FX30 S-Log3 Settings: Exposing It and When to Use S-Cinetone

For the widest dynamic range on the FX3, Videomaker's review points to S-Log3 gamma with S-Gamut3.Cine, and Sony's Help Guides for both the FX3 and FX30 describe a Cine EI mode where you choose a low or high Base ISO to balance highlight and shadow latitude. Pick S-Cinetone instead when you want a cinematic look and pleasing skin tones with little grading, which is how reviewers describe using it for quick projects and YouTube vlogs.

I shoot on a Sony FX3, but this guide is research, not a field test. It is built from Sony's documentation and published reviews from PetaPixel, Videomaker, CineD, Newsshooter and Adorama's 42West. Where a source only covers the FX3, I say so, because the FX30 is a Super 35 camera and the FX3 is full-frame, so you should not assume every FX3 number carries over.

S-Log3 vs S-Cinetone: what each one is for

Both are chosen in the camera's picture profile settings. The FX3 offers eleven selectable picture profiles, including S-Gamut3 and S-Gamut3 Cinema color options.

S-Log3 is the setting reviewers tie to the camera's maximum dynamic range. Sony promises 15+ stops of dynamic range in S-Log3 on the FX3. In Videomaker's testing, the reviewers saw 14+ stops, with the 14th stop hard to see, and concluded the gap was not a big deal because those stops hold very little detail anyway.

S-Cinetone is picture profile PP11, and Sony originally developed it for its high-end VENICE cinema camera. CineD describes the goal as a cinematic look with film-like color and pleasing skin tones, and says it helped Sony move past the cool, bluish broadcast look its cameras were known for. PetaPixel adds that the S-Cinetone color matrix helps the FX3 match footage from the VENICE, FX6 and FX9.

Point	S-Log3	S-Cinetone
What it is	Log gamma, paired with S-Gamut3.Cine for the most dynamic range	Picture profile PP11, originally made for the VENICE
Dynamic range on the FX3	15+ stops claimed by Sony; 14+ seen by Videomaker	No figure given in the sources reviewed
How reviewers use it	Best setting for the most dynamic range	Go-to for quick projects and YouTube vlogs
Finishing	Plan to color grade every clip	CineD still made some color adjustments to its sample
Matching other Sony cameras	Not covered in the sources reviewed	Shares its color matrix with VENICE, FX6 and FX9

When S-Log3 is the right call

The 42West reviewer calls the dynamic range in S-Log2 and S-Log3 amazing. That range matters most when the scene is hard to hold in one exposure.

• A subject in shade with a bright sky or window behind them.
• Outdoor action where the light swings from sun to shadow as people move.
• Projects where you want to build a custom look in the edit rather than commit to one in camera.
• Work where you have time to grade every clip, and the computer to handle it.

When S-Cinetone is the better pick

The 42West reviewer says S-Cinetone has been a go-to for an easy cinematic look and calls it perfect for quick projects or a YouTube vlog. CineD shot its FX3 sample video in PP11 S-Cinetone at 4K/25p in XAVC S-I 4K, with some color adjustments added afterward. So S-Cinetone is not always zero-grade, but it starts much closer to a finished image.

If you post weekly content on a deadline, S-Cinetone is usually the smarter default, and you can save S-Log3 for the shoots where the light is working against you. For a deeper look at the profile, read Sony FX30 S-Cinetone Explained (and When to Use It).

How to expose S-Log3 with Cine EI and Base ISO

Cine EI mode works from a Base ISO. Sony's Help Guide for the FX3 says you can select from two Base ISO values, one with low sensitivity and one with high sensitivity, and that choosing the right one for the shooting environment lets you keep a balance in the latitude of highlights and shadows. The FX30 Help Guide uses the same wording.

On both cameras the menu path is MENU → (Exposure/Color) → [Exposure] → [Base ISO] → desired setting.

Start with the low Base ISO when you have plenty of light, and switch to the high Base ISO when the scene is dim. Make that choice once per lighting setup rather than changing it shot to shot, so your clips grade consistently.

On the FX3 specifically, PetaPixel reports sensitivity up to ISO 409,600, and the 42West reviewer was impressed with how the FX3 held up in low light for indoor content.

Judge exposure when the image looks flat

Log footage needs a plan for monitoring. At launch, PetaPixel reported that the FX3 did not support user-installable LUTs, waveforms or vectorscopes. Sony has since shipped free firmware updates with new features, available from its support site, so check what your current firmware offers before you build a workflow around those gaps.

The FX3 has no viewfinder, because Sony removed it to keep the top of the camera flat. Newsshooter found the LCD too small for full-time use and hard to use outside, and felt Sony expects you to add a monitor or EVF. The FX3 has a full-size HDMI Type-A port for that. One catch from Newsshooter: if you show camera info on an external monitor, the image is reduced substantially.

