In summary
As a step-up from the α5000, the α5100 is targeted at photographers who want higher resolution for shooting stills and movie clips. It will be best suited to photographers who prefer using the monitor screen for framing shots and who take most of their photos in the automatic modes.
Its user interface is similar to the α5000’s and designed primarily for snapshooters, with the new touch-screen monitor providing an easy way to access controls, focus and trigger the shutter. Menu diving is still required to change most camera settings for photographers who prefer the P, A, S and M shooting modes. (There’s no mode dial.)
Features carried over from the α5000 that will appeal to digicam upgraders include the Auto Object Framing function, Anti-Motion Blur, Hand-held Twilight Mode Dynamic Range Optimiser and the easy availability of Picture Effects (14 of them), most of which can be applied to both photos and movies. The inclusion of Wi-Fi and NFC capabilities make it easy for connected photographers to share images and videos, while the flip-up screen adds value for those who enjoy taking self-portraits.
The lack of a viewfinder will always be an issue for photographers who live in the Southern Hemisphere where clear skies and bright sunlight can make LCD screens unreadable. Aside from that, the α5100 is a good performer at a reasonable price.
Full review
Positioned between the α5000 and the α6000 Sony’s E-mount α5100 camera replaces the NEX-5T and introduces improvements in image resolution and video recording capabilities. It sports the 24.3 megapixel sensor, BIONZ X processor and hybrid AF system from the α6000 but lacks that camera’s EVF and hot shoe and has fewer external controls.
Front view of the α5100 fitted with the 16-50mm f/3.5-5.6 PZ OSS lens, which is offered with the camera. (Source: Sony.)
The review camera was supplied with the 16-50mm f/3.5-5.6 PZ OSS lens, which was introduced with the NEX-6 camera in September 2012. This lens is reviewed separately.
Who’s it for?
As a step-up from the α5000, the α5100 is targeted at photographers who want higher resolution for shooting stills and movie clips. It will be best suited to photographers who prefer using the monitor screen for framing shots and who take most of their photos in the automatic modes.
Its user interface is similar to the α5000’s and designed primarily for snapshooters, with the new touch-screen monitor providing an easy way to access controls, focus and trigger the shutter. Menu diving is still required to change most camera settings for photographers who prefer the P, A, S and M shooting modes. (There’s no mode dial.)
Features carried over from the α5000 that will appeal to digicam upgraders include the Auto Object Framing function, Anti-Motion Blur, Hand-held Twilight Mode Dynamic Range Optimiser and the easy availability of Picture Effects (14 of them), most of which can be applied to both photos and movies. The inclusion of Wi-Fi and NFC capabilities make it easy for connected photographers to share images and videos, while the flip-up screen adds value for those who enjoy taking self-portraits.
Build and Ergonomics
Externally, the α5100 and α5000 are virtually identical and based upon the design of the superseded NEX-3N. The body of the α5100 is made mainly from polycarbonate plastic, which is both light and relatively tough. It’s also cheaper than metal.
Front, back and top views of the α5100 (top) and α5000 (below) show that differences between the two cameras are cosmetic; their control layouts are virtually identical. (Source: Sony.)
Front, back and top views (above) show the differences between the α5100 and α5000 are entirely cosmetic. Their control layouts are identical and echo the simple configuration of the NEX-3N.
The monitor on the α5100 can be flipped up to face forwards for shooting ‘selfies’. (Source: Sony.)
As on the α5000, the α5100’s monitor is hinged at the top and can be flipped up through 90 degrees for waist-level shooting or 180 degrees to face forwards for ‘selfies’. Its resolution is higher (921,600 dots, vs 460,800 dots on the α5000) and it includes a touch-sensitive panel that supports touch- focus and touch-shutter functions as well as providing menu navigation and control over image playback.
The battery and card compartments are in the same places as on the α5000 and the α5100 uses the same NP-FW50 battery, which is charged through the USB port either via a mains connection or by connecting the camera via a USB cable to a computer or similar power source. This port also accepts the VPR1 cable remote control. The battery is CIPA rated for 400 shots/charge, which is slightly less than for the α5000, probably because the new sensor and image processor draw a little more current.
Sensor and Image Processing
The sensor in the α5100 is the same 23.2 x 15.4mm “Exmor” APS HD CMOS chip as used in Sony’s α6000, which we reviewed in August 2014 as well as several A-mount cameras, including the SLT-A77. The gapless on-chip lens design minimises gaps between neighbouring pixels and enables optimised lenses to increase each photosite’s light gathering ability.
