Sony NEX-EA50 NXCAM User manual

NEX-EA50
Handbook

The NEX-EA50 camcorder features an ultra-large image sensor for optimum
high-resolution live-action video capture.
The APS-C size Exmore HD CMOS image sensor with 16.7 million pixels produces
unparalleled stereoscopic images at shallow depth of eld and guarantees
improved clarity with minimal noise in low light settings.
Video cameras with large sensors have been available for some time in the DSLR (digital single lens
reex) camera format. However the NEX-EA50 is superior to conventional DSLR cameras and offers a
number of exciting new features.
・Extended operation and recording times
Overheat protection enables continuous uninterrupted recording for up to 540 minutes using the NP-
F970 battery pack, or 330 minutes under normal usage conditions.
・Back up recording
The NEX-EA50 supports simultaneous recording onto an optional ash memory unit (HXR-FMU128)
as well as the HD memory card to help prevent accidental data loss. Separate START/STOP buttons
allow independent recording control for each media type.
・SELP 18200 powered zoom lens (not available on all models)
The powered zoom lens delivers smooth zoom action during video capture from 29 mm through to
322 mm (35-mm equivalent).
・High-quality digital zoom using xed focal length lens
The NEX-EA50 provides precise, high quality zooming when using a xed focal length (prime) lens,
without change in the depth of eld which is virtually impossible to achieve using an optical zoom
lens.
・Time code setting (Rec run/free run)
The infrared remote control allows simultaneous reset and synchronized recording of the NEX-EA50
together with other NXCAM
・LPCM audio recording/XLR connector
In addition to the built-in stereo microphone, the NEX-EA50 comes with the ECM-XM1 shotgun
microphone powered by a 48 Volt XLR connector.
・Adaptable shoulder style design
The NEX-EA50 has a handle grip for active hand-held shooting, as well as a retractable shoulder-pad
and detachable viewnder for added stability in shoulder-mounted mode.
High reliability in an adaptable design

Chapter 1
SENSOR AND LENS
Chapter 0
AUTOMATED FUNCTIONS
Chapter 2
SHOOTING STYLES
Chapter 3
FILE-BASED
Chapter 4
PICTURE PROFILE

2
0
Chapter
AUTOMATED FUNCTIONS
Video Settings
AUTO EXPOSURE (AE) function lets you control
image brightness automatically
Moving the AUTO/MANUAL switch to AUTO enables automatic
adjustments of the iris, gain, shutter speed and white balance
settings. You can start shooting right away without checking
those settings.
AUTO EXPOSURE (AE) is a camcorder function that controls
all or some of the iris, shutter speed and gain parameters
automatically to achieve ideal brightness for videos.
With the NEX-EA50, the above parameters, as well as white
balance, are controlled automatically when the AUTO/MANUAL
switch is moved to AUTO. Please note that automatic control
of iris is only possible when an E-mount lens is used. When
another maker’s lens is used, iris remains under manual
control, while other parameters are adjusted automatically.
When the AUTO/MANUAL switch is in the MANUAL position,
pressing the specific button for a particular parameter, such
as the GAIN button, lets you switch between the AUTO and
MANUAL modes just for that parameter (gain in the case of the
button). The [A] icon next to a parameter indicates it is being
controlled automatically.
Even when the AE function is used, it cannot produce perfect
results under all lighting conditions. But by also utilizing
support functions, you can use the AE function effectively. AUTO/MANUAL control display
AUTO/MANUAL switch
GAIN button
*1 Iris position moves to either F3.5 or maximum iris in AUTO FOCUS mode.
*2 Iris position moves to either F3.5 or maximum iris in PUSH AUTO focus mode while exposure is adjusted by shutter speed.
LA-EA1 LA-EA2
A-mount
Lens Type
Focus Iris Focus Iris
AUTO
FOCUS
MANUAL
FOCUS
PUSH
AUTO
AUTO MANUAL IRIS
PUSH
AUTO
AUTO
FOCUS
MANUAL
FOCUS
PUSH
AUTO
AUTO MANUAL IRIS
PUSH
AUTO
SSM No Yes No No Yes No Yes*1Yes Yes*2No Yes Yes
SAM No Yes No No Yes No Yes*1Yes Yes*2No Yes Yes
Coupler No Yes No No Yes No Yes*1Yes Yes*2No Yes Yes
Comparison Chart for LA-EA1 and LA-EA2 (When used with NEX-EA50)
About automated functions
For documentaries and events requiring maximum mobility, automated functions such as Auto Focus and Auto Exposure reduce
the workload so that you can concentrate on tracking the subject.
The 11 x powered zoom lens and E-Mount lens supplied with the NEX-EA50 are compatible with Auto Focus and Auto Exposure.
A-Mount lenses also support the following automated functions when used in conjunction with the LA-EA1 or LA-EA2 mount
adaptor.

