A: While you can see the influence of the F55, VENICE is a drastic step forward, and the result of seven years of customer feedback from the F5 / F55 cameras. Here are the big differences:
- Full frame vs. Super 35 sensor.
- Much thicker magnesium shell.
- The main LCD side panel has been moved to the right side of the camera so the AC can operate the camera without interfering with the DP. There still is a smaller LCD panel on the left side with buttons so that the DP can see the key camera parameters and even change them.
- A brand new 6K imager.
- Dual ISO – 500 and 2500 – Yes, hard to wrap your head around. The best analogy we’ve heard is to consider it like 1st gear and 2nd gear on a car – you pick whichever fits your lighting situation best.
- 3 second startup time.
- Completely new OLED viewfinder with robust LEMO connectors that can’t be plugged in backwards by accident.
- Modular sensor block – so it may be able to be upgraded in the future without having to buy a whole new camera.
- False color in the viewfinder for help with setting exposure.
- The AXS-R7 Recorder bolts to the back instead of clipping on.
- Native e-mount with a PL adapter included. Both pro-grade and super durable. (The F5 / F55 were native FZ mount with a PL adapter). This means that it can be easily used with just about any lens, including Canon EF
- The lens data pins are rounded ‘nubs’ that are much more resistant to damage.
- The sensor block is removable and can be remotely located using the xxx adapter kit.
- Heavier and more power consuming (xx lbs and 65 watts instead of 25 watts for the F5 / F55.
- 12G SDI ports and an extra monitor port
- 3 level menu system which is very intuitive and easy to use – no more hunting around.
- Ethernet port for remote control.
- Audio inputs are via a 4 pin XLR.
- The top handle is on rails
- Drilled threads instead of inserts – more robust.
- ProRes recording is built-in – not an option as it was on theF5 / F55.
- No global shutter, but the rolling shutter artifacts are very minimal.
- Much better proxy recording options – still no super low, H.264 proxy options.
- Electronically operated 8 stage ND / IR filter – actually 2 wheels. This allows you to have much more control over your T-stop and depth of field in a variety of lighting conditions.
- Anamorphic shooting options.
