I came from the 6k pro and 2 RED Komodos after leaving Sony and I'm now back on FX6's and 3's. We've shot a ton with the sonys from commercials for Toyota USA, Microsoft, Documentaries and we've been using them on TV shows a ton out here in LA. I love the image out of the pockets but like others have mentioned it's easier for clients to get on board with the sonys.
That’s pretty true but in some cases it’s the camera. Like certain tools like false color not being available, or misleading reads from OEM monitors and devices, like he mentioned with the Sony monitor. But yeah anything post 2017 is really hard to shoot down. It just filters to shooting style, work type, and preferences.
For doc work when you have much less control over lighting, the FX6 is a good choice. Plus, a lot of small commercial jobs will spec and FX6/9 and now you don’t have to talk potential clients into relying on the Blackmagic. It’s a solid early-career decision.
@@stilesproductionsBrother if you want to make a good movie with sony fx 6 camera then which brand of cinema lens should you use for it for best result and quality videos?
IMHO, the FX6 is an amazing camera, the size, weight, and AF are amazing. The VND is amazing. The ability to shoot 120fps and shoot RAW with a Ninja V are really handy. BUT, I have some beefs with it. The FX6 construction quality and ability to withstand rough usage is, shall we say, questionable. Many have experienced the twitching menu dial defect. The mic mount is absolute garbage and will break off. Plus it doesn't hold standard diameter mics, only stupid large diameter mics that only Sony makes that nobody uses and if you put a rubber mic sleeve spacer, your mic will sag on the camera. The side grip handle is loose no matter how much you tighten it, it's a design defect. The included monitor sags unless you go to a third party solution for mounting it. I've seen several FX6 handles that have literally been torn off the camera, the handle itself is flimsy and mounts flimsily. I own two Canon C200s and they are built so much better than the FX6. That's really been the only major downside of the FX6 for me, I feel like it has pretty sucky build quality. Oh, and yes, horrific menus but all Sonys have the worst menu system, you know that going in. Their menus have been bad for decades. To be fair, at less than half the cost of the FX6, the BMD Pocket 6K Pro is an incredibly good camera for the money. BUT, if you ever drop your Pocket 6K Pro, it feels as if it would shatter into pieces, it's very plasticky. But the images are amazing, the menus are industry standard as the best and if you know what you are doing, the Pocket 6K Pro is an absolutely pro level cinema tool. Weird, funky shape. I'm not even going to say no auto focus and lack of IBIS are issues on a cinema camera because those aren't cinema camera features, those are video camera convenience features. To me, the Pocket 6K Pro is a better cinema camera, the FX6 is a better OMB video camera, that can dual pitch as a cinema camera but the images will never look as good as the BMD IMHO. Ideal is to own both. Different tools for different jobs.
Why are people complaining about the top handle so bad? It's there for a reason, to pick it up easier?! There are so many wanna bees who literally build out rigs with photo cameras just to have a top handle. And guess what, bonus it has xlrs built into it and a shotgun mic. Have you ever used a black magic pocket or URSA, or a red?! Their clunky as hell.
i like the top handle too, but im a bit scared cuz im about to shoot with the new laowa 10mm full frame and I'm afraid the shadow from the top handle will appear on the actors face when doing moving close ups. wish I could still get decent audio inputs without it, is the only "complain", the extra record button on it its also great.
Native ISO is for capturing the most dynamic range, it doesn't mean it's cleaner necessarily. Take the 6k pro for example 1250iso is way cleaner than 3200.
