Cinematic video settings on the Sony RX100: a step-by-step guide


If you have a Sony Rx100, you know it’s the best compact camera for video.  But getting the settings right can be tricky.  This is meant to be a handy, step-by-step guide for getting the best video out of the camera.  Stills capabilities and settings will not be addressed here.

Optimizing the Controls

Sony is notorious for overly complicated menu systems, and the RX100 is no different.  But fear not because it can be optimized for quick use in a variety of situations.  The key here is using the Memory Recall (MR) mode to create different settings that can be accessed at the touch of a button.  Here I will walk you through how to create the different settings that will be useful for video.

Setting 1: Daytime, regular motion (no slow motion)

  • Top dial: Movie Mode  
  • Menu – 
  • File Format: AVCHD
  • Record Setting: 60i 24M (FX) – this becomes true 30p once you drop it into your editing program.  It uses about twice as much data per frame as 60p 28mbps, resulting in fewer compression artifacts. But if you want the slow motion option at all times, use 60p instead.
  • Steadyshot: Active (switch this to Standard or Off if you want a wider angle lens)
  • Movie: Aperture Priority
  • Menu – 
  • Grid Line: Rule of 3rds Grid
  • Peaking Level: Mid
  • Peaking Color: Yellow
  • Function Button – click to enter
  • Function 1: White Balance
  • Function 2: Focus Mode
  • Function 3: ISO
  • Function 4: DRO/Auto HDR
  • Function 5: Creative Style
  • Function 6: Metering Mode
  • Function 7: Quality
  • Exit to Menu 
  • Func. of Center Button: Standard
  • Func. of Left Button: AF/MF Control Toggle
  • Func. of Right Button: AEL Toggle
  • Press Fn Button
  • White Balance: Cloudy (gives a slightly warmer, more filmic tone to daytime scenes)
  • AF-C
  • ISO Auto
  • DRO Level 2
  • Portrait Mode, -2, -1, -3
  • Metering Mode: Center
  • Raw + JPEG
  • Press Fn Button to Exit
  • Turn Control Ring to set aperture to f/1.8

To save this setting:

  • Menu:  5
  • Memory – click to enter
  • Select Register 1
  • Press Center Button to confirm

Setting 2: Daytime, Slow Motion

Same settings as above, except for the following:

  • Menu – 
  • Record Setting: 60p 28M (PS)

To save this setting:

  • Menu:  5
  • Memory – click to enter
  • Select Register 2
  • Press Center Button to confirm

Setting 3: Nighttime, regular motion (no slow motion)

Same settings as Settings 1, except for the following:

  • Menu – 
  • Movie: Shutter Priority
  • Press Fn Button
  • DRO Level 1
  • White Balance: Tungsten (occasionally, Warm Flourescent and Daylight Flourescent will give pleasing, warmer results. I consider white balance an artistic choice at night).
  • Standard Mode, 0, 0, -3 (reducing contrast and saturation at high ISO’s will only weaken the color information and increase blue-channel noise, both of which will cause headaches when you try to grade your footage.  You do not gain latitude in either color or luminance)
  • Press Fn Button to Exit
  • Turn Control Ring to set shutter to 1/40.  This will maximize low light sensitivity but will disable slow motion.  For slow motion capability, set shutter to 1/60. 

To save this setting:

  • Menu:  5
  • Memory – click to enter
  • Select Register 3
  • Press Center Button to confirm

If you wish any of the above settings to have slow-motion capability, just set your Record Setting to 60p (PS) mode.  Be aware that this will reduce the bitrate available to each frame when played back at regular speed, resulting in slightly reduced quality.

To Access Memory Recall Settings:

  • Top Dial: MR
  • Select desired Memory Recall Setting (1,2, or 3)
  • Press Center Button to confirm

Shooting Tips

I usually shoot semi-manual with the RX100.  I let the camera achieve the desired focus/aperture, then I lock the settings.  This is done by Auto Exposure Lock (AEL) and Autofocus/Manual Focus (AF/MF) switching.

  • Center subject, let AF achieve sharp focus
  • Press Left Button on Control Ring to switch to MF
  • Pan/tilt camera until you achieve desired exposure (compensating for backlit subjects, etc)
  • Press Right Button on Control Ring to engage AEL

If your subject moves or the lighting changes, just press the Left or Right Button to go back to auto mode and let the camera adjust.

rx100 one-handed

When shooting one-handed, you can use your thumb to toggle auto exposure lock (AEL) and auto/manual focus (AF/MF) via the Left and Right buttons on the Control Ring.

This technique also works well with my dual-cam handheld shooting method because you can hold the camera from underneath and lock/unlock exposure and focus with either your left or right thumb.

Manual focusing on the Rx100 is aided by Focus Peaking, which highlights the in-focus portions of the shot with a yellow outline.  This is dependent on contrast and can be fooled by high-detail, yet out-of-focus objects like vertical blinds or a patterned shirt.  My advice here is to just play around with it until you get the hang of it.

I hope this has served as a helpful guide for getting your camera set for shooting cinematic video.

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Latest Comments
  1. Charles

    Thanks, very interesting – good points about better bitrate per frame shooting 60i and also the wide angle being maximised by switching off active mode.

    • Brandon Li

      The bitrate issue mainly rears its head in low light and fast motion (especially camera movement). If you’re shooting a well-lit scene with little camera motion, you should be fine at 60p. The wide angle varies from 28mm to 33mm depending on the degree of stabilization.

      • Charles

        Until I read you suggested settings I was planning to shoot 50p, but now I can see the sense of 50i which is good for lots of movement which may well be something I have to allow for, and still retain the option to extract true 25p for progressive from the same clips

    • MS

      This post, and others, have been a valuable resource not just for me, but likely many other RX100 users. I wanted to offer some experience and tips that will hopefully help guide others, especially with LUTs and color grading. I am by no means a pro. I like to make creative use of my skills to in essence “pimp” out my home movies, using cinematic principles. It’s a hobby, nothing more. I have done a few weddings and bridal showers etc. for friends. I have been using Sony Vegas for many years. When HD first came out on a consumer level, I got the Canon Vixia HF10. When the RX100 came along, I jumped on the opportunity to have a portable device for better video abilities. I absolutely realize that the quality of high-end DSLR and pro video equipment is more or less superior to the RX100, but that doesn’t mean we can’t play around with RX and do some similar stuff on a diluted level.

      I’ve had the RX100 since February, and recently sold it for the M2 because I wanted native 24p. No matter how much you conform or overcrank, true 24p just looks better. I haven’t been disappointed. Even in low light indoors like at a restaurant, the noise is quite bearable, in fact it looks very much like film grain. Other than that, I haven’t noticed anything different video-wise between the 100 and 100M2.

