sony a7s iii review

Those make it much easier to find settings and remember where you are, though a few things like the log functions are still a bit hard to find. There’s also 2.4 and 5GHz Wifi along with support for FTP file transfer over wireless, USB or ethernet. The Canon R5 took way longer to cool-down too and after five minutes would only allow a 2 minute 4k 120 clip, compared to the Sony which was ready for another full shoot. And while it can’t supersample 4K like the A7 III (because it has half the sensor resolution), its 4K video is still extremely sharp. It’s a bit brighter though, which is always welcome. Video autofocus now beats Canon’s vaunted Dual Pixel AF technology, thanks to the sheer speed and AI smarts in Sony’s newest camera. The A7S III can shoot at up to 10 frames per second with continuous autofocus, or 20 fps with the silent electronic shutter. Sony has a long history of making card slots that could accommodate more than one media type, and the a7S III revives this tradition. That brings us to this camera’s forte, video. Here you can see it easily following me around the frame using real-time tracking; I’d say the acquisition is faster than previous bodies for stills and video. The A7S III now has a standard sensitivity range of 80 to 102,400 ISO which can be extended down to 40 ISO at the low-end and 409,600 ISO at the high. The A7S III is nearly identical to the A7R IV, which is a good thing because the A7R IV is Sony’s best handling camera yet. I found I could get usable shots with manageable noise at up to ISO 51,200 if I exposed correctly or allowed for some underexposure. The Sony a7S III will sell for around $3500. As you can see in the above video (minute 11:57), the lowlight capabilities of this camera are simply insane! Better still, the main and quick menus can be fully operated using the 3-inch touchscreen. It’s now feasible to use this camera for vlogging or solo shooting. The Sony A7S III is a high-end full-frame mirrorless camera aimed at pro videographers and low light imaging. Above: The upgraded autofocus is also perfectly capable for tracking fast action, such as Brighton’s seagulls in flight, here with the A7S III fitted with the FE 70-200mm f4 zoom at 200mm f4. You’ll also notice all the internal video formats on the A7S III continue to record in the 16:9 shape, with no option to record in the wider Cinema DCI shape. The advantage of that is that you get the same smooth slo-mo, but the footage is a lot easier to edit afterwards. Above: Now onto the sensor, which shares the same 12 Megapixel resolution as previous A7S models, but now employs a new back-illuminated design with double the readout speed and phase-detect autofocus across 92% of the area. Sony’s 12.1-megapixel A7S III was worth the five-year wait. Sony’s also equipped the A7S III with a new visible light and IR sensor to better-evaluate white balance. It’ll cost around $3500 when it goes on sale in September. Share. And also in 4k at 24p, again showing minimal skewing. Video dynamic range is dramatically improved, and it’s now a stellar run-and-gun and vlogging camera. The long-awaited Sony A7S III aims to be the best, most versatile full-frame mirrorless camera for 4K video. With Sony A7S III, you can record your videos at a highest resolution of 3840 x 2160 at 120p, 60p, 50p,30p,25p,24p fps with bit rates up to 500 mbps and save in MPEG-4, XAVC S, XAVC HS, XAVC S-1, H.264 and H.265 formats. I also shot with the A7S III alongside the Canon EOS R5, R6 and Lumix S1H, so look out for my upcoming comparisons if you’d like to see how their photo and video quality measures-up. All words, images, videos and layout, copyright 2005-2020 Gordon Laing. If you drop the frame rate to 60p or lower on the A7S III, you’ll find the battery and memory becomes the limiting factor. Much like nightsight mode on smartphones, this is stupidly useful in so many situations. Released in 2020, Sony’s A7S III is the long-awaited replacement to the acclaimed A7S II. Still, the handling on this camera is among the best. In separate reviews I’ll directly compare the photo and video quality against the R5, R6 and Lumix S1H. In my review video you’ll see the A7S III in 1080 24p and again in another clip behaving pretty well. This is the third edition in the series of a7s models, and by far the most specialized of all Sony’s full-frame system cameras. The battery is the same as the one in