Sony A7Rii vs Canon 5Dsr Epic Shootout | Which Camera to Buy Tutorial

Up until recently, if you wanted to go with a high quality, high resolution image, the only way to go was with medium format. In the medium format, digital cameras are super expensive, anywhere from $6,000 to $50,000. Canon recently announced and released the 5DS and the 5DSR, the only difference between them being the 5DSR cancels out its optical low-pass filter. At a price of $4,000, this is going to give you 50 megapixels of resolution. It's a very interesting camera because it retains the focusing system we've seen on other Canon cameras, 61 focusing squares, 41 of which are cross-type. It has some other bells and whistles in there. It has Wi-Fi, it has an intervalometer, it allows you to save raw files for HDR, but for the most part, it's pretty spark. When we look at the specs of the a7R II, it's actually pretty incredible. 42 megapixel sensor, 399 phase detection points. We have S-Log at ISO 800. We have a 5-axis internal image stabilizer. We have 120 frames at 720. Some of the other cool things that it has, again, it has Wi-Fi, just like the 5DSR. But the question that I really wanted to have in this epic shootout was, how does the focusing compare? When I tested the a7S, I wasn't that impressed with it. So how does the focusing compare? How does the image quality compare? It has a back illuminated sensor, which is cutting edge, supposedly 30% more efficient than most CMOS sensors. So we want to know, how is the ISO performance? Really, really looking forward to getting some of those answers in this epic shootout. If you decide to get a Sony a7R II, or you have a Canon or a Nikon DSLR, just know I have excellent crash course training videos on all these camera brands. They're available for download or DVD worldwide, and they come with a 100% money-back guarantee. Many of you have asked about the lenses that I use in these videos. For most of the tests, I'm using the best respective 24-70 lenses from each manufacturer. In the case of the Sony, it's the f4, and on the Canon side, it is the 2.8 version 2. For many of the portrait tests, I use the Sony 55mm 1.8 against the Canon 50mm 1.2, and in both cases of lenses, I stop the Canon down to match the aperture of the Sony. One intriguing aspect of the a7R II is the improved compatibility using Canon lenses with the Metabones adapter. What this means is, if you are a Canon shooter looking to make the switch, this adapter will retain your aperture control, as well as autofocus on many lenses. For $400, it's going to be worth it. Now, while this adapter will allow for manual focus on all Canon mount lenses, the questions are, which lenses does autofocus work best with, and how well is the autofocus on those lenses? Between my personal tests and extensive research, this is what I can say with confidence, and there's a good chance this will change with time. First of all, your subject brightness in contrast absolutely matters. If you're shooting in low light, the results are inconsistent. Here are my general rules of thumb on the Metabones adapter. If you have a prime lens of less than 50mm, or a zoom lens that contains 50mm within its focal length, it's usually going to work pretty well. If you have primes or zooms greater than that 50mm mark, meaning if you have a zoom lens that does not have 50mm in it, it is not going to work as well. Now, that's not to say that all of those lenses didn't work, it was just that I seemed to have more problems with them. For example, my 70-200mm f2.8 version 2, it worked great outdoors, but as soon as I brought it indoors, it really struggled. My 100-400mm couldn't get it to work at all, and I know other people who are having great results with those same lenses. There are some exceptions to this rule, the 85mm f1.2 works great, the 100mm f2.8 works great. When we specifically talk about the 50mm, the 50mm f1.2 worked great. My f1.4 and my f1.8 really struggled. So that is the 50mm rule with the Metabones adapter, just know wider focal length lenses are going to work better. So, something that I've noticed with all mirrorless cameras is that they run into problems when you rack the zoom ring. So before we get into the sports focusing tests, I'm going to do some quick preview tests to see if it can focus as I'm torquing my zoom ring to see how I should run the tests. I'm just going to have Caitlin run away in good light and zoom in and out to see if it maintains focus. Here we go, Caitlin. Count on three. One, two, three. It actually looks really good. I'm looking through the viewfinder so I can see the images being recorded as I shoot. So far, it's doing really well. In fact, it's probably the best mirrorless camera I've seen for the rack zoom test, which means that when we shoot into direct sunlight, we'll be able to compare it head-to-head against the DSLR. All right, ready, go. There's a little bit of lag between each image. I went into my menu and turned off my auto review to zero seconds, but there's still this teeny bit of lag between each shot. Let's do one more. In any regards though, the focusing system is vastly improved compared to the a7S, and I think that we're going to be able to use this for a lot of sports shooting type