      I recently started playing around with Davinci Resolve Lite and it is a pleasure to work with. Once you get the hang of it, color correction is a breeze. My workflow is this, on a Windows PC, using footage shot at 60i from the RX100:

      Import clips into Vegas Pro, set de-interlace to blend –> Do basic cutting and moving of clips –> Batch render the clips as Sony MXF 50Mbit files @ 29.97p along with an .xml –> import the mxf clips and .xml to conform the timeline in Resolve –> color correct as needed –> export clips as Sony MXF –> import back into Vegas, add effects, text, music, blends, etc –> render to completion (I like mp4 @ high bitrate).

      It seems tedious but in reality Resolve renders much faster than Vegas even with lots of color correction so I’m happy. The conversions from AVCHD to MXF are also very fast, not much transcoding involved and since it is being done at such a high bitrate I don’t notice any degradation.


      Pro cameras that shoot in RAW are easier to color grade because video is not so compressed and has a higher bitrate. There are many LUTs available for film emulation and other looks. I decided to try and duplicate a flat Cinestyle-like profile for RX100 footage which might be able to have LUTs applied with decent results.

      Straight out of the camera I’ve been using pretty much the same recommended settings that everyone else seems to like: Portrait Mode with DRO2 and sat, contrast and sharpness dialed down. The one part I question is whether or not reducing sharpness is a good thing.

      Most LUTs seem to need log video, but the RX100 by all accounts is in rec.709. I found a LUT that can convert non-log into log. When applied as the first node in Resolve, it flattens the image even more, approaching something very close to “Cinestyle” and other pro cameras. Then as a secondary LUT, you can apply almost anything else and the results are very impressive, all things considered. This gives the footage a very cinematic look. For example, the modern “orange-teal” film look can be achieved with just a few clicks without masking skin tones and applying different layers for mids and highs. Often some basic work with lift and gain in the original is all that is needed to get a great look.

      I don’t want to link the sources for these various LUTs because this is not a sales pitch, but a little googling can get you there.

      Bottom line, this camera is lots of fun to use because it is so easy to take around. I don’t care that the zoom is slow, because who zooms during video clips anyway? DOF is very nice at the wide end. I simply compose most video @ 1.8 so it always looks pretty nice. I also use Reelsmart Motion Blur rather than carry around an ND filter in bright light. I also tend to underexpose images because they are easy to correct in post.

      That is all for now. Hope this can be of help to others.

      • Øivind Hoem

        Thank you for your informative post. I am really new to photography and cinematic video in general. I was wondering if you could email me the LUTs you are talking about in your post? email address:


  2. Michael

    After our conversation I jumped on this camera…B&H just delivered and the battery is charging. I picked up a Power2000 spare battery, have no idea if they’re any good but we’ll see. Are you having trouble with the larger SDHC cards – like bigger than 32gb? Some colleagues have had issues with the 64gb cards on their dslr’s.

    Anyway amigo I want to send best vibes and thanks your way. And I will be studying the post above, extremely generous…many thanks.

    Best and good light,


    • Brandon Li

      Awesome, glad you made the jump! You won’t be disappointed.

      I have the same battery; no issues.

      I’ve used 64gb SDHC extensively and never had an issue with the RX100 or any other camera. I shot 1-hour documentary on dual Rx100’s and not a single card failure. I used SanDisk Ultra SDXC cards.

  3. Jason

    Question. In the top set of settings for daytime, you said ISO should be auto, but I don’t have that option. In mine you have to choose a number. What did I miss? BTW, is there a way to set it so that we can be notified of replies to these threads? It definitely doesn’t tell us when you reply.

    • Brandon Li

      I’ll work on the reply notification. Not sure how that works…I’m not a webmaster. As for the ISO, this is strange because you should have an auto ISO option in any mode. Really not sure what the issue is. Are you in the “movie” mode on the top dial?

      • Jason

        I don’t know what on earth I did wrong the other night, but now there is an auto ISO option where before there definitely was not. I scrolled through all the options multiple times. Ah well, got that one dialed in. Now I just need help finding the tungsten option (see reply to that thread below).

  4. Jason

    Shoot, one more question. There is no tungsten option for the nighttime settings using movie mode: shutter priority. I wonder if yours has some kind of firmware that mine doesn’t?

    • Brandon Li

      Firmware is the same. There should be manual white balance available in any mode. Not sure what issue you’re having. Are you sure you’re on manual WB? Are you accessing it through the Fn (function) button?

      • Sean

        It’s just called incandescent on mine not tungsten. Either way, it’s the same thing 🙂

        • Jason

          Oh, I didn’t know that it’s the same thing. Yes, I have the incandescent setting. Brandon, is that what you meant? BTW, it was super helpful to learn how to program the back buttons, particularly for manual focus and exp. lock.

          • Dave

            Firmware is different in European models compared to North American models but should be the same on all NA models.

      • Jason

        Yes, I definitely have manual WB. I was looking for a setting called tungsten after reading this:

        “White Balance: Tungsten (occasionally, Warm Flourescent and Daylight Flourescent will give pleasing, warmer results. I consider white balance an artistic choice at night).”

        Did I misunderstand something?

        • Brandon Li

          Hi Jason, I’m not exactly sure the issue you’re facing, but incandescent and tungsten are the same. They should be represented by a lightbulb option. Is your issue solved?

          • Jason

            Yes, it’s called Incandescent on my camera and has a little light bulb icon. Thanks.

  5. Vrais

    Great little beast!
    In one your recent posts (LV Fling I think) you say that you used the lighting optimiser.
    I’m finding that it generates extremely nasty artefacts and noise in the darks, by adjusting the SN to the detriment of quality.
    I can’t see any nasties in your video, I wonder why.

    • Brandon Li

      Hi, the DRO can generate artifacts if used at high levels, just as lowering the contrast will increase visible noise. I keep DRO at level 1, which is very mild and just helps to bump the shadows a bit in high-contrast environments.

  6. Vrais

    Inspired by this article I started experimenting with the 50i (PAL version) and comparing it to the 50p in FCP X.
    I’m finding that the project must be set to 25i to reduce very heavy aliasing if i-footage is used in a p timeline. But even with the 25i timeline there seems to be quite heavy aliasing (sharp pixelation on many edges) comparing the the p footage.
    Maybe I’m asking too much, but could you share the rest of your workflow of your RX material please?

    • Brandon Li

      Hi Vrais,

      I’m working on a post-production guide. Not quite ready yet. Regarding your problem, which editing program are you using? If you are using one of the later versions of Adobe Premiere or Final Cut Pro X, the program should automatically recognize 50i footage as 25p, or if it doesn’t, you should be able to drop it in a 25p timeline and have it be correctly interpreted. If you are experiencing aliasing no matter what you do, one option is to transcode the footage to ProRes 25p. This can be done with Log and Transfer (FCP 7), Mpeg Streamclip, or Adobe Media Encoder.

