Month: May 2026

Sony just announced the a7R6, and honestly? It tells us a lot. An 8K filmmaking powerhouse, 32-bit float audio, and the first new battery technology from Sony in eight years. But beyond being a great camera on its own, the a7R6 is basically Sony showing us a preview of where things are headed, and that has some very exciting implications for the FX3 Mark II and a7S4.

I want to go through what Sony has already revealed and make some educated guesses about what is coming next, because these future cameras are shaping up to be really exciting. We’re going to divide this into three categories: things I believe are guaranteed to be coming (well, as guaranteed as speculation can be), things I’m probably right about but can’t say for sure, and lastly, some wishful thinking that would make these cameras truly special.

Just to be clear upfront: this is all speculation. I don’t have any inside information. Let’s get into it.

Part 1: The Guaranteed Upgrades

The Articulating EVF from the FX2

Starting with the body of the FX3 Mark II, this is one I would be absolutely shocked if Sony didn’t include: the articulating EVF from the FX2. A lot of filmmakers weren’t thrilled with the FX2, mostly because it was a great camera body paired with a rather mediocre sensor that cropped in when recording 4K at 60fps. But one genuinely great thing about that camera was the EVF that could tilt up. It was a joy to use, and I would not be surprised at all if Sony carried that forward into future compact cinema cameras like the FX3 Mark II.

Sadly, I doubt we’ll see this EVF make it to the a7S4. Sony has shown that with their photography-focused cameras, they tend not to go that route. However, there is good news on the body front. Sony did add a front tally light to the a7R6 that lights up when you’re recording, and I would bet that also comes to the a7S4.

The Flip-Out Tilting Monitor

This one almost feels too obvious to even mention at this point. The flip-out and tilting monitor that was introduced on the a7R V has essentially become the new Sony standard. We’ve seen it on the a7V and now the a7R6. In my review of the a7V, I called it the best screen design Sony has ever put on a camera, and I have no doubt it’ll be on both the FX3 Mark II and the a7S4.

The New BIONZ XR2 Chip and NP-SA100 Battery

This one I would truly be shocked to not see. The new BIONZ XR2 processor and the NP-SA100 battery system that debuted with the a7R6 are almost certainly going to make their way into both cameras. The new batteries offer 17% longer battery life, but more importantly, they run at a higher voltage, 7.82 volts versus 7.2 on the older NP-FZ100 batteries.

Here’s my theory on why this actually matters: I believe that this more efficient processor paired with the higher voltage is what unlocks some of the more exciting capabilities we’re seeing on the a7R6, and will unlock those same capabilities on future cameras. Look at the accessories the a7R6 supports versus the a7V, which is only about six months older but uses the older battery tech. With the a7R6, Sony introduced the new XLRA4 handle with 32-bit float audio recording internally to the camera. My theory is the older batteries simply couldn’t power the camera and that XLR handle at the same time, so Sony bumped the battery tech to compensate.

And I would be absolutely shocked if the a7S4, a video-focused camera, didn’t support that XLR adapter. I’d be even more shocked if the FX3 Mark II didn’t have a locking, cinema-specific version of it with 32-bit float audio. I’ve talked before about the features I consider non-negotiable for these cameras, and 32-bit float audio is definitely on that list.

Part 2: Things That Are Probably Coming (But Who Knows)

Open Gate Recording

Let’s get the most obvious one out of the way: open gate. Every time I talk to Sony employees, whether that’s at Sony Kando events or any camera reveal, open gate comes up. Filmmakers want it for everything from shooting horizontal and vertical video in one take to using anamorphic lenses. Sony is very aware that we want it. And while the a7R6 doesn’t include it, what better camera to finally introduce open gate than a filmmaker-focused body like the a7S4 or FX3 Mark II? I’m still putting this in the speculation category, but I think filmmakers might riot if Sony doesn’t include it. It’s coming.

