At 1:07 the graphic on the right should say FX6 as I am talking about the FX6 only at this point in the vid, sorry for any confusion I've put a blur on the graphic but not sure how well it's going to cover it! Jake
@@Zakria_Khan That's because it's not there. 😂 He only mentions it quickly a couple of times. Would be awesome to hear more thorough comparison to C70 from CVP. Gerald Undone did a great job (again) reviewing C70: ua-cam.com/video/d9SAeJ-r82A/v-deo.html. He changed my mind, I'm going for C70 now. Until someone changes my mind again. *facepalm* #thestruggleisreal
Seems like a great camera from Sony! At this price point versatility and usability are super important, because on pure image quality on low ISOs no one has beat the Ursa G2 yet on the sub 10000 market
After watching this, I have more respect for the FX6 than I did after watching other videos on this camera. I would definitely be interested in seeing more videos on shooting and post production on the FX6.
You CANNOT judge the sensor's noise performance using 18% gray since the noise in the ISO12800 one is mostly photon shot noise, which is greatly increased by the 4 stops ND filter. To test the noise performance, just clip the body cap and record a zero input test.
Agree'd, I only noticed the difference in noise after I had sent the camera back to Sony. I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
@@daltonrandall4348 The first clip is ISO 800 T2 in low mode. The second clip is ISO 12800 T8 in high mode. This made exposure consistent across both so if it was dual base, signal to noise ratio should be similar, like with other cameras such as VENICE, FX9, S1H etc. Each manufacture will have their own tolerances for what is within spec for that ratio.
@@CVPTV Thank you for sharing the clips, and please let me explain the point again. The noise in photos and videos can be roughly divided into 3 parts, Read Noise, Shot Noise, and Photo Response Non-Uniformity. PRNU creates a fixed pattern noise, and it's not what we are talking about. The Shot Noise is caused by random statistical fluctuation of photons, not the camera sensor, and dominates the mid-tone. The less light the sensor receives (the ND filter and aperture did the same thing here), the more Shot Noise there will be. A sensor with higher quantum efficiency can help with it, but the high gain mode in a dual base ISO sensor can't. The Read Noise is caused by the sensor circuit, and it's independent of the input signal, so it dominates the darkest part of the image and determines the Dynamic Range. Read Noise is the only part a dual base ISO sensor can be helpful. Thus, the 18% gray is good for testing quantum efficiency, but if you want to test the sensor's noise performance, the darkest part (zero input) is what you should look at. imgur.com/a/G3d9Fs9 (pushed 4 stops to make noise more noticeable) In addition, the dual gain modes in Venice, FX9, and S1H are much closer than FX6 and A7S3 (2.3 stops vs. 4 stops), which makes it harder for human eyes to tell the difference in noise performance in mid-tone, but they do have about 6 dB difference in SNR when test agest 18% gray.
@@daltonrandall4348 The real benefit of high gain mode is that comparing to shot at ISO800 and push it to 12800 in the post, base ISO 12800 gives you about 4 stops more dynamic range.
Thanks for the comment. In future, I will make sure we include port capped evaluations as part of our tests. I'm still intrigued as to why Sony hasn't classified this as a dual base sensor when the DR is clearly shifted when going between the two modes.
Great testing thanks. Would you recommend the FX6 or the C70 for single operator interviews of business owners incorporating b-roll of premises, what they do etc.
I’ve used the FX9 as a solo operator (with A7iii as b-cam) and it works great. I’d expect the FX6 to operate similarly. Excited to try it out when mine arrives!
@@MattJackson_UA-cam Big question.. how much do you rely on Image Stabilization? Becuase the FX6 has zero internal stabilization... worst part, Sony has very few OSS (optically stabilized lenses) to combat the lack of internal stabilization.
@@jaegermah hi! Well, admittedly more than I think I probably do. I do a TON of documentary setups, so I don't use it for that, but for anything narrative I feel I might be missing it. That said, using the FX6 will be the fist time I will rely on the gyro data and use catalyst browse, so I'll definitely report when I make a video on how well it works.
There is something very odd going on in the over exposure tests. If you compare 04:44 where we see the FX9 and FX6 at the "correct" exposure for the under exposure test the lighting and exposure of the model and chart looks the same for both, the white chips on the chart and the tee shirt match well. Then look at 05:57 the "correct" exposure for the over exposure test and notice how different the exposure of the model is for the FX9 - they should all be the same but they are not. For the FX9 the model is clearly already at least 1/2 a stop to a stop brighter than the chart at the "correct" exposure compared to the FX6, the white tee shirt is approx 1 stop brighter than the white chips on the chart and the face is clearly much brighter than it was in the underexposure test zero point. By the time you get to +4 the FX9 model looks bad, but the chart suggests there is no difference between the two cameras. Continue to + 6 and as per the Sony spec the middle grey patch reaches clipping for both cameras. I suggest that for some reason the model is more brightly lit in the FX9 over exposure test than for the FX6 and should therefore be ignored and that the chart tells the true story which is that both show the same +6 stops that is the limit of the S-Log3 implementation in these cameras.
I received my FX6 about 4 days ago and wow its nice, love it. I do hope Sony put the AF Tracking like the A7S3 and to make a XLR adaptor wood be great!👌 Make it happen Sony. Other then that Love it. Great video
Great overview! How was the autofocus perfirmance on the Sigma 24-70? As good as the Sonys? I just ordered the FX6 and I'm curently looking at lens options.
It’s sounding like RAW will only be available through the Shogun 7 via SDI upon release. All of us Ninja and Inferno owners can pray hard for it over HDMI.
Two Questions for when you get your hands on the camera again: 1-Instead of using the shogun 7 for external raw, will the atoms ninja V with the SDI module work? 2-DZO Pictor zooms. In UHD and DCI 4k, how much clear image zoom would you need to cover those formats without vignette. DZOs cover slightly larger than s35 so it is a bit hard to extrapolate without getting hands on them.
I love my FS5 (and I upgraded from a fixed lens ENG cam not long ago, well before the FX6 was announced). Saying "ageing FS5" is a stab in my heart!! It's still a fantastic camera, albeit with a few caveats. But when I feel the need and have the cash (which may be a while...) I'm definitely upgrading to the FX6. Probably in the same delayed fashion as my buying the FS5. See you in 5 years when a new bells and whistles camera will be making a splash and I'll be stuck with my ageing FX6!
