Sony α7R Mark IV (ILCE7RM4)
Resolution-wise, the α7R IV sits at the top of Sony’s ‘full frame’ camera range, replacing the 42.2-megapixel α7R III, which continues to be available. Stills photographers looking for the extra resolution will doubtless welcome the upgrade.
Even more welcome for stills photographers is the suite of evolutionary improvements, many based upon input from photographers, that make the new camera more comfortable and intuitive to operate. Noteworthy among them are the improvements to the AF system and an outstanding electronic viewfinder.
Announced on 16 July, 2019, the Sony Alpha 7R IV camera (model ILCE-7RM4) is the company’s highest-resolution model to date. Featuring a 61-megapixel, 35.7 x 23.8 mm, back illuminated CMOS sensor and the latest BIONZ X processor chip, it is designed for professional users and sports a sophisticated autofocusing system plus an impressive 15-stop dynamic range at low sensitivities as well as superior colour reproduction. Extended connectivity functions facilitate professional workflows.
Angled view of the Sony α7R IV camera with the FE 24-70mm f/2.8 GM lens (Source: Sony.)
The review camera was supplied with the FE 24-70mm f/2.8 G-Master lens (SEL2470GM) which we reviewed in June 2016. This is the same lens as we used when reviewing the previous model and has allowed us to compare the new camera with the α7R III, which we reviewed in April 2018.
While the general body design of the new camera is very similar to the α7R III, Sony has introduced a number of subtle adjustments, making some of the key buttons slightly larger and easier to operate. The rear control dial has been raised to sit on top of the top panel, rather than being embedded, and it’s slightly easier to turn.
The α7R IV’s body is only a little larger but use of high-rigidity magnesium alloy for its chassis and covers keeps its weight within a few grams of the α7R III. All joints in the chassis are weather-sealed, with enhanced sealing around the lens mount, battery and terminal covers and a moisture-resistant double-sealed sliding mechanism securing the SD card compartment.
Front view of the Sony α7R IV camera with no lens fitted. (Source: Sony.)
The grip on the front panel has been deepened to improve user comfort and the exposure compensation dial now has a locking button to prevent accidental re-adjustment. A new Multi-Interface Shoe accepts digital audio input from an accessory microphone or the latest Sony XLR adapter, which includes built-in analog-to-digital converters.
Top and rear views of the Sony α7R IV camera, the former with no lens fitted. (Source: Sony.)
Sony has also upgraded the EVF, which now has the same 5,760,000-dot resolution as the ‘finders in Panasonic’s S1 and S1R cameras. A fluorine-based coating has been applied to the eyepiece glass to keep it free from dust and grime. As in previous models, users can prioritise resolution or refresh rate for the screen to match different shooting situations.
The sensor is also new. Offering an effective resolution of 61 megapixels, it features a back-illuminated design that delivers lower noise plus a wide dynamic range. There’s also no low-pass filter to compromise detail resolution. Sony claims an impressive 15-stop dynamic range, but it’s only with downsampled 8-megapixel images.
The new camera now offers four aspect ratio settings, adding 4:3 and 1:1 to the regular 3:2 and 16:9 options in most of its other cameras. The APS-C/Super 35mm setting, which was also offered in the α7R III, crops the frame to record 6240 x 4160-pixel, 3:2 aspect ratio stills at 26-megapixel resolution. Three settings are provided: Auto (which detects E-mount APS-C lenses when they are fitted to the camera), On and Off.
The crop varies with the file format. For stills, the crop is 1.5 times the focal length indicated on the lens. For Full HD movies, it is approx. 1.6 times the focal length indicated on the lens but for XAVC S 4K movies at 30p it changes to 1.8 times the focal length shown on the lens.
While the BIONZ X processor and front-end LSI are largely unchanged from the α7R III, improvements to the AF system enable the α7R IV to support continuous shooting at up to 10 fps with full AF and AE tracking for approximately seven seconds in full-frame mode. The new chip has 567 on-sensor phase detection points covering most of the sensor’s height and 74% of its width, providing depth-aware focus detection across most of the sensor. In the APS-C/Super 35mm shooting mode the focus points cover almost all of the width of the recorded frame and all of its height, improving subject tracking performance.
