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Upwardly mobile: Sony a6300 First Impressions Review

17 Mar

The Sony a6300 is the company’s latest mid-range mirrorless camera. Like the a6000 it still offers 24MP resolution but the autofocus ability, video capability, build quality, viewfinder resolution and price have all been increased.

The most exciting change from our perspective is the a6300’s new sensor. Although the pixel count remains the same, the a6300’s sensor has a whopping 425 phase-detection AF points ranged across the sensor. The a6000 already offered one of the best AF systems in its class, when it comes to identifying and tracking subjects, so an upgrade in this area sounds extremely promising. The sensor is also built using newer fabrication processes that use copper wiring to help improve the sensor’s performance and possibly contributing to the camera’s slightly enhanced battery life.

The a6000 has been a huge success and has dominated its field to the extent that its combination of capability and price still looks impressive even as it enters the twilight of its career (Sony says it will live on, alongside the a6300*). That model represented a dip down-market for the series, with a drop in build-quality and spec relative to the NEX-6 that preceded it. The a6300 corrects that course, and sees the model regain the high-resolution viewfinder and magnesium alloy build offered by the older NEX-6.

Key features:

  • 24MP Exmor CMOS sensor
  • 425 phase detection points to give ‘4D Focus’ Hybrid AF
  • 4K (UHD) video – 25/24p from full width, 30p from smaller crop
  • 2.36m dot OLED finder with 120fps mode
  • Dust and moisture resisitant magnesium alloy body
  • Built-in Wi-Fi with NFC connection option
  • Built-in microphone socket

As with the previous 6-series E-mount cameras, the a6300 features a flip up/down 16:9 ratio screen. The shape of this screen hints at the 6300’s intended uses: video shooting as well as stills. The a6300’s movie features have been considerably uprated. It not only shoots 4K (UHD) at 24p or 25p from its full sensor width (or 30p from a tighter crop). It also gains a mic socket, the video-focused Picture Profile system (which includes the flat S-Log2 and S-Log3 gamma curves), and the ability to record time code.

This added emphasis on video makes absolute sense, since the camera’s stills performance is likely to be competitive with the best on the market but its video capabilities trounce most of its current rivals. The a6300 not only includes focus peaking and zebra stripes but, if its on-sensor phase detection works well, the ability to re-focus as you shoot with minimal risk of focus wobble and hunting, should make it easier to shoot great-looking footage.

All this makes it hard to overstate how promising the a6300 looks. A latest-generation sensor can only mean good things for the camera’s image quality and an autofocus system that moves beyond the performance of one of our benchmark cameras is an enticing prospect. Add to that excellent, well-supported video specifications, a better viewfinder and weather-sealed build, and it’s tempting to start planning for the camera’s coronation as King of the APS-C ILCs. Perhaps with only the price tag floating over proceedings, threatening just a little rain on that particular parade.

Specifications compared:

As well as comparing the a6300 with the a6000 as its predecessor/sister model, we’ll also look at what you get if you save up a bit more money and opt for full frame, rather than APS-C. We think at least some enthusiast users will find themselves making this decision, so are highlighting the differences.

  Sony a6000 Sony a6300 Sony a7 II
MSRP (Body Only) $ 650 $ 1000 $ 1700
Sensor size APS-C (23.5 x 15.6mm) APS-C (23.5 x 15.6mm) Full Frame (35.8 x 23.9 mm)
Pixel count 24MP 24MP 24MP
AF system Hybrid AF
(with 179 PDAF points)		 Hybrid AF
(with 425 PDAF points)		 Hybrid AF
(with 117 PDAF points)
Continuous shooting rate 11.0 fps 11.0 fps 5.0 fps
Screen 3″ tilting 921k dot LCD 3″ tilting 921k dot LCD 3″ tilting 1.23m dot LCD
Viewfinder OLED 1.44m dots OLED 2.36m dots 120fps refresh option OLED 2.36m dots
Movie Resolution 1920 x 1080 / 60p 4K 3840 x 2160 / 30p, 1920 x 1080 / 120p, 60p 1920 x 1080 / 60p
Image stabilization In-lens only In-lens only In-body 5-axis
Number of dials Two Two Three (plus Exp Comp.)
Maximum shutter speed 1/4000sec 1/4000sec 1/8000sec
Built-in flash  Yes Yes No
Hot shoe Yes Yes Yes
Flash sync speed 1/160sec 1/160sec 1/250sec
Battery life
(with EVF)		 360 shots
(310 shots)		 400 shots
(350 shots)		 350 shots
(270 shots)
Weight (w/battery) 344 g (12.1 oz) 404 g (14.3 oz) 599 g (21.1 oz)
Dimensions 120 x 67 x 45 mm (4.7 x 2.6 x 1.8″) 120 x 67 x 49 mm (4.7 x 2.6 x 1.9″) 127 x 96 x 60 mm (5 x 3.8 x 2.4″)

A hit-for-six, slam-dunk, home-run?

If it’s successful in its attempts to step up from the performance of the a6000 then the a6300 could be sensational. However, there are three questions that we’d like to see addressed. The first relates to handling: why does a camera costing this much only have one dial that you can access without changing the position of your grip? The rear dial isn’t the worst we’ve encountered, but at this price point, we’d usually expect to find a dial under the forefinger and another under the thumb while maintaining a shooting grip.