I would LOVE to see an extensive rolling shutter test between all 4 of these cameras tbh (obviously the Komodo has none but it'd be great to see how the other 3 stack up)
@@MegaIrgendetwas I think you didn't understand my question. I asked if I can record ProRes up to 4k 60 from the FX6 with the Ninja V, not ProRes RAW. I don't care about ProRes Raw, as DaVinci Resolve doesn't support it.
Yeah the idea that "dual native ISO" means same DR and noise at both ISOs is just marketing, there is no camera with dual conversion gain that performs exactly as well at high conversion gain as low. In my tests, the A7S3 (and presumably the fx6) do have quite similar noise in the low end, but at ISO12800 and all ISOs above it there is a clear difference in noise distribution curve that puts more noise at higher shadow luma values but still quite low noise at lower shadow luma values.
I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
@@CVPTV watched these. ISO12800 looks noisier but not in a bad way at all. Fine grain. Much better than the A7sIII which looks rather blotchy and smeary and lacks texture at ISO12800.
Thanks for all the tests and comparisons. Invaluable! Feel the FX6 is holding up very well. One small detail regarding codecs and formats: I feel the UHD XAVC-I should be slightly better than DCI 4k XAVC-I, as the UHD supersamples the whole 4.2k sensor, while the DCI 4k does a 1:1 readout. You only tested the UHD XAVC-L codec though which is 4:2:0 8 bit. Really wish for us Documentary shooter they had included a 10 bit 422 Long GOP codec option like in the A7s iii.
I don’t get why you’re saying there Komodo was doing so well. To me it seemed like the colors on that camera went way wild and looked terrible. Am I too much of a Canon fanboy or do others see this too?
Is it me? The prores raw download files look pretty noisy to me, was the iso whacked right up or something? Also for a raw file you can't really touch it much before that noise gets even worse if your adjusting exposure, blacks etc. Its most noticeable under her hat rim, on her coat and in the trees, in the shadows basically and for a low light camera? what's going on here? This is DCI 4k 12bit?
I agree, but still love Sony for some odd reason. I can make it look more "filmic", but it does take some massaging in post. I have been using the Zcam F6, and will be keeping that camera even if I decide to purchase the FX6.
Its the major reason I hate working with sony. No matter how ground breaking there specs are on paper the look always feels lack luster and videoish. Hated working with the FS7 for two years and returned the A7R II after a month for just terrible color science and motion cadence. They keep saying with all these reviews of every new sony camera the color has improved but still don't come close to Canon, Panasonic, Fujifilm, Nikon, Red, Arri and Black Magic. Literally everyone else has good color and have had it for a while. I have worked with all of these cameras and Sony every time is the worst to work with.
Wow, so much value and hard work in here I don't know where to start. Loved the over-under stuff and would love to see rolling shutter too. Enjoyed attention to detail like turning the lights off during audio testing - helps concentrate the ear! Also just a thought - it would be great to keep a neutral test chart on screen during the ISO and over-under exposure stuff, so we can more accurately judge how far the cameras have changed colours, rather than just judging them compared to each other and without still seeing the base. Just a thought - thanks again!
Definitely diggin this camera. I think this or a couple will be perfect for my productions company. We specialize in recording live music. Most of the time it’s pretty controlled but there are times we need the high iso. And with live music it’s always nice to have the small form factor.
Imported ProresRAW in Premiere. Only exposure i can change in RAW settings. And video is VERY noisy and owerexposed in highlights. I do something wrong?
On your overexposure tests, why does the FX9 look a stop brighter on the talent at the base? This would result in a faster clipping point on the 4 stops over - like your tests showed... but it looks like your light levels are different, or incorrect at the base setting - which throws the whole thing out of whack.
Is there a D-Tap cable you would recommend to use to connect Sony NPF battery powered monitors? Trying to run an Atomos Shinobi monitor off of the battery I would use on an FX6 (such as the Hawk Woods one you mentioned).
YO everyone!! -> -> Would love to know what you think of the ProRes RAW files included in the description. Personally, I feel like they are garbage! They graded so poorly.. But maybe I’m doing something wrong??? Please help.
Depends what you shoot. For events/corporate/fast workflow, Sony wins easily. If image quality for creative projects like narrative and music video work is your priority, then Komodo.
Seen where Sony won’t recognize it as dual iso because at 12,800 it isn’t full dynamic range so doesn’t meet their standards for dual ISO but are still using a circuit switch to achieve it.
@@CVPTV thanks a lot, really appreciating it. Can you also upload the matching internal samples - so we can compare how the internal processing affects the image? :)
Excellent video Jake. It’s hard to not like the FX6. Seems between this an an a7s iii it would have you covered for just about anything. I love that Sony really throws all the high end features in to the mid range bodies. Thanks for sharing.
Been watching for about a year and finally subscribed. Great work. I'm still rocking the Fs700 (yes, not a typo) and finally considering a used Fs7m2 or Fx6. Autofocus and low light are a big draw. Still can't decide. For some clients, size matters. Also rather have a camera sit on my shoulder than my wrist.
Thanks for subbing! If you can stretch to it, I highly recommend picking up the FX6 over the 7M2 if you can. The FX6 is shoulder mountable, just requires a few acc's to make it better for it! Jake
I have a FX6. No problem at all turning it as a shoulder mount with just a few accessories. Also, I think the FX6 camera has an edge over the FS7 II in image quality.
Thanks for bringing up the no-audio on gimbal and no-sound for slow-mo situation! There's also no-IPB, awfully weird omissions since their own a7SIII has those and a better menu on top. Surprised that C300 / C70 hold up with underexposure much better, and it's the other way around with high sensitivity - usually those are related. Cheers!
The underexposure performance of the C300/C70 makes sense though because of the DGO sensor that is essentially compositing together low and high ISO images/pixels at the same time. From the look of it, the Canons may not benefit in any way from increasing ISO/gain since the -5 ISO800 exposure seems to perform awfully similar to its ISO25600, you may just clip highlights by increasing ISO on them...
Also worth keeping in mind that the C70 and komodo are both S35 RF mount cameras so they could use speedboosters to narrow the sensitivity gap between them and the FX6/FX9 by 1 stop. Quite impressive what the C300iii/C70 can do with half the sensor area of the Sonys...
“The noise is significantly worse on the high ISO vs the low ISO” Cue a shot of a grey background with no detail, and little visible variation in noise. The reality is, if you’re shooting for web, it probably doesn’t make much difference. If you’re shooting for Netflix, maybe it’s more of a factor.
