Designed for single-operator image capture yet offering multiple pro video functions, the FX3 Full-Frame Cinema Camera is Sony’s most compact addition to its Cinema Line. This camera melds the high-end video capture of the FX6 with the petite form of the a7S III familiar to so many mirrorless enthusiasts. Well positioned for use as a B-camera on FX6, FX9, or even VENICE productions, the FX3 also serves as a comfortable option for still photographers branching out into video capture.

The full-frame Sony FX3 employs a 12.1MP Exmor R BSI CMOS sensor and a BIONZ XR processor to capture up to UHD 4K video with the shallow depth of field that is signature to the full-frame format. An expanded ISO range of 80 to 409,600, over 15 stops of dynamic range, and limited rolling shutter effects further complement the FX3’s sensitive, nuanced image capture. Its lightweight, compact form is designed with multiple accessory threads to facilitate cage-free use, and it comes with a detachable, dual XLR/TRS adapter handle for pro audio capture. Operating features include an articulated, touchscreen LCD, multiple autofocus options, and 5-axis, in-camera image stabilization.

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.

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.

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.

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.

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.

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.

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.

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 second 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) 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.

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 shutdown. 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.

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 FS3 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.

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.

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.

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

The FX3 provides HLG (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.

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.

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.

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

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 120p. 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.

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.

The post Sony ILME-FX3 FullFrame Cine Camera Body appeared first on Cinegear Amsterdam.

The ILME-FX30 is paired with an all-new back-illuminated APS-C Exmor R CMOS sensor (Super 35mm format), delivering exceptional results with high sensitivity, low noise, and wide dynamic latitude. The 6K oversampled image compresses a vast amount of information into 4K (QFHD: 3840 x 2160) output, delivering 4K movies with overwhelming resolution. The image sensor maximizes light collection efficiency so that clear, usable images can be captured even in challenging low light. Standard ISO sensitivity is 100 to 32000, and latitude is an impressively wide 14+ stops when recording in S-Log3 gamma.

Log recording for smooth cinematic colour grading

The S-Log3 gamma curve provided in the FX30 has been designed with an emphasis on smooth gradations that make it easier to achieve cinematic image quality when colour grading in post-production. S-Log3 and S-Gamut3.Cine not only offer high-quality colour reproduction over a wide latitude, but also facilitate colour matching with footage from other Cinema Line cameras. To bring out the best in footage shot with the FX30, special care has been taken to adjust the camera’s output to ensure that the highest image quality can be easily achieved during post-processing.

Recording formats that facilitate visual expression

Capable of capturing 10-bit 4:2:2 video internally when using Long GOP or All Intra compression, the FX30 makes it possible to grade for fuller, more natural gradations while generally providing greater editing freedom. Additionally, the FX30 supports the XAVC HS format recording, and using the MPEG-H HEVC/H.265 codec roughly doubles the compression efficiency. Compared to a normal 4K XAVC S format, the XAVC HS format allows for detailed 10-bit video with 4:2:2 colour sampling at comparable or lower data rates.

Import user LUTs for ultimate creator control

When recording with the S-Log3 gamma curve, the low-contrast image displayed on the monitor can make it difficult to judge how the final image will look. The FX30 allows custom LUTs to be applied to the LCD monitor and HDMI output, providing a more accurate preview of the final image. User LUTs can be applied to the LCD monitor and HDMI output while recording, or embedded in clips to facilitate post-production processing. The FX30 even includes a new s709 preview LUT that can provide a more cinematic.

Compact and lightweight form factor

The FX30 body is just 77.8 mm high, 129.7 mm wide, and 84.5mm deep, excluding protrusions. It weighs just 646 grams with battery and memory card or not only for handheld shooting, but gimbal mounting. The camera grip has been designed to provide optimum flexibility, stability, and comfort for extended handheld shooting sessions.

Advanced Autofocus for movie makers

Wide-area autofocus with intelligent tracking uses focal-plane phase-detection for tenacious subject tracking across almost the entire frame. Tracking features keep the subject in steady focus so the user can concentrate on composition. Real-time Eye AF ensures precise focus on the face and eyes (human, animal, or bird), while Real-time Tracking provides reliable tracking thanks to Sony’s unique AI-based subject recognition algorithms. Stable AF and flexible focusing are available for a wide range of shooting situations. Improved tracking is achieved when shooting at high frame rates such as 120p.

Additionally, detailed AF settings are capable through AF Transition Speed and AF Subject Shift Sensitivity. These parameters allow for more detailed AF control. AF Transition Speed is ideal for creating rack focus effects to effectively guide the viewers’ eye. AF Subject Shift Sensitivity determines how “sticky” AF will be. Both parameters can be assigned to custom keys for fast access while shooting.

