LightShooter

Dang, I just noticed the "Max Rec. Bitrate" on XAVC S-I 4K is 1,200 Mbps 😮    
Notice how they support V90 or faster for that.  What is weird to me, is that sure if you multiply out the 299 MB/s (Mega Bytes/sec) rating of the Sony Tough G cards you get 299 MB/s x 8 bits/1MB or 2,392 Mbps (Mega Bits/sec), so clearly those Tough G cards are capable of such speeds. 
HOWEVER, the whole point of a V rating is to identify the max sustained write speed of the card and V90 is 90MB/s sustained write or 90MB/s x 8 bits/1MB = 720 Mbps, which is supposedly the max sustained bitrate from a V90 card.  So not, sure if Sony has a typo here or if their TOUGH G cards are more like V150 cards which is the rating that would be needed to sustain writes at 1,200Mbps

So the official lists have been finalized on the production model that will start being sent to PRO Support in a week and other pre-release places.  Mostly for reference if you need it, but I found the movie recording option one to be well laid out with everything I needed in one chart.
Getting excited to get mine.  Fingers crossed, but I had my paid invoice literally in the first 10 seconds on pre-order and was the first to fill out the "prioritized shipping consideration" from Sony PRO Support.  It has been a long wait for this camera release, hope it proves to be worth it.
 
FULL Specifications (which is currently missing from Sony's page for the A7SIII):

 
GREAT Single place for all movie recording options, depth, framerate, codec, bitrate, memory card req.:

 
Breakdown all of the controls, dials, covers, holes, jacks, etc:

Yes please, I really want to see that 4K/120p combined with motion controlling. Do you have the ability to do motion controlled sliding, pan, tilt?

So the new PRO edition of Expedia Mark II is going to have hdmi and scopes and false colors as a monitor option for our Sony cameras?
yes please. How much is that beast?

yeah, I really love using my Ninja V and false color's, makes it fast.  I do use a variable ND (the PolarPro PM edition on my Sony 24GM f/1.4).  I really like your idea of using a cheap and light plastic monitor to get false colors.  But since I mentioned it, maybe I should upgrade my phone to the Sony XPeria 1 Mark II PRO if it actually does have an hdmi port.  Sony is interested in providing us monitoring capabilities with their top Xperia phones, I just thought it wouldn't be available until the Mark III.  The video tools on the non-pro Xperia 1 Mark II already have false colors and scopes, so if the PRO version adds hdmi,
I think that would be the best way for me.  Since I have to have a smart phone for my wilderness trips any way (not for cell service, but for using topo maps, and Earthmate bluetoothed to my InReach Explorer, controlling my drone, and backing up my footage at night in the hammock to a Samsung T5).  

Yeah that's a fair point about not carrying the light meter in the wilderness. The grey card is great to have in your pre-roll though. For me personally I found false color a great quick way of doing it. For on-the fly shooting I use a vari ND and a grey card and wait til I get green hitting the card on the false color then I'm good to go.
I hate frankenrigs too, but maybe look at getting a cheap small 5" lightweight plastic hdmi monitor with false color and custom LUTs like the Fotga. Just an aside, from what I gather the Pana S1H has a tool for exposing based on looking at a grey card - that sure would be nice in other small mirrorless cameras.