Thanks Jake. It would have being nice to see some Komodo footage as well, shot in Chinatown. Green bias or bad skin tone recovery on (your face) close shot, doesn't tell all the story. FX6 is a great allrounder, no doubt. But I can't get a sense of how much really it lacks character (subjectively, indeed!). Also, Is it confirmed that shooting C70 codecs on the C300III, leads to identical footage as it would the cheaper camera?
All the BTS was shot on KOMODO in this vid! It doesn't tell the full story but we haven't framed it as such, just showing the factors mentioned in the tests. I personally prefer the image the KOMODO produces over the FX6! It's the exact same sensor and from the testing I have done shooting in the same XF-AVC codecs on both cameras results in pretty much identical performance. Jake
Ehhh Sorry I don't understand ? have your misnamed the clip @1:07 as Sony PXW-FX9 ? I thought you were comparing the FX6 at 2 different ISO setting to evaluate noise or have I completely lost the plot?
The ProRes RAW files you supplied were complete garbage?!?🤪😭😫 I really appreciate you supplying footage (being most other reviewers do not do this). Was it an ISO issue, maybe a product of RAW.. but man. I was so disappointed.
How comes the FX9 is so much greener in this under exposure test? Then in the same test in the Fx9 in depth review video ? ua-cam.com/video/2-kYtjH3eEs/v-deo.html
The reason why Sony wont call this true "Dual ISO" is because they stretched the two preamp stages soooo ridiculously far apart! (The original S-III firmware had 640/16,000…thankfully somebody at Sony had the brains to change the final release firmware to 640/12800) On the FX6, the “low” 0d is pre amped to equal 800 ISO. The “high” 0db is pre amped to equal 12800 ISO. To me, this seems to be somewhat crazy. This causes the middle and upper end of the first stage circuit to have way more noise then it needs. 4,000 - 10,000 are pretty bad. Shouldn’t Sony lower the second stage preamp gain to equal 4,000-6,000 ISO instead? I think the FX9 and Lumix S1H have more reasonable dual gain preamp values. 4,000 ISO fills the image quality “gap” that exists on the top end of the first stage. Yes, that would sacrifice all the crazy “25,000 ISO” values, true….but who uses those anyway? I’d MUCH prefer to have 800-6,000 range that has no severe gaps in noise performance. I think that this was not done by a Sony engineer. Instead, I'm guessing it was a marketing manager that asked for this.
can some one explain to me how the hell do these cameras have 14 15 stops of dynamic range when they clearly all fall at around 7.5 to 8.1 in real life?
@@bradleyc6564 it's not me saying it. it's what it is. in studio conditions sure.. you get up to 15 stops, in real life, bullshit. 8.1 maybe 8.2 if you have a sicko camera.
@@zacharykepler3567 nope my arse. there's a huge difference between Usable Dynamic Range and Dynamic Range. no camera goes past 8-9 stops. not even medium format cameras.
@@Juventinos You’re thinking of latitude. Take a look at the waveform on CineD’s xyla test of the C500 ii’s dynamic range - they’ve tested many other cameras, feel free to reference the waveform for any of them as well: www.cined.com/canon-c500-markii-lab-test-dynamic-range-latitude-rolling-shutter/
It completely comes down to the end user but in my opinion, yes. Two other massive differences are the 2 XLR ports and the ability to turn off noise reduction. Jake
@@CVPTV The choice is even more difficult if you choose to shoot prores raw. Thus you override the noise reduction in A7Siii. And get to use small NinjaV instead of the clunky Shogun 7, which looks awful on a super compact FX6. Why can't Sony give an option of raw over HDMI from FX6...
I've never seen a proper video camera with IBIS. The only reason IBIS exists is to help stabilize video shot on mirrorless cameras because due to their small size, video is prone to be more shakey. On a proper video camera, you don't need ibis.
Every dual native ISO camera loses about 0.5-1 stop of DR at the high native ISO though... Could just be a quirk of the camera being part Alpha stills camera, since the stills line has had dual conversion gain for several generations but never advertises it.
Actually that’s one difference between the Fx6 and a7S iii. At 12’800 iso the Fx6 retains the same dynamic range as 800 iso, while the a7S iii loses half a stop. Refer to Gerald Undone’s video on the Fx6 where he confirms this with a DR test.
I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
I've been thinking about this too and I'm leaning towards the FX6 for usability and a smoother post-workflow. KOMODO seems to make more sense if I was shooting in scenarios that warranted the global shutter, wanted to use RF lenses, wanted extra control (RAW control, almost always using manual focus, etc), and was wanting to consistently go for a RAW workflow (larger file-sizes, denoising frequently, extra colour and ISO control, etc). But FX6 seems to make more sense if I want dependable autofocus, built-in XLRs (kind of), built-in VND, custom buttons, SDI+HDMI out, TC without a breakout box, better high ISO performance, and only need RAW occasionally (ProRes RAW out). Those are my thoughts on this. Hope it is helpful!
@@speedyfast9 I believe you have 5 options with KOMODO: HQ (~1 hour/TB) MQ (~1.5hours/TB-I think?), LQ (2.5 hours/TB) for R3D. Then you have ProRes and ProRes HQ in 4k. I believe the 600Mb/s of the FX6 is gonna get you about 3.8 hours/TB. But if I remember correctly, the 600Mbp/s on the FX6 is when you are doing 4k 120 All-I, whereas, the data rates I mentioned above for the KOMODO are based on 6K 24p. The ProRes options for KOMODO are close to the FX6 max, in that it's 500ish for ProRes and 750ish for ProRes HQ. Oh and ProRes RAW and RAW HQ are closer in size to ProRes 422 HQ and R3D LQ-MQ... Sooooo, end result, FX6 is generally a smaller file size in most modes that you will typically be using for each camera. My math could be off and I am going off memory when I was geeking out about this stuff before the KOMODO was officially released...so may need to do your own research on this to confirm.
I only had the camera for 2 days and only really noticed this after I gave the camera back so I really want to get my hands on it more to understand what it is doing. However, from our tests, 12800 looks noisier than 10000. For the ISO tests we stopped the lens down a stop at a time as we stepped up ISO to keep exposure consistent, we did these tests with Noise reduction off so this could be why other people are seeing different results. But Sony has made it incredibly clear the FX6 doesn't feature the same Dual BASE ISO tech/method as the VENICE & FX9 with the emails I have had with them. Jake
I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
@@CVPTV You say 10’000 was noisier than 12’800 but weren’t you shooting in S-Cinetone in this video for the ISO tests? You would need to be shooting in one of the S-Logs for the cleaner noise performance at 12’800
What I think about the FX6? - I wish I could afford one. :-/ But in the end, everyone should concentrate on the content, rather than on quality or anything else...
