The Sony FX6 II Will Be This!! My Cinema Wishlist

[@KofiYeboah]

even if you dont go global and just have a faster read out, im a happy camper, SONY PLEASE FIX THAT AUDIO TOP HANDLE , and I can be content with at 12-bit 4:4:4 and better anamorphic modes, Sony fixes that, and I have no reason to keep a Komodo X, there, I said it.

[@cammackey]

AGREED. Global is last on my honestly.

[@andric72]

at this point I wonder where hell ended up the XEVC 12 bit H.265 based color that the Sony annnunced in 2018!

[@noahyv]

​​@@andric72kinda crazy they're still using the same xavc codecs they introduced in 2012 in these cameras with no updates.

[@andric72]

​@@noahyv they introduced a new codec next the X-OCN-L in the Burano. Is a XAVC-H but is supposed is still 10bit. hope i'm wrong :)

[@noahyv]

@@andric72 yeah I mostly mean for the fx6/9 cameras. The higher end cameras have xocn which is newer and the lower end cameras have gotten XAVC-HS and 10bit XAVC-S so the omission in the highly popular FX camcorder line is especially glaring.

[@JasonMorrisphotocinema]

Agreed with everything! The main thing I’d really like is X-OCN

[@timdanyo898]

Open gate is #1 for the FX6II. I can live with a really fast rolling shutter at this point.

[@fonskarssemakers]

Keep up the good stuff! Really am getting the feeling you are just skyrocketing with your channel lately!

[@cammackey]

I appreciate the positive words 🥲🙏🏽

[@Mattithias]

Very good stuff. I will shoot with the FX three for now and wait for the GEN two FX six.

[@vicentenunez3264]

If they did do a fx6 II how long a wait do you think it would be?

[@CurrenSheldon]

No audio ports on the body is the #1 reason I didn't get this camera. Too often I stripped my FS5 down to just the body to put on a gimbal or be super lightweight and loved having on XLR on the body to still have audio. I switched to Canon mostly due to IQ vs the FS and A7-series, but the fX9/6/3 have really closed the gaps in that regard. But the lack of audio port on ths FX6 kept me in the Canon world for now. Also, v-mounts should be standard now that there are A TON of small, lightweight 50wh and 98wh v-mounts. That would be a huge upgrade.

[@cammackey]

Dude agreed!!! It’s wild they thought that was gonna be fine haha. I will legit be mad at Sony if they do that again. And yeah man I agree with the v mounts as well.

[@CurrenSheldon]

@@cammackey Totally. For a camera like the FX6, it seems incredibly intentional. Hopefully they fix this with the FX6 II.

[@heyheyhey520]

Open gate is a must as well as audio flexibility.

[@AlexanderHaibel]

Echoing Open Gate; why doesn't the Burano or FX3 have this? I'd also like to say I wish more brands were like Lumix and gave full-resolution video options instead of forcing everything into a 4K container. The new A9 III records both 6K60 and 3K120 as "4K" only... why? Do they think people don't zoom in post? I suppose better RAW support (Blackmagic or internal please) would get this at the same time.

[@robojim4000]

what camera was this filmed on??

[@timdanyo898]

I love the low light in the FX6. If global shutter meant losing that capability I would still be ok with a fast rolling shutter if I can get low light. Internal raw would be amazing, but the recorder work around isn't such a massive deal breaker. An in body audio solution like the FS5 or a good 1/8 jack in body like the FX3 would be appreciated and used a ton.

[@cammackey]

Oh man I can’t stand external recorders. Specially pro res raw.. cause we can’t even grade it in one of the most power color grading softwares haha

[@timdanyo898]

@@cammackey I use FCPX so it's so big deal for me. But yeah.. that's a big deal not to have in Divinci.

[@rainbow28453]

Yeah really a bummer about prores RAW, but I think you can do some sort of exr workflow to get it running in resolve, I don't remember exactly how it worked though

[@the180degreerule3]

I'm still surprised how no company made an adapter that uses the port the top handle uses to pass audio to the camera to be used instead of the handle...it is an easy task and could've been sold like crazy for 299$ or such

[@cammackey]

Dude same.

