Best ND Filters for Sony a7S III (2026): S-Log3, 4K120, No eND
The Sony a7S III (ILCE-7SM3) is a 12.1-megapixel full-frame video body with 4K120, 16-bit RAW over a full-size HDMI Type-A port, and no electronic ND. FX3 owners get a built-in eND. This ILCE body does not. S-Log3 sits at a high exposure. The 2026 first buy is the PolarPro Peter McKinnon Edition II Variable ND 6–9 Stop in 82 mm.
Our Top Picks at a Glance
Updated September 2026 · a7S III · ILCE-7SM3 · 12.1MP · ISO 80–102400 · 4K120 · HDMI 16-bit RAW · no eND · 82 mm · 6–9 first
75-1020 / 82-1020. No eND (unlike FX3). S-Log3 + 1/50 at f/2.8 needs the heavy ring first.
Check Price at Amazonat AmazonRead full review ↓NIR-TCVND1.8-2.7-82. True Color for S-Log3 / S-Gamut3.Cine next to VENICE or FX9.
Check Price at Amazonat AmazonRead full review ↓KF01.1856. Nano-X ND64–512, not ND2–400. Same SKU as the FX5 budget 6–9.
Check Price at Amazonat AmazonRead full review ↓Disclosure: This page contains affiliate links. As an Amazon Associate affiliate, we earn a small commission from qualifying purchases at no extra cost to you.
Comparison Table
| Filter | Range | Thread | Best for | Price |
|---|---|---|---|---|
| PolarPro 6–9 Stop 82mm | 6–9 stops | 82 mm | S-Log3 / 4K120 / HDMI RAW in daylight | Check Price |
| NiSi True Color 6–9 82mm | 6–9 stops | 82 mm | S-Gamut3.Cine + Fine Tuning | Check Price |
| K&F Nano-X ND64–512 82mm | 6–9 stops (ND64–512) | 82 mm | First 6–9 on an S-body | Check Price |
How We Picked
Three official facts decide the glass. Everything else is a pairing.
- No electronic ND. ILCE-7SM3 is an Alpha stills/video body. Sony’s spec sheet lists shutter, ISO, HDMI RAW, and 5.5-stop IBIS. It does not list a built-in ND. The FX3 (ILME-FX3) is the Cinema Line body with eND. (Sony ILCE-7SM3 specifications)
- 4K120 and 16-bit HDMI RAW. XAVC HS / S 4K goes to 120p. HDMI outputs 16-bit RAW (4264×2408). Neither path inserts ND. 120 fps still wants ~1/250. (Sony a7S III product page)
- ISO 80–102400, S-Log3 sits high. Official movie ISO starts at 80. S-Log3 / S-Log2 is used well above that (commonly ~640 / ~12800 dual-base in production charts). A high exposure in daylight is a 6–9 problem, not a 2–5 problem. (Sony ISO specification)
Detailed Reviews
PolarPro Peter McKinnon Edition II Variable ND 6–9 Stop (82mm) View on Amazon View on B&H
| Range | 6–9 stops |
|---|---|
| Thread | 82 mm |
| Best for | S-Log3 / 4K120 / HDMI RAW in daylight |
The a7S III is the FX3’s ILCE twin without the eND. The first filter is 6–9, not a travel 2–5.
Sony’s ILCE-7SM3 specification lists a 12.1-megapixel Exmor R full-frame sensor, stills and movie ISO 80–102400 (expanded 40–409600 stills / 80–409600 movie), XAVC HS / S / S-I 4K up to 120p, and HDMI RAW output. Shutter in movie mode runs 1/8000 to 1/4. IBIS is rated 5.5 stops. Dual CFexpress Type A / SD slots. Weight with battery is about 699 g. There is no ND filter in that list.
S-Log3 / S-Log2 on this sensor is commonly used at a low base around ISO 640 and a high base around ISO 12800. Either number is several stops above ISO 80. At 24p and 1/50, f/2.8, ISO 640 in noon sun, sunny-16 wants more than five stops. A 2–5 tops out early. The FX3 answers that with a built-in electronic ND. The a7S III answers it with glass. That is the whole pairing.
4K120 is a Super 35 crop. 120 fps wants ~1/250. The crop does not add ND. HDMI 16-bit 4264×2408 RAW to an Atomos or similar recorder also has no ND in the cable. 82 mm is still the GM II / 24–70 / 70–200 thread. Do not buy 67 mm because “it is a video camera.”
