中級 58 タグ追加 保存
動画の字幕をクリックしてすぐ単語の意味を調べられます!
単語帳読み込み中…
字幕の修正報告
Jay: Hi, this is Jay P. Morgan.
Kenneth: And this is Kenneth Merrell.
Spike: And I'm Spike Leffke.
Jay: Today on The Slanted Lens, we're going
to compare the Nikon D850, the A7R III from

Sony, and the A7 III from Sony, and the...
Kenneth: The Nikon D850, A7R III, and A7 III.
Jay: Let's get started and see what we can
do.

So we're down to our favorite place to review
cameras here in the alleys of Pasadena, and

we're going to review these three cameras.
Why did we choose these three cameras?
Kenneth: Honestly, I feel like these, if I
was going to recommend a full frame SLR style

camera to someone, these would be the top
three choices.

I think it was last year we did the 5D Mark
IV versus the D810 versus the A7R II.

So this is almost like that this year with
the newest, the latest and greatest.

The Canon didn't make the cut.
They just don't have a camera that I feel
like competes at the price point.

Jay: Just really doesn't.
Doesn't really.
Not at all.
Kenneth: Not at all.
In fact, Sony's latest A7 III has a better
feature set than the Canon does at like half

the price.
Jay: Yeah.
At half the price.
Kenneth: And that's really the question here.
A lot of people are going to be choosing between
the A7R III and the A7 III based on price

and wondering does the resolution matter,
is the extra resolution worth the money for

the A7R III.
Are there other features that you're getting
as well that make it more of a pro line camera.

And of course, the Nikon D850 I think is the
most interesting Nikon camera out there right

now.
Jay: Yeah, which is still on back order.
It's hard to even get a hold of one of them
right now because they're so extremely popular.

Kenneth: So popular.
Jay: Three great cameras.
My daughter-in-law is going, "I need a new
camera.

I want to step up from a Rebel into something,
a full frame camera, but I don't want the

weight necessarily."
She's not sure what to do, you know?
She's only got one or two lenses.
It's not like she's really invested in a big
lens kit.

So she really has the ability to go any way
she wants, you know, without any problem.

So these are the three cameras that we talked
about, I talked about with her.

And so let's look at the picture quality.
Let's look at the ISO.
Let's look at the dynamic range.
Kenneth: Auto focus.
Jay: Auto focus, which is, man, the auto focus
has come a long ways on these.

It's pretty amazing.
Kenneth: Yeah, yeah.
I think one of the biggest conversations we're
going to have here is DSLR versus mirrorless

and how each of them handles.
They're really different in terms of not only
the weight, but like the ergonomics and how

you work them and the speed.
The thing I like about Nikons is I feel like
Nikon has been in the game for 100 years and

they really know how to dial in the controls
to make it fast for shooting.

I think Sony is kind of still figuring that
out a little bit.

But on the other hand, Sony has all these
amazing features that they're packing into

these tiny, little bodies.
Jay: Well, the one thing that we know about
Nikon is that they are weather resistant.

They're durable cameras.
They're made to be out and to be shooting,
they really are.

We don't know how durable the Sony is, how
they're long term, you know?

Because they're smaller.
They're just a little more lightweight.
The build is maybe a slightly little less
durable.

So I don't know.
There's an issue there about how will they
last.

Although I've had A7S for now...since it came
out.

Kenneth: Yeah.
Jay: And we used it a lot on set and it's
been absolutely fine, so.

Kenneth: By the way, we want to give a huge
shout out to BorrowLenses and thank them for

sending us some of these cameras and lenses
that we're using today.

BorrowLenses is a super convenient, awesome
service that will send rental cameras and

lenses straight to your door so you don't
have to waste the time going out and getting

them yourself.
Jay: And it's a great service if you want
to check one of these out and see if it's

a camera you really want to buy.
Get it for a weekend.
Shoot it.
It's really a great way to test the camera,
so BorrowLenses.

So we're starting with our auto focus test,
which is really we have Spike walking towards

us.
I'm on the A7 III and we got that eye detection,
so it's really tracking her eye.

