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Even though there are 169 autofocus points on the a7S II, they are all contrast-detect, and the results are rather dismal. When the light is bright and the contrast between the subject and the background is high, you may anticipate rapid focusing, but in low light, you won't receive much focusing ability. Having said that, hybrid photographers will find a lot to like in the a7R II, with to its high-quality Super35 video recording, S-Log mode, and other useful features. It has a very strong low-light performance, especially when compared to the large number of pixels.



When it comes to low-light photography, the a7S II is the camera you have if you want to get the job done well. When it comes to buffer capacity, the a7S II outperforms the a7R II by a factor of two, allowing for 28 RAW photographs compared to the a7R II's ability to capture 23 RAW photos. It is a step forward over the a7S II and will be the superior choice for sports, wildlife, and other action-packed settings in the future. When it comes to handling, the similar designs of these two bodies guarantee that they are both equally comfortable.



They might have provided us with the ability to manually lock or unlock the dial, similar to what we have seen on other digital cameras. While shooting in low light and noise, the Sony a7S II easily outperforms the competition by around 2 stops. The Sony a7R II, on the other hand, is a competent performance while shooting in crop mode. However, even at ISO 25,600, it is capable of retaining superb shadow detail, despite having far higher noise than the a7S II. If you want the greatest and clearest image quality in low light, the a7S II is the camera to have.



You'll only get up to 2.5 frames per second if you want continuous autofocus while you're shooting, which is quite sluggish – particularly in this day and age of lightning-fast mirrorless cameras. The a7S II is Sony's premier video/stills hybrid camera, providing great capabilities for dedicated video shooters while also satisfying the demands of a wide range of still photographers. When it comes to filmmaking, many people favor the A7s II over the A7r II. Because the A7s II has a lower Pixel-density than the A7, it performs better in low light. Because you cannot have a slower shutter speed than 1/25s while filming, this is vital to remember.



As a result of smaller file sizes, write times to the memory card are quicker, allowing for more images/minutes of video to be saved on the same size memory card. It also employs phase detection autofocus focus points, which, when compared to the contrast mode used by the a7S ii, makes it much quicker for both picture and video focusing. A comparison video in 4K resolution is provided below, in which I discuss all of the significant differences between the two cameras when it comes to movie recording.



In compared to 4K video, you will notice more noticeable color noise while shooting at high ISOs, especially at night. The cable protector is a device that protects cable connections. The A7s II is capable of shooting 4K internally using the X-AVC S codec at up to 30 frames per second. It is capable of recording at up to 120 frames per second in Full HD, however the latter cropped the sensor a bit.



There's no way to tell the photos apart without doing extensive analysis, and even in low light, the distance between the cameras isn't that great. The comparison of resolutions between the Sony a7S II and the Sony a7R II is pretty fascinating. Both cameras have the ability to internally record a stunning 4K picture in a range of various crop and HD settings, making them equally capable. The Sony a7S II delivered the same rolling shutter performance as the original a7S while shooting in 4K. In fact, while shooting in the highest picture quality option on the Sony a7R II, we can observe that the rolling shutter effect is around 12 percent more severe on this camera.



It is disappointing that there is no touchscreen or back LCD that can be completely articulated. However, both cameras have a sturdy feel to them and have good front grips. In other words, you should anticipate the a7R II to survive far longer than its predecessor. However, there remains the issue of whether or not this is significant; all but the most prolific photographers will replace their cameras well before the 200,000 level is reached.



The A7r mark II's low-light skills are still superb, but after using it for more than a year, I'm beginning to question if the additional performance of the A7s II at high ISOs is actually essential. In general, more color depth is preferable, but you'll be hard-pressed to spot a difference between two cameras that are separated by less than one bit of variance in color depth. Nonetheless, in 4K full-frame mode, where the image is significantly weaker, the a7R II boasts around 50% better rolling shutter performance than its predecessor. The so-called "rolling shutter" effect is a phenomena that causes a camera picture to be skewed when rapidly moving objects are captured, as well as when pans and handled camera movement are performed quickly. When it comes to their electronic viewfinders, the three cameras are almost identical to one another.



It is difficult to determine whether or not objects are in focus while using the LCD panel; you must punch in to determine whether or not you are in focus. The only thing I wish Sony had done differently was to rotate the display so that it could be seen from the front of the camera, and I wish it had been a touch screen instead. Its tiny size makes it ideal for traveling and recording handheld on extended projects due to its portability.



Unlike any other A7 series camera, it has a 12MP sensor that is optimized for video capture and has greater low-light performance than any other A7 series camera. In a camera with a plethora of functions, the picture stabilization and low-light performance stand out as particularly impressive. This is a professional-level camera that is tiny, packed with functions, and produces incredible picture quality. I would strongly suggest it. In the event that I post process the two images in a standard fashion, the results seem great and equivalent on both cameras, but with the little change in tint that I noted before.



These interchangeable lens cameras are both reasonably light in weight (a big improvement over the heavier full-frame DSLRs) and have relatively tiny bodies for a professional interchangeable lens camera. While catering to very distinct segments of the market, the Sony a7S II and Sony a7R II are both capable mirrorless cameras that share a surprising amount of capabilities while being designed for vastly different purposes. In general, bigger images are produced by using more pixels, which is desirable for printing huge photographs.



II's low-light
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