Sony ILCE Alpha 9 II
Sony’s flagship model is aimed squarely at professional photographers. Key improvements in the α9 Mark II include wireless voice annotation and automatic voice to text conversion, which can work together for transferring images with attached voice memos via FTP (file transfer protocol). This will be a boon for sports photographers and editors as it can be set up either automatically or manually to suit individual photographers. FTP settings within the app can also be sent to a camera via Bluetooth for a faster workflow.
Also useful for pro shooters are the camera’s multimedia capabilities, which include internal recording of UHD 4K movies at multiple frame rates up to 30 fps with full pixel readout. As before, the camera also supports Full HD 1080p recording at up to 100 fps for PAL system users.
Sony has also increased its range of FE lenses to include the longer telephoto lenses that were missing when the α9 was released.
Sony’s new α9 Mark II full-frame mirrorless camera builds upon the success of its predecessor, sporting the same 35.6 x 23.8 mm stacked CMOS sensor with integral memory as its predecessor but introducing a new BIONZ X processor that works with front-end LSI to provide better noise reduction and enhance speed across a range of functions, including image processing, AF/AE detection and face detection and accuracy. The body also has better sealing against moisture and dust. The review camera was supplied with the FE 24-70mm f/2.8 GM lens and the FE 100-400mm f/4.5-5.6 GM OSS lens, which is reviewed separately.
Angled view of the α9 Mark II camera with the FE 24-70mm f/2.8 GM lens that was used for our review. (Source: Sony.)
Physically, the new camera looks a lot like its predecessor, although the magnesium alloy chassis has been redesigned to introduce a welcome changes to the grip, controls and user interface. As well as better weather sealing, it also introduces internal changes (outlined below) that make the new camera more capable and up-to-date, including better power management to extend the battery capacity from approximately 480 shots/charge with the EVF or 650 shots/charge with the monitor to 500 and 680 shots/charge, respectively.
Sony provides the following features comparison to show the differences between the original α9 and the new α9 Mark II.
|Speed||Bursts with electronic shutter||• Hi: max. 20 fps• Mid: max. 10fps • Lo: max. 5 fps||• Hi: max. 20 fps Mid: max. 10fps • Lo: max. 5 fps|
|Bursts with mechanical shutter||• Hi: max. 5 fps • Mid: max. 5fps • Lo: max. 2.5 fps||•Hi: max. 10 fps • Mid: max. 8 fps • Lo: max. 3 fps|
|Real-time Eye AF||• Stills: Human (Right/Left Eye Select) /Animal • Movies: —||• Stills: Human (Right/Left Eye Select) /Animal
• Movies: Human (Right/Left Eye Select)
|5-axis image stabilisation effect||5.0 steps 5.5 steps||5.0 steps 5.5 steps|
|Communication||LAN Terminal • 100BASE||TX • 10BASE||T • 1000BASE|
|Built in Wireless LAN (Wi-Fi)||IEEE 802.11b/g/n (2.4GHz band)||IEEE 802.11a/b/g/n/ac (2.4GHz band/5GHz band)|
|USB||Multi/Micro USB Terminal (USB 2.0)||Multi/Micro USB Terminal (USB 2.0)
• USB Type-C Terminal (USB 3.2 Gen 1)
|Related functions||Background transfer to FTP server
• Original file size saved to computer during PC Remote
• PC remote shooting via USB and wired LAN
|Background transfer to FTP server
• Original or 2MP file size saved to computer during PC Remote
• PC remote shooting via USB, Wi-Fi and wired LAN
• Voice Memo
• Save/Load FTP Settings function
• Improved response
|Reliability||Slot 1: UHS-I/II SD card,
Slot 2: UHS-I SD card /Memory Stick Duo compatible
|Slot 1 & 2: UHS-II SD card compatible
• Refined grip, buttons/controls
• Improved dust-and moisture-proof performance
|Operability||Save/Load Settings function
• Focus frame positioning while the shutter button
• 10/100-image review jump during playback
• New 4:3 aspect ratio (stills)
• Digital Audio Interface support
• Extra Creative Style control (sharpness up to +/-5)
Who’s it For?
