Body + Stabilization
Body Design
The body of the a7S Mark III has received a number of improvements over the Mark II that have been introduced already with the a7R IV and a9II.
These improvements include a larger grip, larger and more tactile buttons and improved weather sealing.
The a7S III also now gets the Sony NP-FZ100 battery that doubles the battery life over the NP-FW50 battery found in the Mark II.
The addition of a graphite heatsink to the Mark III allows it to record video for a much longer time (Sony says that it is five times more efficient than the mark II).
You’ll now also find an AF Joystick on the rear and the video recording button has been relocated to the top of the camera and the side access ports have also been improved.
Sony a7S III Front
Sony a7S II Front
Sony a7S III Rear
Sony a7S II Rear
Sony a7S III Top
Sony a7S II Top
A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone like the Sony XLR-K3M (B&H Photo). The a7S III provides 4-channel 24-bit digital audio recording capability in an Alpha series camera for the first time.
Stabilization
Both cameras feature Sony’s 5-axis stabilization. The a7S II has a rating of 4.5EV (CIPA standards) whereas the a7S III sees a slight improvement of 1 stop to 5.5EV.
As well as IBIS the a7S III also gets a new feature called Active Mode that increases stabilization for movie shooting by using the BIONZ XR processor to accurately measure camera shake and compensate optically. It does however produce a 1.1x crop and only works in 4K up to 60p.
Who Uses the Sony A7 II?
The Sony a7 II is a general-purpose, semi-professional camera. It is for the advanced amateur. It’s for those looking for an entry-level full frame camera. The availability of newer versions of this camera reduces the price.
You can use this camera in most travel, street, and family photography situations. But as we will see in this review, the camera has limitations for action photography.
Photographers who make large prints are better off with the higher resolution a7R IV or a7R IV. And photographers who do a lot of concert photography or photograph in other low-light situations? They should consider the a7S II or III.
4K
Whereas the original a7S could only produce 4K video with the aid of a 4K recorder, the a7S II improves upon its predecessor by enabling in-camera 4K recording.
This makes the a7S II one of the most compact 4K-capable cameras available, similar in size to the Panasonic GH4. Furthermore, it’s one of the few 4K cameras with a full-frame 35mm sensor.
Tips
Stick to 100Mbps — 60Mbps is not enough to maintain good image quality, especially for scenes with a lot of motion or detail. If your memory card cannot handle the 100Mbps bitrate, you’re better off shooting in HD instead.
Shoot 4K
Here are some examples of when shooting in 4K with the a7S II is ideal:
- Fast computer — a fast computer can handle the larger 4K resolution without getting bogged down.
- 4K Delivery — while not yet too common, if you need to deliver your footage in 4K, it’s best to shoot in 4K as well.
- Archiving — shooting in 4K future-proofs your footage a bit better than HD.
- Reframing in Post — the large 4K frame size allows you to use just a portion of the image when delivering in HD.
- Better HD output – sharpness is improved while artifacts such as noise and banding are reduced when downscaling 4K footage for HD delivery.
Don’t Shoot 4K
Here are some examples of when shooting in 4K with the a7S II may not be a good idea:
- Slow computer — a slow computer may not have enough gusto to work with 4K footage smoothly, resulting in a frustratingly-slow editing process.
- Using APS-C Lenses — the a7S II shoots 4K in full-frame only due to the 12MP sensor size, so most APS-C lenses will vignette heavily in 4K on this camera.
- Slow motion — the a7S II only shoots up 30fps in 4K, which only amounts to a 20% slowdown when playing the footage back at 24fps.
- Fast turnaround — 4K footage can take longer to render and process, especially if you only need to deliver the final video in HD.
Bottom line: The a7S II now shoots in 4K internally, making it easy to capture high-resolution 4K footage without requiring a bulky external recorder.
Sony Alpha 7C: Build and Handling
The A7C may notionally be Sony’s entry-level full-frame model, but in terms of build quality it’s anything but low-end. The firm has used a monocoque design, with the main components fixed to the weather-sealed magnesium alloy shell, rather than an internal chassis. As a result, it’s a robust-feeling piece of kit.