[@JeremiahBostwick]

I've also thought it odd that no one in the community has fixed the problem either. Even though the electronics in the handle could be proprietary, it seems to me someone could disassemble the handle, make their own 3D printed mount for the internals, so that you can use a cheese plate on the top, mount the XLR jacks in the 3d printed box, and put on whatever top handle you want. I've thought about this idea for a long time. The only reason why I don't think it has happened, is that it would take someone who doesn't mind putting in a lot of hours one at a time for each customers top-handle for likely not a lot of ROI.

[@the180degreerule3]

I think it is a bad that such opportunities to create something that a lot of fx6 users and other cameras users need and demand and complain about for months or years without it happening are wasted, at the same time I'm kind of happy because it is still an opportunity that someone can take and step up and start a business making those pieces and sell them. as for the how, I don't think it's difficult or requires a lot of time, the connection used by Sony in the FX6 can be resourced from manufacturers in China, the XLR ports too, the casing can also be done by many manufacturers on demand as well, so it's all a matter of sourcing the pieces, putting them together in a casing and Voila, just like Red mini mags, an SSD + connecter + encloser and it was done. no need to mess with the handle at all, in fact it would be more expensive to modify the handle from sony and not be able to use it as manufactured and much cheaper to buy the pieces necessary according to how robust and the quality you need, the more quality the more money but overall I think it would cost less than 299$ add another 100$ and you'll have XLR ports + 32bit float recording in the piece and the camera as well (camera will record audio at 24bit ). unless we start a business to make it and rip off filmmakers by asking 599$ 😂😂@@JeremiahBostwick

[@nazarelbadia3706]

Stabilization !!!! i need that!

[@SimeonKolev]

IBIS sucks for this type of camera, It will ruin you car and drone shots because the vibrations can not be stabilized.

[@panoramaxtv]

I'm a beginner independent short filmmaker and the FX30 actually satisfyies my needs. I'm hoping to go with Full Frame, so... if Sony could get me a 3,5mm audio input on the body of an FX6 MKII + 3:2 open gate + more coherent codecs to shoot with not having to drop down with 8bits, etc. I will buy for sure !! ;-)

[@jeydubc1828]

Damn this is great looking content man! Such good style. Love your breakdowns. Agree. I think you're asking for a camera that would cannibalize the others but you're going to get some of it on the mark2 for sure.

[@Vibrance_Visuals]

what was that animorphic lens you mentioned?

[@cammackey]

Blazar Remis

[@Elslawoy]

Maybe 32bit audio flow. built-in extra WiFi receiver for some Sony audio mic transmitters recording to a separate second audio track

[@blackrachmaninov]

Amazing content. Do you think 12 bit RAW vs 16 bit RAW like RED proposes makes a big difference?

[@cammackey]

Most people will tell you no and will get all technical, but from personal experience.. I’ve tried external pro res raw which is suppose to be 12bit.. it doesn’t not hold up to red raw.

[@blackrachmaninov]

@@cammackeyI think if the original recording is real 16 bit linear, when converting to log 12 bits, it should be the same, no?

[@cammackey]

@@blackrachmaninov like I said brutha, I let others argue the details haha. To me none of it really matters cause all the cameras look great but when it comes to raw, RED has the the most depth colors that I’ve personally used against pro res raw externally

[@electricdreamer]

Even KZbin video looks like a Michael Bay movie now. How do you color grade your videos? What lens do you use for that?

[@MitchellMillennial]

You understand RED holds the patents to internal RAW? Thats the reason the sony venice 1 needs an external recorded that gets mounted to the back of the camera and rights to SXS cards. The fact that Nikon is only company that the courts have given permissions to in regards to allowing the Z9 to have internal raw.