With a price tag of AU$7499 (RRP) for the body alone, this flagship model is aimed squarely at professional photographers. It appears to have been developed with the 2020 Tokyo Olympics in mind since most of the improvements are targeted at professional sports photographers. Sony has also increased its range of FE lenses to include the longer telephoto lenses that were missing when the α9 was released, among them the FE 100-400mm f/4.5-5.6 GM OSS lens (INSERT LINK) as well as the longer FE 600mm f/4 GM OSS and FE 200-600mm f/5.6-6.3 G OSS lenses, which were announced in June, 2019.
Key improvements in the α9 Mark II include wireless voice annotation and automatic voice to text conversion, which can work together for transferring images with attached voice memos via FTP (file transfer protocol). This will be a boon for sports photographers and editors as it can be set up either automatically or manually to suit individual photographers. FTP settings within the app can also be sent to a camera via Bluetooth for a faster workflow.
Also useful for professional shooters are the camera’s multimedia capabilities, which include internal recording of UHD 4K movies at multiple frame rates up to 30 fps with full pixel readout. As before, the camera also supports Full HD 1080p recording at up to 100 fps for PAL system users.
A significant downside to this camera remains Sony’s menu system which is unnecessarily complex. There are six ‘folders’ covering stills and movie shooting, network connections, playback, set-up functions and a My Menu folder for customising controls. However, the stills folder has 14 pages, while the movie folder has 11, the network folder three, the playback folder four and the setup folder seven so it’s something of a relief to find only one in the My Menu folder.
While the body of the new camera is still made from durable magnesium alloy and just as solid as the original’s, there have been some important changes, the most obvious being the larger, more comfortable grip moulding. It provides greater comfort and a more secure hold and is compatible with the Sony VG-C4EM Vertical Grip. Stronger dust and moisture sealing has been also applied to all body seams as well as the battery compartment cover and media slot.
Front view of the α9 Mark II camera with no lens fitted. (Source: Sony.)
Sony has also enlarged key buttons, including the AF-ON button, and adjusted them to provide better responsiveness. The multi-selector joystick has been refined; the exposure compensation dial now includes a lock button and the rear control dial now sits on top the camera instead of being semi-embedded.
Rear and top views of the α9 Mark II camera, the latter with no lens fitted. (Source: Sony.)
Both card slots are now compatible with UHS-I and UHS-II SD cards to provide higher overall capacity and faster read/write speeds, which will be necessary with the new camera. The position of Card 1 is now above Card 2, a more logical arrangement than in the previous model, where they were reversed.
Side view of the α9 Mark II body showing the dual card slots. (Source: Sony.)
A digital audio interface has been added to the camera’s Multi Interface Shoe, enabling the new ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit to be connected directly for cleaner, clearer audio recordings. A new USB-C 3.2 connector has been added to the existing micro-USB port, which remains.
Internally, the changes are more extensive – and significant. The shutter mechanism has been redesigned to suppress even slight movements that might cause image blur. The mechanical shutter also operates more quietly and supports continuous shooting at 10 fps, which is twice the speed of the previous model’s. Durability is unchanged and still rated at 500,000 cycles. The electronic shutter still operates at 20 fps, the same as in the α9.
New AF algorithms provide better precision and performance with the basic hardware inherited from the α9. Focusing is controlled by 693 focal-plane phase-detection AF points covering approximately 93% of the frame, augmented by 425 contrast AF points.
The AF system can continuously track, even during continuous shooting, at aperture settings of f/16 or higher to provide better accuracy for shots taken at slower shutter speeds. Selectable AF modes include Real-time Eye AF with right eye / left eye selection, Real-time Eye AF for animals (augmented with a new algorithm), Real-Time Eye AF for movies, Real-time Tracking, selectable focus frame colour and Touch Pad focus point control while using the viewfinder.
Viewfinder responsiveness has also been enhanced, although the 3,686,000-dot OLED Tru-Finder is essentially the same as in the previous model. Blackout-free operation allows photographers to follow a subject and action without interruption to the EVF
Other updates introduced as a result of user feedback include improved connectivity through gigabit communication via the built-in 1000BASE-T Ethernet terminal and support for File Transfer over SSL or TLS encryption (FTPS). The speed of the camera’s built-in wireless LAN functionality has also been increased by adding a stable and fast 5 GHz (IEEE 802.11ac) band to the 2.4 GHz capability provided in the α9.