situations. Last one. Here we go. Count of three. One, two. Yeah, it's looking good. Looks really, really good. So I'm going to go ahead with the test racking the a7R II. The modes I'm shooting is manual, AF continuous, very important, and matching up the exposure settings with the Canon as we shoot. So this is really exciting for a mirrorless camera that we're able to rack the zoom ring and it stays in focus. For side-to-side shooting in good lighting conditions, the 5DSR scored a 93%, with the a7R II scoring 92%. For a subject moving towards the camera in good light, the 5DSR scored a 96%, and the a7R II a 79%. For a subject moving away into strong backlight, the 5DSR scored 88%, and the a7R II 81%. For a mirrorless camera, this is actually a stunning result. The a7R II is absolutely holding its ground with the sports shooting test head-to-head with a DSLR camera, especially because I was rack zooming during the test. In all of these trials, I've never been able to do that with any other mirrorless camera. One important note was that even with image review turned off, there was a very slight lag on the a7R II that interrupted my ability to track a side-to-side moving subject with a spot focus, and I had to use zone focusing mode for that test. One thing that would greatly help is if Sony updated their firmware to allow the electronic viewfinder to behave like an optical viewfinder and leave the monitor as it is. A very small tweak that would be easy to make and would greatly improve the performance for sports. So a camera's buffer performance measures how many images a camera can write to the memory card before it starts to slow down. It's going to basically be a matter of file size, and these file sizes are huge. So what I'm going to do is do the buffer test first with RAW only, and then with JPEG only for both tests. I'm going to have Caitlin run just to stress the focusing systems in the processor just a little bit in the beginning, and we're just going to listen to hear when the frames per second start to slow down. Let's take a look at the 5DSR. Buffer, RAW, here we go. Count of three, one, two. Somewhere around 20, something like that, and then we get this like that. Let's take a look at the a7R II on RAW. Count of three, one, two. It actually did really well in the first burst. I'm hearing well over 20, and then it goes by one shot. So let's listen to the highest resolution JPEG. Ready, Caitlin? Here we go. One, two. Okay, so JPEG performance, pretty impressive. Probably can shoot several hundred images, that's my guess. Not hearing anything slow down on the 5DSR for JPEGs. Let's try it again with the a7R II. Okay, Caitlin, here we go. Count of three, one, two. Oh, there we go. So what I'm hearing on the JPEG for the a7R II is it does start to slow down once we get over about 20, 25 JPEGs. Very similar to the RAW buffer performance, which was interesting. For overall sports shooting, the win goes to the 5DSR, which would be my choice for a professional sports shooting event, but the a7R II is so good that in terms of accuracy and rack zoom, I think we are looking at the tipping point with mirrorless systems catching up to DSLRs for sports. Another test I like to perform is a camera's ability to focus in low light. I like to use the camera's central focusing square and prefer to leave the focus assist lamp turned off. The methodology is outlined on my blog, but suffice it to say I have two high contrast targets at different distances and different brightnesses. Then I focus back and forth for 30 repetitions, timing how long it takes for each camera to achieve 30 focus locks. If one camera consistently struggles to focus, it will take longer, and this is something we can easily see in the time differences. Through 30 focus locks, the 5DSR averaged 61 seconds, with the a7R II averaging 50 seconds without its autofocus assist lamp. Out of curiosity, I tried the a7R II with the Metabones adapter using the same 24-70mm f2.8 version 2 Canon lens, and its average was 114 seconds in low light. I also decided to measure the focusing speed in good lighting conditions. Changing the brightness from negative 2EV to positive 3EV, the 5DSR scored 38 seconds, with the a7R II scoring 30 seconds. The a7R II with the Metabones adapter scored 42 seconds, just a touch slower than the Canon. This is some really good information. Native Sony lenses are super fast, and the adapted Canon lenses with the Metabones are also good, they're just very slow in low light. For native low light focusing, the a7R II gets the win. So one quick test I wanted to run was face detection in a video mode. Both cameras have it, and just wanted to see them side by side to see which one performs better. Something that I've noticed is that the size and the speed of your subject as they face the camera is critically important. Caitlin, walk towards us. I'm on the face detection mode of the 5DSR, and so you notice we have this dialog box that's tracking her face. It's actually doing a pretty good job, servo AF mode on, and what I want you to do, Caitlin, is to backpedal. Ready, go. Watch what happens. So the camera's focusing on her, and it gets to a point where it just gives up. She comes back towards us, and then when she becomes a certain