In summary
Like its predecessors, the RX100 Mark IV pack a lot into a very pocketable body and delivers pretty good performance.
Developed to cater for serious photographers who want a pocketable walk-around camera, the RX100 Mark IV will suit photographers with reasonably deep pockets who want good low light performance, 4K movie capabilities, high-frame-rate recording and built-in Wi-Fi plus NFC.
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.
Full review
The RX100 Mark IV is the fourth iteration of Sony’s popular fixed-lens, pocketable digicam line, which was launched in June 2012. All four cameras have featured 13.2 x 8.8 mm with effective resolutions of around 20 megapixels, pocketable bodies with retracting Zeiss Vario-Sonnar T* zoom lenses and advanced shooting controls.
Angled view of the RX100 Mark IV. (Source: Sony.)
Each iteration has added new features to improve functionality and performance. The RX100 II introduced a year later brought a back-illuminated sensor, a tiltable monitor and NFC-mediated Wi-Fi. The RX100 III, announced in May 2014, replaced the lens with a faster 24-70mm f/1.8-2.8 unit with a wider angle of view but less telephoto coverage. It also added a new BIONZ X image processor, which supported Detail Reproduction Technology sharpening, Diffraction Compensation and improved noise reduction as well as improved autofocusing.
Other new features introduced in the RX100 III and carried over into the Mark IV are the pop-up OLED EVF with 1,440,000 dots and 180-degree flip-up monitor and the ability to output ‘clean’ HDMI video via the Micro HDMI port. The RX100 III also introduced a new recording format: XAVC S, which has been used to provide 4K movie recording in the new camera.
Who’s it For?
Like its predecessors, the RX100 Mark IV has been developed to cater for serious photographers who want a pocketable walk-around camera. It will suit serious photographers with reasonably deep pockets who want good low light performance, 4K movie capabilities, high-frame-rate recording and built-in Wi-Fi plus NFC. 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
Superficially, the RX100 IV and RX100 III could pass as twins since so many of their external features are identical. Both cameras have the same bar-of-soap-shaped magnesium alloy bodies with the same Zeiss Vario-Sonnar T* 8.8-25.7mm f/1.8-2.8 lens and the same control ring around it.
Front view of the RX100 Mark IV with the flash and EVF raised. (Source: Sony.)
The pop-up EVF and flash are in the same positions, although the resolution of the OLED screen has risen from 1,440,000 dots to 2,359,296 dots. The flip-up monitor is the same 3.0 inch, Xtra Fine TFT LCD with 1,228,800 dots, which tilts up through 180 degrees and down by about 45 degrees. It lacks touch controls.
Angled front view of the RX100 IV with the flip-up monitor raised. (Source: Sony.)
There have been some changes to the mode dial on the top panel, although it remains in the same position. One of the auto settings has been removed to make way for the new HFR (High Frame Rate) mode, which is sandwiched between the movie and sweep panorama modes.
Top view of the RX100 Mark IV with the lens extended. (Source: Sony.)
Like previous RX100 cameras, the new model has small control buttons, which are close together. Photographers with large hands and those with limited dexterity could find it difficult to operate them. Fortunately, there have been no changes to the control layout on either the top or the rear panel.
The rear panel of the RX100 Mark IV. (Source: Sony.)
The front panel is very smooth and slippery and there’s only a small thumb pad with a leather-like coating for a grip. The neck strap rings are small and indented into the body so it’s difficult to attach the supplied wrist strap ““ or an optional neck strap (and few options are available).
Although the rear control has nice, positive click-stops, there are still no click-stops on the lens control wheel, which makes it difficult to set some parameters. The defaults remain unchanged with apertures adjusted in the A mode, shutter speeds in the S mode and program shift in P mode.
The built-in, three-stop ND filter is the same as the Mark III’s and allows photos to be shot under extremely bright light at a maximum of EV19 with a fully open aperture setting. The menu has three settings for this filter: Auto, On and Off
The tripod socket isn’t aligned with the optical axis of the lens and still presses hard against the battery/card compartment, which makes some quick-release tripod plates unusable. And while the Mark IV uses the same NP-BX1 battery as its predecessors, it’s still charged in the camera via a USB cable, which smacks of penny-pinching and is inconvenient. Interestingly its capacity is lower than the Mark III’s, at 280 shots/charge; down from 320 shots/charge.
