SONY FR7 Cinema Line PTZ Camera - ILME-FR7 (AVAILABLE TO PRE-ORDER)
AVAILABLE TO PRE-ORDER NOW DUE TO SHIP IN NOVEMBER 2022.
Cinema Line Full-frame PTZ Interchangeable Lens camera with 15+ stops dynamic range, 4K (QFHD) high-frame-rate 120fps, Fast Hybrid & Real-time Eye AF, and S-Cinetone™ colour science.
SONY FR7 Cinema Line PTZ Camera - ILME-FR7
The world's first full-frame interchangeable-lens camera with remote pan, tilt and zoom (PTZ)
Back-illuminated 35 mm full-frame CMOS image sensor and BIONZ XR™ processing
Innovative full-remote control via Web App, or hardware control via RM-IP500
Powerful expression from a 15+ stop latitude, plus colour matching with other Cinema Line cameras
Up to 100 preset camera positions to be memorised with Web App and optional RM-IP500
Not often does something come out of the blue and hit you square between the eyes and you go WoW. Well, it just has and how exciting are the new Sony FR7 cameras, The world's first PTZ Camera that is able to combine a full-frame image sensor camera, lens interchangeability, and remote shooting functionality all combined as a PTZ Camera? Basically, it is an FX6 NETFLIX-approved PTZ camera. What a game-changer!
Get hands-on with the ILME-FR7
Add even more cinematic shots to your live coverage, with the first full-frame PTZ camera that lets you switch lenses. Slot into any live workflow, match system cameras, and create cinematic images remotely.
Look-Up-Tables from Sony and third parties for on-set monitoring and colour grading.
Cinematography meets robotics
The FR7 provides smooth pan, tilt and zoom (PTZ) control coupled with a full-frame image sensor and a high-quality E-mount lens line-up. Focal length and shallow depth of field provide creative freedom and combine with remote PTZ control capability to open a new world of creative potential.
Remote control for creative camera placement
With its integrated, remotely controllable pan and tilt mechanism, the FR7 can be mounted on the ceiling or in other out-of-the-way locations. Follow your subjects or instantly recall pre-composed shot framings, for unprecedented creative potential.
Innovative remote control
With a newly developed Web App that enables easy access via QR code or URL input, you can set up the FR7 from a tablet or a PC through a web browser*1. You can also use the optional RM-IP500*2 for precise joystick-controlled pan, tilt and zoom operation*3.
Advanced technology for cinematic expression
Bearing the Cinema Line name, the FR7 camera incorporates key features that support cinematic expression. The Sony FR7 features a back-illuminated 35 mm full-frame CMOS image sensor for the first time*4 in a pan, tilt and zoom (PTZ) camera. Also, the BIONZ XR™ contributes to superb image quality with high sensitivity, smooth gradations, and true-to-life colour.
Limitless creativity with E-mount lenses
The FR7 features Sony's E-mount and can be used with all E-mount lenses*5. These include the superlative G Master series, known for its stunning resolution and beautiful bokeh. A choice of focal lengths ranging from 12mm to 1200mm*6 gives you comprehensive creative control.
Cinema Line image quality
The FR7's "Cinema Line" name identifies it as part of a renowned line-up of creative tools designed to unleash the true power of visual storytelling. It provides Custom and Cine EI modes that adjust camera operation to your workflow while maintaining consistency with other Cinema Line cameras.
Staggering latitude for a powerful expression
The FR7 offers a wide 15+ stop latitude*7 to prevent blown highlights and crushed shadows. In Cine EI mode, base sensitivity can be set to either ISO 800 or 12800 for a consistent look regardless of lighting conditions.
Astounding image quality in low light
The FR7 offers cleaner images in low light by taking full advantage of the sensor’s size and high sensitivity. ISO can be expanded as far as ISO 409600*8 when shooting in extremely low light conditions such as live concerts.
Slow motion for extensive creative possibilities
Smooth 5x slow motion provides extensive creative possibilities, making every moment clearer and more dramatic. The FR7 allows internal slow-motion capture at up to 120 fps*9 in 4K*10 resolution and up to 240 fps in full HD.
