Industry News

Industry News: Sony officially announces the Sony FX6 and Sony FE C 16-35mm T3.1 G

Press Release // San Diego November 17, 2020 – Sony Electronics Inc. today officially announced the FX6 (model ILME-FX6V) camera, the latest addition to Sony’s Cinema Line, a series of products that brings the company’s expertise in imaging technology to a broad range of filmmakers and content creators.

Sony’s Cinema Line, which also includes the VENICE and FX9 cameras, delivers a coveted film look cultivated from extensive experience in digital cinema production, as well as enhanced operability thanks to an innovative body design, extensive durability, and intuitive customizability.

Sony FX6 Product Highlights:

  • 4K 10.2 megapixel full-frame back-illuminated CMOS Exmor R™ sensor
  • Compact and lightweight body design for on-the-go shooting
  • Ultra-high sensitivity with ISO expandable up to 409,600 for very low light conditions
  • 15+ stops of dynamic range
  • S-Cinetone TM look profile, also used in FX9 and inspired by VENICE colorimetry
  • BIONZ XR ™ image processing engine, first used in Alpha 7S III
  • Fast Hybrid Auto Focus, also used in Alpha cameras and FX9
  • Recording up to 4K 120p / HD 240p, 10-bit 4:2:2 color depth in full-frame
  • Support for up to 12G-SDI and 4K at up to 60p 16-bit SDI RAW output
  • Compatible with more than 50 native E-mount lenses

Sony FX6  at Adorama | Sony FE C 16-35mm T3.1 G at Adorama

As part of the Cinema Line, the all-new FX6 incorporates Sony’s core technologies of image sensor, processing engine, and AF (autofocus) performance. FX6 is also compatible with the wide range of Sony E-mount lenses for creative flexibility.

“The new FX6 is the latest example of Sony’s drive to continuously push the boundaries of imaging technology based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “With the advancement of our Cinema Line, we are dedicated to enabling the extraordinary skills and talent of today’s content creators and cinematographers. The FX6 leverages technology from Sony’s industry-leading VENICE cinema camera and marries it with the best of Sony’s innovative Alpha mirrorless camera technology.”

Full-frame Cinematic Image Quality

The new camera features a 10.2 MP iii full-frame back-illuminated Exmor R™ CMOS sensor that delivers a 15+ stop wide dynamic range iv with high sensitivity and low noise. FX6’s base sensitivity is ISO 800 with an enhanced sensitivity setting of ISO 12,800 v – expandable up to 409,600 vi – for shooting in low and very low light conditions. It is capable of recording in XAVC All Intra 4:2:2 10-bit depth with stunning image quality in DCI 4K (4096 x 2160 – up to 60p), QFHD 4K (3840 x 2160 – up to 120p vii ) and FHD (1920×1080 – up to 240p) for incredibly detailed slow motion. When more convenient file sizes are needed, FX6 can record in XAVC Long GOP 4:2:0 8-bit QFHD 4K (3840 x 2160 – up to 120p vii ) and 4:2:2 10-bit FHD (1920×1080 – up to 240p). FX6 also includes a BIONZ XR™ image processing engine, first used in the new Sony Alpha 7S III camera, providing up to four times faster processing performance compared to the FS5 II.

Developed with the same expertise as Sony’s world-leading VENICE cinema camera, FX6 offers advanced cinematic color science including S-Cinetone TM for richer tonal reproduction right out of the box as well as S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility. FX6’s cinematic color science is optimized for premium applications by capturing the maximum dynamic range from the sensor and providing creative freedom. Leveraging the color science of VENICE , FX6 also allows productions to easily match footage with other cameras in the Cinema Line.

Advanced Video Features

Pulling from Sony Alpha’s impressive AF features, FX6 offers Fast Hybrid AF by combining 627-point focal-plane phase-detection AF with advanced Face Detection and Real-time Eye AF in high frame rates with continuous AF, allowing camera operators to effortlessly and precisely track fast-moving subjects in slow motion without losing focus. Fast Hybrid AF works with over 50 native E-mount lenses. The camera can also capture up to five times slow-motion with 4K (QFHD) 120fps.

