Sony recently confirmed plans to launch a successor to the video-centric a7S II, expected this summer. We don't even know the name of the camera, but Jordan already has a feature wish list for the new 'a7S III' – and it doesn't include 8K.
The photographyindustry is too muck video-centric these days. Could you please give me a clean ISO8000? I'm waiting for better High ISO quality for ages. I don't need 4k or 8k, I need clean High ISO for astrophotography. The A7S should be a lightgathering device...
Clean ISO8000? Take a properly exposed 45MP still clean it up with Topaz DeNoise AI, and reduce it to 12MP and you will get your clean ISO8000. And it will be sharper than what you can get from any 12MP sensor. I bet you can take a 35MP 8K RAW frame grab and do the same thing!
I hope they stay with the 12mpix. This is what makes the A7S so unique. Push it to the limit in the 4K range. 8K, that means 33Mpix, so the low light and dynamic range capabilities would be gone. Thats a compromise you can go for, when you already have a camera with high mipx like Canon does. Thats something for an A7RV or maybe an A7IV with a 36Mpix sensor.
A great video by the experts on why 8K acquisition is so much better for creating 4K and even 2K content. The do a great job explain why it is so valuable.
It is a shame Sony is dropping the ball and making a camera with specs similar to cameras for 2 and 3 years ago.
Yes, it's great for somethings but it comes at the cost of larger files, overheating. 12 MP sensor might be able to do 240 fps, 8K might not, at least not without cropping or line skipping. So there are pros and cons.
Larger files yes, overheating no. The A7Sii had similar overheating issues. 240fps is very niche. 120fps is already 1/5th speed when creating 24p content.
8K on the other hand makes it possible to create better looking 4K content than any 12-20MP ever could.
More data and pixels will produce more heat. That's physics. Yes, you can overcome that with larger bodies, fans, and cooling systems, but it is still can be a problem with smaller bodies. A7Sii might have overheating problem, but that problem would quadruple with same body but more data.
So, Jordan wants another Panasonic. The screen with 428 moving parts is mesmerizing, no doubt, but I would trade all of the named features and more for what Sony does best and from what the photos and videos would benefit the most:
- Venice's color rendering & soft highlights roll-off
* 1 week update: Sony leaked yesterday that a7sIII will in fact have S-Cinetone! If it is anywhere near FX9's color rendering & highlights roll-off, that's all I could ask for!
Ironically Sony is banking on 8K. The company that is made up of Sony smartphones, cameras and TVs, is desperate to profit from 8K. Smartphones are losing money and they count on those 4K and 8K TV sales to make up for it, Sony is pushing 8K, and this winter will strongly push it in advertising, Even the PS5 is 8K
Its funny that a company (Sony TV/smartphone/camera) that so very much depends on the adoption of 8K, is failing to make 8K cameras. Guess what is already at the top of list? https://www.sony.com/electronics/tv/t/televisions
The Sony F55 has global shutter and it has been available for years already... what could prevent Sony from offering global shutter on the a7S-cameras? Hope they include it this time.
Blackmagic Design also has cinema cameras with global shutter, and of course the old CCD sensors had it too. I think the current CMOS global shutter sensors are very expensive to produce, and have drawbacks that make them less than optimal for stills or hybrid cameras.
With the F55 and Ursa 4K you took a substantial hit in DR and low light performance in exchange for the global shutter. I'm not sure that's a compromise users of this class of cameras would accept.
Of course Sony, or any number of their competitors, could have released a high functioning, low megapixel, video-centric full Frame MILC and they haven't. Possible that they have market research to show that it won't sell.
That's EXACTLY what I always sayed would be a monster video cam. Stick with this 12MPix sensor - it's a very special thing! (I owned A7s. It has less colour noise as other sensors, so it gets grainy but not "blotchy" at high ISO).
Put stacked memory on it - no need for global shutter then. Would be a beast, also for photography.