      • Vrais

        I am using FCP X 10.0.7.
        Allowing FCP X to convert the footage I end up with ProRes422 interlaced file. On a p timeline the asliasing is very pronounced, not so much on an i timeline.
        The aliasing stays even on a p export from both p and i timelines.
        You said that the 60i uses twice as much data fer frame, but I’m finding that the i footage is much smaller than equal length and subject p footage, with both set to the highest bitrate available…
        I did have a go at converting with MPEG Streamclip, which works just fine deinterlacing.
        I’m really just nerding-out about this, as I’m happy with my default 50p recordings, but wanted to experiment.
        Really appreciate your time helping out.

        • Brandon Li

          That is really strange, Vrais. Could you send me a link to a screenshot of your issue?

          Regarding 60i, it is a lower bitrate overall (not exactly twice the bitrate per frame of 60p), but it does allocate more kilobytes to each frame recorded. This is because 24kb/30p = 800kb per frame, and 28kbps/60p = 467kb per frame. When you’re conforming to 30p, 25p, or 24p (non-slow motion), you’re just throwing away half the frames. So you might as well pack as much data as you can into each frame.

          You will see the worst compression artifacts when you try to color grade footage that has a lot of camera movement and/or high ISO. At 60i or 50i, your camera noise will be a bit finer and more filmic, and your motion blur will look more blurry and less blocky.

          • Vrais

            With pleasure Brandon.
            Here is a link to a PDF with screenshots and descriptions:


          • Brandon Li

            What’s probably happening is FCP X is throwing away half the fields instead of de-interlacing them into one full progressive frame. So you’re only seeing half the resolution, hence the aliasing. Maybe try using Clipwrap and re-wrapping your footage to h.264 before importing to FCP X. I’m just guessing, though – this is really weird. You also might want to try using the same 50i footage in another editing program. If you will send me a link to a brief clip, I’ll try it in my FCP X to see if I get the same error.

          • Brandon Li

            Did you try going to Inspector > Info > Settings View > checking the Deinterlace box?

          • Vrais

            Somehow the Reply buttons are missing from your newer posts…
            I did not, but will try, tick the deinterlace box.
            This however would not explain why the footage is aliased even after MPEG Streamclip treatment…
            I will upload a short clip straight off the cam as soon as i get a chance. Cheers.

          • Vrais

            Here are 4 screenshots of the results of using the deinterlace button in FCP X (zipped)
            Have a look at the shot of the first 28 frames, a complete loss of detail after deinterlacing, the remaining frames are as per other screenshots.
            And here – trimmed ProRes (17 MB)

            I’m lost…
            The only other editor I had, was FCP 7, now gone.

          • Vrais

            Did you het a chance to test the footage I linked to per chance?
            I’m thinking there’s something not right with my 50i footage on the camera level.

          • Brandon Li

            Hi, sorry I’ve been traveling the last couple days. Have not had a chance to sit down with the footage yet but will inspect shortly and let you know.

        • Vrais

          Sure, really no pressure.
          It’s just the nerd…

          • Brandon Li

            Are you still having this issue? I just checked out the files you sent, and there is definitely some unwarranted aliasing going on in the footage. It looks like the NLE might be combining the wrong fields with each other. My only recommendation on fixing this is to try exchanging the camera. Deinterlacing errors aren’t a known issue with FCP X as far as I know, so the problem most likely lies in the camera.

          • Vrais

            (Again, no “Reply” on your post…)
            Yes, it must be the camera. 50i from my NEX7 is just fine.

  7. onigorom

    Why not using in-camera mpg (25p) instead of using 50i/25p AVCHD?

    • Brandon Li

      The in-camera mp4 is a lower bitrate as well as only being 1440×1080, so you don’t get full HD resolution. The only advantage is that it plays more easily in Quicktime and other media players.

      • frankie

        Hi Brandon, just had a quick question for you about 50i vs 60i. Is there a difference in video quality between the two. I have just purchased an RX100 in OZ and have the 50i verison. p.s thanks for the awesome info and vids you put out there.

        • Brandon Li

          Hi Frankie, 50i and 60i should be nearly identical, apart from the difference between the look of 25p and 30p, respectively. Those with PAL cams are lucky in that their frame rate closely resembles the 24p film standard.

          • frankie

            Thanks for that. The other question I had was when I switch to MR and recall a setting I set in the memory, say I select 1, but then when I switch back to movie, that setting is overridden. Does one just start recording from within MR? Does that make sense?

          • Brandon Li

            You should shoot in MR mode. Just make that your default mode when shooting video.

          • Vrais

            Yes, I’m still here, asking silly questions 🙂
            If the bitrates (bits/sec) are the same in 60 and 50 FPS, wouldn’r less frames (50) have a better quality as the same amount of data is written into 50, rather than 60 frames?
            If you want, I’ll send you a PAL version from Australia, but our prices are higher…

          • Brandon Li

            You are correct. Not sure how much of a difference it makes, but 50p would be more bits per frame. I would like a PAL version but I’ve already invested in two NTSC RX100’s.

      • Vlad4D

        BTW, on NEX-6 I found that 1440×1080 mpg looks little more detailed than Full HD AVCHD. Most likely AVCHD version is up-scaled from 1440×1080.

        • Brandon Li

          I don’t like the NEX-6 for video at all. Horrible moire and aliasing; it just looks like video, whereas the NEX-5n has a cinematic look to it.

  8. Colin Chung

    I’m not sure of saturation at -1 for Portrait mode, which is already more saturated than standard mode.
    I’ve done a few tests here and saturation at -2, even at night/high ISO looks much more natural, less blown out reds/orange etc

    • Brandon Li

      In my dealings with Sony’s 8-bit cameras, I’ve found that shooting with contrast and saturation set t0 0 usually yields the most flexible results for color grading; I simply reduce the saturation a bit when shooting because I like the overall look better and it saves a step in post.

      What seems to be happening is that reducing the saturation in the menu doesn’t actually reduce the amount of saturation reaching the sensor. So if the reds are blown out at saturation “0”, they’ll still be blown out at “-3”, just posterized and desaturated.

      So my current theory is that you’re never going to get smoother color than the camera’s default settings. You can only do a little “grading” in-camera and save some time in post.

  9. Chris


    I’m looking into a couple cameras to shoot B-roll for a television show. I’m already sold on the GoPro (a few underwater scenes and car mounting). This is going to be a verite style show and ill be shooting on an EX3 for the primary footage. I don’t expect to use the rx100 at night. Do you think this camera (with the settings you recommended) would be a suitable one for this? I am considering renting an mark iii, but am trying to keep my equipment costs down. Thanks! Love the blog.

    • Brandon Li

      Hi Chris,

      The RX100 is the perfect B-roll cam for verite. It resolves a true 1080p image, so it will intercut nicely with the EX3 (and possibly out-perform the larger cam in low light). You will want to either carry several batteries (I recommend the 1600mah one for maximum duration) or get an external USB power pack (see my article on shooting dual-cam). The camera will record up to 30 mins per take. I recently recorded a 2.5 hour interview with almost no breaks and had no trouble with the Rx100.

