What Is The Best Memory Card To Use For 4k Video Recording On An A6500 Sony Camera?
Sony A6500
Imperfectly complicated
Estimated reading fourth dimension: 28 minutes.
April/2017 – The A6500 is an unexpected Sony E-mount mirrorless camera. Unexpected considering it arrives just a few months after the A6300, maybe the almost popular camera from 2016, and already brings two meaning updates to the Alpha APS-C lineup: the SteadyShot Within, a v-axis built-in stabilizer made to recoup for hand's motion; and a touch-sensitive LCD panel, mandatory now on the smartphone era. A lineup fabricated for shooting action, the A6500 also brings a new forepart-end LSI (large scale integration) that efficiently connects the EXMOR prototype sensor to the BIONZ X processor, promising a more robust operation, with less oestrus for longer continuous shooting sessions (the buffer is 4X larger); or during 4K capture. Although largely keeping the A6300's 4D Focus arrangement, with 425 stage-detection points and a predictive algorithm, the A6500 is meliorate suited for heavier loads, something the older model failed to deliver. fut For United states$1398 body-only, the A6500 is US$400 more expensive than the US$998 A6300. Is it worth the toll now that it touches Fuji's X-T2 market, or fifty-fifty Canon's 7D Marker II cost-betoken? Let's find out! Nice reading.
BUILD QUALITY
At 11.8 x v x vi.6cm of 453gr of metals and plastics, with battery and retention card, the Sony A6500 is practically the same size as the A6300, despite getting the new internal stabilizer. Equally the full frames A7II (regular, R and S) grew when they got the SteadyShot Within in 2015 (compared to the classic A7 cameras), I was expecting the same to happen to the A6300>A6500, but that didn't happen. They're both (A6300/A6500) built inside a solid magnesium body, much superior to other APS-C mirrorless (wait the for the Canon EOS M5 review), and the solid feel enhanced on the A6500: Sony declares reinforcing the Due east-mount'south base, plus calculation a new 200.000 cycles shutter (when used in first-curtain mode). Sony was clearly aiming the Canon'south 7D Mark 2, or even Nikon'south D500 when it designed the A6500, all cameras suited for action photography, and not just everyday snapshots.
Being the same size as the A6300, in your hands the A6500 ergonomics are nearly the same. The whole push orientation serves for the correct-mitt side, albeit with a deeper grip that unfortunately yet doesn't allow for a single-handed functioning; we need more dials for that. Just like the A6000 and the A6300, the A6500 sports a clean top console with recessed dials, much different from Fuji'south Ten-T2 dial pletora, that enhances the camera'southward durability in case of impact (that are no pieces to pop out of identify). While Sony's recessed dials offering questionable usability, existence difficult to turn simply by the finger'south side traction, they got a new Xxx engraved texture, amend than the slippery A6000/A6300 "|||" finishing. What we loose in usability we gain in portability, and no APS-C camera is more complete and more than capable than Sony's A6#00 lineup; a standout on the crowded market.
On the correct-hand side the diminutive grip is surprisingly comfortable. While on every A7II the correct-hand grip is too pocket-sized to balance larger full frame lenses, on the A6500 it'south deep and molded enough to support almost every finger: the alphabetize finger at the top, near the larger (compared to the A6300) shutter release push button; the middle and ring fingers at the forepart, bent around the grip and forcing the camera against the rear thumb; with only the pinky under the camera torso, not actually giving any support. This grip is more than enough to back up the light East-mount APS-C lenses, and puts to shame the skinny Fuji X-Pro 2 and 10-T2, that needs larger handgrips equally accessories. Although we still don't get a frontal built-in dial like the A7II, at least the A6300 C1 push button was relocated to the superlative, gaining a new, twin C2; just similar the A7IIs. It's possible to customize most any photographic camera setting, speeding upwards operation using with just these ii pinnacle buttons.
At the rear the A6500 is however dominated past a 16:9 3" LCD screen, a feature that flirts with the limits of our patience because the camera's cost and generation. Together with a questionable resolution for 2017 (921K, far from a Retina brandish, and the aforementioned every bit the 2014 The states$598 A6000), this panel is as well small for the three:2 pictures. So your captures look similar passport photos to say the least, making it impossible to judge 1) focusing and sometimes 2) even the overall composition. Information technology must be updated on a future A6#00, every bit we've seen Sony's ain Cybers-shot cameras (RX1R/II and RX100 Mark IV/Five) all sporting a 3:2 screen with a built-in, collapsible EVF. As the RX100 uses a ane" sensor and the RX1R uses a total frame imager, it's reasonable to imagine an APS-C A6#00 designed the aforementioned way; Sony is certainly charging us money for that, and information technology'southward time for an update.
