Sony a7S III Review – Mini Documentary and Lowlight Sample Footage

July 28th, 2020

The wait is finally over and the full frame mirrorless compact camera Sony a7S III  has been just announced with key features like 4K resolution (in up to 120 frames per second), All-Intra (new codec, XAVC S-I), 4:2:2 color sampling and 10-bit color depth internal recording. 

Can’t believe how time flies. I was 5 years younger when the Sony a7S II was introduced… Looking back, this little camera served many of us well (two of my long time favorite camera reviews were shot with this camera “Time Stood Still” and “Play With Me”).

Now it is time to say thank you and goodbye to the aging “lowlight king” and welcome its successor the Sony a7S III. Was it worth the wait? Is this product “exceeding expectations” and standing up against Sony’s claim? Read on to find more. (The above video was filmed on a Sony a7S III, pre-production model).

Sony a7S III – Full frame, 4K, 10bit, 422, All Intra Internal recording. Image credit: cinema5D

Sony a7S III – A New Beginning

It’s just before 9:00 AM and I’m already standing outside in front of the Sony building in Shinagawa, Tokyo. I came back to return a lens that I got for testing. Nothing looked too exciting. On the contrary, because of the current situation, this huge building was rather empty, the reception desk and the polite ladies behind it were all gone. Instead, a security guard armed with a thermometer in his left hand welcomed me with “I need to check your temperature”. Since I don’t speak Japanese (yet), I can only presume that this is what he said as his next move, was to point the thermometer right to my forehead. Strange feeling. I’m a healthy guy, but what if this measuring device is wrong and I’m suddenly detected as a person who has a fever? Thankfully, this didn’t happen and before I knew it, I was inside the elevator standing on one of the 5 marked places. Our Sony Japan contact person welcomed me. He is a lovely knowledgeable person but that morning he acted a bit strangely. I handed him the lens but he politely refused to take it. “Have it with you for a few more days. You might need it” he said.

To cut a long story short, “I was ambushed”. Came for the lens and stayed for the new a7S III… A few hours later and I could share with Nino, my business partner. “The eagle has landed. The Sony a7S III is here”.

As always, I’ll be completely open and transparent with you guys. When I first saw the camera and heard all the details about it, I was a tiny bit disappointed. What has happened to “exceed expectations” I’ve asked myself, still under the influence of Canon’s latest EOS R5 and R6 announcement. I guess that what stuck in my head, had to do with higher resolution numbers and internal RAW recording, but only up until a day or two later…

Sony a7S III – Robust Performer. Image Credit cinema5D

Sony a7S III – In the Field (Kana, Mountain Runner)

Lino Panela, and old friend from Italy, was fast to react to my Facebook appeal to help with finding nice people to film here in Tokyo and he was the one to connect me with Kana Suzuqui, a lovely lady who her passion is mountain running. Fast forward, and I found myself watching Kana at her place getting ready for her weekend run. I, on the other hand, was ready to chase her. No tripod, a small backpack, the Sony a7S III (which I tested before to get used to the new menu and features), three lenses, the Sony FE 16-35mm f/2.8 GM (my favorite), Sony FE 24-70mm f/2.8 GM and, Sony FE 12-24mm f/2.8 GM Lenses. Looking back, I now know that I had two lenses too many. My back kept reminding me that every milligram counts when you are in the mountains…

So, I write much and I’m sure by now you want to know how it was to work with the camera. Well, simply a treat. The ergonomics is very good (I don’t work with a strap or cage), the images on the new LCD and EVF looked good (more on this later), view assist was accurate in terms of REC709 colors (I worked on S-Log 3), and battery life was not an issue – had 3 with me, plus a way to charge them in the camera through the USB-C connection. I set the IBIS (In Body Image Stabilisation) to “Active” and was happy with the results. Static shots looked as if I took them from a tripod. The “following kana” shots looked a bit shakier, but in all fairness, good enough for what I wanted. A good balance between steadiness and fluidity. Personally, I don’t use gimbals for documentary work and this solution was sufficient. Mind you that there is a certain crop when working in “Active mode”.

I actually tested the a7S III before working with the  Canon EOS R6 and originally I thought that those two will compete. The reason I’m mentioning it here is because I did not feel at any stage that the a7S III is being in my way when filming, the contrary, I felt as if it is working with me in perfect syntonization.

