FS7: NO Sony Fs7!!

JPNola

New member
Well, it’s happened. The window has started to close. It was a good run.

I had my first request for the FX9 along with the directive that the Fs7 is NO LONGER acceptable. It was Netflix, contacting me for EPK / BTS on a film.

So I guess I am going to have to pull the trigger on the FX9. The Netflix job will essentially pay for it. And I knew this day would come. But needless to say I am not thrilled about spending $16k in order to maintain clients. I figure around $16k when all is said and done. Shoulder plate, thingy to replace the poorly designed VF arm that Sony refuses to get right, camera case, rain cover, and at least one if not two Sony zooms in order to properly take advantage of AF.

The guy from Netflix was harsh in regard to my trusty fs7. “THAT camera is 6 years old now and I never want anything shot for me on that camera again. FX9, yes. FX6, okay, yes. I’d even consider Komodo but NO Fs7! It isn’t Netflix compliant. It isn’t true 4k. “

Seeing as he was open to the FX6, I ruminated on just getting an FX6. But I know I would not be happy with it. No VF, along with other sacrifices. I know I would end up just wishing I’d bought the FX9. I know I will get the FX9 eventually. So why bother with an intermediate step and not just go straight to the FX9? I am sure as heck not getting a Komodo or any RED camera. That’s an entirely different eco-system. Staying in the Sony family makes much more sense for me. I can still use the Fs7 as a b-cam on jobs where the client has not blacklisted it.

So, anyone got an FX9 they are looking to sell?

I went most of my career not owning a camera and now I am about to own 3 full-size cameras. Unbelievably my 2/3” Sony 400 keeps getting work, because I do News / Sportsnews. I have one major client demanding “true 4K” while another major client wants nothing over 720.

And FYI, the same client that wants the FX9 is hot on the FX3 as well, saying he is about to buy one for personal use and would like to move to using an FX3 where GoPro’s serve now. So, dear lord, I may be buying an FX3 soon as well.
 
Although this guy sounds a bit on the bombastic side :) ,he's doing you a favor .. you will love the fx9 , it a great camera to work with ,and your right dont get the fx6 , .. if you need to shoot on your shoulder , attach teradeks etc ,fx9 is the way better camera .. fx6 s35 mode is only HD too and one SDI only .. Vocus do good fx9 accessories .. for the EVF and VCT /shoulder rig.. and the much maligned 28-135 is a very decent workhorse lens when you get used to it .. and a very cheap price .. FF is great for interviews with a fast prime , AF, dual ISO and the variable ND ..there is no going back .. Im getting alot of requests for the fx9 now..
 
I've done two jobs as sound that rolled on an FX9. It was pretty nice...and I generally at best tolerate Sony.

So sorry for the expense, but it's a good choice IMO.
 
Thanks for the info! I hope the gig and your new camera work out. I feel like the FX9 is a better camera than the FX6... but it is irksome that the FX6 has better framerates and AF in slow mo. probably not a priority for you?
 
It all depends on the market/clients you serve. Funny enough, a few days ago my buddy in Chicago sent me the 2021 1st Qtr camera breakdown from one of the big crewing companies:
#1 Fs7 (31.23%)
#2 Fs7 mkII (11.59%)
#3 Fx9 (10.33%)

Five out of the top six cameras were all Sony. C300 mkII was #4 and F55 & F5 were #5 and #6, respectively. Which tells me that this speaks more to the budgets of the shoots than the capabilities of most of the cams.
 
I'm curious what kind of content you're shooting for a client that wants nothing over 720p?
 
It's sadly the way of things. If the viewfinder is the only thing pushing you towards the FX9 over the FX6 though. I'd get the smaller camera, and spend the (not inconsiderable) savings on the Zacuto loupe (or better yet, a proper EVF).
 
ABC/GMA/Disney was requesting 720 the last few times I shot for them.
Yeah same here. Last time I worked for ABC they wanted 720...TBH Netflix should worry more about their content (or lack thereof) than gear fetishism (not referring to your work JPNola which I've seen and is very good)...
 
I’m not “that guy”, but resolution isn’t everything. There is so much more that goes into making a camera/image look good than just raw resolution/number of pixels. Especially once we moved past SD. I still love the look of my VariCam that is “only” 720P. Even though the bulk of what I do is probably on my F55 and at least 1080P(some 4K, but HD still vastly outweighs UHD/4K).
 
I'm curious what kind of content you're shooting for a client that wants nothing over 720p?

ESPN News

I don’t know that it is the reason for wanting the lower resolution, but everything goes out over a TVU. There is no copying of files to give to the field producer or ship back to the mothership. Some content is live via the TVU, some is “live to tape” sent through the TVU, some is b-roll sent by TVU. They rent the TVU’s and ship one to shooters in advance of the shoot-day. After the shoot they either instruct me where to ship it next or tell me to just hold onto it.
 
It's sadly the way of things. If the viewfinder is the only thing pushing you towards the FX9 over the FX6 though. I'd get the smaller camera, and spend the (not inconsiderable) savings on the Zacuto loupe (or better yet, a proper EVF).

For broadcast gigs, an Fx9 will eventually win out.
 
For broadcast gigs, an Fx9 will eventually win out.

Yes, agree. I just learned that the FX6 does not do the tv specs.

But even when I get the FX9 I will still use my 2/3” camera for much of the “broadcast” or news work. They don’t care about depth of field /shallow focus for standups or b-roll. HD is fine with them, and a one-piece “news” camera with the Fujinon superwide is such a dream to operate. You’ll never be a better shooter than with that combo. I’m sad to know its days are numbered, its such a delight as an Op.

[ I edited a typo. I always want to do “its” as “it’s” when writing “its days” or “its purpose”. As you would with a possessive pronoun. ]
 
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HD is fine with them, and a one-piece “news” camera with the Fujinon superwide is such a dream to operate. You’ll never be a better shooter than with that combo. I’m sad to know its days are numbered, its such a delight as an Op.
Oh, I wouldn't say totally numbered just yet! Still the same down here. HD with TV specs and B4 lenses. Yesterday two FS7s with 22 x lenses and MTF B4 to S16 adapters hooked up to 2 LiveU 300s streamed back into the cloud. Lower-grades Rugby codes uplinked live and commentated live back in the studio and then streamed out live to the public watching "Stan Sport - The Home of Rugby". All directed live from the studio via our smartphones running "Unity" the intercom app for iPhone and Android. The production requires 50p hence the FS7s rather than workhorse PDW-800s. Keep forgetting just how nice it is to use a super slick infinitely controllable B4 servo parfocal 22 x F/1.8 lens (F/2.3 with the adapters.) And yes IMHO a nice 4.3 or 4.5 WA lens for PTCs and sideline makes your work so much easier and delivers a very watchable image. Good 2/3" glass pushing out 50p does look very good for sport and dance productions.

Chris Young
 
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