Below is our Sony VENICE frequently asked questions list. If you don’t find the answer to your question on this page, please reach out to us via email or phone and we would be happy to get all of your questions answered.

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• What are the differences between the VENICE and the PMW-F55?
• What is the deal with dual native ISO?
• What codecs and frame rates are available?
• Can I simultaneously record RAW/X-OCN & XAVC?
• What editors support all of the new resolutions and codecs?
• Why does my X-OCN look terrible in Adobe Premiere?
• When should I record X-OCN via the AXS-R7 recorder?
• What media does VENICE use?
• What card reader options are there?
• What are the benefits of using a Full Frame sensor?
• Can I use the full frame to record 4k?
• What color spaces are available on VENICE?
• What is s709?
• Does the VENICE support Hybrid Log Gamma?
• Can you display LUTs on high frame rate playback?
• What is the dynamic range of the VENICE?
• What lens mounting options are there?
• What lens interface compatibility does VENICE have?
• How do the ND filters work?
• Does VENICE have a global shutter?
• What are the paid licenses for?
• How much does it cost to rent the licenses?
• What are the anamorphic shooting options?
• What is the latest firmware version?
• How does false color work?
• What is the power draw of the VENICE camera?
• Does VENICE have power outputs?
• Can I use a paint box?
• What is Rialto?
• Does the VENICE have cache recording?
• Can I remotely control the camera?
• What is “Surround View”?
• Can I manually set the White Balance?

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Q. What are the differences between the VENICE and the PMW-F55?

A. The differences between these cameras is too significant to list as part of a FAQ. Follow this link to a full page explanation of all of the differences between them.

Q. What is the deal with dual native ISO?

A. Our best understanding of Dual Native ISO is that there are two different circuits for collecting light as it hits the sensor prior to analog-to-digital conversion that allows the camera to have two base ISO settings. Conceptually it might be easier to think of the Daul ISO’s as gears on your car. When you have plenty of light you use ISO 500 (1st gear). When the available light starts to diminish you can kick it up to ISO 2500 (2nd gear) to get a lot more legs out of the same camera system.

Q. What codecs and frame rates are available?

Q. Can I simultaneously record RAW/X-OCN & XAVC?

A. Yes. The VENICE internal recording options remain the same regardless of the RAW or X-OCN recording settings. The exception is the sub recording options, which are not available when also recording RAW.

Q. What editors support all of these new resolutions and codecs?

A. XAVC is supported on all of the same editing platforms that have supported it in the past. X-OCN ST and LT are supported on Davinci Resolve 15 and later, Adobe Premiere Pro, and Avid Media Composer with Nablet Sony RAW AMA Plugin.

Q. Why does my X-OCN look terrible in Premiere Pro?

A. There is a setting that is applied on import that makes the image look over processed. You can turn that off in the effects panel by changing the color space from Rec.709 to Slog3/SGammut3.cine.

Q. When should I record X-OCN via the AXS Recorder, and when would it be better to record to the SxS cards in the camera?

A. X-OCN should be used anytime the maximum amount of image information is needed. For example for anything that is going to be subjected to heavy color grading or VFX work. With 3 flavors of X-OCN (XT, ST, and LT) you can choose how much compression is being applied so you can get the most out of your media cards or the most out of your image. The XAVC-I internal recording should be used when speed and NLE compatibility are primary factors

Q. What media does VENICE use?

A. VENICE uses SxS Pro+ cards internally for recording XAVC and ProRes HD. You can use XQD cards in an adapter as well, but we would not recommend this for primary recording as XQD cards are not as reliable as SxS and may suffer from failures due to adapter and reader issues. The AXS-R7 records to the slim form factor AXS cards.

Q. What card reader options are available?

A. There are a number of SxS card readers available on the market from Sony and 3rd party manufacturers. For AXS cards Sony offers a USB 3.0 reader, the AXS-CR1, and a Thunderbolt 2 reader, the AXS-AR1 which also reads SxS cards.

Q. What are the benefits of using a Full Frame Sensor?

A. There are a fair number of reasons using a full frame sensor is beneficial. One of the biggest benefits is that it is easier to create a shallow depth of field when compared to smaller sensor cameras. Full frame sensors have a lower pixel density than smaller sensors of the same resolution. This results in cleaner looking images in low light. With a full frame sensor it is possible to shoot in many different aspect ratios without giving up high enoughough resolution to meet strict guidelines from services like Netflix.

Q. Can I use the Full Frame to record 4k?

A. Yes, But only internally to XAVC. The AXS Recorder always follows the imager mode for its resolution. The 4k recording to the SxS cards will be letter and/or pillar boxed depending on the resolution selected, except for 17:9 aspect ratio recordings.

