Sony’s 12MP full-frame CSC is a great option if 4K video and low light shooting are your thing
Following the coming of the Sony Alpha 7 II and Sony Alpha 7R II it had been only a matter of time before Sony introduced the update to the Alpha 7S, its own 12Mp, very low light and video-centric model which has been popular in the movie and television market. The Alpha 7S II was declared in September 2015 and is currently on sale.
[Update: The Alpha A7S II (or to give it its full technical title, the ILCE7SB.CEC) has existed for a while, but is still one of our favorite celebrities that shoots 4K, while its low-light performance for photography still impresses.Its own specification sheet holds few surprises, featuring lots of the upgrades, while the changes caused by the camera are welcome.
- Sony Alpha A7S II in Amazon for US$1,245
For instance, like the A7R II, the A7S II can record 4K 4:2:0 8-bit movie (in XAVC S format and without a pixel binning) into a suitably quick memory card and it has a more 5-axis stabilisation system.
Pixel binning combines the output signal from a small grid of pixels and it is a way of getting higher sensitivities in the detector in the cost of a lesser resolution.
The Mark II can record 4K video into an external recorder such as the Atomos Shogun via HDMI using 8-bit 4:2:2 color depth.
Possessing 8-bit colour means there are 256 shades of each colour, which might sound good but it doesn’t compare well with recording from a Panasonic GH4 to a 4K recorder because its 10-bit output gives 1024 colors each color.
1 significant first scored by the A7S II for its A7-series, however, is your ability to capture full HD footage up to 120fps in 100Mbps (without pixel binning) to get super-slow motion playback.
The cameras that were A7S can also be designed for low-light shooting and the sensitivity setting is ISO 409,600. The native range is ISO 100-102,400. There is also the 5-axis image stabilisation system which we’ve seen and appreciated in the A7 II and A7R II, for smoother footage and sharper images.
Like the first A7S, in the heart of the A7S II is a full-frame 12.2Mp Exmor CMOS detector. According to Sony’s Masaaki Oshima, Deputy General Manager of the Digital Imaging Business Group’s Imaging Products and Solutions Sector, the newest camera uses the identical sensor and processing engine as the A7S, but fresh circuitry along with enhanced noise reduction algorithms mean that sound is controlled much better than before. It’s also been optimised for recording.
Sony has increased the number of points available from 25 on the A7S to 169 using the new camera. It also claims a 2x AF response in mode. It relies on contrast detection autofocus, however, and with no A7 II there is no stage detection element.
Sony’s Picture Profiles are available to allow videographers to tailor the appearance of video (and stills) in-camera. These make it possible to set specific values for Black Level, Gamma and Knee (highlight compression) in addition to colour adjustment (Color Mode, Color Level, Color Phase and Colour Depth) and Detail.
The Gamma settings include Sony’s S-Log2 as well as the setting. These may increase range by producing very flat looking footage that’s ideal for post-capture grading. S-Log2 is designed with emphasize preservation in mind whilst S-Log3 helps capture range in shadows and mid-tones.
There’s also a useful Gamma Display Assist option which allows you see the scene with organic contrast though you’re shooting with an S-Log gamma setting.
As usual, concentrate peaking, zebras and a histogram can be made visible to help focusing and exposure.
The only thing missing from the A7S II compared to the professional detector video cameras that are high of Sony is neutral density filters. As with other video SLRs/CSCs while maintain shutter speed to 1/50sec or 36, so you can use apertures you’ll need to put in a neutral density filter to your lens.
