Sony Cybershot RX100 VI

      Photo Review 8.7

      In summary

      Sony’s latest pocketable camera features a 24-200 mm (equivalent) zoom lens plus an upgraded sensor and processor, improved AF and a larger buffer memory.

      Like its predecessors, the RX100 Mark VI is a quality compact fixed lens camera with a solid build, plenty of features and fast autofocusing.



      Full review

      We missed out on reviewing Sony’s RX100 V compact camera so it’s great to obtain the Mark VI (DSCRX100M6) model so soon after the camera was announced on 5 June. The sixth model to be released in six years indicates the popularity of the RX100 line, which has combined pocketable camera bodies with 20-megapixel, 13.2 x 8.8 mm (1-inch type) sensors, updating key features with each model while keeping the camera compact and light in weight.  


      Angled view of the RX100 VI  with the lens extended for shooting. (Source: Sony.)

      Other features that persist across the RX100 series include the basic design of the aluminium alloy body, built-in optical stabilisation and support for raw file capture. Each camera in the series includes a pop-up flash but has no accessory hot-shoe.  

      Starting with the original RX100, which relied on its fixed 3-inch monitor for shot composition and boasted a 28-100mm (equivalent) f/1.8-f/4.9 zoom lens, each iteration has made the following changes:
       The Mark II introduced a BSI (back side illuminated) sensor and powered hot shoe and replaced the fixed monitor with a tilting LCD. Internally, users gained some additional HD video modes, along with NFC-enabled Wi-Fi .

      In the Mark III the lens was changed to a 24-70mm (equivalent) f/1.8-f/2.8 zoom and a built-in ND filter was introduced. A retractable EVF viewfinder was added and the hot-shoe was replaced with a pop-up flash. Video capabilities were increased with the introduction of the XAVC S codec, full sensor readout and the ability to transfer uncompressed video via the HDMI port.
       The Mark IV updated the sensor with a stacked BSI design that enabled 4K and slow-motion movie capture. S-Log2 gamma was added to the video options, the EVF gained higher resolution and continuous recording was increased to 16 frames/second with focus and exposure locked on the first frame.

      The Mark V added 315-point on-sensor phase detect sensors that cover 65% of the frame to the existing 25-point contrast-detect autofocusing system. The continuous shooting speed was increased to 24 frames/second with AF and AE.

      The RX100 VI   introduces a new Zeiss Vario-Sonnar T*  lens that covers the equivalent of a 24-200 mm zoom in 35mm format with maximum apertures from f/2.8 to f/4.5. Its sensor is a new stacked Exmor RS unit with DRAM chip and it’s paired with an upgraded BIONZ X with a front-end LSI that provides increased processing speed. Autofocusing is faster and there’s been a 2x increase in Eye AF tracking speed compared to the RX100 V. The buffer memory can now hold up to 233 JPEGs, compared to around 150 in the earlier model.

      Who’s it for?
       Like its predecessors, the RX100 Mark VI is designed for photographers who want a pocketable walk-around camera.  While its small size and rich feature set will be of general appeal, this camera is best suited to serious photographers who can afford the over-$1500 price tag.

      Given its heritage, the Mark VI should deliver decent low light performance, and since its 4K movie capabilities, high-frame-rate recording and built-in Wi-Fi plus NFC and low-power Bluetooth functions are identical to those in the α7 cameras, good performance can be expected in those areas.   This makes the camera a good choice for travellers who want to minimise their loads.

      Unfortunately the small size of the camera and its tiny controls will be difficult to operate for anyone with large hands and/or limited dexterity. And, despite the updated menu structure, which now resembles the menus on the α7/α9 cameras, it’s still complex and non-intuitive and a fair bit of menu diving is required to adjust many functions.

      For novices, using the camera is also made more difficult by the fact that the only comprehensive instructions for the camera are online. (The printed guide supplied is VERY   basic.) That means you need internet access whenever you’re shooting in case you encounter a situation that requires a control you’re not familiar with ““ which is not always possible when you’re travelling.

      On the positive side, the new My Menu page can be populated with up to 30 frequently-used functions, arranged in the order you prefer. It can work with the customisable Fn menu displayed on-screen during shooting, to make it easier to quickly access key settings.

