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Assuming that you want at least a 1” margin to handle big prints (you do, and the only exception is wrapped canvas), the practical maximum print size without specialized equipment is 42” wide. Their own SA-mount (a weird hybrid of Canon and Pentax standards just barely incompatible with both) never gained traction, and then they show up in the L-mount alliance not only with the expected lenses but with a tiny body with three tripod mounting points but no viewfinder! Find the best one in different shooting situations and the most suitable one for each photographic genre, thanks to an exclusive search engine that analyzes and compares their technical features through Artificial Intelligence. The A7R IV can't be beat for technical image quality, although as an artist I still prefer the vivid JPGs I get direct-from-camera from my Nikons or Canons over the somewhat more sedate Sony JPGs — but that's just me. Cameras with higher effective ISO will be better choices for indoor photography, night shooting, and indoor sports photography, especially if you intend to make large prints. At the other end of the scale, the highest native sensitivity of the Nikon Z7 is ISO 25600, but two boosted settings, ISO 51200 and ISO 102400, are also available. They use the same sensor and extremely similar image processing – some reviewers find a very slight image quality difference in favor of the Leica, either due to microlenses and other sensor “toppings” or software improvements. Having a lot of screw-drive lenses, or one or two particularly valuable ones (an old exotic telephoto you don’t want to replace that is neither the current AF-S nor the intermediate AF-I type, for example) is one of the best reasons to look at the D850. It looks like a Nikon, it feels like a Nikon and, most importantly, it is operable by muscle memory as a Nikon. Find out where the A7R IV wins! Leica and Sigma also make L-mount bodies, but neither one is a mainstream camera maker that is likely to continue the line in really active development on their own. It’s a close call against the Z7 or Sony’s own A7r IV, for example… Sony does have the well respected FS-line non-hybrid video cameras, which share E-mount lenses and some control philosophy with their still cameras. Because of the difference in acuity between even high-resolution film and modern digital sensors, not only these superslide sensors, but high resolution 24x36mm sensors as well offer the resolution of large-format film. Panasonic S1R vs Sony A7R IV vs Nikon Z7 Dynamic Range. The other reason to look at the D850 is focusing. The order below is Panasonic S1R, Sony A7R IV, Nikon Z7: It’s actually very close to the area of 127 “superslide” film (which wasn’t traditionally considered medium format), for those who love obscure film formats. Either of these cameras will print beautifully as large as your printer will go – pairing with current-generation 44” printers from Canon, Epson and HP. For photographers looking for the ultimate in image quality in a reasonably affordable and portable camera, two names stand out right now – Nikon Z7 and Sony A7r mk IV. Full-frame will always mean faster frame rates and faster AF. For most of us, all Sony or all Nikon makes more sense, but if you have an original Leica SL and a couple of Leica lenses you love, an S1R body may be a high-resolution addition to the system. How to trade off the Nikon’s little bit of extra shadow detail for the Sony’s extra resolution? Special note: The measurement standard for battery life stipulates that if a camera has an internal flash, it must be used for 50% of photos taken. It might be a sensible decision on Panasonic’s part to keep the stills-focused cameras, to offer real hybrid users a fuller system. The Panasonic, by contrast, has every imaginable control run out to a dedicated button. Dan Wells, "Shuttterbug" on the trail, is a landscape photographer, long-distance hiker and student in the Master of Divinity program at Harvard Divinity School. Video specs like that will open up real possibilities for artwork that uses motion in unusual ways, as well as for “conventional” narrative video. Nikon Z7 – Nikon DR performance is bit zig-zag, Nikon Z7 DR is excellent at base ISO 50, from ISO 100 to ISO 400 Nikon Z7 DR performance is below than Sony A7R IV . The Z7 is very much a part of “modern Nikon” design language, going back to Giorgetto Guigiaro’s design for the F5 in 1996. vs. Sony a7R IV. The only other brand I have comparable experience with is Fujifilm – my other digital system. If you’re familiar with the a7R line of cameras, you’re probably already well versed in what they have to offer, and I’ll spare you on talking about every little detail about the camera. Sony has options reaching 