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Interesting! That's quite a major fault. I'm amazed that passed quality-control. Hopefully a straightforward repair.

Paul, it sounds like you've gotten in way over your head with the FX30. Even if you are able to get a few answers to your questions on this forum, I don't think that will give you the depth of knowledge that is necessary to consistently get good results with a complicated professional camera like the FX30. My recommendation is that you find an experienced FX30 owner in your area and hire him/her to give you some one-on-one training and help you get your camera setup properly. If you find the right person, the expense will be well worth it in the long run and save you a lot of frustration and wasted time and money.

I've shot a test and found that the FX30 has less DR than the FS7. The attached images are SLog with no LUT. Note my son has the same IRE value - the sky is clipped on the FX30 and highlights are retained on the FS7. The shot was taken at the same time with the FX30 mounted on top of the FS7 so the level of the sky is consistent. The FX30 is sharper.

Absolutely normal. You shouldn't expect to dial in random numbers on any two different models of camera and expect them to match. Manual white balance on a white card or other suitable target is the right way to do it. Always has been, and always will be. The numbers shown onboard the cameras are just meant to be a rough approximation and do not represent the precise color setting. Plus, and this is very important to understand, dialing in a random WB number only changes the warm/cool axis of the color balance and does not address the equally important magenta/green axis. However, when you manually white balance on a white card or other target, both the warm/cool and magenta/green are automatically adjusted for you. It is always faster, easier, and more fool proof than dialing in a random number you THINK is correct. Let the cameras do the work for you.

That sounds similar to the veiling flare / purple grid issue that affected some F5/55 cameras.

With the arrival of the Atlas Mercury Edition Full Frame anamorphic primes, does Sony have any plans to include the native 1.5x desqueeze required by these lenses?

Hi Alain, Unfortunately the plastic LCD arm that came with the FX6 proved not to be strong enough to support the weight of the LCD and my Zacuto viewfinder. It broke a few months after I started this thread. I replaced the arm and now use it only for the LCD, as it was designed. I now have the Zacuto EVF mounted in about the same place as you see above, but I use some Magic Arm accessories I bought at the Kondor Blue booth last year at NAB. I can't even tell you exact what parts they are, but the ball-socket arm attaches directly to the camera body and gives me plenty of flexibility for positioning. https://kondorblue.com/pages/build-your-own-cine-magic-arm

I found the answer, here is a complete tutorial on how to achieve this: https://github.com/rodrigopolo/cheatsheets/blob/master/multimedia.md#custom-lut-for-the-fx30-with-the-ninja-v-and-resolve And a fix to the LUTs provided by Sony that use [tab] instead of [space] https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=138664&p=1033383#p1033383

Just tested the new version...can confirm - no bueno (or non buono since Sony prefers Italian).

I think the only issues with streaming direct from the camera are a) a bit less control over stream settings (bit rate etc), and b) can't insert any graphics, fades, other audio, etc.

The Sony Venice 2 should be the dominant Sony cinema camera by now but the Venice 1 continues to dominate over it. Why? 8k+ origination is often not desirable. The Venice 2 would find itself on more sets with downsampled modes to X-OCN. We know it is possible thanks to the Burano, which has three oversampled / downsampled recording modes: FFc 6K 16:9 FFc 6K 17:9 S35c 4K 17:9 At the least - the Venice 2 should inherit these modes (so they can match up in Multicam shoots) if Sony wants to put in the least amount of effort for this highest priced camera. Ideally the Venice 2 would also receive a downsampled 6k open gate mode as well as a 4.3k 17x9 full width mode. The Venice 2 hasn't received the development support over firmware that it deserves.

Although I have no interest in using these presets I decided I would try installing them to see if they would change the Assign Buttons on my FX6. And they did. It only took about 2 minutes to download and install them, and they worked exactly as Sony said they would work. So, there is nothing wrong with the Presets and you must be doing something wrong on your end. If you will provide more details about what steps you are taking I might be able to help pinpoint what you have done incorrectly. However, with that said, after I tested the ALL files I immediately reset my camera back to my own ALL File because there isn't a single setting of these Sony files that I agree with. What a total mess. I can't imagine anyone wanting to actually use these settings. Terrible choices. Keep in mind that ALL Files generally don't change anything about how the camera "looks". They aren't LUTs or Paint Menu presets. ALL Files are basically intended for saving/recalling your own personal preference files for YOUR camera. So, if you install these files, be warned that you will be essentially setting your camera up for what somebody else prefers. It's kind of like letting someone else get into your car and adjust the seat position, tilt of the steering wheel, rearview mirror, side mirrors, radio station presets, etc. they way they like to have them -- and then expecting you to get in and be happy with those same settings. Be warned that literally hundreds of custom camera settings will be changed when you load those ALL files, not just the few settings that Sony lists. My advice for anyone thinking of loading either of these presets is to be sure you are aware that nearly every personal setting you have made to your camera will be erased. So you should save your own ALL file first -- that way you can revert back to your own settings if you don't like the new files from Sony. My other advice is to take a few minutes and customize your camera so it works the way YOU want it to function -- and then you will be a much happier and more efficient camera operator.