Internal RAW Video

The one feature that Canon, Nikon, Panasonic, and even Apple with the iPhone offer that Sony still does not: internal RAW video recording. The form it takes could vary quite a bit. Panasonic just licenses ProRes RAW from Apple. Canon makes their own flavor. Nikon basically supports everything. At a bare minimum, Sony could license ProRes RAW as an option. But they also have their own professional RAW format called XOCN that’s currently only available on very high-end cinema cameras like the Venice and Burano. Maybe they bring a version of that down to the FX3 Mark II and a7S4. Personally, I love Nikon’s approach of offering as many RAW flavors as possible. I’d love to see Sony do the same.

Higher Frame Rate Video

When the a7S III came out, filmmakers were genuinely shocked that it could shoot 4K at 120 frames per second. That was a jaw-dropping spec at the time. The sensor platform that powers the a7S III and FX3 is now several years old, so there is a lot of room to improve. I can’t help but feel that Sony could shock filmmakers again if the FX3 Mark II were capable of 4K at 240 frames per second. That would be wild. I still remember the Sony FS700 from over a decade ago, which could shoot 240fps for about 9 seconds before it had to buffer to the card. And now we could be talking about that kind of slow motion in a small, portable cinema camera with no buffer. So cool.

Better Low Light and More Base ISOs

The “S” in a7S has always stood for sensitivity. These cameras are still some of the best in the world for low-light shooting, but the competition from Panasonic and Nikon has caught up significantly. At a bare minimum, I’d expect Sony to maintain their current low-light performance, and I wouldn’t be surprised if they pushed further.

Here’s a fun thought: Canon now offers a camera with three base ISOs. What if Sony did that? Imagine a base ISO at 800, one at 12,800, and then a third at something truly ridiculous like 51,200. That would blow a lot of filmmaker’s minds, mine included. The dual native ISO system Sony uses is already really powerful, so taking it even further with a third base ISO would be a massive win.

Part 3: Wishful Thinking (The Fun Part)

A Fully Unlocked Quad Bayer Sensor

Okay, here’s where things get truly exciting. I know I just said these cameras will probably continue using low megapixel sensors, but what if they didn’t have to?

There’s sensor technology that’s been around for a while, very common in smartphones, called Quad Bayer. Basically, it allows a sensor to be very high megapixel while still combining four pixels together into groups to create larger pixels when needed. This is how the iPhone can offer a 48-megapixel sensor but shoot 12-megapixel photos by default, giving better low-light performance through pixel binning.

Here’s what might surprise you: the a7S III and FX3 sensor already uses a form of Quad Bayer technology. When people did teardowns of the a7S III sensor, they discovered it actually has a 48-megapixel sensor under the hood, but it’s locked to output only 12 megapixels by combining four pixels together for better low-light sensitivity. So what if Sony created a new sensor with fully unlocked Quad Bayer? You could have an a7S4 or FX3 Mark II with a 48-megapixel sensor capable of shooting 8K, that could also bin down to 12 megapixels for incredible low-light 4K performance. The technology already exists to do this. I’m dreaming, but it could be incredible.

Global Shutter

Alternatively, what if Sony brought global shutter technology to the a7S4 and FX3 Mark II? It’s currently only available in the Sony lineup on the a9 III. Most high-end Red cameras use a global shutter because it completely eliminates rolling shutter and flickering light issues. That could be genuinely game-changing for filmmakers, especially those shooting under mixed or artificial lighting.

Dynamic Range Boost

Here’s one I haven’t seen many people talking about: dynamic range boost. Panasonic has had a sensor technology by this name for years now, where enabling it causes the sensor to lower its refresh rate but significantly boost dynamic range, often by a full stop. I would love to see Sony implement something similar. Their sensors have been sitting in the 15 to 16 stop dynamic range range for a while now, and any technology that could push that further would be a real win.

A Bigger Screen

I already think the a7R6 screen is great, and I expect Sony will use it on both cameras. But if they wanted to go bigger, like the 4-inch screen on the Nikon ZR or the new Kinefinity Vista, I wouldn’t complain at all. The question is whether that screen could still support the flip-out and tilt functionality. Leave me a comment and let me know: would you be okay with a bigger screen if it meant it only flipped out but didn’t tilt?

