Nearly each mirrorless digicam available on the market in the meanwhile—aside from oddballs just like the weirdly fantastic Fujifilm X-Pro3—works as each a nonetheless and video digicam. However, heavy-duty video capturing usually requires cinema-specific options like extra strong accent mounts and built-in cooling methods exterior the scope of hybrid fashions. At this time Sony has launched its new FX3, which takes the heart from its well-liked A7S Mark III and packs them right into a physique particularly constructed for lengthy video shoots.
Because the title suggests, the $3,899 FX3 is a smaller sibling to Sony’s chunky, $6,000 FX6, which employs a extra conventional camcorder-style physique. Inside, nonetheless, the FX3 has the identical 12-megapixel, backside-illuminated sensor discovered contained in the A7S III. The decision appears paltry for any digicam that additionally shoots stills, but it surely supplies sufficient room for bigger pixels for higher gentle gathering, giving it distinctive low-light efficiency and a most ISO setting of 409,600. It additionally guarantees an enormous 15 stops of dynamic vary below the correct circumstances.
In contrast to the A7 III, nonetheless, the FX3 is a real cinema digicam. Maybe the most important distinction comes within the type of the onboard cooling system, which mounts a cooling fan instantly subsequent to the picture sensor and picture processor. Capturing high-resolution footage generates a lot of warmth, which might restrict recording instances in some cameras. Canon’s hybrid R5 digicam drew early criticisms for overheating after only a few minutes of 8K capturing as a consequence of its lack of devoted cooling. The FX3 ought to fare significantly better in that division.
The FX3 doesn’t shoot 8K, however reasonably matches the A7 III’s 4K, 60-frames-per-second picture high quality when utilizing your entire body. Shooters may also bump up the body fee to 4K at 120 fps in the event that they’re prepared to let the sensor crop in a little bit with the intention to use a smaller a part of the chip within the title of pace.
With regards to codecs, the FX3 provides the very same choices because the A7 III, in addition to a couple of extra superior cinema-specific codecs exterior the scope of the A7 III.
Whereas the physique lacks a built-in eye-level viewfinder, its squared-off kind issue makes it a lot less complicated when attaching equipment like microphones or rigs. It has 5 1/4-20 UNC mounting ports (usually known as “quarter twenty” or simply “tripod sockets”) at numerous factors on the physique for securing different gear.
The FX3 ships with an XLR deal with, which attaches through the digicam’s accent shoe and provides a pair of high-quality audio inputs in addition to a two-channel headphone jack.
In an effort to make the digicam simpler to make use of when hand-held, Sony geared up it with five-axis, in-body picture stabilization, which strikes the sensor to fight digicam shake as you shoot. The stabilization now provides an “Energetic Mode” particularly tailor-made towards holding the shot easy whereas hand holding the digicam. The FX3 additionally provides Sony’s acquainted—and customarily wonderful—autofocus efficiency, together with a wide range of monitoring modes.
At $3,899, the FX3 isn’t that rather more costly than the $3,498 A7 III. When you think about the costs of the XLR deal with, which is $600 by itself, which is a superb deal for cinema shooters. With this transfer, Sony has gotten nearer to Blackmagic’s Pocket Cinema digicam territory. It’s laborious to think about the hybrid-style A7 III will stick across the lineup for much longer because the FX3 looks as if a significantly better choice for video shooters and the 12-megapixel decision received’t lower it for many photography-specific makes use of. Maybe Canon will reply down the road with a good smaller cinema mannequin of its personal, which might make this stage of video digicam one of the crucial fascinating segments in your entire market.