The second relates to lenses. Sony is bundling the a6300 with the 16-50mm power zoom that’s far more notable for its convenience than its optical consistency, a move that’s likely to raise the question of what other lenses to fit. Sony offers a handful of reasonably-priced APS-C specific prime lenses as well as some more expensive FE-compatible full frame primes. However, in terms of standard zooms, you’re currently limited to the inexpensive 16-50mm or the considerably better 16-70mm F4 Zeiss that costs around the same amount as the camera again. The success of Sony’s full frame a7 cameras is only likely to improve third-party lens availability but there’s a risk that Sony’s focus will be on those full frame users for the foreseeable future.

Our final concern is the lack of joystick or touchscreen to reposition the AF point. This may be mitigated during stills shooting if the lock-on AF system works well enough (starting AF tracking and then recompose your shot in the knowledge that the AF point will stay where you want it), but it appears to be a real omission for refocusing while shooting video. We’ll see how significant all these concerns turn out to be, as the review unfolds.

Price and kit options

 The 16-50mm power zoom is far more notable for its convenience than its optical consistency.

The a6300 will sell for around $ 1000/£1000/€1,250, with a 16-50mm F3.5-5.6 power zoom kit commanding an MSRP of $ 1,150/£1,100/€1,400. This is a significant step up from the a6000’s $ 650/$ 800 launch price and even an increase compared to the similarly well-built NEX-6’s $ 750/$ 900 MSRP.

 Review History
17 March 2016 Intro, Specs, Body and Handling, Operations and Control and Studio Comparison published

*Unusually, the manufacturer’s claim that it’ll live on, alongside its apparent replacement model seems plausible. The differences in spec and price could allow them to sit fairly comfortably alongside one another, rather than the claim simply meaning ‘we’ll keep saying it’s a current model until most of the unsold stock has gone, to avoid angering retailers.’

If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

We recommend to make the most of this review you should be able to see the difference (at least) between X, Y, and Z and ideally A, B, and C.

This article is Copyright 1998 – 2016 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.

Articles: Digital Photography Review (dpreview.com)

 
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Action packed: Shooting the Sony a6300 in Miami

09 Mar

Sony a6300 shooting experience

by Dan Bracaglia

Shot during an 8 fps burst. Check out the video below for a view through the electronic viewfinder of this burst being captured. Note: image has been cropped in to taste. ISO 250, 1/1250 sec at F5.6. Shot using the Sony FE 70-200mm F4 G OSS at 200mm.

Sony invited us to come out to Miami and field test the company’s new a6300 mirrorless camera. With 4K video capabilities, an overhauled AF system and a new 24MP APS-C sensor, I was more than eager to put the a6300 to the test.

The release of the Sony a6300 further chips away at the advantages DSLRs hold over mirrorless cameras. New sensor and AF system aside, one of the camera’s most noteworthy features is the ability to shoot an 8 fps burst with a live feed of what you are shooting (as opposed to the stop-motion playback of images typically associated with fast burst rates on mirrorless cameras). This live feed during continuous shooting, and the relatively short associated blackouts, are mirrorless firsts and should make it easier to follow the action while you shoot.

As I packed for Miami, I couldn’t help but wonder just how easy it would be to shoot a burst with the a6300 compared to say, a Canon EOS 7D (which also uses an APS-C sensor and can fire 8 fps bursts). If the image above is any indication, my experience shooting bursts with the a6300 were largely quite positive!

First night in Miami, First Impressions

The Sony a6000 was a massive hit. Not only is it the best selling mirrorless camera of all time, but also the best selling digital interchangeable lens camera of all time. These two bits of information were presented to a group of about 30 journalists (including myself) at the start of our first evening in Miami. And regardless of what parameters were considered when the above conclusions were drawn, one thing is clear: Sony anticipates the a6300 to be another top seller.

In terms of design, the body of the a6300 looks nearly identical to its predecessor. But there are several small, yet important changes to the construction. What was previously an assignable AE-Lock button on the back of the a6000 is now a button/toggle combination, allowing for twice the amount of customization. By default, the two positions are AF/MF and EA-Lock. The first thing I did when handed the camera was reassign these two positions to be ‘AF On’ and ‘Eye AF’ (more on that later). 

The other notable change is in the material which the a6300 is constructed. Sony moved away from the shiny plastic of the a6000 to magnesium alloy on the a6300, with a finish reminiscent of the a7R II’s construction. The new material certainly adds a more robust-feeling quality to the camera. That said, I suspect it still wouldn’t handle a fall from several feet with much grace.

The a6300 features a new JPEG engine compared to the a6000. ISO 100, 1/320 sec at F5.6. Shot using the Sony FE 70-200mm F4 G OSS at 101mm.

One easily overlooked improvement on the a6300 is the ease of selecting one’s AF point. I like to shoot using the flexible spot. Previously, on the a6000, to move my spot around I needed to first hit the center button on the back click wheel, before hitting any of the direction keys. On the a6300, the center button functions as a toggle. By default a press of one of the direction keys brings up its assigned function. But hit the center button once and the direction keys function as your AF point selector. Whichever function you have the direction keys set to, your choice is sticky (unlike on the a6000), so even if you turn off the camera or pop into the menu, it will default to the last function set (unless you change the mode).

