I rented the Sony 50mm f/1.2 GM with my own money and shot a multi-day wedding with it. Here is how it compares to every other 50mm I have used, and the two things that stop it being the perfect lens.
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Everything I packed to fly to a wedding in Northern California: three a7S IIIs and a Super 8 camera, three gimbals I cannot fully justify, four audio recorders, and the bags that make it all look like ordinary luggage.
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One gives you the most dynamic range a Sony can record. The other gives you an image you can hand over immediately. Three situations where I pick each, and the ISO difference that decides it on a sunny day.
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SLOG3 is not noisy. It is usually exposed wrong. Here is PP8 versus PP9, the metering number to aim for, the zebra level that actually matters, and the ISOs to avoid on the a7S III, FX3 and FX6.
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Filmmakers kept asking Sony for the a7S III in a real cinema body, with mounting points, XLRs and built-in NDs. The FX6 is that camera. Here is what it adds, what it is missing, and who should actually buy it over the a7S III.
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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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