What’s New?
Sony has once again refreshed the sensor chip in the latest model, this time with the first ever 1.0-type stacked CMOS image sensor with DRAM chip, which we’ll cover in detail below. The new sensor is faster, allowing support for 4K video recording with full pixel readout as well as high-frame-rate video at lower resolutions.
Video capabilities are further improved with support for S-Log2 gamma, which enables the camera to record a wider brightness range than when shooting with normal TV gamma. This is one of the new Picture Profiles for video Sony has introduced which also include the ITU709 standard, Cine1 and Cine2 gamma settings. These settings are customisable.
A new Dual Video REC mode supports simultaneous recording with two different movie formats: XAVC S and MP4 or AVCHD and MP4. But there are some serious restrictions on XAVC S recording, which are outlined below. The camera’s Dual Rec mode lets users capture still images while recording movies without stopping recording. The image size and image quality of the still images are adjustable.
High Frame Rate movies are also supported and users can select frame rates of up to 1000 fps for PAL format (960 fps for NTSC) and choose between Quality Priority and Shoot Time Priority modes. Speed reductions of up to 40x are possible with recordings made at 1000 fps.
Continuous shooting speeds have also been raised to a maximum of 16 frames/second (fps). As well as increasing the resolution of the EVF, the RX100 IV includes a new electronic shutter facility that minimises rolling shutter effects when recording movies. It also supports a top shutter speed of 1/32000 second, which is a significant gain on the 1/2000 second top speed of the mechanical shutter in the three previous models.
Autofocusing also gets some tweaking as a result of the fast readout from the stacked sensor. Sony has re-jigged the AF algorithms to minimise how much the lens needs to be driven to achieve the correct focusing distance. The system can also track a subject’s eye continuously and keep it in focus during continuous shooting, even at the top rate of 16 fps.
The sensitivity range of ISO 125 to ISO 12800 carries over from the RX100 III, with expansion down to ISO 100 and ISO 80 and up to ISO 25600. Multi Frame noise reduction, which is available for JPEGs only, combines several exposures into a single image with less visible noise.
Users obtain more control over the auto ISO settings, where they can set a minimum shutter speed before sensitivity is increased in the P and A shooting modes or select a rate of change, based on the standard, which uses the focal length of the lens as a guide. The menu provides Standard, Fast, Faster , Slow and Slower adjustments for fine-tuning settings. This lets you select one of the faster settings when you want faster shutter speeds for capturing moving subjects or slower settings when longer exposures are preferable.
Things You Can’t Do
Unfortunately, the camera places some annoying restrictions on some combinations of settings. For example, using the XAVC S movie recording format requires at least a 64GB SDXC card. Put an SDHC card in the camera and it blocks access to recording. (This doesn’t happen with Panasonic’s 4K cameras, which use the ‘universal’ MP4 format for recording 4K movies.)
Greater restrictions apply if you want to record 4K movies with the highest bit rate of 100 Mbps, which can ONLY be done with a UHS Speed Class 3 SDXC memory card. You can use a UHS-1 SDXC card with similar capacity for recording HD video in XAVC S format at lower bit rates, but not an SDHC card.
There are also restrictions when you set an ISO value higher than IS0 3200, making 1/4 second the slowest shutter speed you can use. This limits the camera’s scope for hand-held low-light shooting to a shutter speed that is close to the hand-held shooting limit.
Bracketing and flash compensation aren’t available in the two auto shooting modes; nor in the Sweep Panorama or Scene Selection modes. The AF-S and DMF focusing modes aren’t available when shooting movies, where the camera defaults to AF-C (continuous) focusing. Manual focus assist, Pre-AF and the AF illuminator are not available while shooting movies.
Exposure metering is not selectable in the two auto shooting modes, the Scene Selection modes and with any of the digital zoom options. Multi-pattern metering is your only option.
