Tag Archives: FX9

Differences Between FX9 and FX6

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

FX9 FX6
6K Full Frame Sensor 4.2K Full Frame Sensor
6K Oversampled Full Frame 4K recording, max 30fps. More rolling shutter when using 6K FF. Maximum 4.2K Scan for Full Frame UHD recording upto 60fps without crop, 10% crop above 60fps. 5% crop if shooting DCI 4K. 10% crop when outputting raw. No crop when shooting HD.
So the only time it’s actually FF is UHD up to 60fps recording internally – or HD.
5K Crop FF Scan max 60fps. No
4K Super 35mm Scan max 60fps. HD Super 35mm Scan.
2K Full Frame Scan max 180fps (IQ reduced). No
2K Super 35mm Scan max 180fps (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.
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 120fps internal recording.
Shooting above 60fps requires reduced quality 2K scan mode (currently waiting for full 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 2x Audio control dials for ch1 and 2. Ch3 & 4 controlled via touch menu or main menu.
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 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 9Mbps, 720p 9Mbps, 720p 6Mbps, 360p 3Mbps Proxy recording 1080p 9Mbps
Dual slot 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, Hypergamma, 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)
No Clip flag metadata OK/Keep/NG
Genlock No
Volume Control Buttons Volume control in menu
Face/Eye AF controlled by AF zone selection Face/Eye AF always wide area.
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

 

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!!!

FX9 Green Fringing and White Balance Update From Sony Japan.

I had a long, very in depth and very interesting web meeting with several members of the FX9 engineering team in Japan last week. They have been looking into the green fringing that some FX9 users have been reporting in various user groups. I have to say that this hasn’t been something that I have found to be a problem, but if you keep on reading you’ll find out why that is!

The first thing that became very clear in the discussion was that they take issues like this extremely seriously. The FX9 is their baby and they want end users to be happy with it. I was shown a lot of examples of very carefully executed tests using calibrated light sources, test charts, and various objects with different colours or reflectivity placed in extreme contrast situations.

And yes, in some cases the images would show a green edge around the high contrast edge of an extremely backlit object. Not just with the FX9 but also with the FS7 they were comparing it against.

The cause is Chromatic Aberration in the lens.

In every case the cause of the coloured edge is chromatic aberration. Chromatic aberration is an optical phenomenon cause by the way the glass in a lens will inevitably refract different wavelengths of light (and thus different colours) by different amounts. So when one colour is in precise focus, other colours may be slightly out of focus and this causes blurring of one colour and this typically manifests itself as a blue, green or red fringe – chromatic aberration.

So the root cause of this issue is not the camera, it is the lens and it will vary from lens to lens. But do keep reading – there is more you need to know…….

Other Factors.

However there are other factors at play. One is the way a bayer sensor works. There is a huge resolution difference between the green channel and the red and blue channels. A lot of complex processing is used to compensate for this and that processing is optimised for what you might call “normal” or “typical” scenes. So when presented with a shot that has extreme contrast and a lot of optical chromatic aberration sometimes this processing isn’t going to deliver a fully optimised image and it may reveal the differences in resolution between the 3 colour channels. This is particularly the case with green CA as the green channel has much greater resolution than the others. 

But the FS7 doesn’t do it….

But this bayer/processing issue will be broadly similar between the FX9 and FS7, so why are more FX9 owners reporting a problem than FS7 owners?

The answer it seems is white balance!

All the  reports of this issue have occured when the camera has been set to a daylight white balance, most of the time it has been when the camera has been set to it’s default 5500K daylight preset.

When comparing the FX9 with the FS7 with both set to 5500K the FX9 has a small but noticeable bias towards green. I and many others have been aware of this from the launch of the camera, especially when you use the camera in the CineEI mode and use the standard s709 LUT from Sony. The images are distinctly more green than any other Sony camera and a fair bit more green than the FS7, FS5 and Alphas.

It’s not that white objects won’t be white, it’s just that overall the image looks a bit green. This is easily dialed out by adding a +20 offset to the cameras tint control and that is how I have been using my camera pretty much from day one.

When you think about it – or when you analyse the situation carefully as Sony have, if the camera has more green, what will happen if you have green CA? Well it’s going to be much more pronounced.  And that is what we are seeing. The way the colours in the FX9 are tuned has an unfortunate side effect of making green CA much more obvious.

