Sony VENICE CineAlta 6K Camera Introduction - Interview with Product Manager Sebastian Leske

[@andrewjones-productions]

It's nice to see Sony finally giving their cameras proper names! More interestingly, the inclusion of an E-mount option is a pleasant surprise! I suspect that productions that will use the Venice will also be using high-end cinema lenses, but for many of us who are using FS7/5s, the simple fact that the E-mount has made its way into a top-end cinema camera is yet another stimulus for companies such as Fujinon etc. to add to their E-mount cinema lens lineup. Of course, the inclusion of the E-mount on a camera like the Venice is not necessarily to allow the use of E-mount lenses, but moreover to allow the flexibility to use almost any mount lens due to the plethora of adapters available for the E-mount system. How much of an influence one camera will have is debatable, but I still see this as a plus for FS7/5 et al E-mount camera users like myself.

[@genjii931]

Yeah, being able to use those recent Fujinon MK zooms is a big plus, IMO, though you'd be limited to Super 35.

[@SoundSpeeding]

Unfortunately this using E mount also indicates it is the death of FZ mount :-( Oh well, sad day for me.

[@billgilbride7972]

yeah! We need more info on the shutter. This will certainly be the head to head test item between contenders. Jello or Puddin'

[@HoratioBannister]

Thanks for the sneak peak of this Full-Frame Sony!

[@highgroundproductions8590]

And so this is up there with the Weapon VV, Alexa 65, and Panavision DXL. So there are now quite a few ultragood cams.

[@a-g3003]

The race is finally over. Now most manufacturers have a camera above 4.5k we can all start thinking about story again. I'd rather watch a film made on an iPhone by Scorsese than a film shot by a fan boy with his £50k Red.

[@mikemurga2286]

Whats the Resolution size of the Venice?

[@kristianmanabat5676]

What is this video, a microphone baton relay race? Suggestion: hold the mic cinema5D interviewer.

[@DoctorNobody]

Seems reasonably compact.

[@rzero21]

Something tells me this is not F65 replacement... Spokeperson didn't even provide a clear answer if Venice seats above, alongside or below F65, so even Sony isn't sure yet. And that's quite surprising given how many years the F65 has been in the market!

[@alexitanguay]

Yes- and the refurbished/used market for the F65 is becoming pretty interesting for lower budget DPs!

[@NarekAvetisyan]

So why would I choose this over the Red 8K? That's smaller and more affordable. The full frame? I don't think that is enough. What about the shutter? Is it a rolling or global? The E mount underneath the old mount is a great idea though. Props to that.

[@chronokoks]

Venice is not about the specs. It's about the right look right out of the camera. The right colours, the right latitude so directors and color correction folks fall in love with it.

[@Nordicus0114]

The Red dragon 8K VV and the Red Weapon Helium 8k is more expensive than this camera. and the reason why the camera length is longer than the Cinema EOS and the red cameras because the longer length of the camera makes the balancing on the Camera operator's shoulder easier.

[@NUCLEARARMAMENT]

RED cameras don't offer true uncompressed output, and they aren't getting mathematically lossless compression out of REDCODE after 3:1, guarunteed.

[@mtvisionary]

Finally the f65 successor

[@thesuperstar4470]

Can you record 8k?

[@NisalahArmstrong]

They say it is the first camera to change sensors when available but i know the Black Magic Design Ursa's you can do that.

[@HAlariousInc]

Nisalah Armstrong I think he was saying it was the first camera to do that for Sony cameras

[@richardwilliams1017]

Just a matter of time before someone makes a hack to "liberate" the full frame and anamorphic modes

[@raredreamfootage]

Is the RAW signal now internally recorded or is it still to an external recorder?

[@JamesJacksonFilmz]

raredreamfootage I believe it's still external

[@eicarshiva]

raw only in external

[@europhile2658]

8 nd settings but not variable nd as in the FS7 II. Is that coming in a refresh or is variable nd not all it is cracked up to be?

[@chronokoks]

The elctronic ND probably interfered with what they tried to achieve (maybe slight but visible color shifts) . I think there will be an upgrade for the camera in the future after they take their time to improve the electronic ND.

[@makatron]

Nobody uses variable ND in cinema productions as they aren't consistent.

[@chronokoks]

Variable ND is a different technology (polarizers) than electronic ND (??) ? I always thought it's something different than classic vari-NDs and that's why it didn't have the same color shifting problem.

[@europhile2658]

They use ND filters in a matte box?

[@MarcosElMalo2]

europhile26 it’s mechanical on this camera-rotating wheels in the housing. But I think there are advantages to mattebox filters. One less thing to go wrong (and cleaning filters gives the 3rd AC something to do, haha).

