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Sony Venice 6K Camera

Sony Venice 6K camera features an all-new Full-Frame sensor with the classic 36 x 24mm dimensions that have been a staple of photography for over 100 years. Designed exclusively for high-end cinematography, this sensor can capture images up to a maximum resolution of 6048 x 4032.

Switchable imager modes mean VENICE can support an unprecedented number of cinematic aspect ratios for complete creative freedom:

Full width 36 mm 6K

In full-frame, you can use the full 6048 pixel width of the sensor for 6K imager modes such as 3:2, 2.39:1*, 1.85:1, 17:9 and 16.9*. Equivalent to 4-perforation motion picture film, these 6K modes allow for extra shallow depth of field, super-wide shooting and other creative effects.

Super35 anamorphic 4K

For super wide screen productions, VENICE offers two full height 2x squeeze anamorphic imager modes that include 6:5 and 4:3 recording modes for 12:5 (known as 2.39:1) and 8:3 (2.66:1) scenes respectively.

Explore how VENICE can meet your production requirements with the firmware and licensing requirements in the aspect ratio chart:

Sony Venice 6K camera: Fast shutter

VENICE’s high speed readout sensor minimises the jello effect typical in CMOS sensors.

Phenomenal latitude

Sony VENICE has an exceptional 15+ stops of latitude, with low noise for extraordinary performance in delivering phenomenal images in conditions from searing sunlight to almost no light. VENICE’s real-world performance also excels at High Dynamic Range imaging and allows unprecedented creative freedom in grading.

More colours for more expression

VENICE can exceed Rec. 2020 colour space. This means the colour range is wider than DCI-P3 and can beautifully reproduce the true colour of the scene in front of your lens. This also provides the broad palette in the grading suite using the established workflow of Sony’s third-generation LOG gamma encoding (S-Log3), and ultra-wide colour space.

Sony Venice 6K camera: Dual Base ISO

Sony Venice 6K camera has a base ISO of 500 to provide the optimal dynamic range for typical cinematography applications with on-set lighting. A secondary High Base ISO of 2500 excels in low-light High Dynamic Range capture, with an exposure latitude from 6 stops over to 9 stops under 18% Middle Gray, for a total of 15 stops. High Base ISO 2500 is ideal whenever you’re using slow lenses or shooting dimly lit environments. Combining ISO2500 with VENICE’s internal eight-step Optical ND filter system offers the ability to emulate different ISO’s while maintaining maximum latitude of +6 and -9 stops, enabling you to use VENICE as an ISO1250 camera.

PL lens mount

Sony Venice 6K camera comes with the industry-standard PL lens mount. It is compatible with all Super35 and full-frame PL lenses, spherical and anamorphic. The lens mount includes contacts that support Cooke/i Technology. Lens information is recorded as metadata frame by frame.

Lever lock type E-mount*

Choose from the growing eco-system of E-mount lenses and, via third party adaptors, the world of SLR and rangefinder lenses. Lever lock operation provides added security with large lenses and in most cases lens support rigs don’t need to be removed when changing lens. Switching from PL Mount to E-mount is can be done by simply removing six hex screws while E-mount lens iris operation is controllable via assignable button.

Anamorphic look

VENICE’s support for 2x squeeze anamorphic lenses, combined with its ability to shoot 4:3 and 6:5 aspect ratios at a horizontal resolution of 4K, allows the capture of breathtakingly beautiful images with stunning lens flare, bokeh and emotional impact for both 2.4:1 and 2.66:1 widescreen cinema releases.

Sony Venice 6K camera: 6K high resolution*

The stunning full 6K resolution of the camera can be recorded directly in X-OCN (16 bit eXtended tonal range Original Camera Negative) file format. Also, XAVC 4K can be captured onto SxS cards while still sampling from the full 6K resolution of the sensor.

*Firmware update required.

Select FPS

The Select FPS function lets you choose frame rates from 1 frame per second to as high as 60 fps, depending on imager mode. Firmware Version 2.0 supports Select FPS for all the available imager modes, while Version 3.0 enables Select FPS for the two additional imager modes noted in the firmware timeline.

Engineered to survive

VENICE’s chassis is engineered to be amazingly robust and has been rigorously tested in the harshest conditions. Its ventilation system is completely isolated from all electronic components to prevent ingress of dust, sand and splash. The silent-running fan can be cleaned or even swapped out on set quickly and easily.