A new Voice Memo function allows spoken information to be attached to images, giving photographers a quick and easy way to communicate with editors and enabling them to tag images captured via wireless remote control. Alternatively, they can use the Transfer & Tagging add-on in Sony’s Imaging Edge bundled software to transfer voice tags with the images to a mobile device and have the voice memos automatically converted to text and added to the JPEG images in the form of IPTC metadata.
Aspect ratio options have been increased with the addition of 4:3 and 1:1 settings to the original model’s 3:2 and 16:9 settings. The new camera’s setup menu contains a new entry that lets users save the camera settings to a memory card and read them back again.
Wi-Fi connectivity is largely unchanged with IEEE 802.11b/g/n support plus NFC forum Type 3 Tag compatibility and low-energy Bluetooth V. 4.1 (2.4GHz band). The system supports the usual image transfer and remote control functions via the PlayMemories Mobile app, which also allows geotagging data to be transferred to image files via Bluetooth from a connected smartphone.
Sensor and Image Processing
While the 24.2-megapixels 35.6 x 23.8mm back-illuminated Exmor RS CMOS sensor is unchanged from the α9, the new BIONZ X processing chip has provided improvements to image processing speeds and enabled better noise-reduction processing. Interestingly, the ISO sensitivity range is the same as the α9’s with a native range of 100 to 25600 and extensions to ISO 50 and ISO 204800 available.
The buffer memory for continuous shooting has been increased in the new camera, although only for RAW+JPEG pairs, where it has risen from 118 to 226. Recording to both cards is now less likely to reduce the buffer capacity and slow capture rates because of the faster processor, although that will depend on the speeds of the cards in use.
The APS-C/Super 35mm crop mode that enables cropped-frame E mount lenses to be used and crops the sensor accordingly has been carried over from the previous model. This reduces the maximum effective resolution to 10 megapixels but can provide an effective focal length extension of 1.5x when shooting movies.
Video recording capabilities are mostly unchanged although the number of settings available has been reduced. Two video codecs are supported: the proprietary XAVC S (for 4K and high bit rate FHD recordings) plus the regular AVCHD format. Cinema 4K is not supported, although the camera includes an XAVC S HD mode that records movies ‘in crisper quality’ with more data, although only at 1920 x 1080 pixel resolution.
PAL format users can select from the following formats, frame sizes and frame rates:
- XAVC S 4K (3840 x 2160p) at 25 fps (100 Mbps or 60 Mbps)
- XAVC S FHD (1920 x 1080p) at 50p (50 Mbps or 25 Mbps) or 25p (50Mbps or 16 Mbps)
- XAVC S FHD (1920 x 1080p) at 100p (100 Mbps or 60 Mbps)
- AVCHD FHD (1920 x 1080i) at 50i fps (24 Mbps or 17 Mbps)
The MP4 HD (1280 x 720p) at 25 fps (6 Mbps) option offered by the original α9 is no longer available, except for proxy movies, which can be recorded simultaneously with XAVC S movies HD resolution but with a frame rate of only 9 fps. Slow and Quick recording modes are also provided, although only for recording at Full HD resolution.
The new camera supports HDMI output to an external recording device but, surprisingly, it still lacks the S-Log profiles that are provided in the α7S II. In fact, the specifications lists on Sony’s website and in the camera’s used manual show no Picture Profiles are available for either stills or movies.
Playback and Software
Both are similar to other Sony high-end cameras and, as before, not well covered in the basic printed manual that comes with the camera. As is common in the latest crop of digital cameras, the software must also be downloaded and a link is provided in the printed manual.
The user’s manual, which is packaged with the camera as a series of booklets in different languages is also available to download available in PDF format. It’s not quite as comprehensive as the Help guide, which can only be viewed online.
We tested the review camera with two lenses: the Sony FE 24-70mm f/2.8 GM (model SEL2470GM) lens, which was reviewed in June 2016 and the new Sony FE 100-400mm f/4.5-5.6 GM OSS lens, which is reviewed separately. The FE 24-70mm lens was used for our Imatest tests.
