Indeed. There's always a catch when it comes to SONY 'pro' cameras. It's either missing certain basic features resulting in extra purchases, ridiculous coffin ⚰️ like body, pricey, less specs than rivals and lack of basic features that already exist on their small cameras.
@@kataichanda How many owners operators do you think are going to purchase the VENICE 2? I don't think very many, so the cost of the media is only really going to be felt by rentals who will factor it in to the overall running cost of the camera. Out of interest too, what do you think is missing from VENICE 2 that makes it lesser than the other cameras in its market (aka Cinema Cameras so Alexa LF, RED RANGER / RAPTOR XL) it is aimed at?
@@CVPTV Seems like the venice 2 has the same sensor found on the sony A1. If they could implement some kind of autofocus feature, that would be insane.
From what Sony have told us the sensor is different from the Alpha 1 and doesn't have the necessary phase detection on the sensor to have that kind of system, which isn't surprising given the market and workflows this camera is aimed at. Jake
@@CVPTV You are quite right on the high pricing. But remember that the people who are going to be renting the camera will be affected by the high purchase cost indirectly. Here are some of the things I think are missing. 1). AUTOFOCUS. Sony has arguably the best autofocus in the game. For the 1st time in history, autofocus is almost 100% reliable including on professional sets. This means no need for a focus puller and in turn smaller crew = less cost. 2). SIZE & SHAPE. If you add a V-Mount battery it's not a small camera at all. This means heavier and bigger equipment instead of an affordable gimbal. 3). ELECTRONIC VARIABLE ND. The ability to seamlessly adjust the light during nonstop takes is a game changer. If you are shooting outdoors on a partly cloudy day, flactuating light levels can delay you for hours. Having an accurate self adjusting electronic ND filter can save you time and money. 4.) RECORDING MEDIA. Even rental houses need to save money. So if it's too expensive to purchase, then it's not a plus. Another thing is different media cards from other brands. This prompts people into investing in a new ecosystem of media cards which isn't cheap. 5.) LACK OF BASIC CAMERA FUNCTIONS. Sony is always releasing cameras which are lacking certain functions but made available later via firmware upgrades or purchases. Why not just include everything in the beginning? Personally, I don't think the Venice 2 is really much of an upgrade from the original. I would still pick the V-RAPTOR over the SONY there's really nothing new it's bringing that the RED can't do.
The natural looking skin tones and overall beautiful image make this camera amazing. Red is great but.. contrasty and I don’t like that. This is closer to that beautiful Arri standard. Love it.
Great specs and modularity as you'd expect from a high end 2021 Cinema camera - but just to be totally superficial - that is one GORGEOUS looking beast. I envy the toys DoPs get to play with nowadays.
Huge upgrade for high end productions, that new sensor and internal XOCN recording makes it even more exciting. Well done Sony once again! Great job on the video! Greetings
I would love to see a dynamic range test between the mirrless line and these cameras. I feel like you could get pretty close with the A1 and A7s3 or A74. Also is the 8k sensor for the venice 2 the same sensor as the sony A1? that would make a lot of sense!
6:30 The Sony Venice is one of the few true cinema cameras with built-in ND filters. I wonder why they went with mechanical ND instead of electronic variable ND, like the one in the FX9.
The reason they wouldn’t have used their electronic ND system would be because the quality of the filter would be compromised over traditional filters in a turret system. Jake
What CVP said, plus the FX9 isn't a cinema camera, it's a TV/ENG/documentary/etc camera where slightly worse NDs in favor of quickly exposing and shooting is fine. Every single internal ND system in cinema cameras is fixed filter, none of them are variable, since the quality is so much worse. And uhh, "one of the few true cinema cameras with built-in ND"? There aren't many to begin with. But most of them do have internal ND though. 8/12 out of the currently produced ones in fact. Sony Venice yes Arri Amira yes Arri SXT yes Arri ALEXA Mini yes Arri ALEXA LF yes Arri ALEXA Mini LF yes (Arri used to have digital cameras without int-ND though, but they're discontinued) RED V-Raptor no RED Komodo no RED Ranger no RED DSMC2 no Canon C700 yes Canon C700 FF yes EDIT: Also, it's fixed internal or "non-variable" ND's, not "mechanical ND". The way to switch between them can be either mechanical or motorized though.
