currensheldon

It does seem a tad strange. unless the guy above is wrong and it has internal variable ND - then the camera instantly becomes very, very intriguing, especially if the IBIS rumor is true. But Sony has said before that having both IBIS and ND is nearly impossible, so I'd guess it will be one or the other.
However, I'd say the A7sIII is the lazy inclusion if the FX3 is true because this, IMO, is a way more thought-out and useful video camera than the A7sIII. Love the dedicated buttons for WB, ISO, etc. Love the mounting points. Love how they did the top handle. Love that it is cinema focused and probably has the same color and S-Cinetone like the FX6. Love that it looks like the screen can tilt while staying center to the body. Love that it has focus magnification (does the A7sIII do this while recording?). I just love it.
I've shat on Sony for many years because I did think the color and IQ of the A7sII, FS5, and (to less of a degree) FS7 was way behind the competition. BUT, I must say the FX9 and FX6 do seem to look much, much better. 
In my experience, every FS7/FX9/FX6/C300/EVA1/etc owner has a second B-Cam that is often a mirrorless for gimbal shots, 2nd interview shots, and as a backup camera. But no camera manufacturer has given them a TRUE b-cam (same sensor size, same mount, same color, same IQ, same general usability, etc). Canon has the C70, but still a bit too big for what I'm talking about and is the only Canon cinema camera with the RF Mount. Panasonic has the S1H, but it doesn't have an L-Mount A-Cam.
But THIS Sony FX3 is nearly perfect, it seems. Along with ND, the other big inclusion needed is timecode. If you can jam this with FX9/FX6/audio and just have it on standby on a gimbal or a drone or wherever you need it, that would be so, so nice.
 
 
 

It does seem a tad strange. unless the guy above is wrong and it has internal variable ND - then the camera instantly becomes very, very intriguing, especially if the IBIS rumor is true. But Sony has said before that having both IBIS and ND is nearly impossible, so I'd guess it will be one or the other.
However, I'd say the A7sIII is the lazy inclusion if the FX3 is true because this, IMO, is a way more thought-out and useful video camera than the A7sIII. Love the dedicated buttons for WB, ISO, etc. Love the mounting points. Love how they did the top handle. Love that it is cinema focused and probably has the same color and S-Cinetone like the FX6. Love that it looks like the screen can tilt while staying center to the body. Love that it has focus magnification (does the A7sIII do this while recording?). I just love it.
I've shat on Sony for many years because I did think the color and IQ of the A7sII, FS5, and (to less of a degree) FS7 was way behind the competition. BUT, I must say the FX9 and FX6 do seem to look much, much better. 
In my experience, every FS7/FX9/FX6/C300/EVA1/etc owner has a second B-Cam that is often a mirrorless for gimbal shots, 2nd interview shots, and as a backup camera. But no camera manufacturer has given them a TRUE b-cam (same sensor size, same mount, same color, same IQ, same general usability, etc). Canon has the C70, but still a bit too big for what I'm talking about and is the only Canon cinema camera with the RF Mount. Panasonic has the S1H, but it doesn't have an L-Mount A-Cam.
But THIS Sony FX3 is nearly perfect, it seems. Along with ND, the other big inclusion needed is timecode. If you can jam this with FX9/FX6/audio and just have it on standby on a gimbal or a drone or wherever you need it, that would be so, so nice.
 
 
 

Note that the new Sony A1 camera they put the steadyshot inside on the grip (right hand side) and we've not seen the FX3 from that side yet.

 

I have my T4 programed the same, with the front bottom below the shutter button and dial programmed to switch between IBIS mode. If I remember mode I have turned on when I start to shoot it's great. My 18-55 F2.8/4 lives on it, so that's about 27-82 mm with added IOS stabilization.

In fact, I was in a Zoom Fuji meeting yesterday (the subject was the X-S10) and they said that Boost mode must be used only with static shots - it is designed to be tripod-steady. If you do some pans or movements, the Boost mode will "fight" and have jerky behaviour.

Leave IBIS, add eNDs, use some 24-30mp sensor, add 6k60 and better screen. 

The multi-interface shoe is also capable of supporting an EVF as Sony did with the RX1 and the RX100M2 so it would be interesting to see if a new version of that appears for this camera.
 

With the A7sIII, this really needs to have some great video features to differentiate itself (and not just S-Cinetone). And that means: Internal eND. If it doesn't have that, how many other things could it have to really set it apart? Other than the cool color, more robust build, better tilting screen, and lots of mounting points.

