r/FX3

Hey guys, I'm building out my Sony FX3 rig and I'm wondering what you would recommend for powering the camera.

My setup:

• Sony FX3
• CineBack with top handle
• SmallRig V-Mount battery
• Feelworld monitor powered via D-Tap
• D-Tap to NP-FZ100 dummy battery for the FX3

Would you power the FX3 with the D-Tap dummy battery, or keep a real NP-FZ100 inside the camera and power the FX3 via USB-C PD from the CineBack/V-Mount?

I'm mainly shooting long-form food videos, YouTube content and masterclasses, so reliability and long runtimes are important.

Which setup would you trust more for long shoots, and why?

Don’t get me wrong. I just ordered an FX5 and I’m fully invested in Sony lenses. But I have to give credit where credit is due the Canon R6V is a phenomenal camera. Open gate, an internal fan, amazing IBIS, a small body, and excellent photo capabilities. I’ve watched some videos on YouTube, and I’m really impressed.

The Canon wobble has also been reduced quite a bit, and at 20mm, it seems to be almost completely gone. It does 95% of the job.

I just wanted to make a post like this purely from the heart.

Hi everyone — looking for some advice on recovering footage from a Sony FX3 CFexpress Type A card after an accidental format/overwrite situation.
I was shooting on a 480GB SanDisk Professional CFexpress Type A card with my Sony FX3. After one of my shoots, I thought all of the footage had been copied over, so I formatted the card in-camera.
Unfortunately, I later realized that some important footage from that shoot had not actually transferred.
The bigger problem is that I didn’t realize this until after I used the same card to film another shoot the following day, so new footage was recorded onto the card after it had been formatted.
I’ve stopped using the card completely since realizing what happened.
I’ve already tried recovery software on my Mac. So far, the recovery attempt was able to find footage from after the format/newer shoot, but it has not found the missing footage from before the format.
I’m trying to figure out:
● Has anyone successfully recovered pre-format FX3 footage after new footage was recorded to the card?
● Is there recovery software that works particularly well with Sony FX3 / CFexpress Type A video files?
● Could the missing video still exist in unallocated portions of the card even though some of the card has been overwritten?
● Does the FX3’s in-camera formatting process make recovery of the previous footage impossible, or is there still a chance?
● Would a professional data recovery company have access to recovery methods that consumer software doesn’t?
● Are there any Sony-specific tools or recovery techniques I should try before sending the card to a professional?
The footage is important enough that I’m willing to send the card to a professional recovery service if there’s a realistic possibility of getting it back.
Camera: Sony FX3
Card: 480GB SanDisk Professional CFexpress Type A
Computer: Mac
Sequence: Original footage → formatted card in FX3 → recorded another shoot → discovered original footage was missing → stopped using card
Any advice from someone who’s dealt with this on an FX3/CFexpress Type A card would be hugely appreciated. Thank you!

Hi, I'm in the UK and considering buying an FX3A from Panamoz.
I'm worried about the PAL/NTSC Selector disappearing after Sony firmware updates on some grey-market cameras.
Panamoz confirmed to me in writing:
“The PAL/NTSC selector will be in the settings, even after future firmware updates.”
Has anyone bought an FX3/FX3A from Panamoz and updated the firmware? Did the PAL/NTSC Selector remain available?
Would really appreciate any real experiences. Thanks!

Is there an advantage to the 16-35 GM II if you already have a 24-70 GM II?

Not sure if it’s worth twice the price to get that in between 16-23mm

Hey fellow cinematographers!

I'm planning to build a Sony FX3 setup soon, and I'm trying to figure out my lens lineup.

Obviously, I know the usual recommendations:

24-70mm f/2.8, 16-35mm f/2.8, 50mm / 85mm primes.

But I'm more interested in the less obvious choices.

There are so many lenses out there that don't always get mentioned in the usual "starter kit" conversations, such as; Tamron 17-28, Sigma 28-45 f/1.8, Zeiss 85mm, etc.

So I'm curious:

What lenses do you actually use for your day-to-day work?

