Sony α6400

      Photo Review 8.7

      In summary

      An update to the mid-range α6300 with improved autofocusing, time-lapse recording, a 180-degree flip-up touchscreen monitor and support for UHS-II memory cards.

      The relatively small size, light weight and weather resistance of the α6400 make it ideal for travellers.

      Sony’s E-mount range of lenses for cropped-sensor cameras covers focal lengths from 10mm (15mm equivalent in 35mm format) to 210mm (315mm equivalent), which will cover most potential users’ requirements.


      Full review

      Announced on 15 January, Sony’s α6400 camera comes almost three years after its predecessor, the α6300 was released. Between them came the α6500, a higher-featured model with in-built image stabilisation (IBIS), touch screen controls and a revised menu system. Positioned below the α6500, the α6400 includes a few ‘trickled-down’ features, including the latest-generation BIONZ X processor and an upgraded hybrid AF system. But it lacks IBIS and its touch controls are limited.

      Angled view of the Sony α6400 with the E PZ 16-50mm f/3.5-5.6 OSS kit lens. (Source: Sony.)

      While the α6400 is fitted with the same sensor as the α6300, the newer BIONZ X processor allows an increase in the native ISO range, which moves up to ISO 100-3200, with expansion to ISO 102400 available, the same range as the α6500. The α6400 is offered in body-only format or paired with Sony’s  E PZ 16-50mm f/3.5-5.6 OSS lens, which we reviewed in June 2014.  We received this kit for our review.

      What’s New?
      A highlight of the α6400 is its autofocusing system, which is supposedly derived from technology introduced in the α9 and results from the improvements to image processing provided by the BIONZ X chip, since the number of sensor points remains unchanged. According to Sony, the α6400 claims to be able to acquire focus in as little as 0.02 seconds and keep it on the subject, ensuring fast-moving subjects can be tracked and recorded.

      A hybrid  array of 425 phase-detect points and 425 contrast-detection AF points (up from 169 points in the α6300) covers approximately 84% of the image area. Sony has introduced new ‘Real-time Eye AF’ and ‘Real-time Tracking’ capabilities that provide further improvements.

      ‘Real-time Eye AF’ takes the existing eye-detection AF a step further, using object recognition to detect and process eye data in real time, resulting in improved accuracy, speed and tracking performance. Photographers are now able to select a subject’s eye as the focus point and whenever the subject looks at the camera it will activate a tracking function.

      Options in the sub-menu include Auto / Right Eye / Left Eye, and Switch Right / Left Eye.  Eye AF support for animals will be added in the middle of the year via a firmware update.

      The allied ‘Real-time Tracking’ function also uses object recognition with algorithms that can process colour, subject distance (depth), pattern (brightness) as spatial information to ensure accurate subject tracking. This function can be activated by half pressing the shutter button or assigned to a custom function.

      Internally, a few key changes have been made to the menu system, with colour-coded tabs and similar functions grouped together, along with a help screen for menus and star rating for images. Sony has added a ‘My Menu’ option for storing frequently-used combinations of settings but there’s still no front control dial for easy adjustment of settings.

      While retaining the same basic video capabilities as the α6300, the new camera adds support for an 8-bit HLG (Hybrid Log-Gamma) picture profile, which supports an Instant HDR workflow that enables direct playback of recordings on compatible TV sets.  S-Log2 and S-Log3 profiles are available for increased colour grading flexibility, along with clean HDMI output. There’s also an interval shooting mode for producing time-lapse movies, with editing available in the camera or via Sony’s Imaging Edge software.

      Other useful functions for video recording include time coding, zebra patterns, focus peaking, Gamma Display assist and proxy recording. The camera can also record Full HD at 100 fps in PAL format at up to 100 Mbps for slow-motion playback. Footage can be reviewed and edited into 4x or 5x slow-motion video files with Full HD resolution and the added benefit of AF tracking.

      Who’s it for?
      The relatively small size, light weight and weather resistance of the α6400 make it ideal for travellers, although they don’t distinguish it from its siblings, the α6300 and α6500. All three cameras have the same 23.5 x 15.6 mm Exmor CMOS sensor with 25 million photosites, which delivers an effective resolution of 24.2 megapixels. But they differ in several important ways.