[@highgroundproductions8590]

Why won't they shoot Star Wars Episode 9 with THIS instead of FILM?

[@chuahhockleong9916]

Depends on directors. James Cameron used it for Avatar 2 & Avatar 3.

[@chuahhockleong9916]

George Lucas shot Star Wars Ep. II and III with Sony digital cameras but not Venice.

[@69_MK]

I still don't understand the 500 base ISO.

[@MarcosElMalo2]

Mandeep Kalsi Apparently they were able to squeeze more dynamic range from iso 500 native and grain is less of a problem. I think that will be acceptable in 95% of situations where you’re not shooting by candlelight.

[@fischhold]

what about low-light performance?

[@genjii931]

Should very very nice: full frame sensor with large photosites, and engineered for low noise.

[@dennishingsbergfilms]

500 ISO but very clean over the full range, still don't forge your lights. ;)

[@MarcosElMalo2]

dennis hingsberg You probably remember the film days when ISO 500 was on the high end. :D

[@dennishingsbergfilms]

I remember shooting 60 ASA equivalent with the Canon XL1 and PS Technik mini35 adapter. These days, I'm shooting 500-800ASA with the F55 and think that's quite a sweet spot to be honest. Not sure who/what needs over 1000 ISO but for when you do, there are maybe better smaller camera's for those specific applications.. :)

[@nikhilatyoutube]

Haters avatar is shooted using sony cameras. And sequels are shooting using this camera.

[@writtenbyrharrison]

CineAlta/Venice will be so amazing in the Avatar film. I saving to purchase this VENICE camera for my Indie films!

[@luxiaproductions]

10,000$ extra for 6k full frame mode? This is way worse than RED, at lease they give you all the features of their camera right off the bat.

[@PischkePerformance]

Up until pricing it was sounding not very Sony, but charging $10,000 to use the flagship feature of this camera, yep this is definitely a Sony

[@genjii931]

One license for anamorphic, and another for full-frame. TOGETHER they're estimating $10K, not individually. Still lame, though.

[@dennishingsbergfilms]

$6K for FF and $4K for anamorphic to outright buy the features permanently, or you they can be licensed for short term at much lower costs. Those costs not out yet.

[@remco_sijtzema]

That's the whole idea about RED. Best for your buck.

[@highgroundproductions8590]

It adds up to the same price as a RED CAM.

[@sa.t.2507]

How this camera didn't get the electric ND is beyond me.

[@CineD]

I think they wanted them to be as "clear" as possible because the Vari ND from the other Sony came technically uses polarisation. Yes, not as convenient but likely better quality when you shoot high end only. Nino

[@sa.t.2507]

@@CineD hmm I'm not sure you are correct? The Sony electric ND such as in FS7 MK II is an electric panel, it is an LCD panel that gets darker and is totally color neutral. It has nothing to do with polarization at all and has zero effect on image quality.

[@highgroundproductions8590]

Next Camera: Sony A7R2D2

[@stanlymanly2]

Sony = 6K At 23.98/24fps - Record RAW Externally $6000 - Full Frame License $6000? RED Dragon= 6K At 75fps - Record RAW Internally - No Extra Charge If I had the dough, I would go RED or Blackmagic instead and save the extra dough. To acquire 6k with this system you need the external recorder which adds weight and more power requirements and more importantly another potential $12k+ just to get the 6k license and the recorder. If the goal is to downsample the 6k to 4k or 2k release, its not worth the hassle to shoot with the VENICE.

[@legendp2011]

even canon are cheaper on this one (with there c200 and c700 doing raw internally)

[@victorbart]

LOL so ackward to giving over off the mic :D

[@ubermensch8022]

Victor Bart - RETRO Machines 😂

[@bien.mp4]

hahaha

[@towfiqahmed4670]

F65 is 8k

[@swsuwave]

For audience appeal, juggle chainsaws, not microphones - Great set design with the faux fireplace, overhead studio pars have a little harsh shadow but let's listen for a while. Foley FX sounds like you're pretending to be in a bar or noisy restaurant with just 1 mic to share after purchase of the Venice yielding really terrible background noise on that cheap sony capsule. The "ambiance" of your faux studio soundstage is competing with your vocals. Try 2 mics next time - one for each of you! - maybe even try Lectrosonics lav mics so the focus is on you, the talent, plus your all important message - and not the bouncing microphone upstaging your cast - and buy a simple device called a MIXER - maybe even try a little soundscape with the left & right talent panned out so it sounds as good as it looks even on my LG 65OLED or my 4K HP Spectre x360 with B&O stereo speakers. But definitely loose the leftover Foley from Cheers. It's as bad as using the creaky door from Friday the 13th when you pan your demo tripod. Good luck next time.

