This is the best (and funniest) review of the FX6 I've ever watched. I love watching videos from filmmakers who actually use the camera everyday instead of youtubers who use it for a week and hype it up like it's the best thing ever (because they're being paid to do so). This is so honest and necessary.
This is so accurate. FX6 owner myself, and I absolutely love the camera. But I'm truly hoping Sony seeks out feedback and sees content like this to make their products even better. Thanks for making this!
This is so incredibly accurate I hope Sony sees this! Addressing these points in a mkII Version would literally make this camera the closest to perfect
Sony is too egotistical and arrogant to even take one iota of advice from This incredible review. Was planning on getting the fx6 but now staying far away.
Honestly, I’d still recommend this camera, if you were planning to get it. It’s by no means perfect but in my opinion it’s still the most versatile camera with the least amount of compromises if you do a variety of different jobs. I agree with everything mentioned in this review but after all there’s probably no camera in that price range I’d buy over the fx6.
☝🏻️ this. I find it odd how some people choose to hear only the negatives and gloss over the parts where I say this is probably the best camera on the market today and I wouldn't trade it for anything under $20k+. No regrets buying it whatsoever and love using it.
Absolutely hilariously honest / accurate review. I’ve spent the last 2-3 years trying to mentally summarize my frustrations with this camera. You just read my mind!
I only got the camera about 2 months ago and have been loving it, but everything you mentioned in this video is right, it honestly feels like they sat in a boardroom and said to eachother "How can we make this good but not great so we can bring out a MK2"
Sony's track record isn't encouraging. Did the FS7 MKII or the FS5 MKII fix all of the horrible things on the V1s of those cameras? A few little things but overall, no. I'm counting on an FX6 MKII that will add a 3.5mm jack to the body, 6K sensor and probably not much else that addresses these very real limitations Greg ranted about. I doubt they will noticeably improve the menus, make the body larger, open gate, improve the horrible monitor or monitor arm, etc. That's just not Sony's style.
I have never agreed with a video fully, 100% in my life but you hit the nail on the head. I wanted to build my own audio module and even made a prototype but the parts are too expensive. Thankfully Godox have the virso m2s which does take the sting out of the audio handle but you're right...the canera has many flaws. I wont let it go because i love the image and other features but my God!!!! If i was on the Sony's payroll, this wouldn't have gone out the door in it's current form.
Yes, the image and the fundamentals like practicality and reliability make FX6 a great camera. It could be the GOAT if Sony put more time and effort into it. BTW never heard of that Godox thing, will check it out, thx
Hi Shagral, You spoke out my thoughts on the fx6. Your video is so funny and precise at the same time, nothing rivals it on RU-vid. My major complains are a) the screen ... insult to my eyes b) audio ... It's a joke, not pro at all c) grip ... Feels nice, but somehow mechanically disconnected from the body However, NDs of the FX6 are the industry benchmark at the moment. I permanently want to change the brand. Nonetheless, it is (at least for the moment) the image quality of the fx6 that binds me to Sony. Either Canon presents a killer competitor or Sony presents a fx6 Mk2. Otherwise the fx3 is becoming day by day more and more my daily camera simply for the sake of convenience. Honestly, the image quality of the fx3 is pretty close to that of the fx6. So it replaces it more and more - at least for me. Thank you for this wonderful summary!
What an excellent breakdown. You could have called this 65% perfect camera after that beatdown😅. I do love the camera though and I agree that SONY wants you to buy multiple cameras as I did. 6 and 9. Love them both depending on what I need from them.
Epic breakdown!! So accurate. Sony has some serious work to do when it comes to the usability of their cameras. More RU-vidrs need to be this critical (aka actually use the cameras in the field 😂).
I hope that Sony sees this video and can address some of the issues in the menu system at least. I agree that the UI isn't great and having universal terminology could really improve this camera. And a proprietary solution for still having audio control when taking off the top handle??? Take my money now! Great video, I subscribed to your channel because of this, and it's the first video of yours that I watched.
