Images for this Sony FX3 have been few and rare since its release in February 2021. However, we found it in The Photography Show
It is the Sony FX3 sits between the video-oriented Sony A7S III and the full-on FX6 and FX9 cinema cameras. It’s not likely that you’d think the gap was there however Sony certainly thought this as well. FX3 is an interesting bridge between mirrorless cameras which shoot video and cinema cameras that are full-on.
How would you feel when you purchase an Sony A7S III before the FX3 was released? It’s true that the A7S III can shoot stills but is primarily an video camera. And from that standpoint, almost every feature in the video department that’s available on the A7S III is trumped by the FX3 and it isn’t even a much more.
Sensor 35mm Full Frame (35.6 23.8 x 23.8 mm) the Exmor R sensor CMOS
Resolution: 10.2MP (movies), 12.1MP (stills)
ISO spectrum: 80-102400 (exp. 409600)
Video: 4K UHD up to 120p, FHD up to 240p
Cooling: Internal fan
Recording limitation: None (up to 4K 60p)
Memory: 2x SD UHS-II/CFexpress Type A
LCD: 3-inch vari-angle touchscreen, 1.44m dots
The battery life is 580 shots
Dimensions 129.7 * 77.8 8.4mm 84.5mm (without the handle)
weight: 715g body only with memory card and battery 1 015g with handle
(Image credit: Rod Lawton/Digital Camera World)
The most notable advantages in The main features of the Sony FX3 are its full frame CMOS sensor with 12MP, that is also shared by its predecessor, the A7S III below it and the FX3 above. The resolution and frame rate are identical for all three cameras, with each providing 4K UHD resolution up to 120p , and FHD with up to 240p.
However, the FX3 has a number of options that distinguish it from the more obvious A7S III.
One is a handle that’s top-mounted which is included in the camera. It also contains the two XLR microphone connectors. It houses two standard 1/4-inch mounting points. There are five additional on the body.
The FX3 doesn’t have an optical viewfinder, as does A7S III. A7S III, but it has an internal fan to provide active cooling. In fact, Sony claimed unlimited recording times for captures at 4K 60p (though it doesn’t specify the possibility of recording at 4K 120p)(Image credit: Rod Lawton/Digital Camera World)
The FX3 includes tally lights both front and back to signal the operator as well as the subject it’s recording. Additionally, the recording button at the top of the device lights up as well.
It comes with the S-Cinetone appearance that Sony offers across its Cinema lineof products, and it has a Type A (the largest) HDMI port that supports external recording in 16 bits and also supports proxy recording using FHD as well as HD for filmmakers who do not have the equipment or resources to edit 4K footage.
The FX3 could appear like it’s a mirrorless camera, however it’s more of the cinema camera. It’s not capable of stretching to incorporate ND filters, however it checks a lot of other boxes that top-quality filmmakers may be searching for.
BUILD AND HANDLING
(Image credit: Rod Lawton/Digital Camera World)(Image credit: Rod Lawton/Digital Camera World)
In photos in the form of photographs, in photos, the FX3 isn’t much different from Sony’s standard Alpha mirrorless cameras, however when you actually use it, the differences are apparent. It’s a lot thicker likely due to the area taken up from the cooling mechanism that is active and although it looks and feel like an Alpha with the grip on it but its handling has been improved by the time you attach it.
If there’s a problem is the screen size of 3 inches at the back. This is a tiny screen, especially when it is cropped to a 16:9 perspective to film. We’re used to 3.2-inch screens on other cameras. And if Fujifilm could fit an 3.5-inch vari-angle screen on its entry-level XA-7 and X-T200 cameras, how can Sony put a bigger screen on the $4,000 cinema camera?
Do you think you will really miss the viewfinder? It’s probably not. There aren’t many videographers who would prefer an EVF to a fold-out display and the mounting holes on the body makes it easy to connect another monitor.
We’re unable to provide any feedback about the performance of FX3 as we weren’t able to test it out elsewhere except on The Sony booth during The Photography Show, but If it’s the A7S III is anything to be taken from, it’s going to feature a top autofocus system with eye and face tracking, and 4K video will be of top quality.
As with similar to the A7S III, the FX3 comes with the ability to stabilize your body inside. It’s probably not the most effective on the market for full frame however, when combined with the handle, we’re hoping it’ll prove quite efficient in run and gun shooting.
(Image credit: Rod Lawton/Digital Camera World)
When it first debuted it was a bit unclear whether it was because the FX3 attempted to cover a void that wasn’t present. After comparing specifications and features as well as handling the camera on the street we’re wondering if it’s an A7S III that’s out of place.Advertisement
If you’re a videographer thinking of moving between a camera that is mirrorless cinema cameras it’s always regarded as something that’s a huge leap. Cinema cameras are vastly different in terms of features, features such as handling, jargon as well as connectivity… in addition to cost. The FX3 does bridge this gap very well. It is a combination of the familiarity of a mirrorless camera with the most important capabilities Cinema cameras, in a way that we haven’t had prior to from Sony.
This isn’t the only camera to use this approach, however. The Sigma FX3 and fp follow a similar strategy (though they don’t feature the same horsepower as the FX3) The Panasonic BGH1 box camera provides an intriguing upgrade path that is suitable for Lumix the GH5/GH5S shooters.