Sony A7SIII = $3500, 10-bit 4K120p internal, 16-bit 4K60p RAW out

ahalpert said:
Do you want to split one with me ...
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What is this, a bottle of Stoli?

No, really. Off the specs, it is going to be a good camera, just not the cutting edge in any particular sphere. Well, maybe the AF will be at or near the top of its class. (because Panasonic crippled its AF on S1H)

But, off the same specs, it also looks devoid of any egregiously inept choke points. And a worry free operation is worth something too.
 
DLD said:
What is this, a bottle of Stoli?

No, really. Off the specs, it is going to be a good camera, just not the cutting edge in any particular sphere. Well, maybe the AF will be at or near the top of its class. (because Panasonic crippled its AF on S1H)

But, off the same specs, it also looks devoid of any egregiously inept choke points. And a worry free operation is worth something too.
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I'm guessing you could finish the stoli yourself ;)

Yeah I dont need any shocking specs (although 4k120p and 16bit RAW out are shocking enough if the R5 hadn't come out first).

I just need a FF GH5 with good AF and no-crop 60p. I mean....if the footage looks good then I dont see anything to dislike about this camera from the specs we've seen

And the DR may well be class-leading for a mirrorless
 
Menus and ports images leak - https://www.sonyalpharumors.com/more-sony-a7siii-leaks-show-the-new-menu-and-camera-ports/

We are definitely looking at a full-size HDMI - phew!

It seems to have an all-intra codec but not the exact same as the FS7/FX9. This one is called XAVC S-I. I'm not sure how I feel about that. If it has beefy bitrates and equivalent quality with better compression, then great. But there would be something nice about saying "it has the same codecs as the FS7/FX9"

But it looks like it can shoot 10-bit 4:2:2 4K 120p internal at 280Mbps. Nice!
 
Oooh it spanks the R5 when it comes to HFR. All-intra 10-bit 4:2:2 4K 120p with full readout...600Mbps codec and lower bitrates as well

They claim it color matches FX9/venice

You can record internally while sending 16-bit out.

No artificial recording limits. b&h guy only ran it for an hour in 4k60p but it did not overheat

Port cover doors are easily removable

Dynamic range looks terrific.

This is a video workhorse, people.

What I've seen of the colors doesn't look quite as sexy as the R5. But there is a lot of gradeability here from s-log 2/3 and it seems like the s-cinetone SOOC is fine.
 
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Looks like a better option than the R5 by a mile... but, it's so sad that Sony was unable to debut their camera without so many leaks...

Kind of killed the mystique.

Good on Sony, the Venice produces a really wonderful image, a lowlight monster with a flexible mount is absolutely welcomed.
 
That guy called touch AF during recording game-changing, lol.

Nice video though. It looks like a great camera.
 
I wish this camera came in an RF mount. The R5 is a huge let down from what I was initially hoping it would be. I was itching to use the RF lenses. The A7S III seems like the the real deal for video in a small form factor.
 
NorBro said:
That guy called touch AF during recording game-changing, lol.

Nice video though. It looks like a great camera.
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Yeah the guy was a bit obnoxious and a lot of Sony's lagging development was on display. "Now with usable menus!!!"
 
By the looks of it, I honestly think the new horizontal hierarchy menus look horrible. And I had zero issues with the old ones. Enjoyed them even.
 
Carlos Morillo said:
I wish this camera came in an RF mount. The R5 is a huge let down from what I was initially hoping it would be. I was itching to use the RF lenses. The A7S III seems like the the real deal for video in a small form factor.
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Yeah you can't win em all. RF lenses look amazing minus the price and the focus-by-wire. E-mount now has many options available at least
 
NorBro said:
By the looks of it, I honestly think the new vertical menus look horrible. And I had zero issues with the old ones. Enjoyed them even.
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Ah so you're a masochist! The new menus look fine. I dont care as much about menus as I do about IQ. I spend 98% of my time interacting with the camera on just changing exposure settings
 
Yeah, I'd get used to them. I like the 10% digital crop feature for that extra bit when you need it. And I guess normal IBIS is 5.5 stops now (improved .5).
 
NorBro said:
Yeah, I'd get used to them. I like the 10% digital crop feature for that extra bit when you need it. And I guess normal IBIS is 5.5 stops now (improved .5).
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One thing that's cool - if I understand this correctly - is it compiles gyroscope metadata for post-stabilization like the FX9. I'm a little foggy on this, but I assume that means I'll be able to do better stabilization in FCPX without waiting for the system to analyze footage for dominant motion. So, a pretty fast and painless workflow with more control over the digital stabilization than doing it in camera?

Now all I need is that fast, stable smartphone monitoring with touch focus
 
I only watched the B&H video and I didn't hear anything said about that for that camera...seemed like it was just a regular in-camera digital crop like everyone offers.
 
I've read it in other rumors. Perhaps its absence from the video means it's not there. We'll know for sure in 8 hours
 
I haven't used the FX9 so I'm not familiar with the workflow but the videos on YouTube of post stabilized FX9 look better than the typical results I've seen from resolve, premiere, or fcpx.
 
Carlos Morillo said:
I haven't used the FX9 so I'm not familiar with the workflow but the videos on YouTube of post stabilized FX9 look better than the typical results I've seen from resolve, premiere, or fcpx.
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I have zero experience with this. But just thinking it through - I think the basic process of shifting the image to stabilize it must be the same. But with the gyroscope info, the computer knows how the camera was actually shaking. It doesn't have to guess based on how the image is moving. So the result should be superior
 
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