I wish to update and present the facts that I have regarding potential issues with mainly older 3rd party PB-U batteries. This isn’t here as a scare story, I’m not trying to sensationalise this, just present the facts that I have to hopefully clarify the current situation.
In 2019 I became aware that it was suddenly becoming very hard to buy 3rd party BP-U batteries. Dealers didn’t have any and you couldn’t find them anywhere. Talking to a couple of manufacturers I was informed that they had been told to stop making BP-U batteries.
Then I learnt from Sony that they had been getting an unusually large number of cameras in for repair, cameras that had suddenly and inexplicably stopped working. This they had traced to design issues in some 3rd party batteries.
As a result of this Sony took action in 2019 to prevent the manufacture of 3rd party BP-U batteries and that’s why you could no longer get them.
Since then however it would appear that the manufacture of 3rd party batteries is once again in full swing. In addition I’ve noticed that some older models have been discontinued, often with new versions replacing them, perhaps a “B” version or a model number numerically higher than before.
From this I must assume that whatever the issue was, it has now been resolved and that the 3rd party BP-U batteries on sale today should be perfectly safe to use with our cameras. I would have no hesitation in today buying a brand new BP-U battery from any of the reputable brands.
I have nothing to gain here. This is not a campaign to make you all buy Sony batteries. Even though Sony do make a very fine battery, I too use 3rd party batteries as I need the D-Tap port found only on 3rd party batteries.
But clearly there was a very real battery issue. I’m led to understand that the cost to repair these damaged cameras was over $1K. While not every user of these batteries ends up with a dead camera, I think you have to ask yourself – is it worth using batteries made in 2019 or earlier? I won’t list the batteries that I know to have problems because the list may be incomplete. Just because a battery is not on the list it would not be a guarantee that it’s safe. However if any 3rd party battery manufacturer is reading this and has the confidence to provide me with a list of batteries that they will guarantee are safe, I will gladly publish that.
Clearly not everyone ends up with a dead camera, perhaps the majority have no issue, but enough did that Sony had to take action and it appears that the manufacturers responded by checking and adjusting their designs if necessary.
So my advice is: Don’t use 3rd party batteries made prior to 2020.
If you do, then make absolutely sure the camera is completely powered down when inserting or removing the battery.
I believe that any BP-U battery made in 2020 or later should be safe to use. So please think about replacing any old batteries with new ones, or perhaps contact your battery supplier and ask if what you have is safe. However you should be aware that since 2019 Sony’s own BP-U battery chargers will no longer charge 3rd party batteries.
The information I have presented here is correct to the best of my knowledge and I hope you will use it to make your own decision about which batteries to use.
Lots of people have been asking about how to expose S-Cinetone, whether with the FX9, FX6, A7SIII or the FX3.
The short answers is: So that it looks nice!
S-Cinetone has a variable toe and knee. So exposing it brighter results in not only a brighter image but also an image with flatter skin tones and less shadow contrast, overall looking more video like.
Exposing a little bit darker results in a more contrasty film like image. Faces and skin tones have more texture. There is no one optimum exposure level. A white card could be anywhere between 78% and 88% depending on the look you want. Typical skin tones will vary from between anywhere between 55% and 75%.
Personally I like the way S-Cinetone looks when it’s exposed with Skin tones at around 63% and white at around 81%.
See the video I on S-Cinetone on the FX9 for more details as it all applies equally to the FX9 and FX6 as well as the A7SIII and FX3. The only small difference is that the base ISO’s are a little different between each camera.
In the course of my tests with the FX3 and comparing it with the FX6 and FX9 I discovered a strange anomaly with the FX3 and A7SIII ISO ratings when compared to the FX6 and FX9.
The FX3’s default picture profile is PP11 and S-Cinetone. If you have an FX6 or FX9 these cameras also default to S-Cinetone in SDR mode. In the FX6 and FX9 the base ISO for S-Cinetone is 320 ISO. Therefore you would assume that if you also set the A7SIII or the FX3 to 320 ISO and expose all the cameras the same, same aperture, shutter etc that the exposures would match.
BUT THE EXPOSURES DON’T MATCH!!
The FX3 and the A7SIIII are just over 1 stop brighter than the FX6 and FX9 when all the exposure settings are matched. I tested all the cameras with the same lens to ensure this wasn’t a lens issue, but it isn’t the lens.
I then went on to test other gamma/picture profile settings and I found a just over 1 stop difference between the FX3 and my FX6/FX9 in any similar combination EXCEPT S-LOG3!
When using Picture Profile 2 on the FX3 which is uses Sony’s “Still” gamma and then using the “Still” Profile on the FX6 there is a difference of around 1 stop. If I set the FX3 to PP3 (ITU-709) and the FX6 to ITU-709 then the difference is again around 1 stop, in every case the FX3 is brighter except when you select S-Log3 where the FX3 and the FX6/FX9 match almost perfectly!
