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SONY PXW-FS7

SUPER 35 SENSOR

Sony FS7 (Super35 Sensor) Description

The PXW-FS7 reflects years of intense conversations we’ve had with documentary shooters. In response, we completely redesigned the grip, improved the viewfinder, optimized the balance and refined the ergonomics. Of course, the FS7 also reflects Sony’s expertise in 4K and HD codecs, Super 35 sensors and memory recording. The result is the ideal camera for documentaries and the optimum tool for magazine shows, reality TV, unscripted TV and more.

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

Features


Shoulder mount comfort without rigs or rigmarole

It’s ironic that so-called affordable cameras need to be outfitted with expensive rigs, cages, hand grips, and accessory viewfinders before they can be properly handheld. The PXW-FS7 is different. It was designed from a clean sheet of paper to rest comfortably against your chest or sit well on your shoulder. Zoom, Start/Stop and Assign controls are carefully located on the sculpted, telescoping smart grip. Sony supplies a proper viewfinder that’s perfectly offset to the left with a huge range of fore-aft.

α mount flexibility

Sony’s α mount lens system offers unsurpassed compatibility with both Sony and third-party lenses. The FS7’s E-Mount can take Cinema lenses and SLR lenses with a third party adapter, as well as Sony’s E-mount and A-mount lenses. So whether buying new lenses, or making use of lenses you’ve already purchased, the FS7 makes it easy.

180fps High Frame Rates

High Frame Rate shots can turn everyday actions into slow-motion ballet, a visual feast of elegant movement. The FS7 delivers a maximum of 180 frames per second (fps) continuous shooting in Full HD. If your project plays at the cinematic 24fps, you get beautiful 7.5 x Super Slow Motion. There’s no sacrifice in bit depth and no windowing of the sensor. So there’s no crop factor, no loss in angle of view. The camera also performs Slow and Quick (S and Q) motion from 1 to 180 fps in 1fps increments. So you can alter the narrative by selectively speeding up or slowing down the action.

4K Super 35 Exmor® sensor

When it comes to image sensors, size definitely matters. Sony’s Super 35 sensor delivers ‘bokeh,’ the defocused backgrounds made possible by shallow depth of field. A common technique for directing audience attention within the frame, shallow depth of field is far easier to achieve with a large sensor. Other things being equal, a bigger sensor also equates to better low-light sensitivity and lower image noise. And with bigger sensors, the field of view is wider for any given focal length lens.

With the FS7 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
  • Sony Exmor® CMOS design makes for extremely fast readout, contributing to frame rates of up to 180fps and minimized image skew

Specs


MassApprox 2.0 kg (body only)
Approx. 4.5 kg (with Viewfinder, Eyepiece, Grip Remote Control, BP-U30 battery, SELP28135G LENS, an XQD memory card)
Dimensions (W x H x D) *1/strong>156 x 239 x 247 mm (body without protrusions)
Power RequirementsDC 12 V
Power ConsumptionApprox. 19W (while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)
Operating Temperature0°C to 40°C
32°F to 104°F
Storage Temperature-20°C to +60°C
-4°F to +140°F
Battery Operating TimeApprox. 1 hrs with BP-U30 battery (while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)
Approx. 2 hrs with BP-U60 battery while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)
Approx. 3 hrs with BP-U90 battery (while recording XAVC-I QFHD 59.94P, SELP28135G Lens, Viewfinder ON, not using external device)
Recording Format (Video)XAVC-I mode: 4K 59.94P VBR, bit rate 600Mbps, MPEG-4 H.264/AVC
XAVC-I mode: 4K 50P VBR, bit rate 500Mbps, MPEG-4 H.264/AVC
XAVC-I mode: 4K 29.97P VBR, bit rate 300Mbps, MPEG-4 H.264/AVC
XAVC-I mode: 4K 23.98P VBR, bit rate 240Mbps, MPEG-4 H.264/AVC
XAVC-I mode: 4K 25P VBR, bit rate 250Mbps, MPEG-4 H.264/AVC
Recording Format (Video)XAVC-I mode:QFHD 59.94P CBG, bit rate 600Mbps, MPEG-4 H.264/AVC
XAVC-I mode:QFHD 50P CBG, bit rate 500Mbps, MPEG-4 H.264/AVC
XAVC-I mode:QFHD 29.97P CBG, bit rate 300Mbps, MPEG-4 H.264/AVC
XAVC-I mode:QFHD 23.98P CBG, bit rate 240Mbps, MPEG-4 H.264/AVC
XAVC-I mode:QFHD 25P CBG, bit rate 250Mbps, MPEG-4 H.264/AVC
XAVC-I mode:HD 59.94P VBR, maximum bit rate 222Mbps, MPEG-4 H.264/AVC
XAVC-I mode:HD 50P VBR, maximum bit rate 185Mbps, MPEG-4 H.264/AVC
XAVC-I mode:HD 59.94i VBR, maximum bit rate 111Mbps, MPEG-4 H.264/AVC
XAVC-I mode:HD 50i VBR, maximum bit rate 112Mbps, MPEG-4 H.264/AVC
XAVC-I mode:HD 29.97P VBR, maximum bit rate 111Mbps, MPEG-4
Recording Format (Video)XAVC-L QFHD 59.94P/50P mode: VBR, maximum bit rate 150Mbps, MPEG-4 H.264/AVC
XAVC-L QFHD 29.97P/23.98P/25P mode: VBR, maximum bit rate 100Mbps, MPEG-4 H.264/AVC
XAVC-L HD 50 mode: VBR, maximum bit rate 50Mbps, MPEG-4 H.264/AVC
XAVC-L HD 35 mode: VBR, maximum bit rate 35Mbps, MPEG-4 H.264/AVC
XAVC-L HD 25 mode: VBR, maximum bit rate 25Mbps, MPEG-4 H.264/AVC


