SONY ILME-FX30 (body + XLR handle)

Leap into the world of filmmaking... The FX30 is an ideal first cinema camera and a perfect entry into Sony’s Cinema Line.

A Cinema Line camera that fits in a backpack

The smallest Cinema Line body, with an APS-C sensor, 4K at up to 120 frames per second and over 14 EV of dynamic range. The XLR handle is included.

CINEMA LINE4K/120P14+ EVXLR HANDLE INCLUDED

Two XLR inputs in the box

The XLR-H1 handle adds two full-size inputs for microphones and mixers. Without it you have the 3.5 mm jacks and the Multi Interface shoe; with it you record sound that gives you no work in post.

Two card slots

Both slots take CFexpress Type A and SD. Record to two cards at once, swap them on the fly, or keep proxies separate from the main footage.

The image comes from a 6K area

The sensor is read at 6K and only then downsampled to 4K. Noise drops and the shadows keep more detail — exactly where an APS-C sensor shows it most.

Dual base ISO

Two native sensitivities keep the image clean by day and at dusk, without reaching for gain.

User LUTs and Cine EI

Load your own LUTs into the camera; Cine EI gives the exposure workflow film sets expect.

Stabilisation and active cooling

In-body stabilisation holds the handheld shot and the fan allows long takes without overheating.

Timecode via adapter

With the VMC-BNCM1 adapter the FX30 shares a common timecode with the other cameras on set.

Sony's acclaimed line-up of Cinema Line cameras sets the standard for filmmaking, with beautiful cinematic imagery, high performance and highly efficient workflow. Enjoy hassle-free shooting with S-Cinetone™ and S-Log3 for high level grading plus numerous other features. The compact FX30 makes filmmaking more accessible than ever for up-and-coming creators.

The FX30 captures stunning images with 6K oversampling and a true cinematic look. Its compact size lets you take it anywhere, and sophisticated AF and stabilisation features let you concentrate on composition, not the complexity of crews and rigging.

The FX30's S-Cinetone picture profile gives you a beautiful cinematic look straight out of the camera. Features like Dual Base ISO and Cine EI are designed to provide gorgeous images for cinematic shooting and workflow.

The outstanding Cinema Line series of cinema cameras is built on decades of experience in the film industry and supported by Sony's sophisticated new technologies on the cutting edge of digital imaging.

Advanced technology for outstanding resolution
The FX30's back-illuminated Exmor™ R APS-C CMOS sensor captures memorable imagery with outstanding resolution and shallow depth of field. 6K oversampling compresses a vast amount of information into 4K recording and output, and the BIONZ XR™ processing engine enables natural gradations, realistic colour reproduction, low noise, and other image quality improvements.

The FX30 is designed to be a camera you can grow with, offering much of Sony’s technical mastery—including advanced functions such as timecode support and S-Log3—while remaining relatively affordable. Using a newly developed APS-C/Super 35mm sensor allowed Sony to offer the same recording specs:

• UHD 4K at up to 120p
• 10-bit internal recording
• S-Log3/S-Gamut3
• 16-bit raw output
• Standard ISO Range of 100-32000
• Dual Base ISO (800 / 2500)

You need to watch the crop. The FX30 performs 6K oversampling from an area of the sensor that is an almost unnoticeable 1.04x crop. This will work for 4K in 10-bit in any recording mode up to 60 fps.
Now, for 120 fps, there is a 1.6x crop of the Super 35mm area. This is on top of the system’s standard APS-C/Super 35mm crop.
To make this all happen, the FX30 uses the latest BIONZ XR image processor, which allows it to realize all of these new features found in other new camera releases.
You can also use the FX30 to snap some still images if you prefer; the 26MP resolution is great for that.

Compared to the FX3

Coming in at a much lower cost than the FX3, the FX30 is an interesting option for many. Those considering the FX3 may find that the FX30 checks all their boxes, and more, without the higher cost and with the ability to create a much smaller package. But what do you get by moving up to the FX3 and what do you lose by choosing the FX30?

Obviously, the FX3 has a larger full-frame sensor compared to the FX30’s APS-C sensor. This usually means that the FX3 will have better dynamic range and low-light performance; however, Sony seems to have worked some magic with the FX30.

By using the 6K image area and down-sampling, the appearance of noise in the image is minimized. This can give a boost to low-light performance and allows shadows clearly to retain more detail. Further testing is needed, but it is very promising.

Even though the two models share the same native ISO range and dual base ISO specs, the FX30 has a rated dynamic range of 14+ stops—still quite excellent, but just a hair behind its full-frame brothers.

But as mentioned earlier, when compared to the FX3, the FX30 needs to crop into its already cropped sensor to realize 120p recording. The FX3 crops, but only 1.1x on the full-frame image while the FX30 is another 1.6x on top of its already cropped format. Not a deal breaker by any means—just something to be aware of if you plan on using the slow-motion recording options extensively.

Interestingly, the FX30 gains some features that aren’t currently available in the FX3, such as Breathing Compensation.

Beyond that, almost everything else is the same:

• Same body design
• User LUT support
• Cine EI and other log shooting modes
• Fast Hybrid AF, including 4K 120p
• In-body image stabilization
• Active cooling
• Timecode input via optional VMC-BNCM1 Timecode Adapter Cable

An interesting move is that the FX30 does not come with the XLR-H1 XLR Handle Unit supplied with every FX3. This can be a separate purchase or picked up as part of an initial kit with the camera.
Without the XLR handle, users can gain monitoring and recording through the 3.5mm input and output jacks on the body of the camera. The Multi Interface Shoe remains, and Sony makes plenty of accessories that work directly with it for audio transmission.
So if you don’t have a ton of use for the XLR handle at first, acquiring it is a decision you can make later on.

Catalyst Software
Many of Sony’s newest features include metadata that is recorded directly into the video files. This includes the following:

• Embedded LUT and EI information
• Gyro and lens stabilization metadata
• Breathing compensation
• Camera rotation
• Shot mark

By using this information in Catalyst Browse and Prepare, you can make tweaks after shooting to optimize each shot. This can mean faster editing workflows, better image quality, improved stabilization, and more.
To help creators integrate these benefits into their existing workflows, there will be a future Catalyst Prepare Plug-in released for Adobe Premiere Pro that is able to offer editors these controls within their current NLE.

Even though Sony has dramatically increased the sizes of these cards (the original release included 80GB and 160GB versions), the speeds have remained the same. This series has rated read and write speeds of up to 800 MB/s and 700 MB/s, respectively.

If you have been looking for bigger cards for your a1, a7S III, FX3, FX6, or now the FX30, these will do the trick.
The FX30 appears to be a very compelling option for content creators looking to get started with a more serious cinema kit while having room to grow in the future. It will definitely be a great place to start if you aspire to use Sony’s Cinema Line cameras later on, or perhaps as rentals on current jobs.