Thanks for the review, I've just filmed feature on the FX3...loved it, but now I'm planning on purchasing a FX30 ,for all the reasons you have shown. One of the other reasons is that this film was 98% shot from the Ronin RS3 and after six weeks of action film , weight is Very important to me. Grams shaved off of smaller lenses, even to choose rather not the Ninja, but record internally.....these all have made my choice concrete. I shall be looking out for further tips and following your experiences with the FX30. LOL it's great to be liberated to be able create YOUR OWN films free from the preachings of the "informed"
Thanks for watching! The FX3 is amazing. I almost pulled the trigger on that but I had the A7iv which for me, gave me adequate low light and the price of the 30 was a really big factor. I hear you on the gimbal. It’s really important to have a light setup we can run with all day without killing ourselves. There are some real advantages to shooting internally. Not only smaller file sizes and rig but I’ve found raw footage to be quite noisy in low light. Color space is the downside but Im happy with the results I’ve been able to get form the 10bit footage. Also I shot everything at HS codec. I can’t see the difference between it and all I. Files are much smaller and play well on most modern computers. What are your thoughts on internal settings? Have you seen an advantage to shooting the high bitrate?
Awesome video Rob! I recognized the sound person in your BTS B-roll clips 😏 You have a LOT of valuable information to share on RUclips and there ARE people actively looking for YOUR message! I'm happy you're continuing to create content and share your expertise.
Yep, got you in the vid in a couple of spots :) Thanks buddy. I enjoy making the vids and am getting faster at production so I think I can post more often. One issue Im having is how bad my voice sounds on iPhone speakers when compared to other content creators. It sounds fine on audio monitors, headphones and laptop speakers but on iPhone, it's just a muffled mess. The MKE2 was slightly better than the DJI but still not great. I removed the compression but that didn't seem to do much. Next time I'll record in another location and see if that fixes. Gotta figure this out as I know a lot of people watch videos on their phones without earbuds.
Thanks for the video. I’m slowly learning filmmaking. My purchase of choice was the FX30 and established people kinda discouraged me saying even Sony had cheaper option for full frame. I love it and im just beginning so it will be used for years. I’m glad you mentioned light. Lighting has been my focus of learning along with audio just because that’s probably one of my favorite part of videography. New sub here
Thanks so much for subscribing! I have both full frame and super 35 cams. The difference isn't night and day and I often find myself reaching for my FX30 over my A7iv because it's simply more filmmaker friendly. Even when shooting on my Blackmagic FF, I often shoot is 4k Super 35 crop made as it increases rolling shutter performance. I'm just never going to be convinced that a 1.5x crop is a world of difference particularly when your downsampling from a 6K sensor. But cams aside, I agree with you focusing on lighting and audio. I'm actually really glad you mentioned audio is sadly its too much of an after thought to many solo filmmakers. Invest in a nice external recorder, a good quality boom and a decent lav. All of these devices will serve you long after your camera's obsolete
Very helpful video! Thank you! A video where you talk about your approach to how you would shoot one particular scene would be very interesting! Looking forward to more videos from you.
Thanks! yeah, I'm really happy with it. When I made the switch to Sony I got the A7iv. The 30 was supposed to be the B cam. Other than low light shoots, its now my A cam
@@RobertConwayMovieGuy The Sony FX30 is my first Sony & mirrorless camera. I was a Nikon shooter beforehand. I still have my Nikon DSLR but I only use it for stills. The transition wasn’t as difficult as I imagined. I’ve always heard that Sony cameras were not user friendly settings wise. I know over the years they simplified things. I think I got in at the perfect time because I didn’t have any issues figuring things out.
@@CaptureLifeConnection yeah. The UI was terrible a few years ago. The FX30 is the best I’ve seen on a Sony so far. I was Red for a very long time, then when crews got smaller and budgets got tighter I got into Panasonic then Blackmagic. I still love those systems but for micro filmmakers, I find that Sony is the superior offering. I also love shooting in low light and Sony is the best I’ve seen. Feeling confident that I can shoot a scene draped in shadows and knowing I’ll get a relatively clean image has let me light the way I want to and not what’s safe for exposure.
Really interesting, video and your whole channel! Would love to hear how are you handling your distribution, since it seems, and always been, the hardest part to solve for indie filmmakers.
Thanks so much! Distribution is key. Better still, finding a good distributor who pays and reports on time. I’ve been very lucky to have partnered with Uncork’d Entertainment on all my films save my first one where I got scammed by an unethical company. I will be making a video about distribution at some point. First thing is to make a film distributors want. On small budgets that’s basically going to be Horror, Science Fiction, Action or even Western. Some combination of these is usually the best approach. Cross breeding a Horror with a Western or Sci Fi will put you in a good position. Second part of this is to know what to look for in a distribution agreement and how to spot red flags. I will try and make a video on this soon so be sure to subscribe 😊👍🎥
Great video. I am shooting on a c100 Mark II right now. I just started making little shorts. Lights seem to be the main thing I need to get from everything I've been learning. I only get 1080p with this camera but I'm ok with that until I can get better, maybe in a couple years I will upgrade to a Sony Fx3. Thanks for posting when you can!
