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HomeProfessional VideoDigital Cine CamerasSony FX6

Sony FX6 Full-Frame Cinema Camera (Body Only)

BH #SOFX6 • MFR #ILME-FX6V
27 reviews
Sony FX6 Full-Frame Cinema Camera (Body Only)
Key Features
  • 4K Full-Frame 10.2MP CMOS Exmor R Sensor
  • DCI 4K60p | UHD 4K120 | 1080p240
  • 15+ Stops of Dynamic Range in S-Log 3 EI
  • Compact Form Weighs Just <2 lb
The FX6 Full-Frame Camera from Sony was developed to offer versatile, cine-style imaging in a truly compact form. With the ability to capture up to 15+ stops of dynamic range, Sony's S-Cinetone gamma for filmlike skin tones, and up to 10-bit, 4:2:2 XAVC-I recording, the FX6 is poised to both supplement your FX9 or VENICE capture and to nimbly take on documentary, gimbal, and drone shoots on its own. The FX6 camera combines a 4K full-frame Exmor R sensor with a BIONX XR engine for extremely sensitive capture in a range of settings using a base ISO of 800 as well as an ISO 12800 high-sensitivity mode for nuanced low-light scenes.
Back-Ordered
$5,998.00
$500/mo. suggested payments for 12 Mos.
with the credit card.§ 
Configuration
Body Only
With 24-105mm Lens

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Sony FX6 E-Mount Overview

  • 1Description
  • 2Versatile Addition to Sony Cinema Line
  • 34K Full-Frame CMOS Exmor R Sensor
  • 415+ Stops of Dynamic Range
  • 5Wide ISO Range
  • 6Electronically Variable ND Filters
  • 7Advanced XAVC Codec Options
  • 8High Frame Rate Selections
  • 9Expressive Cinematic Look
  • 10Fast Hybrid/Phase Detection Autofocus
  • 11Image Stabilization and More with Catalyst and Metadata
  • 12Touchscreen 3.5" LCD Control
  • 13Reliable Design and Construction
  • 144-Channel Audio Recording
  • 15Professional Input/Output Interface
  • 16CFexpress Media Slots and Multiple Recording Modes
  • 17Modular, Grab-and-Go Design
  • 18Content Browser Mobile Compatibility
By B&H Photo's

The FX6 Full-Frame Camera from Sony was developed to offer versatile, cine-style imaging in a truly compact form. With the ability to capture up to 15+ stops of dynamic range, Sony's S-Cinetone gamma for filmlike skin tones, and up to 10-bit, 4:2:2 XAVC-I recording, the FX6 is poised to both supplement your FX9 or VENICE capture and to nimbly take on documentary, gimbal, and drone shoots on its own. The FX6 camera combines a 4K full-frame Exmor R sensor with a BIONX XR engine for extremely sensitive capture in a range of settings using a base ISO of 800 as well as an ISO 12800 high-sensitivity mode for nuanced low-light scenes.

Weighing just under 2 lb, the FX6 body is a full 2 lb lighter than the FX9 and measuring 6 x 4.6", it packs a full-frame sensor into a body comparable to the S35-sensor Sony FS5. While the FX6 fits seamlessly into a pro-cine on-set workflow, it also offers several features that are a boon for a single-operator user. These include fast and accurate phase-detection autofocus with both Face Detection and real-time Eye autofocus, both auto and manual ND filter settings for quick exposure compensation, and a 3.5" LCD monitor that boasts timesaving touchscreen access to key menu settings and versatile positioning for comfortable operating. In addition to improving the camera's overall stability, firmware update v1.10 adds 100p and 120p options to the Slow and Quick Motion frame rate menu when the codec is set to RAW or RAW and XAVC-I.

Versatile Addition to Sony Cinema Line

As part of Sony's Cinema Line, the FX6 shares key imaging features with established cameras like the VENICE and FX9. Common core attributes include a full-frame sensor, filmlike color science, a compact, lightweight form, professional connector interfaces, and advanced autofocus choices.

