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Sony PXW-FX6 Pro FF Camera
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  • Cause it has Full Frame, Fast autofocus, slow mo, Integrated Nd, very good DR , lowlight capabilities, sdi, hdmi, XLR and lightweight body.

  • Other than SDI, XLRs and built in NDs (the latter is a big deal), why isn't the A7s iii a better buy at less than 1/2 the price? The FX6 is basically the A7s iii in an old-fashioned form factor - more buttons and dials - to impress ignorant clients and naive girlfriends (or boyfriends).

    The form factor seems worse - you need a monitor at a minimum. And you can add an XLR attachment to the A7s iii that is digitally connected, so the audio can be the same if you really cared that much and were not anyway recording audio separately, which is what pro's who care about audio do. This is the usual quasi-monopoly price discrimination when there is segmented markets, in this case two - low-budget pro's with clients and wannabe videographers with money to burn. But pro's with sense would get an A7s iii...

  • Markr041, because:

    1- A7S III has IBIS that can’t be used during action sequence or on a suction car mount. Try, you will understand what’s IBIS vibrations means. FX6 is perfect without IBIS.

    2- A7S III don’t have built in ND. And FX6 has a very special electronic ND that can operate smoothly. I seen it in action, very impressive.

    3- form factor is very important.

  • Other than IBIS, I think I mentioned the others, especially the ND (which I have used extensively on the FS5 - it is indeed great).

    But IBIS cuts both ways (actually 5 ways): you cannot as effectively shoot handheld video with the FX9; you cannot shoot handheld at all with cinema lenses (no OIS). Suction car mount use indeed - that's a minor benefit compared to handheld for most users. You need a great car mount shot, rent an Alexa.

    Form factor: I would bet handheld and gimbal shots, for which the A7s iii is obviously better-suited given the form factor and IBIS, are much more generally used in shooting anything than car-mount. But I salute you for finding a use case.

    And, yes, I am just being a little provocative. But, I am serious too. The FX6 is just an old-fashioned form factor, with limited utility compared to a camera with the same internals but with IBIS and a great viewfinder and articulating LCD. Car mount shots!

  • I myself would much rather have two A7s iii than one box of buttons.

  • If a7s3 had SDI output and internal Electronic variable ND Then most cameras wouldn’t be needed.

  • No, the fx6’s ND is a VERY different from old FS5.

    You don’t need expensive suction mount, you just need to know where is high frequency and low frequency vibrations on a car...

    If you worked with DOP on important productions you would know that having a camera combining image and sound in a wireless block is the prerequisite to avoid problems and errors in assembly and disassembly. On an HBO, Netflix, Warner, BBC shoot, everything has to go very quickly, you don't have to think to solve rig problems but to think to be creative.

    Faster and faster, this is how I work on high end production...year after year. It’s the reality of this industry.

  • The only one thing that A7SIII is a goal is the size and weight. The next gen pro cameras/lens should be light and small.

    And remotely adjustable like ZCAM (they understood this long before the others), this is also how the lighting is adjusted on the trays with a lot of lamps. It's modern.

  • I agree with @flash, on a professional set, there is not extra time and always something/someone needing your attention.

    Then there's the argument about the IQ from better cooling.... https://robomartion.medium.com/why-the-a7s-iii-and-canon-r5-are-not-for-cinema-cd8496374c6f

    I like the FS5 form factor, buttons are good when you are in hurry! I personally prefer APS-C (will we see a FS-6?) and on the FX6 I don't see any mic input options when the handle is removed -for when you're on a gimbal and still want ref audio or a wireless lav recorded (I don't see any options offered without the handle). On a side note, I recently worked with the C300 MK2 and did not like the monitor and XLR block being tied together either!

    Because there are times you have a sound guy, or you don't, or you are a one man band shooting with multiple cameras, I also own DSLRs too and enjoy using the right tool(s) for the job. YMMV.

  • If I were ARRI, RED or SONY, I would create an app with the ability to connect multiple users to the camera. DOP, first camera assistant, sound engineer so everyone would have access to partial parameters without overriding those of others ... And there would be a trace of the changes and especially who made them LOL

  • @flash

    So, you want to start real wars on set? :-)

  • @Vitaliy LOL it's always the war on set LOL

  • XAVC from Fx6 is really really really impressive. And so easy to edit in DR. Unbelievable. Prores is not good as XAVC for real-time playback.

    I think I will jump in one year.

  • The lack of S35 4K mode is a pity, but otherwise I suspect Sony has a smash hit here on their hands so long as they can keep up with demand. This might even be "The Camera" (for low/mid budget professional shoots) of the next generation.

  • If I were ARRI, RED or SONY, I would create an app with the ability to connect multiple users to the camera. DOP, first camera assistant, sound engineer so everyone would have access to partial parameters without overriding those of others ... And there would be a trace of the changes and especially who made them LOL

    That's a great idea! (and especially having a log)

    As it would be awesome to be able to keep remotely an eye on the audio settings (& timecode too, seeing as that falls under the responsibility of the Sound Dept) on all the cameras on set, and even change settings if need be.

    I like the FS5 form factor, buttons are good when you are in hurry! I personally prefer APS-C (will we see a FS-6?)

    Personally I want to at least see a "pro" APS-C Sony hybrid camera. As the a6600 isn't it!

    The awful rolling shutter needs to be fixed, and the 1080 mode is terrible! (worse than in the old a6000/a5100!)

    If Sony simply fixed that in a new "a6700" (or "a7100" or whatever they call it) while holding the price down then I'd be keen as beans for one as a B Cam to my Sony FS7.

    Of course ideally it would have 10bit internal and 4K 60fps too, just like the a7Smk3. But then I'd worry they'd push the price too high on a new a6700.