Hangs4Fun

First couple shoots, a delicious Czech Pilsner beer canning (unsealed cans are free samples LOL!), and an interview. Both shoots I used 10-bit 4:2:0 h265 to keep file sizes manageable, and since 4:2:2 slows things down a lot it’ll make my life easier with the edit. So far loving the a7s3, IQ is beautiful and the AF is better than anything I’ve ever used. It’s flat out amazing, well worth it to me so far. So glad I pivoted from the R5 preorder to this.  All in all very happy. 
chris

So far, I have not seen any magenta in my S-Log3 or 16bit RAW workflow, I have not seen that magenta cast thankfully.  The little bit that needs correcting seems to be corrected with the Leeming S-Log3 corrective LUT.
I'm loving the internal 4:2:2 10bit All Intra so far, with marginal benefits with RAW for what I do.  Been working with Sony's 8bit for so long, it's a nice change.  Especially paired with properly exposed and corrected S-Log3.  

Looks really good. Nice job despite gear issues. 
chris

I exported 2 different 4K versions of this, one best for Vimeo and one best for YouTube.  I don't have a CFast card yet, so this is limited to v90, and had issues with gear and couldn't get RAW this time (well add both RAW and the higher options once I get my CFast card.  On my monitor the vimeo image looks better, it seems to have more details in the white water section.
Here is the YouTube video: https://youtu.be/PgS_RUuPun
Here is the Vimeo video: https://vimeo.com/464041748
Besides not having my longer HDMI cable packed (missing out on RAW footage), I also broke the 75mm spider of my trusty Induro GIT304L, which ended my ability to use my motorized Jib/pan/tilt setup, and had to revert to the much lighter slider.  Was able to somewhat hold up the tripod with the slider on it to do dolly out and slides, but it was very sketchy.  This also kept from using my Ninja V and getting some RAW because I only had a 14" hdmi cable and couldn't hold it and the tripod and the slider together.
I will get back out there and next get the higher quality 4K/120fps and HD/240fps as well as RAW.  
But in this video, you will see 4K XAVC S-I 24fps and 60fps, 4k XAVC HS 120fps, and 4K XAVC S 120fps from 100mbps to 600mbps; the first two with audio.  For each clip I provide all of the details of the shot (camera, lens, all exposure settings, codec, gamma, gamut, frame rate, file size, size per second of video, etc.
 
 

I exported 2 different 4K versions of this, one best for Vimeo and one best for YouTube.  I don't have a CFast card yet, so this is limited to v90, and had issues with gear and couldn't get RAW this time (well add both RAW and the higher options once I get my CFast card.  On my monitor the vimeo image looks better, it seems to have more details in the white water section.
Here is the YouTube video: https://youtu.be/PgS_RUuPun
Here is the Vimeo video: https://vimeo.com/464041748
Besides not having my longer HDMI cable packed (missing out on RAW footage), I also broke the 75mm spider of my trusty Induro GIT304L, which ended my ability to use my motorized Jib/pan/tilt setup, and had to revert to the much lighter slider.  Was able to somewhat hold up the tripod with the slider on it to do dolly out and slides, but it was very sketchy.  This also kept from using my Ninja V and getting some RAW because I only had a 14" hdmi cable and couldn't hold it and the tripod and the slider together.
I will get back out there and next get the higher quality 4K/120fps and HD/240fps as well as RAW.  
But in this video, you will see 4K XAVC S-I 24fps and 60fps, 4k XAVC HS 120fps, and 4K XAVC S 120fps from 100mbps to 600mbps; the first two with audio.  For each clip I provide all of the details of the shot (camera, lens, all exposure settings, codec, gamma, gamut, frame rate, file size, size per second of video, etc.
 