Easily configurable

Sony Venice 6K camera has a fully modular design and even the sensor block is interchangeable. So, as sensor technology advances in far future, you have the opportunity to upgrade without investing in a new camera. In order to maintain ergonomic balance for operators, the top handle and viewfinder are easily adjustable. As the height of the camera from the bottom to the optical center of the lens mount is the same as the F55, base plates and other accessories used for the F55 can be used with VENICE. The AXS-R7 recorder can be attached to VENICE with just four screws.

World’s first 8-step mechanical ND Filters*

VENICE is the world’s first camera of its class with a servo-controlled 8-step mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.

*Based on Sony market research.

Intuitive on-set operation

VENICE has a surprisingly compact design which allows easier shooting in confined spaces or on drones. Control buttons are carefully positioned for intuitive operation and even illuminate for easy use on dark sets. There are control displays on both sides of the camera, with the main display positioned on the camera outside for fast access to settings by the camera assistant while shooting. The camera operator’s OLED mini display allows intuitive control of commonly accessed features, on-set monitoring operation benefits from an extra HD output alongside the standard 12G-SDI (capable of 4K content on a single BNC cable).

The control interface is an all-new design based on extensive researches with camera operators.

Sony Venice 6K camera: General

Power RequirementsDC12V (11~17.0V)
DC24V (22~32.0V)
Operating Temperature0 ~ 40℃
Storage Temperature-20℃〜60℃
MassApprox. 3.9kg (8lb 10oz) (without lens, handle, VF attachment expansion bottom plate and accessories)
Dimensions133 x 159 x 172 mm (without protrusion)


Imaging DeviceFull-Frame CMOS
Imaging Device Pixel Count24.7M (total), 24.4M (effective)
Imaging Device Size36.2×24.1mm. 43.5mm (diagonal).
Built-In ND FiltersClear, 0.3(1/2), 0.6(1/4), 0.9(1/8), 1.2(1/16), 1.5(1/32), 1.8(1/64), 2.1(1/128), 2.4(1/256)
ISO SensitivityISO500
Lens MountPL Mount
E-mount (lever lock type, without supplied PL lens mount adaptor)
Latitude15+ Stop
Select FPS*Imager mode:
3.8K 16:9, 4K 17.9: 1-60FPS
4K 4:3: 1-48FPS
4K 6:5, 5.7K 16:9, 6K 17:9, 6K 1.85:1, 6K 2.39:1: 1-30FPS
6K 3:2: 1-24FPS
White Balance2000~15000Kelvin and Green/Magenta adjust, AWB*
Gamma CurveS-Log3


Recording Format (Video)XAVC 4K Class480: 23.98p, 24p, 25p, 29.97p
XAVC 4K Class300: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
XAVC QFHD Class480: 23.98p, 25p, 29.97p
XAVC QFHD Class300: 23.98p, 25p, 29.97p, 50p, 59.94p
MPEG HD422(1920×1080): 23.98p, 24p, 25p, 29.97p, 50i, 59.94i
HD ProRes 422HQ*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 60i
HD ProRes 422*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
HD ProRes 422 Proxy*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
Recording Format (RAW/X-OCN) *required AXS-R7RAW SQ:
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 25p, 29.97p, 50p, 59.94p
6K 3:2(6048 x 4032)*: 23.98p, 24p,
6K 2.39:1 (6048 x 2530)*: 23.98p, 24p, 25p, 29.97p
6K 1.85:1 (6048 x 3270)*: 23.98p, 24p, 25p, 29.97p
6K 17:9 (6048 x 3190)*: 23.98p, 24p, 25p, 29.97p
5.7K 16:9 (5672 x 3190)*: 23.98p, 25p, 29.97p
4K 6:5(4096×3432)*:23.98p, 24p, 25p, 29.97p
4K 4:3(4096×3024) :23.98p, 24p, 25p*, 29.97p*
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
Recording Format (Audio)LPCM 4ch , 24-bit 48-kHz


DC InputXLR-type 4pin (male)
Battery DC InputSquare-shaped 5pin connector
DC Output12V: Hirose 4pin x1
24V: Fischer 3pin x2
SDI OutputBNC×4, (12G, 3G, 1.5G-SDI)
HD MONI OutputBNCx1 (1.5G-SDI)
HDMI OutputType A ×1
VFLEMO 26pin
Audio InputXLR-type 5pin (female) x1 (LINE/ AES/EBU / MIC / MIC+48V selectable)
Timecode InputBNC x1
Genlock InputBNC x1
AUXLEMO 5pin (female) x1 (Timecode Output)
Remote*8pin x1
Lens*12pin x1
Lens Mount Hot Shoe4pin x2, conforming to Cooke /i Intelligent Electronic Lens System
Network*RJ-45 type x1, 10BASE-T, 100BASE-TX
USB*USB host, type-A x1
Headphone OutputStereo mini jack x1
Speaker OutputMonaural
Media typeExpressCard/34 slot×2
SD card slot ×1
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ARRI Orbiter LED

ARRI Orbiter LED with a range of changeable optics, state-of-the-art Spectra six-color light engine, innovative software, and much more.