[@JRidgely]

You’re describing the perfect camera with your wish list. If they came out with that It would hurt sales of their high end cameras I think. But we can wish!

[@mondobytes]

Nailed it! I wanted to love the FX6 but honestly the FX3 is so much more versatile and easier to use.

[@cammackey]

FACTS.

[@blackrachmaninov]

Yeah but no internal ND filters ....

[@mondobytes]

@@blackrachmaninov versatility triumphs over features. Also love using hard stops ND with IR cut because it makes a massive difference to the image. Once you use quality glass you’ll never go back

[@blackrachmaninov]

@@mondobytesI would agree with diffusion filters but not for ND filters :) I think it's very convenient to have internal NDs, not to mention chaining several filters such as ND+Diffusion can lead to artefact with light bouncing between the 2. Love your content as well by the way ;)

[@mondobytes]

@@blackrachmaninov but what’s more convenient is having a lighter camera with IBIS and that fits in the palm of your hand. I’ve bought the FX6 twice and have sold it twice. Also stacking diffusion + ND only leads to artifacts when glass is cheap. Look into Element Filters it uses a hot mirror to reflect IR and UV so you’re getting full spectrum and the quality supersedes of what you’d get with built in ND. Funny I’m actually making a video on this in a few weeks but I can never use VND filters again.

[@stuartswindellcampoy8483]

Tbh the only thing i want is 6k , xlr on the body even if its just one because even the first fs5 had them in the body. And maybe a higher quality internal codec thats all. Also same iso performance although ill understand if the second higher base iso has tk be lowered due to the 6k so maybe 800-6400 or something .

[@shaunbless]

Sony should make a monitor with an audio jack

[@baker2880]

Hay a great video just some questions. Do you think the Sony FX6 II will be out any time soon? Will the FX6 be able to switch from NTSC to PAL? I heard that the "PAL/NTSC Selector" Function is Reagan-specific now. But I'm not sure!

[@cammackey]

I’m assuming we orbly got about 8-16 months before we see anything

[@brunosennaphotos]

great video, i only wish the camera was in focus, so we could see the things you're describing....

[@cammackey]

Same 😂

[@cobymarcum1442]

Awesome feedback for Sony. 👍

[@gurugamer8632]

Try the Panasonic AU EVA 1

[@JoelIsaacMills]

I'd want it to be slightly smaller and lighter as well, so I can easily get it on my Ronin rs2, without so much fiddling. And limited lens options,

[@mark12345697]

Not sure if theyll include internal raw since they pretty much working jointly with atomos for their prosumer market. But well see. Plus you just described a camera thats more powerfull than the burano lol.

[@Bo_Hazem]

It might be FX9 II with the A9III sensor according to Andrea.

[@winterkat8693]

oh bro... Ive had the issue of my sony shooting 8bit instead of 10bit.. I wanted to shoot XAVC-HS 4k, the h.265 codec because it was a vfx shoot where you need tons of details and stuff (also heard that the 265 has nore details and stuff)and when I did, it switched to 8-bit, I only noticed it after like 3 shots and told them Ive made a grave mistake and asked the guys if we can re shoot it, they guys were super nice and we did it again. thank god we thought of doing the simple shots that took just 15 mins or else that shit would have screwed me up real good. extra: personally I would like the next gen of fx6, fx3 or even the a7siv to have alot of things like you have said. 6k, open gate, 12bit but im kinda okay with 10bit because I would rather look at red to rent if I want more bitrate or quality, expecting a global shutter after the A9, maybe the monitor can be viewfinder hybrid or something on the fx6, with internal raw, and the top handle to have a place to mount a monitor, dont really have alot of issues with the current sonys except for the top handle and my settings not change every time I change codec.

[@chrismc753]

I literally only want XLR on the body, CFExpress B, & ProRes internal. I think the FX6 is just about perfect otherwise. X-OCN 16-Bit or "RAW" is not needed IMO. It's good staying with the Burano and up. I'd be good with more Anamorphic, but just for future proofing as I don't have access to those lenses right now. It baffles me you choose the FX3 over the FX6. I get different uses might dictate that, but if IBIS is not a consideration, I think the FX6 is better is almost every other situation. Regardless thanks for sharing your opinions. Hopefully Sony does implement some of our wishes!

