Sony A7S III Digital Camera Body
This is a camera that not only have we been waiting years for but pretty much everybody in the filmmaking community. Today we are taking our first look at the new Sony A7S Mark III.
A few weeks back we were kindly invited down to Sony HQ to get our hands on the new camera a few weeks back and we have some thoughts! The camera we saw was an early pre-production unit so stuff could possibly change, however, Sony isn’t messing about with everything they have squeezed into this camera! Before we get into the camera and it’s specs let's talk about price. The A7S MKIII comes in at, £3799 or £3165.83 excluding VAT. That’s about the same price as the A7R MK IV and we think it’s priced very well considering what it offers in the current market! Production units should be hitting end-users hands in September! This camera may be in a stills body but Sony is clearly pitching it for video as it features some really impressive improvements over the previous Alpha cameras! Let’s start off taking a look at the new body design.
The body and build quality have improved massively! The camera is a decent amount larger than previous A7 cameras and it really does feel nice in the hand now. The bulkier grip feels so much better to grab onto now vs the last generation! It also features the same dust and moisture resistance as the A7R MK4 & A9MKII. With the new body comes a new cooling system also.
According to Sony based on their test conditions you can record an hour of 4K60p without overheating concerns and heat dissipation is up to 5 times more effective than previous models. There are no other limits to the recording time, you should be able to roll as long as you want!
On the front you have the same E-mount as you expect from Sony, this means access to the huge range of E mount lenses from Sony and third-party brands as well as the ability to adapt a huge percentage of any lens ever made onto the front due to the 18mm flange. So yeah the use of this mount again makes alot of sense and there are some fantastic accessories out there for it!
Behind the E mount sits the A7S MKIII’s brand new backside illuminated Exmor R full-frame 36x24mm sensor and features a new processor that Sony are calling BionZ XR which is approximately 8x faster than current! Sony are taunting it to have more dynamic range than the previous A7S and perform just as well if not better when it comes to low light, which if true would be an incredible achievement. The sensor isn’t pixel binning or line skipping at all in any of the recording formats which are awesome!
When shooting in SLOG 3 the sensor should be able to capture 15 stops of dynamic range which is amazing. You can shoot as low as ISO 640 without toggling on the extended ISO ranges and a max ISO of 409,600. Sony hasn't released the Native ISO yet. We really would like to test this properly but from what we managed to see in person the camera does look like it performs very well. The A7S series has always had solid dynamic range & low light performance so we are confident this new camera is going to deliver! Sony have also stated that rolling shutter has been improved by almost 3 times over the performance of the A7S MKII with the introduction of an anti distortion shutter! In person it looked good but we will test this more in our in depth review!
On the top, the dials and buttons have also been improved! Both the mode dial and exposure comp dial now have locking buttons and there is now a third wheel right where your thumb sits. Partner that with the bigger and more tactile buttons and this now makes the A7S III operate more like a much larger DSLR camera which is only a good thing. There is now also a dedicated record button on the top of the camera instead of at the back, we think this is much better! The A7S III features the same updated MI shoe as the A7R MK4 which allows you to use the updated XLR-K3M, which allows both analog & digital audio and when combined with the stereo 3.5mm mic input on the K3M allows you to capture up to 4 channels of audio! We really want to see how this camera handles monitoring and adjustment of those 4 channels of audio as we didn’t have a K3M to test this while we had access to the camera but the K3M has hardware controls for each on the three inputs here.
On the bottom you have the battery slot, which takes the same NP-FZ100 as the Sony A7 MKIII, this means you get roughly 60% more out of each battery vs the SII which you had to carry loads of batteries round because of how small the batteries were! In practice this should give you around 95 mins of recording time or 600 photographs.
However for people wanting to rig the camera up and get some better battery life I’m sure there will be a range of options to hit the market. However, Hawk-Woods & Wooden Camera already has a dummy NP-FZ100 to D-Tap that you will be able to use with the A7S III to power it via any D-tap battery source you want to use!
Sony also makes the NPA-MQZ1K multi battery adapter. This allows you to do a huge range of things. It allows you to charge 4 NP-FZ100 at once, it charges them individually starting with the lowest charged. You can power this unit via the DC port or via the micro USB input. It also has two USB outputs incase you need to charge anything while travelling or on set. However it’s biggest feature is the dummy battery output. This allows you to use it with either cameras that take either the current NP-FZ100 or the last generation FW50 battery. Making it backwards compatible is a nice touch. The unit has been designed for multiple use cases and one case we think Sony have done a good job designing it for is for video. Not only will it give you 4 times the battery life, but it’s also very easy to mount onto tripod or shoulder rigs because of the array of ¼” threads across the body and the ability to take off the sides of the unit to reduce it’s overall footprint. This accessory hasn’t seen anywhere near the love it should have since it’s release, however we think for some A7S III owners this could be an awesome option! Though it is a tad on the pricey side so if you are looking for something a bit more affordable BlindSpot gears junkie could be a good option too. We looked at this last year in a video which you can check out here.
Other than the battery slot you have a single ¼” thread and that’s it! We really wish stills camera designers would add a second ¼” thread onto the bottom of these cameras as it will make rigging them so much robust but we understand size and internal designs may be the limitation there!