Keep the memory cheap - you will need a LOT of it for RAW :-)
But this could have been the A7siii 2 years ago. I think they will jump over this evolution step and bring a higher resolution sensor thing.
Sony is in trouble with A7S III because of Panasonic S1/S1H and Sigma Fp. Nikon Z6 not quite there because of line skipping "RAW" crap.
A7S III must have a RAW video capability. It will be out of the game otherwise. Even then it has to have exceptional RAW video capabilities. S1H has 4K60p RAW, but not optimal for full frame. A7S III could beat it with full width reading and oversampling or even full resolution output. Rolling shutter improvements are always welcome for faster smooth panning or fast action. Global shutter is ideal, if they can keep additional noise down. Basically all this means that Sony has saved its top video sensor technology for A7S III which no one else have access.
What about lens selection? Use base? How many will skip their exisitng system just because of a newly released camera body? Maybe a few amateurs that desperately need "the best specs" to be worthy of their excellent work. :-)
if there's one you-tuber, I found myself always in agreement with about a video camera and its (right-on-the-sweet-spot) criteria, then its undoubtedly Jordan!
Hope to see a true global shutter, and no mechanical shutter. That would be a game changer for both still photography (extremely fast and completely silent shutter, can use flash at all shutter speeds) and video (no jelly effect at all).
A global shutter sensor has a noise and DR penalty, though, and produces more heat. There are probably ways to deal with those things, but it adds to the development cost. If I understand correctly, global shutter CMOS sensors aren't yet feasible for use in stills cameras or hybrid MILCs. A few cinema cameras have them, but that's a different category.
@ Revenant: You have to weight pro agains con, and a small loss in dynamic range doesn't mean anything unless you are working at the highest ISO values. For most photography we are not even close to the noise floor where the images turns pitch black. Cameras with global shutter is already widly used for industrial applications.
Industrial cameras is also a completely different category. I'm sure that if there were no technical and/or economic hurdles preventing the use of global shutter sensors in consumer stills cameras, or at least making it unfeasible, then we'd already have them.
Now imagine if it had been Sony who would be coming out with a Camera comparable to Canon R5, with all these features and all you heard from Canon users was just how you don't need them. Would you not feel sorry for them?
Give it as much Panasonic GH5 goodness as possible (flip out screen, programmable rack focuses, fully touch capable LCD, best in class high res viewfinder, full size HDMI, intelligent menu system, crop sensor recording mode for high quality digital 'zoom'), and I might consider a Sony over the Panasonic GH6 (if it ever comes out!)
A VERY interesting feature that no one offers yet would be to use a 1x1 square sensor (with matching 1x1 viewfinder LCD). This way, users could shoot 16x9, 1x1 or even 9x16 aspect ratio videos/pictures, all while comfortably holding their camera horizontally. No more grip needed! A button could let users quickly switch back and forth between horizontal and vertical mode.
I've tried considering Sony's in the past, but having been spoiled by Panasonic's vastly superior handling, menus, and camera bodies, Sony's mirrorless cameras feel like garbage in the hand. Sure, they might capture great quality footage, but the user experience is just plain bad.
As well as the internal NDs that other have mentioned (even if it means ditching the mechanical shutter! Most a7S users wouldn't mind), the other very important feature I want in an a7Smk3: a Timecode Input! (just like the GH5S/S1H/BMPCC4K/etc have) This is such an extremely important feature for professional video/film productions. . Also, make that HDMI port be full size! (again, like on the GH5/S1H/etc) . And if you can squeeze in an independent DIN ("mini SDI") output as well?? AWESOME! Then you can feed your client say a clean picture with a LUT applied, while you view the log profile with info overlays on top.
@IamJF We're talking about different things. You're thinking about dual ISO. I'm talking about the dual gain for video that Arri has. It basically takes two reading from the sensor it then sends the signal through two different gain paths. One with higher gain and one with a lower gain. Then it combines them to create a much higher DR for video. This is why so many movies are made with Arri. Because DPs love the highlight rolloff of Arri as it's the closest thing to traditional film since a lot of light is needed to clip the highlights on the lower gain path.