- 6–9 is the S-Log3 / 4K120 daylight range this body actually needs
- Same 82 mm Edition II SKU as FX5 / a7R VI — one ring if the kit is mixed
- Hard stops when the body is on a gimbal next to an FX3 that already has eND
- Too dark for S-Cinetone ISO 80 interiors — that is the 2–5 in Layer 2
- Does not replace FX3 eND for run-and-gun walk-ins; it is the outdoor tool
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NiSi True Color ND-VARIO 6–9 Stop (82mm) View on Amazon View on B&H
| Range | 6–9 stops |
|---|---|
| Thread | 82 mm |
| Best for | S-Gamut3.Cine + Fine Tuning |
True Color on the 6–9 is the Value pick when the a7S III has to match Cinema Line color.
Sony sells the a7S III as a color match for S-Gamut3 / S-Gamut3.Cine and VENICE / FX9. A yellow-shift VND shows up in that pipeline. NiSi’s True Color 6–9 is the cheaper way to stay in the same stop range as PolarPro without the Edition II price. Fine Tuning marks 6 / 7 / 8 / 9. Use it for 1/50 at 24p and 1/240 at 4K120 when the crop is on.
- True Color for S-Log3 match jobs
- Fine Tuning on the heavy ring
- Same 82 mm as PolarPro
- No 2–5 in the box — interiors still need a second filter
- Lever can hit a cage rail on a fully built a7S III
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K&F Concept Nano-X Variable ND64–512 (82mm) View on Amazon View on B&H
| Range | 6–9 stops (ND64–512) |
|---|---|
| Thread | 82 mm |
| Best for | First 6–9 on an S-body |
A first 6–9 for S-Log3 noon. Confirm KF01.1856. ND2–400 is the wrong product.
K&F’s Nano-X ND64–512 is the inexpensive 6–9. The a7S III will show a crossed-polarizer X on a 12MP 4K frame just as clearly as a 33MP body. Stay off the last ½ stop. This is not a replacement for FX3 eND indoors — it is daylight glass.
- Correct 6–9 range for S-Log3 noon
- 82 mm GM thread
- No hard stops
- Easy to confuse with ND2–32 or ND2–400 in a cart
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If You Need Something Else
NiSi True Color 1–5 82 mm (NIR-TCVND0.3-1.5-82) View on Amazon View on B&H
1-stop floor for shade interviews.
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Matte box + 4×5.65 View on Amazon View on B&H
if this a7S III lives in a cage with a VENICE B-cam. Not the first buy for a 699 g body on a RS 4.
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67 mm 6–9 View on Amazon View on B&H
Super 35 4K120 on an APS-C zoom (16–55 G, 18–50). Do not make it the full-frame default.
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Frequently Asked Questions
Does the a7S III have a built-in ND like the FX3?
No. The FX3 (ILME-FX3) has an electronic ND. The a7S III (ILCE-7SM3) does not. That is the reason this article starts on 6–9 glass.
Does the a7S III have IBIS?
Yes. Sony rates sensor-shift IBIS at 5.5 stops. IBIS is not ND. It holds a long still; it does not cut noon S-Log3.
Why not 2–5 as Overall?
S-Log3 exposure sits well above ISO 80. Noon at 1/50 and f/2.8 runs past five stops. 2–5 is the S-Cinetone / stills add-on.
Is 4K120 full-frame?
4K120 on the a7S III is Super 35. Full-width 4K is 60p and below. HDMI RAW frame size is 4264×2408. None of those modes add internal ND.
Will an FX5 82 mm PolarPro 6–9 fit?
Yes. Same 82 mm Edition II SKU. The FX5 has Dual Gain ISO 800/4000 and no eND either — similar daylight math, different sensor.
What thread is the first buy?
82 mm. FE 24–70 GM II, 16–35 GM II, 70–200 GM II. 67 mm is the Super 35 zoom kit, not the default.
Final Verdict
The a7S III is a 12.1MP full-frame video body with 4K120, 16-bit HDMI RAW, 5.5-stop IBIS, and no eND. Start with the PolarPro 6–9 82 mm. Use NiSi 6–9 for True Color match jobs. Use K&F KF01.1856 as the cheap 6–9. Add a 2–5 only for S-Cinetone and ISO 80 stills. Do not treat this body like an FX3.