[@cammackey]

I mean depends what I’m doing. For doc work.. FX6 can’t be touched. But for fashion work.. the FX3 is just easier cause sometimes I have to go from a gimbal.. to handheld.. to weird mounting.. etc. Or I can do all of that with audio! lol

[@tobiasfalk9112]

With the Burano coming out, Sony might position a new and more expensive FX9 mkii as a B-cam to that, with the same sensor but without internal real raw. The next FX6, also more expensive, will probably be all the things you ask for, with the A9iii sensor, be a 6k camera, but also without internal real raw. The soft launch of the 10 bit Sony RAW format might be a test run, hinting at some kind of XAVC-I 12 bit codec coming for the new FX models. An FX4, based on the coming A7SIV, will have a new rolling shutter sensor with 14 bit readout, remain 4k, but support the new 12 bit codec. Just rambling, but it seems likely.

[@cammackey]

Yeah I could see that happening. What I’m guessing is the global shutter in all the FX line. Internal raw on the FX9 and not on the FX3/6. I would settle for an internal 12bit no raw codec too tho

[@ianhodgsonphoto_video]

I think the Fx9 mkIi will still be only 4k as it is mainly aimed at broadcast who still only want hd

[@ianhodgsonphoto_video]

I think you have just described the FX 9 mkIi. If you have the global shutter you will lose the low light USP of the FX6. Audio could not agree more the reason I still haven’t changed. Also check the reports of more noise with global shutter.

[@cammackey]

Not taking anyone’s word for the noise till a professional colorist reviews it or Gerald undones dynamic range tests. A lot of people don’t know how to process or expose log footage

[@ianhodgsonphoto_video]

@@cammackey Sorry you are right we list to too much chatter and not test results.

[@cammackey]

@@ianhodgsonphoto_videoyeah like people saying it’s base 250 means more noise… like that’s not how that works haha. It’s the BASE sensitivity for that sensor. That doesn’t mean it’s going to have the same noise as 250 on another camera. And even if it did, 250 is not noisy…. So it’s just all chatter until we see real results in my opinion!

[@whateverjustposting]

the plastic top handle is pretty unforgivable imo. they simply have to put xlr inputs in the body. if they really dont want to then make an audio box (a la arri’s a box) so people dont have to build their cameras around not being able to use whatever handle they prefer

They could just get that new A9III on a similar FX3 body, maybe thicker more squared body with a display on the right side and V-mount on the back, and put Open gate, 16 bit X-OCN Raw, CfExpress type B. They could rework their XLR-K3M to be a little bit shorter. Think all would be great like this.

[@GabrielScindian]

The new GS FX6 II will look like a smaller Burano using their new design language. the 3,5mm jack for audio will remain. Its not trying to be a Komodo or red raptor. The camera will remain within the same price point 6.5k. The DR may be the same as the current line but there may be a trade-off due to the global shutter tech. If the system could record 16bit raw internal or 14bit codecs that would be ideal.

[@ianhodgsonphoto_video]

Open Gate - If the Burano has no open gate I can't see any camera below that having it. The burano is meant to be a B-Cam for Venice.

[@cammackey]

Ugh that’s true huh. Tho open gate is suppose to be coming to the Burano. I think open gate is going to become a standard

[@fernandotabora]

Lumix S5II has an open gate

[@JonathanPalfrey]

My issue with the FX6 is they took the FS5 body and converted it across rather than fixing the ergonomic issues. Same goes for the odd codec limitations.

[@cammackey]

Interesting. I never used used the FS line

[@JonathanPalfrey]

@@cammackey Yeah the FS5 was limited to 10 bit in Intra as well. I think its a limitation of that codec, which is slightly different than the one in the FX3 and mirrorless Sony cameras.

