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Sigma now shipping Art series prime lenses for Sony E-mount

19 Jun

Sigma has announced that its five of its Sony E-Mount Art-series primes, announced earlier this year, are now shipping. The 20mm F1.4 DG HSM, Sigma 24mm F1.4 DG HSM, Sigma 35mm F1.4 DG HSM, Sigma 50mm F1.4 DG HSM and 85mm F1.4 DG HSM are designed for Sony’s full-frame a7-series and a9 mirrorless interchangeable lens cameras. The E-Mount version of the 14mm F1.4 DG HSM (shown above, in prototype form) is expected later.

Optically the E-mount primes are unchanged compared to their DSLR-mount predecessors but are compatible with high-speed continuous autofocus and should offer faster data throughput compared to using a DSLR-mount version with an adapter. This should improve autofocus speed across the board, compared to using a DSLR-mount version with an adapter – something we hope to test for ourselves in the coming weeks.

Press release:

Sigma Ships Five Prime Art Lenses for Sony E-mount Cameras with Full-Frame Sensors

Ronkonkoma, NY – June 19, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced availability of five of its interchangeable Art prime lenses for Sony E-mount camera systems – Sigma 20mm F1.4 DG HSM ($ 899 USD), Sigma 24mm F1.4 DG HSM ($ 849 USD), Sigma 35mm F1.4 DG HSM ($ 899 USD), Sigma 50mm F1.4 DG HSM ($ 949 USD) and Sigma 85mm F1.4 DG HSM ($ 1199 USD).

Offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses are compatible with Sony’s Continuous AF (AF-C) and high-speed autofocus, which are not addressed by Sigma Mount Converter MC-11. Like MC-11, the lenses are compatible with in-camera image stabilization and in-camera lens aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion.

Key Features and Benefits

Autofocus Tuned for Each Lens

Thanks to an autofocus drive control program tuned for each lens and high-speed data transmission, the lenses offer a high-speed autofocus at the same performance level as that of a lens designed exclusively for mirrorless cameras. In particular, in E-mount cameras offering Sony’s Fast Hybrid AF, AF-C mode delivers exceptional subject following performance. Autofocus remains
extremely precise even in those E-mount cameras offering only contrast AF.

Compatible with In-Camera Image Stabilization

The lenses are compatible with in-camera image stabilization. The Sony E-mount camera senses the focal length of the lens and automatically optimizes image stabilization performance.

Data Loaded for Compatibility with In-Camera Aberration Correction

The lenses are fully compatible with in-camera aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion. By matching corrections to the optical characteristics of the lens, this function takes image quality to an even higher level.

Native Mount for a More Rigid and Stable Feel

Making the mount native to the lens means a more rigid and stable feel to the lens. Featuring a special surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and exceptional durability. The mount connection area incorporates rubber sealing for dust- and splash-proof construction.

Available Mount Conversion Service*

This service converts the mount of Sigma lenses to that of a different camera body, allowing photographers to continue using their favorite lenses over the long term regardless of camera system.

*The Mount Conversion Service is different from a normal repair. In order to apply for the service, please contact your nearest authorized Sigma subsidiary or distributor: http://www.sigma-global.com/en/about/world-network/.

**This service is performed exclusively by Sigma.

Articles: Digital Photography Review (dpreview.com)

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Neewer launches $120 35mm F1.2 APS-C lens for Fuji X and Sony E mount

15 Jun

Neewer, a photo gear brand out of China, has launched a new budget APS-C lens for Fuji X and Sony E mounts. The Neewer 35mm F1.2 mirrorless lens features a copper core and aluminum body, 6 elements in 5 groups, F1.2 to F16 aperture, 9 diaphragm blades, manual focus, and 150g / 5oz weight.

A multi-layer coating applied to the lens reduces ghosting and flares while increasing light transmission, according to Neewer. The Fuji X mount lens offering has appeared on Amazon as a new release with a $ 119.99 price tag, but is currently listed as unavailable. The Sony E mount variant doesn’t appear to be listed yet.

Via: PhotoRumors

Articles: Digital Photography Review (dpreview.com)

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REVIEW and Thoughts on the Sony RX100 V Compact Camera

11 Jun

Sony’s RX100 is a storied line of compact cameras that have always packed a powerhouse of features into small but sturdy frames. This fifth iteration (the Sony RX100 V also know as the DSC-RX100M5) builds on that history with a wealth of features for a modern photographer’s needs.

REVIEW: Sony RX100 V Compact Camera

Who the Sony RX100V is for

The RX100 Mark 5 is, in my mind, the perfect camera for family travel, street shooting, and as a secondary landscape camera when your main camera is occupied. The 24-70mm equivalent zoom lens lends enough useful range while the 24mm end of the lens works well for landscapes, group shots, and even the occasional selfie.

I bought the RX100 V specifically for its high frame rate for video but have grown to love the high-quality 4K video in such a compact body. With a frame rate up to 1000 frames per second (fps), it is amazing what can be captured with this small package. The 20MP sensor makes for excellent image quality with some room to crop to your liking.

This camera will appeal to landscape photographers who might want some freedom for unique compositions while their heavy DSLR is stuck to a tripod. Street photographers will love its compactness and flip out screen. I don’t see it getting a lot of use as a portrait camera, although it does have a nice f/1.8 – f/2.8 starting aperture range.

Small Package – Big Stats

Let’s take a look at some key stats from Sony’s website:

20.1MP 1″ sensor
2.9X optical zoom – 24-70mm equivalent
11 – 44x at digital zoom
2.95″ 1.2MP rear screen with 100% coverage
Active Optical SteadyShot
Four focus modes including Manual
315 point wide phase detection autofocus, 25 point contrast detection plus four other modes
Exposure Compensation from -3EV to +3 EV in 1/3 stop increments
Full expanded ISO range from 80-25,600 for stills and 125-12,800 for video
Shutter Speeds from Bulb/30 seconds to 1/2000th maximum
Auto High Dynamic Range and ND Filter capabilities
Exposure and White Balance Auto Bracketing feature
4 x 2 3/8 × 1 5/8 inch (101.6 x 58.1 x 41.0 mm) physical size
Approximate weight of 10.5 oz (299 g)
All kinds of picture effects, creative styles, and picture profiles
US $ 999 suggested retail price

Camera Controls

The controls are a mixed bag. On the one hand, there are few of them and most photographers will be familiar with how to change ISO, adjust the Exposure Compensation and zoom the lens. On the other hand, after a year of testing, I have found the main rotating dial for mode selection is getting a little sticky. It’s not as smooth as it was when new.