Good comparisons one simple request u speak too fast for Asian viewers that too with the accent it's bit difficult to understand the need to run many times.
@@JSHFilms yes that's true, by $100, right? But the c70 does perform amazingly well for an s35 sensor, with quite a bit more DR than the other two, and a speedbooster just further improves it's sensitivity. One annoying thing about the fx6 is you sacrifice a fair amount of image quality if you want to shoot between iso2000-10000. I'd sorta rather have useable iso6400 than iso25600 in most cases. Fx6 doesn't do so well at iso6400 but does better above 12800 and c70 doesn't do so well at iso25600...
Not quite! The hot shoe which is on the body of the camera allows you to plug a Sony wireless microphone directly into the hot shoe. So that hot shoe is an audio input directly built into the camera. But of course, you will have to use a Sony wireless microphone. So it is s not that Sony forgot to build an input for audio on the body. In addition, Sony sells an audio adapter with two additional XLR ports that plug into that hot shoe. electronics.sony.com/imaging/interchangeable-lens-cameras/ilc-accesories/p/xlrk3m And there are other manufacturers who will be making microphones which will plug directly into the hot shoe adapter. By the way, on the body itself of the FX6 there is another record button to start recording.
Why would you put white graphic letters in the lower right with a light gray rectangle behind it and another gray background of the set, instead of your graphics being black or white with the fonts wrapped in black??? You are presenting how careful you were to document this test and yet do such amateur production presentation that is difficult to read.
![[English] Sony FX9 vs FX6 / Camera comparison with test footage #소니 #레이케이 #Cinema #filmmaking](http://i.ytimg.com/vi/HKIN42YJC0w/mqdefault.jpg)
At 1:07 the graphic on the right should say FX6 as I am talking about the FX6 only at this point in the vid, sorry for any confusion I've put a blur on the graphic but not sure how well it's going to cover it! Jake
Thanks, was wondering about that one :)
Great video, thank you! Not as much comparison to C70 as I hoped, though. Maybe a separate video: FX6 vs C70, please? 😬
This 🙌🏼
I can't find c70 in the video
@@Zakria_Khan That's because it's not there. 😂 He only mentions it quickly a couple of times. Would be awesome to hear more thorough comparison to C70 from CVP. Gerald Undone did a great job (again) reviewing C70: ua-cam.com/video/d9SAeJ-r82A/v-deo.html. He changed my mind, I'm going for C70 now. Until someone changes my mind again. *facepalm* #thestruggleisreal
@@TechEnthusiastInc lol don't watch the who is matt johnson video that he just put out then
he shot the c300 mkiii in 10bit, and is using that as the c70 comparison since they share the same identical sensor
Seems like a great camera from Sony! At this price point versatility and usability are super important, because on pure image quality on low ISOs no one has beat the Ursa G2 yet on the sub 10000 market
Man y'all are thorough and on a roll. Love it
After watching this, I have more respect for the FX6 than I did after watching other videos on this camera. I would definitely be interested in seeing more videos on shooting and post production on the FX6.
Hey, I may be missing something, but I don't see the link to download the ProRes Raw files that you mentioned in the video.
You are by far the most comprehensive gear reviews out there without the fluff and mouth full. Keep it up.
You CANNOT judge the sensor's noise performance using 18% gray since the noise in the ISO12800 one is mostly photon shot noise, which is greatly increased by the 4 stops ND filter. To test the noise performance, just clip the body cap and record a zero input test.
Agree'd, I only noticed the difference in noise after I had sent the camera back to Sony. I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
@@daltonrandall4348 The first clip is ISO 800 T2 in low mode. The second clip is ISO 12800 T8 in high mode. This made exposure consistent across both so if it was dual base, signal to noise ratio should be similar, like with other cameras such as VENICE, FX9, S1H etc. Each manufacture will have their own tolerances for what is within spec for that ratio.
@@CVPTV Thank you for sharing the clips, and please let me explain the point again. The noise in photos and videos can be roughly divided into 3 parts, Read Noise, Shot Noise, and Photo Response Non-Uniformity. PRNU creates a fixed pattern noise, and it's not what we are talking about.
The Shot Noise is caused by random statistical fluctuation of photons, not the camera sensor, and dominates the mid-tone. The less light the sensor receives (the ND filter and aperture did the same thing here), the more Shot Noise there will be. A sensor with higher quantum efficiency can help with it, but the high gain mode in a dual base ISO sensor can't.
The Read Noise is caused by the sensor circuit, and it's independent of the input signal, so it dominates the darkest part of the image and determines the Dynamic Range. Read Noise is the only part a dual base ISO sensor can be helpful.
Thus, the 18% gray is good for testing quantum efficiency, but if you want to test the sensor's noise performance, the darkest part (zero input) is what you should look at.
imgur.com/a/G3d9Fs9
(pushed 4 stops to make noise more noticeable)
In addition, the dual gain modes in Venice, FX9, and S1H are much closer than FX6 and A7S3 (2.3 stops vs. 4 stops), which makes it harder for human eyes to tell the difference in noise performance in mid-tone, but they do have about 6 dB difference in SNR when test agest 18% gray.
@@daltonrandall4348 The real benefit of high gain mode is that comparing to shot at ISO800 and push it to 12800 in the post, base ISO 12800 gives you about 4 stops more dynamic range.
Thanks for the comment. In future, I will make sure we include port capped evaluations as part of our tests. I'm still intrigued as to why Sony hasn't classified this as a dual base sensor when the DR is clearly shifted when going between the two modes.
Great testing thanks. Would you recommend the FX6 or the C70 for single operator interviews of business owners incorporating b-roll of premises, what they do etc.
I’ve used the FX9 as a solo operator (with A7iii as b-cam) and it works great. I’d expect the FX6 to operate similarly. Excited to try it out when mine arrives!
@@MattJackson_UA-cam Big question.. how much do you rely on Image Stabilization? Becuase the FX6 has zero internal stabilization... worst part, Sony has very few OSS (optically stabilized lenses) to combat the lack of internal stabilization.
@@jaegermah hi! Well, admittedly more than I think I probably do. I do a TON of documentary setups, so I don't use it for that, but for anything narrative I feel I might be missing it. That said, using the FX6 will be the fist time I will rely on the gyro data and use catalyst browse, so I'll definitely report when I make a video on how well it works.
