With the original a1, Sony has piqued the interest of ALOT of photographers. With an impressive AF system partnered with a 50mp stacked CMOS sensor and incredible video capabilities, Sony has appeared to combine the best elements of the Sony a7R series, a9 series, and even the a7S series into a single beast of a camera (with a price tag to match). While all of this is good news, setting up a new camera can be daunting, whether you are a seasoned Sony shooter or are moving to Sony from another camera brand. With a redesigned menu system and a slew of new features and functionality built into the a1, it can take time to get things set up to match your needs. This is where I come in! Having already written several setup guides for Sony cameras (a7R II, a7R III, a7R IV), I have an excellent foundation for building the a1 setup guide. As a Sony Artisan for the last 10 years, I have been using my Sony bodies extensively on all seven continents, photographing a mixture of landscape, travel, and wildlife photography.
Recently, Sony launched the Sony a1 II, the successor to the original a1. If you own the a1 II and are here by accident, you can check out my two guides for that camera: The Complete Setup Guide for the Sony a1 II & Customizing Your Sony a1 II.
This setup guide is built using the 3.0 Firmware update for the Sony A1 released on January 15th, 2025. If you use a previous FW version, your menu system and a few features might differ.
If you have any questions, comments, or even your own recommendations you wish to share with others, please feel free to leave them in the comments section below.
General Settings Worth Changing
While the Sony a1 does have a lot of new features and settings worth talking about, it is essential to start our focus on the basic settings/menu items that you should take a look at with every Sony mirrorless camera. Assuming you have turned on your camera for the first time and adjusted the date/time/area for where you live, these are the settings you want to look at first and make sure you have dialed in as needed.
JPEG/HEIF Switch
One of your first choices is to choose either JPEG or the newer HEIF file format with the a1. HEIF has grown in popularity recently, offering a similarly finalized/compressed file format as JPEG but taking up even less space in the process. Time will tell if HEIF really takes off, but JPEG has been around for decades, and with companies like Apple and Sony pushing for HEIF, it has a good chance of survival.
Found in the “Shooting” menu under “1: Image Quality,” you will find “JPEG/HEIF Switch.” Here, you can choose between JPEG, HEIF (4:2:0), or HEIF (4:2:2), with the latter offering the highest degree of color sampling/quality.
Image Quality Settings
Now it is time to select what kind of images you want to be shooting. Here you can choose to shoot in JPEG or HEIF (depending on what you selected in the option above), RAW, RAW+JPEG, or even RAW+HEIF. Additionally, you can choose the quality level of each of these formats. Under RAW file type, you have the following options:
- Uncompressed – An untouched raw file. The largest file size with zero loss in image data.
- Lossless Compressed (L) – A large RAW file at 50mp with no loss in image data.
- Lossless Compressed (M) – A medium RAW file at 21mp with no loss in image data.
- Lossless Compressed (S) – A small RAW file at 12mp with no loss in image data.
- Compressed – The smallest file size with minimal loss in image data.
While I do plan on spending most of my time in the new Lossless Comp setting, it is essential to note that the only times I have seen a difference between any of these modes have been in situations with extreme contrast, such as night or astrophotography where you have a dark sky next to highly bright stars.
Found in the “Shooting” menu under the “1: Image Quality” section, you will see “Image Quality Settings”.
Long Exposure Noise Reduction
One of the first settings that I like to turn off is “Long Exposure Noise Reduction,” which is on by default. When shooting long exposures, this setting will force the camera to take a second image with the shutter closed to help the processor look for hot pixels (bright red pixels) that are often generated from the heat of an electronic sensor that is used for an extended time. It then takes what it finds and tries to remove those “hot pixels” from your original image. While this process can be beneficial if you don’t fully understand how to deal with noise reduction in the processing phase, it doubles the amount of time required to take a single shot. For example, a 30-second exposure now requires 1 minute because of the mandatory second shot. I would instead retain complete control over how I choose to handle noise reduction, regardless.
In the “Shooting” menu under the “1: Image Quality” section, you will find “Long Exposure NR” at the bottom of the 1st page of this section.
High ISO NR
Next, I want to turn off High ISO noise reduction for similar reasons. While using higher ISOs will increase the noise in an image shot on the Sony a1, I would much rather have complete control over how I handle that noise when I start processing my photos rather than rely on the camera to know what I want. Because of this, I turn this setting off as well.
With the 3.0 FW update on the a1, this setting will be greyed out if you are shooting in RAW, as this setting only affects JPEG files.