REVIEW: Sony RX100 V Compact Camera

I do like the ease with which you can shoot 4K video (see 4K video section later in this article for my impressions on that). The video button is right by your thumb when holding the camera and makes for ease of use. I would say it’s even easier to use than most smartphones. You use your pointer finger for shooting still images and your thumb for shooting video.

As is typical with Sony cameras, the menu screens are arranged over and then down and there are a lot of them. As I mention later in the Apps section below, this can make things a little cumbersome, but with all the features manufacturers pack into their software these days, it’s to be expected.

The flash is activated with a manual catch release and must be manually pushed down, leaving it a bit exposed for possible damage.

Flip Screen

The flip screen is a handy feature which I love. If you take anything off-angle, especially low shots, this feature will save your back and help you better compose your images. It flips both up and down as well as options in between.

REVIEW: Sony RX100 V Compact Camera - flip screen

It’s not a touchscreen, which is a little disappointing, and it doesn’t rotate to the side and front like some screens. But the simple versatility of flipping up and down is a bonus. Those looking for help composing selfies need only flip the screen all the way up and the image will correct for front viewing and composition.

Focus/Aperture Ring

For those of us who learned manual focus and are familiar with the use of a manual aperture ring, this feature is a great throwback which feels natural to me. Using the big ring around the lens feels like a natural way to change the aperture and it is a lot smoother than lenses from the 80s and earlier.

REVIEW: Sony RX100 V Compact Camera - aperture and focus ring

It’s also a great way to tighten focus when getting in close or shooting video. While not perfect, it can be used to rack and control focus on video shoots to a finer, smoother degree than with buttons or knobs. I find myself using this feature often.

ISO Performance

DXOMark gave the sensor a rating of 70 on its 0-100 (or 102 if you count the Hasselblad X1D-50c) scale. This puts the Sony RX100 V in the middle of the pack for its peer group and I tend to agree. You can comfortably shoot up to ISO 1000 without much noise encroaching on image quality, but after that, you’ll start to notice a difference.

The ability to shoot as low as ISO 80 is a nice touch for landscape photographers. While it is an expanded option (meaning it is not true ISO 80 according to the standard) the smoothness is a delight.

REVIEW: Sony RX100 V Compact Camera - Landscape ISO 80

100% crop - REVIEW: Sony RX100 V Compact Camera

A 100% crop of the ISO 80 image above.

Going to the other extreme, ISO 6400 will show a lot of noise but can be cleaned to an acceptable degree in post-processing. Below are images with no noise reduction applied, shot at ISO 6400.

REVIEW: Sony RX100 V Compact Camera - ISO 6400

Viewfinder

I’m not too sure why the Sony RX100 V has a viewfinder. Maybe I’m an old curmudgeon, but looking through a viewfinder only to find a smaller screen always seems weird to me. Also, accssing it requires the flick of a small catch on the side of the camera and then you have to manually pull out the viewfinder.

This is clunky and more than once I have pulled that eyepiece all the way off.

Oops!

It does have a diopter for those who need that. But the viewfinder requires manual pushing to put it back in place. It seems antiquated.

Autofocus Speed

Sony’s hybrid phase/contrast-detection autofocus system will delight most parents. It’s not DLSR super-fast, but with 315 focus points and quality action tracking, the camera can keep up with most children. What does that mean for people without kids?

REVIEW: Sony RX100 V Compact Camera

While the maximum focal length of 70mm won’t make this camera a secondary in sports photographers’ camera bags, the autofocus speed and lock-on capabilities make it no slouch for everyday action. I found the camera quick to latch on to main subjects and tracking was accurate while following things like swinging pocket watches that were on fire.

One downside I found was having to use the four-way directional controller (via your thumb) to slowly move the focus point while in Flexible Spot mode. It’s slow, but there isn’t another option. Having the flexibility is great, but don’t expect to use it for fast moving subjects.

REVIEW: Sony RX100 V Compact Camera

One note on manual focus: Having the zoom assist for manual focus is awesome when shooting the small things in life and for checking to ensure what you want really is in focus.

Burst Mode – High-Speed Stills

The high-speed continuous shooting mode is awesome. It shoots up to 24fps while autofocusing and can shoot in either JPEG or RAW, which is impressive. It takes a while for the memory to dump to your card but this feature is superior to most DSLRs.

The burst mode is great for any kind of close (remember the 70mm limit) action. It is especially useful when the camera is coupled with an underwater housing and you are trying to snap photos of turtles or fish that are much agiler than you.

REVIEW: Sony RX100 V Compact Camera - seat turtle

REVIEW: Sony RX100 V Compact Camera - b/w sea turtle

It does, however, mean you will have a lot more images to delete. 30 minutes of shooting various subjects at 24fps can easily lead to over 1000 images to cull.

Flash Performance

Average. Let’s just put that out there.

A flash this big, with an index rating of 1.31 ft to 33.46 ft (0.4 m to 10.2 m) in Auto shouldn’t be expected to outperform a dedicated strobe with its own battery pack. It’s good up to about 10 feet in/3m in real-world use and does the job.

But you don’t buy this camera to use the flash all the time. The is no dedicated hotshoe either, so adding a speedlight isn’t an option.

REVIEW: Sony RX100 V Compact Camera

High-Speed Video

This is one area I find the RX-100 V stands above its competition. I love the high frame rate shooting, with speeds up to 1000 frames per second (FPS). The video is shot in a maximum size of 1040p, or standard HD, so don’t expect 4K at 1000 fps (that will run you maybe $ 50,000).

The clips are at a maximum of 2 seconds long, but with NTSC rate of 960 fps, that’s 80 seconds of video when played at 24 fps. Using the high-frame-rate is fairly easy and you can choose to activate recording either before or after pressing the record button. Meaning, it will buffer video once activated so you can move through the action and then stop recording when finished. Or, hit record and then move through the action.

For instance, I shot some burning hourglasses for Andy Suzuki and the Method for a music video of theirs called Overtime. Not knowing how long it would actually take to (quickly) move with and through the flames and capture the hourglass on fire, I chose to freely buffer and stop recording after I knew I tracked through the shot. It worked quite well as you can see below.

