The Sony NEX-FS700U has become the go-to camera for directors of photography who don't accept limits, restrictions or boundaries. Now it's even better. The FS700R incorporates all the features of the FS700U, plus 2K/4K RAW output, previously an extra-cost upgrade. With the FS700R, you can engage Super Slow Motion in Full HD or 2K RAW at up to 240 frames per second. Take advantage of a Super 35 4K sensor for supersampled HD and outboard 4K or 2K RAW recording. Take control with refinements like built-in ND filters and S-Log 2 gamma. Whenever you're ready to push the boundaries, this camera is ready for you.

The NEX-FS700R works with a universe of lenses, thanks to Sony's E-mount interchangeable lens system. Taking advantage of an extremely shallow 18 mm flange back distance, the system is uncommonly open to the widest variety of SLR, DSLR and motion picture lenses via third-party adaptors.

As part of Sony's extensive family of NXCAM™ camcorders, the NEX-FS700R works with a wide range of nonlinear editors. The built-in recorder leverages the established AVCHD™ codec while Sony's outboard 4K RAW recorder works with many of the same post tools as Sony's established F65RAW workflow. Uncompressed 3G HD-SDI and HDMI® outputs* connect to professional outboard recorders, professional monitors and consumer televisions.

* Requires HDMI cable, sold separately.

Even prior to the camera's launch, DPs have grabbed preproduction samples and put them through their paces. See what happens when directors of photography take the NEX-FS700U into the field to shoot.

4K/2K RAW recording with optional AXS-R5/HXR-IFR5

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 RAW recording. The NEX-FS700R outputs a 4K RAW bitstream via a single 3G-SDI cable to the HXR-IFR5 interface. The interface docks to the AXS-R5 Access Memory System recorder, sold separately.

Even among today's RAW recording systems, the HXR-IFR5/AXS-R5 combination stands apart. read more

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4K/2K RAW recording with optional AXS-R5/HXR-IFR5

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 RAW recording. The NEX-FS700R outputs a 4K RAW bitstream via a single 3G-SDI cable to the HXR-IFR5 interface. The interface docks to the AXS-R5 Access Memory System recorder, sold separately.

Even among today's RAW recording systems, the HXR-IFR5/AXS-R5 combination stands apart.

  • 4K RAW. Conventional HD recording requires the image sensor signal to go through a demosaicing process, gamma encoding, bit depth reduction and a color 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.
  • 12-bit precision. FS700RAW files capture linear light as 16-bit RAW with a 12-bit payload, resulting in 12 bits of precision. This delivers 64 times as many colors as 10-bit recording. FS700RAW files are compatible with workflow tools used for F65, F55 and F5 RAW. Sony linear RAW is also a powerful complement to the linear Academy Color Encoding System (ACES) workflow.
  • High frame rates. The RAW recording mode takes advantage of the camera's extraordinary high frame rate capabilities. Note that the camera cannot capture audio at frame rates higher than 59.94 fps.
    • CONTINUOUS 4K 12-BIT RAW: 23.98, 25, 29.97, 50 and 59.94 fps
    • CONTINUOUS 2K 12-BIT RAW: 23.98, 25, 29.97, 50, 59.94, 100, 120 200 and 240 fps
    • 4K BURST MODE RECORDED TO BUFFER: 100 or 120 fps for up to appox. 4 seconds to provide up to 18 seconds of playback at 24p
  • 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 optional AXS-R5 RAW recorder. For seamless conforming in post, you get matching time code, start frame, stop frame, file names and other metadata. You can even record RAW to the AXS-R5, record AVCHD codec to the HXR-FMU128 flash memory unit, sold separately, and capture a third recording onto affordable SD media that you can give to the client at the end of the shoot. (AVCHD is not available during high-speed RAW recording.)

Sony's 4K RAW recording system includes the HXR-IFR5 interface (left), the AXS-R5 Access Memory System recorder (center) and BP-FL75 battery (right).

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Download DPX files of FS700 RAW

To put FS700 RAW through its paces, we gave an early FS700 version 3.00 camcorder, along with the HXR-IFR5 interface and AXS-R5 recorder to directors of photography and Pro Video Coalition contributors Art Adams and Adam Wilt. What they came back with was breathtaking. Click on any of these images to download a full-resolution DPX file. Then bring the file into your own color correction system to see just how the camera really performs. Resolution, highlight detail, exposure latitude, low noise. It's all there. read more

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Download DPX files of FS700 RAW

To put FS700 RAW through its paces, we gave an early FS700 version 3.00 camcorder, along with the HXR-IFR5 interface and AXS-R5 recorder to directors of photography and Pro Video Coalition contributors Art Adams and Adam Wilt. What they came back with was breathtaking. Click on any of these images to download a full-resolution DPX file. Then bring the file into your own color correction system to see just how the camera really performs. Resolution, highlight detail, exposure latitude, low noise. It's all there. See the lower left of the images for lens selection, ISO, shutter, aperture and ND settings.

Watch "FS700 in the RAW."  Art Adams and Adam Wilt discuss the FS700 at CineGear 2013.

San Francisco Skyline
San Francisco from Horseshoe Curve
Golden Gate Bridge
Cat
Trees
Pines and waves
Pier
Night skyline
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Upgrading the FS700U to FS700R

The difference between the NEX-FS700U and the FS700R is the 2K/4K upgrade. This hardware-level retrofit is available at no extra charge to owners of the NEX-FS700U who also purchase the HXR-IFR5 RAW recording interface. (Proof of purchase required.) Otherwise, this upgrade costs $400.00 per camcorder.

Discover the benefits of 4K/2K RAW recording with the NEX-FS700. read more

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Upgrading the FS700U to FS700R

The difference between the NEX-FS700U and the FS700R is the 2K/4K upgrade. This hardware-level retrofit is available at no extra charge to owners of the NEX-FS700U who also purchase the HXR-IFR5 RAW recording interface. (Proof of purchase required.) Otherwise, this upgrade costs $400.00 per camcorder.

Discover the benefits of 4K/2K RAW recording with the NEX-FS700.

Capabilities. The upgrade adds powerful production possibilities:

  • 12-bit 4K RAW and 2K RAW recording with the HXR-IFR5/AXS-R5 recording system, sold separately.
  • 4K RAW recording up to 60 fps.
  • 2K RAW recording up to 240 fps.
  • Record as long as media capacity allows; no limit to clip size!
  • Recording without buffering for 4K RAW up to 60 fps and 2K RAW up to 240 fps using the AXS-R5. There's no waiting for the data to spool from the buffer to the recording media.
  • 120 fps 4K RAW burst mode recording to buffer (approximately 3.75 seconds record time per burst, 17 seconds 4K playback at 24 fps).
  • Simultaneous AVCHD recording to internal SD card or external HXR-FMU128 memory unit while recording RAW to the AXS-R5 recorder (proxy is not available while recording High Fame Rates).
  • Two new gamma curves: S-Log2 and 800% ITU 709.
  • Record trigger commands for outboard recorders are now embedded in the HDMI and SDI uncompressed digital outputs.
  • The zoom lever on the NEX-FS700 grip now operates the SELP18200 power zoom lens.
  • Upgraded NEX-FS700 camcorders can also interface with an appropriately configured Convergent Design Odyssey 7Q recorder/monitor. Please contact Convergent Design or visit their website at convergent-design.com for important interface details. The Odyssey 7Q records Cinema DNG RAW up to 240 fps in 2K. For 4K recording, the Odyssey 7Q creates DPX files.