To the right screen side, Sony continues the verbal push layout as the A6300, that itself got updated (over the A6000) with a AF/MF lever + AEL push button, borrowed from the A7II. Four buttons sit inside a central rear dial, with upwards/downwards/left/right clicks next to a "Fn" button that activates an overlay menu; in that location'due south self-explanatory playback and Menu buttons on the same side as well (take notes, 10-Pro ii and X-T2), together with a C3/trash and an off-axis, leap-loaded wink, that sits flushed to the top panel. At that place's even a REC button molded on the rear thumb's grip, even so a mystery to why Sony thinks that's a good place to position information technology. But they definitely built stronger buttons on the A6500, as they're much more resistant to pressure and more pronounced in each place; this is no US$399 Cyber-shot and we can experience the high quality materials in our hands.
To the left, Sony hides under a reasonably fragile door the same connections every bit the A6300. There are HDMI, USB and microphone-IN ports, still with no headphones-OUT; unforgivable for a "hybrid" video/photo photographic camera. While the HDMI offers an uncompressed 8-bit four:ii:2 feed (some Panasonics are already 10-bit), the USB allows for information and to accuse the battery; a peachy fourth dimension saver in times of USB ports virtually everywhere. Underneath the camera fits a NP-FW50 battery, that'southward the same in every A6#00, good for about 400 pictures with the LCD screen (350 using the EVF), or 105 minutes of 4K video. It goes under the same comprehend as the unmarried SD slot, supporting simply the UHS-I protocol, that uses a redesigned door, more robust than the A6300 albeit notwithstanding non sporting a rubber gasket sealing, like comparable DSLRs. Unfortunately we still don't get the same twin-SD slots with USB3.0/UHS-II from Fuji's X-T2, so I hope this is the last A6#00 series to come with such limitations.
Overall the A6500 is a refinement over the A6300, that itself was a refinement over the A6000, all APS-C mirrorless camera made to shoot activity; although Sony doesn't make that clear with 1) the buttons layout, nor 2) the A6300 4K implementation (it became a hybrid for video too). While both models are well built and ahead of the balance of the mirrorless market place, Sony dares with quick updates on its cameras, delivering reasonably incomplete products; an issue we don't get from other brands. And for that, the cost point of each A6#00 must justify a very specific feature fix, non only being "the greatest and latest"; they're all already "late and great". That'southward where the purchasing decision comes from: to opt for the latest model, potentially being surpassed in a few months? Or to opt for the camera that suits the kind of photos you lot're shooting? Maybe the A6500 justifies Sony's quick updates, and maybe it's the ultimate APS-C Alpha. Peradventure.
THE HIGHLIGHT – SPEED, BUFFER AND NEW Front end-END LSI
"Ironman" with the A6500 + Due east 55-210mm f/4.5-vi.3 OSS at f/6.3 1/grand ISO800 @ 210mm; 30 sequential raw files, less than half the camera's NEW buffer.
While the A6300 was already a very fast camera, the A6500 builds up on that speed with a new front-end LSI (big scale integration). IT bridges the EXMOR prototype sensor to the BIONZ X processor, enhancing the processing speed and lowering the photographic camera'south temperature, in order to withstand heavier jobs (longer continuous shooting, longer 4K captures); all without much changes to the overall photographic camera design to misemploy the heat. In practice the experience is largely the same as the A6300, with a booting fourth dimension of 2-3 seconds, surprising given the SteadyShot INSIDE (as it significantly delayed the A7II boot, compared to the classic A7), and faster menus and shutter release, that feels e'er prepare for the next picture; equally long equally the camera finds focus (more than about the AF performance in a bit). While the A6500 still doesn't compare to a DSLR, that is "always ON" with a stand-by mode that barely uses bombardment, for a Sony camera the A6500 is fast enough.
100% ingather, although the focusing-miss ratio was high, all the captures were in .ARW raw format.
Later on it's ON, the A6#00 series headline has always been information technology's continuous shooting speed. An feel once dedicated to higher-end DSLRs, that delivered 10 frames per second just on very expensive cameras, made for the professionals, at present a fast shooting speed is standard in whatever mirrorless photographic camera; taking the activity photography to a larger group. While the continuous shooting rate is exactly the same as previous A6000/A6300, with both a 8 fps "How-do-you-do" mode that keeps the EVF/LCD preview and AF, and a 11fps "Hi+" mode that keeps the AF but only displays the last photograph taken (that IMHO fifty-fifty enhances the idea of motion), it's the much larger buffer that really sets the A6500 a part. It can buffer up to 107 raw files, over 4X the previous generation 22; comparable simply to some Nikons (D5/D500) and not delivered past whatever Canon DSLR (not even the 1D-X Mark II). While some functions do gets "locked" while the buffer is writing to the card, questionable for a 2017 model, the fast "Fn" overlay carte nevertheless works, making some adjustments possible. The memory bill of fare BUS is even so limited to the UHS-I 90MB/s protocol (some Fujis are already UHS-II, 312MB/s), just the A6500 is past far one of the fastest cameras on the market.
