[Music] Foreign Hi I'm Dustin Abbott and I'm here today To give you my definitive review of the New Sony a7r Mark 5 full-frame Mirrorless camera the Sony a7r Mark V is The latest version of Sony's very Popular high resolution or R series it Retains a 61 megapixel full-frame BSI CMOS sensor that we found in the a7r Mark IV with a few minor tweaks along With the same 10 frames per second burst Rate and it doesn't look radically Different from the outside but almost Everything under the hood is upgraded on The Mark V And interestingly it is the ability to Have less resolution that makes the a7r Mark V far more interesting than what The a7r mark IV was my conclusion is This is one of the most complete cameras On the market and it is well worth the But basically 3 900 US dollar price tag And I'm going to break down the reasons For it in this detailed definitive Review here today first of all let's Talk about the build handling and the Features here if you are familiar at all With the A7 mark IV then you are very Familiar with the overall design in that It's a slight evolution of what we have Seen on previous a7r bodies but in this Case the button placement the wheel Placement the overall look of things is
Nearly identical and so we have the same Positioning for things like the record Button and the C1 and C2 buttons that Have been tweaked around a little bit From previous models we have similar Wheels at the front at the back here and Then at the very back of the camera Itself we also have a dial here for that Could be used for exposure compensation That's typically where it's at but now It is not labeled and so it can be Assigned a different value if you so Desire and then also we have the Dual Layer mode button here that allows you To select mode on top but underneath Allows you to have a completely set Different setup for Stills and video Along with s and Q or slow and quick for Managing other things like that and I Really like that addition here that we Saw going back again to the mark A7 mark IV because It allows you to have a completely Different button and menu customization Set up for both Stills and video which Obviously is going to be very useful and Makes this more of a hybrid camera where Things depart however from the A7 mark IV is that uh a couple of things but one Of the most important things is that There's been a lot of debate about what Is better whether it be a tilting screen Like Sony started off having or a fully Articulating screen Sony's answer to
That is why not have both and so in the First time that I've ever seen anything Like this we have a screen that is Tilting but it's also fully articulating As well and so it allows you to choose Whatever your preference is and you can Get the best of both worlds which is a Pretty fascinating approach to this Along with that we've also got Improvements to the LCD screen itself For one thing it's larger rather than Three inches it's 3.2 inches it's also Higher resolution at 2.36 million dots Rather than 1.44 million dots and unlike The a74 we have a fully functional touch Screen here where you can do do Everything by touch including navigating The main menu and so that is a huge Improvement on that front we have also Got an improved viewfinder that goes From about five and a half million dots All the way up to 9.44 million dots and And so that is a very very high Resolution viewfinder that is Essentially borrowed from the top of the Line Sony Alpha One and of course having A high resolution viewfinder like that Makes a huge difference in your ability To magnify things and still see things With great detail and we're getting Closer and closer to having more of an Optical viewfinder type experience but With all the advantages of an OLED evf Here which is what we've got here we
Have also at the same time we've got an Improved magnification level in the Viewfinder from 0.78 times to 0.90 times Which is of course a significant Improvement on the side here the overall Layout is similar in terms of the port Position though I will note that we you Know have updated specs to you know some Of the most recent kind of standards for Some of these various ports and I also Really appreciate like the a74 we have a Small separate Port up here for your Having the ability to plug in a Microphone which is really useful Because if you have a microphone plugged In and you have a fully articulated Screen it just means that because it's Such a small Port it doesn't get in the Way and it doesn't block you from front Monitoring with the LCD screen and so It's something I really like in the Front compartment here one big Advantage Improvement that we have is that we have A full-size HDMI which is going to be Obviously really useful for those of you That are video Centric now on the other Side of the camera we have what looks Like a very similar memory card door but We have one significant Advantage here And that is that both of these slots are Now compatible with CF Express type A Cards along with SD cards in the US UHS 2 standard so what that means is that You can now get cards with a vastly fast
