FX9 vs FX6 vs A7Siii - In the wrong order!
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- Опубліковано 20 лис 2020
- Can't deny... I was in two minds about the FX6, and now I'm none the wiser!
If you're an FX9 owner, were you worried? Did you think of cutting your losses or has the FX6 reaffirmed why you bought the FX9 in the first place. Love to hear if there's others in the same position. - Наука та технологія
![[English] Sony FX9 vs FX6 / Camera comparison with test footage #소니 #레이케이 #Cinema #filmmaking](http://i.ytimg.com/vi/HKIN42YJC0w/mqdefault.jpg)
From ALL the videos I have seen about FX9/6 and A7s3, this is by far the best one in terms of analysis of the market and provides great food for thought. Congratulations 👏🏼
Oh wow... that was very nice of you... makes it all worthwhile, thank you!
Just plain brilliant. Thank you.
Impossible not to like this mans style of delivery.
Thanks Al, very kind of you!
You need to sponsor a contest on how to hack the good bits from the A7's menu and Auto-Focus software and port it to the FX6
If they really are using the same processors, you'd think it might be possible too!
Just make the FX6 with the same touch tracking focus as A7sIII and include a bloody 3.5mm audio jack and this cam will be perfect. Sony is really cunning and wants us to buy multiple cameras.
I suspect you're spot on.... can't think of any other reason for some of these omissions!
Thank you for this great video!
Thank you... very kind!
Learn a lot from this video. Thank you 🙏 So Nice to know the newest profissional video camera developments 👍 keep watching 😃😃🍀🍀
Thank you Leo... very kind of you to say so. It's appreciated! 👍
good analogy like always. we use fx9 + a7s3.
That's the way I've decided to go as well... best of both worlds!
This is hilarious :) Thank you
Glad you like it!
The best analysis I´ve seen so far.I own 2 fx9 and just need one a7s3 for my gimball.
Altrough the fx6 is a very good camera for my corporate jobs,I would never be able to rent as much as one fx9.
You are one of my jedi youtube camera masters :)
2x FX9's ? nice!... I've also ended up going for the A7S3 as a small gimbal/B camera to my FX9. I like the FX6 but it's not a big enough step up in picture quality from the A7S3 for me. For a lot of jobs, I think they will compete with each other. Besides, a master Jedi feels emotions, but they do not allow them to influence their reasoning... 😂
@@extrashot Yes, And i remember my emotions very well when I saw the firsts fx6 reviews.Thanks again for your very pertinent insights.
FS7 user here and I'm still confused despite having a pre order in on the FX6! I wanted full frame, good autofocus, slow motion with audio, and a camera light enough that I could rip it off the sticks and put it on a gimbal. Even now the A7Siii then ticks more of those boxes but it's really the variND and xlrs pushing me towards the FX6. Cinetone a definite bonus. I'm perhaps foolishly betting all in on a firmware update to give AF touch tracking and some sort of workaround for audio when handle is off to truely make it ideal for my purposes. Yes, the A7S could be rigged up with handles, with that Sony unit that sits slightly precariously in the hot shoe handling audio duties, and a ND slapped on the lens. But in that mode where I'll use it the most I feel like FX6 out of the box is a bit more battle ready. At least I hope it will be! The FX9 or C300m3 were always my ideal upgrade but I can no longer justify the extra expense for little benefit in my situation. We're spoilt for choice really. But still so close but not quite there.
It's almost too much choice.. certainly from Sony! The choice between the A7Siii and FX6 is probably the hardest. That variable ND is superb and pretty much life changing for anyone who shoots a lot with many different lenses. Then there's the S-Cinetone on the FX6. The AF on both cameras is great but the A7Siii wins that argument with the AF tracking and better menu, it also has an audio input, even stripped down for gimbal work etc. None of this makes it easy. I hope the FX6 gets the AF tracking, we know the camera's capable of it... and I'm sure someone will make an audio breakout from the multi-pin connector on the FX6 at some point. I kept flipping my decision between both cameras the more I thought about it! I'm sure some people will make a decision based on how they look to clients !!!
I’ve just managed to get the Leica 10-25 f1.7 and 42.5 f1.2 dirt cheap from someone moving to Sony. I’m sticking with the GH5 and putting my of my time and effort into lighting and postproduction.
Good time to pick up some bargains... and the GH5 still holds it's 4K 10bit head up high! As you say, you can do more with lighting and lenses (and content) than you can with a new camera.
