GEAR
SONY A6700
base ISO settings – 800 and 2500. It is possible to set the camera to automatically switch between base ISOs or manually select the one you want. The A6700 doesn’t claim to have dual base ISO settings, but we found a sudden drop in noise when going from ISO 2000 to 2500. This suggests it is the same as the FX30 EI mode. And that’s a good thing, as the camera controls noise well. Up to around 6400 it’s very clean, and usable at 12,800 in a pinch. Noise becomes more apparent when employing one of the cropped modes in slow motion, like 4K/120p or HD/240p. These settings should only really be implemented during those occasional shots where there is plenty of light. Unlike the fan-cooled FX30, the A6700 doesn’t feature active cooling, but the body is designed to encourage airflow. The new, larger grip is not only more ergonomic, but also houses the larger-capacity battery from the full-frame Alpha cameras. And in our testing, when shooting 4K/60p in 25°C heat, the camera got hot but didn’t shut off until the battery died after
“Rolling shutter is impressive and IBIS is very good, although not quite on par with rivals”
although not quite on par with rival APS-C or Micro Four Thirds cameras. Sony just doesn’t seem to have nailed vibration reduction yet. You can talk specs all day, but the important thing is results. Stills are beautifully detailed and video footage is sharp, finely detailed and with the kind of colours you might expect from Sony. So, for the money, this camera delivers incredible stills and video at hardly believable value. And about time too.
two hours or so. In 4K/120p, this only lasted for about half an hour before overheating and giving up. That’s another reason to use 120p sparingly. But for the majority of users in normal circumstances, there’s no issue with overheating. What you would expect to be a benefit of using a sub-full-frame sensor is reduced rolling shutter and improved in-body image stabilisation. The rolling shutter is impressive and IBIS is very good,
MAKE A BEE-LINE With the A6700 and new 70-200mm lens (left), you can get incredible close-up shots (above)
THE VERDICT
HOW IT RATES Features: 9 No waveform monitoring or internal video Raw but great AF Performance: 9 Sharp stills and video with great autofocus performance Handling: 8 Swivel screen but few custom buttons Value for money: 9 Cheaper than most and more capable OVERALL RATING: 9/10 A solid camera for stills and filmmaking – and it’s compact Pros: Great autofocus, cheap memory cards, 4K/120p and 240fps HD Cons: No internal Raw, single card slot
look elsewhere. But for the vast majority of filmmaking professionals, the Sony A6700 is a viable alternative. And if you’re a sports or wildlife shooter, the crop sensor gives a decent boost to your long lenses, too. Our real-world advice would be that, if you can use an APS-C sensor and shoot predominantly movies, the FX30 might be more expensive but is a more suitable purchase. But if you’re a hybrid worker who demands high-quality stills functionality as well as video, the A6700 is a fine choice.
Some filmmakers might not consider anything less than full-frame cameras since they traditionally give cleaner images and allow for a very shallow depth-of-field. But Sony’s A6700 could be the camera that converts Sony users back to the traditional Super 35 sensor size, especially when it’s available at such a good price. Loads of the fast lenses on the market can provide that prized, super-shallow depth-of-field, though. And while the A6700 might not dethrone the A7S III for low-noise performance at high ISO, it is certainly very usable at settings up to 6400. This is a higher ISO than most films are shot at. If you always shoot at night or in low light, maybe you need to
More information
sony.com
56
PRO MOVIEMAKER
Powered by FlippingBook