Shooting bursts

The a6300 can shoot bursts as fast as 11 fps with AF or 8 fps with both AF and a live feed. As I mentioned, going into this shooting excursion, what I was most curious about was how easy it would be to follow very fast moving action with the a6300 while firing a burst at 8 fps. I’ve shot sports, both extreme and team, on DSLRs over the years. And while I thoroughly embrace mirrorless cameras and the benefits they offer over DSLRs, I’ve found them difficult to use for sports photography.

Fortunately, the very first shooting event in Miami was at a wakeboard park, the perfect place to put burst shooting and the a6300’s 425-point on-sensor phase-detection AF system to the test.

In the video below, I rigged a Sony RX100 IV up to shoot 120 fps video through the EVF of the Sony a6300 while I fired several series of bursts (incidentally, the a6300 can refresh the EVF at 120 fps as well, bringing it closer to an OVF experience). This should give you an idea of just how easy it was to follow the action, especially considering the fact that I was framing the subject using the RX100 IV’s LCD as I rolled video.

The above video demonstrates the a6300’s live feed during 8 fps shooting, shot through the EVF.

Of course, once I ditched the RX100 IV rig and used the a6300 with the EVF to my eye, I found following the action to be even easier. Nearly as easy as following action with a DSLR, except for the fact that in bright daylight, as a glasses-wearer, even the nicest EVF’s can be difficult for me to keep an eye to for an extended period of time (as is often necessary when shooting sports or action).

Still, the a6300’s live feed during burst shooting is a massive improvement over every other mirrrorless camera I’ve ever used.

Autofocus

Though it took some time to figure out the best AF settings for wakeboarding, I was largely impressed with the a6300’s hit rate of in-focus images at 8 fps. Sony’s subject tracking system (‘Zone’ in the video above) also meant I didn’t need to keep a tight AF point precisely over my subject: the camera automatically chose appropriate points to maintain focus on my subject.

I found keeping my focus area set to either the ‘Flexible Spot’ (Medium or Large) or ‘Zone’ gave me the best results. With the camera set to Continuous AF, I simply panned and kept my AF point or cluster of points over the subject. The larger AF areas gave me some room for error in placement, and the camera took care of the rest by automatically picking appropriate AF points within my selected region to stay on the subject.

Assuming I locked focus at the beginning of the burst, which the a6300 often did, my hit rate was good. I also briefly tried using lock-on AF, where the camera uses a more sophisticated pattern matching system to identify and track a subject around the frame. In my few attempts, the a6300 did a decent job maintaining focus while also tracking wakeboarders through a relatively simple scene (though I wonder whether the a6300’s pattern matching system is specific enough for more complicated scenarios, a problem we’ve encountered before).

Eye AF is very useful for portraiture. This image was shot the second day of the press excursion, when I was concentrated on field testing the G Master 85mm F1.4 and 24-70mm F2.8 lens. ISO 400, 1/50 sec at F2.8. Shot using the Sony FE 24-70mm F2.8 G Master lens at 24mm.

As I mentioned earlier, one of the very first things I did when handed the camera was re-assign the AF/MF button to ‘Eye AF’ and the ‘AEL’ button to ‘AF On’. A small toggle on the back of the camera lets you choose which of the two functions the button executes. So when I had a human subject, like in the portrait above, I simply flipped the toggle to ‘Eye AF’ and held the button down until the a6300 locked focus on the model’s eyes (Eye AF – and the camera in general – is far more useful in AF-C, by the way). For non-human subjects, I flipped the switch back to ‘AF On’ and went back to shooting with my selected AF point or area.

When using E-mount lenses, Eye AF performed extremely well, on par with the excellent performance we observed from the Sony a7R II. And like the a7R II, in scenes with multiple faces, you can simply hold down the Eye AF button while placing your selected AF point over your desired subject to prioritize that person (you can even recompose freely if you’re in AF-C). However it is worth noting that Eye AF performance (ability to find an eye) and accuracy on the a6300 seemed to drop slightly when I tested it using the 85mm F1.4 G Master lens.

Low light frustrations (saved by the G Master)

 G Master flex: ISO 1000, 1/400 sec at F1.8. Shot using the Sony FE 85mm F1.4 G Master lens.

Our second stop on the shooting excursion was an indoor parkour park. Parkour, for those who do not know, is in a sense, urban acrobatics — it requires an incredible amount of gymnastic ability and physical strength and has a dare-devil, DIY-like culture surrounding it.

The park consisted of all sorts of colorful obstacles, foam pits, ramps and gymnastic bars. Unfortunately, being indoors, I had to crank my ISO very high to have a fast enough shutter to capture the action. And because the only E-Mount (non-FE) lens Sony issued each journalist was a 16-70mm F4, shooting wide open still was not all that fast.

Most of what I shot using the 16-70mm was up at ISO 6400 or beyond and frankly, looked pretty noisy and unappealing. Also a problem: Despite cranking the ISO, I still was not quite getting shutter speeds fast enough to freeze the action. So about half way through the shoot, I switched out the 16-70mm for the much faster 85mm F1.4 G Master (which is an FE mount lens). This not only gave me the ability to bring my ISO back down (by opening the lens up), but allowed me to change my perspective on what was happening in front of me. Instead of shooting wide shots of peak action, I instead looked for details.