On the left of the camera you have a good range of IO, a full size HDMI, which we will come back to, USB-C, Micro USB, 3.5mm Mic input & a 3.5mm headphone output. One little detail about this is the flaps covering the ports. These are so much more sturdy now than the last generations and they now open in such a way that you shouldn't be blocking any of the ports with them if they are all open! It also comes with a port connector lock as well which fits really nicely! We have also asked Sony how the Micro USB connector can be used and if we can use the new FX9 grip with it to control servo lenses. Sony haven’t told us if this is possible yet so the answer will be in our full review!
Back to that HDMI port. Not only is it full size, which is awesome to see from Sony, but it can also output 16 bit RAW at 4K 50/60p! This is awesome to hear and we am really excited to see the image out of the camera when hooked up to an external recorder. We also asked Sony if they are planning on working with Atomos & Apple to enable ProRes RAW over the HDMI which would be a great addition to the camera. This is a first for Sony mirrorless cameras and given the fairly conservative data rates of the internal codecs, could be a killer feature for a lot of people.
On the right behind this solid door you have a dual card slot which can take two types of media. Each one of the slots is the same and can take either an SD card or a CFexpress Type A card. It’s awesome to have the option to use either!
For those who aren’t aware CFexpress is a very new type of media, when it was announced back in 2019 they released three different versions, A, B & C. A is what this camera uses and is much smaller than the B & C. It also has the lowest maximum data rate of around 1GB per second due to its single PCIe lane. B, is what some other cameras on the market like the C300 MKII & R5 use. This uses the same form factor as the CFexpress 1.0 card from 2017 but has had its NVM express protocol updated to 1.3. This B form factor has a maximum data rate of roughly 2GB per second and is slightly larger than A. C was introduced in 2019 with A as the fastest in the family with a max data rate of around 4GB per second made possible by its use of quad channel PCIe, however it is much larger than A & B. So again if you decide to get this camera make sure you’re picking up the A version of CFexpress otherwise you may have trouble getting them to fit.
However you can record a huge portion of the formats to SD with XAVC S-I 4K at 100 / 120 frames per second in S&Q mode being the only one that requires CFexpress. Otherwise you can pick up a V90 SD card and record every other codec, which is amazing! I could see a lot of people investing into a couple of V90 cards for the primary formats and then a single CFExpress card for when 4K 120p ALL-I is required. With the announcement of this camera Sony have also announced both an 80GB & a 160GB CFExpress A so if you do want to capture all codecs without concern these are your only option currently!
On the back there is a whole lot going on. Not only do you have a redesign in terms of layout but also the size of the buttons! We do wish however that the menu button was in a slightly different position. The joystick makes a return from the A7III and now partnered with the improved AF system this will make using autofocus precisely and fast much easier! The bigger button size also means that buttons are much easier to press which is great for when you are wearing gloves or have the camera up to your eye. You have the regular buttons you would expect from an Alpha series camera with a few custom function buttons also.
The EVF has seen an improvement, this big beautiful thing is now a 9.44 million dot QXGA OLED viewfinder. It looks really nice for people who use the viewfinder on their cameras often, this is awesome! One little feature is the ability to reduce the size of the image in the viewfinder which is handy for people like me with glasses! The screen has also been improved, the A7SII’s screen was notorious for breaking due to the weak mechanism for tilting. This new mech is a hinge on the left that will allow you to flip the screen out and adjust a decent amount! Finally vloggers can rejoice!! The hinge feels solid and Sony even cut away a little indent at the top right of the screen to make it easier to flip out. Let’s take a look at the headline features.
Inside of the A7S III you have a few different options for codecs. You have XAVC HS 4K, XAVC S 4K, XAVC S HD, XAVC S-I 4K & XAVC S-I HD. Some of you Sony A7SII shooters will be saying, hey there's some new codecs here, and you would be correct! You have some of the regular versions of XAVC-S but you also now have ALL-I variants which are the S-I formats and HS which are Sony’s new H.265 versions of XAVC-S.
You can shoot a range of frame rates the highest being 4K 100 or 120 which you can do in a few different formats most impressively being the All-I flavour in 4:2:2 10bit with full autofocus and with no pixel binning or line skipping!
Sony have also emphasised how important the difference between S&Q and the regular recording mode is when it comes to bit rates. In slow and quick you capture a maximum of 120 fps in 4K or 240fps in Full HD! However audio is not recorded in this mode so if you need it you’ll need to be shooting in the regular mode.
You have a great range of different formats depending on your needs and the fact you are getting these all in full frame is awesome! The camera does have a crop mode however that is only in the HD codecs. However one way around this could be to use the clear image Zoom to punch in to get round the coverage of your lens while in a higher res format.
One of the biggest drawbacks of the A7SII was it’s lack of an internal 10bit codec. So it is really refreshing to see Sony implement both high-quality subsampling and bit depth across a range of formats. This will now mean you don't experience the same limitations of shooting SLOG-2 or 3 in an 8bit codec, unless you choose too. Though given the current market Sony has come back into this was a must, however, the fact you can shoot up to 120 frames per second in ALL-I with autofocus and no crop is pretty amazing!
When it comes to colour & gamma profiles you have a range of different options. It uses the same Picture Profile system as the previous Sony alpha cameras, you have up to 10 presets though you can go in and tweak what you want.
