SONY FX9 TEST
SPECIFICATIONS Price:
£12,000/$11,000 body only Sensor size: 35mmExmor R CMOS, 20.5megapixels Formats: 4096x2160 C4K to come via firmware upgrade, 3840x2160 4K 2048x1080 2K, 1920x1080 FHD, 1280x720HD Codecs: XAVC-I 10-bit 4:2:2 600Mbps, XAVC-L, 8-bit 4:2:0 150Mbps, MPEG 8-bit 4:2:2, 16-bit Raw via EDCA-FX9 and external recorder Frame rates: 59.94/50/29/.97/25/23.98fps for UHD/HD, 120fps HD/180fps and 4K/120 Raw to external recorder to come via firmware upgrade ISO range: Dual Base ISO 800/4000 Gamma curves: S-Cinetone, Std, HLG, S-Log3 Dynamic range: 15+ stops Controls: Peaking, waveform, zebras Lensmount: Sony E Shutter speed: 1sec – 1/8000sec Stabilisation: Electronic Image Stabilisation Filters: Variable ND 1.4– 1/128 Screen: 8.8/3.5in LCD, 2.76million dots Audio: 2x XLR inputs Output: BNC 12G-SDI, BNC 3G-SDI, HDMI-A Storage: 2 x XQD slots, 1x SD data slot Dimensions (WxHxD): 146x142.5x229mm/ handle 16-bit files and process the Sony Raw FX9 signal, but this is likely to change. The heart of the camera is an all-new sensor that has the latest High Dynamic Range features and can be recorded internally in 4K 4:2:2 10-bit. We only had a hands- on with prototype units so couldn’t back up their claims, but the footage we sawwas very impressive, and had very low noise. The FX9 can also capture content up to five times the slow-motion speed with FHD 120fps shooting, but only when output to an external recorder. 5.75x5.61x9.02in Weight: 2kg/4.4lb
“The FX9 has a formfactor similar to the FS7 but has a large 6K sensor and autofocus borrowed fromthe A7”
Sony says 4K is the optimum recording size for its 6K sensor as downsampling to 4K gives the best sensitivity, noise andmore than 15 stops of exposure latitude while allowing some of the pixels to be used for the advanced autofocus. Unlike the Canon, which has Canon Raw Light internal recording, the Sony doesn’t record Raw internally. For Raw, it’s full-size 16-bit only and it has to go to an external recorder, and you’ll need a pricey £2760/$2500 Sony XDCA extension pack to enable it, too. The pack does add bulk, but also V-lock battery connections, slot-in DWX digital audio connections for broadcast use, ethernet and improved streaming connectivity. It also enables 10-bit Super35 4K 120fps and 16bit Raw output, compatibility with Sony BP-GL and BP-FL batteries, D-Tap, and stable Dual Link streaming by using two carrier lines. At the moment, the Atomos Neon is the only recorder that can
for what you get. With a Super35 Sony FS7 Mark II currently costing around £8500/$9000 it’s a bigger investment, but the technology is far more advanced and the sensor is new. In fact, the current Sony FS7 Mark II and FS5 Mark II have essentially the same basic front- illuminated Exmor sensor as the Mark I versions (such as the FS7 that came out in 2014 and the FS700 that was released in 2012). That’s a long time in sensor development. The FX9’s back-illuminated Exmor R sensor is right at the cutting edge of new technology. Many will compare the FX9 to the rival Canon EOS C500Mark II as the spec is shockingly similar apart from a few key areas. Compared to the Canon’s 5.9K recording, the Sony has a 6K sensor but only records in 4K, downsizing the footage by oversampling for best quality. At launch, 4K 3840x2160 recording is supported while C4K 4096x2160 will arrive in a free firmware update this winter.
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WINTER 2019 PRO MOVIEMAKER
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