Sony A7R III

[Brian Rhodes]

-42MP Full-Frame Exmor R BSI CMOS Sensor
-BIONZ X Image Processor & Front-End LSI
-399-Point AF System & 10 fps Shooting
-UHD 4K30p Video with HLG & S-Log3 Gammas
-3.69m-Dot Tru-Finder OLED EVF
-3.0" 1.44m-Dot Tilting Touchscreen LCD
-5-Axis SteadyShot INSIDE Stabilization
-ISO 102400 & Pixel Shift Multi Shooting
-Built-In Wi-Fi/Bluetooth, Dual SD Slots
-USB 3.1 Gen 1 Type-C Port & PC Sync Port


Sony a7R III specs

Imaging

Lens Mount Sony E-Mount
Camera Format Full-Frame
Pixels Actual: 43.6 Megapixel
Effective: 42.4 Megapixel
Max Resolution 7952 x 5304
Aspect Ratio 3:2, 16:9
Sensor Type / Size CMOS, 35.9 x 24 mm
File Formats Still Images: JPEG, RAW
Movies: AVCHD Ver. 2.0, MPEG-4 AVC/H.264, XAVC S
Audio: AC3, Dolby Digital 2ch, Linear PCM (Stereo)
Bit Depth 14-Bit
Dust Reduction System Yes
Memory Card Type SD
SDHC
SDXC
Memory Stick Pro Duo
Memory Stick PRO HG-Duo
Image Stabilization Sensor-Shift, 5-Way


AV Recording

Video Recording Yes, NTSC/PAL
Video Format 3840 x 2160p at 23.98, 25, 29.97 fps (100 Mbps XAVC S via H.264)
3840 x 2160p at 23.98, 25, 29.97 fps (60 Mbps XAVC S via H.264)
1920 x 1080p at 100, 120 fps (100 Mbps XAVC S via H.264)
1920 x 1080p at 100, 120 fps (60 Mbps XAVC S via H.264)
1920 x 1080p at 23.98, 25, 29.97, 50, 59.94 fps (50 Mbps XAVC S via H.264)
1920 x 1080p at 50, 59.94 fps (25 Mbps XAVC S via H.264)
1920 x 1080p at 25, 29.97 fps (16 Mbps XAVC S via H.264)
1920 x 1080i at 50, 59.94 fps (24 Mbps AVCHD via H.264)
1920 x 1080i at 50, 59.94 fps (17 Mbps AVCHD via H.264)
Aspect Ratio 16:9
Video Clip Length Up to 29 Min
Audio Recording Built-In Mic: With Video (Stereo)
Optional External Mic: With Video (Stereo)


Focus Control

Focus Type Auto & Manual
Focus Mode Automatic (A), Continuous-Servo AF (C), Direct Manual Focus (DMF), Manual Focus (M), Single-servo AF (S)
Autofocus Points Phase Detection: 399
Contrast Detection: 425


Viewfinder/Display

Viewfinder Type Electronic
Viewfinder Size 0.5"
Viewfinder Pixel Count 3,686,400
Viewfinder Eye Point 23.00 mm
Viewfinder Coverage 100%
Viewfinder Magnification Approx. 0.78x
Diopter Adjustment -4.0 to +3.0 m
Display Screen 3" Rear Touchscreen Tilting LCD (1,440,000)
Screen Coverage 100%


