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Sony Fx9


Robin R Probyn

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5 hours ago, Igor Trajkovski said:

How much is the shutter rolling?  ?

There is more chance of rolling shutter due to FF read out time as opposed to smaller APSC.. you have to be more aware of it .. if its a specific shot like a tip pan I would drop down to S35 crop mode to lessen the chance .. 

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On 2/25/2020 at 8:13 PM, Robin R Probyn said:

I think this is also a mis conception .. the fx9 is alot more than a slight improvement on the fs7 .. its a massive improvement in all ways..  brand new FF 6k back lit sensor..low light performance .. dual ISO.. much improved EVF LCD. better menu and at last TC in the camera body.. and better color science .. AF .. and buttons that need a deep press and have a light to tell you whats on or not..  weather sealing ,magnesium alloy body.. audio controls on camera body.. the list goes on .. its far more a Venice lite than an fs7 heavy ..

I stand corrected! ?

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10 hours ago, AJ Young said:

I stand corrected! ?

Sorry didnt want to come over as standing on a soap box.. and I don't have shares in Sony ?  .. but it really is a big misconception to think the fx9 is a slightly better fs7.. its a way, way  better camera in many ways ..  admittedly the fs7 bar is pretty low in alot of departments.. personally I never would have ,and didn't buy one .. but the fx9 is a totally different beast .. you should get your hands on one ..    really bang for buck its quite amazing what Sony have come up with ..  the new sensor is very good.. low light is just mind blowing .. and the S Cinetone REC709 .. is definitely the end of the dreaded "Sony look" out of the box..  

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On 2/25/2020 at 6:52 PM, Michael LaVoie said:

Curious about that viewfinder connection on both the FS7 and the FX9.  What is that connection?  I've asked Sony in Jersey if they could make an extension to that cable and they said no.  But I mean, does anyone know what the connection is and if there's a 3rd party adaptor or extension possible.  Sometimes the cable is just like 2 or 3 inches too short and I hate the idea that if it breaks, I'm screwed without a monitor.

I frequently have to disconnect the cable to reroute the monitor for cable relief. Like everything Sony, it is proprietary. I keep a 7" 1080 monitor ontop on an 11" arm. I'll adjust the FS7 or FX9 monitor for an at-a-glance view of the technical display info and position the 7" monitor via SDI for actual operation.

 

On 2/25/2020 at 11:13 PM, Robin R Probyn said:

I think this is also a mis conception .. the fx9 is alot more than a slight improvement on the fs7 .. its a massive improvement in all ways..  brand new FF 6k back lit sensor..low light performance .. dual ISO.. much improved EVF LCD. better menu and at last TC in the camera body.. and better color science .. AF .. and buttons that need a deep press and have a light to tell you whats on or not..  weather sealing ,magnesium alloy body.. audio controls on camera body.. the list goes on .. its far more a Venice lite than an fs7 heavy ..

I'm curious Robyn, what better color science do you note from the FS7? I've found that the FX9 favors a color shift into green. After confirming black balance on vectorscope, it still shows a green cast in the edit. (Of course it can be timed out to mix with FS7 footage.) Unless I have been using a lemon. I have been using unit "002"

 

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41 minutes ago, Stephen Sanchez said:

I frequently have to disconnect the cable to reroute the monitor for cable relief. Like everything Sony, it is proprietary. I keep a 7" 1080 monitor ontop on an 11" arm. I'll adjust the FS7 or FX9 monitor for an at-a-glance view of the technical display info and position the 7" monitor via SDI for actual operation.

 

I'm curious Robyn, what better color science do you note from the FS7? I've found that the FX9 favors a color shift into green. After confirming black balance on vectorscope, it still shows a green cast in the edit. (Of course it can be timed out to mix with FS7 footage.) Unless I have been using a lemon. I have been using unit "002"

 

Sorry I don't really knew all the techie stuff.. but I believe there is a S cinetone white paper out there now ..  they have changed the color filters and there is now a new matrix and gamma setting .. "Original / S cinetone " that combined ..( the camera comes as default this setting )..  is the "new" Rec709 color science .its basically a close copy of the Venice 709... known as S Cinetone .. it has a better high light roll off too.. you can see this just toggling between SC and the regulate Rec709 /STD 5 settings ..  this new setting is a straight out of the can , no to minimal grading needed .. and it looks really good .. and very very close to the Venice 709 look.. of course its a custom setting only..

