{"id":103179,"date":"2024-07-09T10:00:00","date_gmt":"2024-07-09T14:00:00","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=103179"},"modified":"2024-07-09T09:45:33","modified_gmt":"2024-07-09T13:45:33","slug":"sony-fx3-and-sony-venice","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/sony-fx3-and-sony-venice\/","title":{"rendered":"Sony FX3 and Sony Venice: The Power of Harmony"},"content":{"rendered":"\n<p>The <a href=\"https:\/\/www.adorama.com\/alc\/how-to-become-a-cinematographer\/\">job of a cinematographer<\/a> includes many&nbsp;things. But one specific task we are definitely in charge of is determining the right tool for the job. And when I say tool, I mean <a href=\"https:\/\/www.adorama.com\/l\/Video\/Video-Cameras\/Digital-Cinema-Bodies\">the camera<\/a> that will be used for a specific project.&nbsp;<\/p>\n\n\n\n<p>There are a few things you must consider when deciding what camera body to use:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Resolution&nbsp;<\/li>\n\n\n\n<li>Color Science&nbsp;<\/li>\n\n\n\n<li>Cost&nbsp;<\/li>\n\n\n\n<li>Usage (In terms of operation and <a href=\"https:\/\/www.adorama.com\/alc\/14-basic-cinematography-techniques-for-better-cinematic-shots\/\">style of shooting<\/a>)&nbsp;<\/li>\n\n\n\n<li>Low Light Capabilities &nbsp;<\/li>\n<\/ul>\n\n\n\n<p>As someone who owns both a Sony Venice and Sony FX3, I have had plenty of on-set working experience with both cameras. More times than not, I tend to bring the Sony FX3 with me anywhere I go, even on shoots with the Sony Venice.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Why Use the Sony Venice?&nbsp;<\/strong><\/h2>\n\n\n<div id=\"SOMPC36101\"  class=\"west_sku_post\" data=\"SOMPC36101\"><\/div>\n\n\n\n<p>For most of my work, I use the <a href=\"https:\/\/www.adorama.com\/sompc36101.html\" target=\"_blank\" rel=\"noreferrer noopener\">Sony Venice<\/a> because of its 15-stop dynamic range, 6K resolution, and full-frame open-gate look. It is truly a look and feeling that I have become accustomed to.&nbsp;<\/p>\n\n\n\n<p>I also have a crew with me that helps take responsibility for the camera, which is necessary for a camera like Venice. It is not a camera that is easily usable by yourself, especially on a set that requires you to move at a decent pace. \u00a0<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Why Is the Sony Venice a Great Choice?<\/strong><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2024\/07\/Untitled_1.4.1-1024x576.png\" alt=\"Gian Carlo Stigliano holding a Sony Venice\" class=\"wp-image-103185\"\/><figcaption class=\"wp-element-caption\">Photo from Gian Carlo Stigliano<\/figcaption><\/figure>\n\n\n\n<p>The Sony Venice is one of the leading industry cameras still to this day, being released in 2018. The images it produces still attract professional cinematographers worldwide, for a good reason too!&nbsp;<\/p>\n\n\n\n<p>The Sony Venice offers a unique modular option that allows you to detach the sensor from the body and put it on a smaller body called <strong>The Rialto<\/strong>. This is a great option for many filmmakers as they need the quality of the Venice but the size of an FX3. &nbsp;<\/p>\n\n\n\n<p>Even though it may seem that Venice should only be used on high-end productions, it is also a great and viable option for indie or smaller projects where the light budget may not be huge.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>How does a lighting budget relate to a camera? Dual-Base ISO.<\/strong><\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"765\" src=\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2024\/07\/ITIS_D11-50-1024x765.jpg\" alt=\"A Sony Venice camera being used on set\" class=\"wp-image-103180\"\/><figcaption class=\"wp-element-caption\">Photo from Gian Carlo Stigliano<\/figcaption><\/figure>\n\n\n\n<p>The Venice offers a dual-base ISO of 500 and 2500 which allows for extreme quality in low-light situations where you may not be able to light a scene the way you desire. With this 2500 base ISO, you can get a very clean image without straining the sensor and reducing image quality.\u00a0<\/p>\n\n\n\n<p>It&#8217;s easy to look at all these positives and think to yourself, \u201cThis is the perfect camera for everything!\u201d Sure, in some scenarios it is. But frankly, it has its cons, especially at a lower budget level.\u00a0<\/p>\n\n\n\n<p>For starters, the cost is a huge hurdle in getting access to a Sony Venice. The <a href=\"https:\/\/www.adoramarentals.com\/p-r-~sovenice6k\/SONY-VENICE-FF-6K-CINEMA-W-R7-RECORDER\" target=\"_blank\" rel=\"noreferrer noopener\">rental cost of a Sony Venice<\/a> tends to start around <strong>$1,000 to $1,300 per day<\/strong>. For a lot of smaller productions, that&#8217;s a tough number.