FS5: Sony PXW-FX6

freezeframereality said:
Sad that it doesn't have an EVF, not even an optional one with smart implementation. So no filiming in bright sunlight and for me unfortunately no upgrade path in the forseeable future.

But otherwise quite impressive features...
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If it used the DVF connector like the Sony F5 and F55, it likely does have a couple nice, albeit expensive options. Maybe you can pick one up used. Or, just snag an F55 for $7500 used this winter.
 
No EVF is the one thing missing. On my FS5 It`s very useful when you really need it. But we will see aftermarket solutions pretty soon anyway.
 
ahalpert said:
What's your zoom trio, Wes?
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Tokina 11-16 cine, PL mount, with metabones PL to E adapter.

Fujinon MK 18-55

Fujinon MK 50-135

They all have 85mm Outer Diameter, and (82mm threads) so my matte box swaps from lens to lens with ease, they're all fully manual and zoom in the proper direction, etc, and since the PL adapter is part of the trio, I always have a PL adapter with me. Works real well for super 35 e mount with this set.
 
Nate Weaver said:
Question on late model Sony small camera AKS, since I haven't been dealing with Sony for a while.

It looks like you could set the FX6 up for shoulder work with a handgrip extension and LCD loupe (and maybe a longer Sony notched rod to get LCD forward). I heard somebody type that the eyepiece from the FX9 should work on this LCD (my question is, does the FX6 LCD have the latches in the right places?)

And then, is that bayonet mount for the handgrip, is that a new thing for Sony? Will there need to be a new handgrip extension made by Sony or somebody else to get the stock grip out forward?

I have plenty of handheld AKS to make a small camera huge, including spidergrips and all that jazz. But I want this camera because it can be tiny and light, to build it out like my alexa mini would defeat the purpose.
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yes the fx6 LCD is the same unit as the fx9 from the reviews I have watched, it seems the fx9 loupe will attach perfectly. a true parts bin camera!
 
I’m not sure what all the hype is about when the image quality literally looks like the A7S3 — and that cam is half the price.. Not trying to argue, or start anything - I’m genuinely confused. All this hype makes me feel like I should preorder this camera (I was in the middle of buying a FX9 when this was announced and backed off when so many people started calling the FX9 a dead camera) but I’m just not thrilled at the fact that I’d be getting a camera with an image that my two A7S3 cams already can already produce - and I believe Gerald Undone said the A7S3 image looks better.

To me the FX9 footage I’m seeing still looks much more pleasing than the tests I’ve seen so far with the FX6.

Would love to know why so many are dropping everything to preorder this cam.
 
It`s not really about the image quality because all of modern cameras looks good. It`s about having such a small camera with all that you need to work in almost any situation. That’s my view as a working practical video shooter and I never bring my A7R3 unless I’m asked to shoot stills.
 
Anyone care to comment on why this camera is missing super35 crop mode? Seems odd to me. Is this something that could be added in the future or is there a technical reason why it can’t be?
 
Well I imagine if the sensor is 4k and you crop in it to have Super35 then it can't be 4k anymore, it will be HD. The Fx9 sensor is 6k so it can be cropped in super35 and stay 4k.

I have pre-ordered the Fx6 but I know the one BIG thing missing for me is the EVF... what a shame they haven't put where the Fs5 had it. I cannot image how to film in direct sunlight without an EVF. I hope that with the Fx9 loupe the Fx6 will still be usable regarding the ergonomie of this small camera. Why don't they deliver le Fx6 with the loupe?
 
If it can be done Sony will do it in a future FW probably. They said many things couldn’t be done on the FS7 but over time the did it anyway. Meanwhile I’m hanging on to my FS7. Actually I picked up another FS7 kit today ridiculous cheap and soon FX6 will join them.
 
jc01108 said:
Anyone care to comment on why this camera is missing super35 crop mode? Seems odd to me. Is this something that could be added in the future or is there a technical reason why it can’t be?
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Probably because offering this feature would highlight the lack of 4K in that mode. That may then come across as a weakness, whereas simply not offering the mode appears more deliberate and highlights the full-frame nature of the camera compared to, for example, the Canon EOS C70.

Increasing the pixel count to permit 4K with a Super 35 crop would have detracted from another competitive strength of this camera: its extremely fast readout speed.

Would be trivial to add in firmware.


Edit: I’m reading the camera does have a Super 35 crop. Of course it’s not 4K.
 
Yes, in 4K was what I was referring to. Sorry for the omission.