4K 60p 4:2:2 10-bit output
The FR7 supports clean, high-quality output via its HDMI and SDI OUT connectors. This makes it possible to record Apple ProRes 422 or Avid DNxHR®*11 in 4K 60p 4:2:2 10-bit format with compatible external recorders via an HDMI or SDI cable.
Support for S-Log3/S-Gamut3
The optional S-Log3 gamma curve and S-Gamut3.Cine let you capture the full-colour gamut and dynamic range available to the sensor. They enable the retention of information in both highlights and shadows for flexibility in post-production.
All-Intra recording for precise motion capture
The FR7 is capable of 4K internal recording with 10-bit depth and 4:2:2 colour sampling with All-Intra and Long-GOP compression. This makes it possible to push your colour grades further while still retaining natural gradation, for true editing freedom.
An instant cinematic look with S-Cinetone™
S-Cinetone produces the natural mid-tones essential to healthy-looking skin, plus soft colours and gorgeous highlights. Beautiful cinematic images can be created in-camera, without extra colour grading.
A wide variety of lenses to deliver your vision
The FR7 features Sony's E-mount and can be used with high-quality E-mount lenses*5, including the superlative G Master series, known for its stunning resolution and softly dissolving bokeh. A choice of focal lengths ranging from 12mm to 1200mm*6 gives you full creative control.
Exquisite, impressive bokeh
Taking advantage of the camera's full-frame sensor and the extraordinary line-up of lenses by Sony, you can create expressive bokeh effects with a shallow depth of field – an impossibility with other PTZ cameras. Using a prime lens such as an F1.2 lens will help achieve cinematic-style visual effects where the subject stands out from the background dramatically.
The advantages of Sony’s lenses for video shooting
The best camera deserves the best lenses. Discover four unique advantages in using Sony’s E-mount lenses for video shooting. The combination of Sony's lenses and the FR7 camera will enhance your video creation experience.
Lens support rods
Two lens rods provided below the camera head allow attachment of standard 15 mm rod mountable accessories.
Capture the scene from any angle
The Sony FR7 incorporates smooth pan, tilt and zoom*3 functionality that can be remotely controlled, or recalled to preset positions. The pan angle range is from -170° to +170°, and the tilt angle range is from -30° to +195° when used in a normal upright orientation.
A full-featured dedicated Web App
With a new dedicated Web App, you can use a tablet or a computer's web browser*1 to pan, tilt, zoom, focus, record, and adjust all camera settings. You can access cameras in hard-to-reach locations with easy setup using each camera’s unique QR code. The Web App uses the same menu format as the Sony FX6 for intuitive operation.
High-performance remote controller RM-IP500
The FR7 can be paired with Sony's RM-IP500 remote controller*2 for PTZ cameras, providing precise joystick-controlled pan, tilt and zoom*3 operation. Speed adjustment knobs let you set the speed of pan, tilt, zoom and focus operations suitable for the subject and setting. Zoom can be controlled either via the joystick or a seesaw lever.
Expand your creative options
The FR7 supports multi-camera production with just a small staff. It can be mounted on a tripod, on the ceiling, or in limited-access locations so that subjects can be unobtrusively followed and recorded from a range of viewpoints. A single RM-IP500*2 remote control unit can be used for a setup of up to 100 FR7 cameras (10 groups of 10 cameras)*12.
Fine-tuned control over camera movement
Pan and tilt speed can be continuously varied from 0.02 degrees per second to 60 degrees per second, for flexible subject tracking and production scenarios.
Up to 100 preset camera positions*13
The supplied remote controller*14, dedicated FR7 Web App and RM-IP500*2 can remember up to 100 camera presets (camera direction, zoom and focus). Presets can be recalled at the touch of a button.
Clear Image Zoom*3 to refine your angle of view
The FR7 includes Sony's Clear Image Zoom function, giving you the option to zoom into your subject with minimal image degradation even when using a non-powered zoom lens or prime lens*13.
Reliable autofocus for remote shooting
For remote settings, the FR7 locks onto fast-moving subjects quickly and tracks them tenaciously even in low light, using 627 selectable phase-detection AF points and the powerful BIONZ XR processor.
Real-time Tracking for remote shooting
Concentrate on composition and leave focusing up to the camera. In the FR7’s Web App, Touch Tracking starts autofocus for your chosen subject, complete with Real-time Tracking for professional and efficient production*15.
