The EVF advantage is weaker now: The A7S III’s built-in EVF was once a big advantage over the FX3. But Sony has introduced a tilting, video‑centric EVF for the FX2, and Matt thinks that EVF will likely appear in future cinema bodies (such as a potential FX3 II), reducing the need for an A7S‑style hybrid.
No active cooling in Alpha bodies: Sony has never put a fan in a non‑cinema Alpha camera. With 6K60 and heavier codecs becoming common, active cooling is increasingly necessary. That could push video‑focused users toward the FX line instead of an A7S IV.
There’s clear demand: Filmmakers still buy the A7S III because it has a usable EVF, shoots better photos than the FX3, and is often cheaper (with more frequent discounts).
Sensor economics: The A7S series uses the same sensor family as FX cameras. More bodies mean more sensor sales, benefiting both the Camera and Sensor divisions.
Separate teams, separate incentives: Sony’s Alpha team builds A7 cameras and the Cinema team builds FX cameras. With distinct roadmaps, both teams want their own version of the next‑gen low‑light/video sensor—supporting the existence of both an A7S IV and an FX3 II.
The Sony RX1R IIIstirred plenty of controversy this year. Below are two fresh takes on what worked—and what didn’t. If Sony expects photographers to spend $5,000 on a compact full-frame, it needs to deliver either true luxury (think Leica) or meaningful new technology—something many feel the RX1R III doesn’t offer. For a look at how innovation can move the needle, see why the Sony A7V is a true big leap forward.
Here is the first video about the new Blazar Full Frame 1.5X Autofocus Anamorphic lens. It’s the Talon T/2.1 and is also the world’s first 1.5x autofcous anamorphic lens! So no more compromises!