Cost. Adding RAW output requires extensive internal hardware reprogramming. This must be performed at a Sony Professional Service Depot. The cost to perform the upgrade is $400.00 per camcorder. This cost will be waived for owners of the HXR-IFR5 interface unit. Please include a copy of the HXR-IFR5 purchase receipt with the camera and tell us of your purchase when you make the service appointment.

Requirements. AXS-R5 Version 1.2 or greater software is required to support RAW recording with NEX-FS700 and HXR-IFR5. This software and the procedure for installation are available here.

Getting your upgrade. Please contact your regional Sony Professional Service facility to schedule the procedure and learn the anticipated turnaround time. When you call, let us know if you've purchased the HXR-IFR5, in which case we'll waive the upgrade cost. (Proof of HXR-IFR5 purchase required.) Loaner cameras are not available.

Insuring and shipping the NEX-FS700 to Sony Service are your responsibility. We will return the upgraded camera at no charge using FedEx® Standard delivery. Expedited shipment is available at additional cost.


Eastern Service Facility Teaneck Western Service Facility Los Angeles
Sony Service Center Sony Service Center
123 W. Tryon Avenue 2706 Media Center Dr., Ste. 130
Teaneck, New Jersey 07666 Los Angeles, California 90065
Voice: 201-833-5300 Voice: 323-352-5000
FAX: 323-352-5039 FAX: 323-352-5039
E-mail: TeaneckService@am.sony.com E-mail: LAService@am.sony.com

If you need operational support after this upgrade, feel free to call the Sony Product Operational Support Center (POSC) at 1-800-883-6817, option 2, 5, 2 (M-F 8:00 am – 8:00 pm ET, excluding Holidays).

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Super-sampling: Spectacular HD or 4K

Does a 4K camera make sense in an HD world? Perfect sense. Even if you're not planning on 4K production, the 8.9 megapixels of Sony's 4K image sensor enable you to shoot fine-textured, super-sampled HD now and learn how to get the best from the camera. As 4K postproduction and distribution continue to gain traction, you can add the HXR-IFR5 interface and outboard AXS-R5 recorder for 12-bit linear 4K RAW capture. The NEX-FS700R supports three major shooting scenarios. read more

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Super-sampling: Spectacular HD or 4K

Does a 4K camera make sense in an HD world? Perfect sense. Even if you're not planning on 4K production, the 8.9 megapixels of Sony's 4K image sensor enable you to shoot fine-textured, super-sampled HD now and learn how to get the best from the camera. As 4K postproduction and distribution continue to gain traction, you can add the HXR-IFR5 interface and outboard AXS-R5 recorder for 12-bit linear 4K RAW capture. The NEX-FS700R supports three major shooting scenarios.

  • Shoot, Record, Master and Distribute in stunning 4K. You're ready for the more than 13,000 movie theaters with Sony Digital Cinema 4K projectors—and the new wave of 4K home entertainment. Sony is one of several companies that have launched 4K home televisions while cable, satellite and network operators are currently considering the prospect of 4K content delivery.
  • Shoot, Record and Master in 4K. Distribute in 2K/HD. Derive your delivery format while preserving the original as a future-proof archive. Your master is ready for future 4K release.
  • Shoot in 4K. Record, Master and Distribute in HD. Sony's 4K sensor gives you a super-sampled HD picture with visibly superior texture, color reproduction, detail and high-frequency contrast that ordinary HD cameras cannot touch.
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Super Slow Motion

Water splashing, balloons bursting and matches igniting are beautifully revealed thanks to the extraordinary Super Slow Motion of the NEX-FS700R. Until now restricted to far more expensive cameras, 120 and 240 frames per second burst recording captures Full HD 1920 x 1080. Playing back at 24 fps yields compelling slow motion at 1/5 or 1/10 normal speed. Or choose 480 and 960 fps burst recording (at reduced resolution) for even more creative possibilities. The camera even supports Super Slow Motion in 2K and 4K RAW using the HXR-IFR5 interface and AXS-R5 Access Memory System recorder, both sold separately. The HXR-IFR5 is expected in June 2013. Maximum RAW frame rates are to be announced. Note that burst recording time depends on the frame rate. Different frame rates apply to 60 Hz and 50 Hz modes. read more

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Super Slow Motion

Water splashing, balloons bursting and matches igniting are beautifully revealed thanks to the extraordinary Super Slow Motion of the NEX-FS700R. Until now restricted to far more expensive cameras, 120 and 240 frames per second burst recording captures Full HD 1920 x 1080. Playing back at 24 fps yields compelling slow motion at 1/5 or 1/10 normal speed. Or choose 480 and 960 fps burst recording (at reduced resolution) for even more creative possibilities.

Note that burst recording time depends on the frame rate. Different frame rates apply to 60 Hz and 50 Hz modes.

1920x1080p Frame rate (60 Hz) 120 fps 240 fps 480 fps 960 fps
Recording time 16 sec 8 sec 9 sec 19 sec
1920x1080p Frame rate (50 Hz) 100 fps 200 fps 400 fps 800 fps
Recording time 19 sec 9 sec 12 sec 23 sec

The camera also supports Super Slow Motion in 2K and 4K recording via the 3G-SDI output. Continuous high speed recording frame rates in 4K are 50 and 59.94 fps. Continuous recording for 2K is available at 50, 59.94, 100, 120, 200 and 240 fps, up to the limit of the media capacity. A special 4K burst mode records at 100 or 120 fps for up to approximately 4 seconds, for up to 18 seconds of playback at 24p.

In the NEX-FS700R, Super Slow Motion is made possible by the high-speed readout of Sony's Exmor® CMOS image sensor design. Thanks to the sensor's low noise and high sensitivity, extraordinary lighting is not required.

The NEX-FS700R also enables Full HD Slow and Quick Motion at frame rates of 60, 30, 15, 8, 4, 2 and 1 fps (60 Hz mode) or 50, 25, 12, 6, 3, 2 and 1 fps (50 Hz mode).