THE QUESTIONABLES 01 – VIEWFINDER AND TOUCH LCD
Subsequently it'due south turned ON and as a mirrorless photographic camera, the A6500 usability is genuinely electronic. Different from DSLRs that sports an optical viewfinder using mirrors and lenses, for an "organic", fluid experience between you and your subject, the mirrorless lack of mirror (duh!) translates to a mandatory electronic feel; being operated past screens (except on some Leicas and the Fuji X-Pro). Although both styles overlap, and you can shoot through the viewfinder on a mirrorless camera, and yous tin activate an electronic Alive View on most mod DSLRs, don't let that fool you: both styles are essentially different, and a mirrorless photographic camera will never be as fluid every bit a regular, mirrored camera. On the A6500 Sony repeats the same panels equally the A6300, with a two.36M dot OLED electronic viewfinder that covers 100% of the image, bright, abrupt and colorful, with a refreshing rate of up to 120fps; a tiny rear LCD, with but 3" spread over the 16:9 ratio, with beggarly 921K dots that tin can be turned 90º or 45º down, for over-the-head or at-the-waist shooting. And information technology finally gets an addition e'er so common in consumer electronics: the implementation of a touch sensitive screen.
The experience with the A6500 electronic viewfinder (EVF) is the same as the A6300: sometimes practiced, sometimes bad. The good is Sony didn't save in technology, using a very precipitous ii.360.000 dots 0.39" OLED screen, that is extremely dumbo (imagine all those dots on a screen smaller than your thumb's boom), with the standard OLED contrast (those used to Sansung's Galaxy Southward# phones know how it feels), with super saturated colors ahead whatsoever LCD. Although the optical magnification is relatively pocket-size (1.07x equivalent to a DSLR'south 0.7x, about an entry level APS-C), far from Fujifilm'south immersive 0.77x X-T2, the Sony screen is very good. There're overlay options to evidence simple informations like focusing points, camera angular orientation and alerts, or sophisticated displays of live histograms and manual focus peaking; or even automatic brightness or EVF/LCD auto switching (simply bring the photographic camera to your optics and information technology instantly turns on); and tone settings. On a daily basis, merely put, the EVF is one of the all-time parts of the A6500 user feel.
However the image rendering is nevertheless very electronic, far from a real optical viewfinder; and that'southward still a problem. For example, Sony's Live View engine either gives priority to the exposure setting (Live View Brandish: Setting Effect ON), getting also dark or too vivid betwixt photos (later on all information technology won't modify the setting by itself); or it gives priority to the camera'south meter (Setting Effect OFF), randomly changing the exposure, oft getting likewise dark whenever the camera detects something too bright. It'southward obviously different from a typical optical viewfinder, that testify reality as information technology is. Also the 120fps selection cuts in one-half the preview resolution, that's already non the best using the standard 60fps. Information technology's piece of cake to see some aliasing (jittered lines) and moiré (random colors) in fine details, that get a distraction when we should be evaluating focus and limerick. Then while we go nice extra datas from an electronic EVF, the A6500 is however too electronic, just similar last year's A6300.
The rear LCD itself feels inoffensive, and brings an of import update to the Alpha lineup: it's finally impact-sensitive. Merely, again, just like the A6300, it reveals Sony's greedy soul: the console technology is outdated, with only 921K dots on a RGBW arrangement (red, green, blue, white, that Sony calls White Magic, brighter than normal), with poor, washed out colors that lack dissimilarity, on a as well-long panel with poor resolution, making it incommunicable to check for focus before (and even after) the capture; it'due south simply atrocious for 2017! But the worse role is the 16:nine ratio on the measly 3" size, making your photos seem like passport photos at best; not comparable to the rest of the market (Fuji and Canon are all 3:two"); nor compatible with the U.s.a.$1398 price tag. Because this is the third A6#00 generation, the A6500 LCD screen in unacceptable from Sony, that should exist an skillful in producing screens. Any Canon Insubordinate from 2010 gets a better panel than every single A6#00; what a shame!
Withal zippo surpasses the level of awfulness Sony managed to achieve with its touch-sensitivity implementation. Yes, there's no meliorate give-and-take: awfulness! It's been a while since I used such bad bear on-screen implementation (not it a cell phone, not on an ATM, a ticket car…), and information technology's shameful from Sony to employ it in 2017. Showtime, the only touch capability of the screen is to operate the machine focus. There'southward no impact interface for the menus (the Nikon D500 is as well to arraign), there're no playback gestures, no keyboard, safe-banding… NOTHING! What nosotros're used to on smartphones for the past 10 years, Sony completely ignored on the A6500. 2nd, even during the AF performance the affect controls are laggy. When at that place's no lag, there'south imprecision, as a matter of a fact impressive for 2017: how did they managed to screw such a simple feature? O_o
Last simply non least, the impact sensitive AF implementation is very complicated. For instance, the A6500 doesn't come up manufacturing plant set to a "touch-to-focus" setup; that's only possible using the "Lock-On" manner, that is locked to the center point and dependent on a button. Yes, in that location'due south no "signal-to-select-and-follow your subject" style, similar any smartphone from the last decade. Another upshot stands to the novelty "bear upon pad" focus implementation: with the photographic camera at eye-level and the LCD screen turned OFF, it's possible to simply slide your finger on the LCD itself, moving the focusing point from side to side; copying what Olympus, Panasonic and Canon (M5) did with their mirrorless cameras. Only the panel takes a looong time to discover your fingers input, with a noticeable lag that makes it impossible to rapidly select the right focusing surface area. Unfortunately I found it best to turn the touch-AF OFF, going confronting one of the A6500 main highlights; it's simply unusable!
