Oliver Daniel

Hello all. 
In the appraisal of small mirrorless cameras, here’s a music video I shot, DP’d, edited, graded for Dit h artist Charlotte Wessels, ex-singer of Delain. 
Shot in SLOG3 and a bit of 2. 
Lenses used were Tamron 17-28, Tamron 28-75, Sony 24-105mm, Lensbaby Sol45, 7artisans 35mm and ProMist 1/4. 
Most of the video was lit with an Aputure 600d through 8x8 white diffusion and bounce / reflectors. 
Fire scenes lit by fire light only and a 2x2 silver bounce. 
Stick around for the credits. 😊
 

Hello all. 
In the appraisal of small mirrorless cameras, here’s a music video I shot, DP’d, edited, graded for Dit h artist Charlotte Wessels, ex-singer of Delain. 
Shot in SLOG3 and a bit of 2. 
Lenses used were Tamron 17-28, Tamron 28-75, Sony 24-105mm, Lensbaby Sol45, 7artisans 35mm and ProMist 1/4. 
Most of the video was lit with an Aputure 600d through 8x8 white diffusion and bounce / reflectors. 
Fire scenes lit by fire light only and a 2x2 silver bounce. 
Stick around for the credits. 😊
 

Hello lovely EOSHD. 
I’m circulating the idea of grabbing some  compact “cine lenses” for my Sony’s, and the SLR Magic microprimes caught my eye. 
I’m after character, with the benefit of a uniform set - easy / fast to change with a follow focus and filters. Also lightweight (unlike other cine housed lenses), as I shoot handheld 90% and my back needs looking after.
I already have cine modded Helios 44-2 and others, and they are cool but not uniform as a set. 
Anyone used the SLR’s? Recommended? 
All my other lenses are Sony. Clinical as fuck with amazing AF but (mostly) crap at MF. 
Cheers. 

I had a 12mm Hyperprime on MFT. I used to call it the “micro penis” 😂. 
It as an interesting lens and I used it a lot. 

The Batman was aesthetically bold and brave for a blockbuster. It looked like the most expensive art house film ever made. 
I loved the blurry murkiness of it all and the interesting characterful feel of the image. It added to the overall story greatly. It almost always looked out of focus and I didn’t care. 
Great to see that modified Soviet lenses were used here and there (Iron Glass Adapters). It’s a refreshing change from all the other clinical perfect Marvel movies firing out of Disney’s ovaries. 
Also thought the slow pace, and Robert’s very awkward and similarly slow, clunky movement made the character feel grippingly tortured, and often, weird. 
I liked they left out a lot of sweeping aerial establishing shots and setup most locations as if you’re looking through a rain soaked window.
The score was also haunting and moved things along eerily in synchronisation with Robert’s weighted posture. 
Overall, very impressed. Unforgettable cinematography. Great all round. 
Relatable to this, I’ve been dropping all my clinical boring Sony lenses and making life hard with Lensbaby’s and heavily modified Russian glass. 😂

The Batman was aesthetically bold and brave for a blockbuster. It looked like the most expensive art house film ever made. 
I loved the blurry murkiness of it all and the interesting characterful feel of the image. It added to the overall story greatly. It almost always looked out of focus and I didn’t care. 
Great to see that modified Soviet lenses were used here and there (Iron Glass Adapters). It’s a refreshing change from all the other clinical perfect Marvel movies firing out of Disney’s ovaries. 
Also thought the slow pace, and Robert’s very awkward and similarly slow, clunky movement made the character feel grippingly tortured, and often, weird. 
I liked they left out a lot of sweeping aerial establishing shots and setup most locations as if you’re looking through a rain soaked window.
The score was also haunting and moved things along eerily in synchronisation with Robert’s weighted posture. 
Overall, very impressed. Unforgettable cinematography. Great all round. 
Relatable to this, I’ve been dropping all my clinical boring Sony lenses and making life hard with Lensbaby’s and heavily modified Russian glass. 😂

Yep, GH5 ALL-I is night and day compared to IPB for workflow. Very robust. 
Another poster mentioned ProRes being a standard. That’s it. I can’t count how many times I’ve been asked for ProRes files for both acquisition and delivery. 
Sometimes if there’s been a screw up with card space - I’ll shoot to H265 and transcode to ProRes later for workflow efficiency. I know full well the image quality trade off is incredibly incremental, so it doesn’t bother me if it means getting the footage shot. 
These ProRes critics are not to be listened to. They likely do not have the experience of working in certain environments where efficiency is paramount. It’s also another reason why most commercial video production companies don’t shoot RAW. 