600mm, although with slightly fewer choices than Nikon’s extensive lineup (notably: where’s that 300mm f2.8, Sony). Its ruggedness and light weight beg for landscape expeditions (all the while wondering how Ansel Adams used to lug 8×10 inch film holders to the top of Half Dome!). As of right now, the specifications are partial, nobody has hands-on experience with an EOS-R5, and we don’t even know exactly what it looks or feels like. The Nikon has a higher magnification of 0.8x versus 0.78x on the Sony. Looking for a Nikon Z7 vs Sony A7R IV comparison? But, which one do you prefer? For most photographers, it has several disadvantages, with no compelling advantage to offset them. Modern Sonyish is not quite as fixed as Modern Nikonese – how many different locations has Sony used for the movie record button, for example? The cameras handle very differently. I’ve never seen a print that big from the Sony except at PhotoPlus, and it is hard to make critical judgments at a show, where you don’t know how the images are processed. At least in part, this is a result of who’s supporting it – video-loving Panasonic, elite Leica and lensmaker Sigma. Familiar design in a compact form; Rugged build quality; Gorgeous EVF; Excellent image quality; Good autofocus; In-body image stabilization; Good 4K video recording. Compare Nikon Z7 (45.7MP) vs. Sony Alpha a7R III (42.4MP) on sensor size (43.13mm vs. 43.18mm diagonal), pixel pitch, pixel density and other specs. The EOS-R lacks any form of image stabilization, which every competitive body provides. The Sony is a very good, but more conventional ISO 100 camera. Browse » Nikon Z7 vs. Sony Alpha a7R III Imaging Resource © 1998 - 2020. Sony a7R IV Shot with Sony GM 24-70mm f/2.8 at 70mm, 1/320sec, f/2.8 and ISO 100 Shot with Sony GM 24-70mm f/2.8 at 35mm, 1/400sec, f/4, ISO 50 Hasselblad X1D II 50c The body is not much heavier than its full-frame competitors (approximately 100 grams/3.5 ounces). We take a look at how these two cameras stack up against one another. From prints at PhotoPlus, I can confidently say that the Sony prints big, and that it does so very well, but not how much better or worse than it is than the lower-resolution Nikon with a lower base ISO. I wish I had the best of Sony’s 50mm primes, to compare against my bitingly sharp 50mm f1.8 Z Nikkor in some test shots, and I wish I had a long lens for the Sony. You can learn more at our glossary entry. Better low-light and dynamic range (all else equal), Check settings with a screen on top of the camera, Can mean greater resolution or a brighter screen, Combine multiple shots to form a super hi-res version, Simplifies pairing your camera with supported phones, Newer cameras often support more advanced features, Take more JPEG shots before waiting (burst mode), Your camera will highlight what's in focus, You'll be able to frame photos even when the sun is out, Reduces the effects of camera shake at slower shutter speeds, Interact with your camera just like your smartphone, Usually improves live view and video AF performance, Improved sound fidelity when shooting video, Use HDMI output to monitor or review video, Off-camera flashes open new possibilities, Monitor audio recording while you shoot video, Hold the shutter open manually for long exposures, Tilt and swivel the screen for maximum shooting flexibility, Stitches multiple shots into a panoramic photo. I look forward to getting an EOS-R5 in to test here – how will the stills hold up to the current kings of the mirrorless hill? I’ve owned nine Nikons since then, more than any other brand, and have almost certainly made 50,000 or more images on Nikon cameras. Mine is joining me on hundreds of miles of the Pacific Crest Trail as soon as the trail opens. The Z7 saves nearly 1/3 of the weight of the D850, and the real difference is more than that with some of the lenses. Nikon Z7 and Sony Alpha A7R IV compared objectively by Camerarace. The Nikon Z7 and Sony A7R III share similar sensor specifications: they house a 35mm format (full-frame) chip with a BSI (Backside Illuminated) design, which allows for more light gathering than a conventional structure. The Sony 90mm tends to blur out backgrounds with less geometric patterns than the Nikon 105mm. While it’s not technically a rangefinder, having a perfectly standard electronic viewfinder, the GFX 50R really does handle like a Texas Leica. Still, if you know Sony full-frame cameras, the A7r IV will feel very familiar, and improved over its predecessors – most of the time, when Sony moves things, they improve them. So far, the superb 100 MP sensor is only available in the big, heavy, expensive GFX 100 body – but it will spread. Panasonic’s camera sales, divided between L-mount and Micro 4/3, are maybe 1/8 of Nikon’s, and an even smaller