1 – Getting started with the Sony FX3
Getting started with the Sony FX3
thrown together by David Tamés for ARTD3480 Video: Sound+Image (Fall 2025), revised October 7, 2025
This is a work in progress, please share your feedback via email: d.tames@northeastern.edu
See the last slide/page for copyright and acknowledgments.
Image: FX3 Image by Liz Weddon on Unsplash
2 – Workshop Goals
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Workshop Goals
◼Introduction to configuring and operating the Sony FX3
◼Introduce fundamentals of Color Gamut, Gamma, and Log
◼Guidelines for exposing S-Log3
◼Practice basic cinematography with the Sony FX3 in Log Shooting Mode
3 – Sony FX3: Features and specifications
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Sony FX3: Features and specifications
◼10.2 megapixel full-frame
◼12.5 stops dynamic range (Sony claims 15 stop dynamic range, however, independent tests have shown that the FX3 provides 12.5 stops of clean image, your mileage may vary.
◼dual base ISO (800/12,800)
◼fast hybrid phase-detection autofocus (depends on lens)
◼5-axis IBS, 4K
◼10-bit 4:2:2 video recording
◼frame rate up to at 120p
◼dual card slots (CFexpress Type A or UHS-II [SDHC/SDXC] SD)
◼optional audio handle with 2 XLR inputs and stereo 3.5mm input (4 channels, 48kHz 24bit)
◼cinema camera form-factor with multiple attachment points
The FX3 gives you two S-Log3 base ISOs: ISO 800 for solid mid-range latitude and minimal noise / ISO 12,800 for ultra-dark scenes and highlight retention; switch to ISO 12,800 when you’re rolling handheld in a candlelit bar, then dial back to 800 for controlled setups.
Fast Hybrid AF is an auto focus system that combines the traditional Contrast detection AF with Phase detection AF. Combining both of these auto focus features is great for added precision and ideal for a quick response when tracking fast-moving subjects. Even in Speed Priority Continuous Shooting mode, using auto focus tracking in each frame is possible because of the Fast Hybrid AF feature. IMPORTANT: Fast Hybrid AF is available only with compatible lenses. If a lens does not have the Fast Hybrid AF feature, it will use the Contrast-detection AF by default.
References
SONY FX3 Review: GREAT Camera, but Nothing New… (Gerald Undone), https://www.youtube.com/watch?v=G_6rfoUljpY
FX3 Product Specs (Sony), https://www.sony.com/electronics/support/camcorders-and-video-cameras-interchangeable-lens-camcorders/ilme-fx3/specifications
FX3 Product Information (Sony), https://alphauniverse.com/stories/sony-electronics-launches-fx3-full-frame-camera-for-cinematic-look-and-enhanced-operability-for-creators/
Image source: Sony
4 – Before we configure the camera, a quick backgrounder
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Before we configure the camera, a quick backgrounder
◼ Color Spaces and Gamma curves
◼ Camera color & gamma vs. display color & gamma vs. human observers
◼ Linear vs. Log encoding of image data
◼ White balance (log shooting requires us to set proper white balance)
◼ We’ll go into more detail on these topics when we start color grading
5 – Cameras and displays have very different characteristics
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Cameras and displays have very different characteristics
Cameras and displays have different color gamuts and transfer functions
When you point a camera at a scene and later view that scene on a screen, you’re working with two different devices that handle the luminance, hue, and saturation of colors in fundamentally different ways. Understanding this mismatch is essential to color grading. The Sony FX3 with *S-Log3/S-Gamut3.Cine is a professional quality recording device that can capture a large range of colors that is more than any display can show. This preserve as much of the scene as possible so you have more control in postproduction during the grading process. Most displays shows a standardized range of colors that is much smaller than what the camera captured, the goal is contrasty and satuated images. Cameras and display are incompatible in terms of both color gamut and transfer functions. Color grading bridges this gap, during which you fit the wide color gamut and dynamic range into the smaller display range, making aesthetic choices within technical constraints, you decide the final look, not the camera.
Image source: Alienware
6 – Color gamut and gamma
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Color gamut and gamma are two distinct concepts, both of which play roles in determining how images and videos are displayed and perceived.
Color gamut refers to the range of colors that a display device or imaging system can reproduce. It’s essentially the spectrum of colors that are possible within a given color space. Color spaces, such as sRGB, Adobe RGB, DCI-P3, and Rec. 709, define specific color gamuts. Each of these color spaces has a unique range of colors it can represent.
Gamma refers to the nonlinear relationship between the input and output luminance (brightness) values in an imaging system. It’s a fundamental aspect of how displays and cameras represent and reproduce brightness and contrast. The gamma curve describes how the intensity of light is encoded and decoded. In simple terms, it determines how the brightness levels in an image are distributed, with higher gamma values making mid-tones brighter and lower gamma values making them darker. Gamma correction is used to ensure that images and videos are displayed or recorded in a way that appears visually natural to our eyes. Different gamma curves are used in various applications.
7 – Color spaces used in the media industry
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Color spaces used in the media industry
Color spaces and color gamut are related but distinct concepts. A color space is a model that defines how colors are represented using numbers with three components: (1) color gamut (the range of colors that can be represented by the color space or represented by a device); (2) gamma curve or transfer function that map values to light intensity; (3) white point (white reference), e.g. D65. The human eye can perceive billions of colors and there are more colors than current screen technology can display. The color gamut of a device describes the range of colors that it can represent or display and is represented by a triangle on the CIE Chromaticity Diagram. Standardized color gamuts (e.g. Rec. 709) help resolve the problem media makers face when color grading their work for a wide range of displays that they don’t have any control over.