I wonder if the 15+ stops of dynamic range is the same 15+ stops of the a7siii which is actually less than 13 stops of usable dynamic range and more on the level of the Blackmagic 6K than on a level of a RED Epic or Arri.
Did you guys get a production camera yet? Would love to see a visual test compared to other cameras. There’s literally no videos on the internet about this 😢
I was looking forward to filming my youtube unboxing reviews with this camera. But why no 6k 120 option? I need those extra slow motion frame rates to make cool knife moves for the intro!
Actually, nop. It was the first Venice. Remember this camera was created in the past year and a half and not even the production version but prototypes. Top Gun's first trailer came out like 2 and half years before the release of the film. They probably filmed that a year before. That's around January 2019. It's the original Venice for sure. What they might be filming with it is Avatar 4 and 5, and the new Mission Impossible sequels.
Really mate , i love sony 8.6k... But really really really i love even more than Venice 8.6k is what you shooting Canon C 200 ... I'm seeing you're interview ... So much rich image quality than 8.6knvenice...
For the production level, this camera intended (as Arri or Red alternatives) the cost for all the storage and software licenses is fair. Remember this is Venice not FX, it's intended to shoot big-budget cinemas designed to compete with the big gun like Arri.
@@TwatMcGee Dude it's not only Sony that offers features behind license, it's a standard industry at least on the Pro level. Panasonic actually did this on a prosumer level lol ( V log license )
Nice! But after years of lugging stuff around, I want simplicity and convenience. The Venice has to be too many things to too many people (like lots of other brands). Lazy bum that I am, it’s too much for me to bother with.
The reason they wouldn’t have used their electronic ND system would be because the quality of the filter would be compromised over traditional filters in a turret system. Jake
The reason they wouldn’t have used their electronic ND system would be because the quality of the filter would be compromised over traditional filters in a turret system. Jake
Check out Claudio Miranda's introductory video-- he uses both the Venice 2 (8.6k) and the original Venice, and the shots are marked so that you know which is which.
They need to make another global shutter camera, like the F55 and pit it against the Komodo. Instead they are focusing their energy on nickle and diming people on software specs that should be in the camera in the first place. smh
@moud rawline Out of interest, what makes you think this isn't competing in the market? We have sold plenty into the rental space and at least here in the UK the uptake for the original VENICE has been pretty good considering it is one of Sony's first true "cinema" cameras. Jake
@@CVPTV It probably does pretty well, but in my opinion the specs and features seem pretty underwhelming for what is Sony's most high end and high tech.
@@CVPTV Well, I guess I am not the intented target audience anyway. So I guess the Venice works where it sits. I would have hoped for a Sony f55 replacement with a global shutter but more similar to the Venice being more modern.
Can you make tutorials to teach us how to operate these beasts please 🤔😃 there are so many reviesw on RUclips but no one teaches us how to operate these cameras on the site as a film crue 😥Can you start a ew playlist or channel to teach Cinematography from beginning to pro level 😃
Looked at the specs under the hood on this V2…. Personally my money is on the DJI Ronin 4. Lets not forget this is ONLY a body/ brain. Nothing more. + they don’t even have the FX6 & FX 3 in the market yet… it’s still on back order … 1 YEAR LATER … So what does this say about the V2 … coming in 2024 ? This CAM/ SYSTEM is purely for BIG STUDIO . MARVEL productions that can accomodate multi million $ budgets. It’s a PRODUCTION /STUDIO CAM .. .so it’s an unrealistic value to be showcasing this kind of tool to prosumer level operators. They can stay with the FX series …. When it finally comes to the market .. .which is NO TIME SOON.
I agree that this is probably not a camera for "prosumer" operators. However, the video is valuable information for rental staff, producers, and the crew who will work with the camera on a high end shoot. Beyond Marvel movies, it'll be used places where the original Venice is already popular: on commercials and TV/streaming series.