Or read and write rate in the CF Express Type A cards which means that you're Going to be able to be able to keep up With the bit rates both of transferring Lots of data for deeper buffers which We'll talk about in just a second but Also of course now we have a much higher Specifications when it comes to video Capture and so it allows you to keep up With all of that transfer of information The other uh kind of under the hood big Improvement that we have got here is That we have a vastly improved in-body In-body image stabilization whereas on The a7r mark IV we had an embody image Stabilization that was rated at up to 5.5 stops we now have a system that is Rated up to eight stops that's a pretty Huge upgrade and I did certainly notice An improvement mostly I I've always Found that Sony's embody M stabilization Their Ibis Works quite well with focal Links let's say under 100 millimeters as You get over 100 millimeters the Effectiveness drops and so that has been A real issue for some lenses you know For example Tamron 70 to 300 millimeter At 300 millimeters it doesn't have any Kind of built-in lens stabilization so You're relying on in body image Stabilization and often it just wasn't Really all that great at those longer Focal lengths but what I found here is That we have a vastly improved and while
I don't have anything quite as long as 300 millimeters on hand I was able to go Up to 200 millimeters in a lens with out Any kind of lens stabilization and I Found that I was still able to get Really low shutter speeds and thus I Could see an improvement there I could Also see a difference in handheld video That I just was able to get more stable Results and we do now have the ability To have what Sony calls their active Mode that is you know to be used when You're moving around with the camera and While I still don't think it's as smooth As having a gimbal you can see in the Difference between these two sequences That it certainly does make a difference And that you're able to get smoother Movement while moving the camera around And of course having that you know very Effective in body image stabilization Just helps because it applies to every Lens and so it's something that is Extremely useful we have a similar Battery here and overall the various Buttons and switches they feel very Familiar at this point but that's not a Bad thing Sony has tweaked these things Along the way including the joystick to Where everything really works quite well And so I am quite pleased with the Overall ergonomics here and while the Body is basically the same size as what We saw previously they have manages to
Tweak that grip just a little bit more And so that it does fit the hand a Little bit better I don't feel like I Used to with Sony bodies where I always Feel like my my pinky had nowhere to go There's now enough grip there enough Grip depth that I have room to put it The one thing that I will continue to Point out as a kind of an ergonomic fail For Sony and it really is somewhat lens Specific but the nature of that narrow Lens mount and the the reality that you Know they're designing around a very Narrow lens mount and often lenses will Widen out quite significantly Sony Hasn't really ever made their cameras a Whole lot wider and as a byproduct Sometimes I feel like my Knuckles are Pressed up in between between the grip And a lens without a lot of room to go So I actually wouldn't mind them adding A few millimeters to the width of the Camera itself and so that you can get Just a little bit more room for your Knuckles to go in there Another headline upgrade is to the Autofocus system now on paper it's only You know improved in just kind of a Minor way you know kind of the the main Stat that you could look to is that There are now 693 phase detect AF points Versus 567. the other thing that is Significant on that front before we move To other more important things is that
When you're shooting an aps-c mode and Of course the r series always has a Great aps-c mode in this case you've got 26 megapixels of resolution in aps-c Mode which is currently at the moment at Least higher than any of Sony's actual Aps-c cameras before you had only 325 Phase Tech AF points available when you Were shooting in aps-c mode they have Vastly improved that now however to Where you have 567 phase detect points Available when shooting in aps-c mode Which interestingly is as many phase Deck points as what we had for the full Frame sensor on the a7r mark IV and so That's a certain Improvement so really If you want kind of the best aps-c Performance you can get on Sony cam Right now it's actually an aps-c mode on The R5 because it is just so improved in So many areas but really what has Improved the most and it's a little bit Harder to demonstrate on paper but they Have moved towards the AI learning and The ability with the new Bion zxr sensor To have advanced detection and so it is Detecting in a lot of different ways Detecting you know various body Movements and so there's a variety of Ways where this really helps first of All you're now able to recognize the Camera can recognize and track far more More different subjects before you had The option of humans animals and birds
