Category Archives: PXW-FX9

A7, FX3, FX6, PXW-FX9

Which Sony ISO RatingS Are Correct?

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In the course of my tests with the FX3 and comparing it with the FX6 and FX9 I discovered a strange anomaly with the FX3 and A7SIII ISO ratings when compared to the FX6 and FX9. 


The FX3’s default picture profile is PP11 and S-Cinetone. If you have an FX6 or FX9 these cameras also default to S-Cinetone in SDR mode. In the FX6 and FX9 the base ISO for S-Cinetone is 320 ISO. Therefore you would assume that if you also set the A7SIII or the FX3 to 320 ISO and expose all the cameras the same, same aperture, shutter etc that the exposures would match.

BUT THE EXPOSURES DON’T MATCH!!

The FX6 at 320 ISO, 1/50th shutter, S-Cinetone.

 

The FX3 with the same 320 ISO, 1/50th shutter and S-Cinetone. It’s clearly brighter.



The FX3 and the A7SIIII are just over 1 stop brighter than the FX6 and FX9 when all the exposure settings are matched. I tested all the cameras with the same lens to ensure this wasn’t a lens issue, but it isn’t the lens.

FX3 S-Cinetone is brighter compared to the FX6/FX9 and over exposed according to my light meter by just over 1 stop. The white of the white card should be at approx 83% and my skin tones are well into the highlight roll off and looking flat as a result.

 

The FX6’s exposure much more closely matches my light meter and is only a fraction of a stop under with the white card just touching the 83% exposure I would normally expect with S-Cinetone.

 

 

Here’s the FX3 again, the whites are much, much too bright when exposed against my light meter, even the middle grey is over 60%. The MM+0.7 indication means the camera thinks it is over exposed.

 

And the FX6 with exactly the same settings and the same lens matches my light meter very closely, white is around 83% and middle grey around 45%, as I would expect. Something odd is going on here, it’s not just my light meter it’s something else as the cameras should at least match, even if they don’t agree with the light meter.



I then went on to test other gamma/picture profile settings and I found a just over 1 stop difference between the FX3 and my FX6/FX9 in any similar combination EXCEPT S-LOG3!

The FX3 shooting S-Log3 now it matches my light meter very closely and the exposure is add I would expect.

 

This is the FX6 set exactly the same as the FX3 shooting S-Log3. Now they both match and now the both provide the same exposure and closely match my light meter.



When using Picture Profile 2 on the FX3 which is uses Sony’s “Still” gamma and then using the “Still” Profile on the FX6 there is a difference of around 1 stop. If I set the FX3 to PP3 (ITU-709) and the FX6 to ITU-709 then the difference is again around 1 stop, in every case the FX3 is brighter except when you select S-Log3 where the FX3 and the FX6/FX9 match almost perfectly!

I find this very strange. They should not be different. My light meter suggests to me that the FX6/FX9 are correct.

Comparing to my light meter I believe the FX6/FX9 ratings to be correct and the FX3 to be between 1 and 1.3 stops brighter than it should be when using gammas that are not S-Log3. What I really don’t understand is why the FX3/A7SIII match the FX6/FX9 when using S-Log3 but do not match when using the other profiles, normally I would expect to see a consistent offset. This further makes leads me to be sure this is not a problem with my light meter, but something else.

I would love to hear from anyone else that’s able to take a look at the ISO ratings of the A7SIII and compare it with an FX6 or FX9.

The bottom line is – DON’T EXPECT TO PUT THE SAME EXPOSURE SETTINGS INTO BOTH AN FX3 AND AN FX6/FX9 AND GET THE SAME RESULTS, because you won’t, unless you are using S-Log3, then they match. 

Also in the clip metadata I found that 0dB for S-Cinetone is 100 ISO, and whether this is a coincidence or not, if I set the FX3 to 100 ISO and the FX6 to 320 ISO and then match shutter speed and aperture then the exposures are very close.

This one has left me confused!!!!

FX6, PXW-FX9, Technology

Atomos Adds Raw Over SDI For The Ninja V via the AtomX.

