Sony a7S III in 2025: Still Great, But Falling Behind
The Sony a7S III has been out for five years now, and when it launched, it completely changed the game for mirrorless video cameras. Incredible low light performance, 4K 120p, excellent rolling shutter control, and class-leading autofocus made it an instant favorite for filmmakers.
But fast forward to today, and the landscape looks very different.
Cameras like the Panasonic S1 II, Canon C50, and Nikon ZR have caught up and in many cases surpassed what the a7S III can do. Because of that, the upcoming Sony a7S IV and FX3 Mark II are going to need some very specific upgrades if Sony wants to stay competitive.
In this article, I’m breaking down three non-negotiable features Sony must include, plus several wishlist upgrades that could truly make the a7S IV special.
Before we jump in, hey, I’m Matt Johnson. I teach filmmaking and video editing here, and if you want consistent color across all your cameras, including Sony, Panasonic, Nikon, and iPhone, check out my color presets! They’ll save you a ton of time in post.
Non-Negotiable #1: Internal RAW Video Recording
When the a7S III launched in 2020, internal RAW recording was rare. At the time, you needed a cinema camera or an external recorder like an Atomos Ninja to capture RAW video.
That excuse no longer holds up.
Since then, Nikon introduced internal RAW with the Z9, followed by the Z8, Z6 III, and ZR. Panasonic joined the party with the GH7 and now the S1 II lineup, offering internal ProRes RAW recording.
Five years later, Sony is now behind nearly all of its competitors in this area.
At a minimum, the a7S IV and FX3 II need internal ProRes RAW. But ideally, Sony should take things further.
Sony already has its own professional RAW format called X-OCN (Extended Tonal Range Original Camera Negative), used in high-end cinema cameras like the Venice and Burano. A lighter X-OCN option would give filmmakers smaller file sizes while still maintaining 16-bit quality.
In short, Sony, give us internal RAW.
Non-Negotiable #2: Open Gate Recording and Anamorphic Support
Sony lets you use the full sensor for photos, but when you switch to video, you’re locked into a cropped 16:9 frame.
In 2020, that was common. In 2025, it feels outdated.
Panasonic now offers multiple open gate aspect ratios, robust anamorphic support, and customizable desqueeze options. More manufacturers are producing affordable anamorphic lenses than ever before, and filmmakers want cameras that fully support them.
The a7S IV and FX3 II need:
- Open gate recording options like 3:2 and 4:3
- Custom anamorphic desqueeze ratios
- Anamorphic-specific IBIS
- Frame guides and monitoring tools built for anamorphic shooting
If Sony fully commits to open gate, it would be a massive win for filmmakers.
Non-Negotiable #3: Internal 32-Bit Float Audio
Audio may not be flashy, but it matters more than almost any video feature.
Until recently, all cameras were limited to 24-bit audio. If you wanted 32-bit float, you needed an external recorder and extra syncing work in post.
That changed in 2024.
Panasonic introduced 32-bit float audio via its XLR adapter, and Nikon took things even further with the ZR, enabling 32-bit float recording directly through the camera’s mic input or hot shoe.
Sony already has excellent hot shoe microphones and supports multi-channel audio. Adding 32-bit float would instantly modernize its audio pipeline and eliminate the need for external recorders for many shooters.
This one should be a no-brainer.
Wishlist Upgrade #1: A 24MP Sensor and 6K Recording
The a7S line has always been known for its 12MP sensor, but I think it’s time for a bump to around 24 megapixels.
That would unlock:
- 6K recording for better reframing
- A Super 35 APS-C crop mode in 4K
- Better compatibility with anamorphic lenses
6K has become the new sweet spot. It offers a big jump over 4K without the storage and workflow headaches of 8K.
Ideally, I’d love to see 6K 60p, and if we’re really dreaming, 6K 120p, similar to how the a7S III shocked everyone with 4K 120p.
Wishlist Upgrade #2: Same Low-Light Performance, No Overheating
If Sony increases resolution, it cannot sacrifice what made the a7S series legendary.
That means:
- Low-light performance comparable to the a7S III
- Clean results at ISO 12,800 and beyond
- Strong cooling with no overheating
The a7S III already excels here. Sony just needs to keep that magic alive.
Wishlist Upgrade #3: A Larger Rear Screen
Most mirrorless cameras stick to a 3-inch rear display. Nikon changed the game with the ZR by jumping to a 4-inch screen.
That extra inch makes a huge difference.
A larger screen makes focusing easier, framing more immersive, and overall shooting more enjoyable. Combine that with Sony’s latest flip-and-tilt mechanism, and it would be a perfect upgrade.
Big Dream #1: A Global Shutter Sensor
Sony already proved it can do global shutter with the a9 III.
A global shutter a7S IV would:
- Completely eliminate rolling shutter
- Prevent LED flicker issues
- Further separate Sony from its competitors
It’s ambitious, but not impossible.
Biggest Dream: Internal ND Filters
If there’s one feature filmmakers have been begging for in a compact mirrorless camera, it’s internal ND filters.
Sony already does this in cameras like the Burano. The challenge is fitting ND filters while maintaining IBIS and compact size, but if Sony ever pulls this off, it would instantly make the a7S IV the go-to camera for filmmakers.
Final Thoughts
At a minimum, the Sony a7S IV and FX3 II must deliver:
- Internal RAW video
- Open gate recording
- 32-bit float audio
If Sony also delivers some of the wishlist upgrades, this camera could once again redefine what mirrorless video cameras are capable of.
If you want to learn how to edit your footage like a pro, grab my free Edit Videos Like a Pro guide. And if you want fast, consistent color across all your cameras, check out my color presets.
Thanks for reading, and have a great day!