Hi! I recently switched to the Sony Fx6 on July 2024 and it is still and amazing camera for what it offers. Found an offer on the 3600€ range which is an absolute banger, and I´ve just rented it for a full length documentary feature, so I can say the camera is a awesome investment if you find the right jobs, and know the right people.
Any “true” cinema camera does not have IBIS. You have to decide what you want and what you need for your workflow. I have both the FX-6 and the FX-3. They both serve two different purposes for my work flow. For corporate video when I have to shoot talking head/interviews my FX-6 is mounted on my tripod. When I need smooth B-Roll footage with moving subjects I use my FX-3 (with IBIS). I’ve been on professional production sets besides my own. I’ve seen camera operators using a Venice, A RED Komodo, etc. (more expensive than an FX-6) when they use their cinema cameras they don’t rely on IBIS, they have tools they use to counteract camera shake and produce smooth footage such as a steadicam stabilizer systems, support vest and stabilizer arms. If you don’t have the budget of a big production company, you as the consumer need to decide what is more important to you. My decision was to take the best from each camera and utilize them for different purposes.
@@95Ldunc I understand your prospective. I just feel if I’m gonna pay 5k for a cinema camera it should at least have internal RAW. That to me is inexcusable. I’m essentially paying 3k extra for internal ND and a Mic port. For that kind of money I might as well get a Komodo. At least I have a better video codec. I love Sony but they I feel they missed the mark with the Fx6 from a price prospective. It’s not enough value for what their asking for.
@@DavinciHD_ I feel you. Sony definitely should’ve had an XLR mic port (on body) they had one on the FS7 which was released 6 or 7 years earlier. The one thing I will say about that Komodo is that it is a modular system. I worked with a cinematographer on an independent film who owns it. We had to record audio externally and every part of that camera is “a la carte”. You don’t get mic ports at all. I couldn’t believe that a camera that expensive had no mic ports at all. An FX-6 cost $6000 and comes with mic ports, internal ND filter, even an OEM monitor(though it’s small and not very bright). It even comes with a battery in the original packaging. Basically everything you need to shoot right out of the box except a lens and a memory card. Where as with the Komodo, you have to purchase everything separately. Handles, battery, monitors and an external recorder if you want sound. Everything we take for granted to be included is excluded. After paying $6000-7000 for the RED body, you have to shell out another $4000-$5000 for rigging it out. Every accessory is extremely overpriced for the RED including third party accessories. The additional expenditure is for the very expensive and exclusive memory cards (not SD cards) to capture these large amounts of RAW data. The cards you need to purchase are multiple CFexpress 2.0 type B memory cards, the manufacturer recommends 2 TB cards because of the very large RAW data you capture shooting with it. In B&H you can buy these memory cards for the low, low cost of $799 each. After purchasing a RED you would need at least two memory cards, right? Even if you’re not shooting professionally, you would need at least two. That’s $1600 for two cards!! After all is said and done you’re looking at about $10-12K (almost twice what you’d pay for the FX-6.) I can’t speak for you or anyone else but that type of investment/commitment to that system would scare me off even as a full time professional corporate content creator. I want to know what you think of that kind of expenditure? Seriously. Also, do you agree that the FX-6 produces and incredible image from Slog 3 or S-Cinetone and comparable with RED?
Never liked FX6. Audio handle is bad. Lack of 3.5mm on body audio for when not using handle. No IBIS. So-so monitor. Only feature I liked was NDs. Would do an FX3 with a good VND first.
going to buy another, I love this thing so much, it sleeps in bed next me and my wife sleeps on the floor thats how good it is
Hi! I recently switched to the Sony Fx6 on July 2024 and it is still and amazing camera for what it offers. Found an offer on the 3600€ range which is an absolute banger, and I´ve just rented it for a full length documentary feature, so I can say the camera is a awesome investment if you find the right jobs, and know the right people.
Yeah man it is a great camera and will be for many years to come!
Let me know where I can get a good deal on a lightly used one. It sells for $6K at BH.
Great video. Which filter are you using for your talking head?
Definitely a great cine cam 👍🏻 i love my FX6 although i film actually more with my tiny small ZVE1 😂 best cinematic greetings from germany
Hahah yes sometimes it is a big camera to haul around!
The Fx6 has been overpriced in my opinion since it’s inception. No IBIS or Raw capability but I have to pay 5k for it? Inexcusable
Any “true” cinema camera does not have IBIS. You have to decide what you want and what you need for your workflow. I have both the FX-6 and the FX-3. They both serve two different purposes for my work flow. For corporate video when I have to shoot talking head/interviews my FX-6 is mounted on my tripod. When I need smooth B-Roll footage with moving subjects I use my FX-3 (with IBIS). I’ve been on professional production sets besides my own. I’ve seen camera operators using a Venice, A RED Komodo, etc. (more expensive than an FX-6) when they use their cinema cameras they don’t rely on IBIS, they have tools they use to counteract camera shake and produce smooth footage such as a steadicam stabilizer systems, support vest and stabilizer arms. If you don’t have the budget of a big production company, you as the consumer need to decide what is more important to you. My decision was to take the best from each camera and utilize them for different purposes.
@@95Ldunc I understand your prospective. I just feel if I’m gonna pay 5k for a cinema camera it should at least have internal RAW. That to me is inexcusable. I’m essentially paying 3k extra for internal ND and a Mic port. For that kind of money I might as well get a Komodo. At least I have a better video codec. I love Sony but they I feel they missed the mark with the Fx6 from a price prospective. It’s not enough value for what their asking for.
@@DavinciHD_ I feel you. Sony definitely should’ve had an XLR mic port (on body) they had one on the FS7 which was released 6 or 7 years earlier. The one thing I will say about that Komodo is that it is a modular system. I worked with a cinematographer on an independent film who owns it. We had to record audio externally and every part of that camera is “a la carte”. You don’t get mic ports at all. I couldn’t believe that a camera that expensive had no mic ports at all. An FX-6 cost $6000 and comes with mic ports, internal ND filter, even an OEM monitor(though it’s small and not very bright). It even comes with a battery in the original packaging. Basically everything you need to shoot right out of the box except a lens and a memory card. Where as with the Komodo, you have to purchase everything separately. Handles, battery, monitors and an external recorder if you want sound. Everything we take for granted to be included is excluded. After paying $6000-7000 for the RED body, you have to shell out another $4000-$5000 for rigging it out. Every accessory is extremely overpriced for the RED including third party accessories. The additional expenditure is for the very expensive and exclusive memory cards (not SD cards) to capture these large amounts of RAW data. The cards you need to purchase are multiple CFexpress 2.0 type B memory cards, the manufacturer recommends 2 TB cards because of the very large RAW data you capture shooting with it. In B&H you can buy these memory cards for the low, low cost of $799 each. After purchasing a RED you would need at least two memory cards, right? Even if you’re not shooting professionally, you would need at least two. That’s $1600 for two cards!! After all is said and done you’re looking at about $10-12K (almost twice what you’d pay for the FX-6.) I can’t speak for you or anyone else but that type of investment/commitment to that system would scare me off even as a full time professional corporate content creator. I want to know what you think of that kind of expenditure? Seriously.
Also, do you agree that the FX-6 produces and incredible image from Slog 3 or S-Cinetone and comparable with RED?
Ofcourse it's worth it lol it's still one of their latest offerings.
Never liked FX6. Audio handle is bad. Lack of 3.5mm on body audio for when not using handle. No IBIS. So-so monitor. Only feature I liked was NDs. Would do an FX3 with a good VND first.
Yeah the audio is a little bit of a pain.