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Review Summary
2025-03-14T12:13:56
Nice and good
Aquantuo T.
2019-09-05T13:31:41
I purchased this great camera a month ago, and my experience working with it is above and beyond. I am working on a film documentary and with the atomos inferno kit you can have the true 4k raw. Colors are simple amazing. I'm using it for other videos for political campaigns and the results are stunning! the metijones adapter works very wells with canon lenses. The menu is a professional user friendly. You can have a great range of audio with 5 channels. Definitely if you want to have the best of the best in the market this camera IT. I strongly recommended. I am a happy customer satisfied and beyond.
CLAUDE C.
2018-08-31T12:16:49
I love this camera. Sure I’d love an Alexa but this is the next best thing and what a deal. This camera is a workhorse and will get you gigs. Don’t think twice just get one.
Robert T.
2018-05-01T08:36:22
great service, great delivery / on time / as per order
KEV R.
Super 35mm Single-Chip Exmor CMOS
17:9 4096 (H) x 2160 (V)
16:9 3840 (H) x 2160 (V)
57 dB (Y)
2000 lx, 89.9% reflectance:
T14 (3840 x 2160/23.98p mode 3200K)
ISO Sensitivity:
ISO 2000 (S-Log3 Gamma D55 Light source)
0.7 lux: +18 dB,23.98p,Shutter OFF,ND Clear, f/1.4
NTSC / PAL
Clear, 1/4, 1/16, 1/64
3.5" (8.8cm)
Approx: 1.56M dots
Monaural
1/3 to 1/9000 of a sec
Preset
Memory A
Memory B (1500K-50000K)/ATW
-3, 0, 3, 6, 9, 12, 18 dB, AGC
STD
HG
User
S-log3
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
LPCM 24 bits, 48 kHz, 4 channels (Recording/Playback 2 channels)
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
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
59.94p/50p mode: VBR, maximum bit rate 150 Mb/s
29.97p/23.98p/25p mode: VBR, maximum bit rate 100 Mb/s
VBR, maximum bit rate 50 Mb/s
VBR, maximum bit rate 35 Mb/s
VBR, maximum bit rate 25 Mb/s
CBR, maximum bit rate 50 Mbps, MPEG-2 422P@HL
CBR, maximum bit rate 50 Mbps, MPEG-2 422P@HL
3840 x 2160/ 59.94p, 50p, 29.97p, 23.98p, 25p
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
3840 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p
1920 x 1080/59.94p, 50p, 59.94i, 50i, 29.97p, 23.98p, 25p
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
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)
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
2 x XQD
1 x SD (for configuration data only)
2x 3-pin XLR (Line/mic/mic +48)
Mic Reference: -40. -50. -60 dBu
2x BNC HD/3G-SDI (SMTPE292M/424M/425M)
1x Type A
USB device, miniB
1x Stereo mini jack (-16 dBu 16 Ohms)
Stereo mini jack (2.5mm)
Multi-Interface (MI) shoe
12VDC
Approx. 19W
BP-U30: Approx. 1 hr
BP-U60: Approx. 2 hr
BP-U90: Approx. 3 hr
Operating: 32 to 104 deg F (0 to 40 deg C)
Storage: -4 to 140 deg F (-4 to 140 deg C)
6.14 x 9.41 x 9.72" (156 x 239 x 247mm)
Body: 4.4 lbs (2.0kg)
Body with lens: 9.9 lbs (4.4kg)
Mount: Sony E
Format: APS-C
Focal Length: 18-110mm
35mm Equivalent Focal Length: 27-165mm
Lens Elements/Groups: 18 / 15
Angle of View: 76 to 14 deg 30'
Maximum Aperture: f/4
Minimum Aperture: f/22
Number of Aperture Blades: 7
Minimum Focus Distance
AF/MF Mode Wide-Angle: 15.75" (40cm)
AF/MF Mode Telephoto: 37.4" (95cm)
Full MF Mode: 37.4" (95cm)
Maximum Magnification: 0.122x
Filter Diameter: 95mm Optical Image Stabilization: yes Zoom Type: Mechanical or servo selectable Dimensions: Diameter: 4.3" (110mm) / Length: 6.6" (168mm)
Weight: 2.4 lb (1.1kg) without tripod foot
027242904705
The Sony Fs7 mark 2 is the only camera you need.