Sony’s Real-time Eye AF technology, which can detect both animal and human subjects, is now available for movie recording in the new camera. For stills, a new subject recognition algorithm for the Real-time Tracking function can start tracking subjects from the instant the shutter button is half-pressed.
A new Focus Priority mode engages focus with the lens wide open, a useful feature for macro photographers when shooting with the lens stopped down and handy in low-light situations. There’s also a menu setting that enables users to select which AF area modes are displayed and hide those that are seldom used.
The performance of the touchscreen monitor has also been improved, which makes touch AF quicker to engage and allows users to move the focus point by touch while looking through the EVF. It’s not quite as quick as the screens on the latest Canon, Olympus or Panasonic cameras but better to use than the previous model’s touch screen. However, you can’t use touch controls to navigate the menu functions as you can in other companies’ cameras.
The Pixel Shift Multi Shooting mode, which was offered on the α7R III, has been upgraded in the new camera to capture 16 frames (as well as the four-frame setting provided in the previous model). It uses Sony’s IS technology, which shifts the sensor by half a pixel to record four groups of images, all of them uncompressed raw files. Details below.
Both memory card slots in the α7R IV support the faster UHS-II standard, instead of only one as in the previous model. This provides greater flexibility for users to configure which files are sent to which card. Simultaneous recording to both cards is supported.
While the α7R IV uses the same NP-FZ100 battery as the α7R III, improved power management when using the monitor to frame shots delivers a 20 shop/charge increase in rated battery capacity to 670 shots/charge. Capacity for the EVF is unchanged in the new model, which remains at 530 shots/charge.
Who’s it For?
The price tag (AU$5699 for the body) puts this camera out of the reach of most amateur photographers, although it could represent a sound investment for a professional photographer, particularly if they shoot mainly stills. Despite offering 4K video recording, the α7RM4 lacks the professional video capabilities of rivals like Panasonic S1H.
This camera is also for photographers who actually need 61-megapixel resolution. Those who can get by with lower resolution may find Sony’s lower-resolution α7 and α7S models both more affordable and better suited to their needs.
The 24-megapixel α7, now in its third generation, is an excellent all-rounder, while the 12-megapixel α7S is ideally suited to capturing stills and video in challenging lighting conditions and can record full-frame 4K video internally with full pixel readout and no pixel binning. The third generation of this camera is long overdue and could be worth waiting for.
The new 61-megapixel (effective) sensor delivers larger image files than the 42.2-megapixel chip in the α7R III, although the difference from a practical viewpoint isn’t as great as the numbers suggest. Both JPEG and 14-bit RAW file formats are supported and raw files can be captured either losslessly compressed or uncompressed settings. A RAW+JPEG setting is available but you can’t adjust image sizes. Typical file sizes for the camera’s native aspect ratio are shown in the table below.
|Pixels||Typical file sizes|
|Compressed ARW.RAW||Uncompressed ARW.RAW||JPEG Extra-fine||JPEG Fine||JPEG Standard|
|9504 x 6336||66.7MB||129MB||48.5MB||25.0MB||16.8MB|
|6240 x 4160||n.a.||20.7MB||11.2MB||6.5MB|
|4752 x 3168||12.1MB||6.5MB||3.8MB|
Continuous shooting is possible at up to 10 frames/second (fps) with AF/AE tracking, but only when the electronic shutter is selected. Even so, that’s remarkable when you consider the size of the files the camera produces. You’ll need a UHS Speed Class U3 card to get the maximum speed and capacity.
If you opt to shoot uncompressed raw files, the frame rate drops to around seven frames/second. Buffer capacities reflect the differences in the sizes of compressed and uncompressed raw files, holding more than double the number of uncompressed files. The results of our tests are provided below.
In the Pixel Shift Multi Shooting mode, the new 16-frame recording setting captures 960 megapixels of image data, which is consolidated into a 19008 x 12672 pixel (240.8-megapixel) frame. It’s easy to combine the frames in the Imaging Edge Viewer because it identifies the position of each frame in the sequence and selecting Create Px Shift Multi Shoot.Composite Image from the File dropdown menu will process them and send the composite to the Edit app for further processing and saving.
