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 FS7 II. 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.
Electronic Variable ND
Here’s a fresh way to control exposure. Aperture adjustments affect your depth of field. Shutter speed adjustments affect the presentation of motion. But 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.
Lever Lock type E-Mount
A robust E-Mount with a locking collar makes for more confident lens changes. To mount, simply hold the lens 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. As before, the camera accepts Sony’s E-Mount lenses, along with simple third-party adaptors for PL mount cinema lenses, SLR and DSLR glass, and even classic rangefinder lenses.
Ergonomics to work faster, with more confidence
The ergonomics set the FS7 apart. Now they’re even better. Put the viewfinder exactly where you want it with the robust multi-adjustable arm. Extend Sony’s telescoping Smart Grip arm entirely without tools. Park the arm alongside the body for waist-level shooting. Then experience the Smart Grip, body shape and balance that so many cinematographers have praised.
With its ergonomic design, Sony's original FS7 won the prestigious iF, Red Dot and Good Design awards.
Sony’s highly capable 18-110 mm servo zoom
Sony engineered the new SEL-P18110G for moving pictures. You can switch between motorized zoom or full manual, with snap zooms just a flick away. Across the entire zoom range, there’s minimal shift in focus, minimal shift in image axis and no loss in F-stop. The direct focus ring offers 240° of travel and 0.8 mm gearing, the standard for follow focus. We also took care in selecting the focal lengths. 18mm is nice and wide, while 110mm is perfect for interviews.
And more
To the 4K Super35 performance of the original PXW-FS7, the FS7 II also adds the following refinements.
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
Super-smooth exposure control with any mountable lens. 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.
Auto exposure with any mountable lens. 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.)
Optimum motion rendition. By maintaining your desired shutter speed, Electronic Variable ND frees you to portray motion as best suits your project.
Optimum depth of field. 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.
Stay in the “sweet spot.” 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.
Always at your fingertips. 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.
No more filter stacks. 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.
“Depth of field pulls.” 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.
An even better viewfinder experience
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.)
Upgraded eyepiece with more robust attachment to the monitor.
Pop-up monitor hood. The FS7 II supplements the detachable eyepiece with a pop-up hood that maximizes visibility in sunlight.
4K Super35 Exmor® sensor
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).
RAW recording, Apple ProRes 422 and multi-cam with Sony’s extension unit.
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:
External RAW recording. To preserve the maximum in color, contrast and resolution, the XDCA-FS7 enables RAW recording when connected to outboard recorders, sold separately. The XDCA-FS7 supports the vivid color of 12-bit linear RAW at either 4K or 2K resolution. A single BNC cable connects the XDCA-FS7 to compatible RAW recorders including Sony’s HXR-IFR5/AXS-R5 combination and the Convergent Design® Odyssey 7Q+ equipped with the Sony FS RAW option. In addition, the Atomos® Shogun Inferno and Shogun Flame support Apple ProRes and CDNG recording from the XDCA-FS7 output. Even when you record outboard RAW, you can still record time code-synchronized Full HD on-board, a convenient proxy for offline editing.
Apple ProRes 422 recording. Sony understands that some workflows are committed to the Apple ProRes 422 codec. That’s why the XDCA-FS7 supports Apple ProRes 422 and Apple ProRes 422 HQ – 1920 x 1080 recording to an XQD™ card in the camera.
Multi-camera operation. The XDCA-FS7 also provides Genlock and Timecode In/Out for multi-camera shoots.
Super 35/APS-C power zoom for 4K movies
SELP18110G powered zoom lens delivers optimum performance in Super 35/APS-C moviemaking applications, starting at 18 mm wide-angle and extending through an impressive 6.1x zoom range with a constant F4 maximum aperture.
G Lens optical performance suitable for 4K throughout the zoom range.
Lag-free mechanical manual zoom for high-level, versatile zoom control.
Refined manual focus operation for subtle adjustment.
Optical SteadyShot image stabilization helps keep images blur-free as well as minimising the need to boost ISO in low light conditions.
Compact, lightweight design ideal for active shooting and when using gimbals.
Reliable in challenging conditions with a sealed dust and moisture resistant design.
Electronic Variable ND
Here’s a fresh way to control exposure. Aperture adjustments affect your depth of field. Shutter speed adjustments affect the presentation of motion. But 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.
