Actually never had any problem with noise shooting at 12800 ISO in CINE EI, I just expose 1 stop over for safety but it's been absolutely amazing. In fact, 'The Creator' high budget movie which was entirely shot on the FX3 had many scenes shot at 12800 ISO resulting in incredible visuals. Hope Sony will keep the high base ISO at 12800 for the next generation FX3/FX6, its one of the strongest selling points.
I need to start using CINE EI. I have been presetting the look to SLOG3 in custom mode. Still switching between the high base of course. I will get back to you with some test results. Thanks for the advice
@@jonwaldman94Oh as soon as I got it two and a half years ago, I invested some time into learning CineEI. From my first shoot it's been in CineEI and I never even tried it without. It's really a great way to film. Never worrying about ISO, just where your dynamic range and noise falls. If you have any questions, feel free to ask.
damn just watched the video an was surprised that u "only" have 1220 subscribers. You definitly know how to handle cameras and audios and your storytelling was really good too. You just earned yourself a new subscriber :)
We're thinking about buying a fx6, I'd buy another A7SIII ... today. It's still incredible, sure there will be better in the future, but if you need a camera NOW, you can't wait if there's nothing on the immediate horizon.
@@jonwaldman94 By the way, this was the first video of yours that I've seen. Your emphasis on the camera as a tool was great. As an actual professional that's how I see it. Its a means to an end, not a spec list (as so many youtubers who don't actually work seem to think).
@@FitsTube Really appreciate It. I am an owner/operator first. I run a video production company. This is a tool I use that helps get my job done the most efficiently!
Sony isn't going to release a new MKII camera for this year - instead they are updating firmware so this camera is going to stay relevant for the next year. We have bought 75 -FX6 packages every month for the last two years for the Digital Cinematography students in my class at Full Sail - every student gets their own camera and I have to say as a life long Sony camera owner, I'm in love with the FX6. For me it allows us to have the students concentrate on the craft of filmmaking because they have an incredible camera as a base. Every several years a camera comes around that is a game changer and the FX6 is that camera.
The FX9 does really solve all of the issues you listed other than ND starting at two stops. For variables, I think there’s a technical reason why they all start at 2. Right now, I’d just like things that could be fixed with firmware like better overlays to send out to monitors. Right now my options are clean or every stupid icon that’s on the touchscreen. It would be nice to have a simple overlay like how every cinema camera does it. I’d also like the roll number to advance with every format, but we just got roll numbers with the latest firmware, so I don’t want to get greedy. More monitoring matrix options in general would be nice, but that’s starting to push into Venice and maybe Burano territory, so I’m not holding my breath for that.
Dude you're making me want to switch from my A7Siii. Same sensor etc but the ND, form factor and even the client reaction... Obviously the Burano will be perfect but that can be rented for big big jobs haha!
Have you tried using EI at the 2nd base? You essentially pay a 1 stop 'penalty' in terms of noise but gain 4 stops of exposure when you go to 12,800. If you pull 2 stops '3200EI' then you can get a cleaner image than shooting at 800 - which is kind of insane. Try it!
I have not. Truthfully, I use custom mode and set my look to SLOG 3. I swap between low base and high base setting when needed. I've shot between iso 800 - 1600 or even 2000 and sometimes feel that is cleaner than high base 12800. Maybe I should start shooting in EI mode!
I had really mixed results in cine EI in high base. I'd rather shoot everything between 500 and 1600. And push if really needing to. Noise jump shadow is a thing that I could clearly see on my monitor.
@@jonwaldman94 New FW allows you to shoot in variable ISO mode in 'CineEI' now, so no need to go into custom. But yes, try proper Cine EI first. Light a normal scene and stick the camera in 12,800, then flick the monitor LUT to 3200 and expose for that (just making sure that the log underneath isn't clipping on any highlights). If you take that into Catalyst, and now DVR, the metadata follows over and you'll see the 3200EI image you shot at (this won't work in Pr - you'll need a pass through LUT or grade it down). I recommend using DVR colour management which will convert that log straight into Rec709 with no LUTs etc. If you want, also shoot your scene at 800 and then you can compare results. I'm pretty sure you'll be pleasantly surprised. I haven't done extensive tests but when shooting at the high ISO and bringing it down, I reckon you get richer colours too.
I tested it, high base at 12800 is too damn noisy, and yeah if at high base becaus of the shooting, you better pull down two stop but at some cost for your dynamic range@@donmcvey It's all a game of compromise !
I think its killer but I have no need for It. If I get hired for higher end commercial work more frequently, I would look more into It but I am not there.