This explains why I have never really had an issue with green CA. I’m normally running a +20 tint offset which reduces the green in the camera plus I tend to use my own less green versions of the s709 LUT or I use ACES which is also less green than Sony’s own s709 LUT. So overall I have already dialed out the green and unknowingly fixed an issue I didn’t know I had.

So the engineers in Japan are currently recommending adding a +20 tint to the camera when shooting daylight. In particular instead of using a preset of 5500K to use 5000K and +20 tint to achieve the same white balance but a less green image. They are also assessing whether the camera needs to have it’s processing adjusted so that it is less green when using the 5500K preset. At warmer colour temperatures this issue does not seem to ever be a problem, it’s only with daylight.

Push Auto White Balance.

Further to this it’s also worth noting that if you use the cameras Push Auto white balance to set the white balance with a white or grey card then this will normally deliver the optimum white balance for the scene you are shooting and it won’t be biased towards green. And we should remember that Push Auto white balance works correctly in both the CineEI mode and Custom mode. If you use Push Auto WB there is no need to add a +20 Tint and the pictures should look natural and well balanced. Having become used to using preset white balance values when shooting S-Log with Sony cameras for so many years I keep forgetting that you can now do this. 

Another benefit of Push Auto WB is that as it balances the camera correctly it also helps bring the FS5, FS7, F55 etc and FX9 closer together if you are using a mix of different cameras. I was recently shooting with a Venice and FX9 side by side and by using the Push Auto WB on both Venice and the FX9 it became extremely hard to tell one from the other. Previously when using the presets the FX9 always looked a touch green.

Also – if you are using daylight balanced LED or fluorescent lights using Push Auto white balance will help correct out any tendency towards green that the lights may have. So really Push Auto White Balance is a win-win situation and let’s face it a lot of you have been asking for it in CineEI for a long time – so now we have it, let’s use it.

What about Aperture Correction?

In my own experiments I found that in Custom Mode turning off the cameras Aperture correction (http://www.xdcam-user.com/2020/07/reducing-ca-artefacts-in-the-sony-fx9/) can help reduce the visibility of the CA. As CA is an optical edge effect, anything that enhances edges will also enhance the CA and turning off aperture correction prevents the CA from being boosted by the aperture correction. Overall I personally prefer the images you get from the FX9 with aperture correction off anyway, they are a little bit less sharp and more rounded. 

And slightly off topic, what about image quality at FF and S35 2K scan? This was discussed as well, the engineers want people to be happy with the camera. The issue is that this is a camera with a 6K sensor and an optical system designed around that 6K sensor. So if you then reduce the resolution of the sensor readout the optics are no longer optimised (mainly the Optical Low Pass Filter). As a result there is an inevitable increase in aliasing and moire. Unfortunately this is just the way the physics works and there is not much that can be done about it. But the engineers know that the FX9 will be compared with the FS7 – which also has similar issues in it’s S35 2K scan modes. The goal of the engineers is that the FX9 should not be worse than the FS7 and there are some tweaks in the pipelines to the image processing that will bring some improvements to the FX9 when using 2K scan. But let’s be realistic, this will always be a camera with a 6K sensor and a 6K OLPF, so the Full Frame and Super 35mm 2K scan modes will never match the quality of the 6K and 4K scan modes, it just isn’t possible so don’t expect miracles. These tweaks may take a bit of time to be finalised, so I’m not sure when we will see them. I think what we should see however is the 2K scan from an FX9 being indistinguishable from the 2K scan of an FS7.

Don’t Panic! The A7S III didn’t just make your big pro camera obsolete.

Screenshot-2020-07-31-at-10.07.40 Don't Panic! The A7S III didn't just make your big pro camera obsolete.
Sony’s new A7S III video centric mirrorless 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.

Why? Ergonomics.
 
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.

Raw Myths. You Can’t Change The white Balance Of the Camera Or ISO in Post.

It’s amazing how often people will tell you how easy it is to change the white balance or adjust the ISO of raw footage in post. But can you, is it really true and is it somehow different to changing the ISO or white balance of Log footage?