Compared to the FX9, the FX6 differs in several specs; but many FX6 specs tick the same boxes and several improve upon the FX9:

  • It matches the FX9's video capture up to DCI 4K60
  • Has the same S-Cinetone, S-Log3, and HLG gamma choices 
  • Outputs 16-bit raw like the FX9
  • Sony E lens mount
  • Offers the same 1/4 to 1/128 ND options
  • Also provides 2-channel XLR audio inputs

FX6 differences from the FX9:

  • 4K capture vs 6K
  • Has a single 12G/6G/3G-SDI BNC port, trimming the FX9's additional 3G-SDI port
  • Incorporates a timecode port but lacks the FX9's genlock connector

Improved FX6 specs include:

  • An ISO range of 320 to 409,600 vs the FX9's 320 to 102,400 range 
  • Top frame rates of 120p in 4K and up to 240p in HD vs the FX9's top 1080p in HD  
  • Dual card slots compatible with both durable, highly efficient CFexpress Type A or widely available SDXC cards, compared to the FX9's reliance on proprietary XQD cards and a single SD card option

Firmware Update v1.10

  • Adds 100p and 120p options to the Slow and Quick Motion frame rate menu when the codec is set to RAW or RAW and XAVC-I
  • Improves the overall stability of the FX6 camera

4K Full-Frame CMOS Exmor R Sensor

The FX6's 10.2 MP image sensor features back-side illumination for excellent low-light performance, 627 focal plane points for speedy phase-detection autofocus, and full-frame lens compatibility that produces a rich, immersive look. The sensor's fast scan speed minimizes rolling shutter artifacts and supports high frame rates and quick autofocus responses.

15+ Stops of Dynamic Range

The Exmor R sensor also enables the FX6 to capture a whopping 15+ stops of dynamic range in Cine EI mode with S-Log3, creating nuanced, high-resolution images.

Wide ISO Range

Choose from a base ISO of 800, a high-sensitivity 12,800 ISO for lower-light capture, and a 409,600 maximum ISO for true low-light settings.

Electronically Variable ND Filters

Set the FX6's integrated neutral density (ND) filter system to auto for correctly exposed shots even in changing light conditions, or smoothly adjust the ND filter density manually in increments from 1/4 to 1/128 as you shoot; both options will produce properly exposed images without affecting your chosen depth of field.

Advanced XAVC Codec Options

The FX6 is the first compact, full-frame camera to offer UHD 4K 4:2:2 capture in the high-quality yet efficient XAVC-I codec. It also enables you to choose from a range of professional XAVC Intra and XAVC Long codecs at bit rates ranging from 35 to 600 Mb/s.

High Frame Rate Selections

For slow-motion and fast action looks, choose from full-frame rates ranging from:

  • 1-60 fps in HD to DCI 4K resolutions
  • 100 or 120 fps in HD through UHD 4K 
  • 150, 180, 200, or 240 fps in Full HD 

Super35 choices include:

  • 1-60, 100, and 120 fps in Full HD

Expressive Cinematic Look

Sony's S-Cinetone gamma curve offers a cinematic look with filmlike color, softer tones, and pleasing skin tone reproduction. Not only is this cinematic look available for in-camera viewing, but it can also be captured and output with minimal or no grading at all for a time-saving post process. The S-Cinetone, S-Log3, S-Gamut3, and S-Gamut3.Cine choices also streamline the process of matching FX6 footage with your VENICE or FX9 video and offer broad color-grading options.

Fast Hybrid/Phase Detection Autofocus

Compatible with 50+ native Sony E-mount lenses, the FX6's improved autofocus choices include Face Detection and Eye Autofocus modes for rapid focusing with extremely sharp accuracy, even in lower-light settings. The phase detection autofocus accomplishes this accuracy using seven transition-speed steps and five subject-sensitivity.

Image Stabilization and More with Catalyst and Metadata

Pair the FX6 with Sony's Catalyst Prepare/Browse software to use metadata to stabilize your image, automatically rotate gimbal footage, and add flags for easier clip filtering in post-production.

Touchscreen 3.5" LCD Control

The FX6's 3.5" LCD monitor offers both high-resolution viewing and the ease of touchscreen camera control. The LCD quick menu controls include key settings like Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO/Sensitivity, Shooting Mode, and Audio Levels.