Holy. Moly. 
Honestly, it's ABOUT FRIGGIN TIME one of these companies took mirrorless form factor videos 100% seriously. The Sigma FP was the closest, but obviously had a lot of issues. C70 was close, but still big for a small b-cam/gimbal cam. S1H was close, but still a hybrid. A7sIII, same - has video limitations.
This could be the all-in video mirrorless though. But that will depend on a few things: does it have timecode, some audio solutions, shutter angle, and (most importantly) INTERNAL electronic ND FILTER!!! That last one is the kicker.
I've always bashed Sony for their colors and thin IQ, but the FX9 and FX6 definitely seem to be going in the right direction, so one of those cameras plus this as a b-cam could be a killer combo.

Holy. Moly. 
Honestly, it's ABOUT FRIGGIN TIME one of these companies took mirrorless form factor videos 100% seriously. The Sigma FP was the closest, but obviously had a lot of issues. C70 was close, but still big for a small b-cam/gimbal cam. S1H was close, but still a hybrid. A7sIII, same - has video limitations.
This could be the all-in video mirrorless though. But that will depend on a few things: does it have timecode, some audio solutions, shutter angle, and (most importantly) INTERNAL electronic ND FILTER!!! That last one is the kicker.
I've always bashed Sony for their colors and thin IQ, but the FX9 and FX6 definitely seem to be going in the right direction, so one of those cameras plus this as a b-cam could be a killer combo.

With the A7sIII, this really needs to have some great video features to differentiate itself (and not just S-Cinetone). And that means: Internal eND. If it doesn't have that, how many other things could it have to really set it apart? Other than the cool color, more robust build, better tilting screen, and lots of mounting points.

Holy. Moly. 
Honestly, it's ABOUT FRIGGIN TIME one of these companies took mirrorless form factor videos 100% seriously. The Sigma FP was the closest, but obviously had a lot of issues. C70 was close, but still big for a small b-cam/gimbal cam. S1H was close, but still a hybrid. A7sIII, same - has video limitations.
This could be the all-in video mirrorless though. But that will depend on a few things: does it have timecode, some audio solutions, shutter angle, and (most importantly) INTERNAL electronic ND FILTER!!! That last one is the kicker.
I've always bashed Sony for their colors and thin IQ, but the FX9 and FX6 definitely seem to be going in the right direction, so one of those cameras plus this as a b-cam could be a killer combo.

Holy. Moly. 
Honestly, it's ABOUT FRIGGIN TIME one of these companies took mirrorless form factor videos 100% seriously. The Sigma FP was the closest, but obviously had a lot of issues. C70 was close, but still big for a small b-cam/gimbal cam. S1H was close, but still a hybrid. A7sIII, same - has video limitations.
This could be the all-in video mirrorless though. But that will depend on a few things: does it have timecode, some audio solutions, shutter angle, and (most importantly) INTERNAL electronic ND FILTER!!! That last one is the kicker.
I've always bashed Sony for their colors and thin IQ, but the FX9 and FX6 definitely seem to be going in the right direction, so one of those cameras plus this as a b-cam could be a killer combo.

Lots of cool ideas there, but for video shooters, only having 512gb internal storage before off-loading would be a nightmare. Got to keep the card slots. 
In my opinion, they have to do a couple of BIG things. Those would be:
- Internal eND - Be the first
- Internal BM Raw or ProRes Raw - even if this was available out the USB-C to an external SSD (like the Sigma FP), that would be HUGE. Being able to bypass the Ninja V would be so great. 

Then also some :
- PDAF - They have to do it at this point. Or figure out a way to make DfD/Contrast aas good as the competition. 
- 5.9k or 6k like the S1, S5, S1H would be fine, but they'll probably go for 8k. 
- Timecode - Get that Netflix appoval
- 180-240fps in 4k - Just to beat the full-frame models
Some other cool ideas would be to have a battery grip also have two mini XLRs, or have one mini XLR on the body. We'll seee.

Lots of cool ideas there, but for video shooters, only having 512gb internal storage before off-loading would be a nightmare. Got to keep the card slots. 
In my opinion, they have to do a couple of BIG things. Those would be:
- Internal eND - Be the first
- Internal BM Raw or ProRes Raw - even if this was available out the USB-C to an external SSD (like the Sigma FP), that would be HUGE. Being able to bypass the Ninja V would be so great. 

Then also some :
- PDAF - They have to do it at this point. Or figure out a way to make DfD/Contrast aas good as the competition. 
- 5.9k or 6k like the S1, S5, S1H would be fine, but they'll probably go for 8k. 
- Timecode - Get that Netflix appoval
- 180-240fps in 4k - Just to beat the full-frame models
Some other cool ideas would be to have a battery grip also have two mini XLRs, or have one mini XLR on the body. We'll seee.

