GEAR
orange/red with anything behind in blue. It’s a good idea, but not perfected yet as you can’t alter settings to make it more effective. Also new on the FX30 but absent from the FX3 and even the A1 is focus breathing compensation, which automatically adjusts for changes in viewpoint as you rack focus. Some E-mount lenses do breathe significantly, so it’s good to turn this on when needed. There is a small crop, though. Sound sense For audio – so often the bane of small cameras – the optional XLR top handle screws into two quarter- inch sockets on top of the FX30 and connects via the Multi Interface Shoe. This provides communication and power from the camera, and is compatible with all Sony’s MI-fit audio accessories such as wireless mics and shotguns. The XLR handle has two XLR ports and all the pro controls you’d need, offering line and mic level inputs with 48v phantom power, three- stage adjustable gain and low-cut filters. There’s also a third input for standard 3.5mm jacks. The camera can record four channels and the built-in preamps are great, too. You can use timecode via USB-C input, but there’s no genlock. This also powers the camera, which runs off Sony’s regular NP-FZ100 cells. They provide great shooting time, but you’ll want a couple of spares for all-day jobs. The USB socket also allows the camera to be used to livestream, while simultaneously recording a high-res version to its memory cards. This streaming capability now “You could think of it as an FX3 with a smaller sensor that costs half as much”
HOW IT RATES Features: 8 No shutter angle, waveform monitoring or internal Raw recording Performance: 8 Great-quality footage and AF, but poor stills Handling: 8 The Sony mirrorless for filmmakers, but no EVF Value for money: 9 The camera is affordable, though CFexpress memory isn’t OVERALL RATING: 8/10 A great introduction to the world of cinema cameras – sort of Pros: 10-bit 4:2:2 4K/120p and 240fps HD Cons: Crippled stills functionality it shows the settings around the outside of the image rather than on top of them. A new variable shutter function lets you tweak shutter speeds to avoid the dreaded flicker. And the custom white-balance setting is one of the easiest and most accurate. Essentially, you could think of the FX30 as an FX3 with a smaller sensor that costs half as much – and you wouldn’t be far wrong. It actually has newer tech than the FX3 in some areas too, although these are mainly in the realms of shooting stills. As a video tool, it has a huge amount for the money.
THE VERDICT The FX30 is the entry level to Sony’s Cinema Line, and by far the cheapest. Of course, it’s not a ‘real’ cine camera in the traditional sense, but does have plenty of mirrorless technology packed into a chunky body with no viewfinder. Its smaller APS-C sensor allows you to use E-mount lenses – or full-frame FE-style – giving extra reach. That could make it ideal for sports and wildlife shooters. This is a hybrid that’s very squarely aimed at filmmakers seeking an enormous choice of codecs and frame rates. And it delivers as a camera for shooting movies in bucketloads. This could be the model that tempts filmmakers away from more conventional mirrorless cameras and towards something more in line with shooting high- quality movies. has more frame rate and quality options, is easier to set up and you can stream up to 4K. With a built-in fan that’s actually very quiet, you could keep shooting for a long time before any overheating problems raise their head. The fan can be turned down or off for audio-critical shoots, and the thermal cut-off changed, too. We had no issues at all with high temperatures, but we only used the camera in typical UK October weather. If you live in Death Valley, results may differ. Another great feature when shooting video is the screen, as
TOP MARKS The handle comes with full XLR mounts and professional twin XLR inputs
SLIDER WAY The small and light Sony FX30 is ideal mounted on compact sliders
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