Let’s start with ISO. If ISO is sensitivity, or the equivalent of sensitivity how on earth can you change the sensitivity of the camera once you get into post production. The answer is you can’t.

But then we have to consider how ISO works on an electronic camera. You can’t change the sensor in a video camera so in reality you can’t change how sensitive an electronic camera is (I’m ignoring cameras with dual ISO for a moment). All you can do is adjust the gain or amplification applied to the signal from the sensor.  You can add gain in post production too. So, when you adjust the exposure or using the ISO slider for your raw footage in post all you are doing is adjusting how much gain you are adding. But you can do the same with log or any other gamma. 

One thing that makes a difference with raw is that the gain is applied in such a way that what you see looks like an actual sensitivity change no matter what gamma  you are transforming the raw to. This makes it a little easier to make changes to the final brightness in a pleasing way. But you can do exactly the same thing with log footage.  Anything you do in post must be altering the recorded file, it can never actually change what you captured.

Changing the white balance in post: White Balance is no different to ISO, you can’t change in post what the camera captured. All you can do is modify it through the addition or subtraction of gain.

Think about it. A sensor must have a certain response to light and the colours it sees depending on the material it’s made from and the colour filters used. There has to be a natural fixed white balance or a colour temperature that it works best at.

The Silicon that video sensors are made from is almost always more sensitive at the red end of the spectrum than the blue end. So as a result almost all sensors tend to produce the best results with light that has a lot of blue (to make up for the lack of blue sensitivity) and not too much red. So most cameras naturally perform best with daylight and as a result most sensors are considered daylight balanced.

If a camera produces a great image under daylight how can you possibly get a great image under tungsten light without adjusting something? Somehow you need to adjust the gain of the red and blue channels.

Do it in camera and what you record is optimised for your choice of colour temperature at the time of shooting. But you can always undo or change this in post by subtracting or adding to whatever was added in the camera.

If the camera does not move away from its native response then if you want anything other than the native response you will have to do it in post and you will be recording at the cameras native white balance. If you want a different colour temp then you need to add or subtract gain to the R & B channels in post to alter it.

Either way what you record has a nominal white balance and anything you do in post is skewing what you have recorded using gain. There is no such thing as a camera with no native white balance, all cameras will favour one particular colour temperature. So even if a manufacturer claims that the white balance isn’t baked in what they mean is they don’t offer the ability to make any adjustments to the recorded signal. If you want the very best image quality, the best method is to adjust at the time of recording. So, as a result a lot of camera manufacturers will skew the gain of the red and blue channels of the sensor in the camera when shooting raw as this optimises what you are recording. You can then skew it again in post should you want a different balance. 

With either method if you want to change the white balance from what was captured you are altering the gain of the red and blue channels. Raw doesn’t magically not have a white balance, so shooting with the wrong white balance and correcting it in post is not something you want to do. Often you can’t correct badly balanced raw any better than you can correct  incorrectly balanced log.

How far you can adjust or correct raw depends on how it’s been compressed (or not), the bit depth, whether it’s log or linear and how noisy it is. Just like a log recording really, it all depends on the quality of the recording. 

The big benefit raw can have is that the amount of data that needs to be recorded is considerably reduced compared conventional component or RGB video recordings.  As a result it’s often possible to record using a greater bit depth or with much less compression. It is the greater bit depth or reduced compression that really makes a difference. 16 bit data can have up to 65,536 luma gradations, compare that to the 4096 of 12 bit or 1024 of 10 bit and you can see how a 16 bit recording can have so much more information than a 10 bit one. And that makes a difference. But 10 bit log v 10 bit raw, well it depends on the compression, but well compressed 10 bit log will likely outperform 10 bit raw as the all important colour processing will have been done in the camera at a much higher bit depth than 10 bit.

The PXW-FX9 is NOT made out of plastic.

I’ve been quite surprised by the number of people out there that seem to think the PXW-FX9 is made out of plastic. It isn’t. It’s made from an incredibly strong material call magnesium alloy. This metal is stiffer and stronger than aluminium. It’s highly impact and corrosion resistant but still extremely light. There are only a couple of places where plastic is used, one being the cover over the WiFi antenna where a metal cover would block the wireless signals. Here are some pictures of the FX9’s chassis. Note the box shaped areas used to isolate the electronics from the air that flows through the camera to ensure the electronics are weather sealed. Also note all the ribbing and reinforcing on the inside at the front of the camera where the lens mount an sensor block are attached keep it all very solid.