Would love the S1H hybrid "flip" screen like Jordan said. Please don't force us to use the current screen and I'm not totally sold on the flip screen. A hybrid is perfect.
Jordan, I don't know how many people, outside of you and me, that would be very happy with a fast/efficient 12Mpix sensor? I'm still using my old trusty D300s and 12Mpix is all I need for stills. I'd like to see how good Sony could make a new technology 12 megapixels sensor. Especially in the 35mm format. Unfortunately, raising the sensors' resolution is easier than educating the people. The customer wants more, let's give him bigger numbers, that's easy to understand... Sad thing.
In the interview with the Sony guy "supreme" image quality was mentioned. I just hope they let actions follow and give us things like 16bit RAWs etc. from these large pixels.
A7s 12Mpix sensor is still the best for filming. (OK, maybe not for youtube selfies *g*) But for photography I don't think I would step down from 24MPix any more.
It really depends what you are doing. I'm not against resolution, there are uses for that. However, I prefer low-light ability over higher resolution because it increases the options I have for taking certain images. Higher resolution for me becomes only important when cropping.
I've had 50+ MPix cameras in my hands and did some shooting with these. Very impressive and I can imagine how this makes some people addicted to even more resolution. But I don't need that in like 95%+ of the cases.
DPR I would like a new feature added to your comment section. I want the ability to hide comments by username. I select a username and can then choose to hide all their comments. I just don't want see endless irritating posts by trolls!
Sounds like a great idea in principle, as long as it is only the comments by the selected user that get hidden, and not the entire sub-thread, which may contain intelligent and constructive comments by others.
Something that I'd like to see happen is for dpr to find a way to prevent people using duplicate accounts, and to prevent people who have been banned from opening new accounts under another name. It can't be that difficult.
I'd like at least the option of hiding the entire sub-thread too. In many cases, troll comments only lead to a flame war, or a lot of people feeding the troll. Nothing substantial at all.
Canon has secret technology. We all know Canon make a good camera now, you really have no idea what the secret camera can do. Just a guess, it can photograph dark matter and see into the past.
I agree 12 MP's makes a lot of sense for all the reasons you stated but I'm not sure that's what the overall market thinks right now. It will be a heavy lift convincing stills shooters that 12 MP's are enough and the video market doesn't seem to be big enough to support another body on it's own. It will be interesting to see where they go. Good insights as always.
Definitely better image stabilization Anyone who has tried IS on a Sony know it is not helpful at all with video. The 8K Canon R5 is said to have 8 stops of stabilization. Olympus has the most Gimbal like IS and their is said to be 7.5. I think most Sony owners would be happy if with 6, and was at least competitive with Panasonic.
no, it doesn't, because no ibis system can keep the horizon level, like a gimbal does... ibis is not any kind of a substitute for a good gimbal.
what makes most gimbals inferior to a steadicam is that most gimbals only work on 3 axis, they generally can't control sway and vertical bob motion, and ibis certainly doesn't have enough correction capability to do it either.
Let's wait for Canon to release their first IBIS body before we take their word on IBIS effectiveness. Sony probably claims some ridiculous number of stops of improvement for their mediocre IBIS, too.
For a camera released in 2020, 4k/120fps is more important than 8k. 2022, maybe a different story. 8k won't become mainstream for at least another couple of years. And by that time A7S IV will be around the corner. And the file size and SD-card speed requirement will be big. But if A7S III doesn't have 8k, people will complain because "the competitor has it".
No matter what camera Sony or any other camera manufacturer comes out with, I’m not buying it…at least not for a year or two.
As an avid photographer, the spectacle of new camera/lens releases are admittedly interesting and exciting to watch; and I actually think it’s prudent for all photographers to stay abreast of technological developments/advancements in camera industry.
