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  • scorsesefan
    replied
    Originally posted by Doug Jensen View Post

    So, I have a followup to my post from a couple of weeks ago when I said I'd had no trouble shooting 4K XAVC-I @ 120 fps with the Sony TOUGH V60 card. I did have this card fail on me this week. I had been rolling for almost two minutes on a hawk circling overhead when an error message popped up to say that recording had halted. I let the camera run the Restore function and the clip is perfectly fine up to the point the camera stopped -- and all of the clips that came before it on the card are also fine. I continued to go ahead and use the card for other 120 fps clips with no difficulty. In the card's defense, that was after almost 2 full minutes of recording (unusual for slow-mo a clip), and the clip itself runs nearly 10 minutes long.

    So, not a big deal to me, but I thought I should circle back around to this thread and at least mention the failure.
    Thanks for the update, Doug. Just to be on the safe side I'm going to pick up some v90 cards. If my FX6 ever arrives....
    Last edited by scorsesefan; 10-23-2021, 11:15 AM.

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  • Joshua Milligan
    replied
    Has anyone been able to get the Rycote Lyre mic holder adaptor by jmone printed here in the US? I recently picked up a Sanken CS-M1 and want a better mic mount for it and feel like that could work well, but I'm not sure where or how to go about getting one made.

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  • Doug Jensen
    replied
    Originally posted by Doug Jensen View Post
    Not only are the V90 cards fast enough, almost all of my 120 fps footage is shot on V60 TOUGH cards. And I shoot a lot of 120 fps footage.
    https://www.bhphotovideo.com/c/produ...gh_uhs_ii.html
    So, I have a followup to my post from a couple of weeks ago when I said I'd had no trouble shooting 4K XAVC-I @ 120 fps with the Sony TOUGH V60 card. I did have this card fail on me this week. I had been rolling for almost two minutes on a hawk circling overhead when an error message popped up to say that recording had halted. I let the camera run the Restore function and the clip is perfectly fine up to the point the camera stopped -- and all of the clips that came before it on the card are also fine. I continued to go ahead and use the card for other 120 fps clips with no difficulty. In the card's defense, that was after almost 2 full minutes of recording (unusual for slow-mo a clip), and the clip itself runs nearly 10 minutes long.

    So, not a big deal to me, but I thought I should circle back around to this thread and at least mention the failure.

    Leave a comment:


  • Vik Kamenicky
    replied
    Hi guys, the other day I had a shoot with two FX6s for a explenatory mocumentary series for a grocery chain in my country. Must say... FX6 exceeded every expectation I had. Everything worked flawlessly... minor issues with AF but nothing dealbraker-ish. The added TC was awesome and the soundguys where pleased that for a lowbudget shoot we had a capable camera with industry standard connectors. The Dual ISOs are awesome... eND awesome... I'm sounding like a fanboy, but It is really hard to find a more capable, flexible and operator friendly camera. The only nitpicking is, that you need a proper top plate to rig everything. Mine FX6 has the woodencamera top plate a it is miles better than the Tilta offering on the second camera. Also a proper V-mount plate, I have the Tilta Universal Battery plate with 5 D-taps and two lemos + a sdi splitter, the second camera had the SmallRig V-mount plate and I must say... its horrible.

    Wireless systems were SWIT FLOW500 and Hollyland Cosmos 600. The Cosmos had couple of issues with dropouts and syncs... Really impressed with the Flow 500 for the money. So if you are looking for a relatively affordable wireless system, look at the FLOW500.

    Picture attached, me realising we are going to have a 15h shooting day... but it was nice to have a shoot with hassle less cameras.
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    This gallery has 1 photos.

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  • scorsesefan
    replied
    Originally posted by Andy9 View Post

    I've always rather liked that about shooting with an undercover video camera. More than once the weird, silent group shot has ended up in the final edit.
    Ha ha yes!

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  • Andy9
    replied
    Originally posted by scorsesefan View Post
    I was shooting the other day in a bar and the patrons kept holding their pose as if I was going to take their picture with my a7siii Just some of the reason why I love my a7siii and also have ordered an FX6.
    I've always rather liked that about shooting with an undercover video camera. More than once the weird, silent group shot has ended up in the final edit.

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  • scorsesefan
    replied
    I think the definition of a "cinema camera" varies greatly. Here is a quote from Chris Chomyn ASC: "I think there are common assumptions about what makes a camera a cinema camera. For some, a cinema camera must have a minimum resolution and minimum data rate. Some expect a certain color gamut. Some consider a cinema camera to have a specific form or shape. Some require specific functionality. Some require manual controls. But cameras are tools, and not every tool is a screwdriver or a hammer. Necessity is indeed the mother of invention and tools are designed to serve a purpose for which pre-existing options were inadequate."

    https://nofilmschool.com/what-defines-a-cinema-camera

    I think of my a7siii as a Honda with a Ferrari engine. It's every bit the cinema camera INSIDE which is what I love about it when I'm a). Trying to be inconspicuous and b). Packing light (my shoots often take me on public transit). I do not, however, like the mirrorless form factor -- its lack of NDs, XLRs and not being able to re-position the LCD. And then there's the perception problem. I was shooting the other day in a bar and the patrons kept holding their pose as if I was going to take their picture with my a7siii Just some of the reason why I love my a7siii and also have ordered an FX6.

