Sony PXW-FX9 Full Frame Cinema Camera
- 450 / Day
- Multi-day Discount Available
Included in rental:
- Sony PXW-FX9 Full Frame Cinema Camera
- Movcam cage and Vmount power adaptor
- Side handle with zoom, iris and function buttons
- Sony 28-135mm f4.0 zoom lens
- Onboard microphone
- Two 128GB XQD cards w/USB3 reader
- Three 130+wH Vmount batteries w/dual charger
There’s two big “game changing” features with this camera: its full frame sensor and its amazing autofocus system. Full frame has been around in our world since the 5D mkll, but never at this quality/resolution/price level. The camera uses a 6K sensor with 15 stops of dynamic range to derive oversampled UHD and HD images. Sony’s Cinetone look, derived from their high-end Venice cinema camera, creates beautiful skin tones with a less “video like” tonal pallet. A larger sensor means decreased depth of field so you can defocus your background and make your subject matter pop. Having decreased depth of field means that hitting your focus dead on becomes much harder though, especially in 4k. That’s where the Sony’s revolutionary new autofocus system can save your bacon. It tracks faces and does subtle racks between subjects, to the point where it almost seems like it’s reading your mind. It can be hard to abandon old precepts, and being able to pull focus is a point of pride among operators, but I predict this camera may sound the death knell of the 1st AC. I’m kidding of course, but if you’re a solo operator and the camera can do it better than you, why wouldn’t you just let it and concentrate on shooting?
Exposure control also has some new technologies. Like a lot of modern cameras, it has dual ISO capability (800 & 4000) where the dynamic range and noise floor is optimized for different light levels. It also has a built-in variable neutral density filter. This allows you to set your aperture for artistic reasons (depth of field) and vary the exposure by dimming a filter in front of the sensor. In terms of recording, Sony didn’t fix what wasn’t broken: it uses the same 10bit codecs and workflows established by the FS7, with the same high speed XQD memory cards. By using its “smart” hotshoe and an adapter, one can expand its two XLR inputs into four, or take a UWP wireless directly into the camera. It has SDI and HDMI outputs that can show 4K pictures, and unlike the FS7 it has timecode and genlock connectors on the camera.
We’ve outfitted our FX9 with a Movcam cage and battery solution. It allows the use of standard Vmount batteries for long run times and a more balanced feel on your shoulder. It also adds a standard 4pin XLR 12v input for an AC power supply, as well as two Dtap 12v outputs, for a total three with the battery. There are tons of holes for mounting accessories, an extra ARRI rosette on the side, mounts for 15mm rods at the top and bottom and it can mount onto your tripod using a standard VCT-14 quick release plate. Sony’s 28-135mm lens that came with the FS7 has found a new life with this camera. It has native full frame coverage, has a power zoom that can be used with the included side handle, and it works well with the camera’s autofocus system. If you decide you want to use Canon full frame still lenses, the Movcam cage has provisions for locking in a Metabones adaptor, which really firms it up and adds support.