Sony will launch a new small 4K handheld camcorder – the FX6 on Tuesday the 17th of November.
To find out more about this new and very exciting camcorder you can watch the launch event via Instagram. After the launch event I am hosting a Q and A on Instagram. I’ve been lucky enough to have shot with the camera and have extensively tested it, so tune in to the Q&A to learn more. There is a lot to like and I am certain this camcorder will prove to be extremely popular. The Instagram session will be here: https://www.instagram.com/sonyprofilmmaking/
Maybe it’s just because I’m getting old, but I do like to have a label to remind me of what I have assigned to the assignable buttons on my cameras.
There are lot’s of ways you can make a label from a post-it-note to camera tape. But I recently got a new label printer from Dymo and with the right tape it will print white text on clear tape. The printers are around $40 so they are not too expensive. If you’re anything like me once you get one you will find yourself labelling everything, so a worthwhile investment.
For the labels on my FX9 I used the smallest “8” point text size and you will need to trim the labels down with a sharp pair of scissors. They need to be very small to fit in the gaps between the buttons. I found a pair of tweezers really helps to hold the label while you cut it and peel of the backing. Then you can use the tweezers to place your swanky new label exactly where you want it.
I think they look pretty good and are worth the effort. The printer I used is a Dymo Label Manager 160 and the tape is a Office Depot white on clear 12mm plastic tape. There are lots of colour choices if you don’t want clear tape. Looking at the pictures of the camera I now realise I should have taken a bit more time to get the labels straight! Fortunately you can peel them off without leaving any nasty residue or damaging the paint.
So there is no IBC show this year and instead Sony are doing various online sessions with the latest news as well as guides to some of the most recent products and firmware.
Today’s news is of new branding for Sony most recent digital cinema cameras, Vence and the PXW-FX9. These cameras are now members of what Sony are calling “Cinema Line” and in addition there are pictures of a smaller camera not surprisingly called the FX6 that looks like – well – what you would expect an FS5 replacement to look like.
In the past Sony’s digital cinematography cameras were denoted by their “Cinealta” badges. But to some extent this became somewhat confused as all sorts of cameras like the Sony EX1 and Venice were classed as Cinealta. So what exactly is the new Cinema Line?
To quote from the Sony Press Release:
“At Sony, we celebrate and have the deepest respect for filmmakers, cinematographers, and storytellers. With Cinema Line, we’re tapping into our DNA from both the film industry and digital imaging prosumer market and combining it to develop new creative tools. This line of products will enable creators to push their creative boundaries further and capture the emotion in each and every frame.” says Claus Pfeifer, Head of Connected Content Acquisition, Media Solutions, Sony Professional Europe.
So, I’m not really sure! My guess is it’s a set of products, not just cameras aimed at what we now tend to call Cinematography rather than broadcast television or industrial video applications. Of course there is a huge amount of cross-over between all these different genres these days, so I’m sure the Cinema Line products will be used all over the place.
My main hope from this is a more unified look from any cameras in the Cinema Line. My big hope is that the FX6 will have S-Cinetone and that when you shoot S-Log3 with the FX6 that it will look like the S-log3 from the FX9 or Venice. This will make grading and post production easier where you mix and match cameras.
What about the FX6?
I don’t have any more solid information than you right now. We can expect it to be Full Frame, to shoot 10 bit 4:2:2 4K using S-Log3 and to probably have a raw output. As the FS5 is based on the A7S hardware with an F5 sensor it wouldn’t surprise me if the FX6 was based on the A7SIII hardware with the FX9 sensor perhaps. So it might have 4K at 120fps. From the pictures it appears to only have 2 channels of audio and the cover for the card slots (there must be 2 as there is a slot select switch) doesn’t look big enough for two XQD or CF Express Type B, so I would guess that like the A7SIII it’s SD cards or perhaps CF Express Type A. Another thing I notice in the pictures is a lack of an AF/MF focus switch and in particular no menu navigation controls, so I will guess the LCD is a touch screen and it will rely on this for a lot of function control and menu navigation. But this is just speculation, so don’t hold me to any of it!!!