Dynamic range optimisation isn’t available with the Sweep Panorama, Picture Profile or Picture Effect settings or in the following Scene Selection modes: Sunset, Night Scene, Night Portrait, Hand-held Twilight, Anti Motion Blur and Fireworks and in some movie modes. Auto HDR is disabled in the two auto modes or with the Sweep Panorama or Scene Selection settings.
You can only shoot raw files at the maximum size, although all four aspect ratios are supported (since they are achieved by cropping the frame). However, the image size isn’t displayed on the EVF or monitor screen. Multi Frame noise reduction isn’t available for raw files ““ or when the camera is set to Picture Profile, Picture Effect or flash exposures.
In line with normal practice, all in-camera processing is only applied to JPEGs so High ISO noise reduction is disabled, although long exposure NR remains in place. The focus magnifier doesn’t work with raw file capture; nor do the Auto Object Framing, Scene Selection and High Frame Rate modes and the digital zoom options are inaccessible.
Again. as expected, continuous shooting isn’t possible in the Sweep Panorama or Scene Selection modes or with Multi-Frame noise reduction. It is also disabled with the following Picture Effect settings: Soft Focus, HDR Painting, Rich-tone Mono., Miniature, Watercolour and Illustration. These settings can’t be used when shooting movies. Continuous shooting is also disabled in the Auto HDR mode and when Smile Shutter is in use.
Creative Style settings allow users to adjust exposure levels and tweak contrast, saturation and sharpening. But they can’t be used with the auto modes or with Scene Selection pre-sets or Picture Profile and Picture Effect settings.
When Sports Action is selected in the Scene pre-sets, single shooting is disabled in favour of multi-frame capture and the self-timer is disabled. The self-timer is also unusable when Sweep Panorama and Smile Shutter are selected.
Most of these restrictions have a logical basis but the ISO range restriction is perverse. It’s also difficult to find out just which combinations of settings bring up blockage warnings so, in most cases, you’re forced to adapt on the spur of the moment when one pops up. That’s not user-friendly!
Sensor and Image Processing
The native aspect ratio of 3:2 and 13.2 x 8.8 mm dimensions of the image sensor are same as in previous RX100 models but the chip is brand new and quite different. The new Exmor RS CMOS chip consists of three layers: the pixel area, signal processing circuit and DRAM memory.
The diagrams above show the differences between the Exmor R sensor used in the RX100 Mark III and the Exmor RS sensor in the RX100 Mark IV. (Source: Sony.)
The signal processor and DRAM chip work together with the BIONZ X image processor to deliver more than 5x faster readout than previous non-stacked sensors. This enables the camera to support continuous shooting at up to 16 frames/second as well as 40x super-slow-motion recording at 1000 frames/second (the latter requiring a 64GB SDHX UHS 3 card).
Other consequences of the faster processing speeds include a new electronic shutter with a maximum speed of 1/32,000 second. Sony has also introduced an Anti-Distortion Shutter that enables the entire frame to be recorded at once, rather than over a few microseconds, which can introduce distortions. Rolling shutter effects in movies are also minimised.
Finally, the RX100 IV introduces 4K video to compact Cyber-shot cameras, with a resolution of 3840 x 2160 pixels using Sony’s high bit-rate XAVC S codec, although only with a 64GB SDHX UHS 3 card. Using full pixel readout, there’s no need for pixel binning, which minimises the incidence of moirø© and aliasing (‘jaggies’). There’s a five minute limit on clip lengths.
Like its predecessors, the Mark IV adds 4:3, 16:9 and 1:1 aspect ratios to the native aspect ratio of 3:2. Sweep Panorama options include Sweep Panorama Wide (12,416 x 1856 / 5536 x 2160); Sweep Panorama Standard (8192 x 1856 / 3872 x 2160).
Both JPEG and ARW.RAW formats are supported, along with RAW+JPEG capture. Raw files can only be recorded at maximum resolution, regardless of the image quality setting or aspect ratio. Typical image sizes at the 3:2 aspect ratio are the same as for the RX100 Mark III.