CIE 1931 XYZ — The first attempt to produce a color space based on human experience color perception and the basis for almost all other color spaces.
Rec. 709 — The most widely used color space in postproduction and delivery at this time, used for HD television and video, specifies a color space similar to sRGB with a D65 white point.
sRGB (standard red, green, blue) — Created jointly by Hewlett-Packard and Microsoft for use on the Internet and endorsed by the W3C, Exif, Intel, Pantone, and many others in the industry. Intended as a common color space for the creation of images for viewing on the web and closely approximates a gamma correction of 2.2, the average response of a classic CRT display to linear voltage levels (which was the predominant display technology at the time the standard was developed).
Rec. 2020 — Defines various aspects of ultra-high-definition television (UHDTV) with standard dynamic range (SDR) and wide color gamut (WCG).
Rec. 2100 — A color space standardized HDR-TV extended for high-dynamic-range (HDR) which uses the same color primaries as Rec. 2020. It has a peak luminance of at least 1,000 cd/m2 (higher than the 100 cd/m2 limit of Rec. 709 and Rec. 2020) and uses a non-gamma transfer function (PQ or HLG) and system colorimetry (chromaticity of color primaries and white point).
Adobe RGB — Developed by Adobe Systems in 1998 in order to encompass most of the colors achievable on CMYK color printers, but by using RGB primary chromaticities on a device such as a computer display. Adobe RGB color space encompasses roughly 50% of the visible colors specified by the Lab color space, improving upon the gamut of the sRGB color space primarily in cyan-greens.
Adobe Wide Gamut RGB — An expanded version of Adobe RGB developed by Adobe Systems that can store a wider range of color values than sRGB. As a comparison, the Adobe Wide Gamut RGB color space encompasses 77.6% of the visible colors specified by the Lab color space, whilst the standard Adobe RGB color space covers just 50.6%. One of the downsides to this color space is that approximately 8% of the colors representable are imaginary colors that do not exist and are not representable in any medium.
DCI-P3 — An RGB color space used primarily for digital movie projection first defined in 2005 as part of the Digital Cinema Initiative, to be used for digital theatrical motion picture distribution
Display P3 — A variant of DCI-P3 developed by Apple Inc. for their wide-gamut monitors.
Academy Color Encoding System (ACES) — A color image encoding system created under the auspices of the Academy of Motion Picture Arts and Sciences and characterized by a color accurate workflow with the goal of enabling a seamless interchange of high quality images regardless of origin. The system defines its own color primaries based on spectral locus as defined by the CIE xyY specification. The white point is approximate to the chromaticity of CIE Daylight with a Correlated Color Temperature (CCT) of 6000K. Most ACES compliant image files are encoded in 16-bit half-floats, thus allowing ACES OpenEXR files to encode 30 stops of scene information. The ACESproxy format uses integers with a log encoding. ACES supports both high dynamic range (HDR) and wide color gamut (WCG). The system is standardized in part by the Society of Motion Picture and Television Engineers (SMPTE) standards body.
Sources
Wikipedia, “List of color spaces and their uses,” https://en.wikipedia.org/wiki/List_of_color_spaces_and_their_uses
Wikipedia, “Rec. 709,” https://en.wikipedia.org/wiki/Rec._709
8 – Color spaces we will work with in this course
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Color spaces we will work with in this course
CAMERA CAPTURE (S-Gamut3.Cine) => POST-PRODUCTION (DaVinci Wide Gamut) => DELIVERY (Rec.709)
Sony S-Gamut.Cine (camera capture)
Davinci Wide Gamut (postproduction)
Rec.709 (delivery, widespread standard)
S-Gamut3.Cine (Capture Color Space) preserves the widest practical range of colors the camera sensor can capture
// Scene-referred: Represents actual light values from the real world, not display values
// Log encoding: S-Log3 gamma curve protects highlights and opens up shadows
// Wide gamut: Approximately matches Rec.2020, much larger than what displays can show
DaVinci Wide Gamut (Post-Production Working Space) is Resolve’s native intermediate color space, it is a large, scene-referred working environment optimized for professional color grading
// Grading workspace: Provides a neutral, wide container to work in before delivery
// Prevents clipping: Large enough to hold S-Gamut3.Cine data without losing information
// Non-destructive transforms: Allows you to grade without being constrained by a delivery gamut
// Intermediate logarithmic: Uses an intermediate gamma curve that has been optimized for smooth tonal manipulation
Why Use an Intermediate Space?
Prevent clipping of highlights
Avoid color shifts
Better results when pushing grades
Apply creative decisions with full color information
Rec.709 (Distribution/Delivery Color Space) is the industry standard for HD video display, what your audience will see on laptop screens, phones, tablets, televisions, and web platform. The image is contrasty, saturated, visually pleasing and has what most people would associate with the “finished picture” look.
// Display-referred: Optimized for how screens reproduce color and how we perceive images
// Standardized: Rec.709 display looks roughly the same acoss many devices
// Narrow gamut: Contains only ~35% of visible colors, but those are colors most displays can reproduce
// Gamma 2.4: Contrast curve designed for viewing in “average” conditions
9 – Sony S-Gamut3.Cine color gamut
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Sony’s S-Gamut3.Cine was designed to closely align with ITU Rec. 2020
Most modern cinema camera gamuts are designed to match or slightly exceed Rec.2020. Camera sensors naturally capture very saturated colors, especially in deep reds and cyans. The gamut needs to be wide enough to contain what the sensor physically sees.
Even though we mostly deliver to Rec.709 today, we capture in a wider gamut for several reasons: (1) it preserves color information for future remastering to Rec.2020 or other wide-gamut formats; (2) wide gamuts give you more room to push colors in creative grading without hitting the limits of the color space, this is why we want to record 10-bit 4:2:2 and do our grading in Davinci Wide Gamut; (3) By capturing beyond our delivery gamut, we can make sure that highly saturated olors don’t get clipped or shifted during capture.