[@JayElRocco]

Definitely would love to see the new AI focus technology that’s in the latest Sony A7CII. Xlr inputs in the body and a larger and higher resolution monitor. For me the rigging was simple using the Tilta camera cage and v-mount battery plate. I would use a small Came-TV v-mount battery and could shoot for hours with it.

[@andrewkitto9726]

Internal raw or 444 codec would be it for me

[@rumorscameras]

they could just plug a fkn a box under and make c70 handle or just holes we ll get our own handle

[@TexpatOTG]

The audio top-handle is awful -- not many other complaints as I've had limited time on this camera (rental only). I always record audio separately, so the handle wasn't a big issue, but is just a big downside to this camera for most users I am sure. Cheers. Good show as always.

[@noahyv]

Its crazy that xavc-s 100m is 10bit and xavc-l is 8bit.

[@Damien-og6sk]

Same wishlist here for an FX6 mark 2, but with those specs it would be so close to the Burano that it would not make any sense for Sony

[@cammackey]

Imagine if they did it tho 🥹

[@Damien-og6sk]

@@cammackey then if it had 6k fullframe, internal raw and audio inputs on the body I might jump ship from Canon and sell my two C70, unless Canon comes up with a C70 Mark2 with 6K and better autofocus

[@raphaelrlfreitas]

The internal RAW they would have to fight in the court against RED. RED still holds the internal compressed RAW recording patent, Canon could have it because RED uses RF mounts in their cameras now, and previously EF, it was a trade off. Nikon implemented and as far as I know they were still in a lawsuit against RED patent. Sony would have to pull a Nikon and implement even though is a patent breaking thing and deal with the legal consequences, which I am not sure they would be up for taking that risk. But yes, that would be the dream. (Not only for Sony, but for the whole industry). I currently shoot Blackmagic and their 12 bit BRAW is just a beauty. If Sony can get 12 bit raw similar to braw I am switching 😂 What I would also love to see is BRAW internal recording in other cameras (looking at you Lumix) because as far as I know BRAW is an open source format, meaning any camera manufacture could implement in their hardware.

[@cammackey]

Yeah I actually love BRaw. I would even settle for jsut a 12bit non raw codec

[@JeremiahBostwick]

Sony already has the ability to use internal RAW on cameras. Read up about the RED's lawsuit against Sony regarding the AXS-R5 recorder. The very short version is RED tried to sue Sony for patent violation, and then Sony counter sued with 10x the amount of "patent violations", as it's obvious that Sony has been working in the camera space far longer than RED with way more patents and could throw the book at them. RED had chosen the wrong company to try to muscle. RED quickly settled out of court and Sony continues to put RAW in their top cameras without a peep from RED to this day. The reason Sony doesn't put RAW in lower end cameras is they want to protect their product stack. However, I think Canon, Nikon and a few others will be pushing internal RAW in their next gens. So I believe Sony's hand will be forced to put RAW into a lower end camera or lose on the spec war.

[@cammackey]

@@JeremiahBostwick oh wow great info man!!! Yeah that’s the hard part with Sony, they give us almost everything we need in lower end cameras.. and then hold back very specific things for their higher end line. Which is understandable from a business perspective. But the other companies are going to try and play keep up by offering those options. Regardless, competition is good for advancements.

[@JeremiahBostwick]

