Month: October 2025

Sony cameras have had fantastic video autofocus for years, but here’s the part that surprises a lot of people: out of the box, your FX3 or A7S III is not using the best autofocus settings for video.

The good news is that there are only two major issues holding Sony’s video autofocus back, and both of them are easy to fix once you know where to look. After making these changes, your autofocus will be more accurate, less jumpy, and most importantly, feel far more natural and cinematic.

If you want to save time, I’ve also created a free autofocus cheat sheet for Sony cameras that shows all of my recommended settings at a glance.

And if you really want to unlock everything these cameras are capable of, I also offer full FX3 and A7S III Pro Video Guides that walk through every menu item, include downloadable camera presets, and even color presets that work in any editing software.

Now let’s talk autofocus!

Why Sony Video Autofocus Isn’t Perfect Out of the Box

Straight out of the box, autofocus on the FX3 and A7S III is fast and accurate. Face and eye detection works well, and tracking is impressive.

But there are two big problems once you actually start filming real-world scenarios.

First, autofocus is not sticky enough.
Second, autofocus transitions are too fast and feel very digital.

Let’s fix both.

Problem #1: Autofocus Isn’t Sticky Enough

Have you ever been filming someone, everything looks great, and then another person walks into frame and suddenly the camera jumps focus? Or maybe your subject turns their head slightly and the focus shifts to something else in the background.

That happens because, by default, Sony wants the autofocus to be extremely responsive. The camera is constantly scanning the frame, asking itself if it should focus on something new.

That can make autofocus feel impressive at first, but in practice, it makes it unreliable.

The Setting That Fixes It: Subject Shift Sensitivity

Grab your FX3 or A7S III and make sure you’re in video mode.

Press the menu button and go to the purple AF/MF menu.
Set your focus mode to Continuous AF.
Then scroll down to AF Subject Shift Sensitivity.

This setting controls how easily the camera will abandon your current subject and jump to something else.

At level 5, which is the default, the camera is very responsive. It will happily jump between people and objects as they enter the frame.

At level 1, the camera is extremely locked on and will resist changing focus almost entirely.

After a lot of testing, I’ve found that level 3 is the sweet spot.

At level 3, autofocus stays locked on your subject far more reliably than the default setting, but it still has enough flexibility to shift focus when you actually want it to. If your subject exits the frame, the camera won’t fight you forever.

This single change dramatically improves autofocus reliability.

Problem #2: Autofocus Feels Too Fast and Robotic

The second issue is more subtle, but just as important.

Out of the box, autofocus transitions on these cameras are extremely fast. When your subject moves forward or backward, the camera snaps into focus almost instantly.

Technically, that sounds like a good thing. Visually, it often isn’t.

Fast autofocus transitions can feel jarring because they don’t look human. Background blur shifts instantly, and it can pull viewers out of the moment without them even realizing why.

There’s a reason most high-end cinema productions still use manual focus with a dedicated focus puller. Human focus changes take a moment, and that delay feels natural to us.

Your eyes work the same way. Focus on something close to you, then look at something far away. There’s a brief transition. That’s what feels normal.

Sony’s default autofocus speed skips that entirely.

The Setting That Fixes It: AF Transition Speed

Go back into the autofocus menu and select AF Transition Speed.

This setting controls how quickly autofocus moves from one focus distance to another.

A value of 1 is very slow.
A value of 7 is extremely fast.
The default is 5.

For video, 5 is too fast.

I recommend setting this to 4. It still feels quick and responsive, but the transitions are smoother and more natural. If you want an even more cinematic feel, you can experiment with 3, but for me, 4 is the perfect balance.

All of my Sony cameras are set this way.

What These Settings Do for Your Footage

Once you adjust subject shift sensitivity and autofocus transition speed, you’ve fixed the two biggest autofocus issues on the FX3 and A7S III.

Autofocus becomes more reliable.
It stays locked on your subject.
Transitions feel smoother and more human.

Instead of feeling like a robot snapping focus in milliseconds, it feels like a skilled focus puller gently guiding your viewer’s eye.