Lever Lock type E-Mount
A robust E-Mount with a locking collar makes for more confident lens changes. To mount, simply hold the lens 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. As before, the camera accepts Sony’s E-Mount lenses, along with simple third-party adaptors for PL mount cinema lenses, SLR and DSLR glass, and even classic rangefinder lenses.
Ergonomics to work faster, with more confidence
The ergonomics set the FS7 apart. Now they’re even better. Put the viewfinder exactly where you want it with the robust multi-adjustable arm. Extend Sony’s telescoping Smart Grip arm entirely without tools. Park the arm alongside the body for waist-level shooting. Then experience the Smart Grip, body shape and balance that so many cinematographers have praised.
With its ergonomic design, Sony's original FS7 won the prestigious iF, Red Dot and Good Design awards.
Sony’s highly capable 18-110 mm servo zoom
Sony engineered the new SEL-P18110G for moving pictures. You can switch between motorized zoom or full manual, with snap zooms just a flick away. Across the entire zoom range, there’s minimal shift in focus, minimal shift in image axis and no loss in F-stop. The direct focus ring offers 240° of travel and 0.8 mm gearing, the standard for follow focus. We also took care in selecting the focal lengths. 18mm is nice and wide, while 110mm is perfect for interviews.
And more
To the 4K Super35 performance of the original PXW-FS7, the FS7 II also adds the following refinements.
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
Super-smooth exposure control with any mountable lens. 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.
Auto exposure with any mountable lens. 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.)
Optimum motion rendition. By maintaining your desired shutter speed, Electronic Variable ND frees you to portray motion as best suits your project.
Optimum depth of field. 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.
Stay in the “sweet spot.” 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.
Always at your fingertips. 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.
No more filter stacks. 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.
“Depth of field pulls.” 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.
An even better viewfinder experience
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.)
Upgraded eyepiece with more robust attachment to the monitor.
Pop-up monitor hood. The FS7 II supplements the detachable eyepiece with a pop-up hood that maximizes visibility in sunlight.
4K Super35 Exmor® sensor
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).
RAW recording, Apple ProRes 422 and multi-cam with Sony’s extension unit.
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:
External RAW recording. To preserve the maximum in color, contrast and resolution, the XDCA-FS7 enables RAW recording when connected to outboard recorders, sold separately. The XDCA-FS7 supports the vivid color of 12-bit linear RAW at either 4K or 2K resolution. A single BNC cable connects the XDCA-FS7 to compatible RAW recorders including Sony’s HXR-IFR5/AXS-R5 combination and the Convergent Design® Odyssey 7Q+ equipped with the Sony FS RAW option. In addition, the Atomos® Shogun Inferno and Shogun Flame support Apple ProRes and CDNG recording from the XDCA-FS7 output. Even when you record outboard RAW, you can still record time code-synchronized Full HD on-board, a convenient proxy for offline editing.
Apple ProRes 422 recording. Sony understands that some workflows are committed to the Apple ProRes 422 codec. That’s why the XDCA-FS7 supports Apple ProRes 422 and Apple ProRes 422 HQ – 1920 x 1080 recording to an XQD™ card in the camera.
Multi-camera operation. The XDCA-FS7 also provides Genlock and Timecode In/Out for multi-camera shoots.
Super 35/APS-C power zoom for 4K movies
SELP18110G powered zoom lens delivers optimum performance in Super 35/APS-C moviemaking applications, starting at 18 mm wide-angle and extending through an impressive 6.1x zoom range with a constant F4 maximum aperture.
G Lens optical performance suitable for 4K throughout the zoom range.
Lag-free mechanical manual zoom for high-level, versatile zoom control.
Refined manual focus operation for subtle adjustment.
Optical SteadyShot image stabilization helps keep images blur-free as well as minimising the need to boost ISO in low light conditions.
Compact, lightweight design ideal for active shooting and when using gimbals.
Reliable in challenging conditions with a sealed dust and moisture resistant design.