Sometimes it kept jumping to her face and
then to her eye.

But we'll take a look and see what those images
look like.

It looks pretty effective.
I mean, it's certainly buffering out as she
walks this distance, and by the end it's kind

of dragging.
The frames are a little slower.
But still, it's pulling the focus right to
where she gets right up in the camera.

It's following her all the way in, which is
pretty nice.

Kenneth: The Nikon has face detection, but
doesn't have the eye focus.

So I'm very curious to see if the eye focus
on the Sony makes a huge difference.

Both the Sony bodies have it, the Nikon doesn't.
So I'm wondering if it really gives the Sonys
an edge in the auto focus game.

Jay: So we're shooting pretty wide open.
It's 2.8.
It's not as wide as this lens goes.
It's a 1.8 lens and we're shooting at 2.8
at 500th of a second at 200 ISO, so it should

be a really clean image.
And at 500th of a second it should be sharp.
It should just be a matter of whether or not
the focus can catch it.

Kenneth: Yeah.
So when we look at these auto focus images,
I am just totally astounded by the quality

and clarity of the Nikon, even without the
eye detect the Sony has.

Just face detect, continuous focus.
Jay: Now occasionally it looks to me like
it's hitting her chin a little more than her

eyes.
It's maybe slightly forward, but, I mean,
just ever so slightly.

Kenneth: Yeah, ever so slight.
Jay: But the Nikon did fabulous.
The A7R III did not do quite as well.
It lost a few surprisingly to me when she
got up really close.

Kenneth: Yeah, it seems like where the eye
tracking would have the biggest target.

Jay: Yeah.
Just really disappointed.
But when it hit it, boy, it's sharp.
It's really sharp.
Kenneth: Yeah, super sharp.
I mean, again, we're looking at, what, 37
frames and 5 or 6 were unusable?

Maybe 1/7th of the photos were out of focus
compared to 1/14th, 1/15th of the Nikons.

There's no optical low-pass filter on these
Sonys.

And so when it's sharp, it's really sharp.
This is one I'm super interested in.
I mean this is the latest and greatest.
Jay: Everything seems to do pretty well on
these when you're at full body.

Then we start making that transition into...
Looking sharp all the way through.
It seems like it's just looking really good.
Boy, this is almost performing the best of
all of them.

Kenneth: Yeah, the A7 III performs really
well.

Jay: Extremely well.
Kenneth: I would say better than the A7R III,
and probably right on par with the Nikon.

Jay: Yep, they seem to be head-to-head, the
Nikon.

So we're about to do our resolution test to
really look at the image quality on each of

these three cameras.
So we have three different quality settings
here.

Nikon and the A7R III are pretty close.
Kenneth: Not that different.
It's 45.7 versus 42.
Pretty close.
Jay: Yeah.
But it's 24 on the A7 III.
Kenneth: This may be the deciding factor for
all you people that are trying to decide between

the Sony A7R III and the A7 III is that resolution.
So we have a nice close up shot and we're
going to, you know, punch into her eye, see

the eyelashes.
Jay: Then we'll blow that up to 100%, 200%,
400%, and just really see what that looks

like.
Kenneth: Yeah.
Jay: If you're doing landscape, this could
be really a big deal.

Kenneth: Yeah.
Jay: You know, if you're blowing things up,
doing kind of fashion things as well, it can

be a big deal, so.
Kenneth: Honestly, there aren't a ton of applications
where I don't see more resolution being a

real benefit.
Jay: That's true.
"You know what?
Forget the resolution.
It doesn't really matter."
Kenneth: Looking at the resolution on these
cameras is actually totally surprising to

me, because I would've expected it to, you
know, Nikon wins with the most resolution,

most clarity, you know, and the A7R III is
just almost, you know, and then A7 III really

falls behind, but it totally has upturned
that.

Jay: You would expect the A7 III to be way
behind, but it's really not.