By Robert T.
I love this camera. Sure I’d love an Alexa but this is the next best thing and what a deal. This camera is a workhorse and will get you gigs. Don’t think twice just get one.
FS7 II The Best Camera for a Versatile Production
By CLAUDE C.
I purchased this great camera a month ago, and my experience working with it is above and beyond. I am working on a film documentary and with the atomos inferno kit you can have the true 4k raw. Colors are simple amazing. I'm using it for other videos for political campaigns and the results are stunning! the metijones adapter works very wells with canon lenses. The menu is a professional user friendly. You can have a great range of audio with 5 channels. Definitely if you want to have the...
View full Review
PXW-FS7M2 / PXW-FS7M2K Discover FS7 II, Sony’s 4K Super 35-mm camcorder with E-Mount (lever lock), Electronic Variable ND, 4K/2K RAW and XAVC recording.
The FS7 II dramatically improves the experience of shooting with Sony’s ultimate documentary camcorder and is 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. The FS7 II delivers the spectacular imagery you expect from Sony.
Shotgun microphone sold separately.
Shooting with the 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 unrivaled technology continuously adjusts the density of the electronic ND Filter without losing resolution while maintaining color balance. See the FS7 II in action for yourself to discover how Sony has transformed shooting on the move.
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 adapter, as well as Sony’s E-mount and A-mount lenses. Whatever your lens requirements, FS7 II has you covered.
SELP18110G powered zoom lens delivers optimum performance in Super 35/APS-C movie-making applications, starting at 18-mm wide-angle and extending through an impressive 6.1 x zoom range with a constant F4 maximum aperture. G Lens optical performance suitable for 4K throughout the zoom range.
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 has been 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.
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 24fps, 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 and no loss in angle of view. The camera also performs Slow and Quick (S&Q) motion from 1 to 180fps in 1fps increments. So, you can alter the narrative by selectively speeding up or slowing down the action.
Long-form projects shine with Sony’s XAVC™ L (Long GOP) recording system. Record luxurious QFHD at 59.94 p / 50 p 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 color – all at budget-friendly data rates of 50, 35 or even 25 Mbps in HD mode. You can also record on-board 4K (4096 x 2160) at cinema standard 24 p, 59.94 p, 50 p, 29.97 p, 23.98 p or 25 p. The camera captures different color spaces, including the wide ITU-R BT.2020 for Ultra-High Definition.
Other formats include XAVC I (Intra) 4K at 600 Mbps, QFHD (3840 x 2160) and Full HD (1920 x 1080), 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).
Long-form programs need media that’s both reliable and affordable. As specified by the CompactFlash Association, XQDTM memory cards score big on both accounts. Reliability comes from in-camera recovery. You get very low cost-per-minute compared to CFastTM cards. 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 256 GB G-Series card, you can record approximately 45 minutes of 4K footage at 60 P or 3.5 hours at 30 P in 2K. And when it’s finally time to swap out cards, it’s now even easier – on the FS7 II, the card protrudes by a more easily pinchable 8 mm.
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 35-mm sensor for 4K and HD capture, including superior 4K/QFHD 60 p / 50 p with support for the BT.2020 color space, plus fantastic slow-motion pictures up to 180fps. Just think what the possibilities are…
Originally developed for the PXW-FS5, Sony’s ground-breaking integration of electronic variable ND Filters into the body of a Super 35-mm 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 1/4 ND to 1/128 ND 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 or shutter speed.
FS7 II is your perfect partner for fast-moving shoots in changeable environments.
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.
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 180fps. When you play back at 23.98 p, you’ll enjoy extraordinary Super Slow Motion of up to 7.5 x. Compared to burst mode, the continuous recording of the FS7 II reduces mistimed shots and extra takes. The camera also provides Slow and Quick motion from 1fps to 180 fps, in 1fps 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 240fps. This creates 10 x Super Slow Motion when played at 23.98 p.
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:
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 the FS7 II we’ve refined these elements to be even more flexible to you.
The result of thousands of hours of user research, Sony’s Smart Grip is a highly adjustable control center 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.
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 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.
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 the FS7 II.
The FS7 II supports four-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 the 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 the FS7 II, the control cover now folds down flat to lessen risk of accidental damage.