The Zenmuse X7 is a compact Super 35 camera with an integrated gimbal designed for high-end video production, offering outstanding resolution and image quality. Its compatibility with the DJI Inspire 2 offers the best of professional aerial cinematography at the highest level. A 24 MP CMOS sensor with 14 dynamic range stops retains stunning detail and offers both 6K CinemaDNG and 5.2K Apple ProRes with support for 20 fps and 24 MP sequential RAW shots.
The Zenmuse X7 also introduces the DL-Mount, the world’s first integrated aerial lens support that allows you to quickly swap between the four main lenses available. For perfect editing, a new DJI Cinema Color system preserves accurate colors for easy post-processing. These latest innovations allow filmmakers to reach new levels and capture scenes as they imagine them with the DJI Zenmuse X7.
Designed to excel
The Zenmuse X7 uses a Super 35 sensor and its high read rate supports RAW output at 6K/30 fps and 3.9K/59.94 fps. The pixel size reaches 3.91 μm and the diagonal length of the sensor is 26.6 mm during recording. A sensor of this size offers greater light sensitivity and 14 dynamic range stops, much wider than the 12.8 stops on the Zenmuse X5S.
In addition, the SNR of the Zenmuse X7 is 46 dB, 8 dB higher than the Zenmuse X5S and the tonal range reaches 9.41 bits. All these features offer unlimited creative options for a better workflow in the most challenging situations on the set.
Scene with wide dynamic range
DJI DL-Mount System
Taking advantage of the new FSI-Cu technology, the sensor of the Zenmuse X7 has a thinner interconnection, allowing you to easily reach the detection zone through a greater angle of incidence for greater photosensitivity. This makes it possible to use a more compact optical media while maintaining optimum quality.
The focal length of the edge of the DL mount is less than 17 mm, about 1/3 the size of a PL mount. This compact mount means that the Zenmuse X7 weighs only about 630g with one lens included. Together, the Zenmuse X7 and Inspire 2 weigh around 4kg with only the ability to capture the same demanding frames as heavier structures up to 40kg.
DJI offers four primary lenses for the DL-Mount system, with focal lengths from 16-50 mm (35 mm equivalent focal length: 24-77 mm) and resolutions up to 8K. Made of lightweight carbon fiber and designed by world-leading optical companies, the four lenses have been integrated with advanced technologies specifically designed for the Zenmuse X7’s high-end image sensor.
Technical specifications of the objectives
More creative flexibility
To unlock the full potential of the Zenmuse X7, the CineCore image processing system on the Inspire 2 has been completely updated to CineCore 2.1. It can record 6K/30fps CinemaDNG and 5.2K/30fps Apple ProRes, leaving more creative options in post-production.
A new EI mode has been integrated into CineCore 2.1, which can record high quality movies at different sensitivity levels. In addition, the updated image processing system further reduces image artifacts and noise, while preserving further detail, adopting an improvement in dark level correction for professional-level cinematic images.
In addition to improving image processing performance, CineCore 2.1 also introduces a new color system, giving professional filmmakers greater creative flexibility in post-production.
A change of game from shooting to the end
The new colour system consists of a new D-Log curve and a D-Gamut RGB colour space. With professional cinematography in mind, the D-Log can encode 15 dynamic range stops, 2 more stops than the Zenmuse X5S. Even in low light conditions, the Zenmuse X7 can still retain breathtaking detail in shaded and brightly lit areas, leaving more room for post-production creativity.
D-Gamut covers the entire DCI-P3 colour space commonly used in film production. Adapted for aerial video shooting and photography, D-Gamut provides a wider green tone coverage, offering a beautiful green gradation for your shots.
D-Gamut also offers optimal adjustment of skin tone by shifting these tones to their most suitable chromaticity, ensuring vibrant colors that are reflected by every inch of skin. By applying the 3D-LUT dedicated to color classification, skin tones pass slowly, even with large differences in exposure. When designing D-Gamut, we considered manual color classification, preventing skin tones from turning yellow when editing without 3D-LUT or color management.
We are now working with more professional post-processing companies to include D-Log and D-Gamut in their software to achieve universal compatibility with kinematic workflows as soon as possible.