0 Comments
The face tracking was not that reliable with adapted glass. The autofocus on the FX9 works best with native Sony glass, but it also somewhat works with adapted EF-mount glass with the Sigma MC-11 adapter or the Metabones adapters. Manual focusing gets even more complicated with photographic lenses which have short focus throw and sometimes even non-linear (fly-by-wire) focus wheel. Better and larger screens and more accurate focus assist tools are necessary to pull the manual focus correctly. Only then it makes sense to start using it.Īs image sensors get larger and resolutions get higher, it is becoming more difficult to keep things in focus. As mentioned in the video, autofocus in video cameras needs to really be accurate, smooth, and reliable. A big chunk of Philip’s FX9 review, therefore, was dedicated to its autofocus. Many professionals in the film industry only use manual focus, but since the AF became so capable, it is important to take a look at what it can do and what it can’t do. It’s based on the improved color science of the Sony VENICE. The FX9 offers a new S-Cinetone color profile, which Philip used a lot in the course of his review. One of the most noticeable things to improve from the FS7 is the color science straight out of the camera. Altogether, around eight weeks of work in total.Ĭurrently, the FX9 has a firmware version 1.0, but it is still missing some features like a full-frame slow-motion, 6K resolution recording (not sure if it will ever come), 4K and 2K DCI modes, a 5K crop mode, and some other features, many of which are coming later with future firmware updates, expected in summer 2020. Since then, Philip spent two weeks of filming with the FX9 in November (with the pre-release firmware 0.5) and then on and off for the next three months (release firmware 1.0). The Sony FX9 has been introduced in September 2019 and selected industry professionals (including Philip Bloom and cinema5D’s Nino Leitner) had a couple of hours to play with the camera. These are exactly the two things that the Sony FX9 aims to fix. The only two things he missed about the Sony FS7 was its low light capability and the poor autofocus performance. The Sony FS7 was Philip’s main documentary camera for many years. The FX9 review does not cover as many aspects of the camera as the FS7 review, but it covers these topics much more in-depth. Philip compared this review with his old review of the Sony FS7 from 2015, which was nearly 50 minutes long. That’s why we decided to publish this article about the review. Philip invested a lot of time into the review and we think it could really benefit our readers who own the FX9 or who are thinking of buying the camera. What was initially only supposed to be a short camera review shot in November 2019 with the pre-production firmware 0.5, grew into nearly two hours long in-depth review. He tested various cameras throughout his career and for the past four months, he has been playing with the Sony FX9. Philip Bloom is a filmmaker based in the UK, well known for his contributions to the community over many years.
|
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |