Sony Cyber-shot RX10 Mark III
If you’re looking for a premium, long zoom camera with a larger than average (12.8 x 9.6 mm) sensor and 4K movie recording capabilities, the RX10 III is well worth a look.
Other features include superior build quality, fast autofocusing, above-average responsiveness and decent buffer memory.
The latest addition to Sony’s RX10 fixed-lens long-zoom series of cameras, the Cyber-shot DSC-RX10 III replaces the 24-200mm (equivalent) zoom lens in the RX10 II with a new Zeiss Vario-Sonnar T* 8.8-220mm f/2.4-4 lens that covers a wide, 25x optical zoom range equivalent to 24-600mm in 35mm format. The 20.1-megapixel sensor and BIONZ X image processor are unchanged but the camera body is larger and heavier to accommodate the lens. It’s also weather-sealed.
Angled view of the new Cyber-shot DSC-RX10 III. (Source: Sony.)
The 25x optical zoom lens is the main reason to consider upgrading from the previous model. Its optical design consists of 18 elements in 13 groups and includes eight ED (extra-low dispersion) glass elements including one super ED glass element, and two ED aspherical lenses plus an advanced aspherical (AA) lens, which together minimise common aberrations, while keeping the lens unit relatively small.
The Zeiss T* coating minimises flare and ghosting to ensure ‘faithful colour reproduction and clear pictures’. The aperture unit has nine blades that are designed to ‘create a near-perfect circle’ in the f/2.4 to f/11 aperture range, while the Optical SteadyShot algorithm has been optimised for the lens and delivers up to 4.5 stops of shake compensation.
Unlike the RX10 II’s lens, the RX10 III’s lens doesn’t retain a constant f/2.4 maximum aperture across its zoom range; you’re down to f/4 before you’re a third of the way along. And, sadly, Sony has removed the dial-in neutral density filter provided on the previous model. Although the lens is threaded and accepts add-on filters, they aren’t as convenient as simply pressing a button when you need to cut the in-coming light to a manageable level for depth of field control.
Who’s it For?
Like its predecessor, the RX10 III is designed for photo enthusiasts who require a serious-looking camera that can take the place of an interchangeable-lens DSLR. The extended zoom range will make it more appealing to photographers and videographers who shoot sports, concerts or wildlife (particularly birds).
Aside from the lens, the key features that made the RX10 II attractive carry over into the new model. The sensor and image processor are the same as in the RX10 II and also the RX100 IV. All three cameras support 4K video recording and provide a range of high-speed video capture modes.
At an RRP of AU$2299, the RX10 III costs more than many interchangeable-lens cameras with larger sensors. It’s also chunkier and heavier than many of them (particularly M4/3 models), although the convenience of its all-in-one super-zoom lens will suit those who don’t like changing lenses as well as those who work in dusty conditions.
Aside from the lens and the body re-design to accommodate, not much has changed since the RX10 Mark II. Both cameras use the same stacked CMOS sensor with DRAM chip, which was covered in detail in our review of the Sony Cyber-shot RX100 IV. The combination of sensor and processor mean several other functions are identical with these other cameras, notably:
- The native sensitivity ranges from ISO 100 to ISO 12800 with extensions down to ISO 64 and ISO 80 and up to ISO 25600 (but only via Multi-Frame NR, where you have to select it in the sub-menu).
- The hybrid mechanical/electronic shutter supports shutter speeds between 30 seconds and 1/32000 second and the electronic shutter can operate silently when required.
- Continuous shooting is possible at up to 14 fps in Speed-priority Continuous shooting mode with exposure and focus fixed on the first frame. With autofocusing, the frame rate drops to 5 fps.
- The Fast Intelligent AF system carries over into the new camera with a revised spatial object detection algorithm fully optimised for the RX10 III. Focusing is still contrast-based, however, with 25 AF points and a ‘macro’ limit of 3 cm at the 8.8mm focal length.
- The EVF and monitor are the same as in the RX10 II. We still don’t have a touch screen, which would have been a useful addition to this camera.
- The new camera’s Wi-Fi and NFC capabilities are identical to those in the α7 cameras and covered in our review of the α7R.
Build and Ergonomics
The new camera’s body has the same SLR-like styling, magnesium alloy chassis and dust- and moisture-resistant sealing as the RX10 II but the differences between the two models are less than you’d expect given the new camera’s zoom lens extends three times more than its predecessor. The RX10 III is 282 grams heavier and measures 132.5 x 94.0 x 127.4 mm, compared with 129.0 x 88.1 x 102.2 mm for the RX10 II.
Top view of the Sony Cyber-shot RX10 III with the lens fully extended. (Source: Sony.)
The control layout has barely changed. The only additions are on the top panel, where a new C2 button and display panel illumination button have been added, in the process making the display panel a little narrower. The grip is also a little deeper in the new camera.
Side views of the Sony Cyber-shot RX10 III with the zoom lens extended and retracted. (Source: Sony.)
When powered down, the body of the camera is 150 mm thick as measured from the rear edge of the EVF eyecup to the front of the lens (without the lens hood, which adds about 30mm). Switching the camera on extends the inner barrel of the lens by approximately 40 mm, taking it to a position where it covers a 74-degree field of view horizontally (equivalent to a 24mm lens in 35mm format).
Zooming in to the 220mm focal length extends the inner barrel by about 45 mm, bringing the overall length to 235 mm. At the same time, the field of view of the lens contracts to just over four degrees.
The zoom, focus and aperture rings on the lens all move smoothly enough to provide a high degree of control, although the zoom lever surrounding the shutter button is a bit jumpy. The aperture ring is set to rotate in 1/3EV click-stops but you can choose to have click-free rotation is you want to minimise camera noises while recording movies.
Back view of the Sony Cyber-shot RX10 III. (Source: Sony.)
No changes have been made to the control layout on the rear panel. The pull-out-and-tilt LCD monitor and EVF unchanged, as are the multi interface shoe and pop-up flash. The tilting monitor can be useful when you’re shooting in landscape orientation but it’s not much help in portrait format.
In the hands, the RX10 III feels a bit like an SLR camera, although it lacks the Quick Control button provided on many recent cameras. Changing ISO, drive, white balance and other frequently-used settings requires menu diving or, alternatively, programming one of the customisable buttons. By default, ISO is assigned to the C1 button and drive settings to C2. You have to dive into the Settings menu and select from a long list of options if you want to assign other functions.
An indicator that the RX10 III is a cut above the ordinary digicam is its separate memory card slot (only one slot that accepts SD and Memory Stick Duo cards). As usual, the battery resides in the grip moulding and the battery is charged in-camera via the USB port, which means you can’t charge a spare battery while the camera is in use.
The RX10 III’s video settings are virtually unchanged from the RX10 II. Both models can record 4K movie clips in the XAVC S format with full pixel readout and no pixel binning. Resolution is the consumer-level 3840 x 2160 pixels but oversampling captures 1.7x more information , which is used to minimise moirø© and aliasing.
Movie clips can be up to 29 minutes long with 4K recording, while in Full HD 1080p mode, Sony’s Dual Rec function will record 16.8-megapixel stills simultaneously with movie recordings. Note: An SDXC memory card with a Class 10 or higher speed rating is required for XAVC S recording and UHS Speed Class 3 is required for recording at 100Mbps and you need Sony’s PlayMemories Home software to ‘unpack’ the XAVC S video clips and convert them into MP4 format for viewing on a TV set.
Soundtracks are recorded in stereo and audio recording can be switched on or off. An audio level display lets you monitor recordings on the screen and make adjustments where necessary. You can also sync audio and video outputs, select an Auto Slow Shutter function when recording in low light levels and apply professional movie functions like customisable Picture Profiles. Adjustments can be made to movie gamma, with selectable Cine1 and Cine2 settings as well as ITU709 gamma and S-Log2 gamma.
Other functions include a range of colour mode selections (including Cinema, Pro, B&W and S-Gamut), saturation, colour phase and colour depth adjustments and detail level settings. The camera also includes an enhanced Zebra function and can deliver clean HDMI output to an external recorder. High frame rate recording modes are the same as in the RX10 II and require a fast memory card (the same as needed for recording XAVC S movie clips).
Playback and Software
Playback modes are similar to other Sony cameras, with a maximum 14x playback zoom available. As usual, neither a comprehensive user manual nor bundled software was supplied with the review camera. Instead there’s a very basic printed guide, which is supplied in four booklets covering five languages.
You have to go online for the complete user manual, which isn’t particularly well designed or comprehensive. In line with Sony’s current practice, users can download the recommended editor/raw coversion software, Capture One Express for Sony at the same time. The RX10 III is also supported by Adobe Camera Raw.
The greatest improvement we noted when comparing the RX10 III with its predecessors is in autofocusing performance. This may be due to the new ‘spatial object detection algorithm’ that is ‘fully optimised for the RX10 III’. The algorithm allows camera to predict where to focus by detecting the subject before the shutter button is pressed halfway. When the shutter is half-pressed, focusing is claimed to occur within 0.09 seconds.
We found the AF speed to be impressive, particularly given the three-fold increase in the focal length range of the lens. Admittedly, most of our test shots were taken in bright ambient lighting but, even at night, autofocusing speed and accuracy have been greatly improved.
The system in the new camera also appears to be better able to maintain focus in a subject while objects (and people) pass between it and the camera. We’ve provided an example in the Samples section below.
The autofocusing improvements we found when shooting stills appear to have carried across to movie recording. At no time did we have to swap to manual focus mode to keep track of moving subjects as we had with the RX10 II.
The review camera had some strange default settings, which were revealed when we set the shooting mode to P and the ISO to Auto. Wide aperture settings tended to be favoured, particularly when the camera detected subject motion, and the electronic shutter would be combined with high ISO settings to minimise blurring caused by subject motion and/or camera shake.
We’re not sure whether the removal of the built-in ND filter played a role in these decisions or if the ability to use shutter speeds as high as 1/32,000 second was responsible. Either way, it’s a valid strategy for ensuring sharp pictures from raw amateurs, although serious enthusiasts should probably be wary. It’s easy to switch to the A (aperture priority AE) mode and set ISO sensitivity manually.
Zooming during movie recording was very smooth and slow enough to produce satisfactory results. However, we encountered the same problems with the focusing ring as we did with the RX10 II. Pulling focus manually requires you to rotate the focus ring through a full turn as you zoom when moving between close subjects and infinity.
Keeping the camera steady while recording video clips was easy with shorter focal length settings, when the standard SteadyShot mode provides adequate shake correction. It’s more challenging if you want to record 4K clips with longer focal lengths because you can’t apply the Intelligent Active shake correction mode with the XAVC S 4K setting. It’s useful with the other movie modes when shooting zoomed-in.
Apart from that, video performance was every bit as good as we found with the RX10 II and the new camera’s longer zoom range makes it even more versatile. Soundtracks were generally clear and free from interference, although you need to use the wind-cut filter if there’s more than a gentle breeze.
We found no signs of the ‘rolling shutter’ effect in any of the numerous clips we recorded, even with slower frame rates. Being able to shoot movies while framing scenes via the EVF makes the RX10 III a better choice for video enthusiasts than most DSLRs and Sony’s provision of some worthwhile ‘professional’ features put it ahead of the majority of cameras in its price range.
Our objective Imatest evaluations showed the review camera to be capable of meeting expectations for the 20-megapixel sensor with JPEG files and comfortably exceeding expectations with raw files (which we converted into 16-bit TIFF format with the bundled Capture One for Sony software). This software also delivered excellent colour accuracy in the converted TIFFs, although the camera’s processor also produced relatively good colour accuracy in JPEGs.
Resolution remained surprisingly high across most of the camera’s ISO range, as shown in the graph of our Imatest results below. However, noise could be seen in shots taken at higher ISO settings , although they remained relatively sharp.