Video
As mentioned, the main story here is the addition of 4K movie recording to the Mark III’s standard Full HD (1920 x 1080 pixel) offerings. The XAVC S HD format introduced in the previous camera has been augmented by 3840 x 2160 pixel 4K resolution, with frame rates
The native ISO range of ISO 125-12800 is available for shooting movies but the extended settings aren’t. The maximum recordable time per clip is approximately 5 minutes when shooting movies in XAVC S 4K or XAVC S HD 120p/100p format. A limit of 2 GB per clip applies to AVCHD, extending to approximately 4GB for MP4 movies. The table below shows the options available for recording movie clips.
|
Video format |
Pixels |
Bit rate |
Frame rate |
Recording time |
|
XAVC S 4K |
3840 x 2160 |
100Mbps |
30p/25p |
1 hr 15 min with 64 GB card |
|
60Mbps |
2 hr 5 min with 64GB card |
|||
|
XAVC S HD |
1920 x 1080 |
50Mbps |
50p |
2 hr 35 min with 64GB card |
|
50Mbps |
30p/25p |
|||
|
100Mbps |
120p/100p |
1 hr 15 min with 64 GB card |
||
|
60Mbps |
2 hr 5 min with 64GB card |
|||
|
AVCHD |
1920 x 1080
|
24Mbps |
50i |
1 hr 25 min with 16 GB card |
|
17Mbps |
2 hours with 16 GB card |
|||
|
28Mbps |
50p |
1 hr 15 min with 16 GB card |
||
|
24Mbps |
25p |
1 hr 25 min with 16 GB card |
||
|
17Mbps |
2 hours with 16 GB card |
|||
|
MP4 at 50p |
1920 x 1080 |
28Mbps |
50p |
35 min with 8GB card |
|
MP4 at 25p |
16Mbps |
25p |
1 hour with 8GB card |
|
|
1280 x 720 |
6Mbps |
2 hr 35 min with 8GB card |
The new camera also includes a high-frame-rate (HFR) movie recording mode with frame rates of up to 1000 fps with the PAL format but requires a 64GB SDHX UHS 3 card. The resulting slow motion movie reduces the speed of the action by 40x, delivering super slow motion silent movies that can capture motion that is invisible to human eyes.
In the HFR mode, users can set the record setting (50p/50M or 25p/50M), frame rate (250, 500 or 1000 fps), priority setting (quality or speed) and start and end triggering. The table below shows the capture resolution, recording time and degree of slowing for each setting.
|
Record setting |
Frame rate |
Priority setting |
Resolution |
Slowing factor |
|
50p/50M |
1000 fps |
Quality |
1136 x 384 |
20x |
|
25p/50M |
Speed |
800 x 270 |
40x |
|
|
50p/50M |
500 fps |
Quality |
1676 x 566 |
10x |
|
25p/50M |
Speed |
1136 x 384 |
20x |
|
|
50p/50M |
250 fps |
Quality |
1824 x 1026 |
5x |
|
25p/50M |
Speed |
1676 x 566 |
10x |
Aside from requiring a 64GB SDHX UHS 3 card, other restrictions also apply to movie recording in the high-speed modes, where only optical stabilisation is supported. Single AF mode is also disabled for movie recording, where the default swaps to continuous AF. This means you can’t set the focus point before starting to record and you can’t re-focus manually while recording. Manual focus assist magnification isn’t supported (unless you assign it to a function button) and only 4x enlargement is possible.
Face detection is supported in most movie modes and so is centre lock-on AF, although tracking lock-on AF isn’t. The exceptions are for the HFR recording and 120p/100p XAVC S HD mode, where neither centre lock-on AF nor face detection is supported. The dynamic range optimiser (DRO) is disabled when 120p/100p XAVC S HD mode is selected, although not for HFR recording.
When movie mode is selected with the standard FHD and HD AVCHD and MP4 modes, an extra electronic stabilisation kicks in, combining with the optical SteadyShot in the lens to counteract most types of movement. However, the 4K, HFR and 120p/100p XAVC S HD modes can only use optical stabilisation.