Added to that now as insects cars trains And airplanes and so there's a lot of Different subjects that the camera will Detect and actively track but beyond That it has improved the technology of Really the more important subjects Namely humans and to a lesser degree Animals And that with humans there's a lot Better detection that's taking place When you don't have an eye to track Sony Has done a good job for quite a while When it comes to eye detect tracking but Now even when an eye is not visible Maybe you've got the back of the head or The profile the camera is or maybe the Subject is too far away to actually you Know where the for the eye is the eyes Too small to actually be detectable and Trackable but now it is actually you Know actually tracking the subject Movement and recognizing a human even if It can't see an eye and it's a byproduct It is just really effective and I found That in shooting in an event type Setting in a church that even when People had their you know their back of Their head to me or were in profile the Camera was really good at picking up on Those things and what really kind of Stood out to me about this is I was Actually testing for the in-body image Image stabilization which I just noted And I was shooting with first a 150
Millimeters and then at 200 millimeters Two different lenses and I noted that as I was looking through the viewfinder and Looking at a mirror I wasn't really Looking at a mirror I was looking at Something that said home on the mantle But I noticed that the eye or the the Camera was detecting something in the Mirror and it was detecting my clothes Die behind the camera an extremely dim Lighting conditions I was trying to test In very dim lighting because I wanted to See how the camera would do at a very Low shutter speed and so as a byproduct I was quite amazed because there's a Little bit of distortion in a mirror Anyway the fact that my eye was closed And mostly hidden behind a camera you Know the viewfinder of the camera and The fact that the lighting was very dim And yet I could see that there was a Tracking box on my eye and it was really Really impressive to think about how far That technology has come and I also saw It you know very strongly when you know Working with animal subjects that just The detect is better in general and then Also even with inanimate objects you can See that a bigger box is being drawn and It's actually recognizing okay here is An object I'm focusing on and starting To track it and so there's just a lot of Intelligence in the autofocus that you Know makes for for a very more complete
Autofocus experience the best certainly That we've seen in the r series and I Would argue that at this point that the Autofocus tracking is getting very Similar to what I'm seeing in my Sony Alpha One And uh and going back to that event Setting when I looked through all of the Various photos you know regardless of What the position of the subject was Everything was just perfectly focused Just pen sharp another thing that's a Huge Advantage here when it comes to Making this camera versatile for Tracking action is the fact that we have Vastly improved buffer depth the R4 Actually took a little bit of a step Back relative to the R3 but the R5 takes A huge leap forward the limit on the R4 Was only 68 raw images in this case you Can get nearly 600 raw images and if You're talking about jpegs it's a Thousand plus and so really we've got The kind of buffer depth you would Typically associate with a dedicated Sports camera and that is obviously Going to really add to the versatility Of the autofocus system here and just Makes the camera in general a more Effective one add to that that you can Either go into that you know deep crop Aps-c mode and then also you have the Ability which we'll talk about in just a Moment to shoot at either m raw or S raw
Something I've been asking for for years From Sony but the ability to do that Means that now say if you didn't you Know you wanted to have burst but you Didn't necessarily want dozens if not Hundreds of 61 megapixel images you can Shoot at that 26 megapixel level or even As low down as the 15 megapixel level at The the small raw the S raw setting and Thus you know not have so many images But to have a lot of images of a Particular sequence of action and so you Can choose what you prefer could also be Incredibly useful in an event type Setting and so uh autofocus is just Vastly improved here Now on paper we have the exact same Sensors what we had before that 61 Megapixel sensor but as noted the Ability to choose either MRA at 26 Megapixels or S raw at 15 megapixels Really helps to manage that resolution I Came away from the r mark IV thinking This much resolution in some ways is a Liability because you're kind of locked Into that much resolution all the time Yes you did have some options about the Compression rate you could do an Uncompressed raw huge Files about 130 Megapixel you could go down to a Lossless compressed raw which is Anywhere between 60 and 70 megapixels And is my preferred format or you could Go to a lossy compressed raw at a
Slightly smaller file size now you could Choose different resolution levels these Basic these three same resolution levels At on jpegs before but not when shooting Raws so now you have all of those Options you can choose the different Resolution levels you can now when it Comes to the resolution level for raw Images you are shooting lossless Compressed raw that's where those that's Where M raw and S raw are available Fortunately for me that's what I prefer To shoot anyway so it's no problem to me But if you were looking for an Uncompressed raw option at the 26 Megapixel or 15 megapixel level that's Currently still not available you also Now have the ability to choose between JPEG or heif file formats and so just More options there And so overall you've got a lot of Different ways to kind of manage that Resolution and of course with the 26 Megapixel aps-c mode as well if you so Desire I will note I just want to be Clear that M raw and S raw are not a Cropped mode they are the full angle of View just at a lower resolution level And something that we'll come back to Right after our essential performance Test here and talk about that is really Relevant when it comes to that but first Of all we're going to dive in we're Going to take a look at the performance
