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The PXW-FX9 in the real world.

There are already a few setup and staged video samples from the new Sony PXW-FX9 circulating on the web. These are great. But how will it perform and what will the pictures look like for an unscripted, unprepared shoot? How well will the autofocus work out in the street, by day and by night? How does the S-Cinetone gamma and colour in custom mode compare with S-Log3 and the s709 Venice LUT compare?

To answer these questions I took a pre-production FX9 into the nearby town of Windsor with a couple of cheap Sony E-Mount lenses. The lenses were the Sony 50mm f1.8 which costs around $350 USD and the 28-70mm f3.5-f5.6 zoom that costs about $400 USD and is often bundled as a kit lens with some of the A7 series cameras.

To find out how good the auto focus really is I decided to shoot entirely using auto focus with the AF set to face priority. The only shot in the video where AF was not used is the 120fps slow-mo shot of the swans at 0:53 as AF does not work at 120fps.

Within the video there are examples of both S-Cinetone and S-Log3 plus the s709 LUT. So you know which is which I have indicated this is the video. I needed to do this as the two cut together really well. There is no grading as such. The S-Cinetone content is exactly as it came from the camera. The CineEI S-Log3 material was shot at the indicated base ISO and EI, there was no exposure offset. In post production all I did was add the s709 LUT, that’s it, no other corrections.

The video was shot using the Full Frame 6K scan, recording to UHD XAVC-I.

For exposure I used the cameras built in waveform display. When in CineEI I also used the Viewfinder Gamma Display assist function. Viewfinder Gamma assist gives the viewfinder the same look as the 709(800) LUT. What’s great about this is that it works in all modes and at all frame rates. So even when I switched to 2K Full Frame scan and 120fps the look of the image in the viewfinder remained the same and this allowed me to get a great exposure match for the slow motion footage to the normal speed footage. 

AUTOFOCUS.

There are some great examples of the way the autofocus works throughout the video. In particular the shot at 0:18 where the face priority mode follows the first two girls that are walking towards the camera, then as they exit the frame switches to the two ladies following behind (that don’t like being filmed) without any hunting. I could not have done that any better myself. Another great example is at 1:11 where the focus tracks the couple walking towards the camera and once they exit the shot the focus smoothly transitions to the background. One of the nice things about the AF system is you can adjust the speed at which the camera re-focusses and in this case I had slowed it down a bit to give it a more “human” feel.

Even in low light the AF works superbly well. At 1:33 I started on the glass of the ornate arch above the railway station and panned down as two people are walking towards me. The camera took this completely in it’s stride doing a lovely job of shifting the focus from the arch to the two men. Again, I really don’t think I could have done this any better myself.

NOISE.

Also, I am still really impressed by how little noise there is from this camera. Even in the high ISO mode the camera remains clean and the images look great. The low noise levels help the camera to resolve colour and details right down into the deepest shadows. Observe how at 2:06 you can clearly see the different hues of the red roses against the red leather of the car door, even though this is a very dark shot.

The reduction in noise and increase in real sensitivity also helps the super slow motion. Compared to an FS7 I think the 120fps footage from the FX9 looks much better. It seems to be less coarse and less grainy. There is still some aliasing which is unavoidable if you scan the sensor at a lower resolution, but it all looks much better controlled than similar material from an FS7.

DYNAMIC RANGE.

And when there is more light the camera handles this very well too.  At 1:07 you can see how well S-Cinetone deals with a very high contrast scene. There are lots of details in the shadows and even though the highlights on the boats are clipped, the way the camera reaches the end of it’s range is very nice and it doesn’t look nasty, it just looks very bright, which it was.

For me the big take-away from this simple shoot was just how easy it is to get good looking images. There was no grading, no messing around trying to get nice skintones. The focus is precise and it doesn’t hunt.  The low noise and high sensitivity means you can get good looking shots in most situations. I’m really looking forward to getting my own FX9 as it’s going to make life just that little bit easier for many of my more adventurous shoots.

For more information on the PXW-FX9 click here. 

Or take a look at the Sony website.


The PXW-FX9 in the real world. was first posted on October 17, 2019 at 4:58 pm.
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