Category Archives: Venice

Sony Launches Venice II

Screenshot-2021-11-12-at-10.02.54-e1636988898904-600x436 Sony Launches Venice II
Sony Venice II

 

Today Sony launched Venice II. Perhaps not one of the very best kept secrets with many leaks in the last few weeks, but finally we officially know that it’s called Venice II and it has an 8K (8.6K maximum) sensor recording 16 bit linear X-OCN or ProRes to 2 built in AXS card slots.

The full information about the new camera is here. https://pro.sony/en_GB/products/digital-cinema-cameras/venice2

Venice II is in essence the original Venice camera and the AXS-R7 all built into a single unit.  But to achieve this the ability to use SxS cards has been dropped, Venice II only works with AXS cards. The XAVC-I codec is also gone. The new camera is only marginally longer than the original Venice camera body.

Screenshot-2021-11-12-at-10.11.55-e1636988985171-600x395 Sony Launches Venice II

As well as X-OCN (the equivalent of a compressed raw recording) Venice II can also record 4K ProRes HQ and 4K ProRes 444. Because the sensor is an 8.6K sensor that 4K 444 will be “real” 444 with a real Red, Green and Blue sample at every position in the image. This will be a great format for those not wishing to use X-OCN. But why not use X-OCN? the files are very compact and full of 16 bit goodness. I find X-OCN just as easy to work with as ProRes.

One thing that Venice II can’t do is record proxies. Apparently user feedback is that these are rarely used. I guess in a film style workflow where you have an on set DIT station it’s easy for proxies to be created on set. Or you can create proxies in most edit applications when you ingest the main files, but I do wonder if proxies are something some people will miss if they only have X-OCN files to work from.

New Sensor:

Screenshot-2021-11-12-at-10.05.41-e1636989166442-600x248 Sony Launches Venice II

There has been a lot of speculation that the sensor used in Venice II is the same as the sensor in the Sony A1 mirrorless camera, after all the pixel count is exactly the same. We already know that the A1 sensor is a very nice and very capable sensor. So IF it were to be the same sensor but paired with significantly more and better processing power and an appropriate feature set for digital cinema production it would not be anything to complain about. But it is unlikely that it is the very same sensor. It might be based on the A1 sensor (and the original Venice sensor is widely speculated to be based on the A9 sensor) but one thing you don’t want on these sensors are the phase detection sites used for autofocus.

When you expand these very high quality images on to very big screens, even the smallest of image imperfections can become an issue. The phase detection pixels and the wires that interconnect them can form a very, very faint fixed pattern within the image. In a still photograph you would probably never see this. In a highly compressed image, compression artefacts might hide it (although both the FX6 and FX9 exhibit some fixed pattern noise that might in part be caused by the AF sites). But on a giant screen, with a moving image this faint fixed pattern may be perceptible to audiences and that just isn’t acceptable for a flagship cinema camera. So, I am led to believe that the sensors used in both the original Venice and Venice II do not have any AF phase detection pixels or wire interconnects. Which means these can not the very same sensors as found in the A1 or A9. They are most likely specifically made for Venice.
Also most stills camera based sensors are only able to be read at 12 bit when used for video, again perhaps a key difference is that when used with the cooling system in the Venice cameras these sensors can be read at 16 bit at video frame rates rather than 12 or 14 bits.

The processing hardware in Venice II has been significantly upgraded from the original Venice. This was necessary to support the data throughput need to shoot at 8.6K and 60fps as well as the higher resolution SDI outputs and much improved LUT processing.  Venice II can also be painted live on set via both wiFi and Ethernet. So the very similar exterior appearances do in fact hide the fact that this really is a completely new camera.

Screenshot-2021-11-12-at-10.09.29-e1636989513212-600x318 Sony Launches Venice II

My Highlights:

I am not going to repeat all the information in the press releases or on the Sony website here. But what I will say is I like what I see. Integrating the R7 into the Venice II body makes the overall package smaller. There are no interconnections to go wrong. The increase in dynamic range to 16 stops, largely thanks to a lower noise floor is very welcome. There was nothing wrong with the original Venice, but this new sensor is just that bit better.

The default dynamic range split gives the same +6 stops as most of Sony’s current cameras but goes down to -10 stops.  But with the very low noise floor that this sensor has rating the camera higher than the rated  800 base ISO to gain a bit of extra headroom shouldn’t be an issue. Sample footage from Venice II shows that the way the highlights do reach their limits is very nice.

