FS5: Sony PXW-FX6

What do you think will be the best EVF solution for the Fx6, the Fx9 loupe?
Or The Zacuto Z-finder?
Or is there another EVF which doesn’t need batteries?
 
stevenblatter said:
What do you think will be the best EVF solution for the Fx6, the Fx9 loupe?
Or The Zacuto Z-finder?
Or is there another EVF which doesn’t need batteries?
Click to expand...

I’m also waiting for the Z-finder version, it isn’t the best solution but with an dedicated evf I will lose one port, which is a shame if would like to run multiple outputs.
 
Vik Kamenicky said:
I’m also waiting for the Z-finder version, it isn’t the best solution but with an dedicated evf I will lose one port, which is a shame if would like to run multiple outputs.
Click to expand...

if you need multiple outputs you may consider either of the following as they are "passive" broadcast quality splitters. So no external power required. With the latest LEN even being capable of up to 4K 12G. They are not self terminating outputs like the SDI outputs on the camera so if you have one mounted on the camera with an one or both ports unoccupied just have 75 Ohm terminators on the BNCs spigots. Nice simple way of giving yourself an extra clean SDI output. Iv'e used the Apantac on the FS7 on SDI #1 thus giving me two clean outs from #1 and leaving SDI #2 for menus up the whole time if desired.

https://www.markertek.com/product/a...x2-passive-triple-rate-distribution-amplifier

https://www.hdtvsupply.com/1x2-hd-sdi-splitter-pv991.html

http://www.studiokonzept.at/content/documents/thumbs/0000733_Datenblatt.pdf

https://www.markertek.com/product/ste-200-177/steren-200-177-75-ohm-bnc-plug-terminator

Apantac SDI 1x2.jpg LEN SDI 1 2.jpg
 
cyvideo said:
if you need multiple outputs you may consider either of the following as they are "passive" broadcast quality splitters. So no external power required. With the latest LEN even being capable of up to 4K 12G. They are not self terminating outputs like the SDI outputs on the camera so if you have one mounted on the camera with an one or both ports unoccupied just have 75 Ohm terminators on the BNCs spigots. Nice simple way of giving yourself an extra clean SDI output. Iv'e used the Apantac on the FS7 on SDI #1 thus giving me two clean outs from #1 and leaving SDI #2 for menus up the whole time if desired.

https://www.markertek.com/product/a...x2-passive-triple-rate-distribution-amplifier

https://www.hdtvsupply.com/1x2-hd-sdi-splitter-pv991.html

http://www.studiokonzept.at/content/documents/thumbs/0000733_Datenblatt.pdf

https://www.markertek.com/product/ste-200-177/steren-200-177-75-ohm-bnc-plug-terminator

View attachment 141399 View attachment 141400
Click to expand...


Cool, thanks!

For a "studio" setup I'm considering the Tilta Universal Battery plate, it has a lot of power ports and also a built in splitter.
 
J.Brown said:
You can also use a simple T-connector to get two outputs.
Click to expand...

This is true but there are some very serious signal quality issues you need to take into consideration if doing that. The only way you can split an SDI signal, without really horrible reflections and return loss, is with an impedance-specific splitter. Details of the do's and don'ts below. Take note of the 75Ohm terminators out to 2GHz. Been there done that and seen the problems a number of times on live OB's.

Chris Young

https://www.belden.com/blog/broadcast/splitting-digital-video
 
I just got a quote to order the Sony viewfinder loupe, it will cost 900 CHF which is around 1000$. That is a BIG investment for a plastic viewfinder!

I understand now why Sony is not offering it with the Fx6... but I just can't imagine filming for example in bright sun on a snowy mountain without a viewfinder.
 
That's just stupid expensive for the loupe. I guess the FS7 loupe fits the FX6 as the Zacuto Z-finder works for FS7 and FX9.
 
