Sony FX6 is NOT a Cinema Camera | G Master for MMA - Vlog 063
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- Опубліковано 3 жов 2024
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I don’t consider it a cinema camera. Do you?
It is because Sony says it is. Sony doesn't lie. 🤣
@@carl0sC they all lie 😁
Yes the FX6 is a great run and gun camera. But it's also a cinema camera.
This short was film on the FX3 and the FX6 can also produce this image, but with professional inputs for set/crew work.
ua-cam.com/video/h_YG6aE6F_w/v-deo.html
Glad you spoke up. This industry needs leaders like you to set the standards.
I appreciate that. I don’t consider myself a leader but I can speak on my experience. And that’s goes for all the people who day I don’t want to start a YT channel bc I’m not an expert in the field. Well, you don’t have to be. All you have to do is share your perspective. If you don’t understand a concept then share that. There will be tons of people who will want to discuss if you convey your message in a clear way.
I’m still learning how to do that but I’m glad I started. I shoot edit and upload the blogs all from my phone for goodness sake haha
Well too late. You're a leader.
I've watched other vlogs even cranky , but your's are just about perfect.
Not to long, not preachy and definitely not boring. Just the right length.
Plus you started the meet ups.
That's awesome, and different.
@@thekp503 thanks! Honestly, I make them 10 min so I can get a pre-roll and mid-roll ad. Gotta capitalize on that Adsense money.
great video man. i think it strikes a nice balance somewhere in the middle. it is certainly a doc camera more than a movie camera, but some docs are hard to distinguish from movies these days which is pretty cool. my favorite part about the camera is how it’s a chameleon. it can really blend in anywhere. run and gun, docs, events, commercials, or even smaller narrative films where a venice or arri may not fit the budget. i’m a big movie buff and camera nerd, so i do like thinking i have a baby venice in my kit 😂 you can shoot a movie with any camera though. like you say many times, it’s a tool at the end of the day. keep the content coming dude.
Completely agree. It could fit those productions no problem. But it can also do everything else haha
You made me change to the Sony FX6 after 10 years with Canon. I think it is in the middle of cinema/broadcast. Previously working with the PGA and SEC everyone was using Sony. I had a lot of faith in Blackmagic but Sony has excelled in cinema cameras over Canon and them. Super happy with my transition!
Glad to hear that man.
Yeah it’s a cumbersome transition but we’ll worth it in my opinion. Did you switch lenses too?
@@davidmorefield Yes, got the new GM II's (24-70, 70-200) Even though more expensive than original GMs, it was a no-brainer for lighter/smaller design and more effective auto-focus.
@@DirectedbyZ that’s exactly how I thought. Having lighter gear makes such a difference. I actually picked up the 16-35. I found a deal that was too good.
But next I’ll get the 70-200 and finally be done. How do you like it so far.
@Morefield Visuals I love it! I still think Canon has a better picture, but nothing you can't correct quickly in post with Sony. And Sony AF is way better, and the camera looks more professional than Canon's cinema line.
The FX6 uses a 48mp quad Bayer sensor that, when binned to 12mp, then cropped into 16x9 for video....equals about 10mp for full frame 4k video. UHD 4k is about 8.3 mp so a 10mp oversample down to 8.9mp frame is not really a super detailed image. The FX6 and S-III dont produce what you would call "super" detailed 4k because of the 4x4 binning process but they are generally reasonably detailed for most clients. (easily) Your 24-70 should be tested on a higher res photography camera like the A7-IV or A7R series. That lens "should" be able to 100% resolve anything your FX6 sensor can see with ZERO problem. Maybe,...just maybe you have a bad copy of the lens and could sent it to Sony for warranty?
Thanks for the info! Like I said, it’s not soft by any means. I just expected a tad bit sharper.
