Trankilstef

And that's all I bought them for. Haven't tried shouting into them too hard but then I've never shot interviews where people have shouted. Curtis Judd did a review of the v1 Wireless Go and said he had a hard time getting it to distort, if at all. Ill do a test.
 
To be fair, these are not professional tools although I will use them professionally and the content I am shooting will be broadcast on major networks here. I know their limitations and will work within them but the flexibility they open up is pretty extraordinary especially for the price. 
A pro version of these is long over due and you would think that Rode would have to have something in the works....surely. 

Whoa... why was 32 bit not more prominent on the news sites? Definitely going to get one of these at some point if it performs well in reviews. I wonder if the ADC actually has the headroom to take advantage of 32 bit though. It's easy to clip the Wireless Go 1 and as far as I could tell, the gain on the original only affects the output from the receiver.
I also wonder how they got around the patents though, but as long as it works and is legal, it doesn't matter to me! I assume some of those quirks, like the loop recording, have to do with it?

What annoys me the most is how some youtbers in those reviews are already saying how this camera is the best mirrorless option for serious filmmaking. Cinema camera my ass ! The S1H is still the king of professional video centric mirrorless ! It has everything that this Sony FX3 doesn't have as a proper cinema camera :
- 4K DCI (even 6K)
- Anamorphic modes
- Shutter angle
- Synchro Scan
- Possibility to import Luts in camera
- waveform, etc.
How those "reviewers" could forget how much the S1H is more suited to professional video shootings than this FX3 !

What annoys me the most is how some youtbers in those reviews are already saying how this camera is the best mirrorless option for serious filmmaking. Cinema camera my ass ! The S1H is still the king of professional video centric mirrorless ! It has everything that this Sony FX3 doesn't have as a proper cinema camera :
- 4K DCI (even 6K)
- Anamorphic modes
- Shutter angle
- Synchro Scan
- Possibility to import Luts in camera
- waveform, etc.
How those "reviewers" could forget how much the S1H is more suited to professional video shootings than this FX3 !

I like it. A lot. But just purchased a used L Mount Panasonic 24-105mm so it's covered!
Looks perfect for a Sigma FP though or one of the new Sony's.

Yes but why include it in the FX line if it doesn't have cinema camera features. 

C70 is a real cine cam though with built-in ND's, TC, DCI 4K, shutter angle, waveform etc. Basically all the things people were expecting from FX3 and that are missing.
That said yeah it's not a bad cam per se, pretty awesome even for a mirrorless, just not really worthy of the FX line imo.

What annoys me the most is how some youtbers in those reviews are already saying how this camera is the best mirrorless option for serious filmmaking. Cinema camera my ass ! The S1H is still the king of professional video centric mirrorless ! It has everything that this Sony FX3 doesn't have as a proper cinema camera :
- 4K DCI (even 6K)
- Anamorphic modes
- Shutter angle
- Synchro Scan
- Possibility to import Luts in camera
- waveform, etc.
How those "reviewers" could forget how much the S1H is more suited to professional video shootings than this FX3 !

Really Panasonic is so frustrating. They would have fixed the shitty AF and makes real marketing strategies, they would own the video mirrorless market right now. But they don't want to change their DFD focusing tech and they are so lame at marketing themselves and their products. My S1H was a true workhorse and so close to a perfect camera. But I really felt the need for a reliable AF even though I am used to manual focus. it just makes life easier now that I switched to Sony a7SIII. 
Panasonic should really wake up.
 

What annoys me the most is how some youtbers in those reviews are already saying how this camera is the best mirrorless option for serious filmmaking. Cinema camera my ass ! The S1H is still the king of professional video centric mirrorless ! It has everything that this Sony FX3 doesn't have as a proper cinema camera :
- 4K DCI (even 6K)
- Anamorphic modes
- Shutter angle
- Synchro Scan
- Possibility to import Luts in camera
- waveform, etc.
How those "reviewers" could forget how much the S1H is more suited to professional video shootings than this FX3 !

This guy and a few others are actually really good I agree.

What annoys me the most is how some youtbers in those reviews are already saying how this camera is the best mirrorless option for serious filmmaking. Cinema camera my ass ! The S1H is still the king of professional video centric mirrorless ! It has everything that this Sony FX3 doesn't have as a proper cinema camera :
- 4K DCI (even 6K)
- Anamorphic modes
- Shutter angle
- Synchro Scan
- Possibility to import Luts in camera
- waveform, etc.
How those "reviewers" could forget how much the S1H is more suited to professional video shootings than this FX3 !

Really Panasonic is so frustrating. They would have fixed the shitty AF and makes real marketing strategies, they would own the video mirrorless market right now. But they don't want to change their DFD focusing tech and they are so lame at marketing themselves and their products. My S1H was a true workhorse and so close to a perfect camera. But I really felt the need for a reliable AF even though I am used to manual focus. it just makes life easier now that I switched to Sony a7SIII. 
Panasonic should really wake up.
 