size, her face locks on again. Go ahead and do that two more times for us, just so the viewers can see. And then it gives up, back towards us again, and here it comes, come towards us. So it's at a certain size, it kind of gives up. Now I'm going to have you walk side to side. So another thing that matters is speed. So if she's off the frame and she walks across, you can see the camera trying to get on focus lock, and it sort of does it, go a little bit quicker. If she goes too quick, it's very difficult for the camera to lock on. So go ahead and line up again on us, so you can see it hunting. Come towards us a little bit slower. If your subject is moving slowly and fills more of the frame, it's going to focus a lot better. So when we look at face detection on the a7R II, we're seeing something very, very similar. It's very difficult to see. It's like a little gray box. Caitlin, come towards us. Just walk straight towards the camera. Same thing that we're seeing on the 5DSR is that the size of your subject's face is super important. If it's too small, go ahead and back up, Caitlin. The face detection is going to give up, and there it's gone. Come back towards us. One thing I will say is that it seems to be a little bit faster on the a7R II, but the limits are still the same in terms of size and speed. Let's go side to side, and off frame, and then across. About the same. Very comparable. And slow down just a touch. Very comparable. Back up a little bit more. So line up on the center. So watch this. Come towards us, Caitlin. And then back up slowly. I want to show you guys something. Until the box disappears. So right there. Gone. Stop. So face tracking's off, but when we zoom in, take a small step towards us, Caitlin. There, it just clicked in again. So the focal length of your lens is also important. Basically, the size of your subject in the viewfinder is what's going to determine this. But I would say side to side, back and forth face detection, very comparable. I'm going to call this one pretty much a tie. One of the distinct advantages of the a7R II is that it has a standard focusing square. We can engage this focusing system on our model. We can engage it on the wall. But you'll notice I also have these brackets set up. And this tells us the area of the 399 phase detection points. This also tells us where eye autofocus works. And this is a game changer on the a7R II. It's the only camera in the world that does it this well. I have it set up that my center select button will do it. And you'll notice that it jumps right on to one of Summer's eyes. I have a focusing video that you guys can watch that shows you how to do this. Once it goes outside of that, doesn't work, becomes more of a face detection. But within those brackets, what this means is that portrait photographers, they can shoot portraits from where they stand instead of needing to get a focus lock and then recomposing. It is a phenomenally accurate way to shoot portraits, especially with a lens like this at 1.8. Highly recommended if you're a portrait or wedding photographer. When we look at the JPEG ISO charts, they look very comparable in terms of noise grain. But I started to notice something strange. Check out this banding that we see in the a7R II as we increase the ISO in the shutter speed. When we go back and inspect the full images, this is what we see. It turns out this has to do with using a very specific type of LED video light. And when we're using a different light, we don't see it. But the thing that gives me pause here is that we don't see it nearly as much on the Canon. If you see this banding pattern, chances are it has to do with a missync between the shutter speed on the a7R II and the light frequency you're using. Just be aware of this issue. Coming back to these charts, we can see that there's very similar ISO grain performance between both cameras. I would say this is a tie. Something I do know, however, is that human flesh tones and eye sharpness are affected at higher ISOs, and that's something I definitely want to look at a little bit later. When shooting video on the a7R II, you have several options. We have 1080, high def, full sensor 4k, and APS-C 4k, with the difference being that the APS-C mode is a clean readout of the sensor. Now it has a crop magnification factor on the lens, but full frame 4k and internal 1080 have to skip lines and throw out information in order to create the final recorded image. One of the important questions I wanted answered was how does each of these different video modes perform at different ISOs. Side by side at 1080 internal, even as low as ISO 3200, the 5DSR is actually performing better than the a7R II. Keep an eye on the brick pattern in the background, as well as the eye sharpness of Nadia. At 6400 it's worse, and at 12800 it isn't even close. When we compare internal 4k from the a7R II, which was then downsized in post to 1080, we see very similar performance at ISO 3200. But once we get into ISO 6400 and higher, we start to see the a7R II breaking down. Now this is really an apples to oranges comparison, because the a7R II is recording at 4k, which is something that the 5DSR cannot, it's just something to be aware of. At 12800 there's lots of noise grain and