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S-Log 2 and CineGamma Curves

Given all the effort Sony made to achieve superb exposure latitude, it would be a crime to crush this latitude in recording. That's why Sony gives you a choice of grayscale encoding. read more

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S-Log 2 and CineGamma Curves

Given all the effort Sony made to achieve superb exposure latitude, it would be a crime to crush this latitude in recording. That's why Sony gives you a choice of grayscale encoding.

  • 12-bit linear RAW. Preserve the maximum headroom from the deepest shadows to the brightest specular highlights. See everything the image sensor has to offer. RAW captures a color sample for each photosite on the image sensor. As a result, your look isn't "baked in." It's fully open to creative manipulation.
  • S-Log 2 Gamma. Postproduction can also take advantage of the full range of grayscale values thanks to Sony's latest S-Log 2 Gamma. While conventional video gamma preserves 109% of the sensor's nominal peak white, and Sony's original S-Log accommodates 800%, S-Log 2 extends all the way to 1300% of nominal peak white, to deliver the full dynamic range of the camera. Note: S-Log 2 gamma requires a postproduction LUT or grading pass.
  • CineGamma Curves. The camera incorporates four CineGamma curves, which are identical to the curves on high-end CineAlta camcorders. You get graceful, natural highlight rendition without the blown-out highlights that scream "video."
  • ITU 709 (800%). This setting matches the standard ITU 709 gamma curve for shadows and midrange luminance, but extends the dynamic range for highlights to 800% of the sensor's nominal peak white.
  • ITU 709. Productions intended for television that plan little or no color correction can also take advantage of conventional, ITU 709 High Definition, which is also available.


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Super 35mm Sensor Size

When it comes to image sensors, size definitely matters. Other things being equal, a bigger sensor equates to better low-light sensitivity and lower image noise. Bigger sensors also make it easier to capture wide-angle shots; the field of view is wider for any given focal length lens. Even more important to some photographers is the pursuit of "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. And that's exactly what the NEX-FS700R delivers, with a single sensor that closely approximates the Super 35mm motion picture frame size. read more

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Super 35mm Sensor Size

When it comes to image sensors, size definitely matters. Other things being equal, a bigger sensor equates to better low-light sensitivity and lower image noise. Bigger sensors also make it easier to capture wide-angle shots; the field of view is wider for any given focal length lens. Even more important to some photographers is the pursuit of "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. And that's exactly what the NEX-FS700R delivers, with a single sensor that closely approximates the Super 35mm motion picture frame size.

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4K Exmor® CMOS Sensor

At Sony, we're not limited to off-the-shelf image sensors. That's how the NEX-FS700R came to incorporate an innovative 4K sensor. With 8.9 million pixels (4096 x 2160), it enables incredible, oversampled HD. And the camera can output an uncompressed 4K bitstream to the optional AXS-R5 Access Memory System Recorder, sold separately. read more

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4K Exmor® CMOS Sensor

At Sony, we're not limited to off-the-shelf image sensors. That's how the NEX-FS700R came to incorporate an innovative 4K sensor. With 8.9 million pixels (4096 x 2160), it enables incredible, oversampled HD. And the camera can output an uncompressed 4K bitstream to the optional AXS-R5 Access Memory System Recorder, sold separately.

There's more. Sony's exclusive Exmor® technology enables very fast image readout, essential for high speed shooting. Thanks to unique Sony technology and the Super 35 size, 4K resolution comes without sacrifice in picture quality. Signal-to-noise ratio is high. And minimum illumination is an extraordinary 0.28* lux.

Total
4K Motion Pictures (17:9)
HD Motion Pictures (16:9)
Still Pictures (16:9)
Still Pictures (3:2)
Approx. 11.6 Megapixels
Approx. 8.9 Megapixels effective
Approx. 8.3 Megapixels effective
Approx. 8.4 Megapixels effective
Approx. 7.1 Megapixels effective

* 1/30 Shutter, Auto Gain, F1.4. The SELP18200 lens supplied with the NEX-FS700RH achieves 1.5 lux (1/30 shutter, Auto Gain, Auto Iris).

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Built-in ND filters

You don't need a matte box to get the advantages of shallow depth of field even in exterior day shoots. A built-in Neutral Density (ND) filter wheel includes positions for Clear, 1/4 (2 Stops), 1/16 (4 Stops), and 1/64 (6 Stops). Incorporating ND into the 18 mm flange back distance of the E-Mount was a special challenge that Sony engineers solved by mounting ultra-thin filters into a wheel that rotates across the sensor like a turret.

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Built-in ND filters

You don't need a matte box to get the advantages of shallow depth of field even in exterior day shoots. A built-in Neutral Density (ND) filter wheel includes positions for Clear, 1/4 (2 Stops), 1/16 (4 Stops), and 1/64 (6 Stops). Incorporating ND into the 18 mm flange back distance of the E-Mount was a special challenge that Sony engineers solved by mounting ultra-thin filters into a wheel that rotates across the sensor like a turret.

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Modular Design

Sony's original NEX-FS100U established a modular design that you could build up with matte box, rods, and viewfinder hood for shoulder-mount shooting or strip down for lightweight, handheld, inconspicuous shooting. The NEX-FS700R refines the concept. An improved top handle attaches with two screws for greater rigidity. The right side of the FS700R features an industry-standard rosette mount for adding handles and other accessories. 1/4-inch and 3/8-inch screw holes on the top and bottom accept a range of accessories. The tape-measure hook and image sensor position index help establish precise focus. There's even a Hold switch to prevent accidental setting changes during a shot. read more

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Modular Design

Sony's original NEX-FS100U established a modular design that you could build up with matte box, rods, and viewfinder hood for shoulder-mount shooting or strip down for lightweight, handheld, inconspicuous shooting. The NEX-FS700R refines the concept. An improved top handle attaches with two screws for greater rigidity. The right side of the FS700R features an industry-standard rosette mount for adding handles and other accessories. 1/4-inch and 3/8-inch screw holes on the top and bottom accept a range of accessories. The tape-measure hook and image sensor position index help establish precise focus. There's even a Hold switch to prevent accidental setting changes during a shot.

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Advanced Focus Facilities

Because focus is critical in HD shooting, the NEX-FS700R provides some powerful assistance. read more

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Advanced Focus Facilities

Because focus is critical in HD shooting, the NEX-FS700R provides some powerful assistance.

  • Expanded Focus. The LCD monitor provides 4-times and 8-times Expanded Focus magnification plus the ability to move the expanded focus window around the image.
  • Focus Transition. Sony makes it easier than ever to achieve smooth rack focus effects. When using E-mount lenses, you can store start and end focus positions, start time and transition duration. Then simply press Execute to make it happen.
  • Face Detection in Auto Focus. In auto focus mode, the Face Detection function simplifies operation. When several faces are in frame, you can even assign priority to your star.
  • Phase Detection AF. When you attach the LA-EA2 lens adaptor (sold separately) and Sony A-mount AF lenses, something remarkable happens. You get fast, precise, full-time phase detection AF. It's especially useful for tracking shots when the subject or the camera is moving.
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99 Picture Profile Settings

Sony's Picture Profile function stores your choices for Gamma, Color Mode, Black Level, Black Gamma, Knee, Color Level, Detail and many other parameters. To accommodate a wide range of shooting environments, you can store up to 99 Picture Profile settings on a memory card and share settings from one NEX-700R to another.