The A7C is available with a silver top-plate, as well as in all-black
The camera is available in a sort-of-retro silver and black finish, as well as all black. Its stepped top-plate is an aesthetic improvement over the boxy A6000-series models, but while I suspect Sony is hoping to garner flattering comparisons with Leica, it reminds me more of Panasonic’s GX range.
The firm’s obsession with downsizing has resulted in a handgrip that has clearly been designed to wrap around the NP-FZ100 battery as tightly as possible, which makes it rather small and cramped. There’s also just a minimal hook to stop your thumb from sliding off the back, while the dimpled rubberised covering is rather smooth.
The Sony A7C starts to feel front-heavy even with moderately large lenses such as the 24-105mm F4
The grip still works OK, but the camera is certainly happiest with small lenses, and feels slightly unbalanced even with the firm’s FE 24-105mm F4 G OSS, which is far from the largest lens it makes. There’s no good reason why Sony couldn’t have used a larger grip, as it would make no practical difference to the overall bulk once a lens is mounted.
Unsurprisingly, the most significant differences compared to the A7 III are to do with the design and control layout. Essentially the A7C is derived from Sony’s APS-C mirrorless bodies, which isn’t a good thing at all. It has relatively few physical controls, and tries too hard to shoehorn too many functions onto them. As a result, enthusiast photographers are likely to find it much more frustrating to use than its SLR-shaped siblings.
Almost all of the A7C’s controls are operated by your right thumb, with the combined rear dial / d-pad getting a lot of use
The main settings are controlled using a pair of electronic dials on the camera’s back, one horizontal and one vertical, with the latter doubling up as a 4-way d-pad that gives direct access to ISO, drive mode and various image display modes. In a marked improvement over the A6100, though, these are now complemented by a dedicated exposure compensation dial. The movie button is also more conveniently placed on the top plate, and can be reassigned to control other functions in the stills-shooting modes.
An exposure compensation dial and movie button are found on the top plate
Compared to the A7 III, there’s neither a control dial on the handgrip under your index finger, nor an AF-area joystick. Instead Sony expects you to let its AI-based subject recognition take the strain, with a prominent AF-ON button on the back that’s used to specify and lock onto the subject.
If you prefer to position the focus point manually, you have to press the button in the centre of the d-pad to change its mode, and then use the directional keys. Alternatively you can use the touchscreen to position the AF point. Either way, the net result is a camera that’s almost entirely operated using your right thumb.
The exposure compensation dial and main control dial are placed close to each other
With the A7C designed to appeal to users stepping up to their first proper camera from a smartphone, it comes as a serious disappointment to find that Sony has failed to include the excellent touchscreen interface it developed for the recent Alpha 7S III. Instead, the touch interface is limited to specifying the focus area and magnifying the image in playback.
This compounds the restricted physical controls, and means users who want to take manual control will spend a lot of time pressing the d-pad buttons. You also get Sony’s old, chaotic menu layout, rather than the much better organised one from the A7S III.
Sadly Sony has failed to include its vastly improved menu system from the A7S III
It’s tempting to forgive the A7C’s poor handling as a trade-off for its size, but it really didn’t have to be this way. Other camera companies, including Canon, Fujifilm and Olympus, have shown that it’s possible to make even smaller cameras that work much better. It’s just a consequence of Sony’s decision to aim the camera at inexperienced photographers.
Scoring
| Measurement |
Measurement Score |
| Main Features |
Main Features 60% |
| Extra Features |
Extra Features 40% |
| Construction and Durability |
Construction and Durability 100% |
| Handling and Ergonomics |
Handling and Ergonomics 80% |
| Value for Money |
Value for Money 75% |
| Total Score |
Total Score 67% |
×
Sony a7 II Deals
(second hand)
Check Price
(second hand)
Check Price
If you buy a product through one of our referral links we will earn a commission (without costing you anything).
Prices last updated on .
As an Amazon Associate, I earn from qualifying purchases. Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on Amazon at the time of purchase will apply to the purchase of this product.
Unavailable
We Highly Recommend
Sony a7 II
Capture stunning, blur-free images with a full frame mirrorless camera featuring the world’s first five-axis image stabilization, fast autofocus, and high-quality video recording.