Exposure Control

ISO Sensitivity Auto, 100-32000 (Extended Mode: 50-102400)
Shutter 30 - 1/8000 Second , Bulb Mode
1/4 - 1/8000 Second in Movie Mode
Remote Control RM-VPR1, VCT-XPR10, VCT-VPR1, RM-SPR1, RMT-VP1K (Optional)
Metering Method Center-Weighted Average Metering, Multi-Zone Metering, Spot Metering, Highlight Weighted
Exposure Modes Modes: Aperture Priority, Auto, Manual, Movie, Program, Shutter Priority
Metering Range: EV -3.0 - EV 20.0
Compensation: -5 EV to +5 EV (in 1/3 or 1/2 EV Steps)
White Balance Modes Auto, Cloudy, Color Temperature, Custom, Daylight, Flash, Fluorescent (Cool White), Fluorescent (Daylight), Fluorescent (Warm White), Incandescent, Shade, Underwater
Buffer/Continuous Shooting Up to 10 fps at 42.4 MP for up to 76 Frames in Raw Format
Up to 8 fps at 42.4 MP for up to 76 Frames in Raw Format
Up to 6 fps at 42.4 MP for up to 76 Frames in Raw Format
Up to 3 fps at 42.4 MP for up to 76 Frames in Raw Format
Up to 10 fps at 42.4 MP for up to 76 Frames in JPEG Format
Up to 8 fps at 42.4 MP for up to 76 Frames in JPEG Format
Up to 6 fps at 42.4 MP for up to 76 Frames in JPEG Format
Up to 3 fps at 42.4 MP for up to 76 Frames in JPEG Format


Flash


Flash Modes Auto
Fill-In
Hi-Speed Sync
Off
Rear Sync
Red-Eye Reduction
Slow Sync
Wireless
Built-in Flash No
Max Sync Speed 1 / 250 Second
Flash Compensation -3 EV to +3 EV (in 1/3 or 1/2 EV steps)
Dedicated Flash System TTL
External Flash Connection Hot Shoe, PC Terminal


Performance


Self Timer 10 Seconds, 5 Seconds, 2 Seconds
Connectivity 1/8" Headphone, 1/8" Microphone, HDMI D (Micro), Micro-USB, USB 3.0, USB Type-C
Wi-Fi Capable Yes


Power

Battery 1 x NP-FZ100 Rechargeable Lithium-Ion Battery Pack, 7.2 VDC, 2280 mAh
Operating/Storage Temperature Operating
32 to 104°F (0 to 40°C)


Physical

Dimensions (W x H x D) 5.0 x 3.8 x 2.9" / 126.9 x 95.6 x 73.7 mm
Weight 1.45 lb / 657 g






A New Level of Image QualityThe 42.4MP high-resolution, back-illuminated Exmor R CMOS image sensor utilizes a gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor’s seal glass to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range.Sony’s new α7R III also features a new front-end LSI that effectively doubles* the readout speed of the image sensor, as well as an updated BIONZ X™ processing-engine that boosts processing speed by approximately 1.8 times compared to the α7R II. These powerful components work together to allow the camera to shoot at faster speeds while also enabling its impressive ISO range of 100 - 32000 (expandable to ISO 50 – 102400 for still images) and massive 15-stop dynamic range at low sensitivity settings. This ensures outstanding overall performance at all settings and in all shooting conditions.This new full-frame model was built without an optical low pass filter to maximize resolution, while also having the ability to output 14 bit RAW format even when shooting in silent or continuous mode. The camera is equipped with an innovative 5-axis optical image stabilization system that has been fine-tuned to support its high-resolution shooting capacity, resulting in a 5.5 step shutter speed advantage, the world’s highest compensation performance for an image stabilization system. There is also a new low-vibration shutter that reduces vibration and image blur in all modes, including the high speed 10 fps shooting, as well as several advancements in accurate color reproductions of skin tones.

[Joachim Claus]

Hi Brian,

thank you for this interesting information.
Within the technical data for video recording it says "UHD 4K30p Video with HLG & S-Log3 Gammas".

Do you know, which color sampling 4:2:2 or 4:2:0, and bit-depth 10bit of 8 bit?

Joachim

[Jack Zhang]

Sony is now the only manufacturer now without 4K 60p in their prosumer lineup for this upcoming year. I'm expecting nothing for NAB and I will be saving up for a GH5 or the rumored GH5-s. I can take the hit in sensor size for being able to do my stuff in 4K 60p for stuff OTHER than slow motion. (Seriously, why does 60p equal slow motion overcrank in people's minds?)

Also, no full sized HDMI, so fragile Micro HDMI plugs will still be a thing.

