Sony PXW-FX9 Full Frame 6K Sensor Camcorder w/ 28-135mm Zoom E-Mount Lens
Sony PXW-FX9 Full Frame 6K Sensor Camcorder w/ 28-135mm Zoom E-Mount Lens
SKU:
SON-PXW-FX9VK
Regular price
£10,290.83 GBP ex VAT
£12,349.00 GBP inc VAT
£12,349.00 GBP inc VAT
Regular price
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£10,290.83 GBP ex VAT
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- Details
- Features
- Specifications
- What's Included
Combined Sony’s technology in Digital cinema camera Venice, FS series and a (Alpha) ILC cameras. Sony’s full-frame 6K sensor camera with Fast Hybrid AF, dual base ISO and cinematic colour science and S-Cinetone.
The Sony PXW-FX9 is the long awaited successor to the legendary PXW-FS7 is here and it brings some fantastic upgrades with it. The FX9 has a Full Frame 6K dual native ISO sensor, VENICE colour science, upgraded auto-focus capabilities, built in genlock and timecode and much more.
The FX9 features a full frame 6K 35.7 by 18.8mm back-illuminated Exmor-R CMOS sensor. This sensor is stated to have 15 plus stops of dynamic range and has a resolution of 6008 x 3168. You will be able to shoot QFHD full frame up to 30fps, 1080p full frame at up to 120 fps and QFHD S35 up to 60fps and 1080p S35 at up to 120fps. The planned firmware updates will bring Full frame DCI 4K up to 60p, Full HD full frame up to 180fps and QFHD in Super 35 mode at up to 120fps while using an external recorder.
You can also customise the autofocus, tweaking things like the AF transition between slow, for stuff like promo videos where you want slow smooth focus movements to fast which will be great for sports. You can also change the AF subject shift sensitivity which defines how easily the focus is switched to another subject. This goes from locked if you are wanting to do a walk and talk for example to responsive which you may need to keep better general focus.
You can also customise the autofocus, tweaking things like the AF transition between slow, for stuff like promo videos where you want slow smooth focus movements to fast which will be great for sports. You can also change the AF subject shift sensitivity which defines how easily the focus is switched to another subject. This goes from locked if you are wanting to do a walk and talk for example to responsive which you may need to keep better general focus.
You can record up to four channels of audio with a range of different input options, The FX9 has an internal scratch mic, two XLR’s, you can use a dual channel receiver with the MI shoe on the handle or you can now use the DWX series of drop in receivers and transmitters with the new XDCA -FX9 back module.
The FX9 does not feature SLOG2 only SLOG3 with S-Gamut3 & S-Gamut3. Cine, this is because the SLOG2 gamma curve is designed for 8-bit whereas all of the codecs on this camera are 10-bit. They have also added an S-Cinetone colour profile which is aimed to bring the colour science from the VENICE to the FX9.
Realise beautiful 4K imagery with the creative freedom made possible by oversampling a huge high resolution full-frame sensor. Capture every detail from the scene with shallow depth of field and stunning bokeh with a truly cinematic look. 15+ stops of dynamic range and Dual Base ISO enable capture of every nuance, from subtle shadow detail to specular highlights and with an immaculate colour palette.
Capturing the Impossible
Make sure your story’s always clear with enhanced Fast Hybrid AF that tracks your subject with unprecedented speed, smoothness and precision. Its impact is transformative for premium documentary, commercials and event applications.
Shoot in Comfort, Expand your Horizons
FX9 revolutionises full-frame cinematography with peerless ergonomics and advanced technology for on-the-go shooting. The world’s first full-frame electronic variable ND filter* transforms possibilities for shooting in variable lighting conditions. Built-in Wi-Fi and 12G-SDI support advanced workflows while the optional XDCA-FX9 extension kit further expands the operational possibilities of the PXW-FX9.
6K Full-Frame “Exmor R” Sensor for Stunning Picture Quality
The camera’s full-frame 6K sensor provides superb recording in DCI 4K*, Ultra HD and HD resolutions. Powerful image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35mm sensors. The back-illuminated CMOS image sensor also uses Sony’s Exmor R technology for improved sensitivity and noise reduction. Compared to a 4K Super 35mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field.