×
Sony a7 II Deals
(second hand)
Check Price
(second hand)
Check Price
If you buy a product through one of our referral links we will earn a commission (without costing you anything).
Prices last updated on .
As an Amazon Associate, I earn from qualifying purchases. Product prices and availability are accurate as of the date/time indicated and are subject to change. Any price and availability information displayed on Amazon at the time of purchase will apply to the purchase of this product.
Unavailable
Which One to Buy?
Well you probably already know which one you would like to buy
Unlike the small differences between the a7R III and IV or the a9 and a9II, because the a7S III has been so long in the making the differences are really quite substantial.
4K at 120fps, 10-bit internal recording and 16-bit external, along with much improved autofocus performance, larger battery, dual card slots and fully articulating screen make this a serious piece of kit for video shooters.
If you can afford the a7S III and it will allow you to take your videography to the next level, then this is a camera to seriously consider.
That said, I would strongly recommend waiting for some real life reviews from people who buy this camera and not the Sony press and early YouTuber reviewers.
If you must watch a review now, then this one from Gerald Undone is probably the best out there:
Sensor comparison with a 35mm slide
The imaging sensor is at the core of digital cameras and its size is one of the main determining factors of image quality. All other things equal, a large sensor will have larger individual pixel-units that offer better low-light sensitivity, wider , and richer than smaller pixels in a sensor of the same technological generation. Further, a large sensor camera will give the photographer additional creative options when using shallow to isolate a subject from its background. On the downside, larger sensors tend to be more expensive and lead to bigger and heavier cameras and lenses.
The Sony A7S features a full frame sensor and has a format factor
(sometimes also referred to as «crop factor») of 1.0. Within the spectrum of camera sensors, this places the Sony A7S among the large-sensor cameras
that aim for top notch image quality.
Since 2007, DXO Mark has published sensor performance measurements that have been derived using a consistent methodology. This service is based on lab testing and assigns an overall score to each camera sensor, as well as ratings for dynamic range («DXO Landscape»), color depth («DXO Portrait»), and low-light sensitivity («DXO Sports»). The table below summarizes the physical sensor characteristics and sensor quality findings and compares them across a set of similar cameras.
| Camera Model | Sensor Class | Resolution (MP) | Horiz. Pixels | Vert. Pixels | Video Format | DXO Portrait | DXO Landscape | DXO Sports | DXO Overall | ||
|---|---|---|---|---|---|---|---|---|---|---|---|
| Note: DXO values in italics represent estimates based on sensor size and age. | |||||||||||
| 1. | Sony A7S | Full Frame | 12.0 | 4240 | 2832 | 1080/60p | 23.9 | 13.2 | 3702 | 87 | |
| 2. | Nikon D750 | Full Frame | 24.2 | 6016 | 4016 | 1080/60p | 24.8 | 14.5 | 2956 | 93 | |
| 3. | Nikon Df | Full Frame | 16.2 | 4928 | 3280 | none | 24.6 | 13.1 | 3279 | 89 | |
| 4. | Panasonic GH4 | Four Thirds | 15.9 | 4608 | 3456 | 4K/30p | 23.2 | 12.8 | 791 | 74 | |
| 5. | Sony ZV-E1 | Full Frame | 12.0 | 4240 | 2832 | 4K/60p | 25.4 | 14.6 | 3181 | 96 | |
| 6. | Sony A7R II | Full Frame | 42.2 | 7952 | 5304 | 4K/30p | 26.0 | 13.9 | 3434 | 98 | |
| 7. | Sony A7S II | Full Frame | 12.0 | 4240 | 2832 | 4K/30p | 23.6 | 13.3 | 2993 | 85 | |
| 8. | Sony A7 II | Full Frame | 24.0 | 6000 | 4000 | 1080/60p | 24.9 | 13.6 | 2449 | 90 | |
| 9. | Sony A7 | Full Frame | 24.0 | 6000 | 4000 | 1080/60p | 24.8 | 14.2 | 2248 | 90 | |
| 10. | Sony A7R | Full Frame | 36.2 | 7360 | 4912 | 1080/60p | 25.6 | 14.1 | 2746 | 95 | |
| 11. | Sony RX1R | Full Frame | 24.0 | 6000 | 4000 | 1080/60p | 25.0 | 13.6 | 2537 | 91 |
Many modern cameras cannot only take still pictures, but also record videos. The A7S indeed provides movie recording capabilities. The highest resolution format that the A7S can use is 1080/60p.
