Full Specifications and Features
- LENS MOUNT
Size and Weight
- WEIGHT (MAIN UNIT ONLY) (approx.)
- Approx. 10 lb 2.3 oz (4.6 kg) (body only)
- DIMENSIONS (W X H X D) (BODY WITHOUT PROTRUSIONS) (approx.)
- Approx. 8.94 x 11.38 x 9.17 inch (227 x 289 x 233 mm) (body without protrusions)
- POWER REQUIREMENTS
- DC 19.5 V, PoE++ (IEEE802.3bt Type 4 Class 8 comliant) 41.1 V–57.0 V
- POWER CONSUMPTION
- ≦80 W (DC 19.5 V) / ≦71.3 W (PoE++)
- OPERATING TEMPERATURE
- 32 °F to 104 °F (0 °C to 40 °C)
- STORAGE TEMPERATURE
- –4 °F to +140 °F (–20 °C to +60 °C)
- CEILING MOUNT
- Yes (with Ceiling Bracket option)
- TALLY LAMP
- Left (x1)/Right (x1), Red/Green
Recording Format (Video)
- XAVC INTRA
- XAVC-I DCI4K 59.94p mode: VBR, MAX bit rate 600 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 50p mode:VBR, MAX bit rate 500 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 29.97p mode:VBR, MAX bit rate 300 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 25p mode:VBR, MAX bit rate 250 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 24p mode:VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 23.98p mode:VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 59.94p mode:VBR, MAX bit rate 600 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 50p mode:VBR, MAX bit rate 500 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 29.97p mode: VBR, MAX bit rate 300 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 25p mode:VBR, MAX bit rate 250 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 23.98p mode:VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 59.94p mode:CBG, MAX bit rate 222 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 50p mode: CBG, MAX bit rate 223 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 29.97p mode: CBG, MAX bit rate 111 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 25p mode: CBG, MAX bit rate 112 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 23.98p mode: CBG, MAX bit rate 89 Mbps, MPEG-4 AVC/H.264
- XAVC LONG
- XAVC-L QFHD 29.97p/25p/23.98p mode: VBR, MAX bit rate 100 Mbps, MPEG-4 H.264/AVC, XAVC-L QFHD 59.94p/50p mode:VBR, MAX bit rate 150 Mbps, MPEG-4 H.264/AVC, XAVC-L HD 29.97p/25p/23.98p/59.94p/50p mode: VBR, MAX bit rate 50 Mbps, MPEG-4 H.264/AVC, XAVC-L HD 29.97p/25p/23.98p/59.94p/50p mode: VBR, MAX bit rate 35 Mbps, MPEG-4 H.264/AVC
Recording Format (Audio)
- RECORDING FORMAT (AUDIO)
- LPCM 24 bits, 48 kHz, 4 channels
Recording Frame Rate
- XAVC INTRA
- XAVC-I DCI4K mode:4096 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p, 24p, XAVC-I QFHD mode: 3840 x 2160/59.94p, 50P, 29.97p, 23.98p, 25p, XAVC-I HD mode: 1920 x 1080/59.94p, 50p, 29.97p, 23.98p, 25p
- XAVC LONG
- XAVC-L QFHD mode: 3840 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p, XAVC-L HD 50 mode: 1920 x 1080/59.94p, 50p, 29.97p, 23.98p, 25p, XAVC-L HD 35 mode: 1920 x 1080/59.94p, 50p, 29.97p, 23.98p, 25p
Recording/ Playback Time
- XAVC INTRA
- XAVC-I DCI4K/QFHD 59.94p When using CEA-G160T (160 GB) Approx. 30 minutes When using CEA-G80T (80 GB) Approx. 15 minutes, XAVC-I DCI4K/QFHD 50p When using CEA-G160T (160 GB) Approx. 36 minutes When using CEA-G80T (80 GB) Approx. 17 minutes, XAVC-I DCI4K/QFHD 29.97p When using CEA-G160T (160 GB): Approx. 60 minutes When using CEA-G80T (80 GB) Approx. 29 minutes, XAVC-I DCI4K/QFHD 25p When using CEA-G160T (160 GB): Approx. 71 minutes When using CEA-G80T (80 GB) Approx. 35 minutes, XAVC-I DCI4K 24p When using CEA-G160T (160 GB): Approx. 74 minutes When using CEA-G80T (80 GB) Approx. 36 minutes, XAVC-I DCI4K/QFHD 23.98p When using CEA-G160T (160 GB): Approx. 74 minutes When using CEA-G80T (80 GB) Approx. 36 minutes, XAVC-I HD 59.94p When using CEA-G160T (160 GB): Approx. 78 minutes When using CEA-G80T (80 GB) Approx. 38 minutes, XAVC-I HD 50p When using CEA-G160T (160 GB): Approx. 78 minutes When using CEA-G80T (80 GB) Approx. 38 minutes, XAVC-I HD 29.97p When using CEA-G160T (160 GB): Approx. 150 minutes When using CEA-G80T (80 GB) Approx. 74 minutes, XAVC-I HD 25p When using CEA-G160T (160 GB): Approx. 150 minutes When using CEA-G80T (80 GB) Approx. 74 minutes, XAVC-I HD 23.98p When using CEA-G160T (160 GB): Approx. 185 minutes When using CEA-G80T (80 GB) Approx. 91 minutes,
