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Sony
Camera PXW-FS7II
MFR #PXW-FS7M2
- Handheld/Shoulder Camera
- XAVC I 4K 600Mbps
- E-Mount CMOS Super-35
- Slow motion HD 180fps
- 4096x2160 4K 60P/50P
- 0.7LUX
- XQD Cards
- 3G/HD/SD-SDI & HDMI Output
PXW-FS7II
Now there’s an even more versatile, more capable, more responsive version of Sony’s FS7. Based on feedback from cinematographers, we’ve complemented the FS7 with the FS7 II. Here’s all the performance of the original, and more. Surpass ordinary exposure control with our Electronic Variable ND filter. Secure your lenses with our Lever Lock type E-Mount. Work faster, with greater confidence thanks to even more refined ergonomics. And change your point of view with Sony’s highly capable 18-110mm servo zoom. Welcome to the next level in handheld shooting.
Electronic Variable ND
Here’s a fresh way to control exposure. Aperture adjustments affect your depth of field. Shutter speed adjustments affect the presentation of motion. But Sony’s Electronic Variable ND maintains optimum exposure without sacrificing any other parameters. Auto ND mode achieves auto exposure with cine lenses, rangefinder glass and third-party SLR lenses. And Auto ND empowers you to park your iris at the lens “sweet spot,” where distortions are lowest and resolution is highest.
Lever Lock type E-Mount
A robust E-Mount with a locking collar makes for more confident lens changes. To mount, simply hold the lens steady and turn the collar instead. When the collar clicks, your lens is securely locked into place. This minimizes image shifting as you work. The Lever Lock type E-Mount also supports heavier cine and ENG lenses without additional rigging. As before, the camera accepts Sony’s E-Mount lenses, along with simple third-party adaptors for PL mount cinema lenses, SLR and DSLR glass, and even classic rangefinder lenses.
Ergonomics to work faster, with more confidence
The ergonomics set the FS7 apart. Now they’re even better. Put the viewfinder exactly where you want it with the robust multi-adjustable arm. Extend Sony’s telescoping Smart Grip arm entirely without tools. Park the arm alongside the body for waist-level shooting. Then experience the Smart Grip, body shape and balance that so many cinematographers have praised.
With its ergonomic design, Sony's original FS7 won the prestigious iF, Red Dot and Good Design awards.
Sony’s highly capable 18-110 mm servo zoom
Sony engineered the new SEL-P18110G for moving pictures. You can switch between motorized zoom or full manual, with snap zooms just a flick away. Across the entire zoom range, there’s minimal shift in focus, minimal shift in image axis and no loss in F-stop. The direct focus ring offers 240° of travel and 0.8 mm gearing, the standard for follow focus. We also took care in selecting the focal lengths. 18mm is nice and wide, while 110mm is perfect for interviews.
And more
To the 4K Super35 performance of the original PXW-FS7, the FS7 II also adds the following refinements.
ITU-R BT.2020 recording is directly compatible with BT.2020 distribution
Pop-up LCD monitor hood in addition to the detachable eyepiece
Improved eyepiece hook for more secure attachment
Easier access to media cards for convenient removal
Super-smooth exposure control with any mountable lens. You don’t want visibly stepped exposure changes during a shot. The filter’s quarter-stop increments are smoother than typical iris and shutter speed adjustments. In Electronic Variable ND mode, you can set ND by turning the thumbwheel on the camera body or the assignable dial on the Smart Grip. In Auto ND mode, it’s automatic.
Auto exposure with any mountable lens. Now you can run and gun with cine and rangefinder lenses that provide no electronic iris adjustment. If you can put it on the E-Mount, you can have auto exposure. You get auto exposure with Canon® and Nikon® SLR lenses that don’t communicate with the E-Mount. (Of course, non E-Mount lenses require third-party adaptors, sold separately.)
Optimum motion rendition. By maintaining your desired shutter speed, Electronic Variable ND frees you to portray motion as best suits your project.
Optimum depth of field. By maintaining your desired aperture, Electronic Variable ND enables you to keep your ideal depth of field. And with Auto ND, you can even maintain depth of field when shooting conditions change, as when the sun pops in and out of the clouds.