Flexible operability with a redesigned menu

It is possible to access frame rates, shutter speed, change LUTs, adjust focus modes, and other essential shooting parameters via a list-style Main menu. The Main menu display can be assigned to a custom button so that parameters can be quickly checked and edited as needed before shooting. Separate Main menus optimized for movies and stills are provided.

Upgrades & Secondary Features

• Dual base ISO of 800 and 2500
• Native ISO of 100-32000
• 495 Phase-detect AF points with 90% coverage
• Fast Hybrid Autofocus with Real-Time Eye autofocus tracking
• Subject AF tracking for Humans, Animals and Birds
• 4K (QFHD) video recording up to 120FPS
• Full HD video recording up to 240FPS
• 14+ stops dynamic latitude in S-Log3
• S-Cinetone colour profile
• 4K 60p 16-bit RAW output supported via HDMI
• Dimensions (WxHxD)mm: 129.7×77.8×84.5
• Weight (body only): 646g

The post Sony ILME-FX30 Cinema Line camera E-Mount S35 incl. XLR Handle appeared first on Cinegear Amsterdam.

Designed for single-operator image capture yet offering multiple pro video functions, the FX3 Full-Frame Cinema Camera is Sony’s most compact addition to its Cinema Line. This camera melds the high-end video capture of the FX6 with the petite form of the a7S III familiar to so many mirrorless enthusiasts. Well positioned for use as a B-camera on FX6, FX9, or even VENICE productions, the FX3 also serves as a comfortable option for still photographers branching out into video capture.

The full-frame Sony FX3 employs a 12.1MP Exmor R BSI CMOS sensor and a BIONZ XR processor to capture up to UHD 4K video with the shallow depth of field that is signature to the full-frame format. An expanded ISO range of 80 to 409,600, over 15 stops of dynamic range, and limited rolling shutter effects further complement the FX3’s sensitive, nuanced image capture. Its lightweight, compact form is designed with multiple accessory threads to facilitate cage-free use, and it comes with a detachable, dual XLR/TRS adapter handle for pro audio capture. Operating features include an articulated, touchscreen LCD, multiple autofocus options, and 5-axis, in-camera image stabilization.

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.

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.

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.

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.

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.

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.

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.

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 second 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) 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.

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 shutdown. 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.

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 FS3 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.

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.

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.

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

The FX3 provides HLG (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.

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.

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.

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

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 120p. 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.

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.

The post Sony ILME-FX3 FullFrame Cine Camera Body + XLR Top Handle appeared first on Cinegear Amsterdam.

KINEFINITY MAVO mark2 offers comprehensive and advanced lens options as KINEFINITY has burnt with broad lens compatibility. The first cinema camera KineRAW-S35 launched by KINEFINITY in 2012 was equipped with the short flange distance native KineMOUNT.

In addition to continuing the exclusive KineMOUNT that is convenient for quick mounting adapters switching to EF, PL and LPL mounts, MAVO mark2 also provides two frequently used lens mount options: the new Active PL Mount and Active E Mount. Featured with reliable and durable cinema standard positive locking design, the active mounts can be installed and detached without flange distance calibration.Cooperating with the Active E Mount that supports electronic control of most commonly used E mount lenses, MAVO mark2 enables users to adjust IRIS, focal length, and focus in camera.

Integrated and lightweight camera body:

KINEFINITY MAVO mark2 inherits the integrated bodydesign of MAVO Edge camera which has won the prestigious iF DESIGN AWARD 2021. The compact camera body of the MAVO mark2 only weighs 1.46kg(3.21lbs), and it is equipped with dual SDI ports transferring metadata, general sync and control ports, and multi-channel audio recording.. It is also provided with dedicated timecode sync ports, an RS232 protocol port for communicating with and controlling third-party accessories, and an RS port for powering and triggering an external record function. As for power solution, MAVO mark2 offers an innovative hybrid battery plate that supports standard 14.8V V-mount batteries and small BP-U type batteries.

The post Kinefinity MAVO Mark2 LF Body Only appeared first on Cinegear Amsterdam.

New S35 format, advanced frame rate
Kinefinity MAVO mark2 S35 returns to the classic S35 format to fit more types of S35 lenses with a wide range of styles, bringing more possibilities for creation. MAVO mark2 S35 is equipped with a new S35 3:2 CMOS imaging sensor.

Built on the advanced high- performance platform, the MAVO mark2 S35 has frame rate up to 6K Wide 96fps and 4K Wide 150 fps, enters a new level with its drastically enhanced performance compared
with the previous MAVO S35 camera. Featuring dual ISO 3200/800, the camera offers cleaner images, better highlight details, high-latitude and high frame rate shootings under either low light or normal environments .

