Category Archives: FX6

New Firmware Coming For The FX3, FX30 and FX6 – Shutter Angle for FX3/30.

FX-Firmware-Version5-600x470 New Firmware Coming For The FX3, FX30 and FX6 - Shutter Angle for FX3/30.

Before you get too excited – these firmware updates are not coming just yet. But they are coming.


The FX6 will get an update to Version 5  to quote Sony “in May 2024 or later” which will include:

–  The addition of 1.5x setting to the De-squeeze function

– Monitor & Control app compatibility (ex. Waveform, False colour such as FX3/30 already supported)

–  A new preset 709tone to support to colour match multiple cameras  (I assume this is to match the older Sony Rec-709 look)

– The expansion of supported lenses, such as the SEL100400GM & SEL200600G, for breathing compensation.

FX3 and FX30.

Then later in the year, in September 2024 or later the  FX3 and FX30 will get:

– A Shutter Angle option

– 709tone support

– SRT/RTMP/RTMPS support for Live streaming demand

The addition of shutter angle in the FX3 and FX30 is going to please a lot of owners of these 2 cameras.



Circus shot with the Sony FR7 PTZ camera

A while back I got the opportunity to shoot a circus with the Sony FR7. The circus is a traditional travelling circus based in the South West of the UK called “Funtasia”. They put on both family shows and adult shows (Cirque du Vulgar) touring during the summer months as well as a Christmas show. 

Filming a traditional circus during a live show is difficult as there is no raised stage as you would find in a theatre. So it is very difficult to use a camera on a tripod without obstructing the audiences view unless you shoot from the back and this isn’t ideal either. The FR7 however allows you to place the camera on the floor, on a stand or to hang it from the the venues structure and then operate it remotely. It is also very small, so won’t obstruct someones view in the same way that a large camera would. 

It can be controlled from a laptop or tablet or with Sony’s RM-IP500 controller (many other PTZ camera controllers can also control it). It can be connected to wirelessly but this adds some latency to the monitoring images that are sent from the camera over the network and for something fast moving like circus this isn’t helpful. So, for this I ran a single ethernet cable from the camera to a basic router and then connected my laptop to the router. I did also have the Sony RM-IP500 remote control panel, but it was easier just to do everything via my laptop.

313521105_845958669754357_6850939375571143587_n-600x400 Circus shot with the Sony FR7 PTZ camera
Operating the FR7 from my laptop

I filmed 4 shows. Two from low down at the front of the performance area and 2 with the FR7 hanging from one of the support trusses of the big top tent. The high shots would not have been possible any other way and they give a unique perspective, especially of some of the aerial acts.

313806757_1197068724545808_2210067909302650202_n-1-600x400 Circus shot with the Sony FR7 PTZ camera
FR7 up on one of the tent supports.

The FR7 is part of Sony’s Cinema Line and is basically a Sony FX6 digital cinema camera in a Pan, Tilt and Zoom housing. It has the same very high image quality as the FX6 as well as all the same recording codecs (plus some extra streaming codecs). And just like the FX6 it can record 4K at up to 120fps. For this shoot I used the Sony 28-135mm power zoom lens with a little bit of Clear Image zoom every now and again to further extend the zoom range.

For more on the FR7 click here.

For more about Circus Funtasia click here:

Shooting Anamorphic With an FX3 or FX6.

A lot of people like to shoot anamorphic with the FX3 or FX6. And they do get great looking images. The best example of this most recently is the blockbuster movie “The Creator” which was shot with an FX3 using 2x anamorphic lenses.

But there are a couple of things to consider with Anamorphic.

The first is what aspect ratios does the sensor support and what is the aspect ratio you want to deliver. The FX3 is always either 16:9 or 17:9 so that means that if you want you final output to have that classic 2.39:1 (2.40:1) aspect ratio then you need to use a 1.3x  anamorphic while shooting 16:9 as a 1.3x lens as this will allow you to use the full sensor.