4K Video

To be sure, not all 4K videos are equal. Comparing the Sony RX100 V to a $ 5000 video camera would not be fair, so I chose to grade the Sony against expectations for a dual-purpose camera. Most importantly, I wanted to see good video quality (great was not required at this price point and form factor) and decent audio.

With those parameters, the Sony did not disappoint and did better than expected. I would label it a quality 4K video that fits into the middle ground between consumer grade and semi-pro grade. It’s already blissfully far ahead of my other Canon gear (which sadly lack 4K in cameras that cost five times the Sony).

The SteadyShot capabilities should be taken with a grain of salt, in my opinion. While it does help, the camera’s small size makes it difficult to get truly steady shots while shooting handheld at 4K.

Panorama Mode

I was first introduced to Sony’s panoramic mode while teaching a student. It was intriguing then and still works today. It’s a lot like most smartphones now, in that you pan the camera over a limited range (about 180 degrees) and the camera will work its magic for you.

panoramic shot - REVIEW: Sony RX100 V Compact Camera

pano shot - REVIEW: Sony RX100 V Compact Camera

REVIEW: Sony RX100 V Compact Camera

I had some trouble recently after not using the camera for a while.

My family was visiting Grand Canyon National Park, which just begs for panoramas. It had been about 5 months since I used the feature and it took me five tries before I was successful. When you fail, the camera usually doesn’t tell you what you did wrong, just that things didn’t work (sometimes it will tell you to move faster or slower, but other than that, you’re in the dark).

This frustration took away from the enjoyment of the scene in front of me.

I’ve been shooting panoramas since the days of masking 35mm film and feel I understand how it works in smartphones and other digital devices. Why the camera was not cooperating with me that day is still unknown to me. My advice is to practice before you need to use it.

Apps

I’m not used to a camera that has additional apps available and it looked like a cool idea at first. Then I realized I needed to pay to upgrade the camera to do things others already do, like time-lapse shooting.

REVIEW: Sony RX100 V Compact Camera

The apps are a little clunky to get into, requiring navigation through the directory of menus just to switch mode, essentially. I wish there was an easier way to access them.

That being said, the time-lapse app is very useful and has some pre-baked settings to help with sunrise, sunset, passing clouds and other common situations. That helps a lot.

REVIEW: Sony RX100 V Compact Camera

Connectivity

This camera comes packed with the modern convenience of wifi. It can connect to your phone if you have the Sony PlayMemories Mobile app. For those that love the instantness of transferring images to their phone, you’ll enjoy it. It’s not the simplest setup, but once activated, transfers are pretty easy (but buried in the menus).

REVIEW: Sony RX100 V Compact Camera - Sony PlayMemories app

REVIEW: Sony RX100 V Compact Camera

After a year of use, I eventually removed the app from my phone. I wasn’t using it that often as I found it just as easy to wait and plop the SD card into my laptop when back at home. The zoom on the camera wasn’t much more than simple zooms with my phone and considering my viewer would see the image on a phone, most likely, the 20MP were wasted for this.

In the Field

I remember buying the Canon Powershot G-1 back when it first came out in 2001, just before my daughter was born. I was frustrated then with the startup speed and those memories came flashing back when I start the RX100 M5. It’s just not quick to come into play. I ran some tests to find that it takes 2-3 seconds realistically to start up. It seems like an odd slowness and I had to adjust or be disappointed about missing quick shots.

The weight of the camera is just right in the hand. It feels solid, even though I worry about breaking the flash and viewfinder because they are a little less robust.

It’s not truly compact enough to fit in your pocket comfortably unless you have tight pants, but it’s also comfortable enough to carry in your hand most of the time when exploring a new city. It also fits perfectly in a coat pocket or purse.

Westminster Abby – Great Britain ISO 125, f/5.6, 1/50th.

What Could Be Improved

First, it seems everyone expects a touchscreen on a camera of this size these days. They even want them on DLSRs. It’s helpful when focusing and choosing exposure settings and it would be a huge help the Sony RX100 series.

Second, battery life is not that great. Sony says it’s good for 220 shots or 110 minutes of video. While shooting 4K video out the plane window from LA to Seattle, I changed the battery three times during a two-hour flight. No flash, not a lot of focus adjusting, just video shots out the window and about 40 stills. It seemed subpar.

Lastly, they need to add or assign some programmable hot-keys so photographers can pick and choose the features to have at hand. Having to go into and out of an app to shoot time-lapse is cumbersome (after I paid $ 9.99 for it as well). Maybe they could make it assignable to one of the Scene modes available from the top dial.

Wait! One more pet peeve about cameras of this size – no external charger. Charging is in-camera via micro-USB, which is easy enough, but shipping the unit with a charger would be much appreciated considering how quickly it can go through batteries while shooting video.

Two Great Accessories

REVIEW: Sony RX100 V Compact Camera

This camera is thankfully small enough to hide in most coat pockets (not so much with jeans, unless you have fairly loose ones) but I eventually wanted to take the camera backpacking. Worried about the danger of scratches and dents (or worse), I looked around and found that Lowepro makes a perfectly sized case for it.

It’s called the Tahoe 25 II and has room for the camera plus a memory card or two in the zippered pouch in front. A belt loop makes it ideal for hiking and I used it often during an attempted climb of Mt. Whitney.

The second accessory is an underwater case from Ikelite. There is a more expensive version of this case and it offers full control of the camera. But I found the action case to cover what I needed without shelling out too much (it retails for about $ 300 US).

Conclusion

My conclusion is the Sony RX100 V is a winner of a compact camera. It’s packed full of feature and has the ability, with apps, to expand as new software is created. The 4K video is excellent and the high-speed video is a lot of fun.

This camera is perfect for family trips (while reviewing images for this article, I noted I had previously rented the Sony RX100 IV for a family trip to Europe and enjoyed that version as well). It can fit the family in for a group selfie while not breaking your shoulder carrying it around all day. Compact enough for a purse or coat pocket, it is always at hand when your phone just won’t give you a quality image.

With a dynamic range around 12 stops, it can already deliver a wide range exposure latitude. Couple that with the user-adjustable bracketing and there is almost no scene you can’t capture.

Lastly, this camera is slowly but surely turning me into a Sony convert.

Sample Photos

Skógafoss – Iceland ISO 80, f/6.3, 1/80th.

Seljalandsfoss – Iceland ISO 125, f/8, 1/200th.

Underwater sea urchin – Costa Rica ISO 125, f/4, 1/60th high-speed burst mode was used

Panama canal locomotive and the moon – Panama ISO 6400, f/4, 1/13th.

