That lack of 60P or 10-bit color on the Sony A7R III is disappointing. In this regards the Panasonic GH5 remains preferable. But if you’re looking for a smaller full-frame camera that can shoot video too then the Sony A7R III is hard to beat.
Both the Nikon D850 and the Sony A7R III should be excellent time-lapse photography tools. Of course the accessory equipment makes a huge difference too so don’t expect results like these without it.
Who would have thought we would say the day where Nikon bested Canon for video in their DSLR. The D850 is an exceptional stills cam. Perhaps the best stills cam with its sensor size. So having great video is a bonus too and makes for a great hybrid camera.
To the surprise of many, the Sony A7R III retains the same 42MP sensor as the A7R II.
We’re disappointed however, as:
- No HEVC
- No 10-bit (doesn’t even appear to do 10-bit out)
- No 4K 60P
On the plus side:
- Better/faster AF
- Dual card slots
- Double the size battery of the A7R II
- 5K (15MP) over-sampling for 4K video
- Improved 5-axis IBIS
- Claims 14 stops of dynamic range for video, but the codec cripples this making this claim dubious at best
High Quality 4K for the Video Professionals
The new α7R III is exceptionally capable as a video camera, offering 4K (3840×2160 pixels) video recording across the full width of the full-frame image sensor. When shooting in Super 35mm format, the camera uses full pixel readout without pixel binning to collect 5K[xviii] of information, oversampling it to produce high quality 4K footage with exceptional detail and depth.
A new HLG (Hybrid Log-Gamma)[xix] is available on the α7R III that supports an Instant HDR workflow, allowing HDR (HLG) compatible TV’s to playback beautiful, true-to-life 4K HDR imagery. Further, both S-Log2 and S-Log3 are available for increased colour grading flexibility. The camera can also record Full HD at 120 fps at up to 100 Mbpsvi, allowing footage to be reviewed and eventually edited into 4x or 5x slow motion[xx] video files in Full HD resolution with AF tracking.
The Panasonic GH5 remains the best value in its form factor for a video camera. And the excellent recent firmware update improved it even further. Here are some reminders about what this camera can do:
Well, we’ve only taken a quick look at this firmware. In regards to auto-focus, our first look appears to indicate that there are improvements, but the GH5 remains a camera that you don’t buy for the AF. Thankfully it has many other reasons to buy it.
It’s a shame Canon crippled this camera so much. The footage looks beautiful.
Hands down the Panasonic GH5 is the best value video camera and nothing in its price range touches it. We’re hoping Sony and others will soon offer viable competitors for similar prices. It’s becoming harder and harder to justify purchasing a 4K camera without 10-bit color or 60P.
This is obviously not a fair fight. But the comparison is interesting as you get to see what the additional money buys you.