GEAR
SONY FX9 TEST
“The AF systemmight take some getting used to–but it’s worth it”
At the moment this is via Sony’s Catalyst Browse/Prepare software, but support fromother third party editing programmes should be forthcoming. Some NLE’s already have stabilisation workflows, but using the Sony metadata will make it faster to process andmore customisable for every shot. In terms of processing and software, the FX9 has built-inWi-Fi and can be controlled remotely via a smartphone or tablet using Sony’s Content Browser Mobile. We tried a beta version of this and it was simple to use. Changing settings, as well as viewing the results, was simple and easy to do. The camera can upload files to FTP wirelessly or upload
area, and also face priority so it locks onto faces. There’s even face registration: you can ‘register’ an important face and the camera will look for that face and give it priority when focusing – for a bride at a wedding shoot, or a star player in a line-up of sportsmen, for example. With the large, high-resolution sensor and correspondingly longer lenses giving a shallower depth- of-field for a given field of view, getting your subject pin sharp is more important – yet more difficult – than ever before, especially when shot wide open for a cinematic feel. The AF systemmight take some getting used to, but it’s worth it as it can track fast-moving subjects while maintaining shallow depth-of-field. And if you do insist onmanual focus, the camera also has Push AFmode to quickly get the camera focusing when you push the dedicated button, thenmanual focus takes over. In addition, the FX9 offers pro tools such as focus peaking, which can be adjusted to different levels. Where the FX9 differs from the A7 series is in the advanced implementation of image stabilisation. The camera has a built- in gyro that creates metadata for every shot, then in post production you can choose between the level of shake-compensation and the resolution of trimmed 4K footage. So, as long as you don’t mind a bit of a crop, you can achieve almost gimbal-like steadiness.
low-res proxy footage to the cloud for instant editing, ideal for news broadcast use. In addition, there’s an ethernet port for wired streaming or FTP transfer of files, and the XDCA extension unit allows Dual Link Cellular communication for wireless live streaming, as well as the choice to streamusing Sony’s optional network stations.
ABOVE Manual focusing is helped by various focus aids to help you get it spot on
THE VERDICT
frame rates, with 180fps to come, as well as 16-bit Raw recording to an external recorder for the ultimate in quality and flexibility. There are lots of flavours of Log to fine-tune your film’s look, all the ergonomics, audio connectivity andmenu options of a true cinema camera, too. The price isn’t bargain bucket, but it actually isn’t significantly more in real terms than the FS7 when that was launched. And, it has to be said, you do get an awful lot for your money.
We couldn’t look at the quality of the files from the Sony FX9 as we just had a hands- on session with a prototype unit. However, looking at the specs of the camera and its handling, as well as its obvious build quality, it’s clearly going to be a big hit with all sorts of filmmakers. For independent crews, it can be used as a run-and-gun documentary camera or as a real cinema camera with shallow depth-of- field. It can do HDR, has Venice-like natural colours, can be used for live streaming or even as a point-and-shoot ENG camera with auto everything. The AF system is good enough to start to convert non-believers – it does fast 120fps
More information
sony.com
SONY REVEALS HYBRID CINE ZOOM
When used with compatible cameras, remote controllers and supported smartphone applications, zoom, iris and focus can be operated remotely. There is an industry-standard 0.8mm pitch gear on each lens ring, and 115mm diameter matte box and lens support can be fitted. The aperture ring is de-clickable, and there is an option to reverse the rotation direction of the zoom ring. The lens will be available in spring but prices have not yet been confirmed.
with a circular 11-blade iris for smooth bokeh. The two XA elements and three aspheric lenses reduce field curvature and astigmatism, and in combination with two ED (Extra-lowDispersion) lenses, reduce colour distortion. Nano AR anti-reflection coating is designed to reduce ghosting. The lens has three control rings and detachable servo zoom. In manual focus, Sony has worked hard on creating a linear response for a precise focusing action. The focus ring has a large rotation angle.
Sony has a new full-frame E-mount lens, the 16-35mm FE C T3.1 G zoom to accompany the new FX9, which will be part of a new family of cine glass. The lens carries the look and feel of a manual-focus cine lens, such as precise manual focusing and iris operation, and compatibilitywith standard cinema accessories. It also marries to Sony’s G Master range of flagship glass with autofocus and auto exposure, along with servo zoom control. There are two XA (Extreme Aspherical) elements, together
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PRO MOVIEMAKER WINTER 2019
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