SKU: 67402610602

Sony A7S MK III Body (Black)

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Description

Sony A7S MK III Body (Black)The Sony Alpha a7S III raises the bar for what a full frame mirrorless camera is capable of. A revised 12. 1MP Exmor R BSI CMOS sensor and updated BIONZ XR image processor offer faster performance, improved noise reduction, and a wider dynamic range, along with UHD 4K 120p video recording and internal 10 bit 4: 2: 2 sampling. The a7S III also does away with recording time limits and incorporates HLG for direct HDR production as well as S Log2 S Log3

The Sony Alpha a7S III raises the bar for what a full-frame mirrorless camera is capable of. A revised 12.1MP Exmor R BSI CMOS sensor and updated BIONZ XR image processor offer faster performance, improved noise reduction, and a wider dynamic range, along with UHD 4K 120p video recording and internal 10-bit 4:2:2 sampling. The a7S III also does away with recording time limits and incorporates HLG for direct HDR production as well as S-Log2/S-Log3 gamma profiles for advanced HDR production with editing. 

Additionally, 5-axis SteadyShot INSIDE sensor-shift image stabilization is available, too, which minimizes the appearance of camera shake by up to 5.5 stops. The camera's menu system has also been updated for more intuitive navigation and the body design helps to promote better heat dissipation for improved continuous recording capabilities. Additionally, dual memory card slots both support working with CFexpress Type A or SD UHS-II memory cards for flexible and high-speed file storage. The updated sensor design also yields 2x faster readout speeds than previous generations and, when coupled with the revised BIONZ XR image processor, greatly reduces the rolling shutter by 3x and up to 8x faster processing and overall camera handling.

The sensor and processor combination also helps to achieve a wide dynamic range, of up to approximately 14 stops for stills and 15 stops for video, and 10 fps continuous shooting for up to 1000 uncompressed raw files for stills. Additionally, two codecs have also been developed: XAVC HS, which uses HEVC/H.265 encoding to retain more detail at smaller bitrates, and XAVC S-I, which is an intraframe codec for consistent performance and quality at bitrates up to 600 Mb/s.

Additionally, suiting long-form recording, the a7S III does not have any recording time limits to allow for unlimited clip lengths. The camera's physical design also features an improved heat-dissipating structure to promote longer possible recording times, up to an approximate 60-minute recording time at 4K60p. Also, users can use the same S-Log2 Gamma Curve that is found on high-end Sony Cinema cameras that squeezes up to 1300% more dynamic range into the video signal than traditional REC709, for increased post-production flexibility. HLG (Hybrid Log-Gamma) support is also available, along with the BT.2020 color space, for recording within a wide color gamut and, in addition to S-Log2, S-Log3 is also available for producing a 15+-stop dynamic range with increased grading control in the shadow to mid-tone regions of the image. 

This focusing system is available for use in all recording modes, to benefit both video and stills applications. Additionally, it is able to lock onto subjects quickly and can use Real-time Tracking for AI-based tracking on moving subjects or touch tracking for manual selection of the subject. Real-time Eye AF, suitable for both humans and animals, also ensures critical sharpness when shooting portraits.

Helping to fine-tune how the focusing system performs, seven-step AF transition speed and five-step AF subject shift sensitivity controls let you refine how quickly focus shifts from point to point and how smoothly focusing shifts occur. This allows users to confidently use any lens, even adapted lenses, for critical imaging without encountering blur from camera shake.


Sony A7S III Specs...