I've been mangling this in my mind since last week! The resell value of my fx9 is undoubtedly compromised by the fx6. I'd need to invest in new expensive media, an evf system and some sort of shoulder rig to get the FX6 to a level where I'd be happy to make the jump. I hope Sony throw us FX9 owners a bone with firmware upgrades, perhaps AF in S&Q modes like the FX6, higher 4K framerates and perhaps enhanced AF tracking. Would make me smile!
True, I'd be happy with that as well... and maybe the option of a smaller V-Lock backend that has SDI RAW output at a reasonable price! I'm a simple man with simple desires!
I know this is a hard ask, but I'll give it a try.
GH5 and A7iii are both on sale this holiday. Specs aside, whick is the better camera for video?
I've noticed you've moved to Sony from Pany so I wanted to know what led you to that decision.
Thanks!
I pretty much agree with Simon. Just comparing the A7iii vs the GH5 for video... I think the GH5 wins hands down. 4K 10bit, no time limit, and a rock solid performer, apart from the poor autofocus. But the problem is... looking ahead, how much do you want to invest in M4/3rd lenses? It's not such an easy choice if you think you might want full frame soon?
@@extrashot My question is, what inspired you away from the GH5 and into Sony. Was it full frame?
@@Radhaugo108 I haven't completely switched away... still love the old GH4 and GH5 !!! I used to run with a Sony A cam and Panasonic B cam. Both had adaptors to use the nice Canon lenses I had collected over many years. So I've never really been that loyal to one manufacturer! The issue is that most of my clients want me to run a Sony pro camera with 10bit XAVC as standard... it fits in with their workflow and other crews or freelancers they might be hiring. When Sony started offering great full frame AF on professional cameras, I realised you really need to use Sony lenses for everything to work correctly. So I needed to sell all my Canon glass and buy Sony FE lenses. That wouldn't be a problem except the Sony lenses won't work on the Panasonic mount, even with adaptors, because the flange distance is too small. So in order to use my new Sony lenses for work... I needed an E-mount camera as a B Cam. Convoluted I know, but it seemed like the most logical route at the time!
The FX7.5Siii is going to be amazing.
Can't wait! 😂
Unfortunately this is true and probably the strategy of one of the largest camera manufacturers. Nevertheless, I am convinced of the fx6 and will probably get one. in your opinion, what are the best lenses for the fx6? Best cinematic greetings from a small german filmmaker
Lenses are a difficult thing to advise on because it really depends on what sort of subjects you film and what look you want... it's a very personal decision. The good news is there's now lots of choice in E-Mount lenses. If the AF is important to you, then the Sony lenses seem to perform the best, but there's some good performing Tamron and Sigma full frame choices as well. You don't have to spend a fortune either.... one of my favourite interview lenses is the great value Sony FE 85mm f/1.8. There's also a cheap 50mm f/1.8 but this doesn't perform as well as the Zeiss 55mm for not much more. I also find I'm using The Sony 35mm f/1.8 a lot as well. All of these provide lovely fast glass without spending a fortune. Good zooms are always going to cost a bit, and The Sony 70-200mm f/2.8 is a classic... it's also a great interview lens on full frame, tack sharp and lovely feel. For a wide lens I use the 16-35mm f/4. There is a better f/2.8 as well, but I couldn't justify the extra cost on the wide. The standard zoom I use is the 28-135mm G-master powered zoom. it's only f/4 but as a standard zoom on full frame it's very useful and performs brilliantly in grab-it documentary style shooting. If I could only have one or two lenses then the 70-200 f2.8 would be first choice, followed by the 35mm f/1.8. I won't make the joke about a small German filmmaker because that would be too easy !!! 😂
@@extrashot Many thanks to your long answer. I will check out the lenses 👍🏻 thanks for the tips 👌
@Frederic Detjens Good point... I'd love that lens. I couldn't justify the cost so went with the f/4 version... must admit, I now regret that a little! 😂
Do you have a Sony FX-6 Review and footage up your sleeve?
Sadly, no... Not sure what I could add after the great Gerald Undone and Philip Bloom videos! In short, isn't it just an A7S3 with variable ND, less noise reduction and a bigger box ??? 😂
@@extrashot I think you are right about this. And despite what has been said in regards of image quality, I think the FX9 image just looks slightly more organic than the FX6 image, which has a slightly more sterile "Alpha" look to it.