• Decide which highlights you must keep, such as skin, a jersey or a sky, and expose to protect them.
• Keep skin tones at a consistent brightness from shot to shot so the grade stays simple.
• Shoot a short test clip and grade it in your editor before the real shoot, so you learn how far you can push the file.

Shutter speed and frame rate

PetaPixel reported at launch that Sony does not let you set shutter speed as a shutter angle. Newsshooter explains the practical effect: at 24 fps you would normally use 1/48 of a second, but on the FX3 you set 1/50, and when you change frame rate you have to change the shutter speed by hand. Later firmware added true 24.00p in DCI 4K (4096 x 2160) through the XAVC S-I DCI 4K format, in FX3 version 3.00 and FX30 version 2.00.

ND filters: the part people skip

PetaPixel reports the FX3 body was too small to allow built-in neutral density filters, a tradeoff Sony made to keep the camera compact. Newsshooter notes this will not be a deal-breaker for shooters who already use variable or fixed-strength ND filters.

An ND filter is what makes log usable outdoors. Once your Base ISO is chosen and your shutter is tied to your frame rate, the only exposure controls left are aperture and light reduction. Without an ND in bright sun, you end up stopping the lens down further than you wanted or breaking your shutter rule.

One variable option is the K&F CONCEPT 82mm Side Lever Variable ND Lens Filter ND2-400. Buy the size that matches your lens's filter thread, or use step-up rings so one filter covers several lenses.

Recording settings that pair with S-Log3

The FX3 records up to 10-bit 4:2:2 internally, and can send up to 16-bit RAW to an external recorder. The 42West review lists up to 4K 120p and FHD 240p in 10-bit 4:2:2. For log you want the 10-bit options, since grading pulls the image hard.

Codec choice affects editing. The 42West reviewer explains that XAVC HS 4K is more compressed and harder for a computer to process, while XAVC S-I 4K makes larger files that are easier to edit. XAVC S-I is All-Intra, with a top bit rate of 600 Mbps in 4K.

Cards are simpler than they look. Videomaker says you only need CFexpress Type A for S&Q 10-bit 4:2:2 Intra 60p, where data rates reach 1200 Mbps, and that SD cards work fine otherwise.

If you want more than internal 10-bit, Videomaker notes the FX3 outputs RAW over HDMI to an Atomos Ninja V or Shogun 7, which record 12-bit ProRes RAW. For long takes, the FX3's fan has Auto, Minimum and Off modes, and Sony found continuous 4K 60p recording on external power reached about 13 hours.

FX3 vs FX30: what the research covers

Much of the published testing is on the FX3. Here is what the sources say about each body.

Feature	Sony FX3	Sony FX30
Sensor	10.2 MP backside-illuminated full-frame	Super 35
Cine EI Base ISO (low and high)	Yes	Yes
Claimed S-Log3 dynamic range	15+ stops	Not stated in the sources reviewed
True 24.00p DCI 4K	Firmware version 3.00	Firmware version 2.00
Anamorphic de-squeeze	1.3x and 2.0x	1.3x and 2.0x
Focus breathing compensation	Added in version 3.00	Not stated in the sources reviewed

If you are still deciding between them, Sony FX30: When a Cinema Camera Makes Sense for Creators and Is the Sony FX3 Worth It for Video in 2025? cover the bigger picture.

Rigging for log: cage and stabilization

PetaPixel reports Sony designed the FX3 to work without a third-party cage, with five 1/4-20 threads on the body and three on the supplied handle. CineD agreed that, depending on your needs, a cage might not even be necessary.

A cage earns its place once you add a monitor for judging log exposure, because the HDMI cable becomes the weak point. A clamp that holds the cable keeps a tug from stressing the port.

The FX3 has 5-axis in-body stabilization, and Active Mode adds digital stabilization for about a 10% crop, though PetaPixel reports it is not available at 120 fps and above. Videomaker adds that the in-body system works with lens optical stabilization, and Sony Catalyst can use metadata to stabilize further in post. For more on handheld work, read Sony FX30 Stabilization: Do You Need a Gimbal?

A starting checklist for your first S-Log3 shoot

1. Set S-Log3 gamma with S-Gamut3.Cine color.
2. Choose the low or high Base ISO for the light you have, under MENU → (Exposure/Color) → [Exposure] → [Base ISO].
3. Record 10-bit 4:2:2, and pick XAVC S-I if your computer struggles with compressed files.
4. Set shutter speed to match your frame rate, such as 1/50 at 24 fps, and reset it whenever you change frame rate.
5. Put an ND filter on before you go outside.
6. Judge exposure on a monitor you trust, and protect the highlights that matter.
7. Grade a test clip before the real shoot.

When the footage is on your computer, Sony FX30 Editing Workflow for Beginners (First Project Guide) walks through your first project, and Sony FX30 First-Time Setup for Video (Beginner Guide) covers the rest of the menu.