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Ultra-high sensitivity with ISO expandable to 409,600 for very low light conditions and 15+ stops of dynamic range Recording Frame Rate: [XAVC S-I 4K]3840x2160/59.94P, 50P, 29.97P, 23.98P, 25P [XAVC S-I HD]1920x1080/59.94P, 50P, 29.97P, 23.98P, 25P [XAVC S 4K]3840x2160/119.88p, 100p, 59.94P, 50P, 29.97P, 23.98P, 25P [XAVC S HD]1920x1080/119.88p, 100p, 59.94P, 50P, 29.97P, 23.98P, 25P [XAVC HS 4K]3840x2160/119.88p, 100p, 59.94P, 50P, 29.97P, 23.98P, 25P Extra Optical Zoom 4:3 Aspect Ratio: 4.1x for 3Mega, 2Mega, 1Mega, 0.3Mega / 3:2 Aspect Ratio: 4.1x for 2.5Mega / 16:9 Aspect Ratio: 4.1x for 2Mega
The FX3 also has the same 13-hour maximum continuous recording time as the A7S III. All of which means that card capacities and battery life are likely to be more of a limiting factor than overheating. 5. The FX3 has built-in thread holes for accessories
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ix Not guaranteed to be 100% dust and moisture proof. The XLR handle does not feature a dust and moisture resistant design Cinema Line includes the digital cinema camera VENICE, highly acclaimed in the feature and episodic production industry, the professional camera FX9, which is popular for documentary and drama production and the FX6, for grab and shoot action and content creation. With the addition of the new FX3, the most compact camera in the series, Sony offers a true line up of versatile creative tools for all types of visual storytellers.
It’s not the only camera to do this, though. The Sigma fp and fp L take a similar approach (though they don’t really have the FX3’s horsepower), while the Panasonic BGH1‘box’ camera offers an interesting upgrade path for Lumix GH5/GH5S shooters. Lenses – Should have no marks on the elements andoptically clear. There may be light dust present that will not effect theimagery. S-Log2 and S-Log3 gamma curves are available, with S-Log3 giving better gradations from shadows to the mid-grey range (18% grey), enabling a dynamic range of up to 15+ stops. For camera matching with other S-Log3 capable Cinema Line cameras, three colour gamut settings (S-Gamut, S-Gamut3, and S-Gamut3.Cine) are available, offering creative flexibility and efficiency during post production.For example, the FX3 is a better prospect for heavy users, offering dual card slots, raw video, cooling vents and unlimited record times. The ZV-E1 is not afforded those luxuries, though it can dual-record when an external monitor is connected via mini HDMI; plus, I know plenty of pro-filmmakers that don’t use a Sony FX3 beyond the capacity of what the ZV-E1 offers anyway. XAVC S-I 4K 59.94p/50p When using CEA-G160T (160 GB) Approx. 25 minutes When using CEA-G80T (80GB) Approx. 10 minutes Sony says this is because they wanted to make the FX3 as compact as possible, but it's an omission that could make it less appealing to some filmmakers. Cinema paradiso
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