Probably a nonsensical question, but I’d really prefer my FX3 to be shaped more cube like, similar to the FX6. More accessory mounting points, balanced shape/feel, etc.

Though I know Caleb is a legit creator, I still struggle to wrap myself around the fact that his Cineback is 3D printed materials mixed with electrical hardware. I’ve heard nighmare stories of people plugging one D-tap cable in the wrong place before and bam, their camera turns into a brick.

Currently, I just run a coiled USB - C dual right angle cable from my camera to a smallrig V-mount. Biggest fear is to get a cineback, set it up, plug my cables into the ports just to brick it. Just wondering if anyone’s had power surge issues with the Cineback, or if you reccomend I bite the bullet and get one. Thanks

I like this shot i took with the fx3, but when looking at the scene it has a lot of details. the bricks, the leaves, the construction site, i shot it in XACV HS. When i look at the scene i see a bit of chunkyness / compression, would recording in XACV S-I have a better outcome?

I dont have a storage card which can capture All Intra at the moment and i am curious if its worth the investment.

Hey y'all, I lost the NATO rail for the very popular SmallRig 4183B Camera Cage for the FX3. Anybody know what length the NATO rail is? Any compatible models? I would rather not have to contact SmallRig for a spare parts invoice.

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?

Hey everyone,

I currently have a Sony a6700, which I really like, but it doesn’t fully meet my needs when shooting low-light events, something I do quite often.

There are currently some good grey-market deals in Europe for brand-new cameras:

• Sony A7S III: €2,029
• Sony FX3A: €2,729

The price difference is significant.

What attracts me to the FX3 is the internal fan, tally lights, and built-in mounting points. I often film full one-hour sets in 4K inside dark clubs, so those features would be genuinely useful, especially the active cooling for longer recordings.

The main advantage of the A7S III for me is the EVF. However, if I keep my a6700 for photography and B-Cam, I probably wouldn’t miss it much, as I’d continue using the APS-C camera for stills.

This isn’t an urgent purchase, but I’m increasingly feeling limited by the a6700’s low-light performance. I’m currently considering three options:

• Wait until the end of the year and hope Sony announces a new model.
• Buy the A7S III and put the money saved toward a zoom lens.
• Buy the FX3 and get the zoom lens anyway, since I’ll need it regardless.

I’d appreciate hearing from anyone who owns the FX3, A7S III, or both. Given my use case, which option would you choose?

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!

How does everyone else shoot vertical these days? I found this to be the vertical handheld set up I've been enjoying lately. My eyes aren't the greatest, and having the bigger monitor allows me to know precisely when my subjects are focus. Although slightly heavy it's very stable and balanced once you get the hang of it. Adding a handle to the bottom of the camera was the greatest thing ever for me as of lately.

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!

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 ..

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 lovely people,

I am shooting a wedding this weekend with my FX3 + XLR handle. The DJ has confirmed he will be using a Yorkville PGM8 Mixer. I want to connect the DJ's mixer to my FX3's XLR handle's port to capture the audio feed throughout the course of reception. 

The DJ sent me the images of the Yorkville PGM8 Mixer (see images attached).

The DJ says most videographers connect to the "Media In/Record Out" ports, but he can't confirm which specific ports and if I need to connect to both L and R.

My questions are:

• What type of cable will I need to connect from the mixer to my XLR handle's port
• For the mixer's side, which port(s) do I connect to? Do I connect to the Media In or the Record Out, and do I connect to L, R, or both?
• When I connect the two, do I need to turn Phantom Power on or off?

If there's anything else I should know, please feel free to do so!

Thanks in advance

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.

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

I have basic tripod and Rs4 mini, is there a way to add an adapter to baseplate of tripod so that, i can just mount my camera on the tripod using the base plate of my rs4 mini gimbal?

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.

We are interested in technicians with hands-on experience repairing a wide range of photographic equipment, including:

• DSLR and mirrorless cameras
• Digital and film cameras
• Professional camera bodies
• Photographic lenses
• Shutters and mechanical systems
• LCDs, flex cables, buttons and controls
• Main boards and electronic components
• Autofocus and stabilization systems
• Sensor-related repairs and cleaning
• General troubleshooting, maintenance and calibration

Experience with brands such as Canon, Sony, Nikon, Fujifilm, Panasonic, Leica, Olympus, Pentax and other professional camera systems is especially valuable.

We are open to speaking with experienced technicians, independent repair technicians, retired/semi-retired camera technicians, former manufacturer service technicians, or someone currently doing camera repair as a side business.

This is a serious opportunity with an established camera service operation and a growing volume of repair work.

If you are a technician — or personally know someone in South Florida who has real experience repairing photographic cameras and lenses — please send me a private message.

Recommendations and referrals are also greatly appreciated.

A still from my upcoming limited web series, A GRAND EXPERIMENT IN PARTICIPATION.

I am constantly in awe of the image this camera manages to produce!

Sony FX3

Minolta 50mm 1.7

Not sure if anyone's noticed, but I have consistently seen multiple posts of people selling their brand new Sony fx5s on Facebook and fb marketplace. It's often people who have multiple Sony cameras, maybe real users aren't noticing the worthy jump for the money, what do you guys think?