LENS SYSTEM
- Sensor Resolution
-
8.84MP
- Focal Length (35mm equivalent)
-
18-110mm (27-166mm 35mm equivalent)
- Optical Zoom
-
6.1X
- Max Aperture
-
F4.0 Constant
- Filter Diameter
-
95mm
CONNECTIONS
- No. of Video outputs
-
2/1
- No. of Audio inputs
-
2
- No. of Audio outputs
-
1/2/1
GENERAL FEATURES
- Shutter speed
-
1/3sec to 1/9000sec
- Min. Illumination
-
0.7LUX
- LCD
-
3.5"
- Viewfinder
-
Yes
MORE SPECIFICATIONS
- Extras
-
SD Card only for Configuration Data
- Power Consumption
-
19W(14.4V/1.31A - 12V/1.58A)
PHYSICAL
- Total Weight (KG)
-
4.5
- Total Dimensions (WxHxD) (mm)
-
159x245x247
- Lens SELP18110G
- Body Cap (1)
- Viewfinder (1)
- Viewfinder hood(1)
- Eyepiece (1)
- Grip Remote Control (1)
- USB wireless LAN module IFU-WLM3 (1)
- Wireless remote commander (1) (RMT-845)
- WA Adaptor Bracket (1)
- AC Adapter(1)
- BC-U1 battery charger (1)
- BP-U30 battery pack (1)
- Power cord (2)
- USB cable (1)
- Operating Guide (1)
- CD-ROM "Manual for Solid-State Memory Camcorder" (1)
- IS1293 power cord for India (Not supplied in some countries) (2)
Pdf not available.
Sony PXW-FS7II Test Footage
Sony PXW-FS7 Review
Accessory
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Arri Rosette Extension Arm
- Extension Arm
- Rossette Mount
- For RED, URSA, FS7 cameras
- M6 female to M6 male thread
Adapter
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B4-Sony-E
- Mechanical Lens Adapter
- For E-Mount Sony Camera
- For Bayonet 2/3" Lenses
- No Aperture Control
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BT3 EF to E-mount w Booster
- Electronic Lens Adapter
- Cine ULTRA 0.71X Wider
- For E-mount Cameras
- For Canon EF Lenses
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-20%
BT5 EF to E-mount
- Electronic?Lens Adapter T
- For E-mount Cameras
- For Canon EF Lenses
- Smooth Auto Focus Support
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-20%
BT6 Cine EF to E-mount
- Electronic?Lens Adapter Cine T
- For E-mount Cameras
- For Canon EF Lenses
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CanonEF-SonyE
- Mechanical Lens Adapter
- For E-Mount Sony Camera
- For EF-Mount Canon Lenses
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-20%
E to EF Mount Canon
- Mechanical?Lens Adapter
- For E-Mount Sony Cameras
- For EF-Mount Canon Lenses
- No Focus Control
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-20%
E to F Mount G
- Mechanical?Lens Adapter
- For E-Mount Sony Cameras
- For F-Mount Nikon Lenses
- No Focus Control
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-20%
EOS NEX EF to E-mount
- Mechanical Lens Adapter
- For E-Mount Sony Cameras
- For EF-Mount Canon Lenses
- No Focus Control
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-20%
F to E-mount w Booster
- Electronic?Lens Adapter Ultra
- For E-mount Cameras
- For NikonG? F-Mount Lenses
- No Auto Focus support
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F-mount G to E-mount
- Mechanical Lens Adapter
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- For NikonG? F-Mount Lenses
- No Focus & Aperture Control
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MC-11
- Electronic?Lens Adapter
- For E-mount Cameras
- For Canon EF Lenses
- Partial Auto Focus support
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NikonG to SonyE
- Mechanical Lens Adapter
- For E-Mount Sony Camera
- For F-Mount Nikon Lenses
- No Aperture Control
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NikonG-NEX
- Mechanical Lens Adapter
- For E-Mount Sony Cameras
- For F-Mount Nikon Lenses
- No Focus Control
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PL-SonyE
- Mechanical Lens Adapter
- For E-mount Sony Camera
- For PL-Mount Lenses
- No Aperture Control
Battery
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HOT
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BPU-30 14.8V 3350mAh
- High Quality Li-ion Mini Battery
- Sony BP-U30/U60 type battery
- For Sony FS5, FS7, X180 cameras
- 14.8V, 3.350mAh, 49.6Wh Zero Memory Effect. Low self discharge. Info chip - overheating protection
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BPU-65 14.8V 6700mAh w USB
- High Quality Li-ion Mini Battery
- Sony BP-U60 type battery with USB
- For Sony FS5, FS7, X180 cameras
- 14.8V, 6700mAh, 99.2Wh Zero Memory Effect. Low self discharge. Info chip - overheating protection
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BPU-90 14.8V 10.050mAh
- High Quality Li-ion Mini Battery
- Sony BP-U60 type battery
- For Sony FS5, FS7, X180 cameras
- 14.8V, 10.050mAh, 148.7Wh Zero Memory Effect. Low self discharge. Info chip - overheating protection
Case
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1560 Dividers
- Handheld Hard Case
- For Handheld Cameras
- Interior(WxHxD): 506x229x380mm
- Dustproof/Crushproof/Watertight
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1560 Foam
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1560LFC
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- Interior(WxHxD): 506x229x380mm
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RunGun BackPack Large
- BackPack/Handheld Bag?
