Sony Venice

Venice Camera Simulator

Codecs:

Sensors:

(OHB - Optical Head Block) - (A2207990A) / (A2207990B) / (A2207990C)

6k Venice 1 Sensor (shared with 6k Venice 2):

Size: 36.2 x 24.1 mm

Maximum resolution: 6048 x 4032 (24.8 M total)

Base ISO: ISO 500, ISO 2500 (dual base ISO)

Shutter: Rolling

8.6K Venice 2 Sensor (unique to Venice 2)

Size:

Maximum resolution: 8640 x 5760 (49.76 M total)

Base ISO: ISO 800, ISO 3200 (dual base iso)

Shutter: Rolling

It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops)

1/2 = 1 stop (0.3)

1/4 = 2 stops (0.6)

1/8 = 3 stops (0.9)

1/16 = 4 stops (1.2)

1/32 = 5 stops (1.5)

1/64 = 6 stops (1.8)

1/128 = 7 stops (2.1)

1/256 = 8 stops (2.4)

Sources:

https://sonycine.com/articles/your-venice-2-sensor-questions-answered/

Sensor Modes:

Internal Codecs:

XAVC

Apple ProRes

MPEG HD

*SXS Cards

External Codecs (via AXS-R7 recorder):

RAW - 16-bit linear RAW (limited to 4K)

X-OCN - 16-bit S-Gamut 3 (4K and 6K)

*AXS Cards

*The Anamorphic license is required to enable ratio setting, other than Off (1.0x), for the de-squeeze function.
**When a High Frame Rate (HFR) License is activated,
***When a High Frame Rate (HFR) License is activated. And AXS recording is supported, but AXS playback is not supported on the unit.
****Requires Firmware Version 6.0 or higher

Below middle grey, S-Log3 records each successively darker stop with less and less data. In effect the shadows are somewhat “rolled off”, but then this is not dissimilar to the way the light in the real world behaves. However above middle grey things are very different (when shooting with S-Log3 a middle grey target such as an X-Rite grey card is normally exposed at 41%).

In the real world and in a linear recording such as X-OCN, each time you go up a stop in brightness the amount of light doubles. With X-OCN each time you go up a stop you record that extra stop with twice as much data as the stop below. But S-Log3 is different. Above middle grey each successively brighter stop is recorded with exactly the same amount of data as the one before. Restricting the amount of data allocated to each of the brighter stops allows a big dynamic range to be recorded with a limited bit depth. But, in common with any other camera that uses a log gamma curve or log raw – we are giving up the ability to record the finer textures and details in those very big highlight stops, details and textures that are retained in the linear X-OCN recordings.