 CES 2017. We're still vertical after three days. This is day three at CES 2017. My name is Van. I'm a product trainer here at Sony and I'm glad that you guys have decided to spend some time here at the Sony booth. Come on over to the camera counter where we're showing off the Alpha 6500, the Alpha 99 Mark II, as well as the nice Cybershot cameras. We're about to do some demonstrations. We're going to actually show you a couple of demonstrations with the RX100 Mark V first. I'd like to introduce Arson of imagery, Patrick Murphy Racine. It's great to be here. This is my first ever CES show, so I'm having a lot of fun here and my feet don't hurt too bad, so it's pretty good. The first thing we're going to do is we're going to demo the RX100 Mark V in HFR mode, which stands for High Frame Rate. And so what the camera's going to do is it's actually going to shoot 240 frames per second in a burst and then we'll be able to look at the playback and see how the camera does. It's very beautiful. So I'm going to first get the camera ready in standby mode and then our model is going to move really fast. I'm going to come in and start the capture. There we go. Well, that's awesome fast. That's great. If you're familiar with the RX100 Mark from Sony, this is our fifth iteration and what we've added this time is a 315 point auto-focus, face-detect auto-focus system, as well as a new front-end LSI. Now, the High Frame Rate recording is really unique because it can shoot up to 960 frames per second and slow that down as much as 40 times. And here we can look at our video now. We can look up at the monitors on either side and you'll see what 240 frames looks like. It's beautiful. The other thing to take note of is that her face is tack-sharp throughout the entire video. Even though I was moving and she's obviously moving very fast. So it's really, really cool to be able to capture a video like this. It's so dramatic and this is something I do at every wedding I shoot. I make sure I do the first dance with the RX100 Mark 5 because it's so easy to get such beautiful results. It really does. I'm just mesmerized by ultra slow-mo. It's so cool. Super slow-motion video looks so awesome because really what it does is it takes a split second in time and it stretches it out. So you can really appreciate the details of like, you know, the fabric moving, the hair, everything. So it basically allows you to see something that you normally would never be able to see with your naked eyes. That's right. In the regular mode, you know, the RX100 is so awesome at shooting 4k video. It shoots full 4k in both 24 and 30p and I find that it's awesome camera to use on a small stabilizer. It's great. You can go around corners. Another thing I love about the RX100 Mark 5 is it's great for vloggers. So if you want to like see yourself, you know, you can actually shoot yourself very easily if you're doing interviews with somebody or whatever. But my favorite feature of all is the pop-up screen. I mean, I love the EVF that comes out and even it's not just the 24-70 light Zeiss lens that is on there but even the optics inside the EVF are also T-Star Carl Zeiss, which makes it for a very, very nice way to work and really see what you're shooting. A lot of people think, you know, if it's a bright day outside, it's hard to see the screen. You pop up your refiner, but your refiner also helps you stabilize the camera against your body. So you get less shake and it's a great thing to have, especially on a little pocket camera like that. Now we have full-length true finders on pretty much every camera we have here. So it's a great lens on that RX100 Mark 5, but if it's not quite long enough for you, 24-70 is a little short. We've also got the big brother to it, the RX10 Mark 3. That camera is on the right here, so definitely come over and try that one because it features a 24 to 600 millimeter optical zoom. Now that lens can literally zoom all the way across this very large Sony booth, so try that one out if you go to change it. We're going to switch gears to a camera that can switch lenses now. We've got the Alpha 6500. I love this camera. This is a camera I use almost every day. I'm a sports photographer. I shoot a lot of fast-moving things. I do a lot of SEC football games. I do basketball and have an 11 frame per second motor drive. There it is. It's very, very fast. But it's not just the motor drive that's fast. The autofocus is incredibly quick. 425 points of autofocus and it's a face-to-take autofocus system. By the way, the Alpha 6500 is the world's fastest autofocus in its class. It only takes 0.05 seconds or about 500th of a second. Half the time it takes for you to blame for its autofocus. We're going to do a little thing. This camera also has what's called a front-end LSI, which is a Sony speak for a big buffer. It's got a huge buffer. What we're going to do is we're going to shoot a couple pictures really quickly. You'll notice that her face has that green box over it. It's got a face-to-take autofocus. It doesn't matter where I put her in the frame. You're not stuck in the middle anymore like with the DSLRs that are out there. Here we go. We're going to shoot some pictures and I'm going to move while she's moving. I'm going to hit the play button and you'll see just how fast the buffer is. Right now, you can see up there on the monitor, 20, 1918, I can hit play and I can actually start looking at the images that we just shot almost