- For Handheld/Photo Cameras
- Interior(WxHxD): 350x520x220mm
- Dustproof/Shockproof/Waterproof
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RunGun Large
- Handheld/Shoulder Bag
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Travelmate-TM-Large
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Charger
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Mini 2-Channel with two plates
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- NPF, FW50, FV100, FZ100, BPU60
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Mini 2-Channel without plates
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Controller
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Remote-Control-MVR901ECLA
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Remote-Control-MVR901ECPL
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VZ-RL100
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VZ-ROCK
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- LANC Connector
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105mm T1.5 FF-F-VE
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24mm-T1.5VDSLR-MK-II-E
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25mm-T2.2-Sony-E
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35mm-T1.5VDSLR-MK-II-E
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35mm-T2.2-Sony-E
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50mm-T1.5VDSLR-MK-II-E
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50mm-T2.2-Sony-E
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85mm-T1.5VDSLR-MK-II-E
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85mm-T2.2-Sony-E
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- T2.2 Aperture
- Sony E mount
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CP3-100mm-T2.1-E
- Prime Lens 100mm
- T2.1 Max. Aperture
- E-Mount - Metric
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CP3-15mm-T2.9-E
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CP3-18mm-T2.9-E
- Prime Lens 18mm
- T2.9 Max. Aperture
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CP3-21mm-T2.9-E
- Prime Lens 21mm
- T2.9 Max. Aperture
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CP3-25mm-T2.1-E
- Prime Lens 25mm
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CP3-28mm-T2.1-E
- Prime Lens 28mm
- T2.1 Max. Aperture
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CP3-35mm-T2.1-E
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CP3-50mm-T2.1-E
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CP3-85mm-T2.1-E
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CZ.2-15-30mm-T2.9-E
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- T2.9 Max Aperture
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HOT
-20%
CZ.2-70-200mm-T2.9-E
- Cine Zoom Lens
- 70-200mm
- T2.9 Max Aperture
- Sony E-Mount
HOT
-20%
E 10-18mm f4 OSS
- Zoom Lens 10-18mm
- f/4 Max. Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
HOT
-20%
E PZ 18-105mm f.4 G OSS
- Zoom Lens 18-105mm
- f/4 Max. Aperture
- Sony E-Mount - Power Zoom
- Image Stabilizer & Auto Focus
HOT
-20%
E PZ 18-110mm f.4 G OSS
- Zoom Lens 18-110mm
- f/4 Max. Aperture
- Sony E-Mount - Power Zoom
- Image Stabilizer & Auto Focus
HOT
-20%
FE 12-24mm f4 G
- Zoom Lens 12-24mm
- f/4 Max. Aperture
- Sony E-Mount
- Auto Focus
HOT
-20%
FE 16-35mm f.4 ZA OSS
- Zoom Lens 16-35mm
- f/4 Max. Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 16-35mm f2.8GM E
- Zoom Lens 16-35mm
- f/2.8 Max. Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 24-105mm F4G OSS
- Zoom Lens Vario-Tessar 24-105mm
- f/4 Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 24-240mm f3.5-6.3 OSS
- Zoom Lens 24-240mm
- f/3.5-6.3 Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 24-70mm f.4 ZA OSS
- Zoom Lens Vario-Tessar 24-70mm
- f/4 Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 24-70mm f2.8 GM E
- Zoom Lens 24-70mm?