DSC_0352-1024x576 The PXW-FX9 is NOT made out of plastic.DSC_0353-1024x576 The PXW-FX9 is NOT made out of plastic.DSC_0354-1024x576 The PXW-FX9 is NOT made out of plastic.

Using User Files and All Files to Speed Up Switching Modes on the FX9.

Sometimes changing modes or frame rates on the FX9 can involve the need to change several settings. For example if you want to go from shooting Full Frame 6K at 23.98fps to shooting 120fps then you need to change the sensor scan mode before you can change the frame rate. One way to speed up this process is to use User Files or All Files to save your normal operating settings. Then instead of going through pages of menu settings you just load the appropriate file.

All Files save just about every single adjustable setting in the camera, everything from you white balance settings to LUT’s to Network settings to any menu customisations.  User Files save a bit less. In particular User Files can be set so that they don’t change the white balance. For this reason for things like changing the scan mode and frame rate I prefer to use User Files.

You can add the User File and/or All File menu items to the user menu. If you place them at the top of the user menu, when you enter the cameras menu system for the first time after powering it on they will be the very first items listed.

Both User Files and All Files are found under the “project” section in the FX9 menu system. The files are saved to an SD card in the SD Card Utility slot. This means you can easily move them from one camera to another.

Before you save a file, first you have to give it a name. I recommend that your name includes the scan mode, for example “FF6K” or “2KS35”, the frame rate and whether it’s CineEI or not.

Then save your file to the SD card. When loading a User File the “load customize data” option determines whether the camera will load any changes you have made to the user menu. “Load white data” determines whether the camera will load and overwrite the current white balance setting with ones saved in the file. When loading an All File the white balance and any menu customizations are always loaded regardless, so your current white balance setting will be overwritten by whatever is in the All File. You can however choose whether to load any network user names and passwords.

Core FX9 V-Mount Adapter and Core Hypercore Neo Mini Batteries.

DSC_0691-2-1024x768 Core FX9 V-Mount Adapter and Core Hypercore Neo Mini Batteries.
Core FX9 V-Mount adapter with a Hypercore Neo Mini battery on my PXW-FX9

One of the things about the FX9 that makes no sense is it’s external DC input. When you are using just the camera body the FX9 requires a rather odd-ball 19.5 volts to power it via it’s DC in connector. Most cameras have a 12v to 16v input range so they can be used with the multitude of V-Mount or Gold Mount batteries that are common place in the world of professional video. But not the FX9.  The FX9 is also fairly power hungry so the standard BP-U batteries can be a little limiting, especially if you also need to power any accessories as the camera doesn’t have a power output. A V-Mount battery will run the camera for a long time and they generally have D-Tap power outlets, but they are the wrong voltage for the FX9s external input. So if you want to use a V-Mount battery, as I do, then you need not only a mounting plate but also a voltage converter.

The adapter I have chosen to use is manufactured by Core. Why this one? One thing that was important for me is not only to be able to power the camera from a V-Mount battery, but also to be able to power it from a standard external 12 volt power supply such as found in most studios, or something like a car battery. The Core CXV-FX9 adapter includes a voltage regulator that takes the 12 to 16 volt range of a typical Lithium battery and converts it to the 19.5v needed by the FX9. It also has an industry standard 4 pin XLR connector that you can use to power the camera from a 12v external power supply.

DSC_0681-1024x768 Core FX9 V-Mount Adapter and Core Hypercore Neo Mini Batteries.
The Core FX9 V-Mount adapter has an industry standard 4 pin XLR input for standard 12v power supplies.

Hot Swap:

If you have a power supply connected to the 4 pin XLR you can hot swap the V-Mount batteries. If you have a battery on the adapter you can hot swap to and from the external power. During hot swapping the adapter not only continues to feed the camera with power but also the 2 D-Tap ports on the adapter remain powered.