Nadia's eye sharpness is also fading. This is where it starts to get interesting. APS-C mode 4k on the a7R II is surprisingly better. Look at the sharpness in Nadia's eyes, look at the grain performance in the bricks. In APS-C mode the a7R II does extremely well, even at ISO 6400 and ISO 12800. This is impressive. When we compare all three at 12800 it is very easy to see that the APS-C mode is by far the strongest. More A is a splotchy artifact that sometimes appears in certain textures or patterns. In the case of my horizontally lined shirt there was an average amount in both the 5DSR and the a7R II, both at 4k as well as 1080. In APS-C mode on the a7R II it looks even worse. I don't see any real winners here in my opinion. Rolling shutter is a jello like effect we see in vertical objects when we pan the camera from left to right. Again, a fair amount in the 5DSR at 1080. The a7R II actually did better at 4k as well as 1080, but surprisingly it did awfully in 4k APS-C mode. Even when we shoot at 4k and then zoom in to mimic the APS-C size, it's still much better to shoot in 4k mode. So one of the concerns that many users are talking about is the overheating on the a7R II when you're shooting 4k. I've done lots of tests, both cameras, but specifically in the a7R II. If you are shooting 1080 I am not seeing the problem that often. We've shot a professional shoot three or four hours, no big deal. I've done lots of shoots indoors at 4k, also very few problems. When you start running into problems there's two things going on. It's your environmental heat, your surroundings, and also internal stabilization. If you have your internal stabilization turned on and you're moving around a lot, it's going to cause the sensor to overheat. But for the most part 1080 works fine and it's not that big of a deal unless you're doing lots of shooting for like weddings, documentary kind of types of shooting. Everybody else I think you're going to be okay. So on the the heating signature tests, the 5dsr, I think it came in at like 98 degrees Fahrenheit. The a7R II when we get up to 107-108 is when we start running into problems. For my dynamic range test I fire a strobe through a Stouffer wedge which is essentially 41 little ND filters at one-third stop increments or about 13.7 stops of total dynamic range. I overexpose the first part of the strip to calibrate and then analyze using camera raw. I'm basically looking for the last interval that has a distinct and complete border. The full methodology is outlined in detail on my blog. While this technique is not great for measuring total dynamic range, it can give us some really important insights when comparing two cameras with the same exact settings in the same lighting conditions. The limit I'm seeing on the 5dsr seems to be between 28 and 29, maybe 29 and 30. On the a7R II I see the limit to be between 32 and 33. Now when we compare these side-by-side and each step being one-third of a stop, I would estimate that the a7R II has at least 1 to 1.3 stops better dynamic range performance than the 5dsr. This is a big win for the a7R II. Grab a pen and a piece of paper and list it from 1 to 12. Take a look at the following images and write down whether you like the left image, A, or the right image, which we will call B, more. This is what I call the image quality test. There are no correct or wrong answers, it's just to help you decide which camera's images you like more. A huge challenge I had in this test was that if I used the same exact exposure settings, sometimes one or the other camera would be over or under exposed depending on which camera I used first. In extreme cases, I had to compensate one of the camera's shutter speeds. I typically don't like doing this, but I want the results to represent how I would shoot with only one or the other camera. Secondly, one of the camera's auto white balance fluctuates even from shot to shot. However, once I dialed in the correct white balance for the scene, it did much better and I'll mark in the answers which camera had its white balance changed for the scene. Something I try really hard to do is to get a variety of different lighting conditions, shade, direct sunlight, different colored backgrounds, wide aperture, things like that. Alright, so you're ready for the results? Here they are. Count up which camera you preferred based on the image quality and that will give you a really good idea of which camera's color science or how it determines colors that you personally prefer. There are some really interesting takeaways from this test. Number one, Canon's auto white balance is amazing. It's very accurate and consistent. Sony's auto white balance on occasion is off. I would define it as hot, meaning just a little bit more orange or just a little bit more saturated. It's going to be more important to set this correctly when you're shooting. Number two, Sony underexposes just a touch in comparison to the Canon, but you can also see the difference in dynamic range. Third thing was that Sony's monitor is not exactly representative of what the image will look like on your computer. It's actually much better on your computer. Mark, how are you doing? For those of my viewers at home that don't know, Mark is a portrait photographer specialist here in Utah specifically for actors, actresses, people who need to get their portfolios, some sort of headshot. How long have you been doing headshots for? 28 years. Wow, that's incredible. Fun ride and we're still going, yeah. So that's pretty much your niche. What other work do you do for headshots? What kind of customers? A lot of doctors, shoot for quite a few hospitals around here for their headshots and lawyers and real estate people. Just a lot of what I call pro headshots for commercial work that people use for their business cards and websites. What do you charge for that? Around 200. 