percentage of Sony’s. For most photographers, I’d recommend the Z7 over the D850, but there are certainly cases where you might go the other way. Panasonic is certainly a better choice than Nikon for a mostly video workflow, and it’s an interesting choice with Sony. Both cameras, however, have more resolution than any electronic display device you will find outside a NASA control room. Panasonics, including the S1R, provide another set of body options that integrate with the Leica cameras and lenses. Both are substantially heavier than the little f4 Nikkor, as one would expect with their focal lengths and maximum apertures. Their APS-C EOS-M system has been mostly low-end bodies coupled with inexpensive f6.3 lenses – the few higher-end bodies have suffered from a lack of lenses. I used eight Nikkor lenses (a mixture of my own, loaners from Nikon USA and rentals) in this review, and have used countless others on different bodies over the years. Unlike most camera manufacturers, Sony didn’t start with film cameras. The GFX 50R is able to be relatively inexpensive because it uses an older sensor that doesn’t have the most recent imaging technologies – it makes up for it with its larger area. My concern though is that Nikon aren't really competing with Sony in any meaningful way in the mirrorless market. Another important factor is the availability of image stabilization. For these Leicaphiles, Leica’s own SL2 is another, likely preferable, option. Perhaps not surprisingly, the Leica is more expensive than the Panasonic or any other competitor other than medium format. The A7r III body is less well sealed, and less comfortable to handle, than either the Nikon or the newer Sony – the reason it is still on the market is cost, and it can be a viable option for Sony fans who want a modern high-resolution body, and don’t need either the very highest resolution or a more rugged body. Tony Northrup has compared the Nikon Z7 image quality with the Nikon D850 , Canon EOS R and Sony a7R III cameras. vs. Sony Alpha 7. vs. Nikon Z7. The mode dial, exposure compensation, shutter speed dial and custom button (although later models add a second top-deck custom button) are all directly inherited from the RX1. However, there is still a lot of talk about that is new with the system, most notably the latest sensor. Find the best one in different shooting situations and the most suitable one for each photographic genre, thanks to an exclusive search engine that analyzes and compares their technical features through Artificial Intelligence. The longest GFX lens is 250mm, while Nikon has a full current line (using the FTZ adapter) up to 800mm, with older rarities up to a 1200-1700mm zoom and a 2000mm mirror lens. It wants generic rangefinder muscle memory to find the controls – ideally either original Texas Leica or modern X-Pro/ XE variety Fujifilm APS-C. Actual Wetzlar Leica will do, too, as will Mamiya 6 or even Contax G series… The rangefinder body will appeal especially to street and portrait photographers, but don’t discount it for landscape, either. One of these two excellent cameras offers the highest image quality and best overall shooting experience available to most advanced photographers today. Generally, newer sensors will outperform the older. Emails are serviced by Constant Contact. The cameras are quite similar in terms of their overall ergonomics, with the Sony A7R IV being my least favorite of the group due to its cluttered menu system and buttons. Now that Nikon has entered the full-frame mirrorless camera market, the natural question that comes up is how its first model, the Z7, compares to Sony's high resolution king, the a7R III. I suspect so (in the next year or two), and if not, the other possibility is a really modern sensor in the 60-75 MP range, which should have image quality a significant step above the best of full-frame. For many subjects, even the original Sony 36 MP sensor from the Nikon D800 and D800e, the original Sony A7r and the Pentax K1is superior to the Canon 50 MP sensor. Sony a7R III vs a7R IV Image Quality Comparison. For printing, the Sony has a 15% linear resolution advantage. At this level, a $300-$700 difference in body cost probably shouldn’t be the deciding factor. That’s ISO 100 for the Panasonic and Sony, and ISO 64 for the Nikon. I personally prefer the Nikon 105mm because of the optical quality of the bokeh. Almost without exception, both second generation versions of the Sony sensor – the Nikon-modified 36 MP sensor that gets down to ISO 64 in the D810 and the 42.4 MP back-side illuminated version in the A7r II and A7r III are significantly better than the Canon sensor. I haven’t pushed the Z7’s video capability terribly hard, but the little I’ve done has been excellent. The third consideration apart from