But, thinking about this critically, do I really need a new video/stills camera? And, even if I could use one, would it be wiser to wait several months to let the price drop and let all the glitches get worked out through firmware updates?
After all, consumerism has gotten so bad some camera manuf now regularly dare to release beta-cameras, for which they then publicly frame firmware fixes as some kind of gratuity. To their credit, many of Sony’s firmware updates are actually innovations.
....Anyway, Sony, PanaCaNikon and Fuji are really solely focused on separating us from our hard-earned money to create a profit, in an increasingly competitive and shrinking ILC market, which has been recently DWARFED and put on its heels by smartphone cameras, drones, etc. To make up for losses and try to survive, ILC manufacturers have adopted business strategy used by Apple--i.e., very effectively exploiting the psychology of consumerism and cunningly making incremental releases of increasingly spec’d-out cameras—specs which most will rarely, if ever, use and don’t really need. People just want the damn thing because everybody else has it and it looks good and feels good to have it.
I don’t, yet, fully see it, but my assessment of the market tells me that not only is the DSLR on its last leg but the ILC may be on its last leg, too; I think it’s only a matter of time before Apple figures out how to put some kind of apsc/FF sensor on one of their smartphones and pairs it with some kind of lens--maybe even three--that can zoom out off the back of iPhone and take stunning photos.
I also whish for fast sensor scanning as a key requirement. Would also want high quality 4K and high frame rate 4K, and super reliable AF for all movie scenarios please 🙂
Actually it seems you can rent an Arri Alexa for £300 a day, so why not just use that for everything until something better comes up... possibly tomorrow...
Pretty sure it'll be the A7sIV before anything else comes up... Needs super-star low-light capabilities, a thousand squillion times better AF than the II and a hundred billion times better IBIS than any of the Sony FF cameras... (Possibly I shouldn't have used Chris for my m43 to FF conversions?)
I agree with everyone that says 8K is pretty important for cameras like this.
It’s not just for 8k delivery which will be more common in just a couple years, but more so for 4K editing and delivery. 8k means over sampling and digital stabilization can be applied for the best 4K video. And it means zooming and cropping can be applied in post and still leave sharp 4K. It means no longer using 2 cameras, on for a closeup, during a scene. There are many scenarios where it is helpful.
We all know how reducing/normalizing a 33MP image to 8MP reduces noise and increases the perceived DR. Same with 8k to 4K
8k is a big deal for 4K delivery. An expensive high end camera without is limiting it use.
Last year BlackMagic said they are all in with 8k. It’s where the industry is going. A lot of NLEs already support it and this is the year for the hardware.
Those aren't expensive high end cameras at all. Those are the cheap ones. I was checking the 8k cameras on arri's website. Couldn't find them.. strange....
But I agree with you on the advantages of 8k. At the same time I see a lot of disadvantages on file sizes. Shooting 8k just in case you want to do digital IS may be such a massive slow down in workflow that may make it unusable. I'm not sure many will want to export a full 8k video. I would say 6k would be the perfect size. Enough to crop a little, but not too much as to make every render take ages.
You make good points, but you forgot one huge thing, globally we are broke and all the projections for 4k or 8k adoption rates are substantially off. Like the hope and trends for 2020 were shooting for ~40% 4k adoption rate in the US sometime this year. But covid was a thing and that is not happening. 8k adoption rates are minuscule at best currently.
The market honestly really doesn't need a wobbly 8k image at all, which at this price point is the best you'd get.
Again, if you don't know why 8K video is important for 4K delivery, you really show stop posting and go take a class. 8K TVs are already here. 4K is everywhere. Would you buy a$2000 8MP camera today? I doubt it, even though you have no way to view a whole 12MP image on a screen.
DBHC, so you are saying you will never own a 4K TV? Wow. that is very short sighted, Are you saying you don't know why 8K video is important for creating 4K content? You need to go take a beginner's class. Quick questions, what happens to noise and DR in an image when you normalize from 33MP to 8MP? When you crop an 8K image does it reatain 8MP of resolution? (crop like when adding stabilization, zooming or creating a closeup in video)
My first camera was 2Mp and I get pretty frustrated bringing those pictures up on my 4K monitor. That’s an excellent point, although software can help some.