S-Gamut3.Cine is much wider than Rec.709 and was designed to closely align with Rec.2020, S-Gamut3.Cine is easier to use than S-Gamut3 because it offers you cleaner color transforms with less risk of out-of-gamut issues, and Sony recommends S-Gamut3.Cine for most narrative and commercial work.
10 – Logarithmic vs. Linear
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Log vs. Linear
With Log formats the brightness levels are converted to a log signal. The log curve has a longer length than the linear curve. This means that for change in exposure values there are more changes in recorded value, thus the camera can record more information about changes in brightness. At every point along the log gamma curve, the value from the X-axis (representing image brightness) is equal to the value from the Y-axis (the coded value). This allows every part of the image (shadows, mid-tones, and highlights to receive the same treatment in terms of bit depth). Instead of the shadow portion of the image being lost in black as is usually the problem when shooting Rec.709, you’re able to reach into your shadows and access the details that the camera is capable of, the same goes for the highlights if you choose to focus on them (though often at the expense of losing the shadows).
11 – Logarithmic vs. Linear
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S-Log3 vs. Rec.709
S-Log3 uses a logarithmic curve that mimics human perception, allocating more code values to shadows and midtones where our eyes are most sensitive, while compressing highlights to preserve detail across a wide dynamic range. This similar to how we perceive a candle in a dark room and the sun ourdoors as both “bright” despite vastly different light intensities.
In contrast, Rec.709 uses a gamma curve (2.4) that applies more contrast and allocates code values in a way optimized for display on screens in typical viewing environments, producing images that immediately look natural and pleasing to our eyes.
S-Log3 prioritizes data capture by recording the maximum range of light values from the scene (scene-referred), resulting in flat, desaturated footage that requires grading, while Rec.709 prioritizes immediate viewing quality by applying contrast and saturation designed for screens (display-referred), producing images ready to watch but with less grading latitude.
Essentially, Log is a “digital negative” with maximum information preserved for grading in post-production, while gamma/linear display encoding is your “final print” optimized for human viewing. Think of color grading is the process of transforming your “digital negative” into a “final print.”
The waveform and display will look flat; you can use the “Gamma Assist” function in the Sony FX3 for a fuller image while still maintaining proper Zebra values. Don’t use a LUT with the FX3, as it will change the Zebra Values.
12 – Camera gamma and display gamma
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In typical production practice the encoding function of image sources (OETF) is adjusted so that the final picture has the desired aesthetic look, as viewed on a reference monitor with a gamma of 2.4 (per ITU-R BT.1886) in a dim reference viewing environment (per ITU-R Rec. BT.2035 it is 10 lux of D65).
When we import footage recorded from a camera, this is almost always Scene Referred. An Electrical Optical Transfer Function (EOTF) is not necessarily the inverse of the corresponding Optical Electrical Transfer Function (OETF) . The combination of the two is referred to as an Optical to Optical Transfer Function, or OOTF, when going from scene referred to display referred we use forward OOTF, conversely, when going from display referred to scene referred, we use Inverse OOTF.
The Rec. 709 standard specifies a non-linear OETF (opto-electrical transfer function) which is known as the “camera gamma” and which describes how an HDTV camera encodes the linear scene light into a non-linear electrical signal value. Rec. 709 doesn’t specify the display EOTF (electro-optical transfer function), which describes how HDTV displays should convert the non-linear electrical signal into linear displayed light, that was done in ITU-R BT.1886.
Old CRTs had a EOTF of 2.35 pure gamma and thus the corresponding correction of 709 OETF to get EOTF linear image (if 1.2 end-to-end gamma is assumed) was a pure gamma of 1.2 / 2.35 = 0.51 = 1/1.9608. It was used in such way by Apple until Display P3 devices came into existence.
Gamma curve images from Sony
13 – Dynamic range and exposure
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Setting the optimal exposure
In a nutshell, setting the optimal exposure when shooting S-Log involves adjustments to f/stop, ISO, and ND (assuming you are keeping the shutter speed fixed) so that a 90% white reference is at 61 on the IRE scale and an 18% middle grey reference is at 41 on the IRE scale. For faithful color reproduction, you need to set the white balance properly.
14 – Dynamic range and exposure
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Setting the optimal exposure
With current cameras, we must choose between preserving highlights or shadows; the dynamic range of most scenes exceeds the capability of the camera; good exposure is whatever produces the image you are looking for, do you want rich and detailed shadow areas or do you want texture and detail in the highlights? Unless you have full control over the lighting conditions, you’re going to have to choose between on or the other.
15 – Color temperature and white balance
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When shooting S-Log3/S-Gamut3.Cine you need to set the white balance properly for the best results in post.
CineEI restricts you to Daylight or Tungsten baseline.
Flesible ISO mode allows white balance selection.
Correct white balance during video recording will provide maximum grading latitude when working in DaVinci Wide Gamut.
Because the footage looks flat and desaturated on set, it will be harder to notice when your white balance is off, and when your white balance is off you risk clipping color channels. Gamma Assist can help, but doing white balance by eye is not recommended.
Set a custom white balance when possible. Use a gray card or white balance target under your key light. Or, use one of the camera’s presets when you know the color temperature of your source (e.g. Daylight when shooting outdoors). Note there are presets for cloudy days and shade.
Avoid Auto White Balance (AWB) in most scenarios, as it can shift between shots, making matching difficult; on the other hand, AWB can be useful for run-and-gun situations where lighting changes constantly.
