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Author Topic: Sony confirms A7sIII out this summer  (Read 59 times)
jdv
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« on: June 30, 2020, 11:49:36 AM »

WITH Olympus going out of business and DSLR/SLR camera sales in the toilet, apparently Sony is finally going to give their fans what they've waited 3 years for, the A7sIII (although they may be changing the name).

Promising that "Everything is new," Sony's VP Kenji Tanaka told DP Review that the camera is on its way:
SONY:

"We’ve received many requests, especially from professional video content creators, and I can confirm that a successor to the Alpha 7S II will be coming, later this summer. Right now we’re focused on the launch of the new camera, and it will be a complete redesign of the whole system, including the image sensor. Everything is new. We hope it will meet and exceed the expectations and requests of our customers. I’m very confident that our new model will meet their demands.

The ‘S’ originally stood for ‘sensitivity’ but now I think it should stand for ‘supreme’ in terms of image quality, and expression. It comes from having really big pixels. I think that many professionals and high-end users will enjoy the new camera.

Mainly things like 4K/60p, 10-bit 4:2:2… really what you’d expect. We’re aware that there is a certain amount of demand for Raw video. As you know, our customers include a lot of professionals, so we’re working hard to be able to deliver Raw data capture to these people."
--------------------------

While I have zero need for RAW (like 99% of all shooters) it would be impressive if it's there.

Like everything Sony, one wonders about crippling of the camera to protect it's higher priced cameras.  Speaking of prices, Sony's usually the highest in the biz.

But with Canon apparently going for broke with their R5 & R6 full frame SLRs out this July 9th (rumored) plus a bunch of new lenses, Sony will have to be competitive with pricing.

For both companies, this may be their final splash in the market for some time to come given the down market.

No word yet on whether Panasonic will release a GH6, or if they're simply - and quietly - getting out of the game.


https://www.dpreview.com/interviews/2430888908/exclusive-sony-confirms-a7s-ii-successor-this-summer-everything-is-new

https://www.techradar.com/news/canon-eos-r5
« Last Edit: June 30, 2020, 12:33:44 PM by jdv » Logged

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« Reply #1 on: July 28, 2020, 03:17:32 PM »

And it's finally real - Sony keeping the name; already taking pre-sales at B&H ($3500, ships in September)

Key stats:

- 12MP Full-Frame Exmor R BSI CMOS Sensor
- UHD 4K 120p Video, 10-Bit 4:2:2 Internal
- 16-Bit Raw Output, HLG & S-Log3 Gammas
- 759-Point Fast Hybrid autofocus
- Dual Slot: CFexpress Type A / SD
- Full size HDMI output
- Flippy screen
- E-mount lenses
- mic/headphone jacks
- larger/longer life battery
- unlimited 4k recording
- 5 Axis in-body stabilization
- touch screen now works for the menu
- New compression scheme plus ALL-I files too

Simply put, this is likely the best full frame SLR-style camera in the world.
The autofocus is sure to destroy Panasonic's S1H, and be at least as good as Canon's R5/6, and likely better.  It will almost certainly offer more pure flexibility when compared to Canon, but likely a little less then Panasonic.

The colors coming out of the camera - long one of Sony's weakest areas - have likely been addressed too judging by their ZV-1 vlogging camera that came out a couple of months back.  

Known negatives? It doesn't have cinema 4k, but that's a pretty small quibble at this point.  

A much bigger concern is that in 84 degree weather in NYC, the A7SIII shut down after only 23 minutes of use.  And, as in all full frame sensor cameras, the glass will be huge and expensive.

The menu is now new, but it still looks like a distant 2nd place to Panasonic, but at least there's now a function button and the touch screen now works for the menu... just like the VG20 did 10 years ago.

No indicator light - no big deal, but weird that it's not on here.

Compare that to the GH5, which we shot with under a blazing Michigan sun for 6 plus hours in 90 degree heat in direct sunlight without so much as a warning, it's an issue.  The S1H also held up under the sun, meaning it's the only full frame SLR style camera in the world to pass that particular test.

Hugh Brownstone shows us, the old but still mighty GH5 can still actually hang with it, even in low light (see below)....




https://www.bhphotovideo.com/c/product/1577838-REG/sony_ilce7sm3_b_alpha_a7s_iii_mirrorless.html/specs
« Last Edit: July 28, 2020, 03:39:19 PM by jdv » Logged

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« Reply #2 on: July 30, 2020, 02:12:39 PM »

Well as more reviews come out, some things become apparent.

