Sony introduced an upgrade to its “professional’s all-around” flagship a1 II full-frame mirrorless camera, alongside the equally versatile FE 28-70mm f/2 GM lens.
NEW YORK, Nov. 19, 2024 /PRNewswire/ — B&H is excited to share an updated version of Sony’s flagship camera, the a1 II Mirrorless Camera, along with the supremely fast wide-to-portrait-length FE 28-70mm f/2 GM lens, both of which take the “professional’s all-around” concept and improve it in several key features to further benefit the hybrid image-maker.
Integrating leaps in AI processing, pre-capture and speed boost functions, and in-body image stabilization with expanded video features and an overhauled, professional-worthy body design, the Sony a1 II is the company’s most versatile camera yet. The original a1 was already known for its strong imaging performance and the a1 II improves on this with upgraded BIONZ XR processing, an AI processing unit, more powerful 8.5-stop IBIS, and the impressive 50MP stacked BSI CMOS sensor from its predecessor. The sensor and processor still afford a top 30-fps shooting rate, expandable sensitivity from ISO 50-102400, and an impressive 15-stop dynamic range. Additionally, on the speed front, the a1 II gains the Pre-Capture and Speed Boost functions that debuted on the a9 III.
Sony Alpha a1 II
Product Highlights:
- 50MP Full-Frame Stacked BSI CMOS Sensor
- AI Tracking & Human Pose Estimation
- 8K 30p and 4K 120p Video in 10-Bit
- Up to 30 fps Shooting with AF/AE
- Pre-Capture & Speed Boost Button
- 8.5-Stop IBIS + Dynamic Stabilization
- 9.44m-Dot EVF with 240 fps Refresh Rate
- 3.2″ 2.1m-Dot 4-Axis Touchscreen LCD
- 5 GHz MIMO Wi-Fi, 2.5GBASE-T Ethernet
- Dual CFexpress Type A/SD Card Slots
The a1 II’s focusing system received similarly significant upgrades from its predecessor, now sporting an AI Processing Unit and refined subject detection and tracking. First seen in the a7R V and a9 III, the AI Processing Unit boasts refined, responsive, and intelligent subject tracking and detection of humans, animals, birds, insects, cars, trains, and airplanes.
The core video specs of the original a1 were ahead of their time, and in many ways, still are. The Sony a1 II keeps many of the core resolutions and frame rates, like 8.6K 30p and 4K 120p video in 10-bit, but refines the video recording capabilities with more supportive modes and features, including access to Dynamic Area Stabilization, Framing Stabilizer, Breathing Compensation, and support for a true 24.00 frame rate for a cinematic look.
The a1-series has always been a top-of-the-line model for Sony and, as such, had one of the most durable and refined physical designs within the system. The a1 II, though, gains a bit of an upgrade to bring it in line with the a9 III in terms of button layout, screen and EVF implementation, and durability. More comfortable to use, more robust in terms of weather-sealing, and compatible with the latest VG-C5 Vertical Grip, it’s a camera built for professional use and has the strongest, most reliable design in Sony’s lineup.
Sony FE 28-70mm f/2 GM Lens
To match the well-roundedness and resolving power of the a1 II mirrorless camera, Sony has also released the FE 28-70mm f/2 GM lens, which offers a fast maximum aperture in exchange for a few millimeters on the wide end of the zoom. Covering some of the most frequently used focal lengths, the hybrid lens offers impressively fast AF and is well-suited for almost all photo and video applications, but especially news, event, landscape, and wedding photography.
Sony’s G Master designation is reserved for its highest performing optics, those that offer the greatest sharpness, smoothest bokeh, utmost speed, and best overall performance. This 28-70mm f/2 checks all these boxes as it sets out to be a single lens replacement for several primes.
The constant f/2 maximum aperture is a full stop faster than and f/2.8 lens, helping this zoom to further excel in low-light conditions and offering even greater control over depth of field and subject-background separation. Super ED, XA, aspherical, and ED elements yield high sharpness and smooth rendering while Nano AR Coating II suppresses flare for rich contrast and bright colors in a variety of lighting conditions. The floating focus design maintains high image quality throughout the focusing range, resulting in matched sharpness from infinity to the 1.2′ minimum focusing distance, and a rounded 11-blade diaphragm results in a smooth, circular bokeh quality.
Hybrid users especially will benefit from several useful features well-suited for both photography and filmmaking. The four XD (extreme dynamic) linear motors generate fast and responsive AF performance that’s equally quiet and smooth and the system compatible with continuous shooting speeds up to 120 fps or high-speed video recording at up to 240 fps.