You can change your black level, gamma, black gamma, knee, colour mode. Saturation, color phase, color depth & detail. You can choose from a huge range of gammas, most noteworthy being 4 flavours of the Cine profile, ITU709 & ITU709 800%, SLOG2 & SLOG3 & 4 versions of HLG. You also have a good range of colour modes such as ITU709, S-Gamut, S-gamut3 & S-Gamut3.cine, BT 2020 & 709. Once we get our hands on the camera for full review we will go into this more but these are some great options!
The A7SIII has improved colour & tone matching of S-Gamut3 and S-Gamut3.Cine modes with the ones inside the FX9, which will make it easy to match colors/tones between the two cameras. This means anyone looking to pick up the A7SIII as a B or C cam to the FX9 should be able to match the two cameras really easily! I’ve also fed back to Sony that they should add S-Cinetone from the FX9 as it is such a nice straight out of camera look and it would be great to easily match the A7S III with the FX9 using this profile! Unfortunately, there is no S709 or S-Cinetone profiles internally however Sony has assured me that both the pro cine & consumer side of Sony have worked together closely on this camera so the A7SIII should match with the FX9 or Venice really well!
One feature we wish Sony had added was the ability to import LUT’s however you cannot currently, which is a shame but there are view assist modes for when you are shooting in LOG.
As well as picture profiles there are also creative look profiles. You have 10 colour profiles, 4 of which are new. These new ones are Fl or Film like tone, IN or Instant camera tone, VV2 or Vivid tone with bright colour & SH or Soft & Highkey. Within these you can control saturation, contrast, shadow, highlight, fade, sharpness, sharpness range & clarity. More choices are only a good thing but with our full review we will explore these profiles more in our full review!
The camera also features in body image stabilisation. This is the same as previous Sony alpha implementations of this so it’s a physical mechanism that is moving the sensor not electronic. This provides 5 stops of stabilisation and can be used in tandem with lens stabilisation also for even more! Sony have also added an electronic IS mode also which crops the image by 1.1x but will provide even more stabilisation. Having both options in camera is awesome and we can't wait to see how these all perform in our tests.
The autofocus has only seen a big upgrade over the A7SII. It draws influence from what the A7RIV & A7III can do but even better. It now features 759 AF points with a combination of contrast & phase detection. These points cover 93% of the frame, provide real-time tracking in video mode and features both human and animal eye tracking! It was really quick! It really is amazing how far autofocus has come! We really want to put this up against the R5 or R6 from Canon as these both look like they perform really well but I’m intrigued which brand has the edge!
Imaging Edge Mobile App
The camera features both Bluetooth as well as 2.4 & 5Ghz Wi-Fi and you can also use the Imaging Edge Mobile app. This Wi-Fi on this unit wasn’t working so we couldn't test the app. However, if it's anything like the A7III you will be able to connect to the camera over Wi-Fi. This app will then allow you to get a live feed from the camera and also control the camera. The UI is really clean and the latency is pretty decent. However, this should be even better with the SMKIII because of the addition of 5GHz which is faster over shorter distances comparatively to 2.4GHz which provides a longer range but with slower speeds. Unfortunately at the moment the control you get of the camera here is quite limited so hopefully, Sony can integrate more control of the camera's full menu system on the app but at the moment at least there’s an option for monitoring & triggering.
Sony has really positioned this camera as video first and stills second but if you do want to capture some stills with this camera 12mp is enough if you’re just posting imagery online! The speed of the camera has improved over the SMKII from 5 to 10 frames per second while shooting full autofocus. Sony have also introduced a new compressed file format, HEIF, this format captures 10bit colour whereas JPEG is only 8bit. So you’re getting the same great compression of JPEG but better colour!
We, unfortunately, couldn’t get a chance to record any footage because the camera is such an early prototype. However from what we did see it looked very very promising. It’s difficult to really judge an image from the back of the camera, so we plugged it into a 65” TV that we actually shot all of this b-roll against to get a better look! Dynamic range looked solid, colours looked nice and noise looked very very well controlled, even pushing 50000. One thing that it looks like Sony has improved is colour. This is one area that people would complain about when talking about Alpha series cameras. However, with the combination of improved colour science, better recording formats and the new sensor seem to have made capturing more accurate and saturated colours much better than previous models. From images we have seen as well it seems like low light colour rendition
At the moment not many accessories have been announced because the camera has only just been revealed. However, there are some key accessories from previous models that are probably worth talking about. There of course will be a massive range of cages releasing from the regular hardware manufacturers which we will take a look at in our full in-depth review! However, lens adapters are something we can speak about now. My go-to recommendation for E mount nowadays is the Sigma MC-11. Not only is it a lot more affordable than the Metabones but it performs excellent with Sigma’s range of lenses and considering we love & recommend those lenses a lot the MC-11 is a no brainer. It also performs well with Canon L series glass, which a lot of people have! Kipon has also been making medium format lens focal reducers, so if you want to explore some vintage lenses and achieve some lovely images as a result then check them out! When it comes to PL mount there is a huge range from brands such as Vocas, Metabones, Wooden Camera. Though from our testing Metabones currently will give you the best results.
