Adjust the exposure level, zoom, Record/Stop and more via your mobile device — it’s ideal for single-operator shoots. In doing so, they’ve produced an excellent camera with a very capable full-frame 6K sensor package. So you’ll have to switch to S35 FOV to obtain 4K 60p recording. Interactive PDF format ensures easy access on your smartphone when on-location. It’s fast and intuitive—ensuring your full creative control of FX9’s powerful AF technology. ** En mode de balayage plein format : Sélectionnable à 1 – 30 images/s / en mode de balayage Super 35 : Sélectionnable à 1 – 60 images/s. All Rights Reserved. Nino, is there a difference in the video quality between the FF and s35 modes? I was impressed, and I think you’ll be pleasantly surprised at how clean and low-noise the ISO 4000 looks, particularly if you only have S35 camera experience with ISO 4000, whether with a dual ISO base camera or with just a fixed ISO camera with the gain turned up. It means the camera needs to be able to handle a decent amount of dynamic range to expose the talent and the projection behind them evenly.

Wherever you are, we'll work hard to provide you with fast and reliable shipping. Plages de sensibilité pour le changement de sujet de la mise au point automatique à 5 niveaux passant du mode verrouillé, pour ignorer les autres sujets en mouvement dans le frame, au mode réactif, pour basculer la mise au point d’un sujet à l’autre, offrant la solution idéale pour passer d’une voiture à l’autre pendant la course. 146 x 142,5 x 229 mm (sans les parties saillantes), Environ 35,2 W (mode d'enregistrement XAVC-I QFHD 59.94p, objectif SELP28135G, viseur allumé, sans utilisation d'un appareil externe), Mode XAVC-I DCI 4K 59.94p : VBR, débit binaire MAX 600 Mbit/s, MPEG-4 AVC/H.264, Mode XAVC-I DCI 4K 50p : VBR, débit binaire MAX 500 Mbit/s, MPEG-4 AVC/H.264, Mode XAVC-I DCI 4K 29.97p : VBR, débit binaire MAX 300 Mbit/s, MPEG-4 AVC/H.264, Mode XAVC-I DCI 4K 25p : VBR, débit binaire MAX 250 Mbit/s, MPEG-4 AVC/H.264, Mode XAVC-I DCI 4K 24p : VBR, débit binaire MAX 240 Mbit/s, MPEG-4 AVC/H.264, Mode XAVC-I DCI 4K 23.98p : VBR, débit binaire MAX 240 Mbit/s, MPEG-4 AVC/H.264, XAVC-I QFHD, 59.94p : VBR, débit binaire MAX 600 Mbit/s, MPEG-4 AVC/H.264, XAVC-I QFHD, 50p : VBR, débit binaire MAX 500 Mbit/s, MPEG-4 AVC/H.264, XAVC-I QFHD, 29.97p : VBR, débit binaire MAX 300 Mbit/s, MPEG-4 AVC/H.264, XAVC-I QFHD, 25p : VBR, débit binaire MAX 250 Mbit/s, MPEG-4 AVC/H.264, XAVC-I QFHD, 23.98p : VBR, débit binaire MAX 240 Mbit/s, MPEG-4 AVC/H.264, XAVC-I HD, 59.94p : CBG, débit binaire MAX 222 Mbit/s, MPEG-4 AVC/H.264, XAVC-I HD, 50p : CBG, débit binaire MAX 223 Mbit/s, MPEG-4 AVC/H.264, XAVC-I HD, 59.94i/29.97p : CBG, débit binaire MAX 111 Mbit/s, MPEG-4 AVC/H.264, XAVC-I HD, 50i/25p : CBG, débit binaire MAX 112 Mbit/s, MPEG-4 AVC/H.264, XAVC-I HD, 23.98p : CBG, débit binaire MAX 89 Mbit/s, MPEG-4 AVC/H.264, XAVC-L QFHD, 29.97p/25p/23.98p : VBR, débit binaire MAX 100 Mbit/s, MPEG-4 H.264/AVC, XAVC-L HD 59.94p/50p : VBR, débit binaire MAX 150 Mbit/s, MPEG4 H.264/AVC, XAVC-L HD 59.94i/29.97p/50i/25p/23.98p/59.94p/50p : VBR, débit binaire MAX 50 Mbit/s, MPEG-4 H.264/AVC, XAVC-L HD 59.94i/29.97p/50i/25p/23.98p/59.94p/50p : VBR, débit binaire MAX 35 Mbit/s, MPEG-4 H.264/AVC, XAVC-L HD 59.94i/50i : VBR, débit binaire MAX 25 Mbit/s, MPEG4 H.264/AVC, Mode HD422 : CBR, débit binaire MAX 50 Mbit/s, MPEG-2 422P@HL, XAVC-L HD 50 59.94i/29.97p/50i/25p/23.98p/59.94p/50p, XAVC-L HD 35 59.94i/29.97p/50i/25p/23.98p/59.94p/50p, MPEG HD422 59.94i, 50i, 29.97P, 23.98P, 25P, Proxy XAVC : AAC-LC, 128 kbit/s, 2 canaux, Proxy XAVC : AVC/H.264 profil principal, 4:2:0 Long GOP, VBR, 35 mm plein format, puce unique capteur d'image CMOS, Filtre à densité neutre variable linéaire précis (1/4ND à 1/128ND), 800/4000 ISO (mode Cine EI mode, éclairage D55), Préréglage, Mémoire A, Mémoire B (2 000K-15 000K)/ATW, Mode SDR : S-Cinetone, STD1, STD2, STD3, STD4, STD5, STD6, HG1, HG2, HG3, HG4, HG7, HG8, S-Log3, Possibilité de commutation entre BNC, entrée Genlock/sortie REF, Possibilité de commutation entre BNC, entrée/sortie TC, XLR à 3 broches (femelle) (x2), Ligne/Mic/Mic +48 V sélectionnable, SDI OUT1 : BNC, 12G-SDI, 3G-SDI (niveau A/B), HD-SDI, 8,8 cm (type 3,5) env. It allowed me to capture subjects with movement. Frankly, it’s fascinating how much information the Canon C300 III is able to retain in the shadows of the image. In addition, Face Detection intelligently recognizes and locks on to human faces. On the same shoot, I switched the camera from Slog3.Cine gamma to the S-Cinetone gamma—the producer requested that I achieve a usable look straight out of camera—and we both were happy with how the FX9 rendered skin tones on our talent. Cette solution est idéale pour les tournages individuels. I think I get what he is saying but it is nonetheless confusing. In my view, no, or at least, very few do.