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I know this is something A LOT of people have been asking for. For a long time it has always seemed odd that only the Shogun 7 was capable of recording raw from the FX9 and then the FX6 while the the little Ninja V could record almost exactly the same raw form the A7SIII.

Well the engineers at Atomos have finally figured out how to pass raw via the AtomX SDI adapter to the Ninja V. The big benefit of course being the compact size of the Ninja V.

There are a couple of ways of getting the kit you need to do this.

If you already have a Ninja V (they are GREAT little monitor recorders, I’ve taken mine all over the world, from the arctic to Arabian deserts) you simply need to buy an AtomX SDI adapter and once you have that buy a raw licence from the Atomos website for $99.00.

If you don’t have the Ninja V then you can buy a bundle called the “Pro Kit” that includes everything you need including a Ninja V with the raw licence pre-installed, The AtomX SDI adapter, a D-Tap power adapter cable, a mains power supply and a sun hood. The cost of this kit will be around $950 USD or £850 GBP + tax, which is a great price.

On top of that you will need to buy suitable fast SSD’s.

Like the Shogun 7 the Ninja V can’t record the 16 bit raw from the FX6 or FX9 directly, so Atomos take the 16 bit linear raw and convert it using a visually lossless process to 12 bit log raw. 12 bit log raw is a really nice raw format and the ProResRaw codec helps keep the files sizes nice and manageable.

This is a really great solution for recording raw from the FX6 and FX9. Plus if you already have an A7SIII you can use the Ninja V to record via HDMI from that too.

Here’s the press release from Atomos:
The Atomos Ninja V Pro Kit is here to equip you with increased
professional I/O, functionality and accessories.

The Ninja V Pro Kit has been designed to bridge the gap between compact cinema and mirrorless cameras that can output RAW via HDMI or SDI. Pro Kit also pushes these cameras’ limits, recording up to 12-bit RAW externally on the Ninja’s onboard SSD. Additionally, Pro Kit provides the ability to cross covert signals providing a versatile solution for monitoring, play out and review.
 
What comes in the Pro Kit?
  • Ninja V Monitor-Recorder with pre-activated RAW over SDI
  • AtomX SDI Module
  • Locking DC to D-Tap cable to power from camera battery
  • AtomX 5″ Sunhood
  • DC/Mains power with international adaptor kit
Ninja V Pro Kit offers a monitor and recording package to cover a wide range of workflows.

Why choose Ninja V Pro Kit?
  • More powerful and versatile I/O for Ninja V – Expand your Ninja V’s capability with the Pro Kit with the ability to provide recordings in edit-ready codecs or as proxy files from RED or ARRI cameras.
  • Accurate and reliable daylight viewable HDR or SDR – To ensure image integrity, the AtomX 5″ Sunhood is included and increases perceived brightness under challenging conditions or can be used to dial out ambient light to increase the view in HDR
  • HDMI-to-SDI cross conversion – HDMI or SDI connections can be cross converted, 4K to HD down converts RAW to video signals to connect to other systems without the need for additional converters.
  • Record ProRes RAW via SDI to selected cameras*:
  • Three ways to power your Ninja:
    – DC power supply – perfect for in the studio.
    – DTap cable – perfect for on-set, meaning your rig can run from a single power source.
    – Optional NPF battery or any four-cell NPF you might have in your kit bag. 

The ProRes RAW Advantage
ProRes RAW is now firmly established as the new standard for RAW video capture, with an ever-growing number of supported HDMI and SDI cameras. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro, Avid Media Composer 2020.10 update, along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight, and Grass Valley Edius.
 

Existing Ninja V and AtomX SDI module owners
While the Pro Kit offers a complete bundle, existing Ninja V owners can enhance their equipment to the same level by purchasing the AtomX SDI module for $199, and the New RAW over SDI and HDMI RAW to SDI video feature can also be added to the Ninja V via separate activation key from the Atomos website for $99. 

Existing AtomX SDI module owners will receive the SDI < > HDMI cross conversion for 422 video inputs in the 10.61 firmware update for Ninja V update. You will also be able to benefit from RAW over SDI recording with the purchase of the SDI RAW activation key. This feature will be available from the Atomos website in February 2021.
 