The small size of the camera means there’s no space for an external microphone jack and, without a hot-shoe, no place to attach a mic. Users can choose between normal and low microphone levels and switch wind noise reduction on and off. Aside from that, there’s no other control over audio recording.
However, the RX100 IV allows uncompressed 4K video output at 30p via its micro-HDMI port, just like its ‘big brother, the α7 Mark II. Whether you’d use it would depend on the importance of the 4K recording capabilities and how long you wanted to record for because there’s a limit of five minutes on 4K clips.
Playback and Software
We didn’t receive a software disk with the review camera but it did come with several multi-lingual printed manuals that were essentially set-up guides. You can download these manuals from the RX100 IV Support page on Sony’s website (http://www.sony.com.au/product/dsc-rx100m4) and also access a more comprehensive online manual.
Sony’s Image Data Converter for converting raw files into editable formats is also available for download here, with versions for Windows and Mac operating systems. Third-party support includes the latest version of Adobe Camera Raw and the review camera was supplied with a voucher for downloading a copy of PhaseOne Capture One Express for Sony, an alternative raw file converter.
Performance
Performance-wise the review camera delivered similar image quality to the RX100 Mark III, which we reviewed in July 2014. Still shots were bright and colourful with plenty of detail and JPEGs had the same slightly elevated saturation (particularly in reds) as the earlier model, while in raw files, saturation was more restrained.
Both available light and flash exposures were correctly exposed in almost all types of lighting, although JPEG files had slightly elevated contrast. This meant highlight and shadow clipping could occur in shots ““ and, particularly, movies ““ captured in contrasty lighting unless the in-camera DRO controls were engaged to bring them within the sensor’s dynamic range.
Aside from slight under-exposure at low sensitivities and slight over-exposure at high sensitivities in flash shots, exposures were accurately metered with all metering patterns. Fill-in flash was nicely balanced in most types of lighting and the dynamic range in flash shots was generally good for a camera with a 1-inch type sensor.
Although we don’t have the Mark III for comparison, we feel the new camera is faster to focus than its predecessor and locked on to subjects reliably in low light levels with no obvious of hunting. However, close focusing remained somewhat hit and miss as the shutter will fire when subjects aren’t sharp.
Imatest showed the review camera wasn’t quite capable of meeting the expected resolution for a 20-megapixel sensor with JPEG files but just managed with ARW.RAW files. The highest resolution was at f/3.5 with the 13mm focal length.
Resolution remained relatively high until about f/8, with a drop between f/8 and f/11 (the minimum aperture) due to diffraction. Edge softening was significant at all apertures except f/11 and noticeable in many test shots. But we doubt many users would be troubled by it.
The graph below shows the results of our Imatest tests across different aperture and focal length settings.
On the whole, we found a greater discrepancy between JPEG and raw files than we found with the Mark III but can’t say whether it’s due to the new sensor or, more likely, to batch variations. Resolution began to decline progressively from about ISO 400 on, with the steepest decline from ISO 3200 on, as shown in the graph of our Imatest results, below.
Digital zoom shots were similar to those from the Mark III, which is to be expected, since both cameras have the same BIONZ X image processor. Both the standard digital zoom, which supports up to 5.8x magnification, and the Clear Image Zoom with 2x magnification use interpolation to up-scale the crop to the selected resolution. Results obtained at 5.8x magnification were surprisingly good.
Long exposures at night retained a similar amount of detail and colour accuracy to those from the Mark III. Usable shots were possible, right up to the highest ISO settings and, although some noise became visible at ISO 6400 and softening was evident at ISO 12800, the shots would be usable at small output sizes.
Lateral chromatic aberration was very similar to the Mark III’s, which isn’t surprising since both cameras have the same optics. Our Imatest results placed it almost entirely in the ‘negligible’ band at all aperture and focal length settings we tested. In the graph below, which is based on JPEG files, the red line indicates the border between ‘negligible’ and ‘low’ CA.
