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Beyond this improved dynamic range, the Sony A7S III also includes a number of upgrades to satisfy pro video expectations in 2020. As well as recording to a UHS-II SD card or a CFexpress Type A card in the memory port, the A7S III can output 16-bit raw 4K 60p footage via its HDMI 2.1 connection to an Atomos Ninja V. It’s worth remembering here that 60p is the maximum framerate supported by HDMI 2.1. Colour A fully articulating screen like the one of the A7S III is really the gold standard for video shooting (albeit a divisive one for stills shooters), and it's about time we saw one on an A7-series camera. 6. Interface As you’d expect, the A7S III has 10bit S-Log 2 and 3 available. According to Sony, in S-Log3 the results it produces match those from the Sony PXW-FX9. While it is primarily aimed at videographers, the Sony AS III is still able to shoot stills and could appeal to photographers looking for a low-light camera.
D-Range Optimiser (DRO) is Sony's solution to improve shadow detail in photos taken in contrasty light. There are 5 different levels and an Auto option. The camera also feels a little more responsive that previous Sonys we've used, making the connection between your button presses and the camera's response feel more direct. SteadyShot Active You need to configure a custom button to access these My Dials modes. This can either give direct access one of the My Dial presets (toggling or just when the button is held), or can cycle between presets. Dual dual-format card slots Video details: XAVC HS 4K 3840 x 2160 (4:2:0, 10bit, NTSC): 120p (200Mbps), 60p (150Mbps / 75Mbps / 45Mbps), 24p (100Mbps / 50Mbps / 30Mbps); 3840 x 2160 (4:2:0, 10bit, PAL): 100p (200Mbps), 50p (150Mbps / 75Mbps / 45Mbps); 3840 x 2160 (4:2:2, 10bit, NTSC): 120p (280Mbps), 60p (200Mbps / 100Mbps), 24p (100Mbps / 50Mbps); 3840 x 2160 (4:2:2, 10bit, PAL): 100p (280Mbps), 50p (200Mbps / 100Mbps) XAVC S 4K 3840 x 2160 (4:2:0, 8bit, NTSC): 120p (200Mbps), 60p (150Mbps), 30p (100Mbps / 60Mbps), 24p (100Mbps / 60Mbps); 3840 x 2160 (4:2:0, 8bit, PAL): 100p (200Mbps), 50p (150Mbps), 25p (100Mbps / 60Mbps); 3840 x 2160 (4:2:2, 10bit, NTSC): 120p (280Mbps), 60p (200Mbps), 30p (140Mbps), 24p (100Mbps); 3840 x 2160 (4:2:2, 10bit, PAL): 100p (280Mbps), 50p (200Mbps), 25p (140Mbps) XAVC S-I 4K 3840 x 2160 (4:2:2, 10bit, NTSC) (Approx.): 60p (600Mbps), 30p (300Mbps), 24p (240Mbps); 3840 x 2160 (4:2:2, 10bit, PAL): 50p (500Mbps), 25p (250Mbps) I don't know the exact methods delineated by the ISO Standard to determined ISO properly but one that reflects efficient photon collection is a good start although not strictly scientific.The question now is whether or not Sony will bring this interface to its other cameras via a software update –there's no news on this yet, but it won't be possible on the Sony A7S II because its screen isn't touch-sensitive. 7. Battery life Although the Sony A7S III has two SD-type card slots which are compatible with UHS-II media, the slots can also accept CFexpress Type A cards. These are smaller than the Type B cards we’ve seen in use to date, and they’re not quite as fast, but they’re fine for the A7S III’s 4K video-shooting capabilities. So how do you know which is the best Sony A7 camera to choose when there are so many available new and secondhand? Well, in some ways the original distinguishing features still help. But to put it in perspective we’re talking very low light levels before you’ll notice much difference. In my own tests, both the A7s II and A7r II could autofocus equally well with the FE 55mm f1.8 under light levels that demanded 25600 ISO to achieve a shutter speed of 1/30 at f1.8. It was only when the light was reduced to levels that required 51200 ISO or faster to achieve 1/30 at f1.8 that the A7r II became noticeably less confident, or unable to autofocus at all.
