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:

  1. Full frame vs. Super 35 sensor.
  2. Much thicker magnesium shell.
  3. 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.
  4. A brand new 6K imager.
  5. 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.
  6. 3 second startup time.
  7. Completely new OLED viewfinder with robust LEMO connectors that can’t be plugged in backwards by accident.
  8. Modular sensor block – so it may be able to be upgraded in the future without having to buy a whole new camera.
  9. False color in the viewfinder for help with setting exposure.
  10. The AXS-R7 Recorder bolts to the back instead of clipping on.
  11. 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
  12. The lens data pins are rounded ‘nubs’ that are much more resistant to damage.
  13. The sensor block is removable and can be remotely located using the xxx adapter kit.
  14. Heavier and more power consuming (xx lbs and 65 watts instead of 25 watts for the F5 / F55.
  15. 12G SDI ports and an extra monitor port
  16. 3 level menu system which is very intuitive and easy to use – no more hunting around.
  17. Ethernet port for remote control.
  18. Audio inputs are via a 4 pin XLR.
  19. The top handle is on rails
  20. Drilled threads instead of inserts – more robust.
  21. ProRes recording is built-in – not an option as it was on theF5 / F55.
  22. No global shutter, but the rolling shutter artifacts are very minimal.
  23. Much better proxy recording options – still no super low, H.264 proxy options.
  24. 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.
  25. Anamorphic shooting options.