@@zacharyhunter8340 I agree... still love the FX9 6K "look"
I'm really sure that the Fx-6 will get the "object tracking feature" in the first major update. The processing power is available on the fx-6.
Well, we know it's easily capable of having it... it's just an A7Siii inside! I do hope so.
So here I am an fx9 owner looking for a b camera. I am a Documentary filmmaker. I narrowed it down to the A7siii and then the fx3 comes out my mind now totally confused. Do I get the fx3 for the xlrs or stick with the evf of the a7siii?
Join the club Sean.... I had exactly the same dilemma. As a 'B' camera to the FX9, I can't see what the FX3 offers over the A7Siii? You can always get the XLR-K3M if you need XLRs and the viewfinder is amazing. Looks like Sony have now released the same camera three times... with slightly different form factors and something missing on each !!!
@@extrashot thanks Paul I am going to pull the trigger on the A7siii
@@seraphimsanctuary Don't think you'll be disappointed... it's a great camera and in some ways better than the FX9 😂
Great video mate. Interesting to hear how FX9 owners are viewing the FX6.
Coming from a fx9 owner, pissed off...
@@AwfulGen I hear you on that. I’m actually doing a livestream with an FX9/Sony A7s III owner this Friday. Would be great to see you there!
@@JackIsaacVideo Thanks Jack. I was pissed... but after looking at the FX6 shortfalls, I now have a new appreciation for the FX9. Gave it a hug the other day!!! 😂
@@JackIsaacVideo I've also gone for the A7Siii as a B cam to the FX9. It has more noise reduction than the FX6 (which can't be turned off) which is why the FX6 can look sharper in low light... but it's negligible in my use.
@@extrashot yeah, there’s a tendency for everyone to jump on the new thing, but it doesn’t mean the older gear isn’t good at all. The FX9 actually has some big advantages such as the downsampled 4k and larger form factor for shoulder-mounted setups. Would be great to see you on the livestream on Friday (3pm UK time - I assume you’re also from the UK?).
4k 120 unlocked. External Raw via SDI or HDMI. 6k 24 unlocked? Or even just 5k-5.7k for fx9 without the raw capabilities. That would also make fx9 stand its ground! What do you think?
Good questions... I think 4K 120 might be possible, if only in S35 mode, but the RAW might be a little difficult from a hardware point of view. What we need is a better, cheaper, smaller V-Lock back, that just has the SDI RAW output incorporated. Maybe spend a few days designing it, or talking to camera operators? Is 6K useful? I'm not sure....
@@extrashot 6K would be amazing for stabilizing shots without losing too much details (since it crops) and to correct small errors like a slight angle that need a rotation and a crop to hide the rotation. It could also b used to add a slight zoom effect in some shots as well, or simply for shots where the lens used did not have enough of a magnifying power. I usually work in 4k in the goal of exporting to 1080p, so I can already to all of that, but soon enough, 4k will be the expected format for all clients.
@@GuillaumeB7 True... or letting Directors re-frame all my hard work !!! 🤪
(I'm joking because I'm regularly being asked to shoot 4K for 1080 delivery... it adds so much more flexibility in the edit)
I'm thinking about switching from Canon to an FX6 and A7S III. Starting with the A7S.
It depends what Canon you're switching from, but I did that move last year. I found it a steep learning curve because my muscle memory took ages to start going to the right buttons. The Sony's felt so small and fiddly with rubbish menus. I couldn't find anything at first. However, I didn't regret it... and the A7Siii is now very close to being perfect for me. Good luck!
I am planning on making the jump from hybrid shooter (GH5) to dedicated video... and I’m spoilt for choice. Still torn between Canon’s C70 with its DGO and less intimidating user interface and the FX6 for its full frame goodness and S-Cinetone. I lean towards FX6, but I confess confusion; Gerald Undone and Philip Bloom’s reservations have given me pause. This video hasn’t made it easier, but it did have a nice segue to Morecombe and Wise, so that makes it an immediate win.
@Scott Maclean Exactly!! I have to choose now for a matched funding grant application! Love the C70 form factor but wondering how practical it is to keep switching from newer, more stable but cropped RF lenses and the focal adaptor FF view older EF lenses but with less AF coverage! Drawn to FX6 for its true FF and S-Cinetone out of the box for quick turnaround but dismayed by the XLR port location and potential issues with stability given the lack of OSS Sony lenses. Longer term I wonder if the RF system is better to get into than Sony lenses?!
