Sony FX6 Full Frame Cinema Camera Body
The Sony FX6 Cinema Camera is a compact, powerful cine-style camera designed to give filmmakers the power and flexibility to capture stunning cinematic images. With its large Super 35mm 4K image sensor, robust design, and expansive feature set, the FX6 is capable of delivering high quality footage even in challenging lighting conditions. It supports both 15-stop S-Log3/2 and 14-stop VENICE colour spaces for more creative control over your image when using external recording systems. It also comes with an abundance of professional video features such as time code, zebras, three independent gamma settings (S-Gamut3/S-Gamut3. CINE/Hypergamma), built-in ND filters, focus peaking, and more. The FX6 is perfect for documentary filmmakers, independent filmmakers, and even commercial shooters who want the best of both worlds—high-end cinema image quality with a lightweight design that’s easy to transport. With its impressive feature set and robust build quality, the Sony FX6 Cinema Camera will give you the freedom to capture stunning cinematic images in any environment.
The Sony FX6 Cinema Camera is a compact, powerful cine-style camera designed to give filmmakers the power and flexibility to capture stunning cinematic images. With its large Super 35mm 4K image sensor, robust design, and expansive feature set, the FX6 is capable of delivering high quality footage even in challenging lighting conditions. It supports both 15-stop S-Log3/2 and 14-stop VENICE colour spaces for more creative control over your image when using external recording systems. It also comes with an abundance of professional video features such as time code, zebras, three independent gamma settings (S-Gamut3/S-Gamut3. CINE/Hypergamma), built-in ND filters, focus peaking, and more. The FX6 is perfect for documentary filmmakers, independent filmmakers, and even commercial shooters who want the best of both worlds—high-end cinema image quality with a lightweight design that’s easy to transport. With its impressive feature set and robust build quality, the Sony FX6 Cinema Camera will give you the freedom to capture stunning cinematic images in any environment.
The Sony FX6 Cinema Camera is a compact, powerful cine-style camera designed to give filmmakers the power and flexibility to capture stunning cinematic images. With its large Super 35mm 4K image sensor, robust design, and expansive feature set, the FX6 is capable of delivering high quality footage even in challenging lighting conditions. It supports both 15-stop S-Log3/2 and 14-stop VENICE colour spaces for more creative control over your image when using external recording systems. It also comes with an abundance of professional video features such as time code, zebras, three independent gamma settings (S-Gamut3/S-Gamut3. CINE/Hypergamma), built-in ND filters, focus peaking, and more. The FX6 is perfect for documentary filmmakers, independent filmmakers, and even commercial shooters who want the best of both worlds—high-end cinema image quality with a lightweight design that’s easy to transport. With its impressive feature set and robust build quality, the Sony FX6 Cinema Camera will give you the freedom to capture stunning cinematic images in any environment.
The Sony FX6 Cinema Camera is a compact, powerful cine-style camera designed to give filmmakers the power and flexibility to capture stunning cinematic images. With its large Super 35mm 4K image sensor, robust design, and expansive feature set, the FX6 is capable of delivering high quality footage even in challenging lighting conditions. It supports both 15-stop S-Log3/2 and 14-stop VENICE colour spaces for more creative control over your image when using external recording systems. It also comes with an abundance of professional video features such as time code, zebras, three independent gamma settings (S-Gamut3/S-Gamut3. CINE/Hypergamma), built-in ND filters, focus peaking, and more. The FX6 is perfect for documentary filmmakers, independent filmmakers, and even commercial shooters who want the best of both worlds—high-end cinema image quality with a lightweight design that’s easy to transport. With its impressive feature set and robust build quality, the Sony FX6 Cinema Camera will give you the freedom to capture stunning cinematic images in any environment.
in 35 offers
The lowest price for Sony FX6 Full Frame Cinema Camera Body right now is $7,198.00 at Georges Cameras, compared across 20 retailers.
The all-time low was $790.00 on 5 June 2026 — today's price is 811% above the lowest ever. It has been notably cheaper before — worth setting a price alert.
Prices last updated 10 June 2026.