LEVEL = 0EV
LEVEL = +2.0EV LEVEL = –2.0EV
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PICTURE PROFILE
AE SHIFT for automatically shooting video a little brighter or darker ASSIGN
The AE SHIFT function enables you to shoot at an exposure level that is a little higher or lower than the AE function normally selects.
Usage examples
■ When the subject is darker than the background, such as when
shooting a person against light, a snowfield or another bright
background using the AE function. If you want to capture the
subject brightly even if the background becomes extremely
bright, you can shift AE toward the + (plus) side.
■ When the subject is too bright compared to the brightness
of the background. If you want to tone down the subject’s
brightness even if the background becomes darker, you can
shift AE toward the – (minus) side.
Moving the AUTO/MANUAL switch to MANUAL enables manual adjustments of the iris, gain, shutter speed and white balance
settings. Please note using this switch will change the settings for all these exposure settings. Regarding focus adjustment, moving
the FOCUS switch to MANUAL enables manual adjustment.
Using Manual functions for purposeful shooting
With focus, automatic adjustments kick in when the FOCUS
switch is moved to AUTO.
AUTO FOCUS function lets you control focus
adjustment automatically
How to set/operate
1. MENU → CAMERA SET → AE SHIFT
2. Select ON/OFF.
3. Adjust the shift brightness in the range - 2.0 (dark) through 0 (normal) to +2.0 (bright).
Press the SEL/PUSH EXEC dial to enter the new setting.
Note: This feature is available when auto control is enabled for the iris, shutter speed and/or gain.
FOCUS switch
① ② ③

4
AUTOMATED FUNCTIONS
WB TEMP SET (white balance temperature set) lets you directly set color temperature
This function enables you to specify the color temperature in numbers, such as 3,200K and 6,500K.
White Balance (WB)
To shoot images in correct colors, you need to adjust your camera so that it can capture a white object as white under lighting
conditions with different color temperatures. At the same time, white balance is sometimes used to shoot something that is not white
as white for dramatic effects.
TIPS
There are times when the correct white balance cannot
be obtained by designating a color temperature alone,
such as when you are shooting under fluorescent or
LED lights. In such cases, we recommend you also use
the WB SHIFT function under the Picture Profile menu.
Selecting WHITE BALANCE MEMORY switch A ( A) saves
a white balance adjustment value in memory A. Choosing
switch B ( B) enables you to store another white balance
adjustment value separately in memory B. Unless you readjust,
the saved adjustment values will be held in memory even when
the power is turned off. We recommend using this feature when
you use ND lters.
One Push White Balance lets you capture
white subjects as white
How to use/operate
1. Push the WHT BAL button on the camera body.
2. Select A ( A) or B ( B) with the WHITE BALANCE
MEMORY switch located on the camera body.
3. Set the correct exposure under the same lighting conditions
as the subject, capture the white subject as large as
possible in the screen, and push the (one push) button.
4. The adjustment value is stored in A or B. The saved
color temperature is displayed on the LCD screen for about
three seconds.
Usage examples
■ When you want to match white balance with other
broadcasting/professional camcorders whose color
temperatures can be congured by entering numbers.
■ When you want to keep the numerical values of color
temperatures as shooting data when the shooting
assignment extends over multiple days, for example.
How to set/operate
1. MENU → CAMERA SET → WB PRESET → WB COLOR TEMP
Exit from the menu system.
2. Press the WHT BAL button on the side of the camera and set
the memory switch to PRESET.
3. Press the (one push) button to highlight COLOR TEMP on
the display, then use the SEL/PUSH EXEC dial to adjust the
color temperature in the range 2,300 K through 15,000 K.
4. Press the (one push) button or the SEL/PUSH EXEC dial
to enter the new setting.
WHT BAL button
(one push) button
WHITE BALANCE
MEMORY switch

