Sony PXW-FS7 II
- 1x PXW-FS7 II Camcorder
- 1x Body Cap
- 1x Viewfinder
- 1x Viewfinder Hood
- 1x Eyepiece
- 1x Grip Remote Control
- 1x USB wireless LAN Module IFU-WLM3
- 1x Wireless Remote Commander (RMT-845)
- 1x AC Adapter
- 1x BC-U1 Battery Charger
- 1x BP-U30 Battery Pack
- 2x BP-U60 Battery Pack
- 1x Operating Guide
- 1x CD-ROM "Manual for Solid-State Memory Camcorder"
Handheld. Long form. Perfection redefined.
You asked and we delivered: an all-new E-mount lever lock design. Sony’s world-leading variable ND filter technology integrated for smooth fine-tuning of depth-of-field. A host of ergonomic refinements to make FS7 II even more comfortable to shoot with. The uncompromising image quality of Sony’s high-performance Super 35mm sensor for 4K and HD capture, including superior 4K/QFHD 60p/50p with support for the BT.2020 colour space, plus fantastic slow-motion pictures up to 180 fps. Just think what the possibilities are…
Built-in electronic Variable ND Filters.
Originally developed for the PXW-FS5, Sony’s ground-breaking integration of electronic variable ND Filters into the body of a Super 35mm camcorder enables fast, agile shooting. Moving from shadowy interiors to bright sun-lit exteriors is no problem with the FS7 II. Unlike conventional optical ND filters, the electronic ND filter on the FS7 II can be controlled from 1/4ND to 1/128ND linearly while ND Filters can be set to fully auto. You can even manually adjust Depth of Field using the iris lens ring while relying on the FS7 II to maintain constant exposure without changing gain nor shutter speed.
FS7 II is your perfect partner for fast-moving shoots in changeable environments.
4K Super 35 Exmor® sensor
When it comes to image sensors, size definitely matters. Sony’s Super 35 sensor delivers "bokeh," the defocused backgrounds made possible by shallow depth of field. A common technique for directing audience attention within the frame, shallow depth of field is far easier to achieve with a large sensor. Other things being equal, a bigger sensor also equates to better low-light sensitivity and lower image noise. And with bigger sensors, the field of view is wider for any given focal length lens.
With the FS7 II sensor, size is just the beginning.
- 14 stops of exposure latitude deliver powerful grayscale rendition without crushing shadow detail or blowing out highlight detail.
- ISO 2000 sensitivity enables you to shoot well after sunset, without tons of lighting and grip.
- 4K resolution. The sensor incorporates 11.6 million total pixels and 8.8 million effective pixels to deliver full 4K resolution. Even if you’re delivering in HD, your recordings will capture detail and image texture that HD sensors cannot see.
- Sony Exmor® CMOS design makes for extremely fast readout, contributing to frame rates of up to 180 fps and minimized image skew.
High Frame Rates up to 180 fps
Slow down time with HFR shooting to reveal the beauty and drama of everyday motion. That’s why the FS7 II provides continuous recording at Full HD at frame rates of up to 180 fps. When you play back at 23.98p, you’ll enjoy extraordinary Super Slow Motion of up to 7.5x. Compared to burst mode, the continuous recording of the FS7 II reduces mistimed shots and extra takes. The camera also provides Slow & Quick motion from 1 fps to 180 fps, in 1 fps increments. This enables time-lapse effects to make the clouds race by or flowers bloom before your eyes. And for even higher frame rates, you can attach the XDCA-FS7 extension unit and connect an outboard recorder, both hired separately, for 2K RAW recording at up to 240 fps. This creates 10x Super Slow Motion when played at 23.98p.
RAW recording, Apple ProRes 422 and multi-cam with Sony’s extension unit
To keep the PXW-FS7 II small, light and easily hand-holdable, Sony engineers reserved some functions for an outboard module, the XDCA-FS7 extension unit, hired separately. The unit adds significant capabilities:
External RAW recording.