Ground cover – Costa Rica ISO 80, f/5.6, 1/40th.

Mt. Whitney and The Milky Way – California, USA ISO 1000, f/2.2, 25 seconds.

Mt. Whitney – USA ISO 80, f/2.2, 1/1000th.

Mt. Dickerman – Washington, USA ISO 80, f/3.5, 1/400th.

San Gabriel Mountains – California, USA ISO 80, f/5, 1/800th.

Downtown Juneau – Alaska, USA ISO 12,5 f/6.3, 1/250th.

Ducati ISO 640, f/1.8, 1/1000th.

Seattle and Elliot Bay – USA ISO 80, f/5, 1/320th.

Tide Flats – Alaska, USA ISO 125, f/18, 1/400th.

The post REVIEW and Thoughts on the Sony RX100 V Compact Camera appeared first on Digital Photography School.

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Sony announces Cyber-shot RX100 VI with 24-200mm zoom

08 Jun

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Sony has announced the Cyber-shot RX100 VI, a 1″-type compact camera with a 20.1-megapixel Exmor RS stacked CMOS sensor, 24-200mm equivalent F2.8-4.5 zoom lens, 315 phase detection points covering approximately 65% of the sensor, and the ability to shoot at 24 fps with autofocus.

The RX100 VI becomes the first in the Cyber-shot RX100-series to gain a touchscreen, allowing both touch shutter and touch focus. The screen can tilt up to 180 degree upwards and 90 degree downwards, extending shooting flexibility. The new camera is essentially the same size as its predecessor the RX100 V, but its depth has been increased slightly, by 1.8mm.

The RX100 VI includes the latest Bionz X processor with front-end LSI, as used in the most recent Alpha cameras

Sony says that the RX100 VI contains processing and experience developed in the creation of the a9 sports camera. It includes the latest Bionz X processor with front-end LSI, as used in the most recent Alpha cameras. This helps give what the company says is the world’s fastest AF (measured at 0.03 seconds) and with twice the EyeAF tracking performance of the Mark V.

The RX100 VI’s Hybrid AF system includes 315 phase detection points, covering approximately 65% of the sensor for ‘high-density tracking’.

The RX100 VI’s 24-200mm lens comprises 15 elements in 12 groups, featuring two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. Sony describes the pocketable camera as having “two lenses worth of interchangeable lens”, incorporating the range of a 24-70mm lens and a 70-200mm in one “do anything” camera. Meanwhile, it offers a claimed 4EV of image stabilization. Unlike its predecessor, there is no ND filter for video shooters.

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The RX100 VI’s XGA OLED pop-up EVF is similar to previous models in the series, but once popped-up, the finder optics no longer need to be manually extended for use.

Sample Gallery:

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On the video front, the RX100 VI is capable of full-width, oversampled 4K video with support for 8-bit HLG (Hybrid Log Gamma) for easy HDR capture. The RX100 VI is also able to record superslow motion video at either 250, 500 or 1000 fps.

The new Sony Cyber-shot RX100 VI will ship next month, priced at $ 1200 (£1,150 in the UK).

At the same press conference, Sony also announced the VCT-SGR1 shooting grip, designed for the RX0 and RX100-series cameras. The VCT-SGR1 includes camera controls, an adjustable head and built-in tripod. It will be available in September for around $ 100.

Press release:

Sony’s New RX100 VI Combines Versatile 24-200mm Large Aperture, High Magnification Zoom Lens with World’s Fastest AF Speed

Maintains compact body size of acclaimed RX100 series while adding a ZEISS^® Vario-Sonnar T* 24-200mm F2.8 – F4.5 Large Aperture High Magnification Zoom Lens
World’s Fastest 0.03 seconds AF speed combined with 315 focal-plane phase-detection AF points covering approximately 65% of frame
1.0-type stacked 20.1 MP Exmor RS™ CMOS image sensor with DRAM chip and upgraded BIONZ X™ image processor and Front-end LSI
High-speed continuous shooting at up to 24 fps with full AF/AE tracking
Optical image stabilization equivalent to a 4.0-stop faster shutter speed
High Resolution 4K Movie Shooting with full pixel readout and no pixel binning plus 4K HDR for instant HDR workflow

NEW YORK, Jun.5, 2018 – Sony – a worldwide leader in digital imaging and the world’s largest image sensor manufacturer – has today announced another exciting model for their popular Cyber-shot RX100 series of compact cameras, the RX100 VI (model DSC-RX100M6).

The innovative new RX100 VI camera is the first of all the RX100 models to include a high magnification zoom lens, as it packs in an impressive ZEISS^® Vario-Sonnar T* 24-200mm F2.8 – F4.5 lens yet doesn’t sacrifice the pocket-size portability, fast responsiveness and high image quality that has become the hallmark of Sony’s RX100 lineup. It’s extensive zoom, impressive image quality and versatility for both still images and video make it an ideal choice for capturing daily life, cityscapes, portraiture, sports, wildlife and everything in between.

The new model is equipped with a 20.1 MP 1.0-type stacked Exmor RS™ CMOS image sensor with DRAM chip and an upgraded BIONZ X™ image processing system with a front-end LSI that maximizes processing speed and optimizes image quality in all shooting environments. Additionally, the RX100 VI features an incredibly efficient Fast Hybrid AF system with 315-point phase-detection AF points on the sensor that can acquire focus in as little as 0.03 seconds, the world’s fastest AF acquisition time for 1.0-type sensor cameras. It can also shoot at up to 24 fps at full resolution with continuous AF/AE tracking and produces beautiful 4K video with full pixel readout and no pixel binning.

“We’re continuing to innovate our RX camera lineup, providing our customers new and different ways to capture what they’ve never been able to capture before,” said Neal Manowitz, Vice President of Digital Imaging for Sony Electronics. “The new RX100 VI is the latest example, delivering extensive reach, extremely advanced autofocus, high-speed shooting and more, while still being able to slip easily into your pocket. It’s the ultimate pocket travel camera.”

New High-Magnification 24-200mm Zoom Lens plus Outstanding Image Quality

A first for Sony’s RX100 series of cameras, the new ZEISS^® Vario-Sonnar T* 24-200mm F2.8 – F4.5 lens packs the power of both 24-70mm and 70-200mm focal lengths into a singular compact design. This is achieved thanks to its unique design featuring two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. All pieces work together seamlessly to deliver outstanding sharpness from corner-to-corner at all focal lengths, maintaining the acclaimed image quality of the RX100 series.

