Sony Cyber-shot RX100 VII (DSCRX100M7)

      Photo Review 8.8

      In summary

      The latest iteration of Sony’s popular RX100 series features a redesigned sensor, upgrades autofocusing system, faster response times and a microphone port.

      Like its predecessors, the RX100 VII is designed for photographers who want a pocketable walk-around camera. It packs a lot of camera into a very small package, although users are required to work hard to locate and utilise the multitude of functions it provides.


      Full review

      The RX100 VII, which was announced in late July, is the seventh model Sony has released in the seven years since this popular series was introduced. Interestingly, it retains most of the key features of its predecessors, including the pocketable aluminium alloy body and 20-megapixel, 13.2 x 8.8 mm (1-inch type) sensor. The 24-200 mm (equivalent) zoom lens and NP-BX1 battery from the previous model also continue. But, under the hood, some significant changes have been made to improve overall performance.

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

      It’s interesting to track the development of the RX100 series of cameras from one generation to the next.  Each camera in the series uses the same basic body design with built-in optical stabilisation and support for raw file capture plus 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  introduced a new 24-200mm equivalent, f/2.8-/4.5 Zeiss Vario-Sonnar T*  lens but removed the ND filter, which was useful for controlling exposures in bright conditions. It also launched a new stacked Exmor RS sensor with integral DRAM memory, and an upgraded BIONZ X processor. Autofocusing speeds were improved and the buffer memory for burst shooting increased substantially.

      Rear and top views of the RX100 VI, the top[ view showing the lens extended for shooting. (Source: Sony.)

      Changes to the camera body for the new RX100 VII havew been  minimal, as shown in the illustrations above.  Further revisions to the sensor and processor have occurred , along with extensive improvements to autofocusing, with the new camera performing up to 60 AF/AE tracking calculations per second and delivering 20 fps blackout-free shooting  with AF/AE tracking.

      Sensor and Image Processing
      The RX100 VII features a new 1.0-inch type (13.2  x 8.8 mm) stacked 20.1-megapixel Exmor RS CMOS image sensor with DRAM chip and latest generation BIONZ X image processor. However, apart from the addition of an Extra-Fine JPEG setting, resolution and aspect ratio options are unchanged from previous models and the new camera offers the standard Sweep Panorama options.

      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.

      Aside from the optical zoom of the lens, the RX100 VII  provides three zoom options: Smart Zoom, which crops the image frame to achieve 1.4x zoom at 10 megapixels or 2x zoom at five megapixels; ClearImage Zoom, which magnifies the image with minimal degradation to provide 2x zoom at 20 megapixels, 2.8x zoom at 10 megapixels or 4x zoom at five megapixels and Digital Zoom, which ignores possible degradation but provides 4x magnification at 20M, 5.6x at 10M and 8x zoom at 5M.

      Despite not offering improvements in overall resolution, the new sensor and processor have enabled Sony to extend the sensitivity range to take in a new base of ISO 100 with extensions down to ISO 64 and ISO 80. The highest native sensitivity remains at ISO 12,800, although it can be extended to ISO 25600 through use of multi-frame noise reduction – but only for JPEGs.

      Also unavailable with raw file capture are the Smart Zoom, Clear Image Zoom and Digital Zoom functions, which rely upon cropping and/or interpolation to magnify the field of view. Up to 2x magnification is available with the Smart Zoom function, with 4x magnification provided by Clear Image Zoom and up to 8x at 5-megapixels with Digital Zoom.

      Who’s it For?
      Like its predecessors, the RX100 VII is designed for photographers who want a pocketable walk-around camera. It packs a lot of camera into a very small package, although users are required to work hard to locate and utilise the multitude of functions it provides, partly because the menu system is unnecessarily complex.

      Further complicating matters, as with previous models, the small size of the camera and its tiny controls will be challenging for anyone with large hands and/or limited dexterity. In addition, the only worthwhile instructions are online.

      Changes to the autofocusing system are the big news for the RX100 VII and they’re based upon the upgraded image sensor and       BIONZ processor. There are now 357 focal-plane phase-detection AF points covering 68% of the surface of the sensor plus 425 contrast-detection points, a significant increase on the 315-point phase detection / 25-point contrast detection system in the previous model.

