It's official: you can go ahead and think of "RX" as code for Rex, because the King of Compact Cameras is here. Sony's dynamic-range expansion options worked as well as they always do, with 5 levels of "DRO" (Dynamic Range Optimization), and HDR exposure ranges as high as 6EV. Be sure to rotate dial to this mode in order to use the full range of exposure modes for video recording. The next thing that struck me when I finally laid hands on the RX1 was the sense of quality it exudes. The RX1 is the ultimate everyday street shooter or second camera for serious enthusiasts, pros (and trendsetters) alike, but its high price means it's not for everybody. Even the two video formats are in separate folders/categories that must be selected individually in order to review and playback. ), Macro focus setting doesn't get you very close, 1/2000s max shutter speed at f/2, but "extended" ISO 50 helps, No continuous AF in still capture mode, continuous AF in video mode doesn't work, "Off" High ISO noise reduction setting applies stronger NR to red channel than "Low" or "Normal", Sluggish buffer clearing (does not take advantage of UHS-I cards), Standalone battery charger is optional (should be included), Plastic LCD screen: Should really be Gorilla Glass at this price point, Pricey to some, especially when you consider the cost of the optional, dedicated accessories. We'd been expecting a super-pro digital SLR above the A99 (a camera we'd already seen, which was announced simultaneously), but we didn't expect a camera that would make all the early Sony RX100 buyers utter a few expletives of their own. It also induces a focal length crop of almost 1.2x for 16:9 video. At first, I thought I'd be using the digital zoom feature more, so I initially put that on the "C" button, but as I moved from outdoors to in and back again, I fairly quickly decided that having the ISO setting there made more sense. Sony RX1 vs RX1R. While the Sony RX1's optional Zeiss viewfinder is a beautiful piece of optics, I still honestly didn't see the appeal of it. Après un premier RX1 qui a connu un beau succès d'estime, Sony met à jour son compact professionnel à capteur plein format avec ce RX1R Mark II. It was embarrassing to see how long I spent pressing buttons and staring at the LCD in aperture-priority mode, wondering why the heck I couldn't change the aperture with one of the rear control dials. The RX1's Full HD video is recorded using the newer AVCHD 2.0 format, which is based upon MPEG-4 AVC / H.264 High Profile compression. The other three directions carry no labeling at all. In my shooting with it, the RX1 did really well in this regard, whether coping with daylight, incandescent, fluorescent or awkward mixtures of any or all of these. You'd certainly hope for quality construction in a camera retailing for $2,800, but it's nice to see that expectation met, and it was a joy to experience, after handling hundreds (and hundreds) of lesser cameras built to meet lower price points. The virtues of full frame at high ISO are shown once again when comparing the RX1 to the NEX-7, where the mosaic label's detail suffers particularly. The Sony Cyber-shot DSC-RX1R is a new version of last year's RX1 with the optical low-pass filter removed, promising increased resolution but at the risk of increased moire effects. Full-time autofocus during video recording, with continuous AF tracking, although in our test this performed. The camera has a 1,229,000 pixel screen of 7.5 cm diagonal. The net result is you can shoot a good two stops slower than you'd normally be able to without using a tripod. Today's ISO 3,200 is yesterday's ISO 1,600 (well, almost), so below are the same crops at ISO 3,200. The controls of the Sony RX1 continue the sense of quality, with just the right balance between stiffness and ease of use. We clearly remembered seeing an AF-C (continuous AF) option on the camera somewhere, but couldn't find it on our production sample. RX1. For me, that's something that happens all too seldom, and is an accomplishment of the highest order. The front of the Sony RX1 is pleasantly simple, with a small leather-like grip, a bold but simple product name and an AF-assist lamp. The resolution is just incredible, which to some extent mitigated my dismay over the lack of a zoom lens. So last week I published a review of the new Sony 35 1.8 Lens from Chad Wadsworth. The Sony RX1 records at three different video resolutions, and can record high-definition movies in either AVCHD (2.0) or MPEG-4 formats. Regardless of what mode the camera is in, users do have the ability to adjust the ISO sensitivity and the exposure compensation during video recording, although exposure compensation is reduced to +/-2 EV steps rather than the +/- 3 EV steps shown on the dial. I've almost never found this to be the case with other cameras. tracks the subject and adjusts the focus automatically even when the subject is moving, The focus setting for the first shot is used for