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99 Picture Profile Settings

Sony's Picture Profile function stores your choices for Gamma, Color Mode, Black Level, Black Gamma, Knee, Color Level, Detail and many other parameters. To accommodate a wide range of shooting environments, you can store up to 99 Picture Profile settings on a memory card and share settings from one NEX-700R to another.

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LCD Markers

For convenient framing, the camera offers a variety of LCD markers including center, aspect ratio (including 4:3, 13:9, 14:9, 15:9, 1.66:1, 1.85:1 and 2.35:1), safety zone, guide frame, and others. You even have a choice of displaying shutter in degrees or seconds, gain in dB or ISO, and focus distance in meters or feet.

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LCD Markers

For convenient framing, the camera offers a variety of LCD markers including center, aspect ratio (including 4:3, 13:9, 14:9, 15:9, 1.66:1, 1.85:1 and 2.35:1), safety zone, guide frame, and others. You even have a choice of displaying shutter in degrees or seconds, gain in dB or ISO, and focus distance in meters or feet.

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50/60 Hz World-cam Operation

With 50 Hz/60 Hz switching, a single NEX-FS700R can deliver projects for customers anywhere in the world. The camera relieves PAL/NTSC headaches and enables 24p shooting in PAL areas.

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50/60 Hz World-cam Operation

With 50 Hz/60 Hz switching, a single NEX-FS700R can deliver projects for customers anywhere in the world. The camera relieves PAL/NTSC headaches and enables 24p shooting in PAL areas.

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The Sony 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 has recently launched the term "Ultra High-Definition" (Ultra HD) to cover 4K consumer products. read more

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The Sony 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 has recently launched the term "Ultra High-Definition" (Ultra HD) to cover 4K consumer products.

Just as high definition was a giant leap ahead of standard definition, 4K is far more immersive than HD.

The Sony 4K universe includes consumer products like the XBR-84X900 television.

Sony 4K products include the world's leading lineup of Digital Cinema 4K projectors, with over 13,000 systems installed. We also created the PVM-X300 4K professional monitor, plus a line of 4K projectors for visualization, simulation auditoriums and post. Our Sony Vegas® Pro 12 software is enabled for 4K nonlinear editing. Our 4K consumer products include the VPL-VW1000ES home theater projector, three televisions and even Sony PlayMemories™ Studio software for the PlayStation®3 console, which enables owners to load still pictures onto the console for viewing in 4K on a television or projector.

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Sony cameras compared

read more

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Sony cameras compared

F65 PMW-F55 PMW-F5 PMW-F3 NEX-FS700R NEX-FS100U
Sensor Size 24.7 x 13.1 mm 24 x 12.7 mm 24 x 12.7 mm 23.6 x 13.3 mm 24 x 12.7 mm
(16:9 mode)
23.6 x 13.3 mm
Sensor Diagonal 28 mm 27.1 mm 27.1 mm 27.1 mm 27.1 mm
(16:9 mode)
27.1 mm
Sensor Aspect Ratio 1.89:1 (17:9) 1.89:1 (17:9) 1.89:1 (17:9) 1.78:1 (16:9) 1.89:1 (17:9) 1.78:1 (16:9)
Sensor Resolution 8182 x 2160 4096 x 2160 4096 x 2160 2448 x 1377 4096 x 2160 2448 x 1377
Photosites Total 20 million 11.6 million 11.6 million 3.5 million 11.6 million 3.5 million
Photosites Effective n/s 8.8 million (17:9) 8.8 million (17:9) 3.4 million (16:9) 8.8 million (17:9) 3.4 million (16:9)
Color Gamut S-Gamut S-Gamut Wide Wide Wide Wide
Lens Mount PL Sony FZ and supplied PL adaptor Sony FZ and supplied PL adaptor Sony FZ and supplied PL adaptor Sony E-Mount Sony E-Mount
Flange Focal Depth 52 mm 19 mm (FZ)
52 mm (PL)
19 mm (FZ)
52 mm (PL)
19 mm (FZ)
52 mm (PL)
18 mm 18 mm
Shutter Rotary 11.2 to 180° Electronic 4.2 to 360° Frame Image Scan 4.2 to 360° Electronic 4.2 to 360° Electronic 1/32 to 1/2000 Electronic1/3 to 1/10000 Electronic 1/3 to 1/10000
Built in ND Filters 0, 0.9, 1.2, 1.5, 1.8 (0, 3, 4, 5, 6 stops) 0, 0.9, 1.8 (0, 3, 6 stops) 0, 0.9, 1.8 (0, 3, 6 stops) 0, 0.9, 1.8 (0, 3, 6 stops) 0, 0.6, 1.2, 1.8 (0, 2, 4, 6 stops) -
Exposure Latitude 14 stops 14 stops 14 stops 12.5 stops Over 12 stops (CineGamma 4) n/s
Native ISO 800 1250 in S-Log 2 2000 in S-Log 2 1600 in S-Log 500 in Standard Gamma 500 in Standard Gamma
RAW Recording With SR-R4 With AXS-R5 With AXS-R5 - With AXS-R5 + HXR-IFR5 -
S-Log Recording S-Log 2 S-Log 2 S-Log 2 S-Log S-Log 2 -
Video Recording Yes Yes Yes Yes Yes Yes
8K Recording (bitrate at 24p) • F65RAW-SQ, 16-bit, 2.0 Gbps with SR-R4
•F65RAW-Lite, 16-bit, 1.2 Gbps with SR-R4
- - - - -
4K Recording (bitrate at 24p) - • XAVC 4:2:2, 10-bit, 240 Mbps Internal (QFHD with v3.0 upgrade)
• F55RAW, 16-bit, 960 Mbps with AXS-R5
F5RAW, 16-bit, 960 Mbps with AXS-R5 - FS700RAW 12-bit payload, 960 Mbps with AXS-R5 + HXR-IF5 -
2K Recording (bitrate at 24p) - • XAVC 4:2:2, 10-bit, 90 Mbps Internal with v2.0 upgrade
• F55RAW, 16-bit, 240 Mbps with AXS-R5 and v2.0 upgrade
• XAVC 4:2:2, 10-bit, 90 Mbps Internal with v2.0 upgrade
• F5RAW, 16-bit, 240 Mbps with AXS-R5 and v2.0 upgrade
- FS700RAW 12-bit payload, 240 Mbps with AXS-R5 + HXR-IF5 -
HD Recording (bitrate at 24p) SR File, 12-bit or 10-bit, 4:4:4 or 4:2:2; 704, 352 or 176 Mbps with SR-R4 • XAVC 4:2:2, 10-bit, 90 Mbps
• SR File, 4:4:4 or 4:2:2, 10-bit, 352 or 176 Mbps with v1.2 upgrade
• MPEG 4:2:2, 8-bit, 50 Mbps
• All internal
• XAVC 4:2:2, 10-bit, 90 Mbps
• SR File, 4:4:4 or 4:2:2, 10-bit, 352 or 176 Mbps with v1.2 upgrade
• MPEG 4:2:2, 8-bit, 50 Mbps
• All internal
• MPEG 4:2:0, 8 bit, 35 Mbps internal
• SR File, 10-bit, 4:4:4 or 4:2:2; 176, 352 or 704 with SR-R1
AVCHD 4:2:0, 8 bit, 24 or 28 Mbps, internal AVCHD 4:2:0, 8 bit, 24 or 28 Mbps, internal
Maximum Frames Per Second (progressive) 120 fps @ 4K RAW with SR-R4 • 240 fps @ 2K RAW with AXS-R5 and v3.0 upgrade
• 180 fps @ 2K/HD XAVC with v3.0 upgrade
• 240 fps @ 2K RAW with AXS-R5 and v3.0 upgrade
• 180 fps @ 2K/HD XAVC with v3.0 upgrade
• 60 fps @ 1080p with SR-R1
• 60 fps @ 720p internal
• 30 fps @ 1080p internal
• 960 fps in Super Slow Motion
• 240 fps 2K RAW continuous
• 60 fps AVCHD codec continuous
60 fps continuous
Recording Media SRMemory cards for SR-R4 • SxS-1, PRO, PRO+ cards (internal)
• AXSM cards for AXS-R5
• SxS-1, PRO, PRO+ cards (internal)
• AXSM cards for AXS-R5
• SxS-1, PRO cards (internal)
• SRMemory cards for SR-R1
• SD, SDHC, SDXC or Memory Stick PRO Duo (internal)
• AXSM cards for AXS-R5
SD, SDHC, SDXC or Memory Stick PRO Duo (internal)
HD Output HD-SDI x2 • 3G-SDI x4 with 2K and 4K capability
• HDMI 1.4a
• 3G-SDI x4
• HDMI 1.4a
• HD-SDI x2
• Dual Link HD-SDI
• HDMI 1.4
• 3G-SDI with 2K and 4K capability
• HDMI
• HD-SDI
• HDMI 1.4
Batteries V-mount V-mount V-mount Sony BP Series Sony L Series Sony L Series
Dimensions (body only) 12 x 9-1/8 x 7-3/4 inches (305 x 227 x 195 mm) 7-1/8 x 7-7/8 x 12-1/4 inches (151 x 189 x 210 mm) 7-1/8 x 7-7/8 x 12-1/4 inches (151 x 189 x 210 mm) 6 x 7-1/2 x 8-3/8 inches (151 x 189 x 210 mm) 5-3/4 x 7 1/8 x 10 inches (145 x 179 x 254 mm) 5 x 4 x 7 5/8 inches (127 x 102 x 194 mm )
Weight (body only) 11 lb (5.0 kg) 4 lb 14 oz (2.2 kg) 4 lb 14 oz (2.2 kg) 5 lb 4 oz (2.4 kg) 3 lb 11 oz (1.7 kg) 2 lb 4oz (1.0 kg)
Power Consumption (typical) Approx. 65 W Approx. 25 W Approx. 24 W Approx. 24 W Approx. 9.6 W Approx. 5.6W
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E-mount Lenses