Because the α9 Mark II is not yet supported by Adobe Camera Raw, our preferred raw file converter, we had to use Sony’s Imaging Edge software, which is offered as a free download. Using this software means we can’t make full comparisons between the results we obtained from the original α9 and the α9 Mark II, even though the same lens was used to test both cameras.
Our Imatest results showed the review camera came close to meeting expectations for its 24-megapixel sensor with JPEG files but comfortably exceeded expectations with ARW.RAW files that had been converted into 16-bit TIFF format. As before, some edge softening was detected at the 50mm focal lengths we tested we used for our tests. We chose this focal length because it delivered the highest central resolution with the original camera.
The graph above shows Imatest values for JPEG and raw files across the camera’s sensitivity range. It’s a good reflection of the results we obtained with our shooting tests, which showed a gradual loss of resolution as sensitivity was increased and confirmed the advantage of the high-bit-depth raw files over the 8-bit JPEGs.
Colour rendition in our Imatest tests was very similar to the hues we obtained with the α9 so it wasn’t surprising to find the results of our white balance tests were almost identical with both cameras. As before, overall performance was above average, with only traces of colour casts present in shots taken under incandescent, fluorescent and warm-toned LED lighting. These were easily removed with even basic editing software and there are enough in-camera adjustments to tweak colour reproduction on-the-fly.
Video quality was similar to the results we obtained from the original α9 at all resolution and frame rate settings. The autofocusing system proved able to find and track moving subjects, regardless of whether they were large or small, human or machines. Soundtrack quality was similar to the α9’s and a cut above average for a camera with limited video capabilities.
Our timing tests were carried out with the same 64GB Lexar Professional SDXC card as we used with the original α9, which is rated at300MB/second. As before, the review camera powered up less than a second, which was good by current standards.
Regardless of which shutter was used, capture lag averaged 0.05 seconds and was eliminated by pre-focusing. As before, processing of JPEGs, ARW.RAW files or RAW+JPEG pairs, almost instantaneous and shot-to-shot times depended upon how quickly we could keep pressing the shutter button.
Because the α9 Mark II has an even larger buffer memory than its predecessor, we had to limit the bursts we took in all formats to ‘workable’ size. Using the mechanical shutter in the high-speed mode the review camera recorded 100 high-resolution JPEG frames in 9.8 seconds without showing any sign of slowing. This equates to just under 10 frames/second. Processing this burst of shots took 24.2 seconds.
When we recorded uncompressed ARW.RAW files a 50-frame burst was captured in 5.5 seconds. It took 6.6 seconds to process this burst. With RAW+JPEG pairs, the same frame rate applied but processing the burst took 17 seconds.
With the electronic shutter, the camera recorded 88 large/fine JPEG frames in 5.3 seconds before slowing, which equates to approximately 18 fps. It took roughly half a minute to clear the buffer memory.
We recorded 59 RAW+JPEG pairs in 5.4 seconds, a slightly faster frame rate than with the mechanical shutter. Processing the burst took 21.2 seconds.
As before processing times for JPEG files were much longer than for raw files, regardless of whether they are compressed. This is something sports shooters should take note of because you can’t use the menu – or take additional shots – while files are being processed.
Please Login or Register to access the Conclusion.