The camera’s full-frame 6K sensor provides superb recording in DCI 4K*, Ultra HD and HD resolutions. Powerful image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35mm sensors. The back-illuminated CMOS image sensor also uses Sony’s Exmor R technology for improved sensitivity and noise reduction. Compared to a 4K Super 35mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field.
*DCI 4K (4096 x 2160 at 17:9 recording) will be available with future firmware release.
Phenomenal 15+ Stops Dynamic Range for Limitless Expression
FX9 offers an exceptional 15+ stops of dynamic range – beyond the normal range of human perception – allowing for unprecedented creative freedom in colour grading and post. Camera operators can concentrate on framing the scene they want while relying upon the FX9 to capture every nuance and detail using either 4K 4:2:2 10-bit internal recording or 16-bit RAW external recording.* In grading, colourists can find colour and detail beyond the normal viewing abilities of the camera operator to create a final image that exactly portrays the mood of the scene.
*RAW recording requires future firmware release and external recorder.
Dual Base ISO for Stunning Images in Any Light
FX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary High Base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you’re using slow lenses. Combining Dual Base ISO with the camera’s electronic variable ND Filter provides superb creative control in almost any shooting environment, with truly next generation responsiveness to changing conditions.
*ISO 800 and ISO 4000 are used in S-Log3, Cine EI mode.
Cinematic Colour Science with S-Cinetone
S-Cinetone is the default look of FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colours, alluring facial tones and a softer tonal look – developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid, with subjects that really stand out while retaining plenty of latitude in post production thanks to the high performance full-frame image sensor. The advanced default looks delivers alluring facial tones and a softer tonal look.
Selectable Frame Rates in Both Full-Frame & Super 35
Choose your desired frame-rate from 1fps up to 180fps* for impressive quick and slow-motion footage. FX9 creates an immersive image with a wide angle look and shallower depth of field provided by its full-frame sensor in combination with quick and slow-motion. Engage your audience with this new creative look. FX9 also offers a Quality priority setting* that maximises full HD slow motion image quality with advanced oversampling technology.
*Up to 120fps with Ver1.0. Full-HD 180fps will be supported with future firmware
**In Full-frame scanning mode: selectable at 1-30fps / In S35 scanning mode: selectable at 1-60fps
*Supported in future firmware update
**Supported in future firmware update. RAW output only
*** Supported in the future firmware update. Scanning area is cropped around 83% of full-frame and 122% larger than S35. (diagonal)
Catch the Action with Enhanced Fast Hybrid AF
Effortlessly track fast moving subjects with pin-sharp focus, even when using wide lens aperture settings to maintain a shallow depth of field with the camera’s full-frame sensor. Developed by Sony’s α camera engineers, enhanced Fast Hybrid AF combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognises and locks on to human faces.
The dedicated 561-point phase detection AF sensor covers approximately 94% of the whole image area width and 96% of height, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects.
Customisable AF Settings
FX9’s comprehensive autofocus settings provide the creative flexibility to integrate with any project. Customisable AF settings can be used for a wide range of situations, depending on your requirements.
7-level AF transition speeds from Fast – switching between subjects as quickly as possible – to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama.
5-level AF subject shift sensitivity ranges from Locked-on – ignoring other moving subjects in the frame – to Responsive that switches focus from one subject to another – ideal for snapping between race cars as they speed by.
AF Assist
You can control MF ring during AF shooting if AF Assist is set to ON. You can adjust the focus manually even in AF shooting, you can manually operate the ring to focus the person behind.
One Push AF
While you are shooting in MF, pushing One Push AF button enables you to change to the focus mode to AF.
Autofocus with all E-Mount Lenses
Experience smooth, responsive autofocus with every E-mount lens, including Sony’s new Cinema Lens Series with premium optical performance and operability for demanding cinematography applications. Advanced E-mount lever lock operation allows quick, easy lens exchange in the field, plus added stability and security with large lenses.