I'd love full 6K resolution up to 60FPS minimum. Don't need open gate, just 16:9 6K like Blackmagic. Also false colour is by far the best exposure tool IMO, so would love that. Lastly, an updated Codec, whether a BRAW equivalent (RAW but not RAW), and i'd be happy with that.
@@shagral I get you, but amazing for punching in, maybe allow for SSD recording or make the CF express cards more affordable by having more players in the marketplace. I’m not big into RED, but some ppl love them.
@@shagral Sony has yet to unlock the full potential of that 24MP stacked CMOS used on A9. In fact, Sony are still selling/milking the old IMX410 sensors to other camera manufacturers who know they can't get away with 4K60p crop due to its slow readout.
Very accurate. I do have a workaround for you though. When flying the fx6 on a gimbal that much maligned lanc port can be used for record start stop (yet another cable though). And of course there is the internal mic for scratch audio on a gimbal. I know some DOPs who would disagree on making the body bigger because they love the FX6/RS3 combo. The new Burano has opengate so I can't see Sony putting that in a camera 2 levels down - who knows - they do strange things. 100% would love to have audio on S&Q.
Great points, looking at upgrading to the cine type camera from the Sony a7iii this week. Makes me look towards the canon as I need to buy it next week ! Buuuut keep coming back to the Sony fs6. If you were buying a cine cam today under 6k what would you get?
Like I said in the conclusion, I would still get an FX6! I love it and no regrets, just wish it was perfect. Canon C70 also wouldn't be a bad choice, but if you have A7iii then you prob have some E-mount lenses so it makes sense to go with an FX6. Thanks for watching, you're probably that 1% female demographic that RU-vid analytics say I have 🤣
Honestly dude, take a look at the Ronin 4D. Sure it's heavy and a little funky, but it's putting out performance on par with Red V-Raptor sensors and you can get the internal raw upgrade. It'll take all your E-Mount lenses with an adapter and the lidar is BEYOND cool for manual focus pulling
That was fun! I agree with most of the points but the majority doesn't affect me. I added the loupe from the FX9 and a Vocas LCD support bracket to get a viewfinder. To monitor the picture I use an Atomos Shogun. I bought a Sony UW wireless mike kit so I can use three audio channels properly but there's always the option to get the Sony KLR-3M to add two XLR inputs with dials via the MI shoe plus a 3.5 mm jack. In the next firmware update I'd like to see the Long-GOP codec you mentioned, preferably in H.265, and open gate. The latter would not only be useful for anamorphic lenses but also if you need to reframe for social media in 4:3, 5:4 or, hell, 9:16.
I love the passion 😂. Almost feel like there should be a support group for Sony users who feel completely abandoned post sale. I'm an Alpha user and have very similar misgivings with my a7s III. Sony totally hit it out of the park with the A1 and a7s III, yet seems like they've just put these cameras out to pasture with important firmware updates. Super frustrating to see new vlogging or photo centric hybrids coming out with things like focus breathing compensation while I'm stuck with an otherwise amazing video centric hybrid and probably the best 35mm of any platform that I can't use for video. Coming from Panasonic who basically reinvent their cameras via firmware even years after release, I find Sony's after sales just frustratingly stupid and short sighted. As a keen hobbyist, I certainly won't be going all in on new Sony gear again, especially now Panasonic seem to have cured themselves of their aversion to PDAF.
Hey thanks for watching & comment! Yeah but Panny will be forever stuck with inferior sensors, buying Sony's last gen leftovers with bad rolling shutter etc. And they too have abandoned a lot of their cameras. Eva-1 has come and gone, there haven't been a Varicam in years... Frankly I don't think they will be around in 10 years. But their firmware game was always strong, that much is true.
@@shagral I had no idea Panasonic's cinema line had degraded so far. Seems weird as they just seem to be finally getting it together in their prosumer offerings. I did have a question for you being such a techy video guy. Just wondering if you knew if there was a technical reason for why sensors with larger pixels seem to perform less bad in extreme low light / high gain scenarios than sensors of the same format with small pixels? Still images it seems higher MP is an advantage to reduce the size of the noise, however for video it appears the footage from higher MP sensors fall apart a lot quicker when gain is applied. Is this just a byproduct of thermal noise, or is there something else in here I'm missing? I watched your great video on this, so get that adding gain is just raising the noise floor and reducing DR. Just been something I haven't seen explained clearly anywhere.