Stay in the “sweet spot.” Photographers know that most lenses perform best a few stops down from full open aperture. That’s the sweet spot where optical distortions are lowest and optical resolution is highest. With Electronic Variable ND, you’re free to park the iris in the lens sweet spot – and leave it there full time.
Always at your fingertips. In documentary and cinema verité, you can’t stop the action to mount front-of-the-lens ND filters. But with the FS7 II, you can jump into Auto ND instantly. You can even momentarily hold ND constant when something like a large white truck moves into your frame.
No more filter stacks. Bright exterior sun can force cinematographers to stack multiple ND filters in front of the lens. Unfortunately, filter stacks are prone to IR pollution and color shifts, as blacks tend to go orange. With up to seven stops of ND, the FS7 II solves the issue.
“Depth of field pulls.” Auto ND also enables a new type of special effect. Moving the iris in Auto ND mode creates a depth of field pull. The depth of field changes while overall exposure remains constant.
An even better viewfinder experience
Like its predecessor, the FS7 II has a large, bright and detailed LCD monitor that you can view directly or through the clip-on eyepiece. While cinematographers appreciated the arrangement, they had suggestions for making it even better. Sony responds with the upgraded configuration of the FS7 II.
Upgraded monitor arm. Now you can reset the LCD monitor position with speed and confidence, even as you run and gun. The robust, articulated monitor arm provides separate clamps at each end that operate completely without tools. Thanks to the square cross-section 15 mm rod, the monitor stays in horizontal alignment when you reset positions. For an even greater range of monitor mounting, you can substitute a standard 15 mm round rod (sold separately). For left-eye shooting, you can also swap the LCD monitor and mic holder. (This upgraded arm is also available for purchase to owners of the original FS7.)
Upgraded eyepiece with more robust attachment to the monitor.
Pop-up monitor hood. The FS7 II supplements the detachable eyepiece with a pop-up hood that maximizes visibility in sunlight.
4K Super35 Exmor® sensor
Compared to small-format sensors, the Super35 sensor delivers more "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 larger sensor. The 35mm sensor also contributes to greater low-light sensitivity and lower image noise. In addition, 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.
High frame rates, minimal image skew. Sony’s Exmor CMOS design achieves extremely fast readout, minimizing image skew and contributing to Full HD frame rates up to 180 fps (on-board recording) and 240 fps (outboard recording).
RAW recording, Apple ProRes 422 and multi-cam with Sony’s extension unit.
To keep the PXW-FS7M2 small, light and easily hand-holdable, Sony engineers reserved some functions for an outboard module, the XDCA-FS7 extension unit, sold 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, sold 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 on-board, 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.
Electronic Variable ND
Here’s a fresh way to control exposure. Aperture adjustments affect your depth of field. Shutter speed adjustments affect the presentation of motion. But Sony’s Electronic Variable ND maintains optimum exposure without sacrificing any other parameters. Auto ND mode achieves auto exposure with cine lenses, rangefinder glass and third-party SLR lenses. And Auto ND empowers you to park your iris at the lens “sweet spot,” where distortions are lowest and resolution is highest.
Lever Lock type E-Mount
A robust E-Mount with a locking collar makes for more confident lens changes. To mount, simply hold the lens steady and turn the collar instead. When the collar clicks, your lens is securely locked into place. This minimizes image shifting as you work. The Lever Lock type E-Mount also supports heavier cine and ENG lenses without additional rigging. As before, the camera accepts Sony’s E-Mount lenses, along with simple third-party adaptors for PL mount cinema lenses, SLR and DSLR glass, and even classic rangefinder lenses.
Ergonomics to work faster, with more confidence
The ergonomics set the FS7 apart. Now they’re even better. Put the viewfinder exactly where you want it with the robust multi-adjustable arm. Extend Sony’s telescoping Smart Grip arm entirely without tools. Park the arm alongside the body for waist-level shooting. Then experience the Smart Grip, body shape and balance that so many cinematographers have praised.
With its ergonomic design, Sony's original FS7 won the prestigious iF, Red Dot and Good Design awards.
Sony’s highly capable 18-110 mm servo zoom
Sony engineered the new SEL-P18110G for moving pictures. You can switch between motorized zoom or full manual, with snap zooms just a flick away. Across the entire zoom range, there’s minimal shift in focus, minimal shift in image axis and no loss in F-stop. The direct focus ring offers 240° of travel and 0.8 mm gearing, the standard for follow focus. We also took care in selecting the focal lengths. 18mm is nice and wide, while 110mm is perfect for interviews.
