GabrielPhoto wrote:
I was going to do a similar thing but I already have a 64GB G series so maybe I will buy a second one and then for my Slot 2 I thought of buying the M series but from the tests I saw it looks like my current Lexar (2x64GB) that do 70MB writes will be perfect since that is about the speed limit anyway.
Then again, if I wanted max speed, I want to shoot uncompressed so a 128GB makes more sense...decisions decisions
I had (2) 64GB high speed cards and sold them on the board in 20 minutes yesterday. There is a sale on the Sony 128GB at Adorama right now. It's a hassle but could be worth it for you. That's what I did, I bought the 128 'G' on sale and a cheaper Sony 'M' for the second slot.
To my surprise, I just learned I'm getting an eval A7r3 tomorrow. Does anyone know if any L plates from the A7r2 will fit the A7r3 at all? I have the Kirk a7r2 plate. I am excited to try this new beast out!
kurt765 wrote:
To my surprise, I just learned I'm getting an eval A7r3 tomorrow. Does anyone know if any L plates from the A7r2 will fit the A7r3 at all? I have the Kirk a7r2 plate. I am excited to try this new beast out!
Will not fit. You can use a A9 L bracket as the A7rIII share the same dimensions
Fred Miranda wrote:
I just bought those two cards above. One 128 G series (for slot 1) and another 128MB M series (for slot 2).
I may sell my other cards now as I don't think I would ever used them.
That's the same combo I have and it works perfectly... neither card is limiting the camera in performance and both read like lightning from the Sony reader.
Anyone of you choosing "Full frame" metering mode? In some situations, I got overexposure with Multi mode, then I switched to full-frame mode, it's better. I feel like it tends to over exposure when the sun light is too bright.
DavidBM wrote:
Thought about highlight metering mode....
Use ISO 50! It's just ISO 100 with an extra stop of exposure.
Then use the full +1 permanent metering adjust that @Fred Miranda@ uses.
Then you can have your exposure compensation set to 0 for normal use, so the full range of adjustments are available.
Of course when you want to use ISO higher than 100 this won't work, as the other ISOs don't work the same way that 50 does.
Changing ISO to 50 should not make any different on the final exposure since the other settings would be adjusted accordingly. Our auto-ETTR mode would still require the extra +2EV bias.
It looks like ISO 50 offers the same DR as ISO 100 but I never tested if the highlight altitude is identical.
Fred Miranda wrote:
Changing ISO to 50 should not make any different on the final exposure since the other settings would be adjusted accordingly. Our auto-ETTR mode would still require the extra +2EV bias.
It looks like ISO 50 offers the same DR as ISO 100 but I never tested if the highlight altitude is identical.
Are you sure, Fred?
Maybe I'm confused here.
My understanding is that ISO 50 on the A 7 series is a fake ISO which works like this:
(1) It's exactly the same hardware setting as ISO 100
(2) It tells the metering to expose (or reccomend) an extra stop.
(3) It then makes a JPEG (if you are using JPEG) that is a stop darker to compensate
(4) It tags the RAW file to appear a bit darker, but doesn't change the RAW data.
If all that is right, the actual RAW data is just an ISO 100 capture with an extra stop of exposure.
And that means the DR is exactly the same. Except, of course, it can seem as you have less DR if you are on autopilot because the highlights are more likely to be clipped (but of course the shadows are correspondingly brighter).
DavidBM wrote:
Are you sure, Fred?
Maybe I'm confused here.
My understanding is that ISO 50 on the A 7 series is a fake ISO which works like this:
(1) It's exactly the same hardware setting as ISO 100
(2) It tells the metering to expose (or reccomend) an extra stop.
(3) It then makes a JPEG (if you are using JPEG) that is a stop darker to compensate
(4) It tags the RAW file to appear a bit darker, but doesn't change the RAW data.
If all that is right, the actual RAW data is just an ISO 100 capture with an extra stop of exposure.
And that means the DR is exactly the same. Except, of course, it can seem as you have less DR if you are on autopilot because the highlights are more likely to be clipped (but of course the shadows are correspondingly brighter).
Let's agree on this: Yes, ISO 50 should have the same DR as ISO 100 although I've never tested this myself.
As far as the auto-ETTR technique using "metering: Highlight + 2EV", I still don't see the benefit of using ISO 50 unless you desire a lower shutter speed. The exposure compensation bias would still be +2EV because the camera metering would adjust the shutter speed based on the scene highlights, so it would not matter if ISO is 50, 100 or Auto. The final exposure (ETTR) would be same.
For landscapes or tripod work, ISO 50 is a good idea whenever we want lower shutter speeds by an extra stop (blurring water, clouds, etc.). The only downside is that ISO 50 is not compatible with electronic shutter.
Fred Miranda wrote:
The exposure compensation bias would still be +2EV because the camera metering would adjust the shutter speed based on the scene highlights, so it would not matter if ISO is 50, 100 or Auto. The final exposure (ETTR) would be same.
.
This must be where I'm confused.
Basically, the way I thought the "ISO 50" works is to take an ISO 100 meter reading (regardless if it's highlight metering or any other kind) and then add one stop of exposure to it over and above what ISO 100 would get. But since at the hardware level *it still is ISO 100* this results in more exposure. Some shame aperture slower SS if in AP, same SS and wider aperture if in SP and so on...
So the result is a RAW which is the same as an ISO 100 RAW (because this IS just ISO 100) except with an extra stop of exposure. So now we only have to add one.
That's why (even when using highlight mode) ISO 50 has always had the potential problem of being more likely to burn highlights: it is just ISO 100 with an extra stop of exposure over whatever the meter recommends for 100, and some tag trickery to make your raw converter make it look the same in the midtones. I guess ISO 50 has always relied on the highlight headroom of the A7 cameras, given that actually this potential problem is rarely a real one.
I don't actually think that my suggestion has much benefit, even if it works, but now I'm worried now that there is something about the ISO 50 "fake ISO" that I don't understand.
nandadevieast wrote:
imaging-resource has posted their performance test and they are saying it is slower than R2 in many respects. Experts?
The respects were startup time, mode switching and AF acquisition speeds in bright light.
These looked to me to be close to margin of error in the measurements, and they are all respects in which the r2 was fine. So it's safe to say, I think, that in a few respects in which the R2 was fine the R3 is no better. But in many respects in which the R2 was *not* fine, the the R3 is much better.
DavidBM wrote:
The respects were startup time, mode switching and AF acquisition speeds in bright light.
These looked to me to be close to margin of error in the measurements, and they are all respects in which the r2 was fine. So it's safe to say, I think, that in a few respects in which the R2 was fine the R3 is no better. But in many respects in which the R3 was *not* fine, the the R3 is much better.
To me, switching from a R2 to a R3 means I'm rarely waiting for my camera to complete any task. We don't need a chronograph for that.
Fred Miranda wrote:
To me, switching from a R2 to a R3 means I'm rarely waiting for my camera to complete any task. We don't need a chronograph for that.
Indeed. Anyone that owned the R2 and moved to R3 can easily tell the upgrade in speed between the two
The Sony is noticeably noisier "motor drive" (old term, I know) than the Fuji X-T2. The silent mode is probably going to be somewhat necessary. Can I put that on a custom function button?
tn1krr wrote:
12 bit: everything shot with continuous shooting + compressed RAW, bulb and long exposure NR, continuous bracketing.
14 bit: everything else.
This should be pretty close.
OK so even 10fps shooting as long as is not Compressed is still 14 bits? And Single shooting +compressed is still 14 bits too, correct?
I am trying to help someone else as well with this and dont want to provide incorrect info.
Thank you!