      • ken enomoto

        Hi Brandon. I’m not going to put you on the spot but if what you say is true, I’m going to purchase RX100. As you know I bought NEX 5R and that I have been struggling with overheating problems. Like to shoot long takes.. I have put in heatsink as well as top line Sony smart stick x series that you use. Nothing really helps. I’m getting the same shoot time-video on the smart stick pro duo x series as my regular Sony smart stick 15-22 minutes at the most. I’m keeping the camera because of self shot LCD screen and other reasons. The only thing I have problems with the NEX is the length of video shooting time.
        If I’m capable of shooting for an hour straight,then RX100 is the camera for me. You along with others have said that RX100 M2 is actually not as good as RX100.
        Almost all top line APS mirrorless camera and micro four thirds have a limited video shoot time to 30 minutes.
        Can you recommend another small sized camera with a great video shooting capability with unlimited shoot time?
        Really love your work. Like to see more of your NEW material if you have one. keep up the great job. Beautiful Vids!
        thank you

        • randomguy

          hi. i know this reply is wayy to late but maybe it will be somewhat helpful for you. all camera has the limitations of 30 minutes due to legal and tax reasons. if it can record 30 minutes or more it will be classified as video camera instead and have different custom and import duties attach to it. so basically the limit is artificial.

  10. Jason

    By the way, I have to say this post has been extremely helpful. I would have never figured out those custom button settings on the back, but now I use that exposure lock thing all the time. Very very helpful, Brandon.

    • Brandon Li

      Awesome! This camera is absolutely pro-quality, and I’m glad you’re getting the most out of it. Regarding your other comments about developing training products, I definitely see that in the future at some point, once I have a break in my production work. Could definitely use your help.

  11. Tony

    Hi Brandon, many thanks for taking the time to share this with us, do you mind if I post a link to this from my Sony RX100 page on vimeo which you joined.

    • Brandon Li

      Hi, absolutely do re-post the guide! And thanks for making a page for people who use this camera to show their work.

  12. JW

    Hi Brandon,

    thanks for posting this real good information on RX100 video.

    I am still learning what the RX100 can do, it is an amazing camera. I mainly use the camera with a spotting scope for taking video of birds and “grab” jpegs using Sony’s software.

    Could you advise on the best setting to get optimum video quality, while at the same time capturing movement. Should I have a very quick shutter speed to capture flight and reduce the blurring of wing movement. Also your comment on using 60i to provide greater detail is interesting but would 60p (50p in my case) not help to “freeze” the action for grabbing jpegs.

    I hope my query makes sense, Regards JW

    • Brandon Li

      Hi, for birdwatching you would want to shoot aperture priority (A mode) and leave it wide open so that the shutter stays fast. And 60p will give you twice the options of still images, albeit at a reduced image quality per jpeg. You might see a noticeable difference in quality in fast-motion shots like birds flying. I’d say just try both 60i and 60p and see if the quality difference is noticeable to your eye.

  13. onigorom

    Hi, I am still having ‘issues’ with the above, up for discussion:

    – 50/60i stores 50% information of each image (interlaced). When you de-interlace each frame is basically ‘computed’, so theoretically it should show more artifacts than 50/60p. We are talking compressed vs. computed. Also, interlaced adds one more step to the workflow and the question what method you use to de-interlace. Troublesome.

    – I do not understand why 50i should be better for movements, when 50p provides a much more natural ‘flow’.

    – active mode adds artifacts (it is a digital stabiliser), if that is an argument, it should be avoided IMO.

    – I avoid DRO, prefer instead Contrast -3

    • Brandon Li

      To address your issues:
      – 50/60i is not actually interlaced. It’s 25 or 30p wrapped in 60i interlacing – basically, it takes progressive frames and then splits them into fields. So when you import into a modern NLE like FCP X, the program automatically deinterlaces the footage. I have done extensive tests of the relative compression between 60p and 60i, and the latter is definitely less compressed.

      – The RX100’s 50i, when deinterlaced, is 25p. So the movement would be similar to the cinema standard of 24p.

      – active mode does add warping artifacts in some instances, but most of the time I find the tradeoff preferable to shaky footage. It should be used for some shots but not everything.

      – I leave DRO on level 1 just to add a bit of lift in the shadows. Extreme use of DRO creates an awful pseudo-HDR look that is of course not preferable. Lowering the contrast in-camera can look nice, but I don’t believe you’re actually gaining dynamic range. I think you’re just compressing the signal into a smaller gamut. I lower the contrast in daytime simply to save a bit of time in post when color correcting.

  14. Frank

    Thank you for this article on setting up the RX100 for video.
    I have tons of photography experience but very little video and this really helps me to get my initial setup going.
    I have to record a few speeches at a luncheon and was hoping you could guide me as to:
    1. How many minutes per GB?
    The issue is obviously to try and prevent running out of card space in the middle of a speech.
    2. What mb/s is the best to use?
    I have a couple of 8GB cards and may need to get a larger card.

    Thank you,

    • Brandon Li

      Hi, in answer to your questions:

      1. 4.5 min per GB at 28mbps
      2. For slow motion, you want to shoot at 60/50p 28mbps AVCHD (PS mode). For non-slow motion, the best mode is 24/25p 24mbps AVCHD (FX mode).

      Happy shooting! It’s a great camera.

      • Frank


  15. Frank

    Another question please, if I may:
    Re: the mode selection – bottom item in the movie menu-
    I have all the options P,A,S or M
    If i’m shooting 30fps then I should keep my shutter speed at 1/60th – right?
    The only way to do that is eith in Manual or Shutter Priority

    • Brandon Li

      1/60 is the ideal shutter speed for 30p if your intended output is 30fps. The tricky part is, if you intend to convert to 24p at some stage (for a more “filmic” frame rate look), then you should be shooting at 1/40 or 1/50.

      You’re correct in that the only way to ensure this is to shoot in M or S modes.

  16. Frank

    When I playback the video on the camera lcd it looks smooth,but when I play it on my machine it has aweful ‘stuttering’, ‘staggering’ with any camera or subject movement. I’m panning slowly using a video head on tripod with steady shot turned off.I used this method (free) to transcode the avchd files
    But just tried with shooting mp4 and all 3 avchd options – it’s the same problem.
    Any solution?

    • Brandon Li

      What is the FPS in your timeline or transcoded footage? If you’re dropping the footage in a 24p timeline or transcoding it to 24p beforehand, you’ll get staggering because it’s changing the frame rate. 24p should be left for a later stage in the editing.

      If that’s not hte case, and you’re leaving it as 30 or 60fps, you might be having hardware resource issues. Are you sure your computer is up to speed for editing this kind of footage?

