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Ultimate
Super35 versatility

PXW-FS7M2 / PXW-FS7M2K

Shotgun microphone is sold separately.

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.



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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 minimising 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.

You also have the choice of purchasing the FS7 II on its own (PXW-FS7M2) or with SELP18110G lens (PXW-FS7M2K).

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).


XAVC-L
50 Mbps

262 min
Full HD

QD-G128A
128 GB

XAVC-L
35 Mbps

374 min
Full HD

QD-G128A
128 GB

XAVC-L
25 Mbps

524 min
Full HD

QD-G128A
128 GB

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.


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…

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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.



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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.

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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

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.

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.

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.

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.

* 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.

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FS7 Ii Side view

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.

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Changing the game. Again.

Sony’s α mount system offers unsurpassed compatibility with third-party lenses as well as Sony products… but our customers wanted more.

FS7 II features an all-new lever lock  design featuring a robust locking collar with no need to rotate the lens itself. Some larger lenses may no longer need a rig, while on those occasions where a rig is used – the process of switching between lens is simplified to save time. In addition, a new release lever provides added security.

Despite all these changes, FS7 II retains all the benefits of any other E-Mount design: it can take cinema lenses and SLR lenses with a third party adaptor, as well as Sony’s E-mount and A-mount lenses.

FS7 II once more transforms the creative possibilities of what you can achieve.

Sony, the lens company

There is no cinematography without lenses. That’s why Sony is a primary manufacturer of high quality lenses. And that’s why we build our own optics, based on our own designs in our own factories. We’re experts at selecting, moulding, polishing and coating the glass elements. We’re accomplished in the rarefied craft of integrating motors and drive systems.

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Sony’s remarkable E-mount Lenses

Traditional SLR lenses were designed exclusively for still images. While the optics may be fine, their behaviour during a motion picture shot can be highly compromised. Motor noise, abrupt zoom, stepped changes in iris, and unwanted magnification during focus can all take your audience out of the story. Sony’s E-mount lenses are different.

The FS7 II accepts the growing range of Sony E-mount lenses, currently featuring over 70 models (as of November 2016).

Smooth power zoom

Sony combined professional camera expertise with state-of-the-art lens design and control to deliver exceptionally smooth tracking. Zooming is quiet as well as responsive thanks to advanced mechanisms and actuators. And Sony tests each lens individually to ensure high performance in every unit.

Iris

Background bokeh (defocusing) can be just as important in movies as it is in still images. Sony's well designed aperture contributes to smooth, beautiful bokeh with natural highlights. Iris noise can also be an issue in motion pictures. That’s why Sony incorporates uncommonly quiet, accurate and responsive iris control and actuator systems.

Focus

When making movies, you’re frequently focusing while shooting. A still camera lens can exhibit “focus breathing,” a jarring distraction that varies the angle of view. Sony E-mount lenses feature optical designs and control technology that minimize breathing. Sony's contactless linear motors eliminate gears and mechanical couplings. So focus is fast and quiet. With internal focusing, the front element of the lens does not rotate and the overall length of the lens does not change during focus.

The E-mount servo zooms

Sony extends the E-mount advantage to the maximum with a series of E-mount servo zooms, which include the SELP28135G, SELP18105G, SELP18200 and SELP18110G. They provide smoother zoom than you could accomplish by hand. Meticulous optical design maintains axial image consistency across the zoom range. Constant aperture eliminates unwanted exposure changes during a zoom. SELP18110G is supplied as standard with PXW-FS7M2K and was developed in close consultation with FS7 II’s engineering team as its perfect partner.

Sony A-mount lenses,
via adapters

Sony's LA-EA3 and LA-EA4 lens adapters (sold separately) open up a wide range of A-mount lenses for Sony α interchangeable lens cameras. Choose portrait lenses, macro lenses, super telephoto lenses and a host of specialty glass that give you exceptional freedom in framing your shots. You also get extraordinary convenience with focus indication the camera’s viewfinder and aperture control in the camera’s smart grip.

