Why I am Selling my Z Cam E2-F6 and Getting a Sony FX-6
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- čas přidán 24. 08. 2024
- In this video, I go over why I've decided to sell my ZCAM F6 even though I love the camera, the brand, and the community surrounding it, why I am getting a Sony FX6 and things you should consider when making your own cinema camera purchase.
www.instagram....
“ i dont really fck with red unless i have to” lols that made me subscribe.
It's been a while since I've seen such a genuine, informative video for real-life videography advice. Sometimes it's not just about specs. As a film student trying to figure out what kind of work I'll be doing as a career, this was very inciteful. Thank you very much.
I appreciate that and am glad it was helpful!
videography 🤢🤮
Thanks for the clean and raw perspective man. Refreshing to hear some sanity out of all the noise online. 100% subscribing
Thanks man. I agree. It's hard to cut through the noise and filter the BS. I find it hard to trust a lot opinions out there so just trying to keep it 100
@@ChristianSantiagophoto I mean, zcam uses a Sony sensor, just like black magic. Uses the same tech just produced by a different brand with different design perspectives.
Christian thanks for that. So nice to hear an honest viewpoint instead of youtube hyperbole. I think what you say sums up the situation for so many freelance professionals. My only concern is that I dont think that the FX6 and likewise the Canon C70 will be considered professional enough on set. At least Red have marketed the Komodo very well and have tried to maintain an elite profile but I dont think people buying int the Red ecosystem are going to get that RED kudos. No-one is going to request the Komodo as an A cam. Unless you have a Monstro in your Peli I wouldnt feel particularly comfortable trying to look pro and prepped with a Crash cam as my main camera, no matter how cool the paint job is. (That said fully rigged up it does feel pretty pro but that's maybe more down to the grip gear and cinema lens that's attached and worth 3 or 4 times the camera). You are right that perception is everything and unfortunalty the way that these hi spec but lesser well known brands like Z Cam are considered is a problem. It's made more difficult since so many of these cameras recently released from known brands like Canon and Sony have been marketed as entry level cinema cameras. Just a breif scan of the kinds of users posting images from these cameras reinforces that. Once a brand dilutes its range then its like wearing Paco Robanne in the eighties. An easyrig and pro gimbal might be more a badge of professionlaism on a lot of shoots these days if nothing else to let everyone know how pro and heavy your camera rig is. I guess you can always say that you have the camera or kit requested, and rent it yourself, to get the work. Just have to make sure that you are super comfortable with the camera??. Workflows are key too and of course the success of the FS7 was that everyone had one on set so joining a team as B or C cam was much more seemless. Even now an FS7 might be a better camera to get. If you are an independent single shooter and owner operator its hard. There's no doubt that makes like Kinefinity have the most amazing images but they are just not "industry standards" and their cameras aren't really designed to be. They cut pro conrers to get the specs high enough to compete at alower price. It's an uphill stuggle to get the balance right between adding real production value that ends up on screen by developing an identiable look to your work or being professionally a known quantity. Unfortunately the answer is expensive. 10K investment in any camera system and then the lenses and support is a big decision but it doesnt scratch the surface in terms of professionla investment. If there is a short cut out there it may be unreal engine. Meawhile good luck and thanks so much for sharing your thoughts. A real pleaseure to listen to you.
Ken, thank you for such a thoughtful reply. You make many excellent points. I agree that a Komodo is not an appealing main cam. I don't understand the hysteria pouring over it from people choosing it as an A cam. I do not find the image quality to be better than what's out there at a much cheaper price. It really only makes sense if you already own one of their bigger options.
I think that considering how popular and accepted an A7sii was on sets, the A7siii and FX6 are going to feel right at home on sets. Even if they're marketed as entry level options, I think it's ok because the workflow and ease of use will be most appealing. There's always been a large chasm of practical use from pros versus marketing shennanigans from the manufacturers who have it in their best interest to segment bodies to sell more of them. The canon c70 is particularly intriguing because with that DGO sensor and 10bit codec, it is 90% of what the c300iii is at half the price. I expect it to be a very popular and effective camera.