World’s First Electronic Variable ND Filter for Full-Frame Sensor
Realise even greater creative control with Sony’s unique built-in electronic variable neutral density (ND) filter – a world first* for professional full-frame camcorders. Set to Auto, or adjust filter density manually in smooth increments from 1/4 to 1/128 as you shoot, for perfectly exposed images without affecting depth of field as lighting conditions change. Use higher density settings with a slower shutter speed for breath taking artistic effects.
The built-in variable ND filter, with no need to prepare multiple ND filters separately can be flexibly and immediately used for every exposure change situation; when you move from inside to outside, and when you shoot under the natural light condition where exposure changes moment by moment.
Proven Ergonomics & Accessories Compatibility
FX9 chassis is the latest refinement of the revolutionary FS7 design, so you can be sure it will feel great to shoot with from almost any position, while also offering compatibility with a large proportion of the countless FS7 accessories including U-Series batteries, chargers, E-Mount lenses, plus third-party rigs, arms and lens adapters.
The control arm is easily adjusted without tools, so FX9 adapts effortlessly to your physique and preferred shooting style – handheld, at waist level or shoulder mounted.
The smart grip features an updated design, more compact than before while still holding all the key shooting controls, allowing you to concentrate on the scene without distractions. FX9 also introduces a micro USB interface for improved responsiveness and support for a wrist strap.
16-bit RAW Capability
16-bit RAW offers a phenomenal increase in post-production creative freedom to fully exploit FX9’s exceptional 15+ stops of dynamic range. FX9 supports export of 16-bit RAW at either 4K or 2K resolution using the optional XDCA-FX9 extension unit with a single BNC cable connection to compatible external RAW recorders.**
*RAW output will be enabled with a future firmware release. Limited to 10-bit recording during 120fps high frame rate shooting within Super35 image circle.
Stable, Shake-Free Handheld Footage
Advanced image stabilisation information means even handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software* in post-production to look as smooth as if it were shot with a gimbal.Unlike in-camera or lens stabilisation, meta data generated by FX9’s built-in gyro allows you to creatively choose the balance between the level of shake-compensation and the resolution of trimmed 4K imagery. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilisation workflows**.
*Catalyst Browse/Catalyst Prepare Ver.2019.2 is required.
**Resolution and angle of view reduced compared to native footage.
LCD
Approx 1.8x higher resolution than the FS7M, with enhanced LCD with HD resolution has superb accuracy, high contrast and resolution, bringing higher visibility for focusing.
Cinema Lens Series
Explore new artistic possibilities and precise creative control with Sony’s Cinema Lens Series. Purpose-built for documentary production and digital cinematography with full-frame cameras such as the FX9 and VENICE.
The first lens in the series, the FE C 16-35mm T3.1 G full-frame wide angle zoom, is due in early 2020.
The first lens in the series, the FE C 16-35mm T3.1 G full-frame wide angle zoom, is due in early 2020.
Adds Shoulder-Style Operation, Advanced Networking
Further extend the capabilities of the FX9 with the optional XDCA-FX9 extension unit that optimises camera weight distribution and ergonomics for comfortable shoulder-style shooting – ideal for ENG (Electronic News Gathering) and documentary applications. The extension unit also adds advanced networking for streaming/file transfers and Genlock/Timecode for multi-camera shoots.
4-Channel Audio Input and Recording
FX9 offers superb audio capabilities with independent control dials for each channel. In applications such as interview, 4-channel audio recording enables simultaneous use of an external microphone for recording ambient sounds, the built-in microphone for voice memos by the operator, and two optional UWP Series wireless microphones for voice of interviewer and interviewee. In addition, using the optional XLR-K3M, XLR-K2M or XLR-K1M XLR adapter – with two extra XLR inputs – allows even more devices to be connected.