I also found the FX9’s Face Detect feature flawless: When shooting three different interviews in three different lighting setups and locations, including a couple that appeared in a low-contrast, moody type of lighting, the FX9 nailed focus on the constantly moving subjects every time.

Sorry for some of the shaky shots. The FX9 offers superb audio capabilities with independent control dials for each channel. With C500 mkII on the market, this Sony seems a camera released just 2 years too late.

La FX9 est équipée en standard de la connectivité Wi-Fi interne 5 GHz* et 2,4 GHz. ** Application Content Browser Mobile™ disponible en téléchargement depuis le Google Play Store ou l’App Store. What’s the confusion?

Then there is a lot of undefined quality from the FX9 footage, such as pleasing highly roll-off and natural skin tones, that just do make a difference to filmmakers. Des conseils de création et des histoires inspirantes pour les cinéastes. Voir les objectifs compatibles FX9 de Sony >. PXW-FX9V (without lens) and PXW-FX9VK (with lens) support both 5 Ghz and 2.4 Ghz Wi-Fi. To withstand the rigors of real-world shooting, FX9 has a robust magnesium chassis which is almost one third lighter than aluminum equivalent, while offering high impact resistance. Awesome. It has a 16-bit RAW output on it via a BNC connector. The FX9 is compatible with standard USB cellular dongles from most networks. It was also very good when shooting b-roll, landscapes and scenery.

Sony’s flexible Multi-Interface (MI) Shoe provides power, signal connections and coordinated on/off switching with compatible Sony accessories.

But just as times change, so does the technology.

A screencap from footage I shot with the FX9 paired with the Sony FE 100-400mm F4.5-5.6 OSS G lens using the setting sun as a backlit source for the surfers in the foreground. **Resolution and angle of view reduced compared to native footage. saying it 2 years too late by comparing it to a 1-week old product. In addition, using the optional XLR-K3M, XLR-K2M or XLR-K1M XLR adapter—with two extra XLR inputs—allows even more devices to be connected. It was predictable and ergonomically sound, and, most importantly, my clients found the footage to be great for their needs. Tirez le meilleur parti de la PXW-FX9 grâce aux conseils d'expert d'Alister Chapman. En outre, la détection des visages reconnaît et verrouille intelligemment les visages. Here are the results of my shoots: Shoot Number One–Santa Rose Trail: I’ve recently been in production on a project that has a spectacular sunset in the script, which gave me an opportunity to see how portable the FX9 is. They also have some dead pixels. La diffusion QoS haute qualité de Sony sur la station réseau RX (optionnelle) et sur la XDCAM air de Sony permet de transmettre en direct des images destinées à être visualisées à distance. Plan d’évolution de la FX9 mis à jour avec la version 3.0. The Sony PXW-FX9 utilizes the same Sony XQD card format as the FS7 and FS7 MKII. Découvrez le système FX9, la caméra à capteur 6K plein format de Sony avec mise au point automatique hybride rapide, mode « Dual Base ISO » et technologie de couleurs S-Cinetone™.

