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i Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera temperature when recording started), Auto power off temperature: High, Cooing fan: Auto. The duration will vary depending on the shooting conditions. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit) Caption “New Age of Content Consumption” over shot of subject looking out of moving vehicle window, then shot of user adjusting movie camera on aircraft-mounted rig, then shots of users adjusting cameras in various settings When it first came out, we wondered if the FX3 was trying to fill a gap that wasn’t there. However, after comparing the features and specifications and handling the camera in real life, we’re wondering if it’s the A7S III that’s out of place. Changes layout for movie, which is information and icons overlapped picture on the movie standby screen. In response to a growing need for more expressive depth, the FX3, along with FX9 and FX6 Cinema Line cameras, allows users to create a cinematic look without post-production using S-Cinetone. Based on the colour science inspired by Sony’s flagship VENICE camera, S-Cinetone delivers natural mid-tones, plus soft colours and smooth highlights that are essential to a cinematic look.
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. Note: You will also need to update the Imaging Edge Mobile app to Ver.7.7 or later, and register as a new camera after the update. The FX3 features 5-axis optical in-body image stabilization – highly effective for handheld shooting. A high precision stabilization unit and gyro sensors have made it possible to provide an Active Mode v that is dedicated to movie shooting in each format, including 4K. In-body image stabilization means that effective stabilization can be achieved with a wide range of E-mount lenses, including those that do not include stabilization on their own. Alternately, the FX3 records image stabilization metadata that can be adjusted during post-production using Catalyst Browse/Prepare viii. 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. Compact and lightweight body design with high operability for hand-held shooting, gimbal and drone-mounted work
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Shot of user rotating movie camera with mic, wind screen and external monitor, on tripod against low sun Creators can record in 4K at up to 120 frames per second ii. Extraordinarily smooth slow-motion imagery vi (up to 5x) at QFHD (3840 x 2160) resolution with autofocus provides new expressive capability. 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 This will be a matter of personal preference, but while the A7S III is designed as a hybrid camera for both stills and video, the FX3 takes the same basic shape but adapts it heavily for video, including accessory mounting points and a carry handle with XLR mic input. The FX6 follows a classic box-style cinema camera design. 10. Size and weight Caption “Cinema Line” over shot of four Cinema Line movie cameras with captions “VENICE,” “FX9,” “FX6,” and “FX3”
Sony says the A7S II remains targeted at those who need a mix of video and stills, like wedding photographers who don't need to make large prints, concert photographers and astrophotographers. For those kind of shooters, the A7S III's 4K video powers are important, but the FX3 is a camera that's really built around them. In addition to standard VGA (640x480) motion image recording, the FX3 also records stunning full-size movies in 16:9 wide VGA (848x480) at 30 fps. Shooting is one thing but viewing is another, and you will be suitably impressed by the 16:9 moving image when it is displayed on a wide screen TV. The brightness level of these moving images is also enhanced as a result of the pixel-mixed readout method performed by the CCD.
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Caption “LOOK for film-like expression” over rear shot of female subject looking out on ocean with pier at sunset With a compact design for solo shooters, travel applications, and to serve as an ideal B cam, the Sony FX3 borrows from both the Cinema Line and Alpha series of cameras to create an optimized portable cinema camera. The FX3 features all of the imaging attributes you’d expect from this class but sports a newly designed body that’s hand-holdable, with a streamlined and minimal profile, and has a “cage-free” design, indicating the ability to secure various accessories directly to the camera body. Sony's most compact and lightweight Cinema Line camera is ideal for handheld shooting, gimbal and drone-mounted work. It weighs just 1.58 lbs. (715 g), including the battery and memory cards, and the body is only 5.11 in x 3.33 in x 3.06 in (77.8 mm x 129.7 mm x 84.5 mm). The camera grip has been carefully designed to provide optimum flexibility, stability and comfort for long shoots. S-Log2 and S-Log3 gamma curves are available, with S-Log3 giving better gradations from shadows to the mid-grey range (18% grey), enabling a dynamic range of up to 15+ stops. For camera matching with other S-Log3 capable Cinema Line cameras, three colour gamut settings (S-Gamut, S-Gamut3, and S-Gamut3.Cine) are available, offering creative flexibility and efficiency during post production. Colour grading possibilities are endless with the inclusion of S-LOG3 and S-Cinetone profiles which are seen throughout new Cinema Line cameras from Sony.
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