Hello, please bring 3:2 open gate recording to the FX3.

Here are the reasons that I think the FX6 is the best camera ever made for filming wildlife: 4K XAVC-I codecs. Touch-tracking auto-focus. Slow-motion @ 120 fps. Up to 30 seconds of Picture Cache. The ability to use Picture Cache and Slow-motion simultaneously (the only Sony camera to offer that functionality). Dual ISO Sensitivity. Variable ND for perfect exposure. Slow-motion, Dual Sensitivity, and Picture Cache can all be turned on/off instantly with one button push. Ability to record on ordinary SDXC cards. There are no other cameras that offer all these advanced features. If you think there is a better camera for wildlife, what is it?

a7S3. solid reliable workhorse. I use 3 of them every Saturday recording 6-8 hours continuous in 10 bit 422 at 60fps.

The problem with using the A1 as a cinema camera is that if you use 8K it will overheat in 40 minutes. I have a mod to blow cool air and it will record 8k30fps 10 bit 422 for over 6 hours continuous.

This contraption allows for 6-8 hours continuous recording in 8k30fps 10 bit 4:2:2 SLog3 in direct sunlight 90deg F. https://www.youtube.com/watch?v=IFqYIwcExS4

Hello, I bought the FX30 for live-streaming and content creation from my desk. I set up an HDMI to HDMI using a capture card (elgato) and am noticing a flickering or glitch on screen when using Zoom, OBS or other live streaming software. I have it set up on 4k 15p and backed down to HD 1080 and still glitching. I am hoping I can get 4k out of the camera when live-streaming and can solve the glitch on the screen. What am I not doing or doing wrong? I tried an 8k HDMI cord and still glitching and limitations on output settings.

Has anyone downloaded it? It almost seems like it was mistakenly uploaded or something. It's shakycam home movie footage of some fish in 10-bit 4k, nothing helpful at all. You'd think they'd upload XOCN or at the very least XAVC H-I HQ. Very, very odd.

The primary reason S-gamut3.cine/SLog3 exists is because it is designed to mimic Arri LOG C. Therefore, colorists who are used to working with Arri footage can apply the same grades to Sony S-gamut3.cine/SLog3 and be assured of getting similar results. But again, you should really ask your colorist what he/she wants you to shoot.

Sony themselves offer a data recovery service via Prime Support.

I don't think it's possible to record or output 1280x720 with an FX9. Except with the proxy feature.

It's hard to say what the issue may be, but I've had my FX6 since the first week the camera started shipping (3 years) and I can honestly say that I've never had a lens come off my FX6 or even get loosened during transport. The lens that is on my FX6 about 90% of the time is the relatively heavy Sony 200-600mm. I keep my camera completely built during transport, regardless of the lens. The other 10% of the time the lens would be my Sony 70-200 or 24-70. Never any issues whatsoever with any of them coming loose.

Apologies for the delay in responding. I really appreciate your efforts Doug in helping me. So short answer is I’ve just done a reset and it seems to be working. Before the reset i did a double check and it was faulty still. Since the reset I can’t get it to repeat the same issue. Touchwood this isn’t temporary because sometimes the fault doesn’t happen immediately. But I’ve done all my usual tests that trigger the fault and so far nothing. Thanks for your help also videosoul - I tried auto nd and the fault still happened. Bokeh control was off and i tried iris on auto and manual and it still happened. I’m on the latest firmware also. Hopefully all is well now. Thanks again.

Does anybody know, it would still has a problem with switching NTSC/PAL like it was after previous update? Or they will have it fixed in the new one? I couldnt update my fx30 because of problem with switching region, otherwise my camera would become useless without 25fps. Theres a lot of people, who became disappointed in their 1800$ cameras after last update, hoping that it would fixed in the next, but theres no sign of it...