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WB OUTDOOR LEVEL (white balance outdoor level) for controlling an image’s color tone with white balance
This function lets you change the color temperature (default value at roughly 5,800K) for the OUTDOOR white-balance preset.
WB (White Balance) preset
Clear skylight
Bright overcast
skylight
Overcast skylight
Daylight
fluorescent lamp
(K)
30,000
25,000
10,000
8,000
7,000
6,000
5,000
4,000
3,200
3,000
1,500
Daylight
Noon
2 hours
after sunrise
1 hour
after sunrise
100W
tungsten lamp
15,000K
WB TEMP SET
(Unit: 100K)
WB OUTDOOR
LEVEL
(Unit: 500K)
+7
0(Approx. 5,800K)
(Approx. 9,300K)
(Approx. 2,300K)
2,300K –7
Reference: WB preset and color temperature
TIPS
INDOOR color temperature is 3,200K
and OUTDOOR color temperature is
5,800K in WB PRESET setting.
Some camcorders in the HDV and
NXCAM series are equipped with the
same function. You can roughly match
their color temperatures by setting
their WB OUTDOOR LEVEL at the same
level.
Usage examples
■ When you do not have a white subject for setting white balance.
■ When you want to match the white balance of multiple cameras as much as possible.
■ When you want your image to have an orange tone like during sunsets or a bluish
tone like at night and under shade.
How to set/operate
1. MENU → CAMERA SET → WB PRESET → OUTDOOR
Exit from the menu system.
2. Press the WHT BAL button on the side of the camera and set the memory switch to
PRESET.
3. Press the (one push) button to highlight the display, then use the SEL/PUSH EXEC
dial to adjust the correction level in the range -7 (blue tint) through 0 (normal) to +7
(red tint), in increments of approximately 500 K.
4. Press the (one push) button or the SEL/PUSH EXEC dial to enter the new setting. WB OUTDOOR LEVEL = –7
WB OUTDOOR LEVEL = +7

6
AUTOMATED FUNCTIONS
How to set/operate
1. Set the CH1 (INT MIC/INPUT1) switch (see ② in diagram on
right) and the CH2 (INT MIC/INPUT1/INPUT2) switch ⑥to INT
MIC.
2. Set the input level AUTO/MAN switches ③and ⑦ to the AUTO
position.
TIPS
For distant subjects where the sound levels are too low, use
the menu system to navigate to AUDIO SET → INT MIC SET →
INT MIC SENS and select HIGH SENS to boost the audio level in
AUTO mode.
The stereo microphone is set into the front of the handle. This
microphone has low directionality and provides consistent
orientation during both fixed and pan shots. It is designed to
provide general ambience with relatively close subjects using a
moving camera.
Using the built-in stereo microphone
Audio settings
The NEX-EA50 has two audio input channels and accepts three input sources: built-in stereo microphone,
unidirectional mono microphone (supplied) and external line in. There is a +48 V phantom power supply.
How to set/operate
1. Connect the shotgun microphone to INPUT1 (upper) and set
the INPUT1 switch (see ① in diagram above) to MIC+48V.
2. Set both the CH1 switch ② and the CH2 switch ⑥to INPUT1
position.
TIPS
Mono sound signal is distributed evenly between the left and right channels. If the CH2 switch (6) is set to LINE then no
sound is recorded on CH2.
When using a dynamic unpowered microphone, switches (1) and (5) should be set to the MIC position. This disables the 48 V
power supply.
In strong wind conditions, use the menu system to navigate to AUDIO SET → XLR SET → WIND RED, then turn on wind
reduction to reduce wind noise.
The directional shotgun microphone is used to minimize
background noise for distant subjects.
Using the supplied ECM-XM1 shotgun microphone (mono only)