THE QUESTIONABLE 02 – "4D FOCUS" AF
Once called how you desire to use the A6500 (via the LCD monitor or the center-level EVF), when information technology's fourth dimension to focus the picture, other limitations might happen. While on the A6300 review I had a reasonably positive experience with the E sixteen-50mm f/3.five-5.6 PZ OSS, practically instantaneous to focus static landscapes, or with the East 55-210mm f/4.v-6.3 OSS used strictly to follow and focus a single moving target coming direct into the camera'southward direction, when pushing the limits of 1) shooting short depth of field images or ii) low contrast scenes, or even three) diverse moving targets on the same frame, the A6500 revealed how mirrorless cameras still lack the trustworthy operation of any DSLR; reminding me of the times I owned a Cyber-shot F717, back in 2004.
The A6500 focusing system is exactly the same as the A6300: 425 phase-detection points congenital-in the image sensor, instantly sensitive to distance; and 169 contrast-detection zones, made for precision; that combined gives these two cameras the title of "most focusing points" on the market – fifty-fifty top-of-the-line DSLRs stopped at the 61 (selectable) points. But the problem is that Sony doesn't use any truly "high-end" focusing bespeak, like cross-blazon, high-precision or depression-low-cal sensitive (less than 0EV); besides without any configurations on the predictive algorithm (like Canon/Nikon does with its Locked-On or Responsive settings). Only there are five principal AF modes: single, in which the camera finds focus and locks just once; continuous, that searches for focus whenever the button is pressed, made for moving subjects; automobile, that switches between the two automatically; dynamic, combining the AF with a manual manner; and manual, self-explanatory.
Credits: Sony UK.
Instead of points, we must select areas in which the camera will look for focus: wide, that automatically searches the whole frame for contrast, with options to requite faces or optics priority; zone, that limits the area to well-nigh sixty% of frame, useful to isolate a person in a grouping, like when shooting sports; center, cocky-explanatory; Flexible Spot, with different sizes (minor and medium) for an smaller area in the frame; Expand Flexible Spot, that as well searches the area surrounding the spot, enhancing the chances of focusing; and Lock-on AF: Expand Flexible Spot, that we select the showtime focusing point and permit the photographic camera follow that area effectually the frame. And it's when we outset mixing the ii, focusing method and point pick area, the A6500 starts to bear witness its limitations.
Allow's beginning with a very basic scenario, single + wide, when the camera behaves like any smartphone automatically seeking focus and subject, just once. When shooting a unmarried flower in front of a bush, the A6500 almost always gave the background bush, already precipitous in focus, the focusing priority; never attempting to change the focusing position to the foremost indicate, that was the bloom. As the A6500 doesn't gives priority to what's closer to the camera, it's virtually impossible to predict where the camera volition actually focus: what's closer to the lens or what's already in sharp contrast? Another issued happened with a much simpler situation: a past-sunset landscape with a telephoto lens. As the mountain layers get smoothen and depression contrast, it was nearly impossible for the A6500 to autofocus 1) using a smaller area, focusing on the farthermost mount, or 2) using the wide expanse mode, because it would consistently leave the horizon out of focus. The camera refused to focus fifty-fifty under elementary situations, hunting for contrast and never releasing the shutter; ridiculous!
"Birds" with the A6500 + E 55-210mm f/iv.5-half-dozen.3 OSS at f/6.3 1/400 ISO250 @ 210mm; modest birds are a challenge for the A6500 big focusing areas.
Under more sophisticated settings, the AF gets worse. For case to follow subjects around the frame, using whatever of the automated area modes (wide, zone etc), while the A6500 easily finds people faces and tracks them, it hands looses them as well. As there's no intelligent (IR sensitive) metering assisting the 4D-Focus system, thought used on nearly every Catechism/Nikon DSLR, the Sony A6500 can't distinguish between a human face and a volley brawl; fabricated worse by the inability to select whatever locked-on/responsive setting. Also, when using the advanced tracking modes (Lock-On and Eye Focus), yous must programme them to a push; information technology's non "always-on" like fifty-fifty the most entry-level Fujifilm (like the X-A2). You lot tin't only press a button and await things to happen; you lot must ever customize and press the right button to get an specific focusing mode. So while I applaud Sony for pushing the 4D-Focus to all of its mirrorless cameras, bringing a vectorial subject prediction focus to a larger group of users, they're not yet delivering a trustworthy hardware for professionals, that yet must rely on the very expensive – albeit much more elegant – DSLR user experience.