200 bucks? Yeah. So if you live in the Salt Lake area, you need a headshot, Mark Reynolds is your man. Today we're going to bring you some new cameras. What do you normally shoot with? Shoot with a Canon 5D Mark III. Okay, excellent. I've been shooting with it for the last couple years at least. I love it. It's a great camera. Cool. Do you have a preferred lens? What's your favorite lens? My 22-105 I use quite a bit, but my 70-200 is the one I use for outside. I love that lens. It's a great lens. It's perfect for headshots. Yeah. Today I brought you two new cameras that you haven't used before. One is the 5DSR. It's the 50 megapixel version. Basically the 5D Mark III. It shoots the same. Great. The other one we brought is the Sony Alpha 7R II. It's really getting a lot of buzz right now. It's a 42 megapixel mirrorless full-frame camera. We have a model coming, one of the actresses from the movie. Great. We're going to do some low ISO shots, then we're going to do some high ISO shots, and we just want to get your feedback. I know some things about both cameras I'm not going to say until you kind of look at them. Maybe do some prints and just take a look at them and see what your opinion is. I want to get a second opinion from our viewers. How does that sound? Perfect. Okay, let's get started. Thanks. A little smile. Of course, I'm not used to the Canon. A little more used to that, but when I'm looking through the viewfinder, it's a lot smaller and confined, and the colors looking through the viewfinder look really off to me and kind of, you know, not good at the screen on the back. I like the way the colors on the Canon look better as far as what I think the exposure should be. Then on here, I can't see. What are you noticing as you increase the ISO compared to the Canon? What's happening to the overall exposure? Like we talked earlier, it's just kind of getting red, you know, falling off in the shadows and turning kind of, as far as I can see on the back of the camera, kind of mushy, kind of pixely that way. What do you think about the adapted 24-105 lens? How's that Canon lens working on your Sony? It's working okay, but again, looking through the viewfinder, I feel very confined. It's just everything's crushed down. Yeah, that makes sense. Yeah, I mean, the camera's just wide open, you know, big full screen. I can just boom see a lot better. So, does the focusing work on that lens? Yeah, the focusing seems great. The focusing was grabbing really fast, so no problem with focusing, and I have a big problem with that, where the camera's not really kind of focusing, right? Especially with people you're trying to catch that shot, so yeah. Cool, thanks for the input. Can we see some side-by-sides? Yep. A little different on the exposure. Wow, a lot of noise came in on that one. I think 64 is the limit on this camera. It looks darker. We dialed in the same exact exposure. Yeah, we dialed in definitely the Canon. Yeah, it's pretty easy to see. Is it 6400? Yeah, 64. The noise is way sharper. You can see the skin texture, actually, on her cheek, and it's kind of muddied up over here, where you get noise breaking it up. Yeah, you get, yeah, this is kind of muddy here, and I always, of course, go straight to the eyelashes, which most people do, but see the separation, how cleaner on the Canon versus... So, edge Canon at 6400. Let's see what happens at 12800. Look how soft it is. It lost so much of detail. It lost a ton, right? Yeah, look at that. Okay, especially, like, around her eye here, you can see this pepper pattern. Yeah, it's down here in the skin right here. It's not showing up all good. And it's held all together. Yeah, like, what is, what is that? You can see all that. Here's stuff, too. So, we have the Canon. I don't know if I should tell you which ones. These are the ISO 400, so lower ISOs. I really think the a7R II does fine up to 3200. Almost imperceptible. You can't tell the difference between them. This is the Canon. This is the Sony. The colors match up very well, regardless of what the monitors are doing. The ISO performance, the sharpness, the clarity, the color, very, very similar overall. Yeah, I agree. It's this way when you get up to 6400, it starts running. It starts, yeah. Thanks again, Mark. We had a great time. Thank you. So, what are the things that I didn't like about each camera? It's actually a great question. I think on the 5DSR, I was a little underwhelmed when it came to total features. For example, where is the 4K video, Canon? We've been waiting for years now, and we know that we have it on these higher-end cameras. Why aren't you putting it into the lower-end DSLR