When it comes to media it’s hard to recommend CFExpress Type A yet as there aren’t any that have hit the market yet. Though keep your eye online as I’m sure that will not last long. In regards to SD it depends on what codecs you are wanting to record. However if you want to play it safe we would suggest picking up V90 cards. My recommendation for this being Angelbird’s AV PRO MK2’s. Angelbird makes their media specifically with content acquisition in mind. Lastly, let’s have a look at the new menu system and some standout features!
The Menu system has improved quite a bit however if you're coming from an existing Alpha series camera this will take some getting used to, you can also now navigate the menu using touch which is a first for an Alpha 7 series camera. You can see how the addition of this has shaped the design of the menu. The first tab is your my menu, here you can add your most-used settings. You have the option to add anything from the menu system so you have a huge range of customisation! we love that this is at the top so it is the first thing you can access. So now you can easily create your own first menu and not have to delve deep unless you really need to! Well done Sony!
After that you have shooting, exposure/colour, focus, playback, network & setup. It’s well laid out but there are a lot of settings! we don’t want to do a full menu breakdown in our first look so let’s just take a look at the menu features that stand out.
There is also a proxy option, with this, you can record low-bit rate HD proxy files while recording in any format under 60p. You can record in both XAVC S HD 1080p or HS HD 720p. This may be handy with the introduction of H265. We couldn’t look at this super in-depth but from what we could see you could choose between XAVC S HD or XAVC HS SD & this will record at a lower resolution than your primary shooting format but it’s a proxy so that's what you want! Our full review will explore this more.
You can also change what is recorded to what media type here also. You can change the priority of each slot as well as choose a huge range of recording modes. Standard, Simultaneous for stills, simultaneous for video, simultaneous for both & sort which is going to allow the camera to write to two separate cards. RAW / JPEG, JPEG / RAW & Stills / Video.
Camera Set Memory Camera setting memory isn’t a new feature to the Alpha series but it is a handy one! You can use memory and memory recall to save and load your frequently used settings on your camera which is a really handy function. You can save two profiles on the camera's internal memory and then up to 4 on a piece of media. With this, you can set a huge range of settings including frame rate and resolution so you can set some presets and then quickly load those in while shooting!
When it comes to exposure tools you only have a few options, which are similar to those on previous Alpha 7 series cameras. You have the regular EV scale, Histogram which you can cycle through & lastly you have Zebras which you can customise here. We do wish there was some other tools in camera but affordable monitors are now so readily available and affordable that this isn’t too big of a deal. No matter how much you want to spend you can pick up a monitor with better exposure tools like False Colour. The Portkeys P6 comes in at just £185 and is a solid lightweight budget option with a range of tools. If you want to watch our overview of it you can check it out here! However, with ProRes RAW support also happening the Atomos Ninja V could be a smart investment! Not only is it a great monitor but being able to shoot ProRes & ProRes RAW externally could be a great option for shooters to have!
Sony has stepped up with the custom function buttons here you have three different setups for your custom buttons which the camera will switch between depending on what mode you are in. You have a set for stills, a set for video & a set for playback. You can choose from a huge range of menu settings and rebind pretty much every button on the camera to fully customise exactly what setup you want. We will delve deeper into this in our full review!
The A7Siii also features clear image zoom! This allows you to zoom in up to 1.5x using Sony’s awesome clear image zoom as well as optical zoom & another digital zoom. There are also settings for adjusting the zoom on the camera and remotely. Sony has introduced a really interesting set of functions here. The remote function can be used with an external remote but the camera function allows you to set a wide & tele zoom custom function button on the camera to control the Zoom on powered servo lenses like the 28-135 we have here! You can then go into the menu further and adjust the zoom speed for when you are both in standby & record mode. This won't work with the FX9 grip but we have voiced to Sony that this would be an awesome addition for people wanting to shoulder mount the camera!
It also features shockless white balance for the first time in an Alpha series camera! Shockless white balance will make the transition when you are changing white balance look smoother in case you are changing it while recording on the fly.
In previous Alpha series cameras, pixel mapping has been done automatically at the start of every month. This is normally fine but not good if you noticed a dead pixel just before a shoot. Now instead of pushing your camera's date forward you can go into the menu and do this manually which will make this process much easier!
Flexible Exposure Mode
One interesting feature that we think shows the influence of Sony's camcorders and bigger cameras is the flexible exposure mode. HUnder exposure ctrl type you can toggle this on. This will turn two of the custom function keys into AV auto & TV Auto. This essentially turns these buttons into auto shutter and auto iris buttons which could be handy if you’re familiar shooting with cameras like the FS series or Sony camcorders!
The A7S MKiii features both an intervalometer for stills internally and it also features the S&Q mode which you can also use to do in-camera timelapses.
October 2015 was when the Sony A7S MK II was released and we’ve had to wait nearly 5 years for the MKIII. So much has changed in the past 5 years, technology has evolved and there are so many awesome cameras on the market to choose from, so has Sony come back into the space with a bang? Well, we would say so, we don’t think we have been so excited for a camera in years. We loved the A7SII and so did many others and the fact that this camera is finally out there in the wild and will be hopefully shipping in September is incredible. Just like the FX9 back in November Sony have clearly listened to their end-users and have made a camera that on paper is pretty much perfect for a mirrorless video camera! However this is only our first look, we cannot wait to get our hands on the camera and shoot some proper creative tests and something creative.