I didn’t even mention the benefits for 8k frame grabs. Sometimes it won’t work so well but usually it will work great. And this is 8k raw not some highly compressed Sony 8 bit video.
Good points. Like you implied 8k raw can be like 30 FPS 35MP stills if the right shutter speed is used and you not shooting propellers. Sensor read out over 1/60 a second which is fast enough 90% of the time.
Just another tool it is good to have that can be useful. Along with the 5 or 6 or so other reasons for 8k mentioned.
the problem with frame grabs is the motion blur. If you're filming properly, the shutter speed will be too slow to freeze any movement. If you're freezing movement, the video won't look good. And if you're not freezing movement and you don't have motion blur, you're filming a static scene and might as well just take a photo.
Most of my photos are shot at 1/60th. Sensor read out is that fast and you can set shutter speed to what ever you want during video.
Portraits or really any family activity will be fine. Clear not everything but for most photos this is extremely helpful. I hope you are not saying it would never be helpful because that would sound more like trolling. Over the past year I’ve seen dozens of people post frame grabs from 4K video. One was a winner in a global competition mentioned in a DPR article. It’s become very common and very popular.
ArizonaPete I do a lot of video. 25fps at 1/50. People moving doesn't work for frame grabbing. That's why we still shoot stills + video. Anything with a little more movement and it just doesn't work.
PA, I cannot help it if you don’t know what you are going. We’ve seen a large number of people successfully creating wonder pictures from screen grabs. Just because you fail at it doesn’t negate all their great work. It’s become very common. So don’t say it doesn’t work just because you fail.
Personally I shoot with 1/60th and occasionally 1/120 when using 4K 60p for shutter speeds and rarely get motion blur in the portraits and other photos I get from screen grabs. It works great for me and many others.
I was gonna say that I agree that 8k may be an overkill. That in the field, the amount of data could quickly become impractical, making it a 4k camera in most cases, except very extreme circumstances.
But with the news of a new codec that can reduce video sizes up to 50%, and that sony is part of the team working on it, I'm not sure 8k would be such a problem after all.
Can you imagine if someone else was offering 8k right now without that codec? Just months away from it becoming available?
That codec (h266) will probably take years to filter through the video ecosystem. The Samsung NX1 was the first camera to use h265 with 4k and was widely criticized for using it. Not much software could play it. Computers had no hardware support so rendering took many times longer than other formats. The same would probably be true for h266 with 8k footage now.
we're in a much more videocentric time. The market for videostreaming is much bigger. e-commerce platforms are switching more and more to video and complaining about the time it takes to load. I think the timings of the past won't reflect the changes of the future.
While we are in a video centric time, the H265 codec is still not adopted widely for video capture. Panasonic and Fuji have it in a few cameras, but Canon, Sony, Nikon And Olympus do not even use H265 yet. Video capture is much different than distribution. Higher compression typically requires exponentially higher processing power and would eat up batteries and over heat cameras quicker.
Sony’s strong suit has never been ergonomics...whether it is cameras, A/V equipment, or Playstation controllers, the effort always had gone into the “guts” rather than what people see, touch, and use to interact with the device. If Sony really wants to become the market leader, then they need to hire some industrial designers that can work at the same level as the AF software and image sensor teams...imagine an Olympus body with A7IV-level tech inside!
Ergonomics is definitely the most inhibiting factor about purchasing Sony cameras.
BUT, it could be argued that in the case of a serious video camera it isn't massively important, as most serious users will mount it in a rig.
Possibly the best option might be a modular body that could be fitted with a decent comfortable grip for stills users wanting a low-light killer camera.
Jordon may have already tested the A7SII replacement since next week it will mostly likely be released. Non Disclosure Agreements can be hell some times but does not stop one from asking for spec's when they already know what the camera has.