I think you are underestimating external RAW recording on an Atomos Monitor A LOT. Besides the obvious fact of getting 12 bit color depth over SDI at 4K DCI up to 60p, you also get (specifically in the Atomos Monitor) the far superior storage system. You could put ANY SATA SSD, you would put into your computer into that monitor. And they are hella cheap. A Crucial BX500 4TB costs just above 200 bucks and you are not making any compromises. You could then plug this SSD right into your computer and start editing on it. No copying files or so. You could even build your project folder to sit on that SSD and once you're done with all the editing - your film is released, etc. etc. you can after that start copying files for the first time by putting the files on your RAID 6 HDD based NAS or whatever over night. Maybe you want to compress your files for longer time storage before deleting them all together much later down the line (unless you are one of the people who never delete footage - those people exist). This is an incredibly fast, zero compromises workflow. And you will not use a single stupid bouncy dongle ever, because you easily have like 8 or 10 native SATA ports on your high end mainboard of your editing computer. No USB dongles and maximum AHCI SATA SSD speed (thats about 500MB/s sequencial read and write (MB not Mbit - big difference)). I really love Atomos for not having any goofy proprietary connection system for their storage devices. Just good old SATA. So the money you save on buying incredibly expensive memory cards, can instead be invested into incredibly cheap, much bigger and much faster SSDs and into an incredible monitor. Now 10 months after the release of this video, I'd still probably opt for the Canon C400 for all of its other advantages it offers over the FX6 and/or BMCC6K. But the C400 wasnt even talked about back then so do with this statement what you want.
You can get a two stops down lut in your monitor or use cine EI. I am in a struggle getting the new pyxis or an FX6. I own a FX3 and will do many interview stuff. How ever I wouldnt need a flexible cam for this, the fx6 would probably more make the fx3 sit on the tripod. My concern is: How good can you mix BM Raw and Sony Footage from two cams in an interview or so? I really would love to switch to braw....but I think the FX6 is just way better than pixis in like all other things than image.
Top handle audio and no 3.5mm audio on the body don't do it for me. Hoping that will be addressed in the next iteration. I always do separate audio recording, so am used to it. But would really hate to have the top handle gear attached just to get scratch audio. I do like the electronic ND. I don't think I'd buy a camera without that. Sony still would be my choice, hope a MKII comes out. Will be watching for your next impressions after you have it a while. Cheers.
Very useful and clearly explained video. I just picked up an old Canon C300PL cinema camera for $600 but now must find PL only lenses which are alot more expensive. As a novice I like buying old but am trying not to make dumb buying mistakes. Everybody is upgrading after the 2024 des show it seems....blackmagics like crazy.
Please comment on how it feels going from 6K 12bit RAW to 4K 10bit H.264 ... My dilema as a Sony-A1 sports/surf hybrid shooter: I want 6K (for post stabilization while still delivering 4K) and more than 10bit color, I don't want to loose auto-focus (just try surf photography on manual focus...) nor 4K@120fps. Sony's cheapest 6K offer is the Burano
That’s a tough decision. You definitely lose a LOT of flexibility when moving to a slog 3 image. However, you also get 10x the reliability on certain projects with the autofocus. If you use DaVinci the stabilization for blackmagic footage is amazing with the gyro data. For Sony you would have to use catalyst browse. To be completely honest I wouldn’t worry about the 6k vs 4K, it makes way less of a difference that you would think, it’s the image codec and information that matters. A potential workaround could be to use a ninja recorder to record external raw. You still get great flexibility with that don’t autofocus and low light performance.
@@stilesproductions You can stabilize the clips directly in DaVinci Resolve with the free Gyroflow OFX plugin using the gyro data of the FX6. No need to first stabilize in Sony Catalyst Browse.
You can get 6k BRAW out of something like the S5IIX, has great AF and incredible stabilization. Excellent low light performance. You won't get 4k120p though.
It all depends. Do you like coming home from a project having 1-4 terabytes of footage? If storage is not an issue, the Blackmagic is the easy choice. If you can manage the workflow costs, then it’s better. The way I see it, Black Magic is for people who want the post-production control. Sony is for people who want to get the best image in camera with minimal post production workflow.