I hear you, I just rarely carry a light meter into wilderness, lol.  BUT... that being said, I do ALWAYS have a grey card with me.  Only problem is, I no longer carry a monitor/recorder.  For about 2 years I was bringing a SmallHD with me (and the batteries, ugg).  when you already have a heavy enough backpack for your 1 to 2 week stay in wilderness, and then add photography gear for landscapes/astro/wildlife, and then add more weight and volume for filming gear (drone, video, audio), you wish you had a Sherpa.  So now when I do my solo wilderness trips, I have to get creative on exposure.  For studio work and on location filming for video production work, it's a whole other ball game.  Yeah then I could definitely use my 478 and meter properly and color checker charts.
When I saw that outdoor footage, I immediately thought of my backpacking adventures and the limitations it puts on me.  But yeah, you are probably right, most of the time when you see footage outdoors, they probably didn't have to hike several days to get there, and easily could have the right gear to set exposure.  For me, I have my little 18% grey card and I have to get very creative to use it in the field. 
If you have any suggestions for a super light weight method for setting proper exposure for what I described above, I would greatly appreciate it.  I don't plan on using my Ninja V in those conditions, so will have to rely on what the camera has built in (and they sadly still have not provided us with scopes or false colors).  One VERY promising thing though, is that it is rumored that the Sony Xperia Mark II PRO (the PRO specs haven't been officially released yet).  But I have heard it might have hdmi, which means I could use it as my monitor to get false colors and scopes potentially...

yeah, I for one will be publishing a ton of test footage when my A7SIII comes in.  I'm hoping Atomos gets their firmware released in time.  But even if it doesn't the new All Intra should be decent to look at.  The real test will be when there is a 16bit recorder that we can see footage from, since that will be the full potential of this camera.
my guess is that the footage has some overexposure in it.  S-Log3 can be tricky in mirrorless to expose properly, there is none of the cool tools you have in the pro Sony cameras.  If they didn't find 32% gray properly and bump up 2 stops from there, then the results we see are what I would expect.  Since most people (rightfully so) shied away from using S-Log3 in 8bit mirrorless camera's they are rusty on how to properly expose it. 
I will bet you lunch that they got zero at middle gray and then added 2 stops from there (instead of starting at 32%).  Phillip Bloom has some downloadable footage from his time with the A7SIII on his Vimeo channel.  Haven't had time to see what he put there.  He did have the Atomos RAW option (though pre-release).

16bit RAW to SSD $/GB costs vs 10bit All-I internal to CFexpress Type A
I'm really looking forward to using the RAW output.  I know they are outputting in 16bit RAW over HDMI, and my Ninja V will get a firmware update that will allow me to capture that output as 12bit ProRes RAW HQ upto 4K/60p.  Though I am sure there will be a recorder coming out soon that will record the full 16bit RAW (maybe Ninja V2)  Just getting the proper SSD's for the Ninja V to handle this new RAW is costing more money, though I can't complain.
Besides not being able to capture internal RAW, the other main reason I am not considering getting CFexpress Type A cards is the $$ per GB costs with that compared to external SSD costs.  The difference is significant, over 13 times more expensive.  There is only 2 options that require the CFexpress Type A cards, with many options being supported by V60 and most of the ones I will be shooting in requiring V90.  Beyond V90, I will just use external RAW.
If you compare CFexpress Type A $/GB vs Atomos Supported SSD's rated to handle 12bit RAW ProRes HQ $/GB you get:
$2.50 per GB for CFexpress Type A $0.19 to $0.25 per GB for Atomos approved SSD for RAW on Ninja V I just used the Ninja V https://www.atomos.com/drives supported media page, and looked up the cost of 2TB and 480GB OWC Mercury Extreme Pro 6G drives and divided the latest prices by the gigs and compared that to the Sony TOUGH card prices ($399 for 160GB).  I'm probably going to have to wait 2 years or more for the CFexpress Type A prices to go waaaaay down before I would ever consider using them.  Plus you can't even do RAW to them, so my plan is to use V90 Sony G cards for main shots, Sony M V60 for longer run stuff, and special stuff RAW out to SSD.  Unless someone pays me extra to do all RAW.
But $0.19 versus $2.50 makes CFexpress Type A 13.16 times more expensive per GB (I've had my Ninja V since the end of 2018, so I'm not counting that cost).

You loose color information in log images in 8-bit codecs. The more DR here you are trying to accomplish the worse it will look. S log2 is really the limit for 8-bit and even then sometimes that's pushing it.

I'm keeping a log of any shot requests and have added this.  I will lay out all the tests and parameters in advance for any final requests and/or tweaks.  