The NEX-FS700R incorporates the same E-mount system used in Sony's popular compact Alpha NEX Series cameras. So the FS700R directly accepts the growing family of Sony E-mount lenses. These lenses are light and compact, with aspherical glass elements for high performance, and circular iris mechanisms for beautiful out-of-focus highlights. Because video shooting was a consideration from the outset, Sony E-mount lenses have far quieter focusing motors than conventional AF still lenses. Your videos are less likely to be interrupted by the whine of AF motor noise. read more

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E-mount Lenses

The NEX-FS700R incorporates the same E-mount system used in Sony's popular compact Alpha NEX Series cameras. So the FS700R directly accepts the growing family of Sony E-mount lenses. These lenses are light and compact, with aspherical glass elements for high performance, and circular iris mechanisms for beautiful out-of-focus highlights. Because video shooting was a consideration from the outset, Sony E-mount lenses have far quieter focusing motors than conventional AF still lenses. Your videos are less likely to be interrupted by the whine of AF motor noise.

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A-mount Lenses

Sony's LA-EA1 and LA-EA2 lens adaptors (sold separately) open up a choice of more than 100 A-mount lenses for Sony Alpha DSLRs. You have your choice of portrait lenses, macro lenses, super telephoto lenses and a host of specialty glass that give you exceptional freedom in framing your shots. read more

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A-mount Lenses

Sony's LA-EA1 and LA-EA2 lens adaptors (sold separately) open up a choice of more than 100 A-mount lenses for Sony Alpha DSLRs. You have your choice of portrait lenses, macro lenses, super telephoto lenses and a host of specialty glass that give you exceptional freedom in framing your shots.



The camera shown with Carl Zeiss lens and LA-EA2 A-mount adaptor, both sold separately.

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SLR, DSLR and PL Mount Lenses

The NEX-FS700R accepts PL Mount motion picture lenses, plus 35mm SLR and DSLR lenses from Canon, Leica, Nikon, Olympus and others via simple third-party adaptors. For the ultimate in lens 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. read more

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SLR, DSLR and PL Mount Lenses

The NEX-FS700R accepts PL Mount motion picture lenses, plus 35mm SLR and DSLR lenses from Canon, Leica, Nikon, Olympus and others via simple third-party adaptors. 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.


Nikon F
Canon FD
Leica M
Pentax
Konica Minolta MD
Olympus
Contax/Yashica
Leica R


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FS700RH Supplied Lens

The “kit” lens supplied with the NEX-FS700RH has some remarkable properties. The SELP18200 (E 18–200 mm F3.5–6.3 OSS) lens boasts motorized 11x zoom for flexible framing even when you can't choose the camera position. The lens features three adjustable zoom speeds, plus constant speed zooming for smooth and slow operation. You can control zoom from the lever on the camera's grip as well as controls on the lens barrel. While auto focus motor noise is not a priority on still camera lenses, the SELP18200 is purpose-built for moving pictures. The quiet AF motor helps protect your video sound tracks. Sony also understands that not every job has the budget for a Steadicam® rig. That's why the lens incorporates Optical SteadyShot™ image stabilization with Sony's extraordinary Active mode. You can take well-stabilized handheld shots even as you walk around.