But if you are shooting Slog3 (no Slog2 like the Venice )..  the s709 LUT made for the Venice .. does have a green tint on fx9 footage.. the best 3rd part fx9 /Slog LUT is from Alister Chapmans site .. Sony should really make a LUT specifically for the fx9 .. as the sensor is not the same as the Venice ..

002 wow.. mine is 14 .. I don't think you have a bum unit ..  but S cinetone shouldn't be really green .. if you check on the ACS  (Australian Cinematography Society)..site ..they did a color test of this sensor and it was the best the testing guy had ever seen.. purely scientifically anyway .. the whole fx9 review is worth a look ..

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10 hours ago, Robin R Probyn said:

Sorry I don't really knew all the techie stuff.. but I believe there is a S cinetone white paper out there now ..  they have changed the color filters and there is now a new matrix and gamma setting .. "Original / S cinetone " that combined ..( the camera comes as default this setting )..  is the "new" Rec709 color science .its basically a close copy of the Venice 709... known as S Cinetone .. it has a better high light roll off too.. you can see this just toggling between SC and the regulate Rec709 /STD 5 settings ..  this new setting is a straight out of the can , no to minimal grading needed .. and it looks really good .. and very very close to the Venice 709 look.. of course its a custom setting only..

But if you are shooting Slog3 (no Slog2 like the Venice )..  the s709 LUT made for the Venice .. does have a green tint on fx9 footage.. the best 3rd part fx9 /Slog LUT is from Alister Chapmans site .. Sony should really make a LUT specifically for the fx9 .. as the sensor is not the same as the Venice ..

002 wow.. mine is 14 .. I don't think you have a bum unit ..  but S cinetone shouldn't be really green .. if you check on the ACS  (Australian Cinematography Society)..site ..they did a color test of this sensor and it was the best the testing guy had ever seen.. purely scientifically anyway .. the whole fx9 review is worth a look ..

Apologies, I assumed you were referring to Slog. I'm so used to setting and leaving my record settings. The editors always want Slog3 in SGamut3. Oh yes, the Slog3 footage does come out green for us. Again it's easily tuned out in post. And we use LUTs on camera only for monitoring, so that can't be the reason.

Attached is a comparison the week we got the FX9, done by fellow DP Christian Moriarty. Both cameras were set side by side each with a Sony 28-135 G kit lens under tungsten lighting. The LUT in these pictures was applied in post from the Slog3 footage.Still0401_00003.thumb.jpg.66fb2c264ef5a999a6841a8fcce15710.jpg

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9 hours ago, Stephen Sanchez said:

Apologies, I assumed you were referring to Slog. I'm so used to setting and leaving my record settings. The editors always want Slog3 in SGamut3. Oh yes, the Slog3 footage does come out green for us. Again it's easily tuned out in post. And we use LUTs on camera only for monitoring, so that can't be the reason.

Attached is a comparison the week we got the FX9, done by fellow DP Christian Moriarty. Both cameras were set side by side each with a Sony 28-135 G kit lens under tungsten lighting. The LUT in these pictures was applied in post from the Slog3 footage.Still0401_00003.thumb.jpg.66fb2c264ef5a999a6841a8fcce15710.jpg

Yeah basically.. Sony LUT,s for fs7/f5/55 camera,s will not give the same results with the fx9  (or Venice) due to completely different sensor and color filters .. for slog 3 / S Gamut 3 (.cine)..  Its why Sony made the s709 LUT specifically for the Venice ..  fx9 is much more similar to the Venice in color science but its a different sensor and the Venice s709 LUT applied to fx9 footage  also has a slight green tint .. go to Alister Chapmans site .. he has made a pretty good LUT specifically for the fx9 sensor Slog3 footage .. you can down load, buy him a PayPal coffee if you want ..  last shoot I actually sent this LUT to the editors .. presumably one day Sony will come out with LUT,s for the fx9 .. or some how tweak the s709 Venice LUT 

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Oh... right. I see what you're saying. The FX9 LUT in camera is different from all other Sony cameras and hasn't been publicly released yet, therefore post must make their own or adjust an existing one. In retrospect, what you originally said makes sense, I was just too dense to get it lol. I'll send this along to the editors.

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9 hours ago, Stephen Sanchez said:

Oh... right. I see what you're saying. The FX9 LUT in camera is different from all other Sony cameras and hasn't been publicly released yet, therefore post must make their own or adjust an existing one. In retrospect, what you originally said makes sense, I was just too dense to get it lol. I'll send this along to the editors.

