The new lenses are very expensive, physically large, and were required by many working professionals in the full frame A7-series mirrorless camera world. Using lens adapters is awesome for versatility, but there is nothing like a perfectly flush mounting native lens to work with. I think these new GM lenses will make switching systems a much easier decision than before when it comes to Pro Photographers. These three new lenses were the most requested and asked about behind the scenes for sure!
Many critics often said without the fast native e-mount lenses, the full frame Sony mirrorless cameras will not attract any “real” professionals. I always thought that logic was laughable, but can totally understand the point being made. Scroll down below the A6300 breakdown for more details on these new FE Lenses.
New Sony A6300
The New A6300 has some serious upgrades in the hardware and video department in particular! Lets break it down, shall we…
New 24.2MP APS-C Exmor CMOS Sensor
BIONZ X Image Processor
New XGA Tru-Finder 2.36m-Dot OLED EVF
3.0″ 921.6k-Dot Tilting LCD Monitor
Internal UHD 4K30 & 1080p120 Recording
Slow-Motion 5x – w/ AF Tracking!
S-Log3 Gamma and Display Assist Function
Audio Input Jack
Built-In Wi-Fi with NFC
4D FOCUS with 425 Phase-Detect Points
Up to 11 fps Shooting and ISO 51200
New 8 fps mode w/ live viewfinder experience
Weather-Sealed Magnesium Alloy Body
Reinforced Lens Mount
Weight = 14.25 oz / 404 gwith battery and memory card
From the front the A6300 looks pretty much identical to the A6000 other than the finish.
Note the speckled finish on the full magnesium alloy body.
Check out the New the Audio Input Jack!!
Looks like the same exact grip, which I thought worked very well for the given form factor of the camera. Ideally the grip could be deeper, but that would make the camera notable larger. Sony is going for the smallest possible form factor so compromises will always be made in this regard.
The New A6300 has a New 24mp sensor that utilizes 475 phase detection points which are embedded in the sensor itself. A detailed view of this can be seen in this awesome illustrative video the Sony put out including how the 4D focus works. The A6000 has only 179 Hybrid AF points, but it was able to track moving subjects really well. See my Sony A6000 Review Here >> Therefore, 475 Phase Detection AF points should make the hit rate even better in most situations. It will really help with subject tracking in video when using shallow depths of fields as well. This is awesome for those video enthusiasts out there wanting to use the cameras AF while recording action footage and so fourth.. I can’t wait to test this!
A6300 -Advanced 4D FOCUS | Sony
The EVF has also been upgraded to a much higher resolution version compared to the A6000. New XGA 2.4 million vs SVGA 1.4 million dots…
From the back we can see the New thicker beveled LCD screen design and also the New AEL and AF/MF toggle switch like the full frame A7-series has.
Note the A6300 LCD screen does not articulate anymore than the A6000 does.
From the top things look pretty much the same as the A6000 except you can notice the viewfinder protrusion looks a tad different and of course the new logos… You can also see the new toggle switch sticking out a tad below the Mode dial wheel from this top view.
From the bottom things look refined a bit, but overall very similar and basically the same. A larger flat bottom would be better for mounting tri-pod plates and heavy lenses, but the fully magnesium body should hold firmly enough for most applications.
4k Internal Video
Video wise, the new A6300 offers internal recording 4K and Super 35mm Mode! This feature is huge and what really mades the video quality look crazy sharp. The A7r II has this feature and the video quality was incredible I thought. Basically the camera captures the video in a better way on the sensor level which is further explained courtesy of BHPhoto: [quote]Internal recording of UHD 4K movies is possible in multiple frame rates up to 30 fps and, based on the Super35mm recording area and effective 20MP (6000 x 3376) resolution, 2.4x oversampling renders greater detail and full pixel readout is possible, that is void of pixel binning, for higher quality imagery with reduced moiré and aliasing. Full HD 1080p recording is also supported in frame rates up to 120 fps, and both resolutions utilize the 100 Mbps XAVC S format contained within an MP4 wrapper with 4:2:0 sampling. The high-speed, 120 fps recording also enables 4x and 5x slow-motion movie recording with the frame rate set to either 30p or 24p. In addition to high-resolution internal recording, uncompressed HDMI output also enables the use of an optional external recorder for clean 4K recording with 4:2:2 sampling.[/quote]
A6300 -Ultimate resolution 4K movie in Super 35mm | Sony
A6300 -Fast Hybrid AF in 4K movies | Sony
A6300 -Fast Hybrid AF for movies comparison in Full HD | Sony
The new Sony A6300 also offers Slow Motion abilities with the 1080/120p feature as demonstrated by Sony below:
A6300 -5x Slow Motion in Full HD | Sony
[quote]The A6300 can shoot high-image-quality Full HD* footage with AF tracking even at a high frame rate of 120fps (100fps). The footage can also be recorded with a high bit rate of max. 100Mbps. Otherwise, it can also record 4x/5x slow motion movies internally when the frame rate is set at 30p (25p) or 24p.[/quote]
G Master -Technology innovation behind G Master | A lens
[quote]Previously divergent elements can now coexist “High resolution” and “appealing bokeh” in one lens.
