The remote-controlled camera is as powerful as an FX6, but is tailor made for live event and broadcast environments

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 10 years, which has given me a front row seat for the DSLR to mirrorless transition, the smartphone camera revolution, and the mainstream adoption of drones for aerial imaging. You can find me on Instagram @jamespfisher.

Sony's latest cinema camera isn't made for use in the field or on set. Instead the FR7 is all about remote control for broadcast and live event venues. It's a PTZ—pan, tilt, zoom—camera, a type that is engineered for fixed-point installation and control from a booth. To date, these cameras have used fixed lenses and smaller image sensors. With the FR7, Sony is changing that.

Instead of a fixed lens, the FR7 supports E-mount swappable lenses, and the image sensor is the same full-frame chip included in the FX6 cinema camera, with all of its capabilities—4K60 recording with 10-bit 4:2:2 sampling, electronic variable neutral density control to keep exposure set during shifting light, face and eye detection autofocus with subject tracking—to put it lightly, it's more camera than many of us will ever need.

As such, Sony is positioning this one to high-end customers. A representative suggested use cases ranging from YouTube cooking shows to episodic drama on the production side, and places like concert and wedding venues and houses of worship for broadcast. Since it has the same image pipeline as the FX6, you can match footage in the editing room (with the same editing flexibility), and broadcasters can take advantage of ready-to-view profiles like S-Cinetone. A Genlock connection is included to sync up in multi-camera setups.

The FR7 is an interesting addition to the company's diverse line of cameras, and one that offers up some options for PTZ installations. It can be mounted upright or to a ceiling, and accepts power from an AC source or Power Over Ethernet (PoE). While we expect many to use it for broadcast, there are also dual CFe (Type A)/SDXC (UHS-II) card slots for internal recording, and the full array of SDI, HDMI, optical, and other sundry connections you expect.

Smooth, steady pans and tilts are critical for a quality broadcast; Sony touts the FR7's motors as powerful, but also quiet and smoothly responsive for both slow and quick camera moves. Sports venues may want to take advantage of longer lenses, and while you can't put the heaviest lenses on the camera, the overwhelming majority are compatible. The 100-400mm, 200-600mm, 400mm F2.8, and 600mm F4 are the only lenses that are too much for it to handle.

Remote control is available via a web app, and the camera also works with the RM-IP500 multi-controller, already on the market for $2,625. The controller includes a zoom rocker and a joystick for pan and tilt control. Even though the camera has focus tracking, Sony tells us that the FR7 cannot move the camera to follow subjects on its own—you'll still need a remote operator. Even so, don't count the feature out entirely, the representative also says it would be a "natural idea" to add the function.

The FR7 will be available at the end of November for $9,699.99 as a body only. You can also pair it with the FE PZ 28-135mm F4 G OSS power zoom lens in a kit for $12,199.99.

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Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 10 years, which has given me a front row seat for the DSLR to mirrorless transition, the smartphone camera revolution, and the mainstream adoption of drones for aerial imaging. You can find me on Instagram @jamespfisher.

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