Internal ND Filters

I know I’m going to get in trouble if I don’t mention this. Internal ND filters. People have been asking for this forever, and I’ve heard from reps at multiple camera companies that the laws of physics are basically working against them, since the filter mechanism would make the camera significantly larger. But I don’t care about the laws of physics. I want Sony to figure it out. It would be an absolute dream, and I know I’m not alone on this one. Someday, maybe.

What About Price?

Historically, the a7S III launched at $3,500 and now costs $4,000. The FX3 launched at $3,900 and now costs $4,300. Looking at where newer cameras like the a7R6 are landing (around $4,500 to $4,700), I could see the a7S4 coming in at a similar price point. The FX3 Mark II is a different story, since it comes with an XLR handle that Sony currently charges around $500 for separately. My guess is Sony tries to keep the FX3 Mark II under $5,000, something like $4,998. They love that kind of pricing. But I hope I’m wrong and it’s cheaper. Given where electronics prices have gone these days, though, I’m not holding my breath.

What Do You Think?

The a7R6 really does feel like Sony showing their hand a little. The new battery, the new chip, the 32-bit float audio pipeline, it all points toward some exciting future cameras. I’d love to hear what you think Sony will include with the FX3 Mark II and a7S4, and whether I missed anything you’re hoping for. Drop it in the comments!

And if you’re currently shooting on a Sony camera and want to get the most out of your autofocus settings, check out my post on the best autofocus settings for the FX3 and a7S III. Out of the box, Sony cameras don’t come with the best autofocus settings for video, and a few quick changes make a big difference. I also have a free Sony autofocus cheat sheet you can grab there.

If you want to go even further and really level up your editing game with all that great Sony footage you’re going to be shooting, grab my free Edit Videos Like a Pro guide. It’ll help you take your footage and turn it into something you’re really proud of.

Thanks for reading, and have a great day!

Sony’s a7R VI is here, and all of the other camera brands have opinions about its “upgrades”.

Want more? Watch my earlier video in this series!

The Sony a7R VI is one of the best hybrid cameras you can buy right now, with stellar photo and video performance. But even more important to us filmmakers, it shows us exactly where Sony is heading for a future a7S IV and FX3 Mark II.

My name is Matt Johnson, and I’m reviewing the a7R VI from the perspective of a wedding, corporate, and commercial filmmaker. I’m going to tell you not only whether it’s a good camera for you to buy, but also what it signals about Sony’s future. Because I genuinely believe the pieces are falling into place for Sony to release a flagship video camera sooner rather than later.

Quick note on ethics: this video is not paid or sponsored by Sony. They did loan me this camera so I could make this review, but the first time they see it is the first time you see it. I will sadly be returning this magnificent camera to them soon.

The Body: Familiar But Improved

Looking at the body, it doesn’t look very different from the a7R V, and that isn’t surprising. A lot of photographers and filmmakers, myself included, loved what the R5 brought to the table. The fully articulating screen that flips out and tilts up and down made its debut on that camera, and it makes a return here.

In a perfect world, Sony would’ve figured out a way to put the tilting EVF from the FX2 on this camera, but I’m betting they’re keeping that for the cinema line. The EVF on the a7R VI has still seen a meaningful upgrade though, to a 10-bit panel with DCI-P3 color coverage that Sony says is 3x brighter than the a7R V.

There are a lot of smaller body improvements I’m a big fan of too. The lens mount now has a raised indicator that shows exactly where to insert the lens, which makes attaching lenses by feel without looking much easier. And here’s something really cool: all of the buttons on the rear are backlit, which makes filming and shooting in low light significantly easier. Don’t want the lights on? There’s a new backlight button on top of the camera that turns them off completely, and you can adjust the brightness in the menu.

There’s also a new tally light on the front of the camera that helps you check if the camera is recording. Of course, it can be disabled in settings if you prefer.

Pop open the port covers on the side and you’ll notice the a7R VI has followed the a7V in finally doing away with the multi-interface connector that used micro USB. You now have dual USB-C connectors, which is great to see, especially if you want to charge the camera while also having external controls plugged in.

