Sony PXW-FS7 II K - E Mount

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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. Handheld, 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. Some larger lenses may no longer need a rig, while on those occasions where a rig is used – 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.

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.

Kit Includes

As per client specification.

Features

Handheld. 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.
With the FS7 II sensor, size is just the beginning.

  • 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 hired 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, hired 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, hired 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.

Handheld 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.

Superbly rugged
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.

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.

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 K 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.

Technical Specificasions

General:  
Mass Approx. 2.0 kg (body only)
  Approx. 4.5 kg (with Viewfinder, Eyepiece, Grip Remote Control,
  BP-U30 battery, SELP18110G LENS, an XQD memory card)
Dimensions (W x H x D) 158.9 x 245.2 x 247mm (body without protrusions)
Power Requirements DC 16.5V (battery pack)
  DC 12.0V (AC adaptor)
Power Consumption Approx. 19W (while recording XAVC-I QFHD 59.94P,
  SELP18110G Lens, Viewfinder ON, not using external device)
Operating Temperature 0C to 40C
  32F to 104F
Storage Temperature -20C to +60C
  -4F to +140F
Battery Operating Time Approx. 1 hrs. with BP-U30 battery (while recording XAVC-I QFHD 59.94P,
  SELP18110G Lens, Viewfinder ON, not using external device)
  Approx. 2 hrs. with BP-U60 battery while recording XAVC-I QFHD 59.94P,
  SELP18110G Lens, Viewfinder ON, not using external device)
  Approx. 3 hrs. with BP-U90 battery (while recording XAVC-I QFHD 59.94P,
  SELP18110G Lens, Viewfinder ON, not using external device)
Recording Format (Video) XAVC-I mode:DCI4K 59.94P CBG, bit rate 600Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:DCI4K 50P CBG, bit rate 500Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:DCI4K 29.97P CBG, bit rate 300Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:DCI4K 23.98P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:DCI4K 24.00P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:DCI4K 25P CBG, bit rate 250Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:QFHD 59.94P CBG, bit rate 600Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:QFHD 50P CBG, bit rate 500Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:QFHD 29.97P CBG, bit rate 300Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:QFHD 23.98P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC
Recording Format (Video) XAVC-I mode:QFHD 25P CBG, bit rate 250Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:HD 59.94P VBR, maximum bit rate 222Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:HD 50P VBR, maximum bit rate 185Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:HD 59.94i VBR, maximum bit rate 111Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:HD 50i VBR, maximum bit rate 112Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:HD 29.97P VBR, maximum bit rate 111Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:HD 23.98P VBR, maximum bit rate 89Mbps, MPEG-4 H.264/AVC
  XAVC-I mode:HD 25P VBR, maximum bit rate 112Mbps, MPEG-4 H.264/AVC
  XAVC-L QFHD 59.94P/50P mode: VBR, maximum bit rate 150Mbps, MPEG-4 H.264/AVC
Recording Format (Video) XAVC-L QFHD 29.97P/23.98P/25P mode: VBR,
  maximum bit rate 100Mbps, MPEG-4 H.264/AVC
  XAVC-L HD 50 mode: VBR, maximum bit rate 50Mbps, MPEG-4 H.264/AVC
  XAVC-L HD 35 mode:VBR, maximum bit rate 35Mbps, MPEG-4 H.264/AVC
  XAVC-L HD 25 mode:VBR, maximum bit rate 25Mbps, MPEG-4 H.264/AVC