The only thing the FX6 II needs to do for me is just have audio on the body and a V-Mount on the back. They "should" have a 12-bit h.265 codec internally too if they want to stay remotely competitive with the market. If they add RAW, that would be nice, but like you 12-bit h.265 would be 'plenty' for me. I don't even care if the sensor does more than 4k. Though I do feel they should have the full untaped 3:2 sensor in there (as in the exact one from the FX3) and as you say allow for anamorphic modes. That could happen simply with a faster processor. Increased resolution "would be nice", but again not necessary if it comes at the cost of slower RS etc. The Alexa 35 is "just" 4.5k (in order to maintain still being 4k in anamorphic modes) and I personally don't see myself needing more than that. The larger pixel dimensions and better low light performance being much more important things to me than resolution. Or in other words: I would much rather have an additional stop of DR rather than moving to 6k. Easily. As a side note, a "crappy" fix for audio on the FX6, is using a Ninja or Shogun Ultra (or whatever you want) to record with. You can attach your audio to the Ninja and sync the audio from the body mics on the camera to the Ninja (it will sync up the delay). The downside of this is that you have to record externally, which I know you don't like. But to me the worst part about it is you have to use an Atomos product, which personally I would say are trash. Hot, loud, battery inefficient, and the tools on them suck. Also it's too big for no reason. After using SmallHD tools, I'm spoiled for anything else. And for whatever dumb reason they don't support their monitors for more than a few years before launching a new one and then cutting off support of firmware updates... (lets be real, there isn't a substantial difference between the Ninja Inferno, Ninja V, and Ninja/Ninja Ultra) Still they "work" and if you so desire give a nice RAW file. I just wish there was another option for external ProRes RAW. Like say Portkeys. Because Atomos needs real competition and something that isn't built like trash.

[@aidanrogers1087]

Open gate plz plz

[@uncutxremy]

they really gotta fix that audio

[@chicobraz4335]

I never understood the Burano release , it really doesn’t solve anything and it actually put Sony in alot of problems in the future with fx3,fx6,fx9 which are very popular with future releases

[@carloscmedia]

Global shutter, OSS, internal ND and better anamorphic down Res from 6K And Raw!!! id get a Sony Tattoo

[@AlreadyTiredOfYou]

Beyond the wishlist… to which I’d just add IBIS to your requests (FX6 owner myself)…. I would like to answer to this phrase of “ruining the competition” The reason why it won’t happen is simple but not related to competition or whatnot: all camera companies have the same owner. Yeah, seriously, the very same hedgefunds are behind all camera companies. And once you trace them back, you go back to Mitsubishi. Not joking. “Camera Conspiracies” made a video about it.

[@cammackey]

Haha that’s sounds like a far stretch brutha. Cause one, Sony is a whole different company. That would mean Mitsubishi owns Sony..

[@papsny]

Camera Pre amps suck... i wish theyd include better preamps, a 32 bit float and a camera 2 cloud solution similar to what atomos has. Next gen improvements should be more about workflow improvements.

[@ianmroczkovvski1487]

Now im regretting buying the fx6 just few days ago

[@cammackey]

Oh bro it’s an amazing camera. Still my go to for any documentary type work. But for versatility, the FX3 takes the cake. And we Prbly have another year before we get any signs of an FX6II

[@scottievee330]

You had almost all of those gripes as a non-issue with the C70. What was so bad about Canon that made you okay with the FX6 faults. Including only 7 shots of ND? Lens choice? My crystal ball says Canon is gonna drop a box style that covers everything. A true... make everyone happy camera. I've thought about an FX6 to try but I can't justify it with half of what talk about here? I dunno. Certainly not busting chops I just don't get it.

[@cammackey]

The C70 was garbage haha. Has an amazing sensor. But that thing had triple the quirks. Don’t get it twisted, as I said the fx6 is an amazing camera.. but the way I was using it outside of my documentary work, I had jsut ended up using the FX3 more. The C70 screen was annoying with it flopping around. The form factor was beyond annoying. It was awkward to build out where the FX6 can still be built out. The eND is a game changer vs the C70 traditional hard ND. It’s FF vs S35. The dual iso on the FX6 is better. Literally the only good thing about the C70 is that DGO sensor. And it’s the only canon camera under that price range with clog 2… so you can’t even properly match any of your other canon cameras to it unless you spend double the money. VS on Sony I can use any of their cameras and I can get them to match. Let alone all the lens choices I get. I literally owned the C70 for a few weeks before I hated it haha. The FX6 I would happily still own, but more for doc work. And then the FX3 for all my fashion stuff. So I would just love if they fixed those few quirks so I would chose it over the FX3 more often. PS, nice bronco ;)