Maybe the only struggle I was facing during filming was because of having a single CFexpress A type card with me (a completely new standard that Sony is the one to use for the first time). I had to make sure that every time that I want to film in NORMAL frame rate, I don’t use this card as it was reserved for “slow motion” shots, because of its high data rate writing specifications.

Sony a7S III – Lowlight king. Image credit: cinema5D

Sony a7S III – Lowlight Performance

As you can see in the above video (minute 11:57), the lowlight capabilities of this camera are simply insane! True it can get noisy, but the Sony a7S III can easily be regarded as a “night vision device”. From my filming experience, ISO 16000 is the cleanest in my opinion when filming in high ISO settings. I’m still determined to understand what’s really happening there as officially, it is not a dual ISO sensor. So, it is safe to report that the Sony a7S III is following the footsteps of its predecessor by concurring with the “lowlight king” title.

Sony a7S III – Heat management Image credit: Sony

Sony a7S III – The Technical Stuff

Let’s start by writing that this is a full frame camera that can record in 4K internally up to 120 frames per second (10bit, All-Intra, 4:2:2 color sampling). If you are after a greater slow motion performance, 1080 can do up to 240 frame per second (not tested). Mind you that when filming in 4k/120p, a small crop is applied to the picture.

Overheating and recording time limitations: the new camera has NO recording time limits in 4K 24/25/30p. When it comes to 60p, Sony says that around 60 minutes is a safe bet, depending on room and temperature conditions. In 120p, accept to be able to film around 30 minutes. Our friend and colleague Philip Bloom had the camera for a longer period of time and conducted extensive overheating tests. We will update our article with a link to his video so you guys can get more knowledgeable. Speaking of overheating, the compact a7S III is fanless! Sony obvisouly took their time to work on (and solve) this crucial issue.

Rolling Shutter effect: the combination of 2 newly developed BIONZ RX processors, together with the all new 12 megapixel sensor, allows very fast information readout and the result is a very well maintained rolling shutter effect!

Autofocus: all in all it performed well, although I had some issues which I could recognize only AFTER coming back from the mountain and watching the footage. My issue was that the camera will not autofocus on infinity in a completely sharp way. This phenomenon was very evident when moving from Kana’s face to infinity. My issue was reported to Sony and I can only hope that it will be addressed before the camera is out.

IBIS: Sony’s new 5 -axis In Body Image Stabilisation can work together in conjunction with their stabilized lenses. The results are fine (better performance than previous Sony models), yet, I do think that Canon’s new IBIS and even FUJIFILM X-T4 (with the previous FW) are a bit better. Saying that, the static results are great, and “on the move” needs the tiny extra attention.

Sony a7S III – Reworked Menu. Image credit: cinema5D

Menu: finally (!) after years of struggling and “frustration”, Sony finally came up with an ALL new menu and design structure, one that deserves compliments. Be it by turning the back wheel, jog stick, or touch screen, the menu is very responsive and logical, at least for my aging brain.

Sony a7S III – Recording Modes. XAVC S-I 4K recommended. Image credit: cinema5D

Codecs: Sony implemented three new codecs on this camera. The jewel on the crown is XAVC S-I. This All-Intra H.264 codec will record in 24/25p with 240Mbps and in 50/60p in 600Mbps. XAVC HS uses the newer H.265 encoding but according to Sony, the previous is the better one.

HDMI OUTPUT: I think that many were expecting to see some sort of internal RAW recording with the new camera, but Sony took a different approach, the safe one. Instead, they equipped the new camera with a large HDMI connector and the ability to output 16 bit uncompressed RAW (4k/60p). Now we have to wait for a third party manufacturer to support this Sony Alpha industry first.

Other enhancements: the LCD screen is now completely articulated and the nice thing is, it won’t be limited in movement by connecting headphones for example, as there is a hight distance between the two. The “Z Type” battery performed very well. I did not measure its performance with a stopwatch but I can not recall any stress while filming.

My favorite feature: the older guys here will understand and the younger once might laugh, but for me, the ability to change the color of this little focus square from white/grey to RED, is a big thing. It is simply much easier to focus on objects like this.

Man at work – Image credit Kana Suzuqui

Conclusion

I feel as if the Sony a7S III will be a perfect fit for owners of other (professional) Sony cameras. The integration is simply better. Even S-LOG files should look the same… Now, what about users from other camps? Well, in my opinion, Sony did their homework. Instead of joining the higher resolution race, they went “safe” making sure that their new product is reliable, robust and easy to use and I salute them for that! Will it be enough to convince others? Time will tell. Like always, my review is not a recommendation to buy anything. Our best advice is, try it for yourself.