The resulting raw data file, which records full colour data at each pixel, carries the *.ARQ extension and can only be opened in Sony’s Imaging Edge software. In our test shots, the file was 1.82GB in size! In contrast, a 4-frame shot of the same subject resulted in a 9504 x 6336-pixel, 468MB file.
One of the problems with most multi-shot modes is that the camera must be tripod-mounted (the Olympus OM-D E-M1X being the exception). Anything in the scene that moves during the exposure will be blurred in the final composite image. If you only shoot static subjects and genuinely require such large files, you can probably live with this limitation.
Little has changed on the video front, although the updates to the AF system should improve focusing performance for videographers. The new camera supports the same recording formats, frame sizes and frame rates as the α7R III:
- XAVC S 4K (3840 x 2160p) at 25p, 100 Mbps or 60 Mbps
- XAVC S HD (1920 x 1080p) at 50p, 50 Mbps or 25 Mbps
- XAVC S HD (1920 x 1080p) at 25p, 50 Mbps or 16 Mbps
- XAVC S HD (1920 x 1080p) at 100p, 100 Mbps or 60Mbps
- AVCHD FHD (1920 x 1080i) at 50i (24 Mbps or 17 Mbps)
Like its predecessors, the α7R IV supports full pixel readout without pixel binning when recording in Super 35mm crop format (roughly equivalent to APS-C size). This format can collect 5K of data, which is oversampled to maintain the highest quality 4K footage. Unfortunately, the resulting video is only 8-bit, rather than 10-bit.
As well as the normal Movie and Still gamma settings, users can choose between natural and faithful colour tones with the ITU709 gamma and two Cine gamma settings. The S-Log 3 and S-Gamut 3 profiles, which were introduced in the α7RM3, are also available, along with
Hybrid Log Gamma (HLG), which captures with the Log profile but displays a corrected version on the camera.
Also ported across are the Slow & Quick Motion modes, which enable users to choose from eight frame rates between one and 100 frames/second (fps) to create speeded-up motion or slow-motion movies in the camera. All clips recorded in these modes are captured using the XAVC S HD format (1920 x 1080 pixels). The maximum clip length is a playback time of 29 minutes, which means recording will stop after 15 minutes when the recording is set to 50p and the frame rate is 25 fps.
The only new addition is the ability for users to assign file name prefixes to XAVC S video files. While potentially useful for any professional videographers who use the camera, it’s of minor interest to most potential purchasers of this camera.
Playback and Software
Like other Sony cameras, the α7R IV creates an image database file on the memory card, which is used for both recording and playing back files. The camera supports the normal single and index playback settings as well as protect, rotate and delete functions. In fact, little has changed since the previous model.
As is common in the latest crop of digital cameras, all software for the α7R IV must be downloaded. The user’s manual, which is packaged with the camera as a series of booklets in different languages is also available to download available in PDF format. It’s not quite as comprehensive as the Help guide, which can only be viewed online.
Once again (the first time was with Fujifilm’s 100-megapixel GFX 100) we’ve encountered a camera whose resolution exceeded the processing capacity of the Imatest software we’ve been using for the past decade. However, this time it was only with the ARW.RAW files, which we converted into 16-bit TIFFs with Adobe Camera Raw, ending up with files that were 344MB in size. Consequently we can only provide test results for regular JPEGs.
Subjectively, the images captured with the review camera in both the JPEG format and as ARW.RAW files appeared highly detailed with a natural colour balance when shooting in the default Standard Creative Style mode. They also appeared relatively sharp.
Shots taken in the Pixel Shift Multi Shooting modes weren’t quite as impressive as we expected, despite the large files they produced. But the end results didn’t look all that much different from the camera’s JPEG or raw files.
As in the α7R II, most shots maintained a good balance between highlights and shadows, which meant even JPEGs recorded in contrasty lighting had a fair chance of containing a relatively wide tonal range. Imatest showed saturation in JPEGs to be nicely constrained.
Because we can only report the results of our Imatest testing for JPEG files, it is not surprising that the camera-plus-lens combination was not quite capable of meeting the very high expectations for the sensor’s 60-megapixel resolution. As expected, resolution declined gradually as sensitivity was increased, with the steepest declines occurring at the two highest sensitivity settings. The results of our analysis are shown in the graph of our Imatest test results below.