And in regards to renting: it makes sense for certain projects when needed. But I am personally not fond of it and would rather avoid it. Before covid, when work was a bit more consistent, I would have found it to be a pain in the butt. I much prefer having my own kit that can handle 90% of what I throw at it to charge back to the production.
regarding Kinfinity. That MAVO edge looks hella impressive. And the footage I've seen from their cameras looks amazing. I Just find it to have the same issues as Zcam but amplified in terms of drawing a lot of skepticism. A real dang shame.
I agree with you. I am also getting fx6 in two to four years. Currently have sony a6100, a7r3, fs700r, fuji xt3, and panasonic gh4.
This is one of those videos (education) you needed but you didn’t know you needed until when you got it, thanks man thank you so much.
This is the video I didn’t even know I needed to see. Thanks for sharing your thoughts on this Christian, this has really helped give some clarity on future investments in my own freelance career! Cheers ✌🏻
Camera does not matter, most sensors are of great quality nowadays anyway. The content is the king. I would not work for a client who would want to dictate to me what technology I use.
Love the candid / straight up format of this. Subbed. Would like to hear your thoughts on why you don't prefer RED or didn't get a Komodo in this case. Currently deciding if I should keep my Komodo or grab an FX6 + a7siii purely for utility and convenience of work (corporate type gigs as well as creative). Love the RED image far more than Sony, but that utility/AF. There's something about the a7siii/FX6 image that just feels very "digital" or "clinical" against the RED/ZCAM image.
I owned an F6 prior but wanted to grab something with AF in it for certain jobs. ZCAM is fantastic, though.
I tested out the Komodo for a bit and ultimately it just reaffirmed what I feel about red in general. They make nifty cameras, but they are the worst in terms value imo. Especially compared to what’s available now at much lower price points. I I found my zcam F6 to have superior image quality and low light performance for 2k less.
The R3D codec is fantastic but I don’t feel it’s significantly world changing better than prores raw other than for its acceptance in more platforms. (Admittedly color grading in fcpx sucks and I personally am not a fan of premier). I find that nowadays internal 10bit codecs from any of these high end mirrorless cameras or lower end cinema cameras can get you 95% of the looks you’d need. I think if you find Sony’s image of be “clinical” it’s only because they’re so often used in that corporate/,doc world that often calls for that look whereas reds tend to be used on more conceptual / narrative stuff. But that doesn’t mean you can’t get a more organic or filmic look from a Sony sensor. Lens choice will influence that aesthetic a lot more than a camera sensor imo.
Overall I feel that the Sony’s Offer much better value , more features, better frame rates , low light performance, etc than a Komodo.
As an ROI on business, id bet on Sony.
@@ChristianSantiagophoto Appreciate the thorough response bro, thank you!
damn FX6 is a big step down image wise, but it is at least more versatile and has a brand name
loving this. thank you man
For me, that sounds like a perfect commercial for the
Z cam 🤩👍
I love zcam. I hope they succeed and stick around for a long time to come.
Subbed! Great video man. I just pre ordered the FX6 for similar reasons. I am finally upgrading from my 4 year old A7s ii.
Jon Waldman I appreciate that man. Thank you! I think the FX6 is going to be a hell of an upgrade for you if that’s what you’re coming from. Sony definitely makes the best ROI cameras from a business perspective
@@ChristianSantiagophoto totally agree! I still rent out the A7s ii to this day so I couldn’t be more excited
wow, I know it's been 2 years since this video, but man I feel for you. I think this video made my decision to buy the Z-CAM base on what I think is the BEST video on why you're selling your Z-CAM . I hope that you have been since that day successful in your career. And I hope it was worth it. Wishing you the most success in your future endeavors.
Good points and the image from your Zcam here is killer!
Looks way better than A7s lll right ?
You have some great points here. On a side note. Ur set and lighting is amazing in this video. So much dimension and color.
Sometimes you gotta play nice and play the game. When I tell people that your camera matters in large freelance markets people don’t get it.
I’m in the LA area and shoot with an FX9, HMU if you ever need a matching camera op on set 🤙🏾
Filmed by Fresh 100 percent. Gotta make the smart business decisions. I’ll definitely keep that in mind man. Like i said, I don’t know anyone out there so it would be cool to start making connections.
I posted this above already, but I don't understand how a camera from the RED ecosystem wouldn't carry the most weight in a freelance market. Name and codec alone. Could you explain what you mean a bit more and why its that way?