Real-time Eye AF for remote shooting
Underpinned by the BIONZ XR processor, the FR7 offers reliable AF performance, indispensable for remote shooting. Pinpoint eye focus tracks an eye even when subjects are looking up or down at a steep angle.
Electronic Variable ND Filter for smooth remote operation
Sony's built-in electronic variable ND (neutral density) filter allows exposure control at a distance, for smooth operation in a remote setup. It allows seamless ND adjustment from 1/4 to 1/128 to control exposure remotely, and depth of field can be conveniently controlled while maintaining a consistent exposure.
The FR7 includes a Breathing Compensation function that minimises unwanted changes in the angle of view, for better-looking focus transitions. With compatible lenses, the angle of view is automatically kept consistent even when focusing, making it possible to achieve smooth and dramatic focusing effects*16.
Tally lights to facilitate multi-camera production
The FR7's red and green tally lights make it easy to identify which camera is currently active (on-air) in a multi-camera setup. A red tally light can identify the on-air camera while a green tally light indicates the preview camera.
Supplied infrared remote controller
The infrared remote controller*14 included the FR7 controls pan, tilt, zoom and focus (with presets*13 available) as well as recording and playback.
Dedicated ceiling mount bracket CIB-PCM*12
The FR7 is compatible with the CIB-PCM1 ceiling mount bracket*2 for easy overhead setup. The "Ceiling" option in the Web App flips the control directions, for natural operation even with the camera mounted upside down.
Interfaces and IP transmission methods for a wide range of use cases
The FR7 provides excellent connectivity for video output, IP streaming, and synchronisation with other devices. HDMI video output can be used for real-time monitoring, while SDI video output delivers a RAW signal to an external recording device. Camera control, video and audio transfer, and power supply can be carried out via a single LAN cable.
Connecting to external devices
Easily connect to external devices to provide timecode synchronisation, control tally light signals, and coordinate synchronisation signals in multi-camera setups.
TC IN connector
Receives timecode from an external device to be used for synchronisation.
Connects tally light signals to an external device.
Receives synchronisation signals from an external device for use in multi-camera setups.
LAN and PoE++ connector
The FR7 can be powered with an external PoE++ (Power over Ethernet Plus Plus*17) device via a standard network cable (CAT5e or higher), eliminating the need for separate power supply cabling.
DC IN connector
If not using PoE++, the supplied AC adaptor connects to the FR7's "DC IN" connector to power the unit. The cord clamp on the rear panel of the FR7 can be used to prevent the power cable from being accidentally unplugged.
Support for multiple protocols to meet your streaming needs
RTSP streaming allows video output from one camera to be simultaneously distributed to up to five viewers. SRT enables high-quality, low-latency video transfer even in unstable network conditions. And NDI|HX*18 connects to NDI-compatible devices such as switchers and media servers, supporting efficient live video production using Internet protocols.
|Size & Weight|
|WEIGHT (MAIN UNIT ONLY) (APPROX.)||Approx. 4.6 kg (10 lb 2.3 oz.) (body only)|