Simplest thing to do here is have a safe workflow when setting and taking down your camera rig.  In the example where you have a camera and a recorder/monitor both receiving power from the same power source, yet have a high frequency connection between the camera and recorder/monitor like SDI 6G/12G or HDMI 2.0/2.1 and unshielded cabling is used.  Simply following:
- When connecting: FIRST connect power cables, THEN HDMI / BNC.
- When disconnecting: FIRST disconnect the HDMI / BNC, THEN the power.
Also helpful is using shielded power cables and avoiding D-tap connectors (since they can possibly be plugged in backwards).  To safeguard your D-tap connector you could add the Lentequip Safetap which protects against reverse polarity, over/under voltage, and short circuits, as well as preventing battery deep discharge.  
But just following the connect/disconnect process above should protect you most of the time.

I would definitely be interested in some ProRes RAW HQ and internal s-log3/s-gamut3 captured together, I guess shot at base ISO 640 at the highest quality internal codec.

@Trek of Joy I was not aware of Brandon before so thanks for the heads up.
Very impressed. I have never been much of  Sony fan before but this unit and the lens options available are ticking just about every box except...
Price
I’d prefer 20 megapixies 
I’d prefer a tilt screen
None of the above are deal-breakers however.
Otherwise that XH2 had better be damn good and available by end of March 2021 otherwise for only the 3rd time in my 20 year professional career, I will be switching. 

Unlike those folks that switch 3 times in a year.
And then actually admit it in a specially made YouTube video...

Daai, I'm not sure if this will help you on your A7III, but its worth a shot.  Watching the Brandon Li short film shot on the A7SIII he described what he did to get more dynamic range.  I would think it is worth a shot to try on your A7III.  He just uses the Standard Creative Style with the following adjustments: 
Highlights -9 Shadows +9 Sharpness -7 DRO AUTO Brandon is used to shooting on A7III, A7RIII, etc and since those are 8bit and S-Log3 is unusable, he learned to get more dynamic range with other techniques.  He applied those to the A7SIII (which is good for you, but ultimately, I also think because of that, he didn't squeeze all of the DR out of the A7SIII that he could have)

Interesting that he chose to not shoot that in S-Log3 and instead used Standard Creative Style with the following adjustments: 
Highlights -9 Shadows +9 Sharpness -7 DRO AUTO He then used Neat Video Noise Reduction with Luma Mask set on the shadows.
I think Brandon is most comfy with standard creative profile from using his other A7 camera's that are 8bit.  I wonder if the noise could have been less if shot in S-Log3 with a different exposure and/or external RAW?

QUESTION TO DO WITH A7SIII TESTING
If there is any interest, I am more than willing to establish a set of test parameters for when my A7SIII comes in.  This could also include the external RAW option (as long as Atomos releases the firmware update on time).
I could even do some private TEAMS, WebEx, YouTube live streams and do some live tests, as well as having live test parameters being given to perform live.  Then make the footage available for download either via Google Drive or Vimeo.
Like this comment or reply to it, if you are interested.  If there is enough interest, I will set up a new thread to start collecting the test parameters and conditions.  And start planning the live sessions.

I agree, I will be playing around with that very thing as well.  Base ISO for S-Log3 in the A7SIII is now only 640 and you can take it down as low as 160.  And knowing that the A7SIII's strong point is low light and less noise in the shadows versus highlight protection like the Alexa is good at.  I'm curious to try going really low in ISO with the A7SIII. 
That being said though, it also appears to have dual gain architecture.  I am REALLY hoping that this is not just a pre-release thing, that will disappear in the final production models.  I say that because, why the heck wouldn't Sony put dual gain architecture right towards the top of the feature set and even say it doesn't have dual gain?  Clearly in the pre-release video tests, there is a significant improvement at 16,000.  It is unmistakable that at 16,000 noise is decreased greatly.  If this is the case, I am interested to try S-Log3 exposure a couple ways and see what results are better under different conditions.  Will try exposing all the way down on ISO, as well as giving 16,000 ISO a shot.  
Just guessing until it's in my hands.  I've already warned my family, they won't see me for a week or so sometime around Sept 24, lol.