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How to set/operate
The wireless microphone is connected in the same way as the
shotgun microphone. When using a two-channel system with
separate microphones, connect the left channel to INPUT1 and
the right channel to INPUT2.
For more information, refer to the manufacturer’s instructions
for the microphone.
TIPS
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あああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああああ
ああああああああああああああああああああああああああああああああああああああああああ。
TIPS Adjusting the input level for external microphones
TRIM is used to adjust the microphone input level in accordance with the sound volume.
In the menu system, navigate to AUDIO SET → XLR SET → INPUT1(2) TRIM, then select the required trim value (-18 dB, -12
dB, -6 dB, 0 dB, +6 dB and +12 dB).
For high-sensitivity microphones, or when recording very loud sounds, reduce the trim value. For low sensitivity microphones,
increase the trim value.
Audio distortion may be caused by input distortion (at the microphone) or recording distortion (within the camera), or a
combination of both. To reduce input distortion, adjust the trim as described above. To reduce recording distortion, change
to manual audio mode (switches ③and ⑦) and adjust the input level dials ( ④and ⑧) so that the sound level meters
remain out of the peak zone.
In certain settings the Audio Limiter can help to improve the sound quality when recording in manual audio mode. Use the
menu system to navigate to AUDIO SET → AUDIO LIMIT.
Wireless microphones are often used by reporters who are
constantly on the move. The microphone is connected to a
transmitter worn by the reporter. The receiver is attached to
the camera, providing an audio output feed that is connected
to the camera input.
Wireless and other external microphones
TIPS
A at mono mix of CH1 and CH2 in the headphones can be used to check the balance between left and right channels while
recording. To switch to the mono mix, use the menu system to navigate to AUDIO SET → HEADPHONE OUT and select MONO.
The audio track can be monitored through headphones during
recording and playback, and also from the built-in speaker
during playback. The volume buttons and channel selector are
located on top of the camera at the back.
Adjusting the playback volume

8
Chapter 1
8
SENSOR AND LENS
16.7 million pixel APS-C size Exmor HD CMOS sensor
The NEX-EA50 delivers rich “bokeh” that brings the subject to life as well as excellent sensitivity to reduce noise in low-light
settings. The large APS-C size sensor produces images at sufcient resolution to allow digital zooming with no loss of picture quality,
effectively transforming a single focal length lens into a high-quality zoom lens.
At a given angle of eld, a larger sensor with a longer focal
length will create more background blurring. When depth of
eld is relatively shallow, this accentuates the region that is
in focus and creates a striking sense of presence.
The larger the sensor, the greater the area available for
capturing light. More light in turn boosts the sensitivity and
the signal-to-noise ratio, allowing the camera to produce
clear images with minimal noise even at maximum gain in
low-light settings.
Depth of eld High sensitivity and low noise
TIPS
About depth of eld
To capture the entire view from foreground to background in focus, photographers typically use a wide-angle lens with short
focal length together with a narrow aperture, and try to get a reasonable distance from the main subject.
Conversely, to accentuate the subject by blurring the background or surrounding scenery, a telephoto lens with longer focal
length is used in combination with a wide aperture, and the camera is brought closer to the subject.
In theory, depth of eld is governed by three factors: f-stop (aperture), focal length and distance from the subject. In practice,
however, the distance between the subject and the background also inuences the amount of blurring.
APS-C
2/3 size
1/3 size
Sensor sizes

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9
How to set/operate
1. Set the AUTO/MANUAL switch to MANUAL.
2. Press the GAIN/ISO button to display the gain or ISO value.
3. Set the gain switch to H, M or L as required.
Setting range:
Gain H (18 dB) M (9 dB) L (0 dB)
ISO H (800) M (400) L (160)
Gain/ISO
Controlling the brightness
Brightness (or exposure) is closely linked to depth of eld. Brightness is governed by three factors: aperture (or iris), shutter speed
and gain. In a well-lit setting, an ND lter can be used to control the light level and enhance the “bokeh” effect.
The NEX-EA50 allows for higher gain (or ISO) settings, where
the image signal level is amplified electrically to boost the
image brightness. In this way, the NEX-EA50 can produce
excellent images with minimal noise in low-light settings such
as a darkened stage, where conventional video cameras would
have too much noise.
* Gain and ISO sensitivity can be set independently, with priority
given to either as required.
TIPS
The gain and ISO settings can also be modied via the menu system. Navigate to CAMERA SET then either GAIN SET or ISO SET.
Gain range: 0 dB – 30 dB
ISO range: 160 – 5,000
When the GANMA picture prole is set to ITU709, the ISO range becomes 200 – 6,400.
Note: ISO range may differ for other picture proles.

