Sony Venice


Is there a good guide on how to correctly interpret Venice footage on Flame. Everybody seems to be using these cameras nowadays.


Hey @julioleon,

Did you find a good workflow for Venice? I am currently struggling to get a good-looking image. Even Phantom files direct into rec709 look better than any settings that I can come up with for Venice.

Not really Sinan. Will let you know

It’s pretty similar to Alexa logC, so if you don’t care about being a little filthy you can just do that. Otherwise, you can go through ACES. Color Mgmt->Import->Camera->Sony->Slog3-SGamut3.Cine_no_cam_black_to_ACES.ctf then RRT+ODT->ACES_to_whateverYoureDoing.ctf (I use ACES_to_HD_Video_1.0 to get to rec709.)


There is a difference between venice XAVC and XOCN/ SonyRaw.

For any raw file do mind the raw debayer settings, flame tag should match the debayer settings and if you are in aces mode that should very much be it.

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One thing I’ve noticed with graded Venice footage is that the grain structure is so odd compared to that of any other camera I’ve come across.

The grain is made up of both low- and high-frequency noise and my best attempts to match it end up with me using at least two Regrain nodes in series to get something close.

You sure the colorist just didnt add their own grain on top? :smiley:

I cant reneber any trouble in regards to noise when I worked on a netflix show that was shot in venice, we worked on raw material of course.

Yes this can be a big gotcha. Flame’s debayer defaults to “standard” or something like that, which is twice as noisy as “quality!”

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yea you really have to be very careful of RAW settings during import for all formats in Flame.

Oh, that definitely happens from time to time!

I’ve noticed this low/high frequency grain thing on most every Venice project I get. And as I don’t work with any one particular facility or color house I’ve come to the conclusion that it’s an attribute of the camera.

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