If you use a 1.6x lens and do not crop the sides of the image in post you will have a much narrower 2.8:1 aspect ratio. 1.6x lenses work best with 3:2 sensors. With a 2x anamorphic lens you would end up with an extremely narrow 3.5:1 aspect ratio unless you do some serious side cropping – which will reduce the horizontal resolution of the final image. If you use a classic 2x anamorphic lens designed for 35mm film you will almost certainly have a noticeable vignette on either side of the frame as these lenses are designed for the narrow but tall frame of 35mm film. You are going to need to remove this vignette by cropping. If you only deliver in HD this may not be an issue, but for 4K delivery it means your footage is no longer really 4K. As a side note it is interesting that for “The Creator” this is exactly how they shot, using 2x anamorphics. But I am led to believe that extensive use of AI was made when scaling the image in post. If you do need to crop the image the FX9 has a bit of an advantage as the sensor operates at 6K in full frame, so the 4K recordings have higher resolution than the recordings from the FX3 or FX6 (remember a bayer sensor on actually resolves at about 75% of the pixel count, so a 4K sensor delivers a 3K image while a 6K sensor delivers a 4K image). Burano will be a good camera to use as even after you crop in to the 8K (pixel) image what is left will still be around 6K of pixels and full 4K resolution.

Then the other is de-squeeze. It can be quite challenging to focus if you have the wrong de-squeeze and if the collimation of the lens is off you may not notice that the horizontal and vertical focus points are different , so shots may not be as sharp as they should be. You could always use an external monitor with the de-squeeze you need.

So, depending on how you look at it the only lenses that might be considered to be “fully compatible” will be full frame 1.33x anamorphics as these will give the classic 2.40:1 aspect ratio without cropping and the camera supports 1.33x de-squeeze. But these are not common. Any other anamorphic squeeze ratio will require some post work. Classic 2x anamorphics were designed for super 35mm open gate 4:3 sensors and when used like this they still needed a slight side crop for 2.39:1. Use them on a FF 16:9 sensor and you will need to make a big side crop. For Full Frame anamorphic lenses these days it is common to use a 6:5 scan which is more square than 4:3 and the side crop is no longer needed. Additionally for FF, 1.8x squeeze is becoming very common and designed specifically  to work with a FF 6:5 sensor. But – sadly the FX3 doesn’t really have a scan mode tall enough to fully take advantage of modern FF anamorphics. But that doesn’t mean you can’t use them, it’s just not an ideal situation.

Do I Need To Always Overexpose S-Log3?

This is another one from Social Media and it the same question gets asked a lot. The short answer is…………


Even with Sony’s earlier S-Log3 cameras you didn’t need to ALWAYS over expose. When shooting a very bright well lit scene you could get great results without shooting extra bright. But the previous generations of Sony cameras (FS5/FS7/F5/F55 etc) were much more noisy than the current cameras. So, to get a reasonably noise free image it was normal to expose a bit brighter than the base Sony recommendation, my own preference was to shoot between 1 and 1.5 stops brighter than the Sony recommended levels (click here for the F5/F55, here for the FS7 and here for the FS5).

The latest cameras (FX30, FX3, FX6, FX9 etc) are not nearly as noisy, so for most shots you don’t need to expose extra bright, just expose well (by this I mean exposing correctly for the scene being shot). This doesn’t mean you can’t or shouldn’t expose brighter or darker if you understand how to use a brighter/darker exposure to shift your overall range up and down, perhaps exposing brighter when you want more shadow information and les noise at the expense of some highlight range or exposing darker when you must have more highlight information but can live with a bit more noise and less shadow range.

What I would say is that exposure consistency is very important. If you constantly expose to the right so every shot is near to clipping then your exposure becomes driven by the highlights in the shot rather than the all important mid range where faces, skin tones, plants and foliage etc live. As the gap between highlights and the mids varies greatly exposure based on highlights tends to result in footage where the mid range is up and down and all over the place from shot to shot and this makes grading more challenging as every shot needs a unique grade. Base the exposure on the mid range and shot to shot you will be more consistent and grading will be easier.