You might try the Hoodman loupe if it fits. Its cheap and I used to use it with my EX-1. Preferred it to the EX-3 loupe and it was very small.
 
stevenblatter said:
I just got a quote to order the Sony viewfinder loupe, it will cost 900 CHF which is around 1000$. That is a BIG investment for a plastic viewfinder!

I understand now why Sony is not offering it with the Fx6... but I just can't imagine filming for example in bright sun on a snowy mountain without a viewfinder.
Click to expand...

Give it a few months and I'm sure third parties will quickly start to offer cheap (and better!) alternatives.
 
IronFilm said:
Give it a few months and I'm sure third parties will quickly start to offer cheap (and better!) alternatives.
Click to expand...

FWIW, I have the Z-Finder for our C200 and it's been surprisingly good. I scored it used for a song and it's very usable, if not nearly as nice as a Kameleon or other EVF.
I don't shoot handheld very often though. I am sure the Z-Finder for the FX6, when it hits, will be usable and not a bad deal.
 
The Z-finder will be decent but, like the FS5 Z-finder it will weigh about the same as the camera. That's without the top handle or the battery but still! I'd be very surprised if the FS7 / FX9 loupe is heavier than the Zacuto and the FS7 / FX9 loupe is already too heavy.
 
I often use the EVF on the C200 and it is a thing I will miss on the FX6. Even indoors it's nice to use.
 
stevenblatter said:
I just got a quote to order the Sony viewfinder loupe, it will cost 900 CHF which is around 1000$. That is a BIG investment for a plastic viewfinder!

I understand now why Sony is not offering it with the Fx6... but I just can't imagine filming for example in bright sun on a snowy mountain without a viewfinder.
Click to expand...

If all else fails you could do worse than using an Alphatron EVF-035W Viewfinder. An oldie but far better than struggling in bright sunlight. Not 4K but pretty useable if you set your output to HD. Running the latest firmware, they have all you need in peaking, false color, zebras, pixel to pixel zoom etc, etc. They will also transcode from HDMI to SDI and vice-versa if required. Can be powered with onboard Sony NP-F type batteries or external plug-in power anywhere from 6.8 volts to 12 volts. I won't sell mine as in bright conditions it has got me out of jail/gaol a few times. I've used it with the A7s, X70s, and Z90s to make life easier and even as an extra output on an FS7.

Edit: They use Apple iPhone 4 screens so pretty readily available if you have a burnt screen. Alphatron also came out with a modified lens to minimize screen burns should you forget to use the old-style film camera viewfinder shutter.

Chris Young

One on eBay today for $425.00
https://www.ebay.com/itm/Alphatron-...3941?hash=item28a2f568a5:g:YGsAAOSwEvhfvYp g

https://www.manualslib.com/download/827740/Alphatron-Evf-035w-3g.html

 
Last edited:
cyvideo said:
Edit: They use Apple iPhone 4 screens so pretty readily available if you have a burnt screen. Alphatron also came out with a modified lens to minimize screen burns should you forget to use the old-style film camera viewfinder shutter.
Click to expand...

So I could buy a broken one and easily fix it myself?
 
IronFilm said:
So I could buy a broken one and easily fix it myself?
Click to expand...

Yes, indeed. The screen swap in/out is too not hard if you are reasonably steady with a small screwdriver. I have two spare new iPhone screens in the Alphatron box should I need them. Had them for a while now. They cost me A$105 each. They must be iPhone 4 Retina screens though. Check your friendly local phone jockey kiosk guy for used ones from old phones I guess if you can't get a new one.

Good grief! I just checked on eBay and you can buy NEW iPhone 4 screens for US$7.45. Obviously, the iPhone 4 series is no longer a hot item :)
https://www.ebay.com/itm/iPhone-4-4...490cea085:g:t1cAAOSwSqJfyckF&var=632376523152
 
The Z finder swings up , to jab the screen if needed .. but TBH is only for changing menu stuff.. there is no touch auto tracking on the fx6 or fx9 only the a7s3
 
I got my hands on a FX6 rental unit yesterday. And the camera's about what I expected it to be - simultaneously really exciting, and really frustrating in a few key areas.