Looking for additional information about the new camera? We conducted a Q&A session with Yann Salmon Legagneur from Sony Europe. Head to our article and video by clicking here. 

A special thank you to Kana Suzuqui. You can learn more about her sports activities by clicking here.

The above video was recorded in 4K in 24 and 120 frames per second. XAVC S-I codec, S-log 3. “Kana the Mountain Runner” was graded with Lutify.me.  Music: epidemicsound

What do you think about the new Sony a7S III? Were you expecting something completely different and more “futuristic”? Do you agree that readability is more important than resolution? Please share with us your thoughts on the comment section below. 

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t p
t p
Member
September 1st, 2020

How is the quality in super 35 mm crop mode? I want to use some cinema zoom lenses but wonder if the low pixel on a7siii then would defeat the purpose of getting this camera, or if it still is an advantage/upgrade?

Cant find any coments on this on any webreview… Except from earlier versions a7sii where its recomended to use the “clear image zoom” to get som kind of 4k recording, even thou still will be less resolution than fullframe 4k, it should be bettr than to go with 1080 hd?
Thanx for any real experience feedback! And nice forum and website!

 João Felipe Khury
Member
August 3rd, 2020

Fantastic! Do you happen to know if 4K 120p can be recorded to a 12-bit ProResRaw file on a Ninja V while in the S&Q mode?

 Raphael Brand
Raphael Brand
Member
August 3rd, 2020

Dear Johnnie,
beautiful work!! i also really liked your mini docu on the chef and her student though you were clearly frustrated, it came out very well. But this one is exceptional and its hard for me to imagine how you were running in front of her filming her and following her…i would probably trip :-)
beautiful edit job too!! please tell your editor and i find the color rendition amazing.
i wanted to get the R5…kinda programmed it in my head…having all this canon lenses…but now i wonder…
i started to play with the Sirui anamorphic lens on my Sony 6400 and 6500 and i really like the results…will send you a link when i am done with it.and wonder if i could use it on this camera? does it have a crop sensor mode or something?

Kindly
Raphael

 Paul Bennett
Paul Bennett
Member
August 2nd, 2020

Johnnie,
Could you make some ungraded footage from your documentary available for download? I’m particularly curious to get some footage in Resolve see how much can be dug out of the shadows and highlights, what the noise looks like etc.

Thanks, Paul

Markus Magnon
Markus Magnon
Guest
August 1st, 2020

Cinema5d should take a closer look to this video:

Sony A7SIII vs Canon R5 Overheating Test Revisited
by Dan Watson
https://youtu.be/d-SAUNuBCNM

It seems the new AS7SIII also have a huge overheat problem. After bashing the Canon so hard (which was a really good video) I hope Cinema5d will take a closer look to the new Sony camera, too.

sam broggs
sam broggs
Member
August 1st, 2020
Reply to  Markus Magnon

https://youtu.be/JnPimp43hRM
For me its totally acceptable and codec dependent..

canon5dsquared
canon5dsquared
Member
August 11th, 2020
Reply to  Markus Magnon

Don’t get your hopes up. They used the pre-production R6 and gave it a full review because stating “The camera I had is a pre-production model but as Canon representative stated, “almost final”.” But lets see them use the Sony A7S III in direct sun like Dan did and I’ll bet they defend it by saying “it’s a pre-production model”.

sam broggs
sam broggs
Member
August 1st, 2020

I cannot find 512 v90 cards out there even v60 is hard to find in 512 gb and 1 tb is only available in v30.
Strange that Xavc hs is only available in 24 and not 25p. This would be perfect at 100 mbps so I could use my old v30 cards. Found this chart here. Does anyone know what 200 / 100 mbps means for 50p? Is there an option to lower the data rate?

