currensheldon

Woah. I would sell a lot of things for something like this.

Would love to hear your thoughts. I love the FP concept, body, design, internal raw, L-mount, etc, and have almost bought the FP a dozen times. Just looks like it would be fun to own and use with my Zeiss Contax lenses. But both the FP and now FP-L seem to have some strange quirks. Is the rolling shutter really as bad as some reviews have stated?

Yes, the Youtube influencer machine is awful, but Gerald is the least offensive offender. He does all technical reviews, true, but at least he does a thorough and honest job. Only CVP is anywhere close to the usefulness of his reviews from a pure tech standpoint.

Pretty surprised but I could play back the new 8k Raw codec in DaVinci Resolve on a three-year old iMac (souped up at the time however). I have always edited in Premiere but it's pretty insane how much smoother DaVinci is with everything. Need to make the full switch.

That's what I was thinking - about an 8:1 compression. Whatever this compression ratio is, I'd LOVE it if they brought it to 4k in the the C300 III, C200, and any other future 4k raw cameras. 8:1 is sort of the sweet spot for quality and file sizes. For 4k, that would probably be closer o 400-600mbps, which is the same or a bit more than All-I.

WOW. That's a pretty impressive update for the R5, especially C-Log3 and Raw Lite. I'd love to see whatever raw compression this is in 8k in their 4k raw cameras (C200, C300III, C500II). The 1gbps 4k still has massive file sizes, but if the 8k is 1.3gbps, then I'd assume 400-600mbps in 4k with the same compression is possible. Something like 8:1, perhaps?

GH6 kinda has to have some giant features to compete in a full-frame world. PDAF and internal NDs seems to be the two big ones for sure, but timecode, high frame rates in 4K and 6k, and black magic and ProRes raw would all help.

I think the Sigma "i" series or the Zeiss Loxia series are the perfect combination of size, build quality, and speed. f2 is my favorite aperture on full-frame and even if I get f1.4 lenses, I tend to stop them down to f2 for easier focusing and less of the blurred-to-oblivion look. But, most manufacturers neglect their f1.8, f2, and f2.8 lenses and make them cheap with plastic and are often loud-focusing and just aren't as well-made or as sharp as their f1.4 lenses. I get it - cheap lenses are great for budgets, but it's annoying how manufacturers neglect quality just because it's a slower aperture. Enter LOXIA. So beautiful. All metal. Solid. Small. Incredibly well-made. Just beautiful. But, no AF. Enter SIGMA i - these lenses are amazing. Metal, small, lightweight, great AF, and just beautiful. Wish the 24mm was at least an f2.8, but the 35mm and 65mm at f2 are pretty perfect.

I love this. Dig the rangefinder style and love it for video as well because it keeps you from smashing your face into the back of the camera. Pretty darn excited for this camera. Will wait for specs, but hope they've beefed it up. Wish Sigma would make a streamlined battery grip that was just a big 50-60wh power bank (long enough for 6-8 hours of use). That'd be cool too.

This is amazing. 470 grams! What a perfect gimbal lens for S5/S1/S1H or Sigma FP. Along with their new f2 primes, Sigma is making the L-Mount very enticing - and the S1H is still the best IQ camera under $10k outside of the Komodo perhaps (though I haven't tested it myself, just basing that off my old Reds).

The S1H still has the best image of any camera under $10k, in my opinion. And I've used a lot of them. They need to put out an EVA-2 and S2H (or S5H) asap with update AF and they'll be good. I will probably use Panasonic cameras in the future for IQ alone, but AF, 120fps 4k, and a few other of the new bells and whistles are very useful in cameras like the C70, FX6, and this FX3. I'm still not sure Sony has fixed their color and IQ issues fully and their WB seems to be way off - but I'd like to test. FX3 would be excellent if the A7sIII didn't exist, and frankly, the A7sIII shouldn't exist, not the other way around.

So, the A7sIII is getting S-Cinetone: https://www.sonyalpharumors.com/rumor-sony-a1-cine-colour-profile-will-come-for-the-a7siii-via-future-firmware-update/ The FX3 is getting more confusing (or, maybe why the A7sIII exists is the confusing part). Unless the FX3 has timecode and ND filters, not sure why you'd get it this if you already have the A7sIII. However, from the appearance of the body, buttons, ergonomics, top handle and XLR integration, and flip-screen being able to tilt flush to body (hopefully), I'd get the FX3 over the A7sIII, even if it was $500-750 more. Looks much more rugged as well.

Wow. This is really feature-packed for the price. Really nice. Don't love the form factor that much, but if battery life is closer to 90-minutes (rather than 27), and the screen is actually brighter than a Ninja V, with the addition of NDs, another XLR, tilting screen... shew - GREAT feature set for thee price.

That's true. But it does seem those higher end models are less inclined to be a part of the spec race. Venice, C700, Arris, etc often can't match some of the spec-race cameras (8k, 6k, raw out, 120fps! ,etc), but just have superior IQ (which they do), so maybe the Varicam doesn't need to be updated in the same way as the EVA-1 does. But right now, the EVA-2 needs to get in the under $10k game with an L-Mount so Panasonic can start making money on lenses. And give S1/S1H owners more expansion options. With that said, I think the EVA-2 needs to be feature-packed. Though i don't need more than 4k at the moment, I think the solidly just 4k cameras FX6/FX9/C70/C300 gives Panasonic an opportunity to leapfrog them in some areas. We'll see but looking forward to seeing it.

