The FX3 has been incredibly solid for my shooting needs as a freelance videographer. I love that it has the same sensor and internals as the legendary a7S III, but in a form factor that feels a bit more idealized for video; the larger, deeper grip is very comfortable even after hours of handheld shooting, the built-in fan keeps it from overheating nearly as often, and the built-in cage offers plenty of mounting options without the need for additional hardware.

I only have a few minor complaints with the FX3 that I suspect will (hopefully) be addressed in its eventual successor. Built-in NDs would be incredibly useful, especially given that this camera falls within Sony's cinema line, as would shutter angle and global shutter. More superficially, I don't love the top-mounted joystick, which feels a little awkward to use compared to the a7S III's rear-facing one, and I wish the screen was as sharp and bright as that of the cheaper FX30. I'd also love a higher resolution sensor; 6K video would be great for punching in on a 4K timeline, and larger photos would similarly allow for more flexibility in cropping and reframing. Still, I love that the FX3 is a capable photo camera despite prioritizing video.

Amazing camera! Great picture quality, great low light performance, great lens ecosystem -- fast autofocus. The file sizes are easy to manage compared to other cameras. The build quality of this camera is solid, and the battery life in pretty good. Although, I am very leery of the folding LCD and I always handle it with extreme care to make sure I don't get a floppy screen -- nobody likes a floppy.

I switched from Blackmagic Design to Sony because my professional jobs have become more run-and-gun style work. I don't always have the time or the patience to pull focus -- especially for live events and I only get one shot at nailing focus. I don't always have the time to light the scene when it gets too dark. I don't always have the energy to run around with a heavy rig. The FX3 is a little workhorse and it solves all of my run-and-gun problems. I am not knocking BMD cameras, but the FX3 is clear solution for fast paced work.

I was a little hesitant buying this in 2024, but this camera is well worth the money today. I bought an FX30 as a second B cam for this. They play together well.

I solo produce a 3-cam video every week in addition to varied other freelance work. For years I used a trio of A7SII's but the limited battery life and 4:2:0 8-bit video eventually got to me. I initially bought just one FX3 but after just one gig, went back to trade in for another. With two FX3's and one A7IV, I can fit three cameras with lenses, my full audio setup (mics + recorder + cables), external monitors, and all necessary batteries in a SINGLE backpack. It is also remarkably light, letting me bring heavier lenses to bear (Cosina-Voigtlander APO-Lanthars). This is an incredible boost for solo videographers, trekkers, and urbanites who need minimal bulk and weight while retaining high quality.

I was absolutely not prepared for how much of a leap the touchscreen GUI would take towards actually modern. The home screen is genuinely usable and useful, and this is the first time I've actually felt compelled to use touch to access or modify functions on a Sony camera. There's more work to do for future models, but it's progress!

The buttons covering the rest of the camera are also very useful and easy to remap (except the zoom toggle, which is annoyingly easy to accidentally rotate if you're used to older Sony mirrorless cameras). My lenses are full-manual so I remapped aperture dial to color temperature, for example. The grip is excellent, very similar to A7IV. Pivoting screen is controversial, but I much prefer it, because you can rotate the screen inside-out to protect it when transporting. There are so many other quality of life improvements that I can't even mention them.

I chose the FX3 over A7SIII because of the smaller size, lighter weight, cooling fan, and the more ergonomic video-centric controls. The mic preamp arm isn't all that useful (doesn't fit typical 20cm studio SDC mics!) and I feel like Sony included it just to justify the higher price vs. SIII, but thankfully it's easy enough to just leave it in the box. I think it's also valuable to compare the FX3 with the A7IV, as the A7IV trades one stop of noise performance for the ability to crop to Super35 4K, very useful for primes users. If you are not sensitive to noise and don't need the smallest size possible, the A7IV is much more economical while providing 90% of the quality and only a mild reduction in quality of life.