I find this very strange. They should not be different. My light meter suggests to me that the FX6/FX9 are correct.
Comparing to my light meter I believe the FX6/FX9 ratings to be correct and the FX3 to be between 1 and 1.3 stops brighter than it should be when using gammas that are not S-Log3. What I really don’t understand is why the FX3/A7SIII match the FX6/FX9 when using S-Log3 but do not match when using the other profiles, normally I would expect to see a consistent offset. This further makes leads me to be sure this is not a problem with my light meter, but something else.
I would love to hear from anyone else that’s able to take a look at the ISO ratings of the A7SIII and compare it with an FX6 or FX9.
The bottom line is – DON’T EXPECT TO PUT THE SAME EXPOSURE SETTINGS INTO BOTH AN FX3 AND AN FX6/FX9 AND GET THE SAME RESULTS, because you won’t, unless you are using S-Log3, then they match.
Also in the clip metadata I found that 0dB for S-Cinetone is 100 ISO, and whether this is a coincidence or not, if I set the FX3 to 100 ISO and the FX6 to 320 ISO and then match shutter speed and aperture then the exposures are very close.
I know this is something A LOT of people have been asking for. For a long time it has always seemed odd that only the Shogun 7 was capable of recording raw from the FX9 and then the FX6 while the the little Ninja V could record almost exactly the same raw form the A7SIII.
Well the engineers at Atomos have finally figured out how to pass raw via the AtomX SDI adapter to the Ninja V. The big benefit of course being the compact size of the Ninja V.
There are a couple of ways of getting the kit you need to do this.
If you already have a Ninja V (they are GREAT little monitor recorders, I’ve taken mine all over the world, from the arctic to Arabian deserts) you simply need to buy an AtomX SDI adapter and once you have that buy a raw licence from the Atomos website for $99.00.
If you don’t have the Ninja V then you can buy a bundle called the “Pro Kit” that includes everything you need including a Ninja V with the raw licence pre-installed, The AtomX SDI adapter, a D-Tap power adapter cable, a mains power supply and a sun hood. The cost of this kit will be around $950 USD or £850 GBP + tax, which is a great price.
On top of that you will need to buy suitable fast SSD’s.
Like the Shogun 7 the Ninja V can’t record the 16 bit raw from the FX6 or FX9 directly, so Atomos take the 16 bit linear raw and convert it using a visually lossless process to 12 bit log raw. 12 bit log raw is a really nice raw format and the ProResRaw codec helps keep the files sizes nice and manageable.
This is a really great solution for recording raw from the FX6 and FX9. Plus if you already have an A7SIII you can use the Ninja V to record via HDMI from that too.
Here’s the press release from Atomos:
The Atomos Ninja V Pro Kit is here to equip you with increased professional I/O, functionality and accessories.
The Ninja V Pro Kit has been designed to bridge the gap between compact cinema and mirrorless cameras that can output RAW via HDMI or SDI. Pro Kit also pushes these cameras’ limits, recording up to 12-bit RAW externally on the Ninja’s onboard SSD. Additionally, Pro Kit provides the ability to cross covert signals providing a versatile solution for monitoring, play out and review.
What comes in the Pro Kit?
Ninja V Monitor-Recorder with pre-activated RAW over SDI
AtomX SDI Module
Locking DC to D-Tap cable to power from camera battery
AtomX 5″ Sunhood
DC/Mains power with international adaptor kit
Ninja V Pro Kit offers a monitor and recording package to cover a wide range of workflows.
Why choose Ninja V Pro Kit?
More powerful and versatile I/O for Ninja V – Expand your Ninja V’s capability with the Pro Kit with the ability to provide recordings in edit-ready codecs or as proxy files from RED or ARRI cameras.
Accurate and reliable daylight viewable HDR or SDR – To ensure image integrity, the AtomX 5″ Sunhood is included and increases perceived brightness under challenging conditions or can be used to dial out ambient light to increase the view in HDR
HDMI-to-SDI cross conversion – HDMI or SDI connections can be cross converted, 4K to HD down converts RAW to video signals to connect to other systems without the need for additional converters.
Record ProRes RAW via SDI to selected cameras*:
Three ways to power your Ninja: – DC power supply – perfect for in the studio. – DTap cable – perfect for on-set, meaning your rig can run from a single power source. – Optional NPF battery or any four-cell NPF you might have in your kit bag.
The ProRes RAW Advantage
ProRes RAW is now firmly established as the new standard for RAW video capture, with an ever-growing number of supported HDMI and SDI cameras. ProRes RAW combines the visual and workflow benefits of RAW video with the incredible real-time performance of ProRes. The format gives filmmakers enormous latitude when adjusting the look of their images and extending brightness and shadow detail, making it ideal for HDR workflows. Both ProRes RAW and the higher bandwidth, less compressed ProRes RAW HQ are supported. Manageable file sizes speed up and simplify file transfer, media management, and archiving. ProRes RAW is fully supported in Final Cut Pro, Adobe Premiere Pro, Avid Media Composer 2020.10 update, along with a collection of other apps including ASSIMILATE SCRATCH, Colorfront, FilmLight Baselight, and Grass Valley Edius.