 

I exported 2 different 4K versions of this, one best for Vimeo and one best for YouTube.  I don't have a CFast card yet, so this is limited to v90, and had issues with gear and couldn't get RAW this time (well add both RAW and the higher options once I get my CFast card.  On my monitor the vimeo image looks better, it seems to have more details in the white water section.
Here is the YouTube video: https://youtu.be/PgS_RUuPun
Here is the Vimeo video: https://vimeo.com/464041748
Besides not having my longer HDMI cable packed (missing out on RAW footage), I also broke the 75mm spider of my trusty Induro GIT304L, which ended my ability to use my motorized Jib/pan/tilt setup, and had to revert to the much lighter slider.  Was able to somewhat hold up the tripod with the slider on it to do dolly out and slides, but it was very sketchy.  This also kept from using my Ninja V and getting some RAW because I only had a 14" hdmi cable and couldn't hold it and the tripod and the slider together.
I will get back out there and next get the higher quality 4K/120fps and HD/240fps as well as RAW.  
But in this video, you will see 4K XAVC S-I 24fps and 60fps, 4k XAVC HS 120fps, and 4K XAVC S 120fps from 100mbps to 600mbps; the first two with audio.  For each clip I provide all of the details of the shot (camera, lens, all exposure settings, codec, gamma, gamut, frame rate, file size, size per second of video, etc.
 
 

Haven't tested it yet, but Clear Image Zoom does a 1.5x crop in 4k and a 2x crop in HD. On the a7III there's no IQ loss.

funny you mention that.  I JUST finished testing the Leeming LUT's with S-Log3, S-Log2, and Standard Creative Look.  In each case, I recorded internally in XAVC S-I 4:2:2 10bit and externally at 10bit ProRes HQ.  I did one test with S-Log3 RAW out to ProRes RAW HQ.  I exposed using Paul Leeming's latest recommendation of ETTR -1 from the already published numbers, so S-Log3 ETTR 94+, S-Log2 ETTR 106+, and Standard ETTR 99+.
Something very odd happened in Premiere when using the RAW footage (using the latest Apple ProRes RAW drivers) and the S-Log3 Leeming LUT.  In the Ninja V, the 16bit RAW from the A7SIII looked AMAZING (and was using the S-Log3 Leeming LUT for viewing).  The internal footage came out the best of the bunch of above as far as dynamic range and color depth, but the RAW ended up being VERY over exposed.
Now, I am sure it was just my inexperience working with RAW.  Maybe there is something else I am supposed to do in Premiere and applying the corrective Leeming LUT made it worse.  But considering the image looked so perfect on the Ninja V using the Leeming LUT as a monitoring LUT, and exposing exactly per instructions, I have to think it is something in how I am bringing it into my computer and/or Premiere?
Any way, here is my results (I am starting a separate post with full details on the testing conditions and such, this is just a quick share)  BTW, I also did some noise tests with lens cap and black velvet covering the lens to see the noise floor at 1/50, f/1.4, ISO 640 in the above 3 profiles
In the photos below, the top is the external ProRes (one RAW HQ and the last 2 HQ) results and lower is internal XAVC S-I 4:2:2 10bit
S-Log3 (top external ProRes RAW HQ, bottom internal XAVC S-I)

 
S-Log2 (top external ProRes HQ, bottom internal XAVC S-I)

 
Standard (top external ProRes HQ, bottom internal XAVC S-I)

