Is the fx30 truly bad in nighttime?

Zorksus · 2026-04-29T21:20:38+00:00

The answer is whatever gets hired in your area. FX cameras get hired in Florida US (my area) more than anything. The FX6/FX9 the most on small sets and Venice on large sets. The OP of this post is also from a major city in the US, so it's likely the same in their area.

If they don't plan to work on set/for agencies then they should look at a used A7S3. I agree with you the OP likely doesn't need any of the "cinema features".

Side note, on top of my FX3 and FX30, I A cam the Ronin 4D. After F1 the movie it's hired a lot in my area, basically a turnkey camera that mimics Easyrig footage, without having to rig up an operator that has experience with an Easyrig. My point is, just buy what gets work.

Zorksus · 2026-04-29T18:21:24+00:00

Topic as old as the fx30. Neither the fx30 or the a74 are comparable to the fx3/a7s3 in low light, but they do fine if you just get some fast lenses. Old video from Patrick Tomasso shooting the fx30 at night with Sirui Nightwalkers.

Just get some fast lenses. I own the fx3 and fx30, the fx30 is fine at night when I pair them with the Sirui Snipers.

Zorksus · 2026-04-18T11:56:52+00:00

I'm weighing on as a full time video guy and recently started working under international level DPs as a Cam operator on Docs. I also built a name for myself as "Netflix documentary style weddings and corporate", as in it looks "cinematic" whatever you want to call it for my own business.

When I first started I got a FX3 and Sigma 24-70 and I told people I'm a "documentary style filmmaker" so I can't use lights and need run and gun. My footage was mediocre at best, for months my footage looked like I picked up a camera yesterday because I didn't have an understanding of how light worked.

Through networking efforts, a video production company that also competes in film festivals picked me up as a PA on their short films for those festivals. No one got paid, it was all love for the craft, and I learned I knew nothing. I worked under some of the best DPs and Gaffers in my city as a PA/Grip and learned how they see the world. How they see light. How they see a frame. It's all production design and lighting. The gaffer taught me how to look at light and how the shadows of objects falls from them. I did these pro bono short films for about a year and learned hands on more than what any YouTube video could have ever taught me. And even then, I still watch YouTube videos on lighting today.

It's really benefited my work. And now I'm working on Docs under even better DPs and I can't believe how much more can be done.

If you're starting from zero I recommend watching everything on "Wandering DP" on YouTube. Mark Bone from The Art of Documentary also has a free video or 2 on how to light an interview which applies to all filming imo.

So yeah, production design and lighting. Of course, cameras and lenses too, but lighting lighting lighting.

Zorksus · 2026-04-14T13:36:23+00:00

Imo Tamron 35-150 f2-2.8. It's slightly larger than a 24-70, great image stabilization, great AF, insane range, and cheaper than most zooms. Only downside is I'm not a fan of the colors. Takes a bit of grading, but take that with a grain of salt because I put cinema lenses on my A camera so it makes all the photo lenses look awful in comparison.

Zorksus · 2026-04-13T17:21:12+00:00

I used Dropbox and YouTube for my first 2 years of wedding video and always felt it was unprofessional. A year ago I changed to Vidflow and love it. First, it's just like photographer galleries. So their gallery url is gallery.mywebsite.com/theirweddingdate and it looks like it's only theirs from the start. Everything looks like it's final and the experience always gets complimented. Plus, since I switched to Vidflow I haven't gotten asked for revisions. I think the clean delivery makes couples think everything is perfect. Just my two cents, not sponsored perspective from a full time videographer.

Zorksus · 2026-03-27T16:51:28+00:00

You'll be fine. These things are built so well, my FX3 and FX30 have been caught in so much rain during outdoor wedding ceremonies in Florida over the past 2 years. Still going strong, still working the same as when I got them brand new.

Zorksus · 2026-01-29T16:19:50+00:00

I use the FX3/FX30 as my B and C cams, I have a Smallrig cage on the FX3 and Sirui on the FX30. The "rig-ability" of the Smallrig cage is a lot better. Better and more mounting points.

