The Sony HDR FX7 is a high-definition video camera made for the consumer market.
The performance of the video camera results in good video quality, partly due to the camera's CMOS ClearVID sensor setup.
The HD video camera is the first of its kind to utilize an arrangement of 3 CMOS (3 X ¼ inches), with each separate sensor producing 1037 working pixels at the 16:9 screen mode.
The excellent performance of the HDR HC3 (with a single CMOS) and its high resolution scores, which are the best compared to its contemporaries, heralds well for the Sony HDR FX7.
The 3-sensor CMOS structure equates to precision of color, and many adjustable settings from the picture controls.
Sony's proprietary technology has enabled them to come up with ClearVID, which moves each single pixel an angle of 45 degrees to improve the viewing experience of the image, although it does not compound pixel count.
The HDR FX7 has a 3-CCD cousin at the top tiers of the Handycam range of Sony products.
The Sony HDR FX1 is this consumer, or rather, "pro-sumer" videocam.
Sony's promotions relegate these two similar video cameras to its consumer line, although many reviewers place them as more basic products for the professional consumer.
The imaging technology of the two cameras is different, although both provide a gross of 1120k pixels.
The FX7 gives a slightly lower count of 1037 effective pixels in the 16:9 screen format, as the FX1 has 1070k.
Sony claims that the CMOS sensor system and ClearVID technology gives excellent video performance under normal light, and that the HAD CCDs work well in dimly-lit environments.
The Sony HDR FX7 has CMOS sensors that do not quite measure up to the HDR FX1's, partly due to the older video camera's 72mm lens.
The 62-millimeter diameter lens of the FX7 allows it to gather lower amounts of light than the HDR FX1.
The FX1 gives a minimum rating of 3 lux for illumination and the FX7 shoots at 4 lux.
The variation of 1 lux does not seem to impact shots in normal conditions, although users such as filmmakers who take footage in the open (and have to work with whatever light is available) need to take this in consideration.
The performance of the video camera results in good video quality, partly due to the camera's CMOS ClearVID sensor setup.
The HD video camera is the first of its kind to utilize an arrangement of 3 CMOS (3 X ¼ inches), with each separate sensor producing 1037 working pixels at the 16:9 screen mode.
The excellent performance of the HDR HC3 (with a single CMOS) and its high resolution scores, which are the best compared to its contemporaries, heralds well for the Sony HDR FX7.
The 3-sensor CMOS structure equates to precision of color, and many adjustable settings from the picture controls.
Sony's proprietary technology has enabled them to come up with ClearVID, which moves each single pixel an angle of 45 degrees to improve the viewing experience of the image, although it does not compound pixel count.
The HDR FX7 has a 3-CCD cousin at the top tiers of the Handycam range of Sony products.
The Sony HDR FX1 is this consumer, or rather, "pro-sumer" videocam.
Sony's promotions relegate these two similar video cameras to its consumer line, although many reviewers place them as more basic products for the professional consumer.
The imaging technology of the two cameras is different, although both provide a gross of 1120k pixels.
The FX7 gives a slightly lower count of 1037 effective pixels in the 16:9 screen format, as the FX1 has 1070k.
Sony claims that the CMOS sensor system and ClearVID technology gives excellent video performance under normal light, and that the HAD CCDs work well in dimly-lit environments.
The Sony HDR FX7 has CMOS sensors that do not quite measure up to the HDR FX1's, partly due to the older video camera's 72mm lens.
The 62-millimeter diameter lens of the FX7 allows it to gather lower amounts of light than the HDR FX1.
The FX1 gives a minimum rating of 3 lux for illumination and the FX7 shoots at 4 lux.
The variation of 1 lux does not seem to impact shots in normal conditions, although users such as filmmakers who take footage in the open (and have to work with whatever light is available) need to take this in consideration.
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