Image sensor: 35.6 x 23.8 mm Exmor RS CMOS sensor with approx. 28.3 million photosites (24.2 megapixels effective)
Image processor: BIONZ
A/D processing: -bit
Lens mount: Sony E-mount
Focal length crop factor: 1x
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31), ARW.RAW (V2.3), RAW+JPEG; Movies: XAVC S, AVCHD format Ver. 2.0 compliant, Linear PCM (Stereo) audio
Image Sizes: Stills – 3:2 aspect: 6000 x 4000, 3936 x 2624, 3008 x 2000, APS-C crop: 3936 x 2624, 3008 x 2000, 1968 x 1312; 16:9 aspect: 6000 x 3376, 3936 x 2216, 3008 x 1688, APS-C crop: 3936 x 2216, 3008 x 1688, 1968 x 1112: Movies: XAVC S 4K: 3840 x 2160 (25p, 100M), 3840 x 2160 (25p, 60M) with LPCM 2ch audio, AVCHD: 1920 x 1080 (50i, 24M, FX), 1920 x 1080 (50i, 17M, FH) with Dolby Digital (AC-3) 2ch audio
Aspect ratios: 3:2, 16:9, 4:3, 1:1
Digital zoom functions: Stills: Smart zoom (Still images):35mm full frame: M: approx 1.5x, S: approx 2x, APS-C: M: approx 1.3x, S: approx 2x, Digital zoom (Still images): 35mm full frame: L: approx 4x, M: approx 6.1x, S: approx 8x, APS-C: L: approx 4x, M: approx 5.2x, S: approx 8x; Movies: 35mm full frame: approx 4x, APS-C: approx 4x
Image Stabilisation: Image Sensor-Shift mechanism with 5-axis compensation; up to 5.0 stops of shake correction
Dust removal: Charge protection coating on optical filter and image sensor shift mechanism
Shutter (speed range): Auto/Mechanical shutter/Electronic shutter (Mechanical Shutter: 1/8000 to 30 sec. plus Bulb; Electronic Shutter: 1/32000 to 30 sec.; Movies: 1/8000 to 1/4 (1/3 steps) up to 1/60 sec. in AUTO mode or 1/30 sec. in Auto slow shutter mode); flash sync. at 1/250 sec.
Exposure Compensation: +/- 5EV in ½ or 1/3EV steps (+/-3EV for movies)
Exposure bracketing: 3/5/9 frames selectable. With 3 or 5 frames, in 1/3, 1/2, 2/3, 1.0, 2.0, or 3.0 EV increments, with 9 frames, in 1/3, 1/2, 2/3, or 1.0 EV increments.
Other bracketing options: WB (3 frames, H/L selectable); Flash – 3/5/9 frames selectable
Self-timer: 2, 5 or 10 seconds delay plus continuous and bracketing modes
Focus system: Fast Hybrid AF (phase-detection AF/contrast-detection AF) using the Exmor RS CMOS sensor
AF points & selection: Wide (693 points (phase-detection AF), 425 points(contrast-detection AF)) / Zone / Centre / Flexible Spot (S/M/L) /Expanded Flexible Spot/ Tracking ( Wide / Zone / Centre / Flexible Spot (S/M/L)/Expanded Flexible Spot)
Focus modes: Eye-start AF (only with LA-EA2 or LA-EA4 attached (Sold separately)), Tracking, [Still images] Human (Right/Left Eye Select) / Animal, [Movie] Human (Right/Left Eye Select), AF micro adjustment with LA-EA2 or LA-EA4 (Sold separately) , Predictive control, Focus lock, Swt.V/H AF Area, AF Area Regist., Circ. of Focus Point
Exposure metering: 1200-zone evaluative metering with Exmor RS CMOS sensor, Multi-segment, Centre-weighted, Spot, Spot Standard/Large, Entire Screen Avg., Highlight modes
Shooting modes: AUTO (iAuto), P, A, S, M, Movie (P, A, S, M), Slow & Quick Motion (P, A, S, M)
Picture 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, Rich-tone Monochrome
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 (-5 to +5 steps)
Dynamic Range functions: Off, Dynamic Range Optimizer (Auto/Level (1-5)), Auto High Dynamic Range (Auto Exposure Difference, Exposure Difference Level (1-6 EV, 1.0 EV step))
Colour space options: sRGB and Adobe RGB
ISO range: Auto: ISO 100-12800 with selectable lower limit and upper limit; Mechanical Shutter: ISO 100-51200 with extension to ISO 50 and ISO 204800 available; Electronic Shutter: ISO 100-25600 with extension to ISO 50 available; Movies: ISO 100-51200 with extension to ISO 102400 available
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 (57-step), A7 to B7 (29-step)) / Custom
Flash: External flashguns only
Flash modes: Flash off, Autoflash, Fill-flash, Slow Sync., Rear Sync., Red-eye reduction (on/off selectable), Wireless, Hi-speed sync.
