Sony FX3 Full Frame Cinema Camera

SKU: ILME-FX3 UPC: 027242921450

Product Highlights

  • Up to 4K 120p 10-bit 4:2:2 and full pixel readouts in all record modes
  • S-Cinetone, expressive cinematic look inspired by VENICE colorimetry
  • XLR on top handle, digital MI shoe and 3.5mm jack audio options
  • Incredible autofocus w/ 627 phase detection AF points, 89% coverage
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$3,898.00

4 reviews

Product Highlights

  • Up to 4K 120p 10-bit 4:2:2 and full pixel readouts in all record modes
  • S-Cinetone, expressive cinematic look inspired by VENICE colorimetry
  • XLR on top handle, digital MI shoe and 3.5mm jack audio options
  • Incredible autofocus w/ 627 phase detection AF points, 89% coverage

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Introducing the smallest Cinema Line camera - optimized for solo movie shooting up to 120p 4K 10-bit 4:2:2 and ISO up to 409,600 with S-Cinetone and a compact cage free design featuring ¼”-20 mounting points, a top handle with XLR/TRS inputs, uninterrupted recording thanks to a cooling fan for effective heat dissipation and in-body image stabilization with Active mode for steady handheld shooting.

Optimized for cinematic expression

The FX3 features a 10.2MP Full-frame Backside-illuminated (BSI) Exmor R CMOS sensor that delivers sensitivity, speed and superior movie quality. The sensor features a color filter array that boosts color reproduction accuracy while delivering up to 15+ stops of dynamic range and drastically reduced noise for ultra-sharp and clean images with a fast readout speed that reduces rolling shutter. In addition, the Exmor R sensor features Sony’s acclaimed fast hybrid autofocus with 627 phase detection AF points and 89% coverage. The high sensitivity also allows it to autofocus in light as low as EV-6.

FX3 Sony processor

High-performance fast processing

The FX3 features the same BIONZ XR system architecture as the FX6, with high processing performance from image capture through all signal processing stages. User interface, network, and file management processing is distributed so that fast, stress-free control response is maintained regardless of real-time processing load. The engine also makes it possible to deliver high sensitivity and natural gradations, realistic color reproduction, low noise, and other image quality improvements as well as faster, more precise AF plus the ability to process the large amounts of data required for 4K 120p 10-bit 4:2:2 recording. It also features improved menu response and high-speed write to CFexpress Type A memory cards.

Astonishing low-light performance and 15+ stops dynamic range

The 10.2MP sensor is optimized for 4K with full-pixel readout and to make use of much larger individual pixels for maximum light gathering capabilities. The full-frame sensor offers more light gathering area than smaller super-35 sensors, while fewer pixels mean each individual pixel is larger than on higher pixel-count full-frame sensors resulting in astonishing low-light capabilities with a high signal-to-noise ratio. It has a Standard ISO range from 80 to 102,400, expandable to 40 to 409,600 for stills and 80 to 409,600 for movies. The FX3 also employs Sony’s industry-leading Exmor R backside-illuminated CMOS image sensor technology for additional low light gathering performance and to double the readout speed. Thanks to the high-sensitivity, Exmor R sensor and fast processing, the dynamic range for movies is an impressively wide 15+ stops.

standard color profiles vs Cinetone color profile.

S-Cinetone for that expressive cinematic look

In response to a growing need for more expressive depth, the FX3, along with FX9 and FX6 Cinema Line cameras, allows users to easily create a cinematic look without post-production using S-Cinetone picture profile. Inspired by the color science used in Sony’s flagship VENICE camera, S-Cinetone delivers natural mid-tones, plus soft colors and gorgeous highlights that are essential to cinematic expression. S-Cinetone is the default for Picture Profile 11 (PP11) on the FX3.

Smallest cine camera from the sony FX line

Smallest Cinema Line camera for solo shooting

As the most compact model in the Cinema Line, the FX3 is not only the smallest and lightest, but it also features a design that eliminates the need for a cage while providing an XLR handle unit that maximizes handheld shooting flexibility and ideal for gimbal and drone-mounted work. It weighs just 1.576 lbs. (715 g), including battery and memory cards, and the body is only 5.11” x 3.33” x 3.06” (129.7 x 84.5 x 77.8mm) HxWxD. The camera grip has been carefully designed with professional creators to provide optimum flexibility, stability, and comfort for extended handheld shooting sessions.