The new FX6 also offers internal electronic variable ND filters for easy and seamless control of the camera’s filter density. Users can set variable ND to auto or adjust the filter density manually in smooth increments from 1/4 to 1/128 for perfectly exposed images without affecting the depth of field or shutter angle, even during changing lighting conditions. Combined with the camera’s ultra-high sensitivity, the electronic variable ND filter provides users with outstanding creative control in almost any shooting environment.

Made for Content Creators on the Go

Outstanding Mobility and Operability
Built with a durable magnesium alloy chassis, measuring just 4.6 inches x 6 inches x 4.5 inches (116 millimeters x 153 millimeters x 114 millimeters) and weighing just 1.96 pounds (0.89 kilograms), FX6 has a compact and lightweight design making it easy for users to grab and shoot at any time. The new camera includes a heat dissipating structure to keep the camera’s components within their normal operating ranges to prevent overheating, even during extended recording times. FX6 also features a modular design allowing users to easily pair accessories, such as grips and viewfinders, or attach the camera to other mechanisms, such as gimbals and drones.

FX6’s 3.5-inch LCD Viewfinder can be attached on multiple locations of the camera body for added freedom and easy menu control with touch operation. Using a quick access control menu for commonly accessed features, camera operators can change key settings with a single touch – including Codec, Imager Scan Mode, Picture Size and Frequency, Base ISO and Sensitivity, Shooting Mode and Audio Levels.

Sony FX6  at Adorama | Sony FE C 16-35mm T3.1 G at Adorama

Professional-level Reliability
In line with professional workflows, FX6 includes a 12G-SDI output that also supports 16-bit RAW, HDMI output, timecode in/out, built-in Wi-Fi and four channel audio recording (via XLR Interface, Multi-Interface Shoe and built-in Stereo Mic). The new camera also features two media slots compatible with CFexpress Type A cards ix for higher overall capacity and faster read and write speeds in addition to SDXC UHS-II/UHS-I cards.

Additionally, Sony’s Catalyst Browse/Prepare x software facilitates fast and easy editing. Users can import FX6’s image stabilization metadata into Catalyst Browse/Prepare to transform handheld footage into incredibly smooth and stable visuals. FX6 also has a dedicated Clip Flag button to easily filter and locate preferred takes using Catalyst Browse/Prepare. This software also reflects metadata indicating when FX6 is rotated or in its normal position, eliminating the need to rotate footage beforehand. FX6 is also compatible with Sony’s Content Browser Mobile App to easily monitor and control focus, iris, and zoom remotely xi .

About Cinema Line

Cinema Line is series of professional cameras that have a filmic look, cultivated from Sony’s long experience in digital cinema production, and enhanced operability and reliability that responds to the wide variety of creator’s high demands.

Cinema Line includes the digital cinema camera VENICE, which is highly acclaimed in the feature and episodic production industry, and the professional camera FX9, which is has been popular for documentary and drama production. With the new FX6, Sony brings versatile creative tools to all types of visual storytellers.

FE C 16-35mm T3.1 G E-mount Cinema Lens

The FE C 16-35mm T3.1 G (model SELC1635G) lens, announced at IBC 2019, will be available in December 2020 to pair with FX6, FX9, and other full-frame Sony cameras. This new lens supports intelligent shooting functions unique to E-mount cameras – such as fast and accurate AF within shallow depth of field – while also offering manual focus options in a form factor familiar to professional cinema creators.

The FE C 16-35mm T3.1 G delivers stunning bokeh and corner-to-corner resolution thanks to two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, circular 11-blade apertures in addition to three aspheric lenses that are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduce color distortion. Additionally, the floating focus provides outstanding resolution at every zoom position. The new lens also features Nano AR (Anti Reflection) coating, to reduce flare.