  17. Frank

    Can you elaborate on this piece from your tutorial –
    “Record Setting: 60i 24M (FX) – this becomes true 30p once you drop it into your editing program. It uses about twice as much data per frame as 60p 28mbps, resulting in fewer compression artifacts. But if you want the slow motion option at all times, use 60p instead”

    • Brandon Li

      Hi Frank, sorry for taking so long to get to this. 60i on the RX100 is actually 30p wrapped in 60i. Most editing programs will see the footage and automatically recognize it as such. So you can effectively think of it as 30p. Since it’s only recording 30 frames a second, and not 60, it gives more data to each frame than 60p does. You’ll notice the difference when you have a lot of movement in the frame; it’ll be less blocky. But if you need slow motion, you have to record 60p instead of 60i. It’ll be more compressed, but you’ll get more frames per second. Hope that clears up the issue a bit.

  18. George

    Thanks a lot for this amazing guide
    Could you please publish soon the digital post-production flow you use (Premiere). I’m just starting with videography and I have no clue about how and where to start

    • Brandon Li

      Hi, I’ve actually moved to FCP X in the last few months. But if you have questions about the Premiere workflow, is a great place to start. I have been a bit too busy to post in-depth articles lately but will add some info for you when possible!

  19. Chris


    Brandon Li.

    My question is similar to the last one. I am just starting out using the video capture facility on the camera, and am searching for a good (but not complicated) processing software. I have heard of Lightroom and Premiere, and I have also downloaded and installed some freeware – Avidemux 2.6. Problem is the program stops working every time I am saving a file, and Windows 7 closes it down….very frustrating. I would also be very interested in a good step by step guide to editing capture as well as post-processing technique and filter use.
    Thanks for the informative article above.

    Best regards

  20. Mario

    Hi Brandon,
    i want to thank for your amazing blog.
    I got my RX100 last week and felt in love with it.
    I plan shooting movies for Youtube which allows only 30p,25p,24p.
    Did i understand it right that i can work with 50i as native 25p in a 25p timeline?
    Is that the best way to shot videos for Youtube without converting ?

    Best regards

    • Brandon Li

      Congrats on your purchase – it’s a great camera. Yes, 50i is actually 25p in a 50i wrapper. It will de-interlace perfectly in a 25p timeline. This is the highest-quality way to shoot natively for Youtube.

  21. Peter C

    I’m currently using a Canon T3i for shooting web training videos, but the 12 min video limit is a bit of a pain…

    Will the RX-100 record longer than 12 min and will I see a drop in video quality between the 2 cameras?

    Awesome post :=)

    • Brandon Li

      Thanks Peter! The Rx100 will record 30 mins at a time. You will probably notice that the T3i is capable of shallower depth-of-field, but the Rx100 is considerably sharper. Also, the T3i with Magic Lantern hack can record at a higher bitrate than the RX100, which may or may not affect image quality, depending on how much fast motion is in your footage. For interviews you wouldn’t notice a difference.

  22. Rus

    Awesome info. MANY thanks for your efforts.
    I am very grateful to have found this link.
    Now, to digest it all!
    Best, R

  23. Benjamin Chan

    Did you run into any overheating issues with the RX 100 ? Like for long takes in hot temperatures maybe…? I wanted to post my comment in your latest post about shooting with multiple RX100s but I can’t seem to be able to find that post… In any case, thanks for all your useful blog info as well as a sincere thanks for any response you might be able to offer concerning my overheating question.

    • Brandon Li

      Hi, I have had the RX100 overhead a couple times on hot days when shooting several consecutive 30-min takes. I had to remove the other post but will re-post similiar information soon. Thanks for reading!

  24. Doug

    I am shooting a friends wedding with the RX100. I’ve read your guide on recording audio separately. Does the Sennheiser ME 2 require a battery or external power? Is that still your mic of choice? I am looking at the Sony ICD-SX733 Digital Flash Voice Recorder. Are you familiar with that unit?

    • Brandon Li

      I’ve actually been using a ridiculously cheap Adzen omnidirectional lav (link here) and it sounds 90% as good as the Sennheiser, and is a lot more reliable. The main problem with the Sennheiser is that it doesn’t have a right-angle mini plug, so it can easily get damaged while attached to the recorder. The Azden mic sits flush next to the recorder and I can secure it with a hair tie or rubber band. I’m not familiar with the SX733 but it looks like a solid unit. Should probably give you great audio, and might be a bit more compact than the one I’ve been using. Let me know how it goes!

  25. fotograf imprez warszawa 

    Hello, I think your blog might be having browser compatibility issues.
    Whenever I take a look at your web site in Safari, it looks
    fine however when opening in I.E., it’s got some overlapping issues. I just wanted to give you a quick heads up! Aside from that, fantastic website!

    • Brandon Li

      Thanks for the heads up! Will see what I can do.

  26. Peter

    Hi Brandon,

    I’m using Screenflow 4 for editing… So I need to convert the Sony AVCHD files to Prores or something of the like… but it takes over an hour for a 10 minute clip… Do you have a workflow that is faster???

    I tried clipwrap with some 60i video, but it came out all messed up.



    • Brandon Li

      Clipwrap is the only fast solution I’ve found. Any real transcoding is going to take forever. Maybe try mpeg streamclip, though I don’t know if it’s going to actually speed up the render. But it does support batch processing, so you could just dump all your clips in a batch and let it go overnight.

  27. k3rk

    Hi, love ur site, extremely helpful and probably it is the inly website which has any detailed information about everyday use of such an amazing camera as rx100. i have it already for about half a year, mostly take photos with it. Did not shoot any videos, because all those video settings seems to be to complicated, plus different versions of video editing software handle them differently , so recently i was just shooting in mp4, not worring about editing at all. But after i saw some of your inspiring videos, i decided to have a try.
    The questions are :
    1. Please tell me about focusing. How do you use focus while shooting videos on it, if and when its manual how do u hold the camera, avoiding shakiness while moving that big ring.
    2. New premier pro vs new final cut. Which one is better for avchd? Or all of them support this format natively? Personally, i find fcpx very slow in render, heard that premier pro doesn’t have this issue. Moreover the footage can be easily integrated with adobe after effects without any need for export. Please write what do you think.
    Thanks for an answer in advance 🙂

  28. Anna

    Hi Brandon,

    Many thanks for your excellent step-by-step guide to a newbie like me. I recently purchased the RX-100 and since the video quality is superior to my Panasonic video camera, I will use the RX-100 to record our family videos from now on.

    I have completed your suggested settings and I have a question. There is one setting for daytime and one for nighttime. If I am outdoors it is straihtforward which one to use. However, when indoors I am not sure which setting to apply. Does it depend on the lightning? For example, if I want to record my kids inside the house in the evening when it is kind of dark outside but all lamps are on. Is it daytime or nighttime or somewhere in between? If I ‘m not confident with manual settings, would I then be better off switching to full auto settings in this case?

    Furthermore, can the videos created while applying your settings be viewed just as they are or is any editing necessary to obtain satisfactory quality? I have edited videos previously but only to remove and join parts, not to increase the quality.

    Looking forward to your response!