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FS700RH Supplied Lens

The “kit” lens supplied with the NEX-FS700RH has some remarkable properties. The SELP18200 (E 18–200 mm F3.5–6.3 OSS) lens boasts motorized 11x zoom for flexible framing even when you can't choose the camera position. The lens features three adjustable zoom speeds, plus constant speed zooming for smooth and slow operation. You can control zoom from the lever on the camera's grip as well as controls on the lens barrel. While auto focus motor noise is not a priority on still camera lenses, the SELP18200 is purpose-built for moving pictures. The quiet AF motor helps protect your video sound tracks. Sony also understands that not every job has the budget for a Steadicam® rig. That's why the lens incorporates Optical SteadyShot™ image stabilization with Sony's extraordinary Active mode. You can take well-stabilized handheld shots even as you walk around.

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Phase Detection AF with LA-EA2

Phase detection auto focus helps define the modern SLR, minimizing focus “hunt,” maximizing speed and accuracy. Now the LA-EA2 A-mount lens adaptor, sold separately, brings this fundamental advance to professional moving pictures. You get fast, accurate focus even when the subject is moving quickly, the camera is moving, or the subject is moving straight for the camera! read more

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Phase Detection AF with LA-EA2

Phase detection auto focus helps define the modern SLR, minimizing focus “hunt,” maximizing speed and accuracy. Now the LA-EA2 A-mount lens adaptor, sold separately, brings this fundamental advance to professional moving pictures. You get fast, accurate focus even when the subject is moving quickly, the camera is moving, or the subject is moving straight for the camera!

The adaptor 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.

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4K/2K RAW recording with optional AXS-R5/HXR-IFR5

Compared to conventional HD recording, FS700 RAW recording preserves more of the original camera signal. Not only do you get maximum image quality, but you also retain maximum flexibility in post. Even among today's RAW recording systems, the FS700RAW provides distinct advantages, including derived 2K RAW without windowing, 12-bit precision and simultaneous onboard AVCHD recording plus outboard RAW recording. read more

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4K/2K RAW recording with optional AXS-R5/HXR-IFR5

Compared to conventional HD recording, FS700 RAW recording preserves more of the original camera signal. Not only do you get maximum image quality, but you also retain maximum flexibility in post. Even among today's RAW recording systems, the FS700RAW provides distinct advantages, including derived 2K RAW without windowing, 12-bit precision and simultaneous onboard AVCHD recording plus outboard RAW recording.

The NEX-FS700R outputs a 4K RAW bitstream via a single 3G-SDI cable to the HXR-IFR5 interface, sold separately. The interface docks to the AXS-R5 Access Memory System recorder, sold separately.

The AXS-R5 recorder is part of the AXSM Access Memory System, which also includes the AXS-512S24 memory card and an affordable USB 3.0 reader, the AXS-CR1. Once on a PC, FS700RAW files can be screened using Sony's free RAW Viewer software.

HXR-IFR5 interface. This essential link coordinates and controls 4K RAW recording.

  • Receives uncompressed 4K bitstream from the NEX-FS700R via 3G-SDI (requires BNC cable, sold separately)
  • Docks to the AXS-R5 Access Memory System recorder
  • Controls 4K recording and playback
  • Coordinates simultaneous recording for seamless on-line/off-line capture: you record 4K on the AXS-R5 and HD on the NEX-FS700R, both with identical filenames, start frame, stop frame and time code

AXS-R5 RAW recorder. This low-profile module docks onto the HXR-IFR5 and records your 4K "digital negative."

  • Records a 12-bit linear RAW payload in 4K (4096 x 2160) or 2K (2048 x 1080) with the NEX-FS700R
  • Base frame rates of 23.98, 25, 29.97, 50 and 59.94p
    • 2K High Frame Rate Recording at 100, 120, 200 and 240 fps
    • 4K Burst Mode Recording at 100 or 120 fps, up to approximately 4 seconds for up to 18 seconds playback at 24p
  • 1:3.6 compression
  • Docks onto the HXR-IFR5 interface
  • Provides a V-mount for the following Sony batteries: BP-FL75, GL95A, GL65A, L80S and L60S
  • Monitor output: HD-SDI 10-bit 4:2:2 with real time demosaicing
  • 22 Watts power consumption

AXS-512S24 memory card. The AXS-R5 records onto this rugged, compact card.

  • 512 GB* capacity: up to 60 minutes of 4K RAW or approximately 240 minutes of 2K RAW recording (at 24p)
  • 2.4 Gigabits per second (300 MB/sec) write speed
  • 1.95 Gigabits per second (250 MB/sec) read speed
  • exFAT file system for near-instant mounting on a computer
  • Small and lightweight; 2-3/8 x 3-1/4 x 3/8 inches (60 x 81 x 9.4 mm)
* 1 GB equals one billion bytes, a portion of which is used for data management functions.

AXS-CR1 USB 3.0 card reader. Fast and simple, the reader connects directly to many computers via USB 3.0 (cable sold separately) and requires no driver installation.

  • 1.95 Gigabits per second (250 MB/sec) read speed
  • Transfers 4K at 1.9x realtime (60 minutes of material transfers in 32 minutes) (Transfer time may vary depending on equipment.)
  • Transfers 2K at 7.5x realtime (60 minutes of material transfers in 8 minutes) (Transfer time may vary depending on equipment.)
  • No driver software required with Macintosh® and Windows® computers, thanks to exFAT file system
  • USB 3.0 interface for direct connection to many Macintosh and Windows computers
  • Read, erase and salvage functions (no writing)

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Uncompressed 3G HD-SDI output

To supplement the camera's internal AVCHD™ recording, the NEX-FS700R provides 3G HD-SDI output for easy integration with outboard recorders. You can output uncompressed 8-bit 4:2:2 signals at 1080/50p and 60p, in addition to the standard HD frame rates. With an HXR-IFR5 interface, sold separately, the 3G HD-SDI tap outputs a 12-bit linear 4K bitstream as data, for recording on the AXS-R5 4K RAW recorder, sold separately. The 3G HD-SDI output also supports outboard 2K and 4K recording with compatible third-party recorders such as the Convergent Design(TM) Odyssey 7Q. read more

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Uncompressed 3G HD-SDI output

To supplement the camera's internal AVCHD™ recording, the NEX-FS700R provides 3G HD-SDI output for easy integration with outboard recorders. You can output uncompressed 8-bit 4:2:2 signals at 1080/50p and 60p, in addition to the standard HD frame rates. With an HXR-IFR5 interface, sold separately, the 3G HD-SDI tap outputs a 12-bit linear 4K bitstream as data, for recording on the AXS-R5 4K RAW recorder, sold separately. The 3G HD-SDI output also supports outboard 2K and 4K recording with compatible third-party recorders such as the Convergent Design(TM) Odyssey 7Q.

