The Sony A7Sii is already the king of low light cameras.
Ours has been modified for full spectrum shooting, permitting infrared night vision filming and photography.
|Sensor||Full Frame (35.6x23.8mm)|
|Resolution||Photo - 12MP (4240 x 2832)
Video - 4K UHD (3840x2160)
|Maximum frame rate||30fps @ 4K UHD
60fps @ 1080p (full frame or Super 35)
120fps @ 1080p (2.2x crop)
|Maximum bit rate||100Mbps @24/25/30fps 4K UHD
50Mbps @24/25/30/50/60fps HD
100Mpbs @100/120fps HD
|ISO sensitivity||100-102,400 ISO
Expandable to 409,600 ISO
|Visible wavelengths||Approximately 200 to 1000nm+|
|Dimensions||127 x 96 x 60 mm|
|Weight||584g (w/o battery)|
- Sony A7Sii (Full Spectrum modified)
- Metabones EF-E mount (or Metabones PL-E mount on request)
- 82mm IR cut filter (for visible light only)
- 82mm IR pass filter (for IR only)
- x7 82mm step up rings (52, 55, 58, 62, 67, 72 & 77mm)
- x6 batteries
- Dual charger + mains cable
- x2 64GB SD cards + case
Supplied in a Peli 1450 case
£100/day + VAT
£400/week + VAT
£10 + VAT standard delivery (by 4PM)
£27 + VAT expedited delivery (by 9AM)
£10 + VAT return
Shooting in full spectrum means the camera is still sensitive to regular, visible light in addition to both UV and IR wavelengths.
Activate the camera's night vision with the use of IR lighting - perfect for observing nocturnal wildlife without disturbing them.
By using the appropriate filters in front of your lenses, you can limit visibility to specific wavelengths - such as IR only or visible light only for instance.
With a native Sony E mount, it's easy to adapt to other lens mounts. Our camera includes an EF mount or PL mount on request.
Frequently Asked Questions
The camera may however struggle to accurately autofocus in the infrared spectrum as the light focuses at a different point than in the visible spectrum. Autofocus will still work with regular light.
The amount of IR light in the scene dictates the extremity of the colour cast. Shooting with any sunlight in the scene (even indirectly, such as through a window out of shot) will result in a heavy red colour cast. Many artificial light sources however do not produce much (if any) IR light: an interior scene shot at night may appear completely normal. That said, it is important to keep an eye on any black materials in particular when shooting without filtration; they may take on a slightly purple hue.
An IR cut filter is included and would be necessary to use in order to ensure colours are represented accurately.
The full spectrum modification expands the visible range in both directions. The camera is now sensitive to light from around 200nm in the ultraviolet spectrum, all the way to 1000nm and above in the infrared spectrum.
Using infrared lighting, you can illuminate the area or light the scene exactly as you would with regular lights, except this is only visible to the camera. This is how CCTV works at night.
IR flashguns for photography and IR illuminators for video are all readily available online from Amazon, in addition to more specialist suppliers offering an even greater selection of products.
850nm and 940nm wavelength IR lights are the most common and these are what we would recommend to use with this camera.
The IR cut filter only allows visible light through. With this filter you can use the camera as if it were unmodified, producing realistic and accurate colours.
The IR pass filter blocks all light below 715nm and is opaque to our eyes – meaning only infrared light is let through to the camera. You can use this for false colour photography. For IR night vision filming and photography, using the IR pass filter is optional and not strictly necessary, depending on the desired effect.
These two filters are suitable for most needs. Other filters that cut or pass at different wavelengths do exist and offer different creative effects – though these are predominantly for photography and not as suitable for filming due to longer exposures becoming necessary. As with IR lighting however, it isn’t practical for us to stock every type.
These images however are heavily processed and do not come out of camera looking like that. Heavy curves may need to be applied in developing your photos for an acceptable level of contrast, plus manipulation of the colour channels is commonplace. Typically ‘channel swapping’ is employed on the red and blue channels to achieve the milky, blue and pink pastel tones you’ve seen.
However, for infrared shooting, some lenses perform better than others – and not necessarily the ones you might expect. Some of the best lenses may not work very well in infrared, and vice versa. The most common problem is the introduction of hotspots – a bright area in the centre of the image. This will vary with the lens, zoom position or even focus distance. Generally they’re more evident at deeper (smaller) apertures and less apparent at wider stops. They’re also not necessarily consistent across the same set, series or era of lenses – so one good lens doesn’t mean all of its siblings will work well too.
The best way to work see what works is to test all of your lenses prior to a shoot and see what you deem as acceptable. That said, a number of lists already exist online that detail which lenses work better or worse, a good example can be found here.