Sony announces the development of Next-Generation CineAlta 36x24mm Full Frame Motion Picture Camera System



Sony Electronics is announcing plans for its next-generation CineAlta digital motion picture camera system. This latest addition to the CineAlta family is being developed through careful research and close collaboration with creative professionals including Directors, Cinematographers and Digital Imaging Technicians. Through the implementation of features demanded by the industry, Sony is demonstrating its commitment to innovation and the creative freedom needed for feature filmmaking and production.



Technology highlights and key benefits:


•Full Frame 36x24mm sensor exclusively designed for this Digital Motion Picture Camera
•Aspect ratio-agnostic – including Full Frame, Super35 4K 4-perf 4:3 Anamorphic and 4K spherical 3-perf 17:9
•New image sensor enabling exceptional picture quality
•Maintains the workflow established with Sony’s 16bit RAW/X-OCN and XAVC
•Compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and AR1 card reader, AXS and SxS memory cards).



Sony CineAlta Background:



Sony pioneered high-end digital motion picture production technology, with the first 24p digital camera system (HDW-F900), the first RGB recording system (HDC-F950 and SRW-1) and the Super 35mm image sensor camera (F35).
CineAlta raised the standard of motion picture production with cutting-edge digital imaging technology, greatly contributing to 3D, 4K, HDR; and will continue to innovate in the future.

VENICE
Sony proudly introduces its next generation motion picture camera system with forward thinking full frame sensor, phenomenal color science and user-friendly operation.NICE

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.
* Firmware update required
Super35 full height 2x 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.
Fast Shutter
Jello effect is something that we don’t need when filming. VENICE has high speed readout sensor which minimizes the jello effect that are typical in the 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 colors for More Expression
VENICE can exceed Rec. 2020 color space. This means the color range is wider than DCI-P3 and can beautifully reproduce the true color 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 color space.

https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-Venice.shtml#ProductGallery

https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-Venice.shtml

Looks like they're more going after Arri & than Panasonic / Canon with this camera. Be interesting to see what movies & shows will be shot with it.

Some tid bits to add about the new Venice camera;

- The native ISO is 500 but arguably very clean with very low noise to achieve 15 stops of dynamic range, so it is possible (but yet to be seen) that the camera can actually be rated higher in ISO and pushed in post without a great degree of noise being raised. Quite the opposite we've been doing on camera's from Sony released after the F3 where we overexpose (rate the camera lower in ISO) for the purpose of producing a cleaner image later in post.

- There is a native E-mount to the camera, but a PL mount bolts completely over top of it with 6 hex screws. So this is not the traditional system whereby a lens adapter is used to go from one mount to another. The E-mount is cleverly hidden underneath the PL mount so to speak. Very clever.

- The sensor block is user swappable. Now this is interesting. What will it bring down the road? Likely HFR and 8K.

- Camera ships in February 2018 and the upgrades are to follow later in the year.

- HFR currently maxes out at 60p. Codecs for SXS are XAVC 10-bit 300Mbps and 480Mbps, and 16-bit RAW via AXS-R7 including the newer X-OCN codec flavours.

- Prices: Camera body only $45K USD. $6K for permanent FF upgrade. $4K for permanent anamorphic upgrade. $10k for AXS-R7 with some media. $5K for viewfinder.