This is where the CineEI function really comes into its own as by choosing the most appropriate EI for the type of scene you are shooting and the level of noise you are comfortable with and basing the exposure off the image via the built in LUT will help with consistency (you could even use a light meter set to the ISO that matches the EI setting). Lower EI for scenes where you need more shadow range or less noise, higher EI for scenes where you must have a greater highlight range. And there is no -“One Fits All” setting, it depends on what you are shooting. This is the real skill, using the most appropriate exposure for the scene you are shooting (see here for CineEI with the FX6 and with the FX9)

So how do you get that skill? Experiment for yourself. No one was born knowing exactly how to expose Log, it is a skill learnt through practice and experimentation, making mistakes and learning from them. In addition different people and different clients will be happy with different noise levels. There is no right or wrong amount of noise. Footage with no noise often looks very sterile and lifeless, but that might be what is needed for a corporate shoot. A small to medium amount of noise can look great if you want a more film like look. A large amount of noise might give a grungy look for a music video. Grading also plays a part here as how much contrast you push into the grade alters the way the noise looks and how pleasing or objectionable it might be.

All anyone on here can do is provide some guidance, but really you need to determine what works for you, so go out and shoot at different EI’s or ISO’s, different brightness levels, slate each shot so you know what you did. Then grade it, look at it on a decent sized monitor and pick the exposure that works for you and the kinds of things you shoot – but then also remember different scenes may need a different approach.

Sony ECM-W3 MI Shoe wireless microphone kit.

Screenshot-2023-11-20-at-12.40.02-600x469 Sony ECM-W3 MI Shoe wireless microphone kit.I guess I must have missed this while I was on holiday but Sony have now announced a small wireless microphone kit that competes with the small digital wireless microphone kits from DJI and Hollyland etc. While not intended to replace the longer range professional wireless microphones such as the UW-P series these microphones offer a very compact system at a much lower price. Being digital they offer very high sound quality.

Many of us, myself included often use a Sony camera to shoot video blogs or simple productions where we all we need is a basic radio mic system and this is where look to be ideal. The receiver connects directly to the MI Shoe of any Sony camera with an MI Shoe, so there are no wires or cables to get in the way or to get lost. Then the small clip on transmitter with its built in microphone is worn by the subject. 

Screenshot-2023-11-20-at-12.39.37-600x469 Sony ECM-W3 MI Shoe wireless microphone kit.
Sony ECM-W3S single channel wireless mic kit.


The single channel system costs £320 GBP ($350 USD) and the dual channel with 2 transmitters around £420 GBP ($475 USD).

The transmitter and receiver come in a small charging case and a windscreen is included for the transmitters. If you don’t have an MI shoe equipped camera there is a 3.5mm audio cable to connect between the receiver and the camera, computer or other recording device.

Don’t switch base ISO mid shot if using Cine-EI!

Switching base ISO mid recording in Cine-EI is causing some metadata issues in Resolve and perhaps other applications, so I strongly recommend you do not switch the base ISO mid shot.

DaVinci Resolve now reads the metadata from footage shot by the FX6 and FX9 in the Cine-EI mode to automatically add the correct exposure offset. So, shoot at  800 ISO base with the EI set to 200 and Resolve will add a -2 stop offset to the footage so that it looks the same as it did when you shot. Shoot at 800 ISO base and 3200 EI and again the correct +2 stop offset is applied.

However if you shoot at 800 base ISO, perhaps with 800 EI and then half way through the shot change the base ISO to high and 12,800 ISO, perhaps with 12,800 EI Resolve gets a bit confused. It will use the new base ISO but the original EI and as a result from the point where you switch base ISO the footage will look extremely under exposed.

So, if you must change the base ISO, it is better to stop recording, switch base and start recording again.

Why is there a ! next to my LUTs after FX6 firmware update?

If you have just updated your FX6 firmware and are now finding that there is an exclamation mark ! next to the LUT or base look name what this is telling you is that the LUT cannot be saved using the new Embedded LUT feature.

In previous firmware versions the camera used to save LUT’s internally using a  format that would not be compatible with most edit or grading applications when saved in the cameras metadata as an embedded LUT.  So, old LUTs loaded in previous firmware versions will show a ! before the LUT name. The LUT should still work, you just won’t be able to save it as an embedded LUT.

The only way to resolve this is to delete the LUT from the camera and then reload it from the original source. LUTs for the FX6 should be 33x cube LUTs.

