GEAR
SONY A1
files are compressed and 10-bit, compared to 8-bit JPEGs, but many editing programs don’t read them without some sort of conversion. Technology hasn’t yet caught up with the files, even frommarket leader Adobe. Still, 20fps is incredible for Lossless Compressed Raw files at 50-megapixel resolution, especially with the real-time EVF and Sony’s impressive AF. We shot over 40,000 still shots in our extended time with the camera, mainly fast-paced sport. It was amazing to see the stunning quality, AF hit-rate, and low noise at ISO up to around 3200.
At 400 or below, the stills quality is just insanely good. It was also incredible howmuch memory space on cards and hard drives 40,000, 50-megapixel shots can take up. If you want the most detailed shots from this 50-megapixel monster, there is a Pixel Shift setting. This takes either four or 16 Raw shots, which are combined into a 200-megapixel single image afterwards in Sony software. It obviously only really works for static subjects, with the camera locked down on a tripod, but the results are impressive. In a studio situation, it even works with flash. It’s the versatility of being able to use a single camera to shoot high-quality stills, whether of static or fast-moving subjects at 30fps, and incredibly high-resolution video, that makes the Sony A1 so compelling. If one camera is needed to do both, it’s the answer to your prayers. And if you can justify the new 50mm f/1.2 G Master prime and Xperia Pro phone to complete the ‘holy trinity’, you have the best do-it-all set-up money can buy.
Of course, the camera’s big strength is also its stills performance – it produces incredibly sharp, high-resolution files at up to 30fps. However, that headline frame rate is only with certain Sony lenses and settings. The choice is not much of an issue when using any of the newer E-mount Sony glass. Where it does matter is in files, as you must shoot Compressed Raw or comparable HEIF, which are like 10-bit versions of JPEGs. Shooting Uncompressed Raw or Lossless Compressed Raw, the maximum frame rate is 20fps, which is still blazing fast. HEIF
NEED FOR SPEED Shooting at 20fps means you don’t miss any of the action at crucial moments
More information
sony.com
THE VERDICT If you are a professional who shoots video and stills, especially of fast- moving subjects where speed is of the essence, then the Sony A1 is the camera you have been waiting for. It excels as a stills machine especially, offering high resolution for the most incredibly detailed shots, as well as fast-paced work, thanks to its frame rate and awesome AF. For sport, wildlife, event or documentary work – even weddings – then it’s a stunning machine. With video spec that exceeds the A7S III, it is the perfect buy for someone who mixes both moving and still images. With no articulating screen, it’s not quite as good for video-only shooters as the A7S III in the handling stakes. But, apart from that, or video performance over ISO 12,800, the A1 wins out for moving images, too. It offers cleaner files at lower ISO ratings, and its 8K video is something the A7S III can’t get close to. And while it may be easy to say that 8K is
just a headline figure for marketing purposes without any real-world use right now for the majority, it actually creates the best 4K footage. Mix in the performance of the sublime 50mm f/1.2 GMaster lens, and Sony has something to really outgun its rivals. With the Xperia Pro phone added to the equation, it really is a set-up nobody else can touch. But it’s costly, with a ten grand- plus asking price for the lot. A pair of 160GB CFexpress cards and reader is the thick end of a grand, too. And you’ll be using more than just two cards, especially rattling through 50-megapixel Raw stills at up to 30fps. You’ll also need lots of hard drive space. And maybe a faster computer. If you want to record Raw, then another £1399/$1499 or so for a new Atomos Ninja V+ recorder to handle 4K/120p, 8K and H.265. As a complete system, it’s a very big investment. Although you probably won’t need it all. For the majority of pro filmmakers who don’t require above 4K, the A7S
HOW IT RATES Features: 9 Everything but waveformmonitoring or internal Raw Performance: 10 Amazing video and stills from a machine that does it all Handling: 9 Best-handling Sony mirrorless ever, but no swivel screen Value formoney: 8 It’s the price of the camera and memory that hold it back PROMOVIEMAKER OVERALL RATING: 9/10 It is the number one all-round camera out there Pros: 10-bit 4:2:2 4K/120p, 240fps HD and 30fps stills Cons: No internal Raw recording or articulating screen III is a more sensible buy. But for anyone who wants no-compromise video and stills performance, look no further.
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PRO MOVIEMAKER
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