FS7 II dramatically improves the experience of shooting with Sony's ultimate documentary camcorder and simply one of the world's most versatile Super 35mm camcorders.
A host of enhancements, from an all-new lens mount to world-leading Electronic Auto Variable ND system and enhanced ergonomics, transform the possibilities of what you can do.
Shoot and move. Hand-held, shoulder-mount or suspended from a gimbal. FS7 II delivers the spectacular imagery you expect from Sony.
Freedom to shoot & move with Electronic Auto Variable ND:
Shooting with FS7 II is a truly liberating experience - shoot and move with no need to worry about changing light conditions, no time wasted fiddling with exposure settings or changing filters. Sony's unrivalled technology continuously adjusts the density of the electronic ND Filter without losing resolution while maintaining colour balance. See FS7 II in action for yourself to discover how Sony has transformed shooting on the move.
E-mount flexibility extended:
E-mount offers unsurpassed compatibility with both Sony and third-party lenses. And for FS7 II there's an all-new lever lock design. Simply put the lens in place and rotate the collar until it locks in place. A lens release lever provides added security. The process of switching lens can be simplified to save time. And of course, the E-mount can take cinema lenses and SLR lenses with a third party adaptor, as well as Sony's E-mount and A-mount lenses. Whatever your lens requirements, FS7 II has you covered.
Super 35/APS-C power zoom for 4K movies:
SELP18110G powered zoom lens delivers optimum performance in Super 35/APS-C moviemaking applications, starting at 18 mm wide-angle and extending through an impressive 6.1x zoom range with a constant F4 maximum aperture.
G Lens optical performance suitable for 4K throughout the zoom range.
Lag-free mechanical manual zoom for high-level, versatile zoom control.
Refined focus operation so switchover can be made without changing your posture.
Optical SteadyShot image stabilization helps keep images blur-free as well as minimizing the need to boost ISO in low light conditions.
Compact, lightweight design ideal for active shooting and when using gimbals.
Reliable in challenging conditions with a sealed dust and moisture resistant design.
Shoulder mount comfort and control:
FS7 delivered a revolution in ergonomics, but we listened to cinematographers to make FS7 II even more comfortable to use, especially when operating for hours in the field. The number of assign buttons is increased from six to ten, all extra large, while the LCD monitor arm and mic holder can be swapped for left-eye shooting. The telescoping arm offers even more settings, allowing the camcorder to be mounted closer to your body and you no longer need a tool for adjustments.
You can be sure the remarkable Sony smart grip is always at hand with all the key controls at your fingertips.
180 fps High Frame Rates:
High Frame Rate shots can turn everyday actions into slow-motion ballet, a visual feast of elegant movement. The FS7 II delivers a maximum of 180 frames per second (fps) continuous shooting in Full HD. If your project plays at the cinematic 24 fps, you get beautiful 7.5x Super Slow Motion. There's no sacrifice in bit depth and no "windowing" of the sensor. So there's no crop factor, no loss in angle of view. The camera also performs Slow & Quick (S&Q) motion from 1 to 180 fps in 1 fps increments. So you can alter the narrative by selectively speeding up or slowing down the action.
Luxurious colour at money-saving bitrates:
Long-form projects shine with Sony's XAVC L (Long GOP) recording system. Record luxurious QFHD at 59.94p/50p at a maximum bit rate of 150 Mbps. Or take advantage of the superior grayscale rendition of 10-bit High Definition, plus the uncompromised detail of 4:2:2 colour - all at budget-friendly data rates of 50, 35 or even 25 Mbps in HD mode. You can also record on-board 4K (4096x2160) at cinema standard 24p, 59.94p, 50p, 29.97p, 23.98p or 25p. The camera captures different colour spaces, including the wide ITU-R BT.2020 for Ultra High Definition.
Other formats include XAVC I (Intra) 4K at 600 Mbps, QFHD (3840x2160) and Full HD (1920x1080), plus the well-accepted MPEG HD 422, Apple ProRes 422 (with XDCA-FS7 extension unit, Sold Separately), and even outboard RAW recording (with XDCA-FS7 and outboard recorder, Sold Separately).
Next-generation memory: Long-form programs need media that's both reliable and affordable.
Sony's G-Series XQD card extends these benefits with "EB Stream" technology for a blistering 400 Mbps write-speed and 440 Mbps read-speed. Using our 256GB G-Series card, you can record approximately 40 minutes of 4K footage at 60P or 4 hours at 30P in 2K. And when it's finally time to swap out cards, it's now even easier - on FS7 II the card protrudes by a more easily pinchable 8mm.
Hand-held. Long form. Perfection redefined.
