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    #16
    Originally posted by Matt Gottshalk View Post

    The prices on the secondary market are ridiculous.
    I wonder if the relative rarity hinders its renown/demand. I've never seen an fx6 requested, only an fx9. Do other people hear requests for the fx6 or is it just what you bring anyway?
    www.VideoAbe.com

    "In this world, Elwood, you must be oh so smart or oh so pleasant. Well, for years I was smart. I recommend pleasant." -Harvey

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      #17
      Originally posted by ahalpert View Post

      I wonder if the relative rarity hinders its renown/demand. I've never seen an fx6 requested, only an fx9. Do other people hear requests for the fx6 or is it just what you bring anyway?
      Of the last six requests I’ve had for specific cameras for shoots, two have been FX9/FX6, two FX6, one F5, and one C500ii.

      So (in Australia at least) it seems to be rapidly growing in popularity.
      DREAMSMITHS | SHOWREEL | INSTAGRAM
      www.dreamsmiths.com.au

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        #18
        Originally posted by Grug View Post

        I used to have this same gripe for years and years (wanting to always monitor the underlying log exposure), but in the last year or so I've just embraced monitoring the Rec709'd waveform, and now I'd recommend it to everyone.

        Firstly, it's much more common (so you don't have to do any mental flips moving between different waveform readouts on different camera/monitor setups, or dick around with turning LUTs on and off all the time). And secondly, it's actually significantly easier to read, since the waveform is stretched out significantly - which make determining your highlights, from your mid-tones, from your shadows quicker and easier.

        So it's worth giving in and embracing I reckon.
        I do embrace it often as it's part of how I use Cine EI anyway, I can expose both ways, but there are times where I simply need to do two conflicting things: send the LUT over SDI and monitor the Slog levels. Sure, can be solved by using monitors which have their own LUTs, with LUT boxes, etc, but it's simply not always an option. Also, not all LUTs that client might want to use are consistent with the Sony LUTs in terms of how they guide in exposure. I remember that even when it came to internal LUTs, Sony was discouraging people from using some of their very own internal FS7 LUTs for that purpose and were suggesting that only the plain Slog to Rec709 LUT was working consistently at all EI ranges. I don't want to have to have another layer of confusion and doubt in a situation where the client insists on using their favorite LUT which unfortunately creates all different monitoring issues, with crushed blacks, unintentional exposure offset, compressed highlights etc, etc.
        Last edited by broughtonfilm; 01-14-2022, 12:38 PM.

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          #19
          Originally posted by did View Post
          Thanks Sony !!!
          Good news !!!
          The last missing feature is the 3:2 sensor readout for anamorphic lenses
          Not the last feature (my FX6 won't let me order pizza through the menu for example) but would be really cool. I think at this point Netflix would approve it for anamorphic shooting too.

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            #20
            Originally posted by Cristian Mihai View Post
            After the F3 i will come back to Sony FX6. Only if i could find one to buy....
            I waited almost 3 mos after ordering mine from BH. During that period I saw it come back in stock 3 times at Adorama but I stuck at BH because of the Payboo savings.

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