We were unable to test the full zoom range of the lens due to limitations in our testing set-up. Nonetheless, tests covering from 8.8mm to 64.8mm (24-175mm in 35mm format) showed it to have better than average performance for a long-range integrated zoom with a 1-inch sensor. The highest resolution was recorded with the 22.2mm setting (equivalent to 60mm in 35mm format) at f/3.5 .
Edge softening was present at all focal length settings although it was slightly less than we found with the RX10 II. , most noticeably with the shorter focal lengths and wider apertures. Diffraction kicked in rapidly from about f/8 on, with a steep plunge between f/11 and f/16, as shown in the graph of our Imatest results below.
As expected, lateral chromatic aberration remained within the negligible band for all aperture and focal length settings, as shown in the graph of our Imatest results below. We found no evidence of coloured fringing in test shots. Presumably it’s corrected automatically since no manual corrections are present in the camera’s menu. (Rectilinear distortion and vignetting are also corrected in-camera and there’s no way to switch these corrections off.)
Bokeh in close-ups was similar to the RX10 II’s and highly dependent on the lens focal length, aperture setting and lighting conditions. The size of the sensor limits the degree of background blurring you can achieve and attractive blurring is possible only at the longest focal lengths. Out-of-focus items in the foreground tended to produce smoother blurring than those in the background and bright highlights were often rendered with haloed edges.
Low light performance was similar to the RX10 II’s, with little noticeable noise up to ISO 3200. The first evidence of noise came at ISO 6400 in long exposures at night. By ISO 12800 declines in sharpness and contrast were visible and colour saturation was reduced. Images were printable at snapshot size but required adjustments to contrast, saturation and sharpness to be just usable at A4 size.
The built-in pop-up flash tended to under-expose subjects at the lowest ISO settings at fairly modest focal lengths (roughly a third of the maximum optical zoom extension), although the correct exposure balance was achieved between ISO 400 and ISO 800. Thereafter, the camera was able to remain close to it until ISO 12800, where shots were slightly over-exposed and affected by the same loss of contrast, sharpness and saturation as we found in our night exposures.
Interestingly, in the P shooting mode, the RX10 III selected a smaller aperture setting than the RX 10 II we tested. And, unlike the RX 10 II, the shutter speed remained unchanged throughout the entire ISO range we tested, suggesting some level of manual control is advisable when taking flash shots with this camera.
Auto white balance performance was similar to the RX10 II’s. Shots taken under incandescent lighting were partly corrected, while shots taken with fluorescent lighting and flash were virtually cast-free. The pre-sets slightly over-corrected for both incandescent and fluorescent lighting but manual measurement delivered a neutral colour balance in both cases. In-camera adjustment on each colour axis (G/M and A/B) is provided for tweaking images as you shoot and white balance bracketing is available.
Although the RX10 III doesn’t fully support UHS-II SDCX cards, they’re usable in the camera and provide the speed and capacity needed for recording XAVC S movie clips. We carried out our timing tests with a 64GB Lexar Professional SDXC UHS-II card to take advantage of its Class 10 speed rating and read/write speeds of 300 MB/s.
Like other Sony cameras, each time a new memory card is inserted, the camera checks the Image Database, which can take several seconds if the card was used previously in a different camera. This will extend the start-up time. When the card had been used previously in the camera we measured an average start-up time of around 2.3 seconds, which includes the time taken to extend the lens to the 8.8mm (24mm) position.
Capture lag ranged between 0.1 seconds at the widest angle to 0.25 seconds at the telephoto position. It was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.5 seconds without flash and 3.8 seconds with. It took approximately 0.3 seconds to process each image, regardless of whether it was a JPEG, ARW.RAW or RAW+JPEG file.
With Speed Priority continuous shooting mode the review camera recorded 44 Large/ExtraFine JPEGs in 2.8 seconds before pausing, which equates to a frame rate of 15.7 fps, which exceeds the specified frame rate. It took 24.2 seconds to process this burst. With ARW.RAW files, the buffer memory filled at 27 frames, which were recorded in 3.0 seconds, a rate of 9.0 fps. It took 16.4 seconds to process this burst. The buffer memory also filled after 27 RAW+JPEG pairs, which were captured in 3.0 seconds. It took 20.6 seconds to process this burst.