    • Brandon Li

      If the light is low, use nighttime setting. If you aren’t confident with using manual settings, auto will do well in most circumstances. The videos can be viewed on a computer without editing at full quality, but unfortunately the compatibility with AVCHD and most media players just isn’t quite all there yet. If you want to make the clips easier to watch without editing, try using the .mp4 format to record. It’s a little inferior to AVCHD but plays back more easily.

      • Anna

        Thanks for the reply! Actually, the videos I have recorded previously are in AVCHD format and I don’t have a problem to play them on my computer. I think my last question was not very clear, sorry for that. Let me rephrase it; if I don’t want to edit anything else in my computer than cutting and joining, should I still apply your suggested “minus” settings for contrast, saturation and sharpness to get the best video quality? Or, do these settings require colour adjustment etc. afterwards since the videos will not look good as they are with these “turned down” settings?

        I looked at another blog with suggested settings for video recording and that person recommended contrast -3, saturation -3 and sharpness -3 but it also required a colour and sharpness fix afterwards to get a higher quality than just shooting with default settings (0, 0, 0) to begin with. So basically, my question is what settings to apply if I want a good looking video but don’t intend to do any adjustments afterwards.

  29. Nikola

    Hey Brandon,

    I have researched your site & others quiet a bit. I recently purchased the RX100 for a Bachelor Party coming to Vegas.

    Can you recommend a work flow to import into a MAC I’m using Adobe Premiere Pro..

    I have tried 2 converters but it seems I am loosing quality somewhere.

    Thanks for your reply

    • Brandon Li

      I would usually just edit the native AVCHD files when working in Premiere. That’s one of the perks, if you have a powerful computer. If you must transcode, then Adobe Media Encoder does a decent job of converting to ProRes 422. MPEG Streamclip works as well, though I’ve found it tends to darken the video a bit.

  30. Nikola

    I got it figured out! I was over thinking it..

    Thanks for this website, great source for this camera.

    I have clients flying into Vegas for a Birthday Celebration, I will be filming in 60p 28M.

    Wish me luck in post production lol

    • Brandon Li

      Good luck! Hope you get some great shots.

  31. Andrew Castro

    Hey Brandon,

    Thanks for the amazing tips.

    Could you explain how to bring footage into Final Cut Pro 7? I’m having the hardest time trying to find a workflow to drop the footage in the program.

    • Brandon Li

      Hi Andrew,

      I haven’t worked in FCP 7 for years. But I believe you have to use Log and Transfer after inserting the camera’s SD card into the SD port on your computer. Alternately, you can batch transcode all your footage to ProRes 422 with Mpeg Streamclip.

  32. Michal


    How do you think- is it worth to buy new RX100 II or it is better to remain with older RX 100.
    Is new RX100 II better to create movies than older RX100?


    • Brandon Li

      The RX100mkII has slightly better low-light performance, articulated screen, and 24p. If you don’t already own the RX100 original, I would say the new one is definitely worth the extra price. If you do already own the original though, it’s probably not worth it to upgrade unless you really feel like you need those additional features.

  33. Andy

    Hi Brandon,
    thank you for your excellent and detailed guide to the movie settings. It helped me a lot!
    However, I keep struggling with the following issue: after saving my settings (Menu 5) it appears that only the items of the fist five menu pages are being recorded. The specific setting on the three menu pages for the external controls, like the Fn-button and the Left/Right buttons are not recorded.
    Could this be caused by the fact that I am using a European camera/firmware, or am I dong something wrong? Hope you can help me.
    Thanks, Andy

    • Brandon Li

      Hi Andy,

      I’m not aware of that specific problem. I would suggest asking in a forum with lots of European users, like Best of luck.

  34. Jim

    Thanks for the RX100 video guide. Did you mean to use 60p 28M (PS) for the Setting 3: Nighttime, regular motion?

    • Brandon Li

      At nighttime – regular motion, 60i is the way to go for this reason: that mode is actually 30p in an interlaced wrapper, so your editing program should recognize the source as progressive. Since it’s 24mbps for 30fps, it allots more bits-per-frame than the 28mbps for 60fps. So your grain structure will be smoother and more “film-like” because it’s less compressed, which helps a lot at high ISO’s.

  35. suzy

    Hey Brandon, great website, thank you for the inspiration and tips!
    Just wondering if you had a choice of the rx100 and the panasonic fz200 which you might choose?
    (At the moment they are the same price here in NZ) I love that the rx100 has a 1″ sensor compared to the 1/2.3″ of the panasonic, however the panasonic lens is 25-600mm equivalent lens with F2.8 across the zoom.
    The panasonic also has a mic input, which would be helpful, though the Rx100 is alot more discreet.
    Any thoughts?

    • Brandon Li

      Hi Suzy,

      The basic choice is this: do you want a superzoom, or a fast wide lens? I personally find the 28mm f/1.8 lens of the rx100 invaluable when shooting friends and social occasions (subject close to camera). The Panasonic would be about 4x less sensitive than the Rx100 in low light.

      However, if you’re looking for a travel zoom for distant architecture, nature, sports, etc – the fz200 makes more sense because of its bright zoom. The mic input is a moot point for me because I never use radio mics or on-camera shotguns. I almost always just use lavaliers plugged into mini voice recorders like the Sony ICD-SX712u, then I sync in post.

      Overall I’d say the Rx100 is going to be a more satisfying camera because it has incredible low light, a decent though unremarkable zoom, and is super stealth. Pocketability is one of the most important factors for me in a compact.

  36. VS

    Hi brandon,

    Just wanted to say thank you for sharing your knowledge on this camera and video in general, I have a hacked GH2 which I love, but feel any DSLR, get in the way of capturing life spontaneously. Wanting to be discreet and record candidly is also high on my priority list so I am thankful I stumbled upon your excellent blog.

    Needless to say a mark ii is on it’s way.

    Looking forward to any more insights you’d like to share in the near future!

    Perhaps even in the post process, workflow especially. Thanks Brandon.

  37. Eric

    Hey Just picked up the RX100II and loving it so far…Do have a few questions..At 60p are you shooting at 125/th to try and get the “180” shutter rule…And 24 at 50/th
    Also why do you say shooting at 60p there is a loss of quality? If I want full HD 60p slow motion I would think that is the proper setting or no? Is there any way to set the AF during video to try and follow a face as best as possible…? Where and how would I set that. Until I get the ND Mag-filter it will hard to do any video in daylight with 24p o 60p but should get here one soon. Even sony makes one now but it just pops on the lens and you have to take it off before turning the camera off. So a Mag-filter seems to be the best bet still.. Thanks for your help..I notice you also mentioned setting the video mode to aperture priority but that will make the shutter speed go all over the place and not look nice for video. Everything should be Manual in video mode I imagine to get good results or no?

    • VS

      I was wondering about the Aperture mode myself with these being video settings.

      • Brandon Li

        See my other comments. I use ReelSmart Motion Blur to add motion blur in post when shooting in Aperture Priority Mode in bright daylight.

