Sony FX3 Manual: Complete Camera Guide

Sony FX3 Guide: Complete Technical Manual

1. Sensor Technical Specifications

Back-illuminated BSI CMOS sensor 35.6×23.8 mm Exmor R with BIONZ XR processor, 10.3 effective megapixels. ISO range 80-409,600. Dual Base ISO 800/12,800 minimises noise with dual gain. 15+ stops dynamic range in S-Log3. 759-point phase-detection autofocus system with 94% horizontal, 94% vertical coverage. Full-pixel readout 4K without binning. Base ISO 800 optimal for outdoor high-illumination scenarios. Base ISO 12,800 optimal for low light, interiors without artificial lighting.

Global electronic shutter rolling shutter 1/8000s. No mechanical shutter available in this video-dedicated body. Shutter angle configurable 1-360 degrees, traditional cinema 180 degrees for natural motion blur. Compatible with E-mount lenses Full Frame and APS-C with automatic crop. Cooke /i metadata support for communication protocol with cinema lenses.

2. Recording Codecs and Bitrates

XAVC S-I All-Intra: independent intra-frame compression per frame facilitates colour grading. Requires CFexpress Type A with sustained write speed of 600 Mbps. Optimal for high-end projects with intensive post-production. XAVC HS: Long GOP HEVC H.265 efficient compression, 30% less disk space with same image quality. Ideal for documentaries, events, multi-camera with limited storage. XAVC S: Long GOP AVC H.264 universal NLE compatibility and fast processing on limited hardware.

16-bit RAW 4K 60p output via HDMI to external monitor-recorder Atomos Ninja V+ in ProRes RAW format preserves complete sensor information with maximum post-production flexibility for advanced grading and highlight/shadow recovery. Simultaneous internal XAVC and external RAW recording provides backup redundancy and maximum security for critical productions.

3. S-Log3 Configuration and ETTR Exposure

S-Log3 / S-Gamut3.Cine logarithmic curve with 15+ stops dynamic range. Activation: MENU → Picture Profile → PP7 → Gamma S-Log3 → Color Mode S-Gamut3.Cine. ETTR (Expose To The Right) technique maximises highlight information and minimises shadow noise. Middle grey 41 IRE for 18% grey card, skin tones 55-61 IRE (Caucasian 60 IRE, Asian 58 IRE, African 55 IRE), maximum highlights 94 IRE to avoid clipping at 109 IRE with unrecoverable blown information.

Exposure monitoring tools: Waveform Monitor visualises IRE tonal distribution and prevents clipping, Zebra Pattern 94 IRE warning for highlight limits, False Color colour-coding mode for exposure ranges (green skin, yellow highlights, pink clipping). Zebra configuration: MENU → Zebra → Level 94+ → Lower Level Off.

4. Cine EI Mode Cinematographic Workflow

Cine EI separates base ISO sensitivity (800/12800) from EI (Exposure Index) display gain. Files always record S-Log3 at native base ISO. 709 cinematographic monitoring LUT does not affect recording and allows on-set visualisation of final image. Activation: MENU → Shooting Mode → Cine EI → Base ISO 800 → Display LUT Rec.709. Changing EI 200-102400 adjusts monitoring gain without modifying recorded S-Log3 file.

Cine EI workflow for exterior scenes: Native Base ISO 800 optimal with minimum noise. Increase EI to 1600 underexposes file by +1 stop with normal monitoring and correct LUT visualisation. Post-production grading recovers shadow stop with minimum noise, maximises dynamic range and utilises available bits in optimal sensor zone. Workflow for night interiors: Dual sensitivity Base ISO 12800 with reduced noise. Reduce EI to 6400 overexposes file by +1 stop ETTR. Grading reduces exposure and recovers highlight information with optimal colour latitude.

Compatible LUTs: Sony 709 standard display LUT for monitoring, custom LUTs importable via SD card in .cube format (33-point maximum). LUT installation: SD:/PRIVATE/SONY/PRO/LUT/filename.cube → MENU → Display LUT Import. External SDI/HDMI monitor transmits LUT-applied signal; external recorder does not require duplicate LUT.