Don’t forget I offer a wide range of free LUTs that work perfectly with the FX6,  take a look here:

Sony Releases FX6 Version 4 Firmware

Announced earlier in the year, Sony has now released their version 4 update for the FX6. This is a very nice upgrade for the camera adding several very useful features, some of which have been available on the FX30 and FX3 for some time.

I recommend you do this update, there is no need to go via version 3 if you are still on version 2, you can go direct to version 4.

You will find the firmware here:

Place the downloaded BODYDATA.DAT file on an SD card that you previously formatted in the camera. Do NOT put the file inside any other folder on the SD card then put the card in the lower of the cameras 2 SD card slots and from the full menu go to  Maintenance/Version/Version Up. Like many of Sony’s camera firmware updates the camera will appear to stop functioning and the LCD screen will go blank during the update process, the only clue that it is actually progressing will be the flashing red LED next to the upper SD card slot. The update doesn’t take long, around 5 mins, but whatever you do don’t panic when you see the LCD go blank. Just wait for the update to complete at which point the camera will restart.

Benefits and Improvements

  • Adds support for Movie file names in the Camera ID + Reel# format
  • Adds a function that displays De-squeeze (2.0x, 1.3x) in the viewfinder and HDMI output
  • Adds more AF frame rates during Slow & Quick Motion
  • Adds support for Flexible ISO and Cine EI Quick in shooting mode:
    • Allows you to record S-Log3 content with exposure settings by adjusting the ISO sensitivity
    • Allows you to record at a base ISO setting the same as Cine EI, with the base ISO adjusted automatically in conjunction with EI value
  • When the shooting mode is set to Flexible ISOCine EI, or Cine EI Quick, adds support for recording a 3D LUT file to the same memory card with the base look used during shooting as the shooting data, at the same time


Flexible ISO allows you to shoot using S-Log3 while monitoring via a LUT, but it is NOT a CineEI or Exposure Index mode. In this mode when you raise the ISO above the base ISO of 800 or 12800 you actually add digital gain to the S-Log3 recordings, making them brighter (and noisier). The camera isn’t becoming more sensitive, this is just a gain increase (alternately you can add gain in post and the result is broadly similar).
DO be aware that there can be a loss of dynamic range whenever you are shooting above the cameras base ISO. This will normally be a decrease in the highlight range. But, I would imagine that most people that are using this mode will be doing so because they don’t have enough light for 800 ISO. So, a loss of highlight range is perhaps unlikely to be an issue. As with CineEI you can monitor via a LUT and when exposing via the s709 LUT you should use the same levels as when shooting using CineEI (middle grey 44%, white card/white paper 78%, pale skin tones 60-65%).


This is the CineEI mode I use the most. It works the same as normal CineEI except in this mode the camera will automatically raise the base ISO to the high base ISO to 12800 ISO as you go above 2500 EI and then lower the base ISO back down to 800 ISO as you drop the EI below 3200 EI. I find this helps avoid ending up at a very high EI or very low EI (relative to the base ISO) by mistake and makes it quicker to work in changing light conditions. 


Enabling Embedded LUT (Full Menu/CineEI/Flex ISO Set/Embedded LUT File) allows the camera to save the LUT that you are using within the metadata on the SD card. This helps keep the footage and the LUT together in the same place which can assist post production ensure the correct LUT is used. Of course – when you do your back ups you need to make sure you copy the entire contents of the card (which is best practice anyway).


Are you confused by the Sony Cinema Line?

Screenshot-2023-07-10-at-15.56.31 Are you confused by the Sony Cinema Line?Don’t know which camera from the cinema line to use for what? When would the FX30 be a good idea and when would the FX9 be better? I’m hosting an interactive webinar on this on Wednesday the 12th of July. Please – ask questions, this free session is an opportunity for you to ask those questions about which to use and the pro’s and cons of each.

Updates for Catalyst Browse and Resolve 18.5 Beta

This is just a quick heads up as I’m on the road right now.

Sony have released a major update for Catalyst Browse and Catalyst prepare that is packed full of bug fixes.

In addition Black Magic design have just release the public beta of DaVinci Resolve 18.5. With this update you can now use the Raw controls in the Grading room to control the ISO/White Balance/Tint etc of S-Log3 footage from the FX series cameras. This makes it so easy to adjust for any exposure offsets.