The Biggest News: A Brand New Battery

Now here’s where things get interesting, and a little controversial. If you’re coming from the a7R V, you’re going to notice the grip feels slightly different. It’s a bit larger, and the reason isn’t just ergonomics. It’s because of what’s inside the grip.

The a7R VI is the first Sony camera since 2018, back with the a7 III, to come with a brand new battery. Over eight years since Sony upgraded their batteries. And yes, this will be controversial, because these new batteries are a bit larger and they are not backwards compatible. None of your older Sony Z-series batteries will work in the R6.

But Sony isn’t upgrading the battery just for the sake of it. These batteries are not only about 5% physically larger, they also have 17% more storage capacity at 2670 mAh. Even better, they now support fast charging, just like modern smartphones. There’s also a new battery health feature that tells you if a battery is still performing well, and you can check that both on the camera and on the new Sony charger.

Speaking of which, the included charger is a dual battery charger, and Sony is including two batteries in the box with every camera. It feels like they’re trying to soften the blow of the new battery ecosystem, and honestly, I appreciate that.

Now, I want you to think about the bigger picture here for a second. Sony has told me that this new battery supports more stable performance at high-load shooting conditions, and video recording is definitely a high-load task. My theory: Sony essentially maxed out their video recording capabilities with the older battery tech. They needed to upgrade the entire power system to enable the higher quality video recording we’ll eventually see on a future a7S IV or FX3 Mark II.

This battery upgrade is already unlocking higher resolution and frame rates on the a7R VI. And it’s probably also why the a7V didn’t offer 6K video recording. I think power was the limiting factor. I’ve written about what I think the a7S IV and FX3 II need to deliver in detail, and the battery upgrade makes a lot of those features feel much more achievable now.

32-Bit Float Audio Is Finally Here For Sony

Here’s another massive feature that may also be connected to the new battery: 32-bit float audio recording. Yes. It’s finally happening on a Sony camera, and the a7R VI is the first to get it.

Sony is taking a page from Panasonic here and has created a new XLR adapter called the XLRA4, which attaches to the camera’s hot shoe and enables 32-bit float recording. So unfortunately, unlike the Nikon ZR, which records 32-bit float audio directly into the 3.5mm microphone jack, you will need this adapter on Sony to get this functionality. I reviewed the Nikon ZR and its 32-bit float implementation recently, so check that out if you want a comparison.

But regardless, 32-bit float audio on a Sony camera is enormously welcome. If you’re recording audio and the gain is too loud and clips, you can bring the levels down in post and recover it completely. And if the sound is too quiet, you can bring it up without introducing noise. It’s a game changer for wedding and event filmmakers.

Sony has told me the XLRA4 adapter may not be available at the same time as the camera, but I’m very excited for it. And here’s something else to think about: remember what accessory came with the original FX3? An XLR handle. There’s no way Sony isn’t working on a new filmmaking-focused version of this adapter for an FX3 Mark II. I wrote a whole post on why the FX3 II is taking so long, and pieces like this keep convincing me it’s getting closer.

The New BIONZ XR2 Processor and AI Autofocus

Just like the a7V, the a7R VI is running on the new BIONZ XR2 processor, which is significantly faster and more efficient than its predecessor. It also fully integrates the AI autofocus chip that used to be a separate component into the main chip itself. Sony is calling this new autofocus technology AI-based Real-Time AF+, and the plus is the important part.

They’ve made subject recognition noticeably better. Even if people are really far away or their eyes are very small in the frame, the camera can detect them. It can better track a single face in a large group. It’s just better. Sony autofocus has been good for a long time, but coming from an a7S III and FX3, this is still a noticeable improvement. If you want to squeeze even more performance out of Sony’s autofocus system, I have a post on the autofocus settings you should change on your Sony camera right away.

The Sensor: 66.8 Megapixels, More Dynamic Range, and Dual Native ISO

Inside the a7R VI is a brand new, fully backside-illuminated stacked sensor with 66.8 megapixels of resolution. Sony is being very precise about that number instead of rounding up to 67, and I’m pretty sure I know why they’re avoiding that number.

