Sony ZV-E10

APS-C AF digital mirrorless camera

Production details

Production details
Announced:July 2021
Production type:Mass production
System: Sony E APS-C (2010)

Specification

Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Sony E [18mm]
Imaging plane:23.5 × 15.6mm CMOS sensor
Resolution:6000 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/4000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:343g
Dimensions:115.2x64.2x44.8mm

Manufacturer description

SAN DIEGO, CA – July 27, 2021 – Sony Electronics Inc. today announced the first Alpha series interchangeable lens vlog camera, the new ZV-E10. Designed from the ground up for vlogging and vloggers, the new camera combines Sony’s advanced imaging technology with extensive usability and a custom-built feature set that is optimized for video creators.

At its core, the ZV-E10 features a 24.2-megapixel (approx. effective) APS-C Exmor™ CMOS sensor and BIONZ X image processing engine to produce high-quality imagery with high-sensitivity, detailed texture depiction and beautiful natural bokeh. Additionally, the ZV-E10 includes the acclaimed vlogging-specific features favored in the popular ZV-1 digital camera including “Background Defocus” that can smoothly switch between a blurred (bokeh) and sharp background, as well as the “Product Showcase Setting” mode that allows the camera to automatically shift focus from the subject’s face to an object being highlighted.

“With the introduction of Sony’s first interchangeable lens vlog camera, the ZV-E10, we are excited to meet the growing needs of today’s creators,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “The new ZV-E10 pairs the versatility and excellent image quality of a large-sensor interchangeable lens camera with user-friendly features that are specifically designed for vlogging, making it an ideal tool for video creators looking to transition to a more advanced set up.”

The ZV-E10 features a video-first design in a lightweight form factor (approx. 12 oz. / 343g) and includes the popular side-opening Vari-angle LCD Screen that allows creators to connect external mics on top of the camera. This simplifies setup while still allowing users to see the screen in selfie shooting mode and from high and low angles.

In addition to the screen, the ZV-E10 includes several other easy-to-use functions that are specifically designed for vlogging, including a new mode button located on the top of the camera that allows creators to easily change between Still/Movie/Slow and Quick modes with just one touch.

The new camera also includes advanced video features such as 4K (QFHD: 3840 x 2160) video shooting and Slow Motion with high picture quality (FHD 120p). Electronic image stabilization with Active Mode is also available and delivers stable video recording even while walking and shooting hand-held. Further, the ZV-E10’s advanced AF (autofocus) technology provides fast, precise AF with excellent tracking performance, as well as high quality audio for clear sound recording.

Sony Vlog Challenge Contest

Together with this announcement, Sony will host their second Sony Vlog Challenge Contest that encourages entrants to create a vlog that highlights something that they are the most passionate and enthusiastic about. The entry period is July 27 – September 27, 2021 and is open to video creators in the U.S. (excl. terr.) and Canada (excl. Quebec). See contest official rules here*.

Creative Versatility

An Interchangeable Lens Camera for Expanded Creative Expression

The ZV-E10 allows the user to expand their creative expression by utilizing the ideal lens for each individual scene they want to shoot. The wide variety of compatible lenses in Sony’s E-mount lens lineup lets the user choose the perfect lens based on their creative vision.

Advanced Autofocus

Sony’s industry-leading AF technology enables the user to leave focusing to the camera so that they can concentrate on composing their shot. The ZV-E10 includes Fast Hybrid AF and Real-time Eye AF for video with Real-time Tracking that allows the camera to keep track of the subject’s face and eyes for fast and precise autofocusing even while recording on-the-go and in challenging environments. The user can also customize the camera’s AF settings, such as AF Transition Speed and AF Subject Shift Sensitivity, to choose the rate at which the camera shifts from one point to another according to their creative preferences.

Additionally, the ZV-E10’s Touch Focus function allows the user to intuitively set the focus position by simply touching the screen. With one tap, the user can instantly shift the focus position from one subject to another – almost anywhere in the frame. This is available in both still and video modes.