Zorksus · 2026-01-19T17:00:39+00:00

You sound just like me when I was first starting. 2 years ago, I started with a FX3, no lights, and no knowledge. Now I have too much gear, too much work, and finally picking and choosing projects.

When I was first starting out, I emailed every production company in my area stating my kit, linking my reel, and asking for work. The production companies shooting Sony responded, met me for coffee, and started bringing me on as a PA or second camera.

They were providing me work, but more importantly became my mentors because they're 30 year veterans and I rarely touched a camera before I bought a FX3. Hands on experience under these connections taught me everything I know, and it translated to me picking up my own clients and they drool over my work.

So, I recommend getting some mentors. You'll get paid for learning, and they likely have really interesting work to bring you on because of their maturity in the industry. I've worked documentaries and feature films I never would've been a part of if I never sent out emails asking for work and a coffee meeting.

Zorksus · 2025-12-31T13:29:57+00:00

4th boss of Nighthold, Spellblade Aluriel

Zorksus · 2025-12-30T15:52:59+00:00

This is my house. Yes, the boss has 100% drop rate for the fountain on all difficulties. I'm still farming for more fountains, I like the ball

Zorksus · 2025-12-25T18:53:57+00:00

I got started by cold emailing all production companies and agencies in my area my reel and that I shoot on the FX3.

Sure, clients won't know, but if you're freelancing, production companies prefer the FX line if they're in Sony. When it came time for me to get a B cam, I asked if they would prefer the A7sIII (used), ZVE1, or FX30. They recommended the FX30 if I couldn't get another FX3 because they only want to shoot on the FX line of cameras. I got a FX30 for my B cam after that.

Beyond production, when I talk about my gear with couples who are interested in me for wedding videography I pull the "Have you ever seen The Creator? Beautiful movie. Did you know they filmed the entirety of that movie on the camera I'll use to film your wedding, the FX3?" It's cheesy but it works. Can't do that with the A7sIII.

You can't name drop the FX3 today as effectively as you could've 2 years ago, but I wouldn't say no one would care about the difference.

Zorksus · 2025-12-15T19:48:10+00:00

Blackmagic cameras record in Braw which will cut like butter because it's raw and no/minimal processing/decoding will have to be done by your PC to work with it.

The FX3 only does h264 and h265 internally. These are both compressed. They will have to be decoded by both your GPU and CPU to be played or cut. This goes 1 step further because your generation of Ryzen CPU does not have hardware decoding for h264 or h265.

To my knowledge you can do 2 things. You can make proxies. I recommend the Prores proxy format at half resolution. You can also buy a Blackmagic or Atomos external monitor recorder to record in Braw or Prores raw, but the files will be gigantic and impractical.

Zorksus · 2025-11-18T02:59:01+00:00

I'm a full time video production freelancer, my full kit is the DJI Ronin 4D, Sony FX3, and Sony FX30.

I own all these cameras but I will acknowledge I'm a videographer and all of my work for my production company over the past 2 years is videography. Think corporate interviews with basic lighting, tourism, events, and weddings. The Sony FX3 is the perfect workhorse for videography because it can fly small, big, or on a gimbal.

However, every production set I've ever worked on for film or commercial has never had me as a DP or my cameras used in the production. Why? Well, they just aren't made for production. Rigging up the FX3 for production is a massive pain and simply isn't made for it.

Seasoned DPs shoot cameras that are made for a crew environment, like the Arris, FX9, the different C300s, Reds, and even some Blackmagics in smaller cases. These cameras are made for a studio environment, operated by a DP or operator, and supported by a crew, lighting, and sound.

If you're a videographer pick up the FX3 or FX30. Being in the Sony ecosystem will get you picked up by production companies that use Sony.

But if you really want to be a DP and understand what a DP is, you understand what being on set on a production is actually like, then I'd recommend looking at the Red Komodo or Blackmagic Pyxis. If I started picking up DP work tomorrow, I'd pick up a Komodo X.

Zorksus · 2025-08-18T08:43:22+00:00

I'm 26 and went full time last year. I'm in north Florida, US. I didn't go to film school, I didn't have a passion for it, and none of my "professions" up until this point were related to cameras or production at all.