Phase detection AF with the LA-EA4 adapter

Phase detection auto focus helps define the modern SLR, minimizing focus “hunt,” maximizing speed and accuracy. The LA-EA4 A-mount lens adapter, sold separately, brings this fundamental advance to professional moving pictures. You get fast, accurate focus even when the subject is moving quickly. The adapter incorporates Sony's award-winning Translucent Mirror Technology. While most of the incoming light goes to the camera, Sony's translucent mirror continuously directs a fraction of the light to the phase detection AF sensor.

Most of the incoming light goes through the translucent mirror and into the camera. A fraction of the light goes to the phase detection auto focus sensor in the base of the LA-EA4.

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SLR, DSLR and Cinema lenses

The E-mount system's short flange-back distance enables use of Cinema lenses, plus 35mm SLR and DSLR lenses from others via simple third-party adapters. For amazing creative freedom, you can reach beyond the standard primes and zooms to tilt shift and bellows lenses. Not locked into one type of lens mount or brand, you are free to choose what suits you best.

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, 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, 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.

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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.

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Sony's 4K RAW recording system starts with the XDCA-FS7 extension unit, which connects via BNC cable to the HXR-IFR5 interface, AXS-R5 recorder and BP-FL75 battery. All these components are 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.

4K RAW

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.

12-bit precision

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.

4K 12-bit RAW: 23.98, 25, 29.97, 50 and 59.94 fps

2K 12-bit RAW: 23.98, 25, 29.97, 50, 59.94, 100, 120, 200 and 240 fps

Simultaneous RAW + Onboard recording

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.

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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.

Catalyst Browse

Available as a free Mac OS or Windows® download from Sony Creative Software, Catalyst Browse is a powerful clip management tool which will eventually replace the Sony Content Browser application. While Catalyst Browse offers many new features, not all functions of Content Browser have been duplicated.

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Catalyst Prepare

Media production is growing more complicated. Turnaround times are getting tighter. You need a tool that eases the workload on your editor, ensuring that projects meet their deadlines. With Catalyst Prepare, a powerful, affordable tool from Sony Creative Software, you can quickly identify the right footage to deliver, in the correct format, with your desired folder and clip-naming structure, even when using a variety of popular cameras. Jumpstart the editing and review process by creating a rough cut storyboard with a quick initial colour grade, then render it out directly or export an EDL for use in popular NLEs.

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Catalyst Edit

In video, focus is critical. Catalyst Edit focuses on 4K and Sony RAW video editing so you can focus on your creativity. Deliver your most stunning video productions in all the glory you captured through your camera lens.

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Bookmark this page to keep up-to-date with all the latest news for Sony’s FS7, including the latest videos, behind-the-scenes stories, tutorials and filming tips.

PXW-FS7 II FAQ

All the inside details on the supremely versatile FS7 II Super35mm Camcorder.

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View more FS7 II & FS7 news, case studies & tutorials

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Technical Specifications

Please be aware that the features/specifications can differ from country to country

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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) *1 158.9 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 0°C to 40°C
32°F to 104°F
Storage Temperature -20°C to +60°C
-4°F to +140°F
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 3840x2160:1 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 16Ω
Speaker Output Monaural
DC Input DC jack
Remote Stereo mini-mini jack (Φ2.5 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

Supplied Accessories

Supplied Accessories Body Cap (1)
Viewfinder (1)
Viewfinder hood(1)
Eyepiece (1)
Grip Remote Control (1)
USB wireless LAN module IFU-WLM3 (1)
Wireless remote commander (1) (RMT-845)
WA Adaptor Bracket (1)
AC Adapter(1)
BC-U1 battery charger (1)
BP-U30 battery pack (1)
Power cord (2)
USB cable (1)
Operating Guide (1)
CD-ROM "Manual for Solid-State Memory Camcorder" (1)
IS1293 power cord for India (Not supplied in some countries) (2)

Notes

*1 The values for dimensions are approximate.
*2 Viewable area measured diagonally.
*3 ECS: Extended Clear Scan

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