On-chip phase-detection pixels underpin the Fast Hybrid AF system, which combines a 179-point phase-detection system and 25-point contrast-detection system. Phase-detection AF is used initially with a Spatial Object Detection algorithm to bring the subject into focus, after which the contrast-detection technology fine-tunes the sharpness. Sony claims this system can achieve precise focus in as little as 0.07 seconds.
Sony has added a 1:1 aspect ratio option to the default 3:2 and widescreen 16:9 aspect ratios provided by the first cameras to use this sensor. Typical image sizes for the 3:2 aspect ratio are shown in the table below.
|
Image size |
Pixels |
Approx. file size |
|
|
Fine |
Standard |
||
|
Raw |
6000 x 4000 |
37.04MB |
|
|
RAW+JPEG |
6000 x 4000 |
27.03MB |
|
|
L: 16M |
6000 x 4000 |
9.71MB |
5.95MB |
|
M: 8.4M |
4240 x 2832 |
5.49MB |
3.98MB |
|
S: 4M |
3008 x 2000 |
3.73MB |
2.94MB |
The BIONZ X processor has allowed the ISO capabilities to be extended to ISO 25600 from a top sensitivity of ISO16000 in the α5000. The lowest sensitivity remains at ISO 100.
Continuous shooting speeds have increased to six frames/second (fps) by the new processor. The memory buffer is much larger than the α5000’s and able to accommodate up to 56 Large/Fine JPEGs, 23 RAW files or 22 RAW+JPEG pairs.
Video
The α5100’s video capabilities have been expanded with the addition of an option to record using the XAVC S codec, which is provided as an alternative to the standard AVCHD and MP4 codecs. But you need an SDXC memory card to support it.
XAVC S supports resolutions up to 3840 x 2160, uses MP4 as the container format with two-channel LPCM for the audio recording. Sony introduced it to its consumer products in April 2013 as a preparatory step towards 4K recording. It has been added via firmware updates to the RX100 III and α7S as well as the α5100 (so early models of the camera may not provide it).
The α5100 also supports the standard AVCHD and MP4 recording options as other Sony cameras, which are usable with SDHC and MemoryStick PRO-HG Duo cards. The table below shows the scanning, frame rates and bit rates available in movie mode.
|
Codec |
Resolution |
Scanning/frame rate |
Bit rate |
|
XAVC S |
1920 x 1080 |
60p/50p, 30p 25p, 24p |
50Mbps |
|
AVCHD |
1920 x 1080 |
60p/50p (PS) 60i/50i (FX) 60i/50i (FH) 25p/24p (FX) 25p/24p (FH) |
28Mbps 24Mbps 17Mbps 24Mbps 17Mbps |
|
AVC MP4 |
1440 x 1080 640 x 480 |
30fps/25fps 30fps/25fps |
12Mbps 3Mbps |
The BIONZ X processor enables downsampling of the video image after read-out, instead of line-skipping beforehand. This ensures better image quality with a reduction of artefacts plus improved focus tracking performance. Users can also adjust the AF drive speed and tracking duration for movie recording, with three settings for the former and two for the latter.
A new Dual Recording mode enables users to record simultaneously in MPEG-4and XAVC S or AVCHD formats. The MPEG-4 format is compressed to reduce the total file sizes for instant online sharing while users can select either the XAVC S or AVCHD format to preserve higher image quality for editing and post-production. The integrated HDMI type D output allows both 1080 50i and 1080 50p uncompressed 8-bit 4:2:2 video to be output to an optional external recorder.
Like the α5000, the α5100 has a built-in stereo microphone. Movie soundtracks are recorded in the Linear PCM 2-channel format for XAVC S movies, the AC-3 Dolby Digital format for AVCHD movies and the MPEG-4 AAC-LC format for web-quality MP4 videos.
The α5100 provides the same manual focus peaking and a zebra functions as its predecessor but adds a marker setting on the monitor that can display a centre marker, guide frame, aspect marker, safety zone and other useful features for video recording.