Found in the “Shooting” menu under the “1: Image Quality” section, you will see “High ISO NR” if you continue to hit the down key from “Long Exposure NR” and find yourself on the 2nd menu page of this section.
Rec. Media Settings
With the Sony a1, you now have the ability to use either SD cards or the newer and faster CF Express Type A cards in either of the two slots available on the camera. Through the “Rec. Media Settings” menu, you can decide how exactly you want your photo and video files written on those cards. If you wish, you could record pictures on one card and videos on the other or duplicate all images to both cards while only shooting videos on the other. The combinations are endless, so experiment with them to find what works best. In this menu, you will also find the “Auto Switch Media” setting, which is very handy for photographers like myself. I can fill up a card relatively quickly when shooting wildlife photography with bursts of images at 20 or 30fps. However, if I have two cards in my a1, I can set it to auto-switch to my second card if the first one fills up, minimizing the chance that I missed a shot because I ran out of space in the middle of some action.
Found in the “Shooting” menu under the “2: Media” section, you will see “Rec. Media Settings”.
Copyright Info
One of the ways that you can protect the copyright of any image you take is to ensure that your copyright information can be found inside the image itself. While this is usually done via the post-processing side, lately, I have ensured my info can be found in all of my RAW images straight out of the camera. The process is easy; head to the Copyright menu, turn on the “Write Copyright Info” setting, and then fill out the sections for “Set Photographer” and “Set Copyright.”
Found in the “Shooting” menu under the “3: File” section, you will find the “Copyright Info” option.
Write Serial Number
Another handy setting to help you protect your images/copyright is having the ability to write your camera’s serial number to your images. This will embed that information into your JPEG, HEIF, or RAW files, giving you yet another way to prove that you took a specific image if it was ever stolen or used without your permission. If your camera was ever stolen, you could potentially identify people using the camera if this feature was left on.
Found in the “Shooting” menu under the “3: File” section, you will find the “Write Serial Number” setting at the bottom of the page.
Self-timer Type
With the Sony a1 adopting the a9 series “drive mode” top dial instead of a pure software solution like the a7R series, quickly look at the “Self-time Type” settings. You can adjust the self-timer mode on that top dial to handle 2, 5, or 10-second delays before taking an image. Additionally, you can experiment with the continuous self-timer mode to take a rapid succession of pictures after a delay.
Found in the “Shooting” menu under “3: Drive Mode” section you will find the “Self-time Type” setting.
Bracket Settings
If you are a landscape photographer, you might find yourself wanting to bracket some of the images you while out in the field. The “Bracket Settings” menu will allow you to control the kind of bracket and, most importantly, allow you to turn on the “Self-timer during Bracket” setting. With this on, your bracket will automatically take the entire set of bracketed images for you once the initial timer delay has counted down. This will minimize any camera shake that might have occurred if you had to take each bracketed image by pressing the shutter button down on your own.
To select the kind of bracket you wish to shoot, adjust the “Bracket Type” setting and choose one of the following: Continuous Bracket, Single Bracket, Focus Bracket, White Balance Bracket, and DRO Bracket. You can adjust the levels of exposure between the images and the size of the bracket by pressing right on the rear control wheel and changing the settings using the up and down buttons on the same control wheel.
In the “Shooting” menu under the “5: Drive Mode” section, you will find the “Bracket Settings” option.
Understanding Focus Bracketing (New to FW 3.0)
A new feature of the Sony a1 is the ability to Focus Bracketed images. This feature will automatically take a series of photos of a scene and adjust the focus so that you end up having an entire image in focus (after you combine the photos yourself in Photoshop). This is best done when using a tripod and shooting a subject that doesn’t move, such as a landscape or a macro image of a flower.
To use this feature, you need to do the following:
- Select “Focus Bracket” from the Bracket Type under “Bracket Settings”
- Adjust the “Step Width” and “Number of Shots” options within the Bracket Type Setting for Focus Bracket.
- Further, adjust any settings found in the “Focus Bracket Settings”
- Ensure the “Self-timer during Bracket” setting is set to at least 2 seconds.
- On the top left dial on the Sony a1, move the Drive dial to the “Bracket” option.
In the “Shooting” menu under the “5: Drive Mode” section, you will find the “Bracket Settings.” option.
Interval Shoot Func.
