Regarding the DR & RAW comparison at the end of the review... whille the compressed raw files warrant review, the DPReview test is also flawed by not using the base ISO values for each CMOS sensor.

The A7 III is a great all-rounder. The A7and A7 II were also intended to be all-rounder cameras, but the Mark III has better handling and a brilliant AF system. As we mentioned earlier, there’s also an extensive array of video options so you can produce high-quality 4K video as well as great 24Mp images. BUT same SPECed OIS lenses are larger and expensive than lens without OIS, and the extra cost will be added up fast as we buy more and more OIS lenses. It is system camera, not P&S like RX1, RX10, RX100 lines. The third generation A7 cameras have an incredible autofocus system. It means the A7R IIIA and Sony A7 III are capable of focusing on a fast-moving subject and keeping it sharp wherever it roams around the frame.

Could someone inform whether any of these cameras can do simultaneous stills while videoing, like the Nikon V-cameras can, and some GH-cameras? The α7II was announced in November 2014, and is the first in the family to revise the original body and ergonomics. The α7C introduced an even more compact form factor, being the smallest full-frame camera with in-body image stabilization. [3] The α7 series is targeted at experienced users, enthusiasts and professionals. [4] Neither of them has internal stabilisation, so you have to rely on optical stabilisation or external camera supports (tripods, gimbals). Having a higher dynamic range above iso 400 over every other camera ever manufactured is an absolute useless feature.

That is, a still capture or burst (pressing the shutter release) while videoing, with no effect on the video.While the A7S, A7S II and A7S III are intended as the video cameras, Sony hasn’t stinted on the video features of the A7R II, A7R III, A7R IV, A7R V and A7 III. However, where the A7S models win is with their low-light capability. They all have a native sensitivity that tops out at ISO 102,400. Beyond that, there’s not much to say about the A7, which is a basic but effective camera for enthusiasts and experts. You can buy it body-only, with a Sony 28-70mm kit lens (effective, but don’t expect too much) or, at some retailers, with a 50mm f/1.8 prime lens. We’d recommend the Sony 28-70mm f/3.5-5.6 kit lens if you’re a first time Sony full frame camera buyer – it doesn’t add much to the price, it will get you started straight away and you can always buy better lenses later. Once it reached ISO 400, it becomes even and then ISO 1600+ the A7S pulls away from every camera around . The dimensions are 126.9 x 94.4 x 54.8mm, but the A7S is a bit heavier (489g vs 465g for the R model). They have dust and moisture resistance and a magnesium alloy frame.

Not all camera has to be an all-around performers. There is nothing wrong with a camera that is a specialist, whether it is high-end, high megapixel stills camera like Phase One or Hasselblad medium formats, or a video-oriented cameras like the Sony a7S and the Panasonic GH4. The 7S is a great camera, I used it during last new year's eve without a flash and the resulting photos are just amazing.It is not the low light wonder Sony wants to make us believe or its 12mp low res. would suggest. Rather underwhelmed, to be frank. I have been very tempted to go the A7II route, but I have to say the reports of cooked raws, plus my own experience that Sony raws are not as flexible as others', concerns me. Our wedge shots verify the camera has less dynamic range at ISO 3200 than at ISO 100, which is absolutely expected, as base ISO maps a full pixel well to white in the digital Raw file. Higher ISOs map a less-than-full-pixel-well to white, which can help get lower tones further away from the noise floor, but never as much as it'll hurt the brighter tones that are thrown away b/c they exceed the max signal the ADC has been optimized to map to white. Again, as we’d expect, the A7 III sits between the two in terms of low-light capability, with its maximum expanded setting the equivalent of ISO 204,800, up from a relatively conservative maximum native top sensitivity of ISO 51,200. However, while the a7S's body exactly resembles its original 24 and 36MP sister models, the a7 and a7R (the a7 II's design is slightly different), it includes a whole raft of features and tools to support the videographer. These include the low contrast S-Log2 tone curve that allows more of the camera's dynamic range to be fitted into its video files and the option to record time code. Photographers more interested in stills may wish to note that most of these video features have subsequently been included in the newer a7 II, which also features revised ergonomics and in-body image stabilization. Key Features