The new XQD memory card format will replace CompactFlash in pro SLR and video cameras

The CompactFlash Association announced a new media card format last month, and now Sony and Nikon have introduced the first media and digital cameras, respectively. But what exactly is an XQD memory card? Read on for the details.

A Different Type of Media for Different Type of Camera

XQD falls between SD and CompactFlash in physical size

Most consumers have grown used to the standard SD card for digital media. It is become ubiquitous in consumer and even semi-pro digital cameras, computers, and other devices from phones to game machines. SD (short for Secure Digital) is the descendent of the basic MultiMediaCard (MMC) format introduced in the mid-90′s. Like MMC, SD uses a simple and basic transfer mechanism rooted in the interface of flash memory chips themselves.

The SD card format has been continually updated and refined, culminating in the current SDHC and future SDXC formats used by the most advanced consumer cameras today. But SD has many limitations, and even the highest speed SD cards cannot meet the demands of fast shooting many-megapixel and pro video cameras.

Professional cameras, including full-frame digital SLR and high definition video cameras, typically use higher bandwidth formats like CompactFlash or P2. These cards may not seem all that impressive on paper, but their real-world performance justifies their extreme pricing. CompactFlash is based on now-outdated computer standards, including PCMCIA (16-bit ISA bus) and ATA, though in a smaller form factor. P2, the Panasonic format, also uses the 16-bit PCMCIA interface as well as its form factor.

XQD: A Next-Generation Memory Card Format

The new XQD card format is philosophically similar to CompactFlash in that it uses a high-speed computer bus rather than a flash interface. XQD adopts PCI Express version 2 for 2.5 Gbps throughput, with 5 Gbps promised in the future. The physical form factor falls in between CompactFlash and SD, and the CompactFlash Association suggests we will see terabyte-sized cards in the not so distant future.

Sony is first up with XQD card media, though Nikon has the first camera

XQD will likely see rapid adoption from CompactFlash adherents like Nikon and Canon. Sony appears to be getting on the XQD bandwagon as well, at least on the media side, and I expect that their future full frame cameras and pro video equipment we use the format. One expects Olympus, Fujifilm, and niche players like Sigma, Leica, and Hasselblad to join the XQD team as well. The big question is Panasonic, which seems satisfied with P2.

Although SDXC appears promising, implementation details have caused it to stumble out of the gate. The use of MBR partitioning limits capacity to “just” 2 TB, and not everyone loves the appointed exFAT filesystem. Plus, initial SDXC cards poke along even slower than conventional (and far cheaper) SDHC alternatives.

In contrast, Sony’s first batch of XQD cards are 4 times faster, allowing them to keep up with the punishing data rates generated by the new 16 megapixel Nikon D4 DSLR. With Sony set to introduce a 24 megapixel A99 and 36 megapixel hybrid mount full frame camera, it is very likely that this performance will come in handy!

Stephen’s Stance

XQD is complementary to SDXC, a high-bandwidth, high-capacity alternative for professional cameras. It is likely to be adopted by makers of professional or full frame digital SLR cameras, and one expects it to make a big splash in the digital video market as well. Future high megapixel prosumer cameras may feature both XQD and SDXC slots, giving consumers an alternative for maximum performance.

© sfoskett for Stephen Foskett, Pack Rat, 2012. | What Is an XQD Card? The New Media for Pro Cameras!
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How standard or proprietary a camera system is can attract or deter consumers.

Sony is not a company that is known for interoperability and compliance with standards. Quite the opposite, in fact, if one considers technologies like Memory Stick, Blu-Ray, and most every other development they have made in consumer electronics. But what about the NEX mirrorless cameras? How do they compare to similar offerings from other vendors?

You might also like reading my article, The Myths of Standardization as well as my full Sony NEX-5 Camera Review

Advanced interchangeable lens camera systems like the NEX from Sony are never entirely open or closed. Rather, they incorporate standards where they must and innovate everywhere else. Let’s consider the main components of interchangeable lens camera, and identify which generally are proprietary and which are standardized.