I’ve owned 4 Blackmagic cameras in my life. Every single one always had some weird quirk. I had to return one twice. once for “excessive noise in the green channel”…. 🥴. Just weird crap like that. Riddled with noise if you aren’t pointing them directly at a dying star. The highlights always look burnt to me too. I think it’s just getting what you pay for at the end of the day. Functionally, I’ve had three Sony FX3’s working almost every single day for me since 2021 and they just never fail. I always get a great image out of them no matter what. Everybody knows the Creator was shot on them by now too. I’m way more excited about the mark 2 versions of these Sony’s than another noise fest from Blackmagic.
Sounds like you had some bad luck with those cameras. Some people don’t like the look of the Sony cameras so the Blackmagics provide a high image quality budget alternative. RED cameras are expensive for the average prosumer.
I'm definitely not an expert using Cine EI yet, I would recommend watching some YT videos specifically on it (or maybe I'll make one). When you over expose 1-2 stops, your image will look bad in camera (because you're over exposed). When you use cine EI it doesn't actually change any of your recording settings, all it does is change how the image shows up on your camera monitor so it looks perfectly exposed. Does this make sense?
I have the FX6 since 3 years and I still love it 😍 and now I have the small ZVE1 as b-cam and for traveling and actually I film more with this tiny cam beast 😂 best cinematic greetings from germany
In terms of exposing on set I recommend making a custom LUT that is based on how you like to expose SLog I made one for +1.7 stops and loaded it into my atomos monitor So now I can just look at my monitor and it looks good on set, the built in camera screen will look bright but my monitor will be more true to the final product
Aside from the ND filters and battery (which is questionable) The Z8/Z9 are MUCH better choices. Internal RAW, Pro Res, Amazing AF and gorgeous picture quality kill both BMPCC and the FX6. I would never own the BM simply because it has crappy aF.
Yes that’s pretty much my point. Someone who isn’t used to using a camera like this might find it to be a difficult learning curve. Does that make sense?
Having gone from little sony APSCs to a BMPCC 4K 3+ years ago - then recently having a friend shoot BTS for me on his Sony a7siii, I just don't like the sony image - as soon as you put the 6K pro images up, they are miles better than the sony images which just look week and incomplete - not cinematic at all in comparison. Having spent years now with follow focus and a decent built rig, focus and stabilisation aren't a concern for me - but image always will be. What's the point of all the ergonomics and bells and whistles if it doesn't look as good?
You dont need to over-expose slog3 now, you should watch some Alister Chapmans tutorial on slog3 in these newer cameras, he gives a great foundation for how the sony log systems works. Why not get a sony e to ef adapter ? Money would have been saved by a ton and maybe have a 24-70 if you need to shoot walking shots etc.
The need for exposing to the right - you're not saying it right from my experience. All log shooting cameras prosper from it and produce cleaner image - it's as true for Blackmagic cameras and even Arri. It's just how it works. Also with this new generation of Sony cameras (FX line and A7SIII and A7IV and newer) you don't really need to expose to the right to get a great image.
@@stilesproductions Value is there definitely. But man I just can't over that form factor. Once I finally tried the C300 Mark II and the FX6 I was sold :( I guess there's a reason why rental houses typically don't even carry BM cinema cameras and pretty much only see value in renting out FX6's, FX7's, C300 III's, or REDs. But..... I still love the BM colors definitely. I actually don't like Sony colors at all haha. Much prefer Canon or BM.
He's right, unless you go all the way up to Venice 1 or 2 or the new Burano. Overprecessed Sony junk. Great sensors, shitty overprocessed junk cameras.
![Hunxho - Ball Forever [Official Video]](http://i.ytimg.com/vi/nki9ZTF9Uls/mqdefault.jpg)
I came from the 6k pro and 2 RED Komodos after leaving Sony and I'm now back on FX6's and 3's. We've shot a ton with the sonys from commercials for Toyota USA, Microsoft, Documentaries and we've been using them on TV shows a ton out here in LA. I love the image out of the pockets but like others have mentioned it's easier for clients to get on board with the sonys.
Cameras bought from 2020 onwards are not mistakes anymore. The mistakes that we make are operator errors not cameras.