- f/2.8 Max. Aperture
- Sony E-Mount
- Full Frame Format
HOT
-20%
FE 24-70mm f2.8 GM2 E
- Zoom Lens 24-70mm
- f/2.8 Max. Aperture
- Sony E-Mount
- Auto Focus
HOT
-20%
FE 28-70mm f3.5-5.6 OSS
- Zoom Lens 28-70mm
- f/3.5-5.6 Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
HOT
-20%
HOT
-20%
HOT
-20%
HOT
-20%
FE 50mm f2.8 Macro
- Prime Lens 50mm Macro
- f/2.8-f/16 Aperture
- Sony E-Mount
- Auto Focus
HOT
-20%
HOT
-20%
FE 70-200mm f.4 G OSS
- Zoom Lens 70-200mm-F4G-OSS
- f/4 Max Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 70-200mm f2.8 GM E
- Zoom Lens 70-200mm
- f/2.8 Max Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 70-200mm f2.8 GM2 E
- Zoom Lens 70-200mm
- f/2.8 Max Aperture
- Sony E-Mount
- Image Stabilizer & Auto Focus
HOT
-20%
FE 85mm f1.4 GM
- Prime Lens 85mm
- f/1.4 Max. Aperture
- Sony E-Mount
- Auto Focus
HOT
-20%
FE 90mm f2.8 Macro G OSS
- Prime Lens 90mm
- f/2.8-f/22 Aperture
- Sony E-Mount
- Auto Focus - Macro
HOT
-20%
FE PZ 28-135mm f.4 G OSS
- Zoom Lens 28-135mm
- f/4 Max. Aperture
- Sony E-Mount - Power Zoom
- Image Stabilizer & Auto Focus
HOT
-20%
LWZ.3-21-100mm-T2.9-E
- Cine Zoom Lens
- 21-100mm
- T2.9-3.9 Aperture
- Sony E-Mount
HOT
-20%
MK 18-55mm T2.9 E Cine
- Cine Zoom Lens
- 18-55mm
- T2.9 Max Aperture
- Sony E-Mount
HOT
-20%
MK 50-135mm T2.9 E Cine
- Cine Zoom Lens
- 50-135mm
- T2.9 Max Aperture
- Sony E-Mount
HOT
-20%
Planar T FE 50mm f1.4 ZA
- Prime Lens 50mm
- f/1.4-f/16 Aperture
- Sony E-Mount
- Auto Focus
HOT
-20%
Simera 28mm f1.4 E
- Prime Lens 28mm
- f1.4 Max. Aperture
- E-Mount
- Full Frame Format
HOT
-20%
Simera 35mm f1.4 E
- Prime Lens 35mm
- f1.4 Max. Aperture
- E-Mount
- Full Frame Format
HOT
-20%
Simera-C 21mm T1.5 Cine E
- Prime Cine Lens 21mm
- T1.5 - T16 Aperture
- Sony E-Mount
- Full Frame Format
HOT
-20%
Simera-C 28mm T1.5 Cine E
- Prime Cine Lens 28mm
- T1.5 - T16 Aperture
- Sony E-Mount
- Full Frame Format
HOT
-20%
Simera-C 35mm T1.5 Cine E
- Prime Cine Lens 35mm
- T1.5 - T16 Aperture
- Sony E-Mount
- Full Frame Format
HOT
-20%
Simera-C 50mm T1.5 Cine E
- Prime Cine Lens 50mm
- T1.5 - T16 Aperture
- Sony E-Mount
- Full Frame Format
HOT
-20%
Simera-C 75mm T1.5 Cine E
- Prime Cine Lens 75mm
- T1.5 - T16 Aperture
- Sony E-Mount
- Full Frame Format
HOT
-20%
Xeen-135mm-T2.2-Cine-E
- Prime Lens 135mm
- T2.2 Aperture
- Sony E-Mount
- Full Frame & APS-C Format
HOT
-20%
Xeen-24mm-T1.5-Cine-E
- Prime Lens 24mm
- T1.5 Aperture
- Sony E-Mount
- Full Frame & APS-C Format
HOT
-20%
Xeen-35mm-T1.5-Cine-E
- Prime Lens 35mm
- T1.5 Aperture
- Sony E-Mount
- Full Frame & APS-C Format
HOT
-20%
Xeen-50mm-T1.5-Cine-E
- Prime Lens 50mm
- T1.5 Aperture
- Sony E-Mount
- Full Frame & APS-C Format
HOT
-20%
Xeen-85mm-T1.5-Cine-E
- Prime Lens 85mm
- T1.5 Aperture
- Sony E-Mount
- Full Frame & APS-C Format
Light
HOT
-20%
LED DL160T 13x10cm