Of the sensor and break that down in Detail so first of all let's talk about That resolution for a moment now I did Break this down in detail on my review Of the A7 R4 which has an identical Resolution but this just gives you a Little bit of an illustration on how you Can take a wider angle of view and due To that massive amount of resolution you Can crop in quite deeply as you can see Here on the right it's just a crop out Of that original image however if we Zoom in here to a pixel level you can See that of course they're going to look You know similar on a pixel level Because it's still 100 magnification but What you can see is that there is still A lot of detail there there would be Plenty of room there for printing or Something similar because you're Starting off with such a massive amount Of resolution thus you have a lot of Ability to take a for example a Landscape shot like this or say a Portrait shot and really do a lot of Different things with it as far as Cropping now one of the realities of High resolution is that you are very Likely if you haven't done this shot With a high resolution body before You're going to learn to really value Sharp lenses because really the flaws of A lens but also I think some of the Strength of the lens are magnified when
You put it on a high resolution body for Example this is I hesitate to call it Underrated but after the release of the 50 millimeter F 1.2 G Master this is the 35 millimeter F 1.4 G master and in some Ways I think it is an underrated lens You can see that even at F 1.4 this lens Is really really sharp and on the a7r Mark V you can see that you know the Detail here it's able to produce is Really quite stunning likewise here this Is the samyang AF 135 millimeter F 1.8 It's a very very sharp lens and so you Put it on a really high resolution body Like this and frankly it kind of sings With all of that detail and the ability To you know deeply crop in there's just A really fantastic amount of detail That's there here's the sigma 85 Millimeter F 1.4 DN at F 1.4 another Really really sharp lens and as you can See if you have a sharp lens even if It's not in a terribly expensive one but A sharp lens you put it on a body like This and you have got a lot of detail to Work with Now this is the samyang a 50 millimeter F 1.4 Mark II it's a lens I really like For the character but it's not as Jaw-droppingly sharp and so you can see Here at a pixel level it doesn't look Nearly as sharp as what those lenses do You can also see just a little bit more Of the aberrations that show up because
They occupy more pixels that's just the Reality of a high resolution body Then there are some lenses that will Surprise you like the surprisingly sharp Uh Tamron 28 to 200 millimeter and and You can see here that even at 200 Millimeter at 5.6 which is wide open at This point but you can see that the Amount of detail it's producing in this Shot is really quite good so bottom line Is whether it's an expensive lens or Non-expensive lens if it is a good lens You could put it on a high resolution Body like this and get really nice Results so we're going to take a look at ISO one of the downsides of high Resolution is that they tend to either Have more noise or the more likely Reality is that you see the noise more Because it occupies more pixels and so In this case this is the base ISO and I'm just going to kind of pan around Here in the image for a moment look at These dark areas which of course are Inky black there's no you know kind of Hot pixels or whatever it's very smooth And then in these areas here you see no Visible noise everything is nice and Smooth there's no discoloration no Banding any of those things so we'll Take a look as we climb up the iso now I'm going to skip the two stops in Between and jump right to ISO 1600 good News is these days that modern cameras
Do very well anywhere underneath 1600s So I don't foresee any kind of issue and Frankly there isn't really one to see And you can see looking for example in This mirror an area where we'll see a Lot of noise there is if you're looking Long and hard you might see a tiny bit Of additional noise and down here in the Table top you can see just a little bit Of additional noise but everything is Inky black contrast is still good detail Still looks good frankly there isn't a Whole lot of difference between the base ISO and ISO 1600 just a tiny bit more of A fine noise but nothing that is Destructive nothing is discolored Everything looks good at this point so How about if we go the next stop from 1600 here on the left to 3200 on the Right we'll start by looking at the grip Area here which as you can see there's a Color constancy everything looks fine Looking in here at the mirror there is Ever so slight a bit more of a fine Noise there but really it still looks Very very good looking down into this Tabletop we can see that there is a very Slight bit more noise but frankly There's not a huge difference between 1600 and 3200 and our black area is Still Inky black with consistently dark Pixels now from 3200 to 6400 we'll take A look at that jump and so again looking In here we can see not really a whole