In retrospect, I wish I had pushed my ISO just a bit further when shooting with the 85mm G Master and stopped down the lens just a little more (especially in the image above). But had it not been for the fast aperture of the G Master 85mm F1.4, I’m not sure I would have gotten any usable action shots at the parkour park.

As an everyday shooter

Tilt and shoot: I much prefer tilting LCD’s to fully articulating ones. It’s a matter of personal taste and one that video shooter may disagree with. But as a primarily stills-shooter, tilting LCD’s are far more unobtrusive as they don’t flip out to the side, doubling the camera width and potentially drawing attention. ISO 6400, 1/160 sec at F2. Shot using the Sony Carl Zeiss Sonnar T* E 24mm F1.8 ZA lens.

As day turned to night, I swapped out the the 16-70mm F4 for a 24mm F1.8 (which I forgot to bring to the parkour park). Our final destination for the evening: Miami’s Little Haiti.

Here I wandered around using the a6300 as I would a personal camera, and by that I mean: not trying to test features, but simply looking for interesting compositions and using the camera to the best of my abilities). With the 24mm affixed, the a6300 is a rather nice size, and weighs a mere 626 grams, which is about the same as an a7R II, body only. 

While the Sony a6300 is not nearly as lovely to look at or hold as an Olympus PEN-F or Fujifilm X-E2S, it easily out specs both those cameras in every capacity. And honestly, I’ve been hard on Sony design in the past, but the a6300 is no slouch. Between the new customizable toggle on back, the function menu and ample additional customizable buttons, it’s pretty easy to set up the a6300 exactly to your liking. And frankly, having a camera that people aren’t going to “oooh and ahhh” at might mean an easier time getting the shot.

Of course, a front-facing control dial would make a world of difference (the a6300, like the a6000, has a rear control dial as well as a control wheel on the back of the body, but no control dial on front). Furthermore, especially considering the camera’s video-centric features, a touchscreen would be hugely useful. As would the ability to customize buttons for stills vs. video shooting (certain stills functions, like Eye AF or E-Shutter or Drive, are unavailable when shooting movies, so if you’ve assigned buttons to such functions, they all become literally useless in video).

Still, it didn’t take me long to completely forget about what camera I was shooting, and just take pictures. I think this fact is more telling than anything else I experienced in regard to the a6300. Too often cameras can overwhelm a user with options and settings. But a day of shooting with the a6300 got me comfortable enough with the camera, that by evening, we were humming along in unison, each doing our part to make the best image possible, without stepping on each others’ toes. 

As a video shooter

Video quality from the Sony a6300 looks quite good. I’m especially eager to further try out the camera’s continuous AF during video capture (be sure to select ‘4K’ quality in YouTube for best viewing).

I didn’t shoot a ton of video over the course of my time in Miami, but I did shoot a few low light clips in Little Haiti. After all, the a6300 can shoot 4K video with full pixel readout and no binning. What does that mean exactly? Good quality, very good quality.

Furthermore, the a6300 offers ample tools to assist in video-making. Like recent a7 cameras, the a6300 offers three AF Drive speed options (slow to fast), and a toggle to adjust AF tracking sensitivity during video shooting. While I did not mess around with subject tracking during video, which still requires you use the antiquated ‘Center Lock-on AF’ function (seriously, c’mon Sony), I did try using face detect during video capture, as well as continuous AF. In both cases, I had the AF Drive speed set to normal, and found the a6300 able to lock focus in a smooth manner, without hunting.

Final thoughts

It’s pretty clear that Sony set out to create a future-proof camera in the a6300, one who’s specs will likely look impressive, even two years down the road. The camera has a lot of fire power, both in the AF and video departments, and initial impressions indicate that everything works as it should. Which is to say, the a6300 is a really impressive little camera.

It’s certainly not going to turn any heads with it looks, but it should give you everything you need to instead turn heads with your images. Which for most, is a much more worthwhile goal.

Making a splash:  ISO 320, 1/12500 sec, F5.6. Shot using the Sony FE 70-200mm F4 G OSS at 200mm.

Articles: Digital Photography Review (dpreview.com)

 
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Sand and sun: Sony a6300 real-world samples

02 Mar

The Sony a6300 has some sizable shoes to step into. With a 24MP CMOS APS-C sensor, 8 fps continuous shooting with live view, 425-point on-sensor phase detect AF system and 4K video capture it looks like a solid update to the a6000, at least on paper. Eager to get our hands on a fully functional model, we joined Sony in Miami for some shooting opportunities. From bright white beaches to the intense action of a parkour gym (that’s a real thing), we’ve just started putting the a6300 to the test. Check out some preliminary samples. 

See our Sony a6300 real-world sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Video: Hands-on with Sony’s G Master lenses and the a6300 at CP+ 2016

27 Feb

There are lots of new products vying for attention at CP+ 2016, including Sony’s a6300 and new GM series lenses for its full-frame mirrorless cameras. And they are getting plenty of attention from show attendees, especially those eager to try out the FE 85mm F1.4 GM’s portrait capabilities. We took another look at the a6300 and the GM lenses on display at the buzzing Sony booth in Yokohama. 

See all of our CP+ 2016 coverage

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Oh, wow… Sony announces 24MP a6300 with incredible AF and 8 fps live view bursts

04 Feb

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Sony has introduced the long-awaited update to its popular a6000 mirrorless camera: the a6300. Featuring a newly developed 24 Megapixel APS-C sensor and a completely revamped ‘4D’ AF system with 425 phase-detection AF points, the a6300 sits at the top of Sony’s APS-C mirrorless lineup. It also appears poised to break down one of the last remaining strongholds of DSLR by a live feed of the action in between frames, with minimal blackout, at a respectable 8 fps shooting rate, with AF.