[James Manford]

Good news for those looking to buy the A7Rii at a discount now.

If the A7Siii doesn't shoot 240fps in 1080p and offer 4K in 60p I will be very very dissapointed. I'm waiting to hear what they have in store with that one.

[Gary Huff]

Originally Posted by James Manford

If the A7Siii doesn't shoot 240fps in 1080p and offer 4K in 60p I will be very very dissapointed. I'm waiting to hear what they have in store with that one.

None of the published specs list those modes, so it doesn't seem like it will have them.

[Cliff Totten]

For me, I'm only interested in 60p for half speed editing. I really hate a 60p playback. That look just screams "video" to me. Even worse,...I cant stand 120p or 240p synthesized frame playback on TV's.

I dunno, I guess I get it. Many people do seem to love that 60p payout but if I was forced to choose one cripple or the other - 10bit 4k 30p or 8bit 4k 60p?,...I would take the 10bit 30p cripple easily....any day.

Yeah, that GH5's 10 is absolutely fan-freakin-tastic. Especially over it's HDMI to ProRes. I'm a die hard Sony zombie, but holy crap I'm in total love with my GH5. The rest of my Sony cameras always seem to stay in my safe while the GH5 always goes with me everywhere.

I'm hoping that Sony will have the marketing guts to give the A7S-III at least 10bit 30p over HDMI. I doubt Sony will do this internally as I suspect they wont let the A7S-III leave the XAVC-S cage. Plus, XDCAM Pro managers in Sony headquarters will MAJORLY protest and argue about Alpha being allowed to have 10bit color depth,....I'm sure of that too. 10bit is Sony Pro group's spec and they will want to hold on to that as long as they can.

The A7S-III with that AMAZING sensor and SLOG-3, would be one Hell of a dangerous camera if it had 10bit output,...even at 30p,...even with a slow clocked sensor readout to keep it cool, like today. (rolling shutter)

I'm sure Sony camera design engineers would LOVE to get 10bit sampling. Let's see if internal Sony politics will allow it!

CT

[Dylan Couper]

Originally Posted by Jack Zhang

Sony is now the only manufacturer now without 4K 60p in their prosumer lineup for this upcoming year. I'm expecting nothing for NAB and I will be saving up for a GH5 or the rumored GH5-s. I can take the hit in sensor size for being able to do my stuff in 4K 60p for stuff OTHER than slow motion. (Seriously, why does 60p equal slow motion overcrank in people's minds?)

Also, no full sized HDMI, so fragile Micro HDMI plugs will still be a thing.

I'm super curious as to what you're shooting that needs 4k-60p?

[Jack Zhang]

PC enthusiast content. They demand higher frame rates. They normally game at 120fps or 144fps. "Video-look" is normal for them. Look up "Gamers Nexus," all their content is 4K 60p with the UX180.

If I was targeting console gamers, they think 30fps is fine so I would go for a A6500.

[Noa Put]

I use 50p all the time when I can while shooting weddings, there are moments I want to slow the footage down, I could shoot 25p and shoot 50p if I intend to slow the shot down but if I shoot 50p all the time I don't have to worry about switching framerates during a shot and decide in post when I need to slow down.

[Jan Klier]

Originally Posted by Dylan Couper

I'm super curious as to what you're shooting that needs 4k-60p?

60p isn't that attractive for slo-mo, but I have used 4K60p when we knew we had to extract still frames for 18x12' print production from the same material.

[Dylan Couper]

Originally Posted by Jack Zhang

PC enthusiast content. They demand higher frame rates. They normally game at 120fps or 144fps. "Video-look" is normal for them. Look up "Gamers Nexus," all their content is 4K 60p with the UX180.

Ok, I kind of get it now... but why not just buy a UX180? It seems to work really well for them and it's a lot of camera for the buck.

[Jack Zhang]

Hardware Canucks uses a GH5, and the dark noise difference is night and day. They only shoot 30p and 24p though. Plus the GH5 with the XLR pack is more than enough for my needs, and is cheaper than the UX180 with better quality.