Sony FX3
Also known as: FX3, Sony cinema line camera
A compact full frame cinema camera, used alongside action cameras to supply the controlled shots that a mounted body cannot produce.
Updated
What it means
The FX3 belongs to a different category from an action camera. It is a full frame body built for video, with interchangeable lenses, proper audio inputs and the controls a camera operator expects to have.
In an action context it is the second camera rather than the first. The mounted bodies capture the run, and a camera like this captures the approach, the faces and the establishing shots.
The practical difference is control over the image. Shallow depth of field, real low light capability and a Log profile with usable latitude are all things a sealed action body cannot offer at all.
How it works in practice
Mixing it with action footage needs a colour plan made before filming. Shooting log here and a flat profile on the small cameras gives Color matching something to work with afterwards.
Frame rates have to be agreed across every camera. A session shot at mismatched rates cuts together badly, and resolving it afterwards means retiming rather than simply trimming.
Audio is where it genuinely changes the result, because a camera with real inputs records usable Dialogue that no mounted body can manage, which is worth planning the coverage around rather than treating as a bonus.
What to watch out for
It is not a camera for impacts or water, so trying to use it where an action body belongs risks the camera and produces worse footage than the cheap one would.
The footage is also substantially larger and slower to handle, which turns a day of mixed shooting into a noticeably heavier Transcoding job than action clips alone.
Depth of field that looks beautiful on a planned shot works against fast unpredictable action, where a Fixed focus wide lens simply hits more often than a shallow one does. A sharp ordinary shot beats a beautiful missed one.
How RawClip handles it
Clips from larger cameras are read the same way as action footage, and their steadier framing tends to score well as establishing material. Mixed sessions are assembled with the colour and depth differences reconciled rather than ignored.