WEBVTT 00:00:00.000 --> 00:00:05.430 so today is even more special than every 00:00:03.840 --> 00:00:11.340 other ShortCircuit that I've done so far because I've looked at two stills 00:00:08.130 --> 00:00:14.639 cameras which I loved but today we get 00:00:11.340 --> 00:00:17.460 to look at the Sony Venice which is a 00:00:14.639 --> 00:00:22.109 cinema camera and I'm not a professional photographer but I am a cinematographer 00:00:19.260 --> 00:00:26.099 so this is really exciting because this camera came out in 2018 and I've yet to 00:00:23.939 --> 00:00:31.140 be able to try it until today we've been shooting on red for about three years 00:00:27.750 --> 00:00:35.100 and I've used the Aria Alexa as well but 00:00:31.140 --> 00:00:37.320 this camera is extra special because it 00:00:35.100 --> 00:00:44.070 is either as good or better than those cameras and it's made by Sony so let's 00:00:41.129 --> 00:00:48.870 see how they did okay well as you can see this case is gigantic so that's a 00:00:47.129 --> 00:00:54.530 good sign this is a press unit so it's not an official like retail package 00:00:52.020 --> 00:01:01.079 version of this camera but that's okay opening it up so we have our camera the 00:00:58.739 --> 00:01:05.580 Venice here what else are they included we also have this viewfinder as far as I 00:01:04.979 --> 00:01:10.710 understand unlike the Alexa or the red you don't 00:01:08.280 --> 00:01:14.189 need the viewfinder to use the camera properly though I think a lot of people 00:01:12.689 --> 00:01:18.689 who do use something like the Venice prefer to shoot with viewfinder you have 00:01:16.290 --> 00:01:22.470 some batteries so standard vemma which is great I'll send my cameras use this 00:01:20.490 --> 00:01:27.570 we use these for our Reds they're awesome these are pretty standard so in 00:01:24.869 --> 00:01:32.939 the box we have this ax SM card reader which is Sony's proprietary media that 00:01:30.600 --> 00:01:37.619 can actually adapt to s by s which is a standard that other cameras use also 00:01:34.740 --> 00:01:40.590 made by Sony and that's just so that you can use the raw recorder which is built 00:01:39.240 --> 00:01:46.680 onto this version of the camera that we have right here is that power adapter 00:01:45.090 --> 00:01:51.780 that allows you to use it with v mount that's cool 00:01:48.420 --> 00:01:54.000 a bunch of cables and another dual 00:01:51.780 --> 00:02:02.700 charger okay so let's get this case off the desk so here it is this is the Sony 00:01:57.030 --> 00:02:05.729 Venice guys this camera is 6 K not 8 K 00:02:02.700 --> 00:02:09.200 like our red cameras but it's also full 00:02:05.729 --> 00:02:10.500 frame look at that sensor that is 00:02:09.200 --> 00:02:16.380 gorgeous so for those of you who don't recognize it this is 00:02:13.080 --> 00:02:18.720 standard locking PL mount but the really 00:02:16.380 --> 00:02:23.400 cool thing about this camera is that the mount itself and the sensor block is 00:02:20.760 --> 00:02:26.790 really flexible so Sony unfortunately didn't send it to us but they also make 00:02:24.780 --> 00:02:31.890 this thing called the Rialto extension which just allows you to take the sensor 00:02:29.340 --> 00:02:37.320 block with the lens mount and the sensor off the Venice and onto this even 00:02:34.440 --> 00:02:41.310 smaller box which allows you all the features that are in this camera but 00:02:39.630 --> 00:02:46.500 then allows you to use it in that much smaller space so you can take what is 00:02:43.920 --> 00:02:51.480 already relatively small for a cinema camera and make it even smaller and fit 00:02:49.050 --> 00:02:55.650 it into like cars or like really really small rooms which is really cool and not 00:02:54.000 --> 00:03:00.030 something that every camera these days can do the other awesome thing about 00:02:57.570 --> 00:03:06.120 this mount is that underneath this standard locking PL mount is an e mount 00:03:03.780 --> 00:03:11.580 which again for anyone who knows anything about cameras an e mount is 00:03:08.240 --> 00:03:13.350 very very adaptable it's the same amount 00:03:11.580 --> 00:03:18.480 that you they use on the a7s2 and a lot of other Sony's cameras the 00:03:15.300 --> 00:03:20.280 fx9 the FS 7 and anyone who uses those 00:03:18.480 --> 00:03:24.870 cameras you'll know you can adapt anything from Canon PL basically any 00:03:22.380 --> 00:03:29.580 lens you can think of that can cover a full-frame you can adapt to this camera 00:03:26.760 --> 00:03:32.940 which I mean most people will stick with the standard PL mount because you're 00:03:30.989 --> 00:03:36.630 