These next-generation, top-performance lenses offer an outstanding combination of resolution and bokeh for stills as well as movies.[/quote]
Featuring some of the most advanced lens technologies in the market today, the new FE 24-70mm F2.8 GM (model SEL2470GM) is the ultimate choice for those seeking the highest possible optical performance for portrait, travel and event photography or even simple everyday shooting[i].
The new lens is built with three aspherical elements including a newly developed, extremely precise XA (extreme aspherical) element that reduces aberration and delivers the ultimate resolution throughout the entire zoom range and aperture range, as well as from corner to corner of all image files. Additionally, an ED (Extra-low-Dispersion) glass element and Super ED glass element keep chromatic aberration to a minimum while maximising resolution and bokeh without any unnatural colouration.
The lens features a 9-bladed aperture that maintains a near circular shape at all settings and is coated with Sony’s original Nano AR coating to suppress reflections and ensure spectacular contrast and clarity.
The new FE24-70mm F2.8 GM lens has a direct drive SSM (Super Sonic wave Motor) focusing system that works with incredible efficiency thanks to a new set of algorithms that position the lens elements quickly and accurately. The motor is smooth and quiet, making it an ideal choice for shooting both still images as well as movies.
To maximise usability, the lens is dust and moisture resistant and features a compact, streamlined design that includes AF/MF switch as well as focus hold, zoom lock and hood release buttons.
Two new matching filters for the FE24-70mm F2.8 GM lens have also been introduced, including the VF-82MP MC protector and VF-82CPAM Circular PL filter.
Designed as the ultimate portrait lens, the long-awaited new FE 85mm F1.4 GM telephoto prime lens (model SEL85F14GM) strikes a perfect balance between resolution and bokeh in a compact package.
The lens features a new XA (extreme aspherical) element as well as three ED glass elements that work together to ensure that the in-focus areas are captured in extremely high resolution while the surrounding out-of-focus areas dissolve smoothly into a beautiful soft backdrop. It has a circular aperture with 11 blades – the most ever used in an ? lens – that ensures bokeh is smooth and visually appealing. Externally, the new model has Sony’s original Nano AR Coating, which is of particular importance in a portrait lens as it reduces flare and ghosting, even with backlit subjects or similarly challenging lighting conditions.
For accurate autofocusing, the FE 85mm F1.4 GM lens includes a ring drive SSM motor system that provides ample power and speed to drive the lens’ large, heavy focus group. It’s also equipped with two position sensors to support flawless focus control of the large, heavy lens elements.
This new professional portrait lens is dust and moisture resistant and also has an aperture ring with on/off switchable click stops that can be adjusted based on whether a user is shooting still images or movies. It also has an AF / MF switch and a focus hold button[ii].
Covering the frequently used 70-200mm focal range, the new FE 70-200mm F2.8 GM OSS telephoto zoom lens (model SEL70200GM) offers extremely high rendering, AF performance and image stabilisation, making it a versatile choice for shooting wildlife, sports, weddings and a variety of other events and locationsi.
The new flagship telephoto zoom model delivers extraordinary sharpness and clarity throughout the entirety of its zoom range thanks to its three advanced lens elements including XA, Super ED and ED glass components, as well as its Nano AR coating.
The new FE 70-200mm F2.8 GM OSS lens features a floating focusing system – implemented in an ? zoom lens for the first time – that contributes to an impressive minimum focusing distance of merely 0.96m and ensures AF performance is optimised during both still and video shooting. The lens includes a SSM (Super Sonic Motor) plus dual linear motors that work together to move large lens elements quickly – a task that requires a high level of drive control and ensures focus accuracy. The new model also has built in Optical SteadyShot™ image stabilisation for capturing sharp, blur-free subjects at all focal lengths and a rotating tripod mount that allows the camera to be quickly removed from a connected tripod as needed.
The new 70-200mm telephoto zoom lens is dust and moisture resistant with an additional fluorine coating added to the front lens. It also has a focus hold button as well as a focal range limiter.
Sony has also announced new compact 1.4x and 2x Teleconverters – models SEL14TC and SEL20TC respectively – that offer even greater reach while maintaining the overall streamlined design and feel of the 70-200mm lens[iii].