@@jonwaldman94I have the FX6 and two FX30s as B and C cameras. It's the best of both worlds. If I need extra range or extra stabilization I can use my FF lenses on the FX30. The FX30s also run indefinitely from a 9V2A or 9V3A power bank, so I can set them as two extra angles on a long interview and never worry about batteries. Plus monitor them from across the room on my phone with Sony's new Monitor & Control app. Both FX3 and FX30 are a great match for the FX6.
I hear you. You might get a "better image" and more flexibility (raw, resolution, etc) out of those cameras but for usability and other features, the FX6 wins for me every time.
Why is it that many are dumping the FX6 and going to RED? Just kidding. I know why. And I'm not a RED owner. I've heard some say it's a Camcorder. That makes sense. Not loving the image. Sorry. But the Burano... yeah that's a thing.
There are way more people dumping the RED and buying a Sony. You can't think of the Sony image as the stock look. It's way more flexible than RED and you can actually match it to a RED in post very easily.
@@jonwaldman94 I was working on post for a feature film filmed with Arri last year and the director wanted two shots reshot. It was filmed in Morocco and we're in LA... I ended up using my FX6 to film those two quick shots and I matched them perfectly to Arri. He was shocked and is still talking about it at parties lol
Just bought mine and love it. Will use for years upon years
Congrats!!
Actually never had any problem with noise shooting at 12800 ISO in CINE EI, I just expose 1 stop over for safety but it's been absolutely amazing. In fact, 'The Creator' high budget movie which was entirely shot on the FX3 had many scenes shot at 12800 ISO resulting in incredible visuals. Hope Sony will keep the high base ISO at 12800 for the next generation FX3/FX6, its one of the strongest selling points.
I need to start using CINE EI. I have been presetting the look to SLOG3 in custom mode. Still switching between the high base of course. I will get back to you with some test results. Thanks for the advice
@@jonwaldman94Oh as soon as I got it two and a half years ago, I invested some time into learning CineEI. From my first shoot it's been in CineEI and I never even tried it without. It's really a great way to film. Never worrying about ISO, just where your dynamic range and noise falls.
If you have any questions, feel free to ask.
Nah FX6 is too old we all need the Sony Burano 😂
lololol
THANK YOU!
I have the FX6 and two FX30s. I want the Burano so bad!
damn just watched the video an was surprised that u "only" have 1220 subscribers. You definitly know how to handle cameras and audios and your storytelling was really good too. You just earned yourself a new subscriber :)
David, you made my day! Thank you so much. More videos coming :)
We're thinking about buying a fx6, I'd buy another A7SIII ... today. It's still incredible, sure there will be better in the future, but if you need a camera NOW, you can't wait if there's nothing on the immediate horizon.
Totally!
@@jonwaldman94 By the way, this was the first video of yours that I've seen. Your emphasis on the camera as a tool was great. As an actual professional that's how I see it. Its a means to an end, not a spec list (as so many youtubers who don't actually work seem to think).
@@FitsTube Really appreciate It. I am an owner/operator first. I run a video production company. This is a tool I use that helps get my job done the most efficiently!
Sony isn't going to release a new MKII camera for this year - instead they are updating firmware so this camera is going to stay relevant for the next year. We have bought 75 -FX6 packages every month for the last two years for the Digital Cinematography students in my class at Full Sail - every student gets their own camera and I have to say as a life long Sony camera owner, I'm in love with the FX6. For me it allows us to have the students concentrate on the craft of filmmaking because they have an incredible camera as a base. Every several years a camera comes around that is a game changer and the FX6 is that camera.
I get mine from the school next week 😁
The FX9 does really solve all of the issues you listed other than ND starting at two stops. For variables, I think there’s a technical reason why they all start at 2. Right now, I’d just like things that could be fixed with firmware like better overlays to send out to monitors. Right now my options are clean or every stupid icon that’s on the touchscreen. It would be nice to have a simple overlay like how every cinema camera does it. I’d also like the roll number to advance with every format, but we just got roll numbers with the latest firmware, so I don’t want to get greedy. More monitoring matrix options in general would be nice, but that’s starting to push into Venice and maybe Burano territory, so I’m not holding my breath for that.
Totally, Andrew! Yea, I hear ya haha. Appreciate your input bro
I'll be getting this one secondhand! looking forward to it
Yessir!!
Dude you're making me want to switch from my A7Siii. Same sensor etc but the ND, form factor and even the client reaction... Obviously the Burano will be perfect but that can be rented for big big jobs haha!
You will be happy with the upgrade!