Q. What color spaces are available on VENICE?

A. VENICE has both SGammut3 and SGammut3.cine color spaces. SGammut3 has a larger over all color space but SGammut3.cine is easier to grade. Both have more colors than print film.

Q. What Is s709?

A. s709 is the new Rec709 color profile developed for the VENICE cameras. It is supposed to be more pleasing for skin tones and highlight roll off than Sony’s traditional 709 profile.

Q. Does the VENICE support Hybrid Log Gamma?

A. As of firmware version 3 there is no option to record Hybrid Log Gamma directly in camera. It is however easy to convert Slog 3 to HLG using most editing systems.

Q. Can you display LUTs on high frame rate playback?

A. Yes. All of the look/LUT options are available in all recording and playback modes.

Q. What is the dynamic range of the VENICE?

A. VENICE is rated at over 15 stops of dynamic range. The actual captured dynamic range of the camera has not been tested as of this time.

Q. What lens mounting options are there?

A. Natively, the VENICE camera has both PL and locking E mount lens mounts. The E mount is behind the PL mount and requires the removal of 6 screws to reveal. The process only takes a minute or two and a 2.5mm hex driver. The E mount can be adapted to just about any other lens system, just like the FS7 or A7 cameras.

Q. What lens interface compatibility does VENICE have?

A. Through the PL mount VENICE can communicate with any lens that uses the Cooke interface. VENICE is also compatible with E mount lenses, and will run the OSS but not auto focus. Other lenses mounted via a smart adapter will pass information to the camera but as of now will not be fully functional with image stabilization.

Q. How do the ND filters work?

A. To achieve 8 stops of ND filtration the VENICE uses two filter trays that are electronically controlled. The camera uses either or both trays in combination to make one stop increments of filtration.

Q. Does VENICE have a global shutter?

A. No. The sensor does have a high-speed read out that comes close to elimination rolling shutter artifacts. We hope to have some sample footage soon.

Q. What are the paid licenses for?

A. There are three paid licenses for the VENICE so far. One enables 6k Full Frame recording, one enables anamorphic format recording, and the newest one enables high frame recording, up to 60fps in 6k and 120fps in 4k. Each licenses is also rentable by the week or month.

Q. How much does it cost to rent the licenses?

A. Each license costs $220 for 7-days or $440 for 30-days to rent.

Q. What are the anamorphic shooting options?

A. There are currently two anamorphic recording options. 4k 4:3 (4096×3024) which yields a very wide 2.70:1 aspect ratio, and 4k 6:5 (4096×3432) which yields a more common 2.39:1 aspect ratio, when using 2x anamorphic lenses.

Q. What is the latest firmware version?

A. The latest firmware is Version 4. It was released in June of 2019. The next update is scheduled for January 2020 and will unlock further higher frame rate recording options.

Q. How does false color work?

A. False color functions very similarly to a waveform in that it evaluates the IRE values of an image, but instead of being represented by a graph, it overlays colors on areas with certain IRE values. For example 18% grey will appear green in false color when exposed properly (41-42 IRE). It is possible to customize the false color.

Q. What is the power draw of the VENICE camera?

A. The VENICE camera body draws 65w of power, a significant increase over the F5/55 cameras. The AXS-R7 draws another 25w.

Q. Does VENICE have power outputs?

A. Yes, however, the amount of power available for distribution is limited. If you have a lot of accessories that need power, a better solution would be to use a power distribution sandwich plate.

Q. Can I use a paint box?

A. Yes. Firmware version 4 unlocked limited compatibility with Sony RM/RCP controllers.

Q. What is Rialto?

A. Rialto is the semi-official name for the VENICE sensor block extension system that allows you to put the sensor and lens mount into a compact form factor separate from the “brain” and connected by 9 or 18 foot cables.

Q. Does the VENICE have cache recording?

A. Yes. How long the cache recording is depends on resolution and frame rate. XAVC 300, when a recording option, is limited to a maximum of 2 seconds of cache recording. XAVC 480 does not have any cache recording options. See the below chart for X-OCN cache recording options.

Q. Can I remotely control the camera?

A. Yes, it is possible to control the VENICE camera from a computer through the built-in Ethernet port.

Q. What is “Surround View”?

A. Surround view uses the high resolution of the sensor to display a 5% “safe area” around the recorded image. This safe area is not recorded but affords the camera operator a view of the area around the image so that they can see anything unwanted getting close to the frame before it actually enters the frame.

Q. Can I manually set the white balance?

A. Yes. You can manually set both the color temp (blue/yellow) and tint (magenta/green). You can also do a push button white balance.