Sony a7V “negative online discourse” – why Sony are the new Canon
(Photo credit: John Mak)
The release of the Sony a7v has been met with a wave of negativity, especially now that the supposed ‘standard model’ mid-range camera price has been bumped to nearly $3000 + tax and a lot more in some regions, like in the UK where the USD-converted price works out at an insane $3600 inc. VAT, despite the Japanese yen being at historically low levels versus the British Pound.
The Sony a7v specs are equivalent to the Nikon Z6 Mark III which is over $1000 less expensive and a mint condition used Z8 a little cheaper also, with far better specs in every area – especially in the cinematic-video department.
The Sony-badge premium appears to be a real thing – and it is putting Sony at a disadvantage vs Canon and Nikon. The Canon EOS R6 Mark III is a better spec and also less expensive, for video it is almost a different league of spec altogether with 7K RAW and Open Gate. The price of the a7v also gets close to a used Sony a1 flagship professional body, the full fat stacked sensor of which there is nothing ‘partial’ about, and the Canon Cinema EOS C50 full frame Nikon Zr competitor, which is just £400 more than the a7v!
But as usual online, people tend to want to believe that only one opinion can be true at once.
Are Canon back on top in specs race? Sony a7 V and Canon EOS R6 Mark III comparison
The Canon EOS R6 Mark III is the first mid-range Canon EOS R camera that’s a true contender for top-specs in the $2800 price region. What’s even more impressive is that Canon are achieving full frame 4K/120p with no crop and 12bit 7K 60P RAW video without a stacked sensor – not even a partially stacked sensor. Funnily enough, neither is it even a backside illuminated (BSI) sensor.
So what magic sauce is Canon using to out-spec the partially stacked sensor cameras from Sony, Panasonic and Nikon?
Interview with Panasonic’s Masanori Koyama – Product Planner for the GH6
Masanori Koyama joined Panasonic in 2002. After a career as a hardware engineer, Koyama san is currently in charge of product planning for LUMIX in Imaging Business Unit in Japan. He has been in charge of product planning
An EOSHD Interview with Yosuke Yamane – Are Panasonic working on an L-mount cinema camera?
I recently had the opportunity to ask Yosuke Yamane-san some questions about the current and future Panasonic line-up, including the upcoming GH6 and how Panasonic can continue to build on the success of the S1,
EOSHD Podcast Episode 2 – An interview with Michael Moore’s producer, Jeff Gibbs about their new film “Planet Of The Humans”
In Episode 2 of The EOSHD Podcast (Available now on Anchor and Spotify) I talk to Michael Moore’s producer Jeff Gibbs. Jeff’s film Planet Of The Humans is a documentary exploring the dangerous corporate co-opt
The EOSHD Interview – Kazuto Yamaki, CEO of Sigma and Takuma Wakamatsu, Sigma Fp Product Manager
I’d like to welcome Kazuto Yamaki, CEO of Sigma and the product manager of the Sigma Fp and Cinema lenses, Takuma Wakamatsu to the pages of EOSHD for this long interview! I have recently been
An interview with Roger Cicala of Lens Rentals on Canon RF 600mm teardown and more
I have been a long-time follower of Roger’s blog at Lens Rentals, which gives us not just a rare glimpse inside camera gear, but also an expert eye on construction quality, weather sealing and the
The Big EOSHD interview: Metabones lens adapters
Metabones recently announced the long-awaited Canon EF mount Speed Booster Ultra for Fuji X, which will be one of the must-have accessories for X-T4 owners. This will have support for phase-detect AF and incorporates Caldwell
Thousands of Sony cameras are mysteriously failing, but Sony isn’t telling
In search of a side hustle, I recently turned fixer – Camera fixer that is (although you could call it more of a side hassle than a hustle, it’s good fun). As a result I’ve been tinkering about inside every brand of camera, hoping to bring dead souls back to life. These spares & repairs were all pretty dead, but I’ve had good success – well as being able to form an opinion about the way in which each brand designs and puts together their latest cameras.
But most interestingly of all, I was able to discover some common problems – and there’s none more stranger than the dreaded BOOTLOOP problem sweeping across Sony land right now.
In NY and LA Theatres January 2026 – major new movie Magellan is shot on the Panasonic GH7
With really filmic results, the filmmaker Lav Diaz decided to use the most compact Super 16mm rig out-there – the Panasonic GH7. It has a hypnotic hybrid documentary-cinematic look and the look of Super 16mm film, showing that the format of Micro Four Thirds is still every bit as brilliant in the right hands as full frame or Super 35mm – despite the large-sensor-craze of the 2020s!
EOSHD Z-LOG – Add internal LOG recording to Nikon cameras
Introducing EOSHD Z-LOG An advanced LOG profile for internal video recording on Nikon cameras, Z-LOG allows you to record 4K video and 1080p in LOG format
EOSHD C-LOG profile for all Canon EOS R mirrorless cameras and DSLRs
The EOSHD C-LOG and Film Profiles Pack is now available and works in both video and stills mode – on all Canon DSLRs and mirrorless cameras.
EOSHD Pro Color 5 – Improve Sony’s color science on all camera models // a7 IV // a7S III / FX3 / a7C II and more
EOSHD Pro Color 5 is an advanced colour science solution for Sony mirrorless cameras, including the new A7S III, resulting in better image quality, wider
About EOSHD, Andrew Reid
EOSHD is the filmmaking blog of Andrew Reid Hello And welcome to the site. On EOSHD you can find my blog posts, opinions, reviews and
Thousands of Sony cameras are mysteriously failing, but Sony isn’t telling
In NY and LA Theatres January 2026 – major new movie Magellan is shot on the Panasonic GH7
ARRI closes factories, contemplates company sale
What next for Micro Four Thirds?
Same career psychopaths who sold out filmmaking are destroying our political parties and the BBC