If the camera isn't coming out until late August or September or whenever they said, there is no way the camera is finalized. I am sure they are waiting until after tomorrow to finalize the specs. That will give them a couple months to test.
For video Sony's never won on the spec sheet. Sony's best ILC is 8 bit 100Mb/s, and every other manufacture has better specs. Even today 10 bit is getting dated,
XAVC S is a more efficient codec than standard H.264, and in fact it takes at least twice as much bandwidth in the latter to even match the former, considering equal bit rates and sampling. Sony developed it for their professional cinema line originally, and is a license that many competitors would love to have (but can't).
Of course, a 4:2:2 10-bit file is much richer in information than a 4:2:0 8-bit XAVC S file. Sony became complacent because of their superior codec, but that's surely about to change (it must, if they want to stay relevant).
"Both XAVC and AVCHD formats adopt the same MPEG-4 AVC/H.264 compression technology", per sony, so one can't be more efficient than the other, because both are based on the same codec.
@MILC man: > “one can't be more efficient than the other, because both are based on the same codec”
BS. Codec specifies “the toolbox”: the particular ways to decode the stream. Format specifies much more: which particular tools OF WHICH “SIZES” MUST be supported by the playback device to be able to guarantee the flawless playback.
Essentially, if you have a full-featured x.265 player, then depending of the stream complexity, it would support playback at a certain speed (like 7.3fps ;-). However, a player which supports a FORMAT should better guarantee a playback at the NATIVE speed of the stream.
THIS is why a standard may support zillions of different formats: they just select different flavors of x.265 at different sizes/compression-methods/framerate.
CLARIFICATION: I was talking about comparing XAVC with AVCHD (two formats), not about XAVC vs h.265 (format vs. standard). Sorry if this is not what you meant — but what you wrote was ambiguous.
ilza - "BS. Codec specifies “the toolbox”: the particular ways to decode the stream."
that sounds like you are confusing "toolbox", whatever that is, with file wrapper.
sony uses .mxf and .mp4 file wrappers for their h.264(aka XAVC and XAVC S).
beyond that, h.265 is more efficient than those various iterations of h.264 because it's a different codec, that has better p.q. than h.264 at similar bitrates... the key there being "similar bitrates"... but that's not what kharan and i were discussing.
- A7riv or better body with cooling module - Better flip screen (the best would be a A99 flip screen with flip out to the side function) - Full touch screen functionality - Dual CFexpress or at least a CFexpress + UHSII slot
- 4K Raw internal recording - 4K@120, 4K@60 - 5.6K Full readout and recording (external) - 4:2:2 10bits - 15+ DR - Stack sensor for fast readout - eND
So technically a S1H with all the Sony goodies in it. and get me the FE 50/1.2GM to seal the deal....
need to add one more thing.....fine tune the IBIS.....I dont need Olympus kind of great (even tho that would be highly appreciated) but at least Nikin Z kind of great??? :)
And Im fine with the UI or menu after all these years of "training" XD And I can set pretty much everything I needed on A7IV's custom buttons.
How many stops is Nikon getting with their IBIS? And at what FLs? And why is the CIPA testing/rating of IBIS so worthless? (much like battery testing, but I know the why of that one) Seems like pretty much everyone gets to claim 5+ stops... /smh
Pana seemed to close the gap with Oly relatively quickly considering Oly's headstart, at least on M4/3, dunno about their FF bodies. Oly still seems best on edge cases but still...
Keep dreaming . No way they put sensor tech of A9 inside other FF.
1) It is the reason A9 costs $1000 more than 7r series.
2) there are 3 sensors with this tech. One is inside A9 series/Venice, the other two are 48MP. These two and other goods would make a7s3 cost much more than A9 ii. Zero chance Sony charges near $6000 or even more for any Alpha.