Low light performance was as good as we found with the α7R III. Plenty of detail was captured in 30-second exposures at ISO 50 and ISO 100 and colours were natural-looking right up to, and including, ISO 102400. Noise was barely visible at ISO 6400 and only just discernible at ISO 25600. Softening became noticeable at the two highest sensitivity settings and quite obvious at ISO 102400.
The camera’s AF system locked on without hunting after dark and we experienced no difficulties focusing when shooting in very low light levels with few edges to lock onto. The new camera is even better than its predecessor in this respect.
AF performance when shooting movie clips was almost as fast and accurate and the camera seemed able to slide, almost without hesitation, from focusing upon one subject in the frame to another, closer subject as it entered the frame. Focus pulling was as easy as with the previous model.
We felt the new camera’s exposure metering system was slightly better than the previous model’s but couldn’t draw distinctions between the three patterns when it came to deciding which was the most accurate. Not surprisingly, that depended upon the nature of the subject. The auto DRO (dynamic range optimiser), which is engaged by default, delivered good results in most types of lighting.
White balance performance was much as you’d expect for a camera at this level. The standard auto setting delivered almost neutral colour rendition under fluorescent lighting and removed much of the warm cast imparted by incandescent lights and warm-toned LED lighting. Switching to the white priority setting made a small improvement in colour rendition but failed to totally eliminate the prevailing warm casts.
Both the incandescent and fluorescent presets over-corrected slightly, the various fluorescent lighting settings imparting slightly different colour casts. No preset is provided for LED lighting but the tungsten pre-set delivered similar results to the tungsten light corrections. Manual measurement produced neutral colour rendition with all three types of lighting.
Using Lexar Professional SDXC UHS-II cards with a speed rating of 2000x (300 MB/second) enabled us to shoot 4K movies and explore the camera’s full capabilities. Movie clips were similar in quality to those we recorded with the α7R II, although the camera didn’t appear to become nearly as warm during recordings. Soundtrack quality was similar to the previous camera.
Our timing tests were carried out with the same 64GB Lexar Professional SDXC UHS-II card as we used for recording 4K movies, which was used in Slot 1 to record ARW.RAW files. In the Slot 2, which was used for JPEGs, we used a 32GB Lexar Professional SDXC UHS-II card. Both cards claim transfer speeds of 300 MB/second. The review camera took just over one second to power-up ready for the first shot.
Capture lag ranged from around 0.1 seconds when the lens was seriously out-of-focus to less than 0.05 second when little re-focusing was required. No lag was measurable when shots were pre-focused. Shot-to-shot times averaged 0.35 seconds.
Not unexpectedly, given the larger files produced by the new camera, processing times were slower than those we measured for the α7R III. On average, it took 2.9 seconds to process each Large/Super Fine JPEG and also for each compressed ARW.RAW file and RAW+JPEG pair. With uncompressed ARW.RAW files, processing times were 3.1 seconds for single raw files and 3.4 seconds for each RAW+JPEG pair.
In the Continuous High shooting mode, the camera recorded a burst of 72 Large/Super Fine JPEGs in 8.1 seconds before pausing, which is very close to the specified frame rate. It took just over one minute to process this burst. With uncompressed ARW.RAW files, the buffer filled at 34 frames, which were recorded in 5.5 seconds. Processing them took 15.2 seconds from the last frame captured. Swapping to compressed ARW.RAW files increased the buffer capacity to 85 frames, which were recorded in 9.7 seconds. It took 29.2 seconds to clear the memory.
With compressed RAW+JPEG pairs, the buffer memory filled after 69 frames which were recorded in 8.2 seconds and took just over a minute to process. It’s unsurprising to find the buffer depths exceeded Sony’s specifications since continuous shooting speeds and buffer depths are influenced by the speed of the card used for recording the image files and we chose very fast cards.
Battery capacity appears to be better than average for a mirrorless camera, although not quite on a par with an equivalent DSLR that uses an OVF rather than an EVF. We found the rated capacity of 530 shots/charge when the EVF is used for framing shots to be quite a bit below our actual usage but would, nonetheless, recommend having a spare battery handy during extended shoots.
