A DP's copyable FX30 setup. APS-C dual base ISO 800/2500, S-Log3 in Cine EI, 4K 120p slow motion, and the codec and exposure choices that keep the small sensor clean.
The Sony FX30 is the APS-C (Super 35) cinema camera in Sony's Cinema Line, built around a 26MP sensor with a dual base ISO of 800 and 2500 in S-Log3 and the same active cooling fan and XLR handle as the full-frame FX3. It delivers around 14+ stops of dynamic range in S-Log3 and shoots 4K up to 120p, making it one of the best value cinema bodies for creators. The setup mirrors the FX3 but with one key difference: the high base ISO is 2500, not 12800, so your low-light strategy changes. This guide gives you the exact menu items, recommended values, and the reasoning behind them so you can build a dependable FX30 profile for narrative, documentary, music video, and event work.
Like the FX3, the FX30 offers three shooting philosophies and you should pick one before anything else. Cine EI is the cinema workflow: 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 without changing recorded sensitivity. This preserves the full dynamic range and gives the cleanest gradeable S-Log3 file.
Flexible ISO mode also records S-Log3 but lets you set any ISO freely, useful for run-and-gun where you ride exposure live. Both record the same S-Log3 / S-Gamut3.Cine you will grade later.
S-Cinetone sits outside the Log Shooting menu and bakes in a cinematic, skin-friendly look that needs little grading, ideal for events and fast social turnarounds. You cannot use S-Cinetone in Cine EI, so decide up front: graded S-Log3 project, or deliver-from-camera S-Cinetone.
The FX30's S-Log3 sensor has two native base ISOs: 800 and 2500. Both are clean reference points. ISO 800 is your bright and well-lit base with the most highlight latitude. ISO 2500 is the high base for low light; because it is a true native gain stage, it stays clean rather than just being pushed ISO 800.
Because the high base is 2500 (much lower than the FX3's 12800), the FX30 is less of a low-light monster than its full-frame sibling. The practical rule: stay on 800 for daylight and well-lit interiors, and switch to the 2500 base once you need more sensitivity, roughly when the scene pushes past ISO 1250-1600. Above the 2500 base the image gets noisier faster than on the FX3, so add light when you can.
In Cine EI the camera shows the active base ISO and lets you switch between them. Choosing the right base for the lighting is the single biggest factor in keeping FX30 footage clean.
The FX30 records 10-bit 4:2:2 internally in the same codec families as the FX3. XAVC S-I is All-Intra at up to roughly 600 Mbps in 4K, the most robust choice for heavy grading and narrative work. XAVC HS is HEVC/H.265 Long-GOP for high quality at smaller file sizes, good for long-form and events. XAVC S is the lighter H.264 Long-GOP option.
Shoot your delivery base (24p cinematic, 25p/30p broadcast or social) and reserve 4K 120p for slow motion. The FX30 records 4K up to 120p; conform 120p to a 24p timeline for 5x slow motion. As with the FX3, audio is not recorded at 100p/120p, so capture sync sound at your base frame rate.
Set System Frequency (24.00 / 50.00 / 59.94) to match your region and project before the shoot, since changing it restarts the camera. Because the FX30 is APS-C, factor the Super 35 field of view into your lens choices: a full-frame 24mm behaves roughly like a 36mm equivalent.
S-Log3 looks flat on the LCD, so judge exposure with tools. Load a Monitor LUT (the built-in s709 or 709(800%), or a user 3D LUT) so you see a corrected image while recording flat S-Log3, and enable Gamma Display Assist.
Turn on the Histogram and set Zebra around 94-95 to catch highlight clipping on skin and bright sources. Because the FX30's smaller photosites are noisier than the FX3's, exposing to the right (rating the image a stop or so brighter, then bringing it back in the grade) matters even more here for clean shadows. In Cine EI, the Exposure Index control does exactly this.
Use Peaking for manual focus pulls. The combination of a monitor LUT plus zebras and histogram is what keeps the APS-C S-Log3 image usable.
The FX30 uses Sony's Fast Hybrid AF with real-time Eye AF and subject recognition. For interviews, slow the AF Transition Speed (1-3) and lower AF Subject Shift Sensitivity for cinematic focus glides; raise both for fast action.
Stabilization offers Standard, Active, and Off. Active mode adds a mild crop (on top of the APS-C frame) but smooths handheld walking footage; switch it off on a tripod or gimbal to keep the full frame and avoid double-correction.
Like the FX3, the FX30 ships with the XLR handle unit, giving two XLR/TRS inputs, a 3.5mm jack, and physical audio dials. Set levels manually, monitor on headphones, and use the handle's record button for low-angle shots. With the active cooling fan, the FX30 can record long 4K takes without thermal shutdowns, a real advantage for events and interviews.
| Setting | Recommended | Why |
|---|---|---|
| Log Shooting (Exposure/Color menu) | Cine EI (graded) or Flexible ISO (run-and-gun) | Cine EI locks base ISO and protects dynamic range; Flexible ISO lets you ride exposure. |
| Picture Profile | S-Log3 / S-Gamut3.Cine for grading, S-Cinetone for delivery | S-Cinetone is disabled inside Cine EI; use it only outside Log Shooting. |
| Base ISO | 800 (well lit) or 2500 (low light) | Switch to the 2500 high base once the scene pushes past ~ISO 1250-1600; it stays cleaner. |
| File Format | XAVC S-I 4K (All-Intra) or XAVC HS 4K (HEVC for long form) | All-Intra is most 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 essential for grading S-Log3. |
| Frame rate (Record Setting) | 24p / 25p / 30p for delivery | Match your project; cinematic 24, broadcast/social 25 or 30. |
| S&Q / High frame rate | 4K 120p for slow motion | 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 (1/48 at 24p) | 180-degree rule for natural motion blur; use Angle display for consistency. |
| White Balance | Manual Kelvin (5600K daylight, 3200K tungsten) | Lock WB manually to avoid AWB drift between clips. |
| 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 crop on top of the APS-C frame but smooths walking shots. |
| AF Transition Speed / Subject Shift Sensitivity | Slow (1-3) for interviews, fast (5-7) for action | Controls how cinematic versus reactive focus feels. |
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The FX30 is APS-C with a dual base ISO of 800 and 2500, while the FX3 is full-frame with bases of 800 and 12800. That much lower high base means the FX30 is cleaner than a typical APS-C camera but noticeably less capable in very dark scenes than the FX3. Stay on the 800 base for well-lit work and switch to 2500 for low light, but add light when you can.
Both 800 and 2500 are clean native base ISOs in S-Log3. Stay on 800 for daylight and well-lit interiors for the most highlight latitude. Switch to the 2500 high base once the scene needs more sensitivity, roughly when you would otherwise push past ISO 1250-1600 on the 800 base, because the native 2500 stage is cleaner than pushed 800.
The FX30 is already an APS-C (Super 35) camera, and it records 4K up to 120p. Some high frame rate modes apply an additional small crop, so check your field of view at 120p and bring a wider lens if needed. Remember that audio is not recorded at 100p and 120p, so capture sync sound at your base frame rate.
Use Cine EI with S-Log3 when you will color grade and want maximum dynamic range, such as narrative, music video, or commercial work. Use S-Cinetone when you want a finished cinematic look out of camera with minimal grading, such as events and fast social turnarounds. You cannot combine S-Cinetone with Cine EI, so choose before the shoot.
No, not in normal use. Like the FX3, the FX30 has a built-in active cooling fan, so it can record long 4K takes without the thermal shutdowns common on compact mirrorless bodies. That, plus the included XLR handle, makes it a strong choice for events, interviews, and long-form documentary work.
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