Alister, I have tested the FX9 camera with the S-cinetone curve with the value 320ISO / 0Db In the analysis of the Stouffer scale, the total RD with a value of 320 ISOis 9.37 stop and with a ISO 800

I would recommend the Sony FX9 as the FX6 and FX3 have an image Sharpening feature that cannot be defeated, at least with the present firmware... SONY are you listening? Cynthia Webster DP Los

Andrew. All very good points, I was thinking purely along the lines of picture matching but off course its not just the pictures. The weight is a real problem, I’ve just come of the phone to a

Hi Roberto, i would second the suggestions already posted. Sony FX9, FX6 and FX3 as the “mirrorless” cinema camera companion of the rest of the Sony cinema camera line are excellent choices.

Roberto, If you are shooting 2x or 1.8x anamorphic I would recommend looking at the Sony FX9, Z CAM F6, S1H or Kinefinity Mavo LF if you want a 4K final output. After the FX9 my guess is the Z CAM

On 22 Apr 2021, at 6:20 pm, Michael Sanders via cml.news wrote: It maybe worth trying to get your hands on an A7s3 or an FX6, effectively the same camera but the FX6 has TC in and Variable ND ... As

(Sorry for not signing - I did it via the web interface which didn’t automatically add my signature!) Michael Sanders London based Cinematographer and host of The Camera Channel podcast, available

Roberto.. It maybe worth trying to get your hands on an A7s3 or an FX6, effectively the same camera but the FX6 has TC in and Variable ND where as the A7s has no variable ND or TC in but does has

Hi Roberto, If the budget is an issue I would definitely consider Lumix S1H, it can handle all the things you mentioned including a PL mount. It's a very powerful and cost effective camera :) I love

Roberto, If you’re going that route definitely an FX9 over an FS7. Much better image quality verses the FS7. Speaking from six years of experience owning two FS7’s and twelve months with two

Thanks Graham. I have thought of that too but it's not only availability but budget too. I was thinking more like a Sony FX-7 or... -- Roberto Schaefer, ASC, AIC Venice, CA The Key To The Light Is In

We’ll discuss the discussion of the FX9 and camera testing, along with: “are the differences worth it, or is it all ego?” Geoff says, “In every test we've done so far the Alexa is the winner,

Hi Roberto, When I worked on ‘Yes Day’ for Netflix, they mixed Venice and Arri Mini LF. Not sure if that helps but maybe you can look at it and see. -Graham --- Graham Futerfas Director of

On the show I'm starting we might not be able to source a 4th Venice body so I'm considering an alternative for the steadicam use. There will be day, night, all lighting conditions. Any knowledgable

"meticulously measuring those properties in a consistent and repeatable manner" a discipline known as "science!" We all on CML appreciate the effort! FX9 FTW (for the win)! I haven't been this happy

You have clearly never received a text from my 89 year old mother. -Bob Bob Kertesz BlueScreen LLC Hollywood, California Mostly Retired Engineer, Video Controller, and Live Compositor

No real studio or network show is going to shoot on a Sigma FP with 20Ms+ rolling shutter to consumer media hanging off a USB cable to DNG. It’s a bit of a false argument. Yes you COULD type a

Pawel, I agree with this completely. While all cameras are not equal that does not mean that perfect cameras exist. I’m not sure how you’d even define that. Alfonso’s tests are very thorough,

Art Adams wrote: “There have been a lot of cameras sold with the promise of being as good as more expensive cameras for lower cost. I have yet to find one that I personally found to be as good as

The camera choice is all too often driven by ego and politics, rather than camera capabilities. This can be true. I once had to shoot a marketing product roll-out where the client mandated we