Sony FE 28-70mm f/2 GM
Product Highlights:
- Full-Frame | f/2 to f/22
- Ultra-Fast Standard Zoom
- Four XD Linear AF Motors, Floating Focus
- Min. Focus: 1.2′ Throughout Zoom Range
- Aperture De-Click and Lock Switches
- Zoom Smoothness Switch
- XA and Super ED Elements
- Nano AR Coating II and Fluorine Coating
- Dust and Moisture-Resistant Construction
- Rounded 11-Blade Diaphragm
The Sony FE 28-70mm f/2 GM short-throw zoom lens only extends 0.7″ when changing from 28mm to 70mm positions, meaning gimbal settings can remain the same when changing the zoom position, benefitting video. Focus breathing has been greatly reduced optically and the lens supports the Breathing Compensation function in select cameras to effectively eliminate angle of view shifts while changing the zoom position. The manual aperture ring can be de-clicked for smooth, silent switching and the zoom smoothness can also be adjusted to be smooth or tight for more precise handling. The lens weighs 2 lb, however much of this weight is placed at the rear of the barrel for a more balanced design that still promotes comfortable handheld use.
Sony Gallery
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The 28-70 f/2 is really nice, and I look forward to Canon putting the RF 28-70 on atkins for the v2.
The weight reduction of the 28-70/2 from Sony is impressive, but I guess when you put something on a diet for 6 years there can be significant weight loss. There was talk of it being a 24-70/2, which would have been impressive. The weight of the Canon 28-70/2 doesn't bother me on an integrated-grip body, but it would on a non-gripped body.
50 f/1.285mm f/1.2) has a large image circle so that the IBIS can do 8 stops of compensation even without IS in the lens.(EDIT: the other lens was the 85 mm: "With some lenses with a large image circle, such as the RF 28-70mm F2L USM and RF 85mm F1.2L USM, the camera's IBIS can deliver up to 8-stops of IS even though the lenses do not have built-in optical stabilisation."
source: https://www.canon.cz/pro/infobank/image-stabilisation-lenses/
I also checked that the lens doesn't suffer from heavy distortions (Christopher Frost review on YT).
I'd still go for the smaller version, I was just pointing the reasons that may be behind that weight and size difference).
I didn't know that, I wouldn't want to lose that then I guess.
As I stated some time ago, I think the A1 was an amazing piece of technology and I don't see anything wrong in using that sensor, if it is able to hold up with todays standards.
It seems Sony had some major software improvements in mind, that needed a buff in processing power, which they now provided in the a1II.
But just as people were screaming about 24mp and no quad pixel af in the R1, just as people were screaming about a minor decrease in shadow recovery in the R5II, they will now go absolutely apeshit about Sony not giving them a 50mp global shutter sensor in the A1II.
Nikon must be excited to reveal their upcoming products some time soon
\"Raw 16-Bit via HDMI
4332 x 2446 at 23.98/24.00/29.97/59.94 fps\"
Just curious.
which lens do you mean?
I love the images the RF 28-70mm F2 takes (EOS R & R5). I rented it twice and had one as a loan free of cost for a workshop once, but I never purchased it because in the long run it is too heavy and not well balanced without a grip. I´d love and (instantly?) purchase a mkii version in the style of the Sony one.
As a Sony shooter I completely agree. It appears the corporate greed is in full control on this one. If this was mid genration refresh in 2022 then maybe. But to release this camera in 2025 at $6500 is a smack in the face. They know they've lined up enough corporate contracts who will buy this no matter what.
They have been growing market share in terms of revenue and it looks like that is their main focus. If this is the road they are going to take I'll be spending my money elsewhere.
That is 16 bit output through the HDMI. The original A1 does the same. This isn't an upgrade
I'm sure you would put me in this fanbois camp. I wasn't thrilled with the R5mii upgrade as their isn't much on the image quality side. With that said it does 8k60 raw which is definitely an improvement. I think both cameras were severely lacking on the improvement side.
But Sony has simply gone off the cliff when it comes to pricing, completely ignoring what the competition is doing. For example the R6II has been $2k for a while now and the Sony equivalent A7IV remainded $2500 until recently even though its much older. And even now they only dropped the price to $2100. It's like their strategy is to appear as though they are the more expensive camera regardless of actual features/performance.
Had they priced the A1II at $5k I would've been fine. More MP and faster sensor read out speak ok, but no way is worth $2k more.
Sony FE 28-70 F2 GM or Canon RF 28-70 F2 L: Which Lens is Better?
What's Nikon going to do? They're kind of at the mercy of Sony image sensors. The Z9 will be entering year four of its existence.
Maybe the 7500 EUR is what Canon and Sony found that pros / companies are willing to spend?