- XAVC LONG
- XAVC-L QFHD 29.97p/25p/23.98p When using CEA-G160T (160 GB): Approx. 170 minutes When using CEA-G80T (80 GB) Approx. 86 minutes, XAVC-L QFHD 59.94p/50p When using CEA-G160T (160 GB): Approx. 115 minutes When using CEA-G80T (80 GB) Approx. 57 minutes, XAVC-L HD 50 /29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB): Approx. 320 minutes When using CEA-G80T (80 GB) Approx. 155 minutes, XAVC-L HD 35 29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB): Approx. 430 minutes When using CEA-G80T (80 GB) Approx. 210 minutes
- PROXY AUDIO
- XAVC Proxy: AAC-LC, 128 kbps, 2 channels
- PROXY VIDEO
- XAVC Proxy: Advanced Video Coding/H.264 High Profile 4:2:0 Long GOP, VBR 1920 x 1080, 9 Mbps
- SENSOR TYPE
- 35 mm full frame (35.6 x 23.8 mm), Exmor R CMOS sensor
- Approx. 12.9 megapixels (total), Approx. 10.3 megapixels (effective)
- BUILT-IN OPTICAL FILTERS
- Clear, linear variable ND (1/4 ND to 1/128 ND)
- ISO 800/12800 (Cine EI mode, D55 Light source)
- SHUTTER SPEED
- 64 frame to 1/8000 s
Slow and Quick Motion
- 4096 x 2160: 1 to 60 frames (59.94/50/29.97/25/24/23.98)
- 3840 x 2160: 1 to 60, 100, 120 frames (59.94/50/29.97/25/23.98), 1920 x 1080: 1 to 60, 100, 120, 150, 180, 200, 240 frames (59.94/50/29.97/25/23.98)
- WHITE-BALANCE MODES
- Preset, Memory A (2,000K–15,000K)/ATW
- GAIN CONTROL
- –3 to 30 dB (every 1 dB), AGC
- GAMMA CURVE
- SDR Mode: S-Cinetone, Standard, Still, ITU709 / HDR mode: HLG_Live, HLG_Natural
- 15+ stop
- Fast Hybrid AF (phase-detection AF / contrast-detection AF)
- FOCUS POINT
- 627 points
- FOCUS AREA
- Wide / Zone / Flexible Spot
- OTHER FOCUS FEATURES
- Eye AF (Human), Real-time Tracking AF, AF Subj. Shift Sensitivity, AF Transition Speed, Face detection (Face/Eye Priority, Face/Eye Only AF)
- PAN/TILT ANGLE
- Pan: –170 deg. to 170 deg., Tilt: –30 deg. to 195 deg.,
- PAN/TILT SPEED
- Pan: 0.02 deg. to 60 deg./s, Tilt: 0.02 deg. to 60 deg./s
- PAN/TILT OPERATION NOISE
- NC35 or less
- PRESET POSITION
- CLEAR IMAGE ZOOM
- QFHD/4K: 1.5x, HD: 2x
- SUPPORTED OPERATION SYSTEMS
- Windows 10 or later, macOS 10.15 or later, iPadOS 15 or later, Android 12 or later
- SUPPORTED WEB BROWSERS
- Windows: Google Chrome, Mac: Google Chrome/Safari, iPad: Google Chrome/Safari, Android: Google Chrome
- TC INPUT/TC OUTPUT
- BNC (x1), TC IN only
- AUDIO INPUT
- XLR-type 5-pin (female) (x1) line/mic/mic +48 V selectable, Mic Reference: –30 to –80 dBu
- SDI OUTPUT
- BNC (x1), 12G-SDI, 6G-SDI, 3G-SDI(Level A/B), HD-SDI
- DC INPUT
- DC jack (x1)
- HDMI OUTPUT
- Type-A connector (x1)
- RJ-45 (OPTION) (x1), Red Tally IO/Green Tally IO
- GENLOCK INPUT
- BNC (x1), 1.0 Vp-p, 75 Ω
- OPTICAL OUTPUT
- SFP+ compliant
- RJ-45 (LAN) (x1), 1000BASE-T
- IR REMOTE CONTROL
- 4096 x 2160: 59.94p, 50p, 29.97p, 25p, 24p, 23.98p / 3840 x 2160: 59.94p, 50p, 29.97p, 25p, 23.98p / 1920 x 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 24p, 23.98p, 29.97PsF, 25PsF
- 4096 x 2160: 59.94p, 50p, 29.97p, 25p, 24p, 23.98p / 3840 x 2160: 59.94p, 50p, 29.97p, 25p, 23.98p / 1920 x 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 24p, 23.98p / 720 x 480: 59.94p / 720 x 576: 50p
- MEDIA TYPE
- CFexpress Type A / SD card (x2)
- PROTOCOLS (IPv6)
- TCP, UDP, ICMPv6, HTTP, HTTPS, DHCPv6, DNS, mDNS, RTP/RTCP, RTSP, SRT, FTP, FTPS