Sony have confirmed this will support ProRes RAW
|Type||35mm full frame (35.6 x 23.8mm), Exmor R CMOS sensor|
|Number Of Pixels (Effective)||Approx. 12.1 megapixels|
|Number of Pixels (total)||Approx. 12.9 megapixels|
|Colour Filter||R, G, B primary color|
|Anti-Dust System||Yes (Charge protection coating on Optical Filter and ultrasonic vibration mechanism)|
|Recording Format||JPEG (DCF Ver. 2.0, Exif Ver. 2.32, MPF Baseline compliant), HEIF (MPEG-A MIAF compliant), RAW (Sony ARW 4.0 format compliant)|
|Image Size (pixels) [3:2]||35mm full frame L: 4240 x 2832 (12M), M: 2768 x 1848 (5.1M), S: 2128 x 1416 (3.0M)|
|APS-C L: 2768 x 1848 (5.1M), M: 2128 x 1416 (3.0M), S: 1376 x 920 (1.3M)"|
|35mm full frame L: 3776 x 2832 (11M), M: 2464 x 1848 (4.6M), S: 1888 x 1416 (3.0M)|
|APS-C L: 2464 x 1848 (4.6M), M: 1888 x 1416 (2.7M), S: 1232 x 920 (1.1M)"|
|Image Size (pixels) [16:9]||35mm full frame L: 4240 x 2348 (10M), M: 2768 x 1560 (4.3M), S: 2128 x 1200 (2.6M)|
|APS-C L: 2768 x 1560 (4.3M), M: 2128 x 1200 (2.6M), S: 1376 x 776 (1.1M)"|
|35mm full frame L: 2832 x 2832 (8M), M: 1840 x 1840 (3.4M), S: 1408 x 1408 (2.0M)|
|APS-C L: 1840 x 1840 (3.4M), M: 1408 x 1408 (2.0M), S: 912 x 912 (0.8M)|
|Image Size (pixels) [Sweep Panorama]|
|RAW (Compressed / Uncompressed)|
|JPEG (Extra fine / Fine / Standard)|
|HEIF (4:2:0 / 4:2:2) (Extra fine / Fine / Standard)|
|RAW & JPEG|
|RAW & HEIF|
|Creative Look||ST, PT, NT, VV, VV2, FL, IN, SH, BW, SE, Custom Look (1-6)|
|Picture Profile||Yes (Off / PP1-PP10) Parameters: Black level, Gamma (Movie, Still, Cine1-4, ITU709, ITU709 [800%], S-Log2, S-Log3, HLG, HLG1-3), Black Gamma, Knee, Color Mode, Saturation, Colour Phase, Colour Depth, Detail, Copy, Reset|
|Dynamic Range Functions||Off, Dynamic Range Optimiser|
|Colour Space||sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS Color. BT.2020 standard.*1|
|Recording Format||XAVC S|
|Recording Format||XVAVC HS|
|Video Compression||XAVC S: MPEG-4 AVC/H.264|
|Video Compression||XAVC HS: MPEG-H HEVC/H.265|
|Audio Recording Format||LPCM 2ch(48kHz 16bit), LPCM 2ch(48kHz 24bit)*2 , LPCM 4ch(48kHz 24bit)*2 , MPEG-4 AAC-LC 2ch*3|
|#ST, PT, NT, VV, VV2, FL, IN, SH, BW, SE, Custom Look (1-6)|
|Picture Profile||Yes (Off / PP1-PP10) Parameters: Black level, Gamma (Movie, Still, Cine1-4, ITU709, ITU709 [800%], S-Log2, S-Log3, HLG, HLG1-3), Black Gamma, Knee, Color Mode, Saturation, Colour Phase, Colour Depth, Detail, Copy, Reset|
|Colour Space||BT.2020 standard compatible with TRILUMINOS Colour|
|60p (150Mbps / 75Mbps / 45Mbps)|
|50p (150Mbps / 75Mbps / 45Mbps)|
|60p (200Mbps / 100Mbps)|
|50p (200Mbps / 100Mbps)|
|24p (100Mbps / 50Mbps / 30Mbps)|
|24p (100Mbps / 50Mbps)|
|30p (100Mbps / 60Mbps)|
|24p (100Mbps / 60Mbps)|
|25p (100Mbps / 60Mbps)|
|120p (100Mbps / 60Mbps)|
|100p (100Mbps / 60Mbps)|
|60p (50Mbps / 25Mbps)|
|50p (50Mbps / 25Mbps)|
|30p (50Mbps / 16Mbps)|
|25p (50Mbps / 16Mbps)|
|Image frame rate||NTSC mode: 1fps,2fps,4fps,8fps,15fps,30fps,60fps,120fps, 240fps*4|
|PAL mode:||1fps,2fps,3fps,6fps,12fps,25fps,50fps,100fps, 200fps*4|
|Yes (1280 x 720 (Approx. 6Mbps), 1920 x 1080(Approx. 9Mbps), 1920 x 1080(Approx. 16Mbps))|
|Location information Link from smartphone||Yes|
|Media||SD memory card|
|SDHC memory card (UHS-I/II compliant)|
|SDXC memory card (UHS-I/II compliant)|
|CFexpress Type A memory card|
|Memory Card Slot||SLOT1: Multi slot for SD (UHS-I/II compliant) memory card / CFexpress Type A card, SLOT2: Multi slot for SD (UHS-I/II compliant) memory card / CFexpress Type A card|
|Simult. Rec, Sort, Auto Switch Media, Copy|
|FAT12, 16, 32, exFAT|
|Noise Reduction||Long exposure NR: On/Off, available at shutter speeds longer than 1 sec.|
|High ISO NR: Normal / Low / Off|
|White Balance Modes||Auto / Daylight / Shade / Cloudy / Incandescent / Fluorescent / Flash / Underwater / Colour Temperature (2500 to 9900K) & colour filter / Custom|
