Sony PXW-FS7M2 XDCAM Super 35 Camera System

Sony PXW-FS7M2 XDCAM Super 35 Camera System

Sony PXW-FS7M2 XDCAM Super 35 Camera System

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Product Highlights

  • Super 35-Sized CMOS Sensor
  • Locking Sony E-Mount
  • Integrated Electronic Variable ND Filter
  • DCI 4K (4096 x 2160) up to 59.94p
  • UHD up to 59.94 fps, HD up to 180 fps
  • XAVC-I/L, MPEG-2, XAVC up to 600 Mb/s
  • Supports Rec. 709 and BT-2020
  • Dual XQD Memory Card Slots
  • Dual HD/3G-SDI and HDMI Output
  • Ergonomic Handgrip with Camera Controls
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Kit Configuration: Body

Body Body + Zoom Lens

Camera: PXW-FS7II

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Sony PXW-FS7M2 overview

  • 1Description

Expanding on the original FS7, Sony's PXW-FS7M2 XDCAM Super 35 Camera System is a flexible 4K camera system. Designed as a camera that is at home on productions as diverse as "Cinéma Vérité"-style documentaries, reality TV, commercial, and corporate applications It features a Super 35mm sized sensor that allows you to capture images with cinematic depth of field. The camera incorporates a stronger locking E-mount that is fully compatible with E-Mount lenses, and supports all electronic connections. The locking mount reduces lens play, and allows you to use most 35mm lenses including PL, EF, Leica, and Nikon via optional adapters. This stronger E-mount is ideal for using heavier-long cine-zooms without the need for additional lens support.

Just behind the lens mount sits an electronic variable ND system that provides a clear filter and 3 user definable presets. The variable ND can be adjusted to provide between 2 and 7 stops of ND. The camera can capture footage to optional on-board XQD media cards in either DCI 4K (4096 x 2160) or UHD 4K (3840 x 2160) at up to 59.94 fps or HD at up to 180 fps.

The camera records in your choice of XAVC-I, XAVC-L, or MPEG-2. However, MPEG-2 recording does not support the high data rates the camera can generate when shooting in UHD, and is limited to recording HD video only. The camera incorporates Dual XQD media card slots that support simultaneous or relay recording. An ergonomically designed handgrip provides control of many of the camera's functions and features an adjustable length support arm.

The 4K Super 35 EXMOR sensor features 14 Stops of latitude and a wide color gamut. It offers a choice of XAVC or MPEG-2 codecs. The XAVC codec can be used for 4K and HD recording, while MPEG-2 is limited to HD recording. XAVC comes in two flavors, XAVC INTRA, and XAVC Long, allowing you to encode from HD to UHD using Intra-Frame or Long GOP compression with 10-bit 4:2:2 for HD and the choice of 10-bit 4:2:2 or 8-bit 4:2:0 for UHD. XAVC intra compression is very efficient, recording at modest bit rates and XAVC Long also substantially extends the recording time while attaining very high quality and low noise.
Signal Processing
The Camera supports two signal processing modes; Cine-EI and Custom. Cine-EI offers three color grading spaces for electronic cinematography production. The Custom mode supports Rec-709 and Rec BT-2020 at UHD 3840 x 2160 with YCbCr color subsampling. You can set the PXW-FS7M2 to record onboard and monitor on a BT 2020 compliant monitors via HDMI 10-bit 4:2:2 or SDI at 10-bit 4:2:2 with a 709 monitor LUT applied.
Locking E-Mount
The PXW-FS7M2 is equipped with a locking E-Mount that provides improved stability and strength compared to a standard E-Mount. It features a safety interlock system that helps prevent accidental disengagement of your lens from the camera body. The locking mount also reduces lens play compared to a standard E-Mount and the locking mount is strong enough to support long cine and ENG zooms that normally require a lens support.

It accepts optional E-Mount lenses from Sony, Zeiss and other manufacturers. The shallow flange distance of the E-Mount allows you to mount most 35mm lens types such as PL, Canon EF, Leica, Nikon, as well as many others with simple mechanical adapters.
Electronic Variable ND
Behind the lens mount sits a retractable clear filter. When you engage the internal ND filters, the clear filter retracts and a stepless electronic ND filter drops into place maintaining the proper flange focal distance. You can program the electronic ND filter to act as three individual filters and rotating the filter knob will step between these presets.