Why would they engineer this to swap after unscrewing 4 screws? They could have designed this in such a way that it could be swapped in les than 15 seconds with a snapping latch system
Because that simplify also makes it very easy to come lose and break off. Or someone unauthorized to remove it. Besides, one possible definition of cinema camera is that it requires a group to operate it.
STILL no 16x9 120fps in a PROFESSIONAL Sony body. I feel Sony missed an opportunity to sell a 2nd new camera. a 4k or 6k s35, or FF, high speed body for people looking to upgrade from an Amira or F55. Looks like many of those folks will be waiting until summer for the new Arri body....
@@gabrielmachadobsb every sony cinema camera except the venice can shoot compressed 4k120. every arri digital can shoot 120fps and even the c300III can shoot 4k120. its anything but niche, its DEFAULT.
I think one thing to consider is that Sony may not be aiming these sensor blocks at the high speed shooter. I think the camera is aimed at being the main A camera on a set and if you have the budget to rent a VENICE package and require the super high frame rate stuff you will be renting in a phantom or exploring the RAPTOR. Jake
Stick this on a Ronin and it'll be perfect for vlogging around temples and skate parks.
Well. Now, the dilemma: buy a car for the studio or that memory card?
Indeed. There's always a catch when it comes to SONY 'pro' cameras. It's either missing certain basic features resulting in extra purchases, ridiculous coffin ⚰️ like body, pricey, less specs than rivals and lack of basic features that already exist on their small cameras.
@@kataichanda How many owners operators do you think are going to purchase the VENICE 2? I don't think very many, so the cost of the media is only really going to be felt by rentals who will factor it in to the overall running cost of the camera. Out of interest too, what do you think is missing from VENICE 2 that makes it lesser than the other cameras in its market (aka Cinema Cameras so Alexa LF, RED RANGER / RAPTOR XL) it is aimed at?
@@CVPTV Seems like the venice 2 has the same sensor found on the sony A1. If they could implement some kind of autofocus feature, that would be insane.
From what Sony have told us the sensor is different from the Alpha 1 and doesn't have the necessary phase detection on the sensor to have that kind of system, which isn't surprising given the market and workflows this camera is aimed at. Jake
@@CVPTV You are quite right on the high pricing. But remember that the people who are going to be renting the camera will be affected by the high purchase cost indirectly.
Here are some of the things I think are missing.
1). AUTOFOCUS. Sony has arguably the best autofocus in the game. For the 1st time in history, autofocus is almost 100% reliable including on professional sets. This means no need for a focus puller and in turn smaller crew = less cost.
2). SIZE & SHAPE. If you add a V-Mount battery it's not a small camera at all. This means heavier and bigger equipment instead of an affordable gimbal.
3). ELECTRONIC VARIABLE ND. The ability to seamlessly adjust the light during nonstop takes is a game changer. If you are shooting outdoors on a partly cloudy day, flactuating light levels can delay you for hours. Having an accurate self adjusting electronic ND filter can save you time and money.
4.) RECORDING MEDIA. Even rental houses need to save money. So if it's too expensive to purchase, then it's not a plus. Another thing is different media cards from other brands. This prompts people into investing in a new ecosystem of media cards which isn't cheap.
5.) LACK OF BASIC CAMERA FUNCTIONS. Sony is always releasing cameras which are lacking certain functions but made available later via firmware upgrades or purchases. Why not just include everything in the beginning?
Personally, I don't think the Venice 2 is really much of an upgrade from the original. I would still pick the V-RAPTOR over the SONY there's really nothing new it's bringing that the RED can't do.
Man you guys are next level for actually being able to get hands on with it
Sony VENICE 2 is a Masterpiece. #TeamSony
We've actually never used a Venice camera before, only their FX line. But this looks amazing!
They are awesome cameras to use! Fingers crossed the new 8.6K image lives up to what we expect! Jake
The natural looking skin tones and overall beautiful image make this camera amazing. Red is great but.. contrasty and I don’t like that. This is closer to that beautiful Arri standard. Love it.
Great specs and modularity as you'd expect from a high end 2021 Cinema camera - but just to be totally superficial - that is one GORGEOUS looking beast. I envy the toys DoPs get to play with nowadays.