The LUT processing has been improved and now you can have 3D LUTs in 4K on SDI’s 1&2 which are 12G and in HD at the same time on SDI’s 3&4 which are 3G – as well as on the monitor out and in the VF. This is actually quite a significant upgrade, the original Vence is a little bit lacking in  the way it handles LUTs. The ART look system is retained if you want even higher quality previews than that possible with 33x LUTs. There is also built in ACES support with a new RRT, this makes the camera extremely easy to use for ACES workflows and the 16 bit linear X-OCN is a great fit for ACES.

Screenshot-2021-11-12-at-10.15.31-e1636989310790-531x500 Sony Launches Venice II

It retains the ability to remove the sensor head so it can be used on the end of an extension cable. Venice II can use either the original 6K Venice sensor or the new 8K sensor, however a new extension cable which won’t be available until until some time in 2023 is needed before the head can be separated, so Venice 1 will still have a place for some considerable time to come.

Screenshot-2021-11-12-at-10.05.00-e1636989382866-600x292 Sony Launches Venice II
Venice only takes the original 6K sensor but Venice II can take either the original 6K sensor or the new 8K sensor.



Moving the dual ISO from 500/2500 to 800/3200 brings Venice II’s lower base ISO up to the same level as the majority of other Cinema cameras. I know that some found 500 ISO slightly odd to work with. This will just make it easier to work alongside other similarly rated cameras.

Another interesting consideration is that you can shoot at 5.8K pixels with a Super 35mm sized scan. This means that the 4K Super 35mm material will have greater resolution than the original Venice or many other S35 cameras that only use 4K of pixels at S35. There is a lot of very beautiful super 35mm cine glass available and being able to shoot using classic cinema glass and get a nice uplift in the image resolution is going to be really nice. Additionally there will be some productions where the shallower DoF of Full Frame may not be desirable or where the 8.6K files are too big and unnecessary. I can see Venice II being a very nice option for those wishing to shoot Super 35.

But where does this leave existing Venice owners? 

For a start the price of Venice 1 is not going to change. Sony are not dropping the cost. This new Venice is an upgrade over the original and more expensive (but the price does include the high frame rate options). Although my suspicion is that Venice II will not be significantly more expensive that the cost of the current Venice + R7 + HFR licence. Sony want this camera to sell well, so they won’t want to make it significantly more as then many would just stick with Venice 1. The original remains a highly capable camera that produces beautiful images and if you don’t need 8.6K the reasons to upgrade are fewer. The basic colour science of both cameras remains the same, so there is no reason why both can’t be used together on the same projects. Venice 1 can work with lower cost SxS cards and XAVC-I if you need very small files and a very simple workflow, Venice II pushes you to a AXS card based workflow and AXS cards are very expensive. 

If you have productions that need the Rialto system and the ability to un-dock the sensor, then this isn’t going to be available for Venice II for some time. So original Venice cameras will still be needed for Rialto applications (it will be 2023 before Rialto for Venice II becomes available).

Of course it always hurts when a new camera comes out, but I don’t think existing Venice owners should be too concerned.  If customers really felt they needed 8.6K then they would have already likely been lost to a Red camera and the Red ecosystem. But at least now that there is an 8K Venice option that might help keep the original Venice viable for second unit, Rialto (for now at least) or secondary roles within productions shooting primarily in 8K.

I like everything I see about Venice II, but it doesn’t make Venice 1 any less of a camera.


New Arri-Look LUT

Arri-Look1_1.16.1-600x338 New Arri-Look LUT
Arri-Look LUT V1
Arri-look-V1-sample-2_1.23.2-600x338 New Arri-Look LUT
Arri Look V1 Sample 2
s709-sample-1_1.23.1-600x338 New Arri-Look LUT
s709 Sample

 

UPDATE – Some issues with the original version of the LUT were found by some users, so I have created a revised version and the revised version is now linked below.

Arri Look LUT’s are clearly very popular with a lot of Sony users,  so I have created an Arri-Look LUT for the FX3/FX6/FX9/Venice that can be used to mimic the look from an Arri camera. It is not designed to pretend to be a real Arri camera, but to instead provide an image with the look and feel of an Arri camera but tailored to the Sony sensors.

As usual the LUT is free to download, but if you do find it useful I do ask that you buy me a coffee or other drink as a thank you. All contributions are always most welcome. Additionally do let me know what you like about this LUT or don’t like, so I can look at what LUTs may be good to create in the future.

Click Here to download my Arri-Look LUT (latest version 2C),

And here is a warmer version (may be very slightly too warm), version 2B.