      The New Lens
       Back in mid-2006, the original RX100 had a retracting Zeiss Vario-Sonnar T* lens that covered a focal length range equivalent to 28-100mm in 35mm format with maximum apertures ranging from f/1.8 to f/4.9. The three most recent intermediate models have stuck with 24-70mm equivalent lenses with maximum apertures of f/1.8 to f/2.8, which are both significantly faster but with a shorter reach than the lens in the RX100 VI.

      While doubling the reach of the Mark V’s lens, the 9-72mm f/2.8-4.5 lens in the new camera could make it more difficult to isolate subjects from their backgrounds at shorter focal lengths, although it should be visible better at the other end of the zoom scale. However, it may challenge the built-in, four-stop stabilisation at longer focal lengths in low light levels.

      The optical design of the new camera’s lens is relatively complex with 15 elements in 12 groups. Among them are two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. Zeiss T* anti-reflective coatings suppress internal reflections to minimise flare and ghosting.

      The new camera benefits from Optical SteadyShot  stabilisation, which is built into the lens and provides four stops of shake correction. The Step Zoom function lets users quickly change between five common focal lengths (24, 28, 35, 50, or 70mm) by rotating the control ring. The RX100 VI also supports digital zooming in the form of Clear Image Zoom, which doubles the effective focal length with minimal image degradation and Digital Zoom, which provides 4x magnification through frame cropping.

      A consequence of the longer zoom is the loss of the built-in ND filter, which was handy for controlling shutter speeds when shooting moving subjects with wide apertures in bright conditions. Even though the longer lens is slower, an ND filter may be required to prevent choppy footage when recording movies on the beach or in the snow. (Vloggers will probably find the Mark V a better option.)

      Build and Ergonomics
       Superficially, the RX100 VI and RX100 IV  are similar in size and appearance, with the main difference being the longer zoom lens. However, Sony has introduced a number of small, but important changes.  


      Front view of the RX100 VI with its monitor tilted through 180 degrees for capturing selfies. (Source: Sony.)

      The rear panel control layout is identical to the Mark V’s, save for the addition of a touch panel over the monitor screen. The addition of touch-to-focus and touch shutter functions make it much easier to select AF points and the screen can now be tilted downward through 90 degrees, compared with 45 degrees in the previous model.  


      Angled rear view of the RX100 VI showing the tilting screen. (Source: Sony.)

      The layout of the top panel hasn’t changed, either but the zoom lever can now be customised to allow fast or standard zoom speeds. The EVF comes with Zeiss T* coating, which ensures clarity from corner to corner.

      Its resolution is the same as the previous model’s: 2,359,296 dots, with 0.59x magnification. It displays a bright view if the scene and is essential for framing shots and movies when working outdoors but there’s no eye cup to prevent stray light from entering. New to the Mark VI model is that the one-push Access button   above the left side strap lug fully deploys the ‘finder so you no longer need to pull out the eyepiece to activate the EVF.  


      Top view of the RX100 VI with its lens extended. (Source: Sony.)

      Missing are an accessory hot-shoe, which means separate flash guns can’t be fitted. The RX100 VI also lacks a microphone socket so users are required to rely on the built-in microphones (which are tiny) or use external recording to provide the soundtracks on more serious movie shoots.

      The battery is the same tiny NP-BX1 lithium-ion unit as used in previous models but its capacity is only 240 shots/charge and that low capacity is noticeable on longer shoots. It shares a compartment in the base of the camera with the single memory card slot, which accepts the various varieties of SD cards (UHS-1 compatible) plus Memory Stick DUO media.

      USB charging is supported via the supplied AC adapter and cables. The dedicated charger is an optional accessory (Model BCTRX) with an RRP of AU$69. You’ll need it if you purchase a spare battery to cover you for longer shoots.

      Sensor and Image Processing
       Although the effective resolution of the RX100 VI is the same as its predecessors, its sensor is a new Exmor RS CMOS unit with an advanced stacked structure that includes an integrated DRAM chip. Structurally, the pixel area, a high-speed signal processing circuit and memory are combined to provide a five times increase in data throughput.

      It is paired with an updated BIONZ X image processor and front-end LSI to enable the camera to support UHD 4K video and 40x super slow motion recording modes. The front-end LSI and enhanced sensor performance also improve overall image quality by reducing noise at higher sensitivities and providing higher perceived resolution and colour definition.