following shots, we couldn't get the RX1 to track a person moving at a, RX1 Accessory Kit (battery, charger and cable) (~US$70), Smallest full-frame camera on the market, by a wide margin, Images are sharp corner to corner, even wide open, f/2 with full-frame sensor gives incredibly shallow depth of field, Exceptionally flexible user interface, superb handling, Broad range of white balance settings, including three custom options, and manual tweaking for all WB modes separately, Automatic correction for shading, distortion and chromatic aberration generally works very well, and can be individually controlled, 5 fps full-resolution continuous shooting speed, Large, bright LCD that's surprisingly visible in sunlight, Handheld Twilight mode for sharp hand-held images in low light conditions, Sweep Panorama for both wide and tall subjects, Charges battery via USB (but see Con about standalone battery charger), Very nice EVF, albeit an added-cost accessory priced at US$450, Flash syncs at up to 1/4000s (thanks to leaf shutter), Produces unattractive bokeh Imaging Resource © 1998 - 2021. Users can select the anti-aliasing level between off, standard and high, or even choose to bracket the effect to see how much anti-aliasing they need when reviewing the images. This is also where you can dial back (or boost) the camera's default image-sharpening setting as desired. Sony shipped samples of both for our evaluation. The lens has a focal length of 35 mm and aperture f/2. As we were finalizing the review, though, tech editor Zig noted that Sony's online documentation for the RX1 said that tracking focus "tracks the subject and adjusts the focus automatically even when the subject is moving", and also that "The focus setting for the first shot is used for following shots" in Speed Priority mode. Most digital SLRs and CSCs will produce an excellent ISO 100 shot, so we like to push them and see what they can do compared to other cameras at ISO 1,600, 3,200, and 6,400. This is surprisingly difficult to pull off; the human visual system is incredibly adaptable, and can easily handle both a range and mixtures of color temperature that would give most cameras fits. NOTE: These images are best quality JPEGs straight out of the camera, at default settings including noise reduction. Changing shadows could confuse a contrast-detect AF system, but again, the subject was moving very slowly.) We tried carrying the large black and white focus target we use in our AF-tracking car tests with us, to give the AF system something really easy to focus on, and found that it helped in some shots but not others. Test Notes. The camera features a 36 x 24mm CMOS sensor and a leaf shutter for near-silent operation. (The slightly dark corners in the shots seen here were caused by uncorrected shading (aka vignetting) in the camera itself.) Both the DRO and HDR options have an available Auto setting as well. Given that Sony has been in the video business for a long time, and has delivered great video performance on many of their recent still camera models, though, it came as an unpleasant surprise to us that the RX1 wasn't similarly capable in the video area. Full-frame, 24-megapixel sensor in a compact body; Carl Zeiss Sonnar 35mm f/2 T* lens; Blazing fast autofocus; Impressive image quality that rivals (and sometimes surpasses) full-frame DSLRs; Customizable function buttons make it a breeze to use. All interchangeable lens cameras in this comparison were shot with our very sharp reference lenses. ISO 6,400 prints well at 8 x 10, which is yet again excellent for this ISO. Color's a very personal thing, so this is an area where your mileage may definitely vary, but to my eye the RX1's colors are bright and clean, but always very believable. Why not on a camera selling for several times the price?) It is quite evident throughout the test in many areas of the house, and while you may not always be shooting architectural objects, the issue is prominent enough to affect a lot of potential shooting situations, where any geometric patterns are present in the shot. ISO 3,200 makes a nice 13 x 19 inch print, if just slightly grainy in some of the flat, shadowy areas of our target. The RX1 is a photographer’s camera. The Sony RX1 also includes the new Sony multi-interface hot shoe with data contacts under the hood. When we first got our hands on Sony's full-frame compact camera, the Cyber-shot RX1, we were allowed to touch it, but we couldn't use it for its stated purpose. The only configurable button that carries a label is the one for AEL (auto exposure lock). The EV-adjust and Mode dials both take enough force to move that it's very unlikely they'll ever get changed inadvertently, but they stop short of being so stiff as to be awkward.   