That's a very interesting topic, and a very deep rabbit hole. I read some stuff that made my brain boil. But in oversimplified terms, think of it as gathering rain with buckets. With the caveat that it's super windy and the rain doesn't just fall down, it flies all over the place. In that situation, bigger buckets collect more rain drops in the same span of time. Now each bucket lights up if it collected over a certain amount of water. That is signal. If a bucket caught so little rain it isn't even sure it has any, it produces noise. So a field of bigger buckets has more signal and less noise than the same field of smaller buckets. Back in the camera world, buckets are photosites (pixels) and bigger photosites mean higher SNR. So you want to make them as big as possible within the constraints of sensor size and resolution target you're trying to hit. Studies show that perceptual resolution peaks around 3.2-3.5K That is why the OG Alexa had a 3.4K sensor and still looks sharp and amazing. Enough to say, Alexa mini still goes for $35K used with 8000hours. Name any other digital cinema camera that holds value like that, I'll wait. Now, ARRI budged to Netflix and made a 4.6K sensor to accommodate the 4K mandate in almost every sensor mode. But the physics remain the same. Bigger photosites gather more light and that is why the best camera in the world has like 14 MP. On top of that Alexa has dual gain readout and Peltier element, but that's a whole another rabbit hole. As for high MP sensors, it is true, the noise is smaller and thus less perceptible, but the per pixel SNR is still worse and that is why higher MP sensor produce exponentially more noise when amplified. And then it's the usual downward spiral: higher noise => more NR => reduced image detail with worse color rendition => extra sharpening and saturation => crappy video look. So it may look the same at normal exposure (almost every modern camera does, even an iPhone), but the DR and latitude are worse compared to low MP sensors. Hence the 8K Venice II with about 12 stops of DR, 2 stops less than ARRI's 10 year old sensor and a whooping 5 stops less than their new one. So rest assured, you made the right purchasing decision with A7sIII. Usual disclaimer: it's all much more nuanced than that, bunch of caveats, resolution has its uses, DR isn't everything, yada yada yada... But case in point: K's are for chumps :D
@@shagral thanks heaps for the response. So basically saying the larger pixel sensor has a lower noise floor due to the higher per pixel SNR? Crank the gain, more latitude at the bottom end before you're just amplifying noise? So would this indicate a limitation of relying on downsampling to get you out of trouble when dealing with detail close to the noise floor too? From what I've seen the a7 IV for instance with 7k downsampling at 24fps falls apart well before that of my a7s III at high gain in extreme low light.
First part yes, second part - not exactly. When using digital gain (in camera or in post), you are always amplifying both signal and noise, they are never apart in the digital signal chain. So of course, sensors with higher noise floor have even higher noise when the signal is amplified (and it goes exponentially up with every stop). And latitude decreases as you lose detail & color to noise.
didnt know it doesnt have xavc-s .... wanted it as A-cam for a long documentary which I'm already shooting for 2 months with the FX3.....and no 3.5mm is really a problem....will get a FX30 then. Thx man
Looks like they just announced the app control you were hoping for? Great details and review for someone who has only shot on Alpha series bodies. This is valuable before buying the FX6 to set expectations.
The funny thing is that the Venice doesn’t have that problem.It’s all a function of the different groups within Sony that are controlled by Marketing and upper management.Nevertheless the FX6 is a great camera body with price performance.For $6K you can’t have it all.
Yep, makes no sense. And only for VF (lol?) and HDMI (most pros will probably use SDI). Besides a 2x anamorphic on a 16x9 sensor gives something like 3.5:1 aspect ratio which is ridiculous.... Sony is fixing a problem that doesn't exist (everyone uses an external monitor anyway) while ignoring glaring problems that do exist 🤷♂️
And the fast forward playback from that tiny joystick 😩. It’s so frustrating showing some footage to your client. Waiting and waiting to get to that desired part of the video, on a x4 playback in s&q for example. And if your finger slips even a tiny bit, the playback stops. Soo frustrating. Ps: I still hope for someone to tell me there is a better way to playback footage 😅
Right, forgot about that! Everything about playback (or "thumbnail" ugh) is so uncomfortable! But TBH that applies to most cameras out there. The only truly better way is to also record externally on like BM assist and playback there with great UI. But that's not really a fix.
