FS5: Sony PXW-FX6

James0b57 said:
That's fair, within the world of cameras, this is a video camera first, and only a "cine" camera by branding and a few patch on colour profiles. It should have IBIS.

This is a camera that looks like it is meant to be either handheld or on affordable sticks with a long lens, and IBIS will be crucial for both. Not like people buying this camera are going to invest $10K in sticks and head.

Leave the hard mounting to cars to some other camera.


EDIT: just read the specs, looks like there is no IBIS. Will have to buy the A7s3 for all those shaky handheld overhead angles.
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That was exactly my thinking. Lets face it, folks buying this camera are not going to be producing major release movies. "Cine" as a term is overused and kind of limiting in a way. So many areas of the visual world have shrinking budgets hence the rise of OMB. Calling this camera cine forces them to not have IBIS. Same with Canon. Like other features, unless you have some ultra vibration concerns, just turn it off if you do not want it for your purpose.
 
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Some of the more produced looking footage so far:
https://www.youtube.com/watch?v=ODsk75XpEKA


Looking like it is meaningfully bigger than the Komodo. Which for video pros is a good thing. the Komodo is tiny for normal video work, (while the Komodo is also a touch large for some types of action cam work)
 
Bassman2003 said:
That was exactly my thinking. Lets face it, folks buying this camera are not going to be producing major release movies. "Cine" are a term is overused and kind of limiting in a way. So many areas of the visual world have shrinking budgets hence the rise of OMB. Calling this camera cine forces them to not have IBIS. Same with Canon. Like other features, unless you have some ultra vibration concerns, just turn it off if you do not want it for your purpose.
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100% agree with you there
 
James0b57 said:
Some of the more produced looking footage so far:
https://www.youtube.com/watch?v=ODsk75XpEKA


Looking like it is meaningfully bigger than the Komodo. Which for video pros is a good thing. the Komodo is tiny for normal video work, (while the Komodo is also a touch large for some types of action cam work)
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Just finished watching this video. It was good to get his perspective as he is an FX9 user. Will watch more of the numerous videos posted today, hopeful to see some good tests, and get my hands on some footage, but I think I'm just about all in on the Sony FX6.
 
Teddy_Dem said:
Just finished watching this video. It was good to get his perspective as he is an FX9 user. Will watch more of the numerous videos posted today, hopeful to see some good tests, and get my hands on some footage, but I think I'm just about all in on the Sony FX6.
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I'd say for most people, the ability to get the 1080 240fps without a crop is HUGE. Cropping for slomo forces so much rethinking, especially in a collaborative space.


I'm still liking the Venice, Reds, and Arri's for "cinema", but for 95% of everything else, this camera is doing everything I need. And may even be better for some types of films and music videos. That 12,800 iso from the A7s3 is insane, combined with internal variable ND.... damn.
 
James0b57 said:
I'd say for most people, the ability to get the 1080 240fps without a crop is HUGE. Cropping for slomo forces so much rethinking, especially in a collaborative space.


I'm still liking the Venice, Reds, and Arri's for "cinema", but for 95% of everything else, this camera is doing everything I need. And may even be better for some types of films and music videos. That 12,800 iso from the A7s3 is insane, combined with internal variable ND.... damn.
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Yup, exactly. The AF and internal variable ND, are what push me to the Sony cameras. Waiting for tests, but I'm assuming the better cooling system in the FX6 should make the 12,800 ISO look somewhat better than it does in the A7S3. I guess it's time for me to continuously bombard Sony with requests for X-OCN to make it's way to all the cameras in Sony's Cinema Line.
 
Teddy_Dem said:
I guess it's time for me to continuously bombard Sony with requests for X-OCN to make it's way to all the cameras in Sony's Cinema Line.
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I think this is what all CineAlta camera should have, otherwise, no badge. haha.

The Fx6 seems a hybrid, in that it is straddling the Fs5 and Venice worlds. Neither being purpose built for more video and broadcast types, and not going full blown "Sony Cinealta" either. That said, it is also taking the best from all things Sony. Funny camera, and exciting possibilities.
 
James0b57 said:
I think this is what all CineAlta camera should have, otherwise, no badge. haha.

The Fx6 seems a hybrid, in that it is straddling the Fs5 and Venice worlds. Neither being purpose built for more video and broadcast types, and not going full blown "Sony Cinealta" either. That said, it is also taking the best from all things Sony. Funny camera, and exciting possibilities.
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I agree. I'm assuming internal X-OCN is not happening due to RED patents as even the Venice needs an attachment (the AXS-R7). However the attachment for the Venice is well designed to match the body and performs like a well thought-out an unified solution. If an attachment for X-OCN was not ridiculously bulky and did not cost about as much as the camera, I think users of the FX9 and FX6 would be all over it. Maybe one day Sony will stop depending on a smaller third-party company to supply RAW video for their cameras. X-OCN has been around since 2016 and is basically out of reach for 95% of Sony camera users.
 
