SONY FX9 TEST
THE VERDICT Although Sony says the FX9 sits above the FS7 Mark II in the cinema camera range rather than replacing it, it’s a natural upgrade for owners of the Super 35 camera looking to take the next step. Compared to the FS7, the FX9 is better in virtually every way. It certainly is in terms of the important things like image quality and colour, HDR spec and high ISOperformance from the back-illuminated Exmor R sensor, as well as usability. In fact, it’s pretty much only the lack of superfast 180fps or 240fps frame rates that hampers it compared to the FS7 or FS5. But the FX9 offers so much more, as it can be used for live streaming, an ENG documentarycameraorcinema camerawithwafer-thindepth- of-field. And that’s easier than ever as the new autofocus system is excellent, although it takes some understanding to get the best out of it. At £12,000/$11,000 body only, it’s a big investment, but is cheaper than the new Canon C500 Mark II at £17,000/$16,000, although it lacks the internal Raw recording of the Canon. But with the incredibly detailed 4K footage from the XAVC-I, 10-bit, 4:2:2, 600Mbps signal, you’d have to be a real Raw convert to say it’s lacking in any way. The Sony FX9 is more camera than most filmmakers would ever really need.
ABOVE Even wide open at f/2.8, the AF system locked on to this flower waving in strong winds
improved contrast and colour. And the camera has the Sony MI shoe, which communicates with Sony accessories, including the new digital audio system. The FS7’smainmenu scroll wheel has been replaced by a touchpad systemonthe left sideof thecamera. It’s simple to get to grips with, but a bit too easy to click at the wrong time. There is a large multifunction knob at the front of the camera for scrolling through and setting menu items. It’s more obvious and easier to use, and we preferred it. Also improved is the weatherproofing and latch for the memory card compartment, which has two slots for XQD cards and an SD card for proxies or loading up settings. And the headphone jack has beenmoved to the bottomof the camera. There are ten user-settable buttons for you to program in your most-used settings. All the buttons with automodes nowhave little LED lights, which let you know they’ve been activated. It’s little details like this that prove Sony has been listening to working filmmakers who really do put cameras through their paces every day. Mixed in with the big new sensor, incredible autofocus and stunning image quality, the FX9 is the camera that many independent filmmaking production companies will rightly be taking a long, hard look at.
resolution of cropped 4K footage, which gives incredible steadiness. However, you have to use Sony’s Catalyst Browse/Prepare software to do it. Hopefully other editing programmes will offer support shortly. If you do not want to bother withthisstep, thenimage-stabilised Sony lenses are the way to go. In terms of other high-tech innovations, the FX9 hasWi-Fi built in and can be controlled remotely via a smartphone using Sony’s free Content Browser Mobile. It’s easy to use, and you can alter camera settings and view what’s being filmed. So it’s ideal as a remote monitor or even a director’smonitor – although you might want to disable the ability to alter camera settings if you hand it to a client to watch. The resolution of the footage isn’t marvellous, though. The Wi-Fi can also be used to upload files to FTP or low-resolution proxy footage for news broadcast use. There’s also an Ethernet port you can use for wired streaming or FTP transfer of files. In terms of hardware and the camera itself, it’s solid thanks to its all-metal body that’s similar to the FS7 in form and size. It uses the locking E-mount systemwhere you don’t have to twist the lens when you fit it. It’s sturdy and reliable. The viewfinder looks like the FS7 unit bit is all new, and has higher resolution of 720p, with far
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“It’s little details like this that prove Sony has been listening to filmmakers who put cameras through their paces every day”
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SUMMER 2020 PRO MOVIEMAKER
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