[@rumorscameras]

guys, the fx 6 and fx9 will bridge and become one camera only, 2024 tech we dnt need the fx9 anymore, it s mi 4 channel audio easy, modular upgrade

[@cammackey]

It would make sense!!! Hopefully it’s still decently sized

[@rumorscameras]

@@cammackey the mkdular sound module is my idea though. The bridge gap is real. Burano is for those cinematic productions with moneyyy Nd the new fx6/9 is for the pro ..

[@jaywbus]

I did a video test on canon r5c vs sony zv-e1. Sony won. Sony's sensor and options are amazing.

[@cammackey]

Canon can’t keep up man. Thats why I switched. They would do better if they gave us Clog2

[@SimeonKolev]

About the ruining of the competition - this is exactly why they will not do it. The competition are their clients and they will not ruin them. We will get year by year small improvements but they will never make the perfect camera because they want to sell you a new one every year :). They know how to make good screens and yet for 5 figures you get this crap on the FX6, their sensors are capable of open gate especially the 12mp one which is crazy fast and you get useless desqueeze which you already have on the monitor that you have to use with it... They have IPB 10 bit but yet you get 8 bit in the FX6 :D. Those small things that are there by design for sure... Call me a conspiracy theorist I do not care it is too obvious :D. PS the most annoying thing for me is the new LUT support function and the way they implemented it. It is like they give you the function but they do not want you to use it. It is so complicated and restrictive. Panasonic are much better in video right now, especially the LUT support, but they will never get a better sensor in order to be able to make a better camera.

[@cammackey]

Part of me wants to believe that.. but most won’t cameras have a minimum 3 year cycle. Anytime they release something it’s usually ahead of the competition. So idk. I’ll be upset if the II is the same camera but just a new sensor. And yeah Panasonic is crushing it, would love a faster sensor from them

[@JeremiahBostwick]

Making cameras are a business. The step ups are based around trying to protect margins and also setup cameras at particular price points. There are tons of reasons for the decisions, and a lot of them just come down to things like parts availability, difficulty to manufacturer, and cost. Sony are experts at this. But it's not as if they can simply choose to not compete. The FS7 was a landmark camera that costed $10k and basically had all of the specs of their $25k camera (F55). It's actually only fairly recent history that the FX9 feels more iterative, though for when it launched it was giving a lot of camera for not a lot of money. The failure in that camera to me was mostly that it didn't have enough internal processing power for all the sensor modes/frame rates and they made the mistake of requiring the stupid back to get RAW modes, and the back didn't even record the RAW modes internally! The FX6 isn't an iterative camera. It basically gave what used to cost $10-$12k for $6k. It just had some dumb design faults. To reach parity on Canon required buying a C500 II, which is arguably "more camera", but doesn't have nearly the same value as FX6. I think it's fair to say Canon learned their lesson there as the C500 II hasn't sold well, and now that the C70 exists, the C300 III also since hasn't sold well. Anyway, I digress. Canon isn't going to sit still. RED is even coming in with a $6k camera and $10k camera that both shoot 16-bit RAW. And I'm sure that whatever Panasonic's next box style camera is will sell well, because they have the S5 IIx (frankly just turn that into a box camera and that is near perfect for so many work flows). So Sony has to deliver a hitter or people will move off them. Business is war. They either deliver or lose. It's really that simple.

