Recently, Sony gave me the opportunity to use their Cinema Line camera, the FX3, on “Expression”, a visual piece that illustrates a dancer’s journey. 

Due to the pandemic situation, we had to keep our crew small to adhere to the COVID-19 guidelines. However, with this camera, I was still able to achieve dynamic movements and stellar image quality as a one-man operator.

With its small form-factor, the Sony FX3 allows me to move easily from point to point. Its cageless design allows me to conveniently assemble my preferred setup. 

The layout feels well-thought out and I am able to access all the key controls like the white balance and menu while my right-hand stays on the hand grip. The FX3 buttons are optimized for video shooting and are fully customizable allowing me to map different functions to my comfort.

The top handle features 2 XLR inputs which are a secure production standard. Its 24-bit digital audio and analog controls allow me to mix sound easily as a solo operator. I was able to capture good, clean audio of Claudine tap-dancing straight to camera.

Aside from its audio functions, the top handle also makes the FX3 easy to operate. For my shooting style, a top handle is essential when going handheld. It provides an additional point of stability and helps me grab low-angle shots easily. 

Lightweight and nimble, the FX3 is easy to balance on my gimbal with a variety of lenses. This enabled me to grab tracking and orbiting shots as a solo shooter. It also features a fan that regulates temperature and allows for uninterrupted shooting. I was able to rely on the FX3 throughout the day without needing to bring along a backup camera in case of overheating.

Due to the limitations in crew size for this production, I was unable to work with a focus puller. This is where the Fast Hybrid Autofocus and Real-Time Eye Autofocus came in handy. With the LCD screen’s Touch Operation function, I was able to easily tap to select my area of focus. Then, using the AF Subject Shift Sensitivity and AF Transition Speed settings, I was able to make the autofocus perform organically. In Face/Eye Priority mode, the camera recognized Claudine as my subject and locked on to her whenever she was in shot.

Using the FX3 for this production, I felt confident that Claudine's dynamic movements were entirely in focus despite shooting at high frame rates. Relying on the autofocus functions, FX3 allowed me to concentrate more on storytelling such as camera movement and composition while leaving focusing to the camera.

I shot Expression on Sony’s FE 40mm F2.5 G and FE PZ 28-135mm F4 G OSS lenses. The 40mm focal length is especially beautiful on a full-frame sensor. I was able to grab wide shots of the space. By moving in on tight shots, I achieved shallow focus to emphasize certain details while maintaining shape and angularity. Lightweight and compact, its two linear motors provide fast, precise AF with superb tracking performance. This allowed me to keep things simple, remain unobtrusive and focus on my shots.

The Sony FE PZ 28-135mm F4 G OSS lens features a smooth Super Sonic Wave Motor (SSM) drive system for precise, quiet and repeatable powered zoom functionality. I was able to finetune the optical zoom speed and then use the zoom rocker on the FX3's hand grip to execute a consistent, controlled zoom shot that reveals Claudine's reflection in a mirror.

As a cinematographer, image quality is one of my top priorities when choosing a camera. Shooting in S-Log3, S-Gamut3.Cine with the XAVC-SI codec delivered 15+ stops of dynamic range, allowing me to capture all my information in the scenes with vivid details and rich gradation. At up to 120fps all-intra, it is amazing that such a tiny camera could deliver uncompromising image quality which made colour grading enjoyable. I was able to enhance the image quality in post-production to create rich, detailed colours and contrast.

One scene I was particularly excited about shooting was Claudine ballet dancing on the rooftop before the crack of dawn. The available urban light sources when the sky was still dark cast rich, beautiful shadows. I was amazed that the FX3’s Hi-Base Sensitivity of ISO 12800 in S-Log3 allowed me to expose and retain good, clean detail in such low available light levels. We were able to shoot an entire scene of Claudine dancing under a single streetlamp. Without the FX3’s amazing low-light capabilities, I can say for certain that we would not have been able to shoot this scene in this way.

The FX3’s rolling shutter performance is also the best that I have seen in a full-frame mirrorless camera. It provided high image fidelity with no visible rolling shutter artefacts and we were able to capture Claudine’s fast-moving performances while keeping her movements sharp and fluid thanks to precise and Real-Time Tracking and Eye Autofocus.

The FX3 uses the amazing new CF Express Type A cards, which provide super-fast recording and transfer speeds and allow for 4K120P, all-intra recording. I felt reassured owning several of these cards as they are future-proof, high-quality media.

During this pandemic, multiple restrictions have put a strain in the way we work. The FX3 allowed me to maintain my visual standards with the reduced time and resources. I was able to keep a small profile while capturing stunning images in available light. In fast-moving, run-and-gun productions like “Expression”, we do not have the luxury of time or resources to light huge spaces. The image quality and flexibility from this camera gives me the freedom and headspace to create beautiful and inspiring content.