 
Special Offer for Pro Kit buyers
The first batch of Ninja V Pro Kits will include a FREE Atomos CONNECT in the box.
Connect allows you to start streaming at up to 1080p60 directly from your Ninja V!
Learn more about Connect here.
 

Availability
The Ninja V Pro Kit is available to purchase from your local reseller.
Find your local reseller here.
$949 USD
EX LOCAL TAXES
*Selected cameras only – RAW outputs from Sony’s FS range (FS700, FS5, FS7) are NOT supported on Ninja V with AtomX SDI Module and RAW Upgrade. Support for these cameras is ONLY available on Shogun 7.
PXW-FX9

FX9 ISO Rating Confirmation Test

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While I had the light meter and exposure test chart out for the FX6 I decided to do the same exposure level confirmation test for the FX9. No nasty surprises, the FX9’s ISO ratings certainly appear to be correct. Again using a DSC Labs exposure reference chart with 18% middle grey and 90% white plus my trusty Sekonic I tested the FX9 at both 800 ISO and 4000 ISO and my light meter and the camera were in good agreement. At 800 ISO the light meter was saying f4.01 while the camera was at f4, I suspect this tiny difference is probably down to transmission losses in the lens.

FX9 Exposure rating test at 800 ISO.
FX9 Exposure ISO rating test at 4000 ISO.
FX6, PMW-F55, PXW, PXW-FS7, PXW-FX9

FX6-FX9 XAVC Card Recording Times

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How much can I fit on a SD card, CFExpress card, SxS or XQD card is a question that comes up regularly. So I have prepared a table of the typical record times for most of the different XAVC-I and XAVC-L codecs and frame rates . Originally drawn up for the FX6 this table applies equally to any other Sony camcorder that uses the same codecs, including the PXW-FX9, PMW-F5 and F55 as well as the FS7 and many others.
Do note that the times given are approximate and do not include proxies.  Not every frame rate and codec is included but you should be able to figure out the approximate record time for most cards, codecs and frame rates using this table.

CODEC/FRAME RATE 32GB 64GB 80GB 128GB 256GB
UHD/4K XAVC-I 24/25p  16 32 40 64 128
UHD/4K XAVC-I 30p  13 26 33 53 106
UHD/4K XAVC-I 50p  8 15 19 31 62

UHD/4K XAVC-I 60p

 6 13 15 26 52
UHD XAVC-I 100fps  4 7 10 15 30
UHD XAVC-I 120fps 3 6 8 12 24
UHD XAVC-L 24/25/30p 39 79 96 158 315
UHD XAVC-L 50/60p  8bit 26 51 63 103 206
UHD XAVC-L 24/25/30p 100fps S&Q 8 bit 10 19 24 39 78
UHD XAVC-L 50/60p 120fps S&Q 8 bit 8 16 20 32 64
UHD XAVC-L 50/60p 100fps  S&Q 8 bit 15 30 37 61 122
UHD XAVC-L 50/60p S&Q 120fps  8 bit 13 25 31 51 102
HD CODEC/FRAME RATE 32GB 64GB 80GB 128GB 256GB
HD XAVC-I 24/25/30p 34 67 83 135 270
HD XAVC-I 50/60p 17 35 43 70 140
HD XAVC-I 100fps 10 21 26 42 84
HD XAVC-I 120fps 8 17 21 35 70
HD XAVC-I 240fps (lower quality) 4 8 10 17 35
HD XAVC-L50 24/25/30p 75 150 180 300 600
HD XAVC-L50 50/60p 72 144 175 288 576
HD XAVC-L50 24/25/30p S&Q 120fps 36 72 88 144 288
HD XAVC-L50 50/60p S&Q 240fps 18 36 44 72 124
HD XAVC-L30 24/25/30p 101 201 250 405 810
HD XAVC-L30 50/60p  96 193 237 387 774
HD XAVC-L30 120fps  48 96 118 193 387
HD XAVC-L30 240fps 24 48 59 96 193
PXW-FX9

Using 2x Anamorphic lenses with the FX9

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Frame grab from Anamorphic footage from the FX9.