- PROTOCOLS (IPv4)
- TCP, UDP, ARP, ICMP, HTTP, HTTPS, DHCP, DNS, mDNS, RTP/RTCP, RTSP, VISCA over IP, SRT, NDI|HX, FTP, FTPS
- VIDEO RESOLUTION
- 4096 x 2160, 3840 x 2160, 2048 x 1080, 1920 x 1080, 1280 x 720, 640 x 360
- COMPRESSION FORMAT
- H.264: High/Main/Baseline Profile, H.265: Main/Main10 Profile
- MAXIMUM FRAME RATE
- H.264/H.265: 59.94fps
- BITRATE CONTROL MODE
- BITRATE SETTING
- 512 Kbps–80 Mbps
- NDI|HX CAPABILITY
- Yes, optional
- SCREEN READER
- Yes (Language: English, Speed: 7 steps, Volume:15 steps)
- SUPPLIED ACCESSORIES
- Body cap, HDMI cable fixing plate, REMOTE COMMANDER (RMT-RC1), AC Adapter, Power cord, Before Using This Unit, Warranty booklet
World’s first PTZ camera with full-frame sensor
The FR7 features a back-illuminated 35-mm full-frame CMOS image sensor with approximately 10.3 effective megapixels, employing Sony’s advanced sensor technology in a pan, tilt and zoom (PTZ) camera for the first time. The high-performance BIONZ XR image processing engine contributes to superb image quality with high sensitivity, smooth gradations and true-to-life colour with low noise.
Staggering latitude for powerful expression
The FR7 offers a wide 15+ stop latitude that prevents blown highlights and crushed shadows. In Cine EI mode, base sensitivity can be set to either ISO 800 or 12800 for a consistent look regardless of lighting conditions.
Astounding image quality in low light
The FR7 offers clean images even in low light by taking full advantage of the sensor’s high sensitivity. The ISO can be expanded as far as ISO 409600 when shooting in extreme low-light conditions.
High-frame-rate shooting in 4K 120p
Smooth 5x slow motion delivers creative possibilities, and the FR7 provides internal slow-motion capture at 4K resolution and a high 120 fps frame rate.
4K 60p 4:2:2 ten-bit output
The FR7 supports clean, high-quality output via its HDMI and SDI OUT connectors. This makes it possible to record Apple ProRes 422 or Avid DNxHR® in 4K 60p 4:2:2 ten-bit format with compatible external recorders via an HDMI or SDI cable.
4:2:2 ten-bit, All-Intra
The FR7 is capable of 4K internal recording to dual CFexpress Type A/SDXC card slots, with 10-bit depth and 4:2:2 colour sampling and either All-Intra or space-efficient Long-GOP compression. This makes it possible to push your colour grades further while still retaining natural gradation, for true editing freedom.  All-Intra (All-I)  Long-GOP  Group of Pictures
Support for S-Log3/S-Gamut3
S-Log3 gamma curve and S-Gamut3.Cine let you capture the full colour gamut and dynamic range available to the sensor, and make it easier to match up footage with shots from other Cinema Line cameras during post-production.
S-Cinetone for cinematic images right out of camera
Beautiful cinematic images can be created easily without the need for post-production. S-Cinetone produces the natural mid-tones essential to healthy-looking skin, plus soft colours and gorgeous highlights.
A wide range of lenses to support visual storytelling
The FR7 features Sony’s E-mount, so you can choose lenses for your intended visual style. High-performance E-mount lenses support your creativity, including the superlative G Master series with its stunning resolution and bokeh; prime lenses; and ultra-telephoto lenses with focal lengths ranging from 12 mm to 1,200 mm.
Wide-ranging pan-tilt-zoom operation
The FR7 incorporates smooth pan, tilt and zoom functionality that can be recalled to preset positions. The pan angle range is from –170° to +170°, and the tilt angle range is from –30° to +195° when used in normal upright orientation, or from –210° to +15° when suspended from a ceiling mount. Zoom speed is also variable.