HD (High Frame Rate)
The a7S II can shoot at high frame rates (HFR) up to 120fps. This is great, because when played back at 24fps, you end up with smooth slow-motion footage that is 5 times slower than normal.
When shooting at high frame rates (HFR) such as 120fps, the a7S II creates actual 120fps files by default. If you want to play this footage back in slow motion, you’ll have to conform the footage in post.
However, you also have the option of conforming HFR footage in-camera to the desired frame rate (e.g. 24fps). This saves you a step in post-production, but it also lowers the bitrate to a measly 12-16Mbps.
As a result, conforming HFR footage in-camera is not recommended. Setting native 120fps footage to play back in slow motion usually only takes a couple clicks in your NLE software (e.g. Premiere, Resolve, etc.) and keeps the bitrate as high as possible.
Bottom line: Unless you absolutely need to create a slow-motion file straight from the camera, the a7S II’s in-camera HFR conforming should be avoided.
Характеристики и результаты тестирования Sony Alpha 7R II
| Соотношение цена/качество |
|
| Тип камеры | |
| Эффективное количество пикселей | |
| Максимальное разрешение фото | |
| Тип сенсора | |
| Размеры сенсора | |
| Очистка сенсора | |
| Встроенный стабилизатор (в камеру) | |
| Запись видео | |
| Крепление объектива | |
| Объектив при оценке качества снимков | |
| Объектив при оценке быстродействия | |
| Минимальное время спуска затвора | |
| Максимальное время спуска затвора | |
| Видоискатель | |
| Покрытие видоискателя | |
| Увеличение видоискателя | |
| Дисплей: диагональ | |
| Дисплей: разрешение | |
| Дисплей: тачскрин | |
| Дисплей: запуск записи видео с тачскрина | |
| Дисплей: возможность поворота | |
| Дисплей: поворот в селфи-режим | |
| Второй дисплей | |
| Датчик ориентации | |
| GPS | |
| Минимальное ISO | |
| Максимальное ISO | |
| Мин. время синхронизации со вспышкой | |
| Баланс белого (кол-во предустановок) | |
| Баланс белого: по шкале Кельвина | |
| Разрешение при ISO мин | |
| Разрешение при ISO 400 | |
| Разрешение при ISO 800 | |
| Разрешение при ISO 1600 | |
| Разрешение при ISO 3200 | |
| Разрешение при ISO 6400 | |
| Детализация при ISO мин | |
| Детализация при ISO 400 | |
| Детализация при ISO 800 | |
| Детализация при ISO 1600 | |
| Детализация при ISO 3200 | |
| Детализация при ISO 6400 | |
| Визуальный шум при ISO мин | |
| Визуальный шум при ISO 400 | |
| Визуальный шум при ISO 800 | |
| Визуальный шум при ISO 1600 | |
| Визуальный шум при ISO 3200 | |
| Визуальный шум при ISO 6400 | |
| Экспертная оценка: шумность и детализация при ISO мин | |
| Экспертная оценка: шумность и детализация при ISO 1600 | |
| Экспертная оценка: шумность и детализация при ISO 3200 | |
| Экспертная оценка: шумность и детализация при ISO 6400 | |
| Время готовности к съемке из выключенного состояния | |
| Время задержки спуска затвора при ручной фокусировке | |
| Время задержки спуска затвора с автофокусом при дневном свете | |
| Время задержки спуска затвора с автофокусом при слабом освещении | |
| Время задержки спуска затвора в режиме Live-View с автофокусом при дневном свете | |
| Скорость серийной съемки в RAW | |
| Длина серии в RAW | |
| Скорость серийной съемки в JPEG | |
| Длина серии в JPEG | |
| Аккумулятор | |
| Стоимость аккумулятора | |
| Аккумулятор: макс. фотографий со вспышкой | |
| Аккумулятор: макс. фотографий без вспышки | |
| Аккумулятор: макс. фотографий в Live-View со вспышкой | |
| Аккумулятор: макс. фотографий в Live-View без вспышки | |
| Аккумулятор: продолжительность записи видео | |
| Разъем для микрофона | |
| Встроенная вспышка | |
| Управление вспышкой | |
| Дистанционный спуск затвора | |
| Тип карты памяти | |
| WLAN | |
| NFC | |
| Материал корпуса | |
| Корпус: защита от пыли и водяных брызг | |
| Габариты | |
| Вес без объктива |
Crop Factor
One of the more confusing aspects of the a7S II’s different recording modes are the crop factors you have access to when shooting in a particular format, so let’s break it down so it’s simple to understand.
