SONY A7S III
SPECIFICATIONS Price: £3799/$3498 body only Sensor: 12.1megapixels BSI- CMOS, full-frame Image stabiliser: Sensor shift with 5-axis compensation ISO range: 80-102,400 (expandable 40-409,600) Autofocusmodes: Single, continuous. Multi-area, tracking, face/eye detection, touch AF Autofocus points: 759 on-sensor phase detection, 425 contrast detection Shutter speeds: 30sec - 1/8000sec, plus B Shutter type: Focal plane mechanical, plus electronic Metering: Multi-zone, average, LCD: Fully articulating 3-inch touchscreen LED, 1440k dots Viewfinder: Electronic OLED, 100%coverage, 9437k dots Video: 4K up to 120p, FHD to 240p, 10-bit 4:2:2 internal capture up to 600Mbps inH.265/ All-I H.254. Raw 16-bit recorded external via HDMI Storage: 2 x CFexpress Type A or SD/SDHC/SDXC card slots Connectivity: Wi-Fi, Bluetooth Dimensions (WxHxD): 128.9x96.9x69.7mm Weight: 614g/1.35lb body only spot, centre-weighted Max frame rate: 10fps
in 10-bit 4:2:2, if you want it to be. And instead of shooting in manual focus only for the faster frame rates, all the settings allow the full use of Sony’s advanced autofocus. While many mirrorless cameras detect, often these are crippled for video use. The A7S III offers the full range of autofocus customisation, such as eye detection and face detection for humans and animals, for stills and movies. The AF system can be customised, allowing smooth focus racking. The speed of focusing can offer stills shooters a range of clever AF settings such as eye be adjusted from fast to slow, as can the transition speed. It works in very bright and low light, ideal for a camera with such low-light performance. There is touch-to- focus on the rear screen, which then locks on to an object as it moves, plus more conventional fast AF for following action subjects. It really is fast AF, and locks on with precision. Instead of having to memorise which settings and bit rates work with which codecs, and which ones are cropped, the Sony pretty much has all options available at all settings. The only exceptions are that there is a 1.1x crop when shooting 4K/120p, and if you use the most advanced in-body image stabilisation system, every setting gets a 1.1x crop. And the only way to get 240fps is to use the camera in HD S&Q mode, which means it doesn’t record audio and the file is recorded as a QuickTime movie file, so even when you play it back in camera, it’s already in slowmotion. The ISO range is from 80- 102,400, expandable to 40 and 409,600. Of course, those
with no limitations on recording time and with all the advanced AF functions still working. Nothing outside of a larger and more expensive cinema camera does that. It also shoots 120fps 4K internally, too. As well as 240fps in HD for up to 10x super slowmotion. There is simply a massive range of HD and 4K options, in your choice of 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. There is little or no sensor cropping, and the AF continues to work at all these settings. Of course, there are different flavours of Log and HDR for maximum dynamic range, plus customisable AF with hybrid phase and contrast detection, great image stabilisation and a sensor that doesn’t have limits on recording time due to overheating. You can’t say that of some of its higher- resolution rivals. In fact, Sony’s plan of capping the A7S III resolution at just 12.1 megapixels might just well be the ace up the camera’s sleeve. Instead of using processing power, which generates a lot of heat, then reducing high-resolution files to get them down to 4K, the Sony A7S III is designed around full- frame 4K shooting, which only needs 12 megapixels. So the larger pixels on the full-frame gives huge sensitivity at higher ISO and is read much faster by the in-camera processor. This reduces rolling shutter to virtually zero and means there are no recording time limits due to excessive heat. But it also allows a far bigger range of 10-bit 4:2:2 codecs that can be used at all speeds up to 120p in 4K. Go to HD and even the 240fps footage is still
BELOW There is touch- to-focus functionality on the rear touchscreen, as well as more conventional fast AF
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