- menu system still awful; just bizarrely bad.  Of course Sony users will be used to having the worst menu system in the camera world (well, maybe tied with Olympus), but it's weird that the world's biggest electronic company continues

- 4K 120p is amazing.  Of course, resolution perhaps the least important aspect of cameras/editing, and how often do you really need it, but it's impressive none the less.  honestly, perhaps the most impressive thing about this camera. There is a crop of .3, but no matter - 4k 120p is an awesome feature.

- 10bit is def better then Sony's 8 bit for grading.  BUT they're cramming 10 bits into a 150mbs signal, which is the same as the GH5 and other older cameras.  Would have liked to see this data rate be higher, at least 200 mbps.  I don't shot log, but if you do and you're a Sony user, this is a huge upgrade over the A7III.

- color science is better... but that's not saying much.  Sony had subjectively the worst out-of-camera colors of any 4K camera.  But def less pukey-yellow looking, a bit more Canon red.  Canon still leads the pack here, with Oly & Fuji a close 2nd.  But it is an improvement.

- In-camera IBIS is useless.  Sony still trails behind all other camera companies in this regard.  Completely useless for vlogging or handheld without a stedicam type rig.

- Sony remains the low-light king.  Other then the 4K 120p slo-mo, the other big headline feature is it's low light performance.  Simply put, it's the best.  Not only is it super sensitive, it's super clean.  Far less color smearing and other artifacts.  It's even better then the GH5s, which is crazy good in low light, or Sony's A7III.

- Over-heating not really a real world use issue from what I've seen.  Better then Canon in any event.  And also better then the Panny S1H, which although it won't overheat thanks to it's fan, also means it's not weather resistant, which the A7sIII is.  Sony wins this battle of the full frames (loses to the Oly and GH5 though).

- Flippy screen better then no flippy screen, but for a camera obviously aimed at video, the resolution and size of screen are run of the mill.  Here the Panasonic S1H destroys the A7sIII, at least resolution-wise, and the Canon better to boot.  This perhaps the biggest real-world let down for this camera.  Why Sony gave this thing a great EVF, knowing photogs won't buy it, but an average video screen is beyond me.

- Battery life seems excellent - about equal to the GH5 from what I can tell, and impressive feat for a full frame camera.

- All this tech comes at a price though - the A7sIII costs $3500 with no lens.  By way of comparison, you can pick up a lightly used GH5 for less then a grand, a new Canon R6 for $2500, and a Oly EM1 MIII for $1700 (a used MII going for $850).

But as in all interchangeable lens cameras, you have to factor in lens cost.  Here, Sony glass has always been the priciest.  The Canon R mount, while relatively few in number, are a bit cheaper and from what I can tell, better.  I've never been blown away by Sony glass.  To get truly good lenses, you have to spend mucho dough.

And the Canon R series cameras have a massive advantage - they can use EOS legacy glass with a $100 adapter and work flawlessly.  As there are literally hundreds, maybe thousands, of EOS options out there, this could save a Canon used a huge amount of money.  Glass cheaper for any MFT camera, and of course will be lighter/smaller to boot....

So Sony losses hands down if money is an issue, particularly if you don't already own Sony glass.  BUT this thing uses the emount, a now long established system that may be expensive, it also proven (more so then he R glass from Canon).  You can find good Sony glass used, and like the MFT mout, you can adapt virtually any lens to the Sony system... including Canon EOS lenses.
« Last Edit: July 30, 2020, 02:35:57 PM by jdv » Logged

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« Reply #3 on: August 03, 2020, 01:36:59 PM »

Looks to be a very exciting, durable camera. I think they addressed pretty much every complaint I had about the original camera. It's exciting in one sense, in that us fanboys have been waiting for such a long time for it, and now it's finally here. It's also a little disappointing in that, specs wise, it's not really a great leap forward. It just does what it has to do, and does it (seemingly) very well.

At any rate, at $3500.00, it's not something I'll be getting any time soon. I'll prolly suggest my work get one, but it's way out of my (broke-ass) league right now.

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jdv
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« Reply #4 on: August 03, 2020, 05:11:59 PM »

Tony Northrup - who can be sort of hit or miss in his conclusions - shows that the Canon is sharper, and yeah, looks better straight out of camera.

But those Canons, for some unknown reason, use a micro-HDMI output.  Just beyond stupid.  Canon the better multi-use/hybrid camera because of the resolution for stills.  Over-heating still an issue for the Canon, but not at 24p so much, at least for narrative work.

But yeah, the Sony crushes the Canon for pure workman-like performance.


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