Could be for: Corporate / commercial work, Events, Real estate, Documentaries, Interviews, Travel, General run-and-gun work

More importantly, which lenses make your life easier rather than creating another problem?

I'm particularly interested in lenses that:

• Give you good image quality without costing a fortune
• Aren't ridiculously heavy
• Work well handheld
• Balance reasonably well on a gimbal
• Have a useful focal range
• Are something you can realistically leave on the camera and go shoot

I'm not necessarily looking for the "best" lens. I'm looking for the lens you reach for because it just works.

Would love to hear what you guys actually use in the real world rather than just the standard 24-70 + primes recommendation.

Hey everyone,
I’m currently shooting with a Sony A7 IV and I’m considering moving into the Sony Cinema Line to focus much more heavily on video work.
My typical projects are:
Corporate and recruiting videos
Handcraft and industrial businesses
Municipality and tourism content
Event aftermovies
Social media content (horizontal and vertical)
Interviews and documentaries
Mostly one-man-band productions
I already own an A7 IV and a Ronin RS4 Pro. Photography is still part of my business, but video is becoming the main focus.
For those who have used both systems:
Did the FX6 significantly improve your workflow and client work compared to the A7 IV?
Was it worth the investment for solo operators?
Looking back, would you choose an FX6 or an FX3 today?
Which lenses would you consider essential for this type of work?
Current lens considerations:
16-35mm
24-70mm
70-200mm
Maybe a fast prime for interviews
I’d really appreciate hearing from people who actually earn money with corporate, documentary or commercial video production.
Thanks!

Hi everyone, I was just setting my camera for a festival shoot

I did MR1 classic 25 fps

And MR2 slow mo 100 FPS recorded in 25.

I'd like to have different names like "reg' suffix for the MR1 and " SLO" for MR2.

But whenever you save this it will reverts to the current name you saved. How isn't that possible ? It would be a very small tweak for a new firmware I don't get it ..

The reason for that is I would like different names for slow mo cause DaVinci can't see which one are slow or regular 25f.

Thanks for helping but I think we can't fix this ..

Hi everyone,

I’m looking at buying a Sony FX3 from Hong Kong through either e-infinity or OZ Digital (grey/imported stock into Australia).

I’ve read that the newer FX3 firmware updates, particularly Firmware 4.00, may have changed how the camera handles PAL/NTSC or potentially introduced region-related restrictions.

Before I pull the trigger, I’m wondering if anyone here has actually bought an FX3 from Hong Kong through e-infinity, OZ Digital, or another grey importer and then updated it to Firmware 4.00.

A few things I’d particularly like to know:

• Did you update your HK/imported FX3 to Firmware 4.00?
• Did the camera become region locked after the update?
• Can you still switch between PAL and NTSC?
• Do you still have access to 25/50/100fps PAL frame rates?
• Did the update change or remove any shooting options?
• Was the camera originally NTSC or PAL?
• Which seller did you buy it from?

I’m in Australia, so being able to use PAL frame rates (25/50/100fps) is important to me.

I’d really appreciate hearing from anyone who has actually done the Firmware 4.00 update on a Hong Kong FX3, rather than just speculation.

I’m searching for a travel tripod with adjustable drag, counterbalance, and ideally a bowl head. I know these go at odds with the primary purpose of a travel tripod which is being small and lightweight. Does anyone know of any good contenders in this space? Thank you for answering my noobie question

Now that we have seen the Sony FX5 (and the α7 V in the Alpha Line), I think Sony’s future FX lineup (and the second generations of the FX3 and FX6) may be easier to predict than ever. BTW, this is just a theory, not a leak, and just my personal opinion — I’d be interested to hear what others think.

The biggest reason I expect new generations of the existing FX cameras is not simply the new sensors, but the new BIONZ XR2 and its ability to significantly improve autofocus across the entire lineup. The FX5 and α7 V already use this architecture, bringing Sony’s new generation of AI-based subject recognition, while having new sensors that were specifically built for these chips. These two parts will be the main ingredients for improvements to the rest of the existing lineup.

