Other: The Sony ILME-FX6V Owners Club

drboffa said:
I would *really* appreciate it if the camera didn't turn Proxy recording off when switching in and out of S&Q mode; I know the camera won't do proxies in S&Q (which is fine), but it should at least revert to the user's choice (in my case, Proxies "on") when exiting S&Q mode.
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Agreed about S&Q mode which turns Proxy recording off then not back on.

Have you or anyone been successfully using proxy clips in Premiere? In what editing app has anyone used proxy clips from FX6 since the camera automatically tags clips with 'SO3' so proxy clips in a folder won't automatically link. Some projects have hundreds and thousands of clips and re-linking manually is not practical. And there's no way to re-label the proxy clips in the FX6. Thanks!
 
I have a serious question, why is anyone using proxy clips in 2022? I'd really like to hear from someone who uses them.

I think the proxy files on the FX6 are mostly intended to by pushed out of the camera automatically during shooting and sent back to a TV station for quick turnaround editing or even straight out to air for breaking news, etc.. Proxy files definitely look good enough for TV news. But the idea of using proxy files as stand-ins for full-blown post production seems outdated with the powerful computers and fast SSDs we have today that can cut the full-res 4K files like butter. So, why bother with proxies? I'd seriously like to know what I'm missing if someone can share their use of proxies.
 
Doug Jensen said:
I have a serious question, why is anyone using proxy clips in 2022? I'd really like to hear from someone who uses them.

I think the proxy files on the FX6 are mostly intended to by pushed out of the camera automatically during shooting and sent back to a TV station for quick turnaround editing or even straight out to air for breaking news, etc.. Proxy files definitely look good enough for TV news. But the idea of using proxy files as stand-ins for full-blown post production seems outdated with the powerful computers and fast SSDs we have today that can cut the full-res 4K files like butter. So, why bother with proxies? I'd seriously like to know what I'm missing if someone can share their use of proxies.
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I edit on a 2017 Imac 5K so I create proxy files for my a7siii (H265) footage but not for my FX6 as the those don't choke my system. But I proxy in post, never in camera...
 
It's only taken 13 months but have found way of adjusting playback from outside of menu: assigned volume to button 7 and joystick under it will adjust volume up and down.
 
Doug Jensen said:
I have a serious question, why is anyone using proxy clips in 2022? I'd really like to hear from someone who uses them.
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Proxy files are great for going straight from in-camera to phone for times when you want to share via social media sooner rather than later. But that's my only use case scenario.

That said, I'd agree with your assessment from your FX6 training video in that the proxies are pretty damn close to looking like "regular" files under casual viewing situations.
 
scorsesefan said:
I edit on a 2017 Imac 5K so I create proxy files for my a7siii (H265) footage but not for my FX6 as the those don't choke my system. But I proxy in post, never in camera...
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I don't have an FX6, but regarding proxies - I proxy in post as well for most things I edit. It means I can keep an arbitrary number of projects accessible on my laptop. I don't need to keep my drives connected, and I have those projects available when I'm out and about (or lying on the couch). It's probably smoother playback doing this for long-gop and H265 footage than on most systems. (Sony alpha cameras have 10-bit 4:2:2 long-gop and H265 codecs, so there isn't necessarily a visual downside from recording in smaller bitrates.) Certainly you can't get any faster editing experience than working with lower-res proxies on a Mac internal SSD. I reconnect the original footage at the finishing stage. But the bulk of my editing time is consumed by footage review, shot selection and reordering, etc. I could generate proxies in-camera but it's usually fast enough for my needs to do it in post, and FCP has an absolutely painless proxy workflow.
 
Doug Jensen said:
I have a serious question, why is anyone using proxy clips in 2022? I'd really like to hear from someone who uses them.

I think the proxy files on the FX6 are mostly intended to by pushed out of the camera automatically during shooting and sent back to a TV station for quick turnaround editing or even straight out to air for breaking news, etc.. Proxy files definitely look good enough for TV news. But the idea of using proxy files as stand-ins for full-blown post production seems outdated with the powerful computers and fast SSDs we have today that can cut the full-res 4K files like butter. So, why bother with proxies? I'd seriously like to know what I'm missing if someone can share their use of proxies.
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I don't see why someone would not want this Sony bug to be fixed.

The question about why anyone is using proxies in 2022 should be asked to producers and post who require it, not those who also ask themselves this question when faced with such requirement.
 
broughtonfilm said:
I don't see why someone would not want this Sony bug to be fixed.
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It's not a bug. It is the way the camera was designed.
BTW, it would take about 10 seconds to batch rename thousands of proxies in one step with Bridge so they matched the full res clips. Problem solved.
 