      1. In-camera image stabilisation is only found in the α6500.
      2. Only the α6400 has a flip-up monitor that can be used for vlogging and taking ‘selfies’; the other models have screens that only tilt up through 90 degrees and down by about 45 degrees. But mounting a microphone on the camera’s accessory shoe will usually block the screen so it’s not exactly ideal for serious vloggers.
      3. The α6400 has the most sophisticated AF system of the three cameras
      4. The α6300 lacks touch controls.
      5. The α6400 is the only model capable of time-lapse recording.
      6. The α6400 has a more up-to-date image processor.
      7. The α6400 adds Bluetooth 4.1 wireless capabilities to the existing on-board Wi-Fi and NFC functions.
      8. The α6400 is the only model that can take advantage of the faster data transfer speeds of UHS-II memory cards, which should ensure smoother 4K movie recording.

      Sony’s E-mount range of lenses for cropped-sensor cameras covers focal lengths from 10mm (15mm equivalent in 35mm format) to 210mm (315mm equivalent), which will cover most potential users’ requirements. Like its siblings, the α6400 is compatible with the FE lenses designed for Sony’s ‘full frame’ cameras, although they tend to be larger and heavier than the cropped-sensor lenses.

      Build and Ergonomics
      Physical changes have been minor since the α6300, although the Sony press release says build quality has been ‘upgraded to maximise versatility’. Like its predecessor, the α6400 has a magnesium alloy body and is sealed against dust and moisture. Its shutter is rated for approximately 200,000 cycles, putting it a cut above an entry-level camera.

      Front view of the α6400 with no lens fitted and the monitor flipped up into the ‘selfie’ position. (Source: Sony.)

      The front panel is largely unchanged but an invisible Bluetooth 4.1 receiver has been added to the Wi-Fi antenna in the grip. The lens mount still dominates this panel, with two microphone holes above it. The lens release button is the only other control on this panel, aside from the embedded self-timer / AF illuminator LED just below the shutter button at the edge of the grip moulding.

      The rear panel of the α6400 with the monitor pulled out and tilted up.  (Source: Sony.)

      The monitor is now a flip-up (selfie-capable) touchscreen, although its resolution is unchanged at 921,600 dots. The touch controls have been extended to include a new Touch Tracking function, which quickly activates ‘Real-time Tracking’. Otherwise they comprise the standard Touch Pad, Touch Focus and Touch Shutter  capabilities.

      There are only two Custom function buttons on the camera: C1 on the top of the grip, right of the shutter button and C2 on the lower edge of the rear panel, where it doubles as a Delete button. Users can also assign custom functions to the AF/MF Button/AEL Button and the five buttons on the arrow pad.

      The top panel of the α6400 with no lens fitted, showing the control layout.  (Source: Sony.)

      The top panel’s control layout hasn’t changed since the α6300, which means there’s still no front control dial. In addition, the movie button remains very small and it’s still located on the corner of the camera body, just to the rear of the strap loop, where it’s difficult to reach.

      Another feature that could have been improved (but wasn’t) is the compartment in the base of the grip, which is shared by the memory card and battery. Although not quite as tight as the α6300’s, it’s still cramped, making it hard to insert and remove cards.

      Battery charging is still via a USB cable, which means a charger is an optional extra. This arrangement is typical of cameras designed for amateur snapshooters and it’s rather clumsily implemented. An extra battery plus the separate charger will cost you AU$99.

      Sensor and Image Processing
      Although resolution hasn’t changed since the α6300, and the new camera uses Sony’s BIONZ X image processing engine, the processing algorithms have been updated to provide a few significant performance boosts. Autofocusing has seen the main gains, although the highest ISO  has also jumped a stop from ISO 51200 to ISO 102400.

      Like its predecessor, the α6400 supports continuous shooting at up to 11 frames/second (fps) with  fixed focusing, along with 8 fps with AF and AE in the continuous live-view mode.  However, the buffer depth in the α6400 has increased to approximately 99 Large/Fine JPEGs, 46 RAW or 44 RAW+JPEG  files. That’s a big improvement over the 44 JPEG/21 RAW capacity of the α6300 but not as good as the α6500’s buffer which can hold roughly 300 JPEGs or 107 raw files.