immediately. It's a really powerful tool. Sony is all about speed. Perhaps the most important element of the speed that I like is the fact that I can say, oh, I really like this picture. I can hit a button and I can literally send it to my phone instantly and then I can push it out to Tumblr, to Facebook, to Twitter, whatever I want instantly. So that's a very powerful thing for me as a working pro. Yeah, and that one-touch transfer is available on pretty much all Sony cameras that have Wi-Fi and NFC, which is everything we have over here. So let's not forget about the cameras down at this end of the counter. You've got the Alpha 99 Mark II. And if you want to wear this, this is our flagship full-frame camera. You want to pick this up? Yeah. It's our flagship full-frame camera. It's an A-mount camera with a translucent mirror. So what that means is it can have full continuous autofocus with A-mount lenses during video as well as stills. And this bad boy here can shoot up to 12 frames per second at a whopping 42 megapixels with JPEG and RAW. And guess what, during that 12 frames per second, autofocus tracking and auto-exposure tracking at the same time. So if you weren't aware, no other camera, period, has been able to have this type of performance until now. Especially in such a small package because it's not half the size of a D5, half the size of a 1DX, and half the price as well. Yeah, just listen. That's amazing. At 42 megapixels. So pretty amazing. If you haven't tried it yet, give this one a shot. Pun intended. So if you've noticed, you may be missing the A7 series of full-frame mirrorless cameras. They are here at the Sony booth, but just not at our station. So make your way down into the rest of the booth here at our main stage. We've got Amy and the other artisans that are showing off the A7R Mark II and the A7S Mark II. And I'm here, I'm not a Sony employee, I'm actually a working pro. If you have any questions for me, that's what I'm here for. So please approach and anything goes. Thank you very much and welcome to CES 2017. Are you still connected? So let me ask you a couple questions. Sure. So let's take the 6500 right here. Yeah. It's a crazy technology in there, right? It's crazy. And for me, as a working pro, I worked for Sports Illustrated for about 10 years. And for the last 19 years, I was shooting all Canon EOS. And now, I'm so happy with the ability to use a camera that's this small and lightweight. I find it extends my ability to kind of stay energized and stay in a shoot because it's so, so small and light. And I'm not giving up any performance at all either. So especially when you consider a D500 and a 7D Mark II is going to be a slower camera than this with twice the bulk in weight and for more money. So at $1,300 versus $2,000 for a D500, it just gets hard for me to understand why anybody would want to do that. You were using the Alpha 6300 before? Oh yeah, I used all of them. Yeah, the A6000 was the linchpin camera for me. As soon as I got that camera in my hands, I realized I'm done carrying all that weight around. That was amazing. It was very affordable. It was? It was still very affordable. And not only that, it's the highest selling camera Sony's ever had. The A6000 is still very much relevant even though it's not here just because we are only showing the most recent cameras. But A6000 continues to be a very successful, very approachable price point. A6300 is still selling great and now we have A6500. You do mostly photography, right? I do photography and video both. I'm on both sides. I'm capturing 4K with Ronin. I'm using the A6500 a lot. I'm actually doing Atomos capture and using ProRes. It's just incredible that you can have a camera this size, this small and especially at this price point where it's so relevant and useful to me as a pro. So the 6300 introduced 4K? Yes. But now there's image stabilization. What does that mean? In the body. How does that help? Inside this body, it means that I can take any lens as long as it's got an adapter. So I can use a lens that was made by Nikon in 1950 and I can put it on this camera and I can get stabilized video with it. It's phenomenal. Also with the Sony glass, which is what I mostly use, if I combine this with a Ronin M, my ability to get huge production quality is off the charts. Because I can be dead solid going around corners through doorways, going upstairs. It's just a huge advantage for me. So how would you rate this stabilization system? Is it like a steadicam? Yeah, one of the things I did as a pro, I wanted to know, is it better in the lens or is it better in the body? And I did a lot of testing early on with a bunch of different lenses and it's absolutely definitely the best in the body. It also makes it lighter weight because if you don't have to buy lenses with them in stabilization, you're saving money and weight there as well. But with the Sony lens, does it double stabilize? Does it stabilize even more? You get five-axis stabilization with any Sony lens and you get three-axis with any other lens. So you can just run after people and it just looks like a steadicam really? Yeah, and when you combine that with the steady shot, which is the electronic steady part of the camera. If you could go with that, if you shoot an active steady shot with the in-body stabilization, it is remarkable. You can go down a flight of stairs and it's still smooth. And now it has a touchscreen. Many people were asking for the