      Improvements to focus processing algorithms mean the camera can perform AF/AE calculations at up to 60 times/second, enabling Sony to claim the lens can acquire focus in as little as 0.02 second. This is 0.01 second faster than the previous model.

      Sony’s ‘Real-time Tracking’ and ‘Real-time Eye AF’ capabilities have been introduced for the first time into a compact camera. ‘Real-time Tracking’ utilises artificial intelligence-based object recognition that also works when focus is acquired via the touch panel on the rear screen.  AI-based object recognition also underpins the ‘Real-time Eye AF’ capabilities by enabling the camera to detect and process eye data in real time, resulting in improved accuracy, speed and tracking of both human and animal subjects.
      Improvements to focus tracking have also improved continuous shooting performance, enabling the new camera to record fast-moving subjects at up to 20 fps with AF/AE tracking. While this is marginally slower than the 24 fps of the previous model, it comes with ‘no blackout’, which means a continuous display of the subject as you shoot.

      The RX100 VII also introduces a new drive mode, Single Burst Shooting, which can record bursts at 30, 60 or 90 fps for either JPEG or RAW format. Bursts in this mode, which uses the anti-distortion shutter, are limited to seven frames and focus and exposure are locked on the first frame. ‘Blackout-free’ shooting is supported up to 20 fps with both the EVF and LCD monitor.

      The RX100 VII’s basic video capabilities are similar to the previous model’s. As before, it can record 4K video clips at up to 30p (25p for PAL system) with full pixel readout and no pixel binning in high bit rate XAVC S format. However, a new menu setting allows users to lift the maximum clip length of approximately five minutes and record longer clips.

      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.

      Active SteadyShot stabilisation is now available for 4K recording as well as Full HD video. It combines the optical and digital stabilisation techniques to provide stabilisation that is eight times more effective than 4K Standard SteadyShot. Frames are slightly cropped when digital stabilisation is engaged.

      Another new addition is the recording of stabilisation data from the built-in gyro sensor in the movie metadata in Full HD clips. This information can be utilised when the clips are played back through the Movie Edit app, which works with Sony’s Imaging Edge mobile app and provides additional stabilisation.

      To some degree, Real-time Tracking and Real-time Eye AF can also be used when recording video clips. However Real-time Eye AF for Animals is not supported in movie mode. Even for stills shooting, it can’t be used in combination with tracking and doesn’t work for some animals.

      In line with current social media trends, the new camera can recognise when movie clips are being recorded with the camera in vertical (‘portrait’) format and tag the metadata to play it back with the same orientation. The flip-up ‘selfie’ screen carries over from the previous model.

      A new addition to the RX100 VII 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.

      The addition of a microphone socket to the right hand side panel enables users to take advantage of accessory mics. But without a hot-shoe, add-ons like microphones and external flashguns will need to be attached to the VCT-55LH accessory bracket (RRP AU$129).

      Other Improvements
      Improvements to the front-end LSI and BIONZ processor also deliver better image quality, higher sensitivities. Noise is reduced and shots appear sharper with richer, more accurate colour.

      Users can set a minimum shutter speed when using ISO Auto to counteract camera shake, while improvements to the Optical SteadyShot stabilisation system provide four stops of shake correction. The Anti-Distortion electronic shutter supports completely silent shooting as well as the ability to work at shutter speeds as fast as 1/32000 second to also minimise rolling shutter effects and enable photographers to shoot with wider apertures in bright conditions when a shallow depth of field is desired.

      Another welcome addition is the return of the interval timer function, which was removed from the RX100 VI. In previous models, this function relied on Sony’s PlayMemories Camera App but the new camera has a built-in interval timer that can be controlled directly via the camera’s menu.

      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 an invitation to ‘connect, learn, create’ at Sony Scene, an online resource for Australian photographers.

      Owners of the camera can download some of the manuals from the Support page on Sony’s website which also provides a more comprehensive online manual. Links to downloads of  Sony’s Imaging Edge software are also available.

