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    Originally posted by Doug Jensen View Post

    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.
    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.

    Comment


      Originally posted by drboffa View Post

      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.
      I tried downloading the firmware update on the SD card page and all I got was a line of code I'm assuming the driver is different on this page than the one for the computer updater?

      Comment


        Originally posted by scorsesefan View Post

        I tried downloading the firmware update on the SD card page and all I got was a line of code I'm assuming the driver is different on this page than the one for the computer updater?
        Try a different browser. For me, Firefox wouldn't work but Safari worked just fine.

        Comment


          Originally posted by broughtonfilm View Post

          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.
          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, Sony camcorder instructor
          HOW TO MAKE MONEY SHOOTING STOCK
          http://www.dougjensen.com/

          Comment


            Originally posted by Doug Jensen View Post
            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.
            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
            Last edited by alaskacameradude; 01-27-2022, 05:44 PM.

            Comment


              Originally posted by scorsesefan View Post

              I tried downloading the firmware update on the SD card page and all I got was a line of code I'm assuming the driver is different on this page than the one for the computer updater?
              I tried today, the server seemed to be busy.
              It worked the second time. It's the .DAT file
              https://www.sony.com/electronics/sup...tware/00259043

              The SD method is more secure. The Sony updater is tricky sometimes. I cannot make it work on Mac for the A7R4

              Comment


                Originally posted by Doug Jensen View Post
                I have a serious question, why is anyone using proxy clips in 2022? I'd really like to hear from someone who uses them.
                Haven't needed them in 2022 because I haven't dealt with a shoot with 9 cameras, not all using the same codec, continuously rolling for an event since 2021. And it's been even longer since I had to take a 5+ camera multicam performance (where cameras would roll continuously for a minimum of 60-75 minutes for each act) and then edit it on the airplane the next day. But those are some times that I've found proxies very useful in the past. And hoping conditions will make it right for these types of shoots to start again before too long.

                Comment


                  Originally posted by did View Post

                  I tried today, the server seemed to be busy.
                  It worked the second time. It's the .DAT file
                  https://www.sony.com/electronics/sup...tware/00259043

                  The SD method is more secure. The Sony updater is tricky sometimes. I cannot make it work on Mac for the A7R4
                  Thanks. I got it to work by using Safari rather than Firefox (thanks drboffa )

                  Comment


                    OnSet and Alaska, thanks for taking the time to reply, That is what I was looking for.
                    BTW, sometimes I think 90% of our job is just being good problem solvers.
                    Doug Jensen, Sony camcorder instructor
                    HOW TO MAKE MONEY SHOOTING STOCK
                    http://www.dougjensen.com/

                    Comment


                      Originally posted by Doug Jensen View Post
                      OnSet and Alaska, thanks for taking the time to reply, That is what I was looking for.
                      BTW, sometimes I think 90% of our job is just being good problem solvers.
                      100% Truth in my experience!!!

                      Comment


                        Originally posted by Doug Jensen View Post
                        OnSet and Alaska, thanks for taking the time to reply, That is what I was looking for.
                        BTW, sometimes I think 90% of our job is just being good problem solvers.
                        Yes, different people/productions have different needs. As I recall you were a big fan of having a 'delete last take' feature for the XD-Disc recorders -- which is something I've never once used. And one of my clients keeps all their cameras on 'clip continuous record' -- a feature I never thought I'd ever see used (and which makes it a PITA to find a section of a clip to play back from the camera) - but that's something they want for their post workflow.
                        But getting back to proxies -- they can also be really convenient when you've just shot a multicamera show and the director wants to immediately run to their hotel room and review the footage -- the fast transfers for the proxies can get them out the door in no time! And I'm certainly not letting them walk out the door with the camera cards...

                        Comment


                          Last Clip Delete is the best.

                          People say every camera should have NDs.

                          I say every camera should have LCD.

                          Comment


                            Originally posted by OnSet View Post
                            Yes, different people/productions have different needs. As I recall you were a big fan of having a 'delete last take' feature for the XD-Disc recorders .
                            You've got that right. My Z750 has Last Clip Delete and I use it all the time. I just tap an assign button on the handle, click the SET button, wait 1 second, hit the SET button again. Gone. I don't even have to look at the viewfinder or LCD while I do it. One of the most under appreciated features ever, especially for wildlife when nothing interesting happens, or when I lose focus in the middle of tracking a bird, or when the CEO keeps blowing his lines. Why keep the garbage?