MPEG HD422 mode: CBR, maximum bit rate 50Mbps, MPEG-2 422P@HL
Apple ProRes 422 HQ: VBR, maximum bit rate 220Mbps, 4:2:2 10 bit
ProRes 422*2
Apple ProRes 422: VBR, maximum bit rate 147Mbps, 4:2:2 10 bit
Recording Format (Audio)LPCM 24 bits, 48 kHz, 4 channels (Recording/Playback ONLY 2channels)
Recording Frame RateXAVC-I QFHD mode: 3840x2160/ 59.94P, 50P, 29.97P, 23.98P, 25P
XAVC-I HD mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P


XAVC-L QFHD mode: 3840x2160/59.94P, 50P, 29.97P, 23.98P, 25P
XAVC-L HD 50 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
XAVC-L 35 mode: 1920x1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
XAVC-L 25 mode: 1920x1080/59.94i, 50i


MPEG HD422 mode: 1920x1080/59.94i, 50i, 29.97P, 23.98P, 25P 1280x720/59.94P, 50P, 29.97P, 23.98P, 25P
Recording/Playback TimeXAVC-I mode 4K/QFHD 59.94P
When using QD-G128A (128GB): Approx. 22 minutes,
When using QD-G64A (64GB): Approx. 11 minutes
XAVC-I mode 4K/QFHD 50P
When using QD-G128A (128GB): Approx. 26 minutes,
When using QD-G64A (64GB): Approx. 13 minutes
XAVC-I mode 4K/QFHD 29.97P
When using QD-G128A (128GB): Approx. 44 minutes,
When using QD-G64A (64GB): Approx. 22 minutes
PXW-FS7
Recording/Playback Time XAVC-I mode 4K/QFHD 23.98P
When using QD-G128A (128GB): Approx. 55 minutes,
When using QD-G64A (64GB): Approx. 27 minutes
XAVC-I mode 4K/QFHD 25P
When using QD-G128A (128GB): Approx. 52 minutes,
When using QD-G64A (64GB): Approx. 26 minutes
Recording/Playback TimeProRes 422 HQ*2
“ProRes 422 HQ
59.94i/29.97P mode
When using QD-G128A (128GB): Approx. 60 minutes,
When using QD-G64A (64GB): Approx. 30 minutes”
“ProRes 422 HQ
50i/25P mode
When using QD-G128A (128GB): Approx. 72 minutes,
When using QD-G64A (64GB): Approx. 36 minutes
ProRes 422 HQ
23.98P mode
When using QD-G128A (128GB): Approx. 74 minutes
When using QD-G64A (64GB): Approx. 37 minutes
Recording/Playback TimeProRes 422 HQ*2
ProRes 422
59.94i/29.97P mode
When using QD-G128A (128GB): Approx. 90 minutes
When using QD-G64A (64GB): Approx. 45 minutes
ProRes 422
50i/25P mode
When using QD-G128A (128GB): Approx. 108 minutes
When using QD-G64A (64GB): Approx. 54 minutes
ProRes 422
23.98P mode
When using QD-G128A (128GB): Approx. 112 minutes
When using QD-G64A (64GB): Approx. 56 minutes
Imaging Device (Type)Super35 type Single-chip Exmor CMOS
Effective Picture Elements17:9 4096 (H) x 2160 (V)
16:9 3840 (H) x 2160 (V)
Built-in Optical FiltersClear, 1/4ND, 1/16ND, 1/64ND
Sensitivity (2000 lx, 89.9% reflectance)Video Gamma: T14 (3840 x 2160/23.98P mode 3200K)
ISO SensitivityISO 2000(S-Log3 Gamma D55 Light source)
Minimum Illumination0.7 lx (+18dB,23.98P,Shutter OFF,ND Clear, F1.4)
S/N Ratio57 dB (Y) (typical)
Shutter Speed1/3 sec to 1/9,000 sec
White BalancePreset, Memory A, Memory B(1500K-50000K)/ATW
Gain-3, 0, 3, 6, 9, 12, 18 dB, AGC
Gamma CurveSTD,HG,User,S-log3
Audio InputXLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable Mic Reference: -40, -50, -60dBu
SDI OutputBNC(x2), switchable with 3G-SDI/HD-SDI
SMTPE292M/424M/425M
USBUSB device, mini-B (x1)
Headphone OutputStereo mini jack (x1) -16dBu 16Ω
Speaker OutputMonaural
DC InputDC jack
RemoteStereo mini-minijack (Φ2.5 mm)
HDMI OutputType A (x1)
Option4-pin, Type A for W-LAN (x1)
Built-in LCD Monitor8.8cm (3.5 type) Approx. 1.56M dots
Built-in MicrophoneOmni-directional monoral electret condenser microphone.
Media TypeXQD Card slot(x2)
SD Card slot(x1) for saving configuration data
*1The values for dimensions are approximate.
*2ProRes requires optional extension unit ”XDCA-FS7”