      When shooting stills, we found the review camera’s performance was quite similar to the performance of the RX100 Mark VI. Fortunately, in contrast to our experience with the previous mode, the  RX100 Mark VII’s  ARW.RAW files can be converted into editable formats with Adobe Camera Raw  (our preferred raw file converter). Imatest showed the review camera was almost capable of meeting the expected resolution for a 20-megapixel sensor with JPEG files but exceeded expectations with ARW.RAW files, with the best performance at the native ISO 100 setting. The graph below shows the results of our sensitivity tests.

      The longer zoom lens showed a little less edge softening than the lens in the RX100 Mark VI we reviewed. Resolution was also highest at wider apertures (between 1/3 and one stop down from maximum aperture) and the shorter focal lengths.

      Diffraction began to kick in from about f/8 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, which is to be expected since it is corrected in the camera. 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 but JPEGs showed more constrained saturation than  the earlier model’s had in our Imatest tests. As usual, the saturation in raw files was even more restrained.

      Contrast in JPEGs was a little lower than we found in the RX100 VI, although the dynamic range recorded in JPEGs was quite similar. We noticed some softening in shots taken with the longest focal length, particularly when ambient contrast was relatively low. Sharpness also deteriorated slightly with longer focal lengths.

      Digital zoom shots were similar to those from the Mark VI, 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 VI.  We had to run our tests before it became completely dark to enable the slowest shutter speed of 30 seconds to deliver correct exposures at ISO 64 with our test subject.

      From that point, 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 of ISO 200 and below. At the other end of the scale, noise was a bit less visible at ISO 6400 than in low-light exposures but both softening and loss of contrast were more apparent.

      Noise-reduction processing increased softening and reduced contrast as sensitivity was raised. Exposures made at ISO 25600 with the Multi-Frame NR setting showed a cyan/green colour balance as well as a loss of both contrast and sharpness.

      The auto white balance setting produced close-to-neutral colours under fluorescent lighting and flash but, as before, 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. The lens was also more flare-resistant in backlit situations than the lens on the previous model, perhaps as a result of improved image processing.

      Bokeh at wide aperture settings was much as you’d expect from a fixed-lens, extended-zoom camera with a 1-inch type sensor. Low-contrast areas were relatively smoothly rendered but halos were common around brighter highlights in backgrounds.

      Video quality was similar to the footage recorded with the RX100 Mark IV and the new camera had similar requirements for recording with the XAVC S format at the maximum frame size and capture rates. As before, there was no evidence of moiré in any of the clips we shot. Autofocusing in movie mode was similarly fast and accurate.

      We found fewer instances of blown-out highlights in our recorded footage than we had with the previous model. But the new camera still tended to record video with a reduced dynamic range by default and contrast was slightly handled than in the previous model.

      The integrated stabilisation helped to keep hand-held footage steady and the EVF made framing easy in bright conditions. Audio quality in soundtracks was good enough for amateur use, although stereo presence wasn’t all that great.

      Our timing tests were conducted with a 64GB SanDisk SDXC UHS-3 card, which claims read/write speeds of 300 MB/s. On average, it took just under two seconds for the camera to activate when the card had been used previously in the camera. This is marginally faster than the previous model’s start-up time but not quick when compared with similar cameras from other manufacturers (most of which were tested with slower cards and recorded start-up times of 1.5 seconds or less).

      We found lag times of less than 0,1 second without pre-focusing and no capture lag when shots were pre-focused. Shot-to-shot times averaged 0.5 seconds without flash and 2.8 seconds with.

      As in the previous model, 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 1.2 and 2.0 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 51 Large/ExtraFine JPEGs in 2.3 seconds, which is close to the 20 fps specifications, without pausing or filling the buffer memory. Processing was completed within two seconds of the last frame recorded.

      With ARW.RAW files, the camera recorded 55 frames in 2.4 seconds without pausing. It took 13.8 seconds to process this burst.  We also recorded 55 RAW+JPEG pairs but this time it took 2.5 seconds and, again, the camera showed no signs of pausing. It took a 24.1 seconds to process this burst.

      When the mechanical shutter is used continuous shooting speeds fall to 10 fps. In this mode, the camera recorded 50 Large Extra Fine JPEGs in 4.6 seconds without showing any signs of slowing down. This represents a rate of 10.8 frames/second, which is faster than specified. Processing this burst took just over 12 seconds.


