Mastering Autofocus: Exploring Sony's FX9 Vs FX6 Cinema Line Cameras
Explore the many autofocus functions available on Sony's Cinema Line of cameras.
| Feature | Sony FX9 | Sony FX6 |
|---|---|---|
| Autofocus Points | 561 phase detection | 627 phase detection |
| Autofocus Coverage | Up to 96% x 94% | 89% |
| Autofocus Modes | Flexible spot, zone, wide | Flexible spot, zone, wide |
| Autofocus Assist | Not specified | Ring control for fine-tuning |
| Touchscreen Autofocus | Yes, in certain modes | No |
| Face/Eye Tracking | Yes | Yes, works well in low light |
| Firmware Updates | AF Transition Speed, AF Subject Shift Sensitivity assignable to buttons | Expected to improve functionality |
Since 2000, Sony has led the way in helping cinematographers adopt the digital revolution while preserving the iconic cinematic aesthetic that has defined the motion picture industry for a century. The idea was to pave the way for filmmakers, starting with the HDW-F900, the first 24p digital cinema camera, and continuing with the Sony VENICE of today. With the FX9 and FX6 Sony has now completed that road and provided them with a gradual but stable learning curve. And nothing more clearly illustrates this than the Sony Cinema Line's continuous advancement of autofocus.
The Sony VENICE, which debuted in 2017, has evolved into the flagship model in Sony's Cinema Line. VENICE has increased in capability with a continuous flow of firmware updates that came about as a result of discussions with professional cinematographers.
Filmmakers have used each model as a stepping stone as their skill sets develop. Sony has outlined a plan to achieve a professional level of performance with the FX9 and FX6. cameras that make up their professional cinema camera range.
Autofocus is one of those things that has historically been avoided by filmmakers. Autofocus, often thought to be limited to consumer-level video cameras, has developed into a powerful tool that any filmmaker should have on hand. Also, there are minor differences in the autofocus control between each model.
Sony FX9
Regarding autofocus capabilities, the Sony FX9 provides an extensive range of options. Phase detection with 561 points, rapid hybrid autofocus, and eye AF provide razor-sharp focus and lock onto your subject's eyes.
The autofocus system is based on Sony's Alpha models, which combine contrast autofocus for precision and phase detection autofocus for quick, accurate autofocus. Outstanding focus with up to 96% x 94% coverage is the end result. Furthermore, there are five sensitivity levels and seven transition speed settings for the autofocus. This entails giving the gunman the capacity to quickly switch between targets or to lock the focus so that the gunman can only see the target.
Additionally, there are three zones where the target area can be moved. A zone region that is wide enough to cover the entire space, a flexible location that may be selected by touching the LCD panel. The FX9's focusing algorithm will take pictures of anything that falls into those selected regions, taking into account the sensitivity and transition settings. The responsiveness of your lenses will also play a role.
The most significant upgrade with firmware version 2.0 is touch operation in flexible zone or spot focusing modes. Expect stickier real-time tracking when in Cine EI mode since face/eye recognition AF performance has been enhanced when gamma is set to S-Log3.
Furthermore, it is now possible to attach the previously described AF Transition Speed and AF Subject Shift Sensitivity options to assignable buttons. This will be very helpful when filming narrative or documentary work.
Sony FX6
The autofocus system of the Sony FX6 features a wider range of focusing points, including 627 for phase detection, in addition to the same adaptable spot, zone, and wide-angle coverage regions. On the other hand, the main distinction is that topic tracking only covers 89% of the image overall.
But it does have a handy feature called autofocus assist, which lets you adjust the autofocus using the ring control as necessary. The FX6 will switch to manual focus when the photographer modifies the ring control, and it will return to autofocus when the camera operator stops turning the focus ring. It has identical speed and sensitivity settings to the FX9, which may be changed to suit your demands for autofocus. Additionally, the FX6 has excellent eye AF and face tracking, both of which perform incredibly well in low light.
The largest limitation with the FX6 is that, unlike the FX9, FX3, or Alpha cameras, you are unable to select the focus setting using the touchscreen. Instead, in order to change the focus between two objects, the joystick on the camera must be used. Although it's not the fastest way by far, Sony is anticipated to upgrade the firmware of the FX6 to bring it into line with the features of the FX9 .
Summary
The adaptability of each camera model and the degree of commonality among them are advantages of the Sony Cinema Line. It facilitates switching between cameras with ease. Furthermore, the FX series' color profiles are easily compatible with the more resilient VENICE.
Everything is taken care of for you, including running and gunning, studio work, transmission, and video with a few more parts. This implies that, notwithstanding a few hiccups, a director can record interviews one day, a documentary the next, and then proceed to a feature-length production all without having to acclimate to a new camera type and operating system.