Key Features:

  • 24MP CMOS APS-C sensor with copper wiring
  • 425-point on-sensor phase-detection AF system
  • 11 fps continuous shooting (8fps continuous live view)
  • Silent shooting 
  • Max ISO of 51200
  • 4K video capture up to 100 Mbps
  • Phase-detect AF compatible with A-mount lenses via LA-EA3 adapter

Capable of continuous shooting at up to 11 fps with AF, the a6300’s 425-point hybrid AF system features ‘high-density’ tracking, which dynamically activated AF points around a subject and adjusts them depending on the motion of the subject itself. The 425 phase-detect points, impressively, reach all the way out to the corners of the frame.

Perhaps the biggest news is that the a6300 is capable of uninterrupted live view at up to 8 fps, potentially addressing one of the biggest shortcomings of mirrorless cameras when it comes to fast action shooting. Traditionally, mirrorless cameras tend to show only a stop-motion sequence of last-shot images at the highest shooting frame-rate, which makes it hard to follow a subject and keep an AF point over it. Live view in between short blackouts at 8 fps brings the a6300 much closer to the experience of a DSLR with optical viewfinder. At the launch event in New York this morning, Sony showed a video reminiscent of Nikon’s recent DSLR vs. mirrorless comparison for fast action shooting at CES, albeit comparing the a6300 to a <$ 1000 DSLR. Results looked impressive.

Notably, the a6300 can use all of its 425 phase-detect points to quickly focus A-mount lenses using a LA-EA3 adapter, which indicates this is now a standard feature that will be available across future E-mount cameras. We also expect phase-detect AF to work with other 3rd party lenses using adapters like the Metabones Smart Adapter.

The a6300 is capable of 4K video capture at up to 100 Mbps. The camera uses a 20MP (6K) region of the sensor to offer 2.4x oversampled 4K video with full pixel readout, and no pixel binning. Videographers should be able to expect sharp, low noise footage, even in low light since almost the entire sensor is sampled.

While the progress in technology is impressive, lack of true weather sealing, a touchscreen, or direct AF point selection with a dedicated joystick or control will continue to be problematic for some. The a6300 will be available in March for $ 1000 body only.

Press Release:

Sony Introduces New ?6300 Camera with World’s Fastest Autofocus 

New Mirrorless Camera Features World’s Fastest AF speed1 and Highest Number of AF points2 plus Newly Developed 24.2 MP APS-C Sensor, High Resolution 4K video recording and more 

NEW YORK, Feb. 3, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced the latest addition to their award winning lineup of mirrorless cameras, the ?6300 model. 

The camera boasts an unrivaled 4D FOCUS™ system that can lock focus on a subject in as little as 0.05 seconds, the world’s fastest AF acquisition time1.  Additionally, the ?6300 has an incredible 425 phase detection AF points that are densely positioned over the entire image area – the world’s highest number of AF points on any interchangeable lens camera2, and can shoot images at up to 11 frames per second with continuous autofocus and exposure tracking,

The impressive new mirrorless model also has the ability to  support full live-view continuous shooting on the Tru-finder or LCD screen at up to 8 frames per second, ultimately producing a real-time shooting experience that combines all the benefits of an electronic viewfinder with the immediacy of a through-the-lens optical viewfinder. 

The versatile ?6300 is equipped with a newly developed 24.2 MP (approx.. effective) APS-C sized Exmor CMOS sensor that works together with a BIONZ X image processing engine to produce outstanding image quality throughout the entire ISO sensitivity range ISO 100 – 51200 3.  It can also shoot and record high resolution 4K video with full pixel readout and no pixel binning in the popular Super 35mm format.

 “The ?6300 is yet another example of the dominant innovation that Sony continues to bring to the industry, especially from the mirrorless space,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics.  “With this new model, we’ve combined the world’s fastest and most extensive AF system with a superb image sensor and many of our most advanced imaging and video technologies, creating a package that can far exceed the performance of any DSLR in its class.   This camera connects you with the action like never before.” 

Unrivaled AF Performance

Sony’s new ?6300 camera builds upon the acclaimed 4D FOCUS performance of the ?6000 model, utilizing a Fast Hybrid AF system that combines high-speed phase detection AF with extremely accurate contrast AF and allows it to capture and lock on to moving subjects in as little as 0.05 seconds1.  The camera’s High-density Tracking AF technology positions 425 phase detection AF points over nearly the entire field of view, allowing it  to accurately focus throughout a wide area – even on small, fast objects that other cameras would fail to recognize. 

In addition to the extensive AF coverage, the ?6300 debuts a new High-density tracking AF technology that significantly improves subject detection and tracking performance.  This new technology can quickly activate a large number of AF points surrounding a subject – approximately 7.5 times more density than the ?6000 – and intelligently adjust them in accordance with the subject’s motion.  This is a particularly powerful feature when used with high-speed 11 fps continuous shooting or the new 8 fps continuous live-view mode, which provides 100% accurate framing for fast moving subjects on the LCD screen or viewfinder.