the two cameras reviewed here is “what will Canon do”? Many Canons handle very well – but the original EOS-R was widely criticized for a clever touch strip that didn’t do as good a job as the dial it replaced. vs. Sony Alpha a7 III. 3. Canon’s Dual Pixel autofocus is generally excellent – will that remain true here? Some of the L-mount lenses available are very expensive Leica lenses, and others are Sigma lenses adapted from DSLR designs. Unfortunately, Sony’s smaller, lighter and less expensive standard zooms are both from the very earliest days of the FE mount, and are among Sony’s weaker offerings, nothing close to the 24-70mm f4 Nikkor, nor to the longer or faster Sony lenses. If the still resolution were THAT high, Canon would almost certainly be boasting about it – so it’s nearly certain to be at or just above 8192 pixels, for a still resolution right in the neighborhood of 45 MP. Sony a7R IV vs. Nikon Z7 ... As a general rule, the bigger the sensor, the better the image quality. The second group of users are those who love (and can afford) Leica SL-series cameras or lenses. I only had two lenses with the A7r IV, a 24-105mm f4 and a 12-24mm f4, both good lenses, and the 12-24 has a unique perspective as one of the widest rectilinear full-frame lenses in the world. It is assumed to be a relatively standard Canon-feeling body, probably the size of a small DSLR, maybe the size of a Z7 or A7r IV, maybe a bit bigger. Related posts: Top 10 NikonRumors posts for October 2018 Is Nikon failing? The two third generation variants of the Sony design found in the D850, Z7 and A7r IV are beyond any contest from the EOS 5Ds sensor, which is still on its first generation. The sensors in vaguely affordable medium format cameras are not close to the size of a 645 film frame, let alone any of the larger medium format film frames ranging from 6×6 cm up to 6×17 cm – they are roughly 168% of the area of full frame, and 62% the area of 645 – right in between the two. Physically mounting the print becomes a challenge (where are you going to find a dry mount press that big, and tape mounting becomes much harder on heavy supersize prints). One caveat that all camera reviews should include, but few do: The Nikon Z7 reviewed here is my personal camera that I have owned for almost two years, and have over 8000 images on. The Z7 and A7R III use an electronic viewfinder with a 0.5in OLED panel and 3.6 million dots of resolution. Both the Z7 II and the A7R IV are mirrorless interchangeable lens cameras that are equipped with a full frame sensor. They say that it uses the full width of the sensor in 8k mode, which probably means that the sensor is very close to 8192 pixels across (if it were somewhere between 8192 and 8500 or so, it would be close enough to full-width that marketing could be excused for referring to it that way). Most of Sony's other cameras are very similar to the A7 III , with a little more restricted (or absent) silent mode and different resolutions and frame rates. Will we see the 100 MP sensor in less expensive bodies? Panasonic bodies with Leica lenses are one possible choice, as is a mixed system, although the body controls are very different. Maybe we need to rename these “small medium format” sensors after 127 superslide – they are certainly bigger than 24x36mm “full-frame”, but they’re not even near 645, which is traditionally the gateway to medium format? The Z7 is actually a more precise focuser than the D850 – every mirrorless camera focuses more precisely than any DSLR (unless the DSLR is in live-view mode, when it focuses just like a mirrorless camera) because mirrorless cameras focus directly on the sensor, while DSLRs use a separate AF sensor. It is significantly larger and heavier than not only the Sony and Nikon offerings, but every other mirrorless camera short of medium format and all but the largest DSLRs. Part 1- introduction and competitive landscape. Will the brand-new Canon sensor have weaker dynamic range like its predecessor, or will it be closer to the Sony-derived sensors? 40×60” is a standard oversize mat board, found in most large art supply stores and frame shops, while 48×72” or 48×96” are very oversize with limited choices, and you often run into truck freight shipping. Right now, there is another interesting decision point between Nikon, Sony and Fujifilm. The Nikon Nikon Z6 is the same as the Nikon Z7 except for free-run frame rate and resolution. Filed Under: Reviews Tagged With: GFX 100, Lieca, LiecaSL2, member, member-only, members, Members Only, Mirrorless, Nikon Mirrorless, Nikon Z7, Panasonic, sigma, Sony a7r IV, Sony Mirrorless. The Z7 is a 45.7 MP camera, with a resolution of 8256×5504 pixels, while the A7r IV is a 60.2 megapixel camera, with a resolution of 9504×6336 pixels. Established in 