[SECTION]INTRODUCTION[/SECTION]

 

 

The ZV-E1 is an interchangeable lens full frame stills/video mirrorless camera that has its heart in the video aspects of its performance. It is also perfectly useful for stills, albeit with a relatively low resolution of 12.1MP. It is compact and light so would be useful for gimbal and drone use. It will be interesting to see how the stills/video balance has been applied, what the performance yields and how this all fits together in a quite high priced camera aimed at vlogging.

Sony ZV-E1 Features

A full frame camera with just 12.1MP, reducing to 10.1MP for movie shooting? This becomes quite a specialised item, aimed firmly as its billing suggests at those interested in high quality vlogging. Weighing in at just 470g and measuring 71.9mm x 121.0mm x 54.3mm, this is the most compact lightweight full frame mirrorless camera available. This makes it suitable for drone mounting and for stability also its use on gimbals. Everything about it speaks video, even the lack of an EVF suggesting less emphasis on stills photography. However, let us not forget that there are some photographers who enjoy night shoots and for them the really incredible low noise at very high ISO values could make the camera very attractive.

There is just one SD card slot, also suggesting that the video aspect is vlogging and drone orientated and the spec, although full of potential, does not cover the higher end video functions that come with many high end hybrid cameras. The basic video is 4K/60p, but this is upgradeable to 120p by obtaining a free licence key from Sony. This can be found at: https://creatorscloud.sony.net/cameraupgrade/4k/120p/

 

The camera itself is pure Sony, but of course there is no EVF. The top plate does include the “Intelligent” 3 capsule mike that offers several options for directional pickup – front, rear, all directions and auto. There is also a cute windshield that clips into the hotshoe and covers the mike area. Following the quest for zero carbon, this windshield is manufacturerd from recycled PET bottles. Even without the shield the sound picked up is clean and clear.

Also on the top plate we find the selector for stills, video and S&Q settings. The shutter release, video start/stop and on/off are all at the right edge, along with the C1 button, set to background defocus by default. The aperture is changed in Av with the thumbwheel at the rear edge of the topplate, and here is the menu button also, conveniently placed so it is not caught accidentally.

The usual Sony controls are all gathered at the right end of the camera back, which is otherwise dominated by the large, clear 7.5cm (3 inch) touch sensitive monitor.

The base of the camera gives access to the NP-FZ100 battery, one already familiar to users of Sony mirrorless cameras. The left side of the body has the access door to the single SD card slot, UHS-II compliant. There is no second card slot and no use of any of the new ultrafast cards such as CFExpress. This reflects the use of the camera for content creators and vloggers rather than professional filmakers. To one side of the card door we have the stereo mike input and USB-C connection, via which charging is possible. To the other side we have micro HDMI D and the headphone socket. All the usual wireless communication options are built in, such as wireless LAN and Bluetooth. Connectivity to smartphone is possible. The camera is also usable as a high quality webcam, although it might seem an expensive solution for such an application.

 

Sony ZV-E1 Features

• 12.1MP Full Frame back-illuminated CMOS Exmor R sensor

• Stills: 12.1MP, Movies 10.1MP

• BIONZ XR processing engine

• JPEG/HEIF/RAW

• 14-bit RAW

• 1 SD card slot

• USB-C charging

• ISO 80-102400, extending to ISO 40-409600
• Intelligent microphone
• 5 axis SteadyShot
• AF Detection for Human, Animal/Bird, Animal, Bird, Insect, Car/Train, Airplane.
• Auto AI-based framing
• Zoom lever for Power Zoom lenses
• Wireless LAN
• Bluetooth
• Creators’ Cloud Platform web service
   

Sony ZV-E1 Handling

The ZV-E1 tries to be a stills camera and also tries to be a video camera. This is a neat trick to accomplish, and not without its downfalls. The video section of the this review covers the whys and wherefores of the placement of the stop/start and other controls, and as we shall see a few things have been shuffled around to accommodate the Power Zoom option. A Power Zoom lens would have been useful to use in this review as we can imagine that this would make smooth zooming while shooting video so much easier. Of course as we enter the world of video accessories then many things are available to make the process easier and more stable. This review was shot just with the camera, and even so it was much easier to use than smaller compact versions. Add the optional extras and we are starting to talk of more professional shooting.