Huge upgrade for high end productions, that new sensor and internal XOCN recording makes it even more exciting. Well done Sony once again!
Great job on the video!
Greetings
I would love to see a dynamic range test between the mirrless line and these cameras. I feel like you could get pretty close with the A1 and A7s3 or A74. Also is the 8k sensor for the venice 2 the same sensor as the sony A1? that would make a lot of sense!
This footage looks so much better than the other sony's, that 16bit processing really does a lot
The Venice 2 looks amazing. I look forward to seeing what CVP shoots with it when you can get your hands on one.
would love venice 2 vs raptor vs alexa 35!
Would love to see a side by side dynamic range test comparing the 6K to the 8K sensor. Thanks for this!
cant wait to see venice 2 vs alexa 35
6:30 The Sony Venice is one of the few true cinema cameras with built-in ND filters. I wonder why they went with mechanical ND instead of electronic variable ND, like the one in the FX9.
The reason they wouldn’t have used their electronic ND system would be because the quality of the filter would be compromised over traditional filters in a turret system. Jake
What CVP said, plus the FX9 isn't a cinema camera, it's a TV/ENG/documentary/etc camera where slightly worse NDs in favor of quickly exposing and shooting is fine. Every single internal ND system in cinema cameras is fixed filter, none of them are variable, since the quality is so much worse.
And uhh, "one of the few true cinema cameras with built-in ND"? There aren't many to begin with. But most of them do have internal ND though. 8/12 out of the currently produced ones in fact.
Sony Venice yes
Arri Amira yes
Arri SXT yes
Arri ALEXA Mini yes
Arri ALEXA LF yes
Arri ALEXA Mini LF yes
(Arri used to have digital cameras without int-ND though, but they're discontinued)
RED V-Raptor no
RED Komodo no
RED Ranger no
RED DSMC2 no
Canon C700 yes
Canon C700 FF yes
EDIT: Also, it's fixed internal or "non-variable" ND's, not "mechanical ND". The way to switch between them can be either mechanical or motorized though.
How would this compare to the Sony CineAlta F35 that was released in 2008? Does anybody know the similarities and differences? Anybody...
Does it feature built-in WI-FI now, or does it still require the adapter?
Sony master of electronics
I would like to see a comparision between the 8.6k Venice 2 and the RED Monstro/V-raptor. Especially on low light condition with high contrast ratios
Buy both of them and test them out and let us know.
So the Sony Venice video came even before the Red Raptor ? How is that even possible
WOW 👑 SONY GOD FOREVER#1 ✌️ 👑
I wonder if the 15+ stops of dynamic range is the same 15+ stops of the a7siii which is actually less than 13 stops of usable dynamic range and more on the level of the Blackmagic 6K than on a level of a RED Epic or Arri.
In general, the DR is a comparison within the manufacturer.
Did you guys get a production camera yet? Would love to see a visual test compared to other cameras. There’s literally no videos on the internet about this 😢
This video is literally a Venice 2 manual ! ❤ but boy ! $4500 for 1tb !
I was looking forward to filming my youtube unboxing reviews with this camera. But why no 6k 120 option? I need those extra slow motion frame rates to make cool knife moves for the intro!
Which one of Sony’s cinema line you think is better at low light situations??
top gun 2 was filmed with this
Actually, nop. It was the first Venice. Remember this camera was created in the past year and a half and not even the production version but prototypes. Top Gun's first trailer came out like 2 and half years before the release of the film. They probably filmed that a year before. That's around January 2019. It's the original Venice for sure.
What they might be filming with it is Avatar 4 and 5, and the new Mission Impossible sequels.
Awesome review!
Does this mean mk1's will turn up on the market for reasonably cheap?
Maybe do a rig breakdown
Really mate , i love sony 8.6k...
But really really really i love even more than Venice 8.6k is what you shooting Canon C 200 ...
I'm seeing you're interview ... So much rich image quality than 8.6knvenice...
If its Sony I am sold.
It still blows my mind that most manufacturers shy away from using a white body color to reflect more heat off.
It would also reflect more light off which I don’t think is worth the trade off for most. Jake
Pretty unfortunate there's no backwards compatibility with the original Venice. That feature is still promised on Sony's website...