We found no obvious coloured fringing in wide-angle shots taken in contrasty outdoor conditions. But the lens was flare-prone in backlit situations when a bright light sources was included within the frame ““ or just outside it. The Steady-shot stabilisation system enabled us to use shutter speeds as low at 1/5 second with the 25.7mm focal length and get more than half of the shots taken free of camera shake.
When we checked the lens performance for distortion and vignetting we found little evidence of either in both raw files and JPEGs. Sony could have designed the lens to minimise both defects or applies post-capture processing to correct them, the latter being more likely.
The auto white balance setting produced close-to-neutral colours under fluorescent and flash lighting but, as expected, failed to eliminate the orange cast from incandescent lights. However, both the incandescent and most of the fluorescent pre-sets tended to over-correct and it required manual measurement to produce neutral colours under both types of lighting. The flash pre-set delivered a similar neutral colour balance to the auto setting.
We were unable to shoot XAVC S movie clips because we didn’t have a memory card that could support this recording format. Fortunately, the quality of movies recorded in the AVCHD and MP4 formats was very good and similar to the results we obtained from the RX100 Mark III.
We found no evidence of moirø© in any of the clips we shot and autofocusing in movie mode was generally fast and accurate. The 1440 x 1080 option for MP4 clips has been dropped and replaced by a more logical 1280 x 720 pixel resolution at 25 fps, which yielded very good results.
The integrated stabilisation helped to keep hand-held footage steady and soundtracks were recorded with excellent clarity, although stereo presence wasn’t great due to the closely-spaced microphones. The new High Frame Rate recording mode should be a lot of fun to use but we were unable to test it without an SDXC memory card because it relies upon the XAVC S recording format.
Our timing tests were conducted with an 32GB Panasonic SDHC UHS-3 card, which has a Class 10 speed rating and read/write speeds of 95/90 MB/s. (We’ve used this card previously for recording 4K video with Panasonic cameras we’ve tested but it proved unsuitable for XAVC S movie clips.)
When you insert a new memory card, the camera starts by checking the Image Database, a process that can take several seconds if the card was used previously in a different camera. This delays the start-up time.
Average start-up times when the card had been used previously in the camera were around 2.2 seconds, which is marginally faster than the Mark III. Capture lag was less than 0.1 seconds on average and totally eliminated when shots were pre-focused. Shot-to-shot times averaged 0.4 seconds without flash and 3.1 seconds with.
As with the original RX100, the only indication that image files have been processed is when the monitor returns to displaying the original scene ““ and even that can be inaccurate as it tends to be between 4.5 and 5.1 seconds, regardless of whether we shot high-resolution JPEGs, ARW.RAW files or RAW+JPEG pairs. The only way to estimate processing times was to press the Play button; if files were being processed the camera displayed a ‘Writing to memory card. Unable to operate’ message until the buffer was cleared.
With continuous shooting mode the review camera recorded 42 Large/SuperFine JPEGs in 2.8 seconds in the Speed Priority burst mode before pausing. With ARW.RAW files, the buffer memory filled at 26 frames, which were recorded in 2.8 seconds. The buffer memory also filled after 26 RAW+JPEG pairs, which were captured in 2.9 seconds. It was impossible to measure precisely how long it took for the buffer memory to clear in each case but the camera stopped displaying ‘Writing to memory card.’ messages roughly 22 seconds after the end of each burst.
In the normal continuous shooting mode, the camera recorded 40 Large Extra Fine JPEGs in 6.5 seconds without showing any signs of slowing down. While this suggests shots were processed on-the-fly, ‘Writing to memory card.’ messages were displayed for at least 20 seconds after the last frame captured.
Conclusion
Like its predecessors, the RX100 Mark IV pack a lot into a very pocketable body and delivers pretty good performance. Its nearest competitor is the Panasonic Lumix DMC-LX100, which has a larger sensor, slightly longer zoom range, higher sensitivity, faster shutter speeds and frame rates and a higher resolution EVF. It’s also a bit larger and, therefore, less pocketable and it’s about 100 grams heavier.