 

As a stills camera it behaves well and is as ergonomic in its design as any other Sony mirrorless camera, but without a viewfinder. If this matters, there are models better suited; if the photographer never uses the EVF where available, then it makes no difference. Likewise, if more MP are needed, then there are many other options for Sony users. For tripod mounted shooting, be it in the studio or on location, it may be that the monitor is the favoured way of working anyway.

The logic of the menus and controls is pure Sony and will be familiar to any Sony user. For those coming from other marques it should not take too long to find the systems are logical and efficient.

The ZV-E1 is certainly much easier to use than smaller compact video solutions and yet it is not too onerous to carry and in use, being reasonably light and compact. It also gives access to some 70 plus Sony mirrorless lenses, almost 50 of which are full frame.

[SECTION]PERFORMANCE[/SECTION]

Sony ZV-E1 Performance

The performance section is where we look at the image quality performance of the camera. Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.

 

Sony ZV-E1 Sample Photos

 

Lens Performance – The Sony FE 24-70mm f/2.8 GM II lens was provided for this review. This was reviewed in August 2012 and awarded Highly Recommended. Performance was summarsed as follows:

 

At 24mm, central sharpness is outstanding at f/2.8 and f/4, excellent at f/5.6 and f/8 and very good from f/11 to f/22. The edges are excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and softening at f/22.

At 35mm, central sharpness is outstanding from f/2.8 to f/4, excellent from f/5.6 to f/8 and very good from f/11 to f/22. The edges are very good at f/2.8, excellent at f/4 and f/5.6, very good from f/8 to f/16 and softening at f/22.

At 50mm, central sharpness is excellent at f/2.8, outstanding at f/4, excellent at f/5.6 and f/8, very good at f/11 and f/16 and good at f/22. The edges are excellent from f/2.8 to f/5.6, very good from f/8 to f/16 and softening at f/22.

At 70mm, central sharpness is outstanding from f/2.8 to f/8, excellent at f/11 and very good at f/16 and f/22. The edges are excellent at f/2.8, outstanding at f/4 and f/5.6, excellent at f/8, very good at f/11 and f/16 and good at f/22.

This is a very commendable level of sharpness throughout, particularly creditable for the way it maintains quality across the frame and at all focal lengths.

CA (Chromatic Aberration) is measured with any in-camera corrections switched off, so far as we can control anyway. CA is well controlled at the centre, within half a pixel at all focal lengths. The edges do display some colour fringing, especially at the wider focal lengths, but this does not show up on all subject matter. If it is a problem, it can be tackled in-camera or in software.

Distortion is visible, although pretty good for a zoom lens, and of course correctable. We can measure -2.59% barrel at 24mm, changing as we zoom to pincushion with +0.53% at 35mm, +1.81% at 50mm and +1.87% at 70mm.

Bokeh is gorgeously smooth with soft, even gradation of those out of focus areas.

Flare is very well controlled, even with very severe backlighting. It is very difficult to generate any artefcats, even with harsh lighting at the edge of the frame.

Vignetting is most obvious at wider apertures and at wider focal lengths, gradually improving as we zoom in or stop down. It can of course be corrected in camera or in software, or used creatively to enhance some subjects.

 

Sony ZV-E1 ISO test images

 

ISO Noise Performance – The ISO performance of the ZV-E1 is truly remarkable. Images are clean and noise free up to ISO 800, and only a whisper of noise can be seen at ISO 1600 and 3200. Noise is still under control and not intrusive at ISO 6400 and even 12800. It is only at ISO 25600 and 51200 that the image detail is breaking down and noise is becoming rather intense. At ISO 102400 contrast and sharpness take a severe dip and noise increases, at ISO 204800 the image becomes soft, noisy and mushy and finally at ISO 409600 very soft, very noisy and only with merit in extremis. A very impressive averall showing and even at ISO 409800 the possibility of special creative effects exists.

