![]() The controls, the interface, and certainly the hardware have been built for video and cinematography, and the fact it’s also a very serviceable 24MP stills camera is a bonus. With the Lumix S1H, Panasonic has used its considerable video experience to bring many of its high-end VariCam features to the Lumix S range. Read our full Sony FX6 review for more details Best Hybrid package ![]() But at this super-wide setting, the view actually becomes shallower (in height) to give the DCI-4K aspect ratio. While the mirrorless camera records only in 4K at 16:9, the FX6 can go to DCI 4K at 17:9 XAVC-I 10-bit 4:2:2 at up to 60p, recording at 600Mbps. So like the A7S III, the FX6 records in 4K at 60fps full frame with no crop, which is stored internally to SD or the same new CFexpress Type A cards as first used in the A7S III. Instead, it inherits the same BSI-CMOS sensor from the Sony A7S III mirrorless camera and also the majority of its video spec and on-sensor phase detection autofocus. The FX6 doesn’t use the same sensor as the FX9, which is actually 6K but downsampled to 4K. These cameras are purpose-made for the job but have lacked the full-frame sensor and advanced AF features that mirrorless camera users are used to, Until now. For shooting video, there is nothing that comes close to using a real cinema camera that has professional controls and ergonomics, multi-channel XLR audio, built-in ND filters, no overheating issues, and very long battery life. The Sony FX6 answers a real need for filmmakers that Sony's mirrorless Alpha cameras do not. Best Netflix approved cameras in 2024ĬFexpress Type A cards expensive and uncommon He now spends his spare time using his trusted Leica M-E shooting Street/Life photography, usually in Black and White. Sebastian has also used many cinema cameras from the likes of Sony, RED, ARRI, and everything in between. He is familiar with and shows great interest in street, medium, and large format photography with products by Leica, Phase One, Hasselblad, Alpa, and Sinar. He is a member of Nikon NPS and has been a Nikon user since the film days using a Nikon F5 and saw the digital transition with Nikon's D series cameras and is still to this day the youngest member to be elected into BEWA, The British Equestrian Writers' Association. He is a Fellow of The Royal Society of Arts, holds a Foundation Degree in Equitation Science, and is a Master of Arts in Publishing. Originally specializing in Equestrianism, his visuals have been used by the leading names in the equestrian industry such as The Fédération Equestre Internationale (FEI), The Jockey Club, Horse & Hound, and many more for various advertising campaigns, books, and pre/post-event highlights. For nearly two decades Sebastian's work has been published internationally.
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