Sony Venice 2, preluding the FX9 ii ?
Sony has yet again announced another cinema camera. There’s no slowing them down. This time its part of their top tier flagship Venice range. Over the years we are starting to see more Sony cameras being used in big Hollywood movies and TV Shows. In a world predominately dominated by Arri, Sony is becoming an acceptable alternative for many filmmakers.
Product Features video
Sony Venice 2
The Sony Venice 2 8.6K CMOS sensor features an impressive 16-stop dynamic range, and a camera body with numerous updates including internal recording onto a high-speed AXS card, internal recording formats up to ProRes 4K 4444 and 422 HQ, an interchangeable sensor, and updated usability and body design. Yes, you did just read ‘interchangeable sensor’. This is because there are two Sensor option on the Venice 2, an 8.6K and a 6K sensor. The 6K sensor is actually the same as the one used in the Sony Venice 1. You can use the 6K sensor from your Venice 1 in your Venice 2. The new 8.6K sensor is not backwards compatible.
The 8.6K sensor has a dual-base ISO of 800 & 3200, compared to the 6K sensor which features ISO 500 and 2500. The 8.6K sensor also features oversampling 8.6K to 4K footage for higher quality and enhanced information when shooting in 4K. It also has multiple 4K capture resolutions in full frame, full-frame anamorphic, and Super 35. The Venice 2’s 8.6K sensor also has easily selectable full-frame modes such as full 8.6K30, 8.2K60, 5.8K48, and 5.8K90.
What does this mean?
This is exciting for a few reasons. When the Venice 1 was released a lot of its breakthrough technology were seen passed down and contributing to the developing of the FX9. A lot of Sony’s new releases often prelude to what we can expect in upcoming releases. As seen with the release of the FX6, 4k120p recording modes and the favoured Picture Profile Cinetone was then introduced into the a7Siii and into the FX9 with a firmware update. Again with the release of the a7Siii we saw the use of SD and CFexpress Type-A card slots and 10-bit internal recording passed onto the a7 IV. Lastly with the release of the popular a7Sii we then saw the S-Log and 4K30p introduced into the Sony a7iii.
FX9 ii speculations
Disclaimer, this is nothing more than just my own speculations. So what can we expect to see in the FX9 ii? It’s been just over 2 years since the release of the FX9 and Sony tends to renew their models every 3 years or so. The FX9 has been a great option to many filmmakers as a B cam to the Venice or when budgets don’t allow for such a high end camera. The FX9 already has down-sampled 6K footage to 4K, so seeing an 8.6K sensor that will down-sample to 4k (or even 6K) doesn’t seem too far off. I think we will see the ability to record 6K as well. Some other new features that we see in the Venice 2 that we can hope for in the FX9ii are:
- Apply LUTs to your 4K or HD (6G/1.5G-SDI) output
- LUT/ART/CDL file import via Ethernet/Wi-Fi
- RAW internal recording
The FX9 currently requires the external expansion unit attached to the back of it in order to RAW record externally. The Venice 2 has confirmed that the external AXS-R7 recorder is no longer required to record 4K RAW footage. Therefore we can hope to see this added to the FX9ii, keeping the rig smaller/ lighter without any additional costs.
According to Sony Rumours Sony is due to release a new high end E-Mount Cine Camera before the end of the year. They did not say whether this is the FX9ii or the Venice 2. Since the Venice 2 has now been officially announced it is safe to assume that this is the camera they were talking about. Nonetheless here is a rumour that may or may not be true. Considering the Venice 2 announcement it is safe to assume this may be true for the FX9ii.
“Sony’s FX9 II will using a new developed 8.7μm pixel size DCI 4K HDR BSI sensor to replace the IMX410. It can output multi based iso together for a ARRI Alexa look picture and up to DCI 4K 120p X-OCN recording by a new external recorder.
Sony’s 8K cine camera only comes for “VENICE II” now.” Source:
Written by: Matthew Lewis