SONY A1
SPECIFICATIONS
Price: £6499/$6498 body only Sensor type/size: 50.1-megapixel stackedBSI-CMOS, full-frame Image stabiliser: Sensor-shift withfive-axis compensation ISO range: 100-32,000 (expandable 50-102,400) Autofocusmodes: Single, continuous. Multi-area, tracking, face/eye detection, touchAF Autofocus points: 759on-sensor phase detection, 425 contrast detection Shutter speeds: 30secs-1/8000sec, plus B Flash sync: 1/400sec Shutter type: Focal-plane mechanical, plus electronic Metering: Multi-zone, average, spot, centre-weighted Max stills frame rate: 30fpswith e-shutter, 10fpsmechanical LCD: Tilting 3in touchscreen LED, 1440Kdot Viewfinder: Electronic OLED, 100%coverage, 9437Kdot, 240fps Formats: 8K/30p4:2:0 10-bit. 4Kup to 120p, FHD to 240p, 10- bit 4:2:2 internal capture up to 600Mbps inH.265/All-I H.264. Raw16-bit 4.3K, 4K/60p4:2:2 10-bit, 8K/30p, 4K/60p4:2:0 8-bit recorded external viaHDMI Storage: 2x CFexpress Type Aor SD/SDHC/SDXC card slots Connectivity: Wi-Fi, Bluetooth Dimensions (wxhxd): 128.9x96.9x69.7mm/ 5.1x3.8x2.7in Weight: 737g/1.6lb body only
FACE FACTS Natural colours, such as skin tone (above), come into sharp focus. While the screen tilts out (below), it doesn’t flip round, which isn’t for everyone
“There is S-Log2 and S-Log3 andHDR for maximumdynamic range, plus S-Cinetone”
newmonitor/recorder to do it, like the Atomos Ninja V+. So, more expense there, then. There is little or no sensor cropping, depending on codec choice and whether you have activated in-body image stabilisation (IBIS). There are certainly no mega-crops, like some cameras. And the AF continues to work at all settings. There is S-Log2 and S-Log3 and HDR for maximum dynamic range, plus S-Cinetone, which is a great out-of-camera setting offering a cinematic look, without need for grading. S-Cinetone has at least one fewer stop of dynamic range than S-Log3, but is ready to go, right out of camera. I enjoyed a huge amount of dynamic range, especially in S-Log2 and S-Log3, as well as HLG. This is helped by the low-light performance. The ISO range is not quite as wide as the see-in- the-dark A7S III, but it goes from 100-32,000, expandable 50-102,400. Cameras with lots of pixels often
For real-world filmmaking where 8K is just not needed, the spec is pretty much identical to the A7S III. That means it shoots 4K at 60p full-frame with no crop, recorded internally, in 10-bit 4:2:2, with no limitations on recording time and all the highly advanced AF functions still working. It also shoots 120fps 4K internally, with a slight 1.13x crop. And for fans of super slow-motion, it records 240fps in HD, but with no audio. There is simply a huge range of HD and 4K options, in 10-bit and 8-bit, 4:2:2 and 4:2:0 versions, with frame rates up to 120p in 4K and 240p in HD, in H.264 and 265. For 240fps, you use S&Q mode, which means audio is absent and recorded as a QuickTime movie file, so when you play it back in-camera, it’s already in slowmotion. You can also output 8K or lower resolution, in 16-bit Raw over HDMI to an external monitor, to record in Raw, 12-bit Log ProRes Raw or ProRes in whatever flavour your monitor can handle. To record 4K/120p externally, you will need a
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