Sony PXW FS7 II XDCAM Super 35 Camera

Rent for $300.00 per day

Interested in learning more about the Sony FS7 Mark II? Watch our Learning Lab. 

SKU: R-SON-PXW-FS7M2 Categories: , ,

Description

Now there’s an even more versatile, more capable, more responsive version of Sony’s FS7. Based on feedback from cinematographers, we’ve complemented the FS7 with the FS7M2. Here’s all the performance of the original, and more. Surpass ordinary exposure control with our Electronic Variable ND filter. Secure your lenses with our Lever Lock type E-Mount. Work faster, with greater confidence thanks to even more refined ergonomics. And change your point of view with Sony’s highly capable 18-110mm servo zoom. Welcome to the next level in handheld shooting.

Sony engineers were on a mission. To provide a sculpted, handheld design that remains comfortable even over the course of long shoots. To support hour after hour of recording—without changing memory cards. To provide the latest in resolution, exposure latitude and color reproduction. And to deliver it all in one affordable, practical package. With the original PXW-FS7 – and the upgraded FS7M2 – that mission is a success.

Sony’s Electronic Variable ND maintains optimum exposure without sacrificing any other parameters. Auto ND mode achieves auto exposure with cine lenses, rangefinder glass and third-party SLR lenses. And Auto ND empowers you to park your iris at the lens “sweet spot,” where distortions are lowest and resolution is highest.

The system uses a Variable ND filter behind the lens that changes in quarter-stop increments from 1/4 (2 stops of filtration) to 1/128 (7 stops). Select Electronic Variable ND and you have 21 levels of ND that you can dial in at any time. In addition, the dedicated ND filter knob includes positions for Clear and three user presets. Finally, Auto ND mode goes even further, automatically adjusting exposure as lighting conditions change. Just imagine what you can do.

You don’t want visibly stepped exposure changes during a shot. The filter’s quarter-stop increments are smoother than typical iris and shutter speed adjustments. In Electronic Variable ND mode, you can set ND by turning the thumbwheel on the camera body or the assignable dial on the Smart Grip. In Auto ND mode, it’s automatic.

Now you can run and gun with cine and rangefinder lenses that provide no electronic iris adjustment. If you can put it on the E-Mount, you can have auto exposure. You get auto exposure with Canon® and Nikon® SLR lenses that don’t communicate with the E-Mount. (Of course, non E-Mount lenses require third-party adaptors, sold separately.)

By maintaining your desired shutter speed, Electronic Variable ND frees you to portray motion as best suits your project. By maintaining your desired aperture, Electronic Variable ND enables you to keep your ideal depth of field. And with Auto ND, you can even maintain depth of field when shooting conditions change, as when the sun pops in and out of the clouds.

Photographers know that most lenses perform best a few stops down from full open aperture. That’s the sweet spot where optical distortions are lowest and optical resolution is highest. With Electronic Variable ND, you’re free to park the iris in the lens sweet spot – and leave it there full time.
In documentary and cinema verité, you can’t stop the action to mount front-of-the-lens ND filters. But with the FS7 II, you can jump into Auto ND instantly. You can even momentarily hold ND constant when something like a large white truck moves into your frame.

Bright exterior sun can force cinematographers to stack multiple ND filters in front of the lens. Unfortunately, filter stacks are prone to IR pollution and color shifts, as blacks tend to go orange. With up to seven stops of ND, the FS7 II solves the issue.

Auto ND also enables a new type of special effect. Moving the iris in Auto ND mode creates a depth of field pull. The depth of field changes while overall exposure remains constant.

Cinematographers have noted how Sony’s E-Mount not only accommodates native E-Mount lenses, but also accepts simple third-party adaptors for PL mount cinema lenses, SLR and DSLR glass and even classic rangefinder lenses. With the FS7 II, we’ve made the mount even better. Sony’s Lever Lock type E-Mount provides more confidence when changing lenses and more security once the lens is mounted. To mount a lens, simply hold it steady and turn the collar instead. When the collar clicks, your lens is securely locked into place. This minimizes image shifting as you work. The Lever Lock type E-Mount also supports heavier cine and ENG lenses without additional rigging.

