Sony Cinema Line & FX6

NorBro said:
$6K for the body...there go a bunch of canceled C70 preorders. ha
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Spending only an extra $500 for the FX6 over the C70 seems like a total no-brainer to go for the Sony!

Unless a person:
1) loves loves love S35, and hates FF (fair enough, there are some like that)
2) is already locked into the RF lens mount (doubt it, there must be very few people like that? As it is such a new mount. Plus all the RF lenses are FF! Yet the C70 is S35)
 
Looks like a pretty cool camera with a lot of what makes the FX9 an interesting camera. BUT, I think FF only is to it's detriment. When I shot with the FX9 for a month, I jumped back and forth between FF and S35 mode often
to get the FOV I needed for a particlular shot. No EVF is to it's detriment too for a certain amount of users. Per usual, I see the audience for the C70, Komodo and this camera as actually pretty different with different needs and preferences.
If I was hot for the C70, I wouldn't give the FX6 a second look but I am heavily bought into Canon glass. The Komodo looks more interesting than I thought it would be but I would be reticent to buy a RED product simply because
it comes with a lot of baggage and who knows if RED will survive? The probably will but only if they get their act together.

Trying to use the Sony Catalyst for post stabilization seems like it has to be a picture compromise, although in 1080 it's probably useful?
FWIW, if you haven't used it, the Catalyst software in general isn't that great, would be much better if the Big 4 would just put the Sony post stabilization into their editing apps, using another
software to "prep", then export to import into your editing program is super convoluted. Same with the Canon XF Utility and the RAW Development tools, nothing wrong with them,
they're just tedious to use and I usually end up firing up FCP X to play with or look at clips rather than the clunky utilities.
 
Electronic ND is just a game changer for so many reasons, and that alone makes the F6 so much further ahead of the competition. I have it on my z190, and anything docu/sports is so much improved with it.

Electronic ND in narrative work:
+ Gimbal work, no need to adjust aperture which changes the depth of field, you can run from inside to outside with the same settings (when having auto ND on) in one shot. Hopefully, there will be ways to manually control the ND on a gimbal/LANC controller.
+ No physical variable ND that might distort colors/sky.
+ Smooth, smooth, smooth changes to compensate for changing scene brightness.
+ The whole idea that you no longer have to run and get your ND from a box, see it is dirty, clean it quickly and then the sun goes back into the clouds and you don't need the ND anyways is gone. It is basically such a massive time saver and hassle-free solution.

Yeah, for some work it might not matter much if the aperture is changed a bit or you wait 1-2 more mins for changing filters, etc. but for certain work/shots it is all about speed speed speed.
 
This is definitely the best value featured camera on the market right now. Full frame with great AF, SDI plus TC, electronic ND, 120p at 4k, two CFexpress card slots and raw output with no adaptors at 6k is hard to beat. It has few quarks such as there is no audio option on camera if you take the handle off and no crop option but nothing one can not work around. This is a great all around Cinema camera for corporate, commercial and cinema work.
 
Well I'm definitely interested in the FX6 now. Unlike a few other times with camera releases, I won't be putting my pre-order in right now though. COVID hit my business hard over the last 6 months (but work has started to fly in now, at last...long may it continue). I will wait until the camera is out in the wild and in the hands of people I know can produce good content. I'll then evaluate it then before I push the button on a purchase, probably in early 2021 if work continues to pick up again...Sure, a few annoyances (no audio without the handle on, no EVF, dodgy, low resolution on the LCD etc.) but the positives seem to heavily outway the negatives for what I use/need in what I specifically do.

Me thinks my PMW-FS5's days are numbered...and my PMW-300, it's already looking really, really worried! :grin:
 
andykwilkinson said:
Well I'm definitely interested in the FX6 now. Unlike a few other times with camera releases, I won't be putting my pre-order in right now though. COVID hit my business hard over the last 6 months (but work has started to fly in now, at last...long may it continue). I will wait until the camera is out in the wild and in the hands of people I know can produce good content. I'll then evaluate it then before I push the button on a purchase, probably in early 2021 if work continues to pick up again...Sure, a few annoyances (no audio without the handle on, no EVF, dodgy, low resolution on the LCD etc.) but the positives seem to heavily outway the negatives for what I use/need in what I specifically do.

Me thinks my PMW-FS5's days are numbered...and my PMW-300, it's already looking really, really worried! :grin:
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Pretty smart.

The nice thing about the Fx6, is if it does have the A7s3 sensor and colour science, you have a 1 - 2 punch with the Fx6 and A7s3. Cool little duo. And cheaper than Canon's C70 - C3003 combo. BM still takes the cake on cheap, with the BMPCC6K under USD$2K, I am about to buy two of those BM's and saw the front off and put my own PL mont on there, lol.