Changeable optics ARRI Orbiter LED

The Quick Lighting Mount (QLM) in Orbiter allows for optics with vastly different properties to be attached to the fixture. The high-output, directional beam of the open face optic is ideal for throwing light long distances. The high precision of the projection optics creates a perfect circle of light that can be shaped with cutters, focus, and gobos.

The dome optic provides omnidirectional, soft light, great for illuminating large spaces, and a universal QLM adapter creates a direct mounting point for Orbiter-specific Chimera and DoPchoice products. With versatility built in, there is great potential for creating additional optics for different applications. Orbiter featuring a 60° open face optic

ARRI Spectra 6-color light engine

Arri Orbiter LED is an extremely bright and powerful, directional fixture with an output similar to that of the corresponding HMI systems. Its new high output, yet tunable, ARRI Spectra light engine can create hard shadows with defined edges.

Including a red, green, blue, amber, cyan, and lime LED, the ARRI Spectra six-color light engine translates into a wider color gamut, more accurate colors, and most importantly, higher color rendition across the entire CCT range. Skin tones look amazing and natural, and hues are precisely reproduced. Orbiter has a larger CCT range of 2,000 to 20,000 K with ultra-high color rendition across all color temperatures. Using a combination of three dimming techniques, Orbiter’s cutting-edge electronics provide smooth dimming down to zero without color changes or jumps.

LiOS – Lighting Operating System

ARRI Orbiter LED is able to take advantage of more than five years of software development for the SkyPanel. Its new software called LiOS (Lighting Operating System) includes all the innovative and groundbreaking features of the SkyPanel plus others, making Orbiter one of the most fully-featured luminaires on the market. LiOS’s eight-color modes include CCT, HSI, individual color, x/y coordinates, gel and source matching, lighting effects, and the new color sensor mode that measures ambient light and recreates it through Orbiter’s output. Other new features in LiOS include simplified DMX modes, performance-enhancing operational modes, over 240 slots for favorites to be stored, optics recognition, multi-language support, a custom boot screen, and many more still to come. Back of Orbiter with removable control panel

Removeable control panel

With a 4” full-color display, quick navigation buttons, and integrated sensors, the Orbiter control panel allows for easy use with a graphic user interface. Simplified menu structure and re-imagined user interfaces provide one-glance operational views and uncluttered screens. This intuitive design makes changing the color or finding a setting easier than ever before. In addition, the control panel is removable and can be used handheld with the aid of a 5 or 15 m (16.4 or 49.2 ft) control panel cable.

Enhanced connectivity

Including a full suite of input and output connectors, Orbiter is prepared for digital communication—today and tomorrow. Ethernet daisy chaining is now possible with two EtherCON ports supporting Art-Net 4, sACN, and TCP/IP. Two USB-A ports are used for LiOS updates and connection of third-party peripherals such as Wi-Fi USB dongles. LumenRadio’s CRMX solution is included, allowing for wireless DMX. Two 5-pin XLR DMX ports used for conventional DMX & RDM communication in and through, and a 3-pin XLR DC input for 48 V power station. An SD Card slot enables future expansion of the software. Finally, a USB-C port is available for computer communication and servicing.

Full suite of sensors

Included in Orbiter is a color sensor for measuring the ambient light, a 3-axis accelerometer and magnetometer for sensing the pan, tilt, roll, and heading of the fixture, heat sensors for keeping the LEDs and electronics at exactly the right temperature, and an ambient light sensor for automatically dimming the control panel display. All these sensors make for a better user experience and increased control over the fixture. Available data improve workflow also in postproduction and service.

Robust, weatherproof housing

The outer design of Orbiter meets the demands of heavy, daily usage. A new weatherproof housing enables outdoor application by using an aluminum cast body with bumpers made of reinforced plastic. The handle makes transport comfortable and allows for handheld operation due to perfect balance.

