Hello, This is Nagasaka from PalmTrees.
Today, I’d like to share my practical impressions of the SONY FX30, including why I decided to switch from the α6700.
The α6700 Was Good… But Not Quite Enough
At PalmTrees, we often handle both stills and video as a one‑stop service, so we prefer equipment that can cover both roles.
The α6700 worked extremely well as:
- a sub stills camera
- a second‑angle video camera
However, because it isn’t a video‑focused body, it struggled with 4K60P long‑form recording.
Short clips were fine, but it would overheat and shut down in under 30 minutes.
During those shoots, I recorded:
- FHD internally on the α6700, and
- 4K externally via HDMI to the ATOMOS NINJA V,
then matched the footage with the FX30’s internal 4K in post. It worked,
but managing mp4 (FX30) and ProRes/H.265 (ATOMOS) together added unnecessary complexity.
So I decided to let go of the α6700 and move to a dual‑FX30 setup.
Even If Delivery Is FHD, You Must Record in 4K
Many creators have pointed this out, but with the FX30,
the difference between FHD recording and 4K recording is dramatic.
- 4K mode: 6K oversampling → 4K output
- FHD mode: pixel skipping → softer, lower‑resolution image
So even if the final delivery is 1920×1080 60P,
you should still record in 4K60P to maintain clarity.
※ This applies specifically to the FX30. If a camera produces clean native FHD, then FHD recording is fine.
8‑bit vs 10‑bit Recording
When shooting 4K60P, many people wonder:
- Should I use 4:2:2 10bit?
- Or is 4:2:0 8bit enough?
Since most displays are 8bit, it’s easy to think 8bit is sufficient.
But at PalmTrees, we record in 4:2:2 10bit 100Mbps as our standard.
※ That said, 4:2:0 8bit is also very good—surprisingly good.
Usability as a Video Camera
The Tally Lamp
Many people don’t know who the tally lamp is actually for.
It’s not primarily for the camera operator—it’s for everyone around you:
- directors
- audio engineers
- still photographers
- event staff
They can instantly see whether the camera is recording.
During recording, you obviously can’t respond to “Are you rolling right now?”
because audio is being captured. The tally lamp prevents that situation.
FX30’s tally lamp is extremely clear, and it significantly reduces the risk of accidental non‑recording (reverse‑REC).
I’ve seen this happen in hectic environments like ENG, weddings, and news‑style shoots. I’ve even experienced it myself in the past.
So a clear tally lamp is a huge advantage.
FOCUS MAG
Users of NXCAM/XDCAM will be familiar with this,
but mirrorless users may not be.
It’s essentially focus magnification,
but in video cameras it plays a more critical role—especially when using lenses that require back‑focus adjustment.
This was one of my biggest frustrations when shooting video on the α7RIII, so I’m very glad the FX30 includes it.
REC Buttons in the Right Places
On XDCAM, the REC button is assigned near the WB button— a very convenient location.
When using a rig, or when the camera is held high and you can’t reach the top button, this placement is extremely helpful.
In my setup, I have REC assigned to:
- the shutter button
- the top REC button
- the side REC button
Depending on shooting posture, I can trigger recording with:
- right index finger
- right thumb
- left middle finger
The flexibility is excellent.
Creative Look Is a Game Changer
Before the α6700, I used the α7RIII for video.
I experimented with Log profiles, but Log shooting requires:
- different exposure habits
- careful monitoring
- time and budget for color grading
Most jobs don’t allow for that.
Since Creative Look was introduced (starting around the α1),
the color has been excellent straight out of camera.
After switching to the α6700, I stopped shooting Log entirely.
APS‑C (Super35) Is Actually Ideal
Full‑frame is great for stills where “freezing motion” is important.
But for video, where “capturing movement” matters more, too much background blur can actually reduce clarity.
APS‑C offers:
- smaller, lighter lenses
- easier handling
- depth of field that matches typical broadcast cameras (often 1‑inch sensors)
For video, full‑frame can feel like driving a Ferrari in city traffic— powerful, but unnecessary.
Can the FX30 Be Used as a Stills Camera?
Yes—with conditions.
At PalmTrees, we use it for:
- interval shooting
- fisheye shots
- environmental/event wide shots
- situations where full‑frame is unnecessary
However, limitations include:
- no mechanical shutter
- no strobe support
- rolling shutter
- no viewfinder
Given that it’s a Cinema Line camera, the fact that it can shoot stills at all is already a bonus.
Conclusion
The FX30 is an excellent camera.
If you want a true hybrid camera, the α6700 will make you happier.
But if your work requires:
- 4K60P
- long‑form recording
- reliable thermal performance
then the FX30 is a fantastic choice.
You can buy two FX30 bodies for the price of one XDCAM,
and I plan to use mine for the next decade— until they naturally wear out.
Thank you for reading. See you again soon.
Nagasaka PalmTrees Inc.
PALMTREES INC.
https://www.palm-trees.co.jp/en/