Sorry my little rant hasn't made it easier Scott... but I feel your pain, it isn't an easy choice right now. Don'y get me wrong, I'm not saying the FX6 is bad... quite the reverse. It's an amazing camera with specs that would have been unbelievable just a short couple of years ago, especially for that sort of price. I suppose I'm frustrated because it's so close to being perfect, and the fact that Sony chose to cripple it with stuff that's already on the A7Siii is confusing. I was being serious... I was very close to chopping in my FX9 for the FX6... it's that good. The deal was done... and then I realised I could do 90% of what I needed to achieve with the A7Siii. I haven't played with the C70 but that also looks great on paper. It would be an easier choice if we weren't then tied into one particular lens system... that's the massive expense!
Sony is doing some amazing things. I have been shooting Nikon for many years and a Sony Cam Corder... now moving to Sony Mirrorless with the A7siii. I have a Nikon z5 as well, but Sony is so much further ahead. IMO (as an amateur).
If you can, it's worth keeping the Z5 for stills, that 24MP is lovely. However, the Sony's are cleaning up with video right now... the A7Siii is the best camera I've ever owned... and it's nowhere near the most expensive!
@@extrashot Agreed! Thanks.
For me you play in the top champions league of you tubers. Together with Philip Bloom and Gerald Undone.
Always looking forward to see new video comments from you!
I myself work as a cameraman in the broadcast area with occasional corporate assignments. For month I've been thinking about buying an FX9. At the moment I still work with my FS7MKII.
To change I would have to say goodbye to my beloved S35 optics. And that brings me to the crucial point. What lenses do I use with an FX9 for broadcast work? Filming without tripod. Filming from shoulder. Yesterday I tried the 28-135mm Sony lens on a rented FX9. But this is worse then my 18-110mm S35 Sony lens and for sure than my !8-55mm MK Fujinon lens.
So should I switch to a combination of the FX9 with AF photo zoom lenses and then work with Autofocus (Shoulderwork!)
As someone who started with Analog Betacam and has always worked with broadcast optics the switch to photo optics doesn't feel right.
Maybe this is the way to go: Shouldercam Sony FX9 together with AF photooptics. What do you think?
That's a really difficult question simply because lenses are such a personal choice. I feel your pain as I also came from the world of Betacam and lovely 2/3rds inch broadcast lenses, but you've already made the difficult step to the larger sensor in the FS7m2. Probably, the biggest advantage the FX9 has over the FX6 is that you can still run it quite happily in S35 mode. All your FS7m2 lenses will work just fine, including the MK zooms. I know several operators who rave about the MK zooms and leave them on the FX9 almost all the time. I'm surprised to hear you don't like the Sony 28-135mm... I'm really enjoying mine, it's tack sharp with almost zero breathing, and I find the range works well on the FF FX9. The fly by wire zoom is a bit naff, but I rarely zoom on shot, so I can work with it. I'm a big fan of the full frame look so I do run a selection of faster Sony photo FE lenses: 16-35mm, 70-200mm, 35mm, 50mm and 85mm. I went with the Sony photo lenses simply because I find I can rely on the autofocus. Although I've spent a long career telling people why AF could never work on a pro video camera, I now find I'm using it pretty much every day! Once you've got the settings dialled in, it'll follow any 4K f/1.8 wide open interview setup, much better than I ever could, and I used to consider myself a bit of a one man focusing expert! Your main problem is... you won't find a broadcast lens with that great 20-600mm range (inc. doubler) that'll cover a full frame lens. It would be the size and weight of a small car !!! 😂
@@extrashot Thank you for your long answer to my question. I appreciate that very much. When switching from my Sony PDW700 (which is gathering dust in the closet) to the FS7 i got used to other focal ranges. When changing from S35 to FF i have to adjust again, i guess. But you are right. Allmost all lenses can be adapted to the FF Sony E-Mount. That makes things very exciting. However, since the TV journalists find it even more difficult to adjust to new optical conditions (multiple lens changes during a day) the 28-135mm will be usually the lens of choice.
@@jensuferiufermedia8457 I think it's either a good 24-70mm f/2.8 or the 28-135mm f/4 which works best as the standard zoom lens for full frame. If on'y we could get the 20-600mm f/2.8 equivalent we got used to all those years ago!
