Gear Review | Sony Fx6
After 5 years of owning a Sony Fs5 mk1, I was starting to want more from a cinema camera as technology began to allow for greater opportunities with new cameras. One of the most important factors in camera equipment purchase decisions relates to size & weight in relation to bringing cameras into really remote parts of the world. While bigger cameras like the Sony Fx9/Venice, RED DSMC 2/Raptor, and Arri cameras make incredible images, they’re just way bigger than I am willing to bring. Not only because there are more logistics to bringing them due to size & amount of batteries/aks for them, but also the $$$ value and bringing equipment internationally.
The Sony Fx6 checked all my boxes for an upgrade… and with it being a very similar form factor to the Fs5 that made the choice a home run. What were those boxes?! Welp… Here we go:
Simon w/ Fx6 & 100-400 f4-5.6gm at Antelope Island State Park
The full-frame sensor with sensitivity comparable to the a7siii was a major upgrade from the Fs5’s super35 sensor. This gives me a lot more room to capture situations while filming documentary work without access to ideal lighting. A perfect example of when this would’ve been handy was while filming of clean water efforts in Burkina Faso. One evening we had a late-night celebration relating to the efforts which involved music & dancing with only 1 halogen light fixture, and the tiny lights we had brought with us.
The second big upgrade was Auto Variable ND. While the variable ND is a feature found in the Fs5 as well, there have been many situations where I had to focus on framing & the situation at hand vs focusing on changing light. The auto VND is a game changer for situations where light is constantly changing & I need to focus on framing or what the talent is saying. A perfect example of this is while filming skiing I find subjects going from shaded to sunny areas very rapidly & I need to focus on their position in the frame more importantly.
Filming Higher Ground at Powder Mountain w/ fx6 & 24-105 f4g on a custom rig
Upgraded Auto Focus & the inclusion of eye auto-focus are also great for when I’m working overseas & don’t have a dedicated focus puller. Eye AF guarantees sharp focus during interviews even if the subject is slightly moving in the frame. This is huge for allowing me to focus on the quality of what’s in my frame vs focusing on the technical aspects of capturing my story.
Filming an Interview for The Golden Goose Awards w/ Fx6 & 24-70 f2.8gm
One of the biggest flaws in Sony’s Fx6 which was a very nice feature on the Fs5 mk1 is the missing xlr port in the body itself. Sony moved both XLR ports to the removable top handle. This leaves you without an audio input if the top handle needs to be removed for rigging. It makes using the camera on gimbals tougher when also needing audio. That being said, I rarely use the fx6 on a gimbal so not life altering given how many other boxes it would check.
Fx6 w/ 100-400 f4-5.6gm & Osee T5+