[@guguemichaels]

Well damn, it looks like a big Alexa. How much will it cost $100,000?? Hahaha! Yeah I'll pass. I'll stick to my Ursa Mini 4.6K

[@Nordicus0114]

I doubt that Red, Panavision or Arri will not feel intimidated over this camera, but maybe Canon and Panasonic are.

[@kollywoodkingss5304]

Venice is nice cam but licence for anamorphic an d full frame is not (ve) NICE

[@PhotoMe99]

This camera says it all: "SONY CAN'T COMPETE WITH RED OR ARRI" Low specs in terms of a "new camera" + their marketing is just a joke! Sleep well SONY.

[@ZoneTelevision]

I suppose that's why movies cool movies Cloverfield and Oblivion where filmed with SONYs.. BTW SONY manufacturers sensors for most of the cameras in the industry. They save the BEST sensors for their own line-up. They're also destroying the competition in Still photography.

[@PhotoMe99]

Oh man! sorry, alot of bullshit. It's not my problem if u get fooled by their "marketing,Advertising campaigns..etc". In Still photography most of the pros prefer not to use Sony cuz their unprofessional body + small collection of lenses and many more. in cinema world we prefer Arri and Red cuz they have "better look" cinematic look + more flexibility in everyway. don't believe me it's up 2 you. You can ask any pro filmmaker,director,dp,camera operator and etc about this fact. (You can make a movie with probably any professional camera these days if you have a good crew!) u also forgot that fact.. "sony doesn't only make cameras, they make movies since we were kids buddy!" Even Panasonic "the new guest" they make alot of movies on Netflix! + Panasonic are getting better extremely fast! so, that's that.

[@ZoneTelevision]

Quote: In Still photography most of the pros prefer not to use Sony cuz their unprofessional body + small collection of lenses and many more. Reply: Lets see where to begin with these lies. 1.) First of all many “professional” photographers have started using the A55-A99 line up.. “BIG” body cameras doesn’t make a better camera. 2.) With adapters the entire world of lenses is at ones disposal so this is a flat out myth and a lie. I use my Old Minolta glass on my E-mount Flawlessly. There are Sonys G lenses, G-masters, Zeiss and a complete universe of adapters for a plethora of other glass. All of Minoltas old lenses fit SONY cameras because SONY bought the rights and patents from Minolta. Quote: in cinema world we prefer Arri and Red cuz they have "better look" cinematic look + more flexibility in everyway. don't believe me it's up 2 you. You can ask any pro filmmaker,director,dp,camera operator and etc about this fact. Reply: Are you just willfully ignorant or a hater ? Perhaps both. The 4 most popular Cameras for Filming (IN 2017) are - Blackmagic URSA Mini - SONY PXW -F55 - SONY A7S II - And the Panasonic LUMIX G5 (USES SONY SENSOR) Nearly half of all Hollywood movies in the last 10 years have been filmed with Sony’s For example: Cloverfield, EX Machina, and Oblivion were NOT Sony movies but used SONY cameras. (Just to name a few) QUOTE: (You can make a movie with probably any professional camera these days if you have a good crew!) u also forgot that fact.. REPLY: No Kidding 🙄 QUOTE: “sony doesn’t only make cameras, they make movies since we were kids buddy!” Even Panasonic "the new guest" they make alot of movies on Netflix! + Panasonic are getting better extremely fast! so, that’s that. REPLY: Again, Panasonic buys SONY’s sensors. FFS the even Lumix FZ1000 is basically the SONY RX10 with Leica glass and without the Fixed F2.8 aperture .. Laughing about factual inaccuracies ? I am.

[@PhotoMe99]

Chill out buddy, I just wasted my time again! I'm talking about a different league Arri and Red since ur talking about Ursa mini,a7s II,F55 and GH5! About the still photography part..Well u have just answered ur self unless ur experience is not helping u! Again, Sleep Well as i said before.

[@ZoneTelevision]

Diffrent league ? You mean inferior cameras. As stated before there are plenty of Hollywood movies that have used SONY in place of Arri alexas.. Red Epic's blah blah blah 🙄 . The CineAlta is the Gold standard by which all other cameras are and will be measured. Bank on it.

[@JerzzyJoe]

I have to say Sony is completely lost and confused. This camera is going to be a huge flop. Sony gets no respect in the high end film industry and this camera will not get them any. I say this sadly because I'm a F55 owner. Red 8K is the camera to own right now or if Arri comes out with a Mini 2 FF higher res.

[@ekphotography]

Who cares really. Where is the A7sIII and or A7rIII?

[@kenwc]

Can't agree with you more.

[@IIC4NCELEDII]

ekphotography thinking the same thing

[@tannerwilson7490]

Obviously not the intended customer