@@extrashot yes, that‘s right. But in my dreams i would like to have a 24-135mm2.8 😉
Frankly, I was waiting for the FX9 to go on sale due to how powerful FX6 seems to be. It's still a hard pill to swallow just for the oversampled sensor and a couple audio inputs on the body...yes, I'm aware there are some other differences but those two are the only ones that make FX9 the better camera for my work. Then a curious thing happened...the couple reviews I've seen that show FX6 and FX9 footage side by side seem to show no discernable difference in detail. Yes, I know youtube mangles footage, but the reviewers were just as surprised by this. Since a 6K sensor vs a 4K sensor is the only MAJOR difference between these two cameras (even the dual gain implementations are on pretty equal yet different footing), this gives me pause. Do I want to spend TWICE the amount for...a couple XLR ports? Especially since there will almost certainly be a workaround for stripped down audio on FX6 (really, what the hell were they thinking...not even a 3.5mm jack?!). IMO for FX9 to be the truly superior camera, Sony MUST unlock 6K recording. As for now, I have Fx6 on preorder.
I know exactly where you're coming from and you're right, the picture quality I've seen from the FX6 is shockingly close to the FX9. If you shoot a proper colour resolution chart, then the FX9 does display sharper colours. The sensor in the FX9 also looks cleaner, but that's simply because downsampling from 6K reduces the visible effects of noise... but I'm nit picking here, because in reality, they are very difficult to tell apart without a using a large screen. I was serous when I said I almost sold my FX9. The new FX6 (in the first batch) would have been here in a couple of weeks. The trouble was, the more I had to find work arounds to make it work for me, the less interested I became. It's not just the audio (which is mad), but also the viewfinder position, lack of broadcast codecs, interlaced, and those brilliant AF functions from the A7Siii. In the end, I realised the A7Siii would make a better 'B' cam to the FX9. I run the risk of having my FX9 seriously de-valued... but I'm not that. bothered about 6K. What I want to see is a proper RAW output with a V-Lock, but in something designed for users and at the right price. At least we now know that's possible. Actually, I appreciate my FX9 more after seeing the FX6!
Wont be running to sell my fx9.. . fx6 I just dont see it will ever be an "easy" shoulder operated camera .. and for good or for bad ,I still have to tote the camera on my shoulder on a regular basis .. more than ever really .. all the corp B roll is now 60fps hand held ..the last "long " shoot I had was 95% handheld , the fx6 will be a fantastic b camera but thats about it I think for the average jobbing broadcast / corp freelancer .. its not the target buyer either judging by the promo video,s .. not seen one shot above waist height ..
True about the waist height thing, I also noticed that. I think I'm going to have to get a 'OneWheeler' as well !!! 😂. I gave my FX9 a group hug after the FX6 launch... it's still safe!
@@extrashot Yes the size, cost and battery life ,AF in slo mo (well at some rates) is tempting .. but yes in the cool light of day .. its like meeting a very pretty girl at a party after a few drinks , but then realizing they are a bit off, and leaving early to go home to your loving girlfriend :)
@@robinprobyn1971 well put!
I share your frustration Paul! I am still in the market for buying a new camera, for when I decide to slow down my outside broadcast work and supplement it with my return to ENG jobs. The reason I have not pulled the trigger on any true professional camera over the past two years is due to exactly the results of your pondering. However, you at least are now committed to the Sony camp whereas I have the double frustration of not only trying to decide between Canon or Sony but also what you highlight with Sony is exactly the same as Canon will do with their new RF line of cameras R5, C70 and rumoured C50 plus C90. The ingredients and technology are in place to create that “perfect camera” at a “perfect price” but we all know none of the big two are ever going to give it to us; it will be companies like Blackmagic or Panasonic that will try to do that to stay competitive. Lucky for me, I can wait them out!😂🙏🏾
I wish it was that simple Simon. I own some Canon glass that I love and see no need in replacing, so of course I would prefer a Canon body to go with my beloved glass. I actually do want internal NDs which is bread and butter in my industry, I need a camera with proper video tools and is flexible enough that it can be used with Outside Broadcast trucks that here in Sweden all use 1080i. For non professional projects, I love hybrid mirrorless cameras and I already have a system that I am very happy with but it definitely gets more complicated when I have to choose a professional tool that will work within a work flow with other companies work flows! The Sony A7slll is a lovely little camera but it is not exactly what I need otherwise I would already own it! You are so lucky to have found your utopia in a camera! 😉🙏🏾
The nice thing for you Simon, being already invested in E-mount glass is that Sony today have a wealth of differing cameras at many different price points and capabilities that overall are of a very high standard, that there will undoubtedly be a model that is suitable for your needs and budget now and into the future. One tip from a 30+ year stills and broadcast veteran: Don’t buy expensive gear thinking that it will impress the client! Buy the gear that that satisfies the quality needs of your client in relation to how much their budget is. Ones eye, intellect and personality in the long term are more important than that of the gear we dream about owning!😉🙏🏾
@@EugeneMaynard How true Eugene, I couldn't agree more... even though I'm the worst culprit for always wanting the latest gadgets !!! 😂
Hold tight... we're almost there. Both Canon and Sony have given us some amazing cameras recently. I have a problem with having to fit in with my clients Sony workflow, so I don't really have a free choice, I'd love the dynamic range of the C300m3 but then the Sony Variable ND is life changing for day to day work.
