Sony Alpha FX3 ILME-FX3 | Full-frame Cinema Line Camera

Product Information

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The zoom lever located on the top of the grip not only controls compatible powered zoom lenses, but also allows Clear Image Zoom to be used with unpowered zoom and prime lenses – reducing the number of lenses required for many projects. This lever also enables smooth zooming that is difficult for manual zoom-ring control. Because it's designed for solo, run-and-gun filmmaking, the FX3 also has in-body image stabilization (IBIS) along with an electronic Active Mode, which gives you even stronger stabilization at the expense of a 10% crop. You will Need a dedicated adapter cable, which is sold separately, to connect to the timecode source equipment. Precautions when updating from Ver.1.01 or earlier

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It’s not the only camera to do this, though. The Sigma fp and fp L take a similar approach (though they don’t really have the FX3’s horsepower), while the Panasonic BGH1‘box’ camera offers an interesting upgrade path for Lumix GH5/GH5S shooters.

Here’s an important difference. ND filters are important to videographers who want to adjust to different light levels without changing the iris setting and hence the ‘look’, and without juggling ISO settings. Neither the A7S III nor the FX3 has ND filters built in, but the FX6 does. 8. Stabilization

Sightings of the Sony FX3 have been few and far between since its launch in February 2021 – but we tracked it down at The Photography Show

Exclusive stories and exciting new content shot with the new camera and Sony's other imaging products can be found at www.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony's technology for content creation and photography. For videographers contemplating the move from a mirrorless camera to a cinema camera, it’s always looked like a big step. Cinema cameras are utterly different in features, handling, jargon, connections… and price. The FX3, however, bridges that gap rather nicely. It blends the familiarity of a mirrorless camera body with some of the key features of cinema cameras in a way we haven’t really seen before from Sony. There’s a steady progression of capabilities here. The Sony A7S III offers Sony S-Log modes and HLG, but the FX3 adds in the S-Cinetone mode used throughout Sony’s Cinema Line cameras. The FX6 goes a step further, offering all these options plus the ability to use custom LUTs. 4. Resolution S-Cinetone™ look profile which is inspired by the digital motion picture camera VENICE’s colour science, also used in FX9 and FX6 Cinema Line cameras, and records up to 4K 120p The inclusion of Sony’s acclaimed S-Cinetone look, inherited from the development of the FX9, allows cinematic colour to be achieved directly in-camera. S-Cinetone is optimised for natural skin tones and mid-range colours, with gentle highlight roll-off, for impressive subject depiction even without post production grading.

XAVC S-I 4K 59.94p/50p When using CEA-G160T (160 GB) Approx. 25 minutes When using CEA-G80T (80GB) Approx. 10 minutes All three cameras have the same maximum ISO in expanded mode, but the FX6 has a higher base ISO and dual native ISO technology with base ISO levels at ISO 12,800. It sounds as if the A7S III and FX3 might be using the same basic tech, but that the FX6 has more advanced dual-circuit noise control. 3. ColorLenses – The lens has dust inside that may affect images. The rubber zoom/focus ring is coming away from the barrel of the lens. The FX3's suitability for Airpeak isn't a huge surprise, given that the drone's first press shots showed it carrying a Sony A7S III – a camera that weighs a mere 16g less than the FX3. Active Mode789 is an optical in-body 5-axis image stabilization system that provides increased stabilization for movie shooting. To preserve image quality, the gyroscope sensor accurately measures camera shake and compensates optically. This makes stable video possible even when shooting hand-held without gimbal use, while walking, and at 4K resolution. Image stabilization and easier editing with Catalyst I tested the camera with Pete, a filmmaking colleague who uses the Sony FX3 and FX6 cinema cameras every day for video commissions, and we’ll share our experience and thoughts on the ZV-E1’s AI-powered features in depth in a separate article.

Flexible ISO: A shooting mode that allows you to record S-Log material by adjusting the exposure settings including ISO sensitivity according to the shooting scene. Caption “DNA from Filmmaking and Digital Imaging” over shot of user filming in a church with light boxes, standing lights and boom, then shot of hiker on top of snowy mountain with film crew, then user with camera rig and headphones in mountain snowscape The FX3’s full-frame image sensor is coupled with innovative light-gathering techniques to let you capture clear and usable images even in dim light. The standard ISO sensitivity of 80–102400 for movies is expandable all the way up to 409600. Wide dynamic range, wider creative expressionThis means that we may soon see exactly how the two combine when Sony reveals more about its first drone soon. Sony has previously said that it'll be launching "a new business targeted for professional photography and video production in the spring of 2021", which means sometime between March and May. The new camera has been developed with advanced connectivity features to better assist professional creators with high-speed wireless LAN functionality (2.4 GHz or 5 GHz band xii) and wired LAN connection via a compatible USB-to-Ethernet adaptor. The FX3 supports video and still file transfers to a specified remote FTP server. This FX3 also allows for remote shooting from a PC using the Imaging Edge Desktop™ application's "Remote" function via Wi-Fi, or Superspeed USB 5Gbps connection over USB Type-C® terminal. The full-frame sensor enables high sensitivity with low noise throughout the camera's range by optimising the sensor’s output. Capture clear motion even in low light conditions with an impressive ISO expanded range up to 409600. It has an extended dynamic range of 15+ stops, without blown highlights. Together, the camera's high sensitivity and wide dynamic range expand your flexibility in post-production. Cameras – LCD screen is heavily worn either by de-lamination or has scratches to it. Rubber grips are starting to come away from the body. Arguably, the APS-C format ZV-E10 makes more sense for on-the-go content creators, not least because it’s a quarter of the price and even smaller, and also because lenses like the 11mm F1.8 are much smaller, lighter and, again, cheaper. You won’t get quite the same image and video quality, and no 4K 60p, but the ZV-E10’s image quality is still a significant cut above that of smartphones.