If you want to dabble in shooting time-lapses with the Sony a1, you will spend a lot of time in the “Interval Shoot Func.” menu getting all your settings set correctly. While I could write an entire blog post on correctly shooting time-lapses, I don’t have space here. Just know that all of the settings for your time-lapses can be found here.
In the “Shooting” menu under the “3: Drive Mode” section, you will find the “Interval Shoot Func.” option.
Pixel Shift Multi Shoot.
If you shoot static (non-moving) subjects like architecture, you might want to experiment with Sony’s Pixel Shift technology. With this feature, the camera will take a series of images (4 or 16), slightly shifting the sensor for each image. In doing so, it fills in the tiny pixel-level spaces with real-time image data rather than relying on the sensor to use its processor to fill in the gaps. The result is a larger image with more refined detail found throughout the image. This mode can also eliminate any moire that might appear in your images from contrasting elements being incredibly close to each other, creating that repeating pattern that most of us try to avoid with our photos.
In the “Shooting” menu under the “3: Drive Mode” section, you will find the “Pixel Shift Multi Shoot.” option.
Grid Lines
A helpful tool on the Sony a1 is the ability to apply a digital overlay to your rear LCD and the viewfinder to help you create more compelling compositions. I often opt for the “Rule of 3rds Grid” as it can help me quickly level the horizon in an image while giving me some insight on subject placement throughout my scene.
In the “Shooting” menu under the “9: Shooting Display” section, you will find both the “Grid Line Display” setting and the “Grid Line Type” options.
D-Range Optimizer
By default, the “D-Range Optimizer,” or DRO, will artificially increase the dynamic range found in any JPEG or HEIF images you capture (but it won’t affect RAW images). Because this is an artificial adjustment that doesn’t do anything to RAW photos, I tend to turn this off and rely on my post-processing skills to make any dynamic range adjustments when editing my shots. If you shoot JPEG or HEIF, feel free to experiment with it and adjust its strength.
In the “Exposure/Color” menu under the “6: Color/Tone” section, you will find the “D-Range Optimizer” option.
Focus Peaking Settings
One of my favorite Sony camera settings is Focus Peaking. What this does is a digital overlay onto the rear LCD or viewfinder to help let you know when you are close to getting an object in focus when using manual focus. Just note that it means you are “close” and not meant to indicate “tac sharp” results. Once I know I am close, I can zoom in and further dial things in to get the sharp results I am after. I use this most often with night/astrophotography. In my experience, you want to set the Peaking Level to “Med” and the Peaking Color to “Red” for the best results in most situations.
In the “Focus” menu under the “5: Peaking Display” section, you will find the Peaking Display, Peaking Level, and Peaking Color menu options.
Display Quality
One of the best new additions to the Sony a1 is the incredible Viewfinder with its lifelike resolution of 9,437,184. This thing is a joy to look through straight out of the box, but with a little hidden setting, you can make it look even better. By adjusting the “Display Quality” setting from standard to High, you will max out the resolution of both the rear LCD and the viewfinder, giving you the best viewing experience possible with the camera. That said, Sony does note that this will be at the cost of some battery life, but in my experience, it has been a slight trade-off in that department.
In the last “Setup” menu under the “6: Finder/Monitor” section, you will find the Display Quality option near the bottom.
Finder Frame Rate
One of the settings that you should be aware of is the “Finder Frame Rate”, where you can manually adjust the FPS found in the viewfinder from Standard to High to Higher. Each setting will increase the FPS of the viewfinder by slightly lowering the resolution at each step. This can be handy when shooting fast-moving subjects as you will be able to view the subject more smoothly at a higher FPS as they move across the frame of the image. Do note however that the frame rate of the viewfinder is limited in the following situations: During playback, During an HDMI connection, when the temperature inside the camera is too high or when the Shutter Type is set to Electronic Shutter or Auto and continuous shooting is performed. Additionally, selecting any option besides “Standard” will automatically lock the “Display Quality” to standard as well. Most of the time I leave this is at “Standard” but you should experiment to see what kind of results you get.
Found in the last “Setup” menu under the “6: Finder/Monitor” section you will find the Finder Frame Rate option at the bottom of the menu tab.
The AF System
One of the most impressive things about the Sony a1 is its AF system. With stacked sensors drastically increasing its readout and processing capabilities, the a1 can perform over 120 AF and AE calculations per second, making it one of the fastest if not the fastest, and most responsive and accurate AF systems in the industry. While I do plan on writing separate blog posts that cover my favorite settings for wildlife, landscape, travel, and portraits in the coming days, let’s start with understanding all of the different AF settings you have at your disposal first.