the A7R IV, and I could shoot video for around three hours on a charge. The in-body stabilization is highly effective for video, especially with electronic stabilization, which adds a small crop. It also supports 240 fps for super slow-mo effects. Above: I’m pleased to report the A7S III hotshoe supports the digital interface introduced on the A7r IV which means it’ll work with the ECM-B1M microphone for a pure digital connection. At 699 grams, it’s surprisingly light considering all the tech packed inside. Sony claims the A7S III can record an hour of 4k uninterrupted, but I found it could do much better in most modes. Announced in July 2020, it comes almost five years after the A7S Mark II, making it one o Cameralabs Camera reviews, lens reviews, photography guides Sony A7S III full-frame mirrorless camera review. The A7S III is a lower-resolution, higher-sensitivity version of Sony's A7 series of cameras. The nice thing about the A7S III is 10 bit 4:2:2 sampling is available in any profile or colour mode, unlike the Canons which limit it to log and HDR modes. There is a little, but it’s pretty well-controlled. There’s a 3.5mm microphone input that considerately clears the screen hinge mechanism, a 3.5mm headphone jack, a full-size Type-A HDMI port earning Sony bonus points over Canon who’ve annoyingly down-graded to Micro-HDMI on the R5 and R6, and both Micro and Type-C USB ports allowing simultaneous tethering and charging. How about rolling shutter? Beyond that, the image is too noisy, so it would only be good for emergency use. Above: Ok, now for movie recording which is of course the core focus of the A7S III, and Sony’s made some big upgrades including 4k up to 120p, 1080 up to 240p, and new codecs supporting 10 bit 4:2:2 internal recording. © 2020 Verizon Media. Just be aware that data rates can hit 1200 Mbps when you’re recording 4K 120 fps using the S&Q settings, so you’ll need CFexpress cards for that. Is this the most capable hybrid 4K video camera available today? Discover the α7S III with pro movie/still capability from Sony & explore all the Cameras features. As always I’ve filmed an in-depth video review below which shows you everything including video tests and autofocus demonstrations, but if you prefer to read a written version of the highlights, keep scrolling! It’s the first mirrorless camera that can keep up to Sony’s pro video cameras in terms of 4K video specs, while also gaining important features like a flip-out display. It also debuts a bunch of firsts for the A7 series including a fully-articulated screen, brand new user interface with full touch control, twin slots that support both SD and CF-Express cards, a full-size HDMI port and the highest resolution viewfinder I’ve ever seen. As usual, it can’t replace a gimbal, but it’s effective for static shooting or smooth panning. XAVC HS is available at 24 to 120p, with a maximum rate of 280Mbit/s for 4k 120p 10-bit 4:2:2. In use I managed to handhold a sharp result at 70mm at 0.4 seconds, corresponding to about five stops over an unstabilised version. I’m delighted by the new UI and look forward to seeing it on future models – let’s hope it also becomes available to older ones via a firmware update, although there’s no news on that yet. There’s no headline-grabbing 6k, 8k or internal RAW here, with Sony instead concentrating on delivering the best 4k it possibly can. It’s a five-axis system which Sony claims is good for 5.5 stops of compensation. Its superpower, though, is low-light shooting. It’s also small and light enough to carry around for long stretches. Your ratings help us make the buyer’s guide better for everyone. Almost everything that I ever complained about past Sony mirrorless cameras has been addressed. The A7S III doesn’t capture 8K or even 6K like Canon’s EOS R5 or the BMPCC 6K, but those resolutions are still largely gimmicky. Filmmakers can now rate the a7S III footage with FilmConvert Nitrate and achieve the desired footage look with precise colors. For photos, don’t be quick to poo-poo the 12.1-megapixel sensor. While the sensor readout is twice that of the A7S II, it’s still not a stacked design so falls short of the speed of the A9. Announced in July 2020, it comes almost five years after the A7S Mark II, making it one of the most long-awaited upgrades in the A7 series. Maybe you just want, simply, the best mirrorless camera. Sony a7S III FilmConvert Profile