GEAR REVIEW. SONY FX30
Internally, the FX30 records to a pair of CFexpress Type A card slots that also accept SD cards. Only the fastest frame rates and most data-intensive codecs will actually need the CFexpress cards, though. This is good news, as they’re pricey compared to SD, even if you’re buying high-spec V90 types. To fit in with the rest of Sony’s Cinema Line, there are three new modes when shooting in S-Log3. These include Cine EI, which lets you switch between two different base ISO settings. It’s a choice you make largely when shooting in bright or low light, and has been a mainstay of Sony pro cameras for many years. There’s also Cine EI Quick for simple set-ups, automatically switching base ISO. And there’s flexible ISO, where you can set your own actual ISO level, and the camera switches base settings automatically. This is the most manageable mode, but different sensitivities can mean different noise levels, so footage may need more work in post. A
from 6K for even better quality. It has Sony’s Bionz XR processor, with dual-base ISO of 800/2500 sensitivity in Log or 100/320 in S-Cinetone. ISO ranges from 100- 32,000, expandable to 50-102,400 with 14 stops of dynamic range. The FX30 can record files in similar codecs and frame rates to the Sony A7S III and A1. Although it may not have the processing power of these flagships – because the Super 35 sensor is smaller to read out from – it still keeps up in
many ways. Recording 4K video at up to 120p, there’s no crop under 30fps, a 1.04x crop for 4K/60p and 1.6x crop for 4K/120p. In HD, it can record 240fps with a 1.6x crop. Video can be recorded in 10-bit 4:2:2 All-Intra for the best quality and there’s also a choice of XAVC HS in 4K at H.265, XAVC S 4K in H.264 and XAVC S-I 4K H.264. Or, output 16-bit Raw to an external recorder via the full-size HDMI socket. However, as it’s recorded in 12-bit, 16-bit is a slight misnomer.
TOP MARKS The optional top handle offers integrated mic connections and pro audio controls
“Offering 10-bit 4:2:2 All-Intra in 4K, this gives an immense amount of colour information, making grading far easier”
SPEC-TACULAR Data-intensive codec options allow recording of masses of colour information
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