You're on the right track by considering lighting before a camera upgrade. And a good clean 1080 you probably get from the c100 is likely all you'll need for a while. Start with one big light and learn how to use with simple bounce made from foam core, poster board or other house hold items. Next consider two smaller lights for fill and back but for the most dramatic shots, one light is all you need... Most of the time :) thanks for watching the video!!
@@RobertConwayMovieGuy Robert, what beginner microphone would you use, should I jump into saving for a Sennheiser MKH 416, or do you know of a lower cost mic that would be ok to start out with? Thanks
@@BeanCrosbydoodles I would say the Deity S-Mic 2 is a great starting point and you can pick one up for less than 300$. Investing in a higher end mic though is not a terrible idea. I went big on the Schoeps CMC641 about five years ago and I’ve used it on every set since then. Mics tend to have a longer shelf life than cameras as the tech just doesn’t seem to advance as fast. Still 1k is lot. It’s also good to remember that in order to properly capture location dialogue, you’re gonna need to invest in lavs as well. In many on location mixes, the lav tracks are simply the cleanest. Sucks to say it but it’s true as most of the locations we end up shooting in far from acoustically sound. If you’re looking to spend 1k on a single mic, consider everything else you’re gonna need as well. Usually 4 lavs and a quality recorder like the Zoom F6. I think if you search RUclips for comparisons between Deity and more expensive brands, you’ll like what you see. Deity is an Aputure company and with Deity they are doing for sound records what their COB’s and panels did for lighting. Professional productions at a fraction of the cost of legacy brands.
Hi Robert, great video and very encouraging!! 🙂 I did some no budget feature films some time ago and I'm currently looking for a new camera. The FX30 is currently my favourite and your video confirms my decision. In fact I want to be able to do some night shots as well, e.g. in a street downtown. I would use an F1.8 prime lens. Do you think the FX30 would be capable enough for such a scenario?
Hi Hartman. Thanks so much for checking out the video! At the second base ISO of 2500, the footage is pretty clean. Because of the cropped sensor though, it’s not a camera that thrives in low light. If you’re planning on shooting with only available light, you may need to do a bit of denoiseing in post. I recommend the Neat denoiser. I use DaVinci Resolve but I think it’s available for Adobe Premier and FCP as well. I’ve done some test with my A7iv in the situation you’re describing and I really loved the results. That has the full frame sensor and a second ISO of 3200. Of course the best for extreme low light will always be the A7siii or the FX3. Both have the same full frame sensor with a second base ISO of 12800.
Hi sir... I am arun balaji from india, state of tamilnadu thankyou very very much for your contribution independent filmmaking videos... Thanks a lot 🙏🙏🙏💫💫💫
Fx 30 owner here and FX 3 u can get on both 12 bit raw vie hdmi if u didnt know that i use the ninja 5 plus or the shogun 7 inferno way more latitude and room for exposure and color grading
I know. And I have considered it. I have the Blackmagics and a Red. the issue for he is that I wound need to transcode in Final Cut or Premiere. Not the end of the world but another step in my workflow as I'm 99% DaVinci Resolve. With they supported Pro Rez raw. My friend as a Ninja V. I do plan on testing it for sure!
I've shot quite a few short films on my fx30 and plan to shoot my first feature on it as well. Loads of other RUclipsrs have shown that this camera is insanely good and punches way above its price point in terms of the image it delivers. It's not a low light beast but it is much better In low light than most other super 35 cameras. Something to note, the fx30 is insanely usable when shooting at isos beyond 2500. Multiple RUclipsrs have tested it. You do sacrifice some.dynamkc range but you usually don't need much in lowlight situations
It’s a great option. As far as what ISO is usable, that’s really a subjective thing. Personally I try and keep it at 800 for 24 and 100 (or slowest speed) at 120. For sure 2500 on FX30 is better than my Blackmagic at 3200.
When you say you're using autofocus, are you shooting most/all scenes with continuous focus on? Or are you using it to acquire initial focus? When you don't have a dedicated focus puller and need a focus pull shot, do you find AF Is good enough? Thanks
With the Sony cams, I use continuous AF. Tip, many reassign the shutter button to be stop and go. Don’t do this. Leave in default position and hold down if you have a subject in motion or a subject that’s going to leave frame. Pressing down on shutter locks focus on subject and prevents focus hunting. For racking focus, adjust settings to slow focus pull speed and it will look more natural. But if using photo glass, breathing will be quite noticeable. For the most part I use phot glass with this system so I don’t do a lot of focus pulls
How did you find the the autofocus? Did you have issues with focus hunting? I'd be concerned I wouldn't notice small 'hunts' until after the shoot. Great insight on practical micro-budget use. I'm currently shooting a feature on a bmpcc 4k (using what I have). Thinking of upgrading to the fx30 for my next project - primarily for ibis and autofocus.
The Pocket 4K is a great cam. I still shoot on Blackmagic as well. For image quality and price, they can’t be beat. Micro hunting on the FX30 and other Sony cams can be avoided by stopping down to a 2.8 and holding down (but not pressing the shutter button) if you want to shoot at 2.0 or faster. Holding down (but not pressing) the shutter button will lock the focal length and prevent hunting. Many Sony users change the shutter button to stop and go recording but I don’t as this would run the risk of cutting by accident.