28-135mm Zoom Lens E-Mount
The SELP28135G is a powered zoom lens that has been created to satisfy professional optical and operational requirements for high-quality movie imagery, including 4K, when matched with a 35mm full frame format camera such as the α7S or a Super 35 format camcorder such as the PXW-FS7*. Focus breathing and zoom image shift have been reduced to an absolute minimum, while aspherical elements and advanced multi-coating technology effectively suppress aberration. Quiet operation is also a priority, so an SSM (Super Sonic wave Motor) drive system has been employed for precise, quiet zooming. Independent control rings for zoom, focus, and iris using physical stops are provided for the first time into an E-Mount an lens. Built-in Optical SteadyShot image stabilization adds to the extraordinary performance of this outstanding lens which is supporting a constant F4.
*Zoom range increases to 42-202.5mm when using the lens on an APS-C or Super 35 camera.
35mm Full Frame Imagery
Precision optical design supports top-quality 4K production with minimum angle of view variation while focusing and axial displacement while zooming.
F4 OSS with Extendable Zoom Range
The SELP28135G has minimum focus of 0.4 m (AF) / 0.95 m (MF) and has extanded zoom range of 42-202.5mm when used on an APS-C or S35 camera.
High Speed Operation with Independent Control Rings
High-end operation and feel inherited from Sony professional equipment. Three control rings for iris, focus and zoom offer manual control for demanding large format production.
Quiet Operation
The world’s first SSM (Super Sonic wave Motor) drive in a lens designed for moviemaking achieves quiet zoom and extra-smooth iris control.
Lightweight and Compact
Compact, lightweight design that is also dust and moisture resistant is ideal for situations that require mobility plus reliability.
- Full-frame 17:9 mode with PXW-FX9
- Conventional front-illuminated sensor as used in FS7 II
- The sensor also has a dual base ISO of 800 & 4000.
- They have also added volume control buttons, the ability to control 4 channels of audio, and a set of arrow keys to navigate the menu.
- LCD screen which now has a resolution of 1280 x 720
- genlock and timecode built into the body now, no more need for the XDCA for this.
- Face Priority AF: Focuses on faces, when there are faces and objects.
- Face Only AF: Focus only on a face, not on other objects
- Face Registration: Camera can recognise multiple faces and remember a face once it is registered
- Grip & LCD panel flexibility
- Well balanced body design
- Shoulder style operation
- Wide range of exposure can be fine-tuned without changing DoF (without iris control)
- Wide range of DoF (Depth of Field) expression under Auto Variable ND by adjusting lens IRISLCD
- Built-in gyro records “shake” meta data in the clip
- It allows to freely adjust the balance between shake-compensation and trimming area size
- Furthermore, it shortens processing time drastically
- Zoom/ iris/ focus control from your camera, remote or smartphone
Networked for High Mobility
- Content Browser Mobile™** allows the PXW-FX9 to be controlled remotely from a smartphone or tablet computer via a Wi-Fi connection. Adjust the exposure level, zoom, Record/Stop and more via your mobile device - it’s ideal for single operator shoots. One-touch authentication is also possible with smartphones offering NFC connectivity.
- FTP Transfer allows content files to be sent over the internet for remote storage on an FTP server even while shooting. In case of signal interruption, the system will automatically resume as soon as connection restored.
- Trimming allows you to set start and end points in a clip, eliminating time-wasting transfers of unneeded content.
- XDCAM air can upload proxy footage to the cloud from multiple camera operators in the field, so editing can start immediately. Uploaded content can be accessed securely from any location. News teams can even start logging clips while shooting is still going on, saving even more valuable time when a story’s breaking.
- Wired LAN port with optional XDCA-FX9 allows connection of the FX9 to the Internet with a standard Ethernet cable, allowing files to be streamed or transferred by FTP.
- Dual Link Cellular is enabled with optional XDCA-FX9 and uses two cellular networks in combination to provide an even more reliable network connection. FX9 is compatible with standard USB cellular dongles from most networks. (Please check for most appropriate service provider for your region. Standard network fees will apply.)
