Sony ZV-E10 II shoots 4K 60fps video up to 600mbps
Jul 10, 2024
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Sony has now officially announced the new Sony ZV-E10 II ($999) mirrorless camera. Unlike sony’s Alpha line, its ZV line is targeted specifically towards vloggers and content creators The ZV-E10 II marks Sony’s second-generation interchangeable lens APS-C camera in the lineup.
It brings some significant upgrades over the original ZV-E10, sharing more in common with the full-frame ZV-E1. It now has a new 26-megapixel BSI sensor and shoots 4K video at up to 60fps, oversampled from 5.7K. It’ll also shoot 10-bit 4:2:2 at up to 600mbps.
Sony ZV-E10 – A new standard in APS-C vlogging cameras
With Sony’s ZV series, their goal was to create the ultimate camera for vloggers and content creators. The cameras are tailored specifically to their unique needs, and Sony is constantly tweaking and improving things. The new ZV-E10 II marks a significant step in their development for APS-C sensors.
The ZV-E10 II bumps up the original ZV-E10’s 4K 30fps video up to 4K 60fps. But it doesn’t just come with an increased frame rate. The new sensor, along with Sony’s latest BIONZ XR processor allow it to shoot at up to 10-bit 4:2:2 at 600mbps.
It includes 10 Creative Look presets, allowing you to quickly get a consistent look across your footage while you’re shooting. Sony has expanded the Creative Look presets with 8 variable sliders for each to tweak it exactly how you need. Six slots are available for saving these custom preset settings configurations.
There’s also a Cinematic Vlog setting which automatically puts your camera into 2.35:1 cinematic aspect ratio. This isn’t all it does, though. It sets your frame rate to 24fps, with a configurable AF transition speed, and includes five different cinematic looks presets, each with four different moods.
Of course, you’ve got the usual flippy out LCD letting you see yourself from the front. But new with the ZV-E10 II is a vertical display. Most social media content is oriented vertically, so it makes sense for the user interface to reorient as you rotate your camera, too.
Only a single UHS-II SD Card Slot
Now, there’s only a single UHS-II SD card slot on the side of the camera. It’s not one of the dual card slots like in the FX3. This is mostly due to the fact that 600mbps falls well within the capabilities of V90 SD cards. So, CFexpress Type A speeds aren’t required.
While this is a perfectly valid argument, but I think it was a mistake. V90 UHS-II SD cards are still very expensive compared to V60 cards. Of course, V60 cards aren’t fast enough for 600mbps footage. CFexpress Type A cards, on the other hand, are plenty fast enough and cheaper than UHS-II SD cards for the same capacity.
For example, the 512GB SanDisk Extreme Pro UHS-II V90 costs $599. The upcoming 512GB CFexpress Type A from Wise is available to pre-order for $359. That’s a significant difference in price between the formats. There’s also a significant difference in read speed.
It’s easy to shoot a terabyte of footage in a day, even when you’re not shooting 600mbps. 512GB at the UHS-II limit of 300MB/sec (which no card really achieves) would take a little over half an hour to transfer to your computer. That 1,865MB/sec Wise CFe Type A card would take about five minutes.
Spending $250 extra per memory card adds up to “should’ve bought a higher-end camera with a CFe slot” real quick. So, while the camera might not require the high write speeds of CFexpress Type A, I think customers would definitely appreciate the cost savings and transfer speeds when unloading to the computer.
Sony ZV-E10 II Specs
Sensor | 26-megapixel APS-C BSI CMOS |
Lens Mount | Sony E |
Max resolution | 6000×4000 |
Stabilisation | Electronic image stabilisation |
ISO Range | 100-32,000 (50-102,400 extended, stills only) |
Continuous shooting | Unspecified |
4K Video | 5.7K oversampled to 4K UHD HDR video up to 60fps, 10-bit 4:2:2 600mbps |
Focus type | Fast Hybrid AF (phase-detection AF / contrast-detection AF) |
AF Points | 759 Phase-detection AF points, 93% coverage |
Viewfinder | None |
LCD | Unspecified |
Connectivity | WiFi, Bluetooth |
Battery | NP-FZ100 |
Launch price | $999 |
Sony E PZ 16-50mm f/3.5-5.6 OSS II
Sony has also announced a new Sony E PZ 16-50mm f/3.5-5.6 OSS II lens. It’s the kit lens for the Sony ZV-E10 II, but it will be available separately in black. There is also a silver version, although you’ll only be able to buy that one as part of the bundle with the white version of the camera.
It offers a field of view equivalent to a 24-75mm focal length on a full-frame camera. This is a nice range for an everyday and walkabout lens. One benefit it has over the original lens is that this one is able to autofocus while zooming. Not a common need for many, but vital for those who need it.
It’s also tiny and low-weight to match the needs of vloggers and content creators. It weighs only 107g and packs down to 31.3mm long at its shortest.
Sony E PZ 16-50mm f/3.5-5.6 OSS II Specs
Focal Length | 16-50mm (35mm Equivalent Focal Length: 24 to 75mm) |
Maximum Aperture | f/3.5-5.6 |
Minimum Aperture | Unspecified |
Lens Mount | Sony E |
Lens Format Coverage | APS-C |
Angle of View | Unspecified |
Minimum Focus Distance | 25-30cm |
Maximum Magnification | 0.215x |
Optical Design | Unspecified |
Diaphragm Blades | Unspecified |
Focus Type | Autofocus |
Image Stabilization | Yes |
Filter Size | 55 mm (Front) |
Dimensions (ø x L) | Unspecified |
Weight | Unspecified |
Price and Availability
The Sony ZV-E10 II is available to pre-order now for $999 on its own in black or white or for $1,099 with the Sony E PZ 16-50mm f/3.5-5.6 OSS II lens. The Sony E PZ 16-50mm f/3.5-5.6 OSS II will be available separately for $299 in black. If you want the silver one, you can only get it in the kit with the white body.
Shipping begins at the end of July.
John Aldred
John Aldred is a photographer with over 25 years of experience in the portrait and commercial worlds. He is based in Scotland and has been an early adopter – and occasional beta tester – of almost every digital imaging technology in that time. As well as his creative visual work, John uses 3D printing, electronics and programming to create his own photography and filmmaking tools and consults for a number of brands across the industry.
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