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      Image sensor: 13.2  x 8.8 mm Exmor RS CMOS sensor with 21 million photosites (20.1 megapixels effective)
      Image processor: BIONZ X
      A/D processing:  14-bit
      Lens:  Zeiss Vario-Sonnar T* 9.0-72mm f/2.8-4.5 lens (24 – 200mm 35mm equivalent); f/11 minimum aperture
      Zoom ratio
      : 8x optical; up to 4x digital
      Image formats: Stills – JPEG,  ARW 2.3 RAW, RAW+JPEG; Movies – XAVC S, AVCHD Ver. 2.0
      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, 2720 x 1528; 1:1 aspect: 3648 x 3648, 2544 x 2544, 1920 x 1920; Other settings: 3648 x 2056, 12416 x 1856, 8192 x 1856, 2160 x 3872, 2160 x 5536; Movies – 3840 x 2160 (30p/​25p/​24p), 1920 x 1080 (120p/​100p/​60p/​60i/​50p/​50i/​24p), 1824 x 1026 (250p/​240p), 1824 x 616 (500p/​480p/​250p/​240p), 1292 x 436 (500p/​480p), 1244 x 420 (1000p/​960p), 912 x 308 (1000p/​960p) 
      Shutter speed range
      : 30 to 1/32000 seconds plus Bulb
      Self-timer: 2, 5 or 10 seconds delay plus 3 or 5 consecutive shots with 10 sec. 5sec. or 2sec. delay selectable;  Bracketing shots with 10sec. 5sec. or 2sec. delay selectable
      Image Stabilisation: SteadyShot optical sensor-shift
      Exposure Compensation: +/- 3EV (in 1/3 EV steps)
      Focus system/range
      : Fast Hybrid AF (phase-detection AF/contrast-detection AF) with  AF-S, AF-C, DMF and manual modes; range: 8 cm to infinity at 9mm focal length, 100 cm to infinity at 72mm
      Focus area selection:  357 PDAF points, 425 CDAF areas; Centre, Flexible Spot (S / M / L), Expanded Flexible Spot, Lock on AF (Wide / Centre / Flexible Spot (S / M / L) / Expanded Flexible Spot), Eye AF; Touch Focus, Touch Pad AF
      Exposure metering/control: Multi Pattern, Centre Weighted, Spot, Entire Screen Average, Highlight modes
      Shooting modes:  AUTO(Intelligent Auto/Superior Auto), Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure, MR (Memory Recall) [body 3 sets / memory card 4 sets], Movie Mode (Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure), HFR Mode (Program Auto, Aperture Priority, Shutter Speed Priority, Manual Exposure), Panorama, Scene Selection
      Scene Presets: Portrait, Sports Action, Macro, Landscape, Sunset, Night Scene, Handheld Twilight, Night Portrait, Anti Motion Blur, Pet Mode, Gourmet, Fireworks, High Sensitivity
      Creative Styles: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia, Style Box
      Picture Effect modes: Toy camera, Pop Colour, Posterisation, Retro Photo, Soft High-key, Partial Colour, High Contrast Mono., Soft Focus, HDR Painting, Richtone Monochrome, Miniature, Watercolour, Illustration
      Picture Profiles: PP1-PP10 (Black Level, Gamma (Movie, Still, Cine1-2, ITU709, ITU709 [800%], S-Log2, S-log3, HLG, HLG1, HLG2, HLG3), Black Gamma, Knee, Colour Mode, Saturation, Colour Phase, Colour Depth, Detail, Copy, Reset)
      Dynamic Range Functions: Off, Dynamic Range Optimiser (Auto/Level 1-5), Auto High Dynamic Range (Auto Exposure Difference, Exposure difference Level (1.0-6.0EV, 1.0EV step)
      ISO range: Auto (ISO 100-12800), ISO 100-12800 selectable in 1/3 EV steps; extension to ISO 64 and ISO 80 available; extension to ISO 25600 available via multi-shot noise reduction mode (JPEG only)
      White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent (x3), Daylight, Flash, Underwater, Colour Temperature, Custom
      Flash modes/range (ISO auto): Built-in, pop-up flash with Auto, Flash On, Slow Synchro, Rear Sync, Flash Off modes / 0.4 m to 5.9 m at 9mm focal length, 1 m to 3.1 m at 72mm with ISO Auto; max. synch at 1/2000, +/- 2.0 EV compensation in 0.3EV steps
      Sequence shooting: Max. 90 fps for 7 frames in Single Burst Shoot mode; 20 frames/second with electronic shutter; 10 fps with mechanical shutter
      Storage Media: Memory Stick Duo, SD cards, UHS-I supported
      Viewfinder:  Pop-up 1.0 cm (0.39 type) EVF with 2,359,296 dots, 100% frame coverage, 0.59x magnification, 20 mm eyepoint, -4.0 to +3.0 dioptre adjustment, eye sensor
      LCD monitor
      :  Tiltable (up by 180o, down by 90o) 3-inch Xtra Fine TFT LCD with 921,000 dots, 4:3 aspect ratio
      Interface terminals/communications: Hi-Speed USB (USB 2.0) multi/micro terminal, HDMI type D micro jack, 3.5 mm Stereo mini microphone jack
      Wi-Fi: IEEE 802.11 b/g/n plus Bluetooth standard Ver. 4.1, NFC Forum Type 3 Tag compliant
      Power supply: NP-BX1 rechargeable battery pack, CIPA rated for approx. 260 shots/charge with monitor or 240 shots/charge with EVF; USB charging supported
      Dimensions (wxhxd): 101.6 x 58.1 x 42.8 mm
      Weight: Approx. 275 grams (body only; 302 grams (with battery and memory card)