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  • ahalpert
    replied
    Originally posted by Doug Jensen View Post

    I think you need to take a closer look.
    I was speaking about the purpose for which I use the a7siii/fx3. I don't need xlr inputs, I don't need SDI or timecode, etc, etc... But eND would be great

    There are numerous differences between the FX3 or A7SIII and the FX6. I'm just saying that I wouldn't be making use of many of them for my gimbal shooting anyway. But I like having the more compact body, the IBIS, the subject touch tracking (or whatever it's called)

    For lots of other shooting - interviews, ENG, etc - those ENG-type features are much more useful to me and I don't typically use the a7siii/fx3 as an A camera for those applications

    BTW, the FX6 is really an ENG camera. And many of the features it has by which we deem it a "Cinema" camera are ENG features. Just sayin... (Not ENG like small sensor, huge zoom. But - historically, having internal ND and XLR inputs is not a prerequisite for a Cinema camera.)

    But this is why the codecs/processing on the A7SIII and mirrorless cameras of its generation are such a significant development. People were using pixel-binned slow-readout 8-bit 4:2:0 on previous generations for their B/gimbal-camera because of the form factor advantages. But now we can have full readout, fast-readout, 10-bit 4:2:2 4K 120fps internal with bitrates that match the FX6/FX9. So, the qualitative differences of the footage have really diminished. You still have weird limitations like not being able to completely turn off sharpening and NR in-camera. Which I find irksome. But for the applications that I use these cameras, it's a non-issue.

    Also, don't you own an S1H? Obviously there are differences in processing and design/operation between the S1H and A7S, but I regard them identically in terms of form/function.
    Last edited by ahalpert; 10-08-2021, 08:27 PM.

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  • ahalpert
    replied
    Originally posted by Doug Jensen View Post

    Hmm, someone seems to have gotten their panties in a twist because of which cameras I personally take an interest in. I never said anything about the capabilities of the FX3 or any other camera or the people who use them. You are reading things that I never wrote. You seem to have taken something I said as a personal insult, when nothing of the kind was intended. There are a million products I have no interest in, the FX3 and A7 series cameras are just a few of them. Use whatever you want. Makes no difference to me, but I think I have the right to voice an opinion whether you agree or not.
    Yes, panties in a twist... I can't imagine why you ever rub some people the wrong way...

    You said "why fart around with" the a7siii or fx3. I told you why.

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  • Doug Jensen
    replied
    Originally posted by jmone View Post
    He means, that The only thing the "FX3" is missing from the FX6 is ND
    Yes, I know that. And I am saying he needs to take a closer look at the two cameras because, I don't know squat about the FX3, but I know there are more differences than just ND.

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  • jmone
    replied
    ...but that is not quite accurate as the FX3 runs the same SW platform as the A7SIII not the SW platform from the FX6.

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  • jmone
    replied
    He means, that The only thing the "FX3" is missing from the FX6 is ND

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  • Doug Jensen
    replied
    Originally posted by ahalpert View Post
    IThe only thing it's missing from the FX6 is ND,
    I think you need to take a closer look.

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  • Doug Jensen
    replied
    Originally posted by ahalpert View Post
    I couldn't care less what Sony or anyone else calls a cinema camera. I was just applying the standard you endorsed. I doubt that most bigtime DPs would deem the FX6 fit for their production either, although the a7sii was used to shoot a major motion picture, so anything is possible.

    The fact is that the a7siii and particularly the fx3 are better fit for the purposes I use them for - single-grip gimbal shooting. There's no farting around because there are no workarounds necessary. The only thing it's missing from the FX6 is ND, but there are numerous aspects in which they're preferable to the FX6 for this application. And when I have different needs/wants, I use my FS7.

    You may have no use for the a7siii or fx3, but other people do. And their codecs exist, simple as that.

    And just in general, I've known so many owner/ops who had a c300/5d or fs7/a7s combo for A cam/B cam.
    Hmm, someone seems to have gotten their panties in a twist because of which cameras I personally take an interest in. I never said anything about the capabilities of the FX3 or any other camera or the people who use them. You are reading things that I never wrote. You seem to have taken something I said as a personal insult, when nothing of the kind was intended. There are a million products I have no interest in, the FX3 and A7 series cameras are just a few of them. Use whatever you want. Makes no difference to me, but I think I have the right to voice an opinion whether you agree or not.

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  • jmone
    replied
    Originally posted by ahalpert View Post
    I thought the max data rate is 1.2Gbps for 4K 120fps All-I S&Q?
    That about right. I did some S&Q at 120 and while the resultant file reports it's info in the same 500Mbps range it writes it out at twice that..... so you need a card that will support sequential writes of 150MBytes+ sec.

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