Thread: Sony PXW-FX6

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    But Ted will decide when the switch to 8K is going to take place, which might dump a lot of cameras off that list.


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    Quote Originally Posted by J.Brown View Post
    Most don't care as it looks about the same regardless of which camera I use and in the end clients sure as hell don't care. Some weeks ago I mentioned I got a second FS7 and the producer just looked at me and asked me what an FS7 is. This fall I've worked with at least six different cameras. Put any camera in my hands and I'll make it work.
    Wow! I know producers can be quite clueless about the tech details... but that's shocking not even having heard of an FS7
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    Quote Originally Posted by ahalpert View Post
    The Netflix approval is based largely on a set of specs - 4K log or RAW capture at a minimum bitrate, necessary outputs, etc... it should be easy to predict which cameras will land on the list if you know the full set of requisite specs. It's not like Ted Sarandos is back there testing cameras and arbitrarily deciding what he likes
    Not sure if its true but read when they started out and advertised as a "4K " streaming service ..this being Merica, some lawyers told them they could be sued if they didn't shoot their own stuff in explicitly 4096 4K ie 17-9 .. (they allowed some % of lower Rez per program) and so even UDH 3840 was forbidden .. this "rule " really helped the Sony f55, which wasn't selling / renting that well as Arri dominated the top end , but then became pretty much the only "high end " camera ready to shoot 17-9 out of the can and the R5 16 bit raw on the back .. and so they got the best advertisement ever, shooting at least 3 or 4 of the "The Crown " series ..and a ton of other Netflix shows ..with Arri not invited to the party and seemingly not caring , till they were forced to do something about it as Netflix became a movie producer too..


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    Quote Originally Posted by Donny 123 View Post
    Not sure if its true but read when they started out and advertised as a "4K " streaming service ..this being Merica, some lawyers told them they could be sued if they didn't shoot their own stuff in explicitly 4096 4K ie 17-9 .. (they allowed some % of lower Rez per program) and so even UDH 3840 was forbidden .. this "rule " really helped the Sony f55, which wasn't selling / renting that well as Arri dominated the top end , but then became pretty much the only "high end " camera ready to shoot 17-9 out of the can and the R5 16 bit raw on the back .. and so they got the best advertisement ever, shooting at least 3 or 4 of the "The Crown " series ..and a ton of other Netflix shows ..with Arri not invited to the party and seemingly not caring , till they were forced to do something about it as Netflix became a movie producer too..
    It really helped RED along too.
    Helped Varicam get an edge onto a few shows as well.

    But then of course ARRI responded with their LF 4K cameras.

    And their brand new S35 4K sensor is coming next year.
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    Quote Originally Posted by IronFilm View Post
    It really helped RED along too.
    Helped Varicam get an edge onto a few shows as well.

    But then of course ARRI responded with their LF 4K cameras.

    And their brand new S35 4K sensor is coming next year.
    Yeah they held out for a while .. I think the rent only Arri 65 was first ,3 sensors stuck together ,then the LF .. 2 sensors stuck together and now the new s35 one on the way .. although they are right about the K thing .. they just had to join the K race ..


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    Regarding potential anamorphic mode in FX6 from a SONY rep.

    "...currently there is no plan to include an anamorphic mode into FX6. But I have noted your feedback, and we will collect and forward all feedbacks to headquarter for thinking over for future firmwares."

    Bummer.


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    Quote Originally Posted by Vik Kamenicky View Post
    Regarding potential anamorphic mode in FX6 from a SONY rep.

    "...currently there is no plan to include an anamorphic mode into FX6. But I have noted your feedback, and we will collect and forward all feedbacks to headquarter for thinking over for future firmwares."

    Bummer.
    You can shoot anamorphic on the fx9.. just need some external way to de squeeze the image for operating ..but maybe the fx6 sensor isn't high enough ..


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    Quote Originally Posted by Donny 123 View Post
    Y

    You can shoot anamorphic on the fx9.. just need some external way to de squeeze the image for operating ..but maybe the fx6 sensor isn't high enough ..
    Sensor has the potential to have a true 2x anamorphic mode, I think it's only Sony's conservatives views on it and a way to protect the Venice. I know that Alister posted a video about shooting 2x on the FX9, but he was croping the image.


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    ETA for the FX6 appears to be in the future. I'm on order but so far nothing in sight.


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    Well my little gal just arrived this afternoon, so I set to, trying to figure out a temporary rig (while I wait for a few FX6-specific parts to arrive).

    Supporting the PL-mount properly was the most important task, and I realised the unfortunate fact that the little lip at the base of the camera, prevents a regular 15mm LWS lens support from reaching the support foot on the lens adapter.

    This was a problem. So I tried about half a dozen so-so options before realising that I could pull a dusty old Manfrotto 501 plate/clamp out of the cupboard (I don't think it's being touched in 7-8 years), and use that brace the lens adapter, with the two top-holes on the camera body. The underside of the 501 clamp then became a base I could use to mount my top handle to. It's kludgy, but the PL-mount is rock-solid, so it should suffice until my Wooden Camera bracketry arrives.

    Another thing to keep an eye on is the media card door, which is quite painfully positioned if you're intending to mount a v-mount plate or other accessories out the back of the camera. I had to build myself a little offset plate (out of various parts), to mount the Teradek and battery plate far enough over to the righthand side of the camera, that the media could be easily accessed.

    Ultimately, I'd say my biggest concern (with the tiny size of the camera) has been born out - there's very little space to rig things cleanly, and things get cramped quickly. So it's going to take some pretty thoughtful rigging to get builds that don't slow shoot days down (due to fiddliness when trying to adjust things). 



    On the upside though, a fully kitted build out (EVF, Shogun 7, Teradek, Mattebox, and Follow Focus) is coming in at just a hair under 9kg. And I suspect a fully-wireless setup (Teradek, CForce Mini RF, and only one monitor or evf for the operator) might just crack under the 8kg mark all up. And it's pretty damned exciting to have a fully-featured rig that sits under double-digits for weight.

    

Looking forward to seeing how inventive people get with their rigging - I suspect this one's going to require a little more thought than most.















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