At speeds up to ISO 6400, grain isn’t an issue. The A7R V does surprisingly well in low light. Except for highly detailed scenes, I didn’t notice much difference between compressed and uncompressed RAW files. That gives you tons of overhead to edit RAW files, fix under- or over-exposed shots or tweak colors. Sony claims 15 stops of dynamic range, above Canon but perhaps slightly below Nikon. It also has a touch-to-track mode that locks onto subjects more accurately than rival models. However, you have to select those manually – it would be nice to have an auto mode that lets the AI choose the subject like Canon’s EOS R6 II. On top of humans, it can also track people, birds, animals, insects, cars, trains and airplanes. If it fails to track the subject’s face, it can also switch to their body and still grab sharp shots. It works much like 3D motion tracking software used for animation, predicting the position of your head and eyes based on your skeletal structure. On top of the excellent face, head and eye tracking, Sony has introduced a new body tracking mode. Things get even better when you kick in the AI. WIth 693 phase detect focus points (up from 567 on the A7R IV) the regular (non subject tracking) AF is uncannily accurate in all five area modes, delivering a large majority of sharp frames even with fast moving subjects. Sony is known for its brilliant autofocus, and the A7R V may be its best camera in this area to date. You can shoot about 104 C-RAW + JPEG files before the buffer fills, though that takes less than two seconds. While not super quick compared to Sony’s A1 or the Canon EOS R5 (both have stacked sensors), it’s not bad at all for a 61-megapixel camera. That drops to 7 fps when shooting uncompressed RAW files. The A7R V has roughly the same burst speeds as its predecessor, 10fps in both mechanical and electronic modes, shooting C-RAW and JPEG photos. It also comes with microphone and headphone ports as you’d expect, plus a wired LAN port and the ability to do zoom calls or livestream over USB-C via the UBC webcam standard. The USB-C 3.2 Gen 2 port is PD compatible, so you can charge the battery and power the camera at the same time. That’s under lab conditions, though, and I got about double that in the real world. It has the same battery as the A1 and delivers exactly the same number of maximum shots on a charge, 530. Though still not up to pro standards, it offers a relatively secure connection and allows for more robust cables, as micro HDMI models are prone to breaking. Since the A7R V is now a much better video camera, Sony has seen fit to swap out the tiny and fragile micro HDMI jack for a full-sized one. The latter are required for 8K video and let you shoot photo bursts longer before the buffer fills. Each one accepts either UHS-II SD or faster, but far more expensive CFexpress Type A cards. Like the A1 and A7S III, it has a pair of dual-format card slots. Still, it’s now close to matching what you’d see in an optical viewfinder. Resolution on the OLED panel is up to 9.44 million dots, though it drops when you focus or increase the refresh rate to the maximum 120Hz. The A7R IV already had a very good 5.76-million dot EVF, but Sony made it even better. Some people prefer a tilting display (for shooting at high and low angles), so the A7R V has the best of both worlds. On top of being better for vlogging and selfies, it also lets you move the screen clear of any microphone or monitor cables. It not only flips out, but also tilts – not just upwards like Panasonic’s similar system on the GH6, but also down and out as well. Rather than a simple tilt-only screen like before, Sony has come up with a whole new system. That’s because the grip has some hard edges and a material that’s less cushy than Canon’s R5, for example.Ī big new innovation on the A7R V is the rear display. Some people may find it uncomfortable to hold all day, though, particularly those with larger hands. As with other Sony cameras, it’s intuitive and easy to use.
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