Samuel Dilworth said:
Probably because offering this feature would highlight the lack of 4K in that mode. That may then come across as a weakness, whereas simply not offering the mode appears more deliberate and highlights the full-frame nature of the camera compared to, for example, the Canon EOS C70.

Increasing the pixel count to permit 4K with a Super 35 crop would have detracted from another competitive strength of this camera: its extremely fast readout speed.

Would be trivial to add in firmware.


Edit: I’m reading the camera does have a Super 35 crop. Of course it’s not 4K.
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As noted, there aren’t 4K’s worth of pixels across the frame when you’ve cropped to Super 35. More like 2.6K, so enough for HD or 2K but not 4K.

The FX9 has a sensor with more pixels, allowing a Super 35 crop in 4K, but because there are more pixels to read out for every frame, it takes longer to do so. Because the FX6 has fewer pixels – just enough for 4K when using the full frame – it has minimal rolling-shutter artefacts. There aren’t many cameras of any sort that beat it in this regard, unless they have CCD or global-shutter CMOS sensors (at much greater cost).

So I guess you win some and lose some.
 
Samuel Dilworth said:
As noted, there aren’t 4K’s worth of pixels across the frame when you’ve cropped to Super 35. More like 2.6K, so enough for HD or 2K but not 4K.

The FX9 has a sensor with more pixels, allowing a Super 35 crop in 4K, but because there are more pixels to read out for every frame, it takes longer to do so. Because the FX6 has fewer pixels – just enough for 4K when using the full frame – it has minimal rolling-shutter artefacts. There aren’t many cameras of any sort that beat it in this regard, unless they have CCD or global-shutter CMOS sensors (at much greater cost).

So I guess you win some and lose some.
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At this time there are no global shutter FF35 sensors in a modern video camera. So, the Fx6 is kind of the best in that regard.

The FX9 at least will have 120fps in its s35 4K crop. Which puts the FX9 up there with the C3003 in frame rates for s35 4K, but the Fx9 can also do super sampled 6K full frame. So, as much as the Fx9 was lambasted for 6K 60fps, for video pros, it is not exactly all that bad. Kind of like shooting a movie in Vista Vision, but needing to shoot the high frame rate scenes in s35. haha.
 
The Fx6 should have gotten the locking E mount like the Fx9. All Cinealta cameras should have core cine features. Not just a log profile and a shiny gold badge.


But again, the FX6 is a helluva a camera. Sure you could get a used Scarlet Dragon or Alexa Classic for a similar price, but the Fx6 is a modern camera for the modern shooter.
 
*but with improvements in image quality of late, I'll take that over ergonomics =). ... for now. haha
 
James0b57 said:
The Fx6 should have gotten the locking E mount like the Fx9.
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One of the reasons I’m considering selling my FX9 for the FX6 is so I won’t have to deal with the locking emount. It’s one of my least favourite features of the FX9. Slows down lens changes too much. Especially as you can’t easily put down the FX9 and you need two hands to change lens.
 
FutureLegends said:
One of the reasons I’m considering selling my FX9 for the FX6 is so I won’t have to deal with the locking emount. It’s one of my least favourite features of the FX9. Slows down lens changes too much. Especially as you can’t easily put down the FX9 and you need two hands to change lens.
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I can see that. Though, I am thinking of the Fx6 as a "Cinealta", but yeah, otherwise, I can see how the non-locking can allow for easier lens swaps. Though, I suppose Sony made the better choice for sals numbers by not having a locking e mount. as that would appeal to a larger market. I just like how solid the locking mount on the Fx9 feels compared to the A7sII. Was thinking of the Fx6 in a car mount or b roll situation.
 
James0b57 said:
I can see that. Though, I am thinking of the Fx6 as a "Cinealta", but yeah, otherwise, I can see how the non-locking can allow for easier lens swaps. Though, I suppose Sony made the better choice for sals numbers by not having a locking e mount. as that would appeal to a larger market. I just like how solid the locking mount on the Fx9 feels compared to the A7sII. Was thinking of the Fx6 in a car mount or b roll situation.
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Yes, the locking e-mount definitely has its merits. For my way of working it’s a hassle. Never had any issues using 70-200/2.8 or 28-135/4 on the FS700 and would think they’ve found ways to improve the strength of the mount since, even without the locking part.

And Sony shows the FX6 with the new cine 16-35 lens without support.
 
FutureLegends said:
Yes, the locking e-mount definitely has its merits. For my way of working it’s a hassle. Never had any issues using 70-200/2.8 or 28-135/4 on the FS700 and would think they’ve found ways to improve the strength of the mount since, even without the locking part.

And Sony shows the FX6 with the new cine 16-35 lens without support.
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