Large range of applications

Orbiter’s wide range of optics and features allows the fixture to be used in a great variety of applications without compromising quality. Markets such as film and television production, broadcast, theater and live entertainment, and even still photography are just some examples of environments where Orbiter excels. The fixture’s ability to throw light long distances with its open face or projection optics, while at the same time being able to serve as a soft light, brings the flexibility needed on today’s fast-paced film sets. Orbiter’s projection optic will enable broadcasters to have controlled, high-quality light in the studio, and with its battery power, Orbiter can easily be used on the move. The projection optic is the key feature for the theater and live entertainment market and Orbiter also exceeds expectations for continuous lighting in still photography. All in all, Orbiter’s software innovations and connectivity make it the ultimate companion for dynamic lighting setups.

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Yellobrik OTR1A41 8K Fiber

Yellobrik OTR 1A41 is a self contained fiber transmission kit for the transport of 4 discreet SDI signals or 8K / 48G uncompressed over a single fiber link.

8K / 48G uncompressed over a single fiber link

Ideal solution

The kit includes the fiber transmitter, fiber receiver and power supplies. This is an ideal solution for the transmission of multiple uncompressed SDI streams, or 12K signals.

Each SDI channel is fully independent

Automatically detect and reclock

Each SDI channel is fully independent. For 8K use, the signal is split over 4
separate 12G SDI links (48G) and supports full 8K resolution at 60fps. The system can also be used for any combination of SDI signals, with a mix of formats and bit-rates if required. Each channel will automatically detect and reclock SDI bit rates of 270Mbit, 1.5Gbit, 3Gbit and 12Gbit.
LED Indicators are provided for channel presence and power. An optional 19” rack mount tray is available which can accommodate up to 4 modules (RFR 1018).

Note: Internal CWDM optical multiplexing is utilized within the modules. This kit should be considered a self contained point to point solution and should not be integrated into external CWDM systems.

Optional 19” Rack tray to mount (max) 4 modules

Features Yellobrik OTR 1A41

• Support for 4 independent 12G/3G/HD/SD-SDI channels
• Transport 8K (uncompressed) singals
• Each channel supports resolutions up to 2160p/60Hz
• Each channel individually reclocked
• Embedded audio / metadata support for each channel
• Integrated expansion port to add more channels
• LED indicators for channel activity and power
• Kit includes transmitter, receiver and power supplies
• Optional 19” Rack tray to mount (max) 4 modules

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LiveTouch system

LiveTouch system is a scalable replay system that support of HDR and 4K UHD slow-motion replay along with full super slow-motion support up to 8x. This make it ideal for pairing with the high-end capabilities of Grass Valley LDX cameras in remote or at-home productions.

A scalable replay support of HDR and 4K  UHD slow-motion replay

Seamless integration with the LiveTouch craft editor instantly transforms any playlist or highlights into an edit project. Access advanced effects, color profiles and audio tools from any LiveTouch workstation on the network.
Able to seamlessly pool multiple servers, LiveTouch can scale to any size with the same workflows in 4K UHD as in HD. It’s even possible to simultaneously mix multiple resolutions on the same playlist and up or downconvert on the fly.

Access  advanced effects, color profiles and audio tools

The field-proven touchscreen panel is quick to learn and intuitive to use, making highlights selection simple and robust. Supporting up to 4 control panels per server, concurrent operators can instantly create, edit and playout highlights packages without duplicating content or affecting others’ work. Grass Valley’s efficient FrameMagic technology allows instant project and asset sharing between operators. Uniquely, that metadata is preserved when converting playlists to edit projects for integrated craft editing. Highlights packages and instant replays get to air faster, and system design is dramatically simplified.

System designed for studios, sports venues, and production hub

When LiveTouch system working in remote/at-home production environments, provides the same high performance. Panels can be used in a production facility or at the event site while the LiveTouch server remains at home, or with the server in an engine room miles away.

Designed for studios, sports venues, and production hubs, LiveTouch gives every operator access to all the content all the time. Collaborative workflows have never been so easy or fast.

Scales to meet HD, 3G and 4K UHD productions of any size

KEY FEATURES of LiveTouch system

  • Scales to meet HD, 3G and 4K UHD productions of any size
  • Designed for the demanding sports and fast-motion entertainment replay environments
  • Instant effects and finishing tools
  • Intuitive and simple touchscreen control panel for fast highlight selection, playlist editing and live playout control
  • More efficient 4K UHD channel density than other systems
  • More online storage than any other system
  • Unique multicam grouping and workflows
  • Tablet application for on-air talent to control their own playout
  • Momentum integration for publishing to social media
  • Simultaneous browse creation
System Reference - SD: NTSC/PAL Black and Sync; HD: Tri-Level Sync