UPDATE 29th Sept 2020. The issues have now been resolved so it is now safe to update.
27th Aug 2020 If you are a mac user and especially of you use it to edit footage from a Sony camera I recommend that you do not upgrade the operating system to OSX 10.15.6, Pro Video Codecs to 2.1.2 or upgrade FCP-X to version 10.4.9 at this time.
At the moment there is clearly an issue with footage from the FX9 after these updates. It is not clear whether this is due to the new Pro Video Codecs package 2.1.2 that is comes as part of the update to OSX 10.15.6 or whether it is just related to the FCP-X 10.4.9 update. Some users are reporting that some FX9 MXF files can not be previewed in Finder after updating as well as not being visible in FCP-X.
While so far it I have only seen reports that footage from the FX9 is affected, but it wouldn’t surprise me if Venice material is also affected.
I would suggest waiting for a few weeks after the release of any update before updating and never do an update half way through an important project.
UPDATE: Sony know about the issue and are working with Apple to resolve it. It only seems to affect some FX9 footage and possibly some Venice footage. It appears as the culprit is the Pro Video Codecs update, but this is yet to be confirmed. I would still suggest waiting before upgrading even if you are using a different camera.
So Sony have just launched the A7S III. And very impressive it is. Amazing low light performance, great dynamic range and lots of nice 10 bit codecs. You can even get a 16 bit raw output if you want. I can’t wait to get one. But I really don’t see the A7S III as a threat to or replacement of my FX9 or any other 4K professional video camera.
All the same discussions took place when the original A7S was launched. Sony F5 owners looked at the A7S and said – heck how can that little camera shoot full frame 4K while my camera can’t even shoot s35 4K. Why can the A7S have AF when my F3/F5 doesn’t. How can a camera that produces such beautiful images only cost 1/5th of what my F5 costs. But here we are 6 years on and the A7S and A7S II didn’t replace any of the bigger cameras and when the FS5 was launched people snapped up the FS5, often to replace an A7.
I don’t ever want to go back to having to carry and use a big box of different ND filters for different light levels. I find the small LCD screen on the back of a DSLR to be of very limited use and while the A7S III does have a very good EVF it’s placement makes it hard to use it on a tripod or in anything other than a simple hand hold with the camera up against your face.
If you want to shoot log then you really want built in LUTs. There are the battery and power questions. How do you power the camera and accessories without needing two or more power systems or a rig to take a big external battery and a bunch of adapters? Then there’s having buttons and switches for all the frequently accessed functions. I could go on but you only have to look at the many franken-rigs that end up built around DSLR type cameras just to make them usable to see the problems. Almost always the first purchase to go with a DSLR is a cage. Why do you need a cage? Because you know your going to have to bolt a ton of stuff to that once small, portable camera to turn it into a professional video making tool.
Sure, I will almost certainly get an A7S III and it will be a great camera to compliment my FX9. And yes, there may even be some projects where I only take the A7S III, just as there have been shoots where I have used just my A7S. But it won’t ever replace my FX9, they are two very different tools, each with its own strengths and weaknesses.
The image quality gap between traditional large professional video cameras and handheld stills type cameras will continue to get smaller and smaller as electronics continue to be further miniaturised, that is inevitable, but the cameras form factor will still be important.
The small cars of today often have all the same bells and whistles as a large luxury car of 10 years ago. Let’s say you’ve gone on vacation (remember those?) and it’s a road trip. You get to the car rental office and you have a choice between a large, spacious, stable, less stressed car or a small car that has to work a bit harder to get you to the same place. Both will get you there, but which do you choose? There might be some instances where the small car is preferrable, perhaps you will be in a lot of narrow city streets a lot. But for most road trips I suspect most people will opt for the big comfy cruiser most of the time.
