Since Sony builds the OLED electronic viewfinders used in most cameras, it’s not shocking that the A7S III is the first to get its new 9.44-million dot EVF. XAVC HS is available at 24 to 120p, with a maximum rate of 280Mbit/s for 4k 120p 10-bit 4:2:2. What’s more, it supports 10-bit capture in all 4K modes. Feature for feature, it's simply the best camera I’ve ever tested. It … If you’d prefer smaller file sizes with no loss of quality, you can shoot XAVC S 4K or XAVC HS 4K files, but your computer will grind if you try to edit them. To see if the A7S III could avoid those snags, I took it to Paris and around the Loire valley before the France lockdown took effect -- here’s what I found out. Above: The A7S III shares much of the design and controls of the A7r IV and A9 II, bringing the joystick, improved dials and larger buttons to the S-series – remember the previous A7S II was based on the A7r II body, so the A7S III’s body has jumped-forward by two generations. Its superpower, though, is low-light shooting. That could be Sony’s 12.1-megapixel A7S III… Introduction. It’s a five-axis system which Sony claims is good for 5.5 stops of compensation. In separate reviews I’ll directly compare the photo and video quality against the R5, R6 and Lumix S1H. The A7S III becomes the first A7 model to inherit Active SteadyShot from the compacts – it applies a crop when filming 4k, but the spare pixels on the sensor means it’s still able to capture a full 4k image without scaling. It also fully articulates, which is really a must these days for a video-centric camera. It’s bigger than rivals too with 0.91x magnification, the refresh rate is switchable between 60 and 120Hz and it’s an absolute joy to compose and focus with. You can shoot 4K at up to 120 fps, more than any other hybrid mirrorless camera except Canon’s EOS R5, giving you some crazy creative options. With a wide ISO 40-409,200 sensitivity range and excellent autofocus sensitivity, the A7S III is up there with the best low light shooters. 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. That brings us to this camera’s forte, video. The 4K files are large and require a CFexpress card at 60 fps, because data rates average 600 Mbps and can hit up to 1200 Mbps. Sony also gives you full control over the AF speed and smoothness when changing focus between subjects. 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. Above: Speaking of power, the A7S III employs the existing Z-series battery of recent models and again can charge it in-camera over USB. 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. 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. All were filmed with a near-final pre-production camera. It’s now feasible to use this camera for vlogging or solo shooting. It also supports 240 fps for super slow-mo effects. As with video, low-light photography is unmatched, letting you capture shots with very manageable noise at borderline ridiculous ISO levels. (Weirdly, footage seems to be sharper when played back than when shooting.) In fact the only time I experienced over-heating on the A7S III was 60 minutes into a single 4k 120p clip, when the warning popped-up and the camera shut-down about five minutes later. The in-body stabilization is highly effective for video, especially with electronic stabilization, which adds a small crop. The camera also remembers different settings for photos and video, allowing you to switch between formats without constant adjusting of exposure and focus. You don’t have to look far though to find a bunch of new features that make their debut on the A7S III. 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. With freelancers now working on their own more, the Sony A7S III … 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. It's been 5 long years since its popular predecessor was launched, but now the new Sony A7S III full-frame mirrorless camera is finally with us! However, rather than offering SD and Memory Stick compatibility, the Mark III becomes the first camera we've encountered to … As usual, it can’t replace a gimbal, but it’s effective for static shooting or smooth panning. The A7S III can shoot at up to 10 frames per second with continuous autofocus, or 20 fps with the silent electronic shutter. The two cameras are presented according to their relative size. Designed for professionals, the α7S III builds on the strengths of the S series, such as high sensitivity and wide dynamic range, while providing pro features like enhanced AF, … In the File Format menu you’ll find a choice of codecs, and Sony owners will recognise the continued availability of XAVC S in 4k or 1080, both using H.264, but now at frame rates from 24 to 120p including 4k, and in 10-bit 4:2:2 if desired. Topping off the good news, it has a full-sized HDMI port that’s far less likely to cause problems if you use an external recorder -- and the camera even comes with a cable protector. It records up to 4K UHD 120fps in 10-bit full-sensor internally. And unlike the Canon R5 and R6, you can also record duplicate backup video to a second card regardless