@@jrazenz RED is respected and the name carries weight for sure. From my experience they aren’t the most reliable I’ve seen sets that have 2 or 3 on standby because they often fail for random reasons.
I appreciate your insight man. I’m considering the fx6 also for legitimate business reasons. As much as I don’t want to (similar to your situation)
Unfortunately sometimes we have to make investments in response to the "optics" and perception in front of clients.
This was a great video and topic! You were very honest and straight forward. I appreciate that and am going through that same idea. I subbed!
Glad it was helpful. Thank you!
Very interesting video, and I love this comment i saw just beneath "buy zcam if u r an artist. Buy canon/sony if u r a business person..."
I have a couple of questions about the E2-F6
It seems like this camera is superior to EVERY other cinema camera on a couple of key features:
Full Frame - 6K - 60 FPS
the FX-6 is only 4K and I honestly dont get why people would say you dont need more than that - If you like to be able to do a lot of stuff to the image in post, like cropping, reframing, stabilizing, animating camera etc - doing that with a 4K file, when your final video export is also 4K? big loss in quality
The komodo is not full frame, and crops and goes down in resolution if you go too high in fps.
sony A7s3 - not full frame
S1H comes close but only does 30 fps in 6K?
i mean the list goes on - none of them (in that price class) does what this zcam f6 does, right?
Another question is the image of the zcam that you talk greatly about -
I think it looks good too, but it always looks a little less contrasty, not so deep blacks, maybe a little yellowish? or as if there´s some kinda BEIGE SAND color filter on it.
Whats the deal with that?
Sorry that was a rant - Im trying to decide on which camera to buy of all the new ones.
I´m definitely an "artist" not having to fit into any production pipeline with anybody else.
You're forgetting the BMPCC6K which is also an animal of a camera and extremely comparable to the Komodo. I had an F6 as well and have nothing but good things to say about it, though. I felt it was the closest thing to Arri on a budget. Full frame is fairly irrelevant to me, though. The S6 produces an insane image as well and the Komodo/BMPCC6k do too. Heck, there's some insane BMPCC4K videos on here.
If you need 6K then go with the BMPCC6K if you're on a tighter budget. If you have a few more bucks to spend, maybe the F6 or S6 depending on the glass you have. If you've really got budget, go Komodo.
I struggle with this all the time. Every time I am about to make a decision to buy gear I come back to this video. Did you purchase the FX6 and how is it working out?
What they don't know is the zcam e2f6 and f6 pro are the cameras that was used in the mission impossible movie
Great decision 👍🏻😉 i pre ordered the FX6 too 👌 i ordered the Sony 28-135 mm 1.4 and i hope it will do a good job 😅 best cinematic greetings from germany
Got me with the “I don’t fuck with Reds unless I have to” lol .. Skillset is always more important than anything else .. learning how to use cameras and lighting is always the key to growth. Good luck in LA
Great video man. I am mainly a 3D Visual Designer/3D generalist who transitioned into 3D after being a videographer/editor for years. I use to shoot on a Sony FS100 and SonyFS700(revealing how long ago it's been since I've consistently shot..lol). I've mainly rented for personal projects since then, and quick productions for clients mainly Ursa and Red. I now want to stop renting and own my camera. I was looking into the Z Cam E2 F6. I fell onto this video randomly because I was also interested in the FX-6 seeings how I use to be a Sony shooter. I'm torn if I should spend the extra money on the FX6. I do alot of green screen work when I shoot, and having an external output of 16bit is enticing. Most of my work is 3D marketing images for products and architecture, so maybe it's not the worth the extra money seeings how I don't shoot as much as a full time videoographer? Anyway thanks for this video, you have a new subscriber. Peace!
I also have a lot of worries, but I can definitely understand what you said in the video. I want to buy zcam too, but I am now a perfect Sony user. And many clients don't know exactly what zcam is. So I don't want to buy fx6 or fx9, but I think I should buy fx6. Thank you for uploading the video.
I think either of those cameras will give you a fantastic return on investment. I always say that Sony is the brand for cinematographer who prioritizes business
Good luck to you, Christian!
Great video. Would you ever create a video to talk about how architecture photography turned to video work? Interested in what architecture photo clients are looking for in video.