Picture Effects that can be used in movie mode include Posterisation (Colour and B/W), Pop Colour, Retro Photo, Partial Colour (R/G/B/Y), High Contrast Monochrome, Toy Camera (Normal/Cool/Warm/Green/Magenta) and Soft High-key. Users can also apply the following Creative Styles: Standard, Vivid, Portrait, Landscape, Sunset, Black & White, Sepia and tweak them with Contrast (-3 to +3 steps), Saturation (-3 to +3 steps) and Sharpness (-3 to +3 steps) adjustments.
XAVC S and AVCHD movie clips are limited to 29 minutes, while a 20-minute limit (or 2GB) applies to MPEG-4 clips, after which recording stops to prevent potential over-heating.
The menu also includes a Wind Noise Reduction function, albeit with only two settings: on and off. As with the α5000, there’s no provision for adding an external microphone, except via the Multi-accessory shoe and you will need the ECMXYST1M stereo microphone (RRP AU$199).
Wi-Fi and NFC
On-board Wi-Fi enables users to capture and share images via suitably equipped smart-phones. NFC capability makes it easier to connect the camera with compatible Android smart-phones and tablets by simply bringing the devices together. We’ve covered these functions in our review of the α7R.
You can capture a shot by touching an icon displayed on the smart device’s screen and use a second button to change some settings (exposure compensation, self-timer and review check).
When transferring shots from the camera to a smart device you can choose between Original, 2M and VGA sizes. But you can’t send raw files and only movies recorded in MP4 format can be transferred.
Images can be transferred from the camera to a computer connected to a wireless access point or wireless broadband router for backing-up files. But you must first install PlayMemories Home on the receiving device. They can also be transferred to a network-enabled TV set for viewing as slideshows. Slideshow settings (which include folder view, date view, effects, image group and image size options) can be selected by pressing the lower side of the control wheel.
Sony’s Wi-Fi system isn’t as refined as the systems in some other manufacturers’ cameras (notably recent M4/3 models from Olympus and Panasonic) because it doesn’t let you adjust camera settings from a connected smart device. But the linked mobile device can display a live view image on its screen and remotely control the camera’s shutter.
The growing portfolio of PlayMemories Camera Apps lets users access both free and paid apps that offer utilities and creative enhancements. Apps are available to suit the creation of portraits, detailed close-ups, sports, time lapse, motion shot and other popular genres.
Playback and Software
Playback options are in line with other Sony cameras and include the usual single image display (with or without shooting information RGB histogram & highlight/shadow warning), 6 or 12-frame index view and magnified displays with between 7.6x and 15.1x enlargement, depending on the original image size. Auto rotation of vertical shots is supported along with protection, deletion and DPOF tagging for individual shots.
Slideshows can also be played from the memory card and movie clips can be played with their soundtracks. Audio volume adjustment is also supported. A new feature enables in-camera creation of 4K slide shows that can be played back on ultra high definition TV sets. The HDMI port allows direct connection to HDTVs and TRILUMINOS Colour support is available when images are viewed on a TRILUMINOS display.
No software was provided with the review camera but owners can download Sony’s PlayMemories Home and Image Data Converter raw file processing applications from the company’s website. Remote Camera Control (which is used with Wi-Fi) is also available here.
The only user manual provided with the camera is a very basic printed instruction manual. For a comprehensive guide you must go online and access it via Sony’s website. It’s in a format that can be read on a smart-phone screen but this won’t be convenient for some potential users who would probably prefer a printed manual.
Performance
We tested the α5100 with the E PZ 16-50mm f/3.5-5.6 OSS lens, which is supplied with the camera in the standard single-lens kit. We have already reviewed the E PZ 16-50mm f/3.5-5.6 OSS lens in June 2014 with the α5000 camera.
Imatest showed the review camera plus 16-50mm combination to be capable of meeting the expected resolution for a 24-megapixel sensor at ISO 100 with JPEG files and exceeding it with ARW.RAW files. This suggests the new sensor and BIONZ X processor have significantly improved imaging performance since we reviewed the α5000. The graph below shows the results of our Imatest tests.
Subjective assessment of JPEG files straight from the camera showed them to be very sharp and colourful, even with the default standard Creative Style. Imatest confirmed a slight increase in saturation, mainly in warmer hues, especially for skin hues, although overall saturation was modest for a consumer-targeted camera. Saturation was slightly below average in raw files converted with Adobe Camera Raw.