3 RU

Up to 16 HD
Up to 4 4K UHD

3G, 12G

HD Video Codecs
AVC-Intra Class 50
AVC-Intra Class 100
XAVCi Class 50
XAVCi Class 100

4K UHD Video
XAVC Class 300 UHD

Super Motion
2x, 3x, 4x, 6x and 8x super motion support

Browse Formats
MPEG-1 at 1.5 Mb/s
H.264 at 2.5 Mb/s 640×360
H.264 at 12 Mb/s 720p HD Browse

Up to 16 audio tracks per port
SD embedded audio ANSI/SMPTE ST 272
HD embedded audio SMPTE ST 299
16-bit and 24-bit depth

Quad 1 GB network card, or
Dual 10 GB network card

System Reference
SD: NTSC/PAL Black and Sync
HD: Tri-Level Sync

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SSD Angelbird 4K RAW

SSD Angelbird 4K RAW is an SSD designed to interface directly with Atomos Master Caddy products that support 4K video.

Angelbird Atomos Master Caddy 4K RAW

2TB of storage capacity

This model has 2TB of storage, and will record high-resolution 4K RAW as well as HD video. Atomos’s Sumo, Shogun, and Ninja series recorders in the Inferno, Flame, Studio, and Assassin categories will support these drives, and since they are self-contained, no assembly is required.

Stability and fast read/write speeds

Advanced construction includes TRIM memory management and ECC, ensuring stability and fast read/write speeds. The drives themselves are enclosed in CNC-machined housings which dissipate heat while protecting from impacts. Internally host-power loss protection ensures that in a case of sudden power loss recorded files are saved properly, reducing the chance of file corruption. When video needs to be offloaded insert the Master Caddy 4K RAW into a separately available SATA drive reader compatible with Master Caddy drives.

Angelbird 4K RAW  is an SSD designed to support 4K video

Compatibility SSD Angelbird 4K

Shogun Inferno
Shogun Studio
Shogun Flame
Ninja Assassin
Ninja Flame

Drive Features Angelbird 4K RAW

Temperature sensorOverload protectionTRIMBuilt-in EDC, ECC functionEMS protectionAdaptive thermal protection

Angelbird is an SSD designed to interface directly with Atomos Master Caddy products

SSD Angelbird 4K RAW Specs

Storage Capacity2 TB


InterfaceSATA III (6 Gb/s)
Maximum Read Speed560 MB/s
Maximum Write Speed520 MB/s

Reliability / Data Integrity

Endurance (Total Bytes Written)6000 TB
Mean Time Between Failures (MTBF)2,400,000 Hours


DC Input Power5 VDC
Power Consumption1.8 W (Idle)
5.4 W (Maximum)


CertificationsCE, FCC, REACH, RoHS, as per Manufacturer
Operating Temperature-4 to 221°F / -20 to 105°C
Storage Temperature-40 to 185°F / -40 to 85°C
Operating Humidity5 to 95%
Operating Shock1000 G / 0.5 ms
Operating Vibration2.17 G


Dimensions4.09 x 2.97 x 0.46″ / 104 x 75.5 x 11.7 mm
Weight7.8 oz / 220 g
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Sony 8K 3CMOS camera

Sony 8K 3CMOS camera with simultaneous output of 8K, 4K and HD signals in HDR and SDR to suit a wide range of live production requirements.

Sony 8K 3CMOS camera with simultaneous output of 8K, 4K and HD signals in HDR and SDR

A landmark in broadcasting in 8K

The world’s first 8K television channel is already on air in Japan. And Sony is proud to be supporting this broadcasting landmark with the UHC-8300 system camera that enables an entire 8K Ultra HD workflow – from image capture to storage, editing, display and playout.

Perfection in every detail Sony 8K 3CMOS camera

At the heart of the Sony 8K 3CMOS camera UHC-8300 is the world’s first 1.25-type 8K 3CMOS sensor, capturing pristine images with a resolution of 7680×4320 pixels and a signal to noise ratio of -62dB (at 1080/59.94i). It realizes the 8K picture capturing at high speed of 120p HDR. Along with this new generation sensor, the newly developed F1.6 prism system is capable to support the BT.2020 wide colour space, allowing content creators to realise 8K images with unprecedented clarity, colour and realism.

8K images  captured with the UHC-8300 can be enjoyed with native 7680x4320 pixel  resolution

8K adding more value to 4K

This allows content creators to add value to every production, ensuring that premium footage captured in 8K can be enjoyed by consumers on today’s 4K HDR televisions and display devices. 8K images captured with the UHC-8300 can be enjoyed with native 7680×4320 pixel resolution on Sony’s Crystal LED large-scale display system.

