Same! And agreed. I feel like people were looking for it to fill a niche that it wasn't meant to fill. And it really came into its own once people understood how it fit into the ecosystem. Took like a year for it to catch on. But now it's kind of the one to beat.
I really don't understand how they sold so many of these cameras without those "features" when other manufacturers had them 5-6 years ago, and still have other better video centric features like internal ProRes and RAW capabilities, open gate, shutter angle, false color, ... to this day. I guess autofocus is really what made their success. Not a bash on Sony, just an observation. RU-vidrs are to blame I think :)
@@tuzuharurakutu It is baffling. I feel like Panasonic always had the features everyone wanted. But they were always held back by AF and sensor size. At least for a long time. Sony definitely became the creator king it feels like. But the AF, lowlight and dynamic range are undeniable. Love the new Panasonic stuff though. At this point its all pretty darn good ha
@@ScottJeschke I'm happy to see them compete and catch up with each other in their respective field of "domination". Will be interesting to see what they all come up with in the next 2-3 years. As creators, we will all benefit from it, at least I hope 👌🏽
@@tuzuharurakutu for sure. And firmware updates are always welcome, because personally I feel like creators place way too much emphasis on the next camera. Which I totally understand. It's a way to get traffic to videos. But it becomes way too consumer driven when most of these cameras are pretty great already. Although, that's only really been in the past 2 years or so. I loved my a73, but from the moment I bought it I found it very frustrating how limited it was. In the ability to push colors?
Actually focus breathing compensation only works with compatible native Sony lenses. As you can see in your video, the focus breathing compensation does nothing with the third party lens that you’re using. Focus compensation is designed to maintain a consistent angle of view or magnification as the focus is adjusted. Hope that helps. Cheers.
Thanks! Yeah, unfortunately I found this out after posting the video, but I noted it in my pinned comment for incoming viewers. At the time of filming, I didn't realize it wasn't working, because my camera gave no indication of incompatibility with the animorphic lenses. However, with my tamrom lenses, it said it wouldn't work. It's a shame it's Sony only. But I get it.
UPDATED NOTES: LENS BREATHING EX: Apologies for the lens breathing example. Though the anamorphic does a good job displaying the principle of lens breathing, I've since learned that the compensation feature only works for Sony lenses. DCI 4K WIDTH - Additionally, please ignore my statement about the width of DCI 4K being wider. The width will be the same, and the height will be slightly cropped for 24P, while maintaining a higher overall resolution than UHD. This is not shown here because I applied an aspect ratio that fit the DCI footage. But the footage downloads will accurately convey this. Apologies for the inaccurate info. Thanks for your patience.
Great content. No apologies necessary. I actually prefer the imperfections and minor mistakes. It generates further dialogue and some of us learn even more from the exchange of information. Unfortunately, no one outside of you has mentioned the fact that the Ninja V doesn't work with the 4K DC 24p feature. It doesn't pick up the signal. I thought it was an HDMI issue for me, but it's not. It's a 3.0 firmware and Ninja V compatibility issue. Thanks again. Great channel.
I so appreciate this feedback. Thank you so much! And I'm glad that the video was helpful. Glad to know I'm not crazy w the ninja issue, because I updated my firmware on the ninja and tried just about every setting in both the camera and the ninja, and still no dice. Just HD 25p and a weird glitchy screen like in the video. Hopefully Sony becoming aware of this issue will help usher in new firmware faster than we expected.
FYI the DCI 4k setting in this update actually crops the top and bottom to get that DCI 4k aspect ratio. If you compare the UHD 4k with DCI 4k you’ll see how they are both equally as wide but the DCI 4k has cropped top and bottom (DCI still has more resolution though). It’s unfortunate because I was hoping for a DCI 4k that actually had a wider field of view but that isn’t the case here. Regardless im SUPER happy with focus breathing compensation. I’ve been waiting for this feature on the fx3 foreverrrr
Innnteresting. Thanks for the heads up! That's kind of baffling that they would crop vertically, but I wonder if it's because it's already the full width of the sensor. Dang.
I noticed this too, on my FX30. Becuase its 6k oversampled and downscaled to 4k, it just crops the top and bottom, it doesn't give me any extra width. Super dissapointing.
I'm going to have to test this tomorrow. Looking at the comparison in this footage, there seems to be no vertical cropping, and it does appear to expand horizontally. 🤔 Wonder if it's only on the fx30
@@ScottJeschke hmm. Personally didn’t see yours widen. The monitor on the right and shelf on the left we’re at the same position in the frame. I wonder something happened in your video editor.
@@JonnyRoams I think you guys are confused. Downscale is lowering the resolution, not shrinking the image. UHD already gives us the maximum width that the sensor and optics capture. So logically 4k DCI is going to make a cut.
I just ordered this camera - switching systems (for many reasons) from the Canon R5C - does this latest firmware bring in shutter angle? If not, WOW - they need to add that asap.
