Sony A7S III Review (Why You Should Buy?)

It’s hard to believe that Sony’s A7-series has been alive for four years now.

It looks like only yesterday the manufacturer presented us with the primary A7 and A7R, yet here we’re watching the third release of its most simple full-frame mirrorless camera, which advances during a variety of the way on Sony A7 II that received the highest of 2014.

This has been achieved by introducing new and innovative technologies, refining the design, and handling the initial concerns surrounding the quantity of full-frame E-mount lenses available.

We’re now at the stage that there are not any fewer than 25 lenses in Sony’s lineup. This excludes an ever-increasing number of third-party alternatives from the likes of Sigma, which has recently
started making its highly acclaimed Art lenses available in Sony E-mount.

This will be an in-depth article on the Sony A7S III review. At the very bottom, you will find all the answers to Why you should buy this camera.

For a camera that’s been eagerly awaited for therefore long, it could seem the newest Sony has missed the mark in terms of ultimate specs. But to dismiss it during this way would be an enormous mistake, as it’s a camera designed for what real-world filmmakers need immediately.

That’s amazing and customizable AF, great image stabilization, and a low-resolution sensor that performs well in altogether conditions and doesn’t have limits on recording time thanks to overheating.

And crucially, the camera offers an enormous range of useable HD and 4K codecs, during a 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.

With little or no sensor cropping, and with the AF performing at of these settings. With a different version of Log footage for max dynamic range, plus easy HDR workflows, it’s a camera that ticks tons of boxes for creating movies immediately. 

which suggests in 4K, instead of some larger size where tons of the resolution is thrown away to downsize it or having your computers creak at having to process 6K or 8K files.

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DESIGN

Similar to the A7R III, the A7 III’s joystick improves the camera handling and makes AF points
selection quicker.

Sony also imbued the new A7 with an equivalent AF system as their higher-end Sony Alpha series camera, the A9, and Sony’s latest Eye AF focus mode.

The camera body feels a touch thicker than its predecessor, the A7 II, but includes a refined grip which makes it satisfying to carry.

The Olympus OM-D E-M10 Mark II is lighter and is that the most portable mirrorless camera immediately if that’s your deciding factor, The Sony A7 has two SD card slots, but just one supports faster UHS-II cards.

SPECIFICATIONS

  • Image processor: Bionz XR
  • ISO range: 80-102,400 (expandable 40-409,600)
  • Video: 4K video up to 120p, FHD to 240p
  • Sensor: 12.1MP full frame BSI CMOS full-frame sensor
  • AF points: 759 on-sensor phase detection, 425 contrast detection
  • Stabilisation: 5-axis
  • Metering modes: Centre weighted average, highlight weighted, multiple, spot
  • Viewfinder: Electronic OLED, 100&% coverage, 9,437K dots
  • Memory card: Twin CFexpress Type A or SD/SDHC/SDXC card slots
  • LCD: Fully articulating 3-inch touchscreen LED, 1440K dots
  • Max burst: 10fps, up to 1000 raw frames
  • Connectivity: Wi-Fi, Bluetooth
  • Size: 128.9 x 96.0 x 69.7mm
  • Weight: 614g (body only)

FEATURES

Sony a7s iii features

It has a 24MP full frame BSI CMOS sensor. Also it has 93% autofocus coverage (693 phase
detection points, 425 for contrast detection).

Oversampled is 4K/24p video taken from full-width 6K (cropped-in 5K for 30p).

It has In-body image stabilization and 10 fps continuous shooting. It has 2.36M-dot OLED
viewfinder with 0.78xmagnification. It has AF joystick and Touchscreen.

The camera has a Larger, ‘Z-type’ battery (CIPA rated to 710 shots). It has a dual SD memory card slot and USB 3.1 Type C.

It’s hard to seek out anything to complain about when it involves the refreshed design of the A7S III – it really does desire a compromise-free zone for video – but we’d expect nothing less at this price.

The A7S III features a 12.1MP resolution spread across a brand-new full-frame sensor. Sony’s decision to stay the resolution low is single-minded.

With competition from Canon climbing up to 45MP and packing 8K video capture, the A7S III resolutely sticks with big pixels and a 4K cap. Its task is straightforward – to be the simplest 4K video camera it is often, excelling when it involves high-ISO, low-light capture.

And if you demand the last word quality, the camera will output 16-bit raw over HDMI, which may be saved as 12-bit Log ProRes Raw by a recorder like an Atomos Ninja V.