|DIMENSIONS (W X H X D) (BODY WITHOUT PROTRUSIONS) (APPROX.)||Approx. 227 x 289 x 233 mm (9 x 11 1/2 x 9 1/4 inch) (body without protrusions)|
|POWER REQUIREMENTS||DC 19.5 V, PoE++ (IEEE802.3bt Type 4 Class 8 comliant) 41.1 V～57.0 V|
|POWER CONSUMPTION||≦80 W (DC 19.5 V) / ≦71.3 W (PoE++)|
|OPERATING TEMPERATURE||0 °C to 40 °C (32 °F to 104 °F)|
|CEILING MOUNT||Yes (with Ceiling Bracket option)|
|STORAGE TEMPERATURE||-20 °C to +60 °C (-4 °F to +140 °F)|
|TALLY LAMP||Left (x1)/Right (x1), Red/Green|
|XAVC INTRA||XAVC-I DCI4K 59.94p mode: VBR, MAX bit rate 600 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 50p mode:VBR, MAX bit rate 500 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 29.97p mode:VBR, MAX bit rate 300 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 25p mode:VBR, MAX bit rate 250 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 24p mode:VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264, XAVC-I DCI4K 23.98p mode:VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 59.94p mode:VBR, MAX bit rate 600 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 50p mode:VBR, MAX bit rate 500 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 29.97p mode:VBR, MAX bit rate 300 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 25p mode:VBR, MAX bit rate 250 Mbps, MPEG-4 AVC/H.264, XAVC-I QFHD 23.98p mode:VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 59.94p mode:CBG, MAX bit rate 222 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 50p mode:CBG, MAX bit rate 223 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 29.97p mode:CBG, MAX bit rate 111 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 25p mode:CBG, MAX bit rate 112 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 23.98p mode:CBG, MAX bit rate 89 Mbps, MPEG-4 AVC/H.264|
|XAVC LONG||XAVC-L QFHD 29.97p/25p/23.98p mode:VBR, MAX bit rate 100 Mbps, MPEG-4 H.264/AVC, XAVC-L QFHD 59.94p/50p mode:VBR, MAX bit rate 150 Mbps, MPEG-4 H.264/AVC, XAVC-L HD 29.97p/25p/23.98p/59.94p/50p mode:VBR, MAX bit rate 50 Mbps, MPEG-4 H.264/AVC, XAVC-L HD 29.97p/25p/23.98p/59.94p/50p mode:VBR, MAX bit rate 35 Mbps, MPEG-4 H.264/AVC|
|Recording Format (Audio)|
|RECORDING FORMAT (AUDIO)||LPCM 24 bits, 48 kHz, 4 channels|
|Recording Frame Rate|
|XAVC INTRA||XAVC-I DCI4K mode:4096 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p, 24p, XAVC-I QFHD mode:3840 x 2160/59.94p, 50P, 29.97p, 23.98p, 25p, XAVC-I HD mode:1920 x 1080/59.94p, 50p, 29.97p, 23.98p, 25p|
|XAVC LONG||XAVC-L QFHD mode:3840 x 2160/59.94p, 50p, 29.97p, 23.98p, 25p, XAVC-L HD 50 mode:1920 x 1080/59.94p, 50p, 29.97p, 23.98p, 25p, XAVC-L HD 35 mode:1920 x 1080/59.94p, 50p, 29.97p, 23.98p, 25p|
|XAVC INTRA||XAVC-I DCI4K/QFHD 59.94p When using CEA-G160T (160 GB) Approx. 30 minutes When using CEA-G80T (80 GB) Approx. 15 minutes, XAVC-I DCI4K/QFHD 50p When using CEA-G160T (160 GB) Approx. 36 minutes When using CEA-G80T (80 GB) Approx. 17 minutes, XAVC-I DCI4K/QFHD 29.97p When using CEA-G160T (160 GB): Approx. 60 minutes When using CEA-G80T (80 GB) Approx. 29 minutes, XAVC-I DCI4K/QFHD 25p When using CEA-G160T (160 GB): Approx. 71 minutes When using CEA-G80T (80 GB) Approx. 35 minutes, XAVC-I DCI4K 24p When using CEA-G160T (160 GB): Approx. 74 minutes When using CEA-G80T (80 GB) Approx. 36 minutes, XAVC-I DCI4K/QFHD 23.98p When using CEA-G160T (160 GB): Approx. 74 minutes When using CEA-G80T (80 GB) Approx. 36 minutes, XAVC-I HD 59.94p When using CEA-G160T (160 GB): Approx. 78 minutes When using CEA-G80T (80 GB) Approx. 38 minutes, XAVC-I HD 50p When using CEA-G160T (160 GB): Approx. 78 minutes When using CEA-G80T (80 GB) Approx. 38 minutes, XAVC-I HD 29.97p When using CEA-G160T (160 GB): Approx. 150 minutes When using CEA-G80T (80 GB) Approx. 74 minutes, XAVC-I HD 25p When using CEA-G160T (160 GB): Approx. 150 minutes When using CEA-G80T (80 GB) Approx. 74 minutes, XAVC-I HD 23.98p When using CEA-G160T (160 GB): Approx. 185 minutes When using CEA-G80T (80 GB) Approx. 91 minutes,|