If you don’t need 4K video, can handle the slower burst speeds and reduced buffer memory but still require the small size and high resolution of the RX100 Mark IV, two previous models are still available, with the Mark III selling for just under AU$1000 and the Mark II at around AU$800 at the online resellers we visited. Both offer around 20-megapixel resolution, but the Mark II has a 3.6x optical zoom lens, while the Mark III provides 2.9x optical zoom.
It’s early days for the RX100 Mark IV, but already some discounting has begun. Even at its Australian RRP, it’s not worth shopping offshore since, when you’ve included currency conversion, shipping and insurance, the camera will be cheaper to buy locally at the full RRP.
SPECS
Image sensor: 13.2 x 8.8 mm Exmor RS CMOS sensor with 21.0 million photosites (20.1 megapixels effective)
Image processor: BIONZ X
A/D processing: Not specified
Lens: Zeiss Vario-Sonnar T* 8.8-25.7mm f/1.8-2.8 lens, 10 elements in 9 groups (9 aspheric elements including AA lens) (24-70mm in 35 mm format with 3:2 aspect ratio)
Zoom ratio: 2.9x optical, up to 11x digital at 20M
Image formats: Stills – JPEG (DCF / Exif 2.3), ARW.RAW v2.3, RAW+JPEG; Movies – XAVC S, AVCHD, MP4, QuickTime Motion JPEG (on High-speed Video)
Image Sizes: Stills – 3:2 aspect: 5472 x 3648, 3888 x 2592, 2736 x 1824; 4:3 aspect: 4864 x 3648, 3648 x 2736, 2592 x 1944, 640 x 480; 16:9 aspect: 5472 x 3080, 3648 x 2056, 2720 x 1528; 1:1 aspect: 3648 x 3648, 2544 x 2544, 1920 x 1920; Sweep Panorama Wide (12,416 x 1856 / 5536 x 2160); Sweep Panorama Standard (8192 x 1856 / 3872 x 2160); Movies – XAVC S: 3840 x 2160/25p, 1920 x 1080/100p, 50p, 25p; AVCHD:1920 x 1080 at 50i, 50p, 25p; MP4: 1920 x 1080 at 50fps/25fps, 1280 x 720 at 25fps
Shutter speed range: iAuto – 4 to 1/2000 second; P, A, S and M modes – 30 to 1/2000 second
Self-timer: 10sec. 5sec. 2sec. delays / 3 or 5 consecutive shots with 10sec. 5sec. or 2sec. delay selectable / Bracketing shots with 10sec. 5sec. or 2sec. delay selectable
Image Stabilisation: Still Image: Optical SteadyShot; Movie: Intelligent Active Mode, Optical type with electronic compensation, Anti Rolling type
Exposure Compensation: +/- 3EV in 1/3EV steps
Bracketing: AE – +/- 3EV across 3 frames; WB
Focus system/range: 25-point contrast-based AF with multi-area, centre, selective single-point modes; single/continuous/tracking AF/ face detection; range: 5 cm to infinity
Exposure metering/control: Multi, centre and spot metering
Shooting modes: Superior Auto, Intelligent Auto, Shutter Speed Priority, Aperture Priority, Manual Exposure, Panorama, Scene Selection, HFR Mode (Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure), Movie Mode (Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure), MR (Memory Recall) 1,2,3
Scene Selection: High Sensitivity, Night Scene, Night Portrait, Portrait, Landscape, Fireworks, Gourmet, Pet, Handheld Twilight, Anti Motion Blur, Sports Action, Macro, Sunset
In-camera effects: HDR Painting, Rich-tone Monochrome, Miniature, Toy Camera, Pop Colour, Partial Colour, Soft High-key, Water Colour, Posterisation, Retro Photo, Soft Focus, High Contrast Monochrome, Illustration
ISO range: Auto (ISO125-12800, selectable with upper / lower limit), ISO 125-12800 with extension to ISO 80, ISO 100 and ISO 25600
White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent (Warm White, Cool White, Day White, Daylight), Flash, C.Temp./Filter, Custom
Flash modes/range (ISO auto): Auto, Flash On, Slow Synchro, Rear Sync, Flash Off; range ISO Auto: Approx.0.4m to 10.2m(W)/ Approx. 0.4m to 6.5m(T)
Sequence shooting: Max. 16 frames/second
Buffer memory depth (based on tests): JPEGs, raw files, RAW+JPEG
Storage Media: Memory Stick Duo, SD/SDHC/SDXC memory cards
Viewfinder: 0.39-type OLED electronic viewfinder with 2,359,296 dots; magnification – Approx. 0.59x with 50mm lens at infinity, dioptre adjustment
LCD monitor: Tilting 3-inch Xtra Fine/ TFT LCD with 1,228,800 dots; manual brightness adjustment, Sunny Weather setting
Interface terminals/communications: Hi-Speed USB, Micro HDMI, DC IN Terminal, NFC forum Type 3 Tag compatible, One-touch remote, One-touch sharing, Wi-Fi (IEEE802.11b/g/n, 2.4GHz band)
Power supply: NP-BX1 rechargeable lithium ion battery; CIPA rated for 280 shots/charge
Dimensions (wxhxd): Approx. 101.6 x 58.1 x 41.0 mm
Weight: Approx. 298 grams (with battery and memory card)
TESTS
Based on JPEG files.