Like its predecessor, the FS7 II has a large, bright and detailed LCD monitor that you can view directly or through the clip-on eyepiece. While cinematographers appreciated the arrangement, they had suggestions for making it even better. Sony responds with the upgraded configuration of the FS7 II.
Upgraded monitor arm. Now you can reset the LCD monitor position with speed and confidence, even as you run and gun. The robust, articulated monitor arm provides separate clamps at each end that operate completely without tools. Thanks to the square cross-section 15 mm rod, the monitor stays in horizontal alignment when you reset positions. For an even greater range of monitor mounting, you can substitute a standard 15 mm round rod (sold separately). For left-eye shooting, you can also swap the LCD monitor and mic holder. (This upgraded arm is also available for purchase to owners of the original FS7.)
The FS7 II supplements the detachable eyepiece with a pop-up hood that maximizes visibility in sunlight.
The FS7 II can record directly to ITU-R BT.2020, suitable for BT.2020 monitoring, workflows and distribution channels.
Compared to small-format sensors, the Super35 sensor delivers more “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 larger sensor. The 35mm sensor also contributes to greater low-light sensitivity and lower image noise. In addition, 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.
High frame rates, minimal image skew. Sony’s Exmor CMOS design achieves extremely fast readout, minimizing image skew and contributing to Full HD frame rates up to 180 fps (on-board recording) and 240 fps (outboard recording).

From freestyle skiing to water sprays to pyrotechnics, High Frame Rates underscore 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 with 10-bit precision and 4:2:2 color. When you play back at 23.98p, you’ll enjoy 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.

To keep the PXW-FS7M2 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:
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.
Sony’s Smart Grip is a highly adjustable control center located on a pivoting, telescoping arm. The Smart Grip includes Zoom Rocker and Start/Stop. Assign buttons 4, 5 and 6 can be set to operate any of 39 functions, including Menu. And you can use the Assign Dial to control Iris, ISO/Gain/EI, Electronic Variable ND Filter, Focus or Audio Input Level.
Bottom line: you can operate the camera without taking your eye off the viewfinder or 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.
Another key to handheld comfort is the telescoping arm that holds the Smart Grip. With the FS7 II, you adjust the arm length by simply turning a knob – no tools required. Another knob at the joint adjusts angle. So you can instantly adapt the arm to suit your physique and your shooting position. You can also park the arm alongside the camera body for waist-level shooting.
The upgraded FS7 II telescoping arm is also available for purchase to owners of the original FS7.

To deliver the selective focus and beautiful bokeh of 35mm cinematography, the FS7 II incorporates a Super35 image sensor, and can scan the entire sensor for 4K, 2K or HD capture. But there are times when productions can benefit from scanning a smaller 2K “window” within the 4K frame. That’s why Sony offers Center Scan mode. This provides a 2x crop factor, which is almost like doubling the focal length of your 35mm glass, turning your 15.5 to 45 mm zoom into a 31 to 90. Your 300 mm telephoto becomes a 600 with no light loss, no degradation in lens quality.

Sony designed the PXW-FS7M2 to stand up to the rigors of 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.

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 attach the HVL-LBPC light or connect and control Sony wireless microphone systems such as the UWP-D11 or UWP-D12 (all sold separately). You can also connect the URX-P03D two-channel receiver using the SMAD-P3D (both sold separately).

A Hands-on Look at the Sony PXW-FS7 II from Rule Boston Camera on Vimeo.

Features

• Electronic Variable ND
• Lever Lock type E-Mount
• Ergonomics to work faster, with more confidence
• ITU-R BT.2020 recording is directly compatible with BT.2020 distribution
• Pop-up LCD monitor hood in addition to the detachable eyepiece
• Improved eyepiece hook for more secure attachment
• Easier access to media cards for convenient removal

