Customer review | Sony FX-6

Recently, the long-awaited Sony FX-6 has been made part of our rental assortment. Like the Canon C70, the FX-6 is a camera that bridges the worlds of mirrorless cameras and cinema cameras. A relatively compact body that is very light, yet offers the same features and functions as larger cinema cameras.

That's why we asked Richard and Joost from House of Lumen if they wanted to use the FX-6 for a real shoot. Curious about what they find out? Read on!

In addition to commercial work, fiction, and documentary, we also think it's important to keep challenging yourself with new ideas. Therefore, we decided to work on an experimental project over the Christmas holidays in which we would challenge our habits with the common forms of the visual, and see where a more abstract project might take us. For this experimental project, Budgetcam gave us the new Sony FX6.  

The purpose of the video experiment was to capture something on a macro level that would eventually become unrecognizable on image, and therefore create its own abstract visual manifestation. We did this by filling an aquarium with ice cubes and capturing them through ink, dye, and color light in various melting stages. Due to the free-spirited nature of the shoot, it was important to be able to shoot in a controlled environment so that we could control all the factors that influence the final image. For this we chose the studio environment of Studio Ferdinand in Amsterdam-West (highly recommended for any project with a low budget that requires a studio).

To push the alienation even further, we took advantage of the 120 fps capability of the FX6. This allowed us to achieve the macro shots at 4K resolution with the full frame sensor. The full frame sensor of the FX6 increases the sense of depth in the shots, and allows the sensor to record relatively (versus an MFT or Super 35 sensor) more light.

The light sensitivity of the sensor was not an issue for our project as we had a controlled shooting environment, but for run & gun projects where you are often reliant on available light, this capability of the FX6 is certainly useful. The Ledgo LG-G260 RGB Skypanel along with the Pavolite RGB Tubes was a great combination for creating an appropriate setting around the ice cubes in the macro shots. It was the first time we used this particular Skypanel and we liked it very much. The model has a fairly strong output for a LED panel, contains several FX options (candle light works very nicely too), and can generate tungsten to daylight in addition to the RGB range; in short, definitely recommended and very versatile. The V-lock mounts on the back also create an option to work very mobile, for situations where mains power is not available.

The standard screen of the FX6 felt quite small compared to what we are normally used to with our Canon C500 Mark II, therefore it was important to use an additional on-cam monitor. For this, the Atomos Shogun 7 was the perfect option. Besides the fairly large 7-inch panel, it also creates the possibility to shoot in RAW in combination with the SDI-out of the FX6. This allowed us to film the colorful macro shots with as much information as possible in the highlights, shadows, and color depth. This takes a lot of data, but with the included 1TB SSDs that was not a problem.

During the day of shooting we never experienced any overheating problems (something a camera like the Canon R5 is facing). With the cinema form factor of the FX6 you can count on a high degree of reliability, the entire camera body was produced specifically for video as opposed to a hybrid (photo and video) body like the Sony A7SIII. In addition, the battery life of the standard NPF battery (no V-lock!) was enough for the entire shooting day. Budgetcam supplies an extra battery as usual, so you can expect to shoot a whole day without charging the standard package. Something that also stood out was the weight and size of the FX6. The camera weighs remarkably little and even in combination with the Sony FE 90mm F/2.8G it was very compact and easy to carry. This made it simple for us to move the camera on a tripod during the day. This saved a lot of time, which freed up more time to make extra shots.

Conclusion:

The FX6 is a very capable camera, offering high-end specs for a remarkably low price. It is a good model for the intermediate maker, who wants to take the step from system cameras like the Sony A7S series to a more video-focused cinema body like the FX9.

To be familiar with the Sony menu system is a plus, because we did have a little trouble getting used to it (normally using Canon C500 MII). If you are not sure you can easily navigate through the menus, I would recommend trying the camera the day before your shoot, and to use the internet to help you with the functions of the FX6.

That being said, the FX6 offers impressive image quality, and can be seen as an entry-level model within the cinema camera world that employs many innovative specs within its corresponding price range. We would recommend the camera especially for run & gun scenarios that require a certain amount of flexibility. Think of run & gun situations as aftermovies, documentaries, and music videos.