1010
SENSOR AND LENS
How to set/operate
1. Set the AUTO/MANUAL switch to MANUAL.
2. Press the IRIS button to display the iris setting.
3. Adjust the iris setting using the iris ring.
Note: A lower iris setting opens the lens and increases the
available light volume.
To engage auto control temporarily
4. Press and hold the PUSH AUTO button.
Note: Auto control requires an E-Mount lens or an A-Mount lens
with LA-E2+A mount adaptor.
To engage auto control permanently, press the IRIS button
again.
In manual control mode, the iris ring is used to adjust
brightness by opening and closing the lens mechanically.
Iris
Controlling the brightness
How to set/operate
1. Set the AUTO/MANUAL switch to MANUAL.
2. Press the SHUTTER SPEED button to highlight the shutter
speed setting.
3. Adjust the shutter speed using the SEL/PUSH EXEC dial.
Note: A shutter speed of 1/100 sec is displayed as 100. Thus a
higher value indicates a faster shutter speed.
The shutter speed can also be used to control the quantity of
transmitted light.
In still photography, both the shutter speed and the aperture
(iris) are used to control the light volume. With video cameras,
however, shutter speed is more problematic. Faster shutter
speeds can cause subject movements to appear brittle and
unnatural, while slower shutter speeds can make movements
and camera panning appear jerky.
Shutter speed

TIPS How to select ND lters
If you normally use two or three lenses, we recommend getting 1/4, 1/8 and 1/16 round, glass screw-in type ND lters that match
the diameter of your largest-diameter lens. Or it could be a fader-type ND lter that matches the diameter of your largest-diameter
lens. When you use a smaller lens, you can attach your lter to a step-up ring.
If you use many lenses and they include a large-diameter lens, selecting the combination of a matte box and square glass ND lters
will give you more exibility.
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11
■Round, glass screw-in type
These lters are designed to be screwed in at the tip of the lens
unit. Cheap and widely available, these lters can reduce the light
volume to 1/4, 1/8, or 1/16 of the original level.
Because they need to match the lens unit’s lter diameter
requirement, you need to obtain lters that are in the right size or
alter the lter diameter by using a tool such as a step-up ring.
If the light volume is still too high even with a 1/16 lter,
you will need to combine multiple lters. In such instances,
diffused reections can easily cause ares and halation. To
prevent them, you need to block the light from directly hitting
the lters.
■Square glass type
These are high-priced lters that are used in combination with a
matte box. They are not affected by the lens diameter, and the
light volume can be adjusted by simply changing one lter with
another.
■Sheet type
Because these lers were at rst based on gelatin, they are still
widely referred to as gelatin lters.
They are inserted into a paper lter-holder. Sometimes, they are
cut up into smaller pieces and attached to the back of the lens or
the lens mount. You need to be careful with dust and make sure
that pieces of the sheet-type
lter do not touch the sensor
section. For these reasons, we
do not recommend the second
usage method.
■Filters that enable ND level to be controlled
via fader lever
These recently introduced products are round, glass screw-
in type lters with a lever on their outer circumference. By
turning the lever, you can change the light volume.
These lters alter colors more than other types of ND lters.
You need to take precautions, such as checking white
balance manually for every cut.
When using a wide aperture in a bright outdoor setting, for instance to achieve a shallow depth of eld effect, a high shutter speed is
required in order to prevent overexposure. Where a shutter speed of 1/48 sec would be suitable in 24 p mode, at a larger aperture a
very fast shutter speed of around 1/1000 sec would be needed, making movements appear brittle and unnatural. An alternative is
to t an external ND lter to the lens to reduce the amount of light entering the camera.
External ND lter

①②
①
②
③
1212
SENSOR AND LENS
How to set/operate
1. MENU → DISPLAY SET → ZEBRA
2. Select ON or OFF.
3. Select a brightness level (70, 75, 80, 85, 90, 95, 100 or 100+).
Press the SEL/PUSH EXEC dial to enter the new setting.
How to set/operate
1. MENU → DISPLAY SET → HISTOGRAM
2. Select ON or ON [ZEBRA POINT].
Press the SEL/PUSH EXEC dial to conrm.
The histogram displays brightness levels across the entire image in the form of a bar graph, with brightness on the horizontal axis
and pixel count on the vertical axis. The histogram is a useful way to assess the overall exposure balance of an image. For instance,
in an image with many bright areas, the distribution will be skewed to the right.
A vertical line denotes the 100% brightness point. Brightness levels over 100% are displayed with a different background color to
help locate areas of whiteout.
The ZEBRA POINT option also shows the selected Zebra brightness level on the histogram, providing a visual indication of
brightness levels during lming.
Histogram—for checking overall light balance
ASSIGN
Zebra stripes are superimposed on areas of the image that correspond to the designated brightness level, to provide a guide for
brightness adjustment.
To check for whiteout, set the Zebra display to 100+ then adjust the brightness to minimize the stripes visible on the screen. For face
close-ups, where a brightness level of 62% – 65% is recommended, set the Zebra display to 75 then adjust the brightness so that
the stripes disappear from skin areas.
Zebra display—for checking subject brightness
Brightness adjustment
ASSIGN