Cage free design

An easily manageable compact body that doesn’t get in the way translates directly into increased workflow efficiency and shooting freedom for creators involved in video production. The FX3 is designed to eliminate the need for a camera cage, including six standard ¼”-20 UNC threaded mounting points to easily and securely attach compatible accessories such as external monitors, recorders, wireless microphones, or other add-ons. In addition, the supplied top handle with XLR interface securely attaches to the body via the Multi Interface Shoe without any special tools and provides three additional thread holes. Since no cage is required, the system size and weight is reduced making transporting easier and setup time quicker. The FX3 has everything a single operator needs for video production in a versatile, easy-to-use compact and lightweight package that can be expanded to meet growing needs.

XLR Handle audio options

Digital XLR on top handle, MI shoe and 3.5mm jack audio options

The FX3 offer a variety of audio input options to suit different workflows and professional requirements. The body incorporate a standard 3.5 mm mic. jack, Sony’s digital MI (Multi Interface) shoe for cable free connection with compatible MI shoe microphones and the XLR top handle which includes a 3.5mm mic jack and two balanced XLR/TRS audio inputs, enabling high quality audio to the FX3. With an optional XLR or TRS microphone connected, the XLR module on the handle takes care of the A/D (Analogue to Digital) conversion and DSP (Digital Signal Processing) and transfers the digital audio data directly to the camera for outstanding audio quality. Camera settings provide audio recording formats, including 4-channel 24-bit recording. Since the XLR adaptor is integrated into the handle and does not require any additional cables or batteries, it offers stress-free set up.

High Frame rate for slow motion

High speed for slow motion

The FX3 offers several in-camera 4K recording modes to match your creative need and desired format. 4K resolution at up to 120 frames per second5 delivers extraordinarily smooth 5x (max.) slow-motion imagery. In addition to supporting 10-bit 4:2:2 recording, this feature can be used with efficient inter-frame (Long GOP) compression or high-quality intra-frame (All-I) compression. A maximum bit rate of 1200 Mbps (4:2:2 10-bit, H.264, All-I) 5 delivers supreme image quality when directly replaying movies in slow or quick motion in the S&Q mode. Up to 10x slow motion with Full HD resolution is possible at 240 fps (24p recording), providing fresh perspectives on dynamic sports and other types of action.

Internal fan for uninterrupted recording

Uninterrupted 4K 60p recording

Creators need more than just refined features and performance; they also need reliability and durability. Heat buildup from processing large volumes of data when recording high-bitrate (10-bit/16-bit), high-resolution 4K and high frame-rate (60p/120p) movie can plague other systems, but not the FX3. It combines a fan for active cooling in addition to the unique camera-wide passive heat dissipation structure - with effective heat dissipation resulting in uninterrupted 4K 60p recording without thermal shutdown4. The newly developed fan provides high-efficiency cooling by drawing air into the camera via the bottom panel and exhausts via the side. Cooling modes include: Auto, Minimum (Quiet and slow speed), Off in Rec. (Max speed when not recording) and Always Off.

Various recording options for greater post production flexibilty

10-bit 4:2:2 video reaches new levels of realism

The FX3 offer several recording options to meet the needs of different content creators, including; 10-bit 4:2:2 XAVC S™ (MPEG-4 AVC/H.264 Long GOP) and XAVC S-I (MPEG-4 AVC/H.264 Intra) formats in either 4K (QFHD) or FHD as well as 10-bit 4:2:2 XAVC HS™ (MPEG-H HEVC/H.265), in 4K only. For even greater post production flexibility, up to 60p 4K (4264 x 2408) uncompressed 16-bit RAW format can be output to an external device via full-size HDMI Type-A jack from the FX3.

Efficient MPEG-H HEVC/H.265 (XAVC HS™) coding

In addition to Sony’s common XAVC S™ (MPEG-4 AVC/H.264) codec found on many models, the FX3 adds XAVC HS format recording using the MPEG-H HEVC/H.265 codec for approximately twice the efficiency of XAVC S. You can record more detailed 10-bit 4K video at higher bit rates while keeping data volume within a manageable range. Image quality is better than XAVC S at a comparable bit rate, and equal to XAVC S at lower bit rates. H.265 video can be recorded internally to SDXC or CFexpress Type A memory cards.

HDMI video out port for 16-bit RAW recording

16-bit RAW output for movie

To answer the increasing demand for RAW recording, the FX3 is capable of 16-bit RAW output up to 4K 60p to an external device via full-size HDMI Type A, for applications that demand the highest quality and post-production flexibility provided by RAW output. Full-frame 4K (4264 x 2408) 16-bit image output is possible, with a choice of frame rates (60p/50p/30p/25p/24p). You can also output RAW video via HDMI while recording XAVC HS 4K, XAVC S 4K, or XAVC S-I 4K to internal card media. Proxy recording is available during RAW output.

