• +44 (0) 1753 650007

Sony Venice Feature


Movietech add the Sony VENICE to their digital imaging line up

Independent image capture specialists, Movietech are please to announce the addition of the Sony VENICE as part of the company’s expansive camera, lens and grip inventory.

Introduced at the tail end of 2017, the new 35mm CineAlta, full frame 6K unit has drawn the attention of Cinematographers across the globe to quickly establish itself as a versatile, high-end shooting solution capable of delivering truly cinematic results.

As the first dedicated full-frame, large format digital camera system from Sony, VENICE is a powerful addition to the range of cutting-edge imaging technology available at Movietech’s Pinewood Studios base.

Equipped with an impressive 36 x 24mm, full frame image sensor, the system is capable of capturing stunning visuals in almost any format, including full 18mm height Super 35 and 24mm Anamorphic. Intuitive and simple to use, VENICE is centred around the established CineAlta workflow allowing 10bit XAVC recording directly to SxS cards or 16bit RAW X-OCN externally. To further maximise creative freedom, the on board PL Mounts and connectivity options allow the system to be tailored with almost limitless possibilities.

The Sony VENICE plus an extensive selection of compatible lens and accessories are available now as part of the our range of Full Frame imaging solutions.

Director / DP Jeff Berlin

“The Shoot”, a short film by Sony Artisan Of Imagery Jeff Berlin, was shot entirely on the new full-frame Sony VENICE camera. Berlin made the film shortly after completion of his film ETHER which was shot entirely on location with the Sony RX0. “It was interesting shooting two film projects back to back,” Berlin says, “one on Sony’s smallest camera, the RX0, and the next one on Sony’s new salvo into the exclusive world of full-frame digital cinema cameras, the VENICE…The Shoot was made as a sort of real-world test of the new VENICE. We had a full crew and we cast models with distinct skin tones to show how the camera handled them, and it handled them beautifully.”