      The sensitivity range of ISO 125 to ISO 12800 carries over from the RX100 III, with expansion down to ISO 100 and ISO 80. Sensitivity can go as high as ISO 25600 with Multi Frame Noise Reduction, which is accessed via the ISO menu and available for JPEGs only. It works by combining several exposures into a single image with less visible noise. The extended range setting is only available within the ISO AUTO sub-menu; the STANDARD   sub-menu tops out at ISO 12800.

      Users can fine-tune the auto ISO settings and set a minimum shutter speed before sensitivity is increased in the P and A shooting modes or select a rate of change, using the focal length of the lens as a guide. The menu provides Standard, Fast, Faster, Slow and Slower adjustments enabling users to select one of the faster settings when you want faster shutter speeds for capturing moving subjects or slower settings when longer exposures are preferable.

      The RX100 VI’s sensor carries an array of 315 embedded phase-detection focus points, which approximately 65% of the frame. They are augmented by the normal 25-point contrast-detect autofocusing array. Sony claims the camera can lock onto subjects in just 0.03 seconds and use AF tracking for continuous shooting at up to 24 fps.

      Users can display the phase-detection area to help focus on the subject and an accelerated display system minimises blackout for easier tracking when using either the EVF or LCD. The camera also includes an AF-A mode, which will automatically switch between AF-S and AF-C mode as the scene demands.

      Like the RX100 V, the RX100 VI can record 4K video clips at up to 30p (25p for PAL system), with a maximum bitrate of 100 Mbps. Because each frame is oversampled from 5K without pixel binning and the entire sensor area is utilised, the resulting clips are very clean and detailed. Clips are saved using the XAVC S codec, with a maximum clip length of approximately five minutes.

      High definition 1080p footage is also possible at up to 120 fps (100 fps for PAL system), along with high frame rate recording at 120p/100p, 250p/240p and 500p/480p at progressively reducing frame sizes.   The maximum recording speed is 1000p/960 at a resolution of 912 x 308 pixels. Audio is not recorded.

      We found the High Frame Rate (HFR setting on the mode dial) difficult to use because you can’t see what you’re recording in real time. You have to select the Record Setting (50p 50M or 25p 50M then choose the frame rate (250 fps, 500 fps or 1000 fps) and Record Priority Setting   (Quality or Time) before framing the shot.

      Once that’s done, pressing the centre button on the arrow pad sets the camera to Standby mode, after which you can press the movie button to start recording. While the recording progresses, the   monitor and EVF display the first frame with an overlay showing the buffering as the file is transferred to the memory.

      You can’t adjust the exposure, focus, ISO or white balance or change any other settings while Shooting Standby is displayed.   Zooming is not available while recording. Video quality will be influenced by the setting used, which dictated the shutter speed per frame. At shutter speeds faster than about 1/1000 second, ambient lighting will dictate ISO settings so low light levels will result in increased noise.

      A new addition to the RX100 VI is an HLG (Hybrid Log-Gamma) gamma curve option within Picture Profiles, which provides ‘an instant HDR workflow solution’, according to Sony’s press release. This mode fits the entire dynamic range of the sensor into each video frame.

      Although the resulting footage will look flat on a standard display like the rear LCD, when the camera is connected to an HDR display and its HLG mode is enabled, the high dynamic range footage is displayed with the full contrast and colour depth modern TVs offer.

      HLG shooting can also be used to minimise highlight clipping in ARW.RAW files by optimising the amount of light reaching the sensor. This reduces the need to pull shadows or boost exposure when files are converted and results in images with less image noise.

      Playback and Software
       Like other camera manufacturers, Sony doesn’t supply a software disk; just a stack of multi-lingual printed manuals that are little more than set-up guides. Purchasers also receive a printed map of accessories for the RX camera system plus a coupon offering $50 off an accessory purchase. You can download some of the manuals from the Support page on Sony’s website which also provides a more comprehensive online manual.

      There have been a few changes to the downloadable software, although Sony’s PlayMemories Home remains the key application for importing and viewing images and movie clips.

      Imaging Edge is the new application for converting raw files into editable formats. It contains Viewer, Edit and Remote applications and supports raw file conversion (to JPEG or TIFF), basic editing,   Pixel Shift Multi Shooting  and tethered shooting. Sony RAW Driver, an older application, is also available.

      When our review was conducted, the RX100 VI wasn’t supported by the latest version of Adobe Camera Raw or PhaseOne Capture One Express for Sony, an alternative raw file converter.