      In line with other Sony cameras, the α6400 lets users choose between 3:2 and 16:9 aspect ratios and provides three levels of JPEG compression for each. The standard Sweep Panorama settings are also available with horizontal and vertical sweeping, each in two directions, plus a choice between standard and wide image sizes.

      Most of the video features offered by the α6300 carry over into the α6400, including the ability to record 4K clips with full pixel readout and no pixel binning. Sony has done some pruning in the video menu, removing the option to record in MP4 format and cutting back the AVCHD options to two: 50i / 24M and 50i /17M.

      The slow/quick recording mode in the α6300 is retained, with the ability to record Full HD video at up to 100 frames/second with a 100 Mbps bitrate (for PAL system users) for 4x slow motion movies or as slow as one fps for 25x quick motion recordings. AF tracking is supported in this mode.

      The α6400 introduces a new  HLG (Hybrid Log-Gamma) picture profile, which enables an Instant HDR workflow. This allows clips to be played back on compatible TV sets at 4K resolution.

      A new interval recording mode is available for time-lapse videos with intervals between one and 60 seconds. Up to 9999 shots can be recorded in a sequence and AE tracking sensitivity can be set to High, Mid or Low to allow for potential changes in exposure during the recording.

      Playback and Software
      Nothing much has changed in this area, save for the fact that Sony’s PlayMemories Mobile app has become Imaging Edge Mobile.  Like its predecessor, this app allows users to transfer still images and/or videos to a smartphone, supports remote shooting and provides location information to images captured by a camera. Users can also tag or caption files that are being transferred.

      Imaging Edge software also includes three desktop applications: Remote, Viewer and Edit, the latter enabling raw file conversion. PlayMemories Home is still available for downloading and it can be used to import XAVC S and AVCHD movie clips into your computer, but doesn’t support editing of XAVC S clips and AVCHD functionality is limited.

      We reviewed the camera in its kit format with the PZ 16-50mm f/3.5-5.6 OSS lens (SELP1650), which we reviewed back in June 2014. This lens is an average performer that provides the benefits of a compact size, powered zoom and built-in stabilisation. Sony has listed it at AU$499 on its website.

      Subjective assessment of shots taken with both lenses showed saturation of warmer hues in JPEG files had been pulled back a little but skin tones, in particular, showed a slightly greenish balance. This was confirmed in our Imatest tests, which showed overall saturation was modest and colour accuracy was quite good.

      Imatest showed the camera to be a capable performer with the relatively uninspiring kit lens, which imposed its own restrictions on the camera. Interestingly, the best results came from files recorded at ISO 200, one step above the presumed ‘native’ ISO rating for the sensor. We have no idea why this occurred and the differences in resolution were relatively minor.

      JPEG resolution around the centre of the frame was just below expectations for the camera’s 24-megapixel sensor, while ARW.RAW files converted into 16-bit TIFF format delivered results that were slightly above expectations. The graph below shows the results of our Imatest tests across the camera’s sensitivity range.
      As the graph above shows, resolution remained high from ISO 100 to ISO 3200, inclusive, and then declined slowly but steadily with a sharp drop between ISO 25600 and ISO 51200 and a further fall at ISO 102400 for JPEG files. Raw files held up a little better at high sensitivity settings. As with the α6300, the difference between centre and edge resolution across the camera’s sensitivity range was comparatively small

      Low light performance was similar to the α6300’s and generally very good. We found little noise in long exposures at ISO settings up to 12800, with colour noise becoming noticeable at ISO 25600. The top two settings were visibly noise-affected, although contrast remained relatively high.  At a pinch, ISO 51200 images might be printable at snapshot size.

      Flash performance was inconsistent across the camera’s sensitivity range, largely because the auto exposure in P mode wasn’t set up for high ISO settings. While shots taken between ISO 100 and ISO 800 were slightly under-exposed, by ISO 6400 over-exposure had begun to make shots unusable. Despite the camera’s attempts to compensate, shots taken at the four highest ISO settings were so over-exposed that details were lost.

