Is The Sony FX6 Worth $9000 in 2024...?
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- Опубликовано: 16 янв 2024
- Is this camera still worth the hype after 3 years..
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Honestly, not really sure what your issue with xavc-i is..... you're getting the same quality file you'd get from a prores 422 file. If you miss raw, that's understandable, but you should be wiggling your finger at RED, not Sony for that one.
That is just half true. Blacmagic made a hybrid raw w braw , arri made a solution for their own raw ,apple made a deal so pro res raw is available for a fee to put into any camera. Its kinda sony who is holding it back. I get that Red is the big evil guy here but they are not the blame for everything.
Arri raw is 16 bit uncompressed raw. Prores raw is honestly godawful, and has to be converted to cinemaDNG if you want to master it in any grading program. Sony has developed XOC-N, but they only just added raw to the burano, and you can get on the fx9 with Sony's external recorder for that camera. I think that internal raw will be reserved for the Cine-Alta line for another 5 years, minimum, and I don't think there's an issue with that. @@poti732
Love your video great information I am looking for a build-in variable ND 15stop dynamic range tracking focus in the size of FX3 easy to travel and friendly one man operation hahaha basically I am looking for a perfect camera there is no such a thing. Nice comparison video fast and get to the point. Cheer
That sounds like the perfect camera! Maybe in the next couple years Sony can do it
I LOVE my Sigma 24-70mm 2.8f on E mount. You can pickup a full set of Viltrox E mount 24mm, 35mm, 50mm and 85mm 1.4f for the price of just the Sony 24-70. LOL
Price, cheap actually for what it can do. Better value than the Komodo. XAVC-I is not a perfect codec but its a good codec. If you want the best codec, Venice or RED. Blackmagic RAW is better because of the flexibility but XAVC-I looks great. ProRes is clunky. Overexpose SLOG3 is not actually a thing anymore. If you are using old Sony cams, then yes. We use the FX6 for pro productions and using the little Rode Pro and DJI mics can lead to a director staring you down and running you out of the set. Syncing is a non issue. Most NLEs have a one click solution. No need for time-coding really. The menu system issue is always a problem for all but its like learning calculus. Once you get used to it l, it becomes muscle memory. The screen is not the best but its better than most. Check the Komodo’s screen. Good luck filming with it without an external monitor. Bottom line is, there is a perfect camera and that is a high end ARRI or a high end RED.l but good luck with buying one. For what most people can afford, the FX6 is perfect for what it can do.
If it had Ibis it would be perfect for many things
It is 5999$, no need for shitty ProRes when you have 422 Xavc-i. And rigging ? Everything you need is in the box
Prores is great
@@tecno8335 I take my words back, bought Komodo X, but still have projects where I would use FX6. XAVC-I is just easier to work with for fast turnarounds
I just cannot stand SLog3, and also the processing in the Fx6. It is very frustrating to work with it having worked with other codecs and other camera brands. The best way to describe it imo is that other codecs are way more gentle, whereas I find myself tussling with SLog3 a bunch. Amazing camera overall tho, usually I just send it off to a colorist whenever I have to work with SLog.
Having to overexpose Sony cameras was true BEFORE the a7SIII. Sony "fixed" that issue. Yeah, I've seen all of the RUclipsrs saying it's needed but it's really not. Even Gerald Undone got caught up in this folklore. It's simply not true anymore. At the end of the day it comes down to the look you want but the noise floor on Sony sensors from a7SIII onward was addressed. Happy filming everyone!
Depends how much noise you care about in the shadows
@@stilesproductionsno, not really. You should be shooting for your middle grey, expecting to potentially need to do noise reduction in post because you are shooting log which has no in camera noise reduction, and push the noise floor down into the blacks because it’s not meant to be retained unless absolutely necessary. This is a failure for people understanding a log workflow, not a failure of the workflow.
@@stilesproductionsfrom your video and comments there’s a lot of things you’re seem to not understand about shooting and proper workflow and want to pass it off as shortcomings of the camera. Gotta love RUclips giving a voice to people who pretend to be knowledgeable about subjects they’re not.
very insightful video, thank you so much!