It's not.
Kenneth: It's not.
Jay: The A7R III is definitely the best.
It looks the nicest.
It's sharp.
It's clean.
You see every little blood vessel in her eye.
Kenneth: Yeah, it's crazy.
I think part of the reason why the A7R III
is so much more clearer than the Nikon is

because it doesn't have a low pass filter
on the sensor, whereas a Nikon does.

And so, you're going to have a little more
clarity with this.

Both Sony cameras are going to have a little
more clarity.

Jay: Yeah.
It feels like the A7 III is edging out the
Nikon almost, or at least it's holding its

own.
Kenneth: Almost.
It's holding its own.
Yeah, yeah.
Jay: And it's half the megapixels.
Kenneth: If you're concerned about the megapixel
count on the A7 III, I think you can put your

mind at ease because...
Jay: I don't think it's a major issue.
Kenneth: Yeah, it's not a major issue at all.
Jay: No.
In fact, it starts to make you wonder, the
A7R III versus the A III, is it really worth

the extra money for the A7R III.
Kenneth: Yeah, I don't know.
Jay: You know?
Kenneth: One thing that I was really excited
to test on these cameras is the ISO capabilities.

I've heard a lot about the A7 Mark III capabilities,
but it'll have a lot to live up to versus

the Nikon D850, I think, which has performed
the best in the previous tests we've done.

So, let's check them out.
Jay: Let's look at the ISO.
So, there's all 3 of them up with the 100
ISO.

They all look fabulous.
Kenneth: It's amazing.
Jay: I mean the 100, the 200 looks really
good.

Kenneth: Four hundred.
Jay: Four hundred looks great.
Kenneth: These days if your camera doesn't
look good up to 800, then you should get a

different camera.
Jay: Well there you have it.
Kenneth: Because it's almost kind of expected.
All right, 1600.
Jay: Okay, let's jump up to 1600.
You start really seeing the grain pattern
there.

Kenneth: The Nikon is starting to lag, actually,
a little bit.

Has a little more chroma noise.
Jay: It is starting to have chroma noise.
Kenneth: A7 III is looking real smooth.
Jay: That's amazing.
The A7 III is looking very good.
Well that's at 1600.
Let's go to 3200 here.
Kenneth: The A7 Mark III still looks killer
to my eye.

Very clean.
A lot of detail.
Jay: It looks much clearer than the R III
does.

Kenneth: A lot of detail.
The R III is struggling.
Jay: Boy, it's interesting.
The R III is not doing that great.
Kenneth: At this point, what's interesting
is the R III is a little darker, and I think

we're going to start seeing the exposure fall
off on at least the R III, but the Nikon is

going to remain constant.
Jay: Here, let's look at 6400 here now.
Kenneth: The Nikon is definitely...you definitely
see the grain in it, but the color still looks

really good.
A7R III, the exposure is falling off and it's
still kind of grainy.

I think the winner thus far is the A7 III
with the Nikon coming close behind.

Jay: I think you're right.
Should we jump to...
Well, there's 12800.
The R III just fell off the cliff.
Kenneth: Yeah, it's super dark.
It's like a stop underexposed now.
Jay: And it's just grain everywhere.
Well, Nikon is pretty...
Kenneth: Nikon is doing good.
I mean it's grainy.
Jay: It's still pretty good.
Kenneth: The exposure is holding well.
I mean, I think it looks pretty good.
The A7 III is probably the top performer.
The only thing is here is even the A7 III
is a little bit darker at this point than

the Nikon.
So if you push those shadows to where they
need to be, I wonder if it would change things.

Jay: Let's look 25600 here.
Look how dark the R III has gotten.
Kenneth: Yeah, super dark, really grainy.
Jay: The consistency of the Nikon with exposure
is pretty amazing.

Kenneth: It's pretty amazing.
Jay: It has not changed at all.
Kenneth: Not changing at all.
Yeah, yeah, yeah.
The A7 III, though, still wins out for cleanest,
even though the exposure is starting to drop

a little bit.
The color, though.
The color of the Nikon.
Like you said, the consistency is just spot
on.

Jay: It really is.
There you go.
Kenneth: The Sony A7R III can push up to 32000
and the A7 III can push to 51200.