Added. Now, the 12-megapixel, $3,500 A7S III is here and appears to be worth the wait. With just 12 megapixels to process, the autofocus for photos is fast and responsive. There’s 51 pages of settings for still modes or 49 for video modes, and all were easier to find and navigate than the previous system. Above: Moving on, here’s Ben, back on his bike, captured with real-time tracking autofocus, first at 10fps using the mechanical shutter and FE 70-200mm f4 at 200mm f4, where again I enjoyed an almost 100% hit rate. That brings us to this camera’s forte, video. Above: You may be divided over touch controls and screen articulation, but I guarantee you’ll love the new viewfinder which is the first to employ a 9.44 million dot OLED panel that already trumps the 5.69 million dot viewfinder on the R5, Lumix S and A7r IV. Sony also gives you full control over the AF speed and smoothness when changing focus between subjects. I think the A7S III is also the best vlogging camera on the market, period, thanks to the flip-out screen, mic input, stabilization, high-quality video and eye autofocus. Better still, it’ll also allow the XLR-K3M accessory to support four channel 24 bit recording using stereo for the shotgun mic and mono for two additional XLR sources. Ever since its original debut in 2015, the Mark II has been the longstanding low light king and a … Incredible low-light performance and every feature you need. In 4k 60p, I managed a single 107 minute clip before I filled my 128GB card, with 25% battery remaining and the camera happy to continue filming. RAW is of course also available and can be set to uncompressed or compressed. My only concern is whether the high resolution has an impact on battery life, but so far the camera seems to be operating just fine. The Sony A7S III is finally here, and boy does it deliver. However, I was able to edit them directly with no transcoding in Davinci Resolve on an NVIDIA RTX 2070 laptop. Drop the resolution to 1080 and you can film up to 240p, a speed that’s beyond the two Canons, although on the A7S III you’ll need to access it from the S&Q mode which slows the footage in-camera and doesn’t record sound. Testing out the all new Sony A7siii.. 4k 4:2:2 10bit 120fps! Those low-light powers are very useful for film school students or even pro filmmakers, letting them shoot indoors and in other circumstances using practical or natural light. You can operate it by touch or using traditional controls, and I liked how the three dials independently adjusted the three menu levels. Above: You’ll also notice Creative Styles have been rebranded as Creative Looks, with ten available for stills and movies, including vibrant and muted options as well as black and white and sepia. Sony a7S III has been announced in summer 2020 – five long years after its predecessor came out. Sony A7S III camera review The best mirrorless for video, and almost everything else. I got to shoot with a final body running near-final firmware for over a week and in this review I’ll show you everything I’ve learned about the camera so far. However, Canon’s recent models looked impressive at first only to  have some annoying issues, especially around the area of overheating, when I got to test them in person. The two cameras are presented according to their relative size. Red Deer Stag looking for his harem by cjf2 from My best photo of the week. Finally, it has all the ports you need on a video-centric camera, including USB-C for both charging and data transfers, along with microphone and headphone ports. It stays locked on, no matter how fast your subject moves, giving you sharp shots for sports, wildlife or lively parties. For most videographers who occasionally shoot photos, I think this camera will do nicely. JPEGs are natural with just the right amount of sharpening, while RAW photos let you dial down blown-out highlights or crank up shadows. Given the much higher ISO range and lower noise levels, though, it’s more than sufficient. All were filmed with a near-final pre-production camera. May not be used without permission. It works equally well in dim and bright light, putting every other camera to shame in that regard. In this hands-on review I look at the a7S III in the context of capturing wildlife video and photos. Coming to you from Hyun Ralph Jeong, this great video review takes a look at the Sony a7S III both from a stills and a video perspective. Above: The