- High quality Sony QoS Streaming to Network RX station (sold separately) and XDCAM air by Sony allows images to be streamed live for viewing at a remote location
| GENERAL | |
| Mass: | Approx 2.0 kg (body only) Approx. 4.8 kg (with Viewfinder, Eyepiece, Grip Remote Control, BP-U35 battery, SELP28135G LENS, an XQD memory card, Handle, MIC holder) |
| Dimensions: | 146 x 142.5 x 229 mm (body without protrusions) |
| Power Requirements: | DC 19.5V |
| Power Consumption: | Approx. 35.2 W (while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device) |
| Operating Temperature: | 0°C to 40°C 32°F to 104°F |
| Storage Temperature: | -20°C to +60°C -4°F to +140°F |
| Battery Operating Time: | Approx. 54min. with BP-U35 battery (while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device) Approx. 108min. with BP-U70 battery (while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device) |
| Recording Format (Video) [XAVC Intra]: | XAVC-I DCI4K 59.94p mode: VBR, MAX bit rate 600 Mbps, MPEG-4 AVC/H.264 XAVC-I DCI4K 50p mode: VBR, MAX bit rate 500 Mbps, MPEG-4 AVC/H.264 XAVC-I DCI4K 29.97p mode: VBR, MAX bit rate 300 Mbps, MPEG-4 AVC/H.264 XAVC-I DCI4K 25p mode: VBR, MAX bit rate 250 Mbps, MPEG-4 AVC/H.264 XAVC-I DCI4K 24p mode: VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264 XAVC-I DCI4K 23.98p mode: VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264 XAVC-I QFHD 59.94p mode：VBR, MAX bit rate 600 Mbps, MPEG-4 AVC/H.264 XAVC-I QFHD 50p mode：VBR, MAX bit rate 500 Mbps, MPEG-4 AVC/H.264 XAVC-I QFHD 29.97p mode：VBR, MAX bit rate 300 Mbps, MPEG-4 AVC/H.264 XAVC-I QFHD 25p mode：VBR, MAX bit rate 250 Mbps, MPEG-4 AVC/H.264 XAVC-I QFHD 23.98p mode：VBR, MAX bit rate 240 Mbps, MPEG-4 AVC/H.264 XAVC-I HD 59.94p mode：CBG, MAX bit rate 222 Mbps, MPEG-4 AVC/H.264 XAVC-I HD 50p mode：CBG, MAX bit rate 223 Mbps, MPEG-4 AVC/H.264 XAVC-I HD 59.94i/29.97p mode：CBG, MAX bit rate 111 Mbps, MPEG-4 AVC/H.264 XAVC-I HD 50i/25p mode：CBG, MAX bit rate 112Mbps, MPEG-4 AVC/H.264 XAVC-I HD 23.98p mode：CBG, MAX bit rate 89Mbps, MPEG-4 AVC/H.264 |
| Recording Format (Video) [XAVC Long]: | XAVC-L QFHD 29.97p/25p/23.98p mode：VBR, MAX bit rate 100 Mbps, MPEG-4 H.264/AVC XAVC-L QFHD 59.94p/50p mode：VBR, MAX bit rate 150 Mbps, MPEG-4 H.264/AVC XAVC-L HD 59.94i/29.97p/50i/25p/23.98p/59.94p/50p mode：VBR, MAX bit rate 50 Mbps, MPEG-4 H.264/AVC XAVC-L HD 59.94i/29.97p/50i/25p/23.98p/59.94p/50p mode：VBR, MAX bit rate 35 Mbps, MPEG-4 H.264/AVC XAVC-L HD 59.94i/50i mode：VBR, MAX bit rate 25 Mbps, MPEG-4 H.264/AVC |
| Recording Format (Video) [MPEG-2 Long GOP]: | MPEG2 HD422 mode：CBR, MAX bit rate 50 Mbps, MPEG-2 422P@HL |
| Recording Format (Audio): | LPCM 24 bits, 48 kHz, 4 channels |
