A DP's copyable FX3 setup. Dual base ISO 800/12800, S-Log3 in Cine EI, S-Cinetone for fast turnarounds, and the codec and frame-rate choices that actually matter.
The Sony FX3 is a full-frame cinema camera built around the 12.1MP A7S III sensor, and it rewards a deliberate setup. Its two real superpowers are a dual base ISO of 800 and 12800 in S-Log3, which gives you clean shadows in both bright and very dark conditions, and an active cooling fan that lets it record 4K 60p and even 4K 120p for long stretches without thermal shutdowns. The trick is knowing when to shoot S-Log3 in Cine EI for maximum latitude versus S-Cinetone for a ready-to-deliver look. This guide gives you the exact menu items, the recommended values for each, and the reasoning behind them, so you can build a reliable FX3 profile for narrative, music video, documentary, and event work rather than guessing in the field.
The FX3 has two fundamentally different shooting philosophies, and choosing one before you touch any other setting saves you grief. Cine EI is the cinema workflow: you set Log Shooting to Cine EI, the camera locks to one of its two base ISOs, and you use Exposure Index to rate the image brighter or darker without actually changing the recorded sensitivity. This protects the full 14+ stops of dynamic range and gives you the cleanest, most gradeable file.
Flexible ISO mode (Log Shooting set to Flexible ISO) still records S-Log3 but lets you set any ISO freely, which is handy for run-and-gun where you need to ride exposure live. Both record the same S-Log3 gamma and S-Gamut3.Cine color you will grade in post.
S-Cinetone is the third path and it lives outside the Log Shooting menu entirely. It is a baked-in cinematic profile with pleasing skin tones that needs little to no grading, ideal for events, fast-turnaround social work, or anyone who does not want to color every clip. You cannot use S-Cinetone inside Cine EI, so decide up front: graded Log project, or deliver-from-camera S-Cinetone.
The FX3's S-Log3 sensor has two native base ISOs, 800 and 12800. Both are clean reference points, not a low-noise versus high-noise pair. ISO 800 is your daytime and well-lit base; it gives the deepest highlight latitude. ISO 12800 is the high base for genuinely dark scenes, concerts, and night exteriors, and it stays remarkably clean because it is a true native gain stage, not pushed ISO 800.
In Cine EI the camera shows you which base ISO is active and lets you switch between them. The rule of thumb: if your scene needs more than roughly ISO 4000-6400 to expose, switch up to the 12800 base rather than dragging the 800 base up with EI, because the high base will be cleaner. For anything brighter, stay on 800.
If you shoot S-Cinetone instead, the relevant native points shift to roughly ISO 100 and ISO 2000, since that profile uses a different gamma. Keep your base near those values for the cleanest S-Cinetone image.
The FX3 records 10-bit 4:2:2 internally in three codec families. XAVC S-I is All-Intra (each frame compressed independently) at bitrates up to around 600 Mbps in 4K, and it is the most robust and edit-friendly choice for narrative and music video where you will grade hard. XAVC HS is HEVC/H.265 Long-GOP, which packs high quality into smaller files, good for long-form documentary and event work where storage matters. XAVC S is the lighter H.264 Long-GOP option.
For frame rate, shoot your delivery base (24p for cinematic, 25p/30p for broadcast or social) and reserve 4K 120p for slow motion. The FX3 records full-frame 4K up to 120p with no crop, which is a major advantage; conform 120p to a 24p timeline for a 5x slow-motion effect. Note that at 100p/120p, audio is not recorded and some assist functions behave differently, so capture sync sound on your base frame rate clips.
Set the System Frequency to match your region and project (59.94 for NTSC/30p-60p pipelines, 50.00 for PAL/25p, 24.00 for true cinema 24p). Changing System Frequency restarts the camera, so set it before a shoot, not mid-take.
S-Log3 looks flat and milky on the LCD, so never judge exposure by eye. Turn on the Histogram and Zebra, and use a LUT for monitoring. The FX3 lets you load a user 3D LUT or use the built-in s709 / 709(800%) Monitor LUT so you see a corrected image while still recording flat S-Log3.
For exposure discipline, many DPs set Zebra to around 94-95 to catch highlight clipping on skin and bright sources, and rate S-Log3 to expose mid-gray a stop or more above the technically correct point (exposing to the right) to keep shadows clean, then bring it back in the grade. In Cine EI this is exactly what the Exposure Index control is for.
Enable Gamma Display Assist when shooting, and use Peaking for manual focus pulls. The waveform-style discipline of a LUT plus zebras is what keeps S-Log3 footage usable.
The FX3 uses Sony's Fast Hybrid AF with real-time Eye AF and subject recognition. For interviews and solo shooting, set AF Transition Speed slower (around 1-3) and AF Subject Shift Sensitivity lower so focus glides between subjects cinematically instead of snapping. For fast action, raise both.
Stabilization offers Standard, Active, and Off. Active mode applies a mild crop but smooths handheld walking footage noticeably; use it for run-and-gun and turn it off on a tripod or gimbal to keep the full frame and avoid double-correction.
The included XLR handle unit gives you two XLR/TRS inputs plus a 3.5mm jack and physical audio dials. Set input levels manually, monitor on headphones, and assign the handle's record button for low-angle shots. This is one of the FX3's biggest practical advantages over the A7S III body.
| Setting | Recommended | Why |
|---|---|---|
| Log Shooting (Exposure/Color menu) | Cine EI (graded projects) or Flexible ISO (run-and-gun) | Cine EI locks base ISO and protects full dynamic range; Flexible ISO lets you ride exposure live. |
| Picture Profile | S-Log3 / S-Gamut3.Cine (PP for grading) or S-Cinetone for deliver-from-camera | S-Cinetone is disabled inside Cine EI; use it only outside Log Shooting. |
| Base ISO | 800 (well lit) or 12800 (dark scenes) | Switch to the 12800 high base instead of pushing 800 past ~ISO 6400; it stays cleaner. |
| File Format | XAVC S-I 4K (All-Intra) or XAVC HS 4K (HEVC for long form) | All-Intra is most edit/grade-friendly; HS saves storage on long takes. |
| Recording resolution / bit depth | 3840x2160, 10-bit 4:2:2 | Full 10-bit 4:2:2 internal is the whole point of shooting Log on the FX3. |
| Frame rate (Record Setting) | 24p / 25p / 30p for delivery | Match your project; broadcast 25/30, cinematic 24. |
| S&Q / High frame rate | 4K 120p full-frame for slow motion | No crop at 120p; conform to 24p for 5x slow motion. No audio at 100/120p. |
| System Frequency | 24.00 / 50.00 / 59.94 to match project | Set before shooting; changing it restarts the camera. |
| Shutter (angle/speed) | Shutter Angle 180 (e.g. 1/48 at 24p) | 180-degree rule for natural motion blur; switch display to Angle for consistency across frame rates. |
| White Balance | Manual Kelvin (e.g. 5600K daylight, 3200K tungsten) | Lock WB manually for consistent color; avoid AWB drift mid-take. |
| Monitor LUT / Gamma Display Assist | On, s709 or 709(800%) | See a corrected image while recording flat S-Log3. |
| Zebra | On, ~94-95 | Protects skin and highlights from clipping in S-Log3. |
| SteadyShot | Active (handheld) / Off (tripod, gimbal) | Active adds a small crop but smooths walking shots; off avoids double-correction on stabilized rigs. |
| AF Transition Speed / Subject Shift Sensitivity | Slow (1-3) for interviews, fast (5-7) for action | Controls how cinematic versus reactive focus pulls feel. |
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Use Cine EI with S-Log3 when you will color grade and want maximum dynamic range and flexibility, such as narrative, music video, or commercial work. Use S-Cinetone when you need a finished cinematic look straight out of camera with minimal grading, such as events, weddings, or fast social turnarounds. You cannot combine S-Cinetone with Cine EI, so choose your workflow before the shoot.
Both 800 and 12800 are clean native base ISOs in S-Log3. Stay on 800 for daylight and well-lit scenes because it holds the most highlight latitude. Switch to the 12800 high base for concerts, night exteriors, and dim interiors. As a rule, if you need more than roughly ISO 4000-6400 to expose, the 12800 base will be cleaner than pushing the 800 base.
No. The FX3 records full-frame 4K up to 120p with no crop, which is one of its biggest advantages for slow motion. Just remember that at 100p and 120p the camera does not record audio, so capture sync sound on your base frame rate clips and use the high-speed clips for motion.
For projects you will grade hard, choose XAVC S-I, the All-Intra codec, for the most robust frames. For long-form documentary or events where storage matters, XAVC HS (HEVC Long-GOP) packs strong quality into smaller files. Both record 10-bit 4:2:2 internally. XAVC S is the lighter H.264 option if you need maximum compatibility.
Do not judge by the flat LCD image. Load a Monitor LUT (s709 or 709 800%) so you see a corrected picture, turn on the histogram, and set zebras around 94-95 to guard highlights. Many DPs expose a stop or so brighter than nominal to keep shadows clean, then bring it down in the grade. In Cine EI, the Exposure Index control is built exactly for this.
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