of the format, or a lower res proxy if preferred. Also unlike Canon’s R5 and R6, you can record video to both cards simultaneously for backup in an identical format. Ever since its original debut in 2015, the Mark II has been the longstanding low light king and a … The Canon has a resolution of 44.8 megapixels, whereas the Sony provides 12 MP. On the plus-side, 1080 240p doesn’t crop and autofocus is still available. JPEGs are natural with just the right amount of sharpening, while RAW photos let you dial down blown-out highlights or crank up shadows. Download the video and still image samples here: http://sdp.io/r5iq The Sony a7S III (http://sdp.io/a7s3) is here and it's AMAZING! Sony’s subject tracking, along with the face and eye-tracking, already leads the industry -- and the A7S III takes it up another notch. The viewfinder refresh was also fast enough for me to easily follow them as they darted around the sky. FilmConvert announced that it has added its picture profile for the Sony a7S III. There’s also 1080 up to 240p and 16-bit RAW up to 60p over HDMI. 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. The Sony a7s III is one such camera. 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. 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. Also available, Sony A7S III movie sample 4k 24p XAVCS, Sony A7S III movie sample 4k 120p XAVC HS, Sony A7S III movie sample 1080 24p XAVCS. 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. The long-awaited Sony A7S III aims to be the best, most versatile full-frame mirrorless camera for 4K video. Its 4K sensor is only 10.2 megapixels, but like the a7S III, that's not as it sounds. Above: Sony A7S III movie sample 4k 24p XAVC HS. Sony claims 5.5 stops of shake reduction, which is less than rivals like the Canon R6 and Panasonic S5. 4k footage is uncropped from 24 to 60p. 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. The USB C port now operates at 3.2 speeds up to 5Gbps, supports USB tethering on mobiles and even works with USB to ethernet adapters for wired network connectivity. It’s also small and light enough to carry around for long stretches. 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. 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. True it can get noisy, but the Sony a7S III can easily be regarded as a “night vision device”. 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. Moving onto stabilisation, the A7S III employs Sony’s latest sensor-shift IBIS with two modes. New to the A7S III are XAVC HS and XAVC S I. XAVC HS is 10-bit 4k only and uses the more efficient H.265 codec to deliver better quality than XAVC S at the same bit rates, although they’ll need greater processing muscle for editing. You can operate it by touch or using traditional controls, and I liked how the three dials independently adjusted the three menu levels. That brings us to this camera’s forte, video. Sony says it’s monitoring demand for DCI, but among modern rivals it’s now become the exception not to offer it. And for the graders, Sony A7S III movie sample 4k 24p XAVC HS S-log 3. 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. Its limitations are down to the high $3,500 price tag and low-resolution sensor, which rules out the A7S III for landscape and other types of high-detail photography. Meanwhile the I in XAVC S I stands for All-intra, using very high bit-rates to encode 1080 or 4k up to 60p in H.264 10-bit 4:2:2; at 60p, you’re looking at 222Mbit/s for 1080 or 600Mbit/s for 4k, and these are the only modes that demand faster SD cards, although bear in mind all of the A7S III movie modes are within the capabilities of decent SD cards, unlike the Canon R5 which requires expensive CF Express for 4k 120p and 8k. 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 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. Sony has addressed nearly every complaint I’ve ever had about previous A7-series cameras, but it didn’t just stop there. It also feels natural to hold and use, thanks to the nicely contoured grip and assortment of logically placed manual controls. 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. Offering some consolation though is the ability to output 16-bit RAW video over HDMI at 4264×2408 pixels up to 60p, from which you could scale or crop a full DCI frame. Three successive views from the front, the top, and the rear are shown. Given the much higher ISO range and lower noise levels, though, it’s more than sufficient. If you’re into grading, you can apply the usual picture profiles with S-log 2 and 3 and Sony claiming up to 15 stops of dynamic range. For the maximum slow-down, you’d choose a frame rate of 240fps and a record rate of 24p for a ten times slowdown which is what I used for all the clips in my review video. 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. Those include shooting control dials for shutter and aperture, a joystick, control wheel, mode dial, exposure compensation dial and multiple buttons. Another first for Sony is the dual, dual card slots. In theory, HEIF should allow a broader dynamic range than JPEG, but again I’m waiting for better software support before I can fully evaluate it. 