Notice how the autofocus system loses the subject and changes the focusing point to the bicycle's mirror.
When all the planets align and you're certain of the discipline's movement, then the A6500 (too every bit the A6300) delivers impressive results for a continuous motorcar-focus mirrorless. With native E-mount lenses, under loads of light and contrast, this photographic camera can lock focus almost instantly at the press of a button, vastly superior to nigh smartphones; giving a distinct experience to everyday snapshots. With clear faces (no glasses, helmets, etc), and non beingness obstructed by other subjects in movement, the 4D-Focus (axis Ten, Y and Z measured over time) can compete with top-of-the-line cameras, like Catechism'southward AF SERVO and Nikon's AF-C/3D Tracking. The A6500 can easily track and follow people moving around the streets in real-time, for consummate sequences in focus, all in raw format thanks to the immense buffer; as long as they're clear and nobody passes in front on them. So although it's nonetheless flawed, the 4D-Focus organization is a step in the right direction; with a promising hereafter.
THE QUESTIONABLE 03 – STEADYSHOT
Another interesting addition to the A6500 is the SteadyShot INSIDE. The idea is to congenital the prototype sensor within a stabilizer module, controlled by gyroscopes and motors capable of compensating for the hand'south movements; guaranteeing precipitous captures under low light, or during tripod-less video recordings. At that place're 5-axis of measurement, two bidimensional (left/right, up/down) and three roto-athwart tridimensional (X, Z and Y axis); although the compensation itself is just bidimensional (there's no whorl or pitch, but yaw). The module can be used with any lens, be it native Eastward-mountain or adapted, with focal length adjustments, great to put those onetime, big discontinuity primes back into use. And with Sony's ain OSS (Optical SteadyShot) lenses, the compensation tin exist made at upward to 5-stops, with camera and lens working together. In exercise it all works, merely with typical Sony'due south fashion: no guarantees information technology volition actually work, with moving picture-perfect results.
While during photo captures the stabilizer can make a good job in compensating for up to 5-stops with OSS lenses (here tested with the E 55-210 f/iv.5-6.3 OSS), during video captures the results are not the all-time; potentially affecting the users that could benefit from the stabilizer the near. Aye, you lot know what I'll complain about: Sony'southward SteadyShot Within suffers from radon jitters during panning movements and during focusing transitions, never looking polish like a elementary Handycam or a professional grade steadycam. The video marketplace is still experimenting with hybrid photo + video equipments, thanks to Catechism's EOS 5D Mark II from 2008, and not every lens tin can deliver the hardware for both types of capture, that are indeed very different to focus, stabilize and zoom. So don't await the A6500 to substitute your tripod, and take the SteadyShot Within it as a secondary purchasing conclusion on this model; information technology's also questionable for video capture.
THE "APRECIATEABLE" 04 – VIDEO 4K
For those interested in video, the A6500 keeps Sony'due south aggressive hybrid strategy, technically delivering the most avant-garde cameras at this price bespeak; ever! The resolution goes up to 2160P (3840×2160) in S35mm 24fps mode, with a total 6K sensor readout, pixel binned to 4K (amazing); or 2160P30 with a sensor ingather (1.23x), faster in capture but smaller in expanse. In 1080P resolution information technology goes upwardly to 60fps in S35mm mode, but crops at one.14x in 120fps; with a variable speed of 2, 4, 8, 15, xxx, lx and 120fps; all captured at 100mbps (12.5MB/south) in a X-AVC S, packed into a .MP4 with Linear-PCM audio. The BIONZ Ten processor even offers log curves for gamma and gammut (color), identical to Sony's meridian of the line CineAlta cameras (costing Usa$35.000), with S-log3 and S-gammut 2 that preserves upwardly to fourteen stops of dynamic range; albeit questionable with the 8-bit codec. Not just that, the camera can capture simultaneous 4K and 1080P files, either to hands share the 1080P Wi-Fi or for daily proxies during post-processing. It's all captured to the internal SD card, together with a live, uncompressed eight-chip 4:ii:two HDMI feed, then in that location'south little to mutter about the A6500 video capture. There are just some, let's say, "physical" limitations, that we must talk well-nigh.
The proficient part: the A6500 4K resolution is awesome for the toll and equipment size. Here tested with the East 50mm f/1.8 OSS, a large discontinuity prime that was used with two, 3 stops closed, at its peak resolution, the A6500 video fies are the most detailed ever tested on vlog practice zack. Aye, it's more than detailed than the 5D Mark IV, the Nikon D500 and the Fujifilm X-T2; all more expensive than the A6500 (and don't forget the A6300). Even with the standard image profiles turned OFF, every bit they're overly ambitious in sharpening the details, this tiny little camera is capable of rendering spectacular footage of landscapes, stone textures, the skin texture; incredible when played back on uniform UHD screens. If yous're in need of resolution today, exist information technology for a client's request or for future-proofing your work, don't think twice: these two Sony cameras (A6300 and A6500) are the best for 4K video resolution at this toll-point today; by a good margin.