Introduction Launched in October 2012 the Sony RX1 is the world’s first compact camera with a full-frame 24x36mm CMOS sensor. The Canon 5D Mark III looks quite similar to the RX1, though it finds a little less detail in the mosaic image and pink swatch. One added note about Sweep Panorama, that accounts for some of why I find it so handy: Most people only think of panoramas for horizontal shots, but they can be incredibly useful for vertical shots as well. The thing is, this color shading didn't appear in all our shots, just some of them in both RAW and JPEG. In these walking tests, though, the camera never focused at all, even when the subject filled a large portion of the frame. This feature makes it much easier to manually focus quickly and more accurately, since you can easily what part of your shot is in focus. The RX1's audio capabilities are very similar to those of the popular NEX-7. True, you can change lenses on the bigger systems, but they're also a lot bigger, not to mention $500 to $700 more expensive. One of the reasons the ZX1 is larger is that it incorporates a large 4.3-inch screen on … This suggests that there was a problem with continuous AF that Sony wasn't able to solve before the design and firmware were frozen for final production. While the RX1 lets you start recording video in any still image shooting mode, using the standard P, A, S and M modes for video is not as straight forward as simply turning the top control dial to the corresponding mode. You can of course view your movies on a high definition TV via the Micro HDMI (Type-D) output. Certainly the pink swatch includes a clear thread pattern, though the D600 gets the pink closer to right. The NEX-7's smaller sensor size is also revealed as ISO rises, as its noise suppression cranks up to deal with difficult areas of the mosaic image. It includes a manual aperture ring and dedicated exposure compensation dial for direct manual control. Here's an example: My first real outing with the camera was in San Francisco, where the tall buildings resulted in a lot of tall/narrow subjects, but where street-level shooting subjects better fit the camera's native 3:2 aspect ratio. Or whatever. It's our guess (and admittedly nothing more than that) that the problem goes deeper than firmware, down to the mechanics or electronics of the camera/lens system itself. You have to remember; "Oh yeah, that control says WB, but I've actually reassigned it to metering pattern." Sony's SteadyShot image stabilization technology is available during video recording with a simple On/Off toggle in the video menu. Sliding the flash release right pops up the flash. A hinged pop-up flash is recessed in the top deck, rising up and leaning forward not unlike the flash in the RX100. Speaking for ourselves (the various editors who've been involved in writing this review), it wouldn't keep any of us from buying an RX1, since we don't really care about tracking AF in video that much, and with its wide-angle lens, we wouldn't be using the camera for sports shooting either. That's what happened in several cases while printing the RX1's images. ISOs 50/100/200 images create stunning 30 x 40 inch prints, and capable of excellent wall-display prints up to 40 x 60. The RX1's lens is really spectacular, and we believe Sony also backed off on its low-pass filter. (Actually, these were shot interspersed with the first set of examples, with both shots in each camera orientation taken together.). The Sony Cyber-shot DSC-RX1 and the Sony Cyber-shot DSC-RX1R are two enthusiast cameras that were announced, respectively, in September 2012 and June 2013. Image and video playback on the RX1 is the same, odd setup as on most of Sony's Alpha and NEX lineup. These shots were captured with the camera on a tripod, looking at our flash range/uniformity target. It's ultimately a matter of personal preference, but for my part, I found the RX1's controls just about right. Stereo audio is recorded during movie capture, encoded as Dolby Digital (AC-3) for AVCHD and AAC-LC for MPEG-4. Its shots inspire a real wow factor, especially for this camera's price range and small size in comparison to cameras with rival image quality. Due to the fixed lens on the RX1, it’s of course impossible to remove and test with the other lenses on the same sensor, eliminating differences in sensor performance and RAW converter interpretation that will inevitably color these results. Overall Conclusion. It's hard to get a sense for this from typical product shots, so I took a couple of photos to help convey a sense of scale. When manually focusing in still image modes, simply rotate the focus ring on the lens, and the screen instantly magnifies for a nice, close up view allowing you to easily and accurately check your focus. Full HD video, plus Priority selection. Sony's shadows look cleaner than the D800 as well. While these users might cheer at the inclusion of a mic jack, they'll soon grumble at the fact that there is no manual audio level control in the camera. Even without close calibration, though, it's clear that the Sony RX1's lens is the sharpest, most uniform full-frame 35mm optic we've ever seen. ). With the introduction of the