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! You can even capture 4K 60 fps RAW footage to an Atomos Ninja 7 recorder, though the exposure is baked into the image, giving you fewer options in post and negating some of the advantages of RAW video. The Sony A7S III is finally here, and boy does it deliver. Both the Canon R5 and the A7S III are mirrorless interchangeable lens cameras that are equipped with a full frame sensor. 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. In this hands-on review I look at the a7S III in the context of capturing wildlife video and photos. All width, height and depth measures are rounded to the nearest millimeter. 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. Above: The presence of phase-detect autofocus may be expected from a modern Sony body, but it transforms the usability of the camera compared to its predecessors which were contrast-only. 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. 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. If you need that, get Sony’s similarly priced A7R IV with a category-leading 61 megapixels. 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. Beyond the shutter speed range of 1/8000sec to … Face and eye detection are always a highlight of Sony cameras, with the A7S III inheriting the latest tech, plus faster processing by its new BIONZ XR engine. And also in 4k at 24p, again showing minimal skewing. Incredible low-light performance and every feature you need. Just be mindful that high frame-rate 4K 10-bit video at maximum quality requires a fast and costly CFexpress card -- with 80GB and 160GB cards costing $200 and $400, respectively. Review of the Sony a7S III covering dynamic range, autofocus, IBIS, build & ergonomics, codecs, image quality, & stability with comparisons to the Canon R5. Facebook's cryptocurrency project rebrands as Diem, Razer enables custom Chroma lighting effects for Opera's gaming browser, Massachusetts lawmakers pass state-wide police ban on facial recognition, Apple's MagSafe Duo Charger is now available for $129. Find out all the details in our full review. As such, there’s inevitably some risk of skewing when using the electronic shutter if the lens or subject are in motion, and you can see it as Ben approaches the edge of the frame, but it’s still better than many I’ve tested. There is a little, but it’s pretty well-controlled. This is a $500 premium over 2015's Mark II but still $500 lower than the launch price of the Panasonic Lumix DC-S1H, which is … Your ratings help us make the buyer’s guide better for everyone. You can shoot 4K at up to 120 fps, more than any other hybrid mirrorless camera except Canon’s EOS R5, giving you some crazy creative options. It works equally well in dim and bright light, putting every other camera to shame in that regard. The old horizontal structure has been swapped for vertical tabs, starting with seven main sections running down the left side. Sony A7S III full-frame mirrorless camera review. In contrast, the longer clip length and ability to film about an hour’s worth before a short cooldown is required makes the A7S III much more practical in demanding filming environments. The advantage of that is that you get the same smooth slo-mo, but the footage is a lot easier to edit afterwards. 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. 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. In my resolution tests, 1080 footage on the A7S III peaked between 24 and 60p, losing quality at 120p and even more at 240p, although as you can see here the footage can still look good. The resolution may sound low compared to rivals, but it’s still enough to capture 4k video and crucially by having fewer pixels in the same area, they can be larger and more sensitive to light. It limits how much you can blow up shots, but the A7S III’s prodigious low-light and fast autofocus powers make it better for other things. The shutter is inherited from the A7r IV and A9 II, and is fairly quiet in operation, but for complete silence you can switch to the electronic shutter in silent mode. 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. Discover the α7S III with pro movie/still capability from Sony & explore all the Cameras features. As such, you’ll likely need to convert them to ProRes or another more editable format. How about rolling shutter? After years of requests, Sony has finally equipped an A7 camera with a fully-articulated, side-hinged screen. 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. Now, you can adjust things without any buttons, which is particularly useful when you’re filming with the display toward yourself. 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. Shooting at ISO 16,000 or 25,600 in a dim lit train station, I could pull detail out of shadows with minimal noise. Above: Before delving into video, let’s talk about photos. 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. 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