Reliable Design and Construction

Constructed with a lightweight yet durable magnesium alloy chassis, the FX6 body offers maximum reliability and efficiently disperses heat to enable extended recording times. Exterior seams, buttons, and interfaces have been treated with updated sealing that improves the camera's dust and moisture resistance as well.

4-Channel Audio Recording

The FX6 offers up to 4-channel audio recording by combining sources from the dual XLR inputs, the 2-channel multi-interface shoe input, and the stereo mic built into the camera's top handle. This enables the simultaneous use of an external microphone for recording your main audio source and the built-in microphone for ambient sound and/or voice memos by the operator.

Professional Input/Output Interface

FX6 input and output ports include a selectable 12G/6G/3G-SDI output for flexible monitoring, 12-bit raw output via SDI, and an HDMI output. It also has timecode input and output for syncing multiple cameras and a built-in Wi-Fi module.

CFexpress Media Slots and Multiple Recording Modes

The FX6's dual media slots accept both rugged, high-performance, high-capacity CFexpress Type A cards and widely available UHS-II/UHS-1 SDXC cards. Note that the CFexpress Type A cards are required for 100/120 fps UHD 4K capture and 150/180/200/240 fps HD high-speed capture.

Modular, Grab-and-Go Design

The modular design of the FX6 enables you to pare down to its compact body for gimbal or drone use, or it can be used with separately available accessories such as a smart grip and smart handle for fingertip control when shooting handheld. A 3.5" LCD screen can be quickly positioned on the camera at multiple locations to provide comfortable, ergonomic viewing.

Content Browser Mobile Compatibility

When used with the separately available Content Browser Mobile app and a compatible smartphone or remote control, the FX6's Wi-Fi function enables remote monitoring and focus/iris/zoom control.
UPC: 027242921252

Sony FX6 E-Mount Specs

Imaging
Lens MountSony E
Lens CommunicationYes, with Autofocus Support
Sensor ResolutionActual: 12.9 Megapixel
Effective: 10.2 Megapixel
Sensor TypeFull-Frame CMOS
Image StabilizationSupplies Stabilization Metadata
Built-In ND FilterMechanical Filter Wheel with Clear, 2 Stop (1/4), 4 Stop (1/16), 6 Stop (1/64) ND Filters and a 2 to 7 Stop Electronic ND Filter
Internal Filter HolderNo
Capture TypeVideo Only
Exposure Control
Shutter TypeElectronic Rolling Shutter
Shutter Speed1/8000 to 1 Second
ISO SensitivityVideo
800 to 12,800 (Extended: 409,600)
Gain-3 to 30 dB (Native)
Shutter Angle5.6 to 360°
Advertised Dynamic Range15 Stops
White Balance2000 to 15,000K
Presets: ATW, Set A, Set B
Internal Video Capture
Recording ModesXAVC-I
DCI 4K (4096 x 2160) at 23.98p/24.00p/25p/29.97p/50p/59.94p [240 to 600 MB/s VBR]
UHD 4K (3840 x 2160) at 23.98p/25p/29.97p/50p/59.94p [240 to 600 MB/s VBR]
Full HD (1920 x 1080) at 23.98p/25p/29.97p/50p/59.94p [89 to 223 MB/s VBR]
XAVC-L
UHD 4K (3840 x 2160) at 23.98p/25p/29.97p [100 MB/s]
UHD 4K (3840 x 2160) at 50p/59.94p [150 MB/s]
Full HD (1920 x 1080) at 23.98p/25p/29.97p/59.94p [35 to 50 MB/s]
Variable Frame RatesUHD: 1 Up to 120 fps
1080p: 1 Up to 240 fps
Gamma CurveHDR-HLG, Rec709, S Cinetone, Sony S-Log 3, Standard
Recording LimitUp to 430 Minutes for UHD 4K (3840 x 2160) at 23.98p/25p/29.97p/50p/59.94p
Built-In Microphone TypeMono
Audio Recording4-Channel 24-Bit 48 kHz LPCM Audio
External Video Capture
Raw OutputSDI/BNC:
4096 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps 
3840 x 2160 at 23.98/24.00/25/29.97/50/59.94 fps 
External Recording ModesNone
IP StreamingYes
Interface
Media/Memory Card SlotDual Slot: CFexpress Type A / SD
Video I/O1 x BNC (12G-SDI) Output
1 x HDMI (HDMI 1.0) Output
Audio I/O2 x XLR 3-Pin Mic/Line (+48 V Phantom Power) Input on Included Handle
1 x 1/8" / 3.5 mm TRS Stereo Microphone Output
Power I/O1 x Barrel (19.5 VDC) Input
Other I/O1 x BNC (Timecode) Input/Output
1 x Proprietary
1 x 2.5 mm Sub-Mini Control
1 x 1/8" / 3.5 mm Control
1 x USB Type-C
1 x USB Micro-B Data
Wireless2.4 / 5 GHz Wi-Fi, NFC
Global Positioning (GPS, GLONASS, etc.)None
Monitor
Size3.5"
Resolution1280 x 720 (2,760,000 Dot)
Display TypeIncluded External Touchscreen LCD
Viewfinder
TypeOptional, Not Included
Focus
Focus TypeAuto and Manual Focus
Autofocus PointsVideo
Phase Detection: 627
Environmental
Operating Temperature32 to 104°F / 0 to 40°C
Storage Temperature-4 to 140°F / -20 to 60°C
General
Battery TypeSony BP-U Series
Power Consumption18 W
Tripod Mounting Thread1 x 1/4"-20 Female (Bottom)
Accessory Mount1 x Intelligent Hot Shoe
Netflix ApprovedYes
Material of ConstructionMagnesium Alloy
Dimensions (W x H x D)6.02 x 4.57 x 4.49" / 15.29 x 11.61 x 11.4 cm (Without Protrusions)
Weight2.0 lb / 890 g (Body Only)
5.71 lb / 2.59 kg (With Battery, Grip, Handle, Viewfinder)
Packaging Info
Package Weight7.99 lb
Box Dimensions (LxWxH)12.4 x 11.6 x 10.2"