@@RobertConwayMovieGuy That’s great to hear there’s a solution for autofocus. I’m more interested in shooting at f2.8 or f4.0 as much as possible. Using the smallrig follow focus for bmpcc. It’s good, but I feel I only get 95% focus
@@simondebrun 95% is pretty damn good. but yeah, If your directing and shooting, pulling your own focus is frustrating. It's hard to watch your actors and worry about focus.
Flexible iso instead of native? Haven’t ventured that way yet. I always shoot either 800 or 2500. So you’re saying that there are benefits in shooting at higher ISO values?
Hi. Flexible ISO over Cine EI, however since making this video, I’ve actually begun to use Cine EI and it’s somewhat useful. However, when shooting 4k 120 FPS, use flexible at 200 ISO for best results. I’ve never pushed the ISO past the native. 99% of the time, I stay at 800. 2,500 is okay, but in a low light situation, the FX30 isn’t the greatest. But no, I would never want to push the ISO past 2500.
Thanks! Heres where I get all my rings. followfocusgears.com/products/copy-of-seamless-follow-focus-gear-ring-for-rokinon-14mm-f2-8-ed-as-if-umc-pro-red-stripe-lens
Did you use S&Q mode for 120fps, or used 120fps in movie mode? I can’t imagine how iso200 could be useful in this case and do any meaningful, because shooting below native iso is basically just throwing away lower stops of dynamic range in camera. Better way to do the same - overexpose by 2 stops at native iso, and lower exposure in post, this way you will save some additional details in shadows, and rest will be the same to your method. And always shoot 120fps in S&Q mode, if you recording in camera. S&Q mode have twice as high bitrate per frame, than 120fps in movie mode, and it can be noticeable in some dynamic scenes. TLDR: don’t use iso below native, instead of this overexpose; don’t shoot 120fps in movie mode, use S&Q mode with higher bitrate per frame. Same advice for FX3.
@@igorzhidkov1957 Even with two stops over the footage is incredibly noisy in the shadows. Lowering the ISO makes a huge difference but yes, you loose dynamic range. If you don’t want to go to 200, try 400. It’s still a world better than the native. However the results good enough to where the trade off is worth it to me. The FX3 really is a different beast. The lower megapixel sensor full frame sensor combined with less crop at 120 are probably contributing factors. Yes, S&Q always. Don’t care that I’m loosing audio when shooting HFR.
@ iso 200 is exactly 2 stops relative to iso 800. And going below native you don’t recovering any additional highlights, you just moving clipping point down, and throwing away lower stops, but in camera. The only reasons to use isos below native - faster grading in post and convenience while exposing your footage, but with cine ei and lut turned on you have exact same convenience - on monitor scene looks the same as when using iso200, but without affecting actual footage. You can test it yourself in controlled environment, and compare results, i am just trying to share some non-obvious experience with this camera❤️
never a bad idea with this camera, just doesn’t seem to be as clean. But I’ll test it again going as bright as I can without clipping. I’ll shoot it in Cine EI mode dropped all the way down.
Is fx30 is complete full frame or not, is it ok to shoot features film for 70mm screen I thought it is APSC semi full frame of 33.5mm not 35 full frame… if someone reading and have answers for questions please explain me
@@4kfilmstudioproduction534 APSC or in cinema terms is super 35. About .5 smaller than full frame. For a very long time digital cinema was dominated by APSC/Super 35. Recently manufacturers of high end cinema cameras have started offering large format sensors like the Arri LF, Red Raptor, Sony Venice II. It’s a strange way this came about because professional followed prosumers lead. As for 7OMm that’s IMAX so it would be interesting to see. Resolution may be a bigger factor than sensor size. The more resolution, the higher amount of detail but honestly, I don’t know. Only one thing I will say is that many Hollywood features were shot on cameras like the Alexa Mini that utilized a sensor that wastes full frame and unable to shoot native 4K. Many of these films played in cinemas all over the world without any issues.
my personal opinion....if Sony made an FX30 with 12 MP like what Panasonic did with the GH5S for low light...add one or two stops of dynamic range and nobody would ever buy an FX3 full frame again.
@@junglisttt well it’s hard to say. If you’re going to use the audio handle rather than an external recorder, you will be limited to 24 bit audio in any case. I’m not crazy about audio handle noise floor when compared to external recorders but it’s not terrible. If you only have money for one mic, I would probably have to recommend the shotgun but I hesitate because often the dialogue I end up using in the final mix is from the lavs. This has a lot to do with locations as well. If you’re in environments that are generally quite or where you control the amount of noise, then a good boom will always be the preferred option. For dialog booms, there are many good options. My go to mic for INT. Dialogue is the Schopes CMD 42 as its has the cleanest noise floor of anything I’ve used and captures rich and vibrant vocals. The budget option, and the mic I use for EXT is the Diety S-Mic 2. This is a great mic and punches way above it weight. Cost about 250$ as apposed to the Schopes witch is about 1,200$. Most important though regardless of what you go with, you need to get the mic as close to talent as possible. So a lav on the talents body or a pole just out of frame. Any mounted to camera options aren’t going to be good enough for cinema level dialogue. Hope this helps and good luck with your shoot!