Lot of difference in this area looking In on the the mirror you can see just a Little bit more noise if I pan up this Way you can see that the noise is just a Little bit more obvious and you can also See that there's a very slight beginning Of like a little bit of like a Checkerboarding effect to where it's Just the pickles pixels aren't quite as Consistent as what they were looking Down into this area that really shows Off the noise you can see that the noise Is definitely getting rougher looking up Here there is the beginnings of some Inconsistent pixels to where you're Going to start losing some contrast and The blacks won't look as black because The pixels are not consistently dark at That point in the stop from 6400 to 12 800 we can see that at this stage the Noise is becoming quite obvious you can See it in there on the mirror still in In areas like this it still looks pretty Good if we take a look over on this side We can see the detail looks pretty much The same you can see that the noise is Getting a lot rougher and then you can Also start to see as we transition up Just a lot more of those hot pixels even Relative to 6400 they're much more Obvious here and then if we take a look Over in this area you can just see a More pronounced amount of not only noise But this just kind of that
Checkerboarding pattern that is there to Where it's just not a consistent you Know grade of colors but rather there's More of a pattern that is showing up so The next stop is to 25 600 and here's Where things start to really fall apart In my opinion first of all you can see That there is some discoloration and Sony sensors have a tendency to go Towards the green when they're pushed to The Limit and we can see see that here You can see very obvious rough noise Inside there we look over towards the You know what should be a black area It's littered with you know what looks Like a lot of dust in the in the air so To speak and down here things are just Looking really rough all together and You can also see that those that pattern Is becoming all the more pronounced here At these higher ISO settings now one Third stop further is kind of the upper Natural limit at 32 000 you can see here That it's just you know steps further in The wrong direction and so more Discoloration more visible noise you Know more busyness in the shadow area And of course you know the noise pattern Is just getting rougher and rougher and Should you be so foolish as to go into The extended range which starts at 51 200 you're getting into the territory of Just kind of a failure as far as the Resolution the image quality is just
Falling apart at this point and if you Push it all the way up to 102 400 you can see that that green Trend that we saw beginning has reached Its logical destination and everything Has a really strong Color cast to it and The noise is just fantastically bad and So there are hardly any Shadows left and Details are being obscured just by all Of the junk that's going on do not Venture there Now coming back to 12 800 just for a Moment I want to show you something that Was interesting that I first saw going All the way back to when I reviewed the Canon 5DS R and it was the first really Really high resolution body on a full Frame camera which is 50 megapixels and So I noted that if you shot in medium Raw that you could get actually a Reduced noise a cleaner end result and So I was curious to see if that's the Case here now what's interesting of Course is that in this case it's not a Crop like before but this is rather a You know compressing down to a lower Resolution now obviously the the noise Is obviously going to be less visible There's fewer pixels here and so as a Byproduct you get a cleaner you know out Of Shadow area but of course if you were To blow it up to this level You could Argue well maybe you would see that Noise it's just you know much fewer
Pixels but what is interesting here is That if you look inside the mirror you Can see we have a much more neutral Color tone here without any of that kind Of green tint that is in the full size Image and likewise if we look in other Places we can see that detail and Contrast is holding up better and that's Partly because as we can see here There's just fewer of those hot pixels That is messing up contrast and if we Look up into our color swatches you're Not really seeing kind of the Checkerboard pattern and things like That it's just a much smoother end Result and so just a little bit of a pro Tip that if you're in a situation where You need to shoot at really high ISO and You don't need massive amounts of Resolution you can shoot at M raw and Then as an alternative on the far right Here I have got s raw and you can see That you know I don't think the result Is quite as dramatic as what it was Comparing full-size raw to medium raw But certainly shooting at the medium raw Setting you can get a cleaner looking End result and have still plenty of Resolution for almost every application But with much less noise and certainly No creeping In Color cast just an Interesting observation so let's take a Look now at our dynamic range here so We're going to start by looking at how