Jay: Because they can.
Kenneth: Because they can.
And even then, the 51200 looks as good to
me as the 32000 does on the AR III.

I would say you have a stop.
I would say that A7 III has a stop over the
AR III in terms of ISO performance.

Jay: It really does.
Yeah, I mean, you're pretending like you're
getting this ISO on the A7R III but you're

not.
Kenneth: Yeah, yeah.
It's true.
Jay: You're not because you're losing a stop.
Kenneth: But not only a stop of light, but
I think in terms of grain...

Jay: You're gaining the grain.
Kenneth: You're gaining the grain a lot.
Yeah.
Jay: Yep.
Kenneth: So, I mean, the verdict here for
me is the A7 III is the best for low light,

though I do like the consistency of the Nikon
in terms of exposure and color.

Jay: Nikon was very consistent straight through.
Kenneth: Yeah.
Jay: But the A7 III really is the one that
can perform the best in low light.

Kenneth: Yeah, I think so.
Jay: So in the studio we decided to do an
over and under test.

We're going to overexpose and underexpose
images and then go into camera RAW and try

to correct them as best as we possibly can,
see if we can bring them back.

So it kind of shows the dynamic range.
It shows what we can save.
Kenneth: And how far you can push it around.
Yeah.
Jay: How far we can push it.
And it was really interesting some of the
things that happened.

I learned one thing, digital cameras like
being underexposed a lot more than they like

being overexposed.
Kenneth: Yeah, for sure.
Jay: They really do.
Kenneth: The Nikon continuously surprises
me on this one.

Jay: Yeah.
Kenneth: So we're looking at here, we got...well,
let's start with the normal exposure.

But now we have +1 stops.
And at this point they're all fine.
They all look okay.
The Sony A7R III is definitely rated darker.
The ISO rating is consistently darker than
the Nikon and even darker than the A7 III.

Even in the other tests we've done, the A7
III is a little brighter.

Jay: Yep.
So there's +2 on each one of those cameras.
I mean, what normal kind of skin highlight
there is on each one of these cameras, I mean,

it's starting to posterize a little bit.
Kenneth: Yeah.
Jay: You can't save it.
I couldn't save it in, you know, by trying
to recover the whites.

Kenneth: I would say the A7R III looks good.
I think that looks normal.
But the Nikon definitely is looking weird.
Jay: So let's look at +3 stops.
Yeah, these are looking really good.
These are looking good.
Kenneth: We probably should've done like 1/3
increments so we could really tell exactly

where each one breaks down.
Jay: At what point?
Because it falls off a cliff between +2 and
+3.

Kenneth: Yeah.
The Nikon is definitely the worst.
It does not retain those highlights nearly
as well as the A7R III.

A7 III is doing a little better, but none
are looking great.

Jay: None are looking very good.
Kenneth: So we're going to say, you know,
at +2 stops the A7R III is good.

The other two start to struggle.
And then after that, it's just downhill for
everybody.

Jay: It really is.
So going the other direction, I was really
shocked at how far you could underexpose these

and still get a very acceptable image.
So let's go to -1.
There's -1.
It's almost not worth commenting on it.
Kenneth: Yeah, it looks fine.
Great.
Jay: It looks clean.
The grain looks clean if you look at the transition
up in the top.

Kenneth: Minus two, I'd almost say the same
thing.

There's not much really to say about it.
Jay: This is 3 stops underexposed.
I mean, the images in camera RAW are starting
to look like there's no one there.

It's just a black.
So you look up and you're thinking, "Oh my
word, there's no image there."

Kenneth: Yeah, yeah, yeah.
Jay: But it's amazing.
Kenneth: Then you correct it and it's like,
"Whoa, there's a whole picture."

Jay: But you correct it, it's like, "Yeah,
were did all that come from?"

Yeah.
Kenneth: Honestly, it makes sense that this
is basically the equivalent of ISO 1600.

Jay: That's true.
Kenneth: You know, because you're underexposing
it 4 stops and then pushing it.