When a smaller section (or “crop”) of the sensor is being used during recording, the “crop factor” indicates how much the resulting field of view (FOV) is affected compared to the full-frame FOV. For example, the a7S II’s APS-C mode uses a smaller portion of the sensor, resulting in a 1.5x crop factor.
The a7S II uses an even smaller portion of the sensor when shooting HFR footage at 100fps and 120fps to maintain image quality at these high frame rates. Unlike standard HD recording that downsamples the output from the full the 12MP sensor, HFR mode uses a 1920 x 1080 portion of the sensor which results in a 2.2x crop factor.
Finally, as the native resolution of the a7S II’s 12MP sensor is so close to 4K resolution to begin with (4240 x 2832 vs 3840 x 2160), you cannot change the crop factor when shooting in 4K like you can when shooting in HD. It’s full-frame only in 4K.
Bottom line: The a7S II’s different recording modes may use portions of the sensor which increases the crop factor and narrows the field of view, resulting in a magnified image.
Buy Now
Used Sony Alpha A7 IV
Like New £1999
Used Sony Alpha A7C
Like New £1299
Used Sony Alpha A7S II
Like New £999
Used Sony Alpha A7S III
Like New £2629
Used Sony Alpha A7 II
Like New £644
Used Sony Alpha A7R IVA
Like New £1979
Used Sony XDCA-FS7 Extension Unit
Like New £469
Used Sony Alpha A7R IV
Like New £1859
Used Sony Alpha A7R V
Like New £3359
Used Sony Alpha A7R III
Like New £1549
Sell or trade used photo and video kit with MPB
|
We don’t have the latest price however the link below will take you to the most relevant items. Sony Alpha 7S II |
We don’t have the latest price however the link below will take you to the most relevant items. Sony Alpha 7S II |
We transform the way that people buy, sell and trade in photo and video kit. USED SONY |
Support this site by making a Donation, purchasing Plus Membership, or shopping with one of our affiliates:
Amazon UK,
Amazon US,
Amazon CA,
ebay UK,
MPB. It doesn’t cost you anything extra when you use these links, but it does support the site, helping keep ePHOTOzine free to use, thank you.
ADVERTISEMENT
Other articles you might find interesting…
Leica Q3 Camera Review
Sony Alpha A6700 Camera Review
Sony ZV-E1 Review
Nikon Z 8 Review
Fujifilm X-S20 Review
Sony A6700 APS-C Camera Announced
Canon R100 Review
Leica Q3 Camera Announced With New Tiltable Touchscreen
Body and Handling
Sony redesigned the a7 II from the original a7 body. It is slightly larger and heavier than the original. And it has a more substantial grip. It measures 126.9 x 95.7 x 59.7 mm (5 x 3.8 x 2.4 inches) and weighs 556 g (1.22 lbs).
Sony largely modeled the newer a7 generations on the second-generation body. But the grip is larger to accommodate larger batteries. The crop sensor body is smaller at 120 x 66.9 x 69.3 mm (4.72 x 2.63 x 2.73 inches). And it’s lighter at 503 g (1.11 lbs).
The feel is not significantly different between the a7 II and III. There are more function buttons on the newer version. And you use a joystick to move focus points and AEL and AF-On buttons. (These are AutoExposure and AutoFocus.)
The a7 III moves the video record button from the side of the camera to a more convenient position near the right thumb. The C3 customization button was also moved and is now controlled by the left thumb.
LCD Screen and Electronic Viewfinder
The Sony a7 II has a three-inch articulating LCD monitor. It has 1.23M dots of resolution. This is a slightly better resolution than the newer model.