High Quality Audio

Sony’s leading technology, thanks to its internal Directional 3-Capsule Mic, enables the ZV-E10 to capture crystal clear sound recordings that accurately capture the speaker’s voice and the supplied wind screen to greatly reduce wind noise. For expanded audio options, the ZV-E10 includes a Digital audio interface via Multi Interface (MI) Shoe and a mic jack to connect an external mic. The inclusion of a headphone jack allows the user to connect headphones to accurately monitor sound recordings. Audio output timing can also be set for Live or Lip Sync.

Putting the Subject First

When shooting in different settings with dramatic changes in light, the user can rest assured that the ZV-E10 will automatically correct the exposure, using an original Face Priority AE (autoexposure) algorithm capable of rapid AE transitions, so that the subject’s face is not over or under exposed. This allows the camera to detect the subject’s face and adjusts the exposure to ensure that the face is depicted at optimal brightness, even when selfie-shooting in scenes with extreme changes in lighting, and even if the subject’s face turns away momentarily from the camera. In addition, the camera features the same advanced color science from the popular ZV-1 to optimize skin tones for any subject in both still and video modes.

Cutting-Edge Video Features:

  • Internal 4K movie recording through full pixel readout without pixel binning
  • High bit rate XAVC S™ codec at 100Mbps when recording 4K
  • Slow & Quick Motion
  • High-speed full HD recording at 120 fps
  • Interval Shooting for stunning time-lapse videos
  • Hybrid Log-Gamma (HDR) / S-Gamut3.Cine / S-Log3, S-Gamut3 / S-Log3

Designed for Video Creators

Users can comfortably operate the new ZV-E10 thanks to its easy-to-hold body grip and large MOVIE button that is conveniently located on top of the camera. When paired with the optional Shooting Grip with Wireless Remote Commander (GP-VPT2BT, sold separately), one-handed shooting is simplified with easy to access zoom, record and a customizable button. A recording lamp (tally light) is also provided on the front face of the body for an at-a-glance indication of recording status. A red frame on the LCD screen also appears while recording to quickly and easily lets the user know if recording is active when behind the camera.

A unique feature of the ZV-E10 is the zoom lever that can operate optical zoom with power zoom lenses and Clear Image zoom with both zoom and prime lenses. Using Clear Image zoom, the user can zoom without losing video resolution to maintain full 4K video. The user can also choose from eight zoom speed settings for added creative flexibility.

The ZV-E10 features long battery performance with enough power to capture up to 125 minutes or 440 images on a full charge so the user can record for long periods without worry. When shooting indoors, AC power supplies like the optional AC-PW20AM can supply power, so the user can continue to record without worrying about battery consumption. Power can also be supplied through a USB Type-C® connector, allowing external batteries to power the camera for extended battery life when shooting on the go. ​To conserve the camera’s battery, the ZV-E10’s Vari-angle LCD Screen allows the user to put the camera into Power save mode by closing it and instantly turn the camera on by opening the panel.

Stay Connected

Livestreaming

The ZV-E10 can also be used as a high-quality webcam or live streaming camera by simply connecting it to a PC or smartphone for increased mobility while streaming with no additional software needed. The feature allows the user to take advantage of the ZV-E10’s outstanding image quality and crystal-clear audio as well Face Priority AE and Soft Skin Effect while livestreaming or on video calls. The ZV-E10 supports standards used for USB cameras like UVC (USB Video Class) / UAC (USB Audio Class). The ZV-E10 also allows users to connect to a power supply via USB cable while livestreaming for longer usage. For added convenience, the user can assign this function to a custom button to start streaming instantly.

Easy File Data and Transfers

Using Sony’s Imaging Edge Mobile app, users can transfer selected images and video files to a mobile device via Wi-Fi. This also allows the user to transfer RAW image files. After the camera has been paired to the Imaging Edge Mobile app, the files’ location data can be acquired from the mobile device and recorded. Users can transfer files from an SD card in the camera to a smartphone (mobile device) via Bluetooth even if the camera is powered OFF.

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.