AF Mode Top Dial
Pulling from the Sony a9 series, the a1 has a dedicated top dial specifically for the AF system on the camera. It is here that you move from Single Focus (AF-S), AF-C (Continuous), Direct Manual Focus (DMF) or Manual Focus (MF). While most of these are pretty self-explanatory, DMF is essentially a mixture of AUTO and MF focus. With it, you can use the camera’s AF system to achieve focus and then use your lens’s focus ring to further dial things in to suit your needs. On the dial, you will find a small button that must be pressed in before you move the dial, preventing you from accidentally rotating the dial by accident.
Drive Mode Dial
Sitting on top of the AF Mode Dial is the Drive Mode Dial. With the locking button located in the middle of the dial, you can easily move between each of the different drive modes such as Single Shot, Shutter Delay and Bracketing Mode (BRK). When it comes to continuous shooting you have High+ (30fps), High (20fps), Medium (15fps) and Low (5) by default. These can be customized, which I will cover in the next setting.
Cont. Shooting Speed
If you want to customize the various FPS speeds for each drive mode, you can in the “Cont. Shooting Speed” setting. Here, you can adjust for the High, Medium, and Low options. High+ will always be set for 30fps, but it is important to note that not all Sony native lenses can shoot at 30fps with the a1. I have a list of compatible lenses at the end of this section, so be sure to check them out.
This setting can be found in the “Shooting” menu tab under the “5: Drive Mode” section under “Cont. Shooting Speed”.
Visualize Your Image Buffer
A lesser-known but helpful feature on the Sony a1 is the “Remain Shoot Display.” This feature will display a live bar on the left side of your screen that will show you how full your image buffer is in real-time. This way, you can tell when you are approaching the limit of your buffer before your FPS begins to slow down drastically.
This setting can be found in the “Setup” menu tab under the “7: Display Option” section under “Remain Shoot Display”.
Priority Set in AF-S & AF-C
You can control the a1’s priority regarding the AF-S & AF-C focusing modes. By default, this setting is set to Balance Emphasis, a mixture of focusing on AF (where the camera will not take a photo until it achieves focus) and Release (where the camera will capture an image even if it isn’t yet focused). What you set these settings at should be determined by what subjects you photograph. Wildlife photographers, for example, will want to experiment with Release, as it is the fastest setting here and the only setting that offers the full 30FPS that the Sony a1 can shoot. Regardless, you can experiment with these options and see which ones provide the best results.
This setting can be found in the “Focus” menu tab under the “1: AF/MF” section under “Priority Set in AF-S” or “Priority Set in AF-C”.
AF Tracking Sensitivity
When it comes to how “sticky” the a1’s AF system is to your subject when it goes out of focus, you will want to pay attention to the “AF Tracking Sensitivity” setting. Here, you can adjust the sensitivity between 1 (where the AF tries to stay locked onto the same subject) and 5 (where the system is actively trying to keep something in focus the whole time). What kind of subject you photograph and how fast they are moving should help dictate this setting. By default, it is set to 3 (Standard).
I set mine to 1 so that it stays locked on to the subject I am trying to focus on.
This setting can be found in the “Focus” menu tab under the “1: AF/MF” section under “AF Tracking Sensitivity”.
Focus Area Modes
The AF Area modes found on the a1 shouldn’t be new to other Sony users. Still, if you are coming from a different system, knowing more about each option at your disposal is essential.
Wide – This mode covers all of the potential AF points across the sensor. This mode is handy if you have a well-defined subject. Over the years, I found this setting to get more and more accurate, seemingly as if it automatically knows to focus on the heads or faces of a subject without me selecting it outright with another mode.
Zone – This mode selects a smaller movable rectangle to place around your frame with the rear joystick on the a1. If I want to put a subject in a specific spot within my image (such as a bird on the right side of the frame facing toward the left), this is often my go-to AF area mode.
Center Fix – This fixes the AF point to solely be in the center of the frame, often requiring a focus and readjusting before capturing the shot. I rarely use this mode anymore.
Spot (S, M, L) – When you need to be highly particular about your focus point, the moveable “Spot” mode is one of the best choices. You can select three different sizes (Small, medium, and large) by jumping into the Focus Area setting and hitting the left or right buttons on the rear control wheel with this selected mode.
Expanded Spot – Similar to the “Spot” mode, the “Expanded Spot” mode will use the AF points around your selected AF spot to focus on the chance that it can’t initially find focus.