Sony FX6 E-Mount Reviews

Lives up to the Hype

By Shiseido
Rated 5 out of 5
Date: 2022-06-30

Let me just say we own several camera packages and it is just an amazing camera overall. We were back ordered since October and received in June: So far it has been on two shoots already and has worked flawlessly. The menu takes a minute to get a familiar aside from that no complaints so far. Variable ND is clutch and in auto it is WOW. Superlight even with the tilta cage, still trying to find the perfect balance of lens with Ronin R2 so once we have that squared we might edit the post after. The camera already came with the new firmware installed so the new touch autofocus feature and cache was great to start right out of the box.

Fantastic Video Camera, But Skip the 24-105 f/4

By Brett
Rated 5 out of 5
Date: 2021-11-23

I've had this camera for a little over 3 months now. I have covered this camera extensively on my YouTube channel (Muon Video.) Of the things I discuss is how glass makes such a massive difference. Like many others, I used the FX6 along with the 24-105 f/4 and it simply didn't make any sense in that it is NOT a servo video lens, but a stills lens. Cheeky move by Sony perhaps? So the servo lens you want is not even the more recently released, $5000, 16-35mm servo lens, but instead -- the sub-$3K, 28-135mm f/4. And yes, the 28-135 f/4 power zoom is a seven year old lens, but with autofocus improvement in Sony bodies, it makes entirely more more sense on this camera. Plus, the lens stabilization works fairly well. I would even say better than the 24-105 (perhaps that's also due to the weight.) So with all this lens talk out of the way, let's get to the camera. Highlight features include 4K 60P, and 4K 120P along with the simply terrific internal ND filter system that works near flawless (save for the auto-ND feature that sometimes exposes for the space, instead of the subject.) In a world where 6K, or 8K resolution video steals headlines the most -- the internal ND filter system has been my favorite feature on this camera. Filming is easy, and not too complicated apart from the learning curve of the menu system that seems almost intentionally technocratic, and unintuitive. Things that could be better on the FX6 (mainly hardware issues): - No XLR input on the body alone. Meaning that you give up audio when you detach the top handle (aside from scratch audio on the body.) - Also the included monitor isn't the best quality (as is the case with Sonys.) - The mic holder is limited. Thankfully, I have a Sony mic from the XLR accessory for the FX3 and A7S3 -- that mic fits like a charm. But my other, higher quality mics do not. Also the mic holder could be stronger material-wise (I have a substitute mic holder on order from Sideways to circumvent this.) Comparing the FX6 and FX9, the FX6 is extraordinarily light (2 lbs), which I find a huge plus versus the FX9's over double the weight (4.4 lbs.) The FX9 does offer 6K, and more detail with broadcast features, for me the FX6 does the job though, and it doesn't require that massive brick on the end of it for RAW. You can attach a Ninja V+ via SDI and do RAW that way on the FX6. Overall, loving this little cinema camera.

