Hey! Stumbled upon this discussion and I have to say, making the jump from G-Masters to true cine glass on the FX3 is a total game-changer! I’ve been there, and honestly, the tactile feel of a geared focus ring is something you just can't go back from once you've tried it.

Before I give advice, I’m curious about one thing: what’s your typical workflow like? Are you mostly doing solo run-and-gun stuff, or do you have a focus puller or a dedicated rig helping you out? That makes a MASSIVE difference when choosing between a versatile zoom and the quirks of anamorphics.

The Sony FE PZ 28-135mm f/4 G OSS is a total beast for corporate work and events, but if you want that "classic character" you mentioned, it might feel a bit clinical for your taste. If you want something that really sings on that full-frame sensor without the headache of anamorphic monitoring, you should seriously look at these:

* NiSi Athena Prime 35mm T1.9 Full Frame Cine Lens: These are incredibly sharp but have this gorgeous, soft fall-off and almost no focus breathing. Seriously amazing build quality.
* Meike 50mm T2.1 Full Frame Cine Lens: A fantastic budget-friendly entry that feels much more "organic" than the G-Master primes.

Anyway, back to your question—if you’re leaning toward character, the Athena series is definitely my pick over the Sony zoom. Let me know about your rig setup! I'd love to help you narrow it down further.

Honestly, I learned the hard way that chasing the cheapest "cine" feel can really backfire. I initially blew my budget on a set of vintage glass, but the mechanical play was so bad I couldn't pull focus to save my life. For your FX3, I would suggest looking at the DZOFilm Vespis Prime 35mm T2.1 or the wider DZOFilm Pictor 20-55mm T2.8 Super 35 Lens—though keep in mind the Pictor is S35, so you'll lose that full-frame look unless you use the FX3's crop mode.

Here's what I recommend to avoid some major headaches:
- **Watch out for focus breathing:** Many budget cine lenses, especially some cheaper anamorphics, have terrible breathing that ruins the shot when you pull focus.
- **Weight distribution:** The FX3 is tiny; putting a massive lens like the Sony FE PZ 28-135mm f/4 G OSS on it makes it incredibly front-heavy without a cage and rails.

tbh, if you want that classic character without breaking the bank, the DZOFilm Vespid 35mm T2.1 is the sweet spot for weight and image quality. Good luck! 🎥

I went through this last year. Honestly, I initially prioritized the anamorphic look but quickly realized how MUCH can go wrong with heavy, front-heavy glass on the FX3's mount. I ended up sticking with the Sony FE PZ 28-135mm f/4 G OSS because the integrated support and reliable electronics saved my sensor from unnecessary stress. Quick tip: prioritize mount stability over "character" if you’re shooting solo—dropping a rig because of a loose lens isn't worth the aesthetic.

Hey! I totally get the itch to move past those G-Masters—the FX3 really shines with proper cine glass! Honestly, I've used both of your options and here's the tea. The Sony FE PZ 28-135mm f/4 G OSS is a total workhorse for events, but if you want "character," it feels a bit clinical, tbh. On the flip side, the Sirui Venus 35mm T2.9 1.6x Full-Frame Anamorphic is absolute magic for that cinematic streak, but it’s a workout to balance and focus pull solo.

In my experience, the sweet spot for the FX3 is actually the DZOFilm Catta Ace 35-80mm T2.9 Zoom. It’s way lighter than traditional cine zooms adn the image quality is gorgeous—super creamy bokeh but still sharp where it counts. If you want primes, definitely check out the DZOFilm Vespid Prime 50mm T2.1. It’s tiny, lightweight, and feels so much more tactile than a GM lens! Hope this helps!

Re: "Saw this thread earlier but just now getting..."

• Marvinslaks is totally right about the mount. Unfortunately, I tried some heavier cine zooms last year and they were just a nightmare to balance on the FX3 without a massive cage setup. Not as good as I expected for a handheld rig, honestly, especially if you want to keep things compact. If youre looking for that character without the back pain, check out the 7artisans 35mm T2.0 Spectrum Cine Lens. Its super compact and way more affordable than the big brands. Another solid DIY move is just getting a Tilta Seamless Focus Gear Ring for your current primes. It wont give you the long focus throw of a true cine lens, but it saves a ton of money and weight while letting you use a follow focus. TL;DR: Big cine glass is often overkill for the FX3 body. Stick to compact primes like 7artisans or just mod your current glass with gear rings for better ergonomics.

Saw this thread earlier but just now getting around to replying. Honestly, I’d be really careful about going too heavy on the FX3 without a full cage and rod support, especially with some of those chunkier cine zooms. Like someone mentioned, mount stability is a real thing you gotta worry about with this camera body. I would suggest looking at the Samyang XEEN CF 35mm T1.5 Pro Cine Lens vs the Irix Cine 30mm T1.5 Lens. The Samyang CF series is basically built for rigs like the FX3 because they are so much lighter than traditional cine glass. The Irix is built like an absolute tank and has better weather sealing, but it adds a lot of bulk you might not want. Tbh, if you’re shooting solo, the Samyang is the way to go just to save your back. Quick tip: make sure you use a lens support bracket on your 15mm rods. Even light cine lenses can put weird stress on the E-mount when you’re pulling focus fast, and you dont want to see that tiny bit of sensor shift in your footage. It is a total vibe killer.

Can confirm this works. Did the same thing on mine and its been solid ever since.