To preserve the maximum in color, contrast and resolution, the XDCA-FS7 enables RAW recording when connected to outboard recorders, hired separately. The XDCA-FS7 supports the vivid color of 12-bit linear RAW at either 4K or 2K resolution. A single BNC cable connects the XDCA-FS7 to compatible RAW recorders including Sony’s HXR-IFR5/AXS-R5 combination and the Convergent Design® Odyssey 7Q+ equipped with the Sony FS RAW option. In addition, the Atomos® Shogun Inferno and Shogun Flame support Apple ProRes and CDNG recording from the XDCA-FS7 output. Even when you record outboard RAW, you can still record time code-synchronized Full HD onboard, a convenient proxy for offline editing.
Apple ProRes 422 recording.
Sony understands that some workflows are committed to the Apple ProRes 422 codec. That’s why the XDCA-FS7 supports Apple ProRes 422 and Apple ProRes 422 HQ – 1920 x 1080 recording to an XQD™ card in the camera.
Multi-camera operation.
The XDCA-FS7 also provides Genlock and Timecode In/Out for multi-camera shoots.
Handheld comfort takes another leap forward
The FS7 is renowned for taking handheld shooting to another level. Placed against your chest or shoulder, comfortably steadied by your right hand. The built-in shoulder pad makes for stable shoulder-style shooting, while the curved back sits comfortably against your chest. Now with FS7 II we’ve refined these elements to be even more flexible to you.
Superbly rugged
Sony designed the FS7 II to the same exacting standards as the FS7 for real-world shooting. The frame is magnesium, for high rigidity and lightweight. Buttons, dials and other parts are sealed to prevent dust and water spray from entering. Cooling is an urgent requirement in a high-speed 4K camera. That’s why Sony engineers developed special heat pipes that whisk heat away from the electronics and into a remote heat sink. An air duct cools the heat sink while isolating the electrical components from exposure to dust and water spray.
Multi-Interface (MI) Shoe
The FS7 II takes advantage of Sony’s flexible Multi-Interface (MI) Shoe, which provides power, signal connections and coordinated on/off switching to compatible Sony accessories. For example, you can connect and control Sony wireless microphone systems such as the UWP-D11 or UWP-D12 or attach the HVL-LBPC light.
Support for 4-channel Audio Input and Recording
The FS7 II supports 4-channel audio input and, in applications such as interview, this function enables the simultaneous use of an external microphone for recording ambient sounds, the built-in microphone for voice memos by the operator, and two optional UWP Series wireless microphones for voice of interviewer and interviewee. In addition, using an optional XLR adapter “XLR-K2M” or ”XLR-K1M” – with two extra XLR inputs – even more devices can be connected. And with FS7 II, the control cover now folds down flat to lessen risk of accidental damage.
Sony's K universe
Like high definition a decade ago, 4K is emerging as a consumer entertainment platform. And Sony is playing a pivotal role in this transition. When we launched the world's first commercial 4K projectors in 2005, we had to explain that a "K" was 1024 horizontal pixels and that "4K" meant 4096 x 2160 resolution. We had to itemize the advantages with tutorials on resolution and seating distance. Today 4K is a robust production platform. It is enshrined in the Digital Cinema Initiatives (DCI) specification. The ITU and SMPTE have both issued 4K standards. And the Consumer Electronics Association is promoting the term "Ultra High-Definition" (Ultra HD) to cover 4K consumer products.