 

INSTAGRAM FEED

It was a mini @officialbgsu reunion today! Great It was a mini @officialbgsu reunion today!  Great to see former interns and employees paving their way through the film industry and now prepping @arri cameras with us!  #camerasbyshadowcast #alexamini #djironin #cookeoptics #bgsualumni #shadowcastpictures
Get the cinematic look you've been looking for wit Get the cinematic look you've been looking for with our tried and true Zeiss Super Speed MKII Lenses! Experience the dependable sharpness and clarity of a classic!  These lenses were recently beautifully overhauled by @ducloslenses and are ready to work!  #ZeissLens #CinematicLook #SharpnessAndClarity #vintagelenses #super35mm #alexa35 #zeisssuperspeeds #shadowcastpictures #camerasbyshadowcast #lensesbyshadowcast
It was a pleasure having our old friend @walkingpi It was a pleasure having our old friend @walkingpictures over to test out a build on the @sonycine FX-6.  Shadowcast’s @jayefilm and Andrew Sachs have been working with each other since 2006.  We strive to forge long lasting relationships like this.  Andrew was the DP on some of the first viral videos…before there were viral videos.  He is an extremely talented DP and in recent years has also become a very skilled producer.  You can find his latest work “Boys in Blue” on Showtime!  Also, thank you to PGR for loaning us an FX-6 in a pinch!  #sonycine #sonyfx6 #sigmacine #directorofphotography #producer #cameratest #lenstest #camerabuild #camerasbyshadowcast #shadowcastpictures
We’re thrilled to announce that we now have @anc We’re thrilled to announce that we now have @ancientoptics Minolta Rokkor Prime lenses available! These lenses are the perfect choice for cinematographers who want to capture rich and vibrant images with amazing clarity and detail while also providing nice texture to give some vintage character.  Their lightweight design combined with their advanced focusing system make them a must-have for every cinematographer.
 
They offer stunning optical performance, featuring  highly customized G.L. Optics Mark 5 housing and also cover full frame.  Additionally, they are incredibly durable, making them ideal for long shoots in any environment.
 
The Ancient Optics Minolta Rokkor Prime lenses provide a wide range of focal lengths from 21mm to 200mm that allow the user to capture stunning images in any situation with ease.  This 11-lens set offers 110mm fronts, PL Mount, matching gear positions, 330 degree focus throw, new circlular irises, and much improved close focus on most focal lengths.  Whether you’re shooting a feature film or a social media campaign, these lenses are sure to get the job done!

So, what are you waiting for? Rent your Ancient Optics Minolta Rokkor Prime lenses today from Shadowcast Pictures and start creating beautiful images that will surely look distinct from anything else!  #shadowcastpictures #minoltarokkor #rokkor #fullframe #vintagelenses #vintagelens #rehousedlenses #gloptics #cinematography
New gear now available! Alexa 35 and Ancient Opti New gear now available!  Alexa 35 and Ancient Optics Re-housed Minolta Rokkor primes by GL Optics.  If you haven’t used either yet let us know and we’d be happy to set up a demo or test!  More to come on the Minolta Rokkors…. #vintagelenses #super35 #minoltarokkor #digitalcinema #camerasbyshadowcast #shadowcastpictures
Lens testing today with DP @aj.raitano for an upco Lens testing today with DP @aj.raitano for an upcoming period piece.  Part of achieving the specific look of this film is through the lenses.  We have lots of great vintage lens options to choose from!  #truelensservices #zerooptik #ancientoptics #vintagelenses #filmmaking #cookespeedpanchros #minoltarokkor #nikonais #redgemini5k #lensesbyshadowcast #camerasbyshadowcast #shadowcastpictures
Arri Alexa 35’s have landed! @arri @abelcine #c Arri Alexa 35’s have landed!  @arri @abelcine #camerasbyshadowcast #shadowcastpictures #S35 #cinematography #alexa35 #digitalcinema
Arri Signature Primes on a Sony Venice do play tog Arri Signature Primes on a Sony Venice do play together nicely!  #arri #signatureprimes #arrisignatureprimes #sony #sonyvenice #cameraprep #fullframe #shadowcastpictures #camerasbyshadowcast #cinematography
Master Cases comes through again with an excellent Master Cases comes through again with an excellent custom case for our new Canon 25-250mm zooms.  Everything you need with this lens fits in the case!  Great design and protection for air or ground transportation.  THANK YOU MASTER CASES!
#canonusa #zoom #zoomlenses #cinemazoom #cinematography #lensrentals #lenscase #shadowcastpictures
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Copyright 2018 Shadowcast Pictures | All Rights Reserved
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