FS5: FX9 is it still viable - I’m looking to buy 🤔

morgan_moore said:
(without reading the whole thread)

Of course it is viable. For 90% of jobs (sticks handheld shoulder) it is an excellent camera delivering a very solid image and AF where needed.

What more does one want?

Viable? as a daily rate rental/billable item.. surely the FX6 ate that a bit.

Viable? as a modern production tool. Well the mass is a downer on a gimbal.

Personally Im all about low mass so Id take the FX6.. but that is for my uses.
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I guess I mean "viable" in adding the FX9 to the FX6 as an A cam - so running the 2X cams as a pair - like you mentioned - FX6 would be the gimbal cam and FX9 would be the main workhorse run'n'gun cam.

I had reservations about the FX9 when it first released around the same time as the C500 MKII etc but I used to own a Red Gemini and an FS7 II for the last 2-3 years and so I started to feel tempted by upgrading the FS7 to the FX9 when it was released.

So around 6 mths back -after evaluating what I actually need on jobs going forward as owner/op I decided to sell the FS7 and the Red to go either Canon or Sony for a 2x CAM setup and decided on the FX9 as I was used to the FS7 previously.

Then the FX6 was announced so i jumped on that first and now I'm looking to get either the FX9 or possibly go the other way on a FX3 as a 2nd cam but that is why I'm asking... is it viable to go for an FX9 anymore since the FX6 / FX3 have been released?

I see a nicer / sharper image on the FX9 and as mentioned it seems like a "thicker" image but it also seems like we've turned a corner already with the FX6 / FX3 released and maybe the FX9 needs an update already...??
 
If it has a thicker image (and that is appreciated) then it does and holds its position.

I would assume that a 6k sensor would deliver that.

Ultimately people buy cameras but do they know why?

I have an fs7 and feel..
.. it lacks autofocus
..it is too heavy for handheld gimbal
..maybe the file is a little thin

This means I have a very clear agenda when looking to replace it. For example I would not replace it with a kimodo because that AF is wonk (I think) - not that a kimodo is bad for other people.

If you dont mind the FX6 then having two will bear some fruit. Once thing about shooting a/b is that one can end up lost on set with two different cameras because you end up reshooting the bcam work on the better cam!

If you cant say 'I hate the FX6 because.." then get another one.

It is a luxury to have identical cameras - for example if one has a wide zoom you just grab it.. dont waste life putting the wide zoom on the better cam.
 
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morgan_moore said:
It is a luxury to have identical cameras - for example if one has a wide zoom you just grab it.. dont waste life putting the wide zoom on the better cam.
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That makes me laugh. I was on an outdoor shoot in January at Kennedy Space Center and there was a guy carrying two F55 cameras on straps over his shoulder and a tripod in one hand. One F55 had a telephoto and the other had a wide angle. He looked like an old-school still photographer with multiple bodies so he didn't have to change lenses. I know people who ***** about the weight of one F55 -- and he was carrying two. We spoke for awhile during a break and was he worn to a frazzle but felt he had no other option. I had kept my F55 at home and was using my Z750 with a 7.8x24x lens. More zoom range and far, far, easier to carry around. Gotta choose the right tool for the job.
 
Doug Jensen said:
That makes me laugh.
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Of course you look for the sqew example. Attempting to make me look dumb but actually exposing your own little solo op world :)

Many shoots there will be A and B cams with operators. Shooting double for many shots like interviews or drama dialogue. There will be other shots on the shotlist that are single camera. Non synch wides, introducer shots or more specialised sequences, macro and the like. At this point the crew morphs into a bigger single cam crew, with the B cam op carrying the camera that is not in use and swinging to the next lens or just being ready to hand the a cam op the other body/lens combo. Or the crew splits into two 'units'

Maybe the Bcam op is rigging the b cam to a car mount or a gimbal while the a cam op is shooting some single cam shots.. or the B cam op is doing some completely seperate 'second unit' views of the city when the multicam IVs are finished.

Deleting the 'is this shot important enough to require the A body?' conversation is a beautiful thing.

Of course you know the colours are going to be good too. Not to mention covering a fail. So to the FX6 owner with cash burning a hole in his pocket Id probably say.. 'get another one'
 
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morgan_moore said:
Of course you look for the sqew example. Attempting to make me look dumb but actually exposing your own little solo op world :)'
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That was not my intention. I'm sorry that you took it that way. Your comments just a reminded me of funny situation I observed, and I didn't mean to imply anything beyond that. I certainly understand the sense of having two identical cameras on multi-camera shoots. I agree with you 100%. I tell people that all the time whenever they ask me for advice on matching A to B ---- just use two of the same damn camera.
 
morgan_moore said:
Many shoots there will be A and B cams with operators. Shooting double for many shots like interviews or drama dialogue. There will be other shots on the shotlist that are single camera. Non synch wides, introducer shots or more specialised sequences, macro and the like. At this point the crew morphs into a bigger single cam crew, with the B cam op carrying the camera that is not in use and swinging to the next lens or just being ready to hand the a cam op the other body/lens combo. Or the crew splits into two 'units'

Maybe the Bcam op is rigging the b cam to a car mount or a gimbal while the a cam op is shooting some single cam shots.. or the B cam op is doing some completely seperate 'second unit' views of the city when the multicam IVs are finished.