IBIS has improved by half a stop, and while Sony isn’t quite at Panasonic’s stabilization level yet, using this camera handheld is very easy and comfortable. No complaints there.

Because this sensor is fully stacked and backside illuminated, Sony says they were able to squeeze out an extra stop of dynamic range, bringing the camera to 16 stops, up from 15 on the R5. In my real-world testing, the dynamic range in S-Log 3 is extremely good, and the colors and image quality are stellar.

Low light is also really interesting here, because this is the first Sony photo camera I’m aware of where they’ve officially confirmed it’s using a dual gain ISO sensor. Sony usually only tells us that on their video-focused cameras like the FX3. With the a7R VI, they confirmed base ISOs at 800 and 3200. It’s not going to be a low-light powerhouse like the FX3 with its second base ISO at 12,800, but in my testing it’s still quite good, and I’d feel comfortable pushing to ISO 32,000 if needed. If you want to get the most out of S-Log 3, I have a guide on how to easily film in Sony’s S-Log 3 picture profile.

Frame Rates and Resolution: This Is Where It Gets Crazy

Now for frame rates and resolutions, and this is where you start to see what the new battery and BIONZ XR2 can really do. The a7R VI is capable of recording in 8K up to 30 fps with a 1.2x crop, up from 24 fps on the a7R V. But more importantly, it can also record in 4K at up to 120 fps with no crop, as long as you disable the 4K angle of view priority mode, just like you had to do on the a7V.

4K at 120 fps without a crop is a feature I would expect from a dedicated video camera, not an ultra-high-resolution photo-first hybrid. That’s genuinely impressive.

“But Matt, what about overheating? This camera doesn’t have a fan!” You’re right. But Sony is bringing one of my favorite features from the a7S III to this camera: sigma graphite heat sink technology. This passive cooling system made it very difficult to overheat the a7S III even without a fan, and now it’s in the a7R VI as well.

Sony even shared specific overheating tests: in 77-degree Fahrenheit weather, the camera lasted two hours recording in 8K at 30 fps or in 4K at 120 fps. In 105-degree heat, comparable to a Texas summer, they said it would last 30 minutes in 8K at 30 fps or a full hour in 4K at 120 fps. In all of my time recording indoors and outdoors, I never experienced overheating on the a7R VI. That gives me a lot of hope that if and when we see an a7S IV, overheating won’t be a concern there either.

Should You Buy the Sony a7R VI?

If you are a hybrid photographer who wants a camera that absolutely crushes it on the photography side, thanks to a nearly 67-megapixel sensor, while also being capable of recording 8K video at 30 fps, 4K at up to 120 fps without overheating, 32-bit float audio, and the best autofocus Sony has ever put in a camera, the a7R VI gets my highest recommendation.

Pricing is coming in between $4,500 and $4,700, which is definitely not cheap, but given everything you’re getting, it feels fair. Just budget a bit extra for additional batteries and the new XLRA4 hot shoe adapter.

And if you want to make sure you’re always getting sharp, in-focus shots with your Sony camera, be sure to download my free Sony autofocus cheat sheet. There are several settings that Sony cameras ship with out of the box that you’re going to want to change right away, and this free resource walks you through all of them.

If you’re also looking to level up your editing skills to match your new footage, grab my free Edit Videos Like a Pro guide. It’s a great place to start.

I’m going to show you how to export 4K videos in Adobe Premiere Pro 2026 in the highest possible quality for YouTube, Facebook, Vimeo, clients, and more. And to save you a ton of time, I’ve created a set of free 4K export presets you can download right now. They’ll give you all of these settings immediately, without having to dial everything in manually. They even come with instructions showing you how to import them into Premiere Pro. So go grab those for free before you do anything else.

Now, let’s get into it.

Opening the Export Settings

Open up Premiere Pro and make sure you have a project ready with your edited footage on the timeline. Once you’re ready to export, you can either press Ctrl+M on PC or Command+M on Mac, or you can click the Export tab at the top of the screen.