Reference: Light and Color by R. Daniel Overheim and David L. Wagner (Wiley, 1982); Images (Unsplash, CC-0): Candle by Basil James; Golden Hour by Davide Pietralunga; Kitchen by Sidekix Media; Outdoors by Sébastien Goldberg; Overcast by Chris Leipelt; Heavy Overcast by Luke Stackpoole.
16 – Sony FX3 Setup: Getting started
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Sony FX3 Setup: Getting started
Operation is similar to the Sony a7iii, therefore, in this workshop we’ll focus primarily on what’s different about the FX3. Refer to the Sony a7iii Camera Workshop slides
Note: If you plan to purchase your own SD cards for this camera, SanDisk Extreme PRO UHS-II (V90) are proven to be reliable and can be used to record all formats (these are the cards I use, however, this is not an endorsement). If you are going to limit yourself to XAVC S Long-GOP and not shoot in any of the I-Frame formats, you can use less expensive SanDisk Extreme PRO UHS-II (V60) cards.
The Sony online Operation Guide offers basic camera operation information, it supports searching by keyword and provides a table of contents, see: https://helpguide.sony.net/ilc/2210/v1/en/contents/TP1000885320.html
This workshop assumes you are familiar with basic hybrid camera operation and camera and lens fundamentals (including the use of ND when setting exposure) here are the slides from my Video Basics workshops you can use as a refresher or to get caught up:
Sony a7iii Camera Workshop 1 of 2: https://writingwithacamera.com/presentations/sony-a7iii-camera-workshop-1-of-2.html
Sony a7iii Camera Workshop 2 of 2: https://writingwithacamera.com/presentations/sony-a7iii-camera-workshop-2-of-2.html
17 – Sony FX3 Setup: Power on
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Sony FX3 Setup: Power on
Upon startup camera may ask if you want to do pixel mapping.
Pixel mapping is a sensor calibration process that identifies and maps out defective pixels on the image sensor.Over time and with use, individual photosites (pixels) on the sensor can become stuck as bright spots that appear as tiny white dots in your footage. The camera can determine which pixels are defective and will interpolate replacement values from surrounding pixels.
Run this whenever the camera prompts you (usually after temperature changes or extended use) or if you notice persistent bright pixels in your footage. It is good to run as preventive maintenance every few months.
Menu => Setup => Pixel Mapping and then follow on-screen prompts (takes about 30 seconds or so). It’s non-destructive and can be run as often as you like. This is different from sensor cleaning (which addresses dust issues on the sensor).
18 – Sony FX3 Setup: Movie Mode
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Sony FX3 Setup: Movie Mode
We will be using the FX3 as a video camera, so set the FX3 to Movie Mode to begin.
The other Movie Mode is S&Q (Slow & Quick), which allows you to capture slow-motion and fast-motion footage by decoupling the recording frame rate from the playback frame rate. This is worth exploring after the workshop if you are interested in slow-motion and fast-motion footage. In S&Q mode, you set two separate frame rates: (1) Frame Rate: The rate at which the camera captures frames (1fps to 120fps); and (2) Base Frame Rate: The timeline/playback frame rate of your project (23.98p, 25p, 29.97p, 50p, or 59.94p). The camera automatically conforms the captured footage to your base frame rate, creating the slow/fast motion effect in-camera, up to 120fps in 4K (UHD) and Full HD; and as low as 1fps for time-lapse effects. There is no audio recording in S&Q mode.
19 – Sony FX3 Setup: Battery level
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Sony FX3 Setup: Battery level
Always make sure you are going out with charged batteries
Kit comes with two charged batteries (verify both are charged as part of your kit runtrough before leaving the Media Center).
USB-charging (make sure orange LED is lit to confirm charing status, it goes out when charging is complete)
20 – Sony FX3 Setup: Configure how SD cards are used
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Sony FX3 Setup: Configure how SD cards are used
Menu => Shooting => Media => Rec. Media Settings => { choose setup }
The camera has two SD card slots
You can configure to (1) segregate stills and video on separate cards; or (2) record simultaneously on both cards; or (3) have it auto-switch from one card to the next
21 – Sony FX3 Setup: Format media
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Sony FX3 Setup: Format media
Menu => Shooting => Media => Format => Select media card => { pick slot }
Format SD cards before shooting
22 – Sony FX3 Setup: My Menu can be customized
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Sony FX3 Setup: My Menu can be customized
Menu => My Menu => My Menu Setting => Add Item
You can use My Menu to create a custom menu with your most often used menu items, especially those you change often.
23 – Sony FX3 Setup: Main Menu
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Sony FX3 Setup: Main Menu
Menu => Main => Main1
You will find items that are used often in Menu => Main => Main1 including frame rate, shutter speed, aperture, ISO, White Balance, PP, Video Codec, Quality/Data Rate, and more
24 – Sony FX3 Setup: Main Menu
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Sony FX3 Setup: Main Menu
Menu => Main => Main2
You will find items that are less often changed in Menu => Main => Main2 including Log, Formatting, Focus Mode, SteadyShot, etc.
25 – Sony FX3 Setup: Reset the camera
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Sony FX3 Setup: Reset the camera
Menu => Setup => Reset/Save Settings
We want our cameras to all work the same during the workshop and it’s also a good idea to start with a Settings Reset baseline and then configure your camera they way you want for your shoot. The Sony online manual has a listing of all of the default settings.
26 – Sony FX3 Setup: Area, date, and time
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Sony FX3 Setup: Area, date, and time
Menu => Setup => Area/Date
Make sure the Date/Time settings are set correctly; it’s useful to have the time and date of file creation match the actual date and time.
