The new Sony A1 is McLaren's mirrorless-camera supercar, and while it's the closest thing to a 'no-compromise' hybrid, as Sony describes it, it's also unlikely to achieve these mythical peaks in reality. On paper, there's no doubt that the Sony A1 (also known as the Alpha 1) is a landmark camera and possibly the most comprehensive mirrorless camera we've ever seen. It's actually three professional cameras in one: you get the 30fps speed of a sports camera, the 50MP resolution of a horizontal camera, and the 8K abilities of a video camera.
(Image credit: Sony) It's not the size of a bowling ball, either: despite all this tech, the Sony A1 is the same size as the Sony A7S III and significantly smaller than it, a Digital SLR like the Canon 1DX Mark III. But Sony also didn't kill off its entire Alpha line with just one perfect camera. Whether due to the laws of physics or intangibles like personal taste, the "no compromise" camera isn't really possible yet. Other Alphas, like the A7S III, still do things that the Sony A1 can't match. At $6,500 / £6,500 / AU$10,499 - another side effect of making a 'kitchen sink' flagship - the Sony A1 is also out of reach for almost everyone. But while it can't break the rule that all cameras are compromises, the A1 crosses the lines that make it the least compromised camera we've seen yet for hybrid still and video shooters.
break limits
Whatever your level of photographer, choosing the right camera means balancing your needs in five main areas: speed, resolution, video, size, and price. The interaction of all these factors has produced all the subcategories of cameras we see today. High-resolution cameras have generally been too slow for sports photographers, professional video cameras need large bodies to dissipate heat, and compact bodies have fast but small sensors. Recently, we've started to see professional hybrid cameras—cameras that are as comfortable as stills—really blur those lines. But the Sony A1 takes a giant eraser and eliminates them almost completely.
(Image credit: Sony) The reason it can do this is because of its combination of a new 50.1 MP stacked BSI sensor and an improved Bionz XR processor. This stacked sensor contains on-chip memory, allowing it to achieve super-fast readout speeds for a full-frame sensor. In other words, the A1 can read all of this sensor data much faster than before. That actually means the A1 can do things you've never seen before, like take 50MP (albeit compressed) images at 30fps with AF tracking, which equates to 1,500 megapixels of image data per second. An incredible feat, even in the land of professional cameras. This is arguably an Apple M1 chip moment for cameras: just as Apple has used its custom silicon to push its MacBooks to new heights, Sony has built a next-generation Alpha around its in-house Exmor-Bionz engine. But that doesn't mean the Sony A1 is necessarily a "no compromise" camera. For starters, unlike the Apple MacBook Air, this camera technology is only available on an ultra-high-end flagship. And beyond price, there are other factors, some of them even intangibles, that make cameras such personal tools, ensuring that the A1 isn't an inflexible experience for everyone, especially videographers.
Space for specialists
The most obvious example of this is the existence of the Sony A7S III. This camera tops our list of the best 4K cameras and mainly because it has a 12,1 MP full-frame sensor. This resolution, which is the same as an iPhone 12 Pro, may seem incredibly low, but that's why the A7S III is so good in low-light situations and is revered by videographers. Its sensor has huge pixels, and that's something the Alpha 1 can't match even with tricks like its Super 35 mode, which effectively takes an APS-C crop from the center of its larger full-frame sensor.
The Sony A7S III will continue to be popular with videographers. (Image credit: Sony) So which is the best camera for 4K video, the Sony A1 or the A7S III? Ben Pilling (Sony Imaging Europe Technical Marketing Manager) said: "It depends on your needs. What you find with the Alpha 1 is that for 4K video you'll have some great options: you have 4K full frame up to 120p, or you have this Super mode 35mm. This mode is upsampled footage, so you can get amazing detail as well as 4K full-frame mode,” he says. But he also added: “In terms of low-light capability, of course, the Sony A7S III has a Amazing high ISO capability with those extra large pixels. In terms of full frame mode, you can see a slightly better image coming out of it. the A7S III, compared to the Alpha 1, but of course the Alpha 1 will still deliver an impressive image. It depends on the needs and uses of the shooters.” In other words, as the margin of difference between specialist and generalist cameras like the Sony A1 improves, there will still be trade-offs for some professional camcorders in the A1 compared to other models. .