You asked and we delivered: an all-new E-mount lever lock design. Sony's world-leading variable ND filter technology integrated for smooth fine-tuning of depth-of-field. A host of ergonomic refinements to make FS7 II even more comfortable to shoot with. The uncompromising image quality of Sony's high performance Super 35mm sensor for 4K and HD capture, including superior 4K/QFHD 60p/50p with support for the BT.2020 colour space, plus fantastic slow motion pictures up to 180 fps. Just think what the possibilities are...
Built-in electronic Variable ND Filters.
Originally developed for the PXW-FS5, Sony's ground-breaking integration of electronic variable ND Filters into the body of a Super 35mm camcorder enables fast, agile shooting. Moving from shadowy interiors to bright sun-lit exteriors is no problem with the FS7 II. Unlike conventional optical ND filters, the electronic ND filter on the FS7 II can be controlled from 1/4ND to 1/128ND linearly while ND Filters can be set to fully auto. You can even manually adjust Depth of Field using the iris lens ring, while relying on the FS7 II to maintain constant exposure without changing gain nor shutter speed.
FS7 II is your perfect partner for fast-moving shoots in changeable environments.
4K Super 35 Exmor sensor
When it comes to image sensors, size definitely matters. Sony's Super 35 sensor delivers "bokeh", the defocused backgrounds made possible by shallow depth of field. A common technique for directing audience attention within the frame, shallow depth of field is far easier to achieve with a large sensor. Other things being equal, a bigger sensor also equates to better low-light sensitivity and lower image noise. And with bigger sensors, the field of view is wider for any given focal length lens.
14 stops of exposure latitude deliver powerful grayscale rendition without crushing shadow detail or blowing out highlight detail.
ISO 2000 sensitivity enables you to shoot well after sunset, without tons of lighting and grip.
4K resolution. The sensor incorporates 11.6 million total pixels and 8.8 million effective pixels to deliver full 4K resolution. Even if you're delivering in HD, your recordings will capture detail and image texture that HD sensors cannot see.
Sony Exmor CMOS design makes for extremely fast readout, contributing to frame rates of up to 180 fps and minimized image skew.
High Frame Rates up to 180 fps
Slow down time with HFR shooting to reveal the beauty and drama of everyday motion. That' s why the FS7 II provides continuous recording at Full HD at frame rates of up to 180 fps. When you play back at 23.98p, you'll enjoy extraordinary Super Slow Motion of up to 7.5x. Compared to burst mode, the continuous recording of the FS7 II reduces mistimed shots and extra takes. The camera also provides Slow & Quick motion from 1 fps to 180 fps, in 1 fps increments. This enables time lapse effects to make the clouds race by or flowers bloom before your eyes. And for even higher frame rates, you can attach the XDCA-FS7 extension unit and connect an outboard recorder, both sold separately, for 2K RAW recording at up to 240 fps. This creates 10x Super Slow Motion when played at 23.98p.
RAW recording, Apple ProRes 422 and multi-cam with Sony's extension unit
To keep the PXW-FS7 II small, light and easily hand-holdable, Sony engineers reserved some functions for an outboard module, the XDCA-FS7 extension unit, sold separately. The unit adds significant capabilities:
External RAW recording.To preserve the maximum in color, contrast and resolution, the XDCA-FS7 enables RAW recording when connected to outboard recorders, sold separately. The XDCA-FS7 supports the vivid color of 12-bit linear RAW at either 4K or 2K resolution. A single BNC cable connects the XDCA-FS7 to compatible RAW recorders including Sony's HXR-IFR5/AXS-R5 combination and the Convergent Design Odyssey 7Q+ equipped with the Sony FS RAW option. In addition, the Atomos Shogun Inferno and Shogun Flame support Apple ProRes and CDNG recording from the XDCA-FS7 output. Even when you record outboard RAW, you can still record time code-synchronized Full HD on-board, a convenient proxy for offline editing.
Apple ProRes 422 recording.Sony understands that some workflows are committed to the Apple ProRes 422 codec. That's why the XDCA-FS7 supports Apple ProRes 422 and Apple ProRes 422 HQ - 1920 x 1080 recording to an XQD card in the camera.
Multi-camera operation.The XDCA-FS7 also provides Genlock and Timecode In/Out for multi-camera shoots.
Hand-held comfort takes another leap forward
The FS7 is renowned for taking handheld shooting to another level. Placed against your chest or shoulder, comfortably steadied by your right hand. The built-in shoulder pad makes for stable shoulder-style shooting, while the curved back sits comfortably against your chest. Now with FS7 II we've refined these elements to be even more flexible to you.
Sony's remarkable smart grip
The result of thousands of hours of user research, Sony's Smart Grip is a highly adjustable control centre located on a pivoting, telescoping arm. The smart grip includes Zoom, Start/Stop and a range of Assign controls, including a dial you can use to adjust Iris. So you can operate the camera without taking your hand off the grip. The shape is comfortable hour after hour. And the angle of the grip can be adjusted at the press of a button.
