Does Sony Even Need to Make an A7S IV?

This is my Sony a7S III. I bought it brand new when it launched back in 2020, and it has been an absolute workhorse for me. I’ve used it on weddings, commercial shoots, documentaries, YouTube videos. It’s been rock solid.

But ever since Sony released the FX3, a camera with the same sensor that is more video-focused and has received more firmware attention, it’s made me wonder something I hear a lot from other filmmakers too.

Is the a7S III the last camera in the A7S line? And more importantly, does Sony even need to make an A7S IV?

I think there are good arguments on both sides, so let’s talk through them.

Why Sony Might Not Make an A7S IV

The EVF Problem… or Advantage?

One of the biggest reasons many filmmakers still prefer the a7S III over the FX3 is the electronic viewfinder. Being able to put your eye up to the camera and block out the world matters, especially when you’re filming outdoors.

If you’ve ever shot a wedding at sunset, you know exactly what I mean. The sun is blasting you in the face, reflections are bouncing off the LCD, and even at full brightness the screen is hard to see. Closing one eye and using an EVF instantly solves that problem, and there’s a reason cameras have had viewfinders forever.

The FX3, on the other hand, doesn’t have one at all, and that has always felt like a limitation.

At first glance, that sounds like a strong argument for the A7S line continuing. But then Sony released the FX2.

The FX2 Changes the Conversation

The FX2 is interesting because it introduces something Sony had never really done before. It adds a video-centric EVF to a cinema-style body.

What makes it special isn’t just that it exists, but how it moves. The EVF can face straight back like a traditional viewfinder, or tilt upward 90 degrees. That might sound minor, but in practice it’s a big deal.

When you’re filming, you’re often holding the camera closer to your chest for stability, not up at eye level like photography. A tilting EVF works with that posture instead of fighting it, and it ends up being extremely comfortable to use.

Once you use it, it’s hard to go back.

And here’s the key point. Sony didn’t spend the time and money developing a video-focused EVF just to put it on one niche camera. Historically, when Sony introduces a meaningful feature, it spreads.

We’ve seen this before. The flip-out screen everyone loved didn’t debut on the a7S III. It debuted on the ZV-1, a small vlogging camera, and then quickly made its way into higher-end models.

So if Sony plans to put that FX2-style EVF into future cinema cameras like an FX3 Mark II, it starts to raise the question:

If an FX3 II has a great EVF, why does an A7S IV need to exist at all?

The Fan Question

Another reason Sony might skip an A7S IV is cooling.

As video resolutions, frame rates, and bitrates keep climbing, active cooling becomes more important. Fans make sense, especially for long-form recording and higher-end codecs.

But Sony has never put a fan into a non-cinema body. Fans have always been reserved for the FX line and above.

Could Sony change that? Sure. Panasonic already has. But Sony may decide it’s cleaner to keep passive cooling in Alpha cameras and reserve fans for cinema bodies. If that’s the case, it points toward Sony focusing their energy on an FX3 Mark II instead of an A7S IV.

Why Sony Will Make an A7S IV

Now let’s flip the argument, because there are some very strong reasons why I think we will see one.

People Still Buy the A7S III

This is the simplest and most important reason. Even today, with the FX3 widely available, the a7S III continues to sell extremely well.

Why?

First, the EVF still matters to a lot of filmmakers. Even if Sony adds a video EVF to future FX cameras, some people will always prefer a traditional Alpha-style body.

Second, the a7S III still feels more like a hybrid camera. Yes, both cameras can take photos, but the FX3 feels about 90 percent video and 10 percent photo. The a7S III feels more like 70 percent video and 30 percent photo, and that difference matters to people who want one camera that can do both reasonably well.

And finally, price plays a huge role.

When the a7S III launched, it was cheaper than the FX3. Today, the FX3 has gone up in price, while the a7S III often sits lower, especially when sales or used pricing come into play. Even a few hundred dollars makes a psychological difference, and that has absolutely helped keep the a7S III attractive.

Sony Is Incentivized to Make One

Sony’s business structure also matters here.

Sony isn’t just one big “camera team.” There are multiple divisions. The Alpha camera division handles the a7 series. The cinema cameras live under Professional Solutions. They share sensors and technology, but they are separate teams with different goals.

That’s why you’ll sometimes see firmware updates hit FX cameras but not Alpha cameras, even when the hardware is similar.

From Sony’s perspective, it makes sense for both divisions to have their own version of a high-end video-focused camera. An A7S IV would serve the Alpha division, while an FX3 II serves the cinema side. That allows Sony to hit more price points, sell more sensors, and appeal to slightly different users.

Sony has shown over and over that they’re willing to make a wide range of cameras that overlap just enough to give people options.

So… Does Sony Need an A7S IV?

In my opinion, that’s not really the right question.

The better question is, why wouldn’t Sony make one?

People still want it. People will still buy it. And Sony, structurally and financially, has every reason to continue the line.

My bet is that we absolutely will see an A7S IV. The bigger mystery is when, and how much it will differentiate itself from whatever comes next in the FX lineup.

I’m curious what you think. Do you think Sony will make an A7S IV? And if they do, would you buy it, or would you stick with an FX camera instead?

Let me know your thoughts!