Based on ARW.RAW files processed with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash lighting.
8.8mm focal length, ISO 125, 1/800 second at f/7.1.
25.7mm focal length, ISO 125, 1/800 second at f/6.3.
Clear Image zoom; 25.7mm focal length, ISO 125, 1/800 second at f/5.6.
Digital zoom; 25.7mm focal length, ISO 125, 1/800 second at f/5.6.
30-second exposure at ISO 125; 22mm focal length at f/4.
10-second exposure at ISO 800; 22mm focal length at f/5.6.
5-second exposure at ISO 3200; 22mm focal length at f/8.
3.2-second exposure at ISO 6400; 22mm focal length at f/9.
1.6-second exposure at ISO 12800; 22mm focal length at f/9.
Flash exposure at ISO 125; 25.7mm focal length, 1/30 second at f/2.8.
Flash exposure at ISO 800; 25.7mm focal length, 1/30 second at f/2.8.
Flash exposure at ISO 3200; 25.7mm focal length, 1/80 second at f/3.2.
Flash exposure at ISO 6400; 25.7mm focal length, 1/100 second at f/4.
Flash exposure at ISO 12800; 25.7mm focal length, 1/200 second at f/4.
Close-up with 8.8mm focal length, ISO 200, 1/250 second at f/4.
Flare produced by strong backlighting;8.8mm focal length, ISO 125, 1/800 second at f/4.5.
Strong backlighting;8.8mm focal length, ISO 125, 1/640 second at f/8.
Strong backlighting; 25.7mm focal length, ISO 125, 1/800 second at f/5.
Stabilisation test; 8.8mm focal length, ISO 125, 1/5 second at f/1.8.
Stabilisation test; 25.7mm focal length, ISO 125, 1/5 second at f/2.8.
25.7mm focal length, ISO 125, 1/320 second at f/2.8.
25.7mm focal length, ISO 1250, 1/100 second at f/2.8.
23mm focal length, ISO 800, 1/80 second at f/4.
Still frame from Full HD AVCHD movie clip recorded with FX 50i / 24M setting.
Still frame from Full HD AVCHD movie clip recorded with FH 50i / 17M setting.
Still frame from Full HD AVCHD movie clip recorded with PS 50p/ 28M setting.
Still frame from Full HD AVCHD movie clip recorded with FX 25p / 24M setting.
Still frame from Full HD AVCHD movie clip recorded with FH 25p / 17M setting.
Still frame from Full HD MP4 movie clip recorded at 1080/50p.
Still frame from Full HD MP4 movie clip recorded at 1080/25p.
Still frame from HD MP4 movie clip recorded at 720/25p.
Rating
RRP: AU$1399; US$948
- Build: 8.9
- Ease of use: 8.5
- Autofocusing: 8.8
- Image quality JPEG: 8.3
- Image quality RAW: 8.8
- Video quality: 8.8