Autofocusing with the single AF mode was as fast and silent in bright conditions as we found with the α5000 but it could still take up to a second to find focus in low light levels. We noticed an improvement in the continuous AF mode, which enabled recording to keep pace with moderately-paced moving subjects and slow movie pans.
Exposure metering was usually accurate, regardless of the lighting conditions and metering pattern used. However, having to use the monitor screen for framing shots still makes checking exposure levels difficult in daylight. Although the monitor brightness can be adjusted (in the setup menu) and a ‘sunshine’ setting is provided, shooting often defaults to ‘point-and-guess’ recording.
The digital zoom functions have been visibly improved since we reviewed the α5000. Although slight softening can be detected in shots taken with the maximum 4x magnification, contrast was much better and shots responded well to unsharp masking in post production.
The Dynamic Range Optimiser produced similar results to the previous camera’s and it was useful to have the additional Auto HDR setting (which hasn’t changed since the α5000) for scenes with extreme brightness ranges. This multi-shot control provides up to 6.0EV of difference in exposures across three shots, which are combined into a single JPEG file.
There has been a noticeable improvement in high ISO performance, particularly for available light shooting. Long exposures at night retained plenty of detail and shots taken at ISO 12800 were printable at snapshot size without noise granularity being obvious. Contrast and saturation declined as sensitivity increased and images were rather flat at ISO 25600, where noise was fairly obvious.
The built-in flash wasn’t powerful enough to produce correct exposures at the lowest ISO settings with a 50mm focal length. However, between ISO 400 and ISO 3200 shots received adequate exposure. Above this point, the camera was unable to compensate by adjusting exposures and progressive over-exposure occurred. Shots taken at the two highest sensitivity settings were essentially unusable.
White balance performance was a slight improvement on the results we obtained from the α5000. A slight warm cast remained in shots taken under incandescent lighting, while those taken with fluorescent lighting and flash had barely noticeable colour casts, with the fluorescent shots being a little on the warm side and the flash closest to neutral. All three presets over-corrected slightly, the various fluorescent lighting settings imparting slightly different colour casts. Manual measurement produced neutral colour rendition.
Since the fastest memory card we own is a Class 10 SDHC I (U1) card, we were unable to record movies in the XAVC S format. Video clips shot with the AVCHD and MP4 codecs were generally good, although both contrast and colour saturation were on the high side.
The stereo soundtracks were clear enough for amateur use. The built-in wind noise reduction filter, which is switched on and via a setting on page 8 of the camera menu, did a reasonably good job of muting wind noise. But it couldn’t handle very windy conditions.
The Wi-Fi and NFC functions worked as specified and it was easy to connect the camera to an NFC-capable Nexus 7 tablet with PlayMemories Mobile installed. Usability was essentially unchanged since the α5000 and the connection facilities remain fairly basic. Transfer speeds were largely unchanged.
Our timing tests were carried out with an 8GB Sony MemoryStick PRO-HG Duo memory card. The review camera took just over a second to power-up and extend the lens ready for the first shot.
Capture lag averaged of 0.3 seconds, which reduced to an average of 0.1 seconds with pre-focusing. Shot-to-shot times averaged 0.6 seconds without flash and 3.2 seconds with.
The average processing time for Large/ Fine JPEGs was 0.65 seconds, which extended to 0.84 seconds for each ARW.RAW file and 1.4 seconds for each RAW+JPEG pair.
With the fastest continuous shooting mode, the review camera could record a burst of 56 Large/ Fine JPEGs in 5.9 seconds, which is very close to specifications. It took 13.6 seconds to process this burst. Frame rates remained the same with raw file capture, although the capture rate slowed after 23 ARW.RAW frames. It took 15.1 seconds to process these files. Only 21 RAW+JPEG pairs could be recorded before the buffer memory filled. Processing this burst took just over 20 seconds.
Conclusion
The lack of a viewfinder will always be an issue for photographers who live in the Southern Hemisphere where clear skies and bright sunlight can make LCD screens unreadable. Aside from that, the α5100 is a good performer at a reasonable price.
We’re a little concerned about the disparity between the RRP on Sony’s website and what this camera is selling for on US-based online re-sellers. But if you check out local websites you will probably find it for less than the Australian RRP. (Typical online re-seller pricing at the time of this review ranged from around $680 to $800, which is less than you would pay to buy from a US site with shipping costs included.)