Really interesting stuff, Jon! Thanks for sharing your insights. Nice work organizing this info together 👌
Definitely still worth Jon 👍🏻 I have it now for 2,5 years too but I only made my passion projects 😅 best cinematic greetings from germany
Agreed, Yes!! Cheers
I just bought one. Hehehehe can’t wait for it
Congrats!’
this video was great , on the point. thanks man.🧡
Have you tried using EI at the 2nd base? You essentially pay a 1 stop 'penalty' in terms of noise but gain 4 stops of exposure when you go to 12,800. If you pull 2 stops '3200EI' then you can get a cleaner image than shooting at 800 - which is kind of insane. Try it!
I have not. Truthfully, I use custom mode and set my look to SLOG 3. I swap between low base and high base setting when needed. I've shot between iso 800 - 1600 or even 2000 and sometimes feel that is cleaner than high base 12800. Maybe I should start shooting in EI mode!
I had really mixed results in cine EI in high base. I'd rather shoot everything between 500 and 1600. And push if really needing to. Noise jump shadow is a thing that I could clearly see on my monitor.
@@jonwaldman94 New FW allows you to shoot in variable ISO mode in 'CineEI' now, so no need to go into custom. But yes, try proper Cine EI first. Light a normal scene and stick the camera in 12,800, then flick the monitor LUT to 3200 and expose for that (just making sure that the log underneath isn't clipping on any highlights). If you take that into Catalyst, and now DVR, the metadata follows over and you'll see the 3200EI image you shot at (this won't work in Pr - you'll need a pass through LUT or grade it down). I recommend using DVR colour management which will convert that log straight into Rec709 with no LUTs etc.
If you want, also shoot your scene at 800 and then you can compare results. I'm pretty sure you'll be pleasantly surprised. I haven't done extensive tests but when shooting at the high ISO and bringing it down, I reckon you get richer colours too.
@@PALALALALALALA From what I'm tested, you're better off at high and pulling down (at least 2 stops), over low and pushing up. Test it!
I tested it, high base at 12800 is too damn noisy, and yeah if at high base becaus of the shooting, you better pull down two stop but at some cost for your dynamic range@@donmcvey It's all a game of compromise !
What do you think about the burano?
I think its killer but I have no need for It. If I get hired for higher end commercial work more frequently, I would look more into It but I am not there.
No compressed 4k 10bit 422 was a constant pain point for me. Great camera though, very easy to use.
Love it man
🙏🏻
Just purchased mine!!
still good camera.
100%
The 2nd base on the A7iv is 3200 and I find it's way eassier to use then the 12800 on the a7siii but not as clean
Interesting. So you think the second base is cleaner on the a7s iii vs a7iv?
@@jonwaldman94 yeah definitely cleaner
Noted. Still on the hunt for a "perfect" hybrid to have 2 smaller cameras for certain gigs. If the A1 had a flip out screen.. @@selishots
@@jonwaldman94 yeah the a1 really needs to be updated
@@jonwaldman94I have the FX6 and two FX30s as B and C cameras. It's the best of both worlds. If I need extra range or extra stabilization I can use my FF lenses on the FX30.
The FX30s also run indefinitely from a 9V2A or 9V3A power bank, so I can set them as two extra angles on a long interview and never worry about batteries. Plus monitor them from across the room on my phone with Sony's new Monitor & Control app.
Both FX3 and FX30 are a great match for the FX6.
Nice video! Used the fx6 for a week and the image was not really good for my taste. I would prefer the ursa g2 4.6k or the komodo.
I hear you. You might get a "better image" and more flexibility (raw, resolution, etc) out of those cameras but for usability and other features, the FX6 wins for me every time.
@@jonwaldman94 yes for documentations and so on the fx6 is a clear winner.
Hi，I‘m a Fx6 user too， may I know how much your earn as a one man band filmmaker？
For sure still as of today
*Googles “used fx6 kit”*
Lmao yes!
Hallucinations
Why is it that many are dumping the FX6 and going to RED? Just kidding. I know why. And I'm not a RED owner. I've heard some say it's a Camcorder. That makes sense. Not loving the image. Sorry. But the Burano... yeah that's a thing.
Lol. It's all personal preference. RED is a great image, raw, etc. but for my workflow, It does not make sense
There are way more people dumping the RED and buying a Sony.
You can't think of the Sony image as the stock look. It's way more flexible than RED and you can actually match it to a RED in post very easily.
agreed@@lukastemberger
@@jonwaldman94 I was working on post for a feature film filmed with Arri last year and the director wanted two shots reshot. It was filmed in Morocco and we're in LA... I ended up using my FX6 to film those two quick shots and I matched them perfectly to Arri. He was shocked and is still talking about it at parties lol
@@lukastemberger love that 😂😂. I feel like most modern sensors are all like 90-99% close
What a dumb question.