The rumored price of the a7s III is $3,500.00. Throw in an Atomos, cables, batteries, SSD, cage and magic arm and we’re looking at $4,500.00. Let’s be straight: we weren’t demanding full HDMI out, XLR inputs, false color or vectorscopes – all that most hybrid video shooters were asking for was a darn flippy screen, 10-bit internal and uncropped 4K 60p.
Many earnestly wished the a7 IV would be released with those basic features and specs, but their hopes were dashed. “Buy a cinema camera then!” some in the rumor sites retorted. In fact, high-end mirrorless is fast approaching entry-level cinema camera territory when it comes to pricing as it is.
I downloaded a clip shot by Gordon Laing with the EOS R6 but it looked underexposed to begin with and it wasn’t really a challenging scene, so it’s too soon to draw any conclusions about the dynamic range of the R6 just yet. C-log’s got 12 stops of dynamic range, but we might get more if rumors of C-log3 in a future firmware update turn out to be true. A lot hinges on this, since it’s a forgone conclusion Sony’s going to win the battle of low-light performance. As for ergonomics, price, autofocus performance and stabilization, I’m placing my money on the R6. Image quality’s important, but if I had to do it all over again, I’d still have chosen the a7 III over the S1H any day of the week, given the excessive weight, poor AF and cost of the Panasonic. Anyhow, from what we know so far, I don’t see any compelling reason to go with the a7s III, aside from the bleak Canon lens selection. hehe What got me thinking about all this in the first place were Paul Leeming’s new LUTs, and how great Sony’s 8-bit S-log2 footage is looking, both the color and latitude. I’m able to pull details out of highlights that would have been unrecoverable with Cine2, that’s for sure! Here are a couple screen grabs showing what I mean.