Of note is the fact that the camera’s 425 phase detection AF points, enhanced tracking and focus accuracy are all available on the ?6300 when using A-mount lenses4 with a mount adaptor like the Sony LA-EA3.  This is a first for Sony E-mount interchangeable lens cameras with an APS-C sized sensor, as the only other cameras to feature this capability are the full-frame ?7R II and ?7 II models.

Other enhancements to the ?6300 include silent shooting functionality the ability to use AF in focus magnifier mode, expanded flexible spot AF, Eye AF in AF-C mode and more. 

Powerful 24.2 MP Exmor CMOS Sensor and BIONZ X Processor

In order to maximize efficiency and overall camera performance, the ?6300 features a new 24.2 MP sensor that is an ideal match for its BIONZ X image processing engine. 

The new image sensor employs copper wiring in its structure, which improves light collection efficiency and significantly accelerates readout speed. The BIONZ X processor features an upgraded image processing algorithm designed to maximize the sensor’s overall capabilities.  Together, the two key components work together to produce images with low noise and exceptional resolution in sensitivity settings up to ISO512003, in particular in the mid-to-high sensitivity range. 

Ultimate 4K Resolution and Other Professional Video Capabilities

In another first for non-full-frame Sony interchangeable lens camera, the new ?6300 offers internal 4K movie recording in Super 35mm format.  When shooting in 4K, the camera uses full pixel readout without pixel binning to collect 20 megapixels of information – approximately 2.4x5 (6K equivalent) as many pixels as 4K UHD and then oversamples the information to produce high quality  footage with exceptional detail and depth.   

The camera utilizes the XAVC S codec6 during video shooting, which records at a high bit rate of 100 Mbps7 during 4K recording and 50 Mbps during standard Full HD shooting, ensuring maximum detail and clarity in both video formats.  Additionally, the camera will focus approximately twice as fast as its predecessor during movie shooting thanks to its new and improved AF system.  AF speed and AF tracking sensitivity are also adjustable for expanded creativity.  

Other professional caliber video features include the ability to record Full HD at 120 fps at 100 Mbps7, another first for ? interchangeable lens cameras with APS-C sized sensors.  This mode allows footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD8 (24p or 30p) resolution with AF tracking.   The new ?6300 also offers S-Log gamma recording9 for wide dynamic range shooting – approximately 14-stop latitude in S-Log3 gamma setting – and supports S-Gamut for a wider color space.  Both options allow for greater creativity for processing video post-production.

Also included on the new camera is a microphone line input that accepts external microphones and also supports XLR input with Sony’s XLR adapter kit, as well as Gamma Display Assist, a new function that allows users to monitor images or check focus when recording S-Log movies. The new model has enhanced Zebra functionality for greater exposure control.  Picture profile settings are available, as well as Time Code / User Bit and much more. 

Enhanced Operability and Ergonomics

The ?6300 camera is equipped with a high contrast, high-resolution XGA OLED Tru-Finder with approximately 2.4 million dots that offers exceptional corner-to-corner visibility.  There is also a new mode available for the viewfinder that allows display of images at 120 fps, ensuring that action is displayed smoothly with very few afterimages, making subject tracking through the Tru-finder easier than ever.    

Aesthetically, the new ?6300 camera features an extremely solid feel in hand thanks to its robust, magnesium alloy design.  It can be customized to fit nearly any shooting style or preferences, with 9 customizable buttons that one of 64 different functions can be assigned to.  The camera adds a digital level gauge as well as upgraded dust and moisture resistance10, a reinforced lens mount structure and a new shutter release button and mode dial with improved operability and grip.

The new ?6300 camera is Wi-Fi® and NFC compatible and fully functional with Sony’s PlayMemories Mobile™ application available for Android™ and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps™, which add a variety of creative capabilities to the camera.  It also supports QR code for easy connection to non-NFC smart phones.

Pricing and Availability

The Sony ?6300 interchangeable lens camera will be available in March for about $ 1,000 for the camera body or for about $ 1,150 paired with a 16-50mm F3.5 – F5.6 kit lens (model SELP1650).  Prices for the Canadian market will be about $ 1,350 CA for the body and about $ 1,500 CA for the camera kit.  It will be sold at a variety of Sony authorized dealers throughout each region.   

1.      Among interchangeable lens cameras equipped with an APS-C sized sensor as of February 2016, based on Sony research.  Measured using CIPA-compliant guidelines and internal method with an E PZ 16-50 F3.5-5.6 OSS lens mounted.  Pre-AF off and viewfinder in use.

2.      Among interchangeable lens cameras as of February 2016, based on Sony research

3.      Expandable up to ISO 51200 for stills and up to ISO 25600 for movies

4.      A-mount lenses with SSM or SAM only. Users can choose phase-detection AF or contrast-detection AF in AF System menu.