Lots of cool ideas there, but for video shooters, only having 512gb internal storage before off-loading would be a nightmare. Got to keep the card slots. 
In my opinion, they have to do a couple of BIG things. Those would be:
- Internal eND - Be the first
- Internal BM Raw or ProRes Raw - even if this was available out the USB-C to an external SSD (like the Sigma FP), that would be HUGE. Being able to bypass the Ninja V would be so great. 

Then also some :
- PDAF - They have to do it at this point. Or figure out a way to make DfD/Contrast aas good as the competition. 
- 5.9k or 6k like the S1, S5, S1H would be fine, but they'll probably go for 8k. 
- Timecode - Get that Netflix appoval
- 180-240fps in 4k - Just to beat the full-frame models
Some other cool ideas would be to have a battery grip also have two mini XLRs, or have one mini XLR on the body. We'll seee.

Hey all - I've been using the R5 extensively on a variety of shoots the past couple of months and have absolutely loved it. The AF is spot-on, the HQ 4k modes are gorgeous, the user experience is amazing, the 120fps is the best I've used outside of the C300 III.
So far, I have had zero overheating issues. The timer in 4k HQ has gone down from 25-minutes to 20-minutes a couple of times, but have never had any issues. 
Just released last night is a music video I directed, shot, and edited. Outside of some tripod shots, I'd say 90% of the shoot was shot on the R5. Youtube compression sucks so there seems to be some artifacts, but they aren't present in the 4k ProRes export.
Enjoy!
 

gorgeous footage and truly a voice that needs to be heard.
Not the homogenized drivel that seems to be the standard music fare these days ...
Reminiscent of Sean Rowe ... better sense of timing and swing.
Canon CPS has had my 1DX III for a month ... and are struggling to admit a problem with my specific camera ...
So looking at a replacement ...

No surprise. 

And thank you again Netflix for helping encourage more cameras to get TC input! Doubt the C70 would've got timecode if not for Netflix. 

I created 1280x720 mp4 proxies directly in Premiere and re-attached the originals for color and export.

Hey all - I've been using the R5 extensively on a variety of shoots the past couple of months and have absolutely loved it. The AF is spot-on, the HQ 4k modes are gorgeous, the user experience is amazing, the 120fps is the best I've used outside of the C300 III.
So far, I have had zero overheating issues. The timer in 4k HQ has gone down from 25-minutes to 20-minutes a couple of times, but have never had any issues. 
Just released last night is a music video I directed, shot, and edited. Outside of some tripod shots, I'd say 90% of the shoot was shot on the R5. Youtube compression sucks so there seems to be some artifacts, but they aren't present in the 4k ProRes export.
Enjoy!
 

I created 1280x720 mp4 proxies directly in Premiere and re-attached the originals for color and export.

Hey all - I've been using the R5 extensively on a variety of shoots the past couple of months and have absolutely loved it. The AF is spot-on, the HQ 4k modes are gorgeous, the user experience is amazing, the 120fps is the best I've used outside of the C300 III.
So far, I have had zero overheating issues. The timer in 4k HQ has gone down from 25-minutes to 20-minutes a couple of times, but have never had any issues. 
Just released last night is a music video I directed, shot, and edited. Outside of some tripod shots, I'd say 90% of the shoot was shot on the R5. Youtube compression sucks so there seems to be some artifacts, but they aren't present in the 4k ProRes export.
Enjoy!
 

Hey all - I've been using the R5 extensively on a variety of shoots the past couple of months and have absolutely loved it. The AF is spot-on, the HQ 4k modes are gorgeous, the user experience is amazing, the 120fps is the best I've used outside of the C300 III.
So far, I have had zero overheating issues. The timer in 4k HQ has gone down from 25-minutes to 20-minutes a couple of times, but have never had any issues. 
Just released last night is a music video I directed, shot, and edited. Outside of some tripod shots, I'd say 90% of the shoot was shot on the R5. Youtube compression sucks so there seems to be some artifacts, but they aren't present in the 4k ProRes export.
Enjoy!
 

The only place it does make sense is using the speedbooster. Pretty amazing you can spend around $700-$800, get the EF 24-70mm f4 IS and get stabilization, a true 24-70mm field of view, and a f2.8 aperture. Whereas the RF version will cost you $2300 and give you a 36-105mm (or so). Much prefer thee FoV of a true 24-70mm.
OR get the Sigma EF 24-70mm f2.8 for $1100 and get a 24-70mm f2.0 with stabilization. Love the C70 and excited for it, but I'll probably wait for a full-frame C90 before transferring all my EF glass to RF glass (which I am excited to do...).