Click below to buy me a thank you drink if you like it and use it.


 

Your choice:


DaVinci resolve Frame Rendering Issue and XAVC

There is a bug in some versions of DaVinci Resolve 17 that can cause frames in some XAVC files to be rendered in the wrong order. This results in renders where the resulting video appears to stutter or the motion may jump backwards for a frame or two. This has now been fixed in version 17.3.2 so all user of XAVC and DaVinci Resolve are urged to upgrade to at least version 17.3.2.

https://www.blackmagicdesign.com/uk/support/family/davinci-resolve-and-fusion

SDI Failures and what YOU can do to stop it happening to you.

Sadly this is not an uncommon problem. Suddenly and seemingly for no apparent reason the SDI output on your camera stops working. And this isn’t a new problem either, SDI ports have been failing ever since they were first introduced. This issue affect all types of SDI ports. But it is more likely with higher speed SDI ports such as 6G or 12G as they operate at higher frequencies and as a result the components used are more easily damaged as it is harder to protect them without degrading the high frequency performance.

Probably the most common cause of an SDI port failure is the use of the now near ubiquitous D-Tap cable to power accessories connected to the camera. The D-Tap connector is sadly shockingly crudely designed. Not only is it possible to plug in many of the cheaper ones the wrong way around but with a standard D-Tap plug there is no mechanism to ensure that the negative or “ground” connection of the D-Tap cable makes or breaks before the live connection. There is a however a special but much more expensive D-Tap connector available that includes electronic protection against this very issue – see: https://lentequip.com/products/safetap

Imagine for a moment you are using a monitor that’s connected to your cameras SDI port. You are powering the monitor via the D-Tap on the cameras battery as you always do and everything is working just fine. Then the battery has to be changed. To change the battery you have to unplug the D-Tap cable and as you pull the D-Tap out, the ground connection disconnects fractionally before the live connection. During that moment there is still positive power going to the monitor but because the ground on the D-Tap is now disconnected the only ground route back to the battery becomes via the SDI cable through the camera. For a fraction of a second the SDI cable becomes the power cable and that power surge blows the SDI driver chip.

After you have completed the battery swap, you turn everything back on and at first all appears good, but now you can’t get the SDI output to work. There’s no smoke, no burning smells, no obvious damage as it all happened in a tiny fraction of a second. The only symptom is a dead SDI.

And it’s not only D-Tap cables that can cause problems. A lot of the cheap DC barrel connectors have a center positive terminal that can connect before the outer barrel makes a good connection. There are many connectors where the positive can make before the negative.

It can also happen when powering the camera and monitor (or other SDI connected devices like a video transmitter) via separate mains adapters. The power outputs of most of the small, modern, generally plastic bodied switch mode type power adapters and chargers are not connected to ground. They have a positive and negative terminal that “floats” above ground at some unknown voltage. Each power supplies negative rail may be at a completely different voltage compared to ground.  So again an SDI cable connected between two devices, powered by different power supplies will act as the ground between them and power may briefly flow down the SDI cable as the SDI cables ground brings both power supply negative rails to the same common voltage. Failures this way are less common, but do still occur. 

For these reasons you should always connect all your power supplies, power cables and especially D-Tap or other DC power cables first. Then while everything remains switched off connect the SDI cables. Only when everything is connected should you turn anything on. If unplugging or re-plugging a monitor (or anything else for that matter) turn everything off first. Do not connect or disconnect anything while any of the equipment is on.  Although to be honest the greatest risk is at the time you connect or disconnect any power cables such as when swapping a battery where you are using the D-Tap to power any accessories. So if changing batteries, switch EVERYTHING off first, then disconnect your SDI cables before disconnecting the D-Tap or other power cables next.

(NOTE: It’s been brought to my attention that Red recommend that after connecting the power, but before connecting any SDI cables you should turn on any monitors etc. If the monitor comes on OK, this is evidence that the power is correctly connected. There is certainly some merit to this. However this only indicates that there is some power to the monitor, it does not ensure that the ground connection is 100% OK or that the ground voltages at the camera and monitor are the same. By all means power the monitor up to check it has power, then I still recommend that you turn it off again before connecting the SDI).
 
The reason Arri talk about shielded power cables is because most shielded power cables use connectors such as Lemo or Hirose where the body of the connector is grounded to the cable shield. This helps ensure that when plugging the power cable in it is the ground connection that is made first and the power connection after. Then when unplugging the power breaks first and ground after. When using properly constructed shielded power cables with Lemo or Hirose connectors it is much less likely that these issues will occur (but not impossible).