The impressive new lens on the RX100 VI maintains a large aperture throughout the entire zoom range, ensuring portraits can be created with beautiful background defocus, fast moving subjects can be captured with crisp focus and no blurring, and much more. Additionally, the lens has built-in Optical SteadyShot^TM image stabilization that is equivalent to a 4.0-stop^vifaster shutter speed, helping to prevent camera shake or blurry imageseven in a low-light condition or at telephoto zoom range.

Lightning-Fast AF Performance and Shooting Speeds

The new RX100 VI model features a Fast Hybrid AF system that ultimately allows the camera to lock focus in as little as 0.03 seconds. This innovative AF system combines the respective advantages of 315-point focal-plane phase-detection AF points that cover approximately 65% of the sensor and contrast-detection AF. This high speed focusing complements the versatile 24-200mm range of the lens, ensuring all subjects can be captured with precise detail and clarity.

Additionally, a first for the RX100 series of cameras, the RX100 VI includes Sony’s advanced High-density Tracking AF technology, which concentrates AF points around a subject to improve tracking and focus accuracy. The popular Eye AF technology is also available with approximately 2x the tracking performance of the current RX100 series model[ix]. Further, the camera has LCD touch focusing and touchpad focus point control for users that would like to drag their fingers to ideal focus points of their choice.

An ideal complement to the AF system, the RX100 VI offers continuous high-speed shooting at up to 24 fps with full AF/AE tracking, with an impressive buffer limit of up to 233 images. The display lag of the EVF has been substantially reduced compared to prior models, allowing shooters to capture the decisive moment with ultimate confidence. Also, for convenience during image playback, continuously shot images can be displayed in groups instead of individual shots.

The RX100 VI also has a high speed Anti-Distortion Shutter (maximum shutter speed of up to 1/32000 second) that reduces the “rolling shutter” effect commonly experienced with fast moving subjects, and can shoot completely silently in all modes, including continuous high speed shooting, when electronic shutter is engaged. A mechanical shutter mode is also available as well if required by the user.

Advanced Movie Capabilities Including 4K HDR

The pocket-friendly RX100 VI is packed with a variety of video capabilities that will satisfy even the most demanding video enthusiasts.

With Fast Hybrid AF, the focal-plane phase-detection AF points ensures accurate focusing and tracking performance, even for the severe focusing requirements of 4K movie shooting. AF drive speed and AF tracking sensitivity can also be adjusted via the menu system, giving shooters plenty of flexibility based on their focusing preferences.

In 4K mode, the new RX100 VI utilizes full pixel readout without pixel binning to ensure that all the finer details of 4K video are captured with minimal moire and ‘jaggies’.

For the first time in a Cyber-shot camera, the RX100 VI features 4K HDR compatibility thanks to its new HLG (Hybrid Log-Gamma) picture profile that offers an instant HDR workflow solution. Additional professional caliber video features include S-Log3/S-Gamut3, 120p Full HD mode, Picture Profile, proxy recording and more. The RX100 VI is also able to record super slow motion video at either 240fps, 480 fps or 960 fps.

Premium Design, Control and Convenience

The new RX100 VI is equipped with a high-contrast 2.35 million dot XGA OLED Tru-Finder™ with ZEISS^®T* Coating, ensuring true-to-life image preview and playback functionality. The EVFitselfretracts in and out of the camera body based on user preference, and can be activated instantly by asingle One-push Access button.

A first for Sony’s RX series, RX100 VI has a touch shutter that can be activated by tapping the back LCD screen, a zoom lever with customizable zoom speeds and an LCD that can be rotated 180 degrees upward or 90 degrees downward for a variety of shooting angles for the creator. There is also aMonitor Auto OFF function that boosts max number of still images by up to 30%, and the camera is also Wi-Fi^®, NFC™ and Bluetooth^® compatible.

Pricing and Availability

The new Sony Cyber-shot RX100 VI compact camera will ship next month for about $ 1,200 US and $ 1,600 CA.

Sony Cyber-shot RX100 VI specifications

Price
MSRP	$ 1200/£1150
Body type
Body type	Compact
Body material	Aluminum
Sensor
Max resolution	5472 x 3648
Other resolutions	3:2 (3888 x 2592, 2736 x 1824), 4:3 (4864 x 3648, 3648 x 2736, 2592 x 1944), 16:9 (5472 x 3080, 3648 x 2056, 2720 x 1528), 1:1 (3648 x 3648, 2544 x 2544, 1920 x 1920)
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	20 megapixels
Sensor photo detectors	21 megapixels
Sensor size	1″ (13.2 x 8.8 mm)
Sensor type	BSI-CMOS
Processor	Bionz X
Color space	sRGB, AdobeRGB
Color filter array	Primary color filter
Image
ISO	Auto, 125-12800
Boosted ISO (minimum)	80
Boosted ISO (maximum)	25600
White balance presets	9
Custom white balance	Yes
Image stabilization	Optical
CIPA image stabilization rating	4 stop(s)
Uncompressed format	RAW
JPEG quality levels	Extra fine, fine, standard
File format	JPEG (Exif v2.3, DCF v2.0) Raw (Sony ARW v2.3)
Optics & Focus
Focal length (equiv.)	24–200 mm
Optical zoom	8.3×
Maximum aperture	F2.8–4.5
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 (3.8x)
Manual focus	Yes
Normal focus range	8 cm (3.15″)
Macro focus range	8 cm (3.15″)
Number of focus points	315
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3″
Screen dots	1,228,800
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.59×
Viewfinder resolution	2,359,296
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/2000 sec
Maximum shutter speed (electronic)	1/32000 sec
Exposure modes	Auto Program Auto Aperture Priority Shutter Priority Manual Exposure
Scene modes	Portrait Sports Action Macro Landscape Sunset Night Scene Handheld Twilight Night Portrait Anti Motion Blur Pet Mode Gourmet Fireworks High Sensitivity
Built-in flash	Yes
Flash range	5.90 m (at Auto ISO)
External flash	No
Drive modes	Single Continuous Self-timer (single, continuous) Single/continuous bracketing WB bracketing DRO bracketing
Continuous drive	24.0 fps
Self-timer	Yes
Metering modes	Multi Center-weighted Spot
Exposure compensation	±3 (at 1/3 EV steps)
AE Bracketing	±3 (3 frames )
WB Bracketing	Yes
Videography features
Format	MPEG-4, AVCHD, XAVC S
Modes	3840 x 2160 @ 30p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 30p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 25p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 3840 x 2160 @ 24p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 120p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 120p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 100p / 100 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 100p / 60 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 60p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 60i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 50p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 30p / 16 Mbps, MP4, H.264, AAC 1920 x 1080 @ 25p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / 16 Mbps, MP4, H.264, AAC 1920 x 1080 @ 24p / 50 Mbps, XAVC S, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital 1920 x 1080 @ 24p / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital 1280 x 720 @ 30p / 6 Mbps, MP4, H.264, AAC 1280 x 720 @ 25p / 6 Mbps, MP4, H.264, AAC
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/ SDHC/SDXC, Memory Stick Pro Duo/ Pro-HG Duo
Connectivity
USB	USB 2.0 (480 Mbit/sec)
HDMI	Yes (micro-HDMI with uncompressed 4K/30p output)
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n with NFC
Remote control	Yes (wired or smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	NP-BX1 lithium-ion battery & USB charger
Battery Life (CIPA)	240
Weight (inc. batteries)	301 g (0.66 lb / 10.62 oz)
Dimensions	102 x 58 x 43 mm (4.02 x 2.28 x 1.69″)
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Sony Cyber-shot RX100 VI sample gallery updated

