A full review of the Sony a7S III from the perspective of someone who films weddings with it: the build, the new menus, the autofocus, the low light, the dual gain ISO quirk nobody warns you about, the bit rates, and whether it was worth the five year wait.
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A full rainy Texas wedding day on two Sony a7S II bodies, from moving groom prep outside for better light, to hiding a lav on a see-through dress, to backing up the toasts inside the DJ’s own microphone.
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XAVC S, XAVC HS, XAVC S-I, 4:2:0 8bit, 4:2:2 10bit. The a7S III hands you a wall of video formats and almost no explanation of what any of them do. Here is what each one actually is, and the one I film everything in.
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Canon announced the C70 the same day the Sony a7S III started shipping, and it is a $5,500 Super 35 cinema camera carrying the C300 Mark III sensor, built-in NDs, and a speed booster that turns it full frame. Here is what I make of it.
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Three a7S III features nobody is covering: white balance while recording with Shockless WB, a punch in you can actually focus with, and an extended base ISO down to 160.
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I ran the a7S III at 4K 24, 60 and 120 indoors and in 117 degree Texas sun, plus a whole real wedding. Here is exactly what it takes to make it overheat.
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