When it started to get "real" (xlr and 3,5mm jack), is when i did not bother at all ahah. Everything before, or almost, is an issue for me, but since i always keep my top handle on i dont care about the xlr positions (actually i like it that way, less cables), and i never neede more than 2 channels of audio (when i need more i usually have a sound guy). But something you did not mention, is the fact that the files contains 8 AUDIO CHANNELS (i really dont understand why so much since 4 is the maximum), and that you cannot lower it to the number you are really using. so for every project the first thing you do after importing clips on timeline is deleting the extra audio layers. Not a big deal, but still...
Yep... almost. I sold mine due to lack of 2 things... 1, the lack of any onboard audio input without the handle... and 2, the lack of a 4K 10-bit Long-GOP codec. The WB function is terrible compared to the FX3, and IDK why the waveform+zebras is post LUT without any option to disable. The "thumbnail" button is pretty useless, with no option to scrub through a recording, and it's placement is too prevalent... I accidentally hit it all the time. Oh, and I forgot... There's no ⅛" (3.5mm) jack on the handle, like there is on the FX3!!
Ha, ha, I appreciate a good rant and that was a very good one Greg. I agree with pretty every single point you made. It is a great camera but it does have some frustrating and infuriating omissions and bizarre design decisions. I also agree, Sony has, hands down, the worst menus and navigation in the business. When I reviewed the Pocket 6K Pro and then the Ursa 12K a few months later, I thought that BMD should really design every cameras menus. So simple, quick, easy to navigate and logical. Canon, better than Sony but BMD is superior. Fuji's menus are a hot mess. But Sony's menus are simply bizarre and illogical. The FX6, but really also the FX3/30 mic holders are laughably bad, I'm seeing them sheared off and destroyed in every Sony FB group I am in, like all of the time, constantly. Even with the rubber sleeve and or Gaffer tape wrapped around your normal diameter mic, the mic sags, creaks and is loose. I suggest that every Sony shooter replace that crappy mic holder with a Rycote Lyre mic holder. MUCH better isolation and they don't snap off if you look at them wrong. Subscribed. Give us some more rants!
you nailed this, 1000 percent accurate , im surprised you didn't mention no #ibis I'm currently in Fullsail university and this is the camera that im going into debt for, so I've been researching everything I can about this reliable workhorse of a beast. I had to subscribe and give this video a like. I've actually found out a way around the 3.5mm jack by way of introducing the atomos ninja v and in doing so also upgraded my screen to a bigger and brighter screen with all the effects that I need. I'll still use the stock monitor in addition to the atomos for touchscreen menu -but that's about it, folded out to the side ofcourse to add the v-mount small rig 99hr battery. I just wished that this 4.0 firmware update came with the ibis that almost every other cheaper camera comes with and damn is this true, a $6,000 dollar camera that doesn't shoot 6k at all.... am I being deceived? I feel like someone is pulling my leg. I'm actually going to school and paying a whole bachelor degree tuition along with financial aid plus+ loans for this very awesome camera and 6k? Really?
Hey, thanks for watching! IBIS is really a photo/hybrid camera feature, you won't find it on any cinema camera from ARRI, RED, Sony etc. There are two good reasons for it. 1) The most important thing for best noise performance is to keep the sensor at a stable temperature, that is why most volume of a cinema camera is occupied by the cooling system (FX6 is the same). The heatsinks must be firmly married to the sensor board, so it cannot move. 2) In professional shooting you want to have complete control of the movement of the sensor. IBIS, even when off, can move when forces are allied to the camera (e.g. it shakes on a moving vehicle), producing unwanted movement and artefacts. Stabilization should be done by proper external equipment. Edit: Sony Burano was just announced and has IBIS, so who knows! Maybe they've solved these issues. I myself would stay away from IBIS anyway. As far as 6K, price and K's are not related, lol. Alexa mini is a 3.2K camera that still goes for $35000 used. FX6 being a full frame 4K camera has big photosites and that's why it's so sensitive to light. I would rather have that than some extra K's that don't translate to better image quality anyway. If you want more K's, buy a RED! They have K's in spades. P.S. it's none of my business of course, but I wouldn't go into debt for a camera unless I had a steady stream of work to make that money back with it.
