Sony fx3。 Sony FX3 review

It attaches by two screws that adjust without tools. But at the same time, I think it is fair to suggest that holding a camera like this up to your eye without any additional support for extended periods is tiring and impractical, especially if you are using a heavy lens. Apart from looking nice in grey at least I think it looks nice , the grey finish matches that of the FX6, FX9 and Venice. The shallow depth of the camera means you can get the lens closer to the sides of a car than would be possible with a traditionally shaped video camera. The Sony tops the C70 in sensor size, top frame-rate of 240fps in HD, 16-bit RAW out of its HDMI and full-size XLR inputs. The new handle The handle feels really good and keeps you from holding on to the camera by the lens. While creating them is often a separate render step in post, with the FX3 you can generate a set of internal proxies alongside your full-resolution shots inside the camera. This is just slightly heavier than the a7S III by 26 grams. The FX3 offers an amazing set of features including fast autofocus, 5-axis image stabilization, some of the best low light reproduction, S-Cinetone, and 4K recording. Alister Chapman is a regular contributor to SonyCine. Looking again at the top of the FX3 the placement of the buttons is very different to the A7S III. Early tests show how impressive it is helping stabilize shots. Since its launch there has been a lot of discission about it with many people wondering why Sony would release a camera so similar to another. It would be a great contender for a camera for motoring shows or fly-on-the-wall shows where you need a higher image quality than can be delivered by sports or action cameras. We then ran the test again with the heat safety on high from the start and it also lasted 120 minutes with no interruptions. Sony has for a long time offered amazing cinema-focused cameras in a traditional cinema body type with the FS and now the FX lineup. Media The camera takes two different media; CFexpress type A and SD. Both use the same E-mount lens mount and have the same amazing autofocus system with touch to focus and focus tracking. So capture 10-bit on one card and 8-bit on the other. Sometimes it's an LED, a monitor, microphone, or a wireless video transmitter, or wireless audio receiver. Overall, the grip feels good and because it has a quick-mount for a shotgun mic, you can set up and go in no time. When you do remove the handle what you are left with is a camera with an almost completely flat top. Rolling shutter performance on the Sony FX3 Image stabilization The camera has 5 axis in-body image stabilization of the sensor. We would have loved to see built-in ND filters, shoot a higher resolution and have an additional shoe mount when using the handle. In collaboration with The Sony FX3 is the smallest camera in the Sony Cinema Line lineup, but that doesn't make it any less formidable for crafting cinematic imagery. Both cameras have the same sensor, same recording options including S-Log3 and a 16bit RAW output, as well as the same internal codecs. Battery life and overheating The camera can be powered from its USB-C port, so it can be operated with uninterrupted power. I think that most users will benefit more from the sturdy handle attached to the nice flat camera top or the ability to mount the camera upside down or via the ¼-20 mounts on the top. In addition, the camera can be monitored and remotely controlled via a mobile phone with the Imaging Edge application. Unless you plan on shooting at the highest data rate, the more affordable SD cards work fine. Make sure when you get a new camera to learn how that manufacture refers to some operations. Although the C70 has two XLR inputs, they are mini XLR. The FX3 is a camera I will be getting primarily as a complement my FX9. This creates large video files that are sometimes complicated for smaller computers to handle. It fills in a couple of gaps and will give me a B camera when I need to shoot two angles at the same time. When a camera is for video shooting first, we expect the workflow options we need. Overall, the grip feels good and because it has a quick-mount for a shotgun mic, you can set up and go in no time. Even though you can choose to control the exposure with shutter angle or shutter speed, the camera still suffers from some rolling shutter. Internal proxies are one of those features that we tend to associate with more robust cameras, but Sony has managed to pack them into a tiny camera package like the FX3. Plus when the handle is removed you have the two ¼-20 mounting points available to use to either add accessories to the camera or for mounting the camera. I know I will be able to shoot for extended periods without issue. Plus, the supplied XLR handle provides three additional threaded mounting points for accessories. Plus, there are switches to select phantom power, mic or line level, etc. Knowing the information about how the camera moves through space can help camera manufacturers stabilize footage in post-production with more sophistication than previously possible. To ensure that you get the best color match I recommend that you white balance each camera by taking a white balance off a white card. A toggle control found on a ring around the shutter button gives zoom control at your fingertip. No built in ND filter The biggest feature that might deter you from this camera is its lack of built-in ND filters. However, there are some notable differences. File format, bit-rate and bit-depth The camera shoots in XAVC. Although the C70 has two XLR inputs, they are mini XLR. The FX3 has a significant advantage over the A7S III for shooting in hot environments or for extended periods by the inclusion of a cooling fan. They also make the FX3 easier to operate