27 – Sony FX3 Setup: Frame rate
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Sony FX3 Setup: Frame rate
Menu => Main => Main1 => Rec Frame Rate => 23.98p
Set the frame rate to 23.98p for this workshop, the camera can also be set to record
This frame rate provides one of the key components of the “film look”
If your project frame rate is 23.98p, you can also shoot slow motion at the following frame rates: 47.95fps (2x subtle slow motion), 59.94fps (approximately 2.5x moderate slow motion), and 119.88fps (5x extreeme slow motion) in 4K.
S&Q (Slow & Quick) Mode allows for frame rates beyond standard options, 1fps to 240fps (resolution/codec dependent).
28 – Sony FX3 Setup: Shutter speed
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Sony FX3 Setup: Shutter speed
Menu => Main => Main1 => Shutter Speed => 1/48 or 180°
Set the shutter speed to 180° or 1/48 (display depends on how the camera is configured)
To have the camera display shutter speed as an angle: Menu => Setup Menu => Camera Set => Shutter Mode => Shutter Angle
Shutter angle automatically scales the shutter with your frame rate, maintaining consistent motion blur characteristics, e.g. 180° shutter = 50% of frame time exposed
180° or 1/48 shutter speed (2x the frame rate, exposes for half the frame interval) provides “natural motion blur,” another key component of the “film look”
The ability to specify shutter speed as an angle was introduced to the FX3 via a firmware update, if it is not available on your camera, ask the Media Center Staff to update the camera’s Firmware if you are using a Media Center camera (or visit the Sony Support site if you are shooting with your own camera). With the latest update (Version 7 as of October 7, 2025), the Shutter Angle option should be available.
29 – Sony FX3 Setup: White balance
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Sony FX3 Setup: White balance
Menu => Main => Main1 => White Balance => Preset or Custom
Choose a white balance preset or set the white balance using a white reference. Before you start shooting, set it for the setting you are most likely to use (e.g. for outdoor shooting on a sunny day, use the Daylight preset) so if you forget to set it, at least you are close. AWB has pros and cons (like shifting color in the middle of your shoot).
Good habit to get into: always set the white balance with each change in lighting situaiton, use a white card reference when possible.
For SLog-3 + Flexible ISO mode, AWB remains available alongside manual white balance presets and custom K settings.
Auto White Balance (AWB) is disabled in CineEI Mode in which the camera operates with a scene-referred workflow where you must set a fixed base white balance. You’ll choose between: 5600K (Daylight base) or 3200K (Tungsten base); CineEI mode is designed for maximum post-production flexibility with S-Log3, and the workflow assumes you’re capturing with a consistent color temperature reference point, then adjusting color in post using your base ISO and color temperature as fixed reference points. With CineEI workflow you are expected to use color temperature filters or adjust lighting to match your chosen base, or correct in post-production where you have full control over the S-Log3 footage.
30 – Sony FX3 Setup: Picture Profile
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Sony FX3 Setup: Picture Profile
Menu => Main => Main1 => Picture Profile => { PPOFF or PP11 or PP8 }
When starting out, choose PPOFF for “what-you-see-is-what-you-get” footage designed to look good on Rec.709 displays.
Use PP11 (S-Cinetone) if you prefer a filmic look with the same ease-of-use as PPOFF.
Otherwise, configure the camera to PP8 (S-Log3 gamma with S-Gamut3.Cine color space)
Sony FX3 Picture Profiles (I suggest you avoid any picture profiles not listed below unless you know exactly why you want to use it):
PPOFF — provides “what-you-see-is-what-you-get” footage designed to look good on Rec.709 displays
PP4 — For strict compliance to Rec.709 broadcast specifications
PP8 — S-Log3 gamma with S-Gamut3.Cine color space, dynamic range log profile (13+ stops) with cinema-oriented color space
PP11 — S-Cinetone gamma provides a film-look profile with some of the characteristics of log footage, this offers a cinematic look “out of the box” with softer colors ideal for skin tones; designed to reduce post-production needs.
NOTE — On the FX3, PP11 is a standard picture profile, but it is not compatible with Cine EI (Exposure Index) mode. Cine EI locks out all standard picture profile options. To switch back to PP11, go to Menu => Exposure/Color => Log Shooting Mode => Off // then return to the Main Menu and you should now be able to select PP11. If you cannot find the PP11 option even after disabling Cine EI mode, the camera may need a firmware update.
To check the firmware level, Menu => Setup => Setup Option => Version => Body // this will display the system software version.
S-Cinetone profile was introduced to the FX3 via a firmware update, if it is not available on your camera, ask the Media Center Staff to update the camera’s Firmware if you are using a Media Center camera (or visit the Sony Support site if you are shooting with your own camera). With the latest update (Version 7 as of October 7, 2025), both PP11 (S-Cinetone) and Shutter Angle features should be available.
31 – Sony FX3 Setup: Video format (codec & resolution)
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Sony FX3 Setup: Video format (codec & resolution)
Menu => Main => Main1 => File Format => {your preferred video format}
XAVC S HD — H.264/AVC, Long-GOP Codec, low bitrate
XAVC S 4K — H.264/AVC, Long-GOP Codec, medium bitrate
There are several higher quality options, but for the workshop, choose either XAVC S HD or XAVC S 4K
Avoid H.265 unless you are working on a very fast computer, it requires more processing power than H.264.
32 – Sony FX3 Setup: Record setting (color encoding & bitrate)
![[Sony-FX3-SLog3-Camera-Setup.032.jpeg]]
Sony FX3 Setup: Record setting (color encoding & bitrate)
Menu => Main => Main1 => Record Setting => 4:2:2 10-bit
For each video format, you can choose a record setting/data rate; for maximum image quality, always choose the 4:2:2 10-bit option; you need to better color.