10-bit 4:2:2 HLG (Hybrid Log-Gamma)

The FX3 provides HLG8 (Hybrid Log-Gamma) high-dynamic-range picture profile that supports the wide-gamut BT.2020 color space for true-to-life imagery with detailed shadows and highlights, with no need for color grading. Video recorded with this picture profile can be directly played back on an HDR (HLG) compatible Sony TV. 10-bit recordings reproduce finer gradation and detail for extraordinary realism. Gamma can be selected from four presets: HLG (corresponding to IYU-R BT.2100), HLG1, HLG2, and HLG3. These gamma settings provide varying blends of dynamic range and noise performance, generally achieving wider dynamic range that still blends well with images from previous cameras.

S-Log Color Grade options for matching camcorders

Easy S-Log matching with professional camcorders

In many cinema workflows, the ability to match the color of footage from multiple cameras is essential. The FX3 includes S-Log2 and S-Log3 gamma curves, the latter emphasizing shadow to mid-tone gradations and making it possible to achieve a dynamic range of 15+ stops. Three color gamut settings are provided: S-Gamut, S-Gamut3, and S-Gamut3. Cine. The S-Gamut3 and S-Gamut3.Cine color gamut settings make it easy to match FX3 footage with that shot on professional camcorders equipped with S-Log3 gamma curve settings. Minimum ISO when shooting S-Log has been reduced to 640, and the 160 to 500 range of expanded ISO can be used as well. Sensitivity can be lowered by as much as 2 stops below the normal ISO range for extra-low-noise recording.

Creative looks available in camera

10 in-camera Creative Looks

A selection of Creative Looks makes it easy to create interesting moods for stills and movies right in the camera. 10 Creative Looks are provided as presets with different combinations of color, color depth, brightness, contrast, sharpness, and more. The presets can be used as they are, or customized by the user. Customized Creative Looks can be stored as Custom Looks for later recall and use.

Tenacious Real-time AF Tracking

AI-based Real-time Tracking for autofocus makes solo shooting a breeze thanks to the new BIONZ XR processing engine and a new subject recognition algorithm that uses color, pattern (brightness), distance (depth), face and eye information to process spatial information in real time at high speed. The focus area will seamlessly change between face and eye to object tracking according to the condition of the subject.

Real time Eye AF in video mode

Real-time Eye AF

Real-time Eye AF employs AI (artificial intelligence) to detect and process eye data and track the subject’s eye with unprecedented precision. The superior real-time data processing capability of the new BIONZ XR image processing engine ensures accurate, reliable detection even when faces are looking away at extreme angles. Real-time Eye AF is available in all recording modes, including 4K up to 120p1. When the Touch Tracking feature is used, Real-time Eye AF is simultaneously initiated if the [Face/Eye Priority in AF] menu item is ON. In addition to automatic eye selection, it’s possible to manually preselect the subject’s right or left eye.

Fast Hybrid AF in all modes

The FX3 inherits AF performance from Sony’s FX9 and FX6 Cinema Line cameras, incorporating the highly acclaimed Fast Hybrid AF for movie shooting in all modes, including 4K 120p. The Exmor R sensor and powerful BIONZ XR processing engine make it possible to provide a high-density array of 627 selectable focal plane phase-detection AF points for high-speed autofocus tracking capability with the precision of contrast-detection AF to quickly lock onto subjects that move erratically or change speed suddenly and track them with tenacious reliability across 89% (approx.) of the imaging area (94% vertically and 95% horizontally). Focus can even be reliably maintained when the subject is briefly obscured or when shooting with a small aperture.

Touch AF control on the articulating screen

Intuitive touch AF control

The Touch Tracking feature makes it easy to initiate Real-time Tracking of any subject within the frame and can be initiated simply by touching that subject on the screen. The powerful real-time processing capabilities of the new BIONZ XR image processing engine, use Real-time AF tracking with advanced AI (artificial intelligence) algorithms to reliably and smoothly track the selected subject while you concentrate on composition and shooting. This can be huge advantage when using a gimbal or shooting solo. Touch Focus can be used to temporarily engage AF when focusing manually. It is also possible to remotely control Touch Tracking during AF or Touch Focus during manual focus from the Imaging Edge Mobile application (Ver. 7.4 or later) running on a mobile device.

Advanced features for easier manual focus

Autofocus support can be useful even when primarily using manual focus. it is sometimes advantageous to temporarily activate autofocus quickly to acquire focus on a subject before reverting back to MF. Focus can automatically be acquired at full AF speed in the same way as when shooting stills by half depressing the shutter button or pressing the AF-ON button. AF can also temporarily be activated via the Touch Focus feature, and Real-time Eye AF can be initiated via a custom button assignment with AF smoothly locking on at the preset AF Transition Speed.