Easily one of the best cameras on the market

By Joseph
Rated 5 out of 5
Date: 2021-11-08

This camera is an easy buy. compact, built in ND, great dynamic range, price great, this thing is a no brainer for owner operators

Looks awesome but...

By Mark
Rated 3 out of 5
Date: 2021-11-02

After waiting 3 months to get this cool camera, I was so excited to open it when it arrived. Unfortunately the handgrip interface to the body caused some intermittent lock-up issues with the camera. This issue requires me to send the camera in for service. Thus, my review is both heartbroken and hopeful. Sad to have to wait even LONGER to get the camera but here's hoping I can improve my viewpoint.

The Perfect Camera For Me

By Nicholas
Rated 5 out of 5
Date: 2021-10-18

This is a phenomenal Camera. The size, the weight, the Ergonomics are perfect for what I bought it for, which is small, one-man-band operation. Once the menus where customized the way I wanted, the camera is easy to operate and beautiful in term of image quality. The fact that I can also record 4k prores Raw straight out of the camera to an Atmos Ninja is incredible. The battery life is good, the autofocus feels very human. The eye tracking and face tracking only feature works great. The Variable ND is a total game-changer. Between that and the fact that the camera virtually sees in the dark is incredible. I pair it with some vintage Canon FF FD lenses via a simple adaptor and the image is beautiful. Couldn't be happier.

Game changing, incredible; the best there is.