A new Web App for total control
Even when the camera is mounted on the ceiling or in another hard-to-access location, operation is easy and intuitive. A new dedicated Web App uses the same menu format as the FX6. Pan, tilt, zoom, focus and record operations and all camera settings can be controlled from a tablet or a computer’s web browser.
Variable-speed camera movement
The FR7 supports variable-speed camera movement. Pan and tilt speed can be continuously varied from 0.02 degrees per second to 60 degrees per second, for flexible subject tracking and production scenarios.
Quick-access preset positions
The supplied infrared remote controller, the dedicated FR7 Web App and the optional RM-IP500 remote controller allow up to 100 camera position presets to be recalled. Presets including camera direction, zoom and focus can be recalled at the touch of a button.
Clear Image Zoom for a flexible angle of view
The FR7 lets you vary your angle of view even with a relatively small amount of equipment on a shoot. It incorporates Sony’s Clear Image Zoom function, which allows zooming with minimal image degradation when using a non-powered zoom or a prime lens.
Fast Hybrid AF for reliable remote shooting
Fast Hybrid AF locks onto the subject quickly and tracks tenaciously, even with remote shooting, shallow depth of field or low light. With wide coverage from 627 selectable phase-detection AF points, the camera can handle a huge volume of subject data in real time—ideal for fast-moving subjects.  Phase-detection AF coverage area
Real-time Tracking/ Realtime Eye AF during remote shooting
You can leave focusing to the camera and concentrate fully on composing your best shot. In the FR7’s Web App, Touch Tracking starts auto focus for your chosen subject, with Real-time Tracking. In addition, Real-time Eye AF automatically keeps pinpoint eye focus, even when the subject is looking up or down at a steep angle.
Electronic Variable ND filter support for remote shooting
Remote exposure control with the built-in ND filter is possible. Sony’s electronically controlled ND filter allows seamless ND adjustment from 1/4 to 1/128, so that exposure can be varied while keeping the aperture constant for consistent depth of field.
Breathing Compensation suppresses unintended image shifts
With Breathing Compensation, creative focusing is possible while suppressing unwanted shifts in the angle of view. When using compatible lenses, the angle of view is automatically kept consistent even when focusing, making it possible to achieve smooth and dramatic focusing effects.
Up to 100 cameras can be remotely operated
With the FR7 it’s possible for a small number of staff members to operate a shoot with a multi-camera setup. The optional RM-IP500 advanced remote controller allows up to 100 cameras (10 groups with 10 cameras each) to be controlled remotely.
Tally lights facilitate multi-camera production
In a multi-camera shoot, tally lights indicate which camera is currently in use, helping to facilitate smooth operation. A red tally light can indicate the current on-air camera while a green tally light can indicate a camera in preview, ready to be switched on-air next.
12G SDI BNC output/ HDMI type A output
It is possible to output video as a 12G, 6G, 3G or HD-SDI signal, and the camera can also output in RAW format when the appropriate setting is made. There’s also the option of either a clean HDMI output, for external recording, or overlaid with status and settings for monitoring.
Optical output connector
An optional SFP+ module can be used to convert the camera’s SDI output to optical format for low-loss transfer over long distances.
XLR 5-pin stereo
This connector receives the output from an external microphone or audio device. Audio CH-1 and CH-2 are received via a single connector.
Dual media slots for CFexpress Type A / SDXC
The camera is equipped with dual media slots supporting CFexpress Type A memory cards and SDXC memory cards. With support for Sony’s latest VPG400 CFexpress Type A cards, you’ll also benefit from sustained recording performance for high-frame and high-bitrate shooting.
Infrared remote controller
The FR7 is supplied with an infrared remote controller that can be used to control pan, tilt, zoom, focus, record, playback, standby on/off and other camera operations and settings.
RTSP / NDI|HX / SRT IP streaming
RTSP streaming allows the video output from one camera to be simultaneously distributed to up to five viewers. SRT enables high-quality, low-latency video transfer even in unstable network conditions. NDI|HX enables a network connection to NDI-compatible devices such as switchers and media servers, supporting efficient live video production using Internet protocols.
TC IN connector
Receives timecode from an external device to be used for synchronization.
The “Option” connector coordinates tally-light signals with an external device.
Synchronization with external devices (Genlock)
Receives synchronization signals from an external device for use in multi-camera setups.
The FR7 can be powered with an external PoE++ (Power over Ethernet Plus Plus) device via a standard network cable (CAT5e or higher), eliminating the need for separate power supply cabling.  Network Switch  FR7  Data  Power
Works with iMovie and Final Cut Pro X
This product is compatible with Final Cut Pro X and iMovie