"Monument Valley" with the A6500 + E 50mm f/1.8 OSS at 2160P24 S35mm, Creative Fashion "Standard" and Film Profile "Off"; click for larger.
"Bryce Point" with the A6500 + E 50mm f/ane.viii OSS at 2160P24 S35mm, Creative Manner "Standard" and Moving-picture show Profile "Off"; click for larger.
"Casca" with the A6500 + E 50mm f/1.8 OSS at 2160P24 S35mm, Artistic Style "Standard" and Picture Profile "Off"; click for larger.
The bad is the A6500 can't bend the laws of physics, and nosotros get the same overheating and rolling shutter issues from the A6300. The high temperature is expected under longer captures: Sony recommends only 20 minute sessions on the instructions transmission, despite the camera'southward recording limit of up to 29:59. A new menu selection allows fot the camera to stay ON even under loftier temperatures, with a new Auto Pwr OFF Temp. "Loftier" setting, just bluntly you should strongly consider a proper videocamera (and not a hybrid mirrorless) if you're serious about video; the camera gets hot and might shut itself OFF later longer 4K captures. Also the rolling shutter is expected from the hybrid image sensor, and happens under too much activeness. It's slightly reduced in 4K30P, when we're using a cropped sensor readout, just is still visible on cars passing by, helicopter trusters, euphoric panning movements… The SteadyShot Inside can reduce some of the jello effect from handheld footage, merely it obviously can't recoup for what'southward moving in forepart of the camera. So for shooting action, you're all better served past a different camera.
Another questionable feature is the biggest headliner of the A6500: the SteadyShot INSIDE implementation. While the stabilization module indeed feels like information technology'due south working, compensating for stronger hand movements, the motor frequency doesn't actually lucifer finer shakes; doesn't match the shutter speed; nor the 4K resolution. What we get is a lot of jitter on static scenes watched on loftier resolution displays, even with OSS lenses that should offer up to 5-stops of bounty. It's much different from Canon'due south IS (paradigm stabilizer) lenses, that are admittedly stable on point, and hard to recommend the A6500 every bit superior to the A6300. Also during panning movements the stabilizer randomly changes direction or the overall velocity when reaching the compensation limits, again, much different than what we get from a expert steadycam or dolly. So this SteadyShot Inside implementation feels incomplete compared to the residue of market, and Sony must fix it.
The video office gear up is largely the aforementioned as the photograph capture. The exposure can be either fully automated or fully transmission, or partial (you lot can prepare the shutter speed or the lens aperture), and the settings are easy: simply press REC at any moment to commencement the capture. The continuous autofocus is the simply setting offered for the autofocus (in that location's no "single AF"), and offers transition speed (slow, normal and fast) and sensibility (Standard or Responsive) options, together with touch-screen controls to easily select the focusing point (with a Lock-on option); or you can exit the camera to automatically rails faces (for example to record a video log). The phase-detection points are all agile during video recordings, so the A6500 rarely hunts for focus, at least under loads of light and dissimilarity; although it can't actually decide what person to follow on a group (frequently missing focus even on the closest subject). Still, the LCD brightness is reduced during 4K capture in order to reduce rut, making information technology impossible to shoot on sunny days; you're stuck to the EVF.
(IMHO) – That brings u.s. to the question: can you get the chore done with the A6500? Probably, equally long as you know what you're doing. The overheating result is nearly comical, especially coming from the internet: those used to piece of work with professional movie house cameras know how it works (leave an ARRI or RED Picture palace nether the lord's day to see if works), and protecting the equipment from overheating is a must. These are large sensors paired to powerful processors, running in tight enclosures being cocky-powered past its own batteries… It'southward going to go hot! What matters is the file's quality, and the A6500 delivers; despite the so-so SteadyShot Within performance. The A6500 is very interesting for 1) those learning cinematography or 2) piece of work on a upkeep only in demand of 4K today. Catechism won't bring the 4K capture to it's entry-level DSLRs anytime soon, and other 4K mirrorless cameras are way more than expensive. Then the A6300/A6500 are the best options for those needing the resolution right now, and I can recommend it if you know what you're doing.
IMAGE QUALITY
"Beija-flor" with the E 55-210mm f/iv.five-6.3 OSS at f/half-dozen.iii ane/400 ISO2000 @ 210mm; all photos with the A6500; raw files bachelor at Patreon.