Teddy_Dem said:
I agree. I'm assuming internal X-OCN is not happening due to RED patents as even the Venice needs an attachment (the AXS-R7). However the attachment for the Venice is well designed to match the body and performs like a well thought-out an unified solution. If an attachment for X-OCN was not ridiculously bulky and did not cost about as much as the camera, I think users of the FX9 and FX6 would be all over it. Maybe one day Sony will stop depending on a smaller third-party company to supply RAW video for their cameras. X-OCN has been around since 2016 and is basically out of reach for 95% of Sony camera users.
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They really want us all to adopt ProRes Raw (which is just a round about way of paying RED too.)

Well, the Fx6 is still a beast of a camera. definitely the first camera, despite all of these amazing releases, to make me really rethink everything.
 
I like the FX6 and feel it will be a popular camera for a lot of shooters. For me, I'm still likely to go the FX9 route, however. I don't want to lose Super35 4K, all four audio dials being on the body, the shoulder mount, or the locking E-mount. Those are all really important features for my work.

I do believe that Sony should throw the FX9 a bone though. It is definitely still a different camera that offers things the FX6 does not, but one could easily argue that the FX6 at almost half the price offers things the FX9 does not thus making it almost a better buy. UHD 120p, raw without the extension unit; those are big things that I still can't believe Sony left out of the FX9. The FX9 in regards to UHD/4K frame rates and raw out is no different than the 6 year old FS7. I think that's a misstep by Sony, especially now that their $6,000 FX6 and $3,500 A7SIII offer those things. Sony should update the FX9 to include those features if physically possible, and if not, then lower the price of the FX9 and release an FX9II that does have them.
 
James0b57 said:
They really want us all to adopt ProRes Raw (which is just a round about way of paying RED too.)

Well, the Fx6 is still a beast of a camera. definitely the first camera, despite all of these amazing releases, to make me really rethink everything.
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Yeah, hopefully we see ProRes RAW come to Davinci Resolve at some point.
 
NorBro said:
Who's got 100 bucks on Bassman never buying a new camera. lol

Bro, you're pretty patient. Would you say so?
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I already own a lot of cameras and subscribe to Dan's message of GAS kills. Seriously, the longer I have my business (17 years) the longer and harder I look at any purchase. My GH5 is going pretty strong and my workload often favors more video style cameras. Larger sensor is more specialty for me. The move from the GH5 will most likely be my last, so I am making it count. :) I like hand holding so IBIS is one of my favorite features of modern cameras. Back to the thread...
 
Teddy_Dem said:
Yeah, hopefully we see ProRes RAW come to Davinci Resolve at some point.
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Yeah, I kind of miss Davinci Resolve just being a bad ass colour grading tool, jumping on all the latest codecs. Now it is part of their eco system. All good things must come to an end.... pro and cons.

I'm somewhat bias, and I don't mind the partial debater of codec like BM"raw" if it makes life better, but other than that, I like standards, and would love to see something like ProRes raw become standard.
 
Teddy_Dem said:
I agree. I'm assuming internal X-OCN is not happening due to RED patents as even the Venice needs an attachment (the AXS-R7). However the attachment for the Venice is well designed to match the body and performs like a well thought-out an unified solution. If an attachment for X-OCN was not ridiculously bulky and did not cost about as much as the camera, I think users of the FX9 and FX6 would be all over it. Maybe one day Sony will stop depending on a smaller third-party company to supply RAW video for their cameras. X-OCN has been around since 2016 and is basically out of reach for 95% of Sony camera users.
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It's not so much the cost of the AXS-R7, it's the cost of the media. A 512GB card is $2500 and a 1TB card is $4500.

4K RAW 24fps: 512GB- 60 mins. 1TB- 120 mins.
4K X-OCN 24fps: 512GB- 84 mins. 1TB- 168 mins.
 
Run&Gun said:
It's not so much the cost of the AXS-R7, it's the cost of the media. A 512GB card is $2500 and a 1TB card is $4500.

4K RAW 24fps: 512GB- 60 mins. 1TB- 120 mins.
4K X-OCN 24fps: 512GB- 84 mins. 1TB- 168 mins.
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Thanks for mentioning that I had forgotten about the media costs as well. And yes, that just helps in pushing it out of being accessible to most, but maybe that is what Sony wants. However watching what BRAW is currently doing for BMD maybe they will reconsider their approach in the future.
 
Enough of these trivialities - Does the FX6 have clip naming or am I going to have 47 clip001s on my editing drive?
 
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