Poormans setup😅

Hey @Oliver Daniel, yes I have the XLR-K3M and have reported on it's functioning in some detail with the A7SIII.  Good news is that is really does give you 4 channels of digital audio at 24bits/48khz as digital straight into media file internal recording (as LPCM 24bit/48khz 4ch).  Bad news is, when using HDMI whether RAW or not, you are restricted to only 2 channels, though they do let you choose which pair of 2.  Kind of sucks considering the Ninja V can handle 12 channels of audio.  So maybe this will be fixed in a firmware release.
Other topic may be using it with a cage and a top handle (even with the 12" MI cable relocator).  My take on that is, when I will be shooting 4 channels of 24bit audio, I will not be off tripod or motion controller and therefore don't need the top handle and will just remove (probably come up with a lanyard to hang it close out of the way).  So really that is not an issue.  Possible issue even without the top handle on is if your cage is too much higher than the top of the MI shoe AND you want to use the 12" MI cable relocator (comes with the it).  That relocator cable, protrudes forward a good half inch plus a thick cable that leads forward.  This too is likely not a big deal, depending on how your cage works and adjustments available.  PLUS, if you just want to install the XLR-K3M directly into the MI, then there is no issue there either, as it doesn't protrude forward right close the shoe.
Hope that helps, I think that was most of the topics so far.
Photos are my lightweight setup for frequent repositioned locked in shots.  I don't have my cage yet, Kondor Blue should be shipping in mid October.  In this picture I have all 4 channels of audio used.  Channel 1 boomed (out of frame) via XLR to MKH-416, Channel 2 onboard XLR mic that came with it, Channel 3 and 4, is 2 sets of Rode Wirelss Go mic's lined up such that I can monitor them (for battery and signal strength).  Battery is FxLion NANO TWO which P Tap's to my Ninja V and USB-C PD charging my A7SIII (which also has USB-C PD charging and you can charge faster than it can use the Z100 battery finally).  Lens is 16-35GM with Tilta matte box.  I'm experimenting with a "poor mans" EVF, aka 5" Loupe attached to my Ninja V.

Hey @Oliver Daniel, yes I have the XLR-K3M and have reported on it's functioning in some detail with the A7SIII.  Good news is that is really does give you 4 channels of digital audio at 24bits/48khz as digital straight into media file internal recording (as LPCM 24bit/48khz 4ch).  Bad news is, when using HDMI whether RAW or not, you are restricted to only 2 channels, though they do let you choose which pair of 2.  Kind of sucks considering the Ninja V can handle 12 channels of audio.  So maybe this will be fixed in a firmware release.
Other topic may be using it with a cage and a top handle (even with the 12" MI cable relocator).  My take on that is, when I will be shooting 4 channels of 24bit audio, I will not be off tripod or motion controller and therefore don't need the top handle and will just remove (probably come up with a lanyard to hang it close out of the way).  So really that is not an issue.  Possible issue even without the top handle on is if your cage is too much higher than the top of the MI shoe AND you want to use the 12" MI cable relocator (comes with the it).  That relocator cable, protrudes forward a good half inch plus a thick cable that leads forward.  This too is likely not a big deal, depending on how your cage works and adjustments available.  PLUS, if you just want to install the XLR-K3M directly into the MI, then there is no issue there either, as it doesn't protrude forward right close the shoe.
Hope that helps, I think that was most of the topics so far.
Photos are my lightweight setup for frequent repositioned locked in shots.  I don't have my cage yet, Kondor Blue should be shipping in mid October.  In this picture I have all 4 channels of audio used.  Channel 1 boomed (out of frame) via XLR to MKH-416, Channel 2 onboard XLR mic that came with it, Channel 3 and 4, is 2 sets of Rode Wirelss Go mic's lined up such that I can monitor them (for battery and signal strength).  Battery is FxLion NANO TWO which P Tap's to my Ninja V and USB-C PD charging my A7SIII (which also has USB-C PD charging and you can charge faster than it can use the Z100 battery finally).  Lens is 16-35GM with Tilta matte box.  I'm experimenting with a "poor mans" EVF, aka 5" Loupe attached to my Ninja V.

FYI the Prograde V90 cards are on sale, if you use the code ALPHAGVRD20 they knock 20% off. I bought two 128gb v90 cards for $188. I haven't found a better deal. 
Chris

Here's the XLR-K3M running 4 channels into the A7SIII.  This way you inject 24bit/48khz digital signals straight into the media file and have dials and switches of control.  In the A7SIII screen shot you can see the 4 channels levels on the bottom left with a peak marker.  Once the XLR-K3M is plugged in, you can no longer control levels in the camera, it is all controlled on the outside dials of the XLR-K3M.
My typical setup and what I used in this example is a boomed MKH-416 on Channel 1, the XLR mic that came with the XLR-K3M as the on-camera mic (or could be a second boomed mic) as Channel 2, and 2 RODE Wireless Go setups using a splitter that runs one of the lav setups as the left channel (Channel 3) and the other as the right channel (Channel 4).
I verified that I can take the MP4 from the A7SIII with these 4 audio channels into Premiere and see each of the 4 channels and can control each one separately.  For me this is HUGE, because you are basically looking at the FX9 I could not afford (or justify this year) and I needed 4 channels of audio preferably not external, for doing in studio or on location interviews. 