Not bad. Now if Sony can just hire somebody to work on the accursed menu selection.
or make it skinnable.
Proprietary cards and locking hardware features behind software licenses?
Sony won't miss any opportunity to nickel and dime consumers.
Its always bugged me about sony. Blackmagic, Canon, Red? You get it all for the sticker price, but Sony likes to squeeze their customers.
For the production level, this camera intended (as Arri or Red alternatives) the cost for all the storage and software licenses is fair. Remember this is Venice not FX, it's intended to shoot big-budget cinemas designed to compete with the big gun like Arri.
@@TwatMcGee Dude it's not only Sony that offers features behind license, it's a standard industry at least on the Pro level. Panasonic actually did this on a prosumer level lol ( V log license )
@@TwatMcGee ARRI also charges for their RAW and anamorphic licenses
Still not as much as RED.
I smell a Venice 3 coming this year
Now compare this with RED Raptor also since the video has been delayed so much.
Can you live shoot on youtube or tv using venice 2? How?
Brilliant review 🙂
with a sony venice 2 camera you get better image quality than with the red v raptor vv 8k? please tell me
Venice 2 looks so awesome. I can't wait to pixel peep at some of its X-OCN files :p
X-OCN is fantastic, I'm also super excited to get my hands on a full production camera for us to properly test! Jake
Nice! But after years of lugging stuff around, I want simplicity and convenience. The Venice has to be too many things to too many people (like lots of other brands). Lazy bum that I am, it’s too much for me to bother with.
What camera are you using to shot yourself talking in this video? :)) it looks amazing, color grading is amazing I guess
Canon C200. Jake
thanks for the great video! :)
Still waiting for an F5/F55 s35 replacement aimed at owner-operators... I can't help but wonder, but was there such a high demand for a Venice update?
We would also love to see an F5/55 replacement! Jake
@@CVPTV Couldn't agree more!
but, you can not filmmed at 240 fps?
Will it fit for my challenge-vlog?
it's funny how you've been improving your image too through out these years with better and better cameras !
Really surprised they didn't use their eVND. Any reason why? besides long development times?
The reason they wouldn’t have used their electronic ND system would be because the quality of the filter would be compromised over traditional filters in a turret system. Jake
I want this camera . . .
Wait, what? why didn’t they didn’t put the legendary auto variable ND in the Venice 2?
The reason they wouldn’t have used their electronic ND system would be because the quality of the filter would be compromised over traditional filters in a turret system. Jake
Insanely good 50mp sensor, we've seen this before in the A1, is this sensor also stacked?
Stacked!!! At what frame rate!? Individual!?!?
If I would like to use Rialto on Venice 2 I need to use only 6K sensor ? And then base ISO is 500/2500 or 800/3200 ?
It won’t work with VENICE 2 full stop. You’ll need to use a full VENICE 1 system currently. Jake
It's the second most expensive camera I've ever seen ( most expensive was an Arri Alexa )
I need to know if it’s identical obviously it’ll be more crisp and all but will it even have the Venice look?
Check out Claudio Miranda's introductory video-- he uses both the Venice 2 (8.6k) and the original Venice, and the shots are marked so that you know which is which.
I don't get why they made It 8k. Nobody really needs 8k, and they are loosing so much image quality when the sensor pixels are so much smaller.
I don't know much about the Sony Venice line of cine cams but is that really the cost of memory? 4K?
When its proprietary memory, the sky is the limit.
Price?
They need to make another global shutter camera, like the F55 and pit it against the Komodo. Instead they are focusing their energy on nickle and diming people on software specs that should be in the camera in the first place. smh
Well, that's gonna take the expense out of getting the sensor cleaned...oh...it doesn't?
If only. 👽
Honestly still waiting for the RED raptor video 🙄😔
Just wondering why its not competing on the market
Same, this seems beat by so many cheaper options in my opinion
@moud rawline Out of interest, what makes you think this isn't competing in the market? We have sold plenty into the rental space and at least here in the UK the uptake for the original VENICE has been pretty good considering it is one of Sony's first true "cinema" cameras. Jake
@@CVPTV It probably does pretty well, but in my opinion the specs and features seem pretty underwhelming for what is Sony's most high end and high tech.