       When shooting stills, we found the review camera’s performance was quite similar to the performance of the RX100 Mark IV, which we reviewed in November 2015. However, whereas formerly we were able to convert ARW.RAW files with Adobe Camera Raw  (our preferred raw file converter), with the RX100 VI, we had to use Sony’s Imaging Edge editor, which worked quite well with lower ISO settings but failed to deliver optimal results at ISO 6400 and ISO 12800.

      Even with lower sensitivities, there wasn’t the normal difference we see between JPEGs and converted raw files from the camera, a similar situation to the Mark IV camera we reviewed. 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, although only around the middle of the zoom range with the native ISO 125 setting. The graph below shows the results of our sensitivity tests.


       The longer zoom lens showed similar edge softening to the lens in the RX100 Mark IV we reviewed. However, resolution was highest at wider apertures (between 1/3 and one stop down from maximum aperture) and the best results were obtained at slightly longer focal lengths.  

      Diffraction began to kick in from about f/5.6 onwards, leading to a steep plunge in resolution between f/8 and f/11 (the smallest aperture). The graph below shows the results of our Imatest tests across different aperture and focal length settings.


       Lateral chromatic aberration  remained within the ‘negligible’ range at all the focal lengths and apertures we measured. In the  graph below, which is based on JPEG files, the red line indicates the border between ‘negligible’ and ‘low’ CA.


       Still shots recorded plenty of detail and JPEGs showed the same slightly elevated saturation in warmer hues as the earlier model had in our Imatest tests. In the raw files, saturation was a little more restrained.  

      Contrast in JPEGs was a little lower than we found in the RX100 IV.  However, we still found clipped highlights in shots of subjects with wide brightness ranges, although more detail appeared to be resolved in shadows and still shots had a better spread of tones.  

      Digital zoom shots were similar to those from the Mark IV, which is to be expected, since   the BIONZ X image processor hasn’t been changed since the Mark III. 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 IV.   The slowest shutter speed of 30 seconds wasn’t long enough to obtain correct exposures at ISO 80 with our test subject, but correct exposures were possible up to the highest ISO setting. Noise became visible at ISO 6400 and softening was evident at ISO 12800, both increasing at ISO 25600.

      The built-in flash lacked the power to produce correct exposures at ISO settings below about ISO 1600, with severe under-exposure resulting at settings below ISO 125. At the other end of the scale, noise was visible at ISO 6400, along with noticeable contrast reduction. Both increased as sensitivity was raised.

      The auto white balance setting produced close-to-neutral colours under fluorescent lighting and flash but, as expected, failed to fully eliminate the orange cast from incandescent and warm-toned LED lights. The incandescent and most of the fluorescent pre-sets tended to over-correct but the flash preset made very little change to colours. Manual measurement   produced neutral colours under all types of lighting.

       We found no obvious coloured fringing in wide-angle shots taken in contrasty outdoor conditions. But the lens was a little flare-prone in backlit situations when a bright light source was included within the frame ““ or just outside it. Bokeh at wide aperture settings was about average for a fixed-lens, extended-zoom camera with a 1-inch type sensor.

      Video quality was as good as we found with the RX100 Mark IV and with the new camera we were able to record with the XAVC S format, thanks to a more powerful, higher-capacity memory card. As before, there was no evidence of moirø© in any of the clips we shot and autofocusing in movie mode was generally fast and accurate.

      Like previous Sony cameras we’ve reviewed, the RX100 VI tended to record video with a reduced dynamic range by default. This meant subjects with wide brightness ranges often had blown-out highlights. This was particularly true when shooting with the HFR (High Frame Rate) settings.

      The integrated stabilisation helped to keep hand-held footage steady and the EVF made framing easy in bright conditions. Given the small size and close spacing of the built-in microphones, soundtracks were surprisingly clear, although stereo presence wasn’t all that great.

      Our timing tests were conducted with an 128GB Panasonic SDXC UHS-3 card, which has a Class 10 speed rating and read/write speeds of 95/90 MB/s.  Average start-up times when the card had been used previously in the camera were around two seconds, which is marginally faster than the Mark III. We found no capture lag either without pre-focusing or when shots were pre-focused.

      Shot-to-shot times averaged 0.7 seconds without flash and 3.1 seconds with.  

      The only indication that image files have been processed is a tiny countdown display in the upper left corner of the screen ““ but even that can be inaccurate, taking between 1.5 and 2.1 seconds, regardless of whether we shot high-resolution JPEGs, ARW.RAW files or RAW+JPEG pairs.