handheld as these buttons can be pressed by your index finger while you are hand holding the camera. SonyCine is here for the filmmakers and cinematographers who like to stay in the know, keep innovating, and connect with the world in meaningful ways. This will help eliminate any color differences in the lenses that you are using as well as any small calibration differences. The fact that the FX3 has the same color and finish as the FX6, FX9 and Venice shows clients, producers, directors, etc. It retains detail, so it looks like optical zoom. While the LCD screen is very good and useable most of the time, it can be a struggle to see any unshaded LCD screen in bright sunlight. When it comes to stills and hybrid technology, the mirrorless Alpha series is hard to beat. Sony has done what we hope all manufacturers do and started putting a gyroscope sensor inside their cameras. The lens needs a servo-controlled zoom, like the amazing but expensive Sony FE C 16-35mm T3. The camera can use one of each, both the same or just one card at a time. Both cameras shoot 4K up to 120fps, offer internal 10-bit 4:2:2 capture, have a Log gamma and have dual media card slots. These are the standards we expect from mirrorless cameras. Plus when the handle is removed you have the two ¼-20 mounting points available to use to either add accessories to the camera or for mounting the camera. One drawback is if you need a cold shoe for a wireless microphone receiver pack, the camera does not have another when the handle is installed. However, the camera does not have waveform, vectorscope or false color. In terms of picture quality there is no difference between the FX3 and A7S III. Often when filming in cars the camera will be sitting in the sun where it may get very hot. Perhaps when travelling light to some remote corner of the globe. The key features The Sony FX3 is flush with features, making the camera well-rounded. On the one hand it is extremely similar to the already very popular Alpha A7S III. The image the sensor stuff Dynamic range Sony states the camera has 15+ stops of dynamic range on the Sony FX3 and our tests did not confirm that. To test when noise is introduced into the image, we did an ISO ramp going from ISO 100 up to 409,600. This helps to make the operation of the FX3 more familiar and transparent to someone used to the FX6 or FX9. We started to see noise at ISO 32,000 and is usable to 128,000 ISO, where the noise starts to color shift. Rolling shutter The camera has a rolling shutter, so there will be some effects from it. In a climate-controlled room of 76 degrees Fahrenheit, we saw 74 minutes before the camera shut off due to heat. These can have different functions assigned to them if you wish. Sony has for a long time offered amazing cinema-focused cameras in a traditional cinema body type with the FS and now the FX lineup. And while the way a video camera looks makes absolutely no difference to the images it produces, it can be a consideration on some shoots. Consider the FX3 as an a7S III with a handle. Both cameras are incredibly sensitive, have very low noise levels and offer over 15 stops of dynamic range when shooting with S-Log3 or outputting RAW. However, there are some notable differences. So having the ability to use either XLR or TRS via the handle really helps this camera to fit into a professional environment. Both the a7S III and the FX3 are also close in size, with the FX3 being almost the same width. Full size XLR inputs This is more of a dig at other manufacturers for offering mini XLR inputs like Blackmagic on the Pocket cinema cameras or the Canon C70. In addition to the XLRs on the handle there is also a 3. But since you can just tell the camera to ignore it till it gets overly hot, two-hour battery life is very good. In collaboration with The Sony FX3 is the smallest camera in the Sony Cinema Line lineup, but that doesn't make it any less formidable for crafting cinematic imagery. Having to adapt a mirrorless camera without XLR inputs leads to a painful workflow. Menu function Many cameras that require deep menu control can be frustrating to use or just not fast enough to operate for some shooting situations. In addition, there are three separate buttons for Iris, White Balance and ISO. Sony FX3 Specs Sensor size Full Frame Sensor type CMOS Sensor resolution — Actual 12. Even if you have a robust computer, proxy workflows are not complicated and can speed up efficiency. Cage-free mounting The Sony FX3 adapts easily to different setups because of the mounting points all over the camera. They are spring-loaded, so you can get the handle off without having to put it down. The main menu is laid out so you can see all of the levels as you go. On the one hand it is extremely similar to the already very popular Alpha A7S III. However, they are common amongst cinema cameras. The Sony FX3 also has a quick function menu label Fn. Lastly, although it uses the same battery as the a7S III, it touts a longer battery life and has active cooling fans to keep the camera from overheating. However, when a battery is needed, we wanted to find out how long it would last. As much as we love the electronic variable ND in the FX6 and FX9, the void of an ND filter is just not good. Even better, if you use Sony Catalyst, it uses metadata to stabilize even more in post-production. The FX3 has dual card slots that support both CFexpress Type A and SD cards using the same slot. So what makes the FX3 different and who would benefit from the differences? Having multiple audio input options makes the camera even more dynamic. These can have different functions assigned to them if you wish. Likely, a built-in ND would make the camera larger and heavier and likely even more money. Even better, if you use Sony Catalyst, it uses metadata to stabilize