Other: The Sony ILME-FX6V Owners Club

I did a quite similar test as OnSet's one.
I took a 4k clip and generated a low res timeline in VGA format
Made some processing on this timeline (noise red, etc...) and checked what happens if I try to render a 4K output:
- From the VGA timeline, it was only possible to export in a VGA format
- After changing back the resolution of the timeline in 4K before export, it was possible to export a 4K video..... which was a little VGA clip inside a 4K black box lol :D. Moreover the generation was much longer than the same clip exported from a 4K timeline.

Conclusion: On Studio17, Hoping to save processing time by reducing the timeline resolution is a bad idea :)
 
Does anyone know why there is such a backlog for ordering an fx6? I know it's a popular camera and there was the fire at the Japanese factory, but the C70 came out around the same time as the fx6 and is readily available....
 
There is most likely a shortage of components to make as many of them as they would like as no camera should ever be this unavailable. (Same thing is happening with the Komodo.)

As far as we know, the C70 could be mostly "recycled hardware" in a different body and Canon has everything they need to build them.

But maybe Sony is missing 1 or 2 vital pieces to complete the system. Just speculation, IDK...but this isn't normal.
 
Perhaps customer demand has simply exceeded their forecasted sales, and now they can't ramp up production fast enough to catch up.
 
This new forum look, which is like a 2005 forum look, makes it such a horrible experience to use this forum now.
 
Ben Scott said:
This new forum look, which is like a 2005 forum look, makes it such a horrible experience to use this forum now.
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I was going to upvote that, but it seems you can't do that any more! I agree - the old theme was old fashioned, but worked really well. This one looks a little bit nicer but is much much harder to use.
 
Is this basically the place to discuss anything FX6 related?

New owner of the FX6 here. I have the stock 24-105mm lens and the Sony 70-200mm. I'd love to splurge on one prime. What do you think it should be?

I'm new to prime world. :)

I was thinking it'd be good to start with something that has auto-focus that doesn't require rails or a follow focus mechanism, at around 50mm.

There's such big price range between, say, the Sony FE 50mm 1.8 ($200) and the Sony FE 50mm 1.2 GM ($2000)

Here's a great article on the difference between the 1.2 GM and 1.4 Planar T* FE 50mm lenses: https://wolfcrow.com/sony-fe-50mm-f-1-2-gm-lens-for-video/
 
The 50mm you mentioned and the 35mm and 85mm below are all great choices.

The GM is not worth the money for video, IMO.

35mm - https://www.bhphotovideo.com/c/produ...8_fe_lens.html

85mm - https://www.bhphotovideo.com/c/produ..._1_8_lens.html

You can't go wrong with any of them and I'd go with the 50mm or 85mm to take advantage of that full-frame sensor and extreme shallow DOF.

You won't always need it, but when you do you'll get more shallow blur and bokeh from the 50 or 85 than the 35 (beautiful for interviews).
 
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I just got the 50 gm 1.2 and it's probably the best lens I've ever owned, depending on how you compare these things. Hyper-anal landscape photographer lloyd chambers calls it a lens that you buy a camera for.

The AF system is state of the art. Probably slaughters the other 50 options, which is part of the reason I got it. (It has 4 XD motors pushing and pulling both focusing groups from either side.)

The rendering is really nice, sort of voigtlanderesque around the edges of the frame. And gorgeous bokeh.

It probably takes a minor hit to sharpness at f/1.2 but it still has enough detail that I consider filtration on CUs. Really excellent contrast and sharpness wide open.

If you're not going to use it at f/1.2, it may not merit its price difference. But for selective focus/subject isolation on medium and wide shots, I'm happy to take every half-stop I can get.
 
S-Log : S-Gamut3.Cine vs S-Gamut3 : There seems to be a general "shoot in S-Gamut3.cine" but I don't know why. Is there any particular reason to shoot in one over the other Gamuts on the FX6 as I see that S-Gamut3.Cine has a smaller colour space (but that may not matter if the sensor can not see wider than this anyway). Enquiring minds want to know, especially as my main output is HDR10 / 2020 and I'm grading in Resolve that support both Gamuts in their Colour Managed workflow.

Gamuts-only.jpg
 
Because it is a colour space some may find more pleasing or appropriate for their work. Same reason most great images in a movie are probably 7-10stops in total dynamic range despite being able to technically capture more if you wanted.

As an aside I usually desaturate my image somewhat and then allow the colours I choose to pop so as to draw the eye where I want to draw it.

My standard monitoring LUT has slightly lifted blacks and slightly desaturated colours from the standard S709 lut.
 
jmone said:
S-Log : S-Gamut3.Cine vs S-Gamut3 : There seems to be a general "shoot in S-Gamut3.cine" but I don't know why. Is there any particular reason to shoot in one over the other Gamuts on the FX6
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Yes there is.. The short answer is because S-Gamut3.Cine / S-LOG3 was created by Sony so that their cameras could provide a very close match to Cineon Log and Arri LogC, and therefore, the same LUTs and grading techniques can be used in post. In the early days of S-LOG2 (superior to S-LOG3) people in post didn't know what to with it because it was different than other flavors of LOG that they were already working with. Some people don't want to learn new stuff or change their ways. So, Sony gave those people what they wanted so that Sony's camera's might be more welcome in certain circles.

So, if you don't care about being compatible with footage from other cameras, and if you are smart enough to know the difference between LUTs, then you use whichever one you want. I perfer to use S-LOG2 on the cameras that offer it, but if S-LOG3 is my only choice then I always use the .cine version just to be mainstream. There's really no advantage to NOT using the .cine version, so why not use it?
 
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jmone said:
S-Log : S-Gamut3.Cine vs S-Gamut3 : There seems to be a general "shoot in S-Gamut3.cine" but I don't know why. Is there any particular reason to shoot in one over the other Gamuts on the FX6 as I see that S-Gamut3.Cine has a smaller colour space (but that may not matter if the sensor can not see wider than this anyway). Enquiring minds want to know, especially as my main output is HDR10 / 2020 and I'm grading in Resolve that support both Gamuts in their Colour Managed workflow.
Click to expand...

The roots of go all the way back to wider color space (CFA dyes) exclusive to the F65 and F55. The F65 was S-log/Sgamut, along comes Cine-EI and the F55 with S-Log2/Sgamut. People were struggling to understand the new exposure tools and color managements with neither color space transforms nor luts to help them out, grading straight from log that put middle gray at 32%. Sony responded with an easier to manage S-Log3/Sgamut3 that put middle gray at 41% mimicking the cineon curve used by Alexa and followed with the Sgamut3.cine and the LC709A lut which stood colloquially for “low contrast 709 Alexa.”
 
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