|Yes (Shut. Halfway Down / Cont. Shooting / Off)|
|Fast Hybrid AF (phase-detection AF / contrast-detection AF)|
|Focus Sensor||Exmor R CMOS sensor|
|Focus Point||35mm full frame: 759 points (phase-detection AF), APS-C mode with FF lens: 345 points (phase-detection AF), with APS-C lens: 285 points (phase-detection AF) / 425 points (contrast-detection AF)|
|Focus Sensitivity Range||EV-6 to EV20 (ISO100 equivalent with F2.0 lens attached)|
|Focus Mode||AF-A (Automatic AF), AF-S (Single-shot AF), AF-C (Continuous AF), DMF (Direct Manual Focus), Manual Focus|
|Focus Area||Wide / Zone / Center / Flexible Spot / Expanded Flexible Spot / Tracking|
|[Still images] Human (Right/Left Eye Select) / Animal, [Movie] Human (Right/Left Eye Select)|
|AF Track Sens. (Still)|
|AF Subj. Shift Sensitivity (Movie)|
|AF Transition Speed (Movie)|
|Switch V/H AF Area|
|AF Area Regist.|
|Circ. of Focus Point|
|AF Illuminator||Yes (with Built-in LED type)|
|AF Illuminator range||Approx. 0.3m - approx. 3.0m (with FE 28-70mm F3.5-5.6 OSS lens attached)|
|Focus type with LA-EA3 (Sold separately)||Phase-detection|
|Metering Type||1200-zone evaluative metering|
|Metering Sensor||Exmor R CMOS sensor|
|Metering Sensitivity||EV-3 to EV20 (at ISO100 equivalent with F2.0 lens attached)|
|Spot (Standard / Large)|
|Entire Screen Avg.|
|Exposure Modes||AUTO (iAuto)|
|Programmed AE (P)|
|Aperture priority (A)|
|Shutter-speed priority (S)|
|Movie (Programmed AE (P) / Aperture priority (A) / Shutter-speed priority (S) / Manual (M) / Flexible Exp. Mode)|
|Slow & Quick Motion (Programmed AE (P) / Aperture priority (A) / Shutter-speed priority (S) / Manual (M) / Flexible Exp. Mode)|
|Exposure Compensation||+/- 5.0EV (1/3 EV, 1/2 EV steps selectable) (with exposure compensation dial: +/- 3EV (1/3 EV steps))|
|Exposure Bracketing||Bracket: Cont., Bracket: Single, 3/5/9 frames selectable. (Ambient light, Flash light)|
|AE Lock||Locked when shutter button is pressed halfway. Available with AE lock button. (On/Off/Auto)|
|ISO sensitivity (Recommended Exposure Index)||Still images: ISO 80-102400 (ISO numbers up from ISO 40 to ISO 409600 can be set as expanded ISO range.), AUTO (ISO 80-12800, selectable lower limit and upper limit), Movies: ISO 80-102400 equivalent (ISO numbers up to ISO 409600 can be set as expanded ISO range.), AUTO (ISO 80-12800, selectable lower limit and upper limit)|
|Viewfinder Type||1.6 cm (0.64 type) electronic viewfinder (Quad-XGA OLED)|
|Number of Dots||9,437,184 dots|
|Brightness, Colour temperature, Magnifi.|
|Magnification||Approx. 0.90x (with 50mm lens at infinity, -1m-1)|
|Dioptre Adjustment||-4.0 to +3.0m-1|
|Eye Point||Approx. 25mm from the eyepiece lens, 21mm from the eyepiece frame at -1m-1 (CIPA standard)|
|Histogram, Real-time image-adjustment display, Digital level gauge, Grid line, Focus check, Peaking MF, Zebra, Movie marker, Emphasezed display during REC|
|Finder Frame Rate Selection||NTSC mode: STD 60fps / HI 120fps, PAL mode: STD 50fps / HI 100fps|
|Type||7.5cm (3.0-type) type TFT|
|Number of Dots||1,440,000 dots|
|Brightness Control||Manual (5 steps between -2 and +2), Sunny Weather mode|
|Histogram, Real-time image-adjustment display, Digital level gauge, Grid line, Focus check, Peaking MF, Zebra, Movie marker, For viewfinder, Monitor Off, Emphasezed display during REC|
|Adjustable Angle||Opening Angle:Approx. 176 deg., Rotation Angle:Approx. 270 deg.|
|Focus Magnifier||Yes, Focus Magnifier (35mm full frame: 2.1x / 4.1x, APS-C: 1.5x / 3.0x)|
|Face Detection||Face Priority inAF, Face Priority in Multi Metering, Regist. Faces Priority|
|PlayMemories Camera Apps™|
|Clear Image Zoom||Approx. 2x|
|Clear Image Zoom||Approx. 1.5x (4K), Approx. 2x (HD)|
|Digital Zoom||35mm full frame: M: approx. 1.5x, S: approx. 2x APS-C: M:approx. 1.3x, S: approx. 2x|
|Digital Zoom||35mm full frame: L: approx. 4x, M: approx. 6.1x, S: approx. 8x APS-C: L: approx. 4x, M:approx. 5.2x, S: approx. 8x|