new Sony … A nature photographer would probably never notice a moiré in their subjects, but someone shooting a lot of buildings and architectural details could run across them quite often. Even if the aperture or shutter speed values are pre-selected prior to video recording, once recording has begun, the camera ignores those values and automatically adjusts them for a proper exposure. The Sony RX1 is a $2,800 fixed-lens point-and-shoot. In all of my shooting with it and all our lab tests, the Sony RX1's image quality was simply stellar, and its operation flawless. This balance is surprisingly subtle and difficult to achieve, at least judging from the number of times we've seen manufacturers have a hard time with it. ISO 400 looks great at 24 x 36, with only minor softening in our red swatch, and makes an excellent wall-display print at 36 x 48. As noted earlier, though, many of the exposure settings and adjustments are chosen for you automatically by the camera unless you're in the dedicated Movie Mode. The only trick with this off-focus workaround is to blur things slightly enough so you don't end up with an over-soft image. Frankly, you can make a perfectly nice 8 x 10-inch print with just 6 megapixels (3 megapixels, if you're planning to hang it on a wall and not squint at it). ISO 25,600 capable of a nice 4 x 6 print, and a usable 5 x 7, with amazing color for such a high ISO. While some forms may be subject to detection and removal, by definition, aliasing is impossible to completely distinguish from valid image data. In creating the lens for the RX1, Sony's lens designers took an approach we're seeing more and more lately, taking advantage of the ability to correct images digitally to allow more latitude in some aspects of the lens design. Taking white balance as an example, it has all the white balance settings you could ask for, including no less than four different settings for fluorescent lighting, three separate custom settings, and the ability to apply manual adjustments to every setting separately, using the by now familiar cyan-red/green-magenta (A-B/G-M) color map. Resolution reaches a higher peak. We didn't initially pay much attention to the Sony RX1's focus tracking, as it wasn't highlighted as a particular feature, nor was it one that would have much impact on our own use of the camera. 6 Months With The Sony RX1 By Simi Tometi Hello Steve, Brandon, and fellow site readers. Speedy AF, a retractable electronic viewfinder and the world's first optical variable low-pass filter let you see how seamlessly cutting-edge performance and all-around convenience can co-exist. The RX1 is a huge step up movie making wise with manual controls, 1080P capture vs 720p, plus it records up to 60fps to boot! The Sony Cyber-shot RX1 is the World's first compact camera with a full-frame sensor and fixed lens, and uses the same 24.3 megapixel sensor as the Sony … There's a lot of latitude for making even significant tonal adjustments; detail comes up out of the shadows without complaint, and with surprisingly little noise. The Leica also has a full-frame sensor, a fixed length lens (28mm rather than 35mm) and a compact type body. When it came to white balance, the Sony RX1 handled difficult and mixed lighting with ease. With shading compensation enabled, we got relatively uniformly-exposed frames, but also with the color tints. Your eyes can tell you plainly that the Sony A99's noise processing is a little more aggressive here. Sony Cyber-shot RX1 Hands-on - we take a look at Sony's new full-frame 24MP full-frame compact camera. Alternatively, you can compare the Sony RX1 with a manual-focus Leica M, at $7,000 for the body and around $3,000 for the 35mm f/2 Summicron M lens. Some have remarked that Sony AF systems seem to have a fairly large focus area, and so sometimes focus on the background rather than the subject. On top of that the bright lens and the pop up EVF was also two factors that made me buy it, despite the somewhat hefty price tag. The inevitable result of dialing back or eliminating low-pass filters in digital cameras is that artifacts and moiré patterns will rear their ugly heads. It's a close contest compared to some of the others, a more even match. Users are given the ability to change the white balance settings for video recording, metering mode (although there doesn't seem to be any effect on video exposure) and the Creative Styles color tones, such as Sepia, Black & White and Vivid. I've waxed euphoric about the RX1's image quality above, but it really deserves special mention when summing up my experience with the camera. Where Sony has sometimes struggled with high-ISO noise reduction in the past, the RX1 does an excellent job of preserving subtle detail, and any remaining noise has a nice, fine-grained "filmic" appearance to it. The good news is that moiré patterns are only likely to be found in man-made structures, where there are repeating patterns or textures not found in the natural