Any filmmaker knows audio is simply as important because the images, which is where mirrorless cameras are often disappointed – forcing users to travel for external audio recorders. The A7S III audio is sweet, with four channels in linear PCM ideal for Sony’s XLR adapter. and therefore the controls are good.

CUSTOMIZATION

Sony’s A7-series has gained a superb reputation for offering photographers a high level of
customization within the past, and therefore the A7 III is not any different.

Head to custom operations within the main menu and you’ll find there are as many as 81 functions which will be assigned to no fewer than 11 custom buttons (which Sony ask as keys) dotted around the body.

Functions are often assigned to stills, movies, and playback sets, and therefore the way
the front and rear command dials operate are often reversed if you’d prefer the front dial to
regulate shutter speed and the rear dial to regulate aperture.

The camera is slightly bigger than other A7 cameras with the new bump on the highest plate housing one among the simplest electronic viewfinders we’ve ever seen.

The camera is weather-sealed and solid and uses an equivalent battery as other later Sony cameras. This lasts well but does get devoured if you’re using 4K 120p settings with IBIS at high bit-rates. That’s something its lesser siblings simply can’t do.

Sony’s rear screen may be a flip screen and maybe a touchscreen where you’ll navigate through the much-improved menu system. otherwise, you can use the dials, if you favor.

One small improvement is that video clips now are often named, instead of them always defaulting to a typical format.

One notable modification on the A7S III, however, is that the relocation of the movie record button to the highest of the camera.

Replacing, or a minimum of taking up the default functionality of the “C1” custom function button seen on the opposite A7/R-series cameras, the revised movie record button is, arguably, during a far more convenient location given these models specialize in video shooting; it puts it right within easy reach of your index. 

It is a very pleasing upgrade, too, compared to the tiny, easy-to-bump movie record button on the A7S II, which was located on the outer side of the rear thumb grip area.

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PERFORMANCE

There’s no getting faraway from the very fact that the A7S III offers a sensational spec for the
worth, and therefore the more you employ it, the more you realize just how capable a camera
it’s.

When I tested the Sony A7 II three years ago, I used to be rather underwhelmed by its
autofocus tracking.

I found it had been far happier predicting slow and steady subjects across
the frame than people who were erratic or fast in their behavior.

I’m glad to report the Sony A7S III is in a completely different league when it involves acquiring specialize in moving subjects.

And it’s the evolved image processing system and impressive AF algorithms that are inherited from the Sony A9, which we must be thankful for.

With the main target mode set to continuous (AF-C) and therefore the focus area set to Zone, I captured a high hit-rate of pin-sharp shots of a quick game of rugby using the Sony FE 70-200mm f/2.8 G Master lens.

The autofocus system showed no difficulty keeping apace with players running directly towards the camera at speed.

Further testing of the main target system at a racing event confirmed that the A7S III is quite up to
the work of acquiring focus at the speed that one needs when shooting unpredictable action o
sport.

The new AF-ON button also ties in extremely well with the fast AF response and
high-speed shooting capabilities.

It’s an excellent addition for back-button focusing, whereby focusing is isolated from the shutter button.

Adding an AF-ON button underlines that Sony has listened to criticisms about the 3 previous generations of the A7.

SONY A7S III PERFORMANCE

Sony’s signature Eye AF mode demonstrated that it’s highly effective for portraiture. It showed no hesitancy in detecting eyes within the frame to make sure they’re the key point of focus.

Eye AF is now supported in AF-C mode, too, not only AF-S just like the A7 II. This, combined with the improved AF speed, makes it easier to shoot a pointy portrait of somebody who’s moving, albeit the person looks down and faraway from the camera or is backlit with their face in partial darkness.

While all of the above is extremely complementary, there’s one underlying issue with the focusing system that’s yet to be addressed.

As is the case with the A7R III and A9, the main target point is again represented in
dark grey, which is invisible sometimes.

Shoot in the dark, or where the scene is predominately dark, and you’ll instantly become conscious of the matter.

The main target point does illuminate green to verify focus has been achieved, but I’d wish to see the outline color of the AF point changed to orange to form it more visible.

The effect of the 5-axis image stabilization system is so powerful that you simply can clearly tell when it’s switched on or off.

With a sound handheld technique and a soft press of the shutter, it’s possible to realize sharp shots right down to 1/3sec employing a fairly wide focal distance lens.