@@RobertConwayMovieGuy It's much better. Will be shooting some shorts and budget films in Spain and West Africa. Let me know if you are ever over here. Great helpful content
@@nyambe I just downloaded it. The only question I have is that if a LUT is enabled, it seems to change the IRE value of the false color. I usually send a clean signal to my monitors to avoid this. Gotta see if there's a way to do it. And for sure! I would love to travel there some day. I'd love to see the footage you shoot!
I’ve started using it. Except when shooting 4K 120 fps because 800 is way too noisy for that. It’s a decent tool that tried to help provide a better preview of how the footage could look by displaying the dynamic range of the base ISO. Issue is that log shooting with assist LUTS is still never a perfect one to one. I’ve got a lot of custom LUTS I’ve installed that are a better representation of my typical grading style than the stranded Sony but again, it’s not an exact science.
What if You shot ur big budget movie with FX30 and I shot similar movie with Arri alexa and you have best of the best editor and more than enough time, do you think you can get similar image on big screen and wide screen TV?
The short answer is yes. And that's crazy but I believe the film wouldn't be made or broken by the camera choice. There are a plethora off good reasons why a film with a budget wouldn't reach for a pro-sumer product like the FX30 as their first choice, but with a Hollywood level DOP and colorist, it would be entirely doable. Just look at The Creator which was shot on the FX3. Not a vast difference in image quality from the 30. I used an A7Siii on this film which has that same sensor and the footage cuts together near seamlessly. The reason big budget films tend to prefer Arri is that the color science is the best there is. But i think the Sony Venice has taken Reds place as the 2nd choice for most Hollywood DOP's. Its amazing that we live in an age where a sub 2K cam can produce quality that could hold it's own on major motion pictures. For example, Blackmagic pockets have been used for years as crash cams on major films and television and unless you watch a BTS you'd never know it.
Thanks for checking out the video. We don’t have a release date yet. I’m still in post and will be for a couple more months. Then I send to the distributor and we get a release date. Usually within 6 months after I delved and we get through QC.
As long as you don’t need more than ISO 2500 (& most pro Cinema cameras don’t ever go higher than 3200!) the FX30 is a BETTER image than the FX3- the down-sampled image is cleaner & better! If they ever allowed for full sensor external RAW feed for a recorder no one would buy an FX3- which is why they probably won’t ever allow that!
@ You seriously think that sensor size determines image quality?!? Tell that to all the award winning movies shot on Super 35! Do a bit of research on the people who actually have tested the sensors of both the FX3 and FX30 - I am simply quoting the results! Honestly there is NO modern cinema camera out there that cannot create great images with our current tech. The reality is that the FX30 does beat the FX3 at lower ISO’s- the FX3 cleans up in the ‘dark’.
Makes no sense to me… You went from a Red to the FX 30. That’s like going from a Lamborghini to a Volkswagen bus. And you admitted that the dark scenes were shot on the a7s3. Thanks for the transparency. The FX 30 with its rinky-dink baby sensor… Makes no sense.
The reasons I made that decision are explained in the video. There are many things to consider when picking a camera for a job. Overall image quality can’t be the only consideration when funds are tight and workload is high. The lightweight system with amazing autofocus wins over the big cinema rig on a micro budget feature. Just the way it is.
Thanks for the review, I've just filmed feature on the FX3...loved it, but now I'm planning on purchasing a FX30 ,for all the reasons you have shown. One of the other reasons is that this film was 98% shot from the Ronin RS3 and after six weeks of action film , weight is Very important to me. Grams shaved off of smaller lenses, even to choose rather not the Ninja, but record internally.....these all have made my choice concrete.
I shall be looking out for further tips and following your experiences with the FX30.
LOL it's great to be liberated to be able create YOUR OWN films free from the preachings of the "informed"
Thanks for watching! The FX3 is amazing. I almost pulled the trigger on that but I had the A7iv which for me, gave me adequate low light and the price of the 30 was a really big factor. I hear you on the gimbal. It’s really important to have a light setup we can run with all day without killing ourselves. There are some real advantages to shooting internally. Not only smaller file sizes and rig but I’ve found raw footage to be quite noisy in low light. Color space is the downside but Im happy with the results I’ve been able to get form the 10bit footage. Also I shot everything at HS codec. I can’t see the difference between it and all I. Files are much smaller and play well on most modern computers. What are your thoughts on internal settings? Have you seen an advantage to shooting the high bitrate?
What a refreshing type of video. Really enjoyed it.
Glad you enjoyed it!
I love the fx30
Its a lot of fun :)
Awesome video Rob! I recognized the sound person in your BTS B-roll clips 😏 You have a LOT of valuable information to share on RUclips and there ARE people actively looking for YOUR message! I'm happy you're continuing to create content and share your expertise.
Yep, got you in the vid in a couple of spots :) Thanks buddy. I enjoy making the vids and am getting faster at production so I think I can post more often. One issue Im having is how bad my voice sounds on iPhone speakers when compared to other content creators. It sounds fine on audio monitors, headphones and laptop speakers but on iPhone, it's just a muffled mess. The MKE2 was slightly better than the DJI but still not great. I removed the compression but that didn't seem to do much. Next time I'll record in another location and see if that fixes. Gotta figure this out as I know a lot of people watch videos on their phones without earbuds.
Thanks for the video.