Imaging
Lens Mount Sony E
Sensor Type 35.6 x 23.8 mm (Full-Frame) CMOS
Sensor Resolution Actual: 12.9 Megapixel
Effective: 12.1 Megapixel (4240 x 2832)
Crop Factor None
Aspect Ratio 1:1, 3:2, 4:3, 16:9
Image File Format JPEG, Raw, HEIF
Bit Depth 14-Bit
Image Stabilization Sensor-Shift, 5-Axis
Exposure Control
ISO Sensitivity Auto, 80 to 102400 (Extended: 40 to 409600)
Shutter Speed 1/8000 to 30 Second
Bulb Mode
Metering Method Center-Weighted Average, Highlight Weighted, Multiple, Spot
Exposure Modes Aperture Priority, Manual, Program, Shutter Priority
Exposure Compensation -5 to +5 EV (1/3 EV Steps)
Metering Range -3 to 20 EV
White Balance Auto, Cloudy, Color Temperature, Color Temperature Filter, Custom, Daylight, Flash, Fluorescent (Cool White), Fluorescent (Day White), Fluorescent (Daylight), Fluorescent (Warm White), Incandescent, Shade, Underwater
Continuous Shooting Up to 10 fps at 12.1 MP for up to 1000 Frames (Raw) / 1000 Frames (JPEG)
Up to 8 fps at 12.1 MP
Up to 6 fps at 12.1 MP
Up to 3 fps at 12.1 MP
Interval Recording Yes
Self-Timer 2/5/10-Second Delay
Video
Recording Modes H.265/XAVC HS 4:2:2 10-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p [50 to 280 Mb/s]
H.265/XAVC HS 4:2:0 10-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p [30 to 200 Mb/s]
H.264/XAVC S-I 4:2:2 10-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p [240 to 600 Mb/s]
Full HD (1920 x 1080) at 23.976p/25p/29.97p/50p/59.94p [89 to 222 Mb/s]
H.264/XAVC S 4:2:2 10-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p [100 to 280 Mb/s]
Full HD (1920 x 1080) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p/200p/239.76p [50 Mb/s]
H.264/XAVC S 4:2:0 8-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p [60 to 200 Mb/s]
Full HD (1920 x 1080) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p/200p/239.76p [16 to 100 Mb/s]
External Recording Modes Raw 16-Bit
4.2K (4264 x 2408) up to 59.94p
4:2:2 10-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
Full HD (1920 x 1080) at 23.976p/50p/59.94p
Full HD (1920 x 1080) at 50i/59.94i
4:2:0 8-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
Full HD (1920 x 1080) at 23.976p/50p/59.94p
Full HD (1920 x 1080) at 50i/59.94i
Recording Limit Unlimited
Video Encoding NTSC/PAL
Audio Recording Built-In Microphone (Stereo)
External Microphone Input
Audio File Format AAC LC, AC3, Dolby Digital 2ch, Linear PCM (Stereo)
Live Streaming Yes
Webcam Functionality Yes
Focus
Focus Type Auto and Manual Focus
Focus Mode Continuous-Servo AF (C), Direct Manual Focus (DMF), Manual Focus (M), Single-Servo AF (S)
Autofocus Points Phase Detection: 759
Contrast Detection: 425
Autofocus Sensitivity -6 to +20 EV
Viewfinder Type Electronic (OLED)
Viewfinder Size 0.64"
Viewfinder Resolution 9,437,184 Dot
Viewfinder Eye Point 25 mm
Viewfinder Coverage 100%
Viewfinder Magnification Approx. 0.9x
Diopter Adjustment -4 to +3
Size 3.0"
Resolution 1,440,000 Dot
Display Type Articulating Touchscreen LCD
Flash
Built-In Flash No
Flash Modes Auto, Fill Flash, Hi-Speed Sync, Off, Rear Sync, Red-Eye Reduction, Slow Sync
Maximum Sync Speed 1/250 Second
Flash Compensation -3 to +3 EV (1/3, 1/2 EV Steps)
Dedicated Flash System TTL
External Flash Connection Hot Shoe
Interface
Media/Memory Card Slot Dual Slot: CFexpress Type A / SD
Connectivity HDMI A (Full Size), USB Type-C (USB 3.2 Gen 1), USB Micro-B (USB 2.0), 3.5mm Microphone, 3.5mm Headphone
Wireless Wi-Fi
Bluetooth
GPS No
Environmental
Operating Temperature 32 to 104°F / 0 to 40°C
Physical
Battery 1 x NP-FZ100 Rechargeable Lithium-Ion, 7.2 VDC, 2280 mAh (Approx. 600 Shots)
Dimensions (W x H x D) 5.07 x 3.81 x 2.74" / 128.9 x 96.9 x 69.7 mm
Weight 1.35 lb / 614 g 
 

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    SKU: 67402610602

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    4.9 ★★★★★
    Based on 14 reviews
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    Product Reviews
    J
    Verified Purchase
    JR
    Belleville, US
    ★★★★★ 4
    Must Read for Novice Litigators
    Format: Paperback
    This book is a great starting point for developing the skill of storytelling for lawyers as was intended by the author. The author gives you the basics for developing the plot, characters, style, setting, and narrative for your trial with excellent examples. The author is a law professor and the book seems geared for the law student or novice lawyers getting into litigation. I only gave the book 4 out of 5 stars because of a couple of minor problems. However, the chapter on narrative needs further exposition and appears to be written in rushed manner. In addition, the physical binding of the book is of poor quality requiring me to glue the cover back on. Finally, the author missed the point that the lawyer's job is to look at his case as a giant puzzle to be solved and then explained as a story.It is not enough to understand your case but equally imperative that you communicate your case which is best done through the storytelling technique. This is a must read for lawyers getting up to speed on litigation. For further exposition on legal storytelling for lawyers after reading Meyer's book on Storytelling for Lawyers, I recommend the following: ABA webinar available with an internet search for "Storytelling for Lawyers"
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on July 25, 2018
    T
    Verified Purchase
    Tahoeman
    Chelsea, US
    ★★★★★ 5
    Much needed guide to narration in law practice
    Format: Paperback
    Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on February 10, 2014
    D
    Verified Purchase
    David R. Papke
    Charlottesville, US
    ★★★★★ 5
    Recommended for All Lawyers
    Format: Paperback
    Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on May 7, 2014
    D
    Verified Purchase
    DoubtfulReader
    Lake Worth, US
    ★★★★★ 3
    Notes on Legal Style by a Law Professor and Experienced Lawyer.
    Format: Kindle
    BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on June 27, 2017
    M
    Verified Purchase
    Matt M.
    Lowell, US
    ★★★★★ 5
    Great book and great professor
    Format: Paperback
    Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on January 19, 2021

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