screen doesn’t just now flip-out, it also debuts a new touch interface. Sony says it’s monitoring demand for DCI, but among modern rivals it’s now become the exception not to offer it. Spotify Wrapped chronicles your 2020 listening habits in a stories-style format, Watch the trailer for Studio Ghibli's first fully CG movie, The 'lost' Superman PlayStation game has appeared in public, The Arecibo Observatory's telescope has collapsed. Now, you can adjust things without any buttons, which is particularly useful when you’re filming with the display toward yourself. Sony has finally, finally fixed its awful menu system and now uses cascading folders like Panasonic’s latest cameras. And for the graders, Sony A7S III movie sample 4k 24p XAVC HS S-log 3. starting with a run through the sensitivity range, and in the absence of RAW converters at the time I made this review, all my photos are JPEGs out of camera. With freelancers now working on their own more, the Sony A7S III … The actual resolution of 4240×2832 pixels won’t come near to delivering the detail of higher resolution models, but there’s a very satisfying crispness to the images which again are bereft of noise until the sensitivity becomes very high. The Canon has a resolution of 44.8 megapixels, whereas the Sony provides 12 MP. The viewfinder refresh was also fast enough for me to easily follow them as they darted around the sky. The biggest downsides are the low-resolution sensor and high $3,500 price tag. In terms of recording times, Sony’s dumped the half hour limit of some rivals and designed the internals to better dissipate heat without the need for active cooling. It's not so much for still photos as it is for video. The A7S III sticks with the 12 Megapixel resolution of its predecessors to maximise sensitivity, but employs a new back-illuminated sensor now with confident phase-detect autofocus and a wealth of movie modes including unlimited 4k up to 120p with 10 bit internal recording. I wish the mode dial had a push-to-lock button, so you don’t have to awkwardly hold the button while turning the dial and I also slightly prefer the layout on Panasonic’s S5, as it has dedicated dials and a button for shooting and AF modes. Above: 4k at 120p is the only mode on the A7S III to incur a crop, which I measured at about 1.1x, indicated by the outer edge of the red frame above. The camera certainly is one of the most popular mirrorless bodies of 2020. Sony’s subject tracking, along with the face and eye-tracking, already leads the industry -- and the A7S III takes it up another notch. If budget is an issue and you need an all around hybrid camera, check out the Canon R6, Panasonic S5 or Sony’s own A7 III, all between $2,000 and $2,500. The Sony a7s III is one such camera. Sony a7S III initial review. But compare a 65 minute 4k 120p clip on the A7S III with the EOS R5 which can only make 7.5 minute clips in 4k 120p and which under the same conditions shut down about six minutes into a second clip. It has the same incredible low-light capability of its predecessors, but adds much-needed features like improved stabilization, a flip-out touch display and 4K video at up to 120 fps. Another first for Sony is the dual, dual card slots. If you want to give your computer a break, you can use the new “S&Q” (slow and quick) motion mode to capture at 60 fps or 120 fps with playback limited to 24 fps with no audio. Above: Finally for my photo tests, the A7S III features built-in sensor-shift stabilisation. Sony has a new choice here with its All-I (XAVC S-I) compression for 4K or HD at up to 60 fps, with every frame being recorded separately. Review of the Sony a7S III covering dynamic range, autofocus, IBIS, build & ergonomics, codecs, image quality, & stability with comparisons to the Canon R5. Of course Canon also now offers 4k 120 with autofocus on the EOS R5, but there’s no audio and as I mentioned a moment ago, a maximum clip length of 7.5 minutes and likely over-heating after about 15 minutes worth of footage whether you’re recording big clips or lots of little ones. What that spec doesn’t say is how great the mechanical shutter feels and sounds. The Canon EOS R5 and the Sony Alpha 7S III are two digital cameras that were revealed to the public in July 2020. Now Sony have launched the A7S III mirrorless camera, which they claim delivers “The best 4K Sony ever made”. 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