Is this an SD fault? No, not really. The fault lies in the choice of power cables that allow the power to make before the ground or the ground to break before the power breaks.  Or the fault is with power supplies that have poor or no ground connection. Additionally you can put it down to user error. I know I’m guilty of rushing to change a battery and pulling a D-Tap connector without first disconnecting the SDI on many occasions, but so far I’ve mostly gotten away with it (I have blown an SDI on one of my Convergent Design Odysseys).

If you are working with an assistant or as part of a larger crew do make sure that everyone on set knows not to plug or unplug power cables or SDI cables without checking that it’s OK to do so. How many of us have set up a camera, powered it up, got a picture in the viewfinder and then plugged an SDI cable between the camera and a monitor that doesn’t have a power connection yet or already on and plugged in to some other power supply? Don’t do it! Plug and unplug in the right order – ALL power cables and power supplies first, check power is going to the camera, check power is going to the monitor, then turn it all off first, finally plug in the SDI.

Sony Introduces Cinema Line and teases the PXW-FX6

FX6_side_44062_02-Mid Sony Introduces Cinema Line and teases the PXW-FX6
Sony are teasing the PXW-FX6.

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!!!

Don’t Upgrade FCP-X or OSX!

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.

Inside the Big Top. A short film from Glastonbury 2019. Shot on Venice.

As there is no Glastonbury Festival this year the organisers and production company have been releasing some videos from last year. This video was shot mostly with Venice using Cooke 1.8x anamorphics. The non Venice material is from an FS5. It’s a behind the scenes look at the activities and performances around the Glastonbury Big Top and the Theater and Circus fields. 

 

What’s So Magical About Full Frame – Or Is It all Just ANOTHER INTERNET MYTH?

FIRST THINGS FIRST:
The only way to change the perspective of a shot is to change the position of the camera relative to the subject or scene.  Just put a 1.5x wider lens on a s35camera and you have exactly the same angle of view as a Full Frame camera. It is an internet myth that Full Frame changes the perspective or the appearance of the image in a way that cannot be exactly replicated with other sensor or frame sizes. The only thing that changes perspective is how far you are from the subject. It’s one of those laws of physics and optics that can’t be broken. The only way to see more or less around an object is by changing your physical position.

The only thing changing the focal length or sensor size changes is magnification and you can change the magnification either by changing sensor size or focal length and the effect is exactly the same either way. So in terms of perspective, angle of view or field of view an 18mm s35 setup will produce an identical image to a 27mm FF setup. The only difference may be in DoF depending on the aperture where  f4 on FF will provide the same DoF as f2.8 on s35. If both lenses are f4 then the FF image will have a shallower DoF.