Hey Scott I just wanted to ask if you still have the camera settings and luts that you sold for 7 dollars I believe I brought it from you but I can't find it on my computer right now so I was wondering if you could email it to me again because I think I lost it please and thank you and I'm happy for you on the new sony camera you have I hope that you are happy with it 😅
Anyone else having issues with stabilizing in catalyst browse after the v3.0 update? all my stabilized clips are just black. clips before the update stabilize just fine.
hola estimado amigo excelentes vídeos. te escribo desde colombia y tengo la fx3, tengo una duda. cómo hago para grabar DCI a través del HDMI? un saludo
¡Muchas gracias! Desafortunadamente, la respuesta corta es, no lo sé. Intenté todo lo que se me ocurrió, pero por alguna razón, cuando está en modo DCI 4K 24P, la cámara atenúa la señal 2160P y no permite que se vea en los átomos. Incluso actualicé el firmware de mi atomos, y todavía no funcionaba. Esperemos que esto se transmite a Sony. Podría hacer un video que muestre el problema para ver si alguien tiene respuestas. (por cierto, disculpas si mi español es malo. Tuve que usar el traductor de Google :) Thanks so much! Unfortunately, the short answer is, I don't know. I've tried everything I can think of, but for some reason, when in DCI 4K 24P mode the camera grays out the 2160P signal and won't allow it to be viewed on the atomos. I even updated my atomos firmware, and it still wouldn't work. Hopefully this gets relayed to sony. I might make a video showing the issue to see if anyone has answers. (by the way, apologies if my Spanish is bad. I had to use google translate :)
Im confused - you mention shooting in 48fps - this can only be done in S&Q mode - but you also mention this is good for if you still need audio - which you cant record audio in S&Q mode - am I missing something here? I would love to shoot in 48FPS but still have audio.
@@ScottJeschke That's cool - that guy Armando mentions this too - and doesnt mention the audio limitation OR the fact that you NEED the FASTEST CF Express card to do this - I personally use the budget v90 cards and if I need to shoot in 4k120 I can do it in the HS codec - and I can record audio - you cant do this in DCI4k without the fastest card since it records in the older codec. Lots of odd choices on this firmware update.
@@PiecesofVinyl yep. I'm in the same boat actually with the cards, So I wasn't able to test for myself. All sorts of strange compatibility issues. So far. No option for 24P/ DCI to the atomos yet either
@@PiecesofVinyl Yeah, just a weird glitchy white screen. It's very strange though, cuz I would think the atomos would be able to handle that signal since it probably already has compatibility with the FX6 and FX9, so it must be an error on the FX3 end
Are you on an m1 or an Intel? I found the m1 process to be very frustrating, so I switched to my old MacBook Pro which is an Intel. Worked pretty quickly.
Same here....how can we petition for an update. It's like 1 step forward.....2 steps back. Now we have DCI 4k true 24fps, but we lose the tools, compatibility and recording capabilities of the Ninja V......
@@AMGEntertanment haha love the fire, it’s definitely an Atomos issue, I’m sure they’re aware, but doesn’t hurt to let them know through emailing their customer service. Maybe if enough people message them it will increase their efforts 🤷♂️
@@danfinlayson5014 And this too :) .. I saw no difference in the example of focus breathing in this video , I wonder why post that as an example of how it works ?
@@ScottJeschke the way the breathing comp works is it uses a combination of exif data and proprietary Sony metadata to communicate how to eliminate the breathing. Any lens that doesn’t communicate with the camera could never use the feature so that eliminates all anamorphic lenses on the market as far as I know
Does anyone know why 24p is preferable to 23.98p? I can’t tell any difference between 2 hundredths of a second. So is it mostly a workflow thing? I had to shoot in 25p on a recent gig and I found no real compatibility workflow issues in USA but I did have a tricky time with scrolling on some lights indoors.
You know, admittedly I don't quite know the technical reason. Personally, I just find it ever so slightly smoother than 23.98 p. It sounds crazy, but I've been comparing footage, and it has that smoothness that I'm more used to seeing in a movie theater
@@ScottJeschke Okay, I tested it out today and I think after going to 24.00p I can’t ever go back to 23.98p. But something I noticed was the audio on the camera card sounds terrible now- 3 times lower audio bit rate than what is sent out HDMI to the Ninja V. So I’m leaning in to the Ninja V more than ever to still have high quality sound. I rely on the FX3 stereo mics a lot and they actually are really good if the audio bitrate and bit depth is high enough. 24.00p ProRes RAW on the Ninja (with up-to-date firmware as of 2023 May, 28) appears to be broken until Sony and Atomos sort out the issue (I think it’s a Sony one) but… Now with the FX3 and Ninja V we have: 1) real 24.00p 4K in SLog3 and ProRes, 2) 24bit sound, 3) plus a 4K 24.00p backup (albeit with terrible sound quality) on the SD or CF-A card, and that’s amazing! I like CineEI a lot, but I’d rather have 4K 24.00p than HD 24.00p or 4K 23.98p if I have to choose.
@@andrewlutes2048 whoah! Amazing info. Thanks for sharing. I was wondering when atomos was going to update for 24p. And I totally agree. Hard to go back after shooting 24P. That tiny difference in frame rate is just so much smoother
I was saying that 24P can only be recorded in DCI. Meaning that it can't be used in UHD modes. I can see how the phrasing would be confusing, though. Thanks!
I think Sony just gave out this update as a "pat on the back" to its more casual FX3 users who believe they paid for a "cinema camera" and to make them not feel as bad about the ZV-E1 release😂
Eh, I'll take it haha. To an extent you're probably right though. I think it's definitely meant to differentiate it from the ZV-E1. Which I think is a good move.
ZV-E1 has nothing to do with the FX3 other than a similar sensor. The ZV-E1 is just a consumer grade camera. No professional XLR audio inputs, no active cooling system, it’s not even comparable with the FX3. FX3 is for professional video work, completely different tools.