even more in post-production. Conclusion It's rare that any camera really gives users everything they want, but the FX3 has seemingly done the impossible. Along with the XLR inputs, the camera either captures the stereo audio from its built-in mic or via its 35mm jack. We then turned on the heat safety on high and it lasted another 46 minutes for a total of 120 minutes. Connected to the handle are full audio controls and two XLR inputs. We saw 14+ stops, but the 14th stop was hard to see, and would likely not be of any use when needing to capture a dynamic setting. Sony offers loads of lenses that can add features like zoom and additional image stabilization. SonyCine is here for the filmmakers and cinematographers who like to stay in the know, keep innovating, and connect with the world in meaningful ways. These are the stops that would have very little detail in them anyway. On top of that, the 35mm audio input on the port side of the camera also functions — in some formats — even when you are using the XLR inputs. It has a forward tally for the subject to know when you are capturing. In a way it is a statement that this camera is not just another mirrorless camera with great video functions but something just that little bit different. It attaches by two screws that adjust without tools. With three on top, one if you are using the handle, one on the grip side and then the obvious one on the bottom. Both the a7S III and the FX3 are also close in size, with the FX3 being almost the same width. The Sony tops it in sensor size, low light sensitivity and autofocus function. Its a 3 inch 1,440,000-dot LCD. Media The camera takes two different media; CFexpress type A and SD. Apart from looking nice in grey at least I think it looks nice , the grey finish matches that of the FX6, FX9 and Venice. If you have ever shot a mirrorless or DSLR camera for video, the Sony FX3 is going to feel very familiar. One drawback is if you need a cold shoe for a wireless microphone receiver pack, the camera does not have another when the handle is installed. We hope we just need to be patient when it comes to being able to capture the 16-bit RAW output, but until then we will have to settle for 12-bit ProRes RAW. Looking at the outside of the FX3 the first thing one might notice is that the FX3 comes with a large handle that attaches to the top of the camera. We would have liked to see a waveform monitor at a minimum. Shoot assists The camera has peeking and focus assist, zebras, audio meters and histogram. We hope we just need to be patient when it comes to being able to capture the 16-bit RAW output, but until then we will have to settle for 12-bit ProRes RAW. This is a similar switch that some cameras use for the on and off function of a mirrorless camera. However, when a battery is needed, we wanted to find out how long it would last. Consider the FX3 as an a7S III with a handle. The top resolution of 6K captures up to 60fps. This will keep you from endlessly scrolling past the control you need. On top of that, the 35mm audio input on the port side of the camera also functions — in some formats — even when you are using the XLR inputs. It works just as well as the full-frame Sony Alpha cameras and works well. We started to see noise at ISO 32,000 and is usable to 128,000 ISO, where the noise starts to color shift. Full size XLR inputs This is more of a dig at other manufacturers for offering mini XLR inputs like Blackmagic on the Pocket cinema cameras or the Canon C70. This means that it's as simple as screwing in any number of your accessories directly to the camera. Tally light Sony gave us video shooters a bunch of tally lights so we know when we are recording. The camera has a Super 35 image sensor a 1500 nit bright Tilting LCD, the Canon EF lens mount. Cage-free mounting The Sony FX3 adapts easily to different setups because of the mounting points all over the camera. Rolling shutter performance on the Sony FX3 Image stabilization The camera has 5 axis in-body image stabilization of the sensor. Overall the rolling shutter is there, but not enough to be overly concerned about. While camera cages are wonderful at making our cameras more flexible, they add both expense and weight. Menu function Many cameras that require deep menu control can be frustrating to use or just not fast enough to operate for some shooting situations. Tally light Sony gave us video shooters a bunch of tally lights so we know when we are recording. Both cameras shoot 4K up to 120fps, offer internal 10-bit 4:2:2 capture, have a Log gamma and have dual media card slots. With the data, it allows you to use Sony's to stabilize your footage in post. There is a large record button as well as a thumbstick that can be used to navigate the menus or other functions when you are unable to make use of the touch screen. But it's also used in games, and most relevant to filmmakers, camera stabilization. The combines the two worlds in a compact cinema-focused body. Right at the front of the camera there is the shutter release for when you are using the FX3 as a stills camera — the FX3 can still be used as a fully functioning stills camera. Both cameras have the same sensor, same recording options including S-Log3 and a 16bit RAW output, as well as the same internal codecs. Perhaps when travelling light to some remote corner of the globe. Having multiple audio input options makes the camera even more dynamic. The new internal fan is meant to prevent overheating, but the camera still overheated. However, there are three mounting spots on the grip where a cold shoe could be installed. Sony continually evolves their menu and featured some stinkers in the past. Combining the lightweight body and mobility of a small handheld stills camera with features that filmmakers need to craft moving images, it