 

Sony ZV-E1 White-balance test images

 

White Balance Performance – The usual white balance presets are all here. AWB takes good care of most situations and can be tweaked to taste, as can all of the presets. Daylight keeps unusual colour situations intact, so, for example, a red sunset remains red without the camera trying to “correct” it. Shade is especially useful in the shadows of woodland, preventing an unwanted purple hue creeping in. Cloudy gives a similar effect to the 81A warming filter. We also have Incandescent, Fluorescent in four varieties (Warm White, Cool White, Day White and Daylight), Flash, Underwater Auto, Colour temperature (5500K default) and three custom settings.

 

Sony ZV-E1 Digital filters

 

Digital Filters – There is a bank of digital filters, some obviously useful and some perhaps slightly esoteric, but they are there to be used and can form the basis of some intersting experimentation. We are offered filters marked ST, PT, NT, VV, VV2, FL, IN, SH, BW, and SE. The BW setting, and there is a current upsurge in interest in monochrome images, yields a very attractive black and white image that is an excellent starting point.

 

 

 

Video – Starting with default settings, the basic video functions of the camera are easy to use and some really good movies can be shot. Video is activated with a simple slider selection switch on the top plate, giving us the choice of stills, video and S&Q (slow and quick). The placement of the video start/stop button could be better. As is so often the case, the shutter release button falls naturally under the tip of the first finger, and the video button is a bit of a stretch backwards from that. The slightly awkward placement does not make smooth start/stop as easy as it could be. The lens provided for review is not really ideal either. The layout of the camera body is geared towards the Power Zoom lenses and the rocker switch for this is around the shutter release button. That positioning is great, but it means the on/off switch is shunted round a little and that no longer lies in its perfect position. Like all things, it can be worked around, but the addition of the Power Zoom lever has moved a perfect design around and made it slightly less perfect.

For those who wish to delve deeper, the specification includes:

• Auto AI-based framing
• Movies 10.1MP
• Intelligent 3 capsule mikes – selectable front, rear, all directions or auto
• 10-bit 4:2:2 in-camera recording
• S-Gamut3 Cine/S-Log3
• S-Gamut3 S-Log3
• Import and use custom LUT files
• Suitable for gimbal and drone
• Optional hand grip
• Touch operations
• Smartphone connectivity
• Can be used as high quality webcam for streaming
• Environmentally friendly packaging
• Creators’ Cloud platform online
• Upgrade to 4K/120p vis free Sony licence, available online from June or later

[SECTION]VERDICT[/SECTION]

Value For Money

The [AMUK]Sony ZV-E1|sony+zv+e1+camera[/AMUK] is priced at £2349. With the 28-60mm Power Zoom this becomes £2599.

Although not full frame, if smaller formats are acceptable then the alternatives are considerably less expensive:

Alternatives might be:

• [AMUK]Sony ZV-E10|sony+zv+camera[/AMUK], £679
• [AMUK]Sony ZV-E10 + 16-50mm|sony+zv+10+16-50mm+camera[/AMUK], £769
• [AMUK]Sony ZV-1F|sony+zv+1f+camera[/AMUK], £549
• [AMUK]Sony ZV-1|sony+zv+1+camera[/AMUK], £649
• [AMUK]Sony ZV-1 II|sony+zv+1+ii+camera[/AMUK], £869

On the face of it, the ZV-E1 looks expensive, but it is a large step upwards, without moving into the realms of professional video cameras, which will also be expensive and definitely bigger and heavier. For those who are seriously looking at vlogging then it might just be worth the cost.

 

Sony ZV-E1 Verdict

The ZV-E1 comes into its own for those who want to take their vlogging to the next level and perhaps are seriously pursuing this without wanting to over-burden themselves with the added complexities of professional video cameras. A very high standard is possible whilst keeping things relatively simple. There are many more suitable cameras for traditional stills photography, with the possible exception of those who shoot night shots extensively and would appreciate the very low noise levels. Those who operate drones may well benefit also. It is true that there is quite a junp in price from the more basic APS-C and smaller format vlogging cameras, but handling is very much better and the full frame sensor can deliver some excellent quality.

Perhaps this is a niche camera, but it is an area that is growing at a considerable rate, and for those who need it the ZV-E1 is worthy of serious consideration and is Recommended.

[REVIEW_FOOTER]R_features=4.5|R_handling=4|R_performance=4.5|R_value=3.5|R_overall=4|A_level=4|A_text= A serious step up for vlogging and drone photography.|E_id=7992[/REVIEW_FOOTER]