I did several real-world tests, and found with standard settings, no mic handle, a full manual lens, and Fan on 'Low', I was able to get just under 2h30m of 4K24 4:2:2 10-bit (S-Cinetone) continuous recording, exactly identical to the A7IV. Even with the mic handle and a condenser mic drawing 3mA of P48, I still managed 2h15m, very impressive. This is a massive improvement over the A7SII's mediocre ~70 minute battery life, and will genuinely last an entire 2-hour concert with plenty of safety time to spare. Even the A7C (3h battery life) makes more sense than A7SII's now.

You can also compare the FX6. Instead of IBIS, you get built-in variable ND and a bunch of exterior physical controls. If you're more comfortable with the traditional cine cam or camcorder style or have no space/bulk concerns, that may be more appropriate for you. Personally, I can't wait for the day you have to attach FF cine cams to lenses instead of the other way around.

S-Cinetone color to my eyes is much improved over Cine & Pro color profiles. Finally yellows fall into place easily and correctly, and the tint seems much more natural out of the box. I was almost upset with how fast I was able to grade compared to usual. If you need a wider dynamic range, it is easy to pair S-Cinetone color with the older Cine1-4 gamuts and get great results. I don't shoot Log, but the 10-bit recording or up-to 16-bit output should help considerably with that.

Overall this is an incredible camera and I regret not upgrading sooner. Sony seems to have actually listened to users and introduced sweeping ergonomic and QOL improvements compared to earlier models. Clients genuinely and regularly notice the improved quality and I genuinely notice the improved everything else. These cameras are not for beginners, however, and I honestly recommend a full read of the online user manual to start to understand the insanely deep (sometimes frustratingly so) feature set. Unusually, with the higher bit depth RAW output (yay full-sized HDMI!) and USB-C power/transfer, these cameras promise to have an unusually long service life; there's a very good chance I'll still be using these even 10 years from now!

Attached is a comparison in size/shape of A7C, A7IV, and FX3. CV 21, 110, and 65 lenses. While the FX3 is larger and deeper than A7C, it is still smaller than the A7IV when considering the viewfinder, but otherwise a similar depth and width.

I recently had the pleasure of diving into the cinematic wonders with the Sony FX3 for my new job. I can confidently say this this camera is a game-changer. Whether you're an amateur filmmaker or a pro, this camera has the perfect blend of features to bring your creative visions to life.

First, the Sony FX3's stunning 10.2-megapixel full-frame sensor delivers breathtaking image quality. The dynamic range is exceptional, allowing you to capture rich details in both shadows and highlights. The colors are vivid and true to life, which will undoubtedly elevate your storytelling. This camera's capability to shoot in low light is nothing short of remarkable, enabling you to really acheieve that cinematic look.

But it is not just about the specs-the FX3 is a testament to Sony's commitment to innovation. The camera's lightweight and compact design make it incredibly versatile, whether you're shooting handheld or rigging it up. It is friendly, meaning it's not intimidating to newcomers, yet advanced enough to keep the pros excited.

The inclusion of in-body image stabilization is a game-changer, providing smooth, jitter-free shots without the need for additional stabalizing equipment. This feature alone makes the Sony FX3 stand out in its category.

I think what truly sets the FX3 apart is its filmmaker-centric design. The dual audio inputs are a dream come true for anyone who values top-notch sound quality. The touchscreen interface is intuitive and responsive. Furthermore, the numerous customizable buttons allow for quick access to your most-used functions.

From a logical perspective, the dual card slots are a blessing for extended recording times, and the long-lasting battery means you can shoot for hours without interruption. Sony's attention to detail with cable management and cooking systems enhances the overall usability of the camera.

While it may be slightly pricier than some of its competitors, the Sony FX3 is a sound investment for any filmmaker. Its quality ensure that it will serve you for many years.

In conclusion, the Sony FX3 is the perfect cinematic tool that combines functionality, user-friendliness, and top-tier performance. It allows creators of all levels to produce breathtaking visuals and captivating narratives. If you are serious about filmmaking, this camera is a must-have. Give it a try, and you will never want to put it down. The Sony FX3 is more than just a camera; it's an extension of your creative soul.