Sony FX3 = ARRI Alexa Mini?

Discover the Sony FX3's performance compared to the ARRI Alexa Mini . This video shows the FX3 is more than capable of working alongside a high end in post-production, highlighting its capability in professional settings. Whether you're shooting commercials or creative content, learn why the FX3 is a valuable addition to your filmmaking toolkit, offering flexibility and high-quality outputs.
00:00-00:57: FX3 is a Legit Cinema Camera
00:58-01:37: Comparison settings / setup
01:38-2:43: Scenarios before matching
02:44-4:43: Matching the Alexa Mini/FX3
04:44-7:26: Which camera?
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www.arthurwoo.com

[@jerry4706]

bottom line, if the story/script is terrible the camera wont matter

[@arthurwoo]

100%. But uninformed decisions about tech can make people sacrifice other things that would serve the production better in order to get 'the best' camera instead of realizing they can do mostly the same thing with any tool nowadays.

[@julienajarry]

Big up to Phantom Luts.

[@Justinleedp]

A few years ago I conducted a blind test with a director for a project using a Venice (1) and my FX3. Even pixel peeping at 500%, you couldn’t tell the difference. All to say, when picking cameras for a project, have the camera serve the project, not the other way around.

[@arthurwoo]

Yes! 100%. We are spoiled for choice these days. As DPs we're often closer to knowing this than others who don't spend all their time with the tech, so I think it's important people are aware that these smaller cams can deliver as well so they're not trying to fit the proverbial square peg in a round hole

[@Justinleedp]

@@arthurwoo Totally. I've been on the flip side where the camera was forced on a project when it really hindered what we captured... I was camera operating on B and the DP/A-Cam op forced his camera package on the shoot that was great for studio work but very clunky for documentary work. All to make quick buck. 🙃

[@arthurwoo]

@@Justinleedp Oh man, that's rough. I can definitely understand the desire for more income now, but if that hurts the project, that's potentially losing more work in the future

[@the180degreerule3]

stop it.

[@thepowerofmusicCB]

Buttery LUTS on Sony really make this match easy.

[@arthurwoo]

Nice! Will have to check those out.

[@jonwaldman94]

Wow! Great video. Really neat seeing these 2 cameras side by side

[@arthurwoo]

Thanks Jon!

[@shae_sterling]

This is really cool. I love to see them with matching focal lengths. Using the phantom luts, then matched again in color correction.

[@arthurwoo]

Thanks! The Phantom LUTs are pretty comparable to the manual adjustment I did - I have zero doubts using them or Juan Melara's LUTs. I didn't think it'd be totally fair to the Phantom LUTs as there still needs to be a slight adjustment just based on how calibrated the ARRI sensor is in terms of the tint.

[@user-he5oh8ns1u]

The background music who is that?

[@DavidK-wg8wz]

I mean by this logic you can match the newest iphone footage with an alexa and say it looks similar due to the color it's not just the color match it's about the image density, simply due to the level of data alexas can capture vs pretty much any other cameras on the market these cameras can never capture the amount of data that an alexa can, it's just not designed to

[@juliustubbsDP]

A also great camera is the sony a7 siii. Amazing tools for most jobs.

[@jeremyyappy]

Thanks for making this Arthur!

[@arthurwoo]

Thanks for watching Jeremy!

[@medayedmt]

Thanks for the awesome vids!

[@arthurwoo]

Thanks for watching!

[@whosdanielhuang]

i luv this arthur

[@arthurwoo]

Thanks Daniel!

[@ft.60frames]

Arri 🔥

[@virgtrademark9719]

Awesome video. Keep it up

[@arthurwoo]

Thank you for watching!

[@matthewblakejohnston]

Very similar but still alot of magenta shift on the Sony it's their achilles heel and improved alot from the FS7. Personaly the DGO C300/c70 are the better match for a ARRI B or C cam

[@gwm-btdbattlesagar.ioandmo9988]

Phantom luts 🎉

[@elvisnotpresley]

🔥

[@xavierpierre1676]

the fx3 looked 10x better why would I want a green tint in my footage unless I was going back in time to shoot the matrix

[@arthurwoo]

@@xavierpierre1676 😂

[@24_f_p_s]

I've used the FX3 on high-end commercials and all my clients think its shot on Alexa.

[@arthurwoo]

I actually had a project where the Mini and FX3 were being used...and the FX3, due to its size, was able to be put in interesting spots and moved around quickly. The client ended up using 80% FX3 in the final cut lol

[@24_f_p_s]

@@arthurwoo It is incredible how far we've come, during y film school days we'd have to dish out $$ to shoot filmstock on Arri 435 and now this

[@MrWarwickJones]

I thought the video was about how to match the two cameras, but that was the ONLY thing you didn’t actually show. We didn’t see anything at all about your post-prod process to match the two cameras!

[@arthurwoo]

This is just a quick side-by-side comparison to show that it's possible and not a full tutorial for matching. With lighting, lenses, etc, the goal was to show there's not much variance between the two in terms of the image itself - with the exceptions noted like better codecs, post workflows, and other things like familiarity/name brand and crew workflows. There's a lot of good information available online for matching cameras though!

[@EthanTwu]

Phantom luts work great

[@MrWarwickJones]

@ so show us some scopes. Show us a waveform, vector scope, ANYthing.

[@UNITEDWEFALLthemovie]

Why not just get a Cannon EOS M, it’s 200.00 bucks and uses the same ProRes 4444

[@AcastroAX]

😂😂😂😂😂😂😂 just came to do that

[@2424rocket]

Sounds like you need to find a new post house… I can handle anything you can throw at me. From red footage to the Alexa footage. This is a post house and they don’t have a top-of-the-line computer that can handle anything? Sounds pathetic to me. Anytime you wanna send me your footage I’ll correct it and it doesn’t matter what the codec is.

[@arthurwoo]

Out of my control like 80-90% of the time! I mostly am hired as a freelance DP, so I don't handle other parts of the production. Thanks for the offer though! Maybe keep in touch on IG?

[@cbflazaro]

I'd argue that the mini looks quite green washed

[@arthurwoo]

Yes, it does skew green. The age of the sensor seems to affect this as well - some are more green than others. This was shot at 5600K for both cameras without any tint correction to compare how the two cameras look straight out of the box with a 709 transform. Ideally, when shooting w/ both cams on an actual project I'd use a color chip card for white balance so it's easier to correct later.

[@paulbvid]

Sony re housed a mirror A7S3 and fooled everyone

[@arthurwoo]

😂

[@RednWhiteWorld]

ABSOLUTLEY NOTHING COMPARE TO ARRIRAW