Additionally, you can manually adjust the density of the filter from 2 to 7 stops. One of the advantages of the electronically variable ND filter is that you can use the iris on your lens to set your depth of field, and then make exposure adjustments with the ND, as it does not introduce any color shift as the strength of the ND changes.
Magnesium Construction
The camera body is made from magnesium, which is lighter and stronger than aluminum. This allows the camera body to weigh only four pounds. It also incorporates a shoulder pad and is designed to sit on the operator's shoulder by extending the support arm of the SmartGrip, which allows the camera to be held in front of the operator without requiring a support rig.
The camera includes an ergonomic handgrip that Sony calls a SmartGrip, which features Zoom, Start/Stop, and Assign controls. The SmartGrip facilitates camera operation with the right hand, leaving the left hand free to operate the lens. Both the arm and handgrip can be positioned at different angles permitting great flexibility, and it has been re-designed for additional extension adjustment.
Redesigned Viewfinder and Mic Holder Mount
With the PXW-FS7M2 the viewfinder and mic holder mount has been repositioned. The viewfinder and mic holder now attach to a replaceable 15mm rod. This allows you to swap out the included rod with a longer rod (not included), allowing you to move the position of the viewfinder or mic holder relative to the camera. You can adjust the position of the viewfinder so a left-eye shooter can use their left eye, while the camera is resting on their right shoulder.

In addition, the viewfinder itself now rides on a square mounting rod that ensures level operation.
Internal Recording
The PXW-FS7M2 records internally in both DCI 4K and UHD 4K at up to 59.94 fps, and in HD up to 180 fps using XAVC-I or up to 120 fps with XAVC-L. DCI 4K (4096 x 2160) can be recorded internally without the need of an external recorder.
Media Card Slots
The camera features two XQD media slots that support simultaneous or relay recording. The XQD card slots are shallower on the PXW-FS7M2 compared to the FS7, making inserting and removing media cards easier.
Genlock and Timecode
Genlock and timecode breakout is available with an optional XDCA-FS7, this also allows for raw and ProRes recording with optional recorders.
UPC: 027242904699
In the Box
Sony PXW-FS7M2 XDCAM Super 35 Camera System
  • Body Cap
  • Viewfinder
  • Eyepiece
  • Grip Remote Control
  • Wireless Adaptor Bracket
  • BC-U1 Battery Charger
  • BP-U30 Lithium-Ion Battery
  • 2 x Power Cord
  • USB Cable
  • LCD Viewfinder Lens Hood
  • Limited 1-Year Warranty Parts, 90-Days Labor
  • Table of Contents
    • 1Description

    Sony PXW-FS7M2 specs

    Image Sensor
    Image Sensor Size Super35
    Sensor Type CMOS
    Effective Sensor Resolution 4096 x 2160
    Gain -3 to 18 dB
    Signal-to-Noise Ratio 57 dB
    Lens Mount Sony E-Mount
    Shutter Speed 1/3 to 1/9000 sec
    Built-In ND Filter Mechanical Filter Wheel with 2 Stop (1/4), 4 Stop (1/16), 6 Stop (1/64) ND Filters
    Recording Media 2 x XQD Card Slots
    1 x SD (Unspecified Type) Card Slot
    Internal Recording
    Recording Modes XAVC-I 4:2:2 10-Bit:
    3840 x 2160p at 23.98/25/29.97/50/59.94 fps (240 to 600 MB/s) 
    XAVC-L 4:2:0 8-Bit:
    3840 x 2160p at 23.98/25/29.97/50/59.94 fps (100 to 150 MB/s) 
    Gamma Curve S-log3
    Audio Recording 4-Channel 24-Bit 48 kHz
    External Recording
    Raw Output SDI/BNC:
    4096 x 2160 12-Bit 
    2048 x 1920 12-Bit 
    Video Connectors 2 x BNC (3G-SDI) Output
    1 x HDMI (HDMI 2.0) Output
    Other I/O 1 x 2.5 mm LANC Control Input
    1 x USB Mini-B Data Input/Output
    1 x 2.5 mm LANC Control Input
    Screen Size 3.5"
    Screen Resolution 1,560,000 Dots
    Battery Type Sony BP-U Series
    Power Connectors 1 x Barrel Input
    Power Consumption 19 W
    Operating Temperature 32 to 104°F / 0 to 40°C
    Storage Temperature -4 to 140°F / -20 to 60°C
    Accessory Mount 1 x Multi-Interface Shoe
    1 x 1/4"-20 Female Thread
    Dimensions 6.14 x 9.41 x 9.72" / 156 x 239 x 247 mm
    Weight 9.9 lb / 4.4 kg
    Packaging Info
    Package Weight 12.65 lb
    Box Dimensions (LxWxH) 15.7 x 13.5 x 12.5"