ALL Loaded up, ready to do a day hike and see if I can't get some footage.  I am going to try to get some 4K/120p using a Motorized Jib with pan/tilt, as well as some Dolly in and Dolly out shots, and Sliders.  There's a small water fall I have access to, I was going to use as the subject.
I'm also going to take the same shots but in 24P along with RAW output at the same time.  This way we can look at the difference between ProRes RAW 12bit and Internal All-I 10bit.
I can't believe it all fit in that Edelkrone backpack, here's everything that is loaded:
Sony A7SIII with 24GM f/1.4 Induro GIT304L carbon fiber w/ 75mm modular system to swap out heads/motion controllers fast Edelkrone JibONE (for motorized jib shots) Edelkrone Dual HeadONE setup (for motorized pan and tilt) Edelkrone SliderPLUS v5 Long Edelkrone Slide Module v3 Edelkrone FlexTilt 2 Edelkrone Backpack Cat hair on backpack provided by my youngest daughters Himalayan Simese, lol HEAVY as heck, but the backpack has decent waste and shoulder straps, and the weight is stable.
If all works out well, I will try to upload the footage to my vimeo site tonight and will share here.
 

This is my portable video tripod setup, for when I need to be able to move around quickly.  I originally built this for doing video work on 1-2 week solo wilderness trips.  But it has turned out to be a stable and capable video tripod for more mobile shoots where I need to reposition a lot.
Gitzo GT1540G AcraTech 45622 leveling base Gitzo GHF2W 2 way video head The tripod itself is my old but trusty Gitzo GT1540G Carbon Fiber Mountaineering tripod (I think they are on GT1542G now?).  This thing has been everywhere and never failed me, yet I can carry it with all my wilderness and camera gear.  For it's weight it is very stabile.  The video head is fairly new, as I recent added it to get better quality pan and tilts in the field (literally, lol).  It's the Gitzo GHF2W video head, weighing only 1.3 pounds, yet still has a counter balance system and for under 9 pound setups you can dial in the tension pretty decent.  NOT an Ozen or Sachtler by any means, my main requirements for this one was more about weight, speed, but still with functional video capabilities.
That black mass between the video head and tripod is the AcraTech 45622 Leveling base.  Since this tripod isn't like my heavier duty 75mm or 100mm  bowl setup, and couldn't support the leveling arm passing through, I added this leveling base, so I could still get a quick level, but on a non bowl tripod.  It works great and is fast.
This setup is about a 1 man, small rig, where you need to grab a bunch of different locked down shots.  My shoot next weekend is just an event video for Oktoberfest, so I will be using this and my Ronin S.  Some of it will be of the live band and dancing, so that will all be done from this tripod setup using the 4 channel audio setup too.  All the mobile stuff will be on the Ronin S (Once I get the Kondor Blue setup, I plan on doing more shoulder shooting and less gimbal, as I like the look a should rig footage here and there.

