Featuring internal recording onto a high-speed ASX card, internal recording formats up to ProRes 4K 4444 and 422, an interchangeable sensor, and updated usability and body design, the 6K Sony VENICE 2 Digital Motion Picture Camera is a step up for DPs, camera assistants, colorists, VR, and VFX departments thanks to its high-resolution capture and filmlike imagery.

The 6K VENICE 2 uses the same sensor as the original VENICE, and it has a dual ISO range of 500/2500. The updated camera body allows you to swap the 6K sensor for an 8.6K sensor to gain a higher-base ISO and higher-resolution images, though the 6K sensor allows for higher frame rates. As with the original VENICE, the VENICE 2 comes with a removable PL Mount that supports the Cooke /i Technology lens metadata protocols, allowing you to work with cinema-style glass ranging from vintage to modern. Remove the PL Mount to reveal a Sony E-Mount, to accept native E-mount lenses. Eight integrated and motorized ND filters range from clear to seven stops of ND in one-stop increments.

The VENICE 2 allows you to work in a color space, sensitivity, and resolution that you have become accustomed to, as it uses the same sensor as the original VENICE camera. This allows to seamlessly intercut the footage between the two, making for an obvious A/B camera setup. Plus, the optional 8.6K sensor block (not included) can be swapped into the VENICE 2 in the field, avoiding a trip to a service facility.

Free yourself from an external recorder for raw and high-data-rate recording, as the VENICE 2 is capable of recording directly to AXS cards internally. Featuring two AXS card slots, you can capture X-OCN and 4K ProRes (both 17:9 and 16:9) internally and use relay recording for virtually unlimited recording time. Additionally, the VENICE 2 supports cache recording and has twice the cache memory as the original VENICE camera.

• 4K output with LUT applied
• Improved 3D LUT processing to improve picture quality
• EI changes directly applied to S-Log3 outputs
• Ethernet connector position changed to camera assistant side
• Lemo 2-pin 12V output connector
• Internal scratch track microphone installed
• Zoom to Fit Monitoring: Crops the viewing outputs (VF/SDI/HDMI) to the desired aspect ratio while recording the full frame of the sensor for VFX and potential post-production reframing
• LUT/ART/CDL file import via Ethernet/Wi-Fi
• ASC-CDL values control via Ethernet/Wi-Fi allows you to have LUT and CDL values applied by the camera using either an Ethernet cable or Wi-Fi via a connected computer using a GUI; CDL values are now embedded in clip metadata
• 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 color space and HLG are selectable, and adjustment of various paint parameters is supported

• Imager modes 6K 2.39:1 and 5.7K 16:9 (with Full-Frame License)
• Support for the X-OCN XT recording format
• Compatibility with Rialto VENICE Extension System
• De-squeeze ratios: 1.25x, 1.3x, 1.5x, and 1.8x
• Cache rec function
• AXS Relay rec function
• Simultaneous format
• SxS recording folder structure selection
• Support for 6G/12G output SDI
• Improved imaging assist function
• Support for CBK-WA02 Wireless LAN Adapter
• Improved VF menu operations and Frame Line setting
• Support for CDL files
• 5.7K at 16:9 up to 72 fps
• 4K at 6:5 up to 72 fps
• 3.8K at 16:9 up to 110 fps
• 3D LUT viewable in the viewfinder
• ART (Advanced Rendering Transform) file imports
• Updated switching for SDI 1-4 3G-SDI level A/B
• Addition of second user frame line of 9:16 and 1:1 preset
• Record beep and alarm volume adjust
• Ability to maintain CamID+Reel# when loading ALL file
• Displaying of Genlock and TC lock status on OSD
• Setting of de-squeeze on/off via the USER button
• Updated RCP Call function
• Record gyro information in metadata
• Support for ZEISS eXtended Data from FUJINON Premista-series lenses

The sensor features more than 15 stops of dynamic range and has been designed to exceed the BT.2020 color space, which is larger than the DCI-P3 color space, enabling you to create stunning images with a camera that already exceeds future specs.

In full-frame, you can use the full 6048-pixel width of the sensor for widescreen spherical 2.39:1 or large-format scope. A firmware upgrade and license are required for full-frame recording. It also supports Super35 for 17:9 or 16:9 images.

The servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis offers a massive ND range from Clear (no ND) and 0.3 (1/2 = 1 stop) to 2.4 (1/256 = 8 stops). The servo control also greatly increases VENICE's flexibility when being controlled remotely on drones, cranes, or in underwater housings.

The 6K VENICE features dual-base ISO, which offers Base ISO2500 in addition to Base ISO500. The High Base ISO2500 excels in low-light High Dynamic Range capture, with an exposure latitude from 5+ stops over to 10 stops under 18% Middle Gray, for a total of 15+ stops.

The high-speed readout of the VENICE 2 sensor minimizes the Jello effect typical with CMOS sensors.

The VENICE 2 comes with the industry-standard PL lens mount. It is compatible with all Super35 and full-frame PL lenses, spherical and anamorphic. The removable lens mount includes contacts that support Cooke /i Technology. The camera's lens information is recorded as metadata frame by frame.

Removing the PL Mount exposes the camera's E-Mount, which allows compatibility with E-Mount lenses. This E-Mount is designed with a lever lock that eliminates the need to rotate your lens when mounting, and the lever lock secures the lens in the mount, minimizing play. Rotating of the locking collar means that in most cases, lens support rigs don't need to be removed, which saves time during production. A planned firmware update is required to take full advantage of the E-Mount.