There is something very odd going on in the over exposure tests. If you compare 04:44 where we see the FX9 and FX6 at the "correct" exposure for the under exposure test the lighting and exposure of the model and chart looks the same for both, the white chips on the chart and the tee shirt match well. Then look at 05:57 the "correct" exposure for the over exposure test and notice how different the exposure of the model is for the FX9 - they should all be the same but they are not. For the FX9 the model is clearly already at least 1/2 a stop to a stop brighter than the chart at the "correct" exposure compared to the FX6, the white tee shirt is approx 1 stop brighter than the white chips on the chart and the face is clearly much brighter than it was in the underexposure test zero point. By the time you get to +4 the FX9 model looks bad, but the chart suggests there is no difference between the two cameras. Continue to + 6 and as per the Sony spec the middle grey patch reaches clipping for both cameras. I suggest that for some reason the model is more brightly lit in the FX9 over exposure test than for the FX6 and should therefore be ignored and that the chart tells the true story which is that both show the same +6 stops that is the limit of the S-Log3 implementation in these cameras.
Got my Fujinon 18-55 MK to work with the FX6 in 4K mode by using the clear image zoom! So happy!!
Fantastic overview.
Can't wait for the reviews on C70 and comparisons to Fx6 & Komodo
same
I received my FX6 about 4 days ago and wow its nice, love it. I do hope Sony put the AF Tracking like the A7S3 and to make a XLR adaptor wood be great!👌 Make it happen Sony. Other then that Love it. Great video
Great overview! How was the autofocus perfirmance on the Sigma 24-70? As good as the Sonys?
I just ordered the FX6 and I'm curently looking at lens options.
Will the Atomos Shogun Inferno work with Sony FX6 (at 4k 60fps and Raw
output via SDI) or do you have to get Shogun 7 for it to work? Thanks.
It’s sounding like RAW will only be available through the Shogun 7 via SDI upon release. All of us Ninja and Inferno owners can pray hard for it over HDMI.
@@MattJackson_UA-cam I hope so too.. Thanks.
Two Questions for when you get your hands on the camera again:
1-Instead of using the shogun 7 for external raw, will the atoms ninja V with the SDI module work?
2-DZO Pictor zooms. In UHD and DCI 4k, how much clear image zoom would you need to cover those formats without vignette. DZOs cover slightly larger than s35 so it is a bit hard to extrapolate without getting hands on them.
The Ninja would be wonderful with the FX6, but unfortunately the AtomX SDI module doesn‘t support Prores Raw. It‘s kinda sad...
Such a bummer that the Ninja doesn’t support RAW from the FX6, but here’s hoping there are updates down the road to enable this.
I love my FS5 (and I upgraded from a fixed lens ENG cam not long ago, well before the FX6 was announced). Saying "ageing FS5" is a stab in my heart!! It's still a fantastic camera, albeit with a few caveats. But when I feel the need and have the cash (which may be a while...) I'm definitely upgrading to the FX6. Probably in the same delayed fashion as my buying the FS5. See you in 5 years when a new bells and whistles camera will be making a splash and I'll be stuck with my ageing FX6!
5:15 damn c300 looks very clean. But the color shift is very noticable.
Leith Hill!
I would LOVE to see an extensive rolling shutter test between all 4 of these cameras tbh (obviously the Komodo has none but it'd be great to see how the other 3 stack up)
Please please go over the de-noise process! That has always been something that I’ve had a hard time grasping.
Great video. But one question: can I shoot ProRes 4k 60 with the FX6 and the Ninja V? Or isn't the Ninja V usable at all with the FX6?
With the AtomX SDI module you could use it, but that doesn‘t support RAW :(((
@@MegaIrgendetwas I think you didn't understand my question. I asked if I can record ProRes up to 4k 60 from the FX6 with the Ninja V, not ProRes RAW. I don't care about ProRes Raw, as DaVinci Resolve doesn't support it.
@@philmaker_ Ok ok, sorry, it was late. Well, the AtomX supports 4k 60p, I don't know why the FX6 would not so I'd give a soft Yes as an answer.
It’ll definitely support 4K 60 in ProRes 4:2:2. Excited to try it out!
Yes, please... a deeper dive into the noise and noise reduction.
To be honest, noise performance is not the same across both base ISOs even in Venice.
Yeah the idea that "dual native ISO" means same DR and noise at both ISOs is just marketing, there is no camera with dual conversion gain that performs exactly as well at high conversion gain as low. In my tests, the A7S3 (and presumably the fx6) do have quite similar noise in the low end, but at ISO12800 and all ISOs above it there is a clear difference in noise distribution curve that puts more noise at higher shadow luma values but still quite low noise at lower shadow luma values.
I think i am switching back from canon again to sony old friends now that what I called big jump to sony🤙🏽🤙🏽
I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
@@CVPTV watched these.
ISO12800 looks noisier but not in a bad way at all. Fine grain.
Much better than the A7sIII which looks rather blotchy and smeary and lacks texture at ISO12800.
@@CVPTV For 12800, that is really, really impressive noise performance. And it isn't "bad" looking noise either, it's a nice grain look.
Thanks for all the tests and comparisons. Invaluable! Feel the FX6 is holding up very well. One small detail regarding codecs and formats: I feel the UHD XAVC-I should be slightly better than DCI 4k XAVC-I, as the UHD supersamples the whole 4.2k sensor, while the DCI 4k does a 1:1 readout. You only tested the UHD XAVC-L codec though which is 4:2:0 8 bit. Really wish for us Documentary shooter they had included a 10 bit 422 Long GOP codec option like in the A7s iii.
Is the color and image as good on fx3? Consider selling my r6
You guys are one of my favs to watch when it comes to these videos. Nice work.
what causes the hot pixels to start showing at 6400 iso 6:20 . Is that to be expected or is that just this camera?
I don’t get why you’re saying there Komodo was doing so well. To me it seemed like the colors on that camera went way wild and looked terrible. Am I too much of a Canon fanboy or do others see this too?
At 1:08 should it say FX6 on the right too? Or are you comparing the low base iso of the fx6 to the high base iso on the FX9?
Yes it should be FX6, nice spot. Jake
@@CVPTV great video! Really thorough and detailed. Can’t wait to get my hands on one!
denoiser is a nice topic neat video vs others are welcome 👌
I second that!
if content is rather static, Davinci Resolve Temporal Denoising will work really well, for anything that has lots of motion use neat video instead.
Purely in terms of image quality, is there any difference between the FX6 and C70 / C300 iii?
