sony a7iii lcd screen replacement pricelist

Fixation has been serving professional photographers for 30 years and we are very proud to be appointed the first walk-in Sony Imaging PRO Support Centre in the UK, bringing the same quality and level of support for which we’re renowned to Sony Professional users. We can repair all Sony Alpha E-mount cameras, including the flagship a9 II, the a7R IV and many more.

Eligible Sony Pro Support members can also take advantage of the same Sony Pro Support benefits here at Fixation such as free sensor cleaning and free repair collection and return service. As with all Fixation repairs, we provide free estimates and fast turnaround times.

We can repair your Sony cameras and lenses under warranty or out of warranty as chargeable repairs. Either way, you can rest assured your equipment is in good hands. If your Sony camera is not in warranty and you are interested to know our usual costs, please see our price guide below.

Whether you’ve cracked your screen; damaged your sensor or perhaps your shutter has decided that’s one shot more than it’s willing to give, you can rest assured that your camera is in safe hands. Our expert team of Sony specialist engineers are on-hand to re-build your camera from the frame up if needed.

Sony mirrorless sensors can easily get dusty. When you take the lens or body cap from your camera the sensor is right there. We have cleaned dust, oil, pollen and fingerprints from Sony sensors with our fast while you wait sensor cleaning service.

The LCD display on Sony cameras is essential for accessing the camera menu, reviewing images and monitoring video recording. When these displays start to fail or if your screen is damaged or scratched it can really disrupt your photography and filmmaking.

Variable angle LCD displays on Sony mirrorless camera bodies are connected to the main camera body by a flexible printed circuit board. With repeated use this flexible connection can begin to wear out, or the screen can become loose, and lose connection with the camera.

The sensor in Sony alpha cameras is held in an image stabilisation system that allows movement in up to 5-axis. The sensor is exposed when the lens cap or lens is removed and we have seen cases where the sensor has been impacted, scratched or the sensor filter cracked.

We hope this never happens to you, but in the unlikely event your sensor is damaged our Sony specialist technicians will provide a free estimate which details the work required to bring your camera back to standard.

Hot pixels are single pixels on a Sony sensor that are putting out the wrong signal to the camera’s image processor resulting in a bright speck in your images. These may be more apparent when shooting at higher ISOs, recording long exposures, or shooting video.

Dead pixels occur when a pixel has failed and is no longer sending any signal to the image processor. The result is a black pixel in your images. Dead pixels can occur at any time and may be due to the sensor overheating they are commonly encountered by photographers using their Sony camera for long exposures or video.

The remedy for hot and dead pixels is re-mapping the sensor, instructing the camera to ignore the faulty pixels. In severe cases where re-mapping is not possible our Sony technicians may suggest a sensor replacement.

With such good deals currently available on the Sony a7 III, buyers are faced with a tough decision: should you take advantage of the low prices to grab yourself a deal, or is it better to hold off until Sony releases the shiny new A7 IV next year?

It’s almost three years since Sony announced the game-changing a7 III, breaking the news in February 2018 with the camera hitting the shelves less than two months later. As well as packing in a ton of features — two card slots, incredible autofocus, high burst rate, solid video specifications — Sony made it something of a loss-leader when it came to price: at just $1,999, this was a lot of camera for not very much money.

This was Sony’s “basic” full frame model and yet it made competitors’ flagship look slightly dated due to the fact that many of the issues that had plagued mirrorless cameras were finally resolved: for example, battery life was greatly improved and the EVF, though not a patch on today’s models, was no longer such a distraction. Suddenly, Sony’s mirrorless full frame camera was the yardstick by which other cameras were being measured.

Somewhere on the horizon is its successor, the a7 IV. Both the a7C and the a7S III have given us some clues as to what we might expect to see in the new body, but as yet there are no solid details, compounded by the fact that Sony rumor websites are notoriously unreliable when compared to those for other brands.

Despite the lack of details, it’s fair to make a couple of assumptions: it will have the real-time touch to autofocus tracking seen in the likes of the a7C and a6600 — a feature that could possibly have been brought to the a7 III via a firmware upgrade. The a7S III’s fully articulating screen and revamped menu system will also make its way across, the latter being a breath of fresh air for those who appreciate a camera’s interface. It will also go a long way to shutting up people like me who enjoy reminding everyone how dreadful Sony is when it comes to user experience.

It will be interesting to see what Sony opts for in terms of the sensor. It’s already recycled the a7 III sensor inside the a7C so it seems reasonable to expect a small bump in resolution to give a bit of differentiation if nothing else. Rumor sites seem set on something in the region of 30-32 megapixels and this would be logical given that this doesn’t push too far towards Sony’s higher resolution cameras and still allows for good dynamic range, solid low-light performance, and fast burst-rates and frame rates without having to massively upgrade the camera’s processing power — something that would increase the price of the camera.

