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

Product Information

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. 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. S-Cinetone color, developed for Sony’s acclaimed FX9, is the default look on the FX3 for cinematic expression. It’s precisely tuned to meet the requirements of today’s content creators, with rich color and natural skin tones that match other Cinema Line cameras without grading. 4K 120fps with every frame in focus

The Sony A7S III impressed us with its ability to handle the heat generated from recording long 4K clips –in fact, we were able to shoot continuous 4K video for well in excess of 30 minutes and didn't once see an over-heating warning. Shot of user rotating movie camera with mic, wind screen and external monitor, on tripod against low sun Adds Log shooting mode, which allows you to shoot while displaying the monitor image with your favourite LUT (Look-Up table).*1 The new camera also features a dust and moisture resistant design ix and durable magnesium alloy chassis. Moreover, USB PD (Power Delivery) supports fast charging x for uninterrupted recording.

The Sony FX3 and Sony A7S III are variants on the same concept – they're both small, 4K full-frame cameras that are particularly strong in low-light and offer highly compact setups for solo shooters.

Shot of user lowering movie camera with mic, wind screen and external monitor, as another user in vehicle shoots first user with handheld camera 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)

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Panasonic has long led the industry with its incorporation of an optical image stabilization system - MEGA O.I.S. - into even its compact range of cameras. This system produces no deterioration of picture quality and has now become a standard feature for all digital cameras in the market. Now the new DMC-FX3 also benefits from a High Sensitivity mode * which allows shooting at a maximum sensitivity setting of ISO 1600*. This mode acts as another anti-blurring measure, in addition to the MEGA O.I.S. system, by suppressing image blur which can be caused by the movement of subjects, and especially benefits indoor photography of children and pets at fast shutter speeds.

Beyond the physical design just being compact, it’s also built to maximize efficiency and operability through the inclusion of an articulating 3.0″ touchscreen LCD, a removable shoe-mounted top handle with dual XLR mic inputs, and 5-axis mechanical image stabilization for smoother handheld recording. New Cinematic Freedom The FX3 features 5-axis optical in-body image stabilisation - highly effective for handheld shooting. A high precision stabilisation unit and gyro sensors have made it possible to provide an Active Modethat is dedicated to movie shooting in each format, including 4K. In-body image stabilisation means that effective stabilisation can be achieved with a wide range of lenses, including E-mount lenses that do not include stabilisation of their own. In addition, the FX3 records image stabilisation metadata that can be done more practical adjustment during post-production using Catalyst Browse/Prepare.

For example, the FX3 is a better prospect for heavy users, offering dual card slots, raw video, cooling vents and unlimited record times. The ZV-E1 is not afforded those luxuries, though it can dual-record when an external monitor is connected via mini HDMI; plus, I know plenty of pro-filmmakers that don’t use a Sony FX3 beyond the capacity of what the ZV-E1 offers anyway. It's notable that there's no such thing as a bad camera at this level, so if you have any investment at all in the lens system of one company (or plan to adapt DSLR-era lenses from them), this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems. 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. Elsewhere, there’s a built-in intelligent mic that can prioritize rear or front audio, or can simply be left in auto mode (which is what I would do most of the time). The mic design covers multiple scenarios: selfie shooting, conversation between camera operator and subject, and ambient audio. 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.