The whites ran marginally higher with Contrast Enhancement on, but the blacks read more or less the same. It was difficult to find the difference between the images. We ran tests with the feature on and off, experimenting with different looks. This is set to default in the "on" position. Everything else was in the factory preset position, except a feature called Contrast Enhancer. We’ll try to come up with some conclusions later. So much of it comes down to personal aesthetics. JVC owners swear repeatedly that their GY-HD100’s look better than anything on the market. Sony users sleep with their FX1 and Z1 tucked under the blanket. While we know of no survey to indicate just how many indie producers use 24P, our anecdotal experience suggests that most shooters are firmly encamped in their manufacturer’s pocket. Sony countered by stating that sales of the FX1 were strong despite not having 24P. The mode was maligned by some filmmakers, who instead opted for the Panasonic AG-HVX200 for their 24P fix. Also of peaked interest was Sony’s abandonment of the CineFrame mode, which mimicked 24P.
![hrd fx7 hrd fx7](https://ae01.alicdn.com/kf/Hfa4ee5657fb24dbc8a18c68d2e7ef4a5x/New-Camcorder-Tripod-Base-Bracket-Plate-217879302-For-Sony-PMW-EX1-PMW-EX3-HDR-FX7-HDR.jpg)
Canon’s XH A1 does offer native 16:9 chips in a 3-CCD array. Neither the FX1 nor the FX7 have native 16:9 chips, and therefore must stretch each pixel horizontally. The larger chips promise better low light performance, but the higher resolution of the FX7 should make for better performance in bright light. Much has been made of Sony’s 3-CMOS array, which at the time of announcement was the first to offer such a system.
![hrd fx7 hrd fx7](https://i.ebayimg.com/images/g/hDYAAOSw0oFe2Fre/s-l225.jpg)
The effective pixel counts equal 1.037 MP in 16:9, and 778K in 4:3. Each sensor offers a gross pixel count of 1.2 MP (1440 x 810). The Sony HDR-FX7’s imaging system is composed of three 1/4" CMOS sensors.