Widely-Standardized Camera Components and Connectors

Memory media is generally a standard format like SD, CompactFlash, or Memory Stick, though most cameras including the NEX are increasingly turning to SD and its derivatives. I simply would not have bought the NEX-5 if it was not 100% compatible with SD and SDXC cards like most low to midrange cameras on the market today. It’s nice that the NEX is also compatible with the line of Wi-Fi SD cards from Eye-Fi.

Audiovisual connectors are generally standardized, including HDMI for audio/visual (formerly S-Video and RCA) and TRS mini jacks for audio. Only the NEX-7 includes a standard microphone input, though all NEX cameras have a mini HDMI connector. The lack of a microphone input on my NEX-5 had been a great disappointment, leading me to pack a separate video camera.

Lens filters are broadly standardized in terms of diameter and thread pitch. The NEX cameras use the common but not ubiquitous 49 mm filter format. I have been able to buy third-party filters, including an inexpensive circular polarizer, without any trouble.

The industry-standard flash shoe	Sony’s iISO as on the NEX-7	The proprietary NEX flash mount

If a camera includes an accessory connector for a flash, it is generally the ancient U-shaped shoe first created by Leica almost a century ago. The NEX-7 includes the Sony/Minolta iISO hot shoe, while the other NEX cameras have a proprietary connector that also includes the microphone input. The slim NEX connector is a limiting factor to the lower and Sony cameras, but the iISO on the NEX-7 enjoys much wider support. I’m not troubled by the lack of a Leica-style hot shoe given the wide variety of iISO attachments.

Most cameras feature a standard tripod mount, though not all are optimally located. The Sony NEX line does indeed use the standard screw mount for tripod attachment.

Usually-Proprietary Camera Components

Some low-end cameras use a standard battery, but most high-end cameras use one of a number of batteries developed but their manufacturer. The entire NEX line uses the same Sony “intelligent battery” NP–FW50 cell, also shared with some Sony Alpha cameras. This battery technology is entirely proprietary, and Sony actively works to exclude third-party manufacturers. My own experience with “compatible” NEX batteries has not been positive.

With very few exceptions, camera lens mounting systems are proprietary to a single manufacturer and range of cameras. Sony’s E-Mount lens system is one of the defining elements in the NEX line, and the company has published mechanical and electronic specifications to allow the development of third-party adapters and lenses. While not cross-corporate like the Micro Four Thirds system, the E-Mount is about as open and standardized as any other lens system.

The availability of lens adapters is a revelation for long-time SLR users, and one of the main attractions of mirrorless camera systems like the NEX and Micro 4/3. The fact that such adapters are not yet available for the Nikon 1 (apart from Nikon’s own F-Mount) likely turns away some prospective customers. By opening their lens specifications, Sony and Panasonic/Olympus have given consumers a marvelous boon.

Stephen’s Stance

The NEX-7 is less proprietary than the earlier NEX cameras, certainly on par with its competition.

The Sony NEX line is not as open as it could be, but the NEX-7 addresses many of the shortcomings found in earlier cameras. The addition of a standard microphone input as well as the adoption of the widely accepted iISO flash attachment are welcome changes. But it is the broad availability of third-party lenses that really makes the NEX and Micro Four Thirds systems shine.

© sfoskett for Stephen Foskett, Pack Rat, 2011. | Is the Sony NEX Camera System Excessively Proprietary?
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Your tweets about your NEX have intrigued me a bit…I get tired of lugging my Nikon D90 around with my kids, yet I find the quality of most point-and-shoot cameras terrible…so the NEX seems like an interesting compromise.

I’m trying to decide between the NEX-5N, Nikon 1 v1, and the NEX-7.  I’ve read all the reviews, and for the price, the NEX-5N seems like the obvious choice…with one potential fatal flaw: no viewfinder.  I’m often trying to get three kids to look at the camera, and waiting for that one nano-second where they are all looking and maybe smiling, or at least not making ugly faces….just can’t see doing that on the screen on the back.

What has been your experience?  Are you happy with composition on the LCD panel?  Any other thoughts on whether the NEX-7 is worth the significantly higher cost? Much obliged…

Great question!