In the normal continuous shooting mode, the camera recorded 53 Large Extra Fine JPEGs in 7.6 seconds before slowing down. This equates to a frame rate of 6.97 fps. Processing this burst took 22.6 seconds. With RAW+JPEG pairs, the camera recorded 28 frames in 4.0 seconds before slowing, again a rate of seven frames/second. It took 20.3 seconds to process this burst.
Interestingly, you can initiate another burst while the previous one is being processed, which could be advantageous when taking action shots. But you can’t review the recorded frames until the buffer memory has cleared completely.
The RX10 III is a worthy addition to Sony’s Cyber-shot line-up and will be more of a companion model to the RX10 II than an actual replacement. If you’re looking for a premium, long zoom camera with a larger than average (12.8 x 9.6 mm) sensor and 4K movie recording capabilities, it’s well worth a look.
On the plus side are its superior build quality, fast autofocusing, above-average responsiveness and decent buffer memory. Battery capacity is about average for a camera in its class, although if you use the EVF for shooting, don’t expect much more than the CIPA-rated 370 shots/charge.
Our sole reservation with the RX10 III is its very high price tag which, at an RRP of $2299 is well above potential rivals like the Canon PowerShot G3 X and Panasonic DMC-FZ1000, both of which are priced at between AU$1200 and $1300. If you shop around, you’ll find the RX10 III selling for around the $2000 mark in Australian retail outlets, which is about the same as you’d pay if you imported it from a US-based reseller. Add shipping and insurance to the US price and you’ll be paying quite a bit more (and losing the benefits of Australian consumer protection laws.)
On paper, the still-to-be-released Nikon DL24-500 f/2.8-5.6 presents as another possible competitor, although it is not yet available. It has the same-sized, 20-megapixel sensor and supports 4K video recording but appears to have a superior focusing system (hybrid PD/CD with 171 points) and boasts a vari-angle touch-screen monitor. Going by published US prices, we estimate it will sell for around AU$1350.
Integrated-lens cameras have an advantage for travellers because they eliminate problems associated with dust on the sensor. If you’re in the market for an all-in-one camera for your next trip ““ and can justify the cost of the RX10 III and its large size and not inconsiderable weight ““ you’ll probably find it does most of the things you want.
Image sensor: 13.2 x 8.8 mm stacked Exmor RS CMOS sensor with DRAM chip; 21 million photosites (20.1 megapixels effective)
Image processor:BIONZ X
A/D processing:14-bit uncompressed raw/ 12-bit compressed raw
Lens: Zeiss Vario-Sonnar T* 8.8-220mm f/2.4-4 zoom lens (24-600mm in 35 mm format)
Optical design: 18 elements in 13 groups (6 aspheric elements including AA lens)
Zoom ratio: 25x optical, up to 100x digital (including optical zoom)
Image formats: Stills ““JPEG (Exif 2.3), ARW.RAW (V. 2.3), RAW+JPEG; Movies ““ XAVC S, AVCHD, MPEG-4 (AVC/H.264)
Image Sizes: Stills ““ 3:2 aspect: 5472 x 3648, 3888 x 2592, 2736 x1824; 16:9 aspect: 5472 x 3080, 3648 x 2056, 2720 x 1528; 4:3 aspect: 4864 x 3648, 3648 x 2736, 2592 x1944; 1:1 aspect: 3648 x 3648, 2544 x 2544, 1920 x 1920; Sweep Panorama: Wide – 12416 x 1856 / 5536 x 2160; standard – 8192 x1856 / 3872 x 2160; Movies: XAVC S – 4K at 3840 x 2160 at 100M/60M 25p, 1920 x 1080 at 100M/60M 100p, 50M 50p/25p; AVCHD – 1920 x 1080 at 28M, 24M, 17M: MP4 at 1920 x 1080 at 28M, 16M 50/25 fps, 1280 x 720 at 6M 25 fps; high-speed recording at 240 fps, 480 fps and 960 fps