Mass | Approx. 2.0 kg (body only) |
Approx. 4.5 kg (with Viewfinder, Eyepiece, Grip Remote Control, BP-U30 battery, SELP18110G LENS, an XQD memory card) | |
Dimensions (W x H x D) *1 | 158.9 x 245.2 x 247mm (body without protrusions) |
Power Requirements | DC 16.5V (battery pack) |
DC 12.0V (AC adaptor) | |
Power Consumption | Approx. 19W (while recording XAVC-I QFHD 59.94P, SELP18110G Lens, Viewfinder ON, not using external device) |
Operating Temperature | 0°C to 40°C |
32°F to 104°F | |
Storage Temperature | -20°C to +60°C |
-4°F to +140°F | |
Battery Operating Time | Approx. 1 hrs. with BP-U30 battery (while recording XAVC-I QFHD 59.94P, SELP18110G Lens, Viewfinder ON, not |
using external device) | |
Approx. 2 hrs. with BP-U60 battery while recording XAVC-I QFHD 59.94P, SELP18110G Lens, Viewfinder ON, not using external device) | |
Approx. 3 hrs. with BP-U90 battery (while recording XAVC-I QFHD 59.94P, SELP18110G Lens, Viewfinder ON, not using external device) | |
Recording Format (Video) | XAVC-I mode:DCI4K 59.94P CBG, bit rate 600Mbps, MPEG-4 H.264/AVC |
XAVC-I mode:DCI4K 50P CBG, bit rate 500Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:DCI4K 29.97P CBG, bit rate 300Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:DCI4K 23.98P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:DCI4K 24.00P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:DCI4K 25P CBG, bit rate 250Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:QFHD 59.94P CBG, bit rate 600Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:QFHD 50P CBG, bit rate 500Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:QFHD 29.97P CBG, bit rate 300Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:QFHD 23.98P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC | |
Recording Format (Video) | XAVC-I mode:QFHD 25P CBG, bit rate 250Mbps, MPEG-4 H.264/AVC |
XAVC-I mode:HD 59.94P VBR, maximum bit rate 222Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:HD 50P VBR, maximum bit rate 185Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:HD 59.94i VBR, maximum bit rate 111Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:HD 50i VBR, maximum bit rate 112Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:HD 29.97P VBR, maximum bit rate 111Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:HD 23.98P VBR, maximum bit rate 89Mbps, MPEG-4 H.264/AVC | |
XAVC-I mode:HD 25P VBR, maximum bit rate 112Mbps, MPEG-4 H.264/AVC | |
XAVC-L QFHD 59.94P/50P mode: VBR, maximum bit rate 150Mbps, MPEG-4 H.264/AVC | |
Recording Format (Video) | XAVC-L QFHD 29.97P/23.98P/25P mode: VBR, maximum bit rate 100Mbps, MPEG-4 H.264/AVC |
XAVC-L HD 50 mode: VBR, maximum bit rate 50Mbps, MPEG-4 H.264/AVC | |
XAVC-L HD 35 mode:VBR, maximum bit rate 35Mbps, MPEG-4 H.264/AVC | |
XAVC-L HD 25 mode:VBR, maximum bit rate 25Mbps, MPEG-4 H.264/AVC | |
MPEG HD422 mode:CBR, maximum bit rate 50Mbps, MPEG-2 422P@HL | |
Recording Format (Audio) | LPCM 24 bits, 48 kHz, 4 channels |
Recording Frame Rate | XAVC-I DCI4K mode: 4096x2160/ 59.94P, 50P, 29.97P, 23.98P, 24P, 25P |
XAVC-I QFHD mode: 3840x2160/ 59.94P, 50P, 29.97P, 23.98P, 25P | |
XAVC-I HD mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P | |
XAVC-L QFHD mode: 3840x2160/59.94P, 50P, 29.97P, 23.98P, 25P | |
XAVC-L HD 50 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P | |
XAVC-L 35 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P | |
XAVC-L 25 mode: 1920x1080/59.94i, 50i | |
MPEG HD422 mode: 1920x1080/59.94i, 50i, 29.97P, 23.98P, 25P, 1280x720/59.94P, 50P, 29.97P, 23.98P, 25P | |