Recycling the same 24MP CMOS EXMOR sensor from the A6300, the A6500 offers virtually the same paradigm quality. This chip, which was updated from the A6000 despite the same pixel count, uses an anarchistic copper-wirring, thinner than standard, to enhance the light sensitive area and the readout speed; although not comparable to the back-side illuminated (BSI) sensor from the A7RII. For those shooting raw the perfomance is the same, that itself used to lead the marketplace back when the A6300 was launched in 2016; earlier the (superior) D500 came into market. Although both cameras can't compared in resolution (24MP vs 20MP), low-pass filter (absent-minded on the D500) and price (Usa$1996 for the Nikon), the Sony sensor is however very proficient to return details; it's very adept dynamic range for difficult exposures; and its colors and noise contour when used with high ISOs; a much amend performance than Catechism which uses Dual Pixel epitome sensors. The new front-end LSI also promises better processing for the JPEG workflow, although the BIONZ X aggressive racket reduction damages details and textures. Overall we get an APS-C camera with the same performance of a full frame sensor, if nosotros only consider the operation from a few years agone.
"Co-operative" with the E 50mm f/1.8 OSS at f/1.8 ane/2500 ISO100; shallow depth of field from a large aperture prime number, fifty-fifty on the smaller APS-C format.
Under depression ISOs, the A6500 sensor is incredible to generate finely detailed files with enough of dynamic range. The 6000×4000 files are fun to explore on computer screens, as 100% pixel peepings reveals new words of details invisible to the naked eye; here tested with the extremely abrupt Due east 50mm f/1.viii OSS. Although much of the pixels are thrown away on web outputs (Facebook, Instagram), it's interesting to see how far we came in image quality for the toll. It'south also with these low ISOs (upwards to 400) that the A6500 keeps the best dynamic range, with preserved shadows and highlights for minimal loss in quality even after heavy manipulations. Processed using Adobe's Camera Raw, information technology's possible to play with unmarried shot HDRs, compensating for 100% shadows and blacks that reveals completely new exposures around darker zones. While some dissonance is added and the colors fail to correspond reality, it's a good flexibility to work with the A6500.
"Monument Valley II" with the Eastward 50mm f/1.8 OSS at f/7.1 i/400 ISO100.
100% ingather, incredible resolution from a 24MP sensor, paired to a loftier performance prime number.
"Sedimento" with the Eastward 50mm f/ane.8 OSS at f/7.1 1/320 ISO100.
100% crop, fine details allow for large, high quality prints.
100% ingather, but under extreme setting, the noise profile show loads of color blocks; albeit being a proficient functioning for an APS-C.
Raising the ISO by 800 reveal the sensor'south dissonance profile, as organic as motion picture, pretty in prints. It'southward visible generally on shadowy areas, more visible if recovered in mail; simply never really destroying an image. If information technology'due south reduced for spider web output, information technology will be hardly seen. ISO2000 and over flirts with colour loss and fine details, despite keeping a true-blue reproduction of the scene, nevertheless publishable. And ISO3200 and over is the limit of what's acceptable for brute prototype quality: the shadows get a thick dissonance profile, and the colors get washed-out, begging for heavy post processing. Although no capture is truly unpublishable up to ISO12.800, when the shadows get magenta, these values are honestly over the top; in over a calendar month of randomly testing the A6500, no photo required more than an ISO3200, really used on a very boring capture. For interesting exposures, with good low-cal techniques and the correct lens for the job, the A6500 works well nether low light.
"S" with the E 55-210mm f/iv.5-6.3 OSS at f/viii 1/100 ISO3200 @ 55mm.
100% crop, high ISOs show a lot of dissonance, with significant loss in details admitting the reasonable colors.
"Buttons" with the Due east 55-210mm f/4.v-6.3 OSS at f/6.3 ane/400 ISO6400 @ 210mm.
100% ingather, ISO800 almost doesn't show any point racket on shadows or highlight zones, with skillful colour saturation.
"Ironman 2" with the Due east 55-210mm f/4.5-vi.3 OSS at f/6.iii i/thousand ISO800 @ 210mm.
100% ingather, loftier ISOs tin can be used under plenty of light, to go on the shutter speed very fast in gild to capture activeness.
Sony'south color contour that are always questionable: is it possible to alive with it or information technology just can't compete with Canon'south and Nikon'due south (that itself I observe to be poor)? Information technology's a matter of taste. For landscapes, the Sony works with intense greens for leafs and trees, that feel saturated under the brilliant sun light. Bluish tones vary from scene to scene, from a crystal-clear water blue to a deep blue indigo, when in reality they were much more muted. The yellows are hardly seen before heavy postal service processing, thus impacting portrait photography (Canon is the clear winner with an orange-ish/yellow-pink). And so it'south a thing of taste: for me, every Sony color feels electronic, pushed to neon tones and video hues, defective an overall "photo-feeling" nosotros get from Catechism's warm reds and Fuji'due south deep purples. It's difficult to evaluate such a personal subject, merely for me the Sony colors are far from reality.
"Pool" with the Eastward 55-210mm f/4.5-half dozen.iii OSS at f/7.1 1/100 ISO100 @ 55mm; neon blues from Sony's EXMOR.
"Sunset" with the Eastward 50mm f/i.8 OSS at f/5.half-dozen one/500 ISO100; indigo blue skies, how bizarre!