I’m slowly learning filmmaking. My purchase of choice was the FX30 and established people kinda discouraged me saying even Sony had cheaper option for full frame. I love it and im just beginning so it will be used for years. I’m glad you mentioned light. Lighting has been my focus of learning along with audio just because that’s probably one of my favorite part of videography. New sub here
Thanks so much for subscribing! I have both full frame and super 35 cams. The difference isn't night and day and I often find myself reaching for my FX30 over my A7iv because it's simply more filmmaker friendly. Even when shooting on my Blackmagic FF, I often shoot is 4k Super 35 crop made as it increases rolling shutter performance. I'm just never going to be convinced that a 1.5x crop is a world of difference particularly when your downsampling from a 6K sensor. But cams aside, I agree with you focusing on lighting and audio. I'm actually really glad you mentioned audio is sadly its too much of an after thought to many solo filmmakers. Invest in a nice external recorder, a good quality boom and a decent lav. All of these devices will serve you long after your camera's obsolete
Very helpful video! Thank you! A video where you talk about your approach to how you would shoot one particular scene would be very interesting! Looking forward to more videos from you.
Thanks for watching! I just made a vid on the making of “Skinwalker” it’s on my channel. It’s a long one but it has my commentary on a few scenes 😊👍🎥
@@RobertConwayMovieGuyExcellent! Will watch it later today or tomorrow.. Love it! :) Thanks again.
thanks!@@Eyvind-kn8gl
Great vid. You explained yourself well. I’ve also been impressed with the Sony FX30. For what I do it’s perfect. 🏆
Thanks! yeah, I'm really happy with it. When I made the switch to Sony I got the A7iv. The 30 was supposed to be the B cam. Other than low light shoots, its now my A cam
@@RobertConwayMovieGuy
The Sony FX30 is my first Sony & mirrorless camera. I was a Nikon shooter beforehand. I still have my Nikon DSLR but I only use it for stills.
The transition wasn’t as difficult as I imagined. I’ve always heard that Sony cameras were not user friendly settings wise. I know over the years they simplified things. I think I got in at the perfect time because I didn’t have any issues figuring things out.
@@CaptureLifeConnection yeah. The UI was terrible a few years ago. The FX30 is the best I’ve seen on a Sony so far. I was Red for a very long time, then when crews got smaller and budgets got tighter I got into Panasonic then Blackmagic. I still love those systems but for micro filmmakers, I find that Sony is the superior offering. I also love shooting in low light and Sony is the best I’ve seen. Feeling confident that I can shoot a scene draped in shadows and knowing I’ll get a relatively clean image has let me light the way I want to and not what’s safe for exposure.
Love your take on the camera, super informative (and honest!) it makes me excited to get out with my FX30 asap!
Thanks! And, get shooting for sure. It's a great little camera :)
love the channel.... very informative I look forward to watching your film....
Thanks so much. Appreciated 👍😊
Great video! A lot of cinematographers even at the pro level have started using autofocus!
@@sonycine thanks so much for watching and for making such awesome cameras. Yes, autofocus is a true professional tool at this point.
Really interesting, video and your whole channel! Would love to hear how are you handling your distribution, since it seems, and always been, the hardest part to solve for indie filmmakers.
Thanks so much! Distribution is key. Better still, finding a good distributor who pays and reports on time. I’ve been very lucky to have partnered with Uncork’d Entertainment on all my films save my first one where I got scammed by an unethical company. I will be making a video about distribution at some point. First thing is to make a film distributors want. On small budgets that’s basically going to be Horror, Science Fiction, Action or even Western. Some combination of these is usually the best approach. Cross breeding a Horror with a Western or Sci Fi will put you in a good position. Second part of this is to know what to look for in a distribution agreement and how to spot red flags. I will try and make a video on this soon so be sure to subscribe 😊👍🎥
Great video. I am shooting on a c100 Mark II right now. I just started making little shorts. Lights seem to be the main thing I need to get from everything I've been learning. I only get 1080p with this camera but I'm ok with that until I can get better, maybe in a couple years I will upgrade to a Sony Fx3. Thanks for posting when you can!
You're on the right track by considering lighting before a camera upgrade. And a good clean 1080 you probably get from the c100 is likely all you'll need for a while. Start with one big light and learn how to use with simple bounce made from foam core, poster board or other house hold items. Next consider two smaller lights for fill and back but for the most dramatic shots, one light is all you need... Most of the time :) thanks for watching the video!!
@@RobertConwayMovieGuy 🙏 Thank you for the guidance!
@@RobertConwayMovieGuy Robert, what beginner microphone would you use, should I jump into saving for a Sennheiser MKH 416, or do you know of a lower cost mic that would be ok to start out with? Thanks
@@BeanCrosbydoodles I would say the Deity S-Mic 2 is a great starting point and you can pick one up for less than 300$. Investing in a higher end mic though is not a terrible idea. I went big on the Schoeps CMC641 about five years ago and I’ve used it on every set since then. Mics tend to have a longer shelf life than cameras as the tech just doesn’t seem to advance as fast. Still 1k is lot. It’s also good to remember that in order to properly capture location dialogue, you’re gonna need to invest in lavs as well. In many on location mixes, the lav tracks are simply the cleanest. Sucks to say it but it’s true as most of the locations we end up shooting in far from acoustically sound. If you’re looking to spend 1k on a single mic, consider everything else you’re gonna need as well. Usually 4 lavs and a quality recorder like the Zoom F6. I think if you search RUclips for comparisons between Deity and more expensive brands, you’ll like what you see. Deity is an Aputure company and with Deity they are doing for sound records what their COB’s and panels did for lighting. Professional productions at a fraction of the cost of legacy brands.