 

Here are some links to a couple of videos and some information on shooting Anamorphic with the PXW-FX9 that I prepared for Sony. The first video is a guide to how to shoot Anamorphic with the FX9 and then the second video is a short example video of som 2x Anamorphic content that I shot in some pretty grim weather conditions in the UK’s Lake District.
Here’s the link to the “How To” guide to anamorphic with the FX9.

And here’s the link to the footage from the lake district.

 

FX6, LUTs, PMW-F55, PXW-FS5, PXW-FS7, PXW-FX9, Scene Files and Luts

New LUT – Chess

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Here’s a new LUT for you, inspired by a the look of the Netfix show “the Queen’s Gambit. I’ve called the LUT “Chess”. It’s designed for use with S-Log3 and SGamut3.cine and I think it works really well with most Sony S-Log3 capable cameras including the FX6, FX9, FS7, FS5, F5 and F55 etc. As well as Sony’s video cameras it will also work with the A7SIII and other Sony Alpha cameras.

In the download you will find 2 LUTs. The 65x version is for post production and grading, the 33x version is for use as a camera LUT.  While I have aimed to replicate much of the look of the TV series it must be noted that grading is only a small part of the look. Set design, the colour of the sets and costume also play a significant roll.

S-Log3 to s709 Standard look.
S-Log3 to Chess Look LUT
S-Log3 to s709
S-Log3 ro Chess look LUT

If you find this LUT useful please consider buying me a cocktail or other beverage. Thank you! It does take a while to develop these LUT’s and contributions are a good incentive for me to create more!


 

Your choice:


Click Here to Download the Chess LUT

 

You can use this LUT as a camera LUT or for grading. If you are using the Sony FX6 you can use this LUT in Custom Mode as a Base Look. For more information on how to do that please watch the video below.

 

FX6, PMW-F55, PXW, PXW-FS5, PXW-FS7, PXW-FX9, Workflow

Catalyst BRowse and catalyst Prepare Updated.

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Timed to coincide with the release of the ILME-FX6 camcorder Sony have updated both Catalyst Browse and Catalyst Prepare. These new  and long awaited versions add support for the FX6’s rotation metadata and clip flag metadata as well as numerous bug fixes. It should be noted that for the correct operation that a GPU that supports OpenGL is required. Also while the new versions support MacOS Catalina there is no official support for Big Sur. Catalyst Browse is free while Catalyst Prepare is not free. Prepare can perform more complex batch processing of files, checksum and file verification, per-clip adjustments as well as other additional features.

For more information go to the Sony Creative Software website.

FX6, LUTs, PXW-FS5, PXW-FS7, PXW-FX9, Scene Files and Luts

Hypergamma LUT’s for the FX6 (and others).

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The Sony FX6 does not have the same Hypergammas or Cinegammas as found in many other Sony camcorders. However you can load a LUT as a base look in the cameras Custom Mode. See this post for details about this.

So I have prepared a set of LUTs that mimic the Sony Hypergammas with rec709 colour.  These LUTs are for S-Log3/SGamut3.cine as used as the base input in the FX6. HG1 and HG2 are broadcast safe so these give you a broadcast ready option for the FX6.
 In addition to the Hypergamma LUT’s there is an additional ACBCST LUT. This is a broadcast safe version of the Sony s709 LUT with added contrast and saturation, suitable for broadcast and other direct to air applications.

As well as the FX6 these LUT’s will also work with any Sony camera that accepts LUTs and has S-Log3 and SGamut3.cine. They can also be used in post production.

If you find these LUT’s useful please consider buying me a coffee. Thank you!


 

Your choice:



CLICK HERE TO DOWNLOAD THE Hypergamma LUTs

PXW-FX9, Videos

FX9 Guide Videos

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Here are the guide videos I produced for Sony about the FX9.  These videos cover most of the key features of the camera whether that’s shooting using S-Cinetone or S-log3 and Cine EI, farme rates and scan modes. Each video includes instructions on how to use the different modes as well as some guidance on things to watch out for.  Some of the videos were produced with version 1 firmware so there are now some changes to the base modes, previously you had Custom  Mode and Cine EI, now you have SDR – HDR – CineEI where SDR mode is the same as what was previously called custom mode. Also don’t miss the two videos linked at the end which cover most of the new features added in the version 2 firmware.