Deleting the 'is this shot important enough to require the A body?' conversation is a beautiful thing.
Click to expand...

Makes me think back to shooting in film -- when all you needed to add a "B" or "C" camera was another body with the same lens mount. 'Borrow' a different lens length from the "A" kit and you had a perfect match!
 
morgan_moore said:
Deleting the 'is this shot important enough to require the A body?' conversation is a beautiful thing.
'
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This is true. But it could be a devil's bargain if it means never ever getting the extra detail available with the fx9. Personally, i have a high tolerance for matching cameras in post and i like to exploit the strengths of differentiated cameras which is why down in mirrorless land i plan to get an a7iv or a6xxx (if they get 10-bit 4k60) to accompany my a7siii so i can have 4k crop and higher magnification from my same fe lenses. (Planning to upgrade my fs7 to probably an fx6 when my clientele leaves behind fs7)
 
morgan_moore said:
If it has a thicker image (and that is appreciated) then it does and holds its position.

I would assume that a 6k sensor would deliver that.

Ultimately people buy cameras but do they know why?

I have an fs7 and feel..
.. it lacks autofocus
..it is too heavy for handheld gimbal
..maybe the file is a little thin

This means I have a very clear agenda when looking to replace it. For example I would not replace it with a kimodo because that AF is wonk (I think) - not that a kimodo is bad for other people.

If you dont mind the FX6 then having two will bear some fruit. Once thing about shooting a/b is that one can end up lost on set with two different cameras because you end up reshooting the bcam work on the better cam!

If you cant say 'I hate the FX6 because.." then get another one.

It is a luxury to have identical cameras - for example if one has a wide zoom you just grab it.. dont waste life putting the wide zoom on the better cam.
Click to expand...

I really like the FX9 but I hate weight for portability and I also love the weight for more stability so the thought of picking up a stripped down FX6 for some gimbal shots or using as 2nd angle in sticks etc is what appeals to me. I simply prefer it over an A7s3 or FX3 because of the ND mainly.
Also it does need to be the right gear for the right gig - so an event or maybe a construction shoot etc I’ll want to go small and light but for most stuff I’ll happily shoot on the FX9...
 
OnSet said:
Makes me think back to shooting in film -- when all you needed to add a "B" or "C" camera was another body with the same lens mount. 'Borrow' a different lens length from the "A" kit and you had a perfect match!
Click to expand...

Yep I was going to mention the opposite of this. Ive shot two cameras on one lens set and it was a pain. When properly shooting A+B it is often desirable to be on the same lens for cross shooting.

So Im voting a second fx6 and a second 70-200.
 
Well - I just pulled the trigger on the FX9!

Even though i feel like I'm going in a different direction to most people, who seemingly are selling their FX9's and going for the FX6 or that's what it feels like when i read the groups / forums etc

I still feel like I prefer the FX9 image and will relegate the FX6 to gimbal or when a smaller form factor is needed

I guess the viability doesn't matter anymore as I've already lost 20% by opening the box and powering it up so it will just have to be my workhorse for at least another year or 2 lol
 
I predict in 2 years we'll start to see posts talking about how great the FS7 is if you can find an old one because the picture was more filmic than anything they're selling now and that the internal ND's beat electronic ND by miles.
 
morgan_moore said:
Of course you look for the sqew example. Attempting to make me look dumb but actually exposing your own little solo op world :)

Many shoots there will be A and B cams with operators. Shooting double for many shots like interviews or drama dialogue. There will be other shots on the shotlist that are single camera. Non synch wides, introducer shots or more specialised sequences, macro and the like. At this point the crew morphs into a bigger single cam crew, with the B cam op carrying the camera that is not in use and swinging to the next lens or just being ready to hand the a cam op the other body/lens combo. Or the crew splits into two 'units'

Maybe the Bcam op is rigging the b cam to a car mount or a gimbal while the a cam op is shooting some single cam shots.. or the B cam op is doing some completely seperate 'second unit' views of the city when the multicam IVs are finished.

Deleting the 'is this shot important enough to require the A body?' conversation is a beautiful thing.

Of course you know the colours are going to be good too. Not to mention covering a fail. So to the FX6 owner with cash burning a hole in his pocket Id probably say.. 'get another one'
Click to expand...


I think you have totally misunderstood Dougs reply here .. he sometimes takes no prisoners thats for sure :) .. but not in this case ,it just reminded him of a situation rather than attacking your point ..
 
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