From the menu of the camera unit, select [Ctrl w/ Smartphone] to operate your camera by using the smartphone as a remote control. On the screen of your smartphone or tablet you can preview images before shooting, change settings, operate the shutter, view captured images, and more.
When you set [Ctrl w/Smartphone] to [On] in the menu of the camera unit and shoot still images using either the camera or the smartphone, each image you shoot is automatically transferred to the smartphone. In this case, the maximum image size is 2 MP (2 megapixels).
For a list of compatible cameras, refer to .
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You can send location information from your smartphone to your camera, and have it recorded on the images you shoot. You can also send day and date or region settings from your smartphone so they can be corrected automatically.
This app detects distinctive scenes in movies you shot using the Imaging Edge Mobile application, and automatically creates a movie containing only the highlights (Highlight Movie). You can then transfer the newly created highlight movie to your smartphone.
I've run into the "unable to display" problem a few times, where I've moved photos from the SD card to my computer. Then when I put the SD card back in the camera, the files are out of sync with the internal database. I figured out a few ways to fix that (see below) but now I'm stuck with some videos which will not delete.
In the playback menu, the videos show up with a big question mark. When I click on them it says "unable to display". If I try to delete (singly or as multiple images) it says "deleting images..." but then it's still there, and the file counter is still the same.
The best you can do (as your photos and videos are already downloaded on your computer) is to format the SD card. I had the same camera and I know Sony do very odd things (like databases, indexes and so on) on the card. Moreover when you attach the camera via USB you can't see the photos and videos and you should install on the computer a special Sony application.
One more point is that (usually) cameras work better when dealing with empty cards. The main reason for this is that cameras have limited space for "OS" and limited processor power. So they (usually) try to keep things as simple as possible.
The XML file is in PRIVATE/M4ROOT/MEDIAPRO.XML (or if it's in a different location for your camera, just search for XML files). I simply removed the lines relating to the three videos I was trying to delete:
I can be a control freak. There. I said it. In photography, that tendency caused me to resist letting the camera make a lot of decisions for me. Starting with my first high-end film SLR, I tended to bypass technology and instead I kept it pretty much set to manual exposure and that approach served me well for a long time. Switching to Sony mirrorless cameras, however, led to a new way for me to make perfect exposures with every frame. As a landscape photographer, that's a big deal. I'm often shooting at the edges of the day when the light is changing fast and even with the power of post-processing software, getting the exposure right in camera matters.
To explain how I work with my Sony cameras, and how they've changed my process in the field, I'll start by going back to that first serious film SLR. As I mentioned, I'm a bit of a control freak and that camera launched me into the manual exposure paradigm that would serve me for most of my photography life:
That approach changed very slightly when I purchased my first digital SLR, about 15 years ago. With selectable ISO, I made 100 ISO my default, but remained steadfast with the belief that the composition determines the f-stop, and the light determines the shutter speed. Since I always use a tripod, the only time I compromise my ISO and f-stop is to deal with motion in the scene.
Before I meter a scene, my camera is at whatever exposure settings I used for the prior scene I shot, so they can be far from the exposure the current scene requires. When a new scene needs a large exposure adjustment, I push my shutter speed fast until the zebras appear (if my prior exposure was too dark) or disappear (if my prior exposure was too bright), then refine the exposure more carefully while watching the histogram.
While accuracy is usually paramount where exposure is concerned, sometimes speed is just as important. For example, chasing lightning at the Grand Canyon, I got a bonus when a full rainbow arced above the canyon. But by the time I could drive to a vantage point with an open view of the canyon, only a fraction of the rainbow remained, and it was shrinking fast. Knowing that time was of the essence, I quickly vaulted from the car, set up my tripod, and framed a composition.
The dynamic range between the canyon shadows and sunlit clouds was well within the range of my Sony 7R II, but extreme enough that I needed to be careful with my exposure. My camera was already set at ISO 100 and f/11 from the previous stop, but the pre-capture histogram showed that the current shutter speed was much too fast to capture clean shadow detail.