Split into screens
The possible compromises are not only related to technical factors such as resolution or the lack of integrated ND filters. Opinion remains pretty divided on smaller things, like which type of camera display is the best. The recent trend for hybrid cameras is for the screens to be fully articulating and face the direction you're shooting, a setup generally considered the most flexible for video. But many photographers prefer tilted screens because they allow you to shoot at low angles with the screen in line with the subject (rather than to the side, as with hinged screens). So which screen did the Sony A1 choose? Unusual for a forward-thinking flagship camera, it has a 1,44 million-dot retro-tilting display. And that's almost certainly because it was designed primarily for still photographers, like those hoping to shoot at this year's Olympics.
(Image credit: Sony) As Sony's Ben Pilling explains, “We've received very mixed reviews from users about vari-angle displays. Some people love it, a lot of video shooters love that it comes off to the side, but we also see a lot of users who say they like their composition to be aligned with the optical axis. “Of course, this is something we will consider for future products and other products as well, but for this model it was decided that optical axis alignment would work best,” he said. While hybrid cameras have come a long way , the A1 still doesn't completely eliminate the need for dedicated mirrorless camcorders.For professionals, it doesn't have full-size XLR connections, built-in ND filters, or rows of programmable buttons.And for many other photographers, the size and price of the file will make it too big a camera for your needs.
A pure digital camera
However, while it's not 'The One' (as Sony describes the A1) for all types of hybrid shooters, the Sony A1 is certainly uncompromising in new and exciting ways. Its electronic shutter, for example, is now so good that Sony probably could have gotten away with not including a traditional mechanical shutter at all. Electronic shutters let you shoot silently (which is great for wildlife photographers) and achieve ultra-fast burst speeds like the A30's 1fps title. But until now they have also come with trade-offs, such as warping or banding when shooting under artificial lights. The A1's electronic shutter, however, promises to eliminate these problems. Automatically removes flicker and allows you to select specific shutter speeds to remove banding. It's also now so fast that it can synchronize with flashes, a job that used to be reserved for mechanical shutters.
(Image credit: Sony) With a built-in camera flash, the A1 can achieve flash sync speeds of 1/200s (similar to mechanical shutters on most other cameras) and even its mechanical shutter has been renewed to achieve high speeds. Flash sync up to 1/400 s. This is interesting because the Sony A1 takes a step towards a purely digital shooting experience, with no moving parts. Its incredible electronic viewfinder is another factor in this trend: with an incredible 9,44 million-dot resolution and a world-first 240fps refresh rate, it could convert more DSLR owners. Many professional sports photographers have switched to DSLRs over mirrorless cameras due to viewfinder lag, something you don't get with optical viewfinders that let you view scenes at the speed of light. But it will be interesting to see how many are potentially converted by the first Sony A1 electronic viewfinder.
a higher offer
There's no question that the Sony A1 is a landmark release and quite possibly the most powerful mirrorless camera we've ever seen. With these burst shooting powers, next-gen autofocus tricks, and video skills, the main drawback is how few excuses we have left for missing shots or bad photos.
(Image credit: Sony) But it's also not quite the mythical 'no compromise' model that Sony's 'The One' marketing might suggest; there are certainly still benefits to specialty cameras like the Sony A7S. III, and price will be a sticking point for most of us. less than selling the family pet. In fact, you could argue that the Canon EOS R5 is now excellent value for money at just £3,899 / £4,199 / AU$6,899, given the potential for diminishing returns on some of the A1's features. Still, we're certainly looking forward to seeing The One's innovations extend to cameras we can actually afford.