Tracking: – With Continuous AF selected, you can engage the “Tracking” AF area to have the a1 track the subject within the AF area you selected within this mode. You can choose any of the above AF area modes within the “Tracking” section (such as Tracking: Wide or Tracking: Zone) to better track subjects moving throughout your frame.
This setting can be found in the “Focus” menu tab under the “2: Focus Area” section under “Focus Area” option.
Touch AF
With the a1, you have the ability to use the touch-sensitive rear LCD screen to also select an AF point for you to focus on. This is incredibly handy in many situations where you had a subject move around your frame and resettle in a spot. However, by default, it is set to engage the “Tracking: Spot” mode we mentioned above, making it an ideal option for some sports and wildlife-focused situations. You do have the ability to change it to Touch Focus (single focus), keep it at Touch Tracking, or simply off if you don’t intend to use the feature.
You can find this setting in the “Setup” menu tab under “5: Touch Operation” under “Touch Func. in Shooting”.
Focus Area Color
Another setting to adjust would be to change the color of the adjustable focus areas within the Sony a1 mirrorless camera. By default, this is set to “white” which can be pretty tricky to see in some situations. I prefer the “red” option, making it much more visible when you are out in the field.
This setting can be found in the “Focus” menu tab under “2: Focus Area” in the “Focus Area Color” setting.
The Eye AF System
Over the years, Sony has led the industry with its Eye AF technology, which uses AI to help you focus on your subject’s eyes with sharp results. This started focusing on humans but added in animals, emphasizing mammals such as cats, dogs, bears, and the like. With the a1, Sony has now added the ability to track birds’ eyes. The challenge is that because of the variety of potential subjects, you must manually tell the a1 to switch between looking for humans, animals, or birds with the Eye AF feature. I have assigned this feature to a custom button on my Sony a1 and the ability to switch back and forth between which eye I want to focus on within a subject. I will walk you through how to do this yourself later in this blog post. Because so much of this is based on AI, this technology will only increase in accuracy and effectiveness as Sony releases firmware updates for this camera, which is excellent news for everyone.
This setting can be found in the “Focus” menu tab under “3: Face/Eye AF” in the “Face/Eye Subject” setting.
What Is Required to Shoot at 30fps?
I think we can all safely agree that one of the most impressive features announced with the Sony a1 was its ability to shoot at 30fps at 50mp. That is an insane amount of speed with an insane amount of resolution. However, in order to achieve this milestone, there are some required settings that you should be aware of.
- You have to be in compressed RAW or the JPEG file format (uncompress RAW or lossless compressed RAW has a maximum FPS of 20)
- AF-C mode selected and Drive mode set to Hi+
- Selection of an Electronic shutter and shutter speeds selected between 1/250th and 1/32000 of a sec
- Priority Set in AF-C to Release (not balanced emphasis)
- The “Tracking” AF modes will drop a few FPS, so try to stick with the other AF areas such as Zone or Wide.
- Have a compatible lens that can shoot at 30fps (see the next section)
Compatible Lenses for 30 FPS Shooting
While I am sure that we all want all of our Sony & 3rd party glass to shoot at 30fps, it is important to know that not all lenses are created equal. In order to achieve that 30fps milestone, you need to use one of Sony’s officially stated compatible lenses, otherwise you will be limited to 20fps or possibly lower. To help ease the confusion with all of this, I have put together this list of FF lenses that are all known to be fully capable of capturing 30fps with the Sony a1.
Understanding A1 Video Modes & Settings
Whether you are new to video or just to the Sony a1, it is essential to understand just how incredible this camera is when it comes to the video you create with it. This section will break down each critical video-focused setting to clear up any confusion. Still, before we begin, you should know that many a1 settings are separately applied depending on whether you are in photo or video mode. So, before you change any of the settings we list below, set your a1 into “Video” mode.
Video File Formats
With the Sony a1, you have a bunch of different video file formats to choose from, so lets break down your options so that you know the difference between each of the modes.
XAVC HS 8K – The largest resolution that is possible to capture with this camera
XAVC HS 4K – The highest quality 4k video mode you can shoot in
XAVC S 4k – The standard 4k mode you can film in
XAVC S HD – The standard HD (1920x1080p) that you can capture
XAVC S-I 4k – This mode can make editing this 4k video much quicker/easier, but the files sizes can be massive
XAVC S-I HD – This mode can make editing this 1080p video much quicker/easier, but the files sizes can be massive
This setting can be found in the “Shooting” menu tab under “1: Image Quality” in the “File Format” setting.