Specifications

Image Device: Super 35mm Single-Chip Exmor CMOS
Effective Picture Elements: 17:9 4096 (H) x 2160 (V); 16:9 3840 (H) x 2160 (V)
Signal-to-Noise Ratio: 57 dB (Y)
Sensitivity: 2000 lx, 89.9% reflectance T14 (3840 x 2160/23.98p mode 3200K); ISO 2000 (S-Log3 Gamma D55 Light source)
Minimum Illumination: 0.7 lux: +18 dB,23.98p,Shutter OFF,ND Clear, f/1.4
Signal System: NTSC / PAL
Built-in Filters: Clear, 1/4, 1/16, 1/64
LCD Monitor: 3.5″ / 8.8 cm Approx: 1.56M dots
Speaker: Monaural
Shutter Speed: 1/3 to 1/9000 of a sec
White Balance: Preset, Memory A, Memory B (1500K-50000K)/ATW
Gain Selection: -3, 0, 3, 6, 9, 12, 18 dB, AGC
Gamma Curve: STD, HG, User, S-log3
Shooting Formats: 4K 4096 x 2160; 12-bit raw; UHD 3840 x 2160, 10-bit 4:2:2 XAVC-I, 8-bit 4:2:0 XAVC-L; 2K 2048 x 1080,12-bit raw; HD 1920 x 1080 10-bit 4:2:2 XAVC-I, 10-bit 4:2:2 XAVC-L
MPEG2 4:2:2; HD 1280 x 720, MPEG2 4:2:2
Audio Recording Format: LPCM 24 bits, 48 kHz, 4 channels (Recording/Playback 2 channels)
Recording Formats:
• XAVC-I QFHD MPEG-4 H.264/AVC
59.94P CBG, bit rate 600 Mb/s
50P CBG, bit rate 500 Mb/s
29.97P CBG, bit rate 300 Mb/s
23.98P CBG, bit rate 240 Mb/s
25P CBG, bit rate 250 Mb/s
• XAVC-I HD MPEG-4 H.264/AVC
59.94P VBR, maximum bit rate 222 Mb/s
50P VBR, maximum bit rate 185 Mb/s
59.94i VBR, maximum bit rate 111 Mb/s
50i VBR, maximum bit rate 112 Mb/s
29.97p VBR, maximum bit rate 111 Mb/s
23.98p VBR, maximum bit rate 89 Mb/s
25p VBR, maximum bit rate 112 Mb/s
• XAVC-L QFHD MPEG-4 H.264/AVC
59.94p/50p mode: VBR, maximum bit rate 150 Mb/s
29.97p/23.98p/25p mode: VBR, maximum bit rate 100 Mb/s
• XAVC-L HD 50 MPEG-4 H.264/AVC
VBR, maximum bit rate 50 Mb/s
• XAVC-L HD 35 MPEG-4 H.264/AVC
VBR, maximum bit rate 35 Mb/s
• XAVC-L HD 25 MPEG-4 H.264/AVC
VBR, maximum bit rate 25 Mb/s
• MPEG-2 Long GOP
CBR, maximum bit rate 50 Mbps, MPEG-2 422P@HL
• XAVC-I QFHD 3840 x 2160/ 59.94p, 50p, 29.97p, 23.98p, 25p
• XAVC-I HD
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
•XAVC-L QFHD 50
3840 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p
•XAVC-L 35
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
•MPEG-2 Long GOP
1920 x 1080/59.94i, 50i, 29.97p, 23.98p, 25p 1280 x 720/59.94p, 50p, 29.97p, 23.98p, 25p
Recording Frame Rate:
• XAVC-I QFHD
3840 x 2160/ 59.94p, 50p, 29.97p, 23.98p, 25p
• XAVC-I HD
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
• XAVC-L QFHD
3840 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p
• XAVC-L HD 50
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
• XAVC-L 35
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
• XAVC-L 25
1920 x 1080/59.94i, 50i
• MPEG-2 Long GOP MPEG HD422
1920 x 1080/59.94i, 50i, 29.97p, 23.98p, 25p
1280 x 720/59.94p, 50p, 29.97p, 23.98p, 25p
Slow & Quick Motion Function: • XAVC-I mode 3840 x 2160: 1 to 60 frames (59.94p, 50p, 29.97p, 23.98p, 25p)
• XAVC-I mode 1920 x 1080: 1 to 180 frames (59.94p, 29.97p, 23.98p)
• XAVC-I mode 1920 x 1080: 1 to 150 frames (50p, 25p)
• XAVC-L mode 3840 x 2160: 1 to 60 frames (59.94p, 50p, 29.97p, 23.98p, 25p)
• XAVC-L mode 1920 x 1080: 1 to 120 frames (59.94p, 50p, 29.97p, 23.98p, 25p)
Maximum Recording Time: XAVC-I mode QFHD 59.94p
When using QD-G128A (128 GB): Approx. 22 minutes
When using QD-G64A (64 GB) Approx. 11 minutes