Yeah, it makes sense.
What's really impressing me though is that
you don't see a huge color shift in any of

these cameras as you're getting darker.
I would've expected that a lot more.
You know, maybe not grain but some sort of
color shift, but you're really not seeing

too much of it.
Jay: Well, you certainly saw it in the overexposed
a whole lot faster, you know?

Kenneth: Oh right, yeah.
It just goes like orange.
Jay: The color goes crazy.
But underexposed, not so much.
So we've got a -5 here.
Kenneth: The Nikon is super consistent, as
always.

Jay: As always.
Kenneth: More grainy, but the color is just
insane.

Jay: Very grainy there.
Kenneth: The A7R III, yeah, it's darker.
It's darker now significantly.
Jay: It is.
So the conclusion with this would have to
be that if you're exposing on all of these

cameras, they're pretty consistent.
It seemed like that Sonys were you say a half
a stop.

I was seeing almost a full stop.
When you went overexposed, you were a little
safer on the Sonys than you were on the Nikon.

Kenneth: And they're all looking pretty, pretty
good under.

Jay: They're neck and neck.
Kenneth: So I mean I would say the A7R III
has the best dynamic range because it had

that edge on the highlight, but at the same
time it's a little bit darker on the shadow

end.
So it's probably maybe the top in terms of
dynamic range, but very close to the others.

The A7 III has totally held up all the way
through.

Jay: Yeah, absolutely.
So I'm thinking here.
I mean, it's really important to look at,
just for your own understanding of this, what

the original for the -5 stop looks like.
Kenneth: Oh yeah.
Jay: Because it is just dark.
Kenneth: Yeah.
Jay: So here it is, the original, the -5.
The reason this is so important to understand
is if you've got an image and thinking, "Oh

my word, I've got nothing here."
Kenneth: You can't do anything.
Jay: You've got a lot more there than you
think.

Kenneth: Yeah, absolutely.
Jay: And so don't give up on it.
You know, there's a lot of recovery there
and a lot of work you can do in camera RAW

if you have a RAW image.
Kenneth: Right.
Jay: If you've got a JPEG and you have no
RAW, you're kind of done.

Yeah, you're done.
Kenneth: Nikon has come a long way in the
last few years implementing video.

They weren't super strong with that a few
years ago.

But now, I mean the Nikon D850 does 4K at
30 frames per second.

It does 1080 120 frames per second just like
the Sony cameras do.

But even then, the Sonys do have a few more
video bells and whistles.

So one thing we wanted to look at is just
to show you how the standard profiles compare

in the cameras and then the flat profiles.
My feeling is that SLOG3, which is the flattest
Sony profile, is going to have a lot more

dynamic range, be a lot more flat than the
Nikon will.

And that might be one reason why you'd go
with Sony instead if you're looking for that

really flat image.
Jay: You know, also, and I don't know if this
is the time to mention it or not, but the

screen, the EVF, on the A7R III is much better
than the EVF on the A7 III.

I think that's a big deal for me, because
not my favorite thing about the Sonys is the

EVF.
It's a little bit hard.
The A7S was hard to even focus with.
Kenneth: Yeah, yeah, yeah.
Jay: And the A7R II was pretty tough.
Kenneth: Yeah, if you're not doing...you know,
if you're not looking through the lens, if

you're relying on a video screen basically
to run your camera, then having a really good

EVF is key.
And that very well might be worth the extra
money for the A7R III just because then you

can actually see what you're focusing on,
especially if you're focusing manual for some

reason.
Looking at the color profiles on these, of
course, they all 3 have their standard crunchy

Rec. 709 profile.
The Nikon looks way warmer than the Sony.
Jay: Way warmer.
Kenneth: The Sonys look like they have a more
neutral look.

But this is the standard.
Of course, if you're using this primarily
for video, you'll probably want to shoot in

a flatter profile.
And a lot of people like to shoot in the SLOG
and stuff to get all of the dynamic range

possible, especially if you're shooting to
a recorder like we said.

And when it comes to that, there is a huge
difference.