I'm willing to bet the A7IV (and any new A7 from here out), is going to finally have 4:2:2 10bit.  So starting with the A7SIII and forward, S-Log3 should be usable.  Keep in mind if you publish to YouTube or somewhere similar, you can still get banding because YouTube and others are 4:2:0 8bit and have high compression.  You would need to start using Vimeo or similar solution to keep from having the end consumption showing banding.
Case in point, almost every A7SIII outdoor example footage, if you look at the sky, you can see really bad banding.  This isn't from the A7SIII, it is from YouTube and it's 4:2:0 8bit.
So, you may have high DR AND 4:2:2 10bit colors and S-Log3 let you squeeze as much DR out of your A7SIII, A7IV, etc as possible, but in the end if it is consumed on 4:2:0 8bit with high compression streamed to a smart phone, it can negate much of your hard work.
If you don't mind banding in your A7III 4:2:0 8bit, S-Log3 can help a little, but again, don't forget about where it is going to be consumed.

You are wise to make switching very seriously, as it is a huge cost on many fronts (lenses, getting that second nature back with the new platform, different workflows, different software/drivers, etc, etc.   I was about 3 months away from switching, because for my video needs, I required 10bit color in a small body size.  My a9 meets most of my photography needs, and a7R3 the rest.   I'm heavily invested in GM glass (24, 16-35, 24-70, 85, 100-400) and some additional choice primes that I would hate to be without the Sony 90mm macro f/2.8 and Sony/Zeiss 55 f/1.8.  
But on my radar was the S1H, X-T4, and R5 was in the running (until it was clear that camera is not going to be a work horse).  If I could bring a Sony FX9 to the places I shoot, then I would have just gone with one of their FS or FX cameras.  Now with my commercial video and corporate work kicking up, I can justify an FX9 level camera now (just still couldn't bring it where my passion projects are shot).  That a7SIII may end up being my solution for both professional work and passion projects, so for me I don't have to think about switching any more.
It is no small decision to switch, so hopefully the X-H2 is everything you need.  From what I have seen Fuji doing with video lately, they will likely hit that one out of the park.  You may be looking at having S1H level video with decent tracking based AF.
I wish you good luck!

actually no, I submitted via email (like the last couple) with the PRO Support person I have been working with.  He had been responding to additional questions via that email chain.  He might have been out last week, so I will reply to the email I sent.  If I don't hear back by Monday, I will just call in, and get the answer.

Been gearing up for a 4K RAW workflow and had an idea that should be easy for Atomos to implement (I already submitted it to them, but curious what you guys think).
Similar to how they created the Master Caddy II that allows us to use SSD 2.5" SATA drives and then use them in recorders like my Ninja V. Why couldn't they create a Master Caddy III that lets us use NVMe M.2 2280 chips that are now much more affordable?
Not only are they affordable at around $100 to $200 per 1TB, but they can do sustained writes speed from 2,500 mbps to over 3,500 mbps, a magnitude of 7 times faster than typical 2.5" SSD drives. ALSO, they are the size of a memory stick and could easily allow 2 to be inserted on the back of a Ninja V (maybe 3), and potentially upto 4 on the backs of your larger recorders. Our media storage of drives would be even smaller than they were with Master Caddy II Would eleminate the need for Atomo's support drives page, which is grossly outdated and not a good indication a drive could work since it isn't based on transfer speeds at different modes Don't get me wrong, Atomos has some great solutions and the Ninja V is heck of a value.  I'm just thinking that now NVMe prices are down to reasonable, they could have a solution that exceeds their write speed requirements for anything, including 16bit 8k RAW linear (no ProRes, just straight linear RAW).
Any way, what do you think?  Is there any enhancements you would add (8k support, 4K/120p support, etc)?