In case you’ve ever taken a mirrorless or DSLR camera for a movie, the Sony FX3 will feel very comfortable. Think about the FX3 as an a7S III using a handle.
First off, the Sony FX3 does not have a digital viewfinder. If you’re accustomed to a back screen for tracking, it will not be missed much. The camera provides zoom control to be used with a servo zoom or if using Sony’s digital zoom — transparent zoom. Connected to the management are complete sound controls and two XLR inputs. The camera includes a cage-free design of numerous 1/4 20 mounting factors and you will not ever wonder if you’re recording using its multiple Talley lighting. Last, though it uses the same battery as the a7S III, it touts an extended battery life also contains active cooling fans to help keep the camera out of overheating. The largest shared feature throughout the a7S II, FX3, and FX6 are that they offer the same full-frame, back-illuminated 12.1MP Exmor R CMOS sensor together with the BIONZ XR chip.
The Essential Capabilities
The Sony FX3 is flush with attributes, which makes the camera well-rounded. Even though it might just catch around UHD 4K, it provides around 10-bit 4:2:2 internal catch or up to 16-bit RAW externally. Having a high frame speed of 240 frames per second (fps) at HD, it delivers a fantastic 120fps at 4K. Together with the XLR input, the camera includes a total of 4 tracks of sound, depending on what format it is shooting. Linking via Sony’s multi-interface shoe along with 2 thumbscrews, the deal is a fast connection. Together with the XLR input, the camera captures the stereo sound from its built-in microphone or through its own 35mm jack.
The Very Best and worst attributes
The deal is a fantastic addition. It is practical, expands the usability of this camera, and seems cool. Needing to accommodate a mirrorless camera with no XLR inputs contributes to a debilitating workflow. Adapters make it simpler, but having compacted control of the input signal gives quicker control. All in all, the grip feels great and because it’s a quick-mount to get a shotgun mic, so you may set up and move right away.
No Built-in ND filter
The largest feature that may dissuade you from that camera is the lack of built-in ND filters. Just as we adore the electronic factor ND from the FX6 and FX9, the emptiness of an ND filter is simply not excellent. Probably, an integrated ND will make the camera bigger and thicker and probably even more income. Nonetheless, in our view, it could be well worthwhile.
Double card slots with two Kinds of media
The same as the a7S III, the Sony FX3 has dual media slots for SD/SDHC/SDXC cards or even the quicker, but more expensive CFexpress Sort A. There’s only one set you will require the CFexpress card: when recording S&Q 10-bit 4:2:2 Intra 60p, data speeds go around 1200 Mbps, requiring the faster card. If you don’t intend on shooting at the greatest data rate, the less expensive SD cards work well.
The best resolution is simply UHD 4K
While the remainder of the camera globe provides greater and higher resolutions, Sony stuck with a high resolution of merely UHD 4K from the FX3. That is a little gripe because most do not need over 4K and they give us high bit-rates in all frame rates in all resolutions. This camera has a lot to offer, however, greater than 4K resolution is not it.
Total size XLR inputs
That is much more of a dig at other makers for offering miniature XLR inputs such as Blackmagic on the Pocket theatre cameras or even the Canon C70. When a camera is for movie shooting, we anticipate the workflow choices we desire. We do not wish to use an adapter to plug into a mic into the camera. In addition to this, the 35mm audio input on the vent side of the camera also works — in certain formats — even when you’re using the XLR input signal. Possessing multiple sound input choices makes the camera much more lively.
16-Bit RAW is futile until we’ve got a device that will catch it
Though most scenarios would do just fine with a 10-bit inner catch, the Sony FX3 provides 16-bit RAW through HDMI. Using an Atomos Ninja V or a Shogun 7, then the FX3 outputs into the recorder for it to catch 12-bit ProRes RAW. That is fantastic, nevertheless, that is not 16-bit RAW. We expect that something, in the long run, will catch that complete information, but in the present time, there is not anything. That is a minor criticism, however, if you’re hoping to utilize the 16-bit RAW, then you’re out of luck.