A Note on Presets and Advanced Autofocus Control

If you don’t want to dial these settings in manually, my FX3 and A7S III Pro Video Guides include camera preset files that install directly onto your camera with all of this already configured.

The guides also go deeper into things like touch tracking, custom buttons for toggling autofocus, and how to adapt autofocus behavior for different shooting scenarios.

They’re designed to save you time and help you get the absolute best results from your camera.

Final Thoughts

Sony’s video autofocus is already excellent, but with a couple of simple setting changes, it becomes dramatically better!

If you want to go even further, be sure to download the free autofocus cheat sheet for all Sony Cameras, and check out the full Pro Video Guides when you’re ready to master every setting.

Thanks so much for reading, and have a great day.

If you want the absolute highest quality video you can get out of an iPhone, this is it. In this guide, I’m going to show you how to use the Final Cut Camera app to film in ProRes RAW on the iPhone 17 Pro, which gives you more dynamic range and grading flexibility than anything else Apple currently offers on a phone.

This is for filmmakers who want the most control possible, whether you’re using your iPhone as a main camera, a B cam, or something you want to intercut with footage from a larger cinema camera.

Before we jump in, a quick heads up. I’ve put together a set of color presets called Who Is Matt LUTs, and I’ve tested them extensively with log footage from the iPhone. They work great with Final Cut Camera, the Blackmagic Camera app, and pretty much any camera that shoots log. If you want consistent, natural color no matter what camera you’re filming on, I’ll have those linked below.

What You Need Before Opening the App

Before you even launch Final Cut Camera, there are two things you need if you want to record ProRes RAW. One is mandatory, the other is not required, but I strongly recommend it.

External SSD (Required)

The iPhone 17 Pro cannot record ProRes RAW to internal storage. It has to be recorded to an external SSD. There’s no way around this.

You’ll also need a cable and some way to mount the SSD to your phone. I’ll link to SSDs, cables, and MagSafe mounts that I’ve tested and know work well, because not all drives and cables are fast or reliable enough for ProRes RAW recording.

Stabilization or Gimbal (Highly Recommended)

When you record in ProRes RAW, the iPhone disables all image stabilization. That means even tiny hand movements will show up in your footage.

You can use a phone gimbal like the DJI Osmo Mobile or Hohem iSteady V3 Ultra, or you can go a bit more extreme like I do and use an RS4 Mini with a phone mount. Just keep in mind that most phone gimbals do not play nicely with MagSafe SSD mounts. If you’ve got an SSD dangling off the phone, it can completely throw off stabilization.

Because of that, I’ll also link to some ultra-compact SSDs that are small enough to work with certain phone gimbals while still being fast enough for ProRes RAW.

Enabling ProRes RAW in Final Cut Camera

Once you open Final Cut Camera, there’s one very important thing you need to do first.

Plug in your external SSD before changing any codec settings.

If you try to enable ProRes RAW without an SSD connected, the app will throw an error and switch you back to a non-RAW format. The app has to detect the SSD before it will even let you select ProRes RAW.

With the SSD connected, you can either open the settings menu in the top left and choose your codec, format, and color under Preferences, or you can do what I do and tap the settings bubble on the left side of the preview. That’s the faster option.

From there, you can choose Apple ProRes RAW or ProRes RAW HQ.

ProRes RAW vs ProRes RAW HQ

I know what you’re thinking. If HQ is available, why not choose it?

Here’s the reality. Regular ProRes RAW is already a massive, 12-bit RAW file with extremely high image quality and huge file sizes. The jump from ProRes RAW to ProRes RAW HQ increases file size even more, but the quality difference is not worth it in almost every real-world scenario.

Unless a client specifically demands it, or you’re somehow filming a Hollywood feature on an iPhone, ProRes RAW HQ is overkill. Stick with regular ProRes RAW. The quality is excellent.

Choosing Where Files Are Saved

Once ProRes RAW is enabled, you’ll see a new storage bubble at the bottom of the app. In my case, it says 8TB Editing because that’s the size of the drive I’m using, but for you it may be different depending on the size of your drive.