La gamme complète des paramètres de mise au point automatique de la FX9 offre la flexibilité créative nécessaire pour tous les projets. Of course, it’s too early to tell if the FX9 will actually replace the FS7 and FS7 MKII, or merely provide a full-frame 6K-resolution alternative to these two S35 cameras in the Sony lineup. **Dust- and water-resistance does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water. Pour répondre aux exigences des tournages en conditions réelles, la FX9 est dotée d’un châssis en magnésium robuste, avec un poids presque réduit d’un tiers par rapport à l’équivalent en aluminium, tout en offrant une résistance élevée aux chocs. The FX9’s LCD Viewfinder has a quick-access control menu for commonly accessed features. (diagonale) 2  Limité à 10 bits lors d’un tournage High Frame Rate de 100 ou 120 images/s. Cartes mémoire XQD 32 Go, 64 Go, 120 Go, 128 Go, 240 Go et 256 Go pour enregistrement en 4K. FE C 16–35 mm T3.1 G Cinema Lens Series full-frame wide-angle zoom with advanced optical performance, operability and intelligent shooting functions. Inscrivez-vous pour le télécharger gratuitement >. Aside from the expense, this hardware adds significant weight and cable clutter to the FX9, as well. The FX9 is nearly unusable at just -2 stops but C300 III’s footage recovers perfectly. * La mise au point automatique Eye AF et le contrôle tactile du viseur LCD nécessitent la version 2.0 ou ultérieure du firmware. Le format PDF interactif vous permet d’y accéder facilement depuis votre smartphone sur le terrain. L’authentification par simple contact est également possible avec les smartphones équipés de la technologie NFC. At DVE Store, our mission is to help you create better video.

The FX9 also introduces a micro USB interface for improved responsiveness and support for a wrist strap. Realize even greater creative control with Sony’s unique built-in electronic variable neutral density (ND) filter—a world first* for professional full-frame camcorders. as Canon’s Dual Pixel autofocus. I found it is by far the best, most innovative ND system in any pro digital cinema camera, rendering other competitors’ ND systems rather limited and primitive feeling, with clunky fixed stops and often not enough ND at just six stops. Discover significant new features planned for FX9 via firmware upgrades—now including V3. Audio was excellent, too: I ran a Schoeps CMC641 Supercardioid boom mic into channel one and a TRAM TR50B wired lavalier into channel two.

* Catalyst Browse/Catalyst Prepare version 2019.2 ou supérieure est nécessaire. Experience smooth, responsive autofocus with every Sony E-mount lens, including Sony’s new Cinema Lens Series with premium optical performance and operability for demanding cinematography applications. The a7S III is still closer to a generic mirrorless camera in color science. Vous avez la possibilité d’acheter la FX9 seule (PXW-FX9) ou équipée de l’objectif SELP28135G (PXW-FX9K). Wi-Fi operation cannot be guaranteed with all smartphones and tablet computers. Not sure why they couldn’t put one on their flagship cinema camera.

(diagonale), Le format RAW 16 bits permet une incroyable augmentation de la liberté créative pendant la post-production pour exploiter pleinement la latitude exceptionnelle de la plage dynamique de la FX9, de plus de 15 diaphragmes. The extension unit also adds advanced networking for streaming/file transfers and timecode for multi-camera shoots. It was roughly 2.5 miles from the parking lot to the spot I chose. Advanced E-mount lever-lock operation allows quick, easy lens exchange in the field, plus added stability and security with large lenses. If you are in the market for this type of camera, you should borrow, rent or evaluate it because I think the FX9 will be a relevant camera in our extremely fast-changing market for years to come. (The max 6K full-frame rate is 30p.) Hot on the heels of the announcement of the new Sony FX9 camera and our interview with their head camera developer (click here if you missed all the details), here’s our exclusive hands-on and footage shot on the camera, as well as an early review of a pre-production camera.