Use an extended, heavier zoom like a 70-200mm and you’ll get consistently sharp handheld shots right down to around 1/25sec if you’ve got a gentle hand and brace the viewfinder up against your eye.

With lenses that are optically stabilized, like the Sony FE 24-105mm f/4 G OSS supplied for review, SteadyShot is controlled from the lens.

Use the A7S III with a non-stabilized lens and you’ll find it’s activated from the camera. For ease and convenience, I ended up assigning SteadyShot to a custom button.

Testing the IS system while filming a series of short video clips resulted in smooth
handheld footage that was far less salty than when it had been transitioned.

It’s no replacement for a gimbal, but knowing you’ll record seamless, shake-free movie footage without further support is reassuring.

Equipping the A7S III with an equivalent EVF that featured on the older A7R
II is a method that the worth of the body.

An electronic viewfinder with a 2.36m-dot resolution isn’t to be sniffed at. However, having tested a couple of cameras recently that sport a better 3.69m-dot resolution, the difference – particularly within the way it renders fine detail – is noticeable.

Having the choice to review shots via the EVF is extremely useful in bright sunlight, and therefore the way you’ll double-tap the screen at an equivalent time and move about the image to see focus is extremely well received.

The sound of the mechanical shutter is quite loud. To be more discreet in your approach you’ll switch to silent shooting mode; however, this doesn’t automatically mute audio signals like the AF beep.

To try to do this you’ll have to trawl through the menu. The menu is color-coded, but like I’ve said repeatedly before when I’ve reviewed A7-series cameras, it isn’t easy to seek out what you’re trying to find during a hurry.

As such, you’ll want to take advantage of the My Menu option and customize the
function buttons carefully. With numerous settings within the menu, Sony has its work cut bent to
simplify it.

However, having the choice to pick and adjust settings via the touchscreen would
help, and are some things that are brilliantly executed on many Canon DSLRs and mirrorless
cameras.

Image Quality

An inspection of the A7S III’s Raw files indicate that the sensor resolves an identical level of detail
to the A7 II and A7 – few surprises as long as all three cameras output an equivalent resolution.


At ISO 100, the sensor resolves around 3200 l/ph. As you begin to encroach ISO 800, the detail
starts to drop below this figure to a still-respectable 3000l/ph.


Detail remains well preserved once you push higher sensitivity settings, with 2800l/ph being
resolved at ISO 6400.

As is to be expected, the extent of detail beyond now does start to scale back because the influence of noise becomes more prominent. That being said, it still manages an inexpensive outcome of 2600l/ph at ISO 25,600 and 2400l/ph at ISO 51,200.

RESOLUTION

An inspection of the A7S III’s Raw files indicate that the sensor resolves an identical level of detail
to the A7 II and A7 – few surprises as long as all three cameras output an equivalent resolution.

At ISO 100, the sensor resolves around 3200l/ph. As you begin to encroach ISO 800, the detail
starts to drop below this figure to a still-respectable 3000l/ph.


Detail remains well preserved once you push higher sensitivity settings, with 2800l/ph being
resolved at ISO 6400.

As is to be expected, the extent of detail beyond now does start to scale
back because the influence of noise becomes more prominent. That being said, it still manages
an inexpensive outcome of 2600l/ph at ISO 25,600 and 2400l/ph at ISO 51,200.

NOISE

Casting our eyes over our diorama test results reveals that the A7S III performs slightly better
than its predecessor at high ISO, because of its backside-illuminated architecture.

Noise-free images are produced between ISO 50 and ISO 1600, with luminance noise only beginning to sneak into Raw files at ISO 3200 and ISO 6400. Users can push up to ISO 12,800 or ISO 25,600 and achieve very acceptable results at both these settings by applying a touch noise
reduction in post.

Colour remains vivid and punchy between ISO 50 and ISO 12,800, with barely any drop by
saturation at ISO 25,600.

Increased noise and loss of detail are clear at ISO 51,200, so ISO 25,600 is the limit I’d set in Auto ISO or be willing to use during a low-light situation. The upper ISO 102,400 and ISO 204,800 settings might sound good to possess, but in fact, you’ll want to offer them a miss; the greatly reduced level of detail and chroma noise leaves much to be desired.

Video Quality

Here is an Sample of video that shot by Sony A7S III.

Casting our eyes over our diorama test results reveals that the A7S III performs slightly better
than its predecessor at high ISO, because of its backside-illuminated architecture.