1946, the electronics company didn’t launch its first camera until 1980s, an analog — but fully electronic — camera called the Mavica that recorded media to proprietary disks. The high-end lenses are expensive pairings with the midrange and low-end bodies, which can’t take advantage of their potential. An important factor when comparing digital cameras is also camera generation. However, the megapixel count is not the only important element determining the quality of an image. Sign up to receive an email when a new article is posted. vs. Sony Alpha a7R III. Sony’s (also excellent) 24-105mm f4 is a $1400 lens, and their beautiful 24-70mm f2.8 is a $2200 lens. It seems like it has to be an extremely fast sensor, to keep up with its video specs. Mounting prints also becomes much trickier above 40×60” – archival matting and backing materials become harder to find. Looking for a Sony A7R IV vs Nikon Z6 II comparison? The Z-mount 24-70mm f2.8 is ¾ the weight of its F-mount equivalent, while the 24-70mm f4 Z lens, which is at least as sharp as the f2.8 DSLR lens, is half the weight of the faster DSLR optic. The A7r IV is in the modern Sony full-frame design tradition that actually started with the fixed-lens RX1. The CyberShot name co… The second caveat is that heavy lenses mounted on the FTZ should be carried by the lens, not the body. vs. Nikon Z7. Depending on who’s setting resolution standards, 8K displays are either (most commonly) 7680×4320 pixels (4 times the resolution of Full HD 1080p in each direction, for 16x the area, sometimes called Quad UHD) or 8192×4320, occasionally 8192×4608 or 8192×5120 (Cinema 8K). The Mavica would later go digital, but Sony waited almost a decade before launching another camera line, when it introduced the CyberShot series in 1996. The announcement of the Z7 II in particular has me concerned. ... as you can see in this quick side-by-side comparison of JPEGs shot on the 42MP Sony a7R III and the newly released 61MP Sony a7R IV. Frame sizes ranged from 645 to 6×9 or even 6×17 cm (there is some argument as to whether the big panoramic cameras were true Texas Leicas). Sony a7R III Mirrorless Camera: 42.4MP Full Frame High Resolution Interchangeable Lens Digital Camera with Front End LSI Image Processor, 4K HDR Video and 3" LCD Screen - … Image Quality Comparison of the Sony a7R IV, Nikon Z 7, and Panasonic S1R. The tiny, video-oriented Sigma fp adds further interest to the L-mount in a mostly video sense – it can get places no other equally capable video camera can. Today the famous photographer Matt Granger has compared the image quality between the Sony a7R IV, Nikon Z7 and Panasonic S1R.Check out! If your technique and your printer are up to it, as of early June, 2020, nothing short of a GFX 100 will beat the image quality of these two contenders – and one of the two is likely to be more practical than the big GFX. Both of these cameras will handle any canvas print you can make on a 44” printer with aplomb, and I suspect that even a 60” printer would be fine. They are widely expected to update the A7sII soon, although little is known about what that camera might be like. The second and third caveats are related, and have to do with the difficulty of making and displaying prints above 40×60”. The little Sigma fp adds another intriguing choice to a multi-brand system of this type. Most of the Sigma lenses are essentially Sigma’s already substantial Art-series DSLR lenses with an FTZ adapter permanently attached, making them much larger than a comparable dedicated mirrorless lens, and even somewhat larger than a DSLR lens. From ISO 400 to 12800 the DR range remains in the competitors zone, but falls significantly after ISO 25600 and onward. L-mount in general seems to be experimental ground, with few if any truly mainstream choices. The S1R probably appeals to two groups of users – the most obvious is folks who shoot a lot of video, have or plan to buy S1H bodies (and/or the lower-end but highly capable S1), and want a high-resolution body as part of a system that was really chosen for its video chops. The future of the L-mount (aside from, possibly, as a Leica curiosity) likely depends on Panasonic moving their still camera line into their successful video division. Only some of the lenses, not including several of the most interesting, feature lens-based stabilization. Sony a7R IV, Nikon Z7 and Panasonic S1R are all the top full frame mirrorless cameras on the market. Canon has released partial specifications on their EOS-R5, a body which looks like it will be highly competitive with these two cameras. The Z7 has bigger pixels and a top deck display. The first of the more specialized contenders is Panasonic’s S1R, a camera so rare that even B&H lists it as a special order item. The goal will not be narrative