08 Jun

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8189628340″,”galleryId”:”8189628340″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Sony RX100 VI is only a few days old, but we’ve already been out shooting with it quite a bit. Sony’s RX100 series represents some of the most advanced technology we’ve ever seen in a compact camera, and the latest iteration makes an interesting shift to a longer lens range. Take a look at the latest images we’ve added to our existing sample gallery.

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Sony Cyber-shot RX100 VI first impressions

07 Jun

The longer lens of RX100 VI was immediately apparent when it came to shooting portraits. Even for this fairly wide shot I used a longer focal length (84mm equiv) than the RX100 III, IV and V offered.

ISO 125 | 1/125 sec | F4 | 83mm equiv.

Unsurprisingly, perhaps, the first thing that really hit me when shooting with the RX100 VI was the lens range. Which is pretty impressive. While I’ve personally always been happy to forego a bit of lens length if it means keeping the lens fast, I’ll be the first to admit there are times when you feel the limits of that approach. The lens used on the RX100 III, IV and V was lovely and bright but its 70mm equiv. zoom isn’t very satisfying for head-and-shoulders portraits, for instance. The Mark VI has no such problems and made it easy for me to shoot a variety of ‘people’ pictures as I walked along New York’s Highline.

I found myself appreciating the extra reach almost immediately, but I suspect it’ll take longer to get a sense for how much has been lost

You don’t get something for nothing, of course. The RX100 VI’s maximum aperture ranges from F2.8 to 4.5. Impressively this means it’s brighter at the long end than the original RX100, despite offering twice the focal length in a similarly-sized body. However, you lose a stop and a third of brightness, compared with previous RX100s, at the wide end. I found myself appreciating the extra reach almost immediately, but I suspect it’ll take longer to get a sense for how much has been lost, especially in terms of low-light capability, when shooting wide.

This wouldn’t be the first time I’ve been left with mixed feelings about a camera in the RX100 series. Equally, though, it’s not the first time I’ve looked back at my images and found myself thinking ‘that’s really quite impressive for such a small camera.’

Touchscreen and controls

Despite the very different lens, another thing that very quickly made itself apparent was that this is still, for better or worse, an RX100. As such it takes great pictures but, broadly speaking, prefers to be used as a ($ 1200) point-and-shoot, rather than a camera that invites direct control.

The touchscreen relieves some of the pressure on the camera in that there’s now a quick and easy way to specify an autofocus point. There’s a slight lag after you touch the screen but it works pretty well. I also found that configuring the left-hand side of the screen to act as a touchpad, when shooting through the viewfinder worked pretty well for me. But, at least for people pics, I found myself not really wanting to specify an AF point at all. Instead, holding down the central button on the back of the camera engaged EyeAF, meaning I could leave the camera to focus on my subject’s eye while I worried about composition and blathering away about why I wanted to take their photo.

130mm equiv at F4.5 gives the same depth-of-field as shooting at F12 on full frame, but with the background far enough away, you can still draw attention to your subject.

ISO 125 | 1/320 sec | F4.5 | 130mm equiv.

As with other recent Sonys, the touchscreen is only really used for setting the focus point. The Fn and main menus still require you to navigate using the four-way controller. This of course means the RX100 series still hasn’t caught up with the near-immediate tap the screen, click the lens ring level of control offered by the likes of the Olympus XZ-2, even after nearly six years and as many iterations.

Responsiveness

The RX100 VI is responsive and fast-to-focus enough for spur-of-the-moment candid shots.

ISO 125 | 1/320 sec | F4.5 | 55mm equiv.

Aside from the touchscreen, the camera is very responsive, as you might expect from a a model that can shoot at 24 frames per second, while maintaining full autofocus. However, shoot a burst and you start to notice just how much data that entails. The RX100 VI has a UHS-I style card slot, so can’t take advantage of the faster write speeds of the latest cards, which can sometimes mean having to wait for the buffer countdown to end before being able to make the settings change you want.

Like recent Sony models, there’s still plenty you can do while the camera is writing to the card. Most crucially, you can keep shooting, so it’s not going to cause you to miss a shot. But I did find myself sometimes wanting to drop out of continuous drive mode, but being unable to because the camera was still saving the images from the previous burst.

The lack of built-in ND filter severely limits what would otherwise be impressive video specifications

I was slightly surprised by how much difference the new ‘one-touch’ viewfinder mechanism made. I’d never thought of the two stage: pop-up and pull action as being that onerous but eliminating the need to pull out the eye frame and, perhaps more importantly, the need to push it back in before pressing the finder back into the body, makes the whole process quicker. I found myself using the viewfinder more often as a result. Though I’m going to have to disengage the function that shuts the camera off when you close the viewfinder…

Clouds in a bright sky

Although I didn’t encounter it (as I’ve mainly been shooting stills so far), there’s another small change that is likely to make a significant difference to me, and anyone else who enjoys shooting video. The lack of built-in neutral density (ND) filter severely limits what would otherwise be impressive video specifications.

