Sony FX9
Since its release in 2014, the Sony FS7 has proven itself to be a mainstay for documentary, independent film and corporate video production the world over. It’s also become a central fixture in church film ministries and weekend IMAG teams all across the country. Over the past few years, however, many of Sony’s best innovations for video have actually shown up in their DSLR and mirrorless stills cameras, rather than in their digital cinema offerings.
At the core of the Sony FX9 is a brand new full-frame 6K sensor designed to output to UHD 4K at up to 60fps.
With the introduction of their new PXW-FX9 XDCAM, Sony is taking one of their most significant steps towards combining many of their best technical innovations and tools into a single category-defining device. Positioned as a next-generation camera, the FX9 borrows the form factor of the previous FS7II and upgrades it with technology from the flagship Venice and Alpha camera lines. In this First Impression article, we’ll highlight many of the FX9’s newest features and explore how it might fit into a film or broadcast ministry context.
The New Tech
At the core of the Sony FX9 is a brand new full-frame 6K sensor designed to output to UHD 4K at up to 60fps. The sensor also features HD recording at up to 120fps straight out of the box, and is one of the first digital cinema cameras to boast a global shutter, which should virtually eliminate the ‘jello cam’ effect common to most digital cinema cameras on the market today. The FX9 captures footage to an XAVC 10-bit 4:2:2 codec recorded to two of Sony’s proprietary XQD memory cards.
Sony is also incorporating its S-Cinetone color science, originally developed for their flagship Venice cinema camera, into the FX9.
One important item of note for churches considering the FX9 is that while Sony is marketing it as a “6K camera,” that description might be a bit misleading in a world where cameras recording in 6K resolution are becoming more prevalent than ever before. With the FX9, Sony has concluded that the best use of the 6K sensor is to utilize all of the data to output the best 4K image possible. Sony may decide to unlock the ability to output a 1:1 6K output in a future firmware update, but seeing as several other features are already being promised in a similar update, and 6K output isn’t one of those features mentioned, it’s not something anyone should bank on anytime soon.
One of biggest drawbacks of the previous FS7 has been the camera’s lackluster performance in low-light settings. The FX9’s new sensor boasts dual native ISO settings of both 800 and 4,000, meaning that it may well achieve far cleaner images in a wider variety of lighting conditions than ever before.
Another breakout feature of the Sony FX9 is the improved auto-focus technologies, which promise to be similar in execution to the popular auto-focus of recent Sony Alpha stills cameras. Sony is also incorporating its S-Cinetone color science originally developed for their flagship Venice cinema camera into the FX9 as well.
Getting Physical
The new Sony FX9 is housed in a form factor that’s almost identical the FS7II, which is a shoulder-mount style camera with a wide array of on-body controls for the kind of on-the-fly adjustments required in documentary work. The best-in-class electronic variable ND from the FS7II has been retooled to accommodate the full-frame sensor and now includes dedicated controls and a one-touch option for auto-control of the ND.
The FX9 also includes an improved LED panel, which is slightly larger, and now boasts a 1280x720 resolution for easier focus pulling. The included sunscreen for the LED has also been redesigned for quick, one-step removal when time is of the essence. The side handle has also been completely redesigned for increased functionality, control and responsiveness.
The camera is designed to use Sony’s E-mount glass and includes a locking cinema-style mount for easier and more reliable lens changes on set. It also includes two SDI outputs as well as timecode and genlock connection for professional-level multi-camera sync.
In Action
Many churches considering the Sony FX9 will likely be considering the camera primarily for filmmaking and content creation. With its full-frame sensor, 15 stops of dynamic range and broadcast-quality codecs, it’s a camera that seems designed from the ground up for capturing high-quality, cinematic footage. Throw in the electronic variable ND, dual native ISO and ergonomic design and documentary, run-and-gun cinematographers should feel right at home with it.
A number of ministries over the past few years, however, have discovered just how powerful large-sensor cinema cameras can be in a broadcast ministry context. For example, with its multiple SDI, timecode and genlock connections, the FX9 could very easily transition from a mid-week filmmaking camera to a weekend broadcast powerhouse in a snap. Advanced features like face-tracking autofocus and a “super 35” output mode utilizing the center of the sensor should also make it easier to use broadcast-style glass with the FX9.
Getting Into Position
At $10,998 the FX9 is positioned in a unique space in the market in that it’s above the $10K barrier, but it’s also an aggressive value proposition with its full-frame, global shutter, cinema sensor. With that in mind, some of the next-generation features that will be included in the camera will arrive in a firmware upgrade at some point in the future. These include full DCI 4K output and additional higher frames in HD, as well as 16-bit RAW output to an external recorder, which will require the XDCA-FX9 add-on module. At this moment Sony hasn’t set a definite timetable for when those features will be added.
At First Blush
As mentioned earlier, this is simply our first impression of the camera. The FX9 promises a number of big steps forward with this camera, including improved low light and auto focus abilities, which could prove to more than justify the upgrade from the FS7. We’ll want to get some time with the camera itself before we release a full review.
With that said, Sony’s electronic variable ND is still one of the exclusive killer features on this camera, and adding auto variable ND could well take this camera to a whole other level. We’re also excited to see whether the combination of a dual-native ISO sensor and the S-Cinetone color science will be able to produce imagery superior to anything else out there under the $30K price point.
In Conclusion
Numerous churches across the country and around rely on the Sony FS7 and FS5 week in and week out to carry out the mission. For many of these churches the FX9 will feel like a full-frame evolution of a workhorse camera they’ve come to depend on, with the welcome additions of improved low-light and auto-focus performance. We can’t wait to have the chance to get our hands on the FX9, test it out in some real-world settings and see if it proves to be everything users have come to expect from this venerated line of cinema cameras.
ith over two decades of ministry experience. He’s also the creative director of Alex Schwindt Media, a boutique agency specializing in commercial, documentary and concept film and video.
