After initial confusion, it has now been confirmed by several sources that the currently presented Hollywood blockbuster "The Creator" was filmed with a Sony FX3. This is all the more astonishing because it is even an IMAX film and the FX3 is really supposed to have been the main camera.
This triggered heated discussions on the net because originally the ARRI ALEXA 65 was found in the IMDB Tech Specs. However, the ARRI Large Format camera has since been removed from the entry. And the Sony FX3 remained and is therefore the "official" main camera for "The Creator".
Further statements by cinematographer Greig Fraser are likely to have made Sony&s marketing department very happy: "It&s an amazing prosumer camera. I&m in the process of using it for a movie I&m shooting in Thailand. I&m about to shoot the entire movie with this camera. It&s so ridiculous that it&s so small. It has such a high ISO.... In a camera that is way too small."
A fun fact about this story is that Sony has been trying to challenge the ARRI Alexa for the professional cine throne with its Venice models for years - without ever having dared to take a run at the prestigious IMAX format. And now here we see an IMAX blockbuster shot entirely on a Sony FX3 - whose body costs only a fraction of an Alexa or Venice.
Small, compact and still IMAX-ready for 5,000 euros? Sony&s FX3
This proves what has been rumored at slashCAM for quite some time: The image quality of inexpensive large sensor cameras has now reached a level that hardly limits their use for large projects.
At the same time, image quality doesn&t even seem to have meant a compromise in exchange for compactness and light sensitivity. Golem talks about one of the best science fiction films of the year in its film review. "One you have to see on the big screen because the images are of such enormous power and beauty. In short: finally, another film that is worth going to the cinema for."
And that with a 5,000 euro camera that was praised also in our test for its impeccable technical values as well as its good low-light behavior. The latter was probably the decisive argument for the camera, which was used in this project more in the guerilla style.
At the end of the day, however, the anamorphic lenses used probably contributed much more to the desired extraordinary look than the camera body. Nevertheless, Sony should be fully satisfied with the PR success. After all, it also creates a broader awareness that an expensive camera no longer has to be THE decisive factor for a successful film.