 

Touch Screen and Eye AF

https://pro.sony/en_GB/insight/filmmaking-tips/pxw-fx9-tutorial-videos-eye-af

MLUTS and HDR

https://pro.sony/en_GB/insight/filmmaking-tips/pxw-fx9-tutorial-videos-mluts-hdr

FX6, PXW-FX9

Differences Between FX9 and FX6

35 Comments

Here are some of the differences I have so far identified:

FX9 FX6
6K Full Frame Sensor (20.5 megapixels) 4K Full Frame Sensor (10.2 megapixels, large pixels)

6K Oversampled Full Frame 4K recording, max 30fps. 5K up to 60fps, 4K up to 60fps

More rolling shutter when using 6K FF (more pixels to read).

4K Scan for Full Frame UHD recording upto 60fps.

Compared to the above:-

10% crop when recording UHD above 60fps.

5% crop if recording or outputting DCI 4K.  

10% crop if outputting UHD raw.
FF Crop 5K Scan max 60fps.  No
4K Super 35mm Scan max 60fps. HD Super 35mm Scan max 120fps (the camera can go to 240fps using S&Q but the quality is slightly reduce above 120fps).
2K Full Frame Scan max 180fps (IQ reduced). No
2K Super 35mm Scan max 120fps (IQ reduced) No
2K Super 16mm Scan ( coming in v3 firmware) No
No Clear Image Zoom (1.5x in 4K, 2x in HD) But not available above 60fps or when outputting raw. Also Face/Eye AF disabled when using CIZ.
Interlace recording and output, full 50i/60i support using FF crop 5K scan or s35 4K scan. Can use FF 2K scan but IQ is reduced. No internal interlace recording (interlace output is possible when recording 50p/60p)
No UHD 100/120fps internal recording.
Shooting above 60fps requires reduced quality 2K scan mode (currently waiting for s35 scan 120fps UHD raw to be released). Shooting up to 60fps uses full sensor scan. 60 to 120fps  1:1 sensor scan (10% crop).120 to 240fps HD uses reduced quality sensor scan.
Highest frame rate that can be recorded internally 180fps.  Highest frame rate that can be recorded internally 240fps. 
Highest frame rate that can be recorded via raw 180fps (optional XDCA-FX9  required) Highest frame rate that can be recorded via raw 60fps.
No Auto Focus in S&Q Auto Focus works in S&Q when the S&Q frame rate is a direct multiple of the base rate. So base rate 23.98/30/60fps AF works at 23.98/30/60/120fps. Base rate 25/50fps AF works at 25/50/100fps.
If base rate is 24fps then AF does not work in S&Q.
MpegHD Codec No
Can record 4K/UHD plus broadcast quality HD at the same time via sub record and MpegHD. Possible to record 4k/UHD S-Log3 plus broadcast quality MpegHD (or Proxy) with LUT added at same time. Can record 4K/UHD plus HD proxy (not broadcast quality) at same time. Possible to record 4K/UHD S-Log3 and proxy with LUT added at same time.
1x 12G SDI + 1 x 3G SDI + 1 x HDMI 1x 12G SDI and 1x HDMI
LUT’s independent of recording when recording UHD and outputting HD. LUT’s independent of recording in all modes/frame rates
XDCA Adapter required for raw out. No adapter required for raw out.
Can output raw + 2x SDI + HDMI out (with XDCA) Can output raw + HDMI out.
Can output 4K raw + record HD internally Can output 4K raw + record 4K/UHD internally (internal format follows raw format)
No.  SDI/HDMI are either 4K/UHD or HD but not both at same time. Can output 4k/UHD on SDI and HD on HDMI at the same time.
UHD 120fps raw out (expected, not yet released, via optional XDCA-FX9) Max raw UHD raw frame rate is 60fps.
35 watts, BP-U batteries 18 watts, BP-U batteries
QoS Streaming No streaming
4x Audio control dials, 2 x XLR on body 2x Audio control dials for ch1 and 2. Ch3 & 4 controlled via touch menu or main menu. 2x XLR on handle.
Radio mic slot in XDCA option No radio mic slot
2.5mm Lanc (same as FS5/FS7 etc) plus Sony USB style Multi connector for handgrip. 3.5mm 4 pole Lanc for handgrip, not the same as FS5/FS7 etc + Sony USB style Multi connector + 2.5mm lanc (as FS5/FS7) on rear – however using FX9 grip via the FX6 Multi connector results in “unsupported device” message, this may be a firmware limitation in the pre-production beta firmware, but not sure. 
Standard USB 3 port for media offload. USB-C port for card offload and expansion options (tethering to phone and wired LAN expansion possible at time of writing).
XQD Cards CF Express Type A or SD v30/v60/v90 depending on codec/frame rate. CF Express Type A required for UHD 100,120fps, SD v90 specified for UHD/4K. upto 60fps.
Heavy duty locking E-mount Standard bayonet E-mount
Picture Cache Record No 
Planning metadata No
GPS No
Proxy recording 1080p 30p/25p/23.98p 9Mbps, 1080p 60i/50i 9Mbps, 720p 9Mbps, 720p 6Mbps, 360p 3Mbp Proxy recording 1080p 60p/50p 9Mbps
Dual slot simul recording HD only Dual slot recording 4K/UHD/HD
4K and HD sub recording (Mpeg HD 422) No
Gammas: S-Cinetone, Standard 1 to 6, Hypergamma 1 to 4, 7&8, S-Log3, HLG(live), HLG(natural). Gammas: S-Cinetone, Standard, Still, ITU-709, S-Log3, HLG(Live), HLG(natural).