Sony adamately refuses to produce a quality IBIS, a touch interface, a good menu, or good ergonomic design. IF Canon’s R5 & R6 come close to the 7 to 8 stops of stabilization claimed, Sony sales will go into suspended animation! They've dug their own grave by NOT listening to customer’s year's long pleas for simple things. But Sony is in no danger of going out of business. They're big.
User##### they practically already said it will have a stacked sensor. It’s not guaranteed but I would be shocked if it doesn’t based on the interview discussion.
Sony has been stacking a full frame sensor for 3 years now. Hopefully they have been improving the yields and lowering the costs. I expect the adder for the stacking technology is lower now than it was in 2017.
And/or it'll be pricier than the outgoing model, not like this would be a new trend for Sony, and it's sort of a niche product line anyway. I'd love to see the cost of A9-like sensors with faster readout coming down tho...
@User1234567890 Technologies will only get cheaper down the road...and one of the fastest way to make it cheaper is put it on more product....thats basic tech and econ...Its not about dreaming but thats how it work...I dont see why Sony will hold on to something and let it depreciated over time...but who knows, it's a thought and you are free to disagreed :)
@ZV-1 More than half of those "quality" things you mentioned are personal preference except IBIS. I have to be honest, it's not as good as the competition. And Im glad you are confident with Canon's claim. I never seen any products can match up with their claims :) not even Tesla. And about digging the grave...I think thats more like a Nikon thing then Sony. If for whatever reasons, Sony is the one lifting everyone out of the grave....Nevertheless, I dont believe any company can/will go on forever, unless they can keep adapting to the ever changing market and consumer's behavior.
The DRAM/cmos is what makes A9 be A9. If Sony had any interest they would have done to 7r4. It would have even better AF, but not the action skills of A9.
Samsung had to make their own version because sony did not want to cell this tech when brouht to their Xperia.
If they wanted to spread the tech, they would have sold to Nikon and Panny.
Now imagine a 48MP + DRAM, cooling, better video skills. This cam would easily pass $5800.
Did you find the A9, FF Stacked sensor announced before the A9 was announced in 2017? I don't recall ANYONE saying, "Gee, what do you think Sony's going to do with this Full Frame Stacked sensor" for weeks or months before the A9 was released. Please share with us the announcement from Sony Semiconductor about the A9 sensor before the A9 was announced.
@User1234567890 Not sure where you get the idea that Sony always announces their sensors before their release in a camera. Take the GH5S released 1/2018, but its IMX299 sensor was not announced until 10/2018.
There are also sensors that were never announced as they remained exclusive. For example the IMX270 in the E-M1 II.
Here’s what you’ll see. Major hype and minor upgrades! Technology has come to a peak right now. Same as all new cameras being released. Bottom line. All images/video looks the same. Especially when viewed on social media which is where most is now seen!End of story....
Sony has done at least one interview per year for at least three years. At each one, they have droned on and on about exceeding customer expectations and delighting users. The a9, a7iii, and ZV-1 are notable cameras. Sony’s AF is unsurpassed! Shockingly, the AF implementation in the ZV-1 surpasses all previous iterations! Utterly fantastic! But why oh why does Sony Dismiss pleas for better ergonomics, menus, IBIS, touch interface, LCDs, and professional APSC cameras and lenses?
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Lomography's LomoChrome '92 is designed to mimic the look of classic drugstore film that used to fill family photo albums. As we discovered, to shoot with it is to embrace the unexpected, from strange color shifts to odd textures and oversized grain.
Sony's gridline update adds up to four customizable grids to which users can add color codes and apply transparency masks. It also raises questions about the future of cameras and what it means for feature updates.
At last, people who don’t want to pay a premium for Apple’s Pro models can capture high-resolution 24MP and 48MP photos using the iPhone 15 and iPhone 15 Plus. Is the lack of a dedicated telephoto lens or the ability to capture Raw images worth the savings for photographers?
