MINI TEST: Sony FX30

The term ‘hybrid’ has become common parlance in recent years. Used to identify models with strong videomaking credentials that are equally handy as stills machines, it may well be thrown around about Panasonic’s GH6 or Fujifilm’s X-H2S, among others. Stills cameras inform the design style of many of these models, but there’s a crop that look at the hybrid conundrum from the video side of the fence – and that’s where we find the Sony FX30.

At first glance, the FX30 seems familiar, but look closer and you’ll see 1/4in sockets on the top-plate for accessories and a very different button layout, both pointing to its intended use. Inside, there’s an all-new APS-C sensor giving you the capability to capture 26-megapixel stills, but which is really designed for 20.1-megapixel video with a 17:9 crop of the sensor. The video focus is underlined by some aspects of the stills spec – or lack thereof. There’s no AF tracking or continuous burst shooting, for example, nor is there an electronic viewfinder, external flash compatibility, uncompressed Raw file capability or AF illuminator. But five different stills modes remain, along with many parameters familiar to conventional Sony mirrorless users.

Let’s be honest, the FX30 is unlikely to be on your radar if you’re looking at a Panasonic GH6 or Fujifilm X-H2S. But if any future creative endeavours will be centred around videography, it should make your shortlist. Why? Because it’s an excellent camera with great filmmaking spec, holding its own against much pricier opposition.

Let’s start with the sensor, a back-side illuminated CMOS affair that records 4K oversampled from 6K. The FX30 is capable of recording files in very similar codecs and frame rates to both the Sony A7S III and A1 flagship mirrorless models, yet it costs significantly less. Video can be recorded at 10-bit internally for the best quality, but can also output 16-bit Raw to an external recorder via the full-size HDMI socket. Internal recordings are written to a pair of CFexpress Type A slots, which also accept SD cards.

As you know, smaller sensors struggle to match full-frames for high ISO performance, but the FX30 does very well in these situations. Rolling shutter is well controlled, and the five-axis in-body image stabilisation is also impressive – useful for handheld footage.

AF is a hybrid system with 495 phase-detection points and eye AF for humans, animals and birds, plus focus tracking. It’s both predictable and quick, and can be customised in terms of response. There are good tools for manual focus, too, accessed via dedicated buttons on the rear.

For audio – often the bane of small cameras – the optional XLR top handle screws into those 1/4in sockets on the top-plate and makes connection via the Multi Interface Shoe. This provides communication and power from the camera and is compatible with all Sony’s MI-fit audio accessories. The top handle has two XLR ports and all the pro controls you’d need. There’s also a third input for standard 3.5mm jacks.

The FX30 has the capability to use timecode thanks to a USB-C input. This USB slot can also power the camera, which otherwise uses Sony’s NP-FZ100 cells for lengthy shooting times. You’ll want a couple of spares for all-day shoots, though. The USB socket also allows the camera to be employed for live streams, while simultaneously recording high-res video to its memory cards. This streaming capability now includes more frame-rate options, quality up to 4K and is easier to set up.

If you’ve ever shot video before, you’ll know longer recording times cause issues with heat. To counteract this, the FX30 has an incredibly quiet integral fan – you can keep shooting for a long time before overheating problems rear their head. The fan can be turned down or off for audio-critical shoots, though. We had no issues at all with high temperatures – but did only use the camera in typical UK autumn weather. Death Valley residents may get different results, particularly in summer.