The screen tilts 90 degrees to allow for high- or low-level shooting. There is a slight redesign in the LCD screen. And it makes the newer generation easier to tilt.
But the APS-C camera screens allow for tilt and 180 degrees of rotation. This is particularly useful when shooting videos.
A touchscreen is missing from the a7 II, which is now standard on the more recent a7 models. This isn’t necessarily a dealbreaker. But it’s a sign that this camera is from an older generation.
The a7 II has the same electronic viewfinder as the a7 III. But the newer model has a slightly higher magnification.
Card Slot
The Sony a7 II has only one UHS-1 card slot. Sony included two card slots in the Alpha series to be competitive with professional-level DSLRs.
The a6000 series continues to have only one card slot. And one card slot is fine for most photographers. Only photographers who need the faster UHS-II card slot or need to back up their images will notice the missing second card slot.
Battery Life
The a7 II uses NP-FW50 batteries. These are smaller than the newer NP-FZ100 batteries in the a7 III series. You can take about 350 images on one battery.
The limited battery life is a known problem with the early Alpha cameras. Using this camera means carrying more batteries and planning for frequent recharging.
Menu System
Sony has made changes in response to customer experiences. Using the older a7 II means living with known issues. One example is a confusing menu system.
The a7 III improved the menu system. But there are still complaints. The addition of customizable menus in the newer models is helpful. This makes it easier and quicker to find frequently used features.
This camera cannot shoot in silent mode. But this feature is available in the a7R II, a7S II, and a7 III cameras. Sony added built-in interval shooting to the a7 III series with a . The a6600 includes both silent and interval shooting.
Sony has chosen not to upgrade the menu system. The last firmware update was in May 2019. But you can download PlayMemories camera apps. These add functionality to your camera.
For instance, you can take double exposures or simulate long exposures without ND filters. But the PlayMemories camera apps do not work on the newer camera version.
Image quality
The A7R has 36.4MP whereas the A7S has 12.2 megapixels. This is a big difference between the two full frame cameras and highlights the different audiences they target.
The “R” stands for resolution and aims at photographers who can make use of such a high resolution, whereas the “S” stands for sensitivity and aims at users who need good image quality at high ISO for stills and video. The A7R doesn’t have a low pass filter to further strengthen its fine detail rendering capabilities, whereas the A7S has one to optimise the quality in video mode.
Thanks to the much lower number of pixels on the sensor, the A7S can stretch its ISO range from 100 to 102,400 (or 50 to 409,600 with the extended values).
By comparison, the A7R has a more modest range of ISO 100 to ISO 6400, while the extended levels are ISO 50-25600.
As you can imagine, choosing one or the other comes down to what you prioritise regarding image quality.
The 36MP sensor on the A7R, with its 36Mp, delivers excellent details also thanks to the absence of the AA filter (provided that you mount a good lens on it). Dynamic range is also really good for stills when working with the RAW files.
A7R, 1/15s, f/5.6, ISO 200 – Batis 25mm F2
100% crop
A7R, 1/2500s, f/2.8, ISO 100 – Batis 25mm F2
The A7S is all about delivering high ISO images with contained noise levels, and it does so very well, making the camera ideal for events, low light work and any situation where you need to keep a reasonably fast shutter speed and can only work with ambient light. The sensor resolution certainly feels low but today’s standards, but 12MP can be enough for many applications.
A7S, 1/100s, f/1.8, ISO 8000 – FE 55mm F1.8 ZA
A7S, 1/100s, f/1.8, ISO 16000 – FE 55mm F1.8 ZA
Keep in mind that, although both cameras shoot 14-bit RAW files, they are compressed, meaning some data is lost along the way to create a smaller file size. Most of the time, this won’t be a problem, but potential A7R users should be aware of this if they intend to do a lot of demanding post production.
Another thing to keep in mind regarding the A7R is shutter shock, which can affect image quality severely. Basically, the movements of the mechanical curtains going up and down in front of the sensor when taking the photograph cause small vibrations that create motion blur on the image, and decrease sharpness as a result. You’re more at risk of shutter shock a certain shutter speeds between 1/5s and 1/400s, although keep in mind that this critical range will vary depending on the focal length used.