      The auto white balance setting produced close-to-neutral colours under fluorescent lighting but, as expected, failed to eliminate the orange cast from incandescent lights and warm-toned LEDs. Flash shots were slightly warm toned as well.

      There’s no pre-set for LED lighting but the incandescent and relevant fluorescent pre-set tended to over-correct and it required manual measurement to produce neutral colours under all three types of lighting. As in the α6000 and α6300, both the EVF and monitor screens appeared to render incandescent lighting with much less warming than appeared in the recorded image, a feature potential users should take note of.

      The highly-promoted improvements to the camera’s autofocusing system were difficult to confirm objectively although, in practice, we found focusing was quite fast. Whether it was of the same calibre as the α9’s system (or even one of the recent α7 models, is debatable.

      With static subjects, the camera was able to lock on almost instantaneously, even in very low light levels (after dark, for example).  Tracking moving subjects depended on the speed and direction of the movements, and we detected some issues with locking onto human subjects as they passed across the field of view or approached the camera.

      Three sequential shots from a low-speed burst sequence highlight some of the autofocusing issues we encountered. These frames were chosen because they show the subjects approaching at an angle and also what happens when somebody steps in between the camera and the tracked subjects.

      In addition, while recording movie clips (where the Eye-AF function is disabled), the viewfinder was often unable to keep pace with subject motion, although most recordings were actually quite sharp. This difficulty could also affect high-speed bursts of still shots, particularly in flat, low-contrast lighting.

      Video quality was similar to the α6300’s and generally very good. As expected, the 4K recordings are noticeably superior to those made in the Full HD (1920 x 1080) modes. An SDXC U3 card is required to access the 4K recording modes so anyone using slower cards will be stuck with fairly ordinary-looking movie clips.

      We weren’t able to test the camera with an external microphone but the built-in stereo mics provided acceptable audio quality for home movies. Once again, the wind suppression filter suppressed ambient wind noise without totally removing it.

      Our timing tests were carried out with a 64GB Panasonic SDHC I U3 Class 10 memory card, which claims read/write transfer speeds of 95/90 MB/second but is twice the capacity but the same speed as the card we used for testing the α6300. The first time a card is used, Sony cameras have to ‘build an image database’ (a practice unique to Sony) so we carried out our tests with a card that had already undergone that process.

      The review camera powered up for shooting in less than a second, which is about average for a CSC and a bit faster than the time taken for the α6300. We measured an average capture lag  of 0.15 seconds, which was eliminated when shots were pre-focused. Shot-to-shot times averaged 0.5 seconds without flash and 4.5 seconds with.

      In the high-speed continuous shooting mode, we recorded a burst of 140 Large/ Fine JPEG frames in 19 seconds before the camera paused, which equates to approximately 7.4 frames/second, slightly below specifications. It took approximately 54 seconds to process this burst

      When shooting a burst of ARW.RAW files in the same mode, recording paused after 62 frames, which were captured in seven seconds, which is just under nine frames/second. Processing was completed within 23 seconds of the last frame captured. With RAW+JPEG pairs, the camera paused after recording 47 frames, which were captured in 6.2 seconds, a frame rate of just under eight frames/second.

      An indicator icon in the top left hand corner of the monitor makes it much easier to measure  processing times than the set-up in the α6300. But like that camera, for each of the bursts we recorded with the α6400, the camera remained locked for at least 30 seconds.