Good game plan Simon!👍🏾
Where we put the fs7 ii in this story?
It's still there... probably Sony's most successful broadcast camera, and still proudly waving the S35 flag (including the Variable ND on the mk2). It's still the camera I see most, on broadcast and corporate shoots with other camera crews. However, if you're asking would I buy a new one now? It would very much depend on what lenses I was invested in, and the nature of the majority of my work. The FX6 can't do S35 mode because it doesn't have enough pixels... but if you have FF lenses and want to use auto-focus, then the FX6 list price is actually lower at the moment. Tough decision!
I’m still confused why a Sony cinema camera with the Venice colour science and FX9 broadcast codecs carries the alpha badge. Is it the sensor?
I thought it depends which department leads the development of the camera, Sony Broadcast or Sony Alpha. Traditionally Sony Alpha have looked after the consumer end, but maybe they're working closer with Broadcast now? It would make sense because the FX6 is basically an A7Siii underneath... same sensor, same processors etc. As for features, in many ways the A7Siii has better specs than the FX9... especially when looking at frame rates or rolling shutter issues.
The FX6 and A7S3 share “similar “ sensors, but they do not share the same sensor. The A7S3 has a stills sensor format, whereas, the FX6 has a 16:9 sensor format.
@@angryrabbitproductions1690 Are you sure they are not basically the same sensor but simply specc'd for 16x9? If you look at the full specifications for both cameras you'll see they are both 12.9MP total pixels. The FX6 is just listed as 10.2MP effective, only because it's cropped to 16x9. They are the same sensor.
@@extrashot I think Sony has really undergone a branding overhaul recently. Perhaps they comprised a supergroup "Cinema Line" team comprised of people from the XDCAM broadcast team, the Cine Alta Venice team, and the Alpha team.
@@zachhunter5311 Maybe... and maybe they are still arguing over who does which bit ??? 😂
Nice voice
If you use.......pauses in every scentence........it stops.........being effective.
Still like... the video....though ;)
Good point... I'll try to speed up... others have said the same. Glad you liked it though!
This situation is kinda annoying specifically because Sony already has all the ingredients to create "perfect" camera. From what I've heard online it seems like these whole shenanigans stem from the fact that Cine lineup and Mirrorless lineup are made by different divisions inside of Sony. I don't know if those divisions hate each other so much they can't attend a meeting together or something, but this cripple hammer spread is frustrating. Sony, goddammit, take those engineers from two departments, put them in a room together, and forbid exiting until they create one great camera that has all the features combined in one compact body. Enough is enough!
😂 you're probably right... or maybe they have started working together, which is why we're all confused! (could that be why there's an Alpha badge on a Cine camera?)
It's always been like this with Sony and others too - Panasonic, Canon.
The do tend to want to stop pros from buying consumer gear, except they seem to forget that pros buy pro gear for more than just features. For example, heat can affect how a sensor performs - that won't bother home or semi-pro users, but it might be an issue for pro/broadcast/cine. Heat handling in the pro cameras will be much better, and even though Sony's compact cameras can now operate for a long period there is no promise of consistency.
Then of course there's weather proofing, which will likely be better in pro models. Form factor, support services and firmware updates. These may all be missing from consumer cameras.
But yeah - your core point, Sony could do it, but Sony Broadcast is no more Sony Consumer than the PlayStation or Movie divisions are.