Without an ND filter, or any way to easily attach one, it’s difficult to maintain anywhere near the 1/50th or 1/60th of a second shutter speeds that filmmakers will typically aim for. It’s a problem I encountered recently when shooting with the Panasonic ZS200, meaning I simply couldn’t shoot video in bright light. The lens on the RX100 VI stops down a little further than that of the Panasonic, but at small apertures, diffraction negates the benefit of the RX100 VI’s detailed, oversampled 4K footage. It’s worth noting of course that if this is a limiting factor for you, the RX100 V (with its faster lens and built-in ND) is still a very capable video camera, and it remains available.

First impressions

There are times you don’t necessarily want to have to carry a full-sized camera around with you, though you do give something up in terms of direct control (don’t get me started on using a free-rotating control ring to set aperture).

ISO 125 | 1/320 sec | F4 | 54mm equiv.

Personally, I find 200mm equivalent is enough to cover most of the shooting I do. Except for very specific needs, I don’t find extending beyond that gives me much additional benefit. And my initial shooting rather confirms that for me. It was liberating to be able to shoot at 200mm equiv with a relatively large sensor camera with a reasonably bright aperture, yet then be able to stuff it into my jacket pocket.

But the thing that most struck me about the using RX100 VI was how often, when I showed my images to the strangers I’d just photographed, was how often I got a smile and a response along the lines of “that’s a really good camera.”

Sample gallery

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Sony Cyber-shot RX100 VI sample gallery

07 Jun

The Sony Cyber-shot RX100 VI represents a slight departure from the models that preceded it, breaking the mold with a 24-200mm equiv. zoom. We’ve been shooting with the new camera in New York, and we’ve prepared an initial JPEG sample gallery to give you an idea of how well it performs.

Click the link above to check out our images, and and keep an eye on our homepage for updates as we continue shooting with the latest member of the RX100 family.

Learn more about the Sony Cyber-shot RX100 VI

Articles: Digital Photography Review (dpreview.com)

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Sony Cyber-shot RX100 VI: Video overview

07 Jun

The Sony Cyber-shot RX100 VI, is a 1″-type compact camera with a 20.1-megapixel Exmor RS stacked CMOS sensor and a 24-200mm equivalent F2.8-4.5 zoom lens. We’ve been shooting with one since it was announced yesterday, and have prepared a brief overview video from the launch event in New York.

Learn more about the Sony Cyber-shot RX100 VI

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Sony Cyber-shot RX100 VI: What you need to know

06 Jun

Sony Cyber-shot RX100 VI: What you need to know

The sixth and latest in Sony’s popular RX100-series, the RX100 VI is (unsurprisingly) the most powerful yet. Still pocketable, but now offering a longer zoom than any of its predecessors and an updated AF system, the RX100 VI promises to be a highly versatile camera. We’ve been poring over the specs for a while – click through this article for a closer look.

New 24-200mm (equiv) F2.8-4.5 lens

Perhaps the most obvious addition to the RX100 VI compared to its predecessors is a substantially longer zoom lens, with a claimed 4EV of optical image stabilization. Whereas the RX100 V’s zoom topped out at a modest 70mm, the RX100 VI’s lens reaches all the way to 200mm (equivalent).

In one sense, this should make the RX100 VI a more versatile camera than its predecessors, but that additional zoom range doesn’t come for free. The RX100 VI’s maximum aperture is F2.8-4.5, which is significantly slower than the F1.8-2.8 of its predecessor, and it does not include the useful built-in ND found in earlier models.

New 24-200mm (equiv) F2.8-4.5 lens

As you can see from our equivalent aperture graph, the RX100 VI’s lens offers an equivalent (in DoF terms) maximum aperture of around F8 at 24mm, and it only gets darker from there. Whether this matters depends on several factors, not least ambient light. It’s worth noting though that subject/background separation will be more challenging with the RX100 VI compared to previous-generation RX100-series cameras. That being said, it should be noted that beyond 50mm (equivalent) the RX100 VI’s lens is significantly brighter than both the Panasonic Lumix DC-ZS200 and the older ZS100. The maximum F12 equivalent aperture on the long end should mean less diffraction-induced softening than the F16 equivalent offered by the Panasonics.

The lens itself is comprised of 15 elements in 12 groups, featuring two ED (extra-low dispersion) aspherical glass elements and eight aspherical lens elements including four AA (advanced aspherical) lenses. Sony claims that this results in ‘outstanding sharpness from corner-to-corner at all focal lengths’ and we’ll be sure to test this for ourselves as soon as possible.

Upgraded tracking and better buffer

The RX100 VI incorporates an upgraded BIONZ X™ image processor and Front-end LSI. This has resulted in several improvements, including to autofocus speed (Sony claims an AF response time of 0.03 seconds) and superior Eye AF tracking, to the tune (again, claimed) of a 2x performance increase compared to the RX100 V.

The maximum stills capture rate of 24fps is unchanged compared to the RX100 V, but the new camera can shoot for up to 233 images, compared to around 150 in the earlier model.

Full-width oversampled 4K video

As we’ve come to expect from Sony’s RX-series as a whole, the RX100 VI offers impressive video specifications, in addition to its stills capture features. The new camera can capture 4K video at up to 30p, at a maximum bitrate of 100 Mbps. 4K video is oversampled from 5K, and the entire sensor area is utilized, resulting in very clean, detailed footage. High definition 1080p footage is also possible, at up to 120fps. High frame rate modes are available, with up to 960 fps capture.

New in the RX100 VI is an HLG (Hybrid Log-Gamma) gamma curve option within Picture Profiles, which in Sony’s words offers ‘an instant HDR workflow solution’. HLG gamma fits the entire dynamic range of the sensor into your video. While footage will look flat on a standard display like the rear LCD, plug the camera into an HDR display and enable its HLG mode and you’ll see your high dynamic range footage, from preserved highlights to detailed shadows, with the more lifelike contrast modern TVs offer. The use of HLG and zebras in stills also allows you perfectly expose your Raws, as we covered in our a7R III review.

Sadly, the RX100 VI omits a microphone socket, meaning that external recording will be necessary for any kind of serious filmmaking.

Touch-sensitive, tilting LCD

Oh happy day! The RX100 VI is the first RX100-series model to offer a touch-sensitive LCD. This enables touch to focus and touch shutter – both nice features that we’ve been enjoying for several years on competitive cameras. It’s particularly important for the RX100 series, which has always had limited controls and particularly cumbersome methods for selecting your AF point.