    • Brandon Li

      I’m not a fan of external filters on compact cameras. Too much hassle. For the 180 degree rule in daylight, I shoot in Aperture Priority mode and use the plug-in ReelSmart Motion Blur to add the blur back in post. This blog article discusses the technique. You may or may not want to do that, but it definitely works for my purposes. Then in low light, I shoot shutter priority mode and set it to 1/50 or 1/40.

      As for face-tracking focus, I just use the built-in autofocus with face-detection enabled. I set the left control wheel button to toggle AF/MF, so whenever I get a good facial lock on the focus, I switch over to manual until the subject or camera moves and requires re-focusing.

  38. Eric

    Is there anyway of doing FULL manual mode Aperture and shutter? Every time I put the Shutter speed a 125/th for 60p the aperture keeps changing..Aperture priority would not help as the shutter speed would be all over the place…Cannot figure out how to do full manual video control, can someone post please..
    I won’t even get into how the files do not work well on a macintosh at this point, very frustrating to say the least…

    • Brandon Li

      If you want full manual mode, it’s in your menu settings. If you set the top dial to movie mode, then go to the “menu” and go to the movie settings, you’ll see “M” as an option. Once you’ve set this, you can manually adjust shutter and aperture for movies.

      • Eric

        Brandon, Thanks for your quick replies… I appreciate it…On another note I am not sure why you do not use filters for video and for Circular Polarizer is KEY for me..CP for Pictures and ND to bring that Shutter down or your videos will look like saving private Ryan. ANd if you do not use ND filter in day time it is almost impossible to get either correct shutter speed for video or Aperture. I am talking about professional video. So in your above formula I never understand why you set it to aperture priority and let the shutter speed give what it wants…That makes no sense for video…24p you want 50/th and 60p either 60/th or 125/th fixed.You would actually want both Shutter and aperture fixed, other wise it will look weird.Again I am talking about professional video and not home videos of Kids and such.. I really appreciate your posts and Blog..But a little confused by some of your post on the technical side. You cannot fix motion blur in post nor the Saving Private Ryan effect if you go above 50/th re 24p or 125/th re 60p??

        • Brandon Li

          Circular polarizers are great, but I’m usually satisfied with the image I get without one. I also don’t use the RX100 for most of my pro video stuff. Its only advantage over a DSLR is its compact size. If you’re still confused about the software solution to the shutter angle issue, watch this video. It was shot at shutter speeds up to 1/2000, and then the motion blur was added back in post. I also post-converted the framerate from 60i (actually 30p in a 60i wrapper) to 24p. There is more explanation of the process in the video description.

  39. Blade Canyon

    I just got this camera. Thanks for this great information. It helped me understand a lot of different things about the RX100.

    I love the Viva Vegas video. Did you shoot that with the RX100?

    Also, you mention slow motion several times, but is that an effect inside the RX100? Or just something you do in post-processing?

  40. Blade Canyon

    Sorry, just found your blog for the making of Viva Vegas. I’m psyched that you really did use the RX100 for so much of it. Your blog also answered my question about slow-mo.

    Keep up the great work.

    • Brandon Li

      Thanks! The Rx100 is still the best pocket cam on the market for video. Hope you have fun with it!

  41. Eric E.

    Hi, great tips here.
    Only filming popconcerts in dark bad lighted rooms i was looking for optimum settings.
    Because singers move a lot over the stage, I changed 50P to 50I (24m) for better image, i live in Europe btw.
    I/we watch the clips on my computer or tv or on youtube so i dont think i have to convert to 24/25fps.
    I read its better to set shutter on 1/50 ( 1 : 1 with 50I) or even 1/40 to let in more light, more light is better were I film.
    But why not 1/25?
    Its half the 50I so if I one want to convert, its easier 2 times 25 is exactly 50, no left over frames.
    A lot of more (2 clicks) light then 1/40, just tried it in bad light room much more details on my lcd screen that way then when using 1/40.
    To me its seems more logical to use 50I (24M) with S mode mode and shutter to 1/25.

    • Brandon Li

      50i is the correct setting for this kind of environment. The only reason you would want to avoid shooting at 1/25 shutter is the supposed “180 degree shutter” rule of filmmaking. Basically, to create the same amount of motion blur you’d get from a film camera, you want the shutter to be roughly twice the framerate. So if you’re shooting 25p, the shutter should be 1/50. If you set it to 1/25, you’ll get a video-ish streaky motion blur.

      This is more of a guideline than a rule. If your subject isn’t moving a whole lot, 1/25 could be fine. But I don’t like the look of 1/25 with an active subject. Just looks like video.

      Try it both ways and see what you prefer!

      • Eric E.

        Thanks I think you are right here. I have to try it to see for myself what works and what not. I wil post my findings if i have them (can take a while before i go to a popconcert again)

  42. Eric E.

    Another question if i may. I read about using exposure to make the image brighter when filming in bad light. That works indeed, but not after i lock the speed (to 1/60) with the S button, then the exposure doesnt seem to do anything if i turn the wheel.
    What am i missing?

    • Brandon Li

      So you’re shooting in shutter priority, setting the shutter to 1/60, and then turning the rear wheel to adjust? Are you trying to change aperture or ISO? The aperture control can be mapped to the front focus wheel or rear wheel, depending on your settings. Same goes for ISO, which I usually map to the right “button” of the center wheel. This is all set from the “menu” —> “gear symbol” —> “function button”, “control ring”, “function of center button”, etc. Does that help?

      • Eric E.

        Hi thanks for explaining but i knew that already.
        No the problem is that it works but as soon as i fix the shutter to for example 1/50 and aperture to 1.8 i see it getting darker with exposure from 0 tot -3 BUT if i do it the other way 0 to +3 to get the image brighter it doesn’t get brighter when i turn the expose wheel. zero seems to be the ax then maybe if i set the aperture to 5.6 that it work but not with 1.8.
        Hm must try that.

  43. Kit Laughlin

    Brandon: thanks for your on-going efforts with the RX100. A quick question please: what is the maximum recording length time with the 1440 x 1080p/30 codec?

    I have been searching all morning for this. I use a pair of NEX 6 bodies, a GH3, and a Nikon V1 to make programs, but after MUCH testing, have found that the 1440 x 1080p/30 will do perfectly for my YouTube needs as well as for longer program (pay downloads). But the 23–29 minute clip length on all cameras except the GH3 is a frustrating limit for some of my work. I use FCP7 and Compressor 3 for all my work, so need footage that FCP7 can ingest without transcoding, and the Sony MP4 footage ticks that box.

    I will appreciate the reply.

    • Brandon Li

      Hi Kit,

      Apologies for taking so long in response. I’ve been in production and distracted from the blog. If you haven’t found an answer, I think the mp4 mode records a max of 2GB per file, so around 20 mins per clip. I don’t think it’s going to be better than the GH3 for long record times. Regardless, the image quality will be roughly comparable to AVCHD and easier to work with. You might also want to try the program clipwrap, which quickly and painlessly turns AVCHD footage into mp4 by changing a bit of code. It’s not actually transcoding and re-rendering the footage, so it doesn’t take long to process. Good luck!