5. 759-Point Autofocus Production Configuration

Hybrid 759-point phase-contrast detection autofocus system with 94% horizontal, 94% vertical coverage. Artificial intelligence for real-time human and animal recognition with predictive tracking. Optimal configuration by production type:

Face/Eye Priority: Real-time Eye AF detects left and right eyes with automatic or manual priority selection. Configuration: MENU → AF → Face/Eye Priority → On → Eye Select Auto. Touch Tracking: touchscreen panel to initiate subject tracking. AF Transition Speed: speed 1-7, smooth cinematic focus transition 2-3, aggressive documentary 5-7.

6. 5-Axis IBIS Gyroscope Metadata

5-axis IBIS sensor stabilisation with 5.5-stop compensation for pitch, yaw and roll. Gyroscope metadata records camera movement data in video file for post-production stabilisation in Catalyst Browse, Catalyst Prepare and DaVinci Resolve. Activation: MENU → SteadyShot → Standard/Active → Gyro Data Recording On. Standard mode full IBIS without image crop. Active mode additional digital stabilisation crops 10% of image; IBIS + digital combination maximises motion compensation to 7+ stops, ideal for extreme handheld shooting.

Sony E-mount lenses with electronic communication transmit focal length and focus distance metadata for automatic optimised stabilisation. Third-party adapted lenses without electronic communication require manual focal configuration MENU → SteadyShot Adjust → Focal Length 24mm for IBIS to calculate correct compensation. Disable IBIS on tripod or monopod to eliminate micro-vibrations and unnecessary compensation adjustments: SteadyShot Off.

7. Memory Cards, Battery and Power

Dual card slots: CFexpress Type A (Slot 1) + SD UHS-II (Slot 2). CFexpress A required for XAVC S-I 600 Mbps with minimum write speed 700 MB/s, read 800 MB/s; Sony CEA-G series and ProGrade Digital Cobalt recommended. SD UHS-II V60 minimum for XAVC HS 280 Mbps and XAVC S 200 Mbps; Sony SF-G Tough and SanDisk Extreme Pro compatible. Recording modes: Simultaneous for backup redundancy with double file copy; Relay for continuous automatic card switch when full without recording interruption; Sort for format separation (XAVC S-I on CFexpress, XAVC HS on SD) for speed optimisation.

NP-FZ100 Battery 2280 mAh, 7.2V, 16.4 Wh with 70-80 minute runtime for continuous 4K 60p S-Log3 recording at 25°C. Factors reducing runtime: active IBIS, 100% monitor brightness, active WiFi/Bluetooth, temperatures below 0°C. Battery optimisation: disable IBIS on tripod, 80% brightness, Power Save mode after 5 minutes inactivity, turn off wireless. External USB-C Power Delivery 30W minimum for simultaneous charge and use enables unlimited extended recording; Anker PowerCore 26800 PD and RAVPower 30000 PD power banks compatible. Multi Battery Adaptor NPA-MQZ1K accepts 4× NP-FZ100 for quadruple runtime on full-day shoots.

8. Connectivity, Audio and Timecode

Audio: stereo mic input via 3.5mm mini-jack, Multi Interface hotshoe for XLR adaptor accessory. Sony XLR-H1 adaptor with 2× XLR 48V phantom power, dedicated gain controls with CH1 CH2 wheels (-60dB to +18dB), headphone monitoring. 24-bit 48kHz PCM broadcast-quality audio recording. Digital audio interface via MI shoe eliminates AD/DA conversion for minimum noise. Level configuration: Auto AGC automatic for run-and-gun interviews; Manual for precise control in fiction and music with -12dB headroom to avoid peak clipping.

Timecode: BNC timecode in/out for frame-accurate multi-camera synchronisation. Internal generator with Free Run and Rec Run modes. Tentacle Sync E wireless Bluetooth timecode generator for synchronising up to 10 units in multi-camera event productions. Configuration: MENU → TC/UB → TC Format 24p → TC Run Free Run → TC Make Preset. HDMI 4K 60p 4:2:2 10-bit output to external monitor or RAW recorder. Atomos Ninja V+ records ProRes RAW 16-bit 4K 60p to SSD, maximising sensor information with post flexibility.