Background
Chroma Subsampling is a compression technique that reduces color information while preserving luminance information. It exploits the fact that our eyes are more sensitive to changes in brightness than changes in color. 4:4:4 captures color data for every pixel, offering the highest fidelity with large file sizes; 4:2:2 captures color data for every other pixel, balancing data reduction with excellent color detail and ideal for color grading; 4:2:0 captures even less color data, resulting in smaller files with a noticeable reduction in color fidelity, especially evident when color grading or keying, which is why we avoid 4:2:0 subsampling when shooting with the FX3.
33 – Sony FX3: Comparison of formats and record settings
![[Sony-FX3-SLog3-Camera-Setup.033.jpeg]]
Sony FX3: Comparison of formats and record settings
A variety of Codecs and compression schemes are available; in most cases, XAVC S 4K and XAVC S HD are the best choices for work in this course.
Background
All-Intra formats compress frames individually for significantly less computational load during editing compared to Long-GOP formats and provide the best quality for scenes with complex motion and fine details; however, files are significantly larger. All-Intra makes sense for VFX and green screen work, the higher the image quality, the easier it is to pull a clean key. Which is better, Long-GOP or All-Intra compression? Better depends on your priorities:
Maximum image quality => choose All-Intra (along with 4:2:2 10-bit)
Storage efficiency => choose Long-GOP
Cleanest chroma keying => choose All-Intra (along with 4:2:2 10-bit)
Long recording times per card => choose Long-GOP
Web delivery only => choose Long-GOP (color subsampling and bitrate less critical)
Cinema delivery => choose All-Intra (along with 4:2:2 10-bit)
34 – Sony FX3 Setup: Focus peaking
![[Sony-FX3-SLog3-Camera-Setup.034.jpeg]]
Sony FX3 Setup: Focus peaking
Menu => Focus => Peaking Display => On / Level / Color
Enable peaking to assist in manual focus
Peaking is not perfect, for the most precise focus, use image magnification when possible
You can turn peaking on/off with the “Peaking” button
35 – Sony FX3 Setup: Focus magnifier
![[Sony-FX3-SLog3-Camera-Setup.035.jpeg]]
Sony FX3 Setup: Focus magnifier (1/2)
Focus Mag (button 5)
Helps with precise focus when using manual focus
Adjust Focus Magnification Time and Initial Focus Magnification setting in Menu => Focus => Focus Assist menu
36 – Sony FX3 Setup: Focus magnifier
![[Sony-FX3-SLog3-Camera-Setup.036.jpeg]]
Sony FX3 Setup: Focus magnifier (2/2)
37 – Sony FX3 Setup: Manual exposure
![[Sony-FX3-SLog3-Camera-Setup.037.jpeg]]
Sony FX3 Setup: Manual exposure
Menu => Shooting => Shooting Mode => Exposure Mode => Manual Exposure
Manual Exposure provides full creative control and is essential when shooting S-Log3
If you are shooting run-and-gun and can’t control the lighting, it’s better to use automatic exposure with a fixed shutter speed and shoot PPOFF or PP11 instead of Log.
38 – Sony FX3 Setup: Zebras (for NO PP)
![[Sony-FX3-SLog3-Camera-Setup.038.jpeg]]
Sony FX3 Setup: Zebras (for NO PP)
Menu => Exposure/Color => Zebra Display => On / Zebra Level => { configure }
Configure two custom zebras to help you achieve optional linear exposure:
C1: (for highlights) Mode: Lower Limit; Level: 90+ (90% highlights)
C2: (for midtones) Mode: Standard + Range; Level: 48 Range: ±2 (18% middle grey)
39 – Sony FX3 Setup: Zebras (for S-Log3)
![[Sony-FX3-SLog3-Camera-Setup.039.jpeg]]
Sony FX3 Setup: Zebras (for S-Log3)
Menu => Exposure/Color => Zebra Display => On / Zebra Level => { configure }
Configure two custom zebras to help you achieve optional S-Log3 exposure:
C1: (90% white card) Mode: Lower Limit; Level: 61+ (highlights that sit under direct light sources and specular reflections)
C2: (18% grey card); Mode: Standard + Range; Level: 41; Range: ±2 (middle tones)
40 – Sony FX3: Setting S-Log3 exposure with Zebras
![[Sony-FX3-SLog3-Camera-Setup.040.jpeg]]
Sony FX3: Setting S-Log3 exposure with Zebras
Set C1 to show 90% white highlights and C2 for 18% mid-tones and use a color chart or white/grey card for reference
41 – Sony FX3 Setup: Customize buttons and controls
![[Sony-FX3-SLog3-Camera-Setup.041.jpeg]]
Sony FX3 Setup: Customize buttons and controls
Menu => Setup => Operation Customize => { your personal setup }
You can customize both button and dial operation
You can place your favorite items in the Function menu for quick access during shooting
Lots of possibilities
42 – Sony FX3 Setup: ISO button
![[Sony-FX3-SLog3-Camera-Setup.042.jpeg]]
Sony FX3 Setup: ISO button
Menu => Setup => Operation Customize => Custom Key/Dial => Top => { customize }
ISO button does not control ISO setting by default, you have to customize it!