Yep, GH5 ALL-I is night and day compared to IPB for workflow. Very robust. 
Another poster mentioned ProRes being a standard. That’s it. I can’t count how many times I’ve been asked for ProRes files for both acquisition and delivery. 
Sometimes if there’s been a screw up with card space - I’ll shoot to H265 and transcode to ProRes later for workflow efficiency. I know full well the image quality trade off is incredibly incremental, so it doesn’t bother me if it means getting the footage shot. 
These ProRes critics are not to be listened to. They likely do not have the experience of working in certain environments where efficiency is paramount. It’s also another reason why most commercial video production companies don’t shoot RAW. 

I wonder how many of these ProRes commentators work in a professional environment? 
Although it is better for grading than more compressed H2 or Long GOP codecs, ProRes isn’t really about image quality. It’s down to workflow. It’s substantially much, much smoother to work with compared to other codecs. Especially in FCP. This is invaluable when there’s a business to run as efficiently as possible. 
If you can shoot ProRes and you’re running a business - you should. Because it’s “old”, doesn’t make it worse. Look at the Arri Alexa. 
I’ve found XAVC-I and other infra-frame codecs to be close in performance and also great for professional workflows. Just not quite as smooth as ProRes, but very close. 
H2’s and Long GOP’s are quite smooth on M1 Macs, but not perfect. Fine for a lot of smaller projects and saving space. 

I wonder how many of these ProRes commentators work in a professional environment? 
Although it is better for grading than more compressed H2 or Long GOP codecs, ProRes isn’t really about image quality. It’s down to workflow. It’s substantially much, much smoother to work with compared to other codecs. Especially in FCP. This is invaluable when there’s a business to run as efficiently as possible. 
If you can shoot ProRes and you’re running a business - you should. Because it’s “old”, doesn’t make it worse. Look at the Arri Alexa. 
I’ve found XAVC-I and other infra-frame codecs to be close in performance and also great for professional workflows. Just not quite as smooth as ProRes, but very close. 
H2’s and Long GOP’s are quite smooth on M1 Macs, but not perfect. Fine for a lot of smaller projects and saving space. 

I wonder how many of these ProRes commentators work in a professional environment? 
Although it is better for grading than more compressed H2 or Long GOP codecs, ProRes isn’t really about image quality. It’s down to workflow. It’s substantially much, much smoother to work with compared to other codecs. Especially in FCP. This is invaluable when there’s a business to run as efficiently as possible. 
If you can shoot ProRes and you’re running a business - you should. Because it’s “old”, doesn’t make it worse. Look at the Arri Alexa. 
I’ve found XAVC-I and other infra-frame codecs to be close in performance and also great for professional workflows. Just not quite as smooth as ProRes, but very close. 
H2’s and Long GOP’s are quite smooth on M1 Macs, but not perfect. Fine for a lot of smaller projects and saving space. 

To sum it up… there’s no rules. No matter the lens choice, camera, grade, resolution, “aesthetic”… whatever it is, if it’s right for the story, and the process to tell it, it’s just… right. 

Thanks - it’s good to be around. 
Yeah Andrew, you’re one of the only people who actually dares to disrupt the norm and say it how it is. 
I’d love to see an “Am I switching” parody based on yourself. Sponsored by EOSHD so you can say whatever the ‘eff you want. 😂

I’ve been very quiet for a while but this article has reeled me back in. 
Firstly, I read this forum for years before I first posted, trying to learn what the hell people were talking about. It’s been invaluable as a resource. Thank you. 
Also, I found your more recent YouTube content very refreshing, honest and actually very funny. There’s a huge amount of “camera-tainment” out there with the same salesy business model. I always love it when someone dares to defy conventions and expectations. Keep doing it. 
Lastly, although situationally it’s different, I can relate to your fatigue. I’m going through somewhat an existential crisis with my work where I’m not satisfied with anything I’m shooting or what I’m shooting with. Tired of social media, it’s falseness, and yet, it’s essentialist to everything now. The spark I once had is all but darkness. 
However, your story is inspiring and certainly lifts spirits. I’m glad you’re seeking your spark again. I’m sure I will too. 😊
 

I was an EVA1 owner for 2 years. 
The problem with the camera was that it felt unfinished. It wasn't the most reliable and took irritatingly long to change frame rates. It would crash often. 
The EF mount also made the small and compact body a bit heavy, because of the EF lenses. For handheld use, it would get quite straining after 5-10 minutes.
The 120fps + modes were disappointing. Just too soft. 
The spec was too late and should have been a bit more blockbuster, but the ageing FS7 was still spec'd better in a  few departments. An EVA2 would have a huge task now in beating the FX6. 
It has a lovely image though and is certainly better than the FS7 for that. I enjoyed using it and made some work with it that I'm very proud of. 
Overall, it was a solid effort but they should have gave it another year of development, under cut the FS7 and knocked it out the park! 