SPECS
Image sensor: APS-C type (23.2 x 15.4mm), “Exmor” APS HD CMOS sensor with 24.7 million photosites (24.3 megapixels effective)
Image processor: BIONZ X
Lens mount: Sony E-mount
Focal length crop factor: 1.5x
Digital zoom: Max. approx. 4x
Image formats: Stills ““ ARW.RAW (2.3 format), JPEG (DCF Ver. 2.0, Exif Ver.2.3, MPF Baseline compliant); Movies ““ XAVC S, AVCHD format Ver. 2.0 compliant, MP4 (H-264 compression)
Image Sizes: Stills ““ 3:2 aspect: 6000 x 4000, 4240 x 2832, 3008 x 2000; 16:9 aspect: 3008 x 2000, 4240 x 2400, 3008 x 1688; Movies: XACV-S – 1920 x 1080 at 60/50p, 30p, 25p and 24p; AVCHD – 1920 x 1080 at 60i/50i, 60p/50p and 25p (24M or 17M); MP4 – 1440 x 1080 and VGA at 30/25 fps
Image Stabilisation: Lens based
Dust removal: Charge protection coating on Optical Filter
Shutter speed range: Still images:1/4000 to 30 sec, Bulb, Movies: 1/4000 to 1/4 (1/3 steps) up to 1/50 in AUTO mode (up to 1/25 in Auto slow shutter mode); flash synch at 1/160 sec.
Exposure Compensation: Still images: +/- 3.0EV (1/3EV steps), Movies: +/- 2.0EV (1/3EV steps)
Exposure bracketing: 3 frames in 1/3 EV, 2/3 EV, 1.0EV, 2.0EV, 3.0EV increments
Other bracketing options: White Balance, DRO bracketing
Self-timer: 10/2 sec delay selectable, 10 sec delay 3/5 exposures selectable
Focus system: Fast Hybrid AF(179-point phase-detection AF/25-point contrast-detection AF) with eye AF, focus lock, built-in LED AF illuminator
Focus modes: AF-S (Single-shot AF), AF-C ( Continuous AF), DMF (Direct Manual Focus), Manual Focus
Exposure metering: 1200-zone evaluative metering with Multi-segment, Centre-weighted and Spot metering patterns
Shooting modes: iAUTO, Superior Auto, Programmed AE (P), Aperture priority (A), Shutter-speed priority (S), Manual (M), Movie (Programmed AE (P) / Aperture priority (A) / Shutter-speed priority (S) / Manual (M) ), Sweep Panorama, Scene Selection
Picture Effects: Posterisation (Colour or B/W), Pop Colour, Retro Photo, Partial Colour (R/G/B/Y), High Contrast Monochrome, Toy Camera (Normal/Cool/Warm/Green/Magenta), Soft High-key, Soft Focus (High/Mid/Low), HDR Painting (High/Mid/Low), Rich-tone Monochrome, Miniature(Auto/Top/Middle(H)/Bottom/Right/Middle(V)/Left), Watercolour, Illustration(High/Mid/ Low)
Creative Style Modes: Standard, Vivid, Portrait, Landscape, Sunset, Black & White, Sepia; adjustments for Contrast (-3 to +3 steps), Saturation (-3 to +3 steps), Sharpness (-3 to +3 steps); Dynamic Range Optimizer (Auto/Level (1-5), Auto High Dynamic Range (Auto Exposure Difference, Exposure Difference Level (1.0-6.0 EV, 1.0 EV step)
Colour space options: sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS Colour
ISO range: Auto, ISO 100-25600 equivalent (1/3 EV step with selectable lower and upper limits (movies: ISO 100-12800)
White balance: Auto/ Daylight/ Shade/ Cloudy/ Incandescent/ Fluorescent (Warm White/ Cool White/ Day White/ Daylight)/ Flash/ Underwater/ Colour Temperature (2500 to 9900K) & colour filter (G7 to M7(15-step), A7 to B7(15-step)/ Custom; AWB micro adjustment (G7 to M7, 15-step) (A7 to B7, 15-step)
Flash: Built-in flash GN 4.0 (in meters at ISO 100)
Flash modes: Flash off, Autoflash, Fill-flash, Slow Sync., Rear Sync.; Red-eye Reduction selectable
Flash exposure adjustment: +/- EV in 1/3, 1/2, or 1EV increments
Sequence shooting: Max. 6 shots/sec.