5.      1.6x in 30p setting

6.      An SDHC/SDXC memory card with a Class 10 or higher speed rating is required for XAVC S recording

7.      UHS Class 3 memory card is required for recording at 100Mbps

8.      Number of pixels required for Full HD movie recording is readout from the image sensor

9.      S-Log2 and S-Log3 are based on processing pictures.

10.   This camera is designed for optimal dust and moisture resistance, but is not waterproof or splashproof. For FE lens only

Sony Alpha a6300 specifications

Price
MSRP $ 1000 (body only), $ 1150 (w/16-50mm lens)
Body type
Body type Rangefinder-style mirrorless
Body material Magnesium-alloy
Sensor
Max resolution 6000 x 4000
Other resolutions 3:2 (4240 x 2832, 3008 x 2000), 16:9 (6000 x 3376, 4240 x 2400, 3008 x 1688)
Image ratio w:h 3:2, 16:9
Effective pixels 24 megapixels
Sensor photo detectors 25 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type CMOS
Processor BIONZ X
Color space sRGB, Adobe RGB
Color filter array Primary color filter
Image
ISO Auto, 100-25600, expandable to 51200
Boosted ISO (maximum) 51200
White balance presets 10
Custom white balance Yes
Image stabilization No
Uncompressed format RAW
JPEG quality levels Extra fine, fine, normal
File format
  • JPEG (Exif v2.3)
  • Raw (Sony ARW v2.3, 14-bit)
Optics & Focus
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (2x-8x)
Manual focus Yes
Number of focus points 425
Lens mount Sony E (NEX)
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Tilting
Screen size 3″
Screen dots 921,600
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.7×
Viewfinder resolution 2,359,296
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Auto
  • Program
  • Aperture Priority
  • Shutter Priority
  • Manual
Scene modes
  • Portrait
  • Landscape
  • Macro
  • Sports Action
  • Sunset
  • Night Portrait
  • Night Scene
  • Handheld Twilight
  • Anti Motion Blur
Built-in flash Yes
Flash range 6.00 m (at ISO 100)
External flash Yes
Flash modes Flash off, Autoflash, Fill-flash, Rear Sync., Slow Sync., Red-eye reduction, Hi-speed sync, Wireless
Flash X sync speed 1/160 sec
Drive modes
  • Single
  • Continuous (Hi+ / Hi / Mid / Low)
  • Self-timer
  • Bracketing
Continuous drive 11.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±5 (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±5 (3, 5 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing Yes
Videography features
Resolutions 4K (3840 x 2160 @ 30p/24p), 1920 x 1080 (120p, 60p, 60i, 30p, 24p), 1280 x 720 (24p)
Format MPEG-4, AVCHD, XAVC S, H.264
Videography notes Supports X-AVC S up t0 100 Mbps, ACHD to 28Mbps
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n with NFC
Remote control Yes (via smartphone)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description NP-FW50 lithium-ion battery & charger
Battery Life (CIPA) 400
Weight (inc. batteries) 404 g (0.89 lb / 14.25 oz)
Dimensions 120 x 67 x 49 mm (4.72 x 2.64 x 1.93″)
Other features
Orientation sensor Yes
Timelapse recording Yes (downloadable app)
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Video: A quick look at the Sony a6300

04 Feb

Earlier today Sony introduced its new a6300 APS-C mirrorless camera, an update to the very popular a6000 model. DPReview’s Richard Butler was at the event in person and had a chance to get some hands-on time with the new body. In this video he gives us a quick look at Sony’s new crop-sensor flagship camera. 

For more information about the Sony a6300, as well as full specifications, have a look at our news story.

Articles: Digital Photography Review (dpreview.com)

 
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Hands on with Sony’s a6300 and G Master lenses

04 Feb

Hands on with Sony’s a6300 and GM lenses

At a press event in New York City, Sony unveiled a new mirrorless camera and three new lenses – but not just any mirrorless camera, and not just any lenses. The Sony a6300 is the much-anticipated followup to the very successful a6000. And for its full-frame range, Sony introduced a new lens class: G Master. The company has placed the FE 70-200mm F2.8 GM OSS, FE 85mm F1.4 GM and FE 24-70mm F2.8 GM in a category unto themselves, with an emphasis on resolving power and bokeh. We spent some brief moments with all of the new hardware – take a look.

Sony a6300

Front and center of this morning’s announcements is the a6300. Boasting a newly designed 24MP APS-C CMOS sensor, the camera’s most impressive feature is arguably its 425 phase-detect AF points with ‘Advanced 4D Focus.’

The a6300’s 4K video tech is impressive too. The camera reads the equivalent of 6K’s worth of data from its sensor and downsizes it to 4K/UHD – without pixel binning – which promises a big boost in video quality.

Sony a6300

Sony stuck with a familiar design when shaping the a6300, including these top plate mode and command dials, which will look very familiar to a6000 users. 

Sony a6300

It may look like its predecessor on the outside, but the a6300 uses a sturdier magnesium-alloy construction, with weather-sealing.

Sony a6300

The rear panel looks much the same as the a6000 as well, except for the addition of a switch toggling between AEL and AF/MF. The tilting 3″ 921k-dot LCD is still present, and still not a touchscreen, but the viewfinder has been significantly upgraded to a 2.36 million-dot OLED panel.

Sony a6300

A pop-up flash is another welcome carryover from the a6000. With a little pressure, the flash can be tilted backward at a slight angle for a bounce effect.

Sony a6300

The Sony a6300 is expected to ship in March, and will sell for $ 1000 body-only or $ 1150 paired with a 16-50mm F3.5-5.6 power zoom kit lens (not the more expensive 16-70mm F4 seen here).

Sony a6300

Autofocus speed was a strength of the a6000, and the a6300 brings the next evolution of that system with some lofty claims including focus acquisition in as little as 0.05 sec. The a6300 also boasts a minimal blackout period between shots, and can manage to supply a live view feed at up to 8fps – a major breakthrough for mirrorless cameras. 

