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What negatives are in the a7riii
- Thread starter chodthewacko
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for me personally not having time-lapse is a big issue specially these days that all manufacturers have started to add this feature for free too 
. this just does not make sense and I hope they will address it by firmware.
after getting used to the A9 going back to black-outs are a bit of a bummer.
. this just does not make sense and I hope they will address it by firmware.after getting used to the A9 going back to black-outs are a bit of a bummer.
Astrophotographer 10
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I agree about the time lapse but Sony has no track record of adding features in later firmware with the exception of uncompressed RAW.for me personally not having time-lapse is a big issue specially these days that all manufacturers have started to add this feature for free too
after getting used to the A9 going back to black-outs are a bit of a bummer.
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The marketing release said there was no blackout when in 10fps mode.
Greg.
SilvanBromide
Veteran Member
Well, actually ... spatial filtering (aka star eater) was IIRC, also a feature that was added in a firmware update, at least for some models.I agree about the time lapse but Sony has no track record of adding features in later firmware with the exception of uncompressed RAW.for me personally not having time-lapse is a big issue specially these days that all manufacturers have started to add this feature for free too
after getting used to the A9 going back to black-outs are a bit of a bummer.
And I suspect there are other examples, although I take the more general point you're making.
It depends what you call blackout. If I understand, at 10fps the last frame taken is displayed - so the display is continuously lit (no black the literal sense) but the user's view of the continuity of action between frames is nevertheless obscured.
That, at least, seems to be what's described as happening with the mechanical shutter engaged. Not sure whether it also applies to ES bursts.
legokangpalla
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Since you mentioned rolling shutter with Electronic shutter, I suggest you to also consider A9?
A9 IMHO is the closest you can get to global shutter without going super high end market. The stacked sensor offers ridiculous read out and with well spread out parallel read out points that makes rolling effect almost non existent with stills.
A9 IMHO is the closest you can get to global shutter without going super high end market. The stacked sensor offers ridiculous read out and with well spread out parallel read out points that makes rolling effect almost non existent with stills.
SilvanBromide
Veteran Member
While that's true, I think there's another dimension to the discussion that is perhaps being largely overlooked.
In the a9, the mechanical shutter is limited to 5fps and you're obliged to use the electronic shutter in order to take advantage of the camera's "main event" feature - speed. Any rolling shutter penalty would therefore be big deal for a9 shooters
On the contrary, in the a7R3 both mechanical and electronic shutter operate right up to its 10fps limit, so there is no speed advantage/incentive for the use of electronic shutter. Consequently, for still shots, the choice is mostly going to be driven by situations where complete silence is essential - which are almost never going to be the same situations where lots of movement is encountered. So there are few if any still shooting scenarios where a7R3 rolling shutter issues cannot be instantly addressed (and with zero penalty) by invoking the mechanical shutter instead.
Video, of course, is a different matter, and any current technology high resolution sensor is going to be at a disadvantage (slower sensor read-out from a pixel count that exceeds the res requirements for ≤4K). Until global shutters become available, as you say.
Mais78
Senior Member
What a stupid comment, why would I create a similar thread? You are paranoid.
Mais78
Senior Member
I wouldn't be surprised if that's Sony's thinking as well. I can understand that (never used in camera panorama possibilities).Panorama mode is for P&S cameras. Real photographers are stitching gigapixel panoramas from raw files with real software!
I read in another post here, that high iso performance of A7RIII is slightly worse than A7RII ?? That would surprise me very much! For the time being, I take everything with a large grain of salt....untill reviews/tests are out.
Probably not noticeably worse but definitely not better (at High ISO). Improvement was at low iso.
TN Args
Forum Pro
Apparently the OP considers it a negative of the 𝜶7R 𝛪𝛪𝛪 that it isn't an 𝜶9 with high-res for 2/3 its price.
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N
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Would have been nice. But realistic? Not before some generations of new Sony cameras, I would assume.
This comment made me wonder if perhaps the digital image is stored as a negative or some representation that resembles a negative. Do the "ones" make the pixel brighter or darker?
Clyde Thomas
Senior Member
I'll assume you're coming from another brand. You said "switching to Sony".
These are general foibles for most all high tier Sony cameras. Whether or not a7RIII has addressed some of them I do not know. But others are simply part of the system.
The Hot Shoe is the most fragile connection ever invented. The front pins on the connection feet are tiny, fragile, exposed, and prone to bending if you don't keep track of the covers.
Other manufacturers offer full metal sled. Sony gives four plastic toes.
On camera microphone for higher end cameras is fully manual sound. But adding any of Sony's optional microphones reverts back to fully auto sound. Seems to me it should be the other way around. They tighten with screw tensioners from the 1970's, and lock with short nubs rather than pins.
Some accessories lock onto the hot shoe. Some don't. For instance, the dumb metal thumb grip accessory for the RX1 has a lock. But the smart (and expensive) wireless microphone LAV receiver does not. Seems to me it should be the other way around.
Although Sony claims a standard hot shoe, I find some transmitters do not fit into the shoe all the way. Some workaround by filing down the foot of whatever item they have trouble with. I cannot get good fit with Quantum or Einstein transmitters. But Phottix and Flashpoint transmitters are good fit for Sony.
Sony flash units have reputation for overheating. This is old news and perhaps they've addressed the problem. Better value and performance found with third party flashes.