Again though physics play a part here as if you want to get that shallower DoF from a FF camera then the lens FF lens will normally need to have the same aperture as the s35 lens. To do that the elements in the FF lens need to be bigger to gather twice as much light so that it can put the same amount of light as the s35 lens across the twice as large surface area of the FF sensor.  So generally you will pay more for a comparable FF like for like aperture lens as a s35 lens. Or you simply won’t be able to get an equivalent in FF because the optical design becomes too complex, too big, too heavy or too costly.
This in particular is a big issue for parfocal zooms. At FF and larger imager sizes they can be fast or have a big zoom range, but to do both is very, very hard and typically requires some very exotic glass. You won’t see anything like the affordable super 35mm Fujinon MK’s in full frame, certainly not at anywhere near the same price. This is why for decades 2/3″ sensors and 16mm film before that, ruled the roost for TV news as lenses with big zoom ranges and large fast apertures were relatively affordable.
Perhaps one of the commonest complaints I see today with larger sensors is “why can’t I find an affordable fast, parfocal zoom with more than a 4x zoom range”. Such lenses do exist, for s35 you have lenses like the $22K Canon CN7 17-120mm  T2.9, which is pretty big and pretty heavy. For Full Frame the nearest equivalent is the more expensive $40K Fujinon Premista 28-100 t2.9. which is a really big lens weighing in at almost 4kg. But look at the numbers: Both will give a very similar AoV on their respective sensors at the wide end but the much cheaper Canon has a greatly extended zoom range and will get a tighter shot than the Premista at the long end. Yes, the DoF will be shallower with the Premista, but you are paying almost double, it is a significantly heavier lens and it has a much reduced zoom ratio. So you may need both the $40K Premista 28-100 and the $40K Premista 80-250 to cover everything the Canon does (and a bit more). So as you can see, getting that extra shallow DoF may be very costly. And it’s not so much about the sensor, but more about the lens.
The History of large formats:
It is worth considering that back in the 50’s and 60’s we had VistaVision, a horizontal 35mm format the equivalent of 35mm FF, plus 65mm and a number of other larger than s35 formats. All in an effort to get better image quality.
VistaVision (The closet equivalent to 35mm Full Frame).
VistaVision didn’t last long, about 7 or 8 years because better quality film stocks meant that similar image quality could be obtained from regular s35mm film and shooting VistaVision was difficult due to the very shallow DoF and focus challenges, plus it was twice the cost of regular 35mm film. It did make a brief comeback in the 70’s for shooting special effects sequences where very high resolutions were needed. VistaVision was superseded by Cinemascope which uses 2x Anamorphic lenses and conventional vertical super 35mm film and Cinemascope was subsequently largely replaced by 35mm Panavision (the two being virtually the same thing and often used interchangeably).
65mm formats.
 At around the same time there were various 65mm (with 70mm projection) formats including Super Panavision, Ultra Panavision and Todd-AO These too struggled and very few films were made using 65mm film after the end of the 60’s. There was a brief resurgence in the 80’s and again recently there have been a few films, but production difficulties and cost has meant they tend to be niche productions.
Historically there have been many attempts to establish mainstream  larger than s35 formats. But by and large audiences couldn’t tell the difference and even if they did they wouldn’t pay extra for them. Obviously today the cost implication is tiny compared to the extra cost of 65mm film or VistaVision. But the bottom line remains that normally the audience won’t actually be able to see any difference, because in reality there isn’t one, other than perhaps a marginal resolution increase. But it is harder to shoot FF than s35. Comparable lenses are more expensive, lens choices more limited, focus is more challenging at longer focal lengths or large apertures. If you get carried away with too large an aperture you get miniaturisation and cardboarding effects if you are not careful (these can occur with s35 too).
Can The Audience Tell – Does The Audience Care?
Cinema audiences have not been complaining that the DoF isn’t shallow enough, or that the resolution isn’t high enough (Arri’s success has proved that resolution is a minor image quality factor). But they are noticing focus issues, especially in 4K theaters.
 So while FF and the other larger format are here to stay. Full Frame is not the be-all and end-all. Many, many people believe that FF has some kind of magic that makes the images different to smaller formats because they “read it on the internet so it must be true”.  I think sometimes some things read on the internet create a placebo effect where when you read it enough times you will actually become convinced that the images are different, even when in fact they are not. Once they realise that actually it isn’t different, I’m quite sure many will return to s35 because that does seem to be the sweet spot where DoF and focus is manageable and IQ is plenty good enough. Only time will tell, but history suggest s35 isn’t going anywhere any time soon.

Today’s modern cameras give us the choice to shoot either FF or s35. Either can result in an identical image, it’s only a matter of aperture and focal length. So pick the one that you feel most comfortable with for you production. FF is nice, but it isn’t magic.

Really it’s all about the lens.

The really important thing is your lens choice. I believe that what most people put down as “the full frame effect” is nothing to do with the sensor size but the qualities of the lenses they are using. Full frame stills cameras have been around for a long time and as a result there is a huge range of very high quality glass to choose from (as well as cheaper budget lenses). In the photography world APS-C which is similar to super 35mm movie film has always been considered a lower cost or budget option and many of the lenses designed for APS-C have been built down to a price rather than up in quality. This makes a difference to the way the images may look. So often Full Frame lenses may offer better quality or a more pleasing look, just because the glass is better.

I recently shot a project using Sony’s Venice camera over 2 different shoots. For the shoot we used Full Frame and the Sigma Cine Primes. The images we got looked amazing. But then the second shoot where we needed at times to use higher frame rates we shot using super 35 with a mix of the Fujinon MK zooms and Sony G-Master lenses. Again the images looked amazing and the client and the end audience really can’t tell the footage from the first shoot with the footage from the second shoot.

Downsampling from 6K.

One very real benefit shooting 6K full frame does bring, with both the FX9 and Sony Venice (or any other 6K FF camera) is that when you shoot at 6K and downsample to 4K you will have a higher resolution image with better colour and in most cases lower noise than if you started at 4K. This is because the bayer sensors that all the current large sensor camera use don’t resolve 4K when shooting at 4K. To get 4K you need to start with 6K.