CMOS sensor

Shoot with the same image quality as VENICE 2 in a more compact body, thanks to its 8.6K full-frame CMOS sensor built into the camera head block. Compatibility with both the VENICE 2 8K and VENICE 2 6K means that VENICE 2 6K users can now take advantage of an 8.6K sensor*.

* VENICE 2 V4.0 firmware is required.

Drop-in ND filter

To achieve the desired exposure for the CBK-3621XS you can directly place ND Filters into the camera head block. It’s fast and simple. Included filters are Clear, 0.3, 0.6, 0.9, 1.2,1.5, 1.8, 2.1 and 2.4. Additionally, extra filters can be purchased as needed.

Compact and lightweight

Reduced to be approximately 70% smaller than its predecessor, the camera head block is perfect for shooting handheld and even with small gimbals. The compact design measures just 63.9 × 103.2 x 60.2 mm (W x H x D), weighing approximately 1.05 kg* with the PL mount adapter or just 0.54 kg* with E-mount.
* Excluding the detachable cable.

Final specifications may differ.

Stereoscopic shooting

Explore high-resolution stereoscopic filmmaking by placing two camera head blocks next to each other to produce more natural, stereoscopic images that enhance the viewer’s feeling of immersion*.

* Two VENICE 2 cameras are also required.

Stitch shooting

Broaden the scope of your visual expression by stitching viewpoints together, with setups like 360° VFX plates. Bring together multiple camera head block to create a VFX plate rig, unlocking VFX plate shooting and virtual production background filming—all with a compact, lightweight rig.

Detachable cable

The thinner, more flexible connector cable is detachable, making it easier to arrange your camera setup and shoot in tight spaces. Plus the cable’s flexibility allows for easier handling in a variety of environments.

Support for 12 m cable

Explore even more creative shooting options, with an extra-long 12 m connector cable (sold separately). Broaden your range of filming techniques further than the standard 4.5 m cable already enables.

Built-in mounting holes

Positioning and setup are more customisable, thanks to 15 built-in mounting holes on the camera head block: three on each side, two on the top, three on the bottom, four on the rear.

Built-in gyro sensor

Shoot with precision and maintain the ideal level and tilt for your camera. A built-in gyro sensor in the camera head block lets you check in a level display in real time, based on the sensor’s orientation. Sensor data is captured in the metadata too, for efficient editing and faster post-production.

Assignable buttons

Cinematographers can shoot with more flexibility, operating multiple camera functions through the camera head block itself, thanks to two assignable buttons. When functions like REC or False Color Display toggle are activated, the button lights up orange.

Support for PL and E mount lenses

Choose from a wide range of lenses, with a PL mount adapter included for easy swapping between E and PL mounts. Flange back adjustment also allows for fine-tuning the focus position, depending on the lens.

LENS META IN connector

Record metadata like focus, iris and zoom, even with lenses that don’t support metadata communication, thanks to a LENS META IN connector for Cooke /i protocol within the PL mount adapter.

Dust, moisture, and shock resistance, plus heat management

A robust design gives you peace of mind and stable performance. Shoot in a range of environments, with resistance to dust, moisture and shocks*, while a built-in cooling fan reduces the risk of heat-related shutdowns.

* Not guaranteed to be 100% dust and moisture proof.

 

VENICE 2 with CBK-3620XS VENICE Extension Unit 2

Designed by cinematographers

Shooting a scene handheld with an impossible sense of freedom comparable to a stills camera. Revolutionising aerial photography with an array of three cameras inside a jet fighter’s cockpit. The original VENICE Extension was created out of a partnership with a director demanding impossible flexibility for a 3D shoot where there could be no compromise in image quality.

The innovative cabled separation of the image sensor and camera body meant cinematographers no longer needed to compromise their vision. Its compact size allowed DoPs to fit truly cinematic lenses and achieve their preferred look in every scene.

Second Generation Enhancements

Incorporating customer feedback and developed alongside VENICE 2, the VENICE Extension System 2 (CBK-3620XS) offers a wider bandwidth to support the VENICE 2 with 8K sensor, over twice as much cable distance (up to 12m) without a repeater box, additional control buttons and a built-in gyro sensor. It once again expands the realms of possibility for cinematography.

The new Extension System is fully compatible with VENICE 2 using the 8K or 6K sensors, while also supporting the original VENICE camera with extended 12m cable length. It also comes with HD-SDI output and a 24V output for powering accessories such as lens servo motors and monitoring. Multiple screw holes on all surfaces make it easy to accessorise and fit on to a wide variety of rigs while the main weight of the camera can be supported elsewhere.

There’s no need for a smaller, lighter B-camera for extreme shooting scenarios. You can shoot everything with one modular camera system.

 

Features

Ideal for shooting in tight spaces and with gimbals

The Extension System camera head measures 158 × 147 × 126 mm (H × W × D)*, weighing around 2.1 kg* with a PL mount adapter and around 1.7 kg* with E mount when used with the VENICE 2 8K sensor block. The separated sensor block with lens is so small and light it allows for an easy handheld mode, enabling you to locate it in tiny spaces, keeps stabilization systems lightweight, allows use of larger lenses while maintaining a smaller profile, facilitates faster operation for motion-control rigs, use of body mounts, and other situations that you wouldn’t expect possible for a full-frame cinema camera. The creative freedom without any image compromise is boundless.

* Excluding cable section.

Extends up to 12 meters without a repeater

The original VENICE Extension System could reach a maximum extension of 5.5 m between the camera head and body. The VENICE Extension System 2 more than doubles that with transmission distance up to 12 m. The original also needed a repeater to connect the middle of the cable between the head and body to reach 5.5 m. The CBK-3620XS extends to 12 m without a repeater. This enables greater freedom of movement and expands the range of shooting possibilities, particularly when used with a crane. The CBK-3620XS also offers both 3 m and 12 m cables. Simply choose the best one for your needs.

4 assignable (ASSIGN) buttons on camera head for easy operation

The camera head has four ASSIGN buttons that can be set to functions such as change ND filter settings, REC Start/Stop and more for easier operation with VENICE 2 and VENICE. Choose a custom set-up that suits your preference for any scene.

Gyroscopic support with recording to metadata*

While shooting with the original Extension System did not accommodate use of a spirit level indicator (gyroscope sensor), the CBK-3620XS is equipped with a sensor on the camera head side that detects horizontal and vertical tilt. This allows use of a spirit level indicator and spirit level gauge graphical indicator on the camera’s main monitor, even when shooting with the CBK-3620XS. Camera head tilt information can be checked when shooting at different head and tilt angles – ideal for VFX applications. Naturally, the horizontal and vertical tilt are also recorded in the metadata and output through the camera’s SDI.

* Requires VENICE 2 and VENICE with latest firmware.

Compatible with VENICE* and VENICE 2**

The CBK-3620XS was developed alongside VENICE 2 to support both 8K and 6K sensors. It is also compatible with the original VENICE including spirit level display and recording to metadata, plus four assignable buttons.

* VENICE requires latest firmware.
** VENICE 2 requires latest firmware.

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