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      Image sensor: 23.5 x 15.6 mm Exmor CMOS sensor with 25 million photosites (24.2 megapixels effective)
      Image processor: BIONZ X
      A/D processing: 14-bit
      Lens mount: Sony E-mount
      Focal length crop factor: 1.5 x
      Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31), RAW (Sony ARW 2.3 format), RAW+JPEG; Movies: XAVC S and AVCHD
      Image Sizes: Stills – 3:2 aspect: 6000 x 4000, 4240 x 2832, 3008 x 2000; 16:9 aspect: 6000 x 3376, 4240 x 2400, 3008 x 1688; Movies: XAVC S 4K: 3840 x 2160 (25p, 100M / 25p, 60M), XAVC S HD: 1920 x 1080 (100p, 100M / 100p, 60M / 50p, 50M / 50p 25M / 25p, 50M, 25p, 16M AVCHD: 1920 x 1080 (50i, 24M, / 50i, 17M)
      Image Stabilisation: Lens based
      Dust removal: Charge protection coating on optical filter
      Shutter (speed range): Electronically-controlled, vertical-traverse, focal-plane type (30 seconds to 1/4000 second); flash sync. at 1/160 second; electronic front curtain shutter available
      Exposure Compensation: +/-5 EV in 1/3 or 1/2EV steps
      Exposure bracketing: 3 or 5 frames in 1/3, 1/2, 2/3, 1.0, 2.0, or 3.0 EV increments; 9 frames in 1/3, 1/2, 2/3, or 1.0 EV increments.
      Other bracketing options: White Balance bracket, DRO bracket
      Self-timer: 2, 5  or 10 seconds delay plus continuous, bracketing and self-portrait self-timer modes
      Intervalometer:  Yes, for time-lapse recording
      Focus system: Fast Hybrid AF with contrast detection (sensor) and phase detection
      AF points: 425 points (phase-detection AF) / 425 points (contrast-detection AF)
      Focus modes: Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF) / S-AF + MF / AF tracking (C-AF + TR) / Preset MF; C-AF lock (5 steps), AF scanner (3 types); AF targeting pad; AF limiter; 3x , 5x , 7x , 10x , 14x Magnified frame AF; face/eye detection AF; Manual focus assist (magnification and peaking)
      Exposure metering:  1200-zone evaluative plus Spot (Standard/Large), Entire Screen Avg., Highlight) metering patterns
      Shooting modes: AUTO (iAuto/Superior Auto), Programmed AE (P), Aperture priority (A), Shutter-speed priority (S), Manual (M), Movie / Sl&Q Motion (Programmed AE (P) / Aperture priority (A) /Shutter-speed priority (S) / Manual (M) ), Sweep Panorama, Scene Selection
      Creative Style modes: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn leaves, Black & White, Sepia, Style Box (1-6), (Contrast (-3 to +3 steps), Saturation (-3 to +3 steps), Sharpness (-3 to +3 steps)
      Picture Profile parameters: Black level, Gamma (Movie, Still, Cine1-4, ITU709, ITU709 [800%], S-Log2, S-Log3, HLG, HLG1-3), Black Gamma, Knee, Colour Mode, Saturation, Colour Phase, Colour Depth, Detail, Copy, Reset
      In-camera effects: Posterisation (Colour), Posterisation (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)
      Dynamic Range functions: Dynamic Range Optimiser (Auto/Level 1-5), Auto High Dynamic Range (Auto Exposure Difference, Exposure Difference Level (1-6 EV, 1.0 EV steps)
      Colour space options: sRGB (with sYCC gamut) and Adobe RGB
      ISO range: Auto (ISO 100-6400) : ISO 100-32000 selectable for stills with extension to ISO 102400 available; Movies: ISO 100-32000
      White balance: Auto, ; +/-  steps of Blue/Amber, Magenta/Green bias adjustments
      Flash: Built-in GN 6 (m/ISO 100) flash plus hot-shoe for external flash
      Flash modes: Redeye, Fill-in, Flash Off, Red-eye Slow sync. (1st curtain), Slow sync. (1st curtain), Slow sync. (2nd curtain), Manual (1/1 (FULL) ~ 1/64)
      Flash exposure adjustment: +/- 3 EV in 1/3, 1/2, 1 EV steps
      Sequence shooting: Max. 8 shots/sec. with AF/AE tracking; up to 11 fps selectable with locked AF
      Buffer capacity: Max. 99 Large/Fine JPEGs, 46 RAW, 44 RAW+JPEG  files
      Storage Media: SD, SDHC, SDXC cards (UHS-I, II compatible)
      Viewfinder:  1.0 cm EVF with 2,359,296 dots, 100% frame coverage, approx. 1.07x magnification, 23mm eyepoint, -4.0 to +3.0 dpt adjustment
      LCD monitor: Tiltable (90 degrees up, 45 degrees down) 3-inch TFT with 921,600 dots,
      Playback functions: Single (with or without shooting information Y RGB histogram & highlight/shadow warning), 12/30-frame index view, Enlarged display mode (L: 16.7x, M: 11.8x, S: 8.3x, Panorama (Standard): 19.2x, Panorama (Wide): 29.1x), Auto Review (10/5/2 sec, Off), Image orientation (Auto/Manual/Off selectable), Slideshow, Panorama scrolling, Folder selection (Date/ Still/ MP4/ AVCHD/XAVC S HD/XAVC S 4K), Forward/Rewind (movie), Delete, Protect
      Interface terminals: USB 2.0, micro HDMI (type D), 3.5 mm stereo mini jack (microphone)
      Wi-Fi function: Built-in (IEEE 802.11b/g/n)  with NFC and Bluetooth 4.1
      Power supply: NP-FW50 rechargeable Li-ion batteries in special base pack; CIPA rated for approx. 360 shots/charge (EVF) of 410 shots/charge  (monitor)
      Box contents: AC Adaptor (AC-UUD12), accessory shoe cap. body cap, eyepiece cup, micro USB cable, rechargeable battery (NP-FW50), shoulder strap
      Dimensions (wxhxd): Approx. 120.0 x 66.9 x 59.7 mm (excluding protrusions)
      Weight: Approx. 403  grams with battery and 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. 