Tap that bubble and make sure the app is set to record to the SSD. You won’t be able to record ProRes RAW to internal storage anyway, but it’s still good to double check.

One limitation to be aware of is that you cannot choose which folder ProRes RAW files are saved to. Final Cut Camera automatically creates a DCIM folder in the root of the SSD and saves everything there.

This is honestly pretty annoying. The Blackmagic Camera app lets you choose exactly where your files go, and I really hope Apple adds this feature in a future update.

If you’re confused about where your footage is, just look for the DCIM folder on your SSD.

Resolution, Frame Rates, and Camera Limitations

Back in the format settings, you can choose between 17:9 and Open Gate. I recommend 17:9 for most projects.

You can also choose your frame rate, but keep in mind that camera limitations still apply. You can switch between the 13mm, 24mm, and 100mm cameras using the buttons on the left side of the screen, but only the 24mm main camera supports 4K at 120fps.

The ultra-wide and telephoto cameras are limited to 4K at 60fps when recording ProRes RAW.

ProRes RAW With the Front Camera (Yes, Really)

Here’s something genuinely cool.

In the top right of the screen, there’s a camera flip button that lets you switch from the rear cameras to the front selfie camera. And yes, you can record ProRes RAW with the front camera in Final Cut Camera.

This is a big deal because the Blackmagic Camera app only allows ProRes RAW recording on the rear cameras. If you want to film yourself in ProRes RAW, Final Cut Camera is currently your only option.

Using LUT Preview for Better Monitoring

When you first look at your ProRes RAW footage in the app, it’s going to look extremely flat and washed out. That’s normal. It’s log footage.

If you want a more accurate preview while filming, tap the settings bubble on the left and change LUT Preview from Off to LOG2 to HDR.

This does not affect the recorded footage. It’s only a monitoring preview so you can better judge exposure and contrast while shooting.

Manual Exposure and Pro Controls

Tap the sliders icon in the top left to access additional controls. Here you can lock orientation, switch to manual focus by tapping AF, and dial in white balance.

One setting I really want to highlight is exposure. At first, you’ll only see a brightness slider, but if you tap the “A” button at the bottom, it switches to full manual mode.

In manual mode, you can directly control shutter speed and ISO, which is what you want as a filmmaker.

You can also enable the overexposure indicator in the Tools tab of the settings menu. This shows clipped highlights in red, which can be helpful, but it can also be distracting if a lot of the image is blown out. I usually toggle it on and off as needed.

Dynamic Range: Final Cut Camera vs Blackmagic Camera

Dynamic range is how much highlight and shadow detail a camera can record, and this is where Final Cut Camera falls behind.

After a lot of testing, I’ve found that you get less dynamic range in ProRes RAW with Final Cut Camera compared to the Blackmagic Camera app.

Blackmagic appears to be using a multi-exposure technique that combines multiple exposures into a single file, giving you roughly two extra stops of dynamic range. Final Cut Camera does not do this.

You can see this clearly when comparing highlight detail, like tree branches against a bright sky. The Blackmagic footage retains more detail.

If you want to understand how this works in more detail, I highly recommend checking out my ProRes RAW Blackmagic Camera app tutorial, which I’ll link below.

Which App Should You Use?

If you’re filming in a controlled studio environment, it honestly doesn’t matter which app you use. Both will give you great results.

If you’re filming outdoors, I recommend using the Blackmagic Camera app for the extra dynamic range, unless you specifically need to use the front camera in ProRes RAW. In that case, Final Cut Camera is your only option.

Final Thoughts

That’s how you shoot ProRes RAW on the iPhone 17 Pro using Final Cut Camera.

If you haven’t checked out my color presets yet, they work incredibly well with iPhone log footage and with just about any other camera you might be using.

In addition also include a link to my Edit Videos Like a Pro guide. It’s completely free and covers some of the biggest lessons it took me years to learn as a video editor.

Thanks for reading, and I’ll see you in the next one.