By Brett
Rated 5 out of 5
Date: 2021-10-10

So for me this was a huge purchase and I looked long and hard at Blackmagic, Canon and of course the RED Komodo. I needed a video camera that can do everything well - commercial, news, music videos, you name it. I'd owned the brilliant FS5 for years and already knew the advantages of an electronic ND filter, small form factor, recording super slow motion (admittedly with a massive Atomos Shogun attached) etc. Everyone knows the feature list so let me describe the 'real world' experience of using the FX6. Straight out of the box you switch it on and point it at something and you are immediately open-mouthed. It is set to S-Cinetone by default and everything you point it at - in my case an apple on a coffee table - looks amazing. The incredible image in XAVC-I is because of a pretty hefty bitrate, so I bought a very expensive CF Express card to go with three Angelbird AV Pro SD's (300mb/s). For some weird reason, I find the Angelbirds can handle anything I throw at them. Don't ask me why! Shooting for social media in 4K I switch to XAVC-L and can shoot with any of my old Sandisk 170mb/s cards. So I was wrong to think I'd have to buy a load of super-expensive cards to use the camera. I also believe that 3rd party manufacturers are bringing out their own CF Express cards so the price should start falling. Anyway the Angelbirds are my workhorses, try them and have a CF Express as a backup unless you can throw a fortune at new cards of course. Anyway, the image is stunning. Get this - you can install your own LUT's that are baked-in to the footage. No more being restricted to things like 'Cine 1 / Pro' if you don't want to shoot in Log. If you have a fast turnaround and need a great image straight out of the camera, experiment with some LUTs and install the ones you like. Personally I have Alistair Chapman's amazing Venice LUT installed, a Kodak film LUT and the installed S-Cinetone - between those three I'm sorted. I was shooting in natural light all day today out on the water in bright sunshine and the footage looks incredible. It's based on Slog3 so if you have older Sony cameras that need to match on a multicam shoot (I currently use an A7III on my gimbal for example), set them to Slog and add the same LUT in your edit. The camera has two base ISO's. I have assigned the number 3 shortcut button to switch between 'Hi' and 'Lo' base ISO. It's great. Then you tweak if you have to with the 'L/M/H' switch on the side. I seriously thought long and hard about getting the A7SIII and rigging it out with the extra money I'd save. Two main reasons - an EVF and IBIS. But I love using the electronic ND which I had for years on the FS5, I need good XLR inputs and I can't show up on set with something that looks like a toy. So I've got around this by doing two things. First of all, I have the Portkeys EVF attached with a SmallRig bracket (see my other reviews). That's powered with a Swit battery / Dtap (get new model 3rd party batteries if you need D-Tap, the FX6 will short-out older ones for the FS5/ 7 for example). Secondly, that issue of not having IBIS. Sony only stabilise their F4 zooms, which is weird. I discovered that Sigma do a great 24 - 70 f2.8 lens with OS but only for Canon / Nikon. They don't make a Sony version so you get the Sigma adapter and hey-presto - behaves like a stabilised Sony lens with great autofocus. Also having the EVF gives you a second point of contact so manual lenses have a natural, steady look. Last of all, the camera writes gyroscope data when you use manual lenses. If you really need to, you can use the free Sony Catalyst Browse software and stabilise using that data, which works brilliantly (check before your shoot, it doesn't write the info to all codec / frame rate combos I believe). Or you can just buy a monopod. I don't notice any rolling shutter, a decent battery will go on and on. It takes seconds to power-up. Internal sound recording is very good via the XLR inputs. Any gripes? Only two really. The main one is that I miss having an S35 mode in 4K. I had my eye on all kinds of wonderful S35 cine lenses and now they are a non-starter. There is a workaround using the clear image zoom but you lose quite a lot of picture quality and I wouldn't want to do that for pro work. I wish there were affordable expanders out there by a company like Metabones. I can still use my S35 lenses in HD of course and my news clients still shoot on HD but it is something I miss. Oh and for some reason the hideous mic holder from the FS5 remains in existence on this camera. A flimsy, rubber attachment that you will start to tear as soon as a fitted mic pulls against the side of your carry case / bag, or someone brushes past it, or the wind blows slightly in the wrong direction. I can only think Sony are funding their annual Christmas party with the money they make from replacements. Anyway, moving on. Phil Bloom rates this as the best low light camera in the world and I'm not going to disagree. I can shoot 120fps in 4K continuously in low light if I have to. This thing is a beast. For the work I do - just about anything a client can throw at me - there isn't a camera I'd swap it for. Nobody is asking me to shoot the next Marvel movie with this. The RED Komodo and Blackmagic Pro cine cams don't have the same low light or autofocus capabilities (one of my clients has me shooting interviews with three cameras at once, so yes I need good autofocus sometimes). And the XAVC-I codec is fantastically high quality. Zero need for an external recorder, and if I did need to I could shoot a feature in 16 bit raw on to an Atomos with this thing. Just bonkers. I've been frantically adding new shots from the last 5 months since I've owned it to my showreel and they stand out a mile. Finally a camera that gives me top-grade results that I can actually afford to buy. The industry hasn't totally cottoned-on to how amazing this camera is. I still occasionally get asked 'can you shoot on a RED' / 'can you hire an FS7 if you needed to'. Give it a couple more years and everyone will be shooting on one of these. Worth every penny and I expect to use it for years.