|Digital Zoom||35mm full frame: approx. 4x APS-C: approx. 4x|
|Type||Electronically-controlled, vertical-traverse, focal-plane type|
|Mechanical shutter / Electronic shutter|
|Shutter Speed||Still images: 1/8000 to 30 sec, Bulb, Movies: 1/8000 to 1/4 (1/3 steps), up to 1/50 in AUTO mode (up to 1/25 in Auto slow shutter mode)|
|Flash Sync. Speed||1/250 sec.|
|Electronic Front Curtain Shutter||Yes (ON/OFF)|
|Silent Shooting||Yes (ON/OFF)|
|Type||Image Sensor-Shift mechanism with 5-axis compensation (Compensation depends on lens specifications)|
|Compensation Effect||5.5 stops (based on CIPA standard. Pitch/yaw shake only. With Planar T* FE 50mm F1.4 ZA lens mounted. Long exposure NR off.)|
|[Still images] On / Off, [Movie] Active / Standard / Off|
|Flash Compensation||+/- 3.0 EV (switchable between 1/3 and 1/2 EV steps)|
|Flash Modes||Flash off|
|Flash Modes||Slow Sync.|
|Flash Modes||Rear Sync.|
|Flash Modes||Red-eye reduction (on/off selectable)|
|Flash Modes||Hi-speed sync.*8|
|External Flash Compatibility||Sony α System Flash compatible with Multi Interface Shoe, attach the shoe adaptor for flash compatible with Auto-lock accessory shoe|
|FE Level Lock||Yes|
|Yes (Light signal: Available with Fill-flash, Slow Sync., Hi-speed sync. / Radio signal: Available with Fill-flash, Rear Sync., Slow Sync., Hi-speed sync.)|
|Drive Modes||Single Shooting|
|Drive Modes||Continuous shooting (Hi+/Hi/Mid/Lo selectable)|
|Drive Modes||Self-timer (Cont.)|
|Drive Modes||Bracket: Single|
|Drive Modes||Bracket: Cont.|
|Drive Modes||White Balance bracket|
|Drive Modes||DRO bracket|
|Self-Timer||10 sec. delay / 5 sec. delay / 2 sec. delay / Continuous self-time / Bracketing self-timer|
|Continuous Drive Speed (approx. max.)||Continuous shooting: Hi+: 10 fps, Hi: 8 fps, Mid: 6 fps, Lo: 3 fps|
|No. of recordable frames (approx.)||JPEG Extra fine L: over 1000 frames|
|JPEG Fine L: over 1000 frames|
|JPEG Standard L: over 1000 frames|
|RAW: over 1000 frames|
|RAW & JPG: over 1000 frames|
|RAW (Uncompressed): over 1000 frames|
|RAW (Uncompressed) & JPG: over 1000 frames|
|Modes||Single (with or without shooting information Y RGB histogram & highlight / shadow warning)|
|Enlarged display mode (L: 10.6x, M: 6.92x, S: 5.32x)|
|Folder selection (Date / Still / Movie)|
|Display as Group|
|PC Interface||Mass-storage / MTP|
|Multi / Micro USB Terminal||Yes|
|Yes (SuperSpeed USB 5Gbps (USB 3.2) compatible)|
|NFC™||Yes (NFC forum Type 3 Tag compatible)|
|Wireless LAN (Built-In)||Yes (Wi-Fi Compatible, IEEE 802.11a/b/g/n/ac (2.4GHz band/5GHz band))*11 *12|
|Bluetooth||Yes (Bluetooth Standard Ver. 5.0 (2.4GHz band))|
|HD Output||HDMI connector (Type-A)|
|3840 x 2160 (60p / 50p / 30p / 25p / 24p) / 1920 x 1080 (60p / 50p / 24p) / 1920 x 1080 (60i / 50i), YCbCr 4:2:2 10bit / RGB 8bit|
|4264 x 2408 (60p / 50p / 30p / 25p / 24p), Raw 16bit|
|Multi Interface Shoe||Yes (with Digital Audio Interface)|
|Mic Terminal||Yes (3.5 mm Stereo minijack)|
|Headphone Terminal||Yes (3.5 mm Stereo minijack)|
|Yes (IR remote control / Bluetooth remote control)|
|Vertical Grip Connector||Yes|
|FTP Transfer Func.(Wired LAN(USB-LAN), USB Tethering, Wi-Fi)|
|View on Smartphone|
|Remote control via Smartphone|
|NFC One-touch remote|
|BRAVIA Sync (Control for HDMI)|
|NFC One-touch sharing|
|Compatible Standards||Exif Print, Print Image Matching III|
|Memory Function||Yes (Body 3 sets /memory card 4 sets)|
|Setting||Peripheral Shading, Chromatic Aberration, Distortion|
|Supplied Battery||One rechargeable battery pack NP-FZ100|
|Battery Life (Still Images)||Approx. 510 shots (Viewfinder) / approx. 600 shots (LCD monitor) (CIPA standard)|
|Battery Life (Movie, actual recording)||Approx. 80 min. (Viewfinder) / Approx. 95 min. (LCD monitor) (CIPA standard)|
|Battery Life (Movie, continuous recording)||Approx. 130 min. (Viewfinder) / Approx. 135 min. (LCD monitor) (CIPA standard)|
