Sony introduced its FX30 APS-C mirrorless interchangeable lens cinema camera, featuring a 26MP CMOS sensor.

The camera is positioned as essentially an APS-C senor-sized version of the company’s FX3 full-frame camera, and has a nearly identical body design to that model.

The Sony FX30 will be available this month for a $1,799 suggested retail for the body-only or $2,199 with an XLR adapter top handle offering more advanced audio options.

The FX30’s 26MP APS-C backside-illuminated image sensor is capable of capturing oversampled 4K from 6K (6192 x 4128 pixels) video at up to 60p and 4K/120p video with a 1.62x crop.

Video can be shot at 10-bit 4:2:2 or 4:2:0 chroma sub sampling in either H.265 or H.264 AVC files. It will output 16-bit RAW video to an Atomos Ninja V+ external recorder.

The auto-focus system covers: Phase Detect, Multi-area, Center, Selective single-point, Tracking, Single, Continuous, Touch, Face Detection and Live View modes, with 759 focus points.

The camera is equipped with a built-in 3-inch articulating touch-screen monitor with Live View.

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The camera’s ISO range is 100-32000 (50-102400 boosted) allowing for flexible natural light recording.

For still shooting, the camera’s max shutter speed is 1/8000th sec.

Storage includes Dual SD/CFexpress Type A card slots.

Connectivity includes a USB 3.2 Gen 1 port with charging; HDMI Type A out, mic port, headphone port, built-in wireless 802.11ac

For image stabilization, the sensor uses both 5-axis mechanical sensor-shift and digital image stabilization systems and can further stabilize images digitally in post with gyro metadata embedded in video files using Sony’s Catalyst desktop software.

The camera also offers Sony’s Cine Exposure Index (EI) modes for Log shooting, including an “Easy EI” mode to easily utilize the dual conversion gain sensor design.

Other features in the FX30 include the ability to upload custom look-up tables (LUTs) to preview Log footage. These LUTs can be applied as Picture Profiles to adjust the color and tone of recordings in camera, prior to output for post production.

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By Greg Tarr

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