    Sony PXW-FS7M2 reviews

    PXW-FS7M2 XDCAM Super 35 Camera System is rated 3.9 out of 5 by 8.
    Rated 4 out of 5 by from Pretty great camera with some bad parts I upgraded from the FS7 to get the electronic variable ND on this model which is a great tool, especially for outdoor shooting. �I wish they would have done a better job fixing the pistol grip extension arm--it now has a turn knob to tighten after extending--obvious solution, however, both mine and my friend's no longer keeps tension in the arm when fully tightened--oops Sony!! �This along with some cheap plastic molding that holds monitor cable in place (it's already broken!) makes me upset that they didn't truly get it right on v2.0 of this otherwise great camera. �As a professional, I expect top quality parts, and it seems that they cut a few corners in rushing this one out.
    Date published: 2017-11-21
    Rated 4 out of 5 by from Awesome camera, interface kind of blows Howdy! I love this camera and the image quality is spectacular. I spent weeks, nay months looking into the right rig and landed happily on this one. Previously I was shooting an the A7rii hooked up to a Shogun Inferno, and although I was getting great images from that the ergonomics were painfully awkward. Enter the Fs7ii and all my problems were gone. But wait.. there's more! Pros: This is a run and gun camera if there ever was one, between the Auto shooting mode and the Cine EI mode combined with the variable ND filter you can throw this on your shoulder and shoot about anything. If you have a large enough bag (i just used whatever recommended accessory bag it suggested on BH) you can toss this in the back of your car, roll up somewhere, pop it out and be shooting in thirty seconds. You're gonna want to put the cold shoe add on to the back part of the handle on right away, why it's not on there automatically is anyone's guess. You'll need the words smallest screwdriver. The grip is fantastic and a great fit to the hand, the issue being however if you're switching or resting on a tripod you have to remove these dumb screw clip things in order for the handle to go high enough, but then the handle is loser and slides up and down. Cons: 1. I'm not the most tech savvy guy, I know cameras pretty well however, but the menus system on this freaking thing is obnoxious, basically you just scroll and scroll and scroll until you maybe found what you need but probably not. Changing the ISO for example is hecking ridiculous. 2. As of now I'm having major problems importing footage shot in CineEI mode (the best and most dynamic mode on the camera) into Final Cut. Everything works fine in Premiere but I prefer using the Color Finale plug in only available for Final Cut. But Final Cut has some serious color problems importing CineEI footage, it does fine with the Auto mode footage though. I'll update it to 5 stars once that issue is fixed be it Final Cuts or Sony's problem, not that anyone cares about my one star ransom.
    Date published: 2017-08-25
    Rated 4 out of 5 by from Some significant improvements over previous model This is my second FS7. So I will concentrate o=this review on the improvements made on the original. Lens Mount: The PL Style mount takes a bit to get use to, but separates this camera. I use my FS7's in difficult situations and with heavy PL lenses. The previous mount could not keep up. There is significant slop that shows up in the footage. The new mount is strong and stable. New squared off Rods are a non issue for me. I use the zacuto gratical. However it does keep the lcd monitor level. Best new feature is the variable ND, which is F'in awesome. Set your stop then dial in the exposure using the ND. I do wish it could start at one stop. Negs, the need to add the Ext unit for timecode and pro res. New button placements make getting use to the new camera difficult. Overall the FS7 has become a value camera that performs at a high level. Minus one stop because of the need to purchase an extension unit to get some basic functionality.
    Date published: 2017-10-28
    Rated 1 out of 5 by from Terrible lens mount design I'm using this camera on a documentary shoot in Africa at the moment. It has a few minor issues and one big one: the disasterous design of the lens mount. If you are a documentary shooter, check it out and see if you can get used. I find it impossible to change lenses with one hand, but even when the camera is sitting on a tripod, the fiddly lens mount makes it easy to drop a lens. I've used various Sony, Canon, Arri and Panasonic camcorders before but have never seen anything like this. If I was to buy this, I'd go for the Mark 1 because of this reason.
    Date published: 2017-10-16