Valid
That’s pretty true but in some cases it’s the camera. Like certain tools like false color not being available, or misleading reads from OEM monitors and devices, like he mentioned with the Sony monitor. But yeah anything post 2017 is really hard to shoot down. It just filters to shooting style, work type, and preferences.
For doc work when you have much less control over lighting, the FX6 is a good choice. Plus, a lot of small commercial jobs will spec and FX6/9 and now you don’t have to talk potential clients into relying on the Blackmagic. It’s a solid early-career decision.
Yea I really love the flexibility of it. Overall been a good experience so far.
@@stilesproductionsBrother if you want to make a good movie with sony fx 6 camera then which brand of cinema lens should you use for it for best result and quality videos?
It sucks how many clients think ohhh bigger camera more buttons dials means better camera.
IMHO, the FX6 is an amazing camera, the size, weight, and AF are amazing. The VND is amazing. The ability to shoot 120fps and shoot RAW with a Ninja V are really handy.
BUT, I have some beefs with it. The FX6 construction quality and ability to withstand rough usage is, shall we say, questionable. Many have experienced the twitching menu dial defect. The mic mount is absolute garbage and will break off. Plus it doesn't hold standard diameter mics, only stupid large diameter mics that only Sony makes that nobody uses and if you put a rubber mic sleeve spacer, your mic will sag on the camera. The side grip handle is loose no matter how much you tighten it, it's a design defect. The included monitor sags unless you go to a third party solution for mounting it. I've seen several FX6 handles that have literally been torn off the camera, the handle itself is flimsy and mounts flimsily. I own two Canon C200s and they are built so much better than the FX6. That's really been the only major downside of the FX6 for me, I feel like it has pretty sucky build quality. Oh, and yes, horrific menus but all Sonys have the worst menu system, you know that going in. Their menus have been bad for decades.
To be fair, at less than half the cost of the FX6, the BMD Pocket 6K Pro is an incredibly good camera for the money. BUT, if you ever drop your Pocket 6K Pro, it feels as if it would shatter into pieces, it's very plasticky. But the images are amazing, the menus are industry standard as the best and if you know what you are doing, the Pocket 6K Pro is an absolutely pro level cinema tool. Weird, funky shape. I'm not even going to say no auto focus and lack of IBIS are issues on a cinema camera because those aren't cinema camera features, those are video camera convenience features. To me, the Pocket 6K Pro is a better cinema camera, the FX6 is a better OMB video camera, that can dual pitch as a cinema camera but the images will never look as good as the BMD IMHO. Ideal is to own both. Different tools for different jobs.
Yep that’s a great take!!
Agree. BM for day shoots with gimbal and DJI LiDAR and Sony for night shoots. With both, you can’t go wrong and you’re covered.
Why are people complaining about the top handle so bad? It's there for a reason, to pick it up easier?! There are so many wanna bees who literally build out rigs with photo cameras just to have a top handle. And guess what, bonus it has xlrs built into it and a shotgun mic. Have you ever used a black magic pocket or URSA, or a red?! Their clunky as hell.
i like the top handle too, but im a bit scared cuz im about to shoot with the new laowa 10mm full frame and I'm afraid the shadow from the top handle will appear on the actors face when doing moving close ups. wish I could still get decent audio inputs without it, is the only "complain", the extra record button on it its also great.
Native ISO is for capturing the most dynamic range, it doesn't mean it's cleaner necessarily. Take the 6k pro for example 1250iso is way cleaner than 3200.
Yes it allows for the best dynamic range. I think I was referring to the FX6 when I said the native iso gives a cleaner image
I'm so excited to buy an FX6 some day. I was going to get an FX3 but I just love the idea of a cinema camera form factor and built-in ND.
Nice video! What do you think about the FX6 after 3 months?
Love it. Shoot with it 80% of the time
You don’t need to over expose in slog3 on the FX6. Just use a LUT and expose to that. False color helps.
something magical in the bb IQ
Make narrative films, not people walking around in forests.