XAVC-I mode QFHD 50p
When using QD-G128A (128 GB): Approx. 26 minutes
When using QD-G64A (64 GB) Approx. 13 minutes

XAVC-I mode QFHD 29.97p
When using QD-G128A (128 GB): Approx. 44 minutes
When using QD-G64A (64 GB) Approx. 22 minutes

XAVC-I mode QFHD 23.98p
When using QD-G128A (128 GB): Approx. 55 minutes
When using QD-G64A (64 GB) Approx. 27 minutes

XAVC-I mode QFHD 25p
When using QD-G128A (128 GB): Approx. 52 minutes
When using QD-G64A (64 GB) Approx. 26 minutes

XAVC-I mode HD 59.94p
When using QD-G128A (128 GB): Approx. 59 minutes
When using QD-G64A (64 GB) Approx. 30 minutes

XAVC-I mode HD 50p
When using QD-G128A (128 GB): Approx. 71 minutes
When using QD-G64A (64 GB) Approx. 35 minutes

XAVC-I mode HD 59.94i
When using QD-G128A (128 GB): Approx. 118 minutes
When using QD-G64A (64 GB) Approx. 59 minutes

XAVC-I mode HD 50i
When using QD-G128A (128 GB): Approx. 141 minutes
When using QD-G64A (64 GB) Approx. 70 minutes

XAVC-I mode HD 29.97p
When using QD-G128A (128 GB): Approx. 118 minutes
When using QD-G64A (64 GB) Approx. 59 minutes

XAVC-I mode HD 23.98pM/b>
When using QD-G128A (128 GB): Approx. 147 minutes
When using QD-G64A (64 GB) Approx. 74 minutes

XAVC-I mode HD 25p
When using QD-G128A (128 GB): Approx. 141 minutes
When using QD-G64A (64 GB) Approx. 70 minutes

XAVC-L mode QFHD 59.94p/50p
When using QD-G128A (128 GB): Approx. 87 minutes
When using QD-G64A (64 GB) Approx. 44 minutes

XAVC-L mode QFHD 29.97p/23.98p/25p
When using QD-G128A (128 GB): Approx. 131 minutes
When using QD-G64A (64 GB) Approx. 66 minutes

XAVC-L 50 mode
When using QD-G128A (128 GB): Approx. 262 minutes
When using QD-G64A (64 GB) Approx. 131 minutes

XAVC-L 35 mode
When using QD-G128A (128 GB): Approx. 374 minutes
When using QD-G64A (64 GB) Approx. 187 minutes

XAVC-L 25 mode
When using QD-G128A (128 GB): Approx. 524 minutes
When using QD-G64A (64 GB) Approx. 262 minutes

MPEG HD422 mode
When using QD-G128A (128 GB): Approx. 262 minutes
When using QD-G64A (64 GB) Approx. 131 minutes
Media Card Slots: 2 x XQD
1 x SD (for configuration data only)
Input and Output Connectors: Audio Input:2 x 3-pin XLR; Line/mic/mic +48; Mic Reference: -40. -50. -60 dBu; SDI Output
2 x BNC HD/3G-SDI
SMTPE292M/424M/425M; HDMI 2.0
1 x Type A; USB
USB device, miniB
Headphone: 1 x Stereo mini jack
-16 dBu 16 Ohms
Stereo mini jack (Φ2.5 mm)
Accessory Shoe: Multi-Interface (MI) shoe
Power Requirement: 12 VDC
Power Consumption: Approx. 19 W (while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device)
Battery Operating Time:
• BP-U30: Approx. 1 hr while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device
• BP-U60: Approx. 2 hr while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device
• BP-U90: Approx. 3 hr while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device
Temperature Operating: 32 to 104°F / 0 to 40°C
Storage: -4 to 140°F / -4 to 140°C
Dimensions (WxHxD): 6.14 x 9.41 x 9.72″ / 156 x 239 x 247 mm
Weight: 4.4 lb / 2.0 kg: Body Only
9.9 lb / 4.4 kg: Body, Viewfinder, Eyepiece, Grip Remote Control, BP-U30 Battery, SELP28135G Lens, an XQD Memory card

Includes

For Multi-day Rentals: Call for Rate