| Recording Frame Rate: | [XAVC Intra] XAVC-I DCI4K mode: 4096 x 2160/59.94P, 50P, 29.97P, 23.98P, 25P, 24P XAVC-I QFHD mode: 3840 x 2160/59.94P, 50P, 29.97P, 23.98P, 25P XAVC-I HD mode: 1920 x 1080/59.94P, 59.94i, 50P, 50i, 29.97P, 23.98P, 25P [XAVC Long] XAVC-L QFHD mode: 3840 x 2160/59.94P, 50P, 29.97P, 23.98P, 25P XAVC-L HD 50 mode: 1920 x 1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P XAVC-L HD 35 mode:1920 x 1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P XAVC-L HD 25 mode:1920 x 1080/59.94i, 50i [MPEG-2 Long GOP] MPEG HD422 mode: 1920 x 1080/59.94i, 50i, 29.97P, 23.98P, 25P |
| Recording/Playback Time [XAVC Intra]: | XAVC-I DCI4K/QFHD 59.94p When using QD-G128A (128 GB): Approx. 22 minutes When using QD-G64A (64 GB): Approx. 10 minutes XAVC-I DCI4K/QFHD 50p When using QD-G128A (128 GB): Approx. 26 minutes When using QD-G64A (64 GB): Approx. 13 minutes XAVC-I DCI4K/QFHD 29.97p When using QD-G128A (128 GB): Approx. 43 minutes When using QD-G64A (64 GB): Approx. 21 Minutes XAVC-I DCI4K/QFHD 25p When using QD-G128A (128 GB): Approx. 52 minutes When using QD-G64A (64 GB): Approx. 25 Minutes XAVC-I DCI4K 24p When using QD-G128A (128 GB): Approx. 54 minutes When using QD-G64A (64 GB): Approx. 26 Minutes XAVC-I DCI4K/QFHD 23.98p When using QD-G128A (128 GB): Approx. 54 minutes When using QD-G64A (64 GB): Approx. 26 Minutes XAVC-I HD 59.94p When using QD-G128A (128 GB): Approx. 57 minutes When using QD-G64A (64 GB): Approx. 28 Minutes XAVC-I HD 50p When using QD-G128A (128 GB): Approx. 57 minutes When using QD-G64A (64 GB): Approx. 27 Minutes XAVC-I HD 59.94i/29.97p When using QD-G128A (128 GB): Approx. 105 minutes When using QD-G64A (64 GB): Approx. 53 Minutes XAVC-I HD 50i/25p When using QD-G128A (128 GB): Approx. 105 minutes When using QD-G64A (64 GB): Approx. 53 Minutes XAVC-I HD 23.98p When using QD-G128A (128 GB): Approx. 130 minutes When using QD-G64A (64 GB): Approx. 65 Minutes |
| Recording/Playback [XAVC Long]: | XAVC-L QFHD 29.97p/25p/23.98p When using QD-G128A (128 GB): Approx. 125 minutes When using QD-G64A (64 GB): Approx. 62 Minutes XAVC-L QFHD 59.94p/50p When using QD-G128A (128 GB): Approx. 86 minutes When using QD-G64A (64 GB): Approx. 42 Minutes XAVC-L HD 50 59.94i/29.97p/50i/25p/23.98p/59.94p/50p When using QD-G128A (128 GB): Approx. 225 minutes When using QD-G64A (64 GB): Approx. 110 Minutes XAVC-L HD 35 59.94i/29.97p/50i/25p/23.98p/59.94p/50p When using QD-G128A (128 GB): Approx. 305 minutes When using QD-G64A (64 GB): Approx. 150 Minutes XAVC-L HD 25 59.94i/50i When using QD-G128A (128 GB): Approx. 410 minutes When using QD-G64A (64 GB) Approx. 200 Minutes |
| Recording/Playback Time [MPEG-2 Long GOP]: | MPEG HD422 59.94i, 50i, 29.97P, 23.98P, 25P When using QD-G128A (128 GB): Approx. 220 minutes When using QD-G64A (64 GB): Approx. 105 Minutes |
| Recording Format (Proxy Audio): | XAVC Proxy: AAC-LC, 128 kbps, 2 channels |