In this era of bare minimum profits, Sony may be doing the right thing, and offering the A7s3 and Fx6 combo to all the video freelance shooter-predators out there that can't afford $10k-$20K upgrades every two to four years. Canon missed a trick with the R5's time out overheating debacle, as they could have had a nice lower tier eco system in the C70 and R series cameras. But that has never been Canon's game.
 
I have always thought adding an EVF to anything but a stills camera is a big PITA for companies...especially in a current time when probably more people don't use VFs than do.

In 2012 many did not understand why more stills cameras were being created to shoot video, or why shoulder cameras were being made less and less...but things change and that's just what happens.

On my end, having a built-in viewfinder is probably the least important thing on a camera for me (and I don't mean not using one but having one built-in), and I'm sure many others feel the same way and that's data that these companies have and consider when building a camera.

It's no coincidence there are like 15+ cinema cameras without one (and I'm not just talking about the cheap ones).
 
James0b57 said:
Pretty smart.

The nice thing about the Fx6, is if it does have the A7s3 sensor and colour science, you have a 1 - 2 punch with the Fx6 and A7s3. Cool little duo. And cheaper than Canon's C70 - C3003 combo. BM still takes the cake on cheap, with the BMPCC6K under USD$2K, I am about to buy two of those BM's and saw the front off and put my own PL mont on there, lol.

In this era of bare minimum profits, Sony may be doing the right thing, and offering the A7s3 and Fx6 combo to all the video freelance shooter-predators out there that can't afford $10k-$20K upgrades every two to four years. Canon missed a trick with the R5's time out overheating debacle, as they could have had a nice lower tier eco system in the C70 and R series cameras. But that has never been Canon's game.
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Totally agree, and from a production day gear standpoint for the OMB folks, you have a matching pair (more or less), a camera that can be grabbed and used right out of the bag with little/no rigging for both indoors and outdoor shots, and then have the A7s3 on a gimbal. You will still have a super discreet tiny camera when you need to be subtle with your presence, a "proper" video camera when that's advantageous, and the entire combo is still relatively tiny and lightweight. Do most of your lower budget dual cam work with the built in audio on the 6, and separate sound for bigger budget stuff.

I've never used Sony cams for any of my professional work, so I'm a bit reluctant to dive in, especially because I have a mix of m43 and EF glass, with no native E-mount glass, but it is very tempting at the moment.

I did a multi cam doc gig this summer and used the BM4k cams for that. I love the image and the control vs filesize of Braw, but man I hate the requisite frankenrig that's involved in some situations. Grabbing the tripod and making and sudden position shifts always feels like your big toe or your nose or some other thing is gonna snag on some piece of loose gack. Small is great when you need it, but I do have a bit of camcorder/video cam envy when I see built in ND's, reasonable built in power solutions, etc. I've had multiple ND filters get bumped off when using the xume magnetic system. Can't go without it though for fast changes in doc work. That E-nd is REALLY tempting.

Lack of ibis is a bummer, but I guess between stabilized lenses, an accompanying A7s3 body, and the option for gyro-based post-production stabilization, I'm wondering if I could live with that.

With the low price of the p4k, I can always just keep one around for fun and for BRAW options while using the Sony pair for nearly all paid work.

So many choices these days.
 
One major question is about stabilized full frame lenses that have some character. I don't mean vintage character, just a bit of mojo like a lot of Canon L glass. The native E mount lenses all look pretty clinical to me, adapted primes and such will have no stabilization, and full frame lenses with IS will be huge for such a small cam (70-200 Canon, for example).

I'm trying to wrap my head around what my lens kit would include if I went this route? My sigma 18-35mm would be out the window since there is no s35 mode in 4k. My mid to longer primes would look pretty shaky with no ibis on such a small/lightweight cradle cam shape.
 
That's one of Sony's weaknesses with lenses...not many great FF IS choices.

But some third-party [clinical] options exist.
 
ozmorphasis said:
I'm trying to wrap my head around what my lens kit would include if I went this route? My sigma 18-35mm would be out the window since there is no s35 mode in 4k. My mid to longer primes would look pretty shaky with no ibis on such a small/lightweight cradle cam shape.
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I ask myself the same questions.
To replace the Sigma 18-35 (and my Sigma 17-50 IS), I am thinking of the stabilized Tamron / Sigma 24/70 2.8 (with mc-11).
To replace my Tokina 11-20, I am thinking of the Sigma 12-24 (with mc-11) or just the Samyang 14 E-mount
 
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