"Shadow" with the E 50mm f/1.8 OSS at f/7.1 one/fourscore ISO100.
"Blossom" with the E 55-210mm f/4.v-6.three OSS at f/10 ane/400 ISO640 @ 210mm.
The BIONZ Ten processor ir responsible for the A6500'south JPEGs and 4K videos, with various color profiles for photos (Creative Style) and videos (Picture Profile). And with the new forepart-stop LSI, Sony promises ameliorate image processing given the more than robust information pipeline. The factory prepare "Standard" is smart in giving ultra-precipitous files at every ISO value, almost like a low-pass-less camera; that's non the example with the A6500. The photos get "highlighted" details between shadows and well lit areas, similar to a "Sharpening: 50" on Adobe's software; that's very high. There are options for in-camera lights and shadows optimizations (DRO, dynamic range optimizer), that helps with complicated exposures, especially when backlit. But information technology's with Sony'south ambitious racket handling that the raw file mode make itself useful, as information technology helps keeping the details under loftier ISOs. Sony insists to profile the racket based on the chroma point, impacting on the pixel gamma; thus erasing the details. So it's a good thought to keep the noise reduction profile OFF at all times, although it still erases some of the details, even applied to raw captures; a mystery to why Sony procedure the files this manner, an issue known every bit "the star eater" (when used for astrophotography).
"SII" with the Eastward 55-210mm f/4.5-6.3 OSS at f/8 1/100 ISO320 @ 55mm.
"Teletubbies" with the E 55-210mm f/4.five-vi.iii OSS at f/8 1/160 ISO160 @ 83mm.
"Layers" with the E 55-210mm f/4.5-6.3 OSS at f/viii 1/200 ISO100 @ 111mm.
"Ferro" with the E 55-210mm f/4.5-6.three OSS at f/8 1/30 ISO400 @ 55mm.
Finally for videos the BIONZ X delivers a diverseness of results. If yous don't mess with any adjustments and shoot with the "Standard" Artistic Style and the Picture Profile set to "OFF", the files are extremely sharp and vivid, with reasonably low contrast (for mail service-processing) admitting easily clipping the highlights under likewise much light. To extract the sensor's total dynamic range yous must use one of the built-in Flick Profiles, with options for PP1 (Picture Gamma), PP2 (Even so Gamma), PP3 (ITU709 gamma), PP4 (ITU709 color), PP5 (Cine1 gamma), PP6 (Cine2 gamma), PP7 (S-Log2 gamma), PP8 (S-Log3 gamma and S-Gamut3.Cinematics color), PP9 (S-Log3 gamma and South-Gamut3 color); the terminal 3 using at least the native ISO800. I strongly recommend testing each profile prior to shooting (don't get using any profile without proper knowledge to what it does), together with your colorist's workflow; always explore the camera's capabilities for the best results.
"SP" with the East 50mm f/1.8 OSS at 2160P24 S35mm f/2 i/thirty ISO3200, NR: "Off", Creative Style "Standard" and Picture Profile "Off"; click for larger.
"SPII" with the Due east 50mm f/1.8 OSS at 2160P24 S35mm f/2 1/xxx ISO12800, NR: "Off", Creative Manner "Standard" and Moving picture Profile "PP7"; click for larger.
"SPIII" with the E 50mm f/1.8 OSS at 2160P24 S35mm f/2 1/30 ISO12800, NR: "Off", Creative Style "Standard" and Picture Profile "PP7"; click for larger.
VERDICT
The Sony A6500 is a pace ahead the A6300, that already tries a lot on a diminutive camera body, delivering a reasonably incomplete production, asking for updates on every bending. While some features were delivered by Sony (better build, touch screen, front-finish LSI, less heat), unfortunately they couldn't help themselves in trying still too hard is still too footling space; failing once over again to deliver the ultimate APS-C. The A6500 is still likewise complicated, far from the amateur'due south attain, and all the same not the "depression-cost-full-featured-parcel" some professionals dream of. While the fast shooting speed is interesting, the questionable machine focus performance still requires mode likewise much contrast (and light) to piece of work, too missing the field of study (and the point) very ofter when used in continuous mode. The 4K resolution in absurd merely the camera tin can overheat nether longer captures, with an internal stabilizer that just doesn't work; the jittered capture ruins everything y'all did in front of the camera. And the image sensor is old news: slap-up details from a 24MP APS-C, but now behind the pixel-perfect APS-C Nikon D500. For Usa$1398 the A6500 is indeed a fair upgrade over the A6300, not so expensive like top-of-the-line APS-Cs like the Fuji 10-T2, the Catechism EOS 7D Mark Two and the D500; but not under-delivering every bit well. Then it'south not the ultimate APS-C i might have hoped, just it'southward proficient enough. Until that camera arrives, take the A6500 and dainty shooting!
Source: http://blogdozack.com.br/index.php/portfolio/sony-a6500-en/
Posted by: boucherleopragues.blogspot.com
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