I see your 'films' got people sitting around monitors ?
It’s a free video do expect him get crew for narrative just for you?
? @@663
Like you know anything about that.
Burn
Thanks for the video :) What monitor mount are you using with the fx6?
Off the top of my head I believe it’s a niceyrig fx6 part (to give an extra monitor mount area) paired with a smallrig monitor mount
I think you are underestimating external RAW recording on an Atomos Monitor A LOT.
Besides the obvious fact of getting 12 bit color depth over SDI at 4K DCI up to 60p, you also get (specifically in the Atomos Monitor) the far superior storage system. You could put ANY SATA SSD, you would put into your computer into that monitor. And they are hella cheap. A Crucial BX500 4TB costs just above 200 bucks and you are not making any compromises. You could then plug this SSD right into your computer and start editing on it. No copying files or so. You could even build your project folder to sit on that SSD and once you're done with all the editing - your film is released, etc. etc. you can after that start copying files for the first time by putting the files on your RAID 6 HDD based NAS or whatever over night.
Maybe you want to compress your files for longer time storage before deleting them all together much later down the line (unless you are one of the people who never delete footage - those people exist). This is an incredibly fast, zero compromises workflow. And you will not use a single stupid bouncy dongle ever, because you easily have like 8 or 10 native SATA ports on your high end mainboard of your editing computer. No USB dongles and maximum AHCI SATA SSD speed (thats about 500MB/s sequencial read and write (MB not Mbit - big difference)). I really love Atomos for not having any goofy proprietary connection system for their storage devices. Just good old SATA.
So the money you save on buying incredibly expensive memory cards, can instead be invested into incredibly cheap, much bigger and much faster SSDs and into an incredible monitor.
Now 10 months after the release of this video, I'd still probably opt for the Canon C400 for all of its other advantages it offers over the FX6 and/or BMCC6K. But the C400 wasnt even talked about back then so do with this statement what you want.
Thanks for this video! Debating between these 2 cameras currently! War Eagle!
You can get a two stops down lut in your monitor or use cine EI. I am in a struggle getting the new pyxis or an FX6. I own a FX3 and will do many interview stuff. How ever I wouldnt need a flexible cam for this, the fx6 would probably more make the fx3 sit on the tripod. My concern is: How good can you mix BM Raw and Sony Footage from two cams in an interview or so? I really would love to switch to braw....but I think the FX6 is just way better than pixis in like all other things than image.
Top handle audio and no 3.5mm audio on the body don't do it for me. Hoping that will be addressed in the next iteration. I always do separate audio recording, so am used to it. But would really hate to have the top handle gear attached just to get scratch audio. I do like the electronic ND. I don't think I'd buy a camera without that. Sony still would be my choice, hope a MKII comes out. Will be watching for your next impressions after you have it a while. Cheers.
Great insight!. if possible upload your footage in 4K to really appreciate the quality of the video!. Cheers!!
Very useful and clearly explained video. I just picked up an old Canon C300PL cinema camera for $600 but now must find PL only lenses which are alot more expensive. As a novice I like buying old but am trying not to make dumb buying mistakes. Everybody is upgrading after the 2024 des show it seems....blackmagics like crazy.
What's the best way to learn how to use this camera/or how's the best way to learn/ or where?
Please comment on how it feels going from 6K 12bit RAW to 4K 10bit H.264 ...
My dilema as a Sony-A1 sports/surf hybrid shooter: I want 6K (for post stabilization while still delivering 4K) and more than 10bit color, I don't want to loose auto-focus (just try surf photography on manual focus...) nor 4K@120fps.
Sony's cheapest 6K offer is the Burano
That’s a tough decision. You definitely lose a LOT of flexibility when moving to a slog 3 image. However, you also get 10x the reliability on certain projects with the autofocus. If you use DaVinci the stabilization for blackmagic footage is amazing with the gyro data. For Sony you would have to use catalyst browse. To be completely honest I wouldn’t worry about the 6k vs 4K, it makes way less of a difference that you would think, it’s the image codec and information that matters. A potential workaround could be to use a ninja recorder to record external raw. You still get great flexibility with that don’t autofocus and low light performance.
