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Why a director of photography would pick a SONY FX3 for a project?


  • The shoot happens in low light / in the dark / indoor.

  • Out of the box, color green is a desirable tone in your shots (You CAN get accurate skin tone by lighting and diligent white balancing.)

  • When the video production works with tight spaces.

  • When you want an unobtrusive set.

  • The camera sits on a gimbal most of time.

  • You need the camera to be Netflix approved.

  • When the production need to travel light and move fast.

  • When you need auto focus. (With Lidar, like PD Movie Air 3, now you can have auto focus almost with any lens.)

  • When the director of photography / camera operator is a one man crew.

  • When you need fast turn around.

  • When you need to upload to small 4:2:2 footage quickly.

  • When you need full frame in 4K or 1080p

  • When the production requires footage from all over the world by different DP.



In our experiences, even for corporate interviews and pieces to camera, particularly in Hong Kong and Asia, where space is at a premium. The smaller the form factor of a camera, the more depth of you can squeeze in by allocating more distance between your subject and the background, a super speed T1.2 or G Master 1.2 can only get you so far. The modern lenses are between T2 to F2.8. Sometime a few inch is all you need to make a world of difference.


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