Here are the specifications and manual for the FX6:
The FX6 specs are here:
And the FX6 manual is here; https://www.sony.com/electronics/support/camcorders-interchangeable-lens-camcorders/ilme-fx6v/manuals
Here are the specifications and manual for the FX6:
The FX6 specs are here:
And the FX6 manual is here; https://www.sony.com/electronics/support/camcorders-interchangeable-lens-camcorders/ilme-fx6v/manuals
Correction re FX6 Lanc: I wish to make everyone aware that I may have given incorrect information about the LANC control ports on the FX6. My excuse is: It was very hard to get official spec sheets from Sony and I hadn’t notice a subtle change. I apologize to anyone this may have affected. The hand grip on the FX6 appears to be the same as the FS5 hand grip, except it now uses a 3.5mm 4 pole plug instead of the 2.5mm 3 pole plug that the FS5 have. So the hand grip socket on the camera body is also now 3.5mm 4 pole and not 2.5mm 3 pole. THERE IS HOWEVER AN EXTRA 2.5mm LANC PORT THE SAME AS THE FS5 ON THE REAR OF THE CAMERA BODY. I have also discovered that the FX9 handgrip when plugged into the USB style Multi connector on the back of the FX6 will result in an unsupported device message. This might simply be a firmware issue, the cameras I have played with are pre-production with beta firmware. But I have not been able to confirm this.
Perhaps I’m splitting hairs here a little bit – and I still think the FX6 is an amazing camera. But the more I look at it’s different scan modes and recording mode the more I’ve realised that it’s only actually “Full Frame” in few certain settings.
When the FX6 is set to UHD and operating from 1 to 60 fps then it’s full frame and the whole width of the sensor is used. Put a Full Frame lens on the camera and you get the same FoV as an FX9 or any other camera with a similar sized sensor.
But if you want to shoot 4K DCI then something strange happens. Switch the FX6 to 4K DCI and the sensor is cropped/windowed by 5% and instead of the field of view becoming 5% wider as happens on most cameras, it instead becomes 5% narrower. In 4K DCI the FX6 is very slightly less than Full Frame.
To shoot at more than 60fps the camera has to be in UHD. 60 fps and below it’s full frame but when you go above 60fps the image is cropped even more, this time by 10% so the FoV gets 10% narrower.
If you want to record UHD Raw at any frame rate the image is also cropped by 10% so UHD with raw out at 30fps results in a 10% narrower FoV than when you are not outputting raw. When you enable raw at 4K DCI raw it’s a 5% crop.
So while none of these crops are huge it is worth noting that the FX6 is actually a little less than full frame more often than not!
Just to put all this into some perspective the FX9’s Full Frame Crop 5K mode involves a 17% crop. The FX6 outputting UHD raw or recording UHD at more than 60fps is a 10% crop. That’s not a vast difference. In these modes the FX6 is closer to the FX9 5K mode than to Full Frame.
Why is this? Well the FX6’s sensor is 4.2K pixels across. In the “normal” UHD frame rates (up to 60fps) the full 4.2K is read and downscaled on the fly to 3840 x 2160 UHD. When you shoot 4K DCI there is no downscale and instead the sensor is read out at 4K and the extra 0.2K of pixels at the edges of the frame are not used – 0.2K being 5% of 4.2K and thus you have a 5% crop and the FoV becomes 5% narrower in DCI 4K than in UHD.
When you shoot above 60 fps then the sensor is read directly at 3840 pixels rather than 4.2K to make the readout simpler and faster. So now we are reading 0.4K fewer pixels from the sides of the sensor which is 10% of the total pixels and we get a 10% narrower FoV above 60fps as a result.
As I said at the start, perhaps I’m splitting hairs. I certainly don’t think this detracts from the FX6 in any significant way. But if it’s a camera you are thinking of getting, you should be aware of this.
Here are some of the differences I have so far identified:
|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.
|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|
|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|
|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.|
|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-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-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|
So these are some of the questions I keep being asked about the FX6.