With the export settings open, make sure the blue Media File toggle is enabled. Then on the right side, give your file a name (something like my4kvideo.mp4 works fine) and click Location to choose exactly where your rendered file is going to be saved. Do not skip this step. If you don’t set a location, you’ll be hunting around your hard drive for your rendered video, and nobody has time for that.

Choosing the Right Preset (and Why It’s Not Enough)

Next, select the High Quality 2160p 4K preset. At this point you’re probably thinking, great, I’ll just hit Export and be done. Right?

Wrong.

Adobe’s default settings are not going to give you the best possible quality. So we need to dig into the video settings manually. Click the Video drop-down and let’s go through everything.

Video Settings

For Frame Size, make sure you have UHD 3840×2160 selected. Frame rate should be set to 23.976 (or whatever frame rate matches your footage). For Aspect, make sure Square Pixels is selected. Then click More.

Here’s something really important: make sure Render at Maximum Depth and Use Maximum Render Quality are both checked. These two options can genuinely improve the quality of your exported file, and since you’re going through all this trouble, you absolutely want them enabled.

Encoding Settings

Under Encoding Settings, set Performance to Hardware Encoding. If your computer doesn’t support it, you can fall back to software, but hardware encoding uses your GPU to render dramatically faster. If it’s available to you, use it.

For Profile, set it to Main. You might notice a Main 10 option in the dropdown, but unless you’re exporting in HDR (which is a completely different and much more complex workflow), 99.9% of people should just leave it on Main. The quality will still be excellent.

For Level, leave it at 5.2. For Tier, set it to High, which unlocks your bitrate so you can push the quality even further. Leave HDR Graphics White Nits at the default of 203.

Bitrate Settings: The Most Important Part

This is where it really matters. Your bitrate is the single biggest setting that affects the quality of your exported video.

For Bit Rate Encoding, select VBR 1-Pass. Here’s why this matters: if you select 2-Pass or CBR and you’re on a Mac, Premiere will default back to software encoding, which can take hours to render. Not ideal. VBR 1-Pass keeps hardware encoding active and still produces excellent quality.

For Target Bitrate, set it to 50 Mbps. Yes, this is going to result in a large file. Premiere will even show you an estimated file size in the settings panel. But that file size is completely worth it if you want the highest quality 4K video on YouTube.

Quick note for 60fps: if you’re exporting at 60fps instead of 24 or 30, bump your target bitrate up to 80 Mbps. The higher frame rate needs the extra data to maintain quality after YouTube processes it.

Pro Tip: Always Upload to YouTube in 4K, Even If You Didn’t Film in 4K

This is one of the most underrated tricks in video editing. Even if you filmed in 1080p, I’d strongly recommend using these 4K export settings and uploading to YouTube in 4K.

Here’s why: when you upscale your footage to 4K and upload it, YouTube assigns a significantly higher bitrate during playback. The result is a dramatically sharper, better-looking video than if you had uploaded in HD. This applies to pretty much every major platform too: YouTube, Facebook, Vimeo. Uploading in 4K will almost always give you better results.

If you want to go deeper on the editing side of things and not just the export side, check out my Edit Videos Like a Pro guide, which covers the whole workflow from start to finish.

Audio Settings

Click the Audio drop-down and verify the following settings:

Audio Format: AAC
Audio Codec: AAC
Sample Rate: 48,000 Hz
Channels: Stereo
Bit Rate: 320 kbps

These should already be set by default, but it’s worth double-checking every time.

Save Your Settings as a Preset

Now that you have all of these settings dialed in, the last thing you want is to have to do this all over again next time. You have two options.

First, you can download my free export presets, which have all of these settings pre-built and ready to go. Second, you can save your own custom preset right inside Premiere. To do that, click the Preset drop-down, hit the three dots to the right, select Save Preset, give it a name like H264 4K 24fps 50mbps, and hit OK. From then on, it’ll appear in your preset list any time you need it.

Once you’re set, hit Queue or Export, and you’re done.

If you found this helpful, I’ve got export guides for all the other major platforms too, so check out my guide on exporting Instagram Reels in Premiere Pro as well as older guides for 4K export settings and HD export settings if you want to compare how things have changed. All linked for you. Thanks for reading, and have a great day.