I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. 
I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. 
I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. 
When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. 
At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂
The camera is identical to the A7SIII, minus the body design. Everything is the same. 
I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. 
Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. 
The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. 
Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. 
The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. 
Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. 
Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. 
Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. 
What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: 
- On-sensor ND or similar tech. 
- A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. 
- A larger back LCD. 
- A flip up EVF like BMP6k Pro. 
- An improved XLR unit that is more modular when used with accessories. 
- Possibly both an IBIS and non- IBIS version. 
If they deliver the above, that would be near perfect. 
 

In my opinion the A7S3 is the best camera you can buy on a price / quality / features ratio. It's so versatile and really fun to shoot with. You can focus more on the story and worry less about the gear. 
Honestly, I think it's one of the best releases we've seen in terms of cameras, ever. 
It speaks volumes about how many people moaned about the camera being "too safe" - what? They absolutely smashed it and gave us way more than expected. Do people want the camera to fry their eggs too? 😂
They need to merge the cameras completely, get the EVF flipping up, increase the screen size and deliver an even more robust and sexy 4k image. That will be the one. 

In my opinion the A7S3 is the best camera you can buy on a price / quality / features ratio. It's so versatile and really fun to shoot with. You can focus more on the story and worry less about the gear. 
Honestly, I think it's one of the best releases we've seen in terms of cameras, ever. 
It speaks volumes about how many people moaned about the camera being "too safe" - what? They absolutely smashed it and gave us way more than expected. Do people want the camera to fry their eggs too? 😂
They need to merge the cameras completely, get the EVF flipping up, increase the screen size and deliver an even more robust and sexy 4k image. That will be the one. 

I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. 
I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. 
I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. 
When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. 
At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂
The camera is identical to the A7SIII, minus the body design. Everything is the same. 
I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. 
Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. 
The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. 
Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. 
The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. 
Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. 
Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. 
Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. 
What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: 
- On-sensor ND or similar tech. 
- A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. 
- A larger back LCD. 
- A flip up EVF like BMP6k Pro. 
- An improved XLR unit that is more modular when used with accessories. 
- Possibly both an IBIS and non- IBIS version. 
If they deliver the above, that would be near perfect. 
 

Dress like an old lady and wear a scarf over your head. 😂
I do agree with you on screens though, they need to be bigger, brighter and fit elegantly with the body design. Blackmagic have got this mostly right with the the 6k Pro. 

It's definitely a step in the right direction for Sony. If they get internal compressed RAW they'll have it in the bag. 

I was an EVA1 owner for 2 years. 
The problem with the camera was that it felt unfinished. It wasn't the most reliable and took irritatingly long to change frame rates. It would crash often. 
The EF mount also made the small and compact body a bit heavy, because of the EF lenses. For handheld use, it would get quite straining after 5-10 minutes.
The 120fps + modes were disappointing. Just too soft. 
The spec was too late and should have been a bit more blockbuster, but the ageing FS7 was still spec'd better in a  few departments. An EVA2 would have a huge task now in beating the FX6. 
It has a lovely image though and is certainly better than the FS7 for that. I enjoyed using it and made some work with it that I'm very proud of. 
Overall, it was a solid effort but they should have gave it another year of development, under cut the FS7 and knocked it out the park! 

I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. 
I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. 
I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. 
When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. 
At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂
The camera is identical to the A7SIII, minus the body design. Everything is the same. 
I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. 
Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. 
The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. 
Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. 
The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. 
Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. 
Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. 
Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. 
What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: 
- On-sensor ND or similar tech. 
- A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. 
- A larger back LCD. 
- A flip up EVF like BMP6k Pro. 
- An improved XLR unit that is more modular when used with accessories. 
- Possibly both an IBIS and non- IBIS version. 
If they deliver the above, that would be near perfect. 
 

I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. 
I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. 
I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. 
When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. 
At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂
The camera is identical to the A7SIII, minus the body design. Everything is the same. 
I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. 
Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. 
The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. 
Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. 
The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. 
Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. 
Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. 
Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. 
What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: 
- On-sensor ND or similar tech. 
- A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. 
- A larger back LCD. 
- A flip up EVF like BMP6k Pro. 
- An improved XLR unit that is more modular when used with accessories. 
- Possibly both an IBIS and non- IBIS version. 
If they deliver the above, that would be near perfect. 
 

I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. 
I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. 
I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. 
When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. 
At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂
The camera is identical to the A7SIII, minus the body design. Everything is the same. 
I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. 
Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. 
The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. 
Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. 
The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. 
Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. 
Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. 
Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. 
What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: 
- On-sensor ND or similar tech. 
- A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. 
- A larger back LCD. 
- A flip up EVF like BMP6k Pro. 
- An improved XLR unit that is more modular when used with accessories. 
- Possibly both an IBIS and non- IBIS version. 
If they deliver the above, that would be near perfect.