Is it me? The prores raw download files look pretty noisy to me, was the iso whacked right up or something? Also for a raw file you can't really touch it much before that noise gets even worse if your adjusting exposure, blacks etc. Its most noticeable under her hat rim, on her coat and in the trees, in the shadows basically and for a low light camera? what's going on here? This is DCI 4k 12bit?
Best review I've seen yet, great job and thank you!
What codec are u using for over and under exposure test? Just wonder will xavc and prores raw work differently
Am I the only one who thinks Sony in general looks like video, and the image is "thin" ? Feels like a very powerful Iphone to my eye.
I agree, but still love Sony for some odd reason. I can make it look more "filmic", but it does take some massaging in post. I have been using the Zcam F6, and will be keeping that camera even if I decide to purchase the FX6.
Its the major reason I hate working with sony. No matter how ground breaking there specs are on paper the look always feels lack luster and videoish. Hated working with the FS7 for two years and returned the A7R II after a month for just terrible color science and motion cadence. They keep saying with all these reviews of every new sony camera the color has improved but still don't come close to Canon, Panasonic, Fujifilm, Nikon, Red, Arri and Black Magic. Literally everyone else has good color and have had it for a while. I have worked with all of these cameras and Sony every time is the worst to work with.
Any thoughts compared to RED Komodo in terms of image quality and dynamic range?
From what I can see, the final image is fairly similar across the two cameras. After seeing James Matthews’ short film on the FX6, I was sold on it.
Komodo has superior IQ and DR. I recommend renting the camera and using it to see firsthand. FX6 has better utility, however.
Wow, so much value and hard work in here I don't know where to start. Loved the over-under stuff and would love to see rolling shutter too. Enjoyed attention to detail like turning the lights off during audio testing - helps concentrate the ear! Also just a thought - it would be great to keep a neutral test chart on screen during the ISO and over-under exposure stuff, so we can more accurately judge how far the cameras have changed colours, rather than just judging them compared to each other and without still seeing the base. Just a thought - thanks again!
@CVP Still searching for the download links for the footage you made mention of? Great job, by the way. Thanks.
Definitely diggin this camera. I think this or a couple will be perfect for my productions company. We specialize in recording live music. Most of the time it’s pretty controlled but there are times we need the high iso. And with live music it’s always nice to have the small form factor.
Imported ProresRAW in Premiere. Only exposure i can change in RAW settings. And video is VERY noisy and owerexposed in highlights. I do something wrong?
Please compression Sony fx6 vs canon c70 internal video quality🙏🙏🙏
On your overexposure tests, why does the FX9 look a stop brighter on the talent at the base? This would result in a faster clipping point on the 4 stops over - like your tests showed... but it looks like your light levels are different, or incorrect at the base setting - which throws the whole thing out of whack.
Is there a D-Tap cable you would recommend to use to connect Sony NPF battery powered monitors? Trying to run an Atomos Shinobi monitor off of the battery I would use on an FX6 (such as the Hawk Woods one you mentioned).
Thanks so much for posting the clips for download. Incredibly appreciated as always guys.
where I can find them? thanks
HELLO,CVP, IS THE FX6 1080P OVERSAMPLE FROM 4K LIKE A7S3? THX~
what camera are you using to filming ur talking points on here
Canon C200. Jake
YO everyone!! -> -> Would love to know what you think of the ProRes RAW files included in the description. Personally, I feel like they are garbage! They graded so poorly.. But maybe I’m doing something wrong??? Please help.
Can can only have one, the Komodo or the FX6... which one do you get????
Depends what you shoot. For events/corporate/fast workflow, Sony wins easily. If image quality for creative projects like narrative and music video work is your priority, then Komodo.
Hello there, I have a quick question : how does the autofocus perform with non e-mount glass like an EF lense through the MC11 adpater ?
Hey Bastein, I mention it very briefly in this video - ua-cam.com/video/YufswJwrDoY/v-deo.html
@@CVPTV Thanks. Gonna check it right away. ;)
Seen where Sony won’t recognize it as dual iso because at 12,800 it isn’t full dynamic range so doesn’t meet their standards for dual ISO but are still using a circuit switch to achieve it.
i want to know how works the automatic ND, i heard do a good job, but no one test it. it could be super useful for documentaries
Is this the follow up video that was supposed to be posted on the 25th? Btw, great video. Absolutely loving the content that you put out.
Thanks for this video :)
Where can we download the ProRes RAW files?
Sorry here you go! - we.tl/t-WL4zqDDh0W
Would like to know where we can find the ProRes RAW shots. They're not inside the description. ;)
Sorry here you go! - we.tl/t-WL4zqDDh0W
@@CVPTV thanks a lot, really appreciating it.
Can you also upload the matching internal samples - so we can compare how the internal processing affects the image? :)
Yes to de-noising deep dive 🤪
What about highlight roll off?
Thanks for sharing !!!
A deep video about the different noise reduction methods would be awesome
Thanks again
Excellent video Jake. It’s hard to not like the FX6. Seems between this an an a7s iii it would have you covered for just about anything. I love that Sony really throws all the high end features in to the mid range bodies. Thanks for sharing.
Sigma lens autofocus work well on FX6 ?
Check this vid out - ua-cam.com/video/YufswJwrDoY/v-deo.html
Been watching for about a year and finally subscribed. Great work. I'm still rocking the Fs700 (yes, not a typo) and finally considering a used Fs7m2 or Fx6. Autofocus and low light are a big draw. Still can't decide. For some clients, size matters. Also rather have a camera sit on my shoulder than my wrist.
Thanks for subbing! If you can stretch to it, I highly recommend picking up the FX6 over the 7M2 if you can. The FX6 is shoulder mountable, just requires a few acc's to make it better for it! Jake
I have a FX6. No problem at all turning it as a shoulder mount with just a few accessories. Also, I think the FX6 camera has an edge over the FS7 II in image quality.
Thanks for bringing up the no-audio on gimbal and no-sound for slow-mo situation! There's also no-IPB, awfully weird omissions since their own a7SIII has those and a better menu on top.
Surprised that C300 / C70 hold up with underexposure much better, and it's the other way around with high sensitivity - usually those are related.
Cheers!
from my understanding the to keep the form factor small they eliminated the IBS. That with the ND filter system would have made it bigger.
@@d.edwardsfreelanceeditorvi4212 didn't even bring this point up (=
The underexposure performance of the C300/C70 makes sense though because of the DGO sensor that is essentially compositing together low and high ISO images/pixels at the same time. From the look of it, the Canons may not benefit in any way from increasing ISO/gain since the -5 ISO800 exposure seems to perform awfully similar to its ISO25600, you may just clip highlights by increasing ISO on them...
