The world of narrative filmmaking is moving towards large format capture and sensors larger
than super35mm. Be that for a feature film, a high budget TV or streaming show, or even
short films and student films, there are now cameras with fantastic quality large format
sensors available at every level of the market. Sony have had a very successful first entry
into this market recently with the Venice camera. So with the launch of the FX9, there
are naturally lots of people wondering if this is perhaps really, a scaled down Venice
with the form factor of the FS7.
And there are similarities of course, a 6K large format sensor, improved colour science,
fantastic low noise image due to that dual native iso. But if you ask anyone from Sony
if they consider this is an entry level Venice, they come back with a resounding no. So why
is that? Well firstly, although they are both 6K large
format sensors, they are different sensors. They are both very good sensors of course,
but they do have a different look and feel to them. Above all the cameras are designed
with very different users in mind. The Venice is built from the ground up for this sort
of Narrative work with a crew around the camera. The FX9 is built for solo operators doing
paid freelance work. This shows in lots of different ways, like the physical design of
the camera, but the difference that will probably make the biggest impact is recording options
and codecs.
The Venice has the same XAVC-I codec as the FX9, but it also has HD prores recording for
dailies, and it works seamlessly with the R7 recorder which slots on the back to give
you raw XOCN capture. So most productions would be using that, particularly for streaming
shows and feature films. The FX9 on the other hand has XAVC-I, no support for Prores, even
with the XDCA back unit, and won’t work with the R7 recorder to get XOCN raw recording.
You can get a fantastic 16 bit raw signal from the SDI port on the new XDCA back unit,
but then what do you do with that? At the moment the only recorder that has announced
support for it is the Atomos Neon lineup, which means you need to be wired in to a video
village to record that raw signal. Which doesn’t really fit with the idea of the FX9 being
a lower budget, entry level alternative to the Venice.
So the recording options don’t really work perfectly for those high end features and
shows, but that certainly doesn’t mean you can’t use the FX9 for narrative work. For
lower budget products where you are happy using XAVC-I, for short films or student films
for example, the FX9 will be a great choice. It’s a lovely sensor, with a beautiful image,
and it’s a camera that is very fast to work with and can perform in less than ideal situations.
All qualities that you really need from a camera on that sort of work.
So, the FX9 may not be a mini venice, and I don’t see it being used for flagship Netflix
shows, or feature films any time soon. But if you do a variety of work with a few narrative
projects on the side, it will certainly be up to the job. But what do you think? Are
you planning on using the FX9 for any narrative jobs? Or do you have your eye on a different
camera? Let me know in the comments section below and if you want to buy an FX9 for yourself,
head over to Proav.co.uk with the link in the description. Thanks for watching, and
I’ll see you in the next one.