If you want the absolute highest quality video you can possibly get out of an iPhone, with the most dynamic range Apple has ever allowed, filming ProRes RAW on the iPhone 17 Pro using the Blackmagic Camera app is how to do it! This workflow unlocks image quality that genuinely starts to feel “real camera” level, as long as you understand a few important setup steps and limitations.

Before we get into the app itself, a quick note. I’ve created a set of color presets called WhoIsMatt LUTs that I use on my own projects, including log footage from the iPhone. They work great with both the Blackmagic Camera app and the Final Cut Camera app, and honestly with just about any camera that shoots log.

What You Need Before You Open the App

Before you even think about hitting record, there are two things you’ll want to have ready. One is absolutely required, and the other is technically optional, but I would strongly recommend it.

First, you need an external SSD and a way to mount it to your phone. The iPhone 17 Pro cannot record ProRes RAW to its internal storage, so an external SSD is non-negotiable.

Here are the SSDs I recommend:

• Lexar Magsafe SSD
• Lexar Tiny SSD
• Magsafe Magnets for SSD at Amazon

Second, while not required, a gimbal or stabilizer makes a massive difference. When filming ProRes RAW, the iPhone disables all image stabilization, which means even tiny hand movements will show up in your footage. A phone gimbal like the DJI Osmo Mobile or Hohem iSteady can work, but personally I’ve been using an RS4 Mini with a phone mount.

iPhone Gimbals I Recommend:

• DJI RS4 Mini gimbal with phone mount
• DJI phone gimbal
• Hohem phone gimbal

One thing to keep in mind is that many phone gimbals don’t play nicely with MagSafe SSD mounts. If you’ve got an SSD hanging off the phone, it can throw off stabilization entirely. Because of that, I also recommend looking at the tiny SSDs I linked above that is small enough to work with a gimbal while still being fast enough for ProRes RAW recording.

Setting Up ProRes RAW in the Blackmagic Camera App

Once you open the Blackmagic Camera app, the first stop is the Settings menu. Under codec, you’ll see two options: ProRes RAW and ProRes RAW HQ.

It’s tempting to think HQ must be better, but regular ProRes RAW is already a 12-bit RAW file with enormous file sizes and excellent quality. The jump to ProRes RAW HQ is not worth it for almost anyone. Unless a client explicitly demands it or you’re shooting something truly extreme, stick with regular ProRes RAW.

Next, choose your resolution. You’ll see options for 4K and Open Gate. Open Gate records in a wider 4:3 aspect ratio, but it limits you to 60 frames per second. If you want 120fps, you need to shoot in standard 4K, which is what I recommend for most situations anyway.

Then there’s color space. You can choose between Apple Log and Apple Log 2. Always use Apple Log 2. It gives you a wider color space, better flexibility in post, and still matches well with older iPhones if you’re mixing footage.

No matter what, you will need to color grade this footage. Shooting log is non-optional here, which is exactly why presets can save you a ton of time.

Choosing Where Your Files Are Saved

This step is critical, because if you miss it, you won’t be recording anything at all.

In the Settings menu, go to Media, then select “Save Clips To,” and choose Files. Make sure your external SSD is connected, then tap Browse and select the SSD from the Locations list. I recommend creating a new folder for each shoot so everything stays organized.

Once you hit Open, the Blackmagic Camera app will record all ProRes RAW files directly to that folder on the SSD.

One thing to watch out for: if you disconnect the SSD and later reopen the app, it will default to saving clips internally inside the app’s media pool. If you ever think your footage is missing, that’s usually why.

White Balance, Exposure, and Zebras

When you’re ready to film, start by setting and locking your white balance. For simplicity, use 5500K outdoors and 3200K indoors. Even though RAW gives you flexibility later, locking white balance helps keep clips consistent.

Next, enable zebras by tapping the framing icon and turning them on. For Apple Log 2, set zebras to 95 percent. If you see zebras, your highlights are clipped and you need to darken the image.

This is where things get tricky on iPhone, because exposure control works very differently compared to traditional cameras.

Why You Should Not Lock Shutter and ISO Outdoors

On normal cameras, you’d typically adjust shutter speed or ISO to control exposure. On the iPhone, that approach can actually hurt your image quality.

To achieve its maximum dynamic range, the iPhone records multiple exposures simultaneously and combines them into a single clip. This only works if shutter speed and ISO are left on auto. The moment you lock either one, the iPhone disables this feature and you lose roughly two stops of highlight detail instantly.

You can see this clearly when filming a high-contrast scene, like an interior with a bright window. With shutter and ISO on auto, you’ll retain detail outside. Lock them, and that highlight detail is gone forever, even in RAW.

The Right Way to Handle Exposure

If you’re filming indoors in a controlled studio environment, go ahead and lock shutter and ISO. Use the classic rule of shutter speed at roughly double your frame rate and keep ISO as low as possible.

If you’re filming outdoors or in high-contrast environments, leave shutter and ISO on auto and use an ND filter instead. An ND filter reduces incoming light without forcing the phone to give up its dynamic range tricks. Yes, it means giving up some manual control, and I know that’s hard to accept, but the extra dynamic range is absolutely worth it.

Once everything is dialed in, you’ll be recording some of the best video ever captured on a phone.

Final Thoughts

The Blackmagic Camera app is the best option if you want maximum dynamic range from the iPhone 17 Pro, especially when filming outdoors. If you want a simpler workflow or need to record ProRes RAW with the front-facing camera, check out my Final Cut Camera app guide as well.

And if you want faster color grading, consistent results, and a workflow that just works, I highly recommend checking out my color presets and my free Edit Videos Like a Pro guide.

Sony a7S III in 2025: Still Great, But Falling Behind

The Sony a7S III has been out for five years now, and when it launched, it completely changed the game for mirrorless video cameras. Incredible low light performance, 4K 120p, excellent rolling shutter control, and class-leading autofocus made it an instant favorite for filmmakers.

But fast forward to today, and the landscape looks very different.

Cameras like the Panasonic S1 II, Canon C50, and Nikon ZR have caught up and in many cases surpassed what the a7S III can do. Because of that, the upcoming Sony a7S IV and FX3 Mark II are going to need some very specific upgrades if Sony wants to stay competitive.

In this article, I’m breaking down three non-negotiable features Sony must include, plus several wishlist upgrades that could truly make the a7S IV special.

Before we jump in, hey, I’m Matt Johnson. I teach filmmaking and video editing here, and if you want consistent color across all your cameras, including Sony, Panasonic, Nikon, and iPhone, check out my color presets! They’ll save you a ton of time in post.

---

Non-Negotiable #1: Internal RAW Video Recording

When the a7S III launched in 2020, internal RAW recording was rare. At the time, you needed a cinema camera or an external recorder like an Atomos Ninja to capture RAW video.

That excuse no longer holds up.

Since then, Nikon introduced internal RAW with the Z9, followed by the Z8, Z6 III, and ZR. Panasonic joined the party with the GH7 and now the S1 II lineup, offering internal ProRes RAW recording.

Five years later, Sony is now behind nearly all of its competitors in this area.

At a minimum, the a7S IV and FX3 II need internal ProRes RAW. But ideally, Sony should take things further.

Sony already has its own professional RAW format called X-OCN (Extended Tonal Range Original Camera Negative), used in high-end cinema cameras like the Venice and Burano. A lighter X-OCN option would give filmmakers smaller file sizes while still maintaining 16-bit quality.

In short, Sony, give us internal RAW.

---

Non-Negotiable #2: Open Gate Recording and Anamorphic Support

Sony lets you use the full sensor for photos, but when you switch to video, you’re locked into a cropped 16:9 frame.

In 2020, that was common. In 2025, it feels outdated.

Panasonic now offers multiple open gate aspect ratios, robust anamorphic support, and customizable desqueeze options. More manufacturers are producing affordable anamorphic lenses than ever before, and filmmakers want cameras that fully support them.

The a7S IV and FX3 II need:

• Open gate recording options like 3:2 and 4:3
• Custom anamorphic desqueeze ratios
• Anamorphic-specific IBIS
• Frame guides and monitoring tools built for anamorphic shooting

If Sony fully commits to open gate, it would be a massive win for filmmakers.

---

Non-Negotiable #3: Internal 32-Bit Float Audio

Audio may not be flashy, but it matters more than almost any video feature.

Until recently, all cameras were limited to 24-bit audio. If you wanted 32-bit float, you needed an external recorder and extra syncing work in post.

That changed in 2024.

Panasonic introduced 32-bit float audio via its XLR adapter, and Nikon took things even further with the ZR, enabling 32-bit float recording directly through the camera’s mic input or hot shoe.

Sony already has excellent hot shoe microphones and supports multi-channel audio. Adding 32-bit float would instantly modernize its audio pipeline and eliminate the need for external recorders for many shooters.

This one should be a no-brainer.

---

Wishlist Upgrade #1: A 24MP Sensor and 6K Recording

The a7S line has always been known for its 12MP sensor, but I think it’s time for a bump to around 24 megapixels.

That would unlock:

• 6K recording for better reframing
• A Super 35 APS-C crop mode in 4K
• Better compatibility with anamorphic lenses

6K has become the new sweet spot. It offers a big jump over 4K without the storage and workflow headaches of 8K.

Ideally, I’d love to see 6K 60p, and if we’re really dreaming, 6K 120p, similar to how the a7S III shocked everyone with 4K 120p.

---

Wishlist Upgrade #2: Same Low-Light Performance, No Overheating

If Sony increases resolution, it cannot sacrifice what made the a7S series legendary.

That means:

• Low-light performance comparable to the a7S III
• Clean results at ISO 12,800 and beyond
• Strong cooling with no overheating

The a7S III already excels here. Sony just needs to keep that magic alive.

---

Wishlist Upgrade #3: A Larger Rear Screen

Most mirrorless cameras stick to a 3-inch rear display. Nikon changed the game with the ZR by jumping to a 4-inch screen.

That extra inch makes a huge difference.

A larger screen makes focusing easier, framing more immersive, and overall shooting more enjoyable. Combine that with Sony’s latest flip-and-tilt mechanism, and it would be a perfect upgrade.

---

Big Dream #1: A Global Shutter Sensor

Sony already proved it can do global shutter with the a9 III.

A global shutter a7S IV would:

• Completely eliminate rolling shutter
• Prevent LED flicker issues
• Further separate Sony from its competitors

It’s ambitious, but not impossible.

---

Biggest Dream: Internal ND Filters

If there’s one feature filmmakers have been begging for in a compact mirrorless camera, it’s internal ND filters.

Sony already does this in cameras like the Burano. The challenge is fitting ND filters while maintaining IBIS and compact size, but if Sony ever pulls this off, it would instantly make the a7S IV the go-to camera for filmmakers.

---

Final Thoughts

At a minimum, the Sony a7S IV and FX3 II must deliver:

• Internal RAW video
• Open gate recording
• 32-bit float audio

If Sony also delivers some of the wishlist upgrades, this camera could once again redefine what mirrorless video cameras are capable of.

If you want to learn how to edit your footage like a pro, grab my free Edit Videos Like a Pro guide. And if you want fast, consistent color across all your cameras, check out my color presets.

Thanks for reading, and have a great day!

Where is the FX3 Mark II?!

It’s been four years since the Sony FX3 was introduced and five years since the a7S III, which shares the same sensor. As time goes on, this question comes up more and more, so let’s talk about why Sony is taking so long and when we might realistically see the FX3 Mark II.

To understand where the FX3 Mark II is, you first need to understand how Sony works as a company. Sony isn’t just one unified camera brand. It’s a massive corporation with many separate divisions. Two of the most important for this conversation are Sony’s camera sensor division and Sony’s camera division.

While these two divisions are closely related, they operate independently in many ways. Sony’s sensor division designs and manufactures camera sensors, and only a portion of those sensors end up in Sony cameras. The majority are sold to other companies, including Apple, Nikon, and Panasonic. Every iPhone camera sensor comes from Sony, and cameras like the Nikon Z6 III and Panasonic S1 II also rely on Sony sensors.

