GEAR
SONY A1
“Shooting Log helped get even more dynamic range, especially in 10-bit files”
suffer in terms of noise, but we found that for performance at ISO values up to 6400, the A1 is better and cleaner than the A7S III. It was only after 12,800 ISO that the A7S III got the upper hand. As most general filmmaking is done way below this threshold, the A1 outperforms the A7S III noise-wise, which is surprising. You can easily dial in ISO up to 6400 without a worry. We shot a lot of footage in 4K, 10-bit 4:2:2 – including in 120p. The new Sony H.265 format is impressive, as is Full HD. Shooting Log helped get even more dynamic range, especially in 10-bit files, which are far better than any 8-bit files for grading. In terms of AF performance, it is right up there as one of the very best. It is a customisable AF with hybrid phase and contrast detection and, like the A7S III, offers all the advanced features while shooting video. Many lesser mirrorless cameras offer stills shooters the full range of AF settings, such as eye detection, but these don’t work for video use. The A1 delivers the full range of customisation, with face and eye detection for humans, animals and birds. The AF system is tweaked for focus tracking very smoothly. Focus speed can be adjusted from fast to slow and how ‘sticky’ it is before looking for a new subject. And it works in bright and low light. There is touch-to-focus on
A7S III. It takes time to dial all the settings into the My Menu tabs, but is worth the effort. You still can’t change shutter speed to shutter angle, and there is no waveform monitoring, which is disappointing. It would be nice to have the option. The electronic viewfinder is one of the best on a mirrorless camera. The A1 is weather-sealed and takes the now-standard NP-FZ100 battery. But using 8K, fast frame rates and IBIS means it goes through power at a higher rate than other models in the range. You’d need a spare or two for a full day of shooting. The camera has two UHS-II SD card slots that also accept the new CFexpress Type A cards. If using very fast SD cards, certainly V90- rated, these are fine for virtually all settings. To use 4K/120p, S&Q and All-I codecs, and 240fps in HD, you really need to invest in a pair of CFexpress Type A cards and the matching reader. You can actually record 8K on V60-rated SD cards. So, don’t assume you have to splash out on CFexpress Type A cards straight way. The two card slots have identical spec, allowing card hot-swapping for unlimited shooting. And the USB-C socket now accepts power delivery, for shooting and charging up the battery as you go.
the rear screen, which then locks on to an object as it moves, but one downside is that you have to tap the screen for this to initialise focus. There are more conventional fast AF settings for following action subjects. It really is an excellent AF, locking on with speed and precision and staying there. And the Eye AF is just incredible, especially when working with an f/1.2 lens wide open trying to shoot someone who can’t stay still. You could never manually focus as well as this. The camera also has Sony’s newest IBIS, which is very good – rather than being industry-best – and rated to 5.5 stops. Like the A7S III, there are two modes: standard and active. Active is the best for video, but uses a 1.1x crop. The body itself is based on the A7S III, but with a dial on the top left of the camera, borrowed from the A series. Usefully, this lets you quickly dial in stills frame rates and AF modes. It’s a shame the S-model doesn’t have it. Where the A7S gets a fully- articulating touchscreen, the A1 sticks with tilting only – a shame if you use it a lot for video. It’s not the best screen ever, and is a tiny let- down for such a high-end camera. The A1 also inherits the much- improved menu system of the
RED ALERT A flexible AF system is easily tweaked,
meaning clear shooting, even in low light (below)
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