Not so much in camera LUT,s I guess ,as much as the whole sensor and color filters are different .. 

.  but yes the green thing happens when applying s709 Venice LUT .. which is pretty close but not exactly the same .. to Fx9 slog footage .. and Sony should really make a specific fx9 one .. maybe they never will.. but this one from Alister Chapman is used by alot of the fx9 user group folks ..or just dial it out as you say .. its only a LUT .. but yes I think might as well send it to anyone editing your footage .. and Mr Chapman makes a bit of money for his efforts by donation .. especially as he's actually giving it away and not selling it .. which is quite noble of him I think ..

Edited by Robin R Probyn
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  • 2 weeks later...
On 2/26/2020 at 5:14 AM, AJ Young said:

I shot a feature on the FS7 and it did great! The director and executive producer was happy and the film is making a profit. ? It's a parody film called Jesus, Bro!, shot in fall 2016.

I wouldn't discredit the FS7 as an honest choice for a professional narrative production if the budget can't afford anything higher than that. The FX9 has slight improvements on the FS7 and would be a perfect choice.

"I shot the film on the Sony FS7 with the Extension Unit. The entire project was recorded directly to ProRes 422 and finished in 2K. I used my personal Nikkor cinema primes for the entire feature with an assortment of Russian lenses (Helios 44-2, Mir 24M, and Jupiter 9) for other-worldly scenes or moments."

http://www.ajyoungdp.com/jesus-bro

Guessing you must have shot it in 2K if you were recording directly to ProRes? (as no mention of an external recorder there)

What made you decide on 2K over 4K DCI, a lack of budget for the increased storage needs?

 

 

On 2/26/2020 at 12:52 PM, Michael LaVoie said:

Curious about that viewfinder connection on both the FS7 and the FX9.  What is that connection?  I've asked Sony in Jersey if they could make an extension to that cable and they said no.  But I mean, does anyone know what the connection is and if there's a 3rd party adaptor or extension possible.  Sometimes the cable is just like 2 or 3 inches too short and I hate the idea that if it breaks, I'm screwed without a monitor.

Maybe ask some local sound guys? Their cable guys can make you anything. 

 

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7 hours ago, David Peterson said:

Guessing you must have shot it in 2K if you were recording directly to ProRes? (as no mention of an external recorder there)

What made you decide on 2K over 4K DCI, a lack of budget for the increased storage needs?

The final product only needed a 2K delivery; it was shot for direct-to-video. Most of the revenue of Jesus, Bro! was made through DVD sales. Yes, DVD sales from 2016-today. ?

Their streaming option was limited to vimeo and the director/producer, Ryan Mitchelle, didn't feel he needed a 4K version of the film because he knew his audience wouldn't care.

I shot a second feature for Ryan, http://www.ajyoungdp.com/acsm, on the Red Dragon. Final product was still 2K for the same reasons. ?

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EVF connection is not the same Fs7 /Fx9 .. nor is the grip cable USB plug .. both the EVF LCD and the grip function speeds ..are alot better than the fs7 

The whole grip is different .. its more like the fs5 design .. although not exactly the same ..

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  • 1 year later...

@miguelang

On 2/25/2020 at 12:12 PM, Miguel Angel said:

I've just finished that short documentary in Sierra Leone with the FX9.. and I'm truly amazed.  

We kitted it out with a Teradek, WCU4 and a 5.6" minimonitor for me (instead of the one that the camera has) and it has all gone really really well.  

We shot almost in darkness since it was a documentary about the lack of electricity in hospitals in Sierra Leone at night and how the people there perform difficult surgeries with just the light of a phone.. and shooting at 4000ASA / 8000ASA has been absolutely eye opening. 

There were moments where I couldn't see anything but the camera picked the light from the phone super well. Definitely a great companion for a Sony Venice as a B cam or even to shoot commercials or features if there is no money for a Venice / Alexa.

@Robin R Probyn we tested anamorphic lenses as well and it is not that difficult to make it work as of now ? 

I'm looking forward to working with it again. 

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These images look really clean in terms of noise. Did you shoot S-log3, or did you choose one of the Custom modes?

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On 10/18/2021 at 2:18 PM, Pascale Neuschafer said:

@miguelang

These images look really clean in terms of noise. Did you shoot S-log3, or did you choose one of the Custom modes?

Hi Pascale, 

We shot S-log 3 ? 

Thanks!

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