I’ve written a review of the FX6 that you can read here.
But I thought I would also write more of an opinion piece here. What do I really think about the FX6 and also where does it fit in the grand scheme of things.
First off, it is a brilliant little camcorder. But it has to be. There is huge pressure from ever better mirrorless cameras and ever better larger cameras. Red’s Komodo is similarly priced and offers an interesting option if you are a film maker that doesn’t mind adding your own viewfinder etc..
Sony really have packed an amazing set of features into the FX6, S-Cinetone, LUT’s, CineEI all make it a very, very interesting camera for film makers and corporate video producers alike. But the FX6 hasn’t been aimed at broadcasters, the lack of interlace recording and the lack of a streaming function make it less desirable for news and current affairs. That’s more of the realm of the FX9.
The FX6 is likely to be a huge success. I know I will be getting one. It will be fantastic for my trips overseas where size and weight are important, and I can’t wait to try to shoot the Northern Lights with it. The low light performance is indeed very impressive but this could become a problem area for it.
When you have a camera with a base ISO of 12,800 I think there will be an expectation that you won’t need to light, that it will produce brilliant pictures no matter how dark it is. But you have to remember that one of the keys to getting good results in any light level is not the amount of light but the amount of contrast. You will still need to think about how you add or control the light in your scenes and it will be all too easy to blame the camera when you don’t get great looking pictures on a pitch dark night shoot with no light to add some contrast.
I also think that the gap between 800 ISO and 12,800 ISO is too big. At 12,800 ISO there is so little light that something called Photon Shot Noise becomes an issue. It can make the mid range noisier than you would like it to be, even when you are correctly exposed. And ND filters won’t help as they reduce the light hitting the sensor and the relative photon shot noise increases. But if you do want to shoot in very dark conditions, then the FX6 performance is indeed impressive.
When I had the pre-production FX6 I took it up to the Lake District, shot interiors at home and spent a couple of days examining the images with charts and test scenes. What I learnt was that it is a very easy camera to work with. Changing settings via the touch screen is quick and simple. The single menu button that first brings up what are referred to as status pages on the FX9 and then with a long push brings up the main menus is brilliant. One button for both. No fumbling around going from the status button to the menu button as on the FX9. The auto focus works brilliantly, and I love having a waveform display with the zebra levels clearly indicated on it. It makes judging exposure easy and reliable. Set the zebras to 61% and if you toggle the s709 LUT on and off you can check the brightness of a white card when looking at the S-Log3 or skin tones when looking at the s709.
Going back to the Auto Focus for a moment – Yes, it does work in S&Q and even when shooting UHD 100 or 120fps. BUT I did find it less responsive and slower to respond when shooting at 120fps, it definitely didn’t seem as good as when shooting at normal frame rates. And there are actually a few limitations, AF only works when the shooting frame rate is a direct multiple of the base frame rate.
it also has some other oddities, like the field of view when shooting 17:9 4K DCI is narrower than when shooting ordinary 16:9 UHD because of the way the scan modes work. If you want to output raw the FOV is narrower than when recording UHD internally.
I’m really looking forward to using it on gimbals, lighter weight sliders etc. For those on a tight budget having a lighter camera means you can also save money on your support gear compared to a heavier camera. I think I’m going to enjoy shooting with the FX6 and I’m sure many others will enjoy it to.
And that’s the thing. It’s an easy camera to use, it delivers a beautiful image with very little effort. This is one of it’s big strengths and why I believe it will convert a lot of mirrorless DSLR shooters over to a “proper” video camera. It brings the ease of a built in variable ND filter, LUT’s and other great exposure tools for shooting log, good battery life and pro audio all together in an easy to use package at a good price. At the same time it isn’t so big that you need huge pro tripods and expensive heavy duty support equipment.
It will also appeal to users of Sony’s Venice digital cinema camera to get into places you simply can’t get the bulk of a Venice or as a crash camera for high risk shots. The pictures match close enough that it won’t stand out in a finished production as an obviously different camera.
