I see a little bit of blockiness in the shadows that probably wouldn’t be there if Sony had implemented 10-bit.

With the A7s I have low light and video champ, while with the A7r I have a landscape workhorse that produces pixels galore. While the a7S is a capable still shooter, Sony has emphasized that its real focus (no pun intended) is videography. I agree there is a serious lack of lenses and if it were not for the third party adapters I could not recommend purchasing the a7S. Since the church I photographed in had screens you could see that happen in the background, which wasn’t too thrilling. I’ll probably pick up a few sony lenses over the next few weeks and try them, but for me this camera is really just a gateway to my beloved Leica lenses, which I mentioned above.In the interest of squeezing the most in terms of DR from these cameras proper respect is also needed for how the components are designed.

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. Another shortcoming of many 'HDSLR's is that they capture the relatively low resolutions of video by only sampling 'stripes' of their sensors - a process that's become known as line-skipping.The back-exposed BSI 12MP sensor has large pixels that make the A7S III great for working in low-light situations. This is one of the problems with trying to build cameras that do two things: neither ends up optimal.