XAVC HS 4K Data Rates:
ResolutionBit DepthColour SamplingFrame RateDate Rate (Approx)
3840×216010 Bit4:2:250p200Mbps / 100Mbps
3840×216010 Bit4:2:050p150Mbps / 75Mbps / 45Mbps
3840×216010 Bit4:2:224p100Mbps / 50Mbps
3840×216010 Bit4:2:024p100Mbps / 50Mbps / 30Mbps
3840×216010 Bit4:2:260p200Mbps / 100Mbps
3840×216010 Bit4:2:060p150Mbps / 75Mbps / 45Mbps
3840×216010 Bit4:2:2100p280Mbps
3840×216010 Bit4:2:0100p200Mbps
3840×216010 Bit4:2:2120p280Mbps
3840×216010 Bit4:2:0120p200Mbps
https://www.proav.co.uk/videos/sony-a7s-iii-depth-look-data-rates/

sam broggs
sam broggs
Member
July 31st, 2020

So to wrap it up:

Sony FX9 pros:
VariND
Big buttons

Sony FX9 cons:
About 9KG with lens and V-Mount adapter
(necessary because of high power consumption)
Price 15.000 Euros with cards and adapters

Sony a7s III pros:
Image stabilization
UHD 120p without crop
About 2kg with lens and audio adapter
Price 6000 Euros with cards and adapters

Sony a7s cons:
maybe ergonomics??
Face registration for autofocus?? dont know…

Both:
Hot shoe audio adapter necessary for four-channel-audio

I personally am quite happy I didnt invest in the FX9 because I have to carry my camera all day..

Noah
Noah
Member
July 30th, 2020

This review is really good and enjoyable. You covered all the aspects of the camera, quality, IBIS, low light performance, rolling shutter, menus, auto focus, etc.

I really didn’t like the canon R6 review and thought it was unfair and bad, but here you made this review perfect. Bravo.

Please keep shooting more videos for the reviews outdoor with natural light for the reviews to be consistent. As indoor lighting setups can vary and give different results depending on the location, lighting type, lighting setup, cinematographer, etc.

Again Bravo for this review.

sam broggs
sam broggs
Member
July 31st, 2020
Reply to  Noah

Both reviews are absolutely fair. It’s nice to hear someone make an hones this review about a camera and tell if it sucks. There are too many you tubers getting paid for their reviews and canon has a lot of power with their advertising budgets so an honest review should be absolutely Supported.

Craig Marshall
Guest
July 30th, 2020

It seems that the As7 III is likely to be my first Sony camera for video acquisition since 2012. Though I will miss the brilliant and far superior form factor of my now elderly NEX VG20…

 Ashit Tandon
Ashit Tandon
Member
July 29th, 2020

Great documentary once again Johnnie. A couple of questions regarding the camera. With SLOG3, does one need to over expose (+1 or +2) when using this? Also, any idea if SLOG3 is available in S&Q mode?

 William McGough
William McGough
Member
July 29th, 2020

Johnnie, Luciano, + team: I am really enjoying these new camera videos with the mini-doc in them. Combining an example of what the camera is capable of with the ending discussion of what it was like to film that project is the exactly what I want to see when I am considering that camera. There is a big difference between generic test footage and actually seeing a considered and polished work produced with the gear. And even when I am not considering the camera, these stories have been worth the watch. Keep up the good work!

sam broggs
sam broggs
Member
July 29th, 2020

Does it have face selection tracking like the fx9 or just object tracking plus tracking of random faces like the a7 III?? I watched three hours of reviews but didnt find the answer in any of them..

sam broggs
sam broggs
Member
July 29th, 2020
Reply to  Johnnie Behiri

Thanks! With a single face close up the a7 iii already works great. So in groups of people you can now just flick through the faces with the selection wheel? Does it prioritize kanas face over the face of other people even when she leaves the frame and reappears? That alone is a big reason to buy the camera because the a7 iii gets distracted in groups of people quite easily

sam broggs
sam broggs
Member
July 31st, 2020
Reply to  Johnnie Behiri

Thanks! I am very curious!!

Chuck Shacochis
Guest
July 30th, 2020
Reply to  Johnnie Behiri

HI Johnnie,
I always appreciate the time and effort you put into these docs/reviews. This looked really beautiful. Curious – will you be purchasing the A7S III for yourself? Take care and thanks again!

 Arnaud Gransagne
Arnaud Gransagne
Member
July 29th, 2020

Hey, great documentary and visuals here. On the contrary, I find your grading really cinematic here and I’m wondering if the S1 can handle it the same way.
I find your visuals way better here than in the S1 vlog review and It was shot in the same country, so I’m wondering if you really changed your grading a lot or if it was the A7S 3 which allowed this kind of image (more cinematic and less video)

John Wheeler
John Wheeler
Guest
July 29th, 2020

That’s a well-crafted documentary, but the color is not very impressive (similar to other demo reels of the A7Siii I’ve seen today).

Does it look better when not viewed through YouTube compression?