The first thing you'll notice is the sheer speed of it all. The new processors are obviously a huge upgrade, as you can boot up and be recording in about three seconds. Literally in the time it takes your finger to move from the power switch to the record button, the camera's ready to record - which is amazing.

You'll also see the speed in the menus, which are super responsive, and have none of the lag of the older Sony cameras, so it's a much more precise and painless process to change settings (as you're not overshooting things all the time).

The sheer size of camera is a thing to behold. It's just crazy tiny, and so lightweight.

The lack of a locking lens mount is hugely frustrating though, and all the more painful for the fact that it seems to have come through the requests of overly vocal youtubers who were complaining about not being able to change lenses one handed. This will be a hugely frustrating decision for a lot of people - especially for anyone using lenses longer or heavier than the kit stills zooms, or electronic primes. It'll particularly jeopardise those of us interested in Sony's upcoming hybrid cine/af zooms, and anyone using cinema lenses.

Having two video outputs (one SDI, one HDMI) does give it a significant advantage over the other mini-cam contenders (the Red Komodo and C70).

There are eight assignable buttons, which is very handy, but of those seven/eight buttons, two are on the top handle, and two are on the side handle. So if you're wanting to strip the camera down into a more conventional "cine" build, you'll lose half of those buttons.

I don't record audio in-camera often at all, so having the scratch mic on the body is fantastic. But it's a real shame that there are zero audio inputs on the body (it makes swapping out the top-handle a no-go for any jobs that do require sound in-camera - which might require a lot of people to have two different builds for the camera that they'll have to swap between depending on the job).

The use of fractions to describe the density of internal ND of you're using is a literal nightmare, and isn't currently able to be changed to a more conventional Optical Density Value readout (0.6, 0.9, 1.2 etc.), or even a simple description of the level of ND (2.0 stops, 3.4 stops etc.). I really hope they fix this with firmware, it's a massive headache, and will require a printout stuck to the camera body for a lot of people in order to decipher the densities (if they're calling stops or lighting by meter).

LUTs are painless and work at all framerates, and (in Cine EI mode at least) don't interfere with the exposure displayed on your waveform, which is great (and precisely how they should work). The LUTs also scale seamlessly with your EI exposure, so you get a proper, corrected picture to monitor from (whether you're under or overexposing by choice). Sony get full marks for this. It's precisely how LUTs should be implemented, and it'll make everyone's life easier.

The menus though… the deep menus are Sony’s usual trash, but they’ve fortunately created a quick-menu system that lets you avoid having to use the deep menus… except it doesn’t, or at least not for a few important settings. So there’s no way to access to access your S&Q frame rates without diving into about three layers of menu. You can turn S&Q mode on and off at the touch of a button, but you can’t adjust it without a deep menu dive (incredibly frustrating) they really need to make the S&Q button give you immediate scroll-access to the frame rate itself. Similarly, the quick menu includes a media page, with detailed info on how much space you have left on each card - but it gives you no ability to format your cards from that dedicated quick-menu page.



Similarly on the main quick-menu page, you can see the base ISO mode you’re in (800 or 12,800) but you can’t access and change that mode from the page. So you can see all of the settings you want to get at, but you can only actually access and modify about half of them from that quick-menu.



It’s a massive cocktease and really frustrating. If Sony can simply activate adjustment for all of the settings that they show you in the quick-menu, the camera would almost instantly become an operational delight (as everything you need to get to, would only be a couple of button touches away).



In spite of the frustrations though, it’s a really appealing little camera - and the dual-base ISO offers some really exciting possibilities. So I’m mulling over putting in an order for one now. It’ll need some very specific accessories to be developed (particularly a PL-mount with proper bracing, sort of like what Wooden Camera developed for the FS5). But with a few rigging problems solved, I think it could be really nice.
 
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