[@nazarelbadia3706]

nobody talks about stabilisation ? for me stab + global shutter

[@cammackey]

Well personally I don’t care for ibis when shooting higher end work. It can mess up a shot and then you’re screwed. I rather be in control if something is stabilized or not. The issue with IBIS is when it’s turned off, that sensor isn’t glued to the camera so it’s able to just bounce around. VS a sensor that’s glued down just has a more solid look

[@mauriciotrujillo9016]

A box or simpler body style, with less buttons, better I/O ports, output menu control through HDMI to any touch monitor. and that's it... why is the burano so damn expensive!!!! hahahah

[@cammackey]

That’s also any red camera haha

[@mauriciotrujillo9016]

@@cammackey true! haha It also would be great if h.265 became a more industry standard codec

[@TheAllAmericanDriver]

Just go back to the C70

[@cammackey]

Bro that camera is garbage. The sensor is amazing tho.

[@awakemyglory]

​@@cammackeyHey, long time fan. My wife and I both do photography and video, and since we share lenses I'm locked into the RF system. Is there another realistic option if I want internal NDs and good dynamic range? I know a lot of people complain about the C70 build quality and ergonomics, but it still seems like a huge step up from an R6 (which is what I'm on currently). I'd be happy to jump to Sony, but duplicating lenses is just not feasible right now. Any suggestions?

[@heynow2880]

The FX6 has a way better image than the FX3. There is no comparison. The FX3 still has a mirrorless looks unless your using crazy expensive cinema lenses (The Creator) as the FX6 has a cinema look right from the start using standard Sony autofocus lenses.

[@Miniaminism]

I rented the hell out of the two. Honestly, no difference to me with both set to all I. Fx9 yeah a bit better. What’s the differences you noticed ? I’m curious about your experience ;-)

[@heynow2880]

@@Miniaminism just seems like image of the FX3 looks more like a mirrorless camera. Like I said the FX6 just has that look right from the camera.

[@cammackey]

I highly disagree brother. They look almost exactly the same. Specially when both are set to their max quality. The only major difference is the FX6 had just a hair hit more chroma noise in the shadows and the FX3 can be more saturated looking but just a tad

[@heynow2880]

@@cammackey we can agree to disagree

[@Miniaminism]

I don't understand what "mirrrorless camera looks" is ? Do you say this by your own usage or by watching FX6 footage online ? I don't understand what is the "mirrorless look" TBH@@heynow2880

[@humble_integrity]

wtf are you talking about??? 2 xlr ports?? that's the only reason i'm interested in the fx6, you dont need no cheap ass dji rode nonsense, slap a mkh 416 on there and it's 1000x better.

[@cammackey]

You know we have different tools for different people right?

[@RoadFromNowhere_SE01]

I got destroyed by Sony’s nonsensical designs first with the FS700 then the first A7S both hokey and terrible. I’m done with Sony. I like my S1H way more and am buying Red once and for all as Arri is too heavy and expensive

[@jaswingrove]

obviously not getting internal raw thanks to your beloved industry crippling Red. Red is not anyone’s friend and continues to hold everyone else back with a very dubious patent

[@JeremiahBostwick]

Sony already uses internal raw in their cameras. Sony doesn't put RAW into lower end camera systems to protect their product stack. Not for any other reason.

[@jaswingrove]

@@JeremiahBostwick what sony camera records internal raw? 🤷‍♂️

[@MrlegendOr]

@@jaswingrove Venus II, Burano

[@jaswingrove]

Venice 1 had to use an external recorder to record raw, and X-OCN is a partial debayer, so not really raw@@MrlegendOr

[@MrlegendOr]

@@jaswingrove It look like You do not know what you are talking about. You do not understand what codecs are and especially what X-OCN is. I dont want to waste my time, but I will make it easy for you. X-OCN works like ProresRAW The image is not processed in the camera like BRAW. They work like this. -In camera: Sensor data /Compress / -Out of camera (in your application): Decode /Debayer/. Black Magic RAW works like this -In camera: Sensor Data /Partial Debayer /Compress -Out of camera (in your application): Decode / Partial Debayer / Process (BRAW isn't really RAW) RED RAW works like this: -In camera: Sensor data /Compress /File / -Out of camera (in your application or Red Plugin): File /Decode /Debayer /. The last difference between other RAW and RED is that RED uses the outdated codec/decoder like jpeg2000.🙃