9. Professional Rig Accessories

• Sony XLR-H1: professional audio adaptor, 2× XLR 48V phantom power, dedicated gain control.
• PolarPro BaseCamp VND: variable neutral density filter ND2-ND5 (1-5 stops) for exposure control with constant aperture in outdoor sunlight.
• SmallRig Full Cage 3007: aluminium cage protection with accessory mounting points, 1/4" 3/8" threads, ARRI locating pins.
• Atomos Ninja V+: 5" HDR monitor-recorder, ProRes RAW 16-bit 4K 120p NVMe SSD.
• SmallHD Focus 5: 5" 800 nits touchscreen monitor with waveform, false color and peaking.
• Teradek Bolt 4K LT: HDMI wireless video 1500ft with ultra-low 1ms latency for director monitoring.
• DJI RS 3 Pro: 3-axis gimbal with 4.5kg payload, ActiveTrack modes, wireless follow focus.

Multi-camera scalable project configuration: see complete Sony Cinema Line catalogue for FX6, FX9 and VENICE availability with integrated colour-science matching workflow.

10. Post-Production Workflow

DaVinci Resolve: native XAVC S-I/HS/S import without transcoding. LUT conversion S-Log3 to Rec.709 in first node of grading chain. Sony S-Log3 to LC-709 LUT included in Resolve with fine-tuning via wheels and curves, secondary skin and sky grades. Gyroscope metadata stabilisation via Stabilizer panel with automatic analysis and motion compensation without plugins. Master export: ProRes 422 HQ for archival and broadcast delivery; ProRes 422 for streaming platforms; H.265 HEVC HDR10 for YouTube and Vimeo.

Adobe Premiere Pro: native XAVC support from 2020 CC onwards. Lumetri Color panel with S-Log3 curves, HDR wheels and Creative LUTs. Free Catalyst Browse plugin from Sony for gyroscope metadata stabilisation with pre-analysis and seamless Premiere timeline XML export integration. Warp Stabilizer VFX for rolling shutter correction and CMOS artefacts on critical shots. Delivery export: ProRes 422 masters, H.264 CBR 50 Mbps for clients, H.265 HEVC HDR or YouTube VP9.

11. Sony FX3 Configuration FAQ

S-Log3 or S-Cinetone for which project types?

S-Log3 for projects requiring maximum exposure control with secondary colour grading and VFX integration. Commercial cinema, narrative fiction, and author-driven documentaries with total creative control. S-Cinetone for final delivery-ready image, saving 60% post time. Corporate, events, weddings, social media content with quick turnaround and direct broadcasting.

Optimal ISO configuration for low-light night scenes?

Native Dual Base ISO 12,800 provides optimal low-light performance, minimising electronic noise with dual gain. Cine EI workflow: Base ISO 12,800 with reduced EI 6400 overexposes by +1 stop ETTR. Post-production grading reduces exposure, maximising shadow cleanliness and colour latitude. Avoid intermediate ISOs 1600-6400 which degrade signal-to-noise ratio outside native bases 800/12800.

XAVC S-I vs XAVC HS practical differences?

XAVC S-I All-Intra: independent intra-frame compression per frame facilitates colour grading, secondary correction, VFX tracking and CGI integration in intensive high-end post-production for advertising and cinematic fiction. XAVC HS Long GOP HEVC H.265: efficient compression with interdependent frame groups, 30% less disk space. Ideal for documentaries, multi-camera events and quick turnaround with limited storage. GPU hardware transcoding required for smooth HEVC editing. S-I requires CFexpress Type A; HS works on SD UHS-II.

Does the FX3 record RAW internally?

No. The FX3 does not record RAW internally. Maximum internal format: XAVC S-I 4:2:2 10-bit. For RAW: 16-bit ProRes RAW 4K 60p via HDMI to external recorder Atomos Ninja V+. This maximises sensor information capture with complete colour and exposure flexibility in post-production advanced grading.

Disable stabilisation on tripod/monopod?

Yes, always recommended. IBIS on static support introduces micro-vibrations and unnecessary compensation adjustments degrading final image sharpness. Configuration: MENU → SteadyShot → Off. For handheld or shoulder rig: Standard mode (5.5 stops) or Active mode (7+ stops with 10% crop) depending on movement intensity.