And more
To the 4K Super35 performance of the original PXW-FS7, the FS7 II also adds the following refinements.
ITU-R BT.2020 recording is directly compatible with BT.2020 distribution
Pop-up LCD monitor hood in addition to the detachable eyepiece
Improved eyepiece hook for more secure attachment
Easier access to media cards for convenient removal
Super-smooth exposure control with any mountable lens. You don’t want visibly stepped exposure changes during a shot. The filter’s quarter-stop increments are smoother than typical iris and shutter speed adjustments. In Electronic Variable ND mode, you can set ND by turning the thumbwheel on the camera body or the assignable dial on the Smart Grip. In Auto ND mode, it’s automatic.
Auto exposure with any mountable lens. Now you can run and gun with cine and rangefinder lenses that provide no electronic iris adjustment. If you can put it on the E-Mount, you can have auto exposure. You get auto exposure with Canon® and Nikon® SLR lenses that don’t communicate with the E-Mount. (Of course, non E-Mount lenses require third-party adaptors, sold separately.)
Optimum motion rendition. By maintaining your desired shutter speed, Electronic Variable ND frees you to portray motion as best suits your project.
Optimum depth of field. By maintaining your desired aperture, Electronic Variable ND enables you to keep your ideal depth of field. And with Auto ND, you can even maintain depth of field when shooting conditions change, as when the sun pops in and out of the clouds.
Stay in the “sweet spot.” Photographers know that most lenses perform best a few stops down from full open aperture. That’s the sweet spot where optical distortions are lowest and optical resolution is highest. With Electronic Variable ND, you’re free to park the iris in the lens sweet spot – and leave it there full time.
Always at your fingertips. In documentary and cinema verité, you can’t stop the action to mount front-of-the-lens ND filters. But with the FS7 II, you can jump into Auto ND instantly. You can even momentarily hold ND constant when something like a large white truck moves into your frame.
No more filter stacks. Bright exterior sun can force cinematographers to stack multiple ND filters in front of the lens. Unfortunately, filter stacks are prone to IR pollution and color shifts, as blacks tend to go orange. With up to seven stops of ND, the FS7 II solves the issue.
“Depth of field pulls.” Auto ND also enables a new type of special effect. Moving the iris in Auto ND mode creates a depth of field pull. The depth of field changes while overall exposure remains constant.
An even better viewfinder experience
Like its predecessor, the FS7 II has a large, bright and detailed LCD monitor that you can view directly or through the clip-on eyepiece. While cinematographers appreciated the arrangement, they had suggestions for making it even better. Sony responds with the upgraded configuration of the FS7 II.
Upgraded monitor arm. Now you can reset the LCD monitor position with speed and confidence, even as you run and gun. The robust, articulated monitor arm provides separate clamps at each end that operate completely without tools. Thanks to the square cross-section 15 mm rod, the monitor stays in horizontal alignment when you reset positions. For an even greater range of monitor mounting, you can substitute a standard 15 mm round rod (sold separately). For left-eye shooting, you can also swap the LCD monitor and mic holder. (This upgraded arm is also available for purchase to owners of the original FS7.)
Upgraded eyepiece with more robust attachment to the monitor.
Pop-up monitor hood. The FS7 II supplements the detachable eyepiece with a pop-up hood that maximizes visibility in sunlight.
4K Super35 Exmor® sensor
Compared to small-format sensors, the Super35 sensor delivers more "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 larger sensor. The 35mm sensor also contributes to greater low-light sensitivity and lower image noise. In addition, 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.
High frame rates, minimal image skew. Sony’s Exmor CMOS design achieves extremely fast readout, minimizing image skew and contributing to Full HD frame rates up to 180 fps (on-board recording) and 240 fps (outboard recording).
RAW recording, Apple ProRes 422 and multi-cam with Sony’s extension unit.
To keep the PXW-FS7M2 small, light and easily hand-holdable, Sony engineers reserved some functions for an outboard module, the XDCA-FS7 extension unit, sold 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, sold 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 on-board, 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.