Easy to adjust, telescoping arm
Everyone loved the flexibility of the FS7's ergonomic arm mount, but we've gone further with FS7 II's new mounting positions - so you can hold it even closer to your body - and made it easily adjustable without tools. So it's even easier to find the perfect set-up to suit your physique and your shooting position.
Ergonomically improved viewfinder
The mounting arm for the FS7 II's viewfinder is now even more flexible with independent clamps easily adjusted by hand even while still on your shoulder. The viewfinder itself can be perfectly offset for right-eye or left-eye viewing with a huge range of fore-aft adjustment. Just turn a single knob to set the finder's position. For even greater flexibility, Sony supplies a 15 mm rod mount. The viewfinder takes the form of an LCD monitor and a viewfinder extension box that easily tilts up and out of the way when you want direct viewing. The viewfinder extension box is now even easier to attach, while the LCD hood is can be bundled while not in use. Peaking, zebra and contrast controls enable easy adjustment of focus, contrast and exposure.
Sony designed the FS7 II to the same exacting standards as the FS7 for real-world shooting. The frame is magnesium, for high rigidity and light weight. Buttons, dials and other parts are sealed to prevent dust and water spray from entering. Cooling is an urgent requirement in a high-speed 4K camera. That's why Sony engineers developed special heat pipes that whisk heat away from the electronics and into a remote heat sink. An air duct cools the heat sink while isolating the electrical components from exposure to dust and water spray.
* Requires that all ports and covers are firmly closed. Dustproof certifies to IEC 60529 IPX5 standard.
Multi-Interface (MI) Shoe
The FS7 II takes advantage of Sony's flexible Multi-Interface (MI) Shoe, which provides power, signal connections and coordinated on/off switching to compatible Sony accessories. For example, you can connect and control Sony wireless microphone systems such as the UWP-D11 or UWP-D12 or attach the HVL-LBPC light.*
*Accessories sold separately. HVL-LBPC light does not draw power from FS7 II.
Support for 4-channel Audio Input and Recording
The FS7 II supports 4-channel audio input and, in applications such as interview, this function enables the simultaneous use of an external microphone for recording ambient sounds, the built-in microphone for voice memos by the operator, and two optional UWP Series wireless microphones for voice of interviewer and interviewee. In addition, using an optional XLR adapter "XLR-K2M" or "XLR-K1M" - with two extra XLR inputs - even more devices can be connected. And with FS7 II, the control cover now folds down flat to lessen risk of accidental damage.
Sony's 4K universe
Like high definition a decade ago, 4K is emerging as a consumer entertainment platform. And Sony is playing a pivotal role in this transition. When we launched the world's first commercial 4K projectors in 2005, we had to explain that a "K" was 1024 horizontal pixels and that "4K" meant 4096 x 2160 resolution. We had to itemize the advantages with tutorials on resolution and seating distance. Today 4K is a robust production platform. It is enshrined in the Digital Cinema Initiatives (DCI) specification. The ITU and SMPTE have both issued 4K standards. And the Consumer Electronics Association is promoting the term "Ultra High-Definition" (Ultra HD) to cover 4K consumer products.
The right tools for every job
The PXW-FS7 II is all about choices. Record internally in 4K or HD. Bend time with High Frame Rate shooting. Choose the latest XAVC-I, space-saving XAVC-L or the broadcaster's de facto standard MPEG-2 HD 422. Attach the extension unit "XDCA-FS7", sold separately, to branch out with Apple ProRes 422 recording and 4K or 2K RAW, with outboard recorders, sold separately.
Internal 4K recording at up to 59.94p
The migration to 4K and Ultra HDTV is well under way and FS7 II is a perfect partner whatever your production requirements. Onboard recording supports frame rates of 23.98, 25, 29.97, 50 and 59.94 fps at both QFHD (3840 x 2160) and DCI 4K (4096 x 2160). 24P DCI 4K also supported.
Even if you're not planning on 4K production, the 8.8 megapixels of Sony's 4K image sensor enable you to shoot super-sampled HD, with detail and image texture that HD sensors cannot see.
The FS7 II enables three attractive strategies in today's distribution environment.
Sony's 4K sensor gives you a gorgeous, super-sampled HD picture with visibly superior texture, detail and high-frequency contrast that HD sensors cannot touch.
Derive your delivery format while preserving the original as a future-proof archive. Your master is ready for future 4K release.
Colour, contrast and the XAVC codec
Without enough precision, colour correction can cause banding, as in the sky (left image). The XAVC codec delivers 10-bit recording for images that hold up better in post (right). (Simulated images for illustration purposes.)