I believe part of Panasonics woes is this exact problem. The Sony juggernaut marketing machine is now eroding the classic word of mouth professional back-channel chatter. At the tip of Sony's Marketing spear is YouTube.

Good to hear Stef. It seems Sony held back on some cine features we were all expecting on this FX3, probably to not cannibalise A7S3 too much. The S-Cinetone firmware "leak" for A7S3 seems to confirm this strategy. Typical from Sony, I just find it a little too sneaky..

Yeah, I'm over Matti and Peter and that whole crew of YouTube influencers with their increasingly worthless camera "reviews" and their endless blogs about their hipster lifestyles. Back in the day they actually posted useful videos about shooting and editing techniques, plus their shtick was new and interesting at that point and not totally played out. 0f course, I've come to learn that some of their tips, like how to conform 60p footage to a 23.976 timeline were ass backwards and causing problems with a proxy workflow. 
Gerald Undone, on the hand, is still pretty good on his reviews. I did watch his review of the FX3, and it's pretty spot on. It hits a lot of the same points as folks on this thread have brought up, including that the biggest real differences between in at the A7SIII are the tally lights, lack of viewfinder, button changeups and the handle with integrated XLR module. He makes a great point that if you are a video first shooter who doesn't really care about the EVF and does care about XLR mics, than the FX3 is a bit cheaper than the SIII and an XLR module. Other than that, it's pretty much the same princess in a different dress.

There will be several major firmware updates for FX3 to differentiate it from A7S III. They are not made available at launch partly because Sony do not intend to cut into A7S III sales too much.

So basically a rehoused A7SIII with tally lamps, active cooling, a top handle and S-Cinetone (which is coming to A7SIII in the next firmware). Such a lazy move from Sony and honestly not worthy of the "FX" moniker. That said, for $400 extra it kind of makes the A7SIII obsolete already no? I'd be heated (no pun intended) if I just got one. See ya in couple months for the FX4.
 

Why I rarely watch YouTube pieces such as the one linked above.  It tells me little and it's primary purpose is to sell the camera for the manufacturer, and increase subscribers and viewers for the vlogger.  Even the useful ones that tell me something tend to make me cringe with their same 'what's up Guys' style.

Yes, and they sent him a bunch of swag in a pelican case to "sweeten" the review. How is that not payment? They have to disclose that Sony didn't sponsor them or have control over the review in anyway, yet they send him all this crap as an implicit: "look at what you won't get if we don't like your review".
Everybody knows if piss these companies off they won't include you in their YouTube marketing and you won't get free shit.

Andrew is so right about this camera. When I saw the release I was like...OK so this is a worst A7SIII for $400 more with a XLR top handle but all the important cinema features are missing:
No internal ND No XLR on body No audio controls on body Same shitty LCD screen without an EVF to save it No SDI They didn't even include a way to secure the HDMI PORT! LOL! Cinema camera my ass!

So this is the CINEMA camera we've all waited for ! Shutter angle, 4K DCI, timecode,  anamorphic modes, synchro scan, who cares about those shitty features when we have 18 tally lights around the body and that incredible grey color reminiscent of the Sony cinema line ! Oh and it says Cinema Line on the body itself, this is a testimony that this camera can actually be used to shoot real cinematic movies !
Waiting for the Netflix approval now !


Oh dear marketing people are well paid I hope. This camera is total BS.
 

Welp, it's a very sexy design with Sigma FP vibes, but I'm really surprised it does not have true 24P and shutter angle control at minimum. It does not seem like it's truly compatible right now as a B or C cam with another Sony Cinema cam. And of course I was hoping they would add TC in.
I do think there is bandwidth for further features to be added due to the active cooling. So maybe that is Sony's play here, and we will see some divergence from the a7sIII in the future. But we'll have to see.
At this point I would definitely still look at the FX6 over this camera though.

I've had a Rode Wireless Go that I sold cause I needed 2 emitters for 2 people interview. So i bought the G1 feom Synco and I was not that satisfied regarding the sound quality. As I mentioned there was some micro cuts that ruined the interviews and the audio quality was not that good compared to Rode. 
But on the other hand the newer synco models (Wmic TS) are of really good audio quality from the interviews I shot so far. I'd say on par with the Rode or even better. 

You had a lot more valuable kit to sell than me moving from Panasonic to Sony!
I currently only have; S5, 20-60, 85, complimentary Sigma 45 and a spare battery...which if sold wouldn’t even buy an FX3 body!
My use case scenario was: pair of FX3’s plus Tamron 28-75 and 70-180 which I reckon would be circa 10k?
What I have is enough for my commercial stuff but not enough for weddings and at min, need another S5 and the 24-105.
If I can stretch to it, I’ll go S1H for that other body though as it has a number of attributes that would work for me over another S5.