No news here, it seems. Canon and Sony have put out about a dozen cinema cameras since the EVA-1. Would love a full-frame, L-Mount EVA-2 to go with an S1H or S5. That's a nice combo.

YEP.

Awesome thanks! And totally agree that Alpha cameras (A7iii, A7sii, etc) are pretty awful from a video image quality standpoint. But Venice and FX9 have always been way better so if the FX6 is close to that, that's pretty great. On that topic, I think that will be a big differentiator between the A7sIII and the FX3. Does the FX3 look more like the FX9, FX6, Venice? Or more like the A7sIII, which, in my opinion, still has that pretty awful zombie-skintones that have plagued all of the Alpha cameras and the FS5. It looks better, but not that great compared to stuff I've seen from FX9/6.

Do you have some links to the footage you've worked with?

I am testing the FX6 soon to see if its color and IQ are closer to C300/C70 than FS5II/A7sII before making any decisions (because if it still feels like old Sony image, I'm out). But this camera still excites me as the ideal B-Cam to something like the FX6 or FX9. Every other cinema camera lacks a true, compact, mirrorless-like b-camera (same mount, some color, same codecs, same sensor size, same lenses, etc). I would get WAY more excited if it has: timecode, a 3.5mm input on the body, S-Cinetone, and touchscreen AF. Those features plus all of the new Sigma lenses, the move to full-frame cinema, Zeiss Loxia line (which I loved), all make the E-Mount a very exciting possibility. BUT, all the specs, bells, and whistles don't mean much if I'll be wishing I had my old Canon image a year later.

True. But always a first - S1H is the first mirrorless camera to get it and then they added it to the S1 through the flash-sync port (I believe), so definitely possible. That's the main reason the S1H is Netflix approved and Sony would be smart to include it if they expect a lot of FX9 and FX6 owners to pick this camera up.

It does seem a tad strange. unless the guy above is wrong and it has internal variable ND - then the camera instantly becomes very, very intriguing, especially if the IBIS rumor is true. But Sony has said before that having both IBIS and ND is nearly impossible, so I'd guess it will be one or the other. However, I'd say the A7sIII is the lazy inclusion if the FX3 is true because this, IMO, is a way more thought-out and useful video camera than the A7sIII. Love the dedicated buttons for WB, ISO, etc. Love the mounting points. Love how they did the top handle. Love that it is cinema focused and probably has the same color and S-Cinetone like the FX6. Love that it looks like the screen can tilt while staying center to the body. Love that it has focus magnification (does the A7sIII do this while recording?). I just love it. I've shat on Sony for many years because I did think the color and IQ of the A7sII, FS5, and (to less of a degree) FS7 was way behind the competition. BUT, I must say the FX9 and FX6 do seem to look much, much better. In my experience, every FS7/FX9/FX6/C300/EVA1/etc owner has a second B-Cam that is often a mirrorless for gimbal shots, 2nd interview shots, and as a backup camera. But no camera manufacturer has given them a TRUE b-cam (same sensor size, same mount, same color, same IQ, same general usability, etc). Canon has the C70, but still a bit too big for what I'm talking about and is the only Canon cinema camera with the RF Mount. Panasonic has the S1H, but it doesn't have an L-Mount A-Cam. But THIS Sony FX3 is nearly perfect, it seems. Along with ND, the other big inclusion needed is timecode. If you can jam this with FX9/FX6/audio and just have it on standby on a gimbal or a drone or wherever you need it, that would be so, so nice.

The S1 and S1H are the same. I just had it programmed to one of the front assignable buttons and turned it on whenever I wanted a tripod-like shot while hand holding the camera. It worked amazingly well, honestly and is game changer for getting doc-style b-roll around a city or place. You can just carry that and a 24-70/105 and gets tons of a variety.

Yep. Either it has eND and timecode, or it seems pretty redundant. However, if it has those two + S-Cinetone + detachable EVF for that hotshoe (which makes the handle and XLR module make a lot more sense), then this is a pretty sweet camera.

With the A7sIII, this really needs to have some great video features to differentiate itself (and not just S-Cinetone). And that means: Internal eND. If it doesn't have that, how many other things could it have to really set it apart? Other than the cool color, more robust build, better tilting screen, and lots of mounting points.

Holy. Moly. Honestly, it's ABOUT FRIGGIN TIME one of these companies took mirrorless form factor videos 100% seriously. The Sigma FP was the closest, but obviously had a lot of issues. C70 was close, but still big for a small b-cam/gimbal cam. S1H was close, but still a hybrid. A7sIII, same - has video limitations. This could be the all-in video mirrorless though. But that will depend on a few things: does it have timecode, some audio solutions, shutter angle, and (most importantly) INTERNAL electronic ND FILTER!!! That last one is the kicker. I've always bashed Sony for their colors and thin IQ, but the FX9 and FX6 definitely seem to be going in the right direction, so one of those cameras plus this as a b-cam could be a killer combo.