| Recording Format (Proxy Video): | XAVC Proxy: AVC/H.264 Main Profile 4:2:0 Long GOP, VBR 1920 x 1080, 9Mbps 1280 x 720, 9Mbps 1280 x 720, 6Mbps 640 x 360, 3Mbps |
| LENS | |
| Lens Mount: | E-mount |
| CAMERA SECTION | |
| Imaging Device (Type): | 35 mm full-frame, single-chip CMOS image sensor |
| Imaging Device (Pixel Count): | 20.5 M pixels (Total) |
| Built-In Optical Filters: | Clear, linear variable ND (1/4ND to 1/128ND) |
| ISO Sensitivity: | ISO 800/4000 (Cine EI mode, D55 Light source) |
| S/N Ratio: | 57 dB (Y) (typical) |
| Shutter Speed: | 64F to 1/8000 sec |
| Slow & Quick Motion Function: | FF 6K mode: XAVC-I/L 4096 x 2160 1 to 30 frames (29.97/25/24/23.98) 3840 x 2160, 1920 x 1080 1 to 30 frames (29.97/25/23.98) FFc 5K, S35 4K mode: XAVC-I/L 4096 x 2160 1 to 60 frames (59.94p, 50p, 29.97/25/24/23.98) 3840 x 2160, 1920 x 1080 1 to 60 frames (59.94p, 50p, 29.97/25/23.98) FF 2K, S16 2K mode: XAVC-I 1920 x 1080 1 to 60, 100, 120, 150, 180 frames (59.94p, 29.97/23.98) 1 to 60, 100, 120, 150 frames (50p, 25) FF 2K, S16 2K mode: XAVC-L 1920 x 1080 1 to 60, 100, 120 frames (59.94p, 50p, 29.97/25/23.98) S35 2K mode: XAVC-I/L 1920 x 1080 1 to 60, 100, 120 frames (59.94p, 50p, 29.97/25/23.98) |
| White Balance: | Preset, Memory A, Memory B (2000K-15000K)/ATW |
| Gain: | -3 to 27dB (every 1dB), AGC |
| Gamma Curve: | SDR mode: S-Cinetone, STD1, STD2, STD3, STD4, STD5, STD6, HG1, HG2, HG3, HG4, HG7, HG8, S-Log3 HDR mode: HLG (Natural / Live) |
| Latitude: | 15+ stop |
| INPUT/OUTPUT | |
| Genlock Input/REF Output: | BNC, Genlock IN/REF OUT Switchable |
| TC Input/TC Output: | BNC, TC IN/OUT Switchable |
| Audio Input: | XLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable Mic Reference: -30 to -80 dBu" |
| SDI Output: | SDI OUT1: BNC, 12G-SDI, 3G-SDI (Level A/B), HD-SDI SDI OUT2: BNC, 3G-SDI (Level A/B), HD-SDI |
| USB: | USB device, micro-B (x1) |
| Headphone Output: | Stereo mini jack (x1) -16 dBu 16 Ω |
| Speaker Output: | Monaural |
| DC Input: | DC jack |
| Remote: | Stereo mini-minijack (Φ2.5 mm) |
| HDMI Output: | Type A (x1) |
| MONITORING | |
| LCD: | 8.8 cm (3.5 type) Approx. 2.76 M dots |
| BUILT-IN MICROPHONE | |
| Built-In Microphone: | Omni-directional monoral electret condenser microphone |
| MEDIA | |
| Type: | XQD Card slot (x2) SD/MS Card slot (x1) for saving configuration data SD card slot also can be used for proxy video recording |
| WI-FI/NFC | |
| Supported Format: | IEEE 802.11 a/b/g/n/ac |
| Frequency Band: | 2.4 GHz bandwidth 5.2/5.3/5.6/5.8 GHz bandwidth* *Depending on country / regional regulation and only on PXW-FX9V and PXW-FX9VK. |
| Security: | WEP/WPA-PSK/WPA2-PSK |
| NFC: | NFC Forum Type 3 Tag compliant |
- 1x Camera Body
- 1x SELP28135G LENS
- 1x Viewfinder
- 1x Eyepiece
- 1x Grip Remote Control
- 1x BP-U35 Battery
- 1x XQD Memory Card
- 1x Handle
- 1x MIC Holder