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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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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Four things I always have in the bag with my DR-10L: the batteries that survive a whole wedding day, the replacement lapel clip Tascam does not sell, wind protection that beats the stock clip, and a way to mic a bride for 10 less.
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The DJ’s mic will cut out during a toast, and you cannot ask anyone to give it again. Two cheap accessories that put a second recorder inside the microphone your talent is already holding.
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Three techniques for using manual focus lenses on a gimbal or Glidecam, without a follow focus and without buying new autofocus glass.
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