ALL Loaded up, ready to do a day hike and see if I can't get some footage.  I am going to try to get some 4K/120p using a Motorized Jib with pan/tilt, as well as some Dolly in and Dolly out shots, and Sliders.  There's a small water fall I have access to, I was going to use as the subject.
I'm also going to take the same shots but in 24P along with RAW output at the same time.  This way we can look at the difference between ProRes RAW 12bit and Internal All-I 10bit.
I can't believe it all fit in that Edelkrone backpack, here's everything that is loaded:
Sony A7SIII with 24GM f/1.4 Induro GIT304L carbon fiber w/ 75mm modular system to swap out heads/motion controllers fast Edelkrone JibONE (for motorized jib shots) Edelkrone Dual HeadONE setup (for motorized pan and tilt) Edelkrone SliderPLUS v5 Long Edelkrone Slide Module v3 Edelkrone FlexTilt 2 Edelkrone Backpack Cat hair on backpack provided by my youngest daughters Himalayan Simese, lol HEAVY as heck, but the backpack has decent waste and shoulder straps, and the weight is stable.
If all works out well, I will try to upload the footage to my vimeo site tonight and will share here.
 

VERY TEMPORARY 4 channel RIG, fully wired up, with Timecode from the Atomos Sync.
Since I have a shoot next weekend, I needed to throw something together that was functional UNTIL Kondor Blue has those beautiful Ultimate Rigs ready to ship in a week or two.
This is fully wired up, so you are seeing 4 audio feeds coming in (1 from a boom to #1 XLR, 1 from on camera #2 XLR, and #3 and #4 are 2 sets of Rode Wireless Go.  That beautiful blue braided cable is Kondor Blue's 14" full hdmi to full hdmi braided cable.  I'm running a USB-C to USB-C cable from the FxLion NANO TWO V Mount battery to the A7SIII for PD charging (it is keeping it at 100% as I use it).  Also, running a locking cable from the Ninja V dummy battery to the FxLion NANO TWO.  Obviously the Sony XLR-K3M is powered by the A7SIII through the MI shoe.  The matte box is just a Tilta one I had laying around with a cinema soft filter (4" x 5.56") mounted on the provided 82mm ring to the Sony 16-35GM.  And in the first picture is a "poor mans" EVF, very similar to how the FX9 is doing it.  This is just a 5" Loupe from Kinotehnik that magnetically attaches to the Ninja V.  I'm VERY pleased with the fit to my eye and function of this, however, I am having difficulties with the metal strip staying attached.  Magnetics is fine, but the adhesive sucks.  I'm going to try and fabric a hinging mechanism that attaches to the top of the Ninja and then just screws into the plastic shell of the Loupe.
Without a proper cage I do not have anything where I want it exactly yet.  Like the Ninja V will be more to the side, the Wireless Go will be elsewhere, etc..  But this will do for next weekends shoot.

VERY TEMPORARY 4 channel RIG, fully wired up, with Timecode from the Atomos Sync.
Since I have a shoot next weekend, I needed to throw something together that was functional UNTIL Kondor Blue has those beautiful Ultimate Rigs ready to ship in a week or two.
This is fully wired up, so you are seeing 4 audio feeds coming in (1 from a boom to #1 XLR, 1 from on camera #2 XLR, and #3 and #4 are 2 sets of Rode Wireless Go.  That beautiful blue braided cable is Kondor Blue's 14" full hdmi to full hdmi braided cable.  I'm running a USB-C to USB-C cable from the FxLion NANO TWO V Mount battery to the A7SIII for PD charging (it is keeping it at 100% as I use it).  Also, running a locking cable from the Ninja V dummy battery to the FxLion NANO TWO.  Obviously the Sony XLR-K3M is powered by the A7SIII through the MI shoe.  The matte box is just a Tilta one I had laying around with a cinema soft filter (4" x 5.56") mounted on the provided 82mm ring to the Sony 16-35GM.  And in the first picture is a "poor mans" EVF, very similar to how the FX9 is doing it.  This is just a 5" Loupe from Kinotehnik that magnetically attaches to the Ninja V.  I'm VERY pleased with the fit to my eye and function of this, however, I am having difficulties with the metal strip staying attached.  Magnetics is fine, but the adhesive sucks.  I'm going to try and fabric a hinging mechanism that attaches to the top of the Ninja and then just screws into the plastic shell of the Loupe.
Without a proper cage I do not have anything where I want it exactly yet.  Like the Ninja V will be more to the side, the Wireless Go will be elsewhere, etc..  But this will do for next weekends shoot.