@@stilesproductions You can stabilize the clips directly in DaVinci Resolve with the free Gyroflow OFX plugin using the gyro data of the FX6. No need to first stabilize in Sony Catalyst Browse.
You can get 6k BRAW out of something like the S5IIX, has great AF and incredible stabilization. Excellent low light performance. You won't get 4k120p though.
So many great options!
It all depends. Do you like coming home from a project having 1-4 terabytes of footage? If storage is not an issue, the Blackmagic is the easy choice. If you can manage the workflow costs, then it’s better.
The way I see it, Black Magic is for people who want the post-production control.
Sony is for people who want to get the best image in camera with minimal post production workflow.
Working with producers and dealing with clients the last year. Everyone has asked for Sony camera packages.
That’s interesting. Everyone likes something different
Would be interested to hear your comments/results using a multiple zoom lens (30+) with the Sony FX6.
One day. Lenses are expensive
I’ve owned 4 Blackmagic cameras in my life. Every single one always had some weird quirk. I had to return one twice. once for “excessive noise in the green channel”…. 🥴. Just weird crap like that. Riddled with noise if you aren’t pointing them directly at a dying star. The highlights always look burnt to me too. I think it’s just getting what you pay for at the end of the day. Functionally, I’ve had three Sony FX3’s working almost every single day for me since 2021 and they just never fail. I always get a great image out of them no matter what. Everybody knows the Creator was shot on them by now too. I’m way more excited about the mark 2 versions of these Sony’s than another noise fest from Blackmagic.
Sounds like you had some bad luck with those cameras. Some people don’t like the look of the Sony cameras so the Blackmagics provide a high image quality budget alternative. RED cameras are expensive for the average prosumer.
Thx for sharing. @ 9:13 Does that mean you don't need to overexpose when using Cine EI?
I'm definitely not an expert using Cine EI yet, I would recommend watching some YT videos specifically on it (or maybe I'll make one). When you over expose 1-2 stops, your image will look bad in camera (because you're over exposed). When you use cine EI it doesn't actually change any of your recording settings, all it does is change how the image shows up on your camera monitor so it looks perfectly exposed. Does this make sense?
I have the FX6 since 3 years and I still love it 😍 and now I have the small ZVE1 as b-cam and for traveling and actually I film more with this tiny cam beast 😂 best cinematic greetings from germany
Great review! 👍
Thanks!
Im about to sell my barely used bmckpro rig to get an fx3. The form factor alone is worth it to me but i will miss the nd filters.
The fx3 is a beast!
The FX3 is really good. I shoot with an FX6 and FX3. The FX3 is a b-roll beast. The internal stabilization is clutch.
In terms of exposing on set I recommend making a custom LUT that is based on how you like to expose SLog
I made one for +1.7 stops and loaded it into my atomos monitor
So now I can just look at my monitor and it looks good on set, the built in camera screen will look bright but my monitor will be more true to the final product
I can only suppose you made a New Years resolution to improve your bicepts.
I don't make New Years Resolutions
Dry reply 💀
Great fair comment
This is titled as if the Fx6 is not current but an old camera...
Aside from the ND filters and battery (which is questionable) The Z8/Z9 are MUCH better choices. Internal RAW, Pro Res, Amazing AF and gorgeous picture quality kill both BMPCC and the FX6. I would never own the BM simply because it has crappy aF.
Wow, not many of us Nikon shooters. I've been contemplating grabbing the FX6 seeing this makes be reconsider now.
Nikon is a no no. No one hires you for film work if you use a nikon
Haha. Bs. I’m usually hired for content not what I shoot with. Most clients don’t care.