Sony EMount lenses are a hodgepodge. Some with aperture rings, some without. Some with accelerated fly-wire manual focus, some with linear fly-wire manual focus. Some of the power zoom lenses will reset to widest zoom after sleep, others will keep there zoom setting after sleep or shut down. Depending upon lens, the control for image stabilization may be on the lens, or in the camera menu. There is no attention put towards consistency of operation with Sony lenses. They practically feel as though they are from different manufactures.
Sony EVF cameras cannot perform a reliable custom white balance with studio strobes. Even in manual exposure, when setting custom wb, the camera reverts to auto mode, and exposes the shot with ambient light of the room mixed in with the strobe flash. Workaround is just set for daylight and fine tune in post.
If none of these hot shoe or flash, or studio, or lens inconsistencies would hinder your shooting needs, then surely the a7RIII would be a very satisfying camera for you. Also consider Sony AMount a99II for even higher FPS, fully articulating LCD, full set of front controls, exact duplicate vertical controls, fuller lens lineup, more compatible battery, more finger room between grip and lens, and for less money. Sony has a lot to offer in both EMount and AMount systems.
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These are general foibles for most all high tier Sony cameras. Whether or not a7RIII has addressed some of them I do not know. But others are simply part of the system.
The Hot Shoe is the most fragile connection ever invented. The front pins on the connection feet are tiny, fragile, exposed, and prone to bending if you don't keep track of the covers.
Other manufacturers offer full metal sled. Sony gives four plastic toes.
On camera microphone for higher end cameras is fully manual sound. But adding any of Sony's optional microphones reverts back to fully auto sound. Seems to me it should be the other way around. They tighten with screw tensioners from the 1970's, and lock with short nubs rather than pins.
Some accessories lock onto the hot shoe. Some don't. For instance, the dumb metal thumb grip accessory for the RX1 has a lock. But the smart (and expensive) wireless microphone LAV receiver does not. Seems to me it should be the other way around.
Although Sony claims a standard hot shoe, I find some transmitters do not fit into the shoe all the way. Some workaround by filing down the foot of whatever item they have trouble with. I cannot get good fit with Quantum or Einstein transmitters. But Phottix and Flashpoint transmitters are good fit for Sony.
Sony flash units have reputation for overheating. This is old news and perhaps they've addressed the problem. Better value and performance found with third party flashes.
Sony EMount lenses are a hodgepodge. Some with aperture rings, some without. Some with accelerated fly-wire manual focus, some with linear fly-wire manual focus. Some of the power zoom lenses will reset to widest zoom after sleep, others will keep there zoom setting after sleep or shut down. Depending upon lens, the control for image stabilization may be on the lens, or in the camera menu. There is no attention put towards consistency of operation with Sony lenses. They practically feel as though they are from different manufactures.
Sony EVF cameras cannot perform a reliable custom white balance with studio strobes. Even in manual exposure, when setting custom wb, the camera reverts to auto mode, and exposes the shot with ambient light of the room mixed in with the strobe flash. Workaround is just set for daylight and fine tune in post.
If none of these hot shoe or flash, or studio, or lens inconsistencies would hinder your shooting needs, then surely the a7RIII would be a very satisfying camera for you. Also consider Sony AMount a99II for even higher FPS, fully articulating LCD, full set of front controls, exact duplicate vertical controls, fuller lens lineup, more compatible battery, more finger room between grip and lens, and for less money. Sony has a lot to offer in both EMount and AMount systems.
--
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SilvanBromide
Veteran Member
All zeros is black. You want a negative , you will have to invert in PP. ; )
SilvanBromide
Veteran Member
By which time 42.4 mpx may no longer be considered high-res.
For me, the biggest negative is the lack of the anti-distortion technology for the electronic shutter like in the A9. If it had that, it would be the perfect camera for me. As it is, I've decided to go with the A9, because I really value being able shoot silently and continuously. I imagine the silent shutter is going to be more or less the same as the A7R II, which I currently own, and it's not very good. Lots of distortion and banding.
Everything else about the camera is great, though. USB-C and the ability to shoot Extra Fine JPEG along with RAW are upgrades compared to the A9, even. I wonder if Sony will ever get the stacked sensor tech into a higher megapixel camera. Maybe an A9R someday?
Everything else about the camera is great, though. USB-C and the ability to shoot Extra Fine JPEG along with RAW are upgrades compared to the A9, even. I wonder if Sony will ever get the stacked sensor tech into a higher megapixel camera. Maybe an A9R someday?
I mean, yeah, price aside, that's what I was foolishly hoping for. I don't really care that much about the 20 FPS or the ultra-sized buffer. The A7R III's buffer and 10 FPS looks like plenty for my uses, but I'm totally sold on silent shooting. I love it. I have an RX100 V and it's incredible (apparently even better on the A9), but I want that with the 42 megapixels of the A7R series, but it doesn't look like Sony has that tech ready yet.
SilvanBromide
Veteran Member
Most likely that will come in due course.
When it does, it will likely be at a different price point, as noted. And it will also be meeting the needs of a slightly different (and somewhat smaller) group. Those who need a combination of resolution and raw speed beyond what's available anywhere presently.
For many of us, it's no bad thing that the a7R3 is more of a re-casting (shifting the trade-off between resolution and speed) of the strengths that the a9 brought.
TN Args
Forum Pro
Sure.... but not the variety of banding (LED) that still affects the A9 (and everyone else).
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