Great expectations were rewarded today as Sony released the long-awaited VENICE Version 2 firmware. It’s a major release that makes the VENICE do what almost everyone wanted it to do. Sony’s engineering team were probably working long hours for many months. They scrambled and came through with these new updates ahead of schedule. Version 2 makes VENICE fully functional.
The download link for VENICE Version 2 is https://dmpc.cimediacloud.com/r/EOuygBh1NnFx
Hurray! The native E-mount is now enabled. The E-mount was always there, lurking under the PL mount after removing 6 (non-captive) screws. You could attach an E-mount lens in the nice, solid breech lock, but the picture was annoyingly absent. It’s now enabled.
This opens up the universe of Sony’s really great G-Master still lenses, SIGMA and ZEISS E-mount cine lenses, and all kinds of other optics by using E-mount adapters. Added E-mount bonus: when you attach SIGMA FF Cine lenses with E-mounts, you can see the Sony metadata in the VENICE viewfinder: T-stop and focus distance.
At Cine Gear, Sony introduced the VENICE Tether. The extremely light-weight sensor block and lens mount separates from the camera body and is connected by cable.
Leitz Cine Wetzlar already has a Leica M to E-mount adapter with solid Leica breech lock. Leica and Ernst Leitz Wetzlar M lenses are among the smallest, lightest, fastest and most iconic Full Frame lenses in the world and they work nicely on VENICE in tether or regular mode.
Meanwhile, back at the updates:
Dual Base ISO 2500 High Sensitivity mode has been added to the original Base ISO of 500.
So, with the push of a menu button, you can toggle between low and high ISO, and then dial in your desired ISO, all the way from 100 to 10,000.
New imager modes (sensor modes) have been added as promised:
- 4K 6:5 Anamorphic (when Anamorphic License is installed)
- 6K 1.85:1 (when Full Frame License is installed)
- 6K 17:9 (when Full Frame License is installed)
- 6K 3:2 Full-Frame recording with in-camera playback
- 6K Full Frame AXS-R7 and SxS recording
- Playback in all imager modes is now supported
Previously, in Version 1, you only had:
- 4K 17:9
- 4K 16:9
- 4K 4:3 Anamorphic
- 6K 3:2 Full-Frame recording (without in-camera playback and without SxS recording)
Surround View has been added to 4K 17:9, 3.8K 16:9, and 4K 4:3 imager modes. The “look around” shows picture area 5% larger than what is recorded–so you can catch wayward C-stands and microphone booms before they creep into the shot.
Additional recording formats:
Apple ProRes can be recorded to SxS media cards HD ProRes 422, HD ProRes 422, and HQ HD ProRes 422 Proxy
Simultaneous ProRes recording:
You can record Apple ProRes simultaneously, internally, to SxS cards at the same time as you’re recording FAW or X-OCN to the AXS-R7 onboard recorder.
Network support enables VENICE to be controlled from a Windows, Mac or other web browser over a wired LAN network. The FPS, EI, Shutter, ND, WB, Lens (E mount lens), REC, and ASSIGN 1/2/3/4 functions can be controlled over the network.
Variable frame rates have been added
A Variable FPS function has been added in 1 fps increments.
And lots more:
- Auto White Balance function is now supported.
- A High/Low Key function has been added to check for blown-out highlights (High Key) and deep-dark shadows in low luminance areas (Low Key).
- False color output in the viewfinder is supported using the DVF-EL200 viewfinder.
- The CLIPS button on the camera left side is now enabled. It has the same function as the CLIPS button on the camera right side.