Touch-sensitive, tilting LCD

The tilt angle of the screen has also been expanded, to up to 90 degrees downwards and 180 degrees upwards. You know – for selfies.

Updated Menus

Not only have menus been updated to the far more organized structure we’ve come to expect on a7/a9 cameras, a My Menu has been added. You can populate it with your most accessed menu items, in your preferred order. This, combined with the customizable Fn menu accessible on-screen during shooting, should make it easy to quickly access your most used settings. This is particularly important on a camera with so few controls.

Redesigned ‘one push’ EVF

The RX100 VI’s XGA OLED pop-up EVF is similar to previous models in the series, but once popped-up, the finder optics no longer need to be manually extended for use. This might sound like a minor upgrade, but missing a shot because you forgot to pop out the finder window is an annoyance that will be familiar to many RX100 IV/V owners.

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Sony reveals faster, higher-res OLED viewfinder display

30 May

Sony has unveiled a faster, higher-resolution OLED panel for use as an electronic viewfinder. The UXGA panel gives a 1600 x 1200 pixel resolution (5.76m dots) for those of you who don’t still think in terms of 1980s PC monitors. This is a 25% increase in each direction, compared with the panel used in the likes of the Panasonic GH5 and Sony a7R III. Despite the resolution increase, Sony says the panel uses the same amount of power.

The panel can be run either progressively (with one row being shown after another), at 120 fps or in a dual-line progressive mode that we expect to halve the vertical resolution in return for a 240 fps mode to give a more lifelike preview.

A redesigned structure places the color filter array directly on the light-emitting silicon, maintaining the angle of view, despite the move to smaller pixels. Sony says it has also designed a circuit to mitigate some of the voltage and consistency drawbacks of the move to finer pixels.

Unusually, Sony specifies a sample price for the panel: ¥ 50,000 (~$ 460). We suspect this price will come down once production ramps up, especially for orders of tens or hundreds of thousands of panels, but it hints at the costs of including a high-res viewfinder in a camera, and why the a7 III misses out on the 3.69m dot display used in the more expensive a7R III.

Sony Releases 0.5-type OLED Microdisplay with Top-of-Class UXGA Resolution, Featuring the World’s Smallest Pixel Pitch of 6.3µm

Tokyo, Japan—Sony Corporation today announced the upcoming release of the ECX339A OLED Microdisplay featuring UXGA (1600 x 1200 resolution), the highest in class for a 0.5-type. This product achieves the world’s smallest pixel pitch of 6.3?m by leveraging Sony’s OLED display technology and miniaturization technology, enabling a resolution 1.6x higher than the previous model^*1. By employing a new drive circuit design that operates on half the voltage of the previous model^*1, the new product achieves the same level of low-power operation as its predecessor but with much higher resolution. When paired with Sony’s original driving system^*2, a frame rate up to 240 fps is supported—double that of previous product^*1.

0.5-type OLED Microdisplay ECX339A

Model name	Sample shipment date	Mass-production shipment date (planned)	Sample price (excluding tax)
ECX339A 0.5-type OLED Microdisplay	January 2018	November 2018	50,000 JPY

Enhancing the resolution on microdisplays has traditionally presented problems such as deteriorating image quality due to decreased pixel pitch and inferior viewing angle properties. The new product features optimized transistors layout and process to address uneven characteristics and loss of withstand voltage, the issues associated with transistor miniaturization. The Sony original variation compensation circuit also enhances picture quality. Additionally, the color filter is deposited directly on the silicon substrate, reducing its distance from the light emitting layer, and the filter’s color array has been modified. This helps to secure the viewing angle properties while achieving high resolution.

OLED Microdisplays are widely used in digital camera electronic viewfinders (EVF) for their superior high contrast, high color gamut, and high-speed responsiveness. Sony, having achieved this high resolution and high frame rate, now offers even more realistic image display and accurate capture of subjects for use in high-end cameras that demand extremely high image quality.

Going forward, Sony expects this high-definition OLED Microdisplay to be employed in a diverse range of fields and applications such as AR (augmented reality) and VR (virtual reality) head-mounted displays.

Comparison of images on OLED Microdisplays. New product (UXGA, left) and previous product (QVGA, right)

Main Features

1.High-resolution UXGA in a 0.5-type
The new product has achieved the world’s smallest pixel pitch of 6.3?m by leveraging Sony’s proprietary OLED display technology and miniaturization technology, and has superior resolution 1.6x higher than the previous model^*1. Generally, transistor miniaturization results in characteristic variation and reduced withstand voltage. This product uses a Sony original compensation circuit and optimized layouts and process for each individual transistor to address these adverse effects. Furthermore, the color filter is deposited directly on the silicon substrate, reducing its distance from the light emitting layer, and the filter’s color array has been modified to secure the viewing angle properties while achieving high resolution.

Measures to secure viewing angle even with smaller pixel pitch
New product (UXGA, left) and previous product (QVGA, right)

2.High-speed frame rate
A new drive circuit design supports a high frame rate of up to 240 fps^*2, nearly double that of its predecessor^*1. This has made it possible to capture fast-moving subjects in the viewfinder with higher accuracy, so users will not miss a photo opportunity, delivering a more comfortable shooting experience. In head-mounted display devices, this will help to improve image delay issue for items superimposed on real-world vision of AR and to avoid motion sickness during usage of these kinds of devices.
3.Low power consumption
By employing newly-designed peripheral circuits that operate on half the voltage of previous model^*1, the new product delivers the same low-power operation as its predecessor when operating at the same frame rate, despite the nearly 1.6x increase in the number of pixels.

Key Specifications

Name	ECX339A
Display Size	0.5 type (12.6 mm Diagonal length)
Resolution	UXGA?1600×RGB×1200?
Pixel pitch	6.3?m
Max. frame rate	120 fps (progressive) / 240 fps (dual-line progressive)
Power consumption (200cd/m2)	310 mW @ 60 fps (progressive) / 120 fps (dual-line progressive)
Video interface	LVDS/Sub-LVDS
Max. luminance	1,000cd/m2
Contrast	100,000:1 or higher
Color gamut (u’v’)	sRGB ratio: 110%

Footnotes

*1 Compared with the Sony OLED Microdisplay ECX337A (0.5-type QVGA (1280×960)).
*2 Driving method of dual vertical line simultaneously (“Dual-line progressive” driving technique)

Articles: Digital Photography Review (dpreview.com)

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