Sony VENICE 6K Digital Motion Picture Camera


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Key Features
  • Full-Frame CMOS Sensor
  • Supports UHD 4K and DCI 4K Capture
  • 15+ Stops of Dynamic Range
  • Supports 6K Capture with License Update
  • Anamorphic Capture with License Update
  • Removable PL Mount, Cooke /i Protocol
  • Sony E-Mount with Electronic Contacts
  • 8 x Integrated ND Filters
  • Integrated Assistant-Side Info Screen
  • Dual SxS Card Slots for XAVC or ProRes

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Reliable partner for creativity

VENICE is a cinema camera created by and for the cinematographer. It’s equipped with a newly developed full-frame image sensor meeting the needs of the film industry in pushing the boundaries of large format image capture with exceptional picture quality.


36x24mm Full-Frame Sensor for Cinema

VENICE is equipped with a 36x24mm full-frame image sensor, designed specifically for high end cinematography, and can capture images up to a maximum resolution of 6048 x 4032. By switching imager modes, VENICE can natively support Super35 24.3 x 18.0mm, 4096 x 3024 resolution (equivalent to 4-perforation motion picture film) and Super35 24.3 x 12.8mm, 4096 x 2160 resolution (equivalent to 3-perforation motion picture film). In other words, VENICE’s new full-frame sensor can capture in almost any format, including full 18mm-height Super35 Anamorphic and spherical and full-frame 24mm-height Anamorphic and spherical. Almost any aspect ratio can be conjured up: 1.85:1, 2.39:1, 17:9, the list goes on in full-frame or Super35.

With VENICE, Sony is giving users the option to customize their camera by only enabling the features as needed, according to individual production requirements. Licenses are available to expand the camera’s capabilities including 4K anamorphic and 6K full-frame.

Close-up of VENICE full-frame image sensor

Creative Freedom

Full-Frame Full width 36 mm 6K

In full-frame, you can use the full 6048 pixel width of the sensor 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 full height 2.0x squeeze Anamorphic

For anamorphic shooting and production, Super35 full height 2x squeeze anamorphic is supported.

Super35 17:9 and 16:9

These popular imager sizes are natively supported by VENICE. Current Super35mm PL mount lenses can be used.

Diagram showing supported imager modes for VENICE digital cinema camera.

The IMAX Experience® with VENICE

The VENICE Digital Motion Picture Camera was created out of intense dialogue with cinematographers to capture stunning visuals in almost any format, including full frame 36x24mm, Super35 and Anamorphic. It is also certified for the ‘Filmed in IMAX’ program due to its stunning imaging quality and integration with IMAX proprietary post-production workflow process. The IMAX program provides best practice guidelines to take advantage of each cameras’ highest possible capture qualities and settings in order to maximize The IMAX Experience® – including IMAX’s exclusive expanded aspect ratio.

High Frame Rate

The optional High Frame Rate license allows VENICE to shoot at speeds of up to 120fps at 4K 2.39:1, and 60fps at 6K 3:2 as well as up to 110fps at 4K 17:9, 90fps at 6K 2.39:1, 72fps at 6K 17:9, 72fps at 6K 1.85:1 and 75fps at 4K 4:3 with anamorphic license.

Fast shutter

VENICE’s high speed readout sensor minimises the jello effect typical in CMOS sensors.

Phenomenal latitude

VENICE has an exceptional 15+ stops of latitude, with low noise for extraordinary performance in delivering phenomenal images in conditions from searing sunlight to almost no light. VENICE’s real-world performance also excels at High Dynamic Range imaging and allows unprecedented creative freedom in grading.

More colours for more expression

VENICE can exceed Rec. 2020 colour space. This means the colour range is wider than DCI-P3 and can beautifully reproduce the true colour of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony’s third-generation LOG gamma encoding (S-Log3), and ultra-wide colour space.

Dual Base ISO

VENICE has a base ISO of 500 to provide the optimal dynamic range for typical cinematography applications with on-set lighting. A secondary High Base ISO of 2500 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15 stops. High Base ISO 2500 is ideal whenever you’re using slow lenses or shooting dimly lit environments. Combining ISO2500 with VENICE’s internal eight-step Optical ND filter system offers the ability to emulate different ISO’s while maintaining maximum latitude of +6 and -9 stops, enabling you to use VENICE as an ISO1250 camera.

Diagram showing VENICE dynamic range at ISO 500 setting

ISO 500

Diagram showing VENICE dynamic range at ISO 2500 setting

ISO 2500

Lens mount flexibility

PL lens mount

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

Lever lock type E-mount

Choose from the growing eco-system of E-mount lenses and, via third party adaptors, the world of SLR and rangefinder lenses. Lever lock operation provides added security with large lenses and in most cases lens support rigs don’t need to be removed when changing lens. Switching from PL Mount to E-mount is can be done by simply removing six hex screws while E-mount lens iris operation is controllable via assignable button.

Anamorphic look

VENICE’s support for anamorphic lenses combined with its ability to shoot 4:3 and 6:5 aspect ratio at a horizontal resolution of 4K allows the capture of breathtakingly beautiful images with stunning lens flare, bokeh and emotional impact.

High performance, proven recording formats

VENICE offers complete production flexibility. Internally, VENICE can support XAVC, ProRes or MPEG HD recording onto SxS memory card. Additionally, by using the AXS-R7 recorder, it can record 16 bit RAW or X-OCN (16-bit eXtended tonal range Original Camera Negative) onto AXS memory card.



XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. Naturally, VENICE supports XAVC Class480, which is the highest bitrate and quality available.

Apple ProRes

Apple ProRes including ProRes 422 proxy formats are popular in postproduction, and are supported by VENICE. This means there’s no need for transcoding; you can simply handle these formats directly from the camera.



This ultimate 16-bit linear RAW format preserves all the information captured in 4K, with 16 times more tonal values than 12-bit RAW.

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

Full 4K and 6K resolution, with extraordinary colour 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 make working with full resolution content from VENICE’s 6K sensor far more practical in terms of file transfer times and storage requirements.

And X-OCN XT captures the highest quality imagery when using the AXS-R7 portable memory recorder. X-OCN XT is ideal for demanding visual effects work and productions requiring the utmost image quality from VENICE. The new X-OCN XT profile maintains economical file sizes comparable to Sony’s RAW file size, making the workflow affordable and efficient. In comparing X-OCN with Sony’s RAW format, X-OCN has superior reproduction in low light areas and high light areas. In VENICE’s 4K 17:9 imager mode, users will have the flexibility to record three X-OCN profiles (XT, ST, LT) and Sony RAW.

ART (Advanced Rendering Transform) file workflow

Introduced with V6 firmware, .ART files offer superior image quality, fewer artifacts and enhanced security compared to 3D LUTs. They can be used when shooting in X-OCN/RAW and XAVC/ProRes.


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Sony VENICE 6K Digital Motion Picture Camera Specs

Lens Mount Sony E
Lens Communication Yes, Cooke /i
Sensor Resolution Actual: 24.7 Megapixel (6042 x 4032)
Effective: 24.4 Megapixel
Image Sensor 36.2 x 24.1 mm (Full-Frame) CMOS
Built-In ND Filter Mechanical Filter Wheel with Clear, 1-Stop (1/2), 2-Stop (1/4), 3-Stop (1/8), 4-Stop (1/16), 5-Stop (1/32), 6-Stop (1/64), 7-Stop (1/128), 8-Stop (1/256) ND Filters
Capture Type Video Only
Exposure Control
Shutter Type Electronic Rolling Shutter
ISO Sensitivity 500
Video Capture
Internal Recording Modes XAVC
4096 x 2160 up to 72 fps
3840 x 2160 up to 72 fps
1920 x 1080p at 23.98/24.00/25/29.97 fps
1920 x 1080i at 50/59.94 fps
ProRes 422/ProRes 422 HQ/ProRes 422 Proxy
1920 x 1080p at 23.98/24.00/25/29.97/50/59.94 fps
1920 x 1080i at 50/59.94 fps
External Recording Modes Raw via Proprietary Module
4096 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps
3840 x 2160 at 23.98/25/29.97/50/59.94 fps
X-OCN Raw via Proprietary Module
6048 x 4032 from 1 to 60.00 fps
6048 x 3272 from 1 to 60.00/66/72 fps
6054 x 3192 from 1 to 60.00/66/72 fps
6054 x 2534 from 1 to 60.00/66/72/75/88/90 fps
5674 x 3192 from 1 to 60.00/66/72 fps
4096 x 3432 from 1 to 60.00/66/72 fps
4096 x 3024 from 1 to 60.00/66/72/75 fps
4096 x 2160 from 1 to 60.00/66/72/75/88/90/96/100/110 fps
4096 x 1716 from 1 to 60.00/66/72/75/88/90/96/100/110 fps
3840 x 2160 from 1 to 60.00/66/72/75/88/90/96/100/110 fps
Sensor Crop Modes Super35 / APS-C
Fast-/Slow-Motion Support Yes
IP Streaming Yes
Video I/O 4 x BNC (12G-SDI) Output
1 x BNC (HD-SDI) Output
1 x HDMI Output
Audio I/O 1 x XLR 5-Pin Mic/Line/AES/EBU Selectable Input
1 x 1/8″ / 3.5 mm TRS Stereo Headphone Output
Power I/O 1 x XLR 4-Pin (12 to 32VDC) Input
1 x Hirose 4-Pin (12VDC) Output
1 x Fischer 3-Pin (12VDC) Output
Other I/O 1 x 26-Pin Viewfinder Output
1 x BNC (Timecode) Input
1 x BNC (Genlock) Input
1 x LEMO 5-Pin (Timecode) Output
1 x Hirose 8-Pin Control
1 x Lens 12-Pin Control
1 x RJ45
1 x USB-A
Wireless None
Mobile App Compatible No
*As of May, 2023: Check with manufacturer for the most up-to-date compatibility
Secondary Display Side: Status Display
Type Optional, Not Included
Focus Type Auto and Manual Focus
Focus Mode Automatic, Manual Focus
Operating Temperature 32 to 104°F / 0 to 40°C
Storage Temperature -4 to 140°F / -20 to 60°C
Accessory Mount 10 x 3/8″-16 Female
8 x 1/4″-20 Female
Netflix Approved Yes
Dimensions (W x H x D) 6.77 x 6.26 x 5.24″ / 17.2 x 15.9 x 13.31 cm
Weight 8.6 lb / 3.9 kg
Packaging Info
Package Weight 12.81 lb
Box Dimensions (LxWxH) 13.7 x 11.14 x 9.7″
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