Also worth keeping in mind that the C70 and komodo are both S35 RF mount cameras so they could use speedboosters to narrow the sensitivity gap between them and the FX6/FX9 by 1 stop. Quite impressive what the C300iii/C70 can do with half the sensor area of the Sonys...
Where can we find the sample footage? normal and raw?
Uploading now!
@@CVPTV is this ready yet?
@@CVPTV sample footage?? great video, thanks for putting this out here.
@@CVPTV Almost finished? :)
Sorry here you go! - we.tl/t-WL4zqDDh0W
“The noise is significantly worse on the high ISO vs the low ISO”
Cue a shot of a grey background with no detail, and little visible variation in noise.
The reality is, if you’re shooting for web, it probably doesn’t make much difference.
If you’re shooting for Netflix, maybe it’s more of a factor.
Could you include the Blackmagic Pocket 6k for over/underexposure tests for your future comparisons? :)
There is some few RAW files but that files from Sony FX9, is it possible to share RAW from Sony FX6?
It's raw from FX6. Jake
@@CVPTV Sorry, but FCP X and Mediainfo display as camera FX9 in the metadata. Maybe there are mistakes?
does the Hawks BP-98UX work with the fx6?
We used them on the shoot but I can't recall if you get full time remaining on the FX6 currently! Would need to test. Jake
Thanks Jake. It would have being nice to see some Komodo footage as well, shot in Chinatown. Green bias or bad skin tone recovery on (your face) close shot, doesn't tell all the story. FX6 is a great allrounder, no doubt. But I can't get a sense of how much really it lacks character (subjectively, indeed!). Also, Is it confirmed that shooting C70 codecs on the C300III, leads to identical footage as it would the cheaper camera?
All the BTS was shot on KOMODO in this vid! It doesn't tell the full story but we haven't framed it as such, just showing the factors mentioned in the tests. I personally prefer the image the KOMODO produces over the FX6! It's the exact same sensor and from the testing I have done shooting in the same XF-AVC codecs on both cameras results in pretty much identical performance. Jake
Does DGO mode was on when shooting on C300MKIII?
Yes, Jake
Great like always. Good comparison and great job.
Great video, though there is no download link for prores raw.
Sorry here you go! - we.tl/t-WL4zqDDh0W
@@CVPTV Thanks!
@@CVPTV I can't read the files in Resolve and Premiere? (Using the last version of the softwares)
@@CVPTV Thanks for posting the files! I'm curious, which base ISO was used for the the ProRes RAW files that you provided?
Ehhh Sorry I don't understand ? have your misnamed the clip @1:07 as Sony PXW-FX9 ? I thought you were comparing the FX6 at 2 different ISO setting to evaluate noise or have I completely lost the plot?
Yes it should be FX6, nice spot. Jake
Ah scratch that question I see you already answered it below.
Well done. Great video.
Just put my order in.
Thanks once again, great tutorial
AMAZING REVIEW
Good Job
The ProRes RAW files you supplied were complete garbage?!?🤪😭😫 I really appreciate you supplying footage (being most other reviewers do not do this). Was it an ISO issue, maybe a product of RAW.. but man. I was so disappointed.
Cool man! Thank you!
How comes the FX9 is so much greener in this under exposure test? Then in the same test in the Fx9 in depth review video ?
ua-cam.com/video/2-kYtjH3eEs/v-deo.html
Any more comparison to the Komodo?
The reason why Sony wont call this true "Dual ISO" is because they stretched the two preamp stages soooo ridiculously far apart! (The original S-III firmware had 640/16,000…thankfully somebody at Sony had the brains to change the final release firmware to 640/12800)
On the FX6, the “low” 0d is pre amped to equal 800 ISO. The “high” 0db is pre amped to equal 12800 ISO. To me, this seems to be somewhat crazy. This causes the middle and upper end of the first stage circuit to have way more noise then it needs. 4,000 - 10,000 are pretty bad. Shouldn’t Sony lower the second stage preamp gain to equal 4,000-6,000 ISO instead? I think the FX9 and Lumix S1H have more reasonable dual gain preamp values. 4,000 ISO fills the image quality “gap” that exists on the top end of the first stage. Yes, that would sacrifice all the crazy “25,000 ISO” values, true….but who uses those anyway? I’d MUCH prefer to have 800-6,000 range that has no severe gaps in noise performance. I think that this was not done by a Sony engineer. Instead, I'm guessing it was a marketing manager that asked for this.
clever cripple hammer by Sony if you don't need the extreme high iso
can some one explain to me how the hell do these cameras have 14 15 stops of dynamic range when they clearly all fall at around 7.5 to 8.1 in real life?
@@bradleyc6564 it's not me saying it. it's what it is. in studio conditions sure.. you get up to 15 stops, in real life, bullshit. 8.1 maybe 8.2 if you have a sicko camera.
@@zacharykepler3567
nope my arse. there's a huge difference between Usable Dynamic Range and Dynamic Range. no camera goes past 8-9 stops. not even medium format cameras.
@@Juventinos You’re thinking of latitude. Take a look at the waveform on CineD’s xyla test of the C500 ii’s dynamic range - they’ve tested many other cameras, feel free to reference the waveform for any of them as well: www.cined.com/canon-c500-markii-lab-test-dynamic-range-latitude-rolling-shutter/
i dont need this camera but if my bitcoin goes up anymore i might get one :/
Excellent!!!!!!
where was the C70?
Is it worth spend 2 grand more (a7s3) to get internal Nd, no ibis and no photos abilities for "PRO" formfactor camera? That's my (inside) question.
It completely comes down to the end user but in my opinion, yes. Two other massive differences are the 2 XLR ports and the ability to turn off noise reduction. Jake
@@CVPTV hi Jake. I knew xlrs are there but s3 has xlr option too. At the moment I think the noise reduction is biggest factor in my opinion.
@@CVPTV and one more think was possibility for timelapse....is there any?
@@CVPTV The choice is even more difficult if you choose to shoot prores raw. Thus you override the noise reduction in A7Siii. And get to use small NinjaV instead of the clunky Shogun 7, which looks awful on a super compact FX6. Why can't Sony give an option of raw over HDMI from FX6...
I've never seen a proper video camera with IBIS. The only reason IBIS exists is to help stabilize video shot on mirrorless cameras because due to their small size, video is prone to be more shakey. On a proper video camera, you don't need ibis.