@@ian9outof10 Good point about the 'pro' features being more than just about specs... but I still think there's a merging of the pro and consumer markets, at least at the higher or more expensive end? I met an amateur the other day, (who makes video's just for fun), and he'd bought himself a second hand Alexa Mini... he loves his hobby and he knew what he wanted!
Sony camera systems executive in a Q&A his response to the question below
“So far, the Cinema Line cameras are VENICE, FX9 and soon- to-be announced FX6. Any others?
We cannot provide any specifics on future product development, but we will expand its line-up with a wider range of products.”
Wider range of products!!!!! I feel that’s bad news for fx9 early adoptions
I saw that... of course it maybe something between the FX9 and the Venice... or not even Full Frame? It could even be 8K !!! The worrying news for most owners is when cameras get launched that are almost identical to the one you own... but half the price !!!
@@extrashot who knows, seems as thought the pandemic has thrown everyone’s plans including Sony’s out the window. I think Sony unlike BM, Arri, Red & Canon have given up in s35 on its own. Seems like all the talk from their product developers & marketers is all about full frame.
@@vieiraproductions44 True.... I'm sure it'll be late next year before we know. Hopefully the pandemic will just be a memory by then!
Unfortunately I think that may be a sign of an FX9II, which would really, really be a shame for FX9 early adopters who were hoping that the Firmware roadmap would help this camera develop over time like the F5 and 55.
The way I see it, its entirely possible that an FX9II will be announced potentially sometime in 2021. The original FS7 was announced near IBC 2014, and the FS7II around the same time in 2016, with the FS5 being announced around the time of IBC 2015.
Sony seems to be already following that pattern so far, announcing the FX9 in 2019, then the FX6 almost exactly 1 year later, and then we can maybe expect an FX9II this time in 2021.
Makes it very difficult to make a choice between the two right now. Do you go with the FX6 and give up the broadcast form factor, XLRs on body, s35 crop and 6K oversampling in favor of 120p, proper LUT support over SDIs, etc? Or do you go with the FX9 now, and potentially run the risk of an FX9II coming out 9 months later that does pretty much everything the FX9 should have done in the first place? Or maybe it will get a firmware update? Or maybe the FX9II will come out and trounce both the FX6 and FX9 in terms of features? To me, that appears to be the writing on the wall. Imagine an FX9 with the updated processor power of the FX6, but maybe even more so, allowing it to have the benefits of both models in one. My guess is if there is an FX9II on the horizon, that would be it.
But I feel as though we may have been a bit slighted by Sony if an FX9II does come out, seeing as how Sony made a point to emphasize the idea of the "Firmware roadmap" on the FX9, only to abandon that roadmap just 2 years after the cameras release. Could there be a V4 firmware update that gives the FX9 some interesting flexibility after V3 is released? Maybe. But who knows, so far, it seems as though it has been revealed that the processor in the FX9 can only do so much, so the idea of Firmware being able to push this camera much further seems to be fading.
Either way, business wise, Sony has got us locked in. Sony has made a set of cameras so good, that customers are not having trouble deciding between either Sony or another brand, but between "this sony or that sony". So either way you toss it, Money will be going into Sony's pocket, because they've made their cameras so competitive, that the competition, at least to me, is moot. Canon was looking really good at the beginning of the year, and appeared to have redeemed themselves with the launch of the C300MKIII, but Sony tore them a new one with the FX6, a camera half the cost that does just as much and maybe then some.
All Sony is competing against now, is themselves, so I doubt they are worried about cannibalizing or at least nipping at the features of their own line, because in the end they still win. Its just hard to choose which one. But when you spend so much on a camera like the FX9, you expect it to be around a bit and updated significantly via FW before it is replaced after just 2 years. If the FX9 just got XAVC480, my decision would be made, but as of right now, there is no way to know if it will or not.
@@zachhunter5311 Thank you Zach, very well put. You've pretty much summed up the thought processes I had when I first heard the FX6 specs. I hope it's too early for an FX9ii, that really would be a kick in the teeth for those that have invested so much within the last year. Obviously, I hope we see how far Sony are willing, or able, to upgrade the FX9. Even with reasonable paid options, I think it would keep customers happy. I was serious in the video... I almost swapped the FX9 for the FX6, but the decision was more about not wanting to lose money than camera specs... and in the end I realised that was silly!