" these buttons on fx6 are confusing" = meaning you had no actuall experience with an actual camera before lol
Yes that’s pretty much my point. Someone who isn’t used to using a camera like this might find it to be a difficult learning curve. Does that make sense?
@@stilesproductions yea… but not to complain about it 😂and the fx6 buttons aren’t confusing at all 😂
Pro tip - use mono pod. Hand held - too shaky. Doens't look professional.
Believe it or not, even professionals do handheld shots!
@@stilesproductions for certain shots it works, but when you want to hold camera still and it keeps shaking - thats no bueno
@@sky-catsThe Catalyst Browse software that’s free from Sony has gyro data to stabilize that looks even better than the IBIS on the FX3
Having gone from little sony APSCs to a BMPCC 4K 3+ years ago - then recently having a friend shoot BTS for me on his Sony a7siii, I just don't like the sony image - as soon as you put the 6K pro images up, they are miles better than the sony images which just look week and incomplete - not cinematic at all in comparison. Having spent years now with follow focus and a decent built rig, focus and stabilisation aren't a concern for me - but image always will be. What's the point of all the ergonomics and bells and whistles if it doesn't look as good?
It all depends on the type of work you do my friend. Also, I think a professional colourist with a sony image could make it look just as good.
Maybe they could, but I'm the only one colour my work and have no intentions of changing that (other than continuing to improve in what I do!)
9:11 Does the FX6 not have gamma assist?
no ibis ill pass
no disrespect to sony .. but i dont like using many gimbals ..
You dont need to over-expose slog3 now, you should watch some Alister Chapmans tutorial on slog3 in these newer cameras, he gives a great foundation for how the sony log systems works. Why not get a sony e to ef adapter ? Money would have been saved by a ton and maybe have a 24-70 if you need to shoot walking shots etc.
No you don't. Overexposing was something he recomended for the FS5/FS9. His recommendation for the FX series is to get exposure as dead on as you can.
… and War Eagle!
The need for exposing to the right - you're not saying it right from my experience. All log shooting cameras prosper from it and produce cleaner image - it's as true for Blackmagic cameras and even Arri. It's just how it works. Also with this new generation of Sony cameras (FX line and A7SIII and A7IV and newer) you don't really need to expose to the right to get a great image.
and the BURANO was just around the corner
I don’t got the budget to pay 25k usd for a burano 💀💀
what did you shoot this video on?
lol the fx6 ofc... he's talking about it throughout!
FX30
I shot it on the FX30. SLog 3
doesn't matter if it's Sony it will always look like junk, Fx6 will look slightly better but still overprosessed junk image
@@Fedorevsky what is your camera system?
Roll Tide.
Nikon Z9 rigged out…..
Perez Paul Martinez Kimberly Williams Richard
Being forced to record ALL-I 100% of the time would stop me from using it.
Fair
FX6 all the way. Ive always hated that Black Magic Football camera shape. Its so dumb.
The shape is definitely unconventional. But you can’t go wrong when it’s only like 2.5k usd
@@stilesproductions Value is there definitely. But man I just can't over that form factor. Once I finally tried the C300 Mark II and the FX6 I was sold :( I guess there's a reason why rental houses typically don't even carry BM cinema cameras and pretty much only see value in renting out FX6's, FX7's, C300 III's, or REDs. But..... I still love the BM colors definitely. I actually don't like Sony colors at all haha. Much prefer Canon or BM.
The ergonomics are awful.
✨👏👏👏👏🎻👑
Sony fans arent going to like this
after hearing "overexposing in S-Cinetone" this video could be trashed. guy has no idea what he is talking about.
U r the mistake
Any Sony camera is a mistake
What’s your camera of choice?
Average Nikon user?
He's right, unless you go all the way up to Venice 1 or 2 or the new Burano. Overprecessed Sony junk. Great sensors, shitty overprocessed junk cameras.
I’m assuming you’ve shot a lot of projects with the Venice and Burano hey? Would love to see your work with them mate
Blanket statements tend to reveal the maturity of the individual.
why no chapters 🥲