      The continuous high shooting mode requires the electronic shutter. In our test, the review camera recorded 150 Large/ExtraFine JPEGs in 46.8 seconds without pausing. As far as we’re able to calculate, processing took 46.8 seconds.

      With ARW.RAW files, the camera recorded 50 frames in 3.2 seconds without filling the buffer memory. It took 27 seconds to process this burst.  We recorded 62 26 RAW+JPEG pairs in 2.8 seconds, again without the camera showing any signs of pausing. It took a little more than 2 minutes to process this burst.

      When the mechanical shutter is used continuous shooting speeds fall to 10 fps. In this mode, the camera recorded 60 Large Extra Fine JPEGs in 5.6 seconds without showing any signs of slowing down. This represents a rate of 10.7 frames/second, which is faster than specified. Processing this burst took just over 20 seconds.


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       Image sensor: 13.2 x 8.8 mm BSI CMOS  sensor with 21 million photosites (20.1 megapixels  effective)
       Image processor: BIONZ X
       A/D processing:   14-bit
       Lens:  Zeiss Vario-Sonnar T* 9-72mm f/2.8-4.5 (24-200 mm in 35mm format)
       Zoom ratio:   Optical: 8.33x, Clear Image Zoom: 16x, Digital: 32x
       Image formats: Stills – JPEG  (DCF / Exif 2.31), ARW.RAW (v.2.3); Movies – X-AVC S, AVCHD (V. 2.0), Dolby Digital 2ch, Linear PCM stereo audio
       Aspect ratios: 3:2, 4:3, 16:9, 1:1
       Max. Image Sizes: Stills – 5472 x 3648 pixels; Movies – 3840 x 2160p at 30 fps, 25 fps, 24 fps  
       Shutter options:Mechanical & electronic
       Shutter speed range: Mechanical – 30 to 1/2000 seconds, electronic – 30 to 1/32000 second  in  Bulb mode; max. flash sync at 1/2000 second
       Self-timer: 2, 5, 10  seconds delay plus 3 or 5 shots after 2, 5, 10 seconds
       Image Stabilisation:   Optical
       Exposure Compensation: +/- 3EV in 1/3 EV steps
       Bracketing: AE – 3 frames across +/-3EV, WB
       Focus system/range: 315 point hybrid phase detection/contrast detection system with AF-S, AF-C, DMF and manual modes; range: 8 cm to infinity
       Focus area selection:   Wide, Zone, Centre, Flexible Spot, Expand Flexible Spot, Lock-on Flexible Spot
       Exposure metering/control:   Multi Pattern, Centre-weighted, Spot, Entire Screen Average and Highlight modes
       Shooting modes: Aperture Priority, Intelligent Auto, Manual, Memory Recall, Movie, Panorama Shot, Programmed Auto, Scene Selection, Shutter Priority, Superior Auto
       Scene presets: Anti-Motion Blur, Fireworks, Gourmet, Handheld Twilight, High Sensitivity, Landscape, Macro, Night Portrait, Night Scene, Pet Mode, Portrait, Sports, Sunset
       In-camera effects: Toy Camera, Pop Colour, Posterisation, Retro Photo, Soft High-key, Partial Colour, High Contrast Monochrome, Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolour, Illustration
       Colour spaces: sRGB, Adobe RGB
       ISO range: Auto (with Ambient and White priority options), ISO 125-12800 with expansion to ISO 80 and ISO 100 plus ISO 25600 available  with Multi Frame NR (JPEG   only)
       White balance: Auto, Cloudy, Colour Temperature Filter, Custom, Daylight, Flash, Fluorescent (Cool White), Fluorescent (Day White), Fluorescent (Daylight), Fluorescent (Warm White), Incandescent, Shade
       Flash: Pop-up flash; no hot-shoe for external flashguns
       Flash modes/range (ISO auto): Auto, Flash On, Off, Rear Sync, Red-Eye Reduction, Slow Sync; range = Approx. 0.4 to 5.9 metres (W), 1.0 to 3.1 metres (T)
       Sequence shooting: Max. 24 frames/second at 20.1 MP
       Buffer memory depth:233 JPEGs, raw files, RAW+JPEG
       Storage Media: SD/SDHC/SDXC cards (Class 10 UHS 1 or faster), Memory Stick PRO Duo
       Viewfinder:   0.39 type EVF with 2,359,296 dots, 0.59x magnification, 20mm eyepoint, -4.0 to +3.0 dioptre adjustment
       LCD monitor: Tilting (180 degrees up/ 90 degrees down) 3-inch TFT LCD touch panel with 921,000 dots  
       Interface terminals: Multi-micro USB 2.0 (480 Mbit/sec), HDMI type D micro jack
       Wi-Fi: IEEE 802.11 b/g/n plus NFC (Type 3 Tag compliant) and Bluetooth V. 4,1
       Power supply:   NP-BX1  Rechargeable Lithium-Ion battery pack, 3.6  VDC, 1240  mAh; CIPA rated for 240 shots/charge
       Dimensions (wxhxd): 101.6 x 58.1 x 42.8  mm
       Weight: 301 grams (with battery and memory card)