- On Camera LED Light - 13x10cm
- 160LED 950lux @1m
- 5600K (3200K with included filters)
- 1x Sony F970 Type Plate
HOT
-20%
LED120B Basic
- Bicolor LED Light Basic Kit
- Extended CRI: 95
- 120powerful SMD LEDs
- 3600Lux @0.6m
HOT
-20%
LEDPAD-X52 19x13cm
- On-Camera Light - Approx. 19x13cm
- Soft LED Light 120degrees
- Bi-Color 3200K-5600K
- LCD LED Screen
HOT
-20%
LEDPAD-X63 25x10cm
- On-Camera Light - Approx. 25x10cm
- Soft LED Light 120degrees
- Bi-Color 3200K-5600K
- LCD LED Screen
HOT
-20%
HOT
-20%
RM75 Magnetic Smart 10x7cm
- Video LED Light - 10x7cm
- 120Lux @1m
- RGB 2500K-8500K
- 96 CRI/TLCI
Microphone
HOT
-20%
C-417PP
- Lavalier Microphone
- XLR 3-pin Male connector
- Frequency: 20Hz - 20kHz
- Omni-Directional
HOT
-20%
Cardioid SM58S
- Handheld Mic
- Cardioid Pattern
- XLR 3-Pin Connector
- 50Hz - 15kHz response
HOT
-20%
E-835S
- Handheld Microphone
- Dynamic Cardioid Mic
- 40Hz - 16kHz Frequency Response
- Sensitivity: -51dB
HOT
-20%
E-845S
- Handheld Microphone
- Dynamic Cardioid Mic
- 40Hz - 16kHz Frequency Response
- Sensitivity: -54dB
HOT
-20%
E-865S
- Handheld Microphone
- Electret Super Cardioid Mic
- 40Hz - 20kHz Frequency Response
- Sensitivity: -50dB
HOT
-20%
E-935
- Handheld Microphone
- Dynamic Cardioid Mic
- 40Hz - 18kHz Frequency Response
- Sensitivity: -51dB
HOT
-20%
Handheld Beta 58A
- Handheld Mic
- Cardioid Pattern
- XLR 3-Pin Connector
- 50Hz - 16kHz response
HOT
-20%
MKH-416P48U3
- Shotgun Microphone
- Condenser Hyper Cardioid Mic
- 40Hz - 20kHz Frequency Response
- Sensitivity: -32dB
HOT
-20%
NTG1 Shotgun
- Shotgun Microphone
- Condenser Super Cardioid Mic
- 20Hz - 20kHz Frequency Response
- Sensitivity: -36dB?
HOT
-20%
NTG2 Shotgun
- Shotgun Microphone
- Condenser Super Cardioid Mic
- 20Hz - 20kHz Frequency Response
- Sensitivity: -36dB - AA Battery
HOT
-20%
NTG3 Shotgun
- Shotgun Microphone (Silver)
- Condenser Super Cardioid Mic
- 40Hz - 20kHz Frequency Response
- Sensitivity: -30dB
HOT
-20%
NTG3 Shotgun Black
- Shotgun Microphone (Black)
- Condenser Super Cardioid Mic
- 40Hz - 20kHz Frequency Response
- Sensitivity: -30dB
HOT
-20%
NTG4 Shotgun
- Shotgun Microphone
- Condenser Super Cardioid Mic
- 20Hz - 20kHz Frequency Response
- Sensitivity: -32dB
HOT
-20%
NTG4+ Shotgun
- Shotgun Microphone
- Condenser Super Cardioid Mic
- 20Hz - 20kHz Frequency Response
- Sensitivity: -32dB - Internal Battery
HOT
-20%
NTG8 Long Shotgun
- Shotgun Microphone
- Condenser Super Cardioid Mic
- 40Hz - 20kHz Frequency Response
- Sensitivity: -20dB
HOT
-20%
SR-NV5
- Shotgun Microphone
- Condenser Cardioid XLR 3-pin output
- For Professional ?Cameras
- 48V+ Phantom
Phones
HOT
-20%
Dynamic Closed K-240
- Dynamic Closed Headphones
- 18Hz - 25kHz Phone Frequency
- 104dB Max SPL
- 55 Ohm Phone impedance
HOT
-20%
Dynamic Closed K-72
- Dynamic Closed Headphones