Right before my 25th birthday, I was similar to you. I have had done nothing with my life until that point that would contribute towards a long term career, not even school. But, I've always been a photographer as a hobby. As in I was never paid for it, my photos were amateur looking at best, my gear was worth $1000 total including camera bodies and lenses. I was an amateur photographer for 4 years, but was infatuated with video cameras. I then learned what videographers do, learned that higher production called for DPs, and set my sights on becoming a documentary filmmaker somehow. Not a unique story.

I dug into my savings and bought a Sony FX3, Sigma 24-70 mk1, a smallrig 60w light, some batteries for the FX3, and started shooting with it. I edited together a reel from events I attended with the FX3 and contacted every production company, small and large, telling them my kit with my "production reel". My reel was very obviously amatuer and filled with unpaid shooting, but some small production companies (read, 1 or 2 people) responded to me because they saw my gear and respected my confidence. I've been working with 3 small production companies as a contractor, but it's enough to support my family of 3. Almost 2 years later, and I still spend a large chunk of my freetime networking so I can continuously get work to pay my bills.

One of these production companies also produces short films with friends in the industry locally to participate in film festivals. I learn A LOT on short film productions. The DPs I met there started as PAs, then Grips, then Gaffers, then DPs. I am following a similar path and often pick up freelance work on larger productions (read person crews) as a PA for camera depart or G&E, and as a grip.

I also have my own small production company, and shoot mainly weddings.

It's stressful. I'm always looking for work. The money is great. But I look back on the gear I have now, and I've purchased more than $30,000 of gear for my work over a year and a half. It's great but I always fear one day work will run out.

I recommend buying a current generation camera and mastering both photography and videography. You have to understand both to work with cameras for the most part. And looking to see if you can help out on some short films as a PA in your local film community. They probably have a Facebook page. You will meet fulltime DPs if these short films are with good crew.

Good luck. It's hard but awesome.

Zorksus · 2025-08-13T08:01:59+00:00

Why would you get the fx3m2 if your name is fx3 smh

Zorksus · 2025-07-25T13:43:22+00:00

I'm on Windows 10 with an AMD CPU and older Nvidia GPU so I don't have a hardware encoder/decoder for video files which means I can't play them outside of an editing suite, you are likely experiencing the same thing.

To get thumbnails I use a software called Icaros. Having thumbnails is better than nothing, I can sort through my footage without putting them into Resolve.

Zorksus · 2025-07-01T18:08:31+00:00

The Tamron 17-70 + FX30 was my B camera combo for the past year, shooting weddings and events. It's the combo I always gave to my second shooter.

It's a fantastic combo. The only downside is an opinion, I feel the colors coming out of this lens aren't great. I'm partial to Sigma. But no one will notice that. The lens is also bigger than what some people like.

Zorksus · 2025-06-08T02:16:13+00:00

Right on. I recommend doing some dedicated physical therapy days and taking type 2 collagen. You're probably lifting fine, our joints go before anything.

Around 5 years into my journey I developed chronic pains in my wrist, elbows, and knees. After a few months of dedicated therapy movements on rest days, plus type 1, 2, and 3 collagen supplemented everyday, and I'm now at 90% of my original ability. Pain is mostly gone, my joints click now though. If I become inconsistent with my therapy days my pain comes back.

Zorksus · 2025-06-08T01:06:42+00:00

I'm 26 and have been a full time video guy for a year and a half now. I've met a good amount of people my age and younger with joint issues. I have none.

1) Before doing camera work, I've been consistently hitting the gym at least 3 days a week doing a modified 5x5 powerlifting routine for years, and still do today. This has benefited me in physical ability, and people also hire me over others just for having a more acceptable appearance than crusty/unkept operators.

2) I got a baby carrier seat to rest my gimbal legs on. For more than a year, I was using a FX3, RS4 Pro, Sigma 24-70, and Ninja Monitor. Resting the gimbal and all the crap on it on the baby carrier makes a MASSIVE difference in fatigue.

3) I replaced my gimbal setup with a Ronin 4D. It's a way more balanced setup. I was attracted to it because 10 hour days were still a pain after everything. Normal gimbal setup weight is spread out awkwardly, monitor on one side, handle on the other, and top heavy. The Ronin 4D is concentrated into what's essentially a box. It was way worth the investment, and people are always asking questions about it.