Comprehensive and Modern Lens Choices MAVO mark2 offers comprehensive and advanced lens options as KINEFINITY has burn with broad lens compatibility. The first cinema camera KineRAW-S35 launched by KINEFINITY in 2012 was equipped with the short flange distance native KineMOUNT. In addition to continuing the exclusive KineMOUNT that is convenient for quick mounting adapters switching to EF, PL and LPL mounts, MAVO mark2 also provides two frequently used lens mount options: the new Active PL Mount and Active E Mount. Featured with reliable and durable cinema standard positive locking design, the active mounts can be installed and detached without flange distance calibration.

Integrated Design and Advance Platform

MAVO mark2 cameras adopt and simplify the MAVO Edge camera platform and the integrated camera body design. The new high-performance computing platform provides advanced color processing architecture, better highlight performance, and greater storage bandwidth that allows to recording Apple ProRes4444/XQ clips into the proprietary KineMAG Nano SSD.

The post Kinefinity MAVO Mark2 S35 Body Only appeared first on Cinegear Amsterdam.

The MAVO Mark2 LF continues the Full-frame 3:2 CMOS imaging sensor as the MAVO Edge 6K, maintaining the extraordinary high frame rate of up to 6K 75fps and dual native ISO 5120/800.

The industry-standard ISO 800 is ideal for shooting in normal light scenes, while the native ISO 5120 is perfect for low light scenes to obtain a clean image with high latitude and low noise. MAVO mark2 outperforms its predecessor MAVO LF a lot when it comes to highlight performance.

It is capable to retain more highlight details, ideal for shooting in complex lighting environments, presenting wider visual angle, organic images and cinematic look.

Comprehensive and Modern Lens Choices MAVO mark2 offers comprehensive and advanced lens options as KINEFINITY has burnt with broad lens compatibility. The first cinema camera KineRAW-S35 launched by KINEFINITY in 2012 was equipped with the short flange distance native KineMOUNT. In addition to continuing the exclusive KineMOUNT that is convenient for quick mounting adapters switching to EF, PL and LPL mounts, MAVO mark2 also provides two frequently used lens mount options: the new Active PL Mount and Active E Mount.

Featured with reliable and durable cinema standard positive locking design, the active mounts can be installed and detached without flange distance calibration. Cooperating with the Active E Mount that supports electronic control of most commonly used E mount lenses, MAVO mark2 enables users to adjust IRIS, focal length, and focus in camera. Alike the Active PL Mount that supports Cooke/i protocal, Active E Mount can display lens metadata on user interface and save the information into the footage, bringing intuitive interaction on set and flexibility in post. MAVO mark2 goes a step further on the lens mount options, embracing the broadest and most modern lens group with its interchangeable mount design. MAVO mark2 can work smoothly with virtually all lenses, from the cinema lenses, EF mount camera lens to electronic E mount lens, capturing images with diversified lens styles. Regardless of small content creation or large film production, creators can handle it with facility.

Integrated Design and Advance Platform
MAVO mark2 cameras adopt and simplify the MAVO Edge camera platform and the integrated camera body design. The new high-performance computing platform provides advanced color processing architecture, better highlight performance, and greater storage bandwidth that allows to recording Apple ProRes4444/XQ clips into the proprietary KineMAG Nano SSD.

Integrated and lightweight camera body:

MAVO mark2 inherits the integrated body design of MAVO Edge camera which has won the prestigious iF DESIGN AWARD 2021. The compact camera body of the MAVO mark2 only weighs 1.46kg(3.21lbs), and it is equipped with dual SDI ports transferring metadata, general sync and control ports, and multi-channel audio recording.. It is also provided with dedicated timecode sync ports, an RS232 protocol port for communicating with and controlling third-party accessories, and an RS port for powering and triggering an external record function. As for power solution, MAVO mark2 offers an innovative hybrid battery plate that supports standard 14.8V V-mount batteries and small BP-U type batteries.

The post Kinefinity MAVO Mark2 LF Cinema Camera appeared first on Cinegear Amsterdam.

New S35 format, advanced frame rate
MAVO mark2 S35 returns to the classic S35 format to fit more types of S35 lenses with a wide range of styles, bringing more possibilities for creation. MAVO mark2 S35 is equipped with a new S35 3:2 CMOS imaging sensor. Built on the advanced high- performance platform, the MAVO mark2 S35 has frame rate up to 6K Wide 96fps and 4K Wide 150 fps, enters a new level with its drastically enhanced performance compared with the previous MAVO S35 camera. Featuring dual ISO 3200/800, the camera offers cleaner images, better highlight details, high-latitude and high frame rate shootings under either low light or normal environments .