If the fx9 was launched today it would have all the a7siii and fx6 and more. However, it was launched way before. That is the thing with technology. What are you going to buy
I get that... but it wasn't way before. The A7Siii was launched less than a year after the FX9, and we know that Alpha launch was delayed by some time. That's a main difference between the premium you pay for 'pro' gear and regular consumer items. People paying £10k+ for a camera expect a few years of support for that size of investment! Most freelancers I speak with would normally hope to keep a camera for around 5 years.
@@extrashot I understand. I feel the R5/C70 somehow have altered Sony's timeline and thus the a7sIII/FX6 feature set
@@nyambe You're right, they definitely altered something... if not features, then timing!
@@extrashot Both and then more. It is a two way story. The A7siii probably accelerated the c70 launch. APSC RF camera with no APSC RF lenses? that is a weird one
@@nyambe They must be switching to RF mount across the range... surely!
Sorry to be rude, I've got zero empathy for people who invested too early. People shouldn't complain about better options on the market. Who cares if the product segmentation doesn't make sense for a year or two, it just means we'll see an FX9 mk 2 earlier than planned.
Sure, the a7siii, FX6, FX9 don't have everything all in one. But if Sony could improve the pro video menus as fast as the photo menus, they probably would. I'm happy to cry cripple when I see it, but this just looks like issue integrating the two divisions. More to the point, let's not get too spoiled. We have 4k, 10-bit, audio inputs, vari ND (or stabilization), and reliable AF in the same camera with a raw option. That'll do me for at least 10 years. And we didn't have this as recently as last year. I may sound like Fukuyama declaring the end of history, but this is it. Practically no complaints are left. I'll wait a couple of years, then buy a nice camera from this year on discount, and be a happy man.
I think the segmentation does make sense. Af sony stills lenses tend to be smaller than geared s35 cine zooms or power zooms. FX9 for those who want FF as an option while retaining a 4k crop. FX6 for lower light and faster framerates. IIRC the FS5 was actually the first to have the vari-ND, the FS7 mk2 got it later.
No need to be sorry, you're not being rude, it's a very valid argument as to why people shouldn't jump in too early... and I sort of agree with you, even though I'm probably more guilty than most! I'm sure you're right, a lot of the issues we're seeing now definitely look like the result of a power grab between two corporate divisions. You can see that the FX9 was developed independently from the others, but I'm more confused by the FX6. If it hasn't been crippled to protect the FX9, then why omit the great tracking AF, touch to focus and improved menu? I'm not crying 'cripple'... I'm more frustrated by how very close they are!
david attenborough
Nooooooo!!!
Everyone works their own way with their own workflow. Everyone their own definition of perfection.
That's true Eric, and I'm all for giving people choices, especially for things like ergonomics and buttons... I get that there's some people who'd prefer a bigger camera that sits on the shoulder and others that don't want anything bigger than a dslr, but when they intentionally leave stuff out, simply for marketing reasons, it just confuses the issue.
Belligerrence or stupidity? Upshot is sony produce three cameras, and I dont really want any of them A7 - no ND, FX6 not even a minijack questionable AF, FX9 price of a used bmw, questionable AF. FS7 stays.
I think that might be the conclusion on many... especially in these times of tight finances. But you've highlighted my point... there's something missing from all of them!
@@extrashot Its baffling. Even in these times Im stupid enough to be tempted by the FX6 - but 'no audio' (on the gimbal) and 'worse AF' just dont push me over the line to dipping my hand in pocket.
@@extrashot Thinking on the FX6 is the right size for me and has that 'essential' (to me) ND - the pain of the cost would go away (just like my Fs7 which has been a good servant) but the pain of audio shenanigans would not go away. FX6ii with mic jack or mini XLR (like C70) for £5g - no problem Sony. But £4g for something annoying well that is a lot of pain.
@@sammorganmoore I was temped because I didn't want to see my FX9 lose too much value... but the more I look the less interested I am!
@@sammorganmoore True... it doesn't make sense.
Are you a priest?
???... in what way my son? 😂
@@extrashot It's the way you preach, father.
@@deepseadiver8191 Oh, sorry if that's the way it came across... not my intention at all.
@@extrashot It didn't come across that way at all.
can’t figure out why this is helpful
the thumb makes no sense
pacing is slow
Admittedly, it's probably only of help to FX9 owners who were worried... but I take your point about the slow pacing. I'll try to speed up.