lands in a sweet spot of image quality, weight, and price point that it largely has all to itself. This will help eliminate any color differences in the lenses that you are using as well as any small calibration differences. The camera can use one of each, both the same or just one card at a time. Where the two cameras differ is the S1H has the L lens mount and has an EVF. Although not a huge change in the field of view, clear image zoom works pretty well and is not like the digital zooms of the past. Gyroscope Data Inside every smartphone is a gyroscope that can tell which way the phone is pointing. The S1H and the FX3 both have a full-frame image sensor, a Log gamma, IBIS, internal 10-bit 4:2:2 in 4K, a fully articulating screen and dual card slots. Both use the same E-mount lens mount and have the same amazing autofocus system with touch to focus and focus tracking. Internal Proxies The FX3 shoots 4K files at speeds up to 120fps. We saw 14+ stops, but the 14th stop was hard to see, and would likely not be of any use when needing to capture a dynamic setting. We would have loved to see built-in ND filters, shoot a higher resolution and have an additional shoe mount when using the handle. Sony has done what we hope all manufacturers do and started putting a gyroscope sensor inside their cameras. Overall the rolling shutter is there, but not enough to be overly concerned about. It's how the phone knows to go into landscape mode or point you in the right direction navigating maps. XLR is the connector of choice in the world of professional film and video. It captures up to 120 fps in HD to one of three different kinds of media, CFast 2. Internal Proxies The FX3 shoots 4K files at speeds up to 120fps. The one downside to the FX3, compared to the A7S III for me is the loss of the electronic viewfinder. The camera can be set to fill one card, then move on to the next — so they can be hot-swapped while shooting. Ergonomics and usability Weight and size The FX3 is 640 grams and 3. Unless you plan on shooting at the highest data rate, the more affordable SD cards work fine. Although not a huge change in the field of view, clear image zoom works pretty well and is not like the digital zooms of the past. The camera can be set to fill one card, then move on to the next — so they can be hot-swapped while shooting. It has ¼ 20 mounts on all sides except the port side. The FX3 has dual card slots that support both CFexpress Type A and SD cards using the same slot. The Sony tops the C70 in sensor size, top frame-rate of 240fps in HD, 16-bit RAW out of its HDMI and full-size XLR inputs. The top resolution is just UHD 4K While the rest of the camera world offers higher and higher resolutions, Sony stuck with a top resolution of just UHD 4K in the FX3. Sony FX3 Specs Sensor size Full Frame Sensor type CMOS Sensor resolution — Actual 12. These are the stops that would have very little detail in them anyway. Battery life and overheating The camera can be powered from its USB-C port, so it can be operated with uninterrupted power. Knowing the information about how the camera moves through space can help camera manufacturers stabilize footage in post-production with more sophistication than previously possible. If any control is deep in the menu, you can find it quickly. With an or a Shogun 7, the FX3 outputs to the recorder for it to capture 12-bit ProRes RAW. If it matters to you, the handle makes the Sony FX3 much cooler looking. However, because it is fully articulating, it adjusts to a more viewable angle. This is just slightly heavier than the a7S III by 26 grams. This is not only to assist with getting the top of the camera flat but also to make it easier to use when shooting video. On a tripod getting your eye up to the fixed EVF on the back of any mirrorless or DSLR camera is tricky especially if the camera is at any height other than eye height. Cage-Free To build out a camera for production, you often need to mount things to it. Lastly, it has a built-in ND filter and EVF. The Sony FX3 also has a quick function menu label Fn. In addition to the XLRs on the handle there is also a 3. So capture 10-bit on one card and 8-bit on the other. When the handle is attached, there are three additional mounts — two on top and one on the rear of the handle. Likely, a built-in ND would make the camera larger and heavier and likely even more money. Turn them both on and dive into the menus and again they both appear the same. Its a 3 inch 1,440,000-dot LCD. Even if you have a robust computer, proxy workflows are not complicated and can speed up efficiency. Although marked, the buttons can be reassigned to 140 menu different controls. We then turned on the heat safety on high and it lasted another 46 minutes for a total of 120 minutes. I will also use it for in-car shots where the FX9 is just too big. Plus, there are switches to select phantom power, mic or line level, etc. The audio connections are made via the multi-interface shoe and then secured to ¼ 20 mounts on either side of it. ABOUT SONYCINE We provide the cinematography community with information, inspiration, and news. If you need proxies made, it can create those on one card and put the native files on the other. Combining the lightweight body and mobility of a small handheld stills camera with features that filmmakers need to craft moving images, it lands in a sweet spot of image quality, weight, and price point that it largely has all to itself. Final thoughts The image from the Sony FX3 is great. Adapters make it easier, but having tactile control of the input gives faster control. The new handle The handle feels really good and keeps you from holding on to the camera by the lens. If you wanted an a7S III with a handle, you got it and more.。

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