The focus ring offers a 140-degree large angle of rotation for fine control, with distance scale markers for consistent focus reset during multiple takes. Linear Response MF enables smooth manual focus, allowing users to adjust the focus accurately and intuitively. Three independent rings for focus, iris, and zoom enable users to get the exact creative results they desire. Each ring has the industry-standard 0.8mm pitch gear for use of follow focus accessories, and the 114mm barrel diameter is compatible with industry-standard matte box accessories. A two-speed servo provides smooth, accurate control of focal length and can be activated from a switch on the lens or a lever on the FX6 Smart Grip.

Pricing and Availability

The new FX6 full-frame Cinema Line camera will be available in December and will be sold for approximately $5,999.99 USD and $8,048.99 CAD, at a variety of Sony’s authorized dealers throughout North America .

Sony FX6 Full-Frame Cinema Camera at Adorama

A new kit featuring the FX6 full-frame Cinema Line camera and FE 24-105mm F4 G E-mount Lens will also be available in December and will be sold for approximately $7,199.99 USD and $9,658.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America .

The FE C 16-35mm T3.1 G lens will be available in December and will be sold for approximately $5,499.99 USD and $7,199.99 CAD, at a variety of Sony’s authorized dealers throughout North America .

Sony FE C 16-35mm T3.1 G lens at Adorama

Exclusive stories about Cinema Line, FX6, FE C 16-35mm T3.1 G and Sony’s other imaging products can be found at www.sonycine.com and www.alphauniverse.com , resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.

Rocksthaman

Eos R , R6 , R5
Jul 9, 2020
68
60
They missed with having the audio in the handle. What’s the use of it being small if there is no Audio ports when you strip it down ?
 
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Reactions: Stanly

Stanly

EOS M50
Aug 5, 2020
45
19
www.youtube.com
They missed with having the audio in the handle. What’s the use of it being small if there is no Audio ports when you strip it down ?
Absolutely agree, also no audio in 100/120p and less codec options than a7S III. Weird decisions, it's almost like camera companies don't want to make the choice easier for us :D

Let's hope at least FX6 makes Canon work on enabling external RAW for C70
 

Mark M

R5, 7D, 50D, 350D, A1, FTb
Jul 29, 2020
15
6
They missed with having the audio in the handle. What’s the use of it being small if there is no Audio ports when you strip it down ?
Yes, that's odd... you'd have hoped they'd have some way of recording scratch audio without the handle. With the FS5 Mk1 and Mk2 - which this clearly replaces - at least there was one XLR on the body itself, though with my FS5 many times I'd wished for a simple inbuilt mic just for scratch sound, rather than having to attach an XLR cable and mic somehow.
No matter: waiting to see what the C90 has to offer before replacing my FS5 with one of these!
 

Traveler

EOS R
Oct 6, 2019
54
76
Canon is gonna have hard times to keep up with video cameras.
I wonder if canon’s realized that the video market is increasing and a lot of people want small and powerful cameras. The A7Siii and FX6 give them all they need without crippling much. The color science is on pair if not better, the AF is maybe better. These were the things why people used to prefer Canon cinema cameras. Is it over now?
On top of that, variable ND and better digital IS. I’m a canon fan but I’d have hard time choosing canon for video now.
Oh yeah, that Sony menu systems...
 
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Ramage

EOS R5
CR Pro
Aug 27, 2019
360
569
Canon is gonna have hard times to keep up with video cameras.
I wonder if canon’s realized that the video market is increasing and a lot of people want small and powerful cameras.
Yeah that is why Canon released the C70

The A7Siii and FX6 give them all they need without crippling much. The color science is on pair if not better, the AF is maybe better. These were the things why people used to prefer Canon cinema cameras. Is it over now?
See C70

On top of that, variable ND and better digital IS. I’m a canon fan but I’d have hard time choosing canon for video now.
Oh yeah, that Sony menu systems...
See Canon C70

Not sure why it would be a hard choice, if you have EF or RF glass it is simple. You go with the C70.