The Nikon does not have a true log profile.
They just have their flat picture profile,
as flat as it gets for them, and it's really

not.
It's still pretty, you know, punchy and stuff.
But if you want to get all of the dynamic
range possible, the Sonys are, like, it's

a huge difference.
Jay: Do you think you can grade these back?
Kenneth: Oh yeah, absolutely.
Jay: The Sonys?
Kenneth: You throw a LED on these Sonys.
This is SLOG3, so this is the flattest profile
that Sony has.

You know, this is going to catch 14 stops
of dynamic range, whereas the Nikon will probably

have 9 or 10.
You know, 10.
Jay: Boy, what a difference.
Now which one?
Is this the...
Kenneth: The A7R III on the right is a little
more contrasty.

Jay: It is.
Kenneth: Even though it's the same picture
profile.

It totally surprised me.
I don't know why that is.
Jay: Boy, that's so interesting.
This is where the Nikon really as an application
video camera, just doesn't fall so short.

Kenneth: Not quite there.
Yeah, not quite there.
Jay: Not quite there.
So we're going to do our famous slow motion
test where we just blow her hair around at

120 frames per second on each of the cameras
and just see what that looks like.

I mean, sometimes it breaks up a little bit
in the shadows, so we just want to see what

that looks like for each of the cameras.
And so where we go.
It's a creepy uncle [SP].
Kenneth: The real challenge with the slow
motion where you're shooting like 120 frames

is the camera is taking tons of information,
tons of frames per second, and just cramming

it into this tiny, little bitrate data stream.
Right?
So usually what you see a lot of is you see
a lot of aliasing or blockiness.

There's not a lot of detail in the image.
Like we shot the GH5 and the 5SL last time.
There's like no detail at 120 frames per second.
Jay: No.
Kenneth: Yeah.
Jay: And you see things, the hair breaking
up.

Kenneth: Yeah, yeah, yeah.
Jay: You know?
Kenneth: This actually looks good.
Jay: This looks pretty clean.
Kenneth: But the Nikon looks pretty clean
to me.

Jay: More clean than I would've expected.
Kenneth: Yeah.
I mean, it looks like the 1080p image out
of an A7S or, you know, maybe last gen body.

The A7R III, in my mind, looks even a little
bit better.

Jay: Than the Nikon?
Kenneth: Than the Nikon.
Jay: Oh yeah.
Kenneth: I mean, it's a little smoother in
terms of like the detail.

There was a little bit of aliasing with the
Nikon.

I don't know.
They're pretty neck and neck.
It's pretty close.
Jay: But the hair is just clean and as it
moves, the movement looks really good.

Kenneth: I will say, this looks slightly out
of focus.

Looks like I was focused like just on the
tip of her nose or something, but very, very

good.
The A7 III looks more to me like the Nikon
did, maybe not quite as smooth in the details.

But all 3 of these honestly look really great
at 1080p, 120.

Jay: It's really nice looking in slow motion.
Slow motion is such...it just looks so good
when you're doing video.

Kenneth: Yeah, I would totally use this in
a production.

Jay: Absolutely.
Kenneth: There's some cameras I would not,
but all 3 of these look really great at 120.

Jay: Boy, the A7 III though just keeps surprising
me on each one of these tests.

You expect it to be like the little brother
who just can't quite keep up, but it's not

the case at all.
Kenneth: It is.
It's just kicking butt all the way through.
So going back to your daughter's question,
"Which of these cameras do I buy," what's

your suggestion?
Jay: Boy, I would have a hard time not suggesting
for her at a price point of $2,000 getting

the A7 III.
I mean, it's a great camera.
She wants something lightweight.
There's no reason for her to get into Nikon
and start spending money on that glass.

I think at this point in her career, if she's
just going to be shooting, she's going to

be shooting on Sony, get the Sony A7 III.
Get some glass, you know?
Get a nice 50-millimeter, you know, 1.8 lens.
They have one, G Master?
Kenneth: Yeah, I think the G Master they probably
have 1.4.

Jay: Yeah, okay.
So get a 50-millimeter 1.4 G Master lens.
Get a 24-70.
You know, or I say almost for what she does,
a 50-millimeter 1.4 and a 70 to 200.