Great video, enjoyed hearing your information about contractors and billing at the end. Something to consider/think about/convert when dealing with results billing is convert time into 10ths and bill in 6 second increments rounded up, 7 seconds is billed the same as 12 Just an idea for you to help open those results oriented clams. And keep an eye out on the negotiations of final reviews, cinematographers cut vs clients cut. Results billing can be split or hopefully you can obtain a specific number of seconds they are looking for up front.
Take Care and keep up the awesome videos here. L.L.
I consider it a cinema camera based on... shutter angle.. dual iso... S cinetone... full frame... sdi and timecode in and out... professional mic inputs.. 12bit capable.. it's a cinema camera
I’ll respectfully disagree. But I’ll cite support!
-I wish all cameras had shutter angle, it just makes sense.
- dual iso is relatively new and the Venice and varicam are the only two digital cinema cameras I know that have it
-s-Cinetone is just a rec709 look with far less dynamic range than any log format. I doubt that would be any dp’s first choice
-can’t argue with sdi and timecode 🙌🏻
-mic inputs…. If it’s a real movie production you will have a sound guy/crew who is recording externally. Documentaries will normally record sound internally.
-12 bit 👍🏻
But it’s a tool. You can use a hammer to break a window or build a house. Depends on the user.
@@davidmorefield valid af😅🔥🔥❤
Cinema line sounds cool which is why I imagine Sony went with it.
It's like when people say things look more 'cinematic'
I'm surprised you find the G Master lens to be softish.
I use Sigma Art equivalents and almost always have a 1/8 black pro mist on to soften my image.
Yeah it definitely is a marketing strategy.
Like I said, I may have just built it up in my head. It is by no means soft.
Sometime I want a halation filter to blooms highlight and not necessarily for the softness. But that’s another piece of gear to worry about so I usually stop thinking about it pretty quick haha
@@davidmorefield Haha tell me about it, it's never ending!
Do you not like editing in general, or do you just not like editing when it isn't something for yourself?
It’s not my favorite task in general but when it’s a personal project that I’m really invested in, like my last documentary, then it’s a rewarding process. Otherwise I procrastinate and it back logs and creates problems.
Hey Morefield, great vid. Very comprehensive. What among the Sony line would you consider to be cinema cameras?
I don’t think it’s a black and white line. However, if we look at which actual films in festivals and theaters or streaming platforms use Sony… the majority of them utilize a Venice.
@@davidmorefield Thanks for the reply!
Did you ever consider the 24-105 for the OSS? Love your vids, super helpful!
I used the canon version before and always need a wider aperture for those cameras but I bet it would be fine with Sonys amazing low light.
Are you manually focusing with that g master or using auto focus most of the time?
Manual bc the fence would mess it up on autofocus.
Considering the FX line is the evolution of the FS line, the FS line was really more of an ENG camera than cinema. Make sure you rent lenses before buying them. I found the GM lens are better than sliced bread for photos, but for video they are fast and quiet. But for what you do I bet you'd do better with Sigma or Tamron. Thank for 6:54, you da man!
There’s something calming about having native glass. You get all the bells and whistles like breathing compensation and all that. I’ve had sigma and tamron and they are great too.
And no problem 😂
I agree,love the FX6.It’s a work horse.
It really is. Fits my needs and more
Now that you’ve been using the FX6 for a while, is there any feature about the c70 or Canon gear generally that you do miss?
10 stops of nd is really nice for bright exteriors.
And I miss the low data rate 4k option for long conference recordings.
The image quality is also better on the C70. It got a distinct look whereas the sony feels like any other mirrorless cam
Your vlogs are getting better and better! Keep it up man
Thanks! I just landed in Texas for a 4 day gig so there will be more on the way. 🤙🏻
Non-compete in exchange for working on a project for a few days, absolutely not. If a client wishes to negotiate a retainer, then I'm willing to limit who I can work for under the duration of the retained contract. It's a two way street, if they are not paying for my days, then I'm free to accept new business. Good work David, enjoying your vlogs.
Hmm I need to read the specifics again but it sounded like it restricted work for their client… which is the massive conference, who would never be my direct client anyways. But I wouldn’t be surprised if they worded it to limit any work at the same conference.