Of course, the biggest handling change made by the A7S III is the introduction of a vari-angle screen. This is a first for a Sony A7 camera and one that I welcome wholeheartedly. The Eye AF is also dependable, but a shade behind that of the Canon EOS R6 and R5. It would also be nice to see Animal Eye AF in video mode. Sony A7S III Image Quality I did make it clear though that in their next implementation, it'd be nice if they offered lower levels of hardware ISO amp. While it looks very similar to the A7R IV and A7 III, the A7S III is a little different because it has a variable screen (whoop!). It means it’s a millimetre or two larger here and there. Of course, time and photo tech marches on, and it felt like no time at all before the a7 earned itself an upgrade in the form of the Sony Alpha 7 II. The sequel kept a lot of the components of its predecessor – if it ain’t broke, as they say – but with the principal addition of 5-axis image stabilisation. Designed to reduce image blur by compensating for camera-shake, this system will be familiar to anyone who has used the Olympus OM-D E-M1 or E-M5. By compensating not only for pitch and yaw movements but also vertical, horizontal and rotational movements, the system ensures better stabilisation than any in-lens system could hope to achieve.To cope with the much more complex menus on a modern camera, the new menu system is based on a series of vertical tabs, which are then broken down into a series of sub-sections. It also shows the options within the current sub-section, so that you can see all the way down to individual options while retaining a clear picture of where you are in the overall structure.
Sony has also responded to one of the biggest requests made for the A7S III and given it a vari-angle touchscreen. That means it’s easier to see the scene then you’re shooting above or below head-height, and for many, makes an external monitor unnecessary. In keeping with the serious video focus, the a7S III joins the likes of Panasonic's S1H in offering a full-size HDMI connector. This is a much more durable connector that's much less likely to drop the signal if anything touches the cable. With images captured at sensitivities between ISO 2000-4000 looking like they were shot nearer 200-400, the A7S III is a liberating camera to use, and, naturally, you can boost the ISO much higher. Even when we set the ISO in excess of 40,000, it still produced usable footage for certain types of video.
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However, while the a7S's body exactly resembles its original 24 and 36MP sister models, the a7 and a7R (the a7 II's design is slightly different), it includes a whole raft of features and tools to support the videographer. These include the low contrast S-Log2 tone curve that allows more of the camera's dynamic range to be fitted into its video files and the option to record time code. Photographers more interested in stills may wish to note that most of these video features have subsequently been included in the newer a7 II, which also features revised ergonomics and in-body image stabilization. Key Features High Dynamic Range Optimiser (HDR) is Sony's solution for capturing more contrast than a single exposure can handle by combining two exposures into one image. There are 6 different EV settings and an Auto option. There are 10 ISO settings available on the Sony A7S. Here are some 100% crops which show the noise levels for each ISO setting for both JPEG and RAW formats: JPEG As you’d expect, the A7S III can shoot raw and Jpeg images but Sony has also included the option to shoot 10-bit HEIF (High-efficiency file format) images. These files are the same size as Jpegs but they have more colour data which means they can have smoother gradations and are better able to withstand editing. Dual Card Slots
Sony’s Alpha A7s Mark II is a full-frame mirrorless camera that specializes in high performance in low light. Announced in September 2015, it’s the successor to the original Alpha A7s and becomes the sixth full-frame mirrorless camera from Sony. It has full-sensor readout and can shoot 4K video at up to 120p or full HD footage at up to 240p, with full-sensor readout no pixel-binning and with the hybrid autofocus system in action. The 'Active' mode is specifically designed for situations in which you're moving with the camera: perhaps walking or on a vehicle with significant engine vibration. Full-sized HDMI Slightly more curious is the FX3's inclusion of a zoom lever. We say curious because only two Sony lenses – the FE PZ 28-135mm f/4 and FE C 16-35mm T3.1 – currently have a built-in power zoom motors that will work with this lever. As well as boosting the low-light performance and enabling a sensitivity range of ISO 40-409,600 for video, using this sensor and processing engine combination enables the A7S III to capture video with up to 15 stops or more dynamic range at low ISO settings and in S-Log.There’s no question that the A7S II’s stabilisation is useful for stills and video shooting, and it’s worth switching it to the active mode for video, but it’s a stretch to call it gimbal-like. It’s handy for taking out those fine shakes and tremors that come with hand-holding a camera, but a gimbal like the Zhiyun Crane 2S is still a good call for run-and-gun video. Colour and Exposure In fact, we're confused about where the stated 'ISO 3200' even comes from- we measured ISO 640 levels of hardware amplification (by comparing clipping levels in Raw files for ISO 3200 SLog2 shots vs all other ISOs, finding that clipping occurred for the same tones in the scene at ISO 640 vs. a SLog2 ISO 3200 file).
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