Sony FX3 export settings
for a client review link.

Two recording decisions matter for the grade. Sony says Intra compression has better response and flexibility when editing, while Long GOP has better compression efficiency, and every S-I mode is 10-bit 4:2:2, so S-I is the cleanest master to cut and grade from when your card space allows it. XAVC HS is Sony’s HEVC option: in Sony’s words, higher image quality than XAVC S at the same data volume. The catch is frame rate. 4K 119.88p exists only in Long GOP, as XAVC HS or XAVC S at 280M 4:2:2 or 200M 4:2:0; there is no S-I row for it.

The FX3 can also send RAW over HDMI at 60p, 50p, 30p, 25p or 24p, but only to a RAW-compatible external recorder. Sony is explicit that RAW movies cannot be recorded on the camera’s own card, and that the gamma is locked to S-Log3 during RAW output. What the recorder writes is a question for the recorder, not the camera.

Supported camera originals and Vault playback use the compatible macOS app; they are not universally playable in web browsers. For the FX3 that sentence settles the question: the originals stay in your edit, and the client gets an export. The profile detail behind the browser column is on HEVC 10-bit 4:2:2 in the browser, and what 4:2:2 buys you over 4:2:0 is in the chroma subsampling answer.

If a colorist needs the originals, upload them as files: any file up to 5 TB, resumable, with no codec allowlist. Downloads of the original stay off until you switch them on for that video.

Grade before you export. The FX3’s Picture Profiles include S-Cinetone, S-Log2, S-Log3 and HLG, with PP8 set to S-Log3 and S-Gamut3.Cine. If you shot S-Log3, apply your grade or a transform to Rec.709 in the timeline; a browser shows the file exactly as encoded and will not add the look for you. If you shot in Cine EI or Cine EI Quick, the recording ISO was locked to base ISO 800 or 12800 whatever you monitored at, so settle exposure in the grade too.

If you want one number, 80 Mbps HEVC 10-bit covers 1080p through 4K. Calm frames such as interviews sit comfortably at 40 to 50; busy frames with rain, foliage, water, heavy grain or fast pans want 100 to 120, so give high-ISO night footage the upper end. Free export presets for DaVinci Resolve, Premiere Pro, Media Encoder and Compressor are on the NLE page. Shot on another Sony body? See the FX30 page and the a7S III page.

When the next cut is ready, replace the file: the link, views, settings, notes and approvals stay where they were. Each film plays from one file with no lower-quality rendition, so a slow connection buffers rather than dropping resolution. Codec, device and connection requirements still apply, and no device is promised identical colour or smooth playback.