A camera you'll have probably for the rest of your life

By James
Rated 5 out of 5
Date: 2022-05-06

This is a long term review. I got my Sony FX6 June 2021, so I have had this camera for almost a year. My previous camera before this was the Sony A7III, so on price and specs alone, this was a massive jump. Most of my income is based around video but I still think it is good to have a photography camera just in case, as this cannot take photos. I'm sure grabbing 4K stills could work but any photo camera is usually a better option. I believe if you are getting this camera, it's either because, like me, you do video for a living or you just have some serious cash to drop. This camera is an expensive investment. Not just because the body only is six grand but because you need to invest in pro audio to take advantage of the XLR ports. You need to invest in the expensive batteries, which are great btw. You need to invest in CF express cards especially if you want 4K 120fps. They are pricey but the price is worth it. You need to invest in so much gear to really take advantage of this camera. I have not even mentioned lenses haha I have probably invested $10,000 - $20,000 just for this camera alone. Not many people can do that, but if you can, this camera will literally last you the rest of your life. Having the ability to capture the gyro data on all frame rates except 4K 120fps, is GAME CHANGING. It literally looks like it was on a gimbal, even if you run. I usually shoot ultra wide if I run without a gimbal. I have the Sony 14mm GM. This is NOT the same as warp stabilizer in Premiere Pro. Catalyst browse will CHANGE THE WAY YOU FILM EVERYTHING. It's literally magic. Not sure if it does work in 1080p 240fps, as I have not tried it yet. This is another thing I wanted to mention. There are features of this camera I have not even used yet and it has been over a year. The longevity of this camera is insane. A firmware update came out recently which added some Sony A7 IV features like focus breathing on Sony lenses and touch to focus on the touch screen. All welcomed benefits. If anyone is wondering, can this be mounted on a gimbal, the answer is yes. I have it balanced very well on the DJI RS2. Highly recommend, but you need to just have the camera body with lens mounted. I take the LCD that comes with it and mount it on a gimbal handle or the best use IMO. The gyro data is great as I previously mentioned but there is just something special about a gimbal, plus you can use it for smooth 4K 120fps. A big reason to get this camera is the variable ND filters and yes, they are incredible. Going from a dark environment to light environment, the camera exposes in mere seconds and you don't notice a single change, even while recording. It is such an amazing feature. S-Cinetone is amazing. It is always my go to and is very useable in post. The lowlight of this camera is unmatched, but that's Sony for you. Overall, this camera is amazing. It would have been nice to have XLR on the body or the ability to shoot photos, but those are small inconveniences as everything else is out of this world. If you can afford this camera and the various accessory investments to use this properly, you will not regret it. This camera is even Netflix approved. I know Sony will continue to support it for years to come, so I am looking forward to what new firmware updates they bring.

Amazing camera

By Angelito
Rated 5 out of 5
Date: 2022-05-04

Love, love love the weight and form factor of the FX6. Mostly used for interviews and it does the job very well. I don't know why people who have not used / owned this camera are giving 1 star reviews because it is backordered. You're giving the camera a 1 star review because you gave up on waiting for it? Makes no sense.

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The recently-released manual states that each channel can be set to record either INPUT 1, INPUT 2 or INTERNAL MIC
Answered by: Gab
Date published: 2020-11-27

Is REC trigger possible through TC in/out port? ...

Is REC trigger possible through TC in/out port? Do I have to jam sync timecode everytime I power the camera? I am looking to use this with Mixpre ii audio recorder.
Asked by: Dongjoo
The MixPre II gets triggered through it's HDMI input and the FX6 can be set up to send a record trigger from it's SDI and HDMI outputs (page 106 of the FX6 user manual), so yes it is possible, just not through the timecode BNC connector. The camera retains timecode when off and I even removed the battery for 12 hours and it didn't lose much (haven't done a proper test yet, so can't say how many frames). Be careful if you use S&amp;Q because that will mess up your sync and you'll need to rejam when you go back into your base frequency. I also tried with a Tentacle connected and the FX6 rejammed itself to the Tentacle when I came out of S&amp;Q, so keeping your MixPre connected should keep them in sync, but do test it to see how it behaves with your specific kit.
Answered by: Philip
Date published: 2021-02-03

Can I use the batteries I have from fs5?

Can I use the batteries I have from fs5?
Asked by: dina
Yes, the Sony FS5 uses Sony BP-U type batteries as well.
Answered by: Nicholas
Date published: 2022-02-23

Can it record proxy files to a slower SD card ...

Can it record proxy files to a slower SD card while silmutaneously recording to a CFexpress type-A card in a different slot? I don&rsquo;t want to purchase another CFexpress since they are pretty pricey
Asked by: Anatoly
Proxy files can be written in 8-bit 4:2:0 XAVC-L 1080p at 8Mbps with either UHS-II or UHS-I SDXC cards.
Answered by: Nicholas
Date published: 2020-12-07
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