43 – Sony FX3 Setup: Rear dial
![[Sony-FX3-SLog3-Camera-Setup.043.jpeg]]
Sony FX3 Setup: Rear dial
Menu => Setup => Operation Customize => Custom Key/Dial => Dial/Wheel => { customize }
If we want to keep our shutter speed at 180°, then we don’t want to change it by mistake, so we can reconfigure the rear dial, for example, you can reconfigure it as an audio level control to avoid going into the menu to make audio adjustments
44 – Sony FX3 Setup: Log shooting settings
![[Sony-FX3-SLog3-Camera-Setup.044.jpeg]]
Sony FX3 Setup: Log shooting settings
Menu => Shooting => Image Quality/Rec => Log Shooting Settings => { selections }
You can select log shooting through the older PP (picture profile) setting or directly in the new Shooting => Image Quality/Rec menu
45 – Sony FX3 Setup: Enable S-Log3 shooting
![[Sony-FX3-SLog3-Camera-Setup.045.jpeg]]
Sony FX3 Setup: Enable S-Log3 shooting (1/2)
Menu => Shooting => Image Quality/Rec => Log Shooting Settings => { selections }
Choose Cine EI for controlled environments to shoot t one of two base ISO (change of ISO changes display but not the actual recording, AWB disabled)
Choose Flexible ISO for uncontrolled environments when you need to vary the ISO as part of your exposure setting (change of ISO changes the recording)
46 – Sony FX3 Setup: Enable S-Log3 shooting
![[Sony-FX3-SLog3-Camera-Setup.046.jpeg]]
Sony FX3 Setup: Enable S-Log3 shooting (2/2)
Menu => Shooting => Image Quality/Rec => Log Shooting Settings => { selections }
Choose Color Gamut => S-Gamut3.Cine/SLog3 for most situations (see notes for detailed explanation)
Choose Embed LUT File => Off since we want to grade these images, we definitely do not want a baked in LUT
47 – Sony FX3 Operation: Function (Fn) button
![[Sony-FX3-SLog3-Camera-Setup.047.jpeg]]
Sony FX3 Operation: Function (Fn) button
Fn => { make selection }
Provides quicker access to often-used menu items
Can be customized
48 – Sony FX3 Operation: Adjusting Exposure Flexible ISO
![[Sony-FX3-SLog3-Camera-Setup.048.jpeg]]
Sony FX3 Operation: Adjusting Exposure Flexible ISO
Enable Log Shooting => Flexible ISO
Adjust ISO as needed, provides flexibility when you have limited options to change exposure in other ways; Flexible ISO is a quick and easy mode that allows you to change the ISO to make exposure adjustments; it is essentially the ‘standard’ mode: if you increase the ISO setting, the camera adds a stop of amplification and uses the same response curve as normal. This is the way ISO works on most cameras.
Flexible ISO vs. Cine EI:
Flexible ISO: You directly control ISO – what you set is what the sensor records at; it provides complete manual control over the ISO settings. Working at ISO: 800 or 12,800 (Base ISOs of the FX3) will give the best results since the image is subject to less gain manipulation internally.
Cine EI: ISO is locked to base values (800 or 12,800); EI is just a monitoring tool (the monitor image changes as you change the EI, but the image recorded does not change).
Flexible ISO is the best choice for:
// Run-and-gun shooting
// Changing lighting conditions where you need quick exposure adjustments
// Solo operators who can’t control lighting precisely
// When you want the same workflow as shooting stills
Try to stay near base ISOs
ISO 640-1000 for bright/normal lighting (around base ISO 800)
ISO 10,000-16,000 for low light (around base ISO 12,800)
These base ISO regions give you optimal dynamic range and lowest noise, even in Flexible ISO mode
CREATIVE CONSIDERATION — High ISO makes it possible to shoot in low light, yes, but the need for dynamic range between highlights and shadow areas is still critical, if you don’t have dynamics in the lighting, the image will be flat and muddy; darkness requires more light in many situations.
49 – Sony FX3 Operation: Adjusting Exposure with CineEI
![[Sony-FX3-SLog3-Camera-Setup.049.jpeg]]
Sony FX3 Operation: Adjusting Exposure with CineEI
Shooting at Base ISO with EV shifts in monitor for pre-visualization on the set
Enable Log Shooting => Cine EI
Choose Base ISO: 800 or Base ISO: 12,800
Adjust EI value (±2 stops from base) to prioritize highlights or shadows, pre-vis of exposure on monitor; recording does not change!
Pick CineEI when the lighting is not changing or you have control over the lighting and can make ND adjustments as needed achieve the cleanest possible imagery. Either way, understanding the Base ISO of the FX3 will provide better visuals. Cine EI is a mode that locks the camera to only use the base ISO settings, the FX3 has two base ISOs (800 and 12,800), so you select between only these two, meaning you always capture imagery at maximum possible dynamic range and generally the least amount of noise when properly exposed. When you enable Cine EI mode, your ISO button offers only two options: base ISO 800 or 12,800. Inside Base ISO settings, you also have Exposure Index (EI), which adjusts how your exposure behaves in relation to highlights or shadows.
The EI value can be set within ±2EV from the base ISO. The camera adjusts the brightness of the displayed movie according to the EI value, enabling you to check the results of post-production exposure sensitivity adjustments while shooting. But keep in mind, while the camera display changes, the RECORDED IMAGE DOES NOT CHANGE. You are always recording at the set base ISO when you are in Cine EI mode. When working in Cine EI mode, the goal is to intentionally underexpose or overexpose an image and compensate by adjusting the EI setting accordingly. The result can be checked via the monitor LUT. Later, in post-production, the Cine EI metadata can be applied to the recorded video, along with the monitor LUT metadata, so it looks exactly as it did on set.