Advanced 8K interface Sony 8K 3CMOS camera

Weighing just 7kg (approx.), the compact Sony 8K 3CMOS UHC-8300 camera head connects via a SMPTE fibre connection to the UHCU-8300 Camera Control Unit. The CCU outputs 8K 120p baseband signals over octal 12G-SDI based on SMPTE ST.2082-12. In parallel, simultaneous 4K and HD outputs are available over 12G/3G-SDI.

Simultaneous 8K/4K/HD production in HDR and SDR with Sony 8K 3CMOS camera

Made for tomorrow’s workflows

You’re covered for today’s production workflows as well as tomorrows. 8K Ultra HD images captured with the UHC-8300 can be stored and replayed as XAVC files using Sony’s PWS-4500 live server. And with a growing choice of third-party display, switching and editing solutions already available from Sony and other manufacturers, the 8K Ultra HD ecosystem is growing fast.

Simultaneous 8K/4K/HD production in HDR and SDR with Sony 8K 3CMOS camera

Teamed with the UHCU-8300 Camera Control Unit, the UHC-8300 enables HDR production workflows with a choice of S-Log3, HLG Live and HLG BT.2100. Broadcasters can also enjoy the benefits of Sony’s SR Live, with simultaneous output of 8K, 4K and HD signals in HDR and SDR to suit a wide range of live production requirements.

New 8K lens mount Sony 8K 3CMOS camera

A new 1.25-type lens mount system offers direct compatibility with specially developed 8K lenses from lens vendors. Current 4K lenses can also be used with a 1.25-type B4 lens mount adaptor.

Real-time 4K cutout by Sony 8K

The extraordinary resolution of 8K UHD allows production teams to select a 4K cutout from a portion of images captured with the UHC-8300. Displayed on a 4K monitor, this allows critical inspection and confirmation of focus.

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VENICE upgrade for 6K

VENICE upgrade for 6K 3:2, 6K 1.85:1, 6K 17:9, 6K 2.39:1, and 5.7K 16:9 imaging, recording and playback.

VENICE upgrade for 6K


This software VENICE upgrade for 6K license enables Full-Frame shooting for VENICE Digital Motion Picture Camera. Activating this VENICE upgrade means users can capture 6K 3:2, 6K 1.85:1, 6K 17:9, 6K 2.39:1, and 5.7K 16:9 X-OCN footage with AXS-R7, record XAVC 4K and other formats on SxS Memory card, output 4K or HD images to Viewfinder and SDI outputs and playback.

This software upgrade license enables Full-Frame shooting for VENICE Digital Motion Picture Camera
  • Imaging 6K 3:2, 6K 1.85:1, 6K 17:9, 6K 2.39:1, and 5.7K 16:9 image size
  • Recording 6K 3:2, 6K 1.85:1, 6K 17:9, 6K 2.39:1, and 5.7K 16:9 X-OCN with AXS-R7
  • Recording XAVC 4K, HD ProRes and MPEG50 on SxS Memory card*
  • Outputting 4K or HD images to Viewfinder, SDI and HD Moni outputs after down-converting 6K and 5.7 images
  • Playback 6K 3:2, 6K 1.85:1, 6K 17:9, 6K 2.39:1, and 5.7K 16:9 X-OCN with AXS-R7* (this function will be supported in V2 or later).
Three different activation periods

Three different activation periods

The VENICE Full Frame License is available with three different activation periods and easy online activation.
• permanent license CBKZ-3610F.
• 30 days license CBKZ-3610FM.
• 7 days license CBKZ-3610FW.

The VENICE Full Frame License is easy online activation

CBKZ-3610F (CBKZ3610F)
VENICE upgrade for 6K 3:2, 6K 1.85:1, 6K 17:9, 6K 2.39:1, and 5.7K 16:9 imaging, recording and playback

CBKZ-3610H (CBKZ3610H)
High Frame Rate (HFR) license for VENICE full-frame digital motion picture camera system


1. For recording 6K 3:2 on the AXS memory card, maximum recording FPS is limited to 30FPS, when selecting X-OCN XT as a AXS Rec Format.

2. When shooting with the combination of [6K 3:2 imager mode] and [the 50p or 59p as a Project Frame Rate], recorded clips on the AXS memory card cannot be played back on the camera.