Last updated at 10/06/2026 00:01:42
Sony FX6 Cinema Camera (Body Only) | Super 35mm 4K Sensor | 15-Stop S-Log3/2 | Built-In ND Filters
Delivery between 16–24 June $9.90
Sony FX6 Cinema Camera Body Only
Free delivery between 12–19 June
Sony FX6 Cinema Camera (ILME-FX6)
Delivery between 15–18 June $36.88
Sony FX6 Cinema Camera Full Frame E-Mount
Delivery between 12–17 June $12.90
Sony FX6 4K Full-Frame 10.2MP Cinema Camera - ILME-FX6V (Body Only)
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Sony Cinema Line FX6 Full Frame E-Mount Video Camera
Delivery $10
Sony FX6 Full Frame Cinema Camera E-Mount With 4K Video Recording And Advanced Autofocus Features
Delivery $9.95
Sony Cinema Line FX6 Full Frame E-Mount Video Camera
Delivery between Fri – Tue $10
Sony ILME FX6V Full Frame E Mount Pro Camcorder
Delivery between Fri – Tue $10
Sony FX6 Full Frame Cinema Camera Body
Delivery between Thu – Mon $16
originally posted on bhphotovideo.com
I purchased my FX6 my personal camera. I have over the years used plenty of RED, ARRI, Canon, and Sony cinema cameras. When I was doing my comparisons, I decided the FX6 was the camera that combined all of the good things of a DSLR, while still holding the ability to be built up if needed. This is great!After a month of playing with the 28-135mm PZ lens, which I thought I had to have as a guy who came up in camcorder days, I decided to return that in favor of the 70-200 GM II. The big PZ lens just doesn't fit the FX6 well. It takes away from the thing that makes the FX6 special.My hope is that we will see a more compact mid range PZ lens offering from Sony. A 24-70mm PZ or 24-105mm PZ lens that is built the same as that new 16-35 PZ would really make the FX6 ... MoreI purchased my FX6 my personal camera. I have over the years used plenty of RED, ARRI, Canon, and Sony cinema cameras. When I was doing my comparisons, I decided the FX6 was the camera that combined all of the good things of a DSLR, while still holding the ability to be built up if needed. This is great!After a month of playing with the 28-135mm PZ lens, which I thought I had to have as a guy who came up in camcorder days, I decided to return that in favor of the 70-200 GM II. The big PZ lens just doesn't fit the FX6 well. It takes away from the thing that makes the FX6 special.My hope is that we will see a more compact mid range PZ lens offering from Sony. A 24-70mm PZ or 24-105mm PZ lens that is built the same as that new 16-35 PZ would really make the FX6 shine. The kit 24-105 lens is okay. It's not the easiest to twist for zoom. Again, the big old 28-135 PZ is just too big.The faults that this camera has are lack of audio recording in 120p, like the FX3 has. They corrected the auto focus touch issue. Another fault is lack of a mic input on the body. A 3.5mm input would have made it great for building the camera down when necessary. It has the built in scratch mic, but sometimes you just want that 3.5mm input, and it isn't there. Of course my solution is to keep the FX6 built, and just use an FX3 for my built down needs, like gimbal and times when I need to be less conspicuous.I'll be using this camera to cover documentary, commercial work, and low/no budget narrative needs of those come around. The only other camera I was thinking of getting instead was a Komodo, but that camera doesn't do so well for one man, run and fun stuff.Going into 2023, I think the FX6 is a great buy, and unless they start broadcasting commercials and regular TV in 8K, I don't see it needing upgrading for many years to come. Of course when a FX6 V2 comes out, I would probably move fast to upgrade if it fixes the few issues mentioned above.
originally posted on bhphotovideo.com
I love my FX6. My RED and FS7 collect dust and I find myself pushing to replace the Alexa Mini with the FX6 on any shoot I can.It's all about usability and ergonomics. I want the best camera in the smallest lightest package with a button for each function. The FX6 is an extension of my arm. I can shoot docustyle all day without any fatigue and get a great image with a relatively small file sizes, and ultra fast copy times.If you get the Sony lenses the autofocus is impeccable. The build quality on some components is heavily reliant on plastic, but in a lot of ways for a full time shooter you could treat them as replaceable.It can easily fit on a small gimbal, or be mounted in a vehicle, shoot through a window. It's a workhorse.
