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Sony FX3 - they want to sell to you same thing again
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  • What would you rather have, a cheesy audio handle or a viewfinder.

  • Overlooked improvement ignored by all the "influencers":

    From Sony: "Same NP-FZ100 battery as the a7S III; however, offers more efficient performance for 1.6x longer battery life."

  • March 9th, Melbourne, Australia: Atomos is excited to be continuously working with the team at Sony to be bringing Apple ProRes RAW recording using the Ninja V with Sony’s brand new FX3 (ILME-FX3) camera. The FX3 & Ninja V combination will bring users the ability to record the camera's 16-bit RAW output at up to 4kp60.

    Sony’s Cinema Line FX3 is compact and perfect for solo shooting. In line with Sony’s other Cinema Line cameras, the FX3 includes S-Cinetone™, the highly regarded look profile inspired by Sony’s digital cinema camera VENICE colorimetry. Allowing the camera to be used standalone or alongside the other cameras in Sony’s Cinema Line. The compact and rugged camera offers users a wide dynamic range with 15+ stops* for video whilst also making it perfect for low light conditions. This groundbreaking new camera perfectly complements the current line-up offered by Sony; with the Alpha 7S III, the FX6 and the FX9, all outputting 16-bit RAW to an Atomos monitor/recorder. The recording of the Apple ProRes RAW files takes place on the Ninja V. This means that every type of use case and budget can be met with the new camera range

    Ninja V & Sony’s FX3 Combination

    The FX3 and Ninja V combination allow for a super compact rig set-up so that users can be mobile and agile in constrained environments whilst also being able to shoot in low light conditions. Add to this the ability to record data-rich 16-bit RAW from the FX3. Users will be able to benefit from the full flexibility offered by the ProRes RAW format as Atomos ensures that all the camera White Balance and ISO/Exposure Offset adjustments will be available within Final Cut Pro to the user.

    Content creators and filmmakers will not only benefit from these available adjustments, but also the storage advantage of ProRes RAW, where the codec harnesses the ability to capture 12-bit RAW in the same file sizes as 10-bit 422 standard ProRes. In addition to their groundbreaking combination of flexibility and performance, Apple ProRes RAW files are smaller than other RAW file types – simplifying and accelerating file transfer, media management, and archiving. The Ninja V and RAW recording also opens the camera to the wider Atomos eco-system for enhanced on-set HDR and SDR monitoring. A video signal can be output from the Ninja V to the Atomos Sumo19, or the recently released NEON line of production monitors, for perfect HDR viewing by directors, clients, focus-pullers or any crew member who needs access to an accurate view onset. Jeromy Young, Atomos CEO, said: “I’m thrilled to be continuously bringing to life ProRes RAW support for Sony cameras this being our second collaboration in 2021. Having such a groundbreaking camera with the additional benefits and flexibility of ProRes RAW, the FX3 and Ninja V combination equips content creators with the tools they require to deliver beautifully crafted content.”

    ProRes RAW- the new standard for RAW

    Atomos is proud of the continuous growth of the ProRes RAW eco-system. Throughout 2020 ProRes RAW continued to build momentum with over 20 cameras supporting ProRes RAW with Atomos, cementing its position as the industry standard for RAW video capture. ProRes RAW support continues to expand across camera manufacturers and models, demonstrating industry commitment to the future of ProRes RAW recording. The range of cameras supporting ProRes RAW is only set to expand in 2021.

    ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW, and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro and Avid Media Composer along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight and Grass Valley Edius.

  • Zoo video, in all-I:

  • Commissioned video that takes advantage of all the features of the fx3 (a7s iii): 120p 4K, all-intra codec (so no motion artifacts), good AF, and a parfocal lens (28-60):

  • Still the best full frame 4K 120p (better than the R5, which either pixel bins or line skips).

    And no overheating shooting 1200 Mbps all day long.

  • No overheating I could say you are wrong there. Mine overheats very quickly

    S&Q 5 minutes at 240fps mine stops.

    120fps movie mode less than 8 minutes stop.

    About full frame quality yes is one of the best, very organic look.

  • I was reporting on my experience with overheating shooting out in the sun for hours, of which there was none. I don't shoot 8 minute clips, which would end up as 40 minutes of video slowed down. Mind telling us the use case for that? The 240fps is much inferior to that from the zv-1. But no 5 minutes of 240fps, which, again, seems a peculiar use - one 50 minute clip of 10X slow motion? Why?

  • It’s imposible to beat the 240fps dynamic range this camera offers. That is the selling point for me. Not the high iso performance or the dual false iso cos it’s false iso all software cleaning there very impressive though.

    Full frame low pixel count high dynamic range high bitrate. If it’s full HD is 720 like it’s good enough for me cos all images can achieve a very broad range of looks at it high bitrates and high DR low pixel count.

    I do publicity exclusively for web now, and I dont do tv any more so I don’t need nor use a red or arri anymore. NO NEED literally. This camera is like an fx6 but smaller. Only fuck from fx3 it’s it’s non 24P 4kDCI.

    120fps 4K outstanding image. Very organic more dynamic range than arri, but less looks than an BMC, whic don’t have such feature as fx3

    Why 5 minutes 240fps? I usually do 2 to 3 minutes

    Why not, they said it does not overheat it’s a lie! I don’t care what they say the put a god damm fan and it does not make it to its full potential. Cos sensor noise has also various character cos of this fucking fan temperature variation stuff!!

    The lack of consistency from image in This camera is the only problem I haven’t solved yet. What mode in what setting at what temperatures are the ideal for my work is what I have to master. Makes me remember GH2 era where each patch was like a new film stock roll, completely different behavior on each one of them with its pros and cons. It’s iso character is very sensitive also, macro blocks on S&Q mode if flat profile is used fuck is a mess.

    I don’t consider myself an amateur but not a super pro either I have lots of flaws.

    All this done with two LED lights 1 godox 200watts and another 150 watts light modifiers and a tungsten 500watts here and there. Cheap sigma 100-300 macro 3,5-5.6 cheap lens with fungus ( makes flares behave strange) and rokinon range from 10 years ago T1.5 with the coatings made shit from use and all clumpy and bad focus on lenses but shit, the only good this was the Venus optics lowa macro 60mm 2.0, shit what a Lens!!!

    I’m amazed at what can be achieved with such super poor quality setup and this amazing little camera. One thing: this camera has multiple personality disorder.

    This little monster is underrated or I have potential, LOL

  • Getting ready to travel again. This is a try out of the tiny fx and the collapsible FE 28-60 lens.

  • Still the best FF 4K 120 fps.