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Yes this is a must but i don't think they all this for FX line. Sony is selling FF license for Venice line and its around $5000 :)

I recently had the pleasure of shooting for two days in NYC. I can't tell you why yet but we'll soon all find out. Belive it or not, this was my rig and yes, it worked like a charm. I can't wait to share frames and footage from what I captured with this bad boy. The FX6 is such a powerful little camera. The lens is the Leica R 15mm f3.5.

I am continually impressed by the FX6 and love the combination I get with vintage lenses especially this wild Leica R 15mm f2.8. I wanted to share these frames below. The second stack of three frames was taken using the Leica R 28m f2.8. When shooting the FX6 one of my priorities is to protect the highlights and not clip. As long as I do that, all is well. I am really happy with the images and look I am getting out of the camera and can't wait to keep creating!

@DougJensen haha thank you Doug. Back at you!

Dear community ; i am not able to activate raw recording on my FX9. both my camera and attachment are with in the latest Firmware: PXW-FX9 V4.02 / XDCA-FX9 V2.20 I use CINE EI have the raw module XDCA attached my shogun 7 is attached with a 12 G SDI cable SDI in 1 and the raw output of the XDCA-FX9 the raw options codec are visible but greyed out and not selectable.

Curious, what internal camera settings are you using to display anamorphic, since I think the 1.5 is in between the anamorphic options of 2x and 1.3x

I got to get an early look at the new Atlas Mercury lenses including the prototype 54mm - all shot on the Sony FX6. Below are frames from the 72mm and 36mm. Nothing but good things to say about the lenses so far! So stoked on what we got. Film to come! Let me know if you have any questions.

Hi Alister. I’ve been following you since the FS5 and Shogun Inferno and love using your amazing Venice lut for slog 2. That’s said, I am planning on taking back the fx30 today. Aside from the extra noise when using 120, I still feel that it produces significant noise when shooting indoors with adequate lighting on 4KS-I and ProRes Raw at 24 frames. I feel that the FS5 produces a much cleaner and less noisy image than the Fx30 indoors using the same lighting. Only difference is I’m shooting fs5 w/shogun inferno in slog2 and fx30 w/Atomos ninja V+ in slog 3. I bought the fx30 to be a direct upgrade from the FS5. Aside from all the bells and whistles that the fx30 brags about with a 6K sensor 16bit down to 4.7K 12bit, I didn’t expect my image quality to be better on the FS5. Are you having the same results or are you achieving a better image quality on the fx30 than on the fs5? Thank you for your time.

Incredible.

I recently got the new GM ii version of the 24-70mm f2.8. I can't say enough good things about its size, weight, build quality, and image but I think there is an auto focus issue on the FX cameras and not on the Alpha cameras. I saw some other reports of this - that is where I first heard about it. It's a real bummer and hopefully fixed on the next FX firmware update. The newest and best workhorse zoom not working properly on the FX6? Doesn't make sense. Can anyone else confirm or deny? Thanks!

Verrry interesting and I am glad I know this now and not on set the first time I try this. Thank you!

Most are owned by the studio I work with. The owner brags how he's never gotten rid of a camera—hence the abundance of old tech.

I'll be there Doug! See you there. I'll be doing some recap stuff for Sennheiser on Sunday and Monday but then free roaming for fun.

I'm not a huge sci-fi fan but I can say that once we all use more sensitive camera's like the Venice and really anything else by yesterday's standards it's hard to go back. The little you need nowadays to get so much done is where the value comes in. I can imagine your examples above if they were shot on the Alexa mini at 800 iso or even 400 in order to have cleaner shadows - you'd need way more light for everything. That would mean more people, time, money, and potentially a different look. But the time and people variable is what really changes up a production. I love the tools we have in today's world and it's only going to continue to get better each day. Thanks for sharing.

