It may not rattle off frames like the fastest system cameras, but the a7R was never about speed. Most enthusiast filmmakers will be happy with 4K/60p recording, but you do miss out on 120fps shooting – something you’ll find in the Fujifilm X-H2S. Bit depth has taken a step up from the previous model, now topping out at 10-bit 4:2:2, and both S-Log 3 and S-Cinetone colour profiles have been inherited from the Alpha 1. We didn’t get the chance to shoot much video, so can’t pass judgment on Sony’s 8K/24p footage. Low light performance has apparently taken a step up from Sony’s previous efforts, but with the sun being at its strongest during our demo session, we can’t verify that until we get one in for a full review. Dynamic range also appears impressive, exposing the particularly bright parts of each scene without washing out the shadows. RAW files that retain plenty of information for later editing. White balance and colour are handled deftly (something the outgoing a7R IV could sometimes struggle with), resulting in natural-looking JPEGs. With so many pixels to play with, we were able to crop in impressively far without impacting picture quality. ![]() The above samples have been (massively) downsampled from the original 9504×6336 resolution. It’s been improved this time around, correcting for small movements (say from leaves blowing in the wind) to preserve fine details – although you’ll need a massive amount of storage, as single 240MP images can be over 500MB each. ![]() Need even more definition? Landscape snappers will be familiar with Sony’s Pixel Shift Multi mode, which stacks multiple frames for even more resolution than the 61MP sensor can provide in a single shot. Shooting on a Sony G Master 24-70mm f/2.8 lens, it was able to capture stunningly detailed images, with individual specs of dust highlighted by the sun streaming in from a nearby window. It does use a very similar full-frame sensor, after all. With only one location available during our short hands-on session, and the cameras running non-final firmware, a full verdict on picture quality will have to wait – but suffice to say, the a7R V looks easily up to par with the previous-gen a7R IV. Unless you’re regularly in the press pit at football matches, 10fps is probably plenty quick enough. The A9 II remains the top pick for Sony fans wanting to shoot sports or action, although in our brief testing the A7R V had no trouble keeping pace with rapid movement. The Canon EOS R5 can manage double that using its electronic shutter. While we couldn’t test it, the system also recognises cars, trains and planes, along with animals, birds and insects, which could be a gamechanger for wildlife snappers – especially when combined with the eight stops of in-body image stabilisation (depending on which lens you’ve got bolted to the front).Īny downsides? Well, it’s not the fastest-firing CSC around, topping out at 10fps with AF/AE tracking. Sony roped in some breakdancers for our demo, and the camera had no trouble keeping up, so photographers shouldn’t really have an excuse for their subjects being out of focus. That’s on top of face and eye tracking, too.Ĭombined with 693 PDAF points, it’s able to lock on to a face in the far corner of the frame, even if their eyes aren’t visible (either turned at an angle or hidden behind sunglasses) with impressive accuracy. While pixel count remains the same as the previous-gen camera, here you’re getting an all-new Bionz XR image processor and dedicated deep learning chip that can recognise individual limbs, rather than a person’s general shape. Performance: fabulous focusĪutofocus has been Sony’s main target for the a7R V. That test is notoriously punishing, though, so we’re expecting real-world results to be considerably higher – especially if you’re shooting in short bursts. Snappers should apparently expect 440 shots when using the EVF, or 550 with the LCD. Sony doesn’t quote its own battery life figures, instead deferring to industry testing body CIPA. This also supports USB-C Power Delivery, so with a beefy enough power brick you’ll be able to both operate the camera and charge the battery. The cards aren’t as quick as the Type B ones used by rival cameras, have smaller capacities, and usually cost more to boot.Īt least the camera itself shouldn’t be the limiting factor when copying files, as it uses a USB-C 3.2 Gen 2 port good for 10Gbps data transfers. It’s a head-scratcher as to why Sony picked the CFexpress Type A format, though. ![]() They’re dual-purpose, so you can use two UHS-II SD cards if you like. SD cards aren’t going to cut it for continuous shooting at 61MP, or for recording 8K video, so Sony has sensibly added two CFexpress slots to the A4R II.
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