Active Mode stabilization diagram

Active Mode stabilization for handheld movie shooting

The FX3 features highly effective 5-axis in-body image stabilization with any lens attached. The powerful BIONZ XR image processing engine with advanced real-time processing utilizes gyro sensors, plus optimized image stabilization algorithms to combine the new high-precision 5-axis stabilization unit with electronic Active Mode6 stabilization for movie shooting in 4K and other formats. This makes handheld shooting as stable as you can get without having to use a gimbal. Using optically stabilized lenses further enhance stability as the camera uses both in-body and optical lens stabilization together as well. Additionally, the FX3 records image stabilization metadata that can be adjusted during post-production using Catalyst Browse/Prepare.

Touch Screen Functionality for menu navigation

Touch screen functionality

Navigation on the FX3 is quick and intuitive with menu tabs situated on the left and parameter groups in the middle while individual parameters are on the right. The menu stature is also completely touch-responsive and parameters can be instantly selected by directly touching them on the display panel while lists can be scrolled by swiping for unprecedented navigation and operation efficiency. Images to be reviewed can be selected by touch, and pinch-out/pinch-in gestures can be used to enlarge or reduce the selected image. Touch operation while shooting is also available for Touch Focus and Touch Tracking modes in addition to operating settings in the Fn menu. Touch sensitivity can be set to “Standard” or “Sensitive” for maximum control response and reliability.

More moviemaking aids

As expected on a cinema style camera, the FX3 includes features to make moviemaking and even still image capture easier. Zebra function can be activated to assist setting exposure while peaking can be used for accurate manual focus control. Gamma display assist is useful when shooting in any of a number of picture profiles and can be set to OFF, Auto, S-Log2, S-Log3, HLG8 (BT.2020) and HLG (709). TC/UB (time code and user bit) are also useful when shooting with multiple cameras that have to be sync’d for easier post-production workflow.

12.1MP JPEG, RAW and HEIF still image options up to 10fps with AF/AE

Even though the FX3 is optimized for cinematography, it still has the capabilities to capture 12.1MP stills in JPEG, RAW and HEIF at up to 10fps with continuous autofocus and auto-exposure. This is a huge advantage over other movie centric cameras as it allows the user to capture reference stills on set, location scout and images for thumbnails.

Dual card slot compatibility, SD/CFExpress Type A

Dual card slots, both compatible with SD and CFexpress Type A

Professional workflows demand two identical card slots for peace-of-mind redundant recording or extended record times with additional media options. Both upper (Slot 1) and lower (Slot 2) media slots support UHS-I and UHS-II SDXC/SDHC cards as well as new high-speed CFexpress Type A cards for higher overall capacity and faster read/write speeds. CFexpress Type A cards are ideally suited to high-speed continuous still shooting as well as 4K movie recording at high bit rates, providing next-generation write speeds that can quickly clear the buffers of cameras that generate high volumes of still image and movie data. The same data can be simultaneously recorded to both cards for backup, or you can choose to separate stills/movies as necessary. There is also a “relay” mode in which still image or movie recording will automatically switch to the second media card when the first media card becomes full.

Enhanced dust and moisture resistant design

In response to feedback from working professionals and videographers, the dust and moisture resistance of the FX3 is enhanced thanks to refinements throughout the body. Additional sealing is provided at all body seams as well as the battery compartment cover, and the media slot now has a double sliding cover and lock lever rather than the previous hinged cover to keep water out. A redesigned lens lock button and additional cushioning around the mount are other refinements that contribute to outstanding reliability even in challenging outdoor conditions. Although the dust and moisture resistance and therefore reliability have been significantly improved, the body dimensions remain compact.

Sony FX3 USB port for file transfer and power delivery

High transfer speed USB Type-C® (USB 3.2) connector

A USB Type-C® connector that supports fast USB Type C® (SuperSpeed USB 5Gbps (USB 3.2)) data transfer is provided. This makes high-speed PC Remote (tethered) data transfer available for smooth handling of large image files. It also provides USB to high-speed wired LAN connectivity via an optional USB-Ether wired LAN adapter cable that provides direct connectivity to 1000BASE-T Ethernet networks for fast wired FTP data transfers. This provides high-speed data transfer capability in environments where wireless LAN is not available. Movie file transfer is supported.

Proxy Recording

Low-bit-rate HD proxy files can be recorded simultaneously with all recording formats, including XAVC S-I 4K. The smaller proxy video files can be used for offline editing previews prior to final 4K editing, reducing computer load and enabling a faster workflow. 10-bit XAVC HS (1920 x 1080) or 8-bit XAVC S (1280 x 720) proxy file recording can be selected as required.