touchscreen. Are you using that a lot? You know, I really don't. I'm a left eye shooter and my nose is always getting on the screen. So I don't really use it that much but I have a couple of friends of mine who say it's a real game changer for them. For video, you want to touch on where you focus? Yeah, I don't pretty much because the 4D autofocus system in all the Sony products is so good that usually it's going to do a better job for me than I would do myself. And so I prefer to allow the camera to focus for me. Then I can work on just content, moments, and good quotes. So the camera just knows what's important? Well, if I engage facial recognition autofocus in wide area, yeah. I mean it's going to do a way better job than I could even do with my finger. Sports Illustrated, is that one of the famous American magazines? Yeah, it's the most famous sport magazine in the English speaking world I think. So it's like a lot of content you've been making with Sony cameras? Yeah, yeah. And people just think it's amazing. It just looks awesome. You know, at first people are a little put off by the Sony when they see me on the sidelines with the Sony. They think, geez, what are you doing? But I think that once the images are published they go, oh, okay, wow, that's pretty cool. This is that size. That's the issue. It's a little bit too small to look professional. You know, I don't worry about that. I'm more worried about my pictures looking good than what gear I have. And actually I find great advantage of having a small camera because it allows me much closer access in photojournalism. There's sort of a natural bubble people have about what they're willing to, how close they're willing to let you get. And with a camera this size it looks like a point and shoot. And so I can get really, really close to people that I don't know and really do better documentary work. So do you think people can easily go take this camera and do a feature film? Yes. That's good. That should be totally possible, right? Yes, absolutely. And it's going to look awesome? Yeah. It's going to look like... Well, the other thing is look at this way. Most people that really work in motion pictures they shoot Super 35. That is their primary thing. This is a Super 35 camera. It's its native state. So yeah, it's a great way. And especially even with all the aftermarket lenses coming out of Sigma and Tamron you've got so many options for glass. It's a really easy, fun, nice way to work. How would you define the Sony look? Is there a look? Is it possible to recognize that it's a Sony? I would say yes. I think Sony has a look that is very calm. It's very neutral. A lot of this is because of their relationship with Zeiss. And one of the greatest advantages of the Sony system is that the colors not all whacked out. You know, like when I shot Canon I was always pulling red and yellow and orange out of my photography and out of my video because I was always turning people into hamburger. This is a very neutral thing. And you really want neutral when you're going to be grading in a very serious way your video takes. You always do grading? Yeah. Everything. Plus the ability to use S-Log 2 and S-Log 3 now in all of these cameras. I mean it's insane. A $995 point and shoot from Sony still has S-Log 2 and 3. It's just like, it's unbelievable. And the small one there doesn't have a microphone external input but otherwise it does pretty much lots of all the same stuff. You know, I'll tell you what I'm doing with the RX100. It's a great documentary camera because it's so itty bitty and small. I'm now using the Tascam, I think it's called the DR10L which is a really nice little miniature lavalier with a tiny itty bitty digital recorder. It's not transmitting anything but I can pair the audio with it later. And so I'm still getting pro audio with an RX100 5 which is a really neat way to work. I can have one pocket full of everything I need to do real photo journalism video. And pairing the audio is easy. It is. Especially with Adobe Premiere Pro CC. You have to sit and sync it up or it's automatic kind of. Adobe, I use Adobe Premiere Pro and in the CC version it's got an automatic audio sync. So I don't even have to think about it. I can just boot and the footage goes and it's done. It has the internal mic so it knows how to sync. Exactly. Alright and you can even have multiple mics. You can actually. Yeah, sure. So that's a very compact way to do it. I'm very excited about doing real like documentary work. How does it compare to quality of video on this compared to that? Well this is a one inch sensor versus an APS-C. So first of all and foremost you're not going to have a low light ability of the larger sensor because you don't have as many pixels grabbing light. But I find this camera is really really good up to about 1250 to 1600 ISO and video in 4K. But when you want to use this thing like I bolted this thing on a roller coaster not long ago because it's so tiny it's a great POV camera as well. And when you take all these professional pictures do you like to have bokeh effects all the time? I shoot a lot wide open. It's funny the guys in the back just cleaned my camera. I have an A6500 in back of my own and they found all this stuff all over the sensor because I'm working all the time and they said we can't believe you can't see this and I'm like well I shoot at 1.4 all the time and 1.0 and F2 so I don't really it's kind of funny but yeah. Alright.