Existing Ninja V and AtomX SDI module owners
While the Pro Kit offers a complete bundle, existing Ninja V owners can enhance their equipment to the same level by purchasing the AtomX SDI module for $199, and the New RAW over SDI and HDMI RAW to SDI video feature can also be added to the Ninja V via separate activation key from the Atomos website for $99.
Existing AtomX SDI module owners will receive the SDI < > HDMI cross conversion for 422 video inputs in the 10.61 firmware update for Ninja V update. You will also be able to benefit from RAW over SDI recording with the purchase of the SDI RAW activation key. This feature will be available from the Atomos website in February 2021.
Special Offer for Pro Kit buyers
The first batch of Ninja V Pro Kits will include a FREE Atomos CONNECT in the box. Connect allows you to start streaming at up to 1080p60 directly from your Ninja V!
While I had the light meter and exposure test chart out for the FX6 I decided to do the same exposure level confirmation test for the FX9. No nasty surprises, the FX9’s ISO ratings certainly appear to be correct. Again using a DSC Labs exposure reference chart with 18% middle grey and 90% white plus my trusty Sekonic I tested the FX9 at both 800 ISO and 4000 ISO and my light meter and the camera were in good agreement. At 800 ISO the light meter was saying f4.01 while the camera was at f4, I suspect this tiny difference is probably down to transmission losses in the lens.
How much can I fit on a SD card, CFExpress card, SxS or XQD card is a question that comes up regularly. So I have prepared a table of the typical record times for most of the different XAVC-I and XAVC-L codecs and frame rates . Originally drawn up for the FX6 this table applies equally to any other Sony camcorder that uses the same codecs, including the PXW-FX9, PMW-F5 and F55 as well as the FS7 and many others. Do note that the times given are approximate and do not include proxies. Not every frame rate and codec is included but you should be able to figure out the approximate record time for most cards, codecs and frame rates using this table.
Here are some links to a couple of videos and some information on shooting Anamorphic with the PXW-FX9 that I prepared for Sony. The first video is a guide to how to shoot Anamorphic with the FX9 and then the second video is a short example video of som 2x Anamorphic content that I shot in some pretty grim weather conditions in the UK’s Lake District. Here’s the link to the “How To” guide to anamorphic with the FX9.
Here’s a new LUT for you, inspired by a the look of the Netfix show “the Queen’s Gambit. I’ve called the LUT “Chess”. It’s designed for use with S-Log3 and SGamut3.cine and I think it works really well with most Sony S-Log3 capable cameras including the FX6, FX9, FS7, FS5, F5 and F55 etc. As well as Sony’s video cameras it will also work with the A7SIII and other Sony Alpha cameras.
In the download you will find 2 LUTs. The 65x version is for post production and grading, the 33x version is for use as a camera LUT. While I have aimed to replicate much of the look of the TV series it must be noted that grading is only a small part of the look. Set design, the colour of the sets and costume also play a significant roll.
If you find this LUT useful please consider buying me a cocktail or other beverage. Thank you! It does take a while to develop these LUT’s and contributions are a good incentive for me to create more!
Timed to coincide with the release of the ILME-FX6 camcorder Sony have updated both Catalyst Browse and Catalyst Prepare. These new and long awaited versions add support for the FX6’s rotation metadata and clip flag metadata as well as numerous bug fixes. It should be noted that for the correct operation that a GPU that supports OpenGL is required. Also while the new versions support MacOS Catalina there is no official support for Big Sur. Catalyst Browse is free while Catalyst Prepare is not free. Prepare can perform more complex batch processing of files, checksum and file verification, per-clip adjustments as well as other additional features.
The Sony FX6 does not have the same Hypergammas or Cinegammas as found in many other Sony camcorders. However you can load a LUT as a base look in the cameras Custom Mode. See this post for details about this.
So I have prepared a set of LUTs that mimic the Sony Hypergammas with rec709 colour. These LUTs are for S-Log3/SGamut3.cine as used as the base input in the FX6. HG1 and HG2 are broadcast safe so these give you a broadcast ready option for the FX6. In addition to the Hypergamma LUT’s there is an additional ACBCST LUT. This is a broadcast safe version of the Sony s709 LUT with added contrast and saturation, suitable for broadcast and other direct to air applications.
As well as the FX6 these LUT’s will also work with any Sony camera that accepts LUTs and has S-Log3 and SGamut3.cine. They can also be used in post production.
If you find these LUT’s useful please consider buying me a coffee. Thank you!