- 16Hz - 20kHz Phone Frequency
- Jack 3.5 TRS Connector
- 112dB Max SPL & 32 Ohm Impedance
HOT
-20%
HD 200 PRO
- Dynamic Closed Headphones
- 20Hz - 20kHz Frequency response
- 3.5mm/6.3mm Stereo Connector
- 32Ohm impedance
HOT
-20%
HD 25
- Dynamic Closed Headphones
- 16Hz - 22kHz Frequency response
- 3.5mm/6.3mm Stereo Connector
- 70 Ohm impedance
HOT
-20%
HD 25 Light
- Dynamic Closed Headphones
- 16Hz - 22kHz Frequency response
- 3.5mm/6.3mm Stereo Connector
- 60Ohm impedance
HOT
-20%
HD 25 Plus
- Dynamic Closed Headphones
- 16Hz - 22kHz Frequency response
- 3.5mm/6.3mm Stereo Connector
- 70 Ohm impedance
HOT
-20%
HD 280 PRO II
- Dynamic Closed Headphones
- 8Hz - 25kHz Frequency response
- 3.5mm/6.3mm Stereo Connector
- 64Ohm impedance
REC-Media
HOT
-20%
Reader
HOT
-20%
MRW-G1
- USB Card Reader
- XQD Cards V.1.0/V2.0
- CFexpress Type B
- Max Transfer Speeds
Tripod
HOT
-20%
Aluminum FreeBlazer AD-80
- Tripod Kit for Video Cameras
- FreeSpeed
- 8KG Max. Payload
- 1.91M Max. Height
HOT
-20%
Aluminum Heavy Duty AD-01
- Tripod Kit
- For Video Cameras
- 8KG Max. Payload
- 1.86M Max. Height
HOT
-20%
Reach Plus1 AL
- Video Tripod Kit
- For Handheld/Shoulder Cameras
- 8.0KG Payload
- 55-170cm
HOT
-20%
Reach Plus1 AL 3Kit
- Video Tripod Kit x3
- For Handheld/Shoulder Cameras
- 8.0KG Payload each
- 55-170cm
HOT
-20%
Reach Plus1 AL 5Kit
- Video Tripod Kit x5
- For Handheld/Shoulder Cameras
- 8.0KG Payload each
- 55-170cm
HOT
-20%
Reach Plus1 CF
- Video Tripod Kit CF
- For Handheld/Shoulder Cameras
- 8.0KG Payload
- 55-170cm
Wireless
HOT
-20%
EW 100 ENG G4 TX TX RX
- Wireless Audio Transceiver
- 1x Transmitter with Lavalier Mic
- 1x Transmitter for Dynamic Mic
- 1x Receiver with Jack/XLR output
HOT
-20%
EW 112P G4 TX RX
- Wireless Audio Transceiver
- 1x Transmitter/Lavalier Mic Omni
- 1x Receiver with Jack
- XLR output with cable adapter
HOT
-20%
EW 135P G4 TX RX
- Wireless Audio Transceiver
- 1x Transmitter/Handheld Mic
- 1x Receiver with Jack
- XLR with cable adapter
HOT
-20%
EW 512P G4 TX RX
- Wireless Audio Transceiver
- 1x Transmitter/Lavalier Mic Omni
- 1x Receiver with Jack/XLR output
- Frequency: 626-698MHz
HOT
-20%
UWMIC9-RX9TX9
- Wireless Audio Transceiver 1x Transmitter/Lavalier Mic Omni
- 1x Receiver with Jack/XLR output
- Frequency: 514MHz-596MHz
- AA Batteries
HOT
-20%
UWMIC9-RX9TX9TX9
- Wireless Audio Transceiver 2x Transmitters/Lavalier Mic Omni
- 1x Receiver with Jack/XLR output
- Frequency: 514MHz-596MHz
- AA Batteries
HOT
-20%
XSW D Lavalier Set
- Wireless Audio Transceiver
- 1x Transmitter/Lavalier Mic Omni
- 1x Receiver with XLR Male output
- 1x Transmitter with 3.5mm Jack out
HOT
-20%
XSW D Portable Lavalier Set
- Wireless Audio Transceiver
- 1x Transmitter/Lavalier Mic Omni
- 1x Receiver with 3.5mm Jack out
- 1x Transmitter with 3.5mm Jack out