What do you do when you receive those contracts? Red line it and send back?
@@davidmorefield I strike items I don't agree with, initial, sign and return. 50% of the time they don't even look at it and reply. I should have been more specific in my comment, was rushing to get on the road... usually when I receive a non-compete contract it's working a one-off shoot day for a small marketing agency or production company and the end client is a Fortune 500 company... In those cases, no I'm not going to agree to decline future work opportunities for X years in exchange for 1 or 3 video shoot days of paid work. There are numerous other vendors for those same big companies that may call me in the future. Do you anticipate the hotel, sound vendor, shipping company, pipe and drape, catering or DJ signing a non-compete on the same job? We are work for hire, phone rings, I'm free to go work. I’m not intimately involved in engineering a product or a marketing strategy, I’m a photographer (which is general knowledge). Now there is certainly honor in not poaching clients, but signing legal contracts which prevent me from accepting new business, working my trade, is generally not acceptable.
US states have statutes which make most non-compete contracts unenforceable, example Texas: Non-Competition Agreements
“most courts have ruled that the public policy is to promote competition, not limit it, and that before an agreement limiting competition will be enforced, the employer must show how non-enforcement would harm it and that enforcement would not place an unreasonable burden on a person's right to practice a profession or trade or otherwise make a living. The more specialized the knowledge for the position is, the easier it is to show a need to limit competition in some way. The more general the knowledge is, the more difficult it will be to show that the business needs protection from competition (this is also known as the "common calling doctrine").”.
agree for Sure. Never thought i can Film also Weddings where is a run and gun Setup essential. The Buttons, ergonomics and the Auto nd ist awesome. Love this cam
Same man. Makes my life easier.
I Love my FX6 but I don’t make cinema films 😂
That’s my argument. I don’t think many people do. I see most people using them for doc, event and small commercials.
Did you ever figure out the manual focus by wire stuff?
I didn’t see any difference enteren switching to ‘tight’ while in mf. I really wish it had a long linear throw
@@davidmorefield Interesting, Sony claims manual mode is linear, but I have yet to test myself. Maybe it is linear, but still a short throw.
Ehh didn’t feel too linear
@@davidmorefield Does it feel different when switching to the MF mode, or still no difference.
@@avdcam i didn’t feel a difference
It's like a beefed up run and gun camera
And by beefed up, you mean extremely small haha
Yeah totally. Insanely good specs when compared to other cams in that category
Another great blog, I do have some thoughts on the Cinema vs. Video camera debate...
I would argue that the Sony FX and Canon EOS range are all video cameras, not cinema cameras. I think the term video camera has gotten a lot of bad press from companies trying to sell cameras. The main difference is versatility; video cameras are more likely to work in almost all (especially unplanned) situations such as events, documentaries and corporate work where you cannot control lighting, sound etc. Cinema cameras are really the Arri, Red, Sony where you are creating cinematic work, image is the most important thing and you have control of the environment you are filming in.
There are also camcorders which at the high end are video cameras with fixed lenses and more extreme focal ranges, they tend to have a longer depth of field but are even more versatile than video cameras because there are few moving parts and you can pull them out of a bag, turn them on and everything is ready. I actually own a Canon C70 & C200, yet my 10-year-old HD-only Canon FX300s get way more paid work for me professionally because of the speed of setup and versatility. I can set up a 3-camera live wireless stream in 20 minutes with these camcorders and although not 4k, the clients are very happy.
Totally agree.
And I’m striving for that exact ‘pull out of the bag and go” type of workflow but with the amazing performance of a Sony fx.
Thank you for telling it like it is. I always sigh i my head when people call it that.. other thing. Especially UA-cam filmakers… 😂 Its ok to be happy about getting that camera tho! No problem with that excitement. 🎉 Sony should call it like it is from the start. I dont call my fx9 a cinema camera, its simply a high en video-camera to. 🤷♂️
Honestly I think they could corner the market if they named it the ‘Run n Gun’ line haha
It would sell out in America 😂
@@davidmorefield RNG 1..2.. and 3 🤘
Would be curious what your setup is for your vlogs? Is it just on your iPhone?