       Distributor:Sony Australia; 1300 720 071;  




       Based on JPEG files.


       Based on ARW.RAW files processed with Sony’s Imaging Edge editor.









       Auto white balance with incandescent lighting.  


      Auto white balance with fluorescent lighting.


      Auto white balance with warm-toned LED lighting.


      Auto white balance with flash lighting.


       9mm focal length, ISO 125, 1/320 second at f/6.3.


      72mm   focal length, ISO 320, 1/200 second at f/6.3.


      Clear Image zoom; 72mm focal length, ISO 160, 1/200 second at f/4.5.



      Digital zoom; 72mm focal length, ISO 160, 1/200 second at f/4.5.


      30-second exposure at ISO 80; 16mm focal length at f/4


      30-second exposure at ISO 125; 16mm focal length at f/4.


      10-second exposure at ISO 800; 16mm focal length at f/5.6.


      5-second exposure at ISO 3200; 16mm focal length at f/6.3.


      3.2-second exposure at ISO 6400; 16mm focal length at f/9.



      1.3-second exposure at ISO 12800; 16mm focal length at f/8.


      1/2-second exposure at ISO 25600; 16mm focal length at f/9.


      Flash exposure at ISO 80; 27mm focal length, 1/50 second at f/4.



       Flash exposure at ISO 125; 27mm focal length, 1/50 second at f/4.


      Flash exposure at ISO 800; 27mm focal length, 1/50 second at f/4.


      Flash exposure at ISO 3200; 27mm focal length, 1/50 second at f/4.


      Flash exposure at ISO 6400; 27mm focal length, 1/50 second at f/4.


      Flash exposure at ISO 12800; 27mm focal length, 1/80 second at f/4.


      Close-up with 9mm focal length, ISO 200, 1/250 second at f/4.


      Close-up at 72mm focal length, ISO 200, 1/250 second at f/4.


      Choppy bokeh with moderate backlighting; 72mm focal length, ISO 125, 1/500 second at f/4.5.


      Backlit scene; 9mm focal length, ISO 125, 1/400 second at f/5.



      9mm focal length, ISO 125, 1/800 second at f/5.6.


       Crop from the above image enlarged to 100% showing no coloured fringing.


      14mm focal length, ISO 125, 1/60 second at f/4.


      11mm focal length, ISO 125, 1/40 second at f/4.


      9mm focal length, ISO 400, 1/25 second at f/3.2.


      21mm focal length, ISO 2000, 1/50 second at f/4.5.


      12mm focal length, ISO 125, 1/30 second at f/4.


      9mm focal length, ISO 125, 1/50 second at f/3.2.


      10mm focal length, ISO 3200, 1/20 second at f/4.


      26mm focal length, ISO 1600, 1/40 second at f/5.6.


      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 XAVC S 4K movie clip recorded with 25p/ 100M setting.


      Still frame from XAVC S 4K  movie clip recorded with 25p / 60M setting.


      Still frame from XAVC S HD movie clip recorded with 50p / 50M setting.


      Still frame from XAVC S HD movie clip recorded at 25p/50M.


      Still frame from XAVC S HD movie clip recorded at 100p/100M.


      Still frame from HFR movie clip recorded at 50p/50M at 250 fps.


       Still frame from HFR movie clip recorded at 50p/50M at 500 fps.


      Still frame from HFR movie clip recorded at 50p/50M at 1000 fps.


      RRP: AU$1699; US$1199

      • Build: 8.9
      • Ease of use: 8.3
      • Autofocusing: 9.0
      • Image quality JPEG: 8.4
      • Image quality RAW: 8.8
      • Video quality: 8.8