That’s a very good idea actually. I might take you up on it. The short answer is I started doing video more seriously when I shot for real estate agents. Started with property tours back when they were first becoming a real thing. That turned into branding videos for the same realtors which allowed me to expand to other industries.
hey pal your really knowledgeable - A-cam a7s3 since they are hard to get what other camera looks like your A-cam is it more the lens or camera? or both? what lens are you using? you look amazing very cinematic, its my 40th birthday and would love to get the A cam look you have - thanks pal
I'm stumbling in this late, I'm wanting to move to the FX6 for other reasons. Mostly because I mostly shoot Doc and event work and I believe the FX6 to be the best all-round camera on the market less than $10k. I think there are plenty of cameras better than the FX6 in one area, but as a package the FX6 is hard to beat.
It has well known and compact codecs, audio preamps/dacs/XLR, AF, high ISO, low noise performance, size, weight, battery life, cost, DR, internal ND, etc. The software for me has been a big issue on Z Cam. And I realize I care far more about a compact file size that efficient over using ProRes - which is why I'm currently using h.265 on Z Cam, and its been fantastic. Not sure when I can afford to switch. I've invested a lot in my F6 and S6, but I know sooner or later I will come over.
I have no experience on the FX6, but have used the FX3, A7S3 and FX9 for corporate and online ad content, and have to say if I were doing doc and event work I'd have the FX6 in a heartbeat, all the upsides of the FX9 but a little smaller, with killer low light and almost no real downsides. That END is an actual game changer for run and gun.
Really loved this vid and explanation
Wouldn't the codec matter more though? I would think that a Full Frame that shoots an industry-wide Prores internally would be better than XAVC-I?
That really doesn't matter at all. XAVC-I is essentially Sony's fork of h.265 and it's VERY well known. It has been used in a lot of productions, especially in the doc/news world since 2015. The FS7 had a big impact here in the US, but if you went to the UK or Asia (Japan in particular), basically the FS7 was THE fleet camera.
More to the point it isn't just about the storage container format (ProRes vs XAVC-I), it's about the log curve and the gamma. SLog-3 and S-Gamut3.cine have been used to death on all levels of production. The A7S2 as an example was a Netflix approved B-Cam and was used in a ton of films as a crash cam or drone cam in a time before flying a big cinema rig was viable. Z-Log 2 on the other hand is a massive unknown. There is no CST in Resolve for it. And I'll be straight up with you: most of the post/software tools to normalize Z-Log 2 are terrible. Enough that I had to have a Z Cam community member make me a DCTL just so I could have a decent scene referred workflow.
This more or less made the FS7 successor, the FX9 and consequently the FX6 the camera to beat. CZcamsr's think the C70 and C300 III/C500 II are disrupting the market, but compared to how entrenched Sony is in certain markets, Canon is barely a blip comparatively in the professional market.
love this vid, honest talk. 👊🏽
Very, very tight vid. Thanks, man. Subbed.
I went to the same client with the same Blackmagic 6K but more rigged with 7 a inch monitor and dzofilm lenses and he told me that my bussines is booming because I'm using a "TV" camera now 😂.
Honestly they have no idea.
If you put a sticker that says Sony they will believe it.
Your point makes sense,don't feel sad about it. You will also gain Amazing autofocus if you do some kind of event / wedding.
I would never swap though my Blackmagic for anything except a red Gemini.
One more sub!
Thanks for your video!
Hi
Why did your Zcam side angle shots looks washed out in color while the a7siii looked rich?
Very nice video, thank you!
Thank you very much. Very informative and personal. I wonder, did you film anything with your Sony fx6? I may be wrong, but I don't find anything with the fx6 looking through all your videos? Thanks!
Your video 📹 looks fkn amazing, bro. Hopefully you do a tutorial on your post-production process.
Man, I'm having the same thought..... although mine is zcam E2 and I don't have another SOny Cam, so I might just keep my E2.
What’s your plan for audio setup with the fx6? Long xlr cable for boom mics?