Did you say the image quality sucks?
Yea I was confused lol it’s prolly his prescription 😂
@@Jalfred845😂
If you use Phantom luts, which are easily the best for Sonys you need only set your exposure to +.7 of a stop. You’re welcome.
Phantom lut creator said you don’t need to do this anymore read the manual
I’ve been looking at getting the phantom luts
I recently got the fx6 and installed phantom luts on fx6 and ninja v. Haven’t tested them extensively as I have been concentrating on still image projects right now and want to fully grasp the in and outs of fx6 before using it for work. I have used the phantom luts on Sony a1 and made the mistake of overexposing as suggested. Now I may add 1/3 stop at most.
@timjenkins8943 you think they’re worth it?
@@stilesproductions without question. Don’t go near anything else. I actually demonstrate how to use them on my Chanel. It’s the only clip I’ve got but it shows you how. Very rarely am I as satisfied with anything as the Phantom luts. Even in 8 bit. You’ll thank me for it
You can shoot prores raw with Atomos
Yes but should we really have to pay this much for a camera that doesn’t have a very good codec to shoot in natively?
@@stilesproductionsit has fabulous codecs that are an industry standard for 10 bit workflows. It’s only if you need 12bit and 4:4:4 colour that would require more. If you want internal RAW which can’t be compressed thanks to the RED patent, then that’s was the Venice and now Burano is for.
It doesn't cost $9,000 so thats a weird question
Actually the body alone in Canada costs almost exactly $9000. Also I think I was pretty clear in the video that once you rig it up, get lenses, monitor, batteries, it will cost you $9000+ USD as well. Hopefully that makes sense now!
@@stilesproductions no because I didn't watch your boring video and you didnt specify CAD
@@_FrontFootFilms_Damn! Let the guy be, jeez
@@legendarymason5 🤣
The questions is, WHY do agencies WANT Sony footage? I mean, certainly the agencies who are hiring out camera ops don't really care about the autofocus or electronic variable NDs, they would just care about the quality of the image, no? Or the flexibility of the image, right? If you are an owner, then the convenience of killer autofocus and variable ND' would make more sense. Is it because agencies / editors need the extra metadat found in the mfx wrapper in the XAVC-I codec? Is it because the XAVC-I codec edits really smoothly on the newer Macs? I am just curious because in some instances, the FX3 COULD be a better camera (like, if you want 4K 10-bit Long GOP, which if I understand correctly, the FX6 doesn't have.) And... Enron...
I think possibly because people are now being brought up working with Sony footage and that’s what they’re familiar with. Tbh I’m not entirely sure of the right answer. There’s a lot of great camera systems nowadays
If put two cameras beside each other, one-shot XAVC-I 25p at 250mbps vs one shooting BRAW at 25p, 3:1 compression which is a whopping 2100mbps+ (7mins of footage)
Yes the BRAW will have more control and manipulation in post, maybe even a little more highlights and shadow detail, but guess what, both images were exposed correctly so both images will ultimately look nearly enough identical to each other, both images won't be manipulated more than the codec can handle to be made to look like each other or to get the "look" you want, but one just cost you a whole 128GB card for 7 mins of footage and even if you shot 18:1 (370mbps) it has still captured more data and detail than you ever would care to want or need to manipulate later for anything other than CINEMA, blue-ray or Netflix releases.
XAVC-I is more than enough, Slog 3 is more than enough, it's 64 minutes of footage on a 128gb card that is accepted by Netflix and Approved around the world, it both fits creatively and corporately into people's workflows and the cameras are what operators around the world just purchase with their hard-earned cash because they are reliable.
The image is good but; it’s digital af
I agree with your thoughts on FX6 II not being released this year. The buzz about a mark II is just click bait imho.
Thank you for sharing your thoughts and experiences!
Thanks man! We’ll see what happens.
Most people have atomos ninja v to begin with, therefore you can film in pro res externally.
Yes but some people don’t want to film externally. I think a camera at this level should have a better codec than what it currently has
@@stilesproductionsso if I'm shooting a film, low budget, would it be advisable to record on an external Blackmagic recorder to get my desired recording format correct the 1st time?