Shoot edit and upload all from my iPhone. It’s the best vlogging cam in my opinion. Always have it on me, super fast to whip out and I really like the image/audio quality.
The biggest reason I use it is bc if I had to edit on my computer, it would never get done. Too much time.
I really respect clients that make a commitment to showcasing and crediting you for your work. They're normally my best clients and I am always willing to go the extra mile for them.
I mean I completely understand if they don’t. You only have your viewers attention for a second and they want it to go towards their product. But like you said, it’s much appreciated.
@@davidmorefield Yeah normally they don't. But there's a few special clients I have that made it a point to credit me and it goes onto the news channel. Definitely helps.
dam this is sick, I just starred shooting a local promotion out here in Washington state. Im On an fx3 with 16-35 f4 G. not great for low light but I need more lenses. Also shooting through a cage with auto focus is something I am still trying to figure out. best way to catch focus/
using manual focus is hard cause I'm running on a gimbal most the time. I'll figure it out. always learning.
F4 used to be bad for low light but not anymore with the Sonys high iso!
Also I definitely advise against autofocus when shooting through a cage. It’s too messy.
I really don’t think any of the FX cameras are “cinema” cameras, but it’s such a vague term these days. I do wonder about your lens sharpness though, if some of your camera settings or even the type of content you shoot may be affecting the sharpness … or even if you got a softer copy of the lens than most? All the reviews go on about how sharp it is even wide open
It might of been the low contrast situation of the octagon. They didn’t have the bright lights like normal.
@@davidmorefield were you shooting in slog or scinetone or what? Scinetone is a little weird where some of the lower exposure levels are given higher contrast levels than higher exposed areas. Slog can look softer if you have noise reduction on, and I also think there are sharpness settings you can change. Also lens corrections like chromatic abberation and distortion compensation, focus breathing compensation etc could all be affecting the sharpness
@@ButterViZion slog, medium noise reduction and yes to the other settings you mentioned.
@@davidmorefield give noise reduction off a try unless it is specifically a spec the client asks for. I always keep it off myself ever since a few broadcast jobs requested it off and have never seen a noise issue ever since the fs7 days. Also the breathing compensation try that off as well as see how much it matters … I haven’t really had a need to use it yet and it will definitely soften the image by cropping in and blowing it up
I’ve been a pro Sony camera user since 2001. (Back in the PD150 days) You explained why I always go with Sony.
Pd150, nice! I used to have a vx2000 from the skateboarding days.
@@davidmorefield had one of those too!
@@timdanyo898 that’s the kind of compact and fast operation I want. Honestly my rig feels really close.
It would probably be closer with the 28-135. I wish they would offer more power zoom options.
@@davidmorefield zooms that tap into the side grip zoom rocker. My 18-105 4.0 Sony zoom has this power with my FS5m2 which is amazing. Super35 though..
Good videos brother!
Thanks man!
Mines coming this week finally just yoloed it and bit the bullet !
Bite ittt
Send the link too.
@@davidmorefield link to what?
@@stuartswindellcampoy8483 ohhh I thought you meant you had a vlog coming this week haha
Congrats on the cam!!
@@davidmorefield oh no but might eventually start depends on how i work while vlogging see if it affects my work !
really loving these outro clips
Sometimes I think they are too unrelated haha
@@davidmorefield nah man😂 it shows you're really one of us and likes to have fun outside the jobs as well
@@moosruatfela8060 that’s what I’m thinking. Glad to hear it’s received that way. As someone who just watched UA-cam for so long, I always felt like YT’ers were these weird entities bc of their loud personalities. But it’s interesting now that I do it, that nothing changes on my end but people think I’m a ‘UA-camr’ 😂 I’m like … I’m a DP who uploads videos. It feels different but maybe it’s the same.