Cine EI strengths:
// Shooting at native ISO provides best dynamic range and lowest noise
// Lower EI prioritizes highlights, higher EI prioritizes shadows
// Accurate on-set monitoring
// EI settings travel with clips for possible automatic post adjustments
// Controlled lighting environments (studio, commercial work)
// Scenes where you can take time to expose properly
Avoid Cine EI for:
// Run-and-gun shooting (weddings, documentaries, events)
// Situations requiring quick exposure changes
// When you can’t control lighting precisely
50 – Sony FX3: Comparison of Flexible ISO and Cine EI
![[Sony-FX3-SLog3-Camera-Setup.050.jpeg]]
Sony FX3: Comparison of Flexible ISO and Cine EI
Cine EI locks you into shooting at one of the two Base ISOs for optimal image quality when you have control over the lighting of the scene (provides over and under-exposure preview in the monitor). For run-and-gun work, Flexible ISO will be easier to work with, but you risk noisier footage when shooting far outside Base ISOs, so you still want to to try to shoot at or close to ISO 800 or 12,800.
Comparison of Flexible ISO v. Cine El
ISO Range: 160-409,600 (full range) v. 800 or 12,800 only (locked)
Exposure Control: ISO + Aperture + Shutter + ND v. Aperture + Shutter + ND only
What Records: Whatever ISO you set v. Always base ISO (800 or 12,800)
Workflow: Traditional/familiar v. Cinema-style with El monitoring
Best For: Fast-paced, changing conditions v. Controlled, deliberate shooting
Post-Production: Standard color correction v. El metadata applied automatically
51 – Sony FX3 Setup: Recommended autofocus settings
![[Sony-FX3-SLog3-Camera-Setup.051.jpeg]]
Sony FX3 Setup: Recommended autofocus settings
Menu => Setup => Focus => Face/Eye AF
Menu => Setup => Focus => Focus Area => Wide
Menu => Setup => Touch Operation => On
Menu => Setup => Focus => AF Transition Speed => 3
Menu => Setup => Focus => AF Shift Sensitivity => 2
Menu => Setup => Focus => AF/MF => Focus Mode => Continuous AF
52 – Sony FX3 Setup: Custom file names and file name display
![[Sony-FX3-SLog3-Camera-Setup.052.jpeg]]
Sony FX3 Setup: Custom file names and file name display
Menu => Shooting => File => File Settings { configure file names }
Menu => Setup => Display Option => Display File Name => On — show the filename on the monitor screen
53 – Sony FX3 Setup: Additional setup recommendations
![[Sony-FX3-SLog3-Camera-Setup.053.jpeg]]
Sony FX3 Setup: Additional setup recommendations
Menu => Setup => Setup Option => Fan Control => Auto
Menu => Setup => Setup Option => REC Lamp => All On
Enabling or disabling the red LED indicators that illuminate when the camera is recording (tally lights), handy when you want others to know you are recording. Whether you enable or disable this feature, always check you are recording by looking at the display screen.
Menu => Setup => Operation Customize => REC w/ Shutter => ON
54 – Resources
![[Sony-FX3-SLog3-Camera-Setup.054.jpeg]]
Resources
The following reviews and tutorials are recommended for further study:
Sony FX3 Beginners Guide – Set-up, Menus* (Jason Hermann), https://www.youtube.com/watch?v=0meiLDYyjQQ
Sony FX3 Advanced User Guide For Video* (Josh Sattin), https://www.youtube.com/watch?v=fBNOwUaOE84
SONY FX3 Review: GREAT Camera, but Nothing New… (Gerald Undone), https://www.youtube.com/watch?v=G_6rfoUljpY
The SONY a7S III: A Technical MASTERPIECE!* (Gerald Undone), https://www.youtube.com/watch?v=AG79FkN7EPk
How To Master Sony’s Video Autofocus – Part 1 (Philip Bloom), https://www.youtube.com/watch?v=VoTylr7N2fg&t=326s
How To Master Sony’s Video Autofocus – Part 2 (Philip Bloom), https://www.youtube.com/watch?v=tyg8VcVrqN8
Sony FX3 vs A7S III: What EXACTLY is a CINEMA CAMERA? (Philip Bloom), https://www.youtube.com/watch?v=MDGuqzVEWcY
Sony a7S III Picture Profiles & Exposure* (Gerald Undone), https://www.youtube.com/watch?v=1qJXvxDFcYE
Some recommendations may differ from what we covered in the workshop. At the end of the day, experiment and find your own best practices.
** Internally, the Sony FX3 is the same as the Sony a7Siii, so these tutorials are relevant.
55 – References
![[Sony-FX3-SLog3-Camera-Setup.055.jpeg]]
References
Technical information on Sony S-Log3
Sony Corporation, “Technical Summary forS-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3,” PDF, https://pro.sony/s3/cms-static-content/uploadfile/06/1237494271406.pdf
Alister Chapman, How To Correctly Expose S-Log3 – a7S III / FX3 / FX6 / FX9, March 8, 2021, https://sony-cinematography.com/articles/how-correctly-expose-s-log3-a7s-iii-fx3-fx6-fx9/
Alister Chapman, “Understanding Sony’s SLog3. It isn’t really noisy,” alisterchapman.com, March 26, 2014, https://www.alisterchapman.com/2014/03/26/understanding-sonys-slog3-it-isnt-really-noisy/
56 – Copyright and acknowledgments
![[Sony-FX3-SLog3-Camera-Setup.056.jpeg]]
Copyright and acknowledgments
Special thanks to Ed Slattery and Howard Phillips for reviewing an early draft
Thrown together by David Tamés for ARTD3480 Video: Sound+Image (Fall 2025), revised October 7, 2025
This is a work in progress, please share your feedback via email: d.tames@northeastern.edu
© 2025 by David Tamés, some rights reserved, shared under a Creative Commons Attribution-NonCommercial-ShareAlike License, https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode.en third party materials are incorporated in this presentation following fair use best practices published by the Center for Media and Social Impact at American University (CMSI), https://cmsimpact.org/program/fair-use/