&nbsp;<\/p>\n\n\n\n<p>Now, also consider that you need:&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>A lens set&nbsp;<\/li>\n\n\n\n<li>Batteries&nbsp;<\/li>\n\n\n\n<li>Media&nbsp;<\/li>\n\n\n\n<li>Support (heavy tripod)&nbsp;<\/li>\n\n\n\n<li>A bunch of cables&nbsp;<\/li>\n\n\n\n<li>A crew of at least 1 or 2 Assistant Cameras&nbsp;<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Consider Everything Before Buying the Sony Venice<\/strong><\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2024\/07\/Untitled_1.3.1-1024x576.png\" alt=\"&quot;This is fine&quot; sticker on Sony Venice camera\" class=\"wp-image-103183\"\/><figcaption class=\"wp-element-caption\">Photo from Gian Carlo Stigliano<\/figcaption><\/figure>\n\n\n\n<p>Up front, if you don&#8217;t have at least <strong>$2,500<\/strong> for your camera package budget, this package is probably not for you.&nbsp;<\/p>\n\n\n\n<p>Another hurdle with this camera is specialty shots and <a href=\"https:\/\/www.adorama.com\/alc\/basic-camera-movements-for-video\/\" target=\"_blank\" rel=\"noreferrer noopener\">movement<\/a>. This camera is quite large, and heavy, and requires a lot of support. Therefore, doing a seemingly simple overhead shot becomes a bit more difficult than it needs to be sometimes. It requires more rigging by the grip team, which also costs money and time.\u00a0<\/p>\n\n\n\n<p>And say you want to get a nice smooth tracking shot of a runner. You&#8217;ll need either a <a href=\"https:\/\/www.adorama.com\/sc7abmntstnv.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Steadicam operator<\/strong><\/a> or <a href=\"https:\/\/www.adorama.com\/alc\/best-handheld-gimbal-camera-stabilizer-for-mirrorless-and-dslr-cameras\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>a bigger gimbal setup<\/strong><\/a>, which isn&#8217;t easy to operate if you are inexperienced. So, if you\u2019re working on a production where you can accommodate these cons, this camera is perfect, truly it is.&nbsp;<\/p>\n\n\n\n<p>But without some of those resources, my go-to solution is the Sony FX3.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>The Sony FX3&nbsp;<\/strong><\/h2>\n\n\n<div id=\"SOILMEFX3\"  class=\"west_sku_post\" data=\"SOILMEFX3\"><\/div>\n\n\n\n<p>I think it is easy to disparage <a href=\"https:\/\/www.adorama.com\/soilmefx3.html\" target=\"_blank\" rel=\"noreferrer noopener\">the Sony FX3<\/a> as not comparable to Sony Venice. In some regards, I can agree \u2013 but this camera is an absolute powerhouse.&nbsp;<\/p>\n\n\n\n<p>The FX3 is a 12.1 MP full-frame sensor that performs extremely well in low light, it is a very small and lightweight package (when stripped down) and includes in-body stabilization. The native lens mount is E but with adapters, you can put a <a href=\"https:\/\/www.adorama.com\/iatat16l.html\" target=\"_blank\" rel=\"noreferrer noopener\">PL mount lens on the FX3<\/a> to be able to get a more cinematic look than the standard E mount Sony Lens.&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Why choose the Sony FX3?<\/strong><\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2024\/07\/Untitled_2.8.1-1024x576.png\" alt=\"A Sony FX3 being used on set\" class=\"wp-image-103187\"\/><figcaption class=\"wp-element-caption\">Photo from Gian Carlo Stigliano<\/figcaption><\/figure>\n\n\n\n<p>By itself, the FX3 is a great choice for lower-budget productions that require a more fast-paced setup, lost cost, and an easily manageable camera system. While resolution is still amazing at 4K it does not have the full 6K resolution of Venice. But that&#8217;s alright, I mean who needs 6K <em>all <\/em>the time?&nbsp;<\/p>\n\n\n\n<p>Stripped down to bare bones, this camera is very light and versatile. However, it can become a challenge once you start rigging it with monitors, wireless feeds, rods, and focus motors. You see, this camera is not natively built for all those accessories.\u00a0<\/p>\n\n\n\n<p>Personally, I never fully rigged out an FX3. But what I do find to be truly amazing about this camera is how well it pairs with the Sony Venice. Especially in scenarios where having a small nimble camera like an FX3 really saves the day.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>My Experience with the Sony FX3 and Sony Venice<\/strong><\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2024\/07\/Untitled_3.1.1-1024x576.png\" alt=\"Filmmaker with Sony FX3\" class=\"wp-image-103191\"\/><figcaption class=\"wp-element-caption\">Photo from Gian Carlo Stigliano<\/figcaption><\/figure>\n\n\n\n<p>Over the past year, I have worked on a dozen projects where I used both camera bodies. I worked with directors who preferred speed and efficiency over having to spend time rigging a bigger camera. Smart.