Sony now offers the camera for you if you enjoy the design and usefulness of a true cinema camera for recording videos but have stayed with mirrorless due to the full-frame sensors and cutting-edge Autofocus. The FX9 includes a full-frame sensor and hybrid Autofocus from the Alpha mirrorless series in addition to all the professional features of a genuine video camera, including as XLR audio connectors and a long battery life. Also, it incorporates a dual native ISO sensor for outstanding low light performance as well as the exquisite color science of Sony’s top-of-the-line Venice motion picture camera. Unlike to its 5.9K competition, the full-frame Canon EOS C500 Mark II, the FX9 downsamples its 6K signal to C4K and does not support internal Raw recording. Although it only supports HD, the FX9 offers 180 frames per second for extremely slow motion, unlike the Canon.
Features
I won’t go into detail about every feature and capability offered by the FX9, but these standout features and their significance are listed below:
Full-Frame Exmor R CMOS Sensor from Sony: When using the FE PZ 28-135mm f/4.0 G OSS lens for interiors and interviews, the greater light-gathering capacity of the FF sensor came in helpful. Even at the high base ISO of 4000 for these photographs, the FF sensor’s noise level was excellent.
I was able to extend the reach of the FE 100-400mm f/4.5-5.6 G OSS zoom when photographing surfers at a distance on a bright day by quickly narrowing the wider FF FOV to an S35 FOV. The FX9’s maximum frame rate in FF 4K mode is 30 fps. As a result, switching to S35 FOV is required to get 4K 60p recording.
It’s excellent that the FX9 can support 4K 60p for shooting sports and action, but I was disappointed that Sony couldn’t set the bar a little higher and give us 80-90 fps in 4K S35 mode and 60 fps with the FF sensor. Even with these restrictions, the FF sensor is still clearly superior to having an S35 sensor alone. I never imagined I’d say that.
Structure and handling
Sony has made significant changes to the FX9 based on what it learned from the FS7. The FX9 is strong and dependable thanks to its sturdy all-metal frame and locking E-mount mechanism, which eliminates the need to twist the lens when you attach it. The memory card compartment’s weatherproofing and lock, which features two XQD card slots and an SD card for proxies or loading settings, have also been enhanced.
Ten user-programmable buttons are available for you to configure in your most-used settings. In order to indicate when a button has been activated, all buttons with auto modes now have LED lights.
A touchpad mechanism on the left side of the camera has taken the place of the primary menu scroll wheel. It is straightforward but a little too simple to click in the wrong location. The front of the camera has a sizable multi-function knob for navigating and configuring menu options.
The viewfinder is brand-new, has a 720p resolution, and has better color and contrast. Moreover, the camera features a Sony MI shoe that connects to other Sony devices, like the brand-new digital audio system. This is a key selling point because the shoe enables you to use any of Sony’s wireless audio products, which work flawlessly with the camera. The wireless unit can be powered directly from the camera battery without the need for any extra wires.
Performance
The FX9 is astounding in terms of high ISO performance due to the full frame sensor delivering wonderfully detailed, low-noise photographs. Even when you underexpose and then increase exposure in post-production, it works really well. This sensor is superb.
While utilizing the FX9, you have a choice between two alternative color modes: Custom or CineEI. A typical video camera with S-Cinetone color technology that was sourced from the Venice is used in Custom. This strikes an excellent balance between conventional colors and more dramatic hues. This maintains more highlight detail and has better skin tones. It can be used immediately out of the camera.
In CineEI, you can extract the most information from the file for color grading and other post-processing tasks. Instead of using ISO or Gain, you use EI ratings, which allows you to vary the effective ISO without changing the dynamic range. A specific white balance and tint can also be specified. Generally, Custom mode produces higher-ISO files with less noise compared to Cine EI.
Moreover, the FX9 features S-Log3 in both CineEI and Custom modes, along with HG for HDR workflow. S-Log3 delivers the highest dynamic range, the most gorgeous colors, and somewhat more accurate skin tones if you have the time and expertise to grade it. S-Cinetone is not at all far behind, but it is the optimum setting for the highest level of quality and control.
Conclusion
You’ll have to spend about $11,000 on the camera, so it’s not for the average hobbyist.
It is less expensive than the majority of high-end film cameras, nevertheless. It most likely qualifies as a fantastic option for any independent filmmaker with capital to invest.
It works for just about any kind of filmmaker because to the modular design. Even better, you can purchase a shoulder-style extension that lets you support the camera on your shoulders.