When needed yea. Otherwise just record to my zoom externally. Run a lav to my as7iii for backup if I am using it as a b cam.
i was thinking about the sigma FP - i have all the accessories already 12bit 4k raw seems good and maybe pair it with a good lens - ill prob use the 45mm it comes with to start talking head videos. i have a fugi xt3 with kit lens, my other option is to get a better lens for that camera but im just not sure if ill ever get the quality like the fs6 which i also really like - what are your thoughts?
Thx for the video. Why you do not take a Canon c300markiii? Struggeling between this and fx6....
i just edited a wedding that was hsot on nikon and canon LOL
i called that guy out REAL QUICK
So did you ever get the FX 6? I'm currently trying to get more into video like you and am stuck between the A7S III, the FX3, and the FX 6. I'd appreciate any insight, I think I'm running out of camera review videos! :-p
New Sub for you Chris. I’ve got the E2-F6 this year as a beginner to grow into for eventually freelance clients of my own. It’s a Superb camera and sad to see you’ll be selling yours. I have been a little tempted by all the new offerings however myself, but I think I’ll stick with the Z Cams amazing colour profile. When you make all that money by pleasing your clients you can buy another F6 for yourself! 👌 😛
If you're going to LA get the Komodo
Preach🙌🏽🙌🏽🙌🏽 . LOL , same mind set here! its a reality we just have to face!!! FX6 and C300mkiii are the Mony makers for one man band freelancers!!!! It’s hard to come up with an argument againt these 2 camera when you are in this position . they are safe choice.
But There is no way I am selling the x-t4 , I will sell some lenses but thats it... i am keeping it because it makes shooting soooo much FUN!!!
I sold off my Fuji kit this past summer and regret it so much. They’re the perfect, fun hybrid cameras. Can’t wait til work picks up again so I am have an excuse to blow money getting Fuji again. Don’t need it. But I love it.
I understand you 💯 its a great walk around camera!
I love the sony FX6 form factor , it offers almost everything i want. But for some reason that I cannot put my finger on, when I search for “cinematic” footage on youtube , the canon stuff always looks nicer (to me) than the Sony stuff 🤷🏽♂️ and IDK why.
Some Sony stuff looks amazing, and cleaner than canon ,but their are less of them, and a lot of them the skin look like plastic with zero detail or the image seems to have a vale in front of the lens. 🤷🏽♂️ I cant describe it. But for corporate work Nobody cares! FX6 will make money !!!!!! Thats why I need to get one 😂
@@organismx I couldnt agree more. Sometimes its a function of the shooter or lockdown and access to something decent to shoot. Too many girlfriends wandering through woods but if you can download the files and use something like Cinematch then it does come down to detail. There's no substutue for shooting on the camera yourself. if you can get hold of them. If you want to get confused try and get your hands on the R5. The 8K images from that are stunning. I have been lucky enough to get my hands on a few and of the current crop the Komodo properly black shaded does make grading fun for that RED look but its no Monstro and although the C300iii Raw has real quality, I think that the C500ii has an edge. The only issue is that that is in another price bracket and it means investing in an EF lens system from Canon that is a dead end. The C70 is annoying well specced by has a disasterour form factor. It's tru ethat the images form that still look better than most coming from the FX6 but so much of this is user error and what people are used to shooting when the come to demo. A recent post reinterated that any camera in this bracket has to look significantly better than the BMPCC6K Raw. I have yet to be convinced but I am still looking. Good luck in your quest.
I really appreciate videos like this. I had the FX6 and C70 preordered for a while, knowing I had to cancel one. I went with the FX6 but it was very close. What in your opinion makes the FX6 more compelling than the C70?
For me personally : I already own an A7siii so it makes sense to pair it with a FX6. I also like the form factor and the electronic variable NDs are amazing. And I am also fond of full frame sensors these days.
Maybe someone commented about it, but if you have ursa and your client need a some sony camera you could rent this camera, could you?
Hey man! Welcome to LA!
The FX6 is Great. But i canˋt decide between the FX6 and the Komodo. The Komodo has much better Image quality but huge file sizes.
Simon Ehrenheim I would definitely challenge your claim on image quality. Both cameras are great, but I think the F6’s image is fantastic. People love to obsess over R3D and I don’t blame them. It’s a great codec. But it doesn’t hold a monopoly on great images. don’t sleep on Prores Raw, or even the internal 10bit in the zcam.