Technically, Sony's XAVC codec is a straightforward outgrowth of the industry-standard H.264/MPEG-4 Advanced Video Coding technology that Sony helped develop. XAVC-I and XAVC-L versions encapsulate video essence in an industry standard MXF OP-1a wrapper.
Using our 256GB G-Series card (Sold Separately), you can record approximately 40 minutes of 4K footage at 60P or 4 hours at 30P in 2K.
Playback for anyone, anywhere
Sony has the solution for the producer's desk, where content review needs to be as simple as hitting the Play button. For digital signage and trade shows, where playback needs to absolutely fool-proof. For the field, where you don't always have access to a power outlet. And for 4K jobs, where you may not have a major investment in computer processor cores, GPUs and interface cards. Presenting Sony's PMW-PZ1 (Sold Separately), the simple, affordable memory player that supports a range of codecs, frame rates and resolutions.
The rear panel supports HDMI 4K output, four 3G/HD SDI outputs and L/R audio out, while the front panel offers a USB 3.0 interface for playback from external drives and a second USB port for connecting a mouse.
12-bit linear RAW
The ultimate camera capture system would record every nuance of light and shadow from the image sensor, preserving every detail from every pixel for full exploitation in post-production. That's the concept behind Sony RAW recording. If you want the maximum flexibility that 4K and 2K RAW deliver, the PXW-FS7 supports RAW recording on outboard recorders, sold separately.
To enable RAW recording, first attach the XDCA-FS7 extension unit, sold separately. Then connect the extension unit's FS RAW Interface to an HXR-IFR5 interface unit and AXS-R5 recorder. The extension unit also enables the use of compatible third-party external recorders, such as the Convergent Design Odyssey 7Q and the ATOMOS Shogun, equipped with the Sony FS RAW option.
Conventional HD recording requires the image sensor signal to go through a demosaicing process, gamma encoding and a colour matrix "baking in" many decisions that may be better left for post. RAW recording bypasses these processes, preserving more of the original camera signal for maximum image quality and maximum flexibility in post.
Derived 2K RAW without windowing.
Unique to this process, there is no line skipping or sensor windowing. So there's no crop factor, no loss in angle of view. With Sony, 2K RAW is not just a technical specification. It's a business model. Sony 2K RAW gives you everything you love about Super 35 cinematography with no telephoto conversion on your lenses. 2K RAW is a smart choice for HD productions and it consumes just one quarter the data of 4K RAW.
AXS-R5 recordings capture linear light as 16-bit RAW with a 12-bit payload, resulting in 12 bits of precision. This delivers 64 times as many colours as 10-bit recording. The resulting files are compatible with the workflow tools used for F65, F55, F5 and FS700 RAW. Sony's RAW is also a powerful complement to the Academy Color Encoding System (ACES) workflow.
High frame rates
The RAW recording mode takes advantage of the camera's extraordinary high frame rate capabilities - up to 240 fps in 2K RAW. Note that the camera cannot capture audio at frame rates higher than 59.94 fps.
Instead of requiring you to patch together a science project, Sony provides a coordinated "off-line, on-line" workflow with simultaneous recording to the camera's internal memory card and the AXS-R5 RAW recorder. For seamless conforming in post, you get matching time code, start frame, stop frame, file names and other metadata.
Apple ProRes 422
Sony understands that some workflows are committed to the Apple ProRes 422 codec. Our XDCA-FS7 extension unit, sold separately, supports Apple ProRes 422 and Apple ProRes 422 HQ - 1920 x 1080 recording to an XQD card in the camera. Both versions deliver the resolution of Full HD, the texture of 4:2:2 colour with the nuanced grayscale rendition of 10-bit recording.
S-Log3 and maximum grayscale
As the exposure latitude of modern cameras climbs, conventional HD recording systems are hard-pressed to keep pace. That's why Sony developed S-Log, S-Log2 and now S-Log3. Sony's most refined logarithmic gamma mode yet, S-Log3 enables faster, easier colour correction with more levels devoted to shadows and mid-tones for spectacular grayscale rendition. You'll spend less time "getting into the ballpark", leaving more time for creativity. Of course, for the S-log2 lover, Sony supports S-log2 gamma for PXW-FS7.
Two XQD card slots
Dual XQD card slots enable simultaneous and relay recording. During relay recording, when one memory card becomes full, recording continues automatically to the other card. In simultaneous recording, you can record the same footage on both cards at the same time. Or you can use one card for selected shots while the other records continuously as backup.
Robust communication between the camera and the card's controller enables read/write speeds up to a sizzling 600 Mbps.
S-Gamut3 and S-Gamut3.cine
The camera features the ample colour space of S-Gamut3 and S-Gamut3.cine. The first reproduces the maximum available colour space, and is well suited to archiving. The second matches well with the Digital Cinema Initiatives (DCI) P3 colour space.