Movie Settings
Once you have selected your video resolution, it is time to adjust the video frame rates (Rec Frame Rate) and quality/bit rates (Record Settings). It is important to know that the options available to you via both of these settings will differ depending on the video mode you selected above. So, how do these settings affect your video?
Your choice of frame rate determines the general feel and look of the video.
24p – A cinematic or film-like look and feel
30p – A mode more in line with your standard internet video
60p – With fast-moving subjects, you will want a faster FPS, such as 60p. This will also give you the ability to slow down footage shot at 60fps for a partial slow-motion effect
120p – Offering the ability to more dramatically slow down a clip if it is shot at 120fps.
With “Record Settings,” this is where you choose the quality, bitrate, and color options found within your video. The larger the bitrate, color pallet, and quality, the larger the video file size. For example, with 8k video selected, you can choose 400M 4:2:0 10bit
The first part (400m) stands for the bit rate. The higher the rate, the larger the file size and the higher the video quality. Next, we focus on chroma subsampling, which refers to how much color information is recorded at the pixel level, in this case, 4:2:0. The higher the numbers, the more color information is recorded, so 4:2:2 is better than 4:2:0, for example. Lastly, we have bit-depth, in this case, 10bit. With the Sony a1, you only have two options with some video modes, 8-bit and 10-bit, which again concerns color. A 10-bit video can display 1.07 billion colors, whereas an 8-bit video is limited to 16.7 million. When I am shooting essential scenes that I know I want to pull every last bit of detail out of a shot, I will choose a high bit rate, try to shoot in 4:2:2 when possible, and select 10bit. These videos will be large but worth it in my mind.
These settings can be found in the “Shooting” menu tab, under the “1: Image Quality” section in “Movie Settings”.
S&Q Settings
Sony’s S&Q feature stands for Slow & Quick, providing an easy way to shoot slow-motion videos. This includes choosing frame rates from 1 second to 240fps slow-motion video or creating a short but straightforward time-lapse with your a1 (depending on your selected video mode). Here you can choose your Rec Frame Rate (24p, 30p, 60p, 120p), Frame Rate (1fps – 240fps), and variable Recording Settings that change depending on what video mode you have selected on the camera, such as shooting in 8k, 4k or 1080p.
I like to set my Rec Frame Rate to 24p for a cinematic look, but I would choose 120fps for the S&Q frame rate. This combination allows me to capture footage that is slowed down 5x more than footage shot in the regular video modes.
These settings can be found in the “Shooting” menu tab, under the “1: Image Quality” section in “S&Q Settings”.
Proxy Settings
An overlooked video setting is the ability to shoot proxy files along with your videos. Essentially, this records an auxiliary (second) copy of the original video file at a lower resolution, making it easier to process on a computer. This can be handy (or even required) if your desktop or laptop can’t handle processing the beefy 8k video files from the a1. Note that many video editing apps will also allow you to create proxies when you import your video files into your system, but making them can add time to the video editing process.
With the internal Sony a1 settings, you can turn “Proxy Recording” on/off, adjust the “Proxy File Format,” and experiment with the “Proxy Rec. Settings” to fine-tune your proxy video files as needed.
These settings can be found in the “Shooting” menu tab, under the “1: Image Quality” section in “Proxy Settings”.
Picture Profiles
Outside of choosing the right video format, FPS and bitrate, choosing the right Picture Profile to use with a video can be absolutely crucial when it comes to how well you can color grade (process) the video. With the Sony a1 you have 11 different PP that can be used for both still and video, although the vast majority of people tend to focus on video production when it comes to these profiles. While PP1 is the standard or default setting, I am not going to cover every single profile in this section. Instead, let’s focus on the last 5 profiles that are most commonly used.
PP7 – S-Log2 gamma and S-Gamut color mode
PP8 – S-Log3 gamma and S-Gamut3.Cine color mode
PP9 – S-Log3 gamma and S-Gamut3 color mode
PP10 – HLG2 gamma and BT.2020 color mode
PP11 – S-Cinetone gamma & color mode
Each of these modes represents a different look/feel when it comes to how they handle both gamma and color. The resulting video file might end up looking incredibly flat and desaturated at times, but they offer much more leverage when it comes to processing (color grading) the footage.