With my eye on the bright clouds, I rapidly dialed in more light with my shutter wheel. As soon as the zebras appeared, I turned my attention to the histogram, refining it with a few deliberate shutter adjustments. When the histogram just barely nudged its right boundary, I clicked this frame.
Hi! I haven't been working with Premier Pro for long time and now I owe this camera that makes very HQ videos. I record with their native format XAVCD. When i want to edit, which sequence settings do you suggest to use to get the maximum quality?
Sony a7 III uses XAVC S / AVCHD format to record videos. I believe by XAVCD you meant the XAVC S format (in case you are using AVCHD format then you may switch to XAVC S). The optimal sequence settings would be based on the media that you are using. Based on your camera if you are shooting in 3840 x 2160, you may set your sequence at that resolution. To do so, you may follow either of these two steps:
First, upload the folder structure from the card to a computer drive, not just files. Navigate to the folder in Premiere's Media Browser panel, select the media, right-click "Import", to get the most metadata from that into Premiere.
Second, the best way to get the best sequence settings for the media, especially for less experienced users, is simply drag a clip from a bin in the Project Panel to a blank timeline area. Premiere then creates a sequence to match the media.
After following the steps above, the video from your camera will be copied to the computer's hard drive. You will need to have a movie player application that supports MPEG-2 for standard-definition video or AVCHD for high-definition video to open and play these files. Refer to the software manufacturer of the movie player application you are using for additional information and any available updates.
I enjoyed the 20 frames per second with the Sony a9. But there were a lot of downsides that became frustrating after a while. One of those downsides was the camera buffer. It took a lot of careful planning and prevented continuous shooting for an extensive amount of time.
Canon's first full frame mirrorless camera was a big step towards a great camera. But why did they incorporate that terrible touch bar and strange locations of the buttons? They were enough reason to leave the camera behind.
The autofocus of the Sony is not perfect, but it works very well indeed. For a long time, I wished Canon had the same quality of autofocus. Unfortunately, it didn't. That is why I wondered for a long time if a switch to Sony was wise.
If you're passionate about taking your photography to the next level but aren't sure where to dive in, check out the Well-Rounded Photographer tutorial where you can learn eight different genres of photography in one place. If you purchase it now, or any of our other tutorials, you can save a 15% by using "ARTICLE" at checkout.
Nando Harmsen is a Dutch photographer that is specialized in wedding and landscape photography. With his roots in the analog photo age he gained an extensive knowledge about photography techniques and equipment, and shares this through his personal blog and many workshops.
I switched from Canon to Sony although it was purely out of GAS. I really wanted a FF Mirrorless body and since Canon didn't have one at the time and the A7III had so much to offer for the price, I couldn't resist.
After the release of the R6 I'm really tempted to switch back to Canon but the truth is there's nothing wrong with my Sony gear. Whether it be Canon or Sony, they both do an amazing job. I switched out of GAS and I'm trying not to make the same mistake again.
Funny you say this now as I actually just initiated a switch back to Canon and have started selling off my Sony gear! I like to sell off gear when the price is high and costs have been inflated here due to COVID which means we can also sell gear for a bit less of a loss. Also all rumors state the A7IV will go up quite a bit in price to a point I'm not sure if I could afford it.
- Fully Articulating Screen - I Do 0 video but this is really useful for stills too
- Both dual card slots are UHS II compared to 1 being UHS-I on the A7III
- Both rear screen and EVF are higher res, I tried the Z6 EVF which is the same res and it was amazing
- Bulb timer so you can set it and not have to worry about a remote, this would have come in handy when I forgot my remote on my San Francisco trip
- During timelapse mode, the camera can actually make it into a movie for you just like my Osmo Pocket
- A7III never got the real time tracking update so the 1DX3 level of tracking and 20fps is obviously a huge jump up too
- Shutter closes when changing lenses to prevent dust
- Full touch screen which is really quick to use
- Better app that allows you to AF and release the shutter independently unlike the Sony one 152ee80cbc
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