|XAVC LONG||XAVC-L QFHD 29.97p/25p/23.98p When using CEA-G160T (160 GB): Approx. 170 minutes When using CEA-G80T (80 GB) Approx. 86 minutes, XAVC-L QFHD 59.94p/50p When using CEA-G160T (160 GB): Approx. 115 minutes When using CEA-G80T (80 GB) Approx. 57 minutes, XAVC-L HD 50 /29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB): Approx. 320 minutes When using CEA-G80T (80 GB) Approx. 155 minutes, XAVC-L HD 35 29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB): Approx. 430 minutes When using CEA-G80T (80 GB) Approx. 210 minutes|
|PROXY AUDIO||XAVC Proxy: AAC-LC, 128 kbps, 2 channels|
|PROXY VIDEO||XAVC Proxy: AVC/H.264 High Profile 4:2:0 Long GOP, VBR 1920 x 1080, 9 Mbps|
|SENSOR TYPE||35mm full frame (35.6 x 23.8 mm), Exmor R CMOS sensor|
|PIXELS||Approx. 12.9 megapixels (total), Approx. 10.3 megapixels (effective)|
|BUILT-IN OPTICAL FILTERS||Clear, linear variable ND (1/4ND to 1/128ND)|
|SENSITIVITY||ISO 800/12800 (Cine EI mode, D55 Light source)|
|SHUTTER SPEED||64 frame to 1/8000 sec.|
|Slow & Quick Motion|
|XAVC-I||4096 x 2160: 1 to 60 frames (59.94/50/29.97/25/24/23.98)|
|XAVC-I/L||3840 x 2160: 1 to 60, 100, 120 frames (59.94/50/29.97/25/23.98), 1920 x 1080: 1 to 60, 100, 120, 150, 180, 200, 240 frames (59.94/50/29.97/25/23.98)|
|WHITE BALANCE MODES||Preset, Memory A (2000K-15000K)/ATW|
|GAIN CONTROL||-3 to 30 dB (every 1dB), AGC|
|GAMMA CURVE||SDR Mode: S-Cinetone, Standard, Still, ITU709 / HDR mode : HLG_Live, HLG_Natural|
|TYPE||Fast Hybrid AF (phase-detection AF / contrast-detection AF)|
|FOCUS POINT||627 points|
|FOCUS AREA||Wide / Zone / Flexible Spot|
|OTHER FOCUS FEATURES||Eye AF (Human), Real-time Tracking AF, AF Subj. Shift Sensitivity, AF Transition Speed, Face detection (Face/Eye Priority, Face/Eye Only AF )|
|PAN/TILT ANGLE||Pan: -170 deg.~170 deg., Tilt: -30 deg.~195 deg.,|
|PAN/TILT SPEED||Pan: 0.02 deg.~60 deg./s, Tilt: 0.02deg.~60 deg./s|
|PAN/TILT OPERATION NOISE||NC35 or less|
|CLEAR IMAGE ZOOM||QFHD/4K: 1.5x, HD: 2x|
|SUPPORTED OPERATION SYSTEMS||Windows 10 or later, macOS 10.15 or later, iPadOS 15 or later, Android 12 or later|
|SUPPORTED WEB BROWSERS||Windows: Google Chrome, Mac: Google Chrome/Safari, iPad: Google Chrome/Safari, Android: Google Chrome|
|TC INPUT/TC OUTPUT||BNC (x1), TC IN only|
|AUDIO INPUT||XLR-type 5-pin (female) (x1) line/mic/mic +48 V selectable, Mic Reference: -30 to -80 dBu|
|SDI OUTPUT||BNC (x1), 12G-SDI, 6G-SDI, 3G-SDI(Level A/B), HD-SDI|
|DC INPUT||DC jack (x1)|
|HDMI OUTPUT||Type-A connector (x1)|
|REMOTE||RJ-45(OPTION) (x1), Red Tally IO/Green Tally IO|
|GENLOCK INPUT||BNC (x1), 1.0 Vp-p, 75 Ω|
|OPTICAL OUTPUT||SFP+ comliant*1|
|NETWORK||RJ-45(LAN) (x1), 1000BASE-T|
|IR REMOTE CONTROL||Yes|
|SDI||4096 x 2160: 59.94p, 50p, 29.97p, 25p, 24p, 23.98p / 3840 x 2160: 59.94p, 50p, 29.97p, 25p, 23.98p / 1920 x 1080 : 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 24p, 23.98p, 29.97PsF, 25PsF|