+

Custom base looks in custom mode via a user LUT.
Matrix: S-Cinetone, Standard, FL Light, Cinema, BT.709, BT.2020 – All fully adjustable. Matrix is tied to the selected scene file/gamma curve. It is adjustable but the type cannot be changed independently of the scene file.

Custom base look LUTs can be modified by matrix.
Skin Detail Correction No
Adaptive Matrix (helps with LED lights) No
Aperture Correction No
Separate HD Detail correction No
User Adjustable White Clip Level  No – and all the gammas exceed broadcast safe and will go “out of gamut”, so beware! You would need to use either Standard, Still or ITU709 and adjust the knee for broadcast safe (With Standard – turn auto knee off, set knee point to 85 and knee slope to +70 to stay below 105%).
User adjustable frame area markers. User adjustable frame area markers plus direct entry of any user aspect ratio.
No Body rotation metadata (landscape/portrait shooting)
Clip flag metadata OK/Keep/NG by assignable button. Clip flag metadata OK/Keep/NG dedicated button.
Genlock No
Volume Control Buttons Volume control in menu
Face/Eye AF controlled by AF zone selection. Face/Eye AF controlled by AF zone selection.
Media Format Media Full Format + Media Quick Format.
No Zebra levels indicated on waveform display.
Highly adjustable peaking controls Peaking Hi/Mid/Low
Top Handle: Zoom + Rec button Top Handle: Zoom + Rec button + Assignable dial + 2x Assignable buttons + thumb stick
10 assignable buttons 9 assignable buttons
2 assignable dials (MFD + grip). 3 assignable dials (MFD + grip + top handle).

Dual Base ISO:

S-log 800/4000

S-Cinetone 320/1600 (0dB) In dB mode can also go to -3dB but in ISO mode does not go below 0dB.

Low/High Base ISO

S-Log 800/12,800

S-Cinetone 320/5000 (0dB) In dB mode  can also go to -3dB but in ISO mode does not go below 0dB.
Max 102,400 ISO Max 409,600 ISO
S700PTP remote Control (coming in V3 firmware) No
B4 ENG lens support via adapter (coming in V3 firmware) Includes ALAC. No