3. When shooting with the combination of [4K 4:3 imager mode ]and [the 50p or 59p as the Project Frame Rate], recorded clips on the AXS memory card cannot be played back on the camera.

4. For recording on SxS memory card, maximum recording FPS is limited to 60FPS, when selecting 4K XAVC-I or FHD ProRes as a SxS Rec Format.HFR operation with VENICE and optional CBKZ-3610H license requires camera firmware V4.0 or later. Please note that camera operation with firmware V4.0 also requires a hardware upgrade, performed by an authorised Sony Service Centre. Please contact your Sony Professional distributor or account manager for further information.

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Sony HDC-5500 camera 4K

Sony HDC-5500 system camera 4K brings new levels of image quality, portability and creative flexibility to live production environments. Enjoy premium 4K/HD/HDR picture quality – and anticipate tomorrow’s production needs while maintaining full compatibility with today’s workflows and system hardware.

Sony HDC-5500 system camera 4K brings new levels of image quality

Direct 4K output

A newly-developed on-board signal processor allows the Sony HDC-5500 camera 4K to output 4K signals directly without the addition of a dedicated external baseband processor unit, saving rack space in the confines of an OB vehicle or studio environment. It can also output 4K signals directly via 12G-SDI. Thanks to an all-new 4K baseband transmission system, the compact camera is ideal for use in steadicam and wireless camera systems

Impressive sensitivity and colour reproduction

Capture premium pictures with Sony’s advanced 2/3-inch 4K CMOS sensor with global shutter technology that eliminates the ‘jello effect’ and banding noise. This allows the HDC-5500 to capture pristine 4K images with exceptionally low noise (-62dB), impressive sensitivity (F10 at 1080/59.94p or F11 at 1080/50p) and high dynamic range, while achieving the ITU-R BT.2020 broadcast standard wide colour space. It’s teamed with a specially developed LSI Digital Signal Processor that fully realises the extraordinary imaging power of this new sensor.

Capture  premium pictures with Sony’s advanced 2/3-inch 4K CMOS sensor with  global shutter technology

Get the look

Broaden your creative possibilities and achieve exactly the look you want in any shooting situation. Low-key Saturation ensures rich, vibrant colours in low-light areas. Powerful gamma functions give absolute control over fine-tuning tonal values, contrast and detail.

Simultaneous HDR and SDR production

The HDC-5500 can capture High Dynamic Range images, supporting Sony’s SR Live workflow for simultaneous HDR/SDR production with reduced inventory requirements.

Easy transmission change

The HDC-5500 supports optical fibre transmission as standard with ultra high bitrate (UHB) transmission. With an optional side panel, HDC-5500 is compatible with HDCU-3500/3100/2000 series Camera Control Units. It is quick and easy to reconfigure the camera at any time – for fibre, third-generation digital triax or wireless operation – with a choice of optional outside panels.

The  HDC-5500 supports optical fibre transmission as standard with ultra  high bitrate (UHB) transmission

The go anywhere camera

Combining exceptional lightness and strength, the magnesium alloy body is complemented by carbon fibre reinforced plastic (CFRP) outside panels. Sure, stable handling is enhanced by the camera’s low centre of gravity, easily adjustable shoulder pad and widened hand grip area. Also ideal for handheld operation, HDC series studio cameras offer exceptional user ergonomics in a wide range of studio and field-based production environments.

Seamless integration

Backwards compatibility with Sony’s industry-acclaimed HDC-2000 series system cameras simplifies smooth integration with your current live production infrastructures, including cameras and CCUs.

Multi-speed slo-motion acquisition

Adding an optional license enables high frame-rate (HFR) HD image capture at 8x, 6x, 4x, 3x, and 2x. Simultaneous capture of high dynamic range (HDR) images allows simultaneous production of HDR and SDR at an SR-Live event.

Display camera number and tally

Assigned camera number is indicated on the camera body by a graphical electronic paper display. Displayed information is updated automatically to reflect system changes. There’s also an LED tally lamp beside the camera number display.

Rich focus assist functions

The Viewfinder Detail function adds dedicated image-enhancing edge signals directly to the viewfinder, helping the operator to focus quickly and precisely in any shooting situation. It’s complemented by a Focus Assist Indicator and advanced Focus Position Meter function.

Servo controlled ND and CC filters

Dual optical filter wheels for Neutral Density (ND) and Colour Correction (CC)* open up wider creative possibilities. Both filters can be controlled from a remote control panel, master setup unit, or directly from the camera head.

Network TRUNK

Network TRUNK (via LAN port) allows high-speed data transmission between the camera and CCU at up to 1 Gbps to support configurability* with IP-based products and systems.