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Image sensor: 35.7 x 23.8 mm Exmor R BSI-CMOS sensor with 63 million photosites (61.0 megapixels effective), Bayer filter
Image processor: Bionz X
A/D processing: 14-bit
Lens mount: Sony E-mount
Focal length crop factor: 1x
Digital zoom: Up to 4x or up to 2x Clear Image Digital Zoom
Aspect ratio settings: 3:2, 4:3, 16:9, 1:1
Image formats: Stills: JPEG (Exif Ver. 2.31), ARW.RAW 2.3, RAW+JPEG; Movies: XAVC S / AVCHD 2.0 / MP4, Linear PCM / Dolby Digital (AC-3) / MPEG-4 AAC-LC stereo audio
Image Sizes: Stills – 3:2 aspect: 9504 x 6336, 6240 x 4160, 4752 x 3168; 4:3 aspect: 8448 x 6336, 5552 x 4160, 4224 x 3168; 16:9 aspect: 9504 x 5344, 6240 x 3512, 4752 x 2672; 1:1 aspect: 6336 x 6336, 4160 x 4160, 3168 x 3168; High Resolution Composite recording for 240.8 megapixel images; Movies: 4K (3840 x 2160) at 30p, 25p, 24p; FHD (1920 x 1080) at 120p, 100p, 60p, 60i, 50p, 50i, 30p, 25p, 24p
Aspect ratios: 3:2, 4:3, 5:4, 7:6, 16:9, 65:24, 1:1
Image Stabilisation: Yes, 5-axis optical in-body IS; 5.5 stops of shake correction
Dust removal: Ultrasonic vibration of sensor
Shutter (speed range): 30 to 1/8000 second plus Bulb
Exposure Compensation: +/- 5EV in 1/3EV and 1/2EV steps (+/-EV for movies)
Exposure bracketing: 3 or 5 frames across +/- 5EV in 1/3EV, 1/2EV, 2/3EV, 1EV steps
Other bracketing options: White balance, Dynamic Range Optimiser
Self-timer: 2, 5 or 10 seconds delay plus 3-5 shots with 2, 5 or 10 seconds delay
Intervalometer: Yes, for time-lapse recordings; 1 to 9999 shots at intervals from 1-60 seconds; programmable start time; silent mode available
Focus system: Fast Hybrid 4D AF
AF points & selection: 567 phase detection points covering 74% of image area plus 425 contrast-detection points; Zone/Centre/Flexible Spot (S/M/L), Expanded Flexible Spot, Tracking with Wide/Zone/Centre/Flexible Spot (S/M/L)/Expanded Flexible Spot, Real-time Eye AF; Touch AF, Manual focus
Focus modes: Single AF (S-AF) / Continuous AF (C-AF) / Manual Focus (MF)
Exposure metering: 1200-zone Multi-segment evaluating metering, Entire screen average, Centre-weighted average, Spot (standard / large), Highlight patterns
Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Full Manual Exposure plus 3 Custom memories; Slow & Quick Motion; HDR: Auto Exposure Difference, Manual exposure difference (1-6 EV in 1EV steps)
Other shooting modes: Pixel Shift Multi Shooting mode that composites up to 16 full-resolution images to produce a 240.8-megapixel raw file
Picture Effect modes: Toy Camera, Pop Colour, Posterisation. Retro Photo, Soft High Key, Partial Colour, High Contrast Mono, Off
Picture Profile modes (for movies): ITU709, Cine1-4, S-Log2, S-Log3, S-Gamut3, HLG 1-3 with adjustments for black level, gamma curve, knee point and slope, colours, detail; customised Picture Profiles can be saved in the camera
Creative Style modes: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia plus Style Box registration
Dynamic Range Optimiser: Auto, Level 1 (weak) to Level 5 (strong) settings
Colour space options: sRGB and Adobe RGB
ISO range: Auto (ISO 100-12800, selectable lower limit and upper limit); Still images – ISO 100-32000 with extension to ISO 50 and ISO 102400 available; Movies – ISO 100-32000
White balance: Auto, Daylight, Shade, Cloudy, Incandescent, Fluorescent (x4), Flash, Custom, Colour Temperature (2500-9900K with 15-step M/G adjustment), Underwater
Flash: External flashguns only; max synch speed 1/250 second
Flash modes: Auto flash, Fill-flash, Slow Sync., Rear Sync., Hi-speed Sync, Flash off, Wireless; Red-eye reduction is available