|Internal Battery Charge||Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)|
|USB Power supply||Yes (Available with USB Type-C Terminal. USB Power Delivery compatible)|
|Power consumption with Viewfinder||Still images: approx. 4.3W (with FE 28-70mm F3.5-5.6 OSS lens attached), Movies: approx. 7.6W (with FE 28-70mm F3.5-5.6 OSS lens attached)|
|Power consumption with LCD screen||Still images: approx. 3.3W (with FE 28-70mm F3.5-5.6 OSS lens attached), Movies: approx. 7.3W (with FE 28-70mm F3.5-5.6 OSS lens attached)|
|Weight (with battery and memory card included)||Approx. 699 g|
|Weight (with battery and memory card included)||approx. 1 lb 8.7 oz|
|Approx. 614 g|
|approx. 1 lb 5.7 oz|
|Dimensions (W x H x D)||Approx. 128.9mm x 96.9mm x 80.8mm, Approx. 128.9mm x 96.9mm x 69.7mm (FROM GRIP TO MONITOR)|
|Dimensions (W x H x D)||Approx. 5 1/8 x 3 7/8 x 3 1/4 inches, Approx. 5 1/8 x 3 7/8 x 2 3/4 inches (FROM GRIP TO MONITOR)|
|Operating Temperature||32 - 104 degrees F / 0 - 40 degrees C|
|Note||*1 When [HLG Still Image] setting is set to [On].|
|*2 When using accessories that support 4ch output / 24 bits with the Multi Interface Shoe.|
|*3 Proxy movies|
|*4 Number of effective pixels: 1420 x 804 at 240 or 200 fps. 240 or 200 fps not available when using [XAVC HS 4K], [XAVC S 4K], or [XAVC S-I 4K] file formats.|
|*5 Anti-flicker Shooting is not available when the [Shutter Type] setting is set to [Electronic Shutter].|
|*6 With compatible Sony external flash|
|*7 A flash cannot be used when [Shutter Type] is set to [Electronic Shutter].|
|*8 With compatible external flash|
|*9 Varies according to shooting conditions or memory card used|
|*10 Supports Micro USB compatible device.|
|*11 (Configuration method/Access method) WPS or manually /infrastructure mode. When connecting to smartphones, the camera can always work as a base without a wireless access point. (Security: WEP/WPA-PSK/WPA2-PSK)|
|*12 Models sold in some countries/regions support IEEE 802.11b/g/n (2.4GHz) wireless LAN only.|
|*13 Sony accessories for the Accessory Shoe can be attached.|
|*14 The LCD screen is turned on, shot once every 30 seconds, operate zoom alternately between W and T ends, flash strobe once every two times, turn power off and on once every ten times.|
|*15 Indication recording time, which is defined by repeating the cycle: Power on, start recording, zoom , stand-by and power off.|
- 1x Sony A7S III - Body
- 1x Rechargeable Battery NP-FZ100
- 1x Battery Charger BC-QZ1
- 1x Power cord
- 1x Cable Protector
- 1x Shoulder strap
- 1x Body cap
- 1x Accessory shoe cap
- 1x Eyepiece cup
- 1x USB-A to USB-C cable (USB 3.2)
UNLEASHING IMAGE QUALITY PERFORMANCE:
A brand new 12.1-MP full frame back-illuminated Exmor R sensor paired with powerful BIONZ XR image processor for outstanding performances
SUPREME 4K VIDEO QUALITY:
Shoot at up to 4K 120p while recording in 10-bit 4:2:2 for unlimited creative expression. Top class low-light image quality with 80-409,600 ISO range and up to 15+ stops dynamic range
FASTER AND MORE PRECISE VIDEO AUTOFOCUS:
Rely on fast hybrid AF, with 759 phase-detection AF points, 92% coverage and enhanced Real-time Eye AF to keep your subject in focus in any situations
DESIGNED FOR PROFESSIONAL WORKFLOW:
With new XAVC-HS (H.265) and new XAVC-S-I (All-I) codecs, 16 Bit RAW data output, S-Log profile, extended stamina capabilities (Z battery) and Digital Audio Interface the A 7 S III provides maximum workflow efficiency while retaining maximum image quality in all shooting scenarios.
PERFECT FIT FOR RUN AND GUN VIDEO SHOOTERS:
In Body Image Stabilisation (IBIS) of up to 5.5 stops + new active mode. New Menu System (touch capable), dual card slot compatible Cfexpress Type A/ UHS-II along with improved dust and moisture resistance for your most demanding shooting sessions.
Sensor Type: CMOS
Video Resolution: 4K
Resolution: 12 Megapixels
Format: Full Frame
Card Type: SD