Also, due to Sony’s strategy of making very minimal changes to already existing camera bodies (the Alpha Line being the biggest example), I suggest Sony will use the same strategy by not changing much and using existing camera bodies in the FX lineup for as long as possible (longer than using the same sensors). So:

1. FX6 II will come first and will essentially be an FX5 in an existing FX6 body.

My strongest prediction is:
FX5 sensor + BIONZ XR2 + X-OCN + CineAlta UI on a new FX5 3.5” screen

The main marketing point will be that if you’re a filmmaker/production company and want the new specs from the FX5 but are in great need of internal ND and SDI ports, you’ll need to upgrade to the FX6 II. If not, stick with the FX5, which is now not an Alpha camera in a Cinema body (like the FX3 was), but a truly cinema camera that has nothing in common with the Alpha lineup (except similarities in body style, which has a photo-oriented shape).

So essentially:
FX6 II = FX5 + eND + FX6 body.

2. Next on the list is the long-awaited FX3 II

I think Sony still has plans for the FX3 II and now has all the ingredients to separate it from the FX5 and upgrade its super-successful first generation.

Upgrade list:
- new BIONZ XR2 chip that will upgrade the existing generation’s autofocus and overall performance
new sensor from the FX5 that will give slightly (5–10%) better image quality
- new 3.2” fully articulating display from the A7 V
adding the long-awaited
- Open Gate

But to separate it from the FX5, Sony would keep:
- the same camera body design as the first generation
- the same Alpha UI (rather than the larger-screen CineAlta interface)
- no internal X-OCN / RAW as the crucial difference

I think this last point could be a deliberate product segmentation decision rather than a technical limitation.

The idea would be that if you need a more simple and “content creator” workflow, go with the FX3 II because it will give you 90% of the best instrument for creating videos on the planet right now. If you need all of that 90% + a professional cinema workflow with RAW shooting capabilities and CineAlta UI, grab the FX5.
Sony wouldn’t need to give the FX3 II a worse sensor to justify the FX5. It could differentiate the cameras through workflow and professional features instead.

3. FX2 II will basically be the A7 V in an FX2 body + a new 3.2” fully articulating display

The target group will be filmmakers who are more hybrid shooters but prefer video-oriented camera bodies — basically, the Alpha lineup is 50/50 photo/video, while the FX2 II is the most hybrid camera in the FX lineup and covers roughly 75% video and 25% photo.

Also, no CineAlta UI, keeping the Alpha Line menu.

4. FX30 II — the same strategy for APS-C

I expect the FX30 II to follow the relationship between the current α6700 and FX30.

So the FX30 II will essentially be the future A6800 in an FX30 body, with the same updates: BIONZ XR2 and a new 3.2” fully articulating display.
—————
After all these releases, Sony will eventually have two clear tiers:
- Creator-oriented Cinema Line: FX2 II / FX3 II / FX30 II
- Professional Cinema Line: FX5 / FX6 II and everything above, up to Burano and Venice.

The interesting part is that the cameras within each tier could share the same core technology, while Sony differentiates them through sensor size, body, UI, codecs, ND and overall production workflow.

The FX5 may therefore be more important than it initially looks: it could be the technology platform for the next generation of the entire FX lineup, while also being the entry gate to the “cinema” workflow, rather than simply a new camera sitting between the FX3 and FX6.

What do you think? Does this product strategy make sense, or do you think Sony will differentiate the FX3 II/FX6 II in a completely different way?

To anyone currently running this set up for weddings:

XLR shotgun - input 1
DJI/Hollyland Mics - Input 3 Audio jack.

How are you finding the workflow? As the Lav mics are 32bit float and the handle is only 24bit. I have had to lower the Mic gain to low to avoid bad distortion on 1 of my holly land mics. The audio handle becomes overloaded too easily when I have 3 sources going into it from a ceremony for example.

Often I just grab the onboard 32bit recording in Mic rather than using the baked in Audio file from the 4 channels on my Video file via the top handle.

I am no audio wizard, Ai has helped me diagnose the problems and make it more workable. For run and gun checking my levels the whole time is cumbersome.

Anyone else have any tips or experience with this set up, Thanks.