so today is even more special than every
other ShortCircuit that I've done so far because I've looked at two stills
cameras which I loved but today we get
to look at the Sony Venice which is a
cinema camera and I'm not a professional photographer but I am a cinematographer
so this is really exciting because this camera came out in 2018 and I've yet to
be able to try it until today we've been shooting on red for about three years
and I've used the Aria Alexa as well but
this camera is extra special because it
is either as good or better than those cameras and it's made by Sony so let's
see how they did okay well as you can see this case is gigantic so that's a
good sign this is a press unit so it's not an official like retail package
version of this camera but that's okay opening it up so we have our camera the
Venice here what else are they included we also have this viewfinder as far as I
understand unlike the Alexa or the red you don't
need the viewfinder to use the camera properly though I think a lot of people
who do use something like the Venice prefer to shoot with viewfinder you have
some batteries so standard vemma which is great I'll send my cameras use this
we use these for our Reds they're awesome these are pretty standard so in
the box we have this ax SM card reader which is Sony's proprietary media that
can actually adapt to s by s which is a standard that other cameras use also
made by Sony and that's just so that you can use the raw recorder which is built
onto this version of the camera that we have right here is that power adapter
that allows you to use it with v mount that's cool
a bunch of cables and another dual
charger okay so let's get this case off the desk so here it is this is the Sony
Venice guys this camera is 6 K not 8 K
like our red cameras but it's also full
frame look at that sensor that is
gorgeous so for those of you who don't recognize it this is
standard locking PL mount but the really
cool thing about this camera is that the mount itself and the sensor block is
really flexible so Sony unfortunately didn't send it to us but they also make
this thing called the Rialto extension which just allows you to take the sensor
block with the lens mount and the sensor off the Venice and onto this even
smaller box which allows you all the features that are in this camera but
then allows you to use it in that much smaller space so you can take what is
already relatively small for a cinema camera and make it even smaller and fit
it into like cars or like really really small rooms which is really cool and not
something that every camera these days can do the other awesome thing about
this mount is that underneath this standard locking PL mount is an e mount
which again for anyone who knows anything about cameras an e mount is
very very adaptable it's the same amount
that you they use on the a7s2 and a lot of other Sony's cameras the
fx9 the FS 7 and anyone who uses those
cameras you'll know you can adapt anything from Canon PL basically any
lens you can think of that can cover a full-frame you can adapt to this camera
which I mean most people will stick with the standard PL mount because you're
using higher-end lenses but it's nice to have options alright let's put a lens on
this guy peels are a little bit different or you just push it in and
then you lock it down that feels good
I mean for the amount that this camera costs you'd hope it does because it's
more expensive than most cinema cameras out there so this body in this
configuration with this recorder will run you about $90,000 u.s. and that is
before you even factor in which licenses
you want because unfortunately sony has gone with the decision to limit software
wise what you can do with the camera depending on your needs so if you wanted
to shoot anamorphic and you wanted a permanent license for that that's
thousand dollars u.s. if you wanted to shoot slow motion that's also four
thousand do it it always us and you can also rent the licenses for thirty days
at a time at five hundred dollars us so
it gets I'm necessarily expensive but again this is for the highest end this
is for TV shows I don't know if anyone out there is a fan of Ozark but the last
season of Ozark with shock on the Venice and that show looks awesome so going
through the rest of this camera physically you have the assistant side
of the camera which is just allows any assistant that's helping you out to
change all the settings as they need to on a bigger display on this side but
then it's nice that this camera also has an operator side of the menu so if you're just using this on your own
for like a documentary or your one-man band and you're somehow using a Venice
you also can change all those settings on a set for comparison this is in the
current situation a similarly built a red camera that we use on a daily basis
this is our weapon it is only a super 35 sensor so it's a smaller sensor than the
Venice but like you can tell right off the bat the size difference between
these two like the Venice is quite a bit longer but it has a couple things that
the red does not for example the Venice has built in Indies and not
only does that bills and Indies it has built in Indies at every stop range that
you typically use so it goes in one stop increments eight stops in the whole
range which means you can be very precise with how much nd you're using in
this camera and you don't have to fuddle
with a matte box or any screwin n DS it's all built in which is really
awesome for anyone who wants to move quickly or shoots documentary especially
and that's I think the cool thing about this camera is Sony has taken an approach to make this adaptable to
basically any production environment someone who want to use you can use it
for documentary you can use it for a live production you can definitely use
it for cinema which is what its main use case is for but the fact that they
thought about all those things and built in the Rialto system makes this very
very compelling unlike our read which again I love our
Reds but this thing does have a couple things that it doesn't has a dual native
is so so this cameras to dual ISOs for
middle gray are five hundred and twenty five hundred and so do lie so basically
allows you to shoot both in regular
lighting settings and low light settings without really compromising on your
noise performance or the dynamic range of the camera depending on where you
want your ISO to sit which is awesome and something that the red can't do if
you put the red at twenty five hundred ISO you're going to get a fairly noisy
image especially at night time where the intention with the Venice is if you use
that twenty five hundred and you get your six stops over in your highlights and your minus nine in your shadows you
are able then to have full control of
where you want the image to sit in your
highlights in your shadows which is just incredibly flexible and another reason
why this camera costs ninety thousand dollars us for like the basic package
and if you're building it out you're probably spending quite a bit more than
that now let's actually just weigh these two because I'm curious to see which
what the weight difference is now to be
fair to read they do make a camera the Gemini which is also made for the
purposes of use in low-light the way that the Venice is but at the same time
this is a full-frame sensor that is not a full-frame sensor and it's five K this
is 6 K but again there's a premium on all of that just to finish off the last
couple things that I missed the i/o on this camera is ridiculous there are so
many monitor outputs you have gen lock and timecode in which are standard B and
C which are awesome for live production and audio guys also thank you and then
there's also unfortunately they didn't include it but there's this little -
bump like slot on the side which allows you to plug in a little XLR module that
Sony offers and then you can get audio in camera the same way that we record on
like RC 200 let's see the difference in weight because again they don't like
that you can see physically the differences but how much
here is all of those extra features in a full-frame camera versus our weapon
okay so we've taken the lenses off and the batteries just to compare roughly
with the display and the top handle what the weight difference is between these
hammers so the red is 2.8 kilograms
not bad all right that's not too heavy and let's see what the Venice weighs a
whopping five point for everybody so yes
this has more features mechanically there's more going on and it also has a
roll recorder on the back but then the red can do that built-in it's twice as
heavy with just the body which again makes sense
it's a full-frame camera there's more cooling there's more mechanical features
going on and then the viewfinder itself is probably a little bit heavier than
this monitor but that's also not that
bad like when I feel it it feels balanced like if this was on my shoulder
I could imagine that it would feel
pretty darn good even on a long shoot
day why don't we shoot some footage and what better way to test the camera then
to test the slow-motion so why don't we dump some water on our
co-workers heads
so that was really fun for me I hope you guys had just as much fun watching those
clips now there's obviously a lot more to this camera that I didn't get a
chance to talk about because this is just a first impressions but if you guys want a full review where I actually get
to try the camera out in multiple different scenarios properly let me know
in the comments down below and maybe we can do a full review on Linus tech tips please I don't want to send this back to
Sony and I want to keep testing it out so let me know anyways guys thanks for
watching please subscribe to ShortCircuit all right