|HDMI||4096 x 2160: 59.94p, 50p, 29.97p, 25p, 24p, 23.98p / 3840 x 2160: 59.94p, 50p, 29.97p, 25p, 23.98p / 1920 x 1080: 59.94p, 50p, 59.94i, 50i, 29.97p, 25p, 24p, 23.98p / 720 x 480: 59.94p / 720 x 576: 50p|
|MEDIA TYPE||CFexpress Type A / SD card (x2)|
|PROTOCOLS (IPV6)||TCP, UDP, ICMPv6, HTTP, HTTPS, DHCPv6, DNS, mDNS, RTP/RTCP, RTSP, SRT, FTP, FTPS|
|PROTOCOLS (IPV4)||TCP, UDP, ARP, ICMP, HTTP, HTTPS, DHCP, DNS, mDNS, RTP/RTCP, RTSP, VISCA over IP, SRT, NDI|HX, FTP, FTPS|
|VIDEO RESOLUTION||4096 x 2160, 3840 x 2160, 2048 x 1080, 1920 x 1080, 1280 x 720, 640 x 360|
|COMPRESSION FORMAT||H.264: High/Main/Baseline Profile, H.265: Main/Main10 Profile|
|MAXIMUM FRAME RATE||H.264/H.265: 59.94fps|
|BITRATE CONTROL MODE||CBR/VBR|
|BITRATE SETTING||512 Kbps~80 Mbps|
|NDI|HX CAPABILITY||Yes, optional*2|
|SUPPLIED ACCESSORIES||Body cap, HDMI cable fixing plate, REMOTE COMMANDER (RMT-RC1), AC Adaptor, Power cord, Before Using This Unit, Warranty booklet|
|1. Video is same as SDI, video output only
2. Need to attach a license
3. As of the Sept. 2022 product announcement, compared to cameras with integrated pan and tilt mounts, Sony survey.
4. S-Log3 recording. Sony measurement.
5. Custom mode.
6. QFHD 3840 x 2160
7. 10% crop, approx.
8. Avid DNxHR is a trademark or registered trademark of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries.
9. The SEL100400GM, SEL200600G, SEL400F28GM, and SEL600F40GM are not compatible with pan and tilt operation. Refer to Sony’s support site for compatibility information.
10. With the SEL20TC teleconverter.
11. Optical zoom and Clear Image Zoom are both available when a compatible electronic power zoom lens is used. Only Clear Image Zoom is available when a prime lens or a zoom lens that does not feature power zoom is used.
12. Refer to the help guide for system requirements.
13. The supplied infrared remote controller can store up to three presets.
14. The pan and tilt preset function is not available when Clear Image Zoom is ON. Maximum Clear Image Zoom magnification is 1.5x when recording QFHD/4K, and 2x when recording HD.
15. Only available with lenses that support Breathing Compensation. Angle of view and image quality may change slightly. Full compensation may not be possible with all lenses. This function is not available when Distortion Comp. is OFF, the S&Q mode is in use, or the recording format is set to RAW or any format that includes RAW.
16. RM-IP500 software version 2.2 or later required. The RM-IP500 connects to FR7 cameras via VISCA over IP (LAN). Use the FR7 A-panel overlay sheet included with the RM-IP500 for optimum operating efficiency.
17. CFexpress Type B memory cards are not supported. Recording and playback are not possible when powered via PoE++.
18. NDI = Network Device Interface from NewTek. An NDI|HX Upgrade must be purchased from NewTek.
19. Conforms to IEEE802.3bt (Type 4, Class 8). Internal recording and playback are not available when PoE++ power is used.
20. Features and specifications are subject to change without prior notice.
21. For information about the external power supply bundled with the product (when applicable), please refer to the link regarding information on ecodesign requirements for external power supplies in accordance with the COMMISSION REGULATION (EU) 2019/1782 of 1 October 2019 laying down ecodesign requirements for external power supplies pursuant to Directive 2009/125/EC of the European Parliament and of the Council and repealing Commission Regulation (EC) No 278/2009 https://www.sony.co.uk/electronics/eco/environmental-management