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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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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