WORD! That is why I'm shooting with Canon. The monitor, and small, cramped-together button layout are a joke on FX and FS series Sony cameras. Smaller is not always better. Working professionals need tools that are convenient and simple to use. Sony cameras feel like plastic toys. But Sony has some good advantages over Canon as well.
just to comment something you said at the end, i had it freeze/bug "many" times over 2 years. Maybe 10 times. Always scary when on shoot. I use EF lenses with metabones, so maybe that is the cause, idk...
Yes I've seen people with that problem on the FB group. Something about contact pins coming out of contact because of mount flex freezes the camera. But I only use native or manual lenses, never had a single issue.
I agree with some of these points and disagree with others. I agree it NEEDs a 3.5mm jack and proper 4 channel. God the mobile app is terrible haha. One thing I havent seen discussed much is it impossible to use the internal ND if you want to use a polarizer as well, something clashes this can be a huge issue when filming on the water/vehicles. The mic mount is ridiculous and week, I 3D printed a better one that uses rycote mounts. I think looking at this camera alone some of the decisions seem weird and out of place. Some of these problems are easily fixed with a firmware update if they would ever do that. However some of these make sense when you look at the venice/fx9/fx6/fx3 as a whole line up and where the fx6 sits in that line up, both feature and price wise. To me I wanted the small form factor, if I need the ergonomics to be improved Ill go get an fx9. I come from Arri/Venice/Red so these little cams are feature packed and great.
I get what you're saying but I don't really see it as a line up. The "cinema line" is pure marketing, these cameras share very little DNA. FX3, 30 - are pure Alpha cameras. FX9 is PXW line which Sony calls an "interchangeable lens digital camcoder". FX6 is a weird mish-mash of PXW and Alpha. And Venice is the evolution of F5, F55 - the CineAlta line which is the only true cinema camera line they have. These are three separate lines. Also I don't think that "that's how they've always done it" is a good reason to do anything. There is no reason why FX6 should inherit PXW's decrepit UI and wonky accessories. It was a chance to innovate, to update and they were too lazy/cheap to do it. For a lot of people, me included, FX6 was not only their first Sony camera, but first real made-for-video camera. It was an upgrade from mirrorless and a step up from videography into the world of big boy video production. I guess I just expected more from Sony, more quality and attention to detail. And from a Japanese brand to boot. Where is their famed perfectionism? Not in the FX6 for dame sure.
I'm not an owner but I rent fx6 from time to time and at this point I have the manual bookmarked on my phone because I'm always trying to find some option or coming across some bizarre limitation. Stuff that has been solved on my old C200 isn't on the fx6. The audio thing was the biggest slap in the face. Absolutely dumb
Forgive me if I missed it but the biggest issue doesn’t have a chapter! The internal All-I codec is weak and will let you down with strong artefacting in many outdoor scenes. This is unacceptable for a $6K camera at this point. Only flicked through some of the chapters as I’m an owner myself and am familiar so apologies if you did say this and I missed it but this concern would be the first one I raise in a video like this, it’s crippling.
Proof link? I had zero issues with XAVC-I, nor have I ever seen anyone complain about it. It's the best codec in the business, as far as I'm concerned.