Flash exposure adjustment: +/- 3EV in 1/3, 1/2EV steps
Sequence shooting: Max. 20 frames/sec. with electronic shutter; 10 fps with mechanical shutter
Buffer capacity: Max. 361 Large/Fine JPEGs, 239 RAW files, 226 RAW+JPEG pairs
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I, II compatible)
Viewfinder: 1.3 cm Quad-VGA OLED EVF with 3 686 400 dots, 100% frame coverage, 23mm eyepoint, 0.78x magnification, -4 to +3 dpt adjustment
LCD monitor: Tilting (up by approx. 107 degrees, down by approx. 41 degrees) 3-inch TFT LCD touch screen with 1,440,000 dots
Playback functions: Single (with or without shooting information Y RGB histogram & highlight/shadow warning), 9/25-frame index view, Enlarged display mode (L: 15.0x, M: 9.84x, S: 7.52x), Auto Review (10/5/2 sec, Off), Image orientation (Auto/Manual/Off selectable), Slideshow, Folder selection (Date/ Still/ MP4/ AVCHD/XAVC S HD/XAVC S 4K), Forward/Rewind (movie), Delete, Protect
Interface terminals: USB Type-C, Micro HDMI (type D), 2.5mm remote control jack, 3.5 mm stereo mini jack (microphone), 3.5 mm stereo mini jack (headphone), Super Speed (USB3.0) PC interface, BRAVIA Sync (Control for HDMI), PhotoTV HD, 4K movie output/4K still image PB, LAN terminal
Wi-Fi function: Built-in (IEEE 802.11b/g/n) plus NFC forum Type 3 Tag compatible, Bluetooth Standard Ver. 4.1 (2.4GHz band)
Power supply: NP-FZ100 rechargeable Li-ion battery; CIPA rated for approx. 500 shots/charge with EVF; 680 shots/charge with LCD monitor
Dimensions (wxhxd): Approx. 128.9 x 96.4 x 77.5 mm (excluding protrusions)
Weight: Approx. grams (body only); grams with battery and card
Distributor: Sony Australia; 1300 720 071
Based on JPEG files taken with the FE 24-70mm f/2.8 GM lens.
Based on ARW.RAW files processed with Sony’s Imaging Edge software.
The images and video frames below were taken with the FE 24-70mm f/2.8 GM lens.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with LED lighting.
62mm focal length, 30-second exposure at ISO 50, f/2.8.
62mm focal length, 30-second exposure at ISO 100, f/3.2.
62mm focal length, 8-second exposure at ISO 800, f/4.5.
62mm focal length, 3.2-second exposure at ISO 6400, f/8.
62mm focal length, 2.5-second exposure at ISO 12800, f/9.
62mm focal length, 1.6-second exposure at ISO 25600, f/10.
62mm focal length, 1.3-second exposure at ISO 51200, f/13.
62mm focal length, 0.6-second exposure at ISO 102400, f/13.
62mm focal length, 1/3-second exposure at ISO 204800, f/16.
70mm focal length, ISO 320, 1/80 second at f/2.8.
70mm focal length, ISO 400, 1/60 second at f/5.6.
54mm focal length, ISO 100, 1/160 second at f/5.
24mm focal length, ISO 400, 1/30 second at f/5.6.
70mm focal length, ISO 800, 1/60 second at f/6.3.
34mm focal length, ISO 2500, 1/160 second at f/4.
35mm focal length, ISO 1600, 1/60 second at f/5.6.
31mm focal length, ISO 100, 1/60 second at f/4.5.
Still frame from XAVC S 4K (3840 x 2160) movie at 25p, 100M.
Still frame from XAVC S 4K (3840 x 2160) movie at 25p, 60M.
Still frame from XAVC S FHD (1920 x 1080) movie at 100p, 100M.
Still frame from XAVC S FHD (1920 x 1080) movie at 100p, 60M
Still frame from XAVC S FHD (1920 x 1080) movie at 50p, 50M.
Still frame from XAVC S FHD (1920 x 1080) movie at 25p, 50M.
Still frame from AVCHD FHD (1920 x 1080i) movie at 50i, 24M.
Still frame from AVCHD FHD (1920 x 1080i) movie at 50i, 17 M.
Additional image samples can be found with our review of the Sony FE 100-400mm f/4.5–5.6 GM OSS super telephoto zoom lens.
RRP: AU$7299; US$ 4500
- Build: 9.0
- Ease of use: 8.5
- Autofocusing: 9.0
- Still image quality JPEG: 8.9
- Still image quality RAW: 9.0
- Video quality: 9.0