© 2026
The Ultimate Sony FX3 Kit for 2026: Accessories, Lenses and Gear
Everything in my current FX3 rig after a year of refining it. Cage, power, anamorphics, audio, filters, monitor and cables.
A full year of refining this setup across client work and content. This is what survived.
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If you own a Sony FX3 and want to push the kit further in 2026, this is everything in my current rig. A full year of refining it across client work, personal projects, and content, so what follows is what actually survived.
Cage, power, lenses, audio, filters, monitor, cables. Whether you are shooting corporate interviews, run and gun, or gimbal work, there is something in here worth stealing.
The cage: Kondor Blue modular
I ran a traditional all-around cage for years and switched to the Kondor Blue modular system. The reason is flexibility. A traditional cage locks you into one configuration. This one ships in separate pieces and you assemble what you actually need. On my FX3 I run just the bottom plate and one side plate, which keeps it light.
Fully modular, so you build the rig you need
Arca-Swiss style Ronin plate included, which suits a gimbal and tripod workflow
Bubble level built into the side plate for handheld
Works with XLR handles and DJI Mic hot shoe adapters
If you switch between gimbal and tripod as often as I do, the Arca-Swiss bottom plate is the whole argument. No tools, no fuss.
Power: SmallRig V-mount
The SmallRig V-mount plate plugs straight onto the Arca-Swiss bottom plate. It supports several mounting positions and can rotate the V-mount to face straight down, which matters when space is tight on a gimbal.
I run 99Wh batteries across the board. That is the sweet spot for travel because they clear airline carry-on rules. In the bag: a budget Newer 99Wh for solo shoots, the SmallRig 99 Pro as a solid mid-range, and the SmallRig Rugged 99Wh for outdoor and off-road work. Just used the Rugged in Utah.
One habit worth copying: keep the FX3's internal battery loaded alongside the V-mount. If the external dies mid-take the camera keeps rolling while you swap, and you do not lose the moment.
Lenses: SIRUI Astra anamorphic autofocus
Now that the FX6 is in the kit, the FX3 has become my B-camera and my content camera. Lens choice follows the job. Corporate interviews in the B-cam role get an 85mm or a 70 to 200mm depending on the room. Content gets the anamorphics.
The biggest addition this year has been the SIRUI Astra anamorphics, and what makes them stand out is full autofocus, which is still rare in anamorphic glass. They come in 50mm, 75mm, and 100mm.
T1.8, so low light holds up
1.33x squeeze, a true anamorphic look without extreme distortion
Iris lock, manual and autofocus switch, function button
Two flare options, blue or neutral
I went neutral flare. It mimics the quality of the light source rather than casting a constant blue, which reads more natural and less distracting in professional settings. I have been testing the 50mm and the 100mm and early results are strong.
Audio: XLR and wireless
For corporate interview work with the FX3 as B-cam I mount the Coma VP3 XLR mic. My A-cam runs a Sennheiser MK600, and the VP3 holds up better than it has any right to. In practice the two sound nearly identical. If you want a quality XLR mic for the FX3 without flagship money, it is hard to beat.
For anything run and gun I switch to the DJI Mic 2. The receiver plugs straight into the hot shoe with no cables, so I can hand a transmitter to a subject or clip a lav on them and have clean wireless audio immediately.
Whatever you mount, use a rubber shock mount spacer. A pack costs a few dollars and it cuts handling noise dramatically.
Filters: PolarPro and Kondor Blue
Exposure control is most of the job, and filters are how I manage it in the field. I run two systems depending on the shoot.
PolarPro Helix magnetic for moving fast. They snap on and off in seconds. I usually run a mist and a variable ND together, which gives full exposure control without fighting a matte box.
PolarPro Base Camp matte box for most FX3 work. It takes a mist, a VND, and a circular polarizer. The VND is the reason I reach for it: locking exposure while holding shutter angle is what keeps footage looking cinematic rather than video.
Kondor Blue matte box lives on the FX6. No VND slot, but it holds their Opalene filter, which has a look worth the trade. For the SIRUI Astra glass with a 67mm thread I use a 67 to 95mm step-up ring to hit standard matte box size.
Monitor: Atomos Ninja Ultra
It mostly lives on the FX6, but it moves to the FX3 when it is free. Worth it for judging exposure and pulling focus on a bigger screen, which matters most when you are shooting alone.
Cables, which nobody writes about
This is the most underrated part of any gear post. Bad cables cause interference, fail at the worst possible moment, and add bulk you do not need.
Every cable on my rig is Kondor Blue and every one is a right-angle variant, which keeps the rig compact and takes stress off the connectors. Right-angle HDMI to the Ninja, a right-angle XLR, which is the single most asked-about cable on my Instagram, and USB-C power for the monitor.
Do not cheap out here. A fifteen dollar cable that dies during a client shoot costs far more than it saved.
The full gear list
Camera and cage. Sony FX3. Kondor Blue modular FX3 cage.
Power. SmallRig V-mount battery plate. SmallRig 99Wh V-mount battery. Newer 99Wh, budget option.
Lenses. SIRUI Astra 1.33x anamorphic autofocus, in 50mm, 75mm and 100mm.
Audio. Coma VP3 XLR mic. DJI Mic 2 wireless. Rubber shock mount spacers.
Filters. PolarPro Base Camp matte box. PolarPro Helix magnetic system. Kondor Blue matte box. 67 to 95mm step-up ring.
Monitor and cables. Atomos Ninja Ultra. Kondor Blue right-angle HDMI, right-angle XLR, and USB-C power cables.
Final thoughts
The FX3 is still one of the most capable cameras you can build a professional kit around. Freelancer taking corporate work, creator building a personal brand, or enthusiast levelling up, the accessories are what decide how far it goes.
Moving to the Kondor Blue modular cage, the SIRUI Astra anamorphics, and a clean power system made my rig more versatile and more reliable than it has ever been. Good cables, good audio, and the right filters finish it.
A full RS5 gimbal review and an anamorphic interview setup breakdown are coming next.
Work with me
I'm Dom. I shoot and create content for brands, and I founded Nrth Media, a full-service video production studio in the Twin Cities. Two ways to work with me.
Hire me as a videographer and creator. Someone to shoot it, finish it, and hand back content ready for wherever it is going. Fifteen years behind a camera, FAA Part 107 certified for drone.
Hire the studio. If it needs a crew or more hands than one person has, that is Nrth Media.
Questions about any of this gear, or want a deeper dive on something? Get in touch.
WRITTEN BY DOM BORKA
Dom Borka is a videographer, creator, and photographer in Minneapolis. He has been shooting since 2011, was a featured producer on an Emmy-winning broadcast, and makes content for brands including Sony Alpha, DJI, and Kondor Blue. FAA Part 107 certified. When a job needs a crew, it goes to his studio, Nrth Media.