cameras that we're seeing from Panasonic and Sony and Samsung? That's the main thing. That's what we all want. Hopefully, we'll see it soon. I think a touchscreen and a flipping, rotating, articulating monitor on both cameras would be awesome. The a7R II, it does have some very distinct flaws. I'm sure you've heard about the battery life. It doesn't last very long. We're looking at an hour to maybe an hour and a half tops. I've used it on many shoots, and we usually go through four or five of them for a one-day shoot. The second thing, the biggest thing that stood out to me was how hard it is to change your focusing squares. I think a touchscreen monitor would help, but the way it's set up right now, you have to go through several menu changes and button presses to change your focusing square and then move it. I've already talked about the electronic viewfinder, how it needs to be turned into a function like an optical viewfinder. The lens lineup, I have mixed feelings about it because the lenses that are available are actually pretty good. They're expensive. We just don't see any really wide aperture zooms like a 24-72.8 or a 70-200 2.8. That's what we really want to see. The Metabones adapter works really good, as I mentioned, on many of the lenses. It doesn't work on all of them, but that is a weakness is that we're not seeing as many native focusing lenses on that FE mount. You can also get an LA-E4 adapter for the alpha mount lenses. We're talking about Minolta and the Sony Alpha lenses. Really better for people that have those lenses instead of going out and buying them and using the adapter. Shooting as a photographer on a production set for a movie, the silent shutter is amazing. One problem with it was the preview exposure and the actual image that I got were different by about a half a stop. Another thing that I wish it would do is do a burst mode in electronic shutter mode. You could take multiple images. Right now, it's just a single shot. Supposedly, that's going to change on the a7S II. I turn my image preview off on the a7R II, so when I go back to play an image, sometimes it takes a little bit long to write before it'll show. But those pretty much sum up most of the things that I don't like about the a7R II. Everything else I love about it. Tremendous versatility as a still photographer. You know, shooting portraits, that eye focus detection is like nothing I've ever seen on any camera. It's amazing. The panorama mode is amazing. I haven't even really talked about it. We haven't even shown the S-Log stuff. It's an amazing option to have as a videographer or a filmmaker. The focusing system is vastly improved. I think you can shoot a sporting event with some practice. It's a very accurate focusing system. It has better dynamic range. The ISO performance, we saw some weird things going on with the video. But overall, the a7R II is a tremendous camera. So in conclusion, which camera would I recommend to what kind of photographer? I think the results speak for themselves. If you have a need for high resolution, fast moving subjects, we're talking about birds in flight, maybe sports shooting, race cars, things of that nature. If you need Canon's color science, if you need Canon's lens lineup, meaning all the lenses with autofocus on all of them, the choice here is the 5DSR. If I was shooting a sporting event, this is the one I would choose between the two. Having said that, the a7R II brings so much to the table that if you're a portrait photographer, a wedding photographer, if you do landscape, even if you are a regular plain old videographer, depending on what kind of videographer you are, at $3,200, $700 less than the 5DSR, you have to take a look at the a7R II. This is the camera. Between the two, I am personally going to buy with my own money. Again, there are some flaws, namely in the overheating, the battery, some of the lag and the EVF. Those are the things that stick out the most to me. But overall, I'm very, very happy with it. As a filmmaker, it gives me tremendous options. I have 4K, I have 1080, I can shoot at APS-C, I got high frame rates, I got S-Log, I have internal stabilization. As a portrait photographer, that internal stabilization for me is worth one extra stop. That's a lot in low-light situations. So the lens lineup is getting stronger, it's getting better. You owe it to yourself to believe the hype on the new a7R II. Great epic shootout. I learned so much about both cameras. I feel like the Canon is a more polished product. They kind of like under-commit and deliver exactly on what they're saying. I feel like the Sony is like, they're saying we could do all these amazing things and they almost get to it. Just a few little problems that can probably be fixed. So in any event, if you guys like this epic shootout and you want to see more like it, definitely please subscribe to my channel. I have lots of great more videos coming. Thank you guys so much for your support. I'll see you next time. If you found this video helpful, you might be interested in my crash course on the Sony a7R II. I also have huge lineups for both Canon and Nikon DSLR cameras. I'll teach you the basics and show you how to shoot like a pro in no time. You can order them from the following link.