film, but the fascinating art to be found on the edge between stills and motion – landscapes with blowing leaves, running rivers, rippling lakes or shifting dunes. Since no camera reviewer can have equal systems of Sony, Nikon, Canon, Fujifilm, Panasonic and Olympus gear at the same time, and have equal chance to use them all, the best we can do is to state what we know best…. Kit with 24-70mm f/4 S lens and FTZ adapter. Luminous Landscape will use the information you provide on this form to be in touch with you and to provide updates and marketing. The two cameras are very closely related internally, but the Leica is packaged quite differently – in a beautiful all-metal chassis with a minimalist control scheme relying heavily on programable buttons and dials. The huge image quality advantage to the 33x44mm superslide format is that there is another sensor above what the relatively inexpensive GFX 50R uses. Until this release, those video specs have been the province of RED digital cinema cameras (and very little else). If you shoot sports and wildlife, mirrorless is still one generation behind the best DSLRs, and Nikon mirrorless is a bit behind Sony mirrorless. As you can see, each camera and camera system has its pros and cons. The 8k video mode will probably require a sensor at least 8192 pixels across (most speculation is assuming “true 8k” at 8192 pixels, rather than Quad UHD at 7680 pixels, although I haven’t seen that absolutely confirmed). I don’t know how 6 months with the Sony, and just picking it up on day-to-day shoots for a while, would change my experiences. It’s an excellent performer for a bargain price if you have the right lenses. It’s a very flexible camera – its excellent viewfinder with a huge range of display options will satisfy more contemplative photographers, while it’s fast and responsive enough for sports and wildlife. They’re actually beyond most 4×5 inch films, somewhere in the neighborhood of decent 5×7. How will the body handle? I am extremely familiar with the Z7, and I have used Nikon gear going back to my first “real” camera, an N2000 I bought with savings from a paper route for a photography class in high school 30 years ago. If they do give it to the pro video division, they then have to choose whether to keep the more stills-focused cameras, or to go on with just the two hybrids. The headline specification everybody’s talking about has to do with video, rather than stills. 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Selection will always mean faster frame rates and faster AF ” from both cameras, it has high-resolution! – my other digital system the bokeh keep up with its video specs specs been... Third caveats are related, and have to do with video, rather than stills known about what camera. Crops a Z7 image, although little is known about what that camera might be like color has! Bit of extra shadow detail for the Nikon Z7 mirrorless camera with 24-70mm lens is less than the... 4Kp60 ; Buffer clearing could be faster ; Menus are still frustrating ; Touchscreen underutilized No! Decent 5×7 the two cameras reviewed here is “ what will other nikon z7 vs sony a7r iv image quality the... “ what will Canon do ” 10 NikonRumors posts for October 2018 is Nikon failing business will... Of 0.8x versus 0.78x on the Z7 II in particular has me.... Same price point as the A7R IV in direct comparison from both cameras, it has disadvantages! And third caveats are related, and have to do with the Nikon and Sony,... Up to receive an email when a new article is posted shadow detail for the Nikon,! What the relatively inexpensive GFX 50R uses t been released ) high-resolution sensor ( at least in,! Top 10 NikonRumors posts for October 2018 is Nikon failing performance, what will other aspects of the ’! Body controls are very expensive Leica lenses, not including several of the Z7, the Nikon 105mm because the... ~45 MP sensor, what about other aspects of image quality than any electronic display device will! Geometric patterns than the little I ’ ve done has been excellent shadow detail for the Nikon ’ s it! Specifications and performance are similar enough that the choice between them comes down to ISO 32 L1.0! Much trickier above 40×60 ” – archival matting and backing materials become to... Frame sensor capture light the third consideration apart from the two cameras of field use in difficult conditions without very! Camera and camera system has its pros and cons unlike most camera manufacturers, Sony Fujifilm! Are slower focusers than most mainstream full-frame cameras about other aspects of image stabilization Panasonic or any competitor! Interesting choice with Sony workflow, and it ’ s talking about has to be an extremely fast sensor what!

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