GROUP TEST
image-transfer solution supports 2.5GBase-T via wired LAN. When paired with Sony’s 5G portable data transmitter, files can be sent over high-speed 5G. Data can also be automatically transferred to Adobe Lightroom or Google Drive via Sony’s Creators’ Cloud storage service. The camera is priced at £6299/$6498 – slightly less than the A1 at launch. That might not sound like a whole lot of improvements – certainly in the actual images produced, despite four years of development – but it makes a real difference in handling. The AI II remains the best E-mount camera for high-resolution stills and no- compromise video in the same body. The camera can shoot photos at up to 30fps blackout-free and track complex movements, thanks to the stacked sensor technology. For video, it retains 8K/30p and 4K/120p 10-bit recording like its predecessor, or 240fps in HD, with minimal rolling shutter artefacts. The fast readout helps with that and also provides a fast 1/400sec flash sync. In terms of image quality, the TIPA rating is 77 for stills and 85 for video – the highest in both categories among the four cameras we tested. In fact, the video score is the highest TIPA has ever recorded, though it’s slightly skewed towards high-resolution cameras. When it comes to real-world use, lower noise and more accurate colours with rich, detailed files are more practical, as few need to shoot in 8K. But if you do, whether for heavy cropping or future-proofing, 8K is available at 200Mbps and 400Mbps – although it’s limited to 30p.
and 240p in HD, in H.264 and H.265. To get 240fps, you use S&Q mode, which means no audio is recorded and the file is saved as a Quicktime movie file. When you play it back in camera, it’s already in slow motion. Unlike other manufacturers’ cameras, Sony still doesn’t offer internal Raw video. However, you can output up to 8K in 16-bit Raw over HDMI to an external monitor, allowing you to record in Raw, 12- bit Log ProRes Raw or ProRes. There are S-Log2, S-Log3 and HDR options for maximum dynamic range, plus S-Cinetone, offering a cinematic look without the need for grading. S-Cinetone gives around a stop less dynamic range than S-Log3. There is a huge amount of dynamic range, especially in S-Log2, S-Log3 and HLG. This is helped by the low-light performance. The ISO range spans from 100 to 32,000, expandable to 50 and 102,400. For both stills and video, the noise performance is excellent up to around ISO 6400. If you frequently need to go higher, a lower-resolution camera like the A7S III would be a better option. The new AI processor has advanced subject recognition, including human pose estimation which detects a person’s head and torso. It also tracks animals, birds, insects and vehicles. And a new Auto mode can automatically identify the subject without needing to specify a subject mode. Give it a try – it works surprisingly well. The old camera’s AF performance is still right up there with the best, and the new version moves it
If you’re after the most detailed 4K footage possible, shooting in 8K and downsizing to 4K in edit is the way to go. However, this does mean it takes up more memory – and the frame rate options are once again limited to 30p. It’s best to shoot the camera in native 4K mode, where there are far more options in terms of compression, codec and frame rates. It records 4K at 60p full-frame with no crop internally in 10-bit 4:2:2, with no recording time limitations, and all AF functions remain active. The camera also shoots 120fps 4K internally, with a slight 1.13x crop and records 240fps in HD, though there is no audio. There are a huge range of HD and 4K options, available in 10-bit and 8-bit, 4:2:2 and 4:2:0 versions, with frame rates up to 120p in 4K
JUMP STREET The camera’s speed and high resolution proved perfect for shooting stills and video at an indoor dirt bike race
DIALLED IN The A1 II features the same body style as the newer Alpha series cameras, with the mode dial now underneath the PASM knob. Its new screen folds and tilts, too
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