      Distributor: Sony Australia; 1300 720 071;



      Based on JPEG files.

      Based on ARW.RAW files processed with Adobe Camera Raw.



      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 100, 1/320 second at f/6.3. 

      72mm  focal length, ISO 100, 1/320 second at f/5.

      Clear Image zoom; 72mm focal length, ISO 100, 1/200 second at f/4.5.

      Digital zoom; 72mm focal length, ISO 100, 1/200 second at f/4.5.

      30-second exposure at ISO 64; 19mm focal length at f/4

      25-second exposure at ISO 100; 19mm focal length at f/4.5. 

      10-second exposure at ISO 800; 19mm focal length at f/6.3.

      2-second exposure at ISO 6400; 19mm focal length at f/8.

      1-second exposure at ISO 12800; 19mm focal length at f/9.

      1/2-second exposure at ISO 25600; 19mm focal length at f/10. 

      Flash exposure at ISO 64; 72mm focal length, 1/50 second at f/4.

      Flash exposure at ISO 400; 72mm focal length, 1/50 second at f/4.

      Flash exposure at ISO 800; 72mm focal length, 1/50 second at f/4. 

      Flash exposure at ISO 1600; 72mm focal length, 1/50 second at f/4.

      Flash exposure at ISO 6400; 72mm focal length, 1/50 second at f/4.

      Flash exposure at ISO 12800; 72mm focal length, 1/50 second at f/4.

      Flash exposure at ISO 25600; 72mm focal length, 1/100 second at f/4

      Close-up with 9mm focal length, ISO 100, 1/500 second at f/3.2.

      Close-up at 72mm focal length, ISO 200, 1/320 second at f/4.5

      Backlighting; 9mm focal length, ISO 100, 1/1000 second at f/4.

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

      Backlighting; 34mm focal length, ISO 100, 1/8400 second at f/5.

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

      Comparison of shots taken with ISO 100 (left) at 1.3 seconds and the ISO 25600 Multi-Frame NR setting at 1/320 second; 18mm focal length, f/4.5.

      9mm focal length, ISO 25600, 1/200 second at f/4.5,

      9mm focal length, ISO 100, 1/125 second at f/5.

      47mm focal length, ISO 200, 1/160 second at f/4.5.

      65mm focal length, ISO 100, 1/200 second at f/4.5.

      50mm focal length, ISO 200, 1/100 second at f/5.

      72mm focal length, ISO 100, 1/30 second at f/4.5.

      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 FHD movie clip recorded with 50p / 50M setting.

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

      Still frame from XAVC S FHD movie clip recorded at 25p/16M.

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



      RRP:  AU$1999; US$1200

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