Zebra Display
Things can get pretty complicated when shooting video if you accidentally blow out the highlights within a scene. The “Zebra” setting acts as a warning, with rapid blinking lights appearing in any area that represents an over-exposed portion of your frame. The default setting is at 70, but depending on the Picture Profile you selected from the last section, you might want to leave it alone or bump it up if allowed based on the PP in question.
Both the “Zebra Display” and “Zebra Level” settings can be found in the “Exposure/Color” menu tab under “6: Zebra Display”.
Video AF Transition Speed
While many professional videographers tend to stick with MF to rack focus their shots, the AF systems on cameras such as the a1 have continued to offer more settings to help AF look smooth and natural in the video. One of those settings is the “AF Transition Speed,” which determines the focus transition speed when the focus changes from one spot to another. If the move is too fast or slow, it can throw off the viewing experience for the audience. The setting ranges from Slow (1) to Fast (7).
This setting can be found in the “Focus” menu tab, under the “1: AF/MF” with “AF Transition Speed”.
AF Subj. Shift Sensitivity for Video
Another important setting when it comes to AF with video is the “AF Subj. Shift Sensitivity”. This setting is primarily focused on the speed at which the AF system should start to look for another focus point when your subject moves out of the focus area. You can set this from Locked On (1) to Responsive (5) where it quickly looks for something else to focus on.
This setting can be found in the “Focus” menu tab, under the “1: AF/MF” with “AF Subj. Shift Sensitivity”.
Customizing Your Sony a1
One of the best things you can do with your new Sony a1 mirrorless camera is customize it to fit your needs as a photographer. Don’t like what a button does on the back of the camera, simply reassign it. Want quicker access to make the camera shoot in truly silent mode or want to change Eye AF from Human to Bird? Nearly every button and menu on your a1 can and should be customized.
While it might take you weeks or months to truly get a feel for how you want your a1 to operate, I have decided to write a separate blog post detailed every customization I have done to my own pair of Sony a1 cameras. Separating this section out from this blog post gave me more room to explain each of the different choices I made and why. You can click on THIS link or any of the images above to take you to my Customizing the Sony a1 article. Enjoy!
Additions to the Guide
After publishing this guide, I have either been asked about or encountered a series of additional settings/features worth mentioning. I will constantly update this section as I find more to share with you all!
Using Zebra When Shooting Stills
While the Zebra feature was created to help you avoid blowing out your highlights when shooting video, it can also help with still images. Some photographers have determined that if you set a custom Zebra level to a “Lower Limit” of 107+, you have a good indicator of how far you can push your highlights in the field and still recover them in post-processing. This is specific to the sensor in the Sony a1, so don’t apply this to other Sony bodies and expect the same results.
To make these changes, head to the “Exposure/Color” menu and look for “7: Zebra Display”. You can turn the Zebra feature on before clicking the “Zebra Level” menu item. Scroll down until you find the C1 or Custom 1 option, and hit right on the rear control wheel. Select “Lower Limit” and adjust the level to “107+”.
Understanding The Memory Recall Features
A great question from a fellow photographer concerned the Sony a1’s Memory Recall settings. When you look at the Camera Mode dial on the top of the a1, you will see all of the normal modes you are used to, like “Manual” & “Shutter Priority,” but you will also see the numbers “1”, “2” and “3”. These slots are reserved for you to create custom camera modes that can include a variety of saved settings. But why would you ever use this feature? Let’s say you enjoy shooting landscapes, wildlife, and portraits. You can create three custom camera modes with your settings for AF, Aperture, Shutter Speed, ISO (and others) so that you can quickly jump to the best settings required for those different genres of photography.
So, how would you set up these modes? It isn’t overly complicated. First, you set your camera up precisely as you want for your custom camera mode, dialing all of the different settings to your heart’s content, such as adjusting AF sensitivity for wildlife or choosing a specific AF Area that is best for portraits. Once you dial things in, you will head to the “Shooting” menu and find “4: Shooting Mode”. There, you can select “MR Camera Set. Memory”. Once there, you choose “1”, “2,” or “3,” and all your current settings will save to that custom camera mode.
*You will also see M1, M2, M3 & M4, which do the same thing, but instead of saving your custom settings to one of those camera modes, it saves them to the currently selected memory card.
Focus Frame Display
Have you ever taken a photo and wanted to know exactly where the camera focused for the shot? With the Sony a1, you can now do that via the “Focus Frame Display” setting.
You can find it under the “Playback” menu under “7: Playback Option”. You will see “Focus Frame Display. ” Set it to “On,” and you are good to go!