world. The two shots on the right had the color saturation amped up to 100 in Photoshop, to make the faint color tints glaringly obvious. To make it easier to see the problem, as well as to demonstrate that it wasn't caused by our lighting, senior tech Luke shot two images within less than a minute of each other -- one with the camera positioned grip-up, the other with it mounted grip-down, pointing at the same target. See our Sony RX1 Video page for sample videos and more details. Just as the lens freed me from worrying about staying in its sweet spot, the Sony RX1's super-clean high ISO files meant I could by and large stop worrying about ISO as well. The RX1's optional FDA-EV1MK EVF has all the usual benefits of its class, including the ability to simulate exposure effects (including picture styles and creative filters), the (optional) availability of all the camera status indicators normally seen on the screen, as well as things like the camera orientation display to help you keep your horizons flat and verticals vertical. Let's just get that out of the way at the beginning, so you won't wonder where I'm coming from. The word I keep coming back to is "liberating": The RX1 liberated me from a whole range of concerns I'm accustomed to dealing with, and let me concentrate on taking the pictures I wanted. A friendly place to enjoy the company of other RX shooters, and those with an interest in the RX series of cameras. Material on this site may not be reproduced, distributed, transmitted or otherwise used without the prior written consent of The Imaging Resource. If you want to avoid the issue entirely, you're going to have to turn shading compensation off, even if you're shooting RAW, and then handle any shading corrections in Photoshop. The 13 creative styles provide a wider range of options than found in most cameras, with settings for things like high-key and low-key shots, as well as the conventional Portrait, Landscape, and Sunset settings. It's made for those who would gravitate to the Leica M9, or who, back in the film days, would have spent a lot of money on a Contax G or T-series film camera -- cameras with their own acclaimed Carl Zeiss lenses. Casual video shooters will welcome this behavior, as it makes getting the proper exposure in video much easier, just point and record. The Sony Cyber-shot RX1R II is the latest in the company's line of compact, fixed-lens full-frame digital cameras. We never thought we'd find ourselves saying that a $2,800 compact camera was a good deal, but if ever one qualified as such, the Sony RX1 is it. There are plug-ins out there to fix rolling shutter when editing your footage on the computer, but software correction is not a surefire solution. While the RX1's EVF is better than many, it still blows highlights and plugs shadows, making it difficult to compose shots where there's significant subject detail in either. I guess it says something about how much more time I've now spent shooting with digital than I had with film earlier in my life. The camera's stellar capabilities and handling let me get the shots I wanted with very little fuss, and very little thought about the camera itself. It features the same 42-Mpix full-frame CMOS sensor as the Sony A7R II, paired with the familiar Zeiss 35mm f2.0 Sonnar lens first seen on the RX1. Another possible workaround is to use a small aperture if the extra depth of field and longer exposure aren't detrimental to the shot. This was likely a deliberate choice on Sony's part, and given the price point of the camera, one that's probably justified: Experienced digital shooters know that once you've lost your highlights, they're gone forever, so you generally want to be very conservative in your exposures to preserve them. Neither detracted significantly from the sheer pleasure of using the camera. I've always been a big fan of buttons rather than menu controls, but the flexibility of the Sony RX1's control system took it to a whole new level for me. Granted, both of these lenses are a full stop faster than the RX1's, but both are also softer in the corners than the RX1 is at f/2. It's also worth noting that there is no headphone jack for monitoring audio, either. Removing AA filters seems to be very fashionable at present. we got darker corners, but no sign of the tint. The technical term for this is "rolling shutter artifacts," but many users simply call it the "Jello effect," because the image can jiggle and sway like Jello as the camera is moved. The former helps you capture sharp images when shooting hand-held in low light conditions. The Sony RX1 can also record Full HD at up to 60p. I really liked the added info, compared to just having the camera produce the adjustment with no added information. This does produce sharper-looking images, but as they say, there's never a free lunch: The low-pass filters were there for a reason, which is to reduce various forms of aliasing.
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