Why Sony are (now definitely) the new Canon

[Andrew - EOSHD]

It is true that the Sony name now demands a premium, more so than ever before – because E-mount is the best mount. Pure and simple.

It's like the Canon EF days all over again!

And in most places Sony is selling the same amount of mirrorless kit (if not even more) than Canon so they don't need to do a bait and switch with their pricing any more.

Full article on the blog...

https://www.eoshd.com/news/sony-a7v-negative-online-discourse-why-sony-are-the-new-canon/

[ND64]

So it uses the dual gain HDR in mechanical shutter mode just like S1ii to achieve 15 stops. But noise reduction applied on all ISOs.

Panasonic got the same DR but without NR, thanks to its lower resolution/bigger pixels maybe 

We still see the Japanese stubbornness dealing with ISO. Even with extremely low read out noise at base ISO, they don't apply it as metadata-only settings to let the software increase the brightness digitally to save the highlights at higher ISO. The sensor is ultra clean yet you lose 3 stops of potential highlight recovery at ISO 1600. 

[feanorfinwe]

https://www.dpreview.com/articles/4979409121/sony-a7-v-video-studio-scene

[Ilkka Nissila]

On 12/10/2025 at 10:54 AM, ND64 said:

So it uses the dual gain HDR in mechanical shutter mode just like S1ii to achieve 15 stops. But noise reduction applied on all ISOs.

Panasonic got the same DR but without NR, thanks to its lower resolution/bigger pixels maybe 

We still see the Japanese stubbornness dealing with ISO. Even with extremely low read out noise at base ISO, they don't apply it as metadata-only settings to let the software increase the brightness digitally to save the highlights at higher ISO. The sensor is ultra clean yet you lose 3 stops of potential highlight recovery at ISO 1600. 

I don't quite understand what the problem is. Metadata giving instructions for interpreting the exposure (such as a "soft" ISO setting which does not actually affect the stored image data) can work for proprietary formats such as raw video but is there a similar option for non-raw video formats in any camera? If the video is to be used "as is", with minimal editing, all the major editing and playback software would need to know what to do with the data and the instructions that come in the metadata. If the file is meant to be always edited (as in log video) then it may make some sense to offer this as an option but the user always has the option of using just one of the base ISOs in the camera if they so wish, so I'm not sure what added value there is from having a separate brightness adjustment; just to see the image better? The problem is that by doing that you likely become disconnected from how much exposure latitude you have in either direction as the brightness of the image shown is just an adjusted brightness for viewing pleasure and does not reflect the actual exposure or values stored in the file. To compensate for this loss of visual connection between what is shown on the screen and the actual position of the values stored then would require additional exposure monitoring tools, such as colors indicating how many stops you are from saturation at each point of the image, and this then can lead to screen clutter in a small camera with a small screen. The Nikon ZR, as far as I've understood, does offer such an option by choosing R3D recording: the camera lets you choose one of two base ISOs and then adjust the brightness using the ISO sensitivity adjustment which does not affect the stored data. I already see people asking Nikon to add "traffic lights" for monitoring to help deal with the disconnect. Does the ZR waveform display reflect only the actual stored values or is the brightness adjustment or ISO sensitivity also affect the waveform?