Buffer capacity: Max. 56 Large/Fine JPEGs, 23 RAW files or 22 RAW+JPEG pairs
Storage Media: Single slot for Memory Stick PRO Duo, Memory Stick PRO-HG Duo, Memory Stick XC-HG Duo and SD/SDHC/SDXC memory cards; UHS-1 compliant
Viewfinder: No
LCD monitor: Tilting 3-inch wide type TFT LCD touch screen with 921,600 dots
Playback functions: Single image (with or without shooting information RGB histogram & highlight/shadow warning), 12/30-frame Index View, Enlarged Display Mode (L: 15.1x, M: 10.7x, S: 7.6x, Panorama Standard: 19x, Panorama Wide: 29x), auto orientation (manual/off selectable), Slideshow
Interface terminals: Multi/Micro USB Terminal, Mass-storage, MTP, PC remote, NFC; HDMI micro connector (Type-D), BRAVIA Sync (link menu), PhotoTV HD, 4K Still Image PB
Wi-Fi function: IEEE 802.11b/g/n; Live View, Rec View, Wireless Touch AF shutter (Control settings for aperture, shutter speed, exposure, ISO sensitivity, white balance and Drive Mode), Wireless Release, Power Off; Selectable from iAuto / ART / PASM (Live Bulb, Live Time), NFC with one-touch remote/sharing
Power supply: NP-FW50 rechargeable lithium-ion battery; CIPA rated for approx. 400 shots/charge
Dimensions (wxhxd): Approx. 109.6 x 62.8 x 35.7 mm (excluding protrusions)
Weight: Approx. 224 grams (body only); 283 grams with battery and card
TESTS
Based upon JPEG files.
Based upon ARW.RAW files converted into 16-bit TIFF format with Adobe Camera Raw.
SAMPLES
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with flash illumination.
30-second exposure at f/4, 20mm focal length, ISO 100.
15-second exposure at f/5.6, 20mm focal length, ISO 800.
5-second exposure at f/8, 20mm focal length, ISO 6400.
4-second exposure at f/11, 20mm focal length, ISO 12800.
2-second exposure at f/11 20mm focal length, ISO 25600.
Flash exposure at ISO 100;50mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 800; 50mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 6400; 50mm focal length, 1/60 second at f/5.6.
Flash exposure at ISO 12800; 50mm focal length, 1/60 second at f/8.
Flash exposure at ISO 25600; 50mm focal length, 1/100 second at f/6.3.
16mm focal length, ISO 100, 1/160 second at f/5.6.
50mm focal length, ISO 100, 1/80 second at f/5.6.
Digital zoom; 50mm focal length, ISO 100, 1/80 second at f/5.6.
DRO switched off; 19mm focal length, ISO 100, 1/80 second at f/6.3.
Auto DRO; 19mm focal length, ISO 125, 1/60 second at f/4.5.
HDR 4 stops range; 19mm focal length, ISO 160, 1/60 second at f/4.5.
Backlit subject showing slight veiling flare; 35mm focal length, ISO 3200, 1/60 second at f/5.6.
Backlit subject without fill-in flash; 50mm focal length, ISO 100, 1/800 second at f/5.6.
The same subject with fill-in auto flash; 50mm focal length, ISO 100, 1/160 second at f/5.6.
16mm focal length, ISO 100, 1/200 second at f/8.
Handheld Twilight mode; 16mm focal length, ISO 800, 1/20 second at f/9.
24mm focal length, ISO 6400, 1/60 second at f/4.5.
28mm focal length, ISO 800, 1/2000 second at f/9.
16mm focal length, ISO 100, 1/250 second at f/11.
50mm focal length, ISO 100, 1/160 second at f/11.
Still frame from AVCHD movie clip recorded with 50i / 24M setting.
Still frame from AVCHD movie clip recorded with 50i / 17M setting.
Still frame from AVCHD movie clip recorded with 50p / 28M setting.
Still frame from AVCHD movie clip recorded with 25p / 24M setting.
Still frame from AVCHD movie clip recorded with 25p / 17M setting.
Still frame from MP4 movie clip recorded with 1440 x 1080 pixels.
Still frame from MP4 movie clip recorded with 640 x 480 pixels.
Rating
RRP: AU$899; US$698 (with SELP1650 lens)
- Build: 8.5
- Ease of use: 8.0
- Autofocusing: 8.8
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 8.8