Kenneth: Oh, right.
Jay: You know, and I think you're ready to
go.

It is interesting, though.
When you take these really lightweight cameras
and you put a G Master lens on them, they

are not lightweight cameras anymore.
Kenneth: Yeah, it's true.
I actually saw someone do a comparison where
the G Master lenses are consistently larger

than your L series lenses or your Nikkor lenses.
Jay: Yeah, yeah.
So kind of what you gain, you think you gain,
you lose.

Now if you're okay with an F4 lens, that small
series of lenses, the 24-70 is a tiny, little

lens and on that camera.
I use that to travel with sometimes because
it's just so small and compact.

It's easy to take with you on the road.
But I would have to say, I don't think there's
reason for her to spend the money for the

A7R III.
I just don't' think there's a reason.
I think the A7 III is a better camera for
her.

First venture into a mirrorless, I think it's
a good place to start.

Kenneth: I mean, I think between these three...
Well, first of all, between the Sonys, I think
the A7R III is only better in resolution and

it has a slight edge in color rendition, I
think, and slight, slight edge in dynamic

range, but other than that.
Jay: I don't think it kept up, which was really
upsetting to me because I have an A7R III.

I don't think it kept up in the auto focus
with the A7 III.

Kenneth: Yeah, the A7 III is really great
with the auto focus.

Jay: It really was.
In the tests that we did, it was on and did
not lose that many.

The Nikon was super as well.
That was very, very impressive.
But the A7R III kind of fell out a little
bit, and that was discouraging.

Kenneth: And the A7 III, I also think it has
the edge in low light by a stop, like we said,

you know?
Jay: Yeah, yeah, it really does.
Kenneth: So not only is it keeping up with
the big boys, but it's actually beating them

out in a couple categories, which really makes
me think $2,000 for that guy might be the

decision for most people.
Jay: Yeah.
So looking at this, I would guess, if I were
to tell the future, that you're going to see

an A9 version that's going to incorporate
some of these new technologies.

And you'll see an A7R or an A7S II.
Kenneth: Or III.
Jay: Sorry, A7S III that's going to show you
some of these auto focus features a little

better, a little better sensor.
I think we'll see some of that even stronger.
I would love to see them redo the A7R III,
but they've just done it, so.

At some point, these are going to collapse
on themselves and there's no reason to have

three cameras.
Kenneth: Yeah, I agree.
I agree.
Jay: It doesn't make any sense.
Kenneth: I think the Nikon definitely kept
pace.

You know, you go to a Sony convention, they'll
tell you about how Sony is the best thing

in the world.
I think the Nikon did really well.
I think it was definitely struggling to keep
up in terms of the feature set.

And so, you know, the A7 III is really punching
above its weight.

But the Nikon still, if you're a professional
photographer that just needs to count on your

gear.
I mean across the ISO range, across the everything,
the Nikon was super consistent.

And so you know exactly what you're getting
no matter what you're shooting, which I think

is a huge asset for those guys.
Plus I think that the Nikon body is so robust.
Jay: That's the thing.
It's not indestructible, but it's very, very
durable.

I mean, some things that Sony has done to
get themselves into the category that makes

them competitive like this is the battery
life.

Kenneth: Yeah.
Jay: That new battery has made it so that
these feel more like a professional camera

now because you have enough battery life to
really be able to work with them, not have

them just, you know, die constantly.
I think that's made a big difference.
I think the auto focus features.
I don't know.
There's no wonder my mind why these are the
three most popular cameras in this kind of,

you know, across over video or just still
photography kind of category.

So these are the cameras people are choosing
right now, one of these three.

Kenneth: Definitely.
I would say if I was going to buy one of these
three cameras tomorrow, it would probably

be the A7 III just for the price.
I mean, for the price to performance alone,
even though I still like the DSLR.

I like handling the Nikon a lot more than
I like the Sony just in terms of how it functions.