  MPEG HD422 mode:CBR, maximum bit rate 50Mbps, MPEG-2 422P@HL
Recording Format (Audio) LPCM 24 bits, 48 kHz, 4 channels
Recording Frame Rate XAVC-I DCI4K mode: 4096x2160/ 59.94P, 50P, 29.97P, 23.98P, 24P, 25P
  XAVC-I QFHD mode: 3840x2160/ 59.94P, 50P, 29.97P, 23.98P, 25P
  XAVC-I HD mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
  XAVC-L QFHD mode: 3840x2160/59.94P, 50P, 29.97P, 23.98P, 25P
  XAVC-L HD 50 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
  XAVC-L 35 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
  XAVC-L 25 mode: 1920x1080/59.94i, 50i
  MPEG HD422 mode: 1920x1080/59.94i, 50i, 29.97P, 23.98P, 25P
  1280x720/59.94P, 50P, 29.97P, 23.98P, 25P
Recording/Playback Time XAVC-I mode QFHD 59.94P
  When using QD-G128A(128GB):
  Approx. 22 minutes
  XAVC-I mode QFHD 50P
  When using QD-G128A(128GB):
  Approx. 26 minutes
  XAVC-I mode QFHD 29.97P
  When using QD-G128A(128GB):
  Approx. 44 minutes
  XAVC-I mode QFHD 23.98P
  When using QD-G128A(128GB):
  Approx. 55 minutes
  XAVC-I mode QFHD 25P
  When using QD-G128A(128GB):
  Approx. 52 minutes
Recording/Playback Time XAVC-I mode HD 59.94P
  When using QD-G128A(128GB):
  Approx. 59 minutes
  XAVC-I mode HD 50P
  When using QD-G128A(128GB):
  Approx. 71 minutes
  XAVC-I mode HD 59.94i
  When using QD-G128A(128GB):
  Approx. 118 minutes
  XAVC-I mode HD 50i
  When using QD-G128A(128GB):
  Approx. 141 minutes
  XAVC-I mode HD 29.97P
  When using QD-G128A(128GB):
  Approx. 118 minutes
Recording/Playback Time XAVC-I mode HD 23.98P
  When using QD-G128A(128GB):
  Approx. 147 minutes
  XAVC-I mode HD 25P
  When using QD-G128A(128GB):
  Approx. 141 minutes
  XAVC-L mode QFHD 59.94P/50P
  When using QD-G128A(128GB):
  Approx. 87 minutes
  XAVC-L mode QFHD 29.97P/23.98P/25P mode:
  When using QD-G128A(128GB):
  Approx. 131 minutes
  XAVC-L 50 mode
  When using QD-G128A(128GB):
  Approx. 262 minutes
Recording/Playback Time XAVC-L 35 mode
  When using QD-G128A(128GB):
  Approx. 374 minutes
  XAVC-L 25 mode
  When using QD-G128A(128GB):
  Approx. 524 minutes
  MPEG HD422 mode
  When using QD-G128A(128GB):
  Approx. 262 minutes
Lens:  
Lens Mount E-mount (lever lock type)
Camera Section:  
Imaging Device (Type) Super35 type Single-chip Exmor CMOS
Effective Picture Elements 17:9 4096 (H) x 2160 (V)
  16:9 3840 (H) x 2160 (V)
Built-in Optical Filters ND filters
  OFF: CLEAR
  1: 1/4ND
  2: 1/16ND
  3: 1/64ND
  Linear variable ND (1/4ND to 1/128ND)
Sensitivity (2000 lx, 89.9% reflectance) Video Gamma: T14
  (3840 x 2160/23.98P mode 3200K)
ISO Sensitivity ISO 2000(S-Log3 Gamma D55 Light source)
Minimum Illumination 0.7 lx (+18dB,23.98P,Shutter OFF,ND Clear, F1.4)
S/N Ratio 57 dB (Y) (typical)
Shutter Speed 1/3 sec to 1/9,000 sec
Slow & Quick Motion Function XAVC-I mode 3840x2160: 1 to 60 frames
  (59.94P, 50P, 29.97P, 23.98P, 25P)
  XAVC-I mode 1920x1080:1 to 180 frames
  (59.94P, 29.97P, 23.98P) 1 to 150 frames (50P,25P)
  XAVC-L mode 3840x21601 to 60 frames (59.94P, 50P, 29.97P, 23.98P, 25P)
  XAVC-L mode 1920x1080: 1 to 120 frames (59.94P, 50P, 29.97P, 23.98P, 25P)
White Balance Preset, Memory A, Memory B(1500K-50000K)/ATW
Gain -3, 0, 3, 6, 9, 12, 18 dB, AGC
Gamma Curve STD,HG,User,S-Log2, S-Log3
Input/Output:  
Audio Input XLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable Mic Reference: -40, -50, -60dBu
SDI Output BNC(x2), switchable with 3G-SDI/HD-SDI SMTPE292M/424M/425M
USB USB device, mini-B (x1)
Headphone Output Stereo mini jack (x1) -16dBu 16
Speaker Output Monaural
DC Input DC jack
Remote Stereo mini-mini jack (2.5 mm)
HDMI Output Type A (x1)
Option 4-pin, Type A for W-LAN (x1)
Monitoring:  
Built-in LCD Monitor 8.8cm (3.5 type) Approx. 1.56M dots
Built-in Microphone:  
Built-in Microphone Omni-directional monaural electret condenser microphone
Media:  
Type XQD Card slot(x2)
  SD Card slot(x1) for saving configuration data

Case Studies

 


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