① ②
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How to set/operate
1. Set the FOCUS switch to MAN.
2. Press the PUSH AUTO button to engage Auto Focus. Release
the button to revert to manual focus.
When lming in manual focus mode, press and hold the PUSH AUTO button to temporarily engage Auto Focus. Release the button to
revert to manual focus. Switching temporarily to Auto Focus is a good way to ensure smooth focus transition when shifting from one
subject to another.
PUSH AUTO—for temporary Auto Focus (AF)
How to set/operate
1. Press the EXPANDED FOCUS button on the lens ring to cycle
through the expanded display options.
2. Use the arrow buttons at the top of the camera screen to
move around the display, or press the EXEC button to return
to the center of the display.
The display can be expanded by 4 x or 8 x for more precise focusing, using the dedicated EXPANDED FOCUS button conveniently
located on the lens ring.
* Use the + cursor keys to navigate within the expanded image.
Expanded focus—for precision focusing
Focus Assist
ASSIGN

①
②
①
1414
ASSIGN
How to set/operate
1. MENU → DISPLAY SET → PEAKING → ON
2. Select the color and the level of accentuation required.
Press the SEL/PUSH EXEC dial to conrm the settings.
The peaking display is used to check which areas of the image are in focus. Areas in focus are denoted by accentuated outlines.
Peaking—to identify focus peaks
Focus Assist
ASSIGN
How to set/operate
1. MENU → CAMERA SET → FACE DETECTION
Use the SEL/PUSH EXEC dial to position the orange frame on the priority focus face, then press the dial to conrm. The orange frame
changes to double lines to indicate that the face has been selected.
To select a different face, press the SEL/PUSH EXEC dial and repeat step 2.
Note: Face detection is disabled when using digital zoom.
Face detection locates and focuses on faces within the eld of view. Face detection requires an E-mount lens.
Face detection—to focus automatically on faces
TIPS
When the peaking level is set to high, the focused areas are easy to locate but there is also a commensurate increase in noise.
Peaking is not suitable for some types of images. For best results, use in combination with expanded focus.
TIPS
Face detection may not function correctly in some environments. For best results:
• Ensure that there is plenty of light on the subject
• Avoid obscuring the face with headwear, masks or sunglasses
• Ensure that the subject is facing the camera
SENSOR AND LENS

TIPS Customizing the ASSIGN buttons
ASSIGN buttons 1 through 6 can be individually assigned to different functions. Six functions have been assigned by default. The
following procedure shows how to change the assigned function.
How to set/operate
1. MENU → OTHERS → ASSIGN BUTTON
Choose an ASSIGN button (1 through 6).
2. Use the SEL/PUSH EXEC dial to highlight the desired function, then press to select.
3. Use the SEL/PUSH EXEC dial to highlight OK, then press to conrm.
①
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15
Spot Focus lets you focus on an object simply by tapping it on the touch screen. (Requires an E-Mount
lens.) To minimize camera movement, a tripod is recommended when using Spot Focus.
Spot Focus—focus from the touch screen
ASSIGN
How to set/operate
1. MENU → CAMERA SET → SPOT FOCUS
2. On the touch screen, tap on the object to focus.
Note: Press MENU to turn off Spot Focus. Spot Focus is not available in Auto Focus mode.
Tap on the closest candle
The focus shifts to the selected subject
②
Display screen

1616
TIPS
SteadyShot modes
Standard: For relatively stable conditions.
Active: For situations involving considerable movement, such as walking with a handheld camera. (Note: Active mode is only
available during video capture and requires a compatible lens.)
Off: When using a tripod or equivalent.
Note: OSS compatible E-Mount lens required.
Focus Transition shifts the focus automatically between two pre-dened points. (Note: Focus Transition is only available during video
capture and requires an E-Mount lens.)
Focus Transition—using rack focus to transition between two points
ASSIGN
How to set/operate
1. MENU → CAMERA SET → STEADYSHOT
2. Choose from STANDARD and ACTIVE modes.
Press the SEL/PUSH EXEC dial to conrm.
SteadyShot is only available when a SteadyShot compatible lens is tted.
SteadyShot
Other assist functions
ASSIGN
SENSOR AND LENS