The first part is simple: Compact System Cameras like the NEX and Nikon 1 are an amazing combination of image quality, flexibility, and portability. They’re nearly (but definitely not quite) as good as DSLR cameras. Why not as good? Well, there’s the lack of a viewfinder, the slow and imprecise contrast-based focusing, and the dearth of lenses. But they’re so much more portable (not to mention generally less expensive) it’s a compromise lots of folks are willing to make. And there’s just no comparison to a compact digital camera – it’s night and day with the big sensor and interchangeable lenses.

You should also read my Sony NEX-5 Camera Review and Hands-On Review: SLR Magic 35mm Sony NEX Lens

Owners of compact system cameras like the NEX, Nikon 1, and Micro Four-Thirds handle the lens issue with adapters. I’ve got a Minolta adapter for my old SR-mount lenses, and lots of folks use Nikon, Canon, and even exotics like Contax and Leica screw-mount. The main issue with these is that they’re not generally auto-focus capable (with some exceptions like the amazing Sony NEX LAEA1 and LAEA2 Alpha-mount adapter), they don’t have image stabilization (so you must use a tripod with your telephotos) and they add significant bulk to the camera. But real system lenses are coming along, and some are really quite good (the Panasonic pancake, Sony Zeiss 24, etc). And there are some awesome third-party lenses like my SLR Magic 35/1.7!

The Nikon 1 V1 is awfully expensive for such a small sensor and unproven lens system

These cameras are really awesome, but the next decision is why to go NEX rather than Micro Four Thirds or Nikon 1. I picked the NEX due to its larger APS-C sensor (twice the size of the MFT and three times larger than Nikon’s) and the promise of better optics that brings. In reality, it’s not much of an advantage. But Sony’s sensor development is setting the industry on fire (everyone is switching to them) and the 14 megapixel sensor in the NEX-C3 and NEX-5N is amazing! Then there’s the 24 megapixel sensor in the NEX-7 and initial reports are very enthusiastic! So the Sony is a great choice, even though the Panasonic, Olympus, and Nikon cameras are nice too.

The NEX-C3 is a good camera, and fairly inexpensive too. But the lenses cost the same (since they are the same) as on the NEX-5N and NEX-7, so the savings is quickly wiped away. The NEX-5N is really a better choice, thanks to a solid metal body and the possibility of a viewfinder (at $350 extra). The touchscreen control is kind of cool too, but it can’t mask that the NEX operating system is difficult to use quickly in the field.

I’ve become pretty good with the screen, really. I can focus quickly (now that I’ve gotten used to the “peaking” setting for my manual lenses) and have adjusted to shooting “from the chest”. The flip-up/down screen is actually pretty nifty in some situations. Sure it’s not a viewfinder, but it’s acceptable if not awesome. Although you can buy an accessory viewfinder for the NEX-5N, it’s kind of weird and definitely expensive.

The Sony NEX-7 adds just about everything I could want to the NEX system, including a viewfinder and better controls

So why spend twice as much on a NEX-7? It addresses every shortcoming and complaint I have about my NEX-5 as well as the current cameras. It has a well-received OLED viewfinder. It has a microphone input for movies and a Sony Alpha-standard flash shoe rather than the weird NEX flash mount. But most importantly it has the “Tri-Navi” control system that makes if super simple to adjust aperture, white balance, ISO, shutter speed, etc on the fly. Seriously, the NEX-7 controls look even better than those on real DSLRs, and that’s saying a LOT. It’s also got the 24 megapixel sensor, but I’m not all that excited about it really. I don’t need more pixels, I need a functional camera!

My suggestion is first to look at the NEX system as a whole. Do you want to buy into Sony’s compact system? Are you going to be happy with just half a dozen purpose-built lenses and a universe of non-AF/non-IS adapted lenses? The lens situation is the major drawback of this system, really. But the walk-around-ness is the saving grace. It’s astonishing to slip a NEX-5 into a jacket pocket for a family trip.

The Sony NEX-5N is a great all-around camera

Maybe consider buying a NEX-5N first to give the system a test drive. Get the 18-55 kit zoom and an SLR Magic 28 or 35 mm “fun lens”, as well as an adapter for your existing SLR lenses. See what you think. You can always sell it later and apply the resulting $400-$500 to an NEX-7 if you decide you like the system. That’s what I did!