* Camera operating in fibre configuration.

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HDR Evie Conversion

HDR Evie Conversion it’s a real time “frame by frame” image analysis and correction, has 1 Channel of 4K UHD, or 4 channels of 3G HD (Switchable).

HDR Evie Conversion it's a real time “frame by frame” image analysis and correction

Truly exceptional results of Evie

However, for truly exceptional results which will automatically adapt for unexpected changes in image composition and brightness levels encountered in sports, news gathering or any live broadcast event, then frame by frame processing is required.

HDR to SDR conversion for truly exceptional results which will automatically adapt

HDR Evie for live broadcast

For instance, while solutions are available for “frame by frame” HDR to SDR conversions, this typically involves a post process which requires adjustment and definition of “metadata” for each frame, the metadata is then used in the real time playback of the content. This is both a time consuming and expensive process, and certainly not practical for live broadcast.

Solutions are available for “frame by frame” HDR to SDR  conversions, this typically involves a post process

HDR Evie proprietary algorithms

GreenMachine HDR Evie addresses all these problems. We have implemented proprietary algorithms developed over the past few years in cooperation with the Technology team led by Professor Mike Christmann at Hochschule RheinMain University of Applied Sciences in Wiesbaden, Germany. This solution has been extensively evaluated and tested by content providers and in live broadcast applications by major broadcasters. The results have proven exceptional, far superior to any HDR to SDR conversions available today.

The World’s First

  • Real time “frame by frame” image analysis and correction
  • 1 Channel of 4K UHD, or 4 channels of 3G HD (Switchable)
  • Integrated frame synchronizer with up down cross conversion
  • 12G SDI 4K UHD or 2SI (quad 3G) inputs
  • 12G SDI Fiber I/O options
  • Supports open standards HLG, PQ, SDR and SLog3
  • Powered by greenMachine “titan”
  • Full local control or use the intuitive greenGUI software
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Fujinon Premista 28-100mm

The first Fujinon Premista 28-100mm T2.9 is a standard zoom lens covering a 28-100mm focal length. It achieves stunning optical quality from the center to the corners and suppress unwanted flare and ghosts.

The lens design combines both a lightweight of 3.8kg and compact size as well as the durability. The focus ring features a 280 degrees rotation angle with smooth torque.

The focus ring features a 280 degrees rotation angle

Feature of Fujinon Premista 28-100mm

  • Stunning optical quality and low distortion from the center to the corner.
    It allows the capture of both the feeling and texture of the subjects.
  • Delivers clean and sharp imagery with minimum color aberrations regardless of zoom position or distance from subjects.
  • Unwanted flare and ghosts are well suppressed and it performs well with the high dynamic range of a large format sensor.
  • The color is natural and matched with Fujifilm’s current cine lens lineup to simplify color grading.
  • The lens barrel combines high durability even in harsh conditions for professional use and a lightweight body.
  • Covering 28mm to 100mm and achieving T2.9 across the entire focal length.
  • Pleasant bokeh effect with 13 iris blades.
  • The focus ring features a rotation of a full 280 degrees to facilitate precise focusing.
  • Features a Flange Focal Distance adjustment function with a hex set screw.
  • Compatible with the “ZEISS eXtended Data” system.*
The color is natural and matched with Fujifilm’s current cine lens lineup to simplify color grading

Specifications of Fujinon Premista 28-100mm

Model namePremista28-100mmT2.9
Focal length28-100mm
Lens MountPL mount
Compatible Image Size (diagonal)46.3mm
Close Focus0.8m / 2ft 7in
Angular Field of View (H x V)
40.96mm x 21.60mm*1
28mm: 72.4° x 42.2°
100mm: 23.1° x 12.3°
Angular Field of View (H x V)
36mm x 24mm *2
28mm: 65.5° x 46.4°
100mm: 20.4° x 13.7°
Angular Field of View (H x V)
27.45mm x 15.44mm *3
28mm: 52.2° x 30.8°
100mm: 15.6° x 8.8°
Angle of Focus Rotation280°
Angle of Zoom Rotation120°
Angle of Iris Rotation48°
Iris Blades13
Front Diameter114mm
Length (approx.)255mm / 10in
Weight (approx.)3.8kg / 8.4lbs.
  • *1 Aspect ratio 1:1.90
  • *2 Aspect ratio 1:1.50
  • *3 Aspect ratio 1:1.78
The focus ring features a rotation of a full 280 degrees to facilitate precise focusing
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