Hi Robert, great video and very encouraging!! 🙂
I did some no budget feature films some time ago and I'm currently looking for a new camera. The FX30 is currently my favourite and your video confirms my decision.
In fact I want to be able to do some night shots as well, e.g. in a street downtown. I would use an F1.8 prime lens. Do you think the FX30 would be capable enough for such a scenario?
Hi Hartman. Thanks so much for checking out the video! At the second base ISO of 2500, the footage is pretty clean. Because of the cropped sensor though, it’s not a camera that thrives in low light. If you’re planning on shooting with only available light, you may need to do a bit of denoiseing in post. I recommend the Neat denoiser. I use DaVinci Resolve but I think it’s available for Adobe Premier and FCP as well. I’ve done some test with my A7iv in the situation you’re describing and I really loved the results. That has the full frame sensor and a second ISO of 3200. Of course the best for extreme low light will always be the A7siii or the FX3. Both have the same full frame sensor with a second base ISO of 12800.
couldnt agree with you more, i always come back to the fx30 so much
@@zerakhu I know, right. It’s just such a fun little camera to use
Great info! Very helpful:) Your film looks awesome! Good luck with the release:)
Hi sir... I am arun balaji from india, state of tamilnadu thankyou very very much for your contribution independent filmmaking videos... Thanks a lot 🙏🙏🙏💫💫💫
Thank you! I really appreciate that. And check back soon. I'll have a new video up in a couple of days
Fx 30 owner here and FX 3 u can get on both 12 bit raw vie hdmi if u didnt know that i use the ninja 5 plus or the shogun 7 inferno way more latitude and room for exposure and color grading
I know. And I have considered it. I have the Blackmagics and a Red. the issue for he is that I wound need to transcode in Final Cut or Premiere. Not the end of the world but another step in my workflow as I'm 99% DaVinci Resolve. With they supported Pro Rez raw. My friend as a Ninja V. I do plan on testing it for sure!
I've shot quite a few short films on my fx30 and plan to shoot my first feature on it as well. Loads of other RUclipsrs have shown that this camera is insanely good and punches way above its price point in terms of the image it delivers. It's not a low light beast but it is much better In low light than most other super 35 cameras. Something to note, the fx30 is insanely usable when shooting at isos beyond 2500. Multiple RUclipsrs have tested it. You do sacrifice some.dynamkc range but you usually don't need much in lowlight situations
It’s a great option. As far as what ISO is usable, that’s really a subjective thing. Personally I try and keep it at 800 for 24 and 100 (or slowest speed) at 120. For sure 2500 on FX30 is better than my Blackmagic at 3200.
Great video. Very validating. I bought the FX30 cuz AZ noon sun vs. budget and have not been sorry. Thank you!
Glad to hear it! Its a fun little cam that gets it done for sure
You're my inspiration ROBERT.
thanks very nice of you
When you say you're using autofocus, are you shooting most/all scenes with continuous focus on? Or are you using it to acquire initial focus? When you don't have a dedicated focus puller and need a focus pull shot, do you find AF Is good enough? Thanks
With the Sony cams, I use continuous AF. Tip, many reassign the shutter button to be stop and go. Don’t do this. Leave in default position and hold down if you have a subject in motion or a subject that’s going to leave frame. Pressing down on shutter locks focus on subject and prevents focus hunting. For racking focus, adjust settings to slow focus pull speed and it will look more natural. But if using photo glass, breathing will be quite noticeable. For the most part I use phot glass with this system so I don’t do a lot of focus pulls
@@RobertConwayMovieGuythanks for taking the time to make such a helpful reply. Have a great Christmas.
@@lighthousephoto7143you’re very welcome and same to you
I just got mines from A7 series full frame to Apsc . And I am excited to use .
@@Len-Dor1983 cool. The A7siii or iv? I have the iv. Great little cam
@@RobertConwayMovieGuy A7s to the fx30 original plan was to acquire the A7siii but I chose the fx30 price and quality was better .
Thinking of trading my a7iii for one
@@str8poisintv131 I would say if most of your work is video, it would be a good move.
How did you find the the autofocus? Did you have issues with focus hunting? I'd be concerned I wouldn't notice small 'hunts' until after the shoot. Great insight on practical micro-budget use. I'm currently shooting a feature on a bmpcc 4k (using what I have). Thinking of upgrading to the fx30 for my next project - primarily for ibis and autofocus.
The Pocket 4K is a great cam. I still shoot on Blackmagic as well. For image quality and price, they can’t be beat. Micro hunting on the FX30 and other Sony cams can be avoided by stopping down to a 2.8 and holding down (but not pressing the shutter button) if you want to shoot at 2.0 or faster. Holding down (but not pressing) the shutter button will lock the focal length and prevent hunting. Many Sony users change the shutter button to stop and go recording but I don’t as this would run the risk of cutting by accident.
@@RobertConwayMovieGuy That’s great to hear there’s a solution for autofocus. I’m more interested in shooting at f2.8 or f4.0 as much as possible.