TIPS
The following transition settings are available under MENU → CAMERA SET → FOCUS TRANSITION:
Transition time: The focus transition time can be set in the range 3.5 – 90 seconds.
Start timer: The focus transition can be delayed after pressing button 5 or 6 by 5, 10 or 20 seconds.
Rec Link: Focus transition starts when recording commences (choice of Focus A and Focus B).
17
0 AUTOMATED FUNCTIONS 1 SENSOR AND LENS 3 FILE BASED
2 SHOOTING STYLES 4
PICTURE PROFILE
17
How to set/operate
■Register buttons
1. MENU → OTHERS → ASSIGN BUTTON → FOCUS
TRANSITION → ON
2. When Focus Transition is on, buttons 4, 5 and 6 are
allocated to the Focus Transition function. Press button 4 to
cycle through the four modes: STORE, CHECK, EXEC and OFF.
■Store focus points
3. Press button 4 to display the STORE screen, disengage Auto
Focus, shift the focus manually to point A, then press button
5.
4. Now do the same at point B and press button 6.
Note: The icon ashes during this procedure and operation is
disabled.
5. Press button 4 again to switch to CHECK mode.
Check the focus at point A with button 5, and at point B with
button 6.
Note: The stored focus points A and B will be automatically
deleted in the event of any of the following:
• The camera is turned off
• The lens is removed
• Optical zoom is used
■How to use: focus transition from A to B
6. From the CHECK screen, press button 5 to focus on point A.
Press button 4 again to switch to EXEC mode.
Start recording, then press button 6 to initiate a smooth
focus transition to point B.
Note: In EXEC mode, press button 5 again to transition
back to point A.
■How to use: focus transition from current position to point
A (or point B)
From the CHECK screen, start recording with the focus set
to the current position, then press button 5 to initiate a
smooth focus transition to point A, or button 6 to transition
to point B.
Button functions
4 Cycles through the four modes: STORE, CHECK,
EXEC and OFF
5 6 In STORE mode: stores the focus point
In CHECK or EXEC mode: initiates the focus
transition

1818
E-Mount system—bringing out the best in every lens
E-Mount lenses are compatible with automated functions such as Auto Focus, SteadyShot and Auto Exposure that are particularly
useful for zooming in on a subject using shallow depth of eld in low-light conditions.
The SEL35F18 is a wide-aperture E-Mount type single focal point
lens with focal length of 52.5 mm equivalent (converted to 35
mm format). Designed to suit a broad range of conditions, it is
compact and lightweight with a total length of just 45 mm. The full
open at f-stop 1.8 produces beautifully lit images with good focus
differentiation. The SEL35F18 features an all-new optical design
for sharper images with improved contrast even in close up, while
the high-speed super-quiet linear motors ensure faster, smoother
focus operation.
The SELP18200 is a powerful E-Mount type zoom lens suitable for
a wide range of conditions with a zoom range from 27 mm wide
angle (converted to 35-mm format) to 300 mm telephoto. The
optical design comprises four aspherical lens groups to provide
sharpness and clarity, while the powered zoom boasts a choice
of six speeds for smooth xed-speed zoom operation. The built-in
optical stabilization system includes an active stabilization mode
to correct camera movement during wide angle video capture. The
super-quiet motors ensure smooth AF and aperture movement,
and the sleek aluminum alloy nish exudes quality.
SEL35F18 single focal length lens (E35 mm F1.8 OSS)
SELP18200 zoom lens (E PZ 18 – 200 mm, F3.5 – 6.3 OSS)—supplied with NEX-EA50
SENSOR AND LENS
Common E-Mount lenses
Large diameter, single focal length Compact wide-angle, single focal length Macro Zoom
30mmF3.5
SEL30M35
16mmF2.8
SEL16F28
20mmF2.8
SEL20F28
24mmF1.8
SEL24F18Z
35mmF1.8
SEL35F18＊
50mmF1.8
SEL50F1.8＊
10-18mm F4.0
SEL1018＊
18-200mm
F3.5-6.3
SEL18200 ＊
18-200mm
F3.5-6.3
SELP18 200＊
* With built-in OSS (Optical St
eadyShot)