originally posted on bhphotovideo.com
I've had this camera for a little over 3 months now. I have covered this camera extensively on my YouTube channel (Muon Video.) Of the things I discuss is how glass makes such a massive difference. Like many others, I used the FX6 along with the 24-105 f/4 and it simply didn't make any sense in that it is NOT a servo video lens, but a stills lens. Cheeky move by Sony perhaps?So the servo lens you want is not even the more recently released, $5000, 16-35mm servo lens, but instead -- the sub-$3K, 28-135mm f/4. And yes, the 28-135 f/4 power zoom is a seven year old lens, but with autofocus improvement in Sony bodies, it makes entirely more more sense on this camera. Plus, the lens stabilization works fairly well. I would even say better than the 24-105 (perhaps ... MoreI've had this camera for a little over 3 months now. I have covered this camera extensively on my YouTube channel (Muon Video.) Of the things I discuss is how glass makes such a massive difference. Like many others, I used the FX6 along with the 24-105 f/4 and it simply didn't make any sense in that it is NOT a servo video lens, but a stills lens. Cheeky move by Sony perhaps?So the servo lens you want is not even the more recently released, $5000, 16-35mm servo lens, but instead -- the sub-$3K, 28-135mm f/4. And yes, the 28-135 f/4 power zoom is a seven year old lens, but with autofocus improvement in Sony bodies, it makes entirely more more sense on this camera. Plus, the lens stabilization works fairly well. I would even say better than the 24-105 (perhaps that's also due to the weight.)So with all this lens talk out of the way, let's get to the camera. Highlight features include 4K 60P, and 4K 120P along with the simply terrific internal ND filter system that works near flawless (save for the auto-ND feature that sometimes exposes for the space, instead of the subject.) In a world where 6K, or 8K resolution video steals headlines the most -- the internal ND filter system has been my favorite feature on this camera.Filming is easy, and not too complicated apart from the learning curve of the menu system that seems almost intentionally technocratic, and unintuitive.Things that could be better on the FX6 (mainly hardware issues):- No XLR input on the body alone. Meaning that you give up audio when you detach the top handle (aside from scratch audio on the body.)- Also the included monitor isn't the best quality (as is the case with Sonys.)- The mic holder is limited. Thankfully, I have a Sony mic from the XLR accessory for the FX3 and A7S3 -- that mic fits like a charm. But my other, higher quality mics do not. Also the mic holder could be stronger material-wise (I have a substitute mic holder on order from Sideways to circumvent this.)Comparing the FX6 and FX9, the FX6 is extraordinarily light (2 lbs), which I find a huge plus versus the FX9's over double the weight (4.4 lbs.) The FX9 does offer 6K, and more detail with broadcast features, for me the FX6 does the job though, and it doesn't require that massive brick on the end of it for RAW. You can attach a Ninja V+ via SDI and do RAW that way on the FX6.Overall, loving this little cinema camera.
| Effective Pixels | 16 megapixels |
| Sensor Size | Four Thirds (17.3 x 13 mm) |
| Max resolution | 4608 x 3456 |
| Sensor Type | CMOS |
| Processor | TruePic VIII |
Sony FX6 Cinema Camera (Body Only) | Super 35mm 4K Sensor | 15-Stop S-Log3/2 | Built-In ND Filters
Delivery between 16–24 June $9.90
Sony FX6 Cinema Camera Body Only
Free delivery between 12–19 June
Sony FX6 Cinema Camera (ILME-FX6)
Delivery between 15–18 June $36.88
Sony FX6 Cinema Camera Full Frame E-Mount
Delivery between 12–17 June $12.90
Sony FX6 4K Full-Frame 10.2MP Cinema Camera - ILME-FX6V (Body Only)
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
I purchased my FX6 my personal camera. I have over the years used plenty of RED, ARRI, Canon, and Sony cinema cameras. When I was doing my comparisons, I decided the FX6 was the camera that combined all of the good things of a DSLR, while still holding the ability to be built up if needed. This is great!After a month of playing with the 28-135mm PZ lens, which I thought I had to have as a guy who came up in camcorder days, I decided to return that in favor of the 70-200 GM II. The big PZ lens just doesn't fit the FX6 well. It takes away from the thing that makes the FX6 special.My hope is that we will see a more compact mid range PZ lens offering from Sony. A 24-70mm PZ or 24-105mm PZ lens that is built the same as that new 16-35 PZ would really make the FX6 ... MoreI purchased my FX6 my personal camera. I have over the years used plenty of RED, ARRI, Canon, and Sony cinema cameras. When I was doing my comparisons, I decided the FX6 was the camera that combined all of the good things of a DSLR, while still holding the ability to be built up if needed. This is great!After a month of playing with the 28-135mm PZ lens, which I thought I had to have as a guy who came up in camcorder days, I decided to return that in favor of the 70-200 GM