Comprehensive and Modern Lens Choices MAVO mark2 offers comprehensive and advanced lens options as KINEFINITY has burnt with broad lens compatibility. The first cinema camera KineRAW-S35 launched by KINEFINITY in 2012 was equipped with the short flange distance native KineMOUNT. In addition to continuing the exclusive KineMOUNT that is convenient for quick mounting adapters switching to EF, PL and LPL mounts, MAVO mark2 also provides two frequently used lens mount options: the new Active PL Mount and Active E Mount. Featured with reliable and durable cinema standard positive locking design, the active mounts can be installed and detached without flange distance calibration. Cooperating with the Active E Mount that supports electronic control of most commonly used E mount lenses, MAVO mark2 enables users to adjust IRIS, focal length, and focus in camera. Alike the Active PL Mount that supports Cooke/i protocal, Active E Mount can display lens metadata on user interface and save the information into the footage, bringing intuitive interaction on set and flexibility in post. MAVO mark2 goes a step further on the lens mount options, embracing the broadest and most modern lens group with its interchangeable mount design. MAVO mark2 can work smoothly with virtually all lenses, from the cinema lenses, EF mount camera lens to electronic E mount lens, capturing images with diversified lens styles. Regardless of small content creation or large film production, creators can handle it with facility.

Integrated Design and Advance Platform
MAVO mark2 cameras adopt and simplify the MAVO Edge camera platform and the integrated camera body design. The new high-performance computing platform provides advanced color processing architecture, better highlight performance, and greater storage bandwidth that allows to recording Apple ProRes4444/XQ clips into the proprietary KineMAG Nano SSD.

Integrated and lightweight camera body:

MAVO mark2 inherits the integrated body design of MAVO Edge camera which has won the prestigious iF DESIGN AWARD 2021. The compact camera body of the MAVO mark2 only weighs 1.46kg(3.21lbs), and it is equipped with dual SDI ports transferring metadata, general sync and control ports, and multi-channel audio recording.. It is also provided with dedicated timecode sync ports, an RS232 protocol port for communicating with and controlling third-party accessories, and an RS port for powering and triggering an external record function. As for power solution, MAVO mark2 offers an innovative hybrid battery plate that supports standard 14.8V V-mount batteries and small BP-U type batteries.

The post Kinefinity MAVO mark2 S35 Cinema Camera appeared first on Cinegear Amsterdam.

Tokina 40mm T1.5 Cinema Vista Prime Lens Overview:

The Tokina 40mm T1.5 Cinema Vista Prime Lens is a professional filmmaking tool designed for capturing high-quality images with exceptional sharpness, even up to 8K resolution. With a PL mount and focus scales marked in feet, this lens offers a versatile and reliable solution for cinematographers.

Key Features:

1. Full-Frame Coverage: The lens provides an expansive image circle that covers full-frame sensors, ensuring compatibility with a wide range of cameras.
2. Consistent Form Factor: Sharing the same form factor, lens gear position, focus rotation, and front barrel diameter as other Tokina Cinema Vista prime lenses, the 40mm lens allows for efficient on-set lens changes.
3. Fast Maximum T-stop: With a maximum T-stop of 1.5, the lens excels in low-light conditions, allowing filmmakers to achieve a shallow depth of field for creative storytelling.
4. Round Bokeh: The 9-bladed iris produces round out-of-focus highlights, contributing to a natural-looking bokeh that enhances the visual aesthetics of the footage.
5. Precise Manual Focus: The lens barrel features approximately 300° of rotation from close focus to infinity, providing cinematographers with precise control and accuracy during manual focus pulls.
6. Minimal Focus Breathing: Designed to minimize focus breathing, the lens ensures a consistent angle of view while focusing, enhancing the overall visual experience.
7. Dual-Sided Markings: Markings on both sides of the lens barrel make it readable from either side of the camera, facilitating convenient operation for camera operators.
8. Filter Compatibility: The lens features threading on the front to accommodate 112mm screw-on filters, allowing filmmakers to use filters without occupying matte box filter stages.

In the Box:

• Tokina 40mm T1.5 Cinema Vista Prime Lens (PL Mount, Feet)
• Front Lens Cap
• Rear Lens Cap

Packaging Info:

• Package Weight: 6.435 lb
• Box Dimensions (LxWxH): 9.9 x 8.1 x 7.1″

Elevate your filmmaking with the Tokina 40mm T1.5 Cinema Vista Prime Lens, offering outstanding optical performance and professional features for cinematic storytelling.

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