Noise-free images are produced between ISO 50 and ISO 1600, with luminance noise only beginning to sneak into Raw files at ISO 3200 and ISO 6400. Users can push up to ISO 12,800 or ISO 25,600 and achieve very acceptable results at both these settings by applying a touch noise
reduction in post.


Colour remains vivid and punchy between ISO 50 and ISO 12,800, with barely any drop by
saturation at ISO 25,600. Increased noise and loss of detail is clear at ISO 51,200, so ISO
25,600 is the limit I’d set in Auto ISO or be willing to use during a low-light situation.

The upper ISO 102,400 and ISO 204,800 settings might sound good to possess, but in fact, you’ll want to offer them a miss; the greatly reduced level of detail and chroma noise leaves much to be
desired.

Dumping your 4K footage to memory is additionally getting to be extremely easy because of a replacement codec called XEVC.

All you’ll require maybe a compatible external recorder, and therefore the process will look after itself when recording 500 MBPS bitrate Base ISO 160 for S-Log 2/3. 

This is often something many cinematographers and filmmakers are requesting a few times. Previously, with the a7s II users could only select from 4:2:0 8-bit recording at 100Mbps internally.

While this was amazing at the time of release, it had been the 4:2:2 which was an industry standard for cine at the upper end of the market.

For many a7S owners, the CF-Express is going to be the common option as users would require these to stay up with the impressive 4K recording.

As this is often the case so far, there hasn’t been anything available that will handle the speed. Fortunately, Sony has come to the rescue with two new CF-Express A, which can be available in 80GB and 120GB.

Plus Sony will have a CF-Express MRW-G2 Card Reader available for purchase which may handle the new cards.

Viewing Experience

SONY A7S III DESIGN

Operating a video-centric camera requires solid viewing systems to make sure you get the shot.

The a7S III is improved on all sides for this with the world’s first 9.44m-dot OLED EVF with large
0.9x magnification for unmatched clarity and a totally articulating rear touchscreen which will
help monitor your video in any position—even for vlogs and selfies!

For tethering, users can enjoy remote shooting and viewing from their mobile devices or maybe using 2.4/5GHz Wi-Fi for connecting to a PC.

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Where we can use

Cameras can serve different purposes for various photographers; the proper tool for one
A person’s job could be the incorrect tool for somebody else’s hobby.

Thereupon in mind, we’ll be taking a glance at how the a7S III stacks up for a spread of common uses, supported by its specifications, our lab testing, and therefore the time we’ve spent with it within the world.

Whether you’re pounding the pavement of your favorite neighborhood or exploring a city that’s
entirely new for you, there are certain aspects of the A7S III which may help – and a few which will hinder – your shooting experience.

With family and lifestyle photography, your photos are a visible diary. Going to a bento dinner with friends? Photographing your kids or your pets running around?

Is it mom’s birthday? Here’s what we expect of the A7S III for this sort of photography.

Whether you’re backpacking through nature or simply photographing the sunset at
a beach resort, here’s how we expect the A7S III stacks up for landscape photography.

For strobes and available light shooters alike, we’re defining ‘portrait’ as a photography with a
degree of intentionality that elevates it above an easy snapshot, Here’s how the a7 III
performs.

Sports and wildlife photography places significant demands on both the photographer
and therefore the camera he or she is using.

Responsiveness, autofocus performance, burst shooting, and viewfinder quality are all vitally important when shooting peak action, Here’s what we found while using the a7 III for this sort of photography.

Travel photography encompasses a touch little bit of everything, from capturing beautiful sunsets to old-world architecture, from a fast photo of your lunch to a candid photo on the road, Here’s what we expect matters if you’re considering a visit with the A7S III by your side.

Along with sports and wildlife, weddings and events are often a number of the foremost difficult subjects to draw a bead on both photographer and camera.

The sheer sort of shooting situations, the responsiveness and reliability required, and therefore the ability for the camera to only get out of your way are crucial considerations when photographing a couple’s most big day, Here’s how the Sony A7S III stacks up.

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Frequently Ask Questions


What batteries should I use?

The Sony a7S III is compatible with Sony NP-FZ100 batteries. One battery comes with the box.


Can you swap to crop sensor mode like on the a7r iv?

No APS-C crop mode in 4K. Crop mode available only in 1080p.


Does the a7s iii have an e mount? 

Yes the ILCE7SM3 is an E mount camera.


Does the A7S III have a recording limit?

No. There is no limit of recording.


Does this camera comes with any kind of built in lens?

No, Body only. Lens need to be bought separately

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