Sony has included a familiar set of vlogging functions, some of which get their own dedicated buttons. This shoe will also accept Sony’s ultra-compact ECM-G1 microphone with a wire-free connection, and there’s a conventional 3.5mm stereo mic input, too. A windshield comes in the box, which clips onto the camera’s multi-function shoe. There’s a high-quality 3-capsule microphone built-in, which now offers a choice of directionality settings – either biased towards the front or the rear of the camera, or omnidirectional. The camera records in 8-bit 4:2:0 colour and should keep going for 45 minutes before the battery runs out.
#Canon sure shot 35mm full
Of course, this really a video camera, and to that end you get 4K recording at up to 30fps, and Full HD at up to 120fps for slow-motion effects.
The ZV-1 uses Sony’s familiar BX-1 battery, which shares a compartment with the SD card. A switchable 3-stop neutral density filter is built in, but there’s no optical stabilisation – just electronic stabilisation for video.
Overall the lens is equivalent to an 18-50mm f/5-11 on full-frame, which means you get little in the way of background blur at any setting. That headline f/1.8 at wideangle may sound good, but it drops to f/2.8 by 24mm equivalent, and f/4 at 35mm. However, the penalty lies with the aperture. The continuous shooting performance is impressive, though, at 24 frames per second.Īs for the lens, it really is dramatically wider than its predecessor – in fact it’s surely the widest zoom lens that’s ever been built into a compact camera. This provides a top speed of 1/32,000sec, but limits the slowest setting to 1/4sec, despite the camera’s onscreen interface implying you can achieve striking long exposures of fireworks and flowing water. Credit: Andy Westlakeįor shooting stills, the camera employs an electronic shutter only. The screen can be closed facing inwards for protection. The back of the camera is essentially the same as the original ZV-1. However, such an ultra-wide view is unique for a zoom compact camera, which means it could also pique the interest of stills shooters for genres such as travel or landscape photography. This addresses one of the major criticisms of the original, that its 25-70mm equivalent zoom isn’t really wide enough for arm’s length vlogging. Without doubt, the headline change is the lens, with the new Zeiss Vario-Sonnar T* 6.9-17.6mm F1.8-4 optic providing a much wider angle of view, which Sony says is equivalent to 18-50mm in full-frame terms (although pedantically, it’s closer to 19-48mm).
Now the firm has got around to revisiting the original concept, with the new Sony ZV-1 Mark II complementing, rather than replacing the ZV-1 in the line-up. All offer a similar design concept, but at wildly differing price points. Indeed, the ZV-1 proved such a hit that Sony has since expanded its vlog camera range, adding the interchangeable-lens APS-C format Sony ZV-E10, the simplified Sony ZV-1F with a fixed wideangle prime lens, and most recently, the full-frame Sony ZV-E1.
#Canon sure shot 35mm update
The ZV-1 Mark II’s headline update is its new Zeiss Vario-Sonnar T* 6.9-17.6mm F1.8-4 lens – equivalent to 18-50mm.
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