using higher-end lenses but it's nice to have options alright let's put a lens on 00:03:34.560 --> 00:03:41.760 this guy peels are a little bit different or you just push it in and 00:03:38.610 --> 00:03:44.190 then you lock it down that feels good 00:03:41.760 --> 00:03:48.810 I mean for the amount that this camera costs you'd hope it does because it's 00:03:47.100 --> 00:03:54.540 more expensive than most cinema cameras out there so this body in this 00:03:52.530 --> 00:04:01.950 configuration with this recorder will run you about $90,000 u.s. and that is 00:03:58.769 --> 00:04:03.989 before you even factor in which licenses 00:04:01.950 --> 00:04:08.340 you want because unfortunately sony has gone with the decision to limit software 00:04:06.750 --> 00:04:12.060 wise what you can do with the camera depending on your needs so if you wanted 00:04:10.140 --> 00:04:15.780 to shoot anamorphic and you wanted a permanent license for that that's 00:04:13.980 --> 00:04:20.609 thousand dollars u.s. if you wanted to shoot slow motion that's also four 00:04:18.690 --> 00:04:27.150 thousand do it it always us and you can also rent the licenses for thirty days 00:04:23.520 --> 00:04:29.729 at a time at five hundred dollars us so 00:04:27.150 --> 00:04:34.860 it gets I'm necessarily expensive but again this is for the highest end this 00:04:32.880 --> 00:04:39.300 is for TV shows I don't know if anyone out there is a fan of Ozark but the last 00:04:37.350 --> 00:04:43.440 season of Ozark with shock on the Venice and that show looks awesome so going 00:04:42.479 --> 00:04:48.510 through the rest of this camera physically you have the assistant side 00:04:46.050 --> 00:04:52.380 of the camera which is just allows any assistant that's helping you out to 00:04:50.190 --> 00:04:56.010 change all the settings as they need to on a bigger display on this side but 00:04:54.510 --> 00:05:02.430 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 00:04:59.610 --> 00:05:05.880 for like a documentary or your one-man band and you're somehow using a Venice 00:05:04.020 --> 00:05:12.630 you also can change all those settings on a set for comparison this is in the 00:05:11.039 --> 00:05:17.100 current situation a similarly built a red camera that we use on a daily basis 00:05:14.580 --> 00:05:20.430 this is our weapon it is only a super 35 sensor so it's a smaller sensor than the 00:05:18.810 --> 00:05:26.370 Venice but like you can tell right off the bat the size difference between 00:05:23.400 --> 00:05:32.880 these two like the Venice is quite a bit longer but it has a couple things that 00:05:31.380 --> 00:05:38.280 the red does not for example the Venice has built in Indies and not 00:05:37.050 --> 00:05:43.770 only does that bills and Indies it has built in Indies at every stop range that 00:05:41.220 --> 00:05:47.940 you typically use so it goes in one stop increments eight stops in the whole 00:05:45.539 --> 00:05:54.060 range which means you can be very precise with how much nd you're using in 00:05:50.789 --> 00:05:55.979 this camera and you don't have to fuddle 00:05:54.060 --> 00:06:00.720 with a matte box or any screwin n DS it's all built in which is really 00:05:58.560 --> 00:06:04.229 awesome for anyone who wants to move quickly or shoots documentary especially 00:06:02.880 --> 00:06:10.740 and that's I think the cool thing about this camera is Sony has taken an approach to make this adaptable to 00:06:08.940 --> 00:06:13.710 basically any production environment someone who want to use you can use it 00:06:12.060 --> 00:06:17.940 for documentary you can use it for a live production you can definitely use 00:06:15.720 --> 00:06:22.469 it for cinema which is what its main use case is for but the fact that they 00:06:20.430 --> 00:06:26.130 thought about all those things and built in the Rialto system makes this very 00:06:24.390 --> 00:06:30.750 very compelling unlike our read which again I love our 00:06:28.530 --> 00:06:38.910 Reds but this thing does have a couple things that it doesn't has a dual native 00:06:34.110 --> 00:06:41.250 is so so this cameras to dual ISOs for 00:06:38.910 --> 00:06:47.550 middle gray are five hundred and twenty five hundred and so do lie so basically 00:06:43.980 --> 00:06:50.370 allows you to shoot both in regular 00:06:47.550 --> 00:06:54.990 lighting settings and low light settings without really compromising on your 00:06:52.770 --> 00:06:59.040 noise performance or the dynamic range of the camera depending on where you 00:06:56.430 --> 00:07:03.180 want your ISO to sit which is awesome and something that the red can't do if 00:07:00.990 --> 00:07:08.340 you put the red at twenty five hundred ISO you're going to get a fairly noisy 00:07:06.090 --> 00:07:12.000 image especially at night time where the intention with the Venice is if you use 00:07:10.440 --> 00:07:19.430 that twenty five hundred and you get your six stops over in your highlights and your minus nine in your shadows you 00:07:15.930 --> 00:07:23.010 are able then to have full control of 00:07:19.430 --> 00:07:24.600 where you want the image to sit in your 00:07:23.010 --> 00:07:29.610 highlights in your shadows which is just incredibly flexible and another reason 00:07:27.030 --> 00:07:34.860 why this camera costs ninety thousand dollars us for like the basic package 00:07:32.430 --> 00:07:37.950 and if you're building it out you're probably spending quite a bit more than 00:07:36.180 --> 00:07:45.120 that now let's actually just weigh these two because I'm curious to see which 00:07:41.190 --> 00:07:47.850 what the weight difference is now to be 00:07:45.120 --> 00:07:52.200 fair to read they do make a camera the Gemini which is also made for the 00:07:50.010 --> 00:07:56.460 purposes of use in low-light the way that the Venice is but at the same time 00:07:54.090 --> 00:08:00.960 this is a full-frame sensor that is not a full-frame sensor and it's five K this 00:07:58.260 --> 00:08:05.490 is 6 K but again there's a premium on all of that just to finish off the last 00:08:03.660 --> 00:08:11.460 couple things that I missed the i/o on this camera is ridiculous there are so 00:08:08.910 --> 00:08:14.790 many monitor outputs you have gen lock and timecode in which are standard B and 00:08:13.260 --> 00:08:17.850 C which are awesome for live production and audio guys also thank you and then 00:08:16.500 --> 00:08:23.700 there's also unfortunately they didn't include it but there's this little - 00:08:20.760 --> 00:08:28.410 bump like slot on the side which allows you to plug in a little XLR module that 00:08:25.920 --> 00:08:33.419 Sony offers and then you can get audio in camera the same way that we record on 00:08:31.140 --> 00:08:36.930 like RC 200 let's see the difference in weight because again they don't like 00:08:35.460 --> 00:08:42.419 that you can see physically the differences but how much 00:08:39.570 --> 00:08:46.110 here is all of those extra features in a full-frame camera versus our weapon 00:08:44.610 --> 00:08:50.490 okay so we've taken the lenses off and the batteries just to compare roughly 00:08:48.270 --> 00:08:58.820 with the display and the top handle what the weight difference is between these 00:08:51.750 --> 00:09:01.290 hammers so the red is 2.8 kilograms 00:08:58.820 --> 00:09:11.250 not bad all right that's not too heavy and let's see what the Venice weighs a 00:09:06.050 --> 00:09:13.080 whopping five point for everybody so yes 00:09:11.250 --> 00:09:16.650 this has more features mechanically there's more going on and it also has a 00:09:14.730 --> 00:09:20.640 roll recorder on the back but then the red can do that built-in it's twice as 00:09:19.020 --> 00:09:24.300 heavy with just the body which again makes sense 00:09:22.440 --> 00:09:29.250 it's a full-frame camera there's more cooling there's more mechanical features 00:09:27.300 --> 00:09:34.320 going on and then the viewfinder itself is probably a little bit heavier than 00:09:30.870 --> 00:09:36.660 this monitor but that's also not that 00:09:34.320 --> 00:09:42.110 bad like when I feel it it feels balanced like if this was on my shoulder 00:09:39.060 --> 00:09:45.450 I could imagine that it would feel 00:09:42.110 --> 00:09:47.780 pretty darn good even on a long shoot 00:09:45.450 --> 00:09:52.650 day why don't we shoot some footage and what better way to test the camera then 00:09:51.540 --> 00:09:56.350 to test the slow-motion so why don't we dump some water on our 00:09:55.380 --> 00:09:58.360 co-workers heads 00:10:20.470 --> 00:10:27.140 so that was really fun for me I hope you guys had just as much fun watching those 00:10:24.649 --> 00:10:29.630 clips now there's obviously a lot more to this camera that I didn't get a 00:10:28.550 --> 00:10:34.820 chance to talk about because this is just a first impressions but if you guys want a full review where I actually get 00:10:32.990 --> 00:10:38.270 to try the camera out in multiple different scenarios properly let me know 00:10:37.070 --> 00:10:42.980 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 00:10:41.570 --> 00:10:46.910 Sony and I want to keep testing it out so let me know anyways guys thanks for 00:10:45.140 --> 00:10:53.080 watching please subscribe to ShortCircuit all right