Same cinema body, same color science, very different sensors. One is a 26MP Super 35 value pick; the other is a 12MP full-frame low-light specialist that costs more than twice as much.
The Sony FX30 and FX3 share the same Cinema Line body, the same XLR handle design, S-Cinetone color, and most of the same video features, yet they sit at very different price points and serve different shooters. The FX3 is a 12MP full-frame low-light machine built around the A7S III sensor. The FX30 is a 26MP Super 35 (APS-C) body that delivers most of the FX3 experience for roughly half the price, making it one of the best value cinema cameras Sony has ever shipped. Choosing between them comes down to whether you need full-frame and elite low-light performance, or whether Super 35 and a friendlier budget fit your work better. This comparison breaks down the sensor differences, low-light behavior, dynamic range, frame rates, crops, audio, and price so you can decide with clear eyes.
The defining difference is sensor size. The FX3 uses a 12.1MP full-frame (35.6 x 23.8mm) BSI sensor, while the FX30 uses a 26MP Super 35 / APS-C (23.3 x 15.5mm) BSI sensor. Full-frame gives the FX3 a shallower depth of field at a given framing and aperture, plus a wider field of view from the same lens. The FX30's Super 35 sensor applies roughly a 1.5x crop relative to full-frame, so a 35mm lens frames more like a 52mm.
Neither approach is inherently better. Super 35 has been a professional cinema standard for decades, and many shooters prefer its slightly deeper depth of field for keeping subjects in focus. The FX30's higher 26MP count also lets it oversample a very detailed 4K image. The FX3 trades resolution for larger photosites and full-frame look.
Lens choice matters here too. Full-frame glass works on both, but the FX30 also opens the door to smaller, cheaper APS-C lenses, which keeps a run-and-gun kit lighter and more affordable. If you already own full-frame E-mount glass and want the widest field of view, the FX3 makes more of it.
The FX3 is the low-light champion. Its 12MP full-frame sensor uses large photosites and a dual base ISO of 800 and 12,800, delivering clean footage deep into high-ISO territory along with 15+ stops of dynamic range. For concerts, weddings, night exteriors, and dim interiors, it is the stronger tool by a clear margin.
The FX30 is more capable than its price suggests. It carries a dual base ISO of 800 and 2,500 and roughly 14+ stops of dynamic range, which makes it surprisingly good in mixed and complex lighting. It simply cannot match the FX3 when the light gets truly low, because its smaller, denser sensor collects less light per pixel and its upper base ISO is far lower.
The practical takeaway: if your work regularly puts you in dark venues, the FX3's low-light advantage is worth the premium. If you mostly shoot in controlled, daylight, or well-lit conditions, the FX30 gives you most of the dynamic range that matters for grading at a fraction of the cost.
Both cameras record 4K up to 120fps and Full HD up to 240fps, and both record 10-bit 4:2:2 internally with the same XAVC S-I, XAVC HS, S-Log3, and S-Cinetone tools. That shared codec foundation means footage from both grades similarly and cuts together cleanly on a multicam timeline.
The difference shows up in the 4K 120p crop. The FX3 applies only a slight 1.1x crop at 4K 120p, so it stays close to its native field of view. The FX30 applies a larger 1.6x crop at 4K 120p on top of its already Super 35 sensor, which tightens the frame noticeably and effectively turns a 35mm lens into roughly an 84mm. If high-speed wide shots matter to you, the FX3 handles them with far less framing penalty.
Both bodies share the same BIONZ XR processor, the same active cooling fan for sustained recording, the same Fast Hybrid AF with AI subject recognition, and 5-axis IBIS with an Active mode. The video experience is nearly identical apart from sensor-driven differences.
Both share the Cinema Line body with multiple 1/4-20 mounting points, no electronic viewfinder, and a tally lamp setup geared toward video. Both can take the detachable XLR handle unit that adds dual XLR/TRS inputs, physical gain dials, and headphone monitoring for professional balanced audio.
There is a packaging nuance to watch. The FX3 typically ships with the XLR handle included in its price. The FX30 is sold both body-only and in a bundle with the XLR handle, and the body-only version is cheaper, so check exactly which kit you are buying. For interview and documentary work, the XLR handle is close to essential, so factor it into the FX30's real cost.
Ergonomically the two cameras feel the same in the hand, take the same NP-FZ100 battery, and use the same dual card slots that accept CFexpress Type A and UHS-II SD. If you run both as A and B cameras, accessories, cages, and batteries are fully shared.
As of 2026 the FX30 sits around the $1,800 tier body-only (roughly $2,200 to $2,700 with the XLR handle), while the FX3 occupies roughly the $3,900 to $4,200 tier with its handle included. That is more than a two-to-one difference, and it is the single most important factor for many buyers.
If you are an indie filmmaker, YouTuber, or documentary shooter working to a budget, the FX30 delivers the Cinema Line experience, S-Cinetone, the same codecs, and genuinely capable image quality for far less money. If you need full-frame depth of field, elite low-light performance, the smaller 4K 120p crop, and you shoot professionally in demanding light, the FX3 earns its premium. Many shooters even pair them: an FX3 as the A camera for low light and an FX30 as a matched, affordable B camera.
| Sony FX30 | Sony FX3 | |
|---|---|---|
| Sensor | 26MP Super 35 / APS-C Exmor R BSI | 12.1MP full-frame Exmor R BSI |
| Crop factor (vs full-frame) | ~1.5x | 1.0x (full-frame) |
| Dual base ISO | 800 / 2,500 | 800 / 12,800 |
| Dynamic range | 14+ stops | 15+ stops |
| Max video resolution / fps | 4K 120p (1.6x crop), FHD 240fps | 4K 120p (1.1x crop), FHD 240fps |
| Internal codecs | 10-bit 4:2:2 XAVC S-I / XAVC HS / XAVC S | 10-bit 4:2:2 XAVC S-I / XAVC HS / XAVC S |
| Color profiles | S-Log3, S-Cinetone, HLG | S-Log3, S-Cinetone, HLG |
| Low-light performance | Good for the class | Excellent (full-frame, high base ISO) |
| Active cooling fan | Yes | Yes |
| Autofocus | Fast Hybrid AF, AI subject recognition | Fast Hybrid AF, AI subject recognition |
| IBIS | 5-axis, Active mode | 5-axis, Active mode |
| XLR handle | Optional (sold body-only or as kit) | Included |
| Price tier (as of 2026) | ~$1,800 body-only | ~$3,900-$4,200 with handle |
The FX30 is the value champion and the smart pick for indie filmmakers, YouTubers, and documentary shooters who want the Cinema Line experience without the full-frame price. It shares the FX3's body, codecs, color science, fan, and autofocus, delivering most of the experience for under half the cost. The FX3 justifies its premium only if you genuinely need full-frame depth of field, elite low-light performance, and the much smaller 4K 120p crop. Buy the FX30 unless low light or full-frame look is central to your work.
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Yes. As of 2026 the FX30 sits around the $1,800 tier body-only, while the FX3 runs roughly $3,900 to $4,200 with its included XLR handle. Even adding the handle to the FX30 keeps it well under the FX3's price. For shooters on a budget, that gap is the headline reason to choose the FX30.
Mainly full-frame depth of field and elite low-light performance. The FX30's Super 35 sensor has a lower upper base ISO (2,500 vs 12,800) and slightly less dynamic range, so it is weaker in very dim conditions. You also get a larger 1.6x crop at 4K 120p. In good light, the image quality difference is much smaller than the price difference.
Yes. They share the BIONZ XR processor, the same 10-bit 4:2:2 codecs, and identical S-Log3 and S-Cinetone profiles, so footage grades and cuts together cleanly. The main differences to match are field of view from the sensor sizes and the FX3's cleaner low-light shadows, both of which are easy to handle in post.
It depends on the kit. The FX30 is sold both body-only (cheaper) and bundled with the XLR handle unit. The FX3 typically includes the handle in its price. If you need professional XLR audio with the FX30, budget for the handle kit, which still keeps it well below the FX3.
The FX3, clearly. Its full-frame 12MP sensor with a dual base ISO of 800 and 12,800 stays clean far deeper into high ISO than the FX30, whose upper base ISO is 2,500. For concerts, weddings, and night exteriors, the FX3 is the right tool. In well-lit work the gap narrows substantially.
Same E-mount, same S-Cinetone, very different cameras. One is a 33MP hybrid; the other is a 12MP cinema machine built to never overheat.
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