GEAR
THE GREEN SCENE
SONY FX3
Why buy used? Increasingly popular full-frame workhorse What else might you need? CFexpress Type A cards to unlock all codecs At launch, Sony’s FX3 was touted as a hybrid between a mirrorless and a cinema camera, but retained the main technology of its more conventional mirrorless sibling, the A7S III. That comparison may have harmed its success, since many went for the A7S III – which has a viewfinder – while the FX3 is screen only. Four years on, the FX3 has become even more popular as filmmakers love its improved audio and practical form factor. It features five 1/4in threaded mounting holes, allowing accessories to be attached directly without requiring a cage. The MI Shoe is designed for Sony’s own audio gear, providing power and audio signal transmission without cables or batteries. The camera also has a built-in cooling fan to prevent overheating and a zoom rocker switch for controlling powerzoom lenses.
The FX3 is amazing in low light thanks to its 12-megapixel sensor that’s capable of shooting up to 4K in 10-bit 4:2:2. It offers a wide range of codecs and frame rates, reaching up to 240fps in HD with
phase detection AF still functional at these speeds. The S-Cinetone colour profile delivers cinematic footage straight out of camera, though S-Log and HDR options are also available.
BLACKMAGIC 6K PRO
Why buy used? High spec for not much cash outlay What else might you need? L-Mount lenses and XLR adapter The Blackmagic Pocket Cinema Camera 6K Pro might look like a medium format stills DSLR, but it’s built for filmmaking, featuring a Super 35 sensor, five-inch tilting touchscreen, built-in ND filters and XLR audio connectors. While full-frame versions are available, the Blackmagic Raw-shooting 6K Pro is the best value. Its Super 35 HDR sensor has 13 stops of dynamic range and dual native ISO. The camera shoots at 60fps from the full sensor or 120fps with a crop. It records in 10-bit Apple ProRes up to 4K or 12-bit Blackmagic Raw up to 6K, with footage saved to a CFast card or externally to a USB-C drive. The one-shot contrast detection AF system doesn’t offer any tracking, and there are no autoexposure settings or image stabilisation. The sensor has dual native ISO, with base settings of ISO 400 and 3200 to prioritise low noise. Recording options include up to 6K in BRAW format, 3.7K anamorphic and 2.8K in 17:9, plus 10-bit 4:2:2 in various ProRes settings, including C4K, 4K or FHD. For slow-motion filming, it supports 120fps in 2.8K 17:9 Raw or HD ProRes scaled from 2.7K, but the crop factor in 120fps is a severe 3.388x.
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