Shutter speed range: Mechanical shutter:30 to 1/3200 seconds plus Bulb; Electronic shutter: 30 to 1/32000 second
Self-timer: 1, 3 or 5 consecutive shots with 10sec. 5sec. or 2sec. delay selectable
Image Stabilisation: Still Image: Optical SteadyShot, Movie: Intelligent Active Mode, Optical with electronic compensation, Anti Rolling type
Exposure Compensation: +/- 3.0EV in 1/3EV steps
Bracketing: AE – 3 frames in 0.3EV steps, WB and DRO bracketing available
Focus system/range: 25-point High-Speed AF with Direct Drive SSM motor; range 3cm to infinity (wide) or 72 cm to infinity (tele)
Focus modes: Single-shot AF, Continuous AF, Direct Manual Focus, Manual Focus
Focus area settings: Wide (25 AF points), Centre Weighted AF, Flexible spot (S/M/L), Expanded Flexible Spot, Lock-on AF (Wide/Centre/Flexible Spot (S/M/L), Expanded Flexible Spot) with tracking focus or face tracking
Exposure metering: Multi-segment, Centre-weighted average and Spot patterns
Shooting modes: Superior Auto, iAuto, Program Auto, Aperture Priority, Shutter Priority, Manual, Movie, HFR, Panorama, Scene Selection, Memory Recall (1,2,3)
Scene pre-sets: Portrait, Sports Action, Macro, Landscape, Sunset, Night Scene, Handheld Twilight, Night Portrait, Anti Motion Blur
Picture Effects: Toy camera, Pop Colour, Posterisation, Retro Photo, Soft High-key, Partial Colour, High Contrast Mono., Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolour, Illustration
Creative Style settings: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia, Style Box
Picture Profiles: Off/PP1-PP7 (Black Level, Gamma (Movie, Still, Cine1-2, ITU709, ITU709 [800%], S-Log2), Black Gamma, Knee, Colour Mode, Saturation, Colour Phase, Colour Depth, Detail, Copy, Reset)
ISO range: Auto (ISO 100-12800, selectable with upper / lower limit), Manual: ISO 100-12800 in 1/3EV steps plus extensions to ISO 64/80 and ISO 25600 (via Multi-Frame NR)
White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent (x4), Flash, C.Temp./Filter, Custom
Flash: Built-in pop-up flash
Flash modes/range (ISO auto): Auto/ Flash On/ Slow Synchro/ Rear Sync./ Flash Off/ Wireless (with optional compatible flash); range: ISO Auto: Approx. 1.0m to 10.8m
Flash exposure adjustment: +/-3 EV in 1/3EV increments
Sequence shooting: Max. 14 frames/second
Buffer memory depth (based on tests): 44 JPEGs, 27 raw or RAW+JPEG pairs
Storage Media: Single slot for SD/SDHC/SDXC or Memory Stick Pro Duo memory cards; UHS-1 compatible
Viewfinder: 0.39-type XGA OLED with 2,359,296 dots, 100% FOV, 0.7x magnification, approx. 23mm eye point, -4 to +3 dpt adjustment
LCD monitor: Tilting 3-inch Xtra Fine/ TFT LCD screen with 1,228,800 dots, brightness adjustment of 5 steps plus Sunny Weather setting
Interface terminals: Multi/Micro USB Terminal, USB 2.0, micro HDMI, external microphone IN (3.5 mm stereo jack), Multi-interface shoe, headphone jack
Connectivity: Wi-Fi (IEEE802.11b/g/n (2.4GHz band); NFC (Forum Type 3 Tag compatible), one-touch remote, one-touch sharing
Power supply: NP-FW50 rechargeable lithium-ion battery; CIPA rated for approx. 420 shots/approx. 185 minutes of video per charge
Dimensions (wxhxd): Approx. 132.5 x 94.0 x 127.4 mm
Weight: Approx. 1051 grams (without battery and memory card); 1095 grams with battery and Memory Stick Pro Duo card
Distributor: Sony Australia; 1300 720 071; www.sony.com.au.