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scorsesefan said:
So you can update via computer or SD card?
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Yes. SD card is so easy I have no idea why anyone would bother with Sony's absurd PC/Mac process for updating.

Just did without any problems. So far the only disappointment is that cache record turns off dual-slot recording, which is my default recording mode in case a card fails.
 
Doug Jensen said:
It's not a bug. It is the way the camera was designed.
BTW, it would take about 10 seconds to batch rename thousands of clips in one step with Bridge. Problem solved.
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That's even worse than a bug if it was deliberately designed this way.

Obviously can be done in Bridge, sure. Obviously next to impossible to convince some productions to agree to this.

Also, some producers working remotely often ask to send a still frame of the shot for approval. This requirement tends to take more time than it should and is quite annoying. I use proxies with the Content Browser for that, this way I can have a good quality still frame on my iPad/iPhone ready for sharing quickly. I believe they are the only files camera will share wirelessly and even if sharing non proxy files was possible it definitely helps that the proxies are smaller. Being able to do it this way saves TONS of time.
 
drboffa said:
Yes. SD card is so easy I have no idea why anyone would bother with Sony's absurd PC/Mac process for updating.

Just did without any problems. So far the only disappointment is that cache record turns off dual-slot recording, which is my default recording mode in case a card fails.
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I tried downloading the firmware update on the SD card page and all I got was a line of code :cry: I'm assuming the driver is different on this page than the one for the computer updater?
 
broughtonfilm said:
That's even worse than a bug if it was deliberately designed this way.

Obviously can be done in Bridge, sure. Obviously next to impossible to convince some productions to agree to this.
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I didn't design the camera. I'm just suggesting an easy workaround that solves the problem with practically no effort. If you don't have the kind of clients that want your input and advice, that's your business.
 
Doug Jensen said:
I have a serious question, why is anyone using proxy clips in 2022? I'd really like to hear from someone who uses them.

I think the proxy files on the FX6 are mostly intended to by pushed out of the camera automatically during shooting and sent back to a TV station for quick turnaround editing or even straight out to air for breaking news, etc.. Proxy files definitely look good enough for TV news. But the idea of using proxy files as stand-ins for full-blown post production seems outdated with the powerful computers and fast SSDs we have today that can cut the full-res 4K files like butter. So, why bother with proxies? I'd seriously like to know what I'm missing if someone can share their use of proxies.
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OK, you asked for it so (technically it wasn't 2022 but)....

In 2020 I was hired as camera op on a comedy TV series. Because of local Covid protocols, the production company
decided to hire me instead of flying in crew who would have to quarantine and so on. However, that meant I
was literally the only crew (with one PA) on set. I would need to do lighting, audio, as well as serve as DIT,
along with doing all camera set ups, from car rigs, to handheld. The show was from the perspective of 'technology'
and most of the cameras in the show were supposed to be showing what was seen from a laptop camera or cell
phone camera, or security camera or similar, so that meant most of the camera setups (FX9) were 'lock down' shots
so that part was good. But there were a few handheld sequences. Anyways, the way it actually worked was, I would
set up a wireless transmitter from the camera back to my 'live' station. Originally my 'live' station was supposed to be
a LiveU but because the gear came from a Canadian production company, their SIM cards didn't work in Alaska and
I ended up 'Macgyvering' a live station. My laptop....with a external capture card, the wireless receiver from my camera
going into the capture card, my iPhone as a 'hotspot' also hooked up to the laptop, and a live video feed going to the DP
and Director back in LA and Montreal. Then we had another zoom call on an iPhone which was physically with the talent,
so the talent could be directed by the director (Let's try another take but this time you fall over) and I could be directed
by the DP (try moving the light a little to the left so we get more shadow on the right side of his face.) That sort of thing.
Anyways, I would record normal 4K 10 bit files on the FX9 but also proxies. At the end of a long shoot day, I would
still need to go home, dump the files from the FX9 to two hard drives (so as to back it up in two different places) and then
I upload the proxies to post (in LA.) They were cutting together episodes while we shot. At the end of two weeks of shooting,
I would Fed Ex a hard drive to them and keep one with me as a backup. They would then just drop in the real files for the
proxies and the episodes they edited were already done. The series was airing on CBC in Canada only, but it was recently
just released on YouTube for the US, so it can be seen in the US now. Here is episode one, the rest of them can be found
from clicking on this first episode and looking at the other videos they have uploaded:

https://www.youtube.com/watch?v=dza9m5BTxq4
 
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