  44. Kit Laughlin

    Thanks Brandon; definitely no apology necessary )production is what it’s all about!). I loved the look and feel of the Vegas fling movie, too.

    I have Clipwrap and a bunch of other utilities, so I will experiment with this (re. FCP 7 ingestion). Avoiding transcoding is a big plus on the road, as I take a MacBook Air with me, not the quad-core MBP. My RX100 should be here soon, and I will test that codec max. length and report back. Cheers, KL

  45. Kit Laughlin

    My RX100 arrived today; I had forgotten just how stupidly *small* this camera is (I have been using the Gh3, and a pair of NEX 6s, and the V1 Nikon). I have set it up to your recommended cinematic settings; I really like the sheer intelligence of these settings; as a long-time director/videographer, I get your choices immediately.

    I can see that, assuming I can use the rewrap via Clipwrap method you mention above, I will be able to use all your standard settings. I know you use FCPX; I have not tried this yet (simply because I have invested so many years in FCS 7; I have been a user since FCP 2!).

    Does FCPX use the Sony’s AVCHD footage directly? and if this works out, I may have to get a second RX100 for the second camera, too. Thanks for your help—does your site have a donations button?

    • Brandon Li

      FCP X will automatically import and transcode AVCHD footage. You can choose to either leave it as AVCHD/H.264 for fastest editing and smallest file size, or you can easily transcode to ProRes or proxy versions of the footage for optimal drive performance.

  46. Mark

    There is some confusion about working with 60i footage in an NLE for export as 30p. For Sony Vegas, set the project properties as 29.97fps, edit as you wish, then when exporting make sure that you select a method for deinterlacing (blend or interpolate).

    If you want to simulate 24p by reducing the playback rate by 80%, you must still keep the project properties the same as the source at 29.97. Then export as 23.97 with deinterlace.

    If you want 24p without changing the playback rate, then you will have to select a method of resampling and play around with them to see which looks best.

    With the new RX100 2, recording at 24p has an added benefit of having even more image data since 24mbps are now being used for 24 rather than 30 frames.

  47. Will

    Hi Brandon
    I tried your settings in video and it looks great until I pan from
    shadow to sun light. Scene becomes way over exposed and seems to take a long time to set properly. In video auto exposure change is very quick
    and keeps up with changing scene. What is slowing down exposure Thanks

    • MS

      Not Brandon but let me take a crack at it…

      Panning from dark to light is a challenge no matter the camera. Auto exposure is doing its job as you describe. There’s not much you can do short of lighting the dark part of the scene and underexposing. You should select an adequate exposure first and lock it prior to shooting so that it at least remains constant through the scene.

  48. Blade Canyon

    Have you noticed the battery of the RX100 getting super hot when shooting for more than two minutes? I know you sometimes use an external battery.

  49. ken enomoto

    I put this in the reply section way up on page. Maybe you didn’t see this. No rush though for you are probably busy.

    ken enomoto
    Hi Brandon. I’m not going to put you on the spot but if what you say is true, I’m going to purchase RX100. As you know I bought NEX 5R and that I have been struggling with overheating problems. Like to shoot long takes.. I have put in heatsink as well as top line Sony smart stick x series that you use. Nothing really helps. I’m getting the same shoot time-video on the smart stick pro duo x series as my regular Sony smart stick 15-22 minutes at the most. I’m keeping the camera because of self shot LCD screen and other reasons. The only thing I have problems with the NEX is the length of video shooting time.
    If I’m capable of shooting for an hour straight,then RX100 is the camera for me. You along with others have said that RX100 M2 is actually not as good as RX100.
    Almost all top line APS mirrorless camera and micro four thirds have a limited video shoot time to 30 minutes.
    Can you recommend another small sized camera with a great video shooting capability with unlimited shoot time?
    Really love your work. Like to see more of your NEW material if you have one. keep up the great job. Beautiful Vids!
    thank you

    • Brandon Li


      Apologies for not seeing your other comment.

      The RX100 is usually fine for takes up to 30 minutes, but it does have a time limit imposed by the firmware. When I film long takes with it, I just let it hit the limit and start recording again as soon as possible. In room temperature environments, I’ve run it for hours this way with only the occasional overheat problem (once every 90 minutes or so).

      I think the NEX-5r is hopeless for long takes, especially in hot environments. I think it could be even worse than the NEX-5n because it also has wifi, which generates a bit more heat.

      I’m not sure if the RX100m2 is better or worse, but again the wifi may cause overheating issues. Then again, the articulating screen may dissipate heat a bit as well. The major gains for filmmakers are the 24p and the articulating screen. Though it is a bit thicker, so it would be less comfortable for jeans pockets.

      If you want a small camera with unlimited shoot time and a large-ish sensor, your only option is currently the Blackmagic Pocket Cinema Camera. Though you will face other obstacles with that one, namely the bad screen, poor battery life, lack of wide angle lenses, and difficult-to-grade log footage.

      You should also check out the upcoming Sony RX10. It should be extra sharp with great utilization of the limited AVCHD bitrate. Constant f/2.8 24-200 zoom, some form of weather sealing, and an Rx100 sensor.

  50. H1D


    I have the M2 and I was kinda disappointed in the quality until I applied your settings… I wanted to thank you for taking the time and posting your settings!

    I had one question for you, maybe you have some work arounds…

    When shooting at night with your settings, in 24p, I am getting purple fringing around white lights and highlights… Have you seen this before? Is it just the sensor?

    My normal camera is the 5DM3, so maybe I’m expecting a little too much…

    Either way, thank you!!!!

  51. matogroso

    hello Brandon, congratulations for your shootings.
    Just one question about the settings you advise for setting 3 :
    you say : same settings as above : above ? ie settings 1 or 2 ?
    thank you for your help.

    • Brandon Li

      Hi, I meant same as Settings 1. Thanks for spotting that. I have updated the post to reflect this change.

  52. Martin Stacey

    i’m not sure what you’re saying about 60i, 60p and 24p is correct. i did some tests, and 24 looks much higher quality.
    here’s the test:


  53. djmuzi

    The guys from DPReview forum say always to set progressive resolution.
    50i requires a very good deinterlacer. 50p will be always better, you could easyli change it so 25p if you like. There is no point using 50i.
    (I’m not an expert but when the majority says 50p… Hmmm )

  54. Akashlal

    Insightful! This single guide helped me setup my rx100 V to shoot suck-less quality video, at least now I know I need more lights till the footage I am trying to shoot is crystal clear. Thank you!

  55. Matthias Bart

    Do you have the same run through for the RX10 MK3?
    As the settings are different and there are more option. I’d really be interested!
    Thanks a lot!


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