The part about the ISO is very blurry. In addition you mislabeled the comparison shots. Nice review otherwise.
My verdict of this camera after using it for a while: Great Image, terrible menus
They can't call it dual native iso because they lose dynamic range at 12,800 by a half a stop is what I heard.
Every dual native ISO camera loses about 0.5-1 stop of DR at the high native ISO though... Could just be a quirk of the camera being part Alpha stills camera, since the stills line has had dual conversion gain for several generations but never advertises it.
Actually that’s one difference between the Fx6 and a7S iii. At 12’800 iso the Fx6 retains the same dynamic range as 800 iso, while the a7S iii loses half a stop. Refer to Gerald Undone’s video on the Fx6 where he confirms this with a DR test.
@@zacharykepler3567 yeah Zach. That's where I remember seeing it.
I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
Will everyone chill out on making camera’s it’s making it impossible to decide. Also will someone just tell me if I would by a Komodo or a FX6?
Go with Komodo
I've been thinking about this too and I'm leaning towards the FX6 for usability and a smoother post-workflow. KOMODO seems to make more sense if I was shooting in scenarios that warranted the global shutter, wanted to use RF lenses, wanted extra control (RAW control, almost always using manual focus, etc), and was wanting to consistently go for a RAW workflow (larger file-sizes, denoising frequently, extra colour and ISO control, etc). But FX6 seems to make more sense if I want dependable autofocus, built-in XLRs (kind of), built-in VND, custom buttons, SDI+HDMI out, TC without a breakout box, better high ISO performance, and only need RAW occasionally (ProRes RAW out). Those are my thoughts on this. Hope it is helpful!
@@geraldrosenau would the Komodo file size be bigger? The Sony pulls 600mbs for it best quality and REDcode is 300mbs? Am I missing something?
@@speedyfast9 I believe you have 5 options with KOMODO: HQ (~1 hour/TB) MQ (~1.5hours/TB-I think?), LQ (2.5 hours/TB) for R3D. Then you have ProRes and ProRes HQ in 4k. I believe the 600Mb/s of the FX6 is gonna get you about 3.8 hours/TB. But if I remember correctly, the 600Mbp/s on the FX6 is when you are doing 4k 120 All-I, whereas, the data rates I mentioned above for the KOMODO are based on 6K 24p. The ProRes options for KOMODO are close to the FX6 max, in that it's 500ish for ProRes and 750ish for ProRes HQ. Oh and ProRes RAW and RAW HQ are closer in size to ProRes 422 HQ and R3D LQ-MQ...
Sooooo, end result, FX6 is generally a smaller file size in most modes that you will typically be using for each camera.
My math could be off and I am going off memory when I was geeking out about this stuff before the KOMODO was officially released...so may need to do your own research on this to confirm.
I’m fully invested in GM glass, hence why I’ll be going with the FX6. If you’re more invested in Canon glass, I’d go with Komodo.
Isn’t 10,000 ISO noisier than 12,800? You say no, but both Philip Bloom and Gerald Undone say yes.
I only had the camera for 2 days and only really noticed this after I gave the camera back so I really want to get my hands on it more to understand what it is doing. However, from our tests, 12800 looks noisier than 10000. For the ISO tests we stopped the lens down a stop at a time as we stepped up ISO to keep exposure consistent, we did these tests with Noise reduction off so this could be why other people are seeing different results. But Sony has made it incredibly clear the FX6 doesn't feature the same Dual BASE ISO tech/method as the VENICE & FX9 with the emails I have had with them. Jake
I have uploaded two clips for you to take a look at. ISO 800 in low mode T2 then ISO 12800 in high mode T8 both. Please let me know if you can see a noise difference between the two. we.tl/t-sEyIFoEoxv
@@CVPTV Very interesting! Can't wait to test one myself. Thanks for responding and sending the test footage!
@@CVPTV You say 10’000 was noisier than 12’800 but weren’t you shooting in S-Cinetone in this video for the ISO tests? You would need to be shooting in one of the S-Logs for the cleaner noise performance at 12’800
What I think about the FX6? - I wish I could afford one. :-/ But in the end, everyone should concentrate on the content, rather than on quality or anything else...
Good comparisons one simple request u speak too fast for Asian viewers that too with the accent it's bit difficult to understand the need to run many times.
Looks like my cell phone
I can't decide between Red Komodo and FX6 :/
I’m going FX6
C70 seems like it could be the real winner with more DR and the best features of both at a lower price :)
@@noahyv not a lower price If you wanna make the C70 into a full frame sensor using Canons 0.71 adapter. Then the FX6 is cheaper
@@JSHFilms yes that's true, by $100, right? But the c70 does perform amazingly well for an s35 sensor, with quite a bit more DR than the other two, and a speedbooster just further improves it's sensitivity. One annoying thing about the fx6 is you sacrifice a fair amount of image quality if you want to shoot between iso2000-10000. I'd sorta rather have useable iso6400 than iso25600 in most cases. Fx6 doesn't do so well at iso6400 but does better above 12800 and c70 doesn't do so well at iso25600...
@@JSHFilms same
FX6 forgot to design a 3.5mm audio input port. Remove the handle and install the stabilizer, it will not be able to record, hahahaha.
who use a mic on gimbal..?
Not quite! The hot shoe which is on the body of the camera allows you to plug a Sony wireless microphone directly into the hot shoe. So that hot shoe is an audio input directly built into the camera.
But of course, you will have to use a Sony wireless microphone.
So it is s not that Sony forgot to build an input for audio on the body.
In addition, Sony sells an audio adapter with two additional XLR ports that plug into that hot shoe.
electronics.sony.com/imaging/interchangeable-lens-cameras/ilc-accesories/p/xlrk3m
And there are other manufacturers who will be making microphones which will plug directly into the hot shoe adapter.
By the way, on the body itself of the FX6 there is another record button to start recording.
Why would you put white graphic letters in the lower right with a light gray rectangle behind it and another gray background of the set, instead of your graphics being black or white with the fonts wrapped in black??? You are presenting how careful you were to document this test and yet do such amateur production presentation that is difficult to read.
where is the c70 comparison?
The C300MKIII uses the exact same sensor as the C70 and we shot in the same codec that the C70 features, thus comparing the two. Jake
@@CVPTV not quite accurate- just will have to wait until we have real video from both cameras in lieu of click bait
The image is identical between the two when in the XF-AVC I mode that the C70 & C300mkiii share. I explained this in the video.
a moment of silence for FX9 owners. 🤣
❤️❤️❤️