    Rated 5 out of 5 by from Outstanding across the board The competition didn't stand a chance of getting my money on this purchase.�� On virtually every spec, this camera shines.� Ready to run and gun straight out of the box - ergonomics are workable without any further purchases, although you can of course greatly improve things that way if you want to.� Light body for the tech it packs.� The sensor produces sharp images with great dynamic range.� Over and undercranking is super flexible like previous XDCAM generations, but 180 fps in 1080p in a camera at this price point is a very welcome bonus.� Preamps on the two audio inputs are what you would expect from Sony - very usable for professional applications.�� A couple of small touches that I particularly appreciated: the input covers for audio inputs and headphone jacks are attached to the body: no more losing them... But for me, by far the biggest draw is the variable ND filter.� Set your aperture somewhere sane for what you are doing, and set ND to auto, and the FS7 will dial in the degree of ND required to maintain exposure.� Fantastic for timelapse across a broad range of exposures.� Fantastic for shots that move from interior to exterior dynamically.� Great for unexpected changes in sunlight during a critical take.� Yes.� Yes.� Yes, and thank you.� I don't see this feature offered on any other camera in this price range, and now that I have it, I would not want to live without it. Low-light performance is good.� Build feels solid (although time will tell).� This is my third Sony XDCAM family camera and they've become increasingly solid - my first one, the EX3 was pretty good already - so I'm not expecting any problems on that front. About the only thing I'm not a fan of on the camera is the lens mount which is a little funny and takes getting used to.� The best solution if you are not using Sony glass, is to put a speedbooster on and leave it on, like that you're only dealing with the mounting of your third party lens to the speedbooster.� It's what I would have done anyway because the speedbooster is worth its weight in lumens. Also the histogram is a bit weird, but far from a showstopper. This camera is an A camera to an older Sony F3, and I use it mainly for doc, but I can imagine indie shooters finding it a compelling option for narrative fiction. I'd buy it again.
    Date published: 2018-03-29
    Rated 5 out of 5 by from Couldn't be happier! I am a direct/DP who previously owned an FS5. I am very satisfied with the purchase!
    Date published: 2017-07-21
    Rated 3 out of 5 by from Lots of PROS, Lots of CONS Before making this purchase, I owned the previous model, the FS7.� There were a couple upgrades that worked marvelously: namely the Electronic Variable ND.� Though the Auto function of it doesn't really expose properly, especially when shooting S-LOG 3, manual mode has been really valuable in outdoor instructional yoga shoots, where I can fine tune exposure gradually without much notice in the picture, maintaining my depth of field, since I don't have to touch the aperture.�� There were a few upgrades to the body that I was looking forward to, namely the pistol grip arm extension.� With the past model, I had to adjust two screws (completely stupid design)--the new design in a single turning knob, which was the obvious improvement; however, the knob lost tension after just 1 month in the field.� My friend who owns the same model, had the same issue very early on.� I use the camera way to much to turn it in to have the issue fixed.� Wish they would send a replacement.� Currently, the arm is always short unless I gaff it while long.� Causes either an arm cramp while shooting handheld, or looks trashy with gaff attached.�� Another misstep was changing the plastic part on the wire holder for the monitor cable, it's super cheap and started falling apart almost immediately.� Pretty annoying.�� The lens attachment ring was a good idea in theory, but not in practice in the field.� Luckily I mostly shoot with my metabones attached.� Would be a huge pain if I shot on Sony Lenses.�� My biggest complaint with this $10,000 camera is that it doesn't have an internal mic.� WHAT!??� I'm used to shooting with professional cameras, and understand the idea of a cinema camera being MOS, but come on, it's 2018 and even the FS5 model has it.� Such a pain when shooting on my MOVI PRO and just wanting simple reference audio or ambient acquisition with the bother of adding a shotgun mic and cable to throw off my gimbal balance.�� Seems to me that they listened to us, but also missed the ship in so many other ways in designing a camera that is truly friendly to the operator.� Don't get me wrong, I love it all gripes aside, it just seems that it was tinkered with by engineers in a sterile environment on a tripod, and not by doc/commercial shooters in the field to help make an upgrade that truly served our needs.�� Would I still buy it again given the chance?� Probably.� The upsides barely outweigh the downsides though.� It's an industry no-brainer.� Fits the perfect middle-ground for smaller to larger shoots.� Pretty versatile.� And if you charge rental properly, shouldn't take too long to make your money back, then start earning significant $ on it.� I have a pretty good track record with buying the right camera at the right time.� This one's no exception.� The Canon C200 release got me scared that I made the wrong decision, but it doesn't even shoot broadcast (50 mbps).�� This camera's a winner, but rough around the edges.
    Date published: 2018-03-25
    Rated 5 out of 5 by from Excellent camera Does everything we need in a 4k solution
    Date published: 2018-06-19
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