Flash exposure adjustment: +/- EV in 1/3, 1/2, 1 EV steps
Sequence shooting: Max.10 shots/sec. with AF/AE tracking for up to approximately 7 seconds
Buffer capacity (based on tests): Max. 72 Large/Fine JPEGs, 85 compressed RAW files, 34 uncompressed RAW files
Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I, II compatible)
Viewfinder: 1.3 cm (0.5 type) 5,760,000-dot OLED EVF with 100% frame coverage, 23mm eyepoint, 0.78x magnification, -4 to +3 dpt adjustment
LCD monitor: Tilting 3-inch TFT LCD with 1,440,000 dots, touchscreen overlay
Interface terminals: USB 3.1 Gen 1 (5 GBit/sec), Multi-Terminal Micro USB (with remote support), Type-D Micro HDMI, 3.5 mm stereo mini jack (microphone), 3.5 mm stereo mini jack (headphone)
Wi-Fi function: Built-in (IEEE 802.11ac), Bluetooth 4.1, NFC plus wireless LAN (2.4 GHz and 5 GHz
Power supply: NP-FZ100 rechargeable Li-ion battery; CIPA rated for approx. 530 shots/charge with EVF, 670 shots/charge with LCD monitor
Dimensions (wxhxd): Approx. 128.9 x 96.4 x 78mm (excluding protrusions)
Weight: Approx. grams (body only); 665 grams with battery and card
Distributor: Sony Australia; 1300 720 071; www.sony.com.au.
Based on JPEG files
All test shots taken with the FE 24-70mm f/2.8 G-Master lens.
Auto white balance with incandescent lighting.
Auto white balance with fluorescent lighting.
Auto white balance with warm toned LED lighting.
30-second exposure at ISO 50; 52mm focal length, f/2.8.
30-second exposure at ISO 100; 52mm focal length, f/3.5.
15-second exposure at ISO 400; 52mm focal length, f/4.
15-second exposure at ISO 1600;52mm focal length, f/7.1.
5-second exposure at ISO 6400; 52mm focal length, f/8.
2-second exposure at ISO 25600; 52mm focal length, f/11.
1.6-second exposure at ISO 51200; 52mm focal length, f/14.
1-second exposure at ISO 102400; 52mm focal length, f/16.
Backlighting with flare artefacts; 24mm focal length, ISO 100, 1/100 second at f/6.3.
30mm focal length, ISO 100, 1/125 second at f/8. JPEG original file.
Crop from the above image at 100% magnification.
From ARW.RAW file recorded simultaneously with the above JPEG.
Crop from the above image at 100% magnification.
Crop from an image taken with the 16-frame Pixel Shift Multi Shooting mode, also at 100% magnification.
Close-up; 70mm focal length, ISO 200, 1/500 second at f/2.8.
70mm focal length, ISO 100, 1/200 second at f/4.5.
30mm focal length, ISO 100, 1/80 second at f/6.3.
24mm focal length, ISO 100, 1/160 second at f/10.
30mm focal length, ISO 100, 1/200 second at f/4.
70mm focal length, ISO 100, 1/500 second at f/4.5.
44mm focal length, ISO 100, 1/100 second at f/5.6.
70mm focal length, ISO 160, 1/80 second at f/8.
24mm focal length, ISO 100, 1/640 second at f/10.
36mm focal length, ISO 100, 1/200 second at f/6.3.
70mm focal length, ISO 100, 1/80 second at f/11.
Still frame from XAVC S 4K video clip; 25p 100Mbps.
Still frame from XAVC S 4K video clip; 25p 60Mbps.
Still frame from XAVC S FHD video clip; 50p 50Mbps.
Still frame from XAVC S FHD video clip; 25p 50Mbps.
Still frame from XAVC S FHD video clip; 25p 16Mbps.
Still frame from XAVC S FHD video clip; 100p 100Mbps.
Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 24Mbps.
Still frame from AVCHD Full HD (1920 x 1080) video clip; 50i at 17Mbps.
Click here to view some additional images captured with the review camera at the 20 September Climate Rally in Sydney.
RRP: AU$5699; US$3500
- Build: 9.0
- Ease of use: 8.7
- Autofocusing: 9.0
- Still image quality: 8.9
- Video quality: 9.0