@@shagral Having had access to the white paper (which is not public sadly) I can confirm it is objectively not the best codec in the business. Not even close actually. It’s essentially based on H.264 forced All-I with some modifications. It’s very old and inefficient at this point. This would be fine if it wasn’t for Sony hampering it with a low data rate on the FX6. On the old F55 you used to be able to shoot XAVC-I at about 600Mb/s UHD24/5P IIRC and it worked great for that. XAVC-I from the FX6 is only 250Mb/s at 25P. There’s a reason almost every other manufacturer uses 400Mb/s minimum for their All-I formats in UHD 24/25P in their video-focused prosumer mirrorless cameras and cinema cameras. For context 250Mb/s is considerably less data than ProRes 422LT whilst using a very comparable compression system. FX6 XAVC-I footage shot in a foliage dense environment will very easily demonstrate macro-blocking artefacts even when not pixel peeping at all. Bushes and dense grasses break the codec quite obviously. I’ve also found detail can look muddy even in typical controlled interior shooting scenarios. I actually ran into this on one of my first shoots with the camera. In that situation it was obvious even to people with lesser eyesight on a normal sized computer monitor. The footage looks mushy. I don’t have an uploaded example but it’s very easy to test this yourself if you have a Ninja V. Simply set your camera to XAVC-I and HDMI record trigger to ‘on’ and you can simultaneously record ProRes and XAVC-I and see huge the difference. Many forget you can record regular ProRes instead of ProResRAW using the Ninja V with the FX6 as the video output is 10 bit 422 when set to normal recording modes. I’ve always found XAVC-I looks noisier but that’s actually also a product of the macro blocking I believe. Test it for yourself in a bushy or grassy area and tell me you can’t easily see the difference. The problem is exacerbated with slightly underexposed footage you bring back I’ve found. It’s why I never use XAVC-I on anything that’s getting a proper grade or where IQ is top priority. I was actually talking to an assistant editor from one of the UK’s biggest broadcasters about this as he’d been complaining about it. People raise it in the FB group from time to time but there are a lot of shills and fanboys in there who claim it’s not a problem at all because all they ever film is talking heads as if the camera wasn’t intended to be capable of more than that.
I have the white paper that you're referring to, and indeed the data rates you're listing are accurate. But calling it "crippling" because of "strong artefacting" is just a plain exaggeration. Besides, comparing the FX6 to the F55 is unfair, these cameras are in vastly different leagues, not to mention price points. At that level of pixel peeping, you should be looking at Venice or Alexa, not the FX6. 99% of stuff shot on the FX6 ends up on the Internet compressed to hell, so of course the vast majority of users genuinely don't care (doesn't make them shills or fanboys, it's just practicality). And nobody in their right mind would say that you can't produce beautiful imagery with an FX6. As far as codecs, personally I never want to deal with ProRes or RAW, because I'm the one who'd be paying for the whole pipeline overhead (media, storage, upload etc.) and my clients would never notice the difference. That is why for me, like many others, XAVC is the best bang-for-buck codec. I get 95% of the quality I need, the data rates are manageable and it edits like butter.
@@shagral my point with the F55 was just to illustrate that the codec has been available in stronger variations for almost a decade and as such there’s zero excuse not to implement it as processors have gotten much faster and cheaper in that time. Even if it added $500 of cost to the camera I would have been happy to pay that. In the context of most corporate work I agree that XAVC-I is fine but the situations it’s not good enough do effect everything from documentary to green screen. It also affects your ability to reframe in post, push footage exposure in post etc. due to the macro blocking issue so I’d say it can come up on any kind of work. I am fine with XAVC-SI in the A6700, FX30 etc as those cameras are priced appropriately. It’s the context of the current market that makes XAVC-I in the FX6 such a standout disappointment. No other cameras in its target market or price point suffer with a weak codec. It’s even less acceptable with the FX9. That has zero excuse to not have a better option given it’s cost. In fact I’d expect to see a better codec in any camera over about $2000 dollars from any other manufacturer if you’re keeping up with releases from the past few years. 10 bit 422 400+Mb/s is now the standard and anything less is a serious compromise on the part of the user. Market dominance has allowed Sony to get lazy with their firmware and some of their design work. They could have implemented a higher data rate XAVC-I option. They could implement a 10 bit long GOP codec if they wanted to help people save on data. They could improve the menu design. They just can’t be bothered because they’re too popular at the moment and don’t think they need to try. Look at what Canon has been doing with their cameras via firmware, it is a night and day difference.