      30-second exposure at ISO 100; 35mm focal length, f/5.6.

      10-second exposure at ISO 800; 35mm focal length, f/6.3.

      2.5-second exposure at ISO 6400; 35mm focal length, f/8.

      1.6-second exposure at ISO 12800; 35mm focal length, f/9.

      1-second exposure at ISO 25600; 35mm focal length, f/10.

      1-second exposure at ISO 51200; 35mm focal length, f/13.

      1/2-second exposure at ISO 102400; 35mm focal length, f/14.

      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 3200; 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 102400; 50mm focal length, 1/160 second at f/10.

      Close-up; 16mm focal length, ISO 200, 1/800 second at f/3.5.

      Close-up; 50mm focal length, ISO 200, 1/400 second at f/5.6.

      16mm focal length, ISO 51200, 1/1000 second at f/8.

      50mm focal length, ISO 102400, 1/3200 second at f/5.6.

      16mm focal length, ISO 100, 1/80 second at f/5.6.

       18mm focal length, ISO 100, 1/80 second at f/5.6.

      18mm focal length, ISO 100, 1/40 second at f/4.5.

      20mm focal length, ISO 100, 1/60 second at f/5.6.

      36mm focal length, ISO 640, 1/30 second at f/5.6.

      16mm focal length, ISO 1000, 1/30 second at f/3.5.

      50mm focal length, ISO 2500, 1/80 second at f/5.6.

      34mm focal length, ISO 250, 1/60 second at f/5. From ARW.RAW file.

      50mm focal length, ISO 200, 1/80 second at f/5.6. From ARW.RAW file.

      48mm focal length, ISO 800, 1/80 second at f/5.6. From ARW.RAW file.

      28mm focal length, ISO 640, 1/50 second at f/4.5. From ARW.RAW file.

      50mm focal length, ISO 500, 1/80 second at f/5.6. From ARW.RAW file.

      Still frame from XAVC S 4K video clip; 25p 100Mbps.

      Still frame from XAVC S 4K video clip; 25p 60Mbps.

      Still frame from XAVC S HD 1080p video clip; 50p 50Mbps.

      Still frame from XAVC S HD 1080p video clip; 50p 25Mbps.

      Still frame from XAVC S HD 1080p video clip; 25p 50Mbps.

      Still frame from XAVC S HD 1080p video clip; 25p 16Mbps.

      Still frame from
      XAVC S HD 1080p video clip; 100p 100Mbps.

      Still frame from XAVC S HD 1080p video clip; 100p 60Mbps.

      Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 24Mbps.

      Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 17Mbps.


      RRP: AU$1499; US$900  (body only); AU$1699 with 16-50mm kit lens

      • Build: 8.9
      • Ease of use: 8.7
      • Autofocusing: 8.7
      • Still image quality JPEG: 8.8
      • Still image quality RAW: 8.9
      • Video quality 4K: 8.9
      • Video quality other: 8.6