If you have E-mount glass you get the A7Siii, with the exception of the electronic ND there is not much of a need for the FX6 over the A7Siii
 
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Stanly

EOS M50
Aug 5, 2020
45
19
www.youtube.com
Same as for FS5. Why would you want to record audio when you're overcranking? How would you use it? Genuine question...
Two main things: sync and speed ramping! Also you might want to end up using some portions of the clips in real time (=

Soooooo... better than the C70? Does anybody have a use for 16 bit raw?
For some things – definitely! But if you want RF lenses – than there's still NO camera to use them for video work )=

16bit linear raw is recorded to 12bit log raw – they are visually indistinguishable.

variable ND and better digital IS
Those are good advantages, but the one I'm missing the most is full frame sensors to use those RF lenses as they were intended to be used.

Yeah that is why Canon released the C70
C70 is a great Camera theoretically, but RF mount desperately needs a camera that can work for video AND take advantage of those full frame lenses.

Hopefully this means canon can now announce the C90 and finally the C50.
Exactly, give us that full frame RF video!!!
 

DBounce

EOS RP
May 3, 2016
208
253
I’m not liking the plasticky, flimsy build of the C70. Sony forged the FX6 from magnesium alloy... not cheap plastic. I have to believe at these prices magnesium alloy should be standard. So now I’m left in a interesting place... I preordered both cameras at launch... I have substantial RF, EF and E-Mount lens collections... I’ll evaluate both bodies when they come. But only one is staying. I initially thought I would just go with the C70, but since the word got out that the C70 is apparent built cheaply, I’m learning heavily towards the Sony. Honestly, I love Canon colors, but after having acquired the Sony A7S3, I have to say, Sony’s colors are greatly improved. So much so that imo, it’s wash. So it will come down to shooting experience.
 

Ramage

EOS R5
CR Pro
Aug 27, 2019
360
569
I’m not liking the plasticky, flimsy build of the C70. Sony forged the FX6 from magnesium alloy... not cheap plastic. I have to believe at these prices magnesium alloy should be standard. So now I’m left in a interesting place... I preordered both cameras at launch... I have substantial RF, EF and E-Mount lens collections... I’ll evaluate both bodies when they come. But only one is staying. I initially thought I would just go with the C70, but since the word got out that the C70 is apparent built cheaply, I’m learning heavily towards the Sony. Honestly, I love Canon colors, but after having acquired the Sony A7S3, I have to say, Sony’s colors are greatly improved. So much so that imo, it’s wash. So it will come down to shooting experience.
Get the Sony they are the best built cameras ever
 

Mark M

R5, 7D, 50D, 350D, A1, FTb
Jul 29, 2020
15
6
They missed with having the audio in the handle. What’s the use of it being small if there is no Audio ports when you strip it down ?
I've read in several places now that there is an internal microphone on the camera body, so you can still record scratch audio even with the handle removed. Which is good.
 

EOS 4 Life

EOS 90D
Sep 20, 2020
101
60
FX9 is doomed!
Smaller budgets will get A7S III, FS6, or C70.
Bigger budgets will get C500, RED Monstro, or ARRI LF.
An FS7 + an A7S III gives the same features for less money.
An FS9 is still cheaper than an FS7 + FX6 so there's that..
 

jam05

EOS RP
Mar 12, 2019
287
140
Canon is gonna have hard times to keep up with video cameras.
I wonder if canon’s realized that the video market is increasing and a lot of people want small and powerful cameras. The A7Siii and FX6 give them all they need without crippling much. The color science is on pair if not better, the AF is maybe better. These were the things why people used to prefer Canon cinema cameras. Is it over now?
On top of that, variable ND and better digital IS. I’m a canon fan but I’d have hard time choosing canon for video now.
Oh yeah, that Sony menu systems...
The FX6 damn sure isn't "small".
 

EOS 4 Life

EOS 90D
Sep 20, 2020
101
60
The FX6 damn sure isn't "small".
The FX6 is slightly smaller than the C70 but it is probably bigger to handhold with the control handle attached.
C70 seems like a better shape for handholding or using on a gimbal.
Compared to A7S III FX6 is huge.