&nbsp;<\/p>\n\n\n\n<p>The Sony Venice was used as A Cam and the FX3 was used as a specialty camera or gimbal camera. For most of the projects that have used both camera bodies, the Director and I found something out. It\u2019s better to rig the FX3 for an overhead shot than use the Sony Venice, due to time and cost.&nbsp;<\/p>\n\n\n\n<p>Because of the weight and size, you can easily rig the camera overhead to get an overhead shot. Also, if you don&#8217;t have the budget for a full Steadicam operator, that\u2019s fine! Throw the FX3 on <a href=\"https:\/\/www.adorama.com\/djirs3pro.html\" target=\"_blank\" rel=\"noreferrer noopener\">a gimbal<\/a> and use that for smaller moments that need that specific look.&nbsp;<\/p>\n\n\n\n<p>As long as you are properly exposing the image out of the FX3, you will easily match the colors in the post. Whether you have a great colorist or not, the colors will match very well \u2013 it\u2019s fine. Nine times out of 10 no one will notice the difference for those specialty shots.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Comparison Table: Sony FX3 vs. Sony Venice<\/strong><\/h3>\n\n\n\n<figure class=\"wp-block-table is-style-stripes\"><table><tbody><tr><td><strong>Feature<\/strong><\/td><td><strong>Sony VENICE<\/strong><\/td><td><strong>Sony FX3<\/strong><\/td><\/tr><tr><td><strong>Image Sensor<\/strong><\/td><td>Full-frame 36 x 24 mm<\/td><td>Full-frame Exmor R CMOS<\/td><\/tr><tr><td><strong>Resolution<\/strong><\/td><td>Up to 6K (6048 x 4032)<\/td><td>4K<\/td><\/tr><tr><td><strong>Dynamic Range<\/strong><\/td><td>15+ stops<\/td><td>15+ stops<\/td><\/tr><tr><td><strong>ISO Range<\/strong><\/td><td>Dual Base ISO: 500 and 2500<\/td><td>80-102400 (expandable to 409600)<\/td><\/tr><tr><td><strong>Recording Formats<\/strong><\/td><td>X-OCN, ProRes, RAW, XAVC, MPEG HD<\/td><td>XAVC HS 4K, XAVC S 4K, XAVC S-I 4K, ProRes, 16-bit RAW over HDMI<\/td><\/tr><tr><td><strong>Frame Rate<\/strong><\/td><td>Up to 120 fps at 4K 2.39:1, 60 fps at 6K 3:2<\/td><td>Up to 120 fps in 4K<\/td><\/tr><tr><td><strong>Focus<\/strong><\/td><td>Manual<\/td><td>High-precision AF with Real-time Tracking and Eye AF<\/td><\/tr><tr><td><strong>Color Science<\/strong><\/td><td>Exceeds Rec. 2020 color space, S-Gamut3, S-Log3<\/td><td>S-Cinetone color science, S-Log3, S-Gamut3.Cine<\/td><\/tr><tr><td><strong>Built-in ND Filters<\/strong><\/td><td>World&#8217;s first 8-step mechanical ND filters<\/td><td>None<\/td><\/tr><tr><td><strong>Lens Mount<\/strong><\/td><td>PL mount<\/td><td>E mount<\/td><\/tr><tr><td><strong>In-Body Image Stabilization<\/strong><\/td><td>None<\/td><td>5-axis image stabilization (Active Mode)<\/td><\/tr><\/tbody><\/table><figcaption class=\"wp-element-caption\">Key differences between the Sony VENICE and Sony FX3.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Understand What is the Role of the Director of Photography<\/strong><\/h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2024\/07\/Untitled_2.12.1-1024x576.png\" alt=\"Cinematographer holding Sony FX3 camera\" class=\"wp-image-103190\"\/><figcaption class=\"wp-element-caption\">Photo from Gian Carlo Stigliano<\/figcaption><\/figure>\n\n\n\n<p>Your role as a DP is to make decisions on what is best for the project you are shooting. Considering time, money, look, ergonomics, and efficiency. Both cameras have more pros than cons, but you need to understand the project you are working on. Figure out the limitations and work within the sandbox created for you. &nbsp;<\/p>\n\n\n\n<p>Get creative with your problem-solving! Just because you are using a Sony Venice for your shot doesn&#8217;t mean that the FX3 shouldn&#8217;t be a viable option for certain shots.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As a Director of Photography, owning both the Sony Venice and Sony FX3 has helped me make important decisions on set. While the Venice dazzles with its 15-stop dynamic range and 6K resolution, the FX3also shines as a nimble powerhouse.<\/p>\n","protected":false},"author":11111175,"featured_media":103182,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5,17821],"tags":[13111,11094,17429,18474],"class_list":["post-103179","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-video","category-video-cameras","tag-cinema","tag-filmmaking","tag-sony-fx3","tag-sony-venice"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sony FX3 and Sony Venice: The Power of Harmony - Adorama<\/title>\n<meta name=\"description\" content=\"Explore the surprisingly dynamic relationship of Sony FX3 and Sony Venice in cinematography. 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