What’s important to understand is that these companies don’t just drop Sony sensors straight into their cameras. They heavily customize them. Resolution, readout speed, stacked designs, and other characteristics can all be tailored. The underlying technology may be similar, but the final results can look very different.

Sony’s sensor division is constantly developing new sensors, selling them externally, and supplying Sony’s own camera division. This relationship is key to understanding Sony’s release strategy.

Why Sony Reuses the Same Sensor Across So Many Cameras

So where does that leave the FX3 Mark II? Sony’s camera division has access to cutting-edge sensor technology, and in many cases, it keeps that technology exclusive to Sony cameras for a period of time. That’s how we ended up with cameras like the a7S III, which pushed low-light performance and 4K at 120fps, and the a9 III, which introduced global shutter to mirrorless cameras.

Another important factor is cost. While Sony’s camera division technically pays Sony’s sensor division for sensors, it’s still money moving within the same company. More importantly, Sony is incentivized to sell as many sensors as possible.

One of the best ways to do that is by putting the same sensor into multiple camera bodies.

Here’s how this typically plays out. Sony releases a new sensor in a flagship hybrid camera, like the a7S III in 2020. Months later, that same sensor appears in a cinema-focused body like the FX6. Then it shows up again in a compact filmmaking camera like the FX3. A couple of years later, it might appear once more in a creator-focused camera like the ZV-E1.

One sensor. Four different cameras. Four different market segments.

Sony does this across nearly its entire lineup. The FX30 shares a sensor with the a6700 and ZV cameras. The ZV-E10 shares a sensor with multiple a6xxx bodies. The a7R V sensor appears in the a7C R and RX1R III. The a7 IV sensor now lives in the a7C II and FX2.

When you look at it this way, releasing another camera using an existing sensor is relatively easy and far less expensive than designing a new one.

What This Means for the FX3 Mark II

This brings us back to the FX3 Mark II. Sony doesn’t design a sensor for just one camera. It designs a sensor that can be used across an entire generation of products, including hybrid cameras, cinema cameras, and vlogging-focused bodies.

The current sensors powering Sony’s lineup are not new. The a7S III sensor dates back to 2020. The a7 IV and a1 sensors arrived in 2021. Even Sony’s newest sensor, the one in the a9 III, launched in late 2023.

If Sony is working on a next-generation sensor to replace the a7S III platform, that sensor likely needs to work in an a7S IV, an FX3 Mark II, a ZV-E1 Mark II, and possibly even an FX6 Mark II. That’s a lot of requirements to meet, and it helps explain why this process takes time.

Looking at Sony’s history, the gap between the a7S II and a7S III was about five years. From late 2015 to mid-2020, we waited. Now we’re approaching that same window again.

This generation may end up lasting five and a half, six, or even seven years. But when you understand Sony’s sensor strategy, the delay starts to make a lot more sense.

A Look Ahead at Sony’s Future Sensors

One interesting observation is that Sony hasn’t yet created cinema or vlogging variants of its most advanced sensors, like the ones found in the a1 and a9 III. The a9 III sensor in particular is likely very expensive, which may limit how widely Sony can deploy it.

That said, I don’t think it’s a question of if we’ll see FX-style cameras using sensors like these. It’s a question of when. A cinema-focused camera with an a1-class sensor or a global shutter FX camera feels inevitable.

Imagine an FX-style camera with 8K recording, robust cooling, and no overheating concerns. A lot of filmmakers would seriously consider that.

Final Thoughts

So where is the FX3 Mark II? My take is that Sony is waiting for the next major sensor platform, one that can support an entire ecosystem of cameras rather than a single body. When that sensor is ready, the FX3 Mark II, a7S IV, and ZV-E1 Mark II will likely follow.

In other words, instead of asking where the FX3 Mark II is, it might make more sense to ask where the next a7S sensor is.

If you want to see the gear I currently recommend for filmmaking, check out my filmmaker gear guide. I’ve also put together a separate breakdown of my a7S IV and FX3 Mark II wish list if you want to see what features I hope Sony includes.

Let me know if you agree with this take on Sony’s strategy, and thanks for reading.