Read on to see how you can ensure you retain the quality of your clips when using Catalyst Browse. For years, I’ve been stabilizing footage in Catalyst Browse the wrong way and just realized it. And with the way the settings are presented, I’m sure I’m not the only one making this mistake. Transcode settings in Catalyst Browse Here’s the thing—you glance over the transcode settings, see they’re all set to “Same as source”, and reasonably assume that your footage is going to come out the same as the source. But no. Read carefully On the Format drop-down, "Same as source" shows XAVC S, even though I shot the clip in XAVC S-I. This is misleading. You press export, and when you load the clip into your editing software, you can see that the bit depth has devolved to 8-bit, from the original 10-bit. The only reason I realized this is because I noticed some banding in a gray sky on one of my clips. So what’s the solution? Well, if you don’t want to pay for Catalyst Prepare, the only option that retains both your resolution and bit depth is to export the video as a series of DPX stills, which becomes a pain if you have audio baked into the footage because then you’ll have to relink the audio track when you bring the DPX sequence into your editing software, making for extra post production work. Showing ‘Same as source’ when it’s actually not the same as source is just like showing 24fps when the camera is really recording 23.98 fps. Come on Sony, don’t deceive us!

Regarding making one's own LUTs for FX6 Base Looks, on this guide by @alisterchapman it says: "For the best results you will want to use 33x LUTs, and the LUT should be designed for full/data range In and with full/data range Out." Is that correct? Surely rec709 is typically legal/video levels, whilst slog3/sgamut3(.cine) is full/data levels? Typically, I would have thought that most LUTs will be bringing the image into the realms of rec709... so therefore surely they should be full/data in, but legal/video out? Or is the the idea here to preserve superwhites to 109%... and in LUTCalc, that is referenced, isn't that done by turning the Hard Clip setting off or to "Unclipped"?

Good info, thanks! So are the .art files more like 65x65x65 LUTs? And so are .art files now somewhat redundant in the Venice 2 then?

Hey Nezih, glad you made it!

Handy! Would this also work for external NDs or just in-camera?

Nice work matching!

We produced and shot the following commercial for Sennheiser's Profile USB Microphone launch. Shot on FX9 and 6 using Tokina Vista Primes and Sirui Jupiter macro lenses.

Question: Can I view LUTS on Playback with Venice 2? Answer: Yes, if you shoot some flavor of XOCN (XT,ST,LT) you can playback clips with a LUT. If you shoot ProRes, a LUT cannot be viewed while playing back clips. Keeping this one short and simple. I get this question every once in awhile - hopefully this helps the right crowd👍🏻

In your 3/8/2021 post on exposing s log 3, you set a zebra range of +/- 2 about 41%. Does the same approach work for s-cinetone?

Q: Does Venice 2 work with Teradek 4K Serve? Answer: In short, yes. In this particular case, we were pushing to Ci Media for remote monitoring. Our Serve had a v-mount adapter so we just added it to the back of the Venice 2 to pass power. There is an SDI IN on the Serve, we had a jumper SDI coming out of the camera’s SDI 3 and going into the Serve. It is important to note, if you are outputting an HD signal out of all your SDIs, the Rec Trigger will function on SDIs 1/2/3/4. If you are outputting a 4K signal out of SDI 1/2, a "monitoring" signal is sent to SDI 3/4 and the Rec Trigger function will not output to SDI 3/4 (Venice 2 Manual pg120). In the Deep Menus of the Venice, scroll to TECHNICAL>SYSTEM CONFIGURATION > SDI REC REMOTE TRIGGER. Select “HD SDI Remote I/F“ . This ensures that the SDI will trigger the Serve to begin generating the proxy as the camera is recording. After the camera is finished recording, the Serve will wrap the proxy and begin uploading. The 4K Serve interface is pretty straight forward, it is easier to configure the Serve by connecting via LAN directly into a computer first. We set the computers IP to 169.192.10.10 and the 4K Serve was set to 169.192.10.20. You can set these IPs to whatever you want, just make sure the first 3 sets of numbers match and the fourth set should be between 1 and 254 so they are within range of one another but they should not be the same. Go to a browser on your computer and type in the IP of the Serve, this will take you to the Serve’s GUI. Continue setting up the wifi settings and choose which cloud service you would like to upload to and etcetera. I hope this can reach and help the right audience, I get a similar question for FX9 - making sure the camera is set to “HD SDI Remote I/F“ usually solves it. If you have questions or anything to add reply down below!

Last week while in Taos, New Mexico scouting and shooting a screen test we stopped for lunch at Mante's Chow Cart. The midday winter light was coming in so beautifully that we started our screen test there - at lunch. Shot on the Sony Venice at 2500 ei and vintage full frame stills Angenieux 28-70mm f2.6