Sony announces FX9 4K camcorder with 6K fullframe sensor
- Thread starter indiawilds
- Start date
If we're talking FF, then my guess is that Panasonic will release a FF Varicam before a FF EVA1 beastie.
I agree. The C500 MKII seems like much more of kind of camera I'd like to buy but the footage from the FX9 also looks excellent. $5K is quite a bit of cash for some so the base FX9 package could to be in a completely different market from the base C500 MKII.
I will be surprised if the FX9 is a failure and I actually expect it will be quite popular at the midrange of the market. I think this will especially be true if it really brings some of that Venice mojo to the game. It will be interesting to see what the market says about IQ differences between the FXP and FS7 this time next year. I think the FS7's position on best seller lists may be quite a bit lower in a few months.
Having said that I think the C500 MKII is looking better and better and seems like a safer bet.
NorBro
Major Contributor
Personally, I think the FX9 should have a price drop.
IMO, it would make a serious impact. If there's anyone in the camera world who knows this well it's Sony (from releasing the FS7 for a certain price in a time in which it could have easily been much more money).
With any and all of the positivity & negativity, how much does that change if we see a price tag of $7,999? Or $8,999?
IMO, it would make a serious impact. If there's anyone in the camera world who knows this well it's Sony (from releasing the FS7 for a certain price in a time in which it could have easily been much more money).
With any and all of the positivity & negativity, how much does that change if we see a price tag of $7,999? Or $8,999?
I seem to remember Mitch saying in an interview earlier this summer that Panasonic had no plans to replace or update the Varicam LT or EVA1 but he conspicuously didn't mention of their flagship Varicam 35. I actually was thinking an update for the Varicam might be announced at IBC but I guess Panasonic isn't ready to show us what's coming next.
They did make the Varicam Pure, but I'm pretty sure they can manage to make it 6K Full Frame and smaller while recording RAW internally while building on the tech that they do already have. I have a feeling that the Varicam 35's sales were disappointing, so maybe there isn't that much enthusiasm to spend money compete Arri, Sony, RED and Canon in the Full Frame space.
As I think and read... maybe I'm a little biased... but I think this camera was marketed squarely at me. Perhaps Sony's been monitoring through my Sony smart TV (it doesn't have a camera, but they know... somehow) and have seen me sobbing into my pelican cases late at night, wondering when, WHEN someone will come up with not just a good camera, but one which will work as part of a comprehensive system... almost like my soft & squishy AF100 and GH2 did in the days of yore. A system that will save me from the battered & scattered mess of FS5 and GH4 that I'm professionally outgrowing. A system with at least two cameras, a stills/hybrid camera and pro video camera, that use the same lenses, have closely matching color profiles, and won't have to constantly be babysat if an interview goes over 30 minutes. Now, if said cameras can also not be laughed off of a professional set or take hard selling to make it into a producer's box hire, that's another nice touch. If both cameras can maybe have internal stabilization and sure-as-balls eye AF, +20 Zenny Coins. If I can have one lens that acts as an ultrawide on BOTH cameras, that's the whipped cream on the tapioca pudding.
Now, here they are, the FX9 and A7RIV... a pro cinema camera that delivers exactly what my clients are expecting for less than the combined values of our three cars, and a hybrid camera extrordinaire with more megapickles than Mount Olive. Sony and Sigma have all the primes and zooms I'll need, with minimal overlap. I can probably finance an entire two-camera plus lens setup at 0% for less than a half day rate per month.
Yeah, FX9 doesn't shoot 6K or raw... A7R4 is only 8-bit... but I've had my FS5 that WILL shoot raw economically, and have used that capability ONCE in two years. My GH4 is even older and has only had a recorder hooked up to it for three serious shoots, rolling internal for many many more. I simply haven't needed some of the 'flashy' features these cameras have, but I sure could've used IBIS or eye tracking AF a time or two, and my audio guy would've sure appreciated the timecode sync while expertly monitoring my self-abuse over wobbly shots with blown focus.
I'm not typically an early adopter... but checkbook willing, early 2020 will see me producing completely unnecessary A7R4 20K timelapses of me plugging along with the v1.0 feature set of the FX9, with my son maybe shooting a BTS on the FS5 C-cam (I'd honestly be surprised if the half-busted GH4 lasts until Christmas).
FX9 might not have all the world's features, but it sure checks off the most important boxes in my search.
Now, here they are, the FX9 and A7RIV... a pro cinema camera that delivers exactly what my clients are expecting for less than the combined values of our three cars, and a hybrid camera extrordinaire with more megapickles than Mount Olive. Sony and Sigma have all the primes and zooms I'll need, with minimal overlap. I can probably finance an entire two-camera plus lens setup at 0% for less than a half day rate per month.
Yeah, FX9 doesn't shoot 6K or raw... A7R4 is only 8-bit... but I've had my FS5 that WILL shoot raw economically, and have used that capability ONCE in two years. My GH4 is even older and has only had a recorder hooked up to it for three serious shoots, rolling internal for many many more. I simply haven't needed some of the 'flashy' features these cameras have, but I sure could've used IBIS or eye tracking AF a time or two, and my audio guy would've sure appreciated the timecode sync while expertly monitoring my self-abuse over wobbly shots with blown focus.
I'm not typically an early adopter... but checkbook willing, early 2020 will see me producing completely unnecessary A7R4 20K timelapses of me plugging along with the v1.0 feature set of the FX9, with my son maybe shooting a BTS on the FS5 C-cam (I'd honestly be surprised if the half-busted GH4 lasts until Christmas).