Using the smallrig follow focus for bmpcc. It’s good, but I feel I only get 95% focus
@@simondebrun 95% is pretty damn good. but yeah, If your directing and shooting, pulling your own focus is frustrating. It's hard to watch your actors and worry about focus.
@@RobertConwayMovieGuy Yup. You nailed it. Ideally I’d love a follow focus that guides the autofocus. Best of both worlds
dope vid man
Thanks!
Flexible iso instead of native? Haven’t ventured that way yet. I always shoot either 800 or 2500. So you’re saying that there are benefits in shooting at higher ISO values?
Hi. Flexible ISO over Cine EI, however since making this video, I’ve actually begun to use Cine EI and it’s somewhat useful. However, when shooting 4k 120 FPS, use flexible at 200 ISO for best results. I’ve never pushed the ISO past the native. 99% of the time, I stay at 800. 2,500 is okay, but in a low light situation, the FX30 isn’t the greatest. But no, I would never want to push the ISO past 2500.
right to the point.. Dope review. What gear rings are you using on your lens?
Thanks! Heres where I get all my rings. followfocusgears.com/products/copy-of-seamless-follow-focus-gear-ring-for-rokinon-14mm-f2-8-ed-as-if-umc-pro-red-stripe-lens
Did you use S&Q mode for 120fps, or used 120fps in movie mode? I can’t imagine how iso200 could be useful in this case and do any meaningful, because shooting below native iso is basically just throwing away lower stops of dynamic range in camera. Better way to do the same - overexpose by 2 stops at native iso, and lower exposure in post, this way you will save some additional details in shadows, and rest will be the same to your method. And always shoot 120fps in S&Q mode, if you recording in camera. S&Q mode have twice as high bitrate per frame, than 120fps in movie mode, and it can be noticeable in some dynamic scenes.
TLDR: don’t use iso below native, instead of this overexpose; don’t shoot 120fps in movie mode, use S&Q mode with higher bitrate per frame. Same advice for FX3.
@@igorzhidkov1957 Even with two stops over the footage is incredibly noisy in the shadows. Lowering the ISO makes a huge difference but yes, you loose dynamic range. If you don’t want to go to 200, try 400. It’s still a world better than the native. However the results good enough to where the trade off is worth it to me. The FX3 really is a different beast. The lower megapixel sensor full frame sensor combined with less crop at 120 are probably contributing factors. Yes, S&Q always. Don’t care that I’m loosing audio when shooting HFR.
@ iso 200 is exactly 2 stops relative to iso 800. And going below native you don’t recovering any additional highlights, you just moving clipping point down, and throwing away lower stops, but in camera. The only reasons to use isos below native - faster grading in post and convenience while exposing your footage, but with cine ei and lut turned on you have exact same convenience - on monitor scene looks the same as when using iso200, but without affecting actual footage. You can test it yourself in controlled environment, and compare results, i am just trying to share some non-obvious experience with this camera❤️
never a bad idea with this camera, just doesn’t seem to be as clean. But I’ll test it again going as bright as I can without clipping. I’ll shoot it in Cine EI mode dropped all the way down.
Is fx30 is complete full frame or not, is it ok to shoot features film for 70mm screen I thought it is APSC semi full frame of 33.5mm not 35 full frame… if someone reading and have answers for questions please explain me
@@4kfilmstudioproduction534 APSC or in cinema terms is super 35. About .5 smaller than full frame. For a very long time digital cinema was dominated by APSC/Super 35. Recently manufacturers of high end cinema cameras have started offering large format sensors like the Arri LF, Red Raptor, Sony Venice II. It’s a strange way this came about because professional followed prosumers lead. As for 7OMm that’s IMAX so it would be interesting to see. Resolution may be a bigger factor than sensor size. The more resolution, the higher amount of detail but honestly, I don’t know. Only one thing I will say is that many Hollywood features were shot on cameras like the Alexa Mini that utilized a sensor that wastes full frame and unable to shoot native 4K. Many of these films played in cinemas all over the world without any issues.
Very helpful....
Thanks!
haven't cause a issue with me and is now trying to keep up with the understanding of the color grading in cinema
It can be a little difficult at first. What program are you using to grade?
@ Davinchi and premier pro. I like messing with the waves
@@ThisGuyMelMedia I have a lot more luck in DaVinci.
my personal opinion....if Sony made an FX30 with 12 MP like what Panasonic did with the GH5S for low light...add one or two stops of dynamic range and nobody would ever buy an FX3 full frame again.
I agree. It was amazing how good 5S was in low light w such a small sensor.
Fx30 with 8.8mp like the fx9 in super 35 mode
That's exactly the reason why they made the FX30 like that
I guess what you don’t understand is what’s coming… There will be an FX four, 6K and 12 bit. And that would be the end of the competition.
@@2424rocketWhen?
Great video!!
Thank you!
Should I get a shotgun mic or lav´s first for my FX3? For short film making and documentaries ( experimental stage) Any recommendations? New SuB!