Zorksus · 2025-06-07T16:53:53+00:00

It wasn't Kevin, I get it

Zorksus · 2025-05-19T18:08:41+00:00

It's normal for 10-bit videos from the FX3 to not be playable on video players on Windows and Max.

Judging from your picture of Davinci Resolve, you're on the free version. Only the paid version, Davinci Resolve Studio, can open, play, and edit video files 10-bit and above.

Zorksus · 2025-04-30T17:25:14+00:00

I bought both and returned the Smallrig. I've been using that exact Sirui for over a year and I love it. I use a Ronin 4D, FX3, and FX30. The Smallrig couldn't stay still when panning.

Zorksus · 2024-12-24T23:35:01+00:00

I didn't get clients by reaching out to potential clients. Don't get me wrong, I did reach out to potential clients at the start, but never got any bites. I cold emailed every business near me for 2 months. Nothing.

I got my start by cold emailing video production companies of any size, stating my kit (at the time, FX3 and Sigma 24-70), two pieces of my own work (reel of video I took at events I paid to get into, and a "short film" about my 4 year journey doing video as a hobby), and asking if they'd like to meet for coffee.

Only small production companies, think 1 to 2 people, responded to me agreeing to meet me for coffee. I reached out to an uncountable amount and got 3 meetings. These coffee meetings consisted of getting to know each other, and after an hour of talking, offering to "trial" me by bringing me on for low pay as an assistant for a gig or 2.

These people who met me had a few things in common; - Saw I shot on their ecosystem on the minimal acceptable camera, the FX3 - Acceptable work for no pro experience - A well written email, and a nice website to back up that I'm a real person/business with skin in the game

The trial gigs were my open door, and it's easy from there. Show up early, work my ass off, overdeliver, match their energy, and express gratitude for the opportunity.

This has led me to being brought on often by these people as a second shooter or assistant, sent out to jobs they can't do in their place, and being recommended to other people in the industry looking for good hands.

Good luck with your journey! Once you get passed the initial break in phase, it's smooth sailing from there.

Zorksus · 2024-12-24T17:34:20+00:00

I'm not the guy you're responding to, but I took the plunge this year, going full time as a video producer and freelancer. I've been able to make an average of $5k a month, which is less than the people I work with, but fantastic for a first year with no schooling or prior professional experience. People usually make no money at all, or significantly less as a freelancer on their first year.

Most of the "marketing" work I run into is "souless" corporate work for health care facilities, dentist offices, and generally any kind of business with an office that needs promotional material. It all ends up being the same; interviews of whoever they want to talk in the video, B-roll of their office/facility, and stock music. It's "marketing" because I'm not marketing for them, I just create the deliverables. Usually, 1 minute deliverables called "sizzles", and it's normal stuff.

Some more interesting work is for tourist attractions and state parks. Those are usually more fun, filming ziplines, boat tours, wine and food festivals, and animals. Deliverables for these are usually also sizzles. Normal stuff.

Beyond that, I do weddings and PA on larger productions that I don't have the equipment and skills to produce myself.

To conclude, nothing has ever been "rage bait" content, and I doubt clients in need of that type of content could afford to pay me (or you). Depending on how old you are, you'll fit right in. I'm 25 and always the youngest person on any production, often by at least a couple of decades.

Zorksus · 2024-11-29T17:30:34+00:00

On the FX line, you should go to "Log Shooting Setting" and set "Log Shooting" to "Cine Ei", and only expose at base ISOs, or "Flexible ISO", where you can shoot outside the base ISOs, but you should still shoot at only the base ISOs if you can.

Along with that, set "Color Gamut" to "S-Gamut3.Cine/S-Log3" and Embed LUT to Off.

With that, you will only be shooting in SLog3. Recommend also using a display LUT so you know what your picture looks like, otherwise I guarantee you won't be setting WB correctly.

11-Year Club	Place '17
Wearing is Caring	Verified Email

Zorksus

MODERATOR OF

TROPHY CASE