The Sony FX3 Cinema Camera was released to the general public in late 2021. When I initially read the release announcement, I was blown away by the specifications and versatility of a camera which maintained such a small footprint. Just imagine incredibly sharp 4k video recording, cage-like body style, tally lights, industry-leading autofocus tools, dual-type memory card slots, and the list goes on and on. And to be a part of Sony's infamous 'Cine' line of cameras, no less? It was a camera I needed to use.

Using Sony’s Smallest Cinema Camera

When I was approached to create a series of training videos for Dufresne Furniture & Appliances, I jumped at the chance. This was an opportunity not only to bring out the FX3, as I had dozens of times since including it as part of my kit but to test it in a scenario new to the system. From the outset, it was clear that these training videos were to be produced inside the central Dufresne Furniture & Appliances store in Winnipeg, Manitoba. It makes sense. To have sales associates sell furniture in a brightly lit film studio could be confusing; frankly, it wasn't what the client wanted. So we were to film the video series inside the store.

Visit Dufresne.

The thing about furniture stores is - They're full of customers. From the start of the day until the end, people are walking the aisle, music playing over the speakers, and working sales associates selling furniture to be put into people's homes. Not a deal-breaking scenario for filming, but if the client were to receive the concise, professionally produced videos they required, there would have to be a series of concessions regarding the store's operations during the production. So instead, we fell back on a technique I've used for many retail organizations. A little strategy I call shooting when the store is closed. And so, we did, and the FX3 was used as Camera A for an overnight with Dufresne Furniture & Appliances.

Why was this a big deal?

It was a big deal because you need an overnight camera system to be as reliable as possible. When your production has been in the works for over a month, and you have money tied up in the hiring of actors, crew, and the rental of equipment, it would be detrimental to have your gear fail. But, after almost a year with the FX3, I trusted the system to perform, and perform it did.

For this shoot, the Sony FX3 Cinema Camera was kitted out with a Gimbal Stabilization System from DJI, an external Monitor from Atomos, and some supporting equipment from Manfrotto, Rode, and Small Rig. The result was a very mobile yet also very manageable system. As far as gimbals go, it can be easy to build them to the point where they become unwieldy. Thanks to the small footprint of the Sony camera, however, we could keep the entire build to under 15 pounds.

Doing the gimbal work was a breeze, with some of the more static shots using the FX3's fantastic native autofocus. I swear, every year I buy a Sony Camera, I'm impressed by the quality of the autofocus system, and this year was no exception. It's snappy, accurate, and sticky when it needs to be. This year it's also been improved in how it transitions from one subject to another. I've always praised Canon Cameras and their dual-pixel autofocus systems for their smooth rack focusing. Well, this year, it looks like Sony is in the same league, finally. I was very impressed by the assist tools as well, although some of that can be attributed to the Atomos Ninja V external monitoring system, which remains a mainstay in my kit.

Setbacks & Behind the Scenes

As we transitioned to some of the tripod and slider support shots, I couldn't help but begin to notice some of the determents of having a small form factor camera like the FX3. For one, the system lacked the satisfying and stabilizing weight of some of its older siblings. As a result, we did tripod shots under a heightened level of observation for the edges of the frame to ensure minimal camera shake and shutter. Additionally, the tiny batteries that the FX3 uses, while significant in Alpha series Sony Cameras, are almost insufficient for this camera. We managed only 50 minutes of recording time per charge on the FX3, which caused us to cycle batteries nearly half a dozen times. Filming for Dufresne wrapped close to midnight; we are off the set by around 2 am. 

Helping me produce this video series was Eric Curt Peters from Winnipeg Production Company Unreel Creative. They do excellent work, and I encourage anyone in the Winnipeg Area to check them out if they are in the market for media.

Visit Unreel Creative.

The real treat about using the Sony FX3 camera is utilizing the ProRes workflow in programs like Adobe Premiere pro. The footage out of this camera, and other FX line cine cameras, is so flexible, so valuable that you essentially live and die by the freedom they provide. The creativity that this type of footage allows as far as colour grading, reframing, and stabilization is astounding.

Overall I'm pleased with my overnight shoot using the Sony Cine FX3 Camera. Despite a deceptively small package, this camera, when paired with the right supporting gear, can punch well above its weight class long after the sun goes down.

Josh Diaz is a filmmaker and video editor based in Winnipeg, Manitoba.