FX9 might not have all the world's features, but it sure checks off the most important boxes in my search.
Bern Caughey
Veteran
Eric Coughlin
Veteran
That lens is breathing like it's having a heart attack. Perhaps if the AF speed is slowed down the focus transitions would feel smoother and thereby also make the "zoom" jumps as a result of breathing less noticeable. I typically don't notice or care about breathing much but here it makes the footage look sloppy.
Images look nice.
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NorBro
Major Contributor
They used the 50mm Planar f/1.4 for the opening...they are fortunate it wasn't worse (including the AF).
Most 6K is made to have the 4K deliverables. It's just that FX9 - inexplicably, unless you're a subscriber to the "jigsaw puzzle" theory - does it in camera. And it's quite possible it will have an Atomos 6K raw solution a la Z6 (4K) and S1H around the release anyway.
It's likely a different CFA. To me, FX9 has that warm Canon 1DC look rather than the technical Sony look of yore. And it's not a Log, it's baked in.
But it's too bad they didn't roll out the new cinema zooms to have the Euros to play with.
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Both cameras have pros & cons; skin tones look good so far on both. Sony has the edge in low light / low noise, Canon's looking slightly better so far on AF, color, and more filmic (partly due to noise perhaps; Sony footage can add grain in post). Would be open to using either camera as a rental. No interest in purchasing another giant camera that already looks dated in 2019. What happened to ergonomic elegant sexy industrial design? While still basic boxes, the Alexa Mini LF looks sexy and the Red Ranger VV has style (not my style, however kudos for doing art in the industrial design).
Everything can be controlled wirelessly now with just a smart phone/tablet (on the low end. Custom wireless solutions would still be better than all the hard connections). For things like TC and other elements that work best with a cable, use just a single cable and send everything through it and terminate with specialized-as-needed break out boxes (e.g. USB/Thunderbolt 3/C 20-40Gbps and if needed bundle multiple channels in one cable).
For image quality, not seeing anything from these cameras that the Fuji X-T3 can't keep up with (other than AF, which hopefully they'll fix some day). S1H needs work on color (+ no usable AF), however with some post work it can be decent with just as much detail (6K => 4K). A7 III also 6K => 4K with decent color (I can work with it).
For those arguing for a need for big cameras, why hasn't the A7S III been released? Perhaps Sony feels it will hurt FX9 sales, or wanted to release the FX9 first? The A7S III will likely have IBIS (and no eVND), no XLR or TC etc. so will Sony give it at least 10-bit 420 for X-T3 parity (or 10-bit 422 for S1H parity)?
EDIT: lol is the downvote re: bloated ugly camera designs or image quality comparisons vs. small cameras (which are superiorly more flexible tools for image acquisition)? Remember the beautiful IQ F65 was snubbed by Hollywood because the camera was giant, heavy, and ugly (per Luc Besson's DP (from Lucy): https://www.fdtimes.com/2014/07/24/luc-bessons-lucy-described-by-thierry-arbogast-afc/ ).
Everything can be controlled wirelessly now with just a smart phone/tablet (on the low end. Custom wireless solutions would still be better than all the hard connections). For things like TC and other elements that work best with a cable, use just a single cable and send everything through it and terminate with specialized-as-needed break out boxes (e.g. USB/Thunderbolt 3/C 20-40Gbps and if needed bundle multiple channels in one cable).
For image quality, not seeing anything from these cameras that the Fuji X-T3 can't keep up with (other than AF, which hopefully they'll fix some day). S1H needs work on color (+ no usable AF), however with some post work it can be decent with just as much detail (6K => 4K). A7 III also 6K => 4K with decent color (I can work with it).
For those arguing for a need for big cameras, why hasn't the A7S III been released? Perhaps Sony feels it will hurt FX9 sales, or wanted to release the FX9 first? The A7S III will likely have IBIS (and no eVND), no XLR or TC etc. so will Sony give it at least 10-bit 420 for X-T3 parity (or 10-bit 422 for S1H parity)?
EDIT: lol is the downvote re: bloated ugly camera designs or image quality comparisons vs. small cameras (which are superiorly more flexible tools for image acquisition)? Remember the beautiful IQ F65 was snubbed by Hollywood because the camera was giant, heavy, and ugly (per Luc Besson's DP (from Lucy): https://www.fdtimes.com/2014/07/24/luc-bessons-lucy-described-by-thierry-arbogast-afc/ ).
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Cartelorama (the parent brand of all cameras) sub-brand ping-ponging around the jigsaw. A7S III will get the PD-AF to start another mini-migration sales event. Canon has the good color and AF, but gives up detail/resolution. Fuji had good color, detail and AF briefly and when the mistake was realized, they promptly broke AF via firmware update to keep the jigsaw dynamics in balance lol.
puredrifting
Major Contributor
It's frustrating the hell out of me. It's really difficult to shoot sharp 4K on a gimbal and try to keep moving subjects in focus while you are moving with manual focus. Hope they get this fixed soon!
NorBro
Major Contributor
The really sad part (at least for me) is I have been waiting for a mirrorless camera with 4K/60p, great AF and LOG for 5 years.
It's perfectly uncanny how one is still not available, but there are at least 8 cameras that do 2 out of those 3 things really well.
It was timed to coincide with the A6600 release (which, btw, looks fantastic, even in 8-bit)