I was pleasantly surprised to see that the A7SIII does PD charging faster than it can use the battery.  Which is why I went with the FXLION NANO TWO V Mount.  As you can see in the output of the NANO TWO, it's pushing 9.3volts and a couple of amps out to the A7S3, it too supports PD charging in and out.
I WAS thinking about putting a dummy Z100 battery in my A7SIII to run off my V Mount, but.... now, I'm leaning towards running it off of USB-C PD.  Between this solution and the previous post with the Atomos Sync Time Code device that allows you to swap batteries while recording; this PD solution between the NANO TWO and the A7SIII would also allow the same since the camera actually would be running on the Z100 battery.  I could be in the middle of recording to both memory cards and outputting RAW, yet swap my V Mount battery with no disruptions to video or audio (the XLR-K3M also runs off the A7SIII through the MI port).  
Of course depending on how much space you have memory wise, you will now run out of space before battery.  It's just comforting to know if you starting recording when lots of space on your sd/ssd, but low on your V Mount, you could swap while recording (mostly useful for events, weddings, interviews, etc).  Obviously movie production or any filming involving shot lists, you could manage a swap of the battery around takes.

I shouldn’t type before drinking coffee LOL! The handle itself isn’t the issue because obviously it’s in the way, it’s the shape of cable that allows you to move the K3M off the shoe, from what I’ve read it doesn’t seat properly with the small rig cage. Someone posted on the FB group that you need a hotshot extension to make it work. 
As far as the handle, it’s pretty much always on for me, just another option for carrying, more attachment points, and another point of contact. I find it very handy, unless it’s on a gimbal. The handle is also where I mount my Ninja, or a shotgun, or my G3 receiver and so on. 
Sony has been all over the map with the design of the XLR MIS modules, the first one didn’t attach to the shoe, just used a cable, the second only attached to the shoe with no cable and now the new one does both. IDK, maybe it’s just easier to file away a little bit of the cage so the K3M fits. It would be nice to be able to just pop it onto the shoe for quick interviews and such. 
My current setup is a little clunky, I use the Beachtek DXA micro and a Sennheiser MKE 600 for nat sound and a G3 wireless for lav or stick mic interviews. Just thinking about the Sony’s as a more compact/streamlined audio solution. 

My camera is on the truck so I’m just waiting for delivery!
cheers
chris

Here's the XLR-K3M running 4 channels into the A7SIII.  This way you inject 24bit/48khz digital signals straight into the media file and have dials and switches of control.  In the A7SIII screen shot you can see the 4 channels levels on the bottom left with a peak marker.  Once the XLR-K3M is plugged in, you can no longer control levels in the camera, it is all controlled on the outside dials of the XLR-K3M.
My typical setup and what I used in this example is a boomed MKH-416 on Channel 1, the XLR mic that came with the XLR-K3M as the on-camera mic (or could be a second boomed mic) as Channel 2, and 2 RODE Wireless Go setups using a splitter that runs one of the lav setups as the left channel (Channel 3) and the other as the right channel (Channel 4).
I verified that I can take the MP4 from the A7SIII with these 4 audio channels into Premiere and see each of the 4 channels and can control each one separately.  For me this is HUGE, because you are basically looking at the FX9 I could not afford (or justify this year) and I needed 4 channels of audio preferably not external, for doing in studio or on location interviews. 