We can recover cover Shadows when I have Intentionally underexposed and have Crushless shadows so starting at just One stop at One Stop we would expect With modern Shadow recovery everything To be nice and smooth no additional Noise introduce contrast remaining the Same you know our color swatches being Consistent and of course we see all of That at one stop so if we skip on to Three stops we can see now that the Shadows are really quite crushed and so All the information here here if you Look on the left has been lost inside Here even all the texture of the grip But if we look at the right side we can See that that is recovered cleanly we Can see the mirror has been recovered Cleanly very little noise there if we Look down here into the shadow Information there's really not a whole Lot there just a little bit of noise but Nothing looks uh too bad and no hot Pixels over here everything looks pretty Good now at this stage we're all the way Up to five stops and the last that I Showed you was actually Four rather than Three stops so we can see at five stops We've got a little bit more noise that's Coming in a little bit of hot pixels but But uh and I would say just a little bit Of a color cast there by and large However you're able to recover those Shadows fairly cleanly and as we saw on
The last one you can go all the way to Four stops with a really clean Um you know recovery of those Shadow Information so with this case I mean you Know basically everything had been lost Previously but we're pulling all that Back without a whole lot of cost and so Uh certainly fairly positive when it Comes to Shadow recovery now where Sony Sensors tend to do fairly well relative To competitors is when it comes to Highlight recovery so we can see here Starting with just the one stop of Overexposure we can see that you know Textures that would otherwise have been Lost for example hot spots emerging here We're able to pull that back we'll also Be looking at these color swatches back Behind and seeing how the colors can be Recovered you can see here that you know Already like this very light pink color Was being lost we're able to recover That without any kind of problem and so Uh and then looking at spaces on the Timer for face to see as that you know Color texture begins to be lost whether We can recover all of those things so as We move ahead to two stops we can see Now that the overexposure is you know Fairly intense definitely some of the Colors are being lost in terms of the Swatches all along here but we can also See that these are being recovered Looking here on the right we can also
See that already there is some definite Hot spots that were emerging on the face Of the camera but we can see that those Things have been recovered and as you Looked like on this dial for example or A lever you can see that all of the Texture information has been recovered So still very very positive at a Two-stop overexposure now most cameras In my experience fall apart in between Two and three stops and we can see that That is a lot of overexposure a lot of Those color swatches for example here on The left side are just completely gone In that overexposure but where Sony does Really really good is being able to pull Those things back and so we can see that For the most part those color swatches Have been recovered if we look here on What is a very definite hot spot we can See that the textures have some of them Have been brought back we can see here On this front lever here that most of The texture information been recovered But not the way it was at two stops and Over here even on the timer face this is Actually doing really quite well for a Three-stop overexposure and so that part Is done quite well but definitely when It comes to some of the hot spots They're starting to be blown out and we Can see like on the face of this book Here that things are really starting to Be lost but for a three-stop recovery
That's actually really really good so Finally at four stops you can see that This is completely blown out this would You would never look at this and think Of that as being a usable image and it's Certainly far too much to be recovered Now overall I think that Sony is still Doing quite a good job for this amount Of overexposure and recovering these Color swatches I mean if you look here You can see that those colors have been Brought back really really quite well And so that's definitely a definite Strength but on some of these hot spots Here the end result is not nearly as Compelling and you can see that there's A lot of lost textures that are just not Going to come back we've barely Recovered some of that text but overall I mean this information has been lost And while you can get back a sense of it I mean there's just hot spots that are Just not going to be recovered that's Just too far it's beyond the limits and So a little over three stops is where The limit is here that adds up however To a quite strong real world dynamic Range performance so before we begin That sequence I mentioned that there was Something that I discovered that was Unique and that was I was interested When looking at the iso level at say 12 800 I wanted to see how it compared to Having the full size raw image compared