Will
Will
Guest
July 29th, 2020

Thanks Johnnie, one quick question. Is the form factor the same as the A7iii? Will old cages work with the new camera?

ErikV
ErikV
Guest
July 28th, 2020

Hi Johnnie,
Compliments on the documentary. You have a way with camera’s and with people so it seems :-)
Did you use additional IR-cut filtration?
You mentioned rolling shutter looks improved. Since you shoot handheld without stabilization, did you notice any CMOS wobble?
Thanks,
Best,
Erik

Jack Kelner
Jack Kelner
Guest
July 28th, 2020

“This All-Intra H.264 codec will record in 24/25p with 240Mbps and in 50/60p in 600Mbps.”

Ugh, WHY DO THEY DO THIS? Why reduce the bitrate at the lower frame rate? SO DUMB.

“they equipped the new camera with a large HDMI connector and the ability to output 16 bit uncompressed RAW (4k/60p). Now we have to wait for a third party manufacturer to support this Sony Alpha industry first.”

Atomos’s ProRes Raw recording from this camera is already announced. I don’t think ProRes Raw’s bit depth currently goes beyond 12, so you’ll be getting 12-bit raw… which is still excellent.

Raj Newkirk
Raj Newkirk
Guest
July 28th, 2020
Reply to  Jack Kelner

Sony made some good choices here. The full-sized HDMI connector is a MUST; unfortunately it doesn’t look like there’s any provision for strain relief, which is bad. The A7SII actually did come with a cheeseball plastic strain relief, but I’ll take the full-sized HDMI over that. And even better, it looks like the HDMI connector is designed to be easily replaceable, because it’s held in with screws. GOOD CALL SONY.

Going with lower resolution and lower noise is a great decision too.

But… I see nothing about shooting 4K (raw or otherwise) from an APS (super-35) crop. That’s too bad. Full-frame is not good for video, with its overly shallow DOF making for way-too-fussy focusing.

Jack Kelner
Jack Kelner
Guest
July 28th, 2020
Reply to  Raj Newkirk

Ah, looks like Sony went even beyond plain strain relief! DPReview has this picture of a beefy-looking sidecar of some kind:comment image

AJR
AJR
Guest
July 29th, 2020
Reply to  Johnnie Behiri

Yes but can you use clear image zoom and punch in far enough to cover S35 lenses?

Member
July 28th, 2020

Very nice documentary and review as always. Thanks.

 Paul Bennett
Paul Bennett
Member
July 28th, 2020

Very nice review and documentary Johnnie, as usual. Please run your dynamic range and latitude tests as soon as possible! You guys are the industry standard – objective, repeatable, scientific measurement rather than manufacturers marketing specs.

 Patrick Chase
Patrick Chase
Member
July 28th, 2020

As a longtime user of Sony and Canon systems (and more recently m43), this camera makes a lot of sense to me.

Oversampled 4K, full-frame, IBIS, and passive cooling are still simply too much from a heat perspective. For high-duty-cycle video there are basically four viable options: Forego oversampling (A7Siii), add a fan (S1H), forego IBIS and rigidly heatsink the sensor to a large body that can dissipate the heat (1Dx III, some pro cameras), or use a smaller sensor.

The R5’s oversampled full-frame modes and the R6 (which only has oversampled near-full-frame modes) show what happens when you try not to compromise on any of those 4 points. I think they’re valid for a fair number of customers, but if you want to shoot video all day long the A7SIII is going to be a safer bet.

One thing I might look at closely is the image-quality impact of the phase-detect pixels, especially in high-flare shooting scenarios. Oversampling tends to hide those issues.

Nathan Lee Bush
Nathan Lee Bush
Member
July 28th, 2020

Sony still hasn’t pulled it together with the skin tones out of camera, and I see a little muddy compression in the out of focus areas, but maybe it’s just YT compression. But the EVF and autofocus are huge improvements.

Canon has great color but its tech is not up there with Sony.

Blackmagic still provides the sweet spot for budget filmmakers looking for specs and color science, but every camera has some glaring oversights like autofocus, IBIS, because they don’t have the R&D budgets of the big boys.

Panasonic seems very impressive but haven’t used their stuff in the field besides the Varicam LT (which is amazing) much.

Lots of great mirrorless options in 2020, but not one complete package yet.

Guest
July 29th, 2020

Still a big fan of the combo of BMPCC4K for video and Fuji XT3 for stills for this budget level. But this looks like a great evolution. And lovely doc Johnnie!