Been looking at videos like this because I need a Sony camera for the low light, but the FX3 doesn't really lend itself to shoulder mount rigging. Regarding menus, this is something that is a major issue with most Japanese equipment. It's ancient and archaic and they refuse to update from a standard they set early on. Just look at Japanese websites, they are straight from 1998. I might just get 2 FX3's instead and just build my own shoulder rig for it.
Agree about the menus! Re: shoulder rig, I would say FX6 requires about as much extra add-ons and rigging as an FX3 to get a decent shoulder rig. Out of the box only FX9 is shoulder-ready.
Trying to discipline myself into not buying the FX6 right now because I know with my luck they will release a better version of this camera in some fashion right after. :(
Depends on what you need it for. If its for personal use on your own projects then you can save a lot of money buying a great camera towards the end of its cycle. If you want the latests and greatest and rent out your cameras (which makes it an investment) then yeah, it makes sense buying on day 1, otherwise you're not maximising ROI. There are different approaches. But at any rate, just because there's a newer model out, it doesn't make your camera suddenly worse.
C300iii and C500ii definitely don't include the AC adapter in the box, which is what I was cross-shopping with. But you're right, I should have been more specific.
I use Sony mirrorless cameras and have always lusted after an FX6 to replace my old ENG camera for broadcast recordings, but this video has changed my mind!
Good point! Panny always provided great video feature set. They had open gate and shutter angle and waveform on the GH line ages ago! Too bad they lost most of their market share.
It's more than 2x bigger, but don't quote me on that. I considered it heavily but the fx9 is an inferior camera in a lot of ways and has a lot of the same issues, making the considerable price jump not worth it.
Knowing Sony, and how many people wait for basic firmware updates for years without any response.. I fear your hope is pointless. Only thing they will do is sell you a Mark 2 with those updates.
here is my theory on all of these issues, because as I was watching this I was thinking o maybe I should get an fx3 to make up for these issues I have been having with the fx6, then it hit me, I think this was all Sonys plan. They know what the perfect camera is, but if they make it, you wont need to buy anything else...but if they make there cameras all having little pieces of each other, you consider buying them to make up for the other. Now excuse me I need to order an FX3
That's exactly what Canon does. They intentionally scatter their best features across like 3-5 cameras, that's why I left Canon. That, and because the RF mount is going nowhere. But in FX6's case I think it was much simpler than that - rushed development and poor internal communication.
That's a long list of bullshit that's wrong with this camera, as a Nikon shooter fuck this for my next Cinema Camera Investment, Z CAM E2-F6 or the New Blackmagic URSA Mini Pro 12Kis looking good.
Simple solution: stop buying Japanese cameras. Buy German, Chinese, American cameras like: ARRI, DJI, KINEFINITY, ZCAM, RED. Japanese brands are very slow when it comes to change and they specialise in crippling their products 🙃
You are a %100 right about the Sony menu they are the worst I’ve ever seen ! Not sure why they don’t make them easy to photographers to use like Apple corporation or others . Looks like they think the opposite way than we do . Why don’t they listen to people like you as they have many people employed that watches any post says Sony and pass it by . I sold my new FX3 took 3K for it with maybe 20 minutes of use because of this . Not able to program through the menu and now buying the FX6 hope it works it’s going to take me long time to learn as I am not a professional I am just a hobbyist and I use it for a few hours then it sits in my office for weeks or months then I forget all I’ve learned . Would you suggest an easy way to learn since you are the real PRO. Thank you
The easiest way to learn is just take a couple hours with the camera and the manual (download the latest version on Sony's website) and do a complete walkthrough of all the settings. Read what it does in the manual and change accordingly. All the paid guides (like Doug Jensens) are basically reading out the manual to you. And they are outdated now because a lot of stuff has been fixed and added through firmware. 80% of settings are "set it and forget it". The rest 20% you should put on your user menu that goes first in the menu list. And assign custom buttons for the most used stuff - AF controls, slo-mo controls etc. The camera is actually pretty easy to use in the field, a lot of that comes down to built-in VND, shutter angle and user buttons. The only thing that can confuse new people is CineEI. But unless you are using the camera for serious cinematography, you don't need to bother with that, just shoot in custom mode in S-Cinetone.
