Cinema Line FX30

So as someone who’s owned the A7iii, A7iv & Fx30; as well as I currently own the A7S iii, Fx3 & I just picked up the Fx2 I would say the Fx2 is a really good starter. It’s essentially an A7iv or A7C ii in a cinema line body. Truthfully I don’t shoot 4k 120 often and I do a lot of commercial and docu

Hey, I’m on fx30 with a rig and audio equipment invested into the ecosystem at this point too— first off congrats for looking into the fx line. They really are special cameras and you can’t go wrong with any of them. First off I’ll explain that s-cinetone is actually just a picture profile preset, w

How important low-light shooting is for your work? I used the FX30 for about 3 years and recently switched to the FX2. If you’re considering upgrading, one benefit I didn’t expect was the added flexibility. I mostly shoot travel/documentary-style work, so I didn’t really need full frame or the cooli

I think Sony has actually been listening to feedback. Let me explain. I bought the FX3 as soon as it came out, at first people didn’t like it, they were upset it was a more expensive version of the a7siii with an audio handle. Later people praised the design, usability, and look of the FX3 and the a

I hear that a lot about the fx30 and it’s a very good point. For my doc work, I always find myself in challenging lighting, and super fast primes tend to be very heavy, so all in all the full frame brightness of the fx3 coupled with something like at Sony f4 24-105 gives me just enough in terms of v

Thank you so much! The fx3 felt like way more than I needed and I did want to be able to do sports photos occasionally and I think this canon allows for it with its shutter speed and ability to take continuous shots? I was looking at the Sony a6700 but was very worried about overheating and wondered

Another one of the audio options I was also looking at was the sennheiser profile wireless lavs. It has 32bit float AND locking 3.5mm ports for more secure setup (which means you could “screw in” a lav mic). With the other options like Røde pros you get 32bit but not locking lavs. Since you mentione

If you're shooting the BMPCC 6K the more obvious parallel in the Sony world would be the FX 30, not the FX3. It's half the price of the FX3 but same form factor, it's just APS-C instead of full-frame. It has the same cinema features (shutter angle vs. shutter speed, Cine-EI exposure system for shoot

A cinema-line Sony body from the FX6 on up in my experience are only ever needed on jobs that eclipse a certain budget or that require the camera to have a certain 'look'. While that may sound silly it is usually the determining factor for me whether I bring a mirrorless-design cinema body vs a full

The "I" Codec give you completely uncompressed footage so, inherently, it has the most detail and sharpness, period. That said, it also produces absolutely massive files. We're talking about like 13 mins of footage for something close to 7 or 10gb. Works super well in editors, since it's uncompresse