@@junglisttt well it’s hard to say. If you’re going to use the audio handle rather than an external recorder, you will be limited to 24 bit audio in any case. I’m not crazy about audio handle noise floor when compared to external recorders but it’s not terrible. If you only have money for one mic, I would probably have to recommend the shotgun but I hesitate because often the dialogue I end up using in the final mix is from the lavs. This has a lot to do with locations as well. If you’re in environments that are generally quite or where you control the amount of noise, then a good boom will always be the preferred option. For dialog booms, there are many good options. My go to mic for INT. Dialogue is the Schopes CMD 42 as its has the cleanest noise floor of anything I’ve used and captures rich and vibrant vocals. The budget option, and the mic I use for EXT is the Diety S-Mic 2. This is a great mic and punches way above it weight. Cost about 250$ as apposed to the Schopes witch is about 1,200$. Most important though regardless of what you go with, you need to get the mic as close to talent as possible. So a lav on the talents body or a pole just out of frame. Any mounted to camera options aren’t going to be good enough for cinema level dialogue. Hope this helps and good luck with your shoot!
I subscribed
Thanks! I really appreciate it!
Very happy with it. BTW monitor control app has false colors. It’s a good app, it replaces my átomos often
The 3rd party app? Or the native Sony?
@@RobertConwayMovieGuy monitor & control from Sony. Really good. False colors for log and touch focus. I even used it as a talent monitor. Really nice
@@nyambe nice. ill check it out. ive got the 3rd party. didn't know native app does it
@@RobertConwayMovieGuy It's much better. Will be shooting some shorts and budget films in Spain and West Africa. Let me know if you are ever over here. Great helpful content
@@nyambe I just downloaded it. The only question I have is that if a LUT is enabled, it seems to change the IRE value of the false color. I usually send a clean signal to my monitors to avoid this. Gotta see if there's a way to do it. And for sure! I would love to travel there some day. I'd love to see the footage you shoot!
CINE EI is actually quite simple. It just holds you to using one of the 2 native ISO’s.
I’ve started using it. Except when shooting 4K 120 fps because 800 is way too noisy for that. It’s a decent tool that tried to help provide a better preview of how the footage could look by displaying the dynamic range of the base ISO. Issue is that log shooting with assist LUTS is still never a perfect one to one. I’ve got a lot of custom LUTS I’ve installed that are a better representation of my typical grading style than the stranded Sony but again, it’s not an exact science.
What if You shot ur big budget movie with FX30 and I shot similar movie with Arri alexa and you have best of the best editor and more than enough time, do you think you can get similar image on big screen and wide screen TV?
The short answer is yes. And that's crazy but I believe the film wouldn't be made or broken by the camera choice. There are a plethora off good reasons why a film with a budget wouldn't reach for a pro-sumer product like the FX30 as their first choice, but with a Hollywood level DOP and colorist, it would be entirely doable. Just look at The Creator which was shot on the FX3. Not a vast difference in image quality from the 30. I used an A7Siii on this film which has that same sensor and the footage cuts together near seamlessly. The reason big budget films tend to prefer Arri is that the color science is the best there is. But i think the Sony Venice has taken Reds place as the 2nd choice for most Hollywood DOP's. Its amazing that we live in an age where a sub 2K cam can produce quality that could hold it's own on major motion pictures. For example, Blackmagic pockets have been used for years as crash cams on major films and television and unless you watch a BTS you'd never know it.
Thanks so much!
When’s the film out
Thanks for checking out the video. We don’t have a release date yet. I’m still in post and will be for a couple more months. Then I send to the distributor and we get a release date. Usually within 6 months after I delved and we get through QC.
@@RobertConwayMovieGuy no worries ✊🏿
As long as you don’t need more than ISO 2500 (& most pro Cinema cameras don’t ever go higher than 3200!) the FX30 is a BETTER image than the FX3- the down-sampled image is cleaner & better! If they ever allowed for full sensor external RAW feed for a recorder no one would buy an FX3- which is why they probably won’t ever allow that!
Good points. 👍
The FX 30 with its rinky-dink tiny little sensor you think it’s better than the FX three? You need to run to your nearest optometrist.
@ You seriously think that sensor size determines image quality?!? Tell that to all the award winning movies shot on Super 35! Do a bit of research on the people who actually have tested the sensors of both the FX3 and FX30 - I am simply quoting the results! Honestly there is NO modern cinema camera out there that cannot create great images with our current tech. The reality is that the FX30 does beat the FX3 at lower ISO’s- the FX3 cleans up in the ‘dark’.
i bought it and imma buy a sigma lense 18-35
that's a great choice!
It’s still in post so probably next year
hmmm this camera does not get hate from any respectable person...I have two of them 😁
Just the full frame only crowd. lol
No you did not shoot a feature film you shot a feature video… Big difference.
Who are you and what’s your major malfunction?
Makes no sense to me… You went from a Red to the FX 30. That’s like going from a Lamborghini to a Volkswagen bus. And you admitted that the dark scenes were shot on the a7s3. Thanks for the transparency. The FX 30 with its rinky-dink baby sensor… Makes no sense.
The reasons I made that decision are explained in the video. There are many things to consider when picking a camera for a job. Overall image quality can’t be the only consideration when funds are tight and workload is high. The lightweight system with amazing autofocus wins over the big cinema rig on a micro budget feature. Just the way it is.
Great info and good production in your videos. Keep 'em coming, you have a lot of knowledge to share. 📷🎟️🎞️🍿
Thanks buddy.