@@NebulousFilms Interesting, so considering the market it is aimed at, what would you change to make it a better cinema camera?
@@CVPTV Well, I guess I am not the intented target audience anyway. So I guess the Venice works where it sits. I would have hoped for a Sony f55 replacement with a global shutter but more similar to the Venice being more modern.
But is it as compact as my sony a6400 ?
No it’s not
Nice sony venis
les gooo
Can you make tutorials to teach us how to operate these beasts please 🤔😃 there are so many reviesw on RUclips but no one teaches us how to operate these cameras on the site as a film crue 😥Can you start a ew playlist or channel to teach Cinematography from beginning to pro level 😃
Just so you know, cinematography is the ultimate in the video/film profession. Its a very, very small part of video.
Awsome
rent guys rent, is the only option to continue having excellent results
Looked at the specs under the hood on this V2…. Personally my money is on the DJI Ronin 4. Lets not forget this is ONLY a body/ brain. Nothing more. + they don’t even have the FX6 & FX 3 in the market yet… it’s still on back order … 1 YEAR LATER … So what does this say about the V2 … coming in 2024 ? This CAM/ SYSTEM is purely for BIG STUDIO . MARVEL productions that can accomodate multi million $ budgets. It’s a PRODUCTION /STUDIO CAM .. .so it’s an unrealistic value to be showcasing this kind of tool to prosumer level operators. They can stay with the FX series …. When it finally comes to the market .. .which is NO TIME SOON.
I agree that this is probably not a camera for "prosumer" operators. However, the video is valuable information for rental staff, producers, and the crew who will work with the camera on a high end shoot. Beyond Marvel movies, it'll be used places where the original Venice is already popular: on commercials and TV/streaming series.
I rather wait for Venice I2C (I too call). Built-in cellphone
bUt dOes iT haVe a fLiPpY sCreEn foR vLogGinG? 😂
it doesnt do slower than 60fps? even the a7siii does 120p
Why would they engineer this to swap after unscrewing 4 screws? They could have designed this in such a way that it could be swapped in les than 15 seconds with a snapping latch system
Because that simplify also makes it very easy to come lose and break off. Or someone unauthorized to remove it. Besides, one possible definition of cinema camera is that it requires a group to operate it.
lmao they really just slapped a "2" on that thing huh
drools
👍
STILL no 16x9 120fps in a PROFESSIONAL Sony body. I feel Sony missed an opportunity to sell a 2nd new camera. a 4k or 6k s35, or FF, high speed body for people looking to upgrade from an Amira or F55. Looks like many of those folks will be waiting until summer for the new Arri body....
120fps is such a niche frame rate that Sony probably feel it's fine for it to stay confined to the FX6 while focusing on other aspects of the venice
@@gabrielmachadobsb every sony cinema camera except the venice can shoot compressed 4k120. every arri digital can shoot 120fps and even the c300III can shoot 4k120. its anything but niche, its DEFAULT.
Good for Wedding Filmmaker ^^
Depends on your clients. Not for the rich and famous.
Thanks for your report. Sony is bad for media support, this camera is not capable for high speed shooter.
Whatever you say
I think one thing to consider is that Sony may not be aiming these sensor blocks at the high speed shooter. I think the camera is aimed at being the main A camera on a set and if you have the budget to rent a VENICE package and require the super high frame rate stuff you will be renting in a phantom or exploring the RAPTOR. Jake
@@CVPTV According to Sony Japan, VENICE 2 will be capable of HFR shooting at 4K up to 120fps.
@@JonPais Yes, that's mentioned in the video, when using the 6K sensor it's capable of this.
@@sammeasure7460 no, the 8K sensor with get high frame rate option in future.
Too expensive for most people.
Its a PRO camera Jeeves -- Aka, for people that use it to make money.
V-Raptor hands down at half price! Too expensive not too exciting!
120 fps max for a camera this high priced, this is a bad joke
That's the equivalent of say $150,000 for a car with only two seats is a joke. See how it works now?
Tooooooo muchhhhhhhhhh talk
What?