Image quality is more a result of the operator than the camera. A skilled technician can get a great shot out of a potato. Lens choice, art direction, lighting, props, locations, all have a greater influence on image quality than the camera.
That said, if you’re trying to decide what to buy, consider who your clients are, the kind of work you’re looking for, the workflow you’re best optimized for etc. The Komodo is great if you already own a RED or are ingrained in the RED eco system. But I personally find the price to be a poor value when you factor what else is out there at much lower price points.
@@ChristianSantiagophoto I agree with you in the most points. The functions of the FX6 are brilliant and its much easier and more pleasant to work with the Sony. The entire workflow is much more important than the camera. For a long time the A7s ii was my work horse but for bigger Productions I rented a Red or a BlackMagic. And the idea of getting a real Red Sensor, for the same money what I would pay for the Sony, is great.
The image of RED in my eyes is much more organic and natural. You can edit the R3D files extremely well.
I don't like what I've seen of the FX6 so far. The picture looks very technical and digital. But the FX6 would be the better choice for me - only the image quality is holding me back from buying it.
@@ChristianSantiagophoto do you think the FX6 is a huge Upgrade from the A7s ii in Image quality?
@@simonehrenheim4448 with the built in ND’s of the FX6 you could always keep a 1/8 or 1/4 black Pro Mist on the front of your lens to help cut down that digital look just a touch. You will get slight blooming of the highlights but could be an option
Great video. Glad I don't seem to have such stupid, judgemental clients. Diego Maradona was tiny but one of the world's greatest footballers. I have had clients that were intimidated by my X-T3 bulked out by the battery grip and Ninja V lol. That said, I'm pushing the boat out for 2021 by getting the FX6 and A7S3 for business owner interviews/B-roll.
It’s not the clients who are judgmental. Like I said: They don’t care lol. It’s other camera nerds and production companies who are.
@@ChristianSantiagophoto I’ve got you. Yes another aspect of that would be the clients living your video but then the pros pixel peeping and saying your hair light was out by 5 degrees lol
Respect your decision, but I would like to say people should not be so brand loyal unless it is to your advantage. These cameras are just tools. We should use what we need for the job. No perfect cam, but sometimes there are perfect scenarios for certain tools.
I'm very late to this because I'm buying into ZCAM now, especially as the price has just dropped again. I wish I could afford an FX6 but I just can't, and the requirement to shoot Sony irks me, at least from what I've seen though in the UK, the listings that ask for Sony normally don't pay enough to justify getting an FX6 just for them anyway.
Your RED comment made me laugh, I feel the same. I've shot on the Epic Helium, the Scarlet and the Komodo, and the user experience is just terrible in my opinion, especially on the first two, the Komodo is a little better. People act like they're magic somehow or more 'professional' despite the fact the Minimags fail every three seconds. Whatever RED pay their marketing department, they deserve every penny.
it's such a shame that industry is so lazy, Z Cam , especially F6 is an amazing camera, basically 90% of Alexa mini LF for 10% of it's price.
Get Red, any, a lot of small productions gonna be yours ,
i hate getting jobs for the gear I own, that was partially a reason i jumped off the Red wagon, but as soon as I did 75% of my clientele is gone, but i don care,
im in position that i'd rather don't have clients that hire me for my gear:)
Best!
I agree 100%. I loved the F6. Nearly shed a tear when I sold it. Kinda regret doing it now. It's unfortunate that there's too much emphasis on gear vs skill.
buy zcam if u r an artist. Buy canon/sony if u r a business person and is here to make $ fast.
I literally said this same exact thing almost word for word to someone else the other day!
Interesting...I'm confused at how the RED name doesn't carry more weight for getting you on sets, though. a7siii is more of a prosumer camera and the FX6 is entry level cinema, or just a beefed up a7siii with a few more features -- why are sets valuing these low level cameras versus something that carries R3D and the RED quality? For getting on sets in LA I would think the RED would take you much further off name alone if clients are caring about gear like that. Very odd to me how they would want the former when they seem more 'amateur'
REDs are not that reliable (usually it’s best to bring a couple to set with you) the joke is each serial number represents a different model of camera - they tend to have individual “personalities” - a certain button won’t work, or the lens mount stops reading the lens data ( so you can’t change the aperture on the sigma you’re using) etc,. That’s why Arri is the preferred choice on many top level productions - they are so reliable! ( I loved the Red image, I just didn’t like the hassles).