Sony FE 24-70mm F2.8 GM

The first of Sony’s three ultra premium ‘G Master’ lenses is the FE 24-70mm F2.8 GM. The focus (no pun intended) of the GM lenses is resolution and bokeh, courtesy of high quality glass and a new XA (extreme aspherical) lens element. All three lenses are weather-sealed.

The 24-70 has 18 elements in 13 groups which include the aforementioned XA element, as well as ED and Super ED elements. A Nano AR coating reduces flare and ghosting. The lens also features nine circular aperture blades.

Sony FE 24-70mm F2.8 GM

The minimum focus distance on the 24-70 is 0.38m/15in. with a max magnification of 0.24x. The lens uses 82mm filters. Control-wise the lens has switches for focus mode and zoom lock as well as a stop focus button.

The 24-70mm F2.8 GM will be available in March for $ 2200.

Sony FE 85mm F1.4 GM

Next is the long-awaited fast 85mm prime. This constant F1.4 lens has a whopping 11 circular aperture blades – the most of any Sony lens yet – as well as XD and three ED elements.

The lens’ Super Sonic wave Motor uses a pair of position sensors to ensure accurate focus.

Sony FE 85mm F1.4 GM

As you can see, the 85mm F1.4 GM has a manual aperture dial (with switchable click-stops), AF/MF switch, and focus hold button. 

You’ll be able to pick up this monster of a lens in March for $ 1800.

Sony FE 70-200mm F2.8 GM OSS

The 70-200mm F2.8 steps into Sony’s FE line as the first fast constant aperture tele-zoom, looking the part of a sports shooter’s lens. Sadly, working samples were not available for press to use at the launch event, and its price is still TBD.

Sony FE 70-200mm F2.8 GM OSS

What we do know is that it will have 23 elements in 18 groups, which includes one XD, four ED and two Super ED elements. Like the 85mm lens, the 70-200 has 11 circular aperture blades. It uses two focus motors to optimize speed and accuracy. The front elements have a ring-type SSM while the rear parts use a double linear motor. The minimum focus distance is just 0.96m/38in.

Controls are as you’d expect from a high-end tele-zoom. There are switches for AF/MF, focus distance limit, image stabilization, and IS mode. There are two IS modes: standard (mode 1) and panning (mode 2). The lens also has a zoom lock and buttons for holding focus.

Articles: Digital Photography Review (dpreview.com)

 
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Sony releases a6300 videos showing AF tracking and 8 fps live view burst performance

04 Feb

Sony has released a video showing the AF tracking and 8 fps live view burst of the newly announced a6300, as well as a video demonstrating AF with subject tracking in 4K video.

The camera appears to have impressive AF subject tracking accuracy, following not just the dog but the dog’s face in the demo. We’ll reserve judgement until we get our hands on one, but previous Sony cameras had a tendency to wander off to other areas of the subject when using general subject tracking, so these results indeed appear impressive. The expansive 425-point array also mean the camera can track the subject to almost any point in the frame, and all of these points purportedly work with A-mount lenses mounted via a LA-EA3 adapter (we expect Canon mount lenses to work as well, with appropriate adapters).* Have a look below.

Sony a6300 ‘4D Focus’ demo

The a6300 also potentially addresses one of the largest shortcomings of mirrorless cameras for action shooting: the often stop-motion playback of last-shot images, as opposed to a live feed, when shooting continuous bursts. We recently reported on Nikon’s calling out of this particular weak point of mirrorless cameras, so Sony’s response in the a6300 today seems timely. Essentially, the a6300 offers a live feed in the EVF or on the LCD during 8 fps continuous shooting, in between what seem to be very short blackouts. This should make it much easier to both pan the camera and still keep your subject in the frame, or keep your selected AF point(s) over your subject. 

The video above, in addition to one Sony presented at the press event earlier today, demonstrate a promising live feed during 8 fps bursts, but ultimately its utility will be largely dependent on the length of those blackouts between shots. Sony claims that the length of blackouts is competitive when compared to a <$ 1000 DSLR.

While that might seem like a relatively low bar, the fact that Sony is getting a live feed off the sensor at all in between shots at 8 fps represents significant progress in the realm of mirrorless cameras. In comparison, a DSLR doesn’t have to do anything but return the mirror to get you this ‘live feed’ through the optical viewfinder between shots.

Autofocus in video

Sony has also released a video demonstrating impressive AF in 4K video recording with native mount lenses. There appears to be little hunting, with fast refocusing and even subject tracking available during movie recording. Have a look above.

This should be a boon for videographers, assuming Sony now allows one to easily specify the subject before tracking it. On the note of specifying a subject, it’s a huge shame that a touchscreen isn’t paired with this capable video AF system for focus point selection.

At least on paper, we think that these advances mark some significant progress for mirrorless (it’s too bad we can’t say the same for the a6300’s ergonomics), and we’ll be curious to see how the systems perform when we get our hands on a production a6300.

* It remains to be seen if subject tracking is available in any mode save for ‘Wide’ with 3rd party lenses though: subject tracking has been severely limited with 3rd party glass on the a7 II and a7R II due to the inability of the photographer to specify the subject, since it’s only available in Wide area mode.

Articles: Digital Photography Review (dpreview.com)

 
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