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Uncompressed HDMI output

To connect compatible recorders and consumer televisions, the HDMI® output* provides uncompressed 8-bit 4:2:2 signals at 1080/50p and 60p frame rates in addition to 50i and 60i. And there's full flexibility for 24p, 25p or 30p, which can be output over interlaced signals or as native progressive. So you're not forced to perform 3-2 pull-down in post. The HDMI® output* also supports embedded timecode. read more

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Uncompressed HDMI output

To connect compatible recorders and consumer televisions, the HDMI® output* provides uncompressed 8-bit 4:2:2 signals at 1080/50p and 60p frame rates in addition to 50i and 60i. And there's full flexibility for 24p, 25p or 30p, which can be output over interlaced signals or as native progressive. So you're not forced to perform 3-2 pull-down in post. The HDMI® output* also supports embedded timecode.

* Requires HDMI cable, sold separately.

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Built-in AVCHD recording

The camera's internal recorder uses the highly efficient AVCHD™ Version 2.0 codec for HD recording at bitrates ranging from 5 Mbps (LP mode) to a maximum of 1920 x 1080/60p at 28 Mbps (PS mode). You can also record standard definition using the same MPEG-2 format as DVDs. For greater flexibility, the NEX-FS700R accepts either SD/SDHC/SDXC memory cards (Class 4 and higher), Memory Stick PRO Duo™ Mark2 cards or Memory Stick PRO-HG Duo™ cards.

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Built-in AVCHD recording

The camera's internal recorder uses the highly efficient AVCHD™ Version 2.0 codec for HD recording at bitrates ranging from 5 Mbps (LP mode) to a maximum of 1920 x 1080/60p at 28 Mbps (PS mode). You can also record standard definition using the same MPEG-2 format as DVDs. For greater flexibility, the NEX-FS700R accepts either SD/SDHC/SDXC memory cards (Class 4 and higher), Memory Stick PRO Duo™ Mark2 cards or Memory Stick PRO-HG Duo™ cards.

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AVCHD Postproduction

Sony understands that the shoot is just the beginning of your project. Editing and finishing require reliable workflow. That's why the NEX-FS700R takes advantage of the established AVCHD™ recording format. The codec is directly compatible with a growing range of nonlinear editing systems (NLEs). Some NLEs may require using Sony's supplied Content Management Utility software for Windows® systems. Final Cut Pro® system users can take advantage of the "Log & Transfer" utility or ClipWrap™ software by Divergent Media. read more

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AVCHD Postproduction

Sony understands that the shoot is just the beginning of your project. Editing and finishing require reliable workflow. That's why the NEX-FS700R takes advantage of the established AVCHD™ recording format. The codec is directly compatible with a growing range of nonlinear editing systems (NLEs). Some NLEs may require using Sony's supplied Content Management Utility software for Windows® systems. Final Cut Pro® system users can take advantage of the "Log & Transfer" utility or ClipWrap™ software by Divergent Media.


For Windows® Users

Use Content Management Utility Software to ingest.


* CMU might be necessary for the import to NLE software.


For Final Cut Pro® Users

Use “Log & Transfer” and convert to ProRes4222 to edit.


Utilizing HDMI output


* Please contact the manufacturer for further detailed information.

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FS700RAW workflow

FS700RAW files take advantage of the trail already blazed by the RAW format of Sony's flagship 8K camera, the F65. FS700RAW files use the same Sony RAW Viewer software, plus many of the same third-party solutions for dailies, editing, finishing and visual effects. read more

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FS700RAW workflow

FS700RAW files take advantage of the trail already blazed by the RAW format of Sony's flagship 8K camera, the F65. FS700RAW files use the same Sony RAW Viewer software, plus many of the same third-party solutions for dailies, editing, finishing and visual effects.

Learn about Sony RAW Viewer 2.0


Sony's RAW Viewer software makes it easy to view and back up FS700RAW files. You can also check highlight handling, scrutinize image noise and select takes.

Codec FS700RAW
Recorder Optional AXS-R5 + HXR-IFR5
Media AXSM-512S24 cards
Drive/Card Reader AXS-CR1 USB 3.0 card reader
Dailies Assimilate
Blackmagic Design
codex
Colorfront
Filmlight
MTI Film
NextLab
Yo Yotta
Edit Avid Media Composer
Avid Symphony
Adobe Premier CS 6
Grass Valley Edius
Sony Vegas
Grade Assimilate
Autodesk
Blackmagic Design
DVS
Filmlight
Quantel
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Hybrid recording with the HXR-FMU128

For the added flexibility of longer loads and the added security of simultaneous recording, the HXR-FMU128 flash memory unit (sold separately) slips into a slot on the camera and stores over 10 hours of HD at the camera's highest quality (28 Mbps). (Note: HD and SD cannot be recorded simultaneously.) At the end of the shoot, you can even keep the HXR-FMU128 version for postproduction while you give the client an affordable SD card. (AVCHD is not available during high-speed RAW recording.) read more

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Hybrid recording with the HXR-FMU128

For the added flexibility of longer loads and the added security of simultaneous recording, the HXR-FMU128 flash memory unit (sold separately) slips into a slot on the camera and stores over 10 hours of HD at the camera's highest quality (28 Mbps). (Note: HD and SD cannot be recorded simultaneously.) At the end of the shoot, you can even keep the HXR-FMU128 version for postproduction while you give the client an affordable SD card. (AVCHD is not available during high-speed RAW recording.)

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Action Magazine: NEX camcorders in action

Go behind the scenes with Sony NEX camcorders. Click below to read the premiere issue of Action magazine.   read more

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Action Magazine: NEX camcorders in action

Go behind the scenes with Sony NEX camcorders. Click below to read the premiere issue of Action magazine.

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Erik Bragg shoots the world's gnarliest Mega Ramp in 4K RAW

In 2003, when professional skateboarder Danny Way debuted the first Mega Ramp in The DC Video, the Sony VX1000 DV camcorder was the weapon of choice for almost every professional skateboard cinematographer. Only 480 vertical lines of resolution to capture a skateboarder drop in on a ramp the size of a roller coaster, backside 360 over a 75' gap at 50mph, and then fly up 23' above a two and a half story quarter pipe!? read more

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Erik Bragg shoots the world's gnarliest Mega Ramp in 4K RAW

In 2003, when professional skateboarder Danny Way debuted the first Mega Ramp in The DC Video, the Sony VX1000 DV camcorder was the weapon of choice for almost every professional skateboard cinematographer. Only 480 vertical lines of resolution to capture a skateboarder drop in on a ramp the size of a roller coaster, backside 360 over a 75' gap at 50mph, and then fly up 23' above a two and a half story quarter pipe!? If you've got the whole ramp in your shot, you're only dedicating a few pixels to the death-defying pioneer who's flipping his board through the air and breaking world records. Master skateboarding cinematographer Greg Hunt knew DV wasn't going to cut it, and although most of the rest of the video was shot on the VX1000, he shot Danny's Mega Ramp portion on Super 16mm.