Some more tidbits I checked out tonight, before I head to bed..
ANY output over HDMI restricts you to only 2 audio channels (for those using the XLR-K3M 4 channel, it does do 4 internally, but you are currently restricted to choosing 2 of the 4 to go out HDMI for RAW or regular)  Those Sony G memory cards (UHS-II SD) that Sony sold before they came out with the TOUGH series, do NOT register as V90 cards to the Sony A7SIII unfortunately   Even though they have the same performance of 300MB/s read and 299MB/s write, they apparently can't sustain V90 speeds or something.  This REALLY sucks for me because I had invested several hundred dollars in those cards.  I only have 4 of the new TOUGH G cards and 2 of the TOUGH M cards, so will keep bugging PRO support to figure something out there (either Sony needs to support those very expensive cards or swap them for TOUGH G cards). The LANC option and record option in the Ninja V does not seem to be triggered by the Sony A7SIII.  This is a feature I use all the time on my Ninja V.  When I hit record on my other Alpha camera, it also triggers the recording on the Ninja V at the same time.  Atomos has been having problems with this as they were releasing new versions of their firmware, it would get fixed then broke again. There's a pretty cool audio monitoring feature that actually helps you monitor 4 channels (see the attached photo).  The caveat is to do 4 channels, it combines channels 1 and 3, and 2 and 4. but it does work I was able to record and monitor 4 channels.  All the controls of the levels were done on the XLR-K3M The only way to record proxy's at the same time you are recording to both memory slots and outputting over the HDMI, is with the high priced Express cards.   HOLY CRAP did my Ninja V get hot when recording that RAW output.  It has a really good exhaust fan and heat sync (you will hear the fan in your recording if your mic is not at least 3 or more feet away).  It literally blows hot air out like a tiny space heater.  The A7SIII was very hot to the touch as well.  I have an IR temp gun, once I calibrate it and make sure it is accurate, I will take some measurements of the two. Good  night, will work on some footage tomorrow (or today I guess, lol).

That is correct because the handle is right in front of the MI
But seriously, here's the thing, when the heck would you ever have your handle on (run and gun) AND be setup for 4 channels of audio?  One of those silly arguments from people not involved in the actual use case.  When I'm in interview mode, my handle is off, and I put it on when  I shoot B Roll or run and gun.  Shouldering or operating the camera from behind you are more likely going to be using handles from the sides of the cage or proper extended hands in the cases where you might be in that setup and still need 4 channels of audio.

I was pleasantly surprised to see that the A7SIII does PD charging faster than it can use the battery.  Which is why I went with the FXLION NANO TWO V Mount.  As you can see in the output of the NANO TWO, it's pushing 9.3volts and a couple of amps out to the A7S3, it too supports PD charging in and out.
I WAS thinking about putting a dummy Z100 battery in my A7SIII to run off my V Mount, but.... now, I'm leaning towards running it off of USB-C PD.  Between this solution and the previous post with the Atomos Sync Time Code device that allows you to swap batteries while recording; this PD solution between the NANO TWO and the A7SIII would also allow the same since the camera actually would be running on the Z100 battery.  I could be in the middle of recording to both memory cards and outputting RAW, yet swap my V Mount battery with no disruptions to video or audio (the XLR-K3M also runs off the A7SIII through the MI port).  
Of course depending on how much space you have memory wise, you will now run out of space before battery.  It's just comforting to know if you starting recording when lots of space on your sd/ssd, but low on your V Mount, you could swap while recording (mostly useful for events, weddings, interviews, etc).  Obviously movie production or any filming involving shot lists, you could manage a swap of the battery around takes.

I've been using Timecode lately and have gone with the Atomos Atomx Sync on my Ninja V's.  For multi camera that don't have a Ninja V, I use the Atomos UltraSync ONE (then unfortunately have to do audio based timecode on those camera's).  But at least on my main camera's the Sync device is absolutely seamless and your timecode is embedded in your media file as timecode and not audio.  
Was a relief to see that it still works on the A7SIII and the timecode ends up the my NLE 🙂  If you haven't played with wireless TimeCode networks, you should, the technology has gotten a lot better.  One warning though, if you buy into the Atomos solution (which is really the old TCS company that they bought), you pretty much will need to go mostly Atomos.  For me that was fine, as I was building up my timecode solution, but if you already have a bunch invested, you might want to look into interoperability.  But that $149 price tag is really hard to beat on the Sync
(a little known secret is that the Sync device also has a small capacitor/battery in it, that allows you to swap batteries WHILE recording)