To a medium raw and to see if we Actually got less noise in some of those Negative effects of high ISO that was in Fact the case and it's not just less Apparent noise which you would expect at A lower resolution level but also some Of the a little bit of green Discoloration that I saw and some of the Gray areas and some of the hot pixels in The shadow area those were also Eliminated as well so I was curious I Wanted to see would I see the same kind Of effect if I took that L raw the large Size raw and and I I down sampled it in Photoshop to that same resolution level So I did that and then I compared it to The medium raw and I found that the In-camera media raw option was actually Still a little bit cleaner than what I Was able to get down sampling that was Encouraging to me because it tells me That you can get top rate performance Right in camera it also tells me that The conversion engine however it's Happening in camera is doing a really Good job of that over sampling or down Sampling however that it's it's actually Accomplishing that so that was Impressive to me let's talk about video For a moment before we wrap things up Here today one of the complaints on the A7r mark IV is that we a lot of people Expected that we would see a bump up to 4K 60. we remain locked in at the 4K 30
Which we had seen for several years at That point fortunately here we have seen Those upgrades that we were looking for We can go all the way up to 8K though at A maximum of a 24 frame per second bit Rate there but we can also we also see That 4K 60 and as you can see from this Uh this chart here we have a number of Different bit rates and recording levels That are available here just a lot more Control once again over the resolution Of the camera when it comes to video Work also hugely important for those That do something like what I'm doing or Teaching long format whatever the case May be there is now no longer an Artificial recording limit at 29.59 you Can basically record until the card runs Out until your battery runs out or until The camera overheats though that last Point will be less of an issue because Sony has redesigned the camera Architecture for better heat dissipation And they say even at the highest setting Of 8K 24 that you still can get at least 30 minutes of record time so at lower Bit rates or lower lower resolution Levels you're probably not going to have Any kind of issue at all for that I've Already mentioned the active mode in Body image stabilization that helps with Video another feature that has come into The R5 is the focus breathing Compensation now for this test I used
The Sony 35 millimeter f1.4 G Master It's an amazing lens but video people Don't love it quite as much because it Does Focus breathe fairly heavily and so Here you can see the focus breathing Without the compensation turned on now If I turn the compensation on there is a Bit of a crop as you can see but you can Also see that the focus breathing is Diminished and so it's less obvious with The lens and so obviously that's going To be another area of Versatility that Adds to the usefulness of the camera You have as expected you have all the Various um you know Sony package of Codecs including you know things like Log profiles s-log free Um you've got the ability hlg for high Dynamic range and when shooting in s-log 3 Sony touts that there are over 14 Stops of dynamic range and so going on To the video front as well this is a Camera that's got a lot of different Options and no it's not quite in you Know A7 S3 when it comes to that that Full range but for most people there's Going to be plenty of video options here To satisfy whatever you need to do and Video capture again goes back to just Having an overall true hybrid versatile Camera The end of the day this is a very Complete camera that had very few flaws I find that having that M raw option
Makes just a huge difference on so many Levels I love the idea of having 61 Megapixels available to me I just don't Want it all the time and so as a Byproduct being able to shoot a true raw Image at a lower resolution point is Huge to me and the fact that it can help Also in high ISO situations to help to Mitigate some of the negative impact of Having high resolution is also extremely Useful to me add to that the improved in Body image stabilization this unique Tilting and articulating screen a great Viewfinder amazing autofocus on and on The list goes this is a camera that has A little bit of everything when I was Trying to describe to Craig what my Findings were on it the word that really Came to me was complete this felt like a Very complete a very mature camera where It's not just as Sony used to be they Kind of Promise Technologies and never Quite fulfilled them the a7r5 really Helps to bring a lot of that technology To completion it's just everything just Works really really well in this camera And I'm left with a very positive Impression of it in the end I'm Dustin Abbott and if you look in the Description down below you can also find Linkage to my full text review or to an Image gallery if you want to look at Photos there are buying links there if You'd like to purchase one for yourself
Also linkage to follow myself or Craig On social media become a patron get Channel merchandise and of course if you Haven't already please like And Subscribe thanks for watching have a Great day and let the light in [Music] Foreign