One issue is the lack of audio inputs when the top handle is removed. This does seem to be an oversight. Gimbal users will find it frustrating I’m sure. Time to break out the external audio recorders, at least the built in scratch mic will help with audio sync. Maybe someone will figure out a way to get audio into the camera body via the connector that the top handle plugs into. The other alternative is to take the video out of the FX6 to an external recorder that also has an audio input such as many of the Atomos recorders.
So where does this leave the FX9? The FX9 is a great camera. It is worth remembering that the FX6 really is Full Frame only (unless you are happy shooting HD in it’s super 35mm mode). So users of normal 35mm PL lenses or APSC lenses will be better off with the FX9 with it’s greater choice of scan modes including 6K FF, 5K crop FF and 4K s35. In the next firmware update the FX9 will also get a 2K s16 center scan mode and it will be able to use the Sony B4 lens adapter with 2/3″ ENG zoom lenses. I still love shooting with my super 35mm Fujinon MK’s on the FX9, it’s a great combination. The FX9 also has no issues with interlace, so news shooters that still need 1080i will want the FX9 and not the FX6. I have every intention of getting an FX6 but I have no plans on parting with my FX9. Because the images from the two cameras look virtually identical they will compliment each other nicely (anyone want to buy my FS5??).
And that for me is the thing: Two cameras for two different types of shoots, but both look the same, so I can just use whichever is the most appropriate for the job without any concern.
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/
Then on Wednesday the 18th I will be presenting a webinar on the FX6 for Visual Impact in the UK at 11.00 GMT: https://www.visuals.co.uk/events/events.php?event=eid1748059180-892
Then once the initial launch dust settles I will bring you more information about this exciting new camera including tutorials and guides.
Many users of the FX9 that have been shooting S-Log3 are finding that when they add the standard Sony version of the s709 LUT that their pictures have a slight green tint. I believe that this is because originally the s709 LUT was designed for the Sony Venice camera and the FX9 is very slightly different. I recently created an experimental LUT to minimise this tint but some people found this tended to push some images slightly magenta.
So I now have a new version of the LUT which really does help combat the green tint. The difference between this LUT and Sony’s original s709 LUT is very small. The idea isn’t to create a new look, just to help get rid of the tint. So you won’t see a big difference, it’s subtle, but I think it really is better.
Note: These LUTs are for S-Log3 and SGamut3.cine from the FX9. As usual I have include different versions of the LUT. There are 65x LUT’s suitable for grading as well as 33x LUT’s for monitors or grading software that doesn’t support the higher quality 65x LUTs. There are also minus1 and minus2 LUTS that have 1 and 2 stop exposure shifts for footage that has been shot brighter than the base exposure. In addition I have include the same LUTs but with Legal range input levels for use on Atomos and other recorders that record ProRes in using Legal Range.
Please feel free to share a link to this page if you wish to share these LUT’s with anyone else or anywhere else. But only share via a link to this page please.
If you find these LUT’s useful please consider buying me a coffee or other drink. To make a contribution please use the drop down menu here, there are several contribution levels to choose from.
I’ve uploaded these LUT’s before, but they are tucked away under a slightly obscure heading, so here they are again!
There are 4 different LUTs in this set. A basic 709 LUT which is really good for checking exposure etc. It won’t give the best image, but it’s really good for getting your exposure just right. Diffuse white should be 85%, middle grey 43% and skin tones 65-70%.
Then there are 3 film emulation LUT’s that mimic 3 different types of film stock form different manufacturers. These are primarily designed for post production or for use on a client monitor on set. My recommendation is to use the 709 LUT for your viewfinder and exposure and then add the film emulation LUT later in post.
As always (to date at least) I offer these as a free download available by clicking on the links below. However a lot of work goes into creating and hosting these. I feel that this LUT set is worth $25.00 and would really appreciate that being paid if you find the LUT’s useful. 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.
Please feel free to share a link to this page if you wish to share these LUT’s with anyone else or anywhere else.
To make a contribution please use the drop down menu here, there are several contribution levels to choose from.