Low Battery Warning:

One issue that all these adapters have is that they have to convert the battery voltage up to 19.5 volts and this is what is fed to the cameras DC in connector. This means that the camera has no direct connection to the battery, so it has no way to know the charge state of the battery. All you will see in the viewfinder as an indication of the output of the voltage converter. This will remain at a constant 19.5v all the way until the battery is flat and cuts off, at which point the camera will just die. That’s not good, if you are halfway through recording something it could corrupt your media. You won’t have any warning in the camera of the battery going flat.

To try to address this at least in part the Core adapter has an LED light on the operators side that is green when the battery is well charged, but turns to red when there is only around 10% of the batteries capacity left. This does at least give some warning of a battery about to die.

DSC_0689-1024x768 Core FX9 V-Mount Adapter and Core Hypercore Neo Mini Batteries.
The Core FX9 adapter has an LED battery status indicator that turns red and flashes when the battery voltage gets low.

As well as the adapter, I’m trying out a couple of Core’s Hypercore Neo Mini batteries. These are nice, compact 98Wh batteries. They are UN Tested and certified so meet all the requirements for air travel. These batteries have a clever LCD display that displays the available run time of the battery. This is much more advanced than a simple charge indicator (it has one of those too). The battery actually detects the load being drawn from it. It also knows the exact state of charge of the battery.

DSC_0680-1024x768 Core FX9 V-Mount Adapter and Core Hypercore Neo Mini Batteries.
Core SWX Hyoercore Neo Mini 98Wh battery with incredibly accurate run time display giving the time in minutes until the battery will be flat based on the cameras power draw.

Using these it is able to calculate with great accuracy how long it will be before it will be flat. I have found this to be remarkably accurate, typically to within just a few minutes. I’ve been using this display to let me know when I need to start thinking about changing the battery. It’s accuracy gives me the confidence to continue shooting until I’m down to the last few minutes of run time. Typically I’m getting around 2.5 hours without the Atomso Ninja recorder and just under 2 hours with the Ninja from one of these excellent little batteries.

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Core V-Mount plate for the FX9 showing the lugs that lock into slots in the camera battery compartment to eliminate any flex or wobble.

DSC_0686-scaled-e1578517993169-1024x935 Core FX9 V-Mount Adapter and Core Hypercore Neo Mini Batteries.
There are two D-Tap power outlets at the top of the Core FX9 V-Mount plates as well as 3 1/4″ mounting holes for accessories.

Attaching the adapter:

Attaching the adapter to the camera is easy. It uses the same mounting points as Sony’s XDCA extension unit. So there are lugs that slide into slots inside the FX9’s battery compartment as well as two small bolts that attach it to the top of the camera. This makes it incredibly secure with no wobble or other movement. I would have no concerns about supporting the entire camera rig from the battery adapter or adding perhaps a V-Mount wireless video link and then large or heavy batteries behind that. It’s very secure and it looks like it’s meant to be there. Another nice touch is that as well as the 2 D-Tap power ports on the top of the adapter there are also 3 additional 1/4″ mounting points for accessories such as monitors or wireless receivers etc.

I do have one small criticism. The position of the D-Tap ports is quite close to the edge of the adapter. If you are using a tall battery and you have a very fat D-Tap plug they can interfere with each other.

Despite this the Core V-Mount battery adapter gets a big thumbs up from me. The voltage indication is most useful as is the ability to use a normal 4 pin 12v XLR feed.

DSC_0684-2-1024x768 Core FX9 V-Mount Adapter and Core Hypercore Neo Mini Batteries.
The Core FX9 V-Mount battery adapter gets a big thumbs up from me.

PXW-FX9 Launch Event In Dubai. This Is Going To Be Fun!

FX9-Dubai-576x1024 PXW-FX9 Launch Event In Dubai. This Is Going To Be Fun!Really excited about this PXW-FX9 event in Dubai on the 14th of January at 5pm. Garage Studios are  building us 3 amazing film sets full of props, great actors with great period costumes. This won’t be a PowerPoint presentation, we will shoot a short film, grade the material, showing all the FX9’s key features. It will challenge the camera. It will probably challenge me! It will be fun, you will be surprised. I’m not going to reveal the film subject yet, so come join us if you can.

For a little insight into what we are planning – it won’t be this but it’s similar – Here’s a video of a previous Sony event at Garage Studio: https://www.facebook.com/watch/?v=716820215493428