As seen in the a7S III and a7C, the features offered through the combination of the gyroscope and Sony’s Catalyst Browse software will add more options for stabilizing your footage. Sony introduced this feature into their cinema-line of cameras but it’s since been creeping into hybrid bodies, first seen in the ZV-1.

Rumors suggest that the a7 IV isn’t due until the middle of 2021 so expect to wait at least 6 months for your new camera if you decide to stick it out until the upgrade. In time, Sony might drop the price of the a7 III further given that it doesn’t have its own entry-level full frame camera to go up against the Nikon Z 5 and the Canon RP. I’d expected the a7C to fill this gap but, priced above the a7 III, Sony is potentially left with a hole in its line up unless the a7 III sees further reductions. That said, there’s still a lot of money left in the a7 III and Sony might not be keen to drop the price too far given that it still fares well against the likes of the Canon R6, Nikon Z 6II, and Panasonic S5, as proven in this recent video.

Price is fascinating. The rumor sites are suggesting $2,500, placing the a7 IV squarely up against the R6 with its 20 megapixels, 12 fps mechanical, 20 fps electronic, and 4K 10-bit video with recording times that are limited by overheating. This would make the a7 IV $500 more expensive than the a7 III at its launch, and $800 more expensive than its current holiday price of $1,698. (The a7C has retained its launch price of $1,798 and that likely won’t change for the foreseeable future.) The a7R IV is currently discounted to $2,998, down from $3,513, another factor that Sony will want to consider.

If you can get past the poor ergonomics, confusing menus, and frame-rate dependant auto-focus and zoom features, the Sony A73 is a tremendous value for a full-frame mirrorless camera for video shooters. Highly recommended!

The Sony A7iii is undoubtedly one of the best full-frame mirrorless cameras of its time. Though not perfect, I’ve learned to rely on the strong video capabilities of this class-leading camera. Here’s my thoughts on the Sony A7iii after putting it through its paces over the last several months and the accessories I’ve gathered and love.

I rarely shoot stills with my Sony A7iii, and on the rare occassion I did, I had a catastrophic failure which I could not fix without formatting the card. To be fair, I’ve never encountered this issue when recording video. But this was not a good scenario to find myself in at a paying gig so I’ll continue to shoot stills with my trusty stable of Nikon D750’s.

I know it’s not the fault of Sony, but I wish my Sony would play nicer with my Ronin-S gimbal. Unlike Panasonic cameras, I cannot remotely control focus without an external focus motor, and even the record start/stop relies on unreliable IR.

Though heavy and large, this is the best 24-70 zoom lens I’ve ever used. When paired with the Sony A7iii the focus is fast and accurate, and continuous focus for video is reliable and better than third part lenses i’ve tried. Coming from shooting all f1.8 or faster primes, it took a while to grieve the loss of shallower depth of field than the stock 2.8. But the bokeh, when zoomed in, is beautiful and having the flexibility to shoot most everything but landscapes and wildlife makes this my go-to lens for pretty much everything I shoot. If you only get one lens, this is the one.

I already complained about the poor built-in mics of the Sony A7iii, but one thing I add to every video camera I own is wind control over the built-in mics. These little Micovers are the easiest solution I’ve found. Though not perfect, they give me a fighting change to get usable audio in the great outdoors.

I’ve tested the touch screen with and without these tempered glass screen protectors (hey: the package came with three!), because I’m always second guessing myself as to whether the touch is negatively affected by this thin sheet of glass. It matters because you don’t want to press harder than necessary to select a focus point or feature whilst in the middle of recording video. I’ve been using my iPhone X without protection for a year now and love it (insert joke here). I’m not sure if it’s my fingers or the screen, but even without the screen protector applied I find the A7iii screen not as responsive as I would like it to be. But as the LCD is my primary touch screen and viewer, I thought it wise to advise to add this little bit of protection for peace of mind and resale value.

The Sony A7iii with 24-70 is a great kit, but super front-heavy. I add a simple hotshoe top handle which allows for easy low angle shooting and gives a great, balanced grip when shooting this kit.

Though I’ve sworn off Tether Tools’ cables (they’ve failed me soooo many times), I do appreciate their Case Relay design. It not only allows you to power your camera via USB, but has a built-in (small) battery to allow hot-swapping of USB batteries for unlimited powering. Super tip: instead of purchasing their over-priced dummy battery for the Sony A73, buy the AC Power adapter above and, if it’s the same as the one I purchased, it will fit the plug on your Case Relay.

The Sony A7iii is far from perfect, but offers a lot of bang for the buck for both video and stills shooters. Even with new competition from the Canon R, Nikon Z and Panasonic S, it’s hard to beat the value found in the Sony A7iii. As a former Canon and current Nikon stills shooter, I’m glad to report I have no regrets on purchasing my Sony A7iii kit. Definitely recommended even for shooters of other systems like me.

If you’ve got a suggestion on recommended accessories or setup for the Sony A7iii, please share a comment as I’m always wanting to find a better way