For me the A7S III will be that nippy little car, a camera that I can pop in a pocket to grab beautiful images where I can’t use a bigger camera. But for my main workhorse I don’t want fiddly, I don’t want a ton of accessories hanging off it just to make it workable. I want the luxury cruiser that will just take it all in it’s stride and get on with the job and right now that’s my FX9.
Hooray! Finally ProRes Raw is supported in both the Mac and Windows versions of Adobe Creative Cloud. I’ve been waiting a long time for this. While the FCP workflow is solid and works, I’m still not the biggest fan of FCP-X. I’ve been a Premiere user for decades although recently I have switched almost 100% to DaVinci Resolve. What I would really like to see is ProRes Raw in Resolve, but I’m guessing that while Black Magic continue to push Black Magic Raw that will perhaps not come. You will need to update your apps to the latest versions to gain the ProRes Raw functionality.
Facebook Live stream Thursday 26th March 4pm GMT/UTC on how to stream to Facebook and YouTube with the Sony PXW-FS5 (also applies to many other Sony cameras with similar streaming options).
I will show you how to connect the camera to a network via Wi-Fi, how to send the stream from the camera to a computer. I will show you how to set up VLC to receive the stream from the camera and then how to use OBS to convert the FS5’s stream (via VLC) and send it to YouTube.
The “How To” live stream will be on my Facebook page: https://www.facebook.com/alister.chapman.9. But if you also have YouTube you will be able to see the stream from the FS5 once it is connected and setup. Links will be shared during the presentation.
Do you have an FS5 and want to stream to Facebook or YouTube? It’s actually fairly straight forward and you don’t even need to buy anything extra! You can even connect a couple of FS5’s to a single computer and switch between them.
How do you do it?
First you will need to download and install two pieces of free software on your computer. The first is VLC. VLC is an open source video player but it also has the ability to act as a media server that can receive the UDP video streams that the FS5 sends and convert them into a live video clip on the computer. The computer and the camera will both need to be connected to the same wifi network and you will need to enter the IP address of the computer into the streaming server settings in the FS5. By connecting the FS5 to your computer via the network you can use VLC to decode the UDP stream . Go to “file” “open network” and click on “open RTP/UDP stream” and enter the computers IP address and the stream port, you should then save the FS5 stream as a playlist in VLC.
OBS is a clever open source streaming application that can convert any video feed connected to a computer into a web stream. From within OBS you can set the signal source to VLC and then the stream from the FS5 will become one of the “scenes” or inputs that OBS can stream to Facebook, YouTube etc.
For multi-camera use a different port for each of the UDP streams and then in VLC save each stream as a different playlist. Then each playlist can be attached to a different scene in OBS so that you can switch. cut and mix between them.
As noted in my previous post there can be some issues with the way ProRes is recorded on many external monitors as a legal range files rather than Data Range.
Another side effect of this is that LUT’s designed for post production as well as most camera LUT’s don’t work correctly in the monitor. So even when you apply the same LUT in the camera as in the monitor the images look different.
To address this I am providing here 2 sets of LUTs for S-Log3 and SGamut3.cine designed to match the built in s709 and 709(800) Luts included in many Sony cameras. These LUTs are specifically for external recorders and should not be used in camera. When you use these LUT’s the pictures on the monitor should now match the the images in the cameras viewfinder when the built in LUT has been applied.
You will find 3 LUTs of each type. One for the base exposure, one for footage exposed 1 stop brighter (minus1) and one for footage exposed 2 stops brighter than base (minus2).
As always (to date at least) I offer these as a free download available by clicking on the links below. Try them before you decide then pay what you feel is fair. All contributions are greatly appreciated and it really does help keep this website up and running. If you can’t afford to pay, then just download the LUT’s and enjoy using them, tell your friends and send them here. If in the future you should choose to use them on a paying project, please remember where you got them and come back and make a contribution. More contributions means more LUT offerings in the future.