Recording/Playback Time | XAVC-I mode QFHD 59.94P |
When using QD-G128A(128GB): | |
Approx. 22 minutes | |
XAVC-I mode QFHD 50P | |
When using QD-G128A(128GB): | |
Approx. 26 minutes | |
XAVC-I mode QFHD 29.97P | |
When using QD-G128A(128GB): | |
Approx. 44 minutes | |
XAVC-I mode QFHD 23.98P | |
When using QD-G128A(128GB): | |
Approx. 55 minutes | |
XAVC-I mode QFHD 25P | |
When using QD-G128A(128GB): | |
Approx. 52 minutes | |
Recording/Playback | Time XAVC-I mode HD 59.94P |
When using QD-G128A(128GB): | |
Approx. 59 minutes | |
XAVC-I mode HD 50P | |
When using QD-G128A(128GB): | |
Approx. 71 minutes | |
XAVC-I mode HD 59.94i | |
When using QD-G128A(128GB): | |
Approx. 118 minutes | |
XAVC-I mode HD 50i | |
When using QD-G128A(128GB): | |
Approx. 141 minutes | |
XAVC-I mode HD 29.97P | |
When using QD-G128A(128GB): | |
Approx. 118 minutes | |
Recording/Playback | Time XAVC-I mode HD 23.98P |
When using QD-G128A(128GB): | |
Approx. 147 minutes | |
XAVC-I mode HD 25P | |
When using QD-G128A(128GB): | |
Approx. 141 minutes | |
XAVC-L mode QFHD 59.94P/50P | |
When using QD-G128A(128GB): | |
Approx. 87 minutes | |
XAVC-L mode QFHD 29.97P/23.98P/25P mode: | |
When using QD-G128A(128GB): | |
Approx. 131 minutes | |
XAVC-L 50 mode | |
When using QD-G128A(128GB): | |
Approx. 262 minutes | |
Recording/Playback Time | XAVC-L 35 mode |
When using QD-G128A(128GB): | |
Approx. 374 minutes | |
XAVC-L 25 mode | |
When using QD-G128A(128GB): | |
Approx. 524 minutes | |
MPEG HD422 mode | |
When using QD-G128A(128GB): | |
Approx. 262 minutes | |
Lens | |
Lens Mount | E-Mount (lever lock type) |
Camera Section | |
Imaging Device (Type) | Super35 type Single-chip Exmor CMOS |
Effective Picture Elements | 17:9 4096 (H) x 2160 (V) |
16:9 3840 (H) x 2160 (V) | |
Built-in Optical Filters | ND filters |
OFF: CLEAR | |
1: 1/4ND | |
2: 1/16ND | |
3: 1/64ND | |
Linear variable ND (1/4ND to 1/128ND) | |
Sensitivity (2000 lx, 89.9% reflectance) | Video Gamma: T14 (3840 x 2160/23.98P mode 3200K) |
ISO Sensitivity | ISO 2000(S-Log3 Gamma D55 Light source) |
Minimum Illumination | 0.7 lx (+18dB,23.98P,Shutter OFF,ND Clear, F1.4) |
S/N Ratio | 57 dB (Y) (typical) |
Shutter Speed | 1/3 sec to 1/9,000 sec |
Slow & Quick Motion Function | XAVC-I mode 3840x2160: 1 to 60 frames (59.94P, 50P, 29.97P, 23.98P, 25P) |
XAVC-I mode 1920x1080:1 to 180 frames (59.94P, 29.97P, 23.98P) 1 to 150 frames (50P,25P) | |
XAVC-L mode 3840x2160:1 to 60 frames (59.94P, 50P, 29.97P, 23.98P, 25P) | |
XAVC-L mode 1920x1080: 1 to 120 frames (59.94P, 50P, 29.97P, 23.98P, 25P) | |
White Balance | Preset, Memory A, Memory B(1500K-50000K)/ATW |
Gain | -3, 0, 3, 6, 9, 12, 18 dB, AGC |
Gamma Curve | STD,HG,User,S-Log2, S-Log3 |
Input/Output | |
Audio Input | XLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable Mic Reference: -40, -50, -60dBu |
SDI Output | BNC(x2), switchable with 3G-SDI/HD-SDI SMTPE292M/424M/425M |
USB | USB device, mini-B (x1) |
Headphone Output | Stereo mini jack (x1) -16dBu 16Ω |
Speaker Output | Monaural |
DC Input | DC jack |
Remote | Stereo mini-mini jack (Φ2.5 mm) |
HDMI Output | Type A (x1) |
Option | 4-pin, Type A for W-LAN (x1) |
Monitoring | |
Built-in LCD Monitor | 8.8cm (3.5 type) Approx. 1.56M dots |
Built-in Microphone | |
Built-in Microphone | Omni-directional monaural electret condenser microphone |
Media | |
Type | XQD Card slot(x2) |
SD Card slot(x1) for saving configuration data | |
Notes | |
*1 The values for dimensions are approximate. | |
*2 Viewable area measured diagonally. | |
*3 ECS: Extended Clear Scan |