                            They'll never put it on the FX6, though, for the same reason they stripped off almost all the paint menus.
                            Doug Jensen, Sony camcorder instructor
                            HOW TO MAKE MONEY SHOOTING STOCK
                            http://www.dougjensen.com/

                            Comment


                              Speaking of proxies, I have my Z750 setup so that I can press an assign button and only record a 9Mbps 1080p proxy file without the full-res file. It has come in handy a few times when I want to roll on something "just in case" something happens. For documentary or reality shooting it is a great feature to have. The quality of the proxies are very good -- as they should be, because the bit rate is about the same as Netflix streaming. And even better, proxies on the Z750 are stored on a dedicated SD card all of their own so it is super easy to pop it out and hand it over if anyone ever asks for it. Which they have not, so I just keep the same SD card in the camera all the time. I'll bet there must be 30 - 40 hours of footage on the card going back months. The only thing I wish the camera could do is record proxies while shooting with S&Q Motion.
                              Doug Jensen, Sony camcorder instructor
                              HOW TO MAKE MONEY SHOOTING STOCK
                              http://www.dougjensen.com/

                              Comment


                                After running the FX6 for over a year (Dec 2020), this is (FWIW) my take on what I like ... and would like:

                                Likes
                                • Electronic Variable ND & Dual Base ISO: What I great combination. I’m not sure I’d buy a camera without these features again. The flexibility to have constant exposure across such a wide range of lighting conditions is fantastic.
                                • Size, Weight, and Strong Lens Mount: I was worried if I could adapt to a FX6 style system from my prior camcorder formfactor (Canon XF). The great thing about the camcorders is their included super zooms, but I have found the 28-135 works for 95% of what I need. Swapping to a 16-35 for small rooms or the 100-400 (and 2x tele) is fine as the change in location gives plenty of time to change the lens as appropriate. I also have found no issue of using these lenses without support on the FX6.
                                • Battery Life: I find it excellent. I’ve never had an issue of running out of juice at a critical point and while I carry extra batteries, I rarely need to swap it during the day.
                                • 360 Degree Shutter @ 50fps: Also love this combination. As a PAL shooting, I get twice the temporal resolution from 25fp @ 180 degree but with the same amount of motion blur. The result looks great and halves the judder on pans and movement as there is twice the number of frames. For you NTSC types, give 59.94fps @ 360 and see what you think.
                                Wish List
                                • IBIS / Lens Selection: I know that Sony says they have not worked out (yet) on how to have both IBIS and eV-ND but it is something they need to think about as their recent lens announcements all seems to be lacking OSS. Even the ridiculously priced PZ C 16-35 does not have OSS. For me I’m after PZ OSS lens in the trinity and so far, there is just the 28-135. I’d also like to see a PZ version of the OSS 24-240 for a lightweight travel option.
                                • Use Clear Image Zoom to give a S35 Crop: Give an option to enable a “Set a Fixed Clear Image Zoom amount” in the menu. This way you could use a lens like the S35 PZ OSS 18-200mm F3.5-6.3 where the zoom rockers would still work.
                                • 3.5mm Mic Plug On Body: Just should have been from the start. An MI style adapter that fits on the top body connector (for the handle) would be a welcome option.
                                • MI Shoe: For some reason, there is something about the OS in the FX6 that is “different” to mirrorless for MI shoe compatibility. As an example, the Sony ECM-W2BT wireless audio receiver will only work in analogue mode and the FX6 will complain that it is “not compatible” in digital mode (and analogue is noisy).
                                • Mic Holder: Nasty floppy mess. Rather see some form of modular plate system where you attach 3rd party plates as well.
                                • Electronic Variable ND: I’d love it to start from 0 (or as close to 0 as possible) to get a much wider range of coverage. The initial is a big initial reduction.
                                • USB Recording Support: Plug a USB SSD into the FX6 for a recording option. Opens a whole set of recording media options that many other mfrs are already doing.
                                • Redesign the Touch Screen holder: I don’t find it too bad but, in some orientations, I do get the flop.

                                Comment

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