The Sony FX6 will be a meaningful step up from the A7S3. Like you, I also own the Sony A7S3 and preordered the FX6. I think you’ll find the FX6 to be the cleaner of the two, particularly in low light, as the noise reduction can be disabled. This will also likely provide a bit more dynamic range. Don’t dismiss the usefulness of having EVND. This feature is a game changer if your shoot outdoors under bright conditions as it can be set to automatically adjust for correct exposure. I’ll be doing a detailed review of the FX6 when my unit gets in... hopefully in the next 9 days or so. Sub to my channel to be notified. I plan to also compare this to the A7S3 and the Canon C70 which I’ve been testing out. I’ll be keeping an eye out for new content from you. Keep it up!
AngryRabbit Productions I’ve had cameras with internal NDs before. You’re right: They are awesome. It’s my favorite feature of having a proper cinema body. I Just don’t know that they’re always worth the significant price hike from an otherwise identical image. I am sure that having the ability to turn off noise reduction is also legit. I think the FX6 will make me very happy. But For me personally , the A7siii is 99% of the way there and I would rather not spend the money on an FX6 if I didn’t feel it would make a difference in getting on sets.
AngryRabbit - how do you find the image of the C70 compared to the a7S iii?
1997-2001 in LA for me as a freelancer? Same exact thing. No one cares how good your indie camera is... they just want something known that cuts with their other gear on multiple projects. I don’t like Sony much, but Sony and some of the JVC 500 series for instance are reliable all in one solution with a standard look. Most houses prefer Sony, and yes, they really don’t care at all that something else is better.. it’s the Sony line with lots of models and price ranges that all cut together on various projects years after you shot the footage for them, they can recycle later if they need/want to. So yes.. vote “yeah your right” if you are freelancing especially in LA etc. If your doing your OWN indie work... will get what ever you want... I have the BMPCC4K.. and thinking of a full frame, maybe the Z cam... but who knows. Besides I’m not making money with currently with any of this gear.. and perhaps for me working remotely honestly.. hmm JVC 500 connected cam as a remote for stations.... but it’s not what I want to be doing... over events.. over weddings.. honestly I don’t like working on other people’s TV narrative or even Film, well unless James Cameron hires me again... (11 month shoot on his film). (Jim if your watching, let me update my reel and send it to you.. just saying..)
:)
The toneh is 100%
Subbed. We got the same name. Do you have any advice for acquiring more clients?
Is this sped up by like 1.1 times? lol
Breakup video 🙏🏼 hope you’re doing well bro
Hey, what zoom lens do you recommend to pair with the sony fx6?
Sigma 24-70 if you’re on a budget. Otherwise the gmasters are 👌🏻. Can also check out the brand new 16-35 cinema zoom Sony released. It’s a cinema lens build with AF and gmaster optics.
@@ChristianSantiagophoto thanks christian
If prices were the same would you recommend the sigma 2470 over the sony 2470 gm?
@@TimandLauren I haven’t used the G master... but I would say G master if it were a a7s3, but Sigma if it’s a fx6 due to no IBIS in the fx6 or lens stabilization in the 24-70 2.8 GM. The fx6 does collect metadata for effective post stabilization, but if you’re shooting for someone else you don’t want to shoot shaky footage and tell them to just “fix it in post”
@@antonykeane5586 does the sigma have lens stabilization? I thought it didnt
@@TimandLauren it does, it’s called “OS” or optical stabilization. In addition to its price, that’s why it’s a popular option over the non optically stabilized Canon 24-70 2.8 EF L lens
I've never liked Sony. I came from canon and then Panasonic. Panasonics colours a just beautiful, Sony on the other hand has never looked very nice to me. I'm buying the FX6 regardless because it has all the features that I've been wanting for a long time. I'll just have to work some colour grading magic to make it not look like Sony.
But as said in this video Sony is the industry standard.
the sony venice 6k is beautiful its a 20,000 camera but is comparable to arri
not that true fx6 has much better codec that is whey better for production the a7s3 codec is bad and so much harder to work in pro enviorment
What's up CZcams. Lame.
because his opening line is what matters right