© sfoskett for Stephen Foskett, Pack Rat, 2011. | Why Buy a NEX-7? Why Sony NEX At All?
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As I mentioned the other day, I recently picked up a Canon ultra-compact digital camera to use while on the road. What I didn’t mention is that I also grabbed a nifty new accessory for the MacBook Pro: A SanDisk ExpressCard flash media adapter. This little gadget converts a notebook’s ExpressCard slot into a versatile flash media adapter – it takes most versions of SD and Memory Stick, and works in both OS X and Windows without a hiccup (or even a driver install).

This post is part of my series focused on the MacBook Pro.

• Don’t Be Jealous Of The New MacBook Pros!
• Upgraded! 320 GB in a MacBook Pro!
• SanDisk ExpressCard Flash Media Adapter: Nifty MacBook Pro Accessory!
• How I Get 7 Hours of MacBook Pro Battery Life
• Panic! Green Light and MacBook Pro Keyboard is Half Dead!
• Low-Power USB Ports Haunt My MacBook Pro

Of course, I could just carry around a cable and use the camera as a media reader. But that’s one more tangled item in the rat’s nest for airport security to flag. Besides, that ExpressCard slot was just sitting there doing nothing – what’s a geek to do?

ExpressCard is a really weird technology, by the way. It’s actually two slots in one, from both a physical and electrical perspective. Physically, there are two different card sizes – the slim “34″ type seen here, and a wider (but notched) “54″ version. The MacBook Pro and my Dells have just the narrow ExpressCard/34 version, and most cards are of this type as well. But the weird thing is the electrical connection: ExpressCards can have either a PCI Express or USB connection! So this little card reader is nothing more than a USB card reader built into a tiny metal card. This is why it doesn’t need a driver for most modern OSes, and why it was so cheap. One more thing – unlike PCMCIA/CardBus cards, which are held in by friction, ExpressCard has a nice positive push-and-click engagement in the slot.

The ExpressCard flash media adapter snaps in place and is flush with the edge of the MacBook Pro - very clean!

Note: Some of these links include affiliate codes that help pay for this blog. For example, buying an Amazon Kindle with this link sends a few bucks my way! But I don't write this blog to make money, and am happy to link to sites and stores that don't pay anything. I like Amazon and buy tons from them, but you're free to buy whatever and wherever you want.

© sfoskett for Stephen Foskett, Pack Rat, 2008. | SanDisk ExpressCard Flash Media Adapter: Nifty MacBook Pro Accessory!
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Why can't digital cameras come with a useful memory card?

Over the last year, I have purchased two Canon digital cameras. Both are excellent, and I would recommend them to anyone. But each came with a worthless 32 MB SD flash card. So did the (now broken) HP point-and-shoot I picked up last year. And the Nikon that preceded the Canon. In fact, it appears that just about every digital camera comes with a tiny, mostly-useless “starter” memory card.

I understand the reasoning of including a memory card – the camera won’t function without one, and people like to be able to play with their new electronics right out of the box.

But who thought it was a good idea to include such a tiny card? We’ve been stick at 32 MB for at least five years! Because of the megapixel wars, what was once a small-but-usable card is now little more than e-waste. Out of the box, my 8 megapixel Canons would fill up the included card with just 14 shots. And who makes these things? Are the 256 Mbit flash chips they use even still in production?

I’m sure the rationalization is that adding a reasonably-sized card would ratchet up the price of the camera. But big cards are cheap! They’re down to $10 or less per GB, and that’s retail pricing. I’m sure Canon could include a 2 GB card instead of the four printed manuals they put in the box and come out ahead.

But the camera makers don’t deserve all the blame. While picking up my new SD1100 IS at J&R in New York, every customer bought a 2 or 4 GB memory card to go with their new camera. It’s an easy upsell for the store, along with their ill-fitting and laughably expensive cases and unnecessary extra batteries. I doubt accessory-happy camera stores would be too happy to have a reasonably-sized card included with every camera!

So I guess we’re stuck with piles of worthless memory cards.

© sfoskett for Stephen Foskett, Pack Rat, 2008. | E-Waste: 32 MB Flash Cards
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