Sony announce VENICE ahead of IBC 2017

Sony announce VENICE ahead of IBC 2017

Sony have announced VENICE, their first full frame camera designed for high end film production. Pitched as a camera “created by and for the cinematographer”, VENICE has had a cracking reception so far, including a winning review from Life of Pi cinematographer Claudio Miranda.

 

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As NewsShooter point out, VENICE doesn’t feel like a traditional ‘filmmaker’s camera’, including as it does several of the popular features from the F55 and F5, chief among them the built-in variable ND filter. However, its most radical departure from tradition is that the entire front sensor block is user-removable. Sony plan to release different sensor blocks optimised for different types of shooting, which users will be able to swap in the field, without the need for a clean room or paid upgrade from the Sony team.

Image capture

The camera has a full frame 36 x 24mm sensor. It supports full frame, anamorphic and spherical Super35 framing, with additional modes slated to be added in future upgrades. Natively, VENICE uses E mount lenses, but is designed to work with adaptors to give you access to PL lenses – Sony’s end goal is to make a camera that’s lens and aspect ratio agnostic. You get 15-plus stops of latitude, and while the decision to limit the camera to ISO 500 has been slightly controversial, Sony insist that this limit gives you the best performance from the camera.

The camera captures footage in 16-bit Scene Linear RAW and X-OCN formats, and that NewsShooter interview reveals that ProRes is set to join the party either before shipping or slightly after as a free upgrade. It supports dual card recording, and will work with your existing R7 recorder.

Other nice touches include dual menus – one for you and one for your assistant, on each side of the camera – and an advanced cooling system that means the camera runs very little danger of overheating, despite its small form factor (133 x 159 x 172 mm and 3.9kg).

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Why 6K?

Sony say they chose to limit the camera to 6K rather than 8K because at 6K they can deliver better skin tones, richer colours which blend more smoothly, and more detail in the highlights of your shot. If you’re a regular reader of this blog, you’ll already know our team’s feelings about shooting over 6K, but to reiterate: we support Sony’s decision to go with the wider colour gamut over the additional Ks.

Availability

While final pricing and a release date are yet to be 100% confirmed, the estimated release date is next February.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Rohde and Schwarz release Venice 4K

Rohde and Schwarz release Venice 4K

We first saw Rohde & Schwarz’s upgraded VENICE 4K ingest system back at NAB, but are happy to announce it’s now out in the world, in stock and available for you to buy. Here’s a quick reminder of why you might want to.

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It’s fairly format agnostic. VENICE 4K features native 4K/UHD-1 acquisition, playback and transform functions, delivering leading 4K/UHD-1 performance and the highest picture quality to production and TV studios. It’s based on a modern, open system architecture, offering support for a wide variety of file formats, codecs and interfaces, and effectively makes handling 4K/UHD-1 material with up to 60p as easy as handling HD footage.

It gets rid of stitching VENICE 4K records material directly with 4K/UHD-1 resolution, so there’s no need to carry out time-consuming stitching processes.

It automatically records HD proxies While it’s recording 4K, VENICE 4K can simultaneously generate an  HD derivative to provide compatibility with existing HD workflows.

It supports dual destination UHD-1 signals VENICE 4K supports Sony XAVC and Apple ProRes for the recording of UHD-1 signals, and the dual destination feature makes it possible to save UHD-1 signals in parallel and independently of one another to two different storage environments, eliminating transfer times for copy processes. UHD-1 signals can be directly recorded to internal and external storage media, and the recorded material can be directly accessed.

There are more codecs to come Rohde & Schwarz have committed to releasing regular software upgrades to expand the variety of supported codecs, meaning you can adapt the VENICE 4K Workflow to your individual needs.

It allows users to control multiple channels even in tense playout scenarios Users can directly access all important functions and make changes to processes until immediately before content goes on the air, even in hectic production environments. The clear display of multiple channels in parallel makes it possible to simultaneously view channels in A/B mode and auxiliary channels and to control them even under difficult live conditions.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.