New Clear Image Zoom Feature
Another underrated feature of Sony’s camera is Clear Image Zoom (or CIZ for short). This unique feature only works in JPEG mode, allowing you to zoom in 2x into your subject with little to no loss in image quality. Additionally, unlike with a tele-convertor, you will not lose any stops of light and be forced to shoot with higher apertures. What is new with the a1 is that previously, Continuous AF (AF-C) was disabled when using this feature, meaning that it worked great for subjects that were at a standstill but not so great for moving subjects. Now with the a1, AF-C will continue to work when in this mode.
For this to work, you must ensure your camera is shooting JPEGs. Then you want to jump into the menu, and under the “Shooting” menu, find “8: Zoom”. Here, under “Zoom Range,” you will want to select “Clear Image Zoom.” Once that is done, the easiest way to engage this mode is to make sure that it is configured to one of your Custom buttons, in this case, I set it to “C3” on the back of my camera. With all that done, you must tap that “C3” button and then use the rear joystick to zoom in and out. Enjoy!
Do You Want To Download My Settings
If you have come this far and all you want to do is download my settings file and be done with it all, I don’t blame you!
Just head over to my Customizing Your Sony A1 guide; you will find all the necessary information there!
Recommended Accessories
CF Express Type A Cards
To take full advantage of the speed of the Sony a1 II, I HIGHLY recommend that you pick up a couple of CF-Express Type A cards instead of the older and slower SD cards. The benefits of the faster CF-Express cards will be felt in how quickly your buffer clears when shooting in high FPS modes and how quickly your images and videos are off-loaded from your memory cards to your computer.
Extra Sony z100 Batteries
When Sony released the z100 battery a number of years ago, it completely changed the narrative when it came to people complaining about the battery life on mirrorless cameras. These batteries were designed from the ground up to last long, be more effective, and more reliable for all of Sony’s latest mirrorless cameras. All that said, with the a1 being able to shoot 30 FPS, have a jaw-dropping viewfinder, and the ability to shoot 8k footage, you will absolutely want to pick up a few extra batteries just in case. There are some cheaper 3rd party options, but I hate to rely on a product that I am not 100% sure offers the right voltages and watts for my expensive camera. For that reason, I stick with Sony-branded NP-FZ100 batteries.
Vertical Battery Grip
If you have big hands or prefer extended battery life, picking up a vertical battery grip for the a1 is highly recommended. While there are cheaper 3rd party options, I like to stick with the Sony brand regarding battery and control-focused accessories. The Sony VG-C4EM will work on the a1 just as it does with the a7R IV, a9 II, and a7S III, matching the new button layout and design of the newer Sony bodies. The grip makes it easy to shoot and move from horizontal to vertical orientations while allowing you to load two z100 batteries into the grip simultaneously. When you use Sony’s larger telephoto lenses, the battery grip will also help balance out the weight a bit more, making it more comfortable to hold these larger setups for longer periods of time.
L-Bracket
An L-Bracket is one of the best camera accessories for any photographer that uses a tripod. Forming an “L” on the bottom and side of your camera, an L-Bracket allows for the easy transition from horizontal to vertical shooting while maintaining the center of gravity over your tripod’s center rather than forcing it to lean to one side. It uses an area-swiss connection that should work with most ballheads.
Camera Cage
If you do a lot of video work, you may opt for a camera cage rather than just an L-Bracket. Why? Because of the dramatic increase in attachment points for external mics, video recorders, and other accessories to help you create some epic video footage. While you have some options regarding the different camera cages, my two favorites tend to be SmallRig or Tilta.
Wireless IR Remote Control
Having a wireless remote control can be very handy for a variety of situations, including when you are shooting from a tripod and genuinely want to minimize all vibrations. While Sony offers their own wireless remote control, I find it a bit over-priced. The cheaper Foto&Tech IR Remote is a better solution, which you can pick from Amazon (LINK) for just $10.29. These aren’t the most robust controllers on the market, so think of picking up a second one just in case. Either way, I use this, and I haven’t been disappointed.
Eye Cup Extention
One of my favorite but lesser-known 3rd party purchases for my Sony mirrorless cameras is a replacement eyecup for the viewfinder. While the stock one works fine, an extended eyecup can be invaluable on bright sunny days, especially when tracking subjects such as birds in flight. My favorite can be found on Amazon (LINK) for $13.99, but pick up two if you lose one in the field!