Member
July 29th, 2020

Consider the Phantom Luts. It’s astonishing how it can fix skin tones and turn slog to Alexa’s color science.

Member
July 28th, 2020

You can really hear the difference in the new audio-recording format.

 Martin Nguyen
Martin Nguyen
Member
July 28th, 2020

What a nice documentary! Almost forgot it was a camera review. Thanks, Johnnie!

But I can’t help to be relieved that Sony finally changed the menu and added the fully articulated LCD screen. That was always really annoying!

It’s not a revolution, but a strong evolution with focus on embedding users feedback imho…

Ian
Guest
July 28th, 2020

And…cue the “it’s still not good enough” comments reflecting the severe unsatisfaction of our modern consumer/creative age.

simeone ricci
Guest
July 28th, 2020

it’s that possible to have a review with that kind of audio!!??? sony has advantage in low light,slowmotion but apparently canon sensor is sharper internally. i think besides the overheathing the r5 is a superior camera.more technology inside better autofocus ,better made,better menu,better viewfinder and absolutely much better screen.nikon is left in the dust. Fuji will have serious problem in the future unless panasonic will drop the mico 4/3 lines. i stick with canon

 Gentry Jonathan
Gentry Jonathan
Member
July 28th, 2020

Ahh.. I’m not a past Sony owner (except Sony F3), but I think the balance has finally arrived. This is about everything in a package. I use S1 along with older cameras like Alexa, Ursa Mini Pro, Pocket 4K. They are all tools. The S1 is such a usable camera and this builds on it by adding reliable autofocus. I will probably stick with S1 for awhile, but this is the next direction for an all ’rounder.

Johnnie. Such a wonderfully shot documentary and subject matter. Since this is a camera test, I would only comment that the grade is very contrasty and the strong color cast makes it a bit hard to understand the look of the camera. This is of course just my opinion. Well done!

 Ashit Tandon
Ashit Tandon
Member
July 29th, 2020
Reply to  Johnnie Behiri

I actually preferring the color grade on the R6 documentary. The skin tones felt a tad nicer with that. In your opinion, is the Canon putting out more pleasing colors. Their color science (along with Fuji’s) has been better. Or is it that the post color grade on this documentary was different? This has always been the one achilles heel for me when it comes to the Sony’s. Just more work required to make skin tones more pleasing

Oliver
Oliver
Guest
July 30th, 2020

Yes, that was my feeling as well in regards to grading. I would recommend another YouTube video by Olivier Schmitt (Trust Yourself – 100% Sony a7SIII short). It has a bit brighter grade.

 Alec Kinnear
Alec Kinnear
Member
August 5th, 2020
Reply to  Oliver

Thanks for the tip, Oliver. Trust Yourself is a big change of pace (although also set in mountains). I felt both pieces suffered from the same dark and stony, somewhat undersaturated (especially green) image. The only graded video I’ve really been impressed with his is from Matti Haapoja when he had his A7S III out on the water: https://youtu.be/h9OxG1eEeGg?t=167

 Paul Bennett
Paul Bennett
Member
August 13th, 2020
Reply to  Alec Kinnear

Yeah most of the SIII videos I’ve seen have the shadows crushed, and not as much detail in the highlights as I would expect, given that most reviewers are praising the dynamic range.

I’ve been trying to find some ungraded footage so I can play around with it but no luck so far.

 Tom Kelly Cinematographer
Tom Kelly Cinematographer
Member
July 28th, 2020

Really nice doc Johnnie with a good variation of shots. Camera looks decent and those menus actually look like they make sense! ?

Andrew Collings
Guest
July 28th, 2020

It’s weird to see the usual roles reversed this product cycle – Canon pushing the envelope, Sony coming in as the reliable workhorse

Dennis Belogorsky
Guest
July 30th, 2020

Apparently Canon is not that good at pushing the envelope and Sony actually made something that checks all the main boxes without their typical over engineering.

Clem
Clem
Guest
July 28th, 2020

Very nice and informative review thanks. How were you rigged for sound for your outdoor shoot ?

Luis Monroy
Luis Monroy
Guest
July 28th, 2020

I wonder how the lowlight compares to the S1H

Jack Kelner
Jack Kelner
Guest
July 28th, 2020
Reply to  Luis Monroy

Interesting question, but it looks like the Sony’s minimal rolling-shutter crushes the S1H’s significant roll.

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