Jay: And the menus.
Kenneth: And the menus and stuff.
It's so much more simple and easy to use.
But I would rather spend that extra $1,200,
$1,300 on glass.

Jay: Yeah, which makes a lot of sense.
And especially if you get a Tamron.
Tamron's just coming out with a 28-75, I think
it is, series lens now.

Kenneth: Oh wow.
Jay: So that will be a new entry there.
We'll see a lot more of those kinds of other
lens companies giving after-market lenses

for these.
Kenneth: The E-mount.
Jay: Yeah, the E-mount.
It's become, you know, the new kind of future.
It's been a hard thing, because even with
some of my things I'm shooting like MIOPS.

You know, it's like they all are now arriving
with triggers for the Sony.

You know, and that was not the case, you know,
four or five years ago.

Sony was kind of on the outside looking in.
Kenneth: I will say, if Nikon can somehow
pull off a miracle and make a $2,000 camera

that performs as well as this, I might be
interested.

Jay: So there you have it.
Leave some comments.
We want to hear what you're thinking.
Tell us what you think we did right.
Tell us what you think we can do better next
time.

Comment about your feelings about these three
cameras.

If you've got them, how do you like using
them?

I mean, just get our comments going.
Everyone learns from the comments and the
things that people include in that area of

the video so that you can kind of get an idea
of what everyone else is facing, what they're

doing.
So leave some comments.
So follow us on Instagram, like us on Facebook,
and follow us here at The Slanted Lens.

So keep those cameras rolling.
Kenneth: And keep on clicking.
Jay: Hi, this is Jay P. Morgan, and it's spring
here in The Slanted Lens.

You know how can tell spring in The Slanted
Lens?

Because I have my bicycle shirt on.
I like to put my bicycle shirt on when springtime
comes because now it's time to get out and

ride my bike.
It is springtime.
And it also brings up another issue.
We are allowing our audience to translate
our videos into other languages, specifically

Spanish.
At the bottom of each one of our videos there's
three little dots.

Click on that and it shows you a translation.
Click on the translation and it takes you
to where you can enter the language.

Spanish is what we're concentrating on.
Go to the Spanish and it shows you the closed
caption.

You don't have to sit there and translate
each line listening to me and then try to

write that down or translate it into the lesson.
No.
You look at the closed caption line by line,
it's already written out, and just simply

translate it.
We're asking our audience to come and join
us and translate our videos so we can get

them into Spanish language.
We want the Spanish speakers of the world
to have The Slanted Lens at their fingertips.

We'll see who's translating and who's becoming
a top contributor here at The Slanted Lens,

and we'll give you a shout out.
We may even give you more than that.
So get over and start translating.
Help us to get The Slanted Lens material into
the Spanish language.

You should subscribe to The Slanted Lens.
It may not save your life, but why risk it?
Just push that button right there.
コツ:単語をクリックしてすぐ意味を調べられます!

読み込み中…

Camera Comparison: Sony a7R III vs Sony a7 III vs Nikon D850

58 タグ追加 保存
Charlie Chen 2019 年 3 月 15 日 に公開
お勧め動画

コメント

読み込み中…
  1. 1. クリック一つで単語を検索

    右側のスプリクトの単語をクリックするだけで即座に意味が検索できます。

  2. 2. リピート機能

    クリックするだけで同じフレーズを何回もリピート可能!

  3. 3. ショートカット

    キーボードショートカットを使うことによって勉強の効率を上げることが出来ます。

  4. 4. 字幕の表示/非表示

    日・英のボタンをクリックすることで自由に字幕のオンオフを切り替えられます。

  5. 5. 動画をブログ等でシェア

    コードを貼り付けてVoiceTubeの動画再生プレーヤーをブログ等でシェアすることが出来ます!

  6. 6. 全画面再生

    左側の矢印をクリックすることで全画面で再生できるようになります。

  1. クイズ付き動画

    リスニングクイズに挑戦!

  1. クリックしてメモを表示

  1. UrbanDictionary 俚語字典整合查詢。一般字典查詢不到你滿意的解譯,不妨使用「俚語字典」,或許會讓你有滿意的答案喔