Greg would have loved to shoot the entire video with film but it was too expensive and an overall pain in the ass. Danny's part in the video blew minds and looked amazing. It won Skateboarding Magazine's Best Video Part that year and redefined skateboarding's limits.

Here we are, 10 years later, both skateboarding and video technology have progressed to unimaginable levels. Danny Way is still building bigger, gnarlier ramps and Sony is still on top in the skate video world. The Sony NEX-FS700 has replaced the Sony DCR-VX1000 as the go-to camera for professional skateboard cinematographers. It's lightweight, shoots super slow motion, looks excellent in low light, accommodates almost any lens, and a single battery and SD card can get you all the way through most days.

I've been working on a full-length skate video with Danny for Plan B skateboards for a couple years now, and I've experimented with a ton of equipment in that time. The Sony NEX-FS700 has been by far my favorite camera to work with. That is, until now. Now that I've tried the Sony NEX-FS700 with the 4K upgrade.

Danny Way. Kauai. August 2013. FS700 w/4K recorder.

I brought the 4K recorder and FS700 on its maiden voyage to Kauai, where Danny's newer, bigger, faster, stronger ramp resides amongst the epic landscape of "The Garden Island." The Way and Colin McKay dropped in on the massive concrete roll-in that leads you straight into a re-imagined quarter pipe with banks and features ranging from 25' to 40.' Using the 4K 120fps raw high-speed burst allows me to slow down tricks and show them for what they really are. The amount of detail in the image is incredible, especially when slowed down. I've gotten used to using 120fps and 240fps bursts on the FS700, but when you add 4K and the image control of 16-bit linear raw file, skateboarding has never looked better.

Pat Duffy. Hippy jump. Barcelona. May 2013. FS700 w/8mm fisheye.

I've been shooting with the FS700 since July 1st, 2012. I preordered the camera based on its stats sheet and was pleasantly surprised by its latitude, smooth highlight roll off, and overall image quality. I couldn't believe how well it performed in low light. All these features are supercharged with the 4K recorder.

Kauai sunrise. Aug 2013. FS700 w/4K & SmallHD AC7-SDI monitor

Initially, I thought I'd only throw on the 4K recorder for shooting the Mega Ramp, B-roll, and save it for larger productions. After reviewing the footage, I'd be crazy not to shoot everything with it. When we weren't skating, I went around Kauai shooting waterfalls, sunrises, and even found a New Zealander who climbed up into a tree and jumped out 65' down into a lagoon. Kiwi Knievel jumped out in 4K 24p and then I asked him to do it again in 4K at 120fps. The camera records simultaneously to its SD card and I was able to easily send him his AVCHD clips that night.

Fortunately, deciding to shoot everything in 4K from now on is as simple throwing the recorder on. Wait, I shouldn't say 4K everything. I did shoot a lot of 2K raw footage at 240fps. The ability to just let 240fps roll as long as you want to really creates opportunities I didn't have before on the FS700 for capturing super slow motion. The fact that's it's raw too is just icing on the cake, or buffalo sauce on your wings for me. Not too big on sweets.

I used a SmallHD AC7-SDI monitor to make sure I wasn't blowing it in 4K. With a giant, detailed image, it's obvious if your focus is off. Focus features and false color buttons keep it clean, simple, and fast. Although sometimes I wondered if the false color feature was working because it was so hard to find anything around me that the latitude of my new pet beast couldn't handle. The monitor definitely came in handy while I used a Nanoha macro lens and Cinevate Atlas 10 w/Moco for a little surprise you'll have to wait to see.

Having the option to remove the recorder and yet keep it tethered was nice when I needed to lighten the load and shoot leaning over the edge of a 30 foot drop on the edge of the ramp.

The setup was an absolute breeze. I didn't even read a manual or anything. The menu is simple and straightforward. Click around for 5 minutes and you're an expert.

In skateboarding, sometimes the skater will mess up on a trick 20 times before he lands it. Maybe more. Maybe he'll never land it. The HXR-IFR5 let's you easily delete clips as you go along. I found myself deleting all the 4k bails right after every try, while leaving a record of everything recording to the SD card in the camera. That way, we still have a copy, but I'm saving card space and I won't end up with a terabyte of falls to go through at the end of the day.

Wow, am I still talking about this camera? The bottom line is, the trip was a success. We spent 3 weeks getting tricks and making them look good. I tried to surf once, but I think I'll stick to skateboarding and camera toys. I'm looking forward to incorporating the 4K FS700 into all of my scheduled productions this year and of course coming back to the island to watch Danny and Colin throw themselves in the air.

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Andrew Young: 4 Days

The LA-EA2 adaptor stars in shots that combine tracking auto focus, an old tennis ball and a very happy dog. Other tests include low light by the campfire, orchids with a Nikkor macro lens and kids with a Canon EF L lens.   Watch

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Andrew Young: 4 Days

The LA-EA2 adaptor stars in shots that combine tracking auto focus, an old tennis ball and a very happy dog. Other tests include low light by the campfire, orchids with a Nikkor macro lens and kids with a Canon EF L lens.   Watch

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Adam Wilt and Art Adams: High Speed and Low Light

In this seminar presentation at CineGear 2012, Adam Wilt and Art Adams put the NEX-FS700R through its paces in Super Slow Motion and in low light. They present the "Fire & Ice" test and "Betabrand Food Fight" promo, and discuss the practicalities of shooting and grading.   Watch

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Adam Wilt and Art Adams: High Speed and Low Light

In this seminar presentation at CineGear 2012, Adam Wilt and Art Adams put the NEX-FS700R through its paces in Super Slow Motion and in low light. They present the "Fire & Ice" test and "Betabrand Food Fight" promo, and discuss the practicalities of shooting and grading.   Watch

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David Leitner: Documentary and Handheld

Director and DP David Leitner talks about using the Sony FS100, FS700 and F3 Super 35 digital cameras for documentary and discusses how to rig the cameras for all-day handheld shooting. Leitner teaches the important difference between phase detection and Face Detection autofocus, and discusses what he learned shooting with the NEX-FS700R in New York City's High Line Park.   Watch

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David Leitner: Documentary and Handheld

Director and DP David Leitner talks about using the Sony FS100, FS700 and F3 Super 35 digital cameras for documentary and discusses how to rig the cameras for all-day handheld shooting. Leitner teaches the important difference between phase detection and Face Detection autofocus, and discusses what he learned shooting with the NEX-FS700R in New York City's High Line Park.   Watch

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