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Sony FX6 Digital Cinema Camera Kit with 24-105mm Lens

BH #SOFX6K • MFR #ILME-FX6VK
Sony FX6 Digital Cinema Camera Kit with 24-105mm Lens
Key Features
  • 4K Full-Frame 10.2MP CMOS Exmor R Sensor
  • DCI 4K60p / UHD 4K120p / 1080p240
  • 15+ Stops of Dynamic Range in S-Log 3 EI
  • Compact Form Weighs Just <2 lb
Developed to offer versatile, cine-style imaging in a truly compact form, the FX6 Full-Frame Camera Kit from Sony pairs the FX6 camera with the 24-105mm f/4 G OSS E-mount zoom lens. 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.
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Sony FX6 E-Mount Overview

  • 1Description
  • 2Features
  • 3Versatile Addition to Sony Cinema Line
  • 44K Full-Frame CMOS Exmor R Sensor
  • 515+ Stops of Dynamic Range
  • 6Wide ISO Range
  • 7Electronically Variable ND Filters
  • 8Advanced XAVC Codec Options
  • 9High Frame Rate Selections
  • 10Expressive Cinematic Look
  • 11Fast Hybrid/Phase Detection Autofocus
  • 12Image Stabilization and More with Catalyst and Metadata
  • 13Touchscreen 3.5" LCD Control
  • 14Reliable Design and Construction
  • 154-Channel Audio Recording
  • 16Professional Input/Output Interface
  • 17CFexpress Media Slots and Multiple Recording Modes
  • 18Modular, Grab-and-Go Design
  • 19Content Browser Mobile Compatibility

Developed to offer versatile, cine-style imaging in a truly compact form, the FX6 Full-Frame Camera Kit from Sony pairs the FX6 camera with the 24-105mm f/4 G OSS E-mount zoom lens. 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 measures 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.

Note:
The lens in this kit is NOT a motorized servo zoom; it can only zoom in and out manually.

Features

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:

  • 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 backside 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: 027242921269

Sony FX6 E-Mount Specs

Imaging
Lens MountSony E
Lens CommunicationYes
Sensor ResolutionActual: 12.9 Megapixel
Effective: 10.2 Megapixel (1420 x 802)
Sensor TypeFull-Frame CMOS
Built-In ND Filter1/4 to 1/128 Stop Electronic ND Filter
Shutter TypeRolling Shutter
Gain-3 to 30 dB
Shutter Angle5 to 360°
Advertised Dynamic Range15 Stops
Variable Frame RatesDCI 4K: 1 to 60 fps
UHD: 1 Up to 120 fps
1080p: 1 Up to 240 fps
Gamma CurveHDR-HLG, S Cinetone, Sony S-Log, Sony S-Log 3
Built-In Microphone TypeStereo
Mono
Audio RecordingAVC-Intra: 2/4-Channel 24-Bit 48 kHz LPCM Audio
AVC-Long: 2/4-Channel 24-Bit 48 kHz LPCM Audio
Raw OutputSDI/BNC In Raw Mode:
4096 x 2160 16-Bit at 23.98/24/25/29.97/50/59.94 fps 
3840 x 2160 16-Bit at 23.98/25/29.97/50/59.94 fps 
Interface
Media/Memory Card SlotDual Slot: CFexpress Type A / SD (UHS-II)
Video I/O1 x BNC (12G-SDI) Output
1 x HDMI Output
Audio I/O2 x 3-Pin XLR Mic/Line Level Input
1 x 1/8" / 3.5 mm Stereo Headphone Output
Power I/O1 x Barrel (19.5 VDC) Input
Other I/O1 x BNC Timecode Input/Output
1 x USB Type-C
1 x USB Micro-B
1 x 2.5 mm Sub-Mini LANC Control
Wireless2.4 / 5 GHz Wi-Fi 5 (802.11ac)
Monitor
Size3.5"
Resolution1280 x 720 (2,760,000 Dot)
Display TypeIncluded External Touchscreen LCD
Environmental
Operating Temperature32 to 104°F / 0 to 40°C
Storage Temperature-4 to 140°F / -20 to 60°C
Battery TypeSony BP-U Series
Power Consumption18 W
Tripod Mounting Thread1/4"-20 Female (Bottom)
3/8"-16 Female (Side)
Accessory Mount4 x 1/4"-20 Female
1 x Intelligent Hot Shoe
1 x Cold Shoe Mount
Material of ConstructionMagnesium Alloy
Dimensions (W x H x D)6 x 4.6 x 4.5" / 153 x 116 x 114 mm (Without Protrusions)
Packaging Info
Package Weight9.87 lb
Box Dimensions (LxWxH)12.1 x 11.6 x 11.6"

Sony FX6 E-Mount Reviews

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.

Auto ND filter Game Changer

By Brett
Rated 5 out of 5
Date: 2021-08-23

We are ever so critical of new technology and when we buy a new camera like this amazing Sony we seem to be focused on the negatives more than the positives. I remember back in the early 2000's when I bought my first pro camera the Sony PD150 and I loved it. I could hand hold a camera with more features than any other camera it's size. I recall Photographer's remarking on how they wished they had a ND filter, let alone an automatic one! That would have been regarded as science fiction! Here we are with it and just wow, thank you Sony- the one and only. Oh yeah and the rest of the the cameras features are just too numerous to list here I'm a run and gun operator that requires compact and light feature full toll to perform my job, FX6 is the answer.

Superbly Fitted For My Needs

By John Henri
Rated 5 out of 5
Date: 2021-06-29

I waited about two and a half years to purchase a cinema camera, and finally settled on the FX6 earlier this year, which I've owned for a couple weeks now, after waiting for it on backorder for months. My greatest apprehension with Sony cameras in the past has been their notoriously awkward color science. But their new cinema line of cameras now seems to render this apprehension obsolete. The colors produced by the FX6 and its siblings are at long last beautiful, tastefully subtle, with natural, pleasing skin tones. The specs of the FX6 check nearly every one of my needs, from its full frame 4K sensor, to internal ND (now variable), to 4K 120fps, to 10 bit 422, to SDI output, on board TC input, to its fully modular gimbal-friendly body design, there is really no other camera better suited for my variety of work. There are of course minor pet peeves, such as Sony's famously poorly organized menu system, and the fact that we can not attach an XLR audio input into the camera without the proprietary top handle attached, the noisiness of activating the variable ND, etc. However, these are very minor issues compared to what the camera has to offer, and there is after all no perfect camera. You will naturally learn the menu system, and these pet peeves can be adapted to. The strengths of this camera vastly overshadow its drawbacks. If I could give it any rating I'd give it a 4.7 out of 5 stars. But for the purposes of this review, I'm rounding up. It's a keeper.

Long wait, High Satisfaction

By Namhyun
Rated 5 out of 5
Date: 2021-06-11

I waited for about two months. Camera is delivered without any problem, as the world goes FX6 is very good camera. It was worth the wait.

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.

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