Kodak's Super 8 Camera is a hybrid of old and new: it shoots movies using Super 8 motion picture film but incorporates digital elements like a flip-out LCD screen and audio capture. Eight years after we first saw the camera at CES 2016, Kodak is finally bringing it to market.
In this supplement to his recently completed 10-part series on landscape photography, photographer Erez Marom explores how the compositional skills developed for capturing landscapes can be extended to other areas of photography.
If you want a compact camera that produces great quality photos without the hassle of changing lenses, there are plenty of choices available for every budget. Read on to find out which portable enthusiast compacts are our favorites.
Sony, the Associated Press and 'Photo Mechanic' maker Camera Bits have run a month-long field-test to evaluate capture authentication and a subsequent workflow.
A color-accurate monitor is an essential piece of the digital creator's toolkit. In this guide, we'll go over everything you need to know about how color calibration actually works so you can understand the process and improve your workflow.
What's the best camera for travel? Good travel cameras should be small, versatile, and offer good image quality. In this buying guide we've rounded-up several great cameras for travel and recommended the best.
It's that time of year again: When people get up way too early to rush out to big box stores and climb over each other to buy $99 TVs. We've saved you the trip, highlighting the best photo-related deals that can be ordered from the comfort of your own home.
The LowePro PhotoSport Outdoor is a camera pack for photographers who also need a well-designed daypack for hiking and other outdoor use. If that sounds like you, the PhotoSport Outdoor may be a great choice, but as with any hybrid product, there are a few tradeoffs.
Sigma's latest 70-200mm F2.8 offering promises to blend solid build, reasonably light weight and impressive image quality into a relatively affordable package. See how it stacks up in our initial impressions.
The Sony a9 III is heralded as a revolutionary camera, but is all the hype warranted? DPReview's Richard Butler and Dale Baskin break down what's actually new and worth paying attention to.
What’s the best camera for around $2000? This price point gives you access to some of the most all-round capable cameras available. Excellent image quality, powerful autofocus and great looking video are the least you can expect. We've picked the models that really stand out.
DJI's Air 3 and Mini 4 Pro are two of the most popular drones on the market, but there are important differences between the two. In this article, we'll help figure out which of these two popular drones is right for you.
The Sony a7C II refreshes the compact full-frame with a 33MP sensor, the addition of a front control dial, a dedicated 'AI' processor, 10-bit 4K/60p video and more. It's a definite improvement, but it helps if you value its compact form.
Above $2500 cameras tend to become increasingly specialized, making it difficult to select a 'best' option. We case our eye over the options costing more than $2500 but less than $4000, to find the best all-rounder.
The iPhone 15 Pro allows users to capture 48MP photos in HEIF or JPEG format in addition to Raw files, while new lens coatings claim to cut down lens flare. How do the cameras in Apple's latest flagship look in everyday circumstances? Check out our gallery to find out.
Global shutters, that can read all their pixels at exactly the same moment have been the valued by videographers for some time, but this approach has benefits for photographers, too.
We had an opportunity to shoot a pre-production a9 III camera with global shutter following Sony's announcement this week. This gallery includes images captured with the new 300mm F2.8 GM OSS telephoto lens and some high-speed flash photos.
The Sony a9 III is a ground-breaking full-frame mirrorless camera that brings global shutter to deliver unforeseen high-speed capture, flash sync and capabilities not seen before. We delve a little further into the a9III to find out what makes it tick.
The "Big Four" Fashion Weeks – New York, London, Milan and Paris - have wrapped for 2023 but it's never too early to start planning for next season. If shooting Fashion Week is on your bucket list, read on. We'll tell you what opportunities are available for photographers and provide some tips to get you started.
Sony has announced the a9 III: the first full-frame camera to use a global shutter sensor. This gives it the ability to shoot at up to 120 fps with flash sync up to 1/80,000 sec and zero rolling shutter.
What’s the best camera for around $1500? These midrange cameras should have capable autofocus systems, lots of direct controls and the latest sensors offering great image quality. We recommend our favorite options.
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