So the A6300 has a new fully magnesium body, a new Sensor that has significantly better AF than the previous, an audio input jack for external mics, 4k internal video with Super 35mm mode and Slog3 which allows for huge dynamic range gains in video quality for post production potential. To keep things simple, using Slog gamma is like shooting video in RAW quality, and therefore the video can be pushed hard in post production if needed. Highlights and shadow detail in particular can be greatly enhanced than using a normal compressed pre-processed profile. I have only played with this type of thing a little bit, but the concept of raw quality vs jpeg is a good way to look at in my opinion. Basically the video needs to be processed or “graded” they call it in the video editing world… Bottom line is, the A6300 camera can be used for video work on a Semi-professional to professional level! For folks in the video market, this is a huge opportunity to save serious cash on a high quality 4k video camera. Sony is closing the gap between their video and photography cameras more and more…
The New A6300 sensor clearly has better AF abilities, but does not look like much will come in the IQ department. Why not a Back-Lit (BSI) Sensor like the new A7r II and RX series cameras? Note how the A6300 sensor does not have the BSI in the title (24.2MP APS-C Exmor CMOS Sensor)
This basically means to me that Sony is still holding back the technology innovation they are capable of producing to some degree. Trickling out the technology bit by bit and I suppose this must be hard for a company when leading the pack so clearly in the best bang for the buck camera market. Why should Sony put out a better APS-C camera if the competition is not on par? Well, Fuji is hitting it out of the park with the high end APS-C cameras like the new X-Pro 2 for example, and they have an incredible lens line that continues to grow and be supported. Sony is still paying 95% attention on the full frame cameras and FE lens line. I understand why they are doing this and folks continue to flock over from Canon, Nikon, and others for the incredible full frame mirrorless experience Sony has created. Sony is trying to sweep up the full frame mirrorless market as much as possible, and is spread to thin to also grow the APS-C line at the same time I believe. It’s clear to me by now that Sony can not do both at the same time. Not without increasing production capabilities and/or expanded operations to some degree. I feel Sony does not want to take those risks, due to the recent finical issues and loss of plants a few years back due to floods. The camera and sensor portion of Sony are doing awesome, but other sections of this huge company are not doing so good… Overall Sony is being more fiscally cautious and taking less over production risks for sure! Keeping up with lens demand has always been an issue for Sony and some of the higher end E-Mount lenses however…
We need more high quality APS-C designed lenses, so folks don’t have to carry the full frame glass if they want the best quality. This needs to be addressed if Sony does not want to start losing people to to Fuji in particular. This is just my opinion mind you and can be totally wrong with a lot of this speculation… I honestly don’t no what Sony is doing or what their actual plans are clearly…
Is the New A6300 Worth Upgrading from A6000?
That really depends on if you are interested in 4k video? If so, then yes it’s totally worth upgrading! If not, then no I would not consider upgrading. The improved AF is awesome, but the A6000 AF is already awesome… The build quality is better, but the A6000 was good enough for most users. Your thoughts?
What is Next for Sony APS-C Cameras?
I can tell you many people are going to be upset that this camera is still not a Nex-7 replacement and that it does not have built in sensor stabilization (IBIS). Sony claimed the A6000 was the Nex-6/ Nex-7 replacement, but folks with the Nex-7 dis-agreed entirely with this. No Tri-Navi is a step backwards for many and Sony has yet to answer the call in this regard. This really lends me to believe that a Nex-7 replacement is still on the horizon, and yes it will have IBIS along with a new BSI sensor and all the other goodies folks demand as higher end aps-c format enthusiasts… Tri-Navi controls, more custom buttons, an LCD screen on the top for night time use, full weather sealing, fully articulating touch screen and a large flat beefy camera bottom that will allow for tri-pod plates to support lens loads better.
New FE Lenses
Some seriously heavy and expensive new FE lenses! The demand for fast native e-mount glass has been tremendous, and Sony delivered, again. Pro prices for sure, and clearly not made for the average APS-C camera enthusiast. Full frame mirrorless pros and hard core enthusiasts with the cash required are going to be super happy though! All three of these new lenses were must have units for lots of working pros! They would not switch brands without the option, and Sony answered those peoples demands I would say. We still need more lenses, but the key lenses are pretty much all there now. Missing still we have the 50mm f/1.4 a 16-35mm f/2.8 lens, and a 100-400mm style lens off the top of my head. Then what will be the highest requested lens after those I wonder?
What is next for Sony Full Frame Mirrorless?
I now think Sony will come out with a New Full Frame E-Mount camera designed for Sports, that can perform like this A6300 in the AF department. A sports oriented A7-series camera with a huge buffer and lower resolution than the A7r II for speed. Perhaps a 32MP or something? Combined that camera with the New FE 70-200mm f/2.8 GM Lens and 1.4x or 2x Teleconverter and you have a killer sports set-up! The cost is no where near cheap though and the prices have not been re-leased on this combo. Speculating?? Expensive is all I can assume based on the cost of the FE 70-200mm f/4 G OSS Lens @ $1498 US. New Gear Pre-Order Links:
Sony A6300 Mirrorless Camera from $998 US @ BHPhoto
FE 70-200mm f/2.8 GM Lens forNo price yet @ BHPhoto
Sony FE Teleconverters 2x and 1.4x for No Price Yet @ BHPhoto
That is about for the new Sony gear as it stands now. I really hope you got what you were looking for in this breakdown style article and have a great day! Please feel free to ask questions, comments, and speculate on what Sony will do in the future, below in the comments area 🙂
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