A7R, 1/200s, f/2, ISO 800 – Loxia 50mm F2
Example of loss of sharpness caused by shutter shock.
Unfortunately, shutter shock on the A7R is something you have to live with, because the camera doesn’t have an EFCS mode (Electronic First Curtain Shutter) which would solve the problem since the vibrations that matter are those produced by the first curtain. The best work-around is to avoid the critical shutter speeds as much as you can.
ISO and Dynamic Range
The ISO range between the two cameras is just a little different at base levels:
Sony a7S Mark II: ISO 100-102,400, expandable to ISO 50-409,600Sony a7S Mark III: ISO 80-102,400, expandable to ISO 40-409,600
Sony says that noise has been reduced at mid and high ISOs by the equivalent of 1 stop and the newly-developed image sensor and image processing algorithms produce even cleaner images and more natural textures than the previous a7S II model, even when shooting in near total darkness.
Sony also states that the a7S III can record 15-stops of latitude in S-Log3 gamma setting, this compares with 14 stops of the a7S II.
This short film by Sony Artisans Renan Ozturk and Taylor Rees provides a superb demonstration of the low light capabilities of the a7S III.
Новая камера Sony A7R II
Sony A7R II представляет собой камеру, принадлежащую ко второму поколению беззеркальных камер Sony – полного кадра. Вся серия А7 уже имеет шесть аппаратов, ими являются модели A7 A7S и A7R в двух поколениях. В основном “A-семерки” – техника наиболее универсальная и относительно дешевая. Версии S-камер отмечены характеризующейся матрицей с низким разрешением (12 мегапикселей), которые, в свою очередь предлагают невероятное качество в условиях низкой освещенности (чувствительность ISO 409 600). С другой стороны, версии R наделены высоким разрешением матрицы.
Sony A7R II представляет собой камеру для исключительной производительности. По сравнению со своим предшественником, новинка, это прежде всего, новая матрица, в настоящее время до 42,4 миллионов пикселей. Это полный размер кадра (35,9 ? 24 мм), который стабилизируется на пять осей, так что Sony A7R II обеспечивает стабилизацию даже с линзами в ручном режиме. Это первый в мире аппарат, где преобразователь выполнен по технологии BSI, что обеспечивает лучшее качество при низкой освещенности благодаря развороту слоев в структуре матрицы.
Стандарты второго поколения камер серии А7, это новый корпус, имеющий достаточно улучшенную эргономику. У нас также есть очень мощные функции, в том числе запись видео в 4K / 30p или 1080 / 60p в кодеке XAVC С. Наряду с обновлением программного обеспечения до версии 2.0, Sony предоставила рекордные 14-битные несжатые RAW изображения.
Камера Sony A7R II – характеристики
Наиболее важные параметры Sony A7R II:
- BSI матрица, полный кадр, 42,4 мегапикселей, нефильтрованное А.А.
- ISO: 100-25.600 (с возможностью расширения до 50-102.400).
- Стабилизация 5-осевой матрицей, эффективность ок. 4,5 EV.
- Sony E система.
- BIONZ Image Processor X.
- Выдержка: 30s – 1 / 8000s, в том числе полностью электронный затвор.
- Съемка: 5 кадров в секунду.
- Автофокус: 399 полей, обнаружения фазы и контрастности.
- Замер зоны в 1200.
- Возможность записи несжатого RAW 14-бит.
- Запись фильмов: 4K / 30p, 1080 / 60p; XAVC S, AVCHD 2.0, или MP4.
- Цифровой видоискатель XGA, 2,36 миллиона точек, больше x0,78.
- Поворотный ЖК-экран, 3 “.
- Поддержка Wi-Fi и NFC.
- Разъемы для микрофона и наушников, Micro USB, Micro HDMI.
- Тело полностью изготовлено из магниевого сплава.
Вы могли бы сказать, что с такими параметрами Sony возьмет банк. Sony A7R II будет конкурировать с такими камерами, как Nikon D810 и Canon 5DS R, и безусловно, будет рассматриваться в качестве лучшей и более дорогой альтернативы Panasonic Lumix GH4.