Based on JPEG files
Based on ARW.RAW files converted into 16-bit TIFF format with Capture One for Sony software
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash lighting.
ISO 64, 30-second exposure at f/3.2; 18mm focal length.
ISO 100, 25-second exposure at f/3.2; 18mm focal length.
ISO 800, 20-second exposure at f/4; 18mm focal length.
ISO 3200, 10-second exposure at f/5.6; 18mm focal length.
ISO 6400, 6-second exposure at f/6.3; 18mm focal length.
ISO 12800, 4-second exposure at f/7.1; 18mm focal length.
Flash exposure at ISO 64; 1/60 second at f/4; 46mm focal length.
Flash exposure at ISO 100; 1/60 second at f/4; 46mm focal length.
Flash exposure at ISO 800; 1/60 second at f/4; 46mm focal length.
Flash exposure at ISO 3200; 1/60 second at f/4; 46mm focal length.
Flash exposure at ISO 6400; 1/60 second at f/4; 46mm focal length.
Flash exposure at ISO 12800; 1/60 second at f/4; 46mm focal length.
8.8mm focal length, ISO 100, 1/1000 second at f/5.6.
73mm focal length, ISO 100, 1/320 second at f/5.6.
Digital zoom; 73mm focal length, ISO 100, 1/320 second at f/5.6.
Clear Image zoom; 73mm focal length, ISO 100, 1/400 second at f/5.6.
Close-up at 8.8mm focal length, ISO 100, 1/2500 second at f/2.5.
Close-up at 220mm focal length, ISO 100, 1/1000 second at f/4.
Strong backlighting; 8.8mm focal length, ISO 100, 1/1000 second at f/5.
220mm focal length, ISO 100, 1/250 second at f/4.5.
84mm focal length, ISO 200, 1/320 second at f/4.
43mm focal length, ISO 250, 1/500 second at f/6.3.
129mm focal length, ISO 100, 1/1000 second at f/5.6.
55mm focal length, ISO 100, 1/1250 second at f/8.
21mm focal length, ISO 400, 1/1000 second at f/5.
62mm focal length, ISO 3200, 1/4000 second at f/4.
65mm focal length, ISO 1600, 1/100 second at f/4.5.
70mm focal length, ISO 6400, 1/12800 second at f/4.
84mm focal length, ISO 320, 1/1600 second at f/4.
190mm focal length, ISO 3200, 1/2000 second at f/4.
Differential focusing; 183mm focal length, ISO 640, 1/1000 second at f/4.
125mm focal length, ISO 250, 1/3200 second at f/4.
73mm focal length, ISO 100, 1/1600 second at f/5.6.
Still frame from XAVC S 4K video clip;25p 100Mbps.
Still frame from XAVC S 4K video clip; 25p 60Mbps.
Still frame from XAVC S FHD 1080 video clip; 50p 50Mbps.
Still frame from XAVC S FHD 1080 video clip; 25p 50Mbps.
Still frame from XAVC S FHD 1080 video clip; 100p 100Mbps.
Still frame from XAVC S FHD 1080 video clip; 100p 60Mbps.
Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 24Mbps.
Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 17Mbps.
Still frame from AVCHD Full HD (1920 x 1080) video clip; 50p at 28Mbps.
Still frame from AVCHD Full HD (1920 x 1080) video clip; 25p at 24Mbps.
Still frame from AVCHD Full HD (1920 x 1080) video clip; 25p at 17Mbps.
Still frame from MP4 Full HD (1920 x 1080) video clip; 50p 28Mbps.
Still frame from MP4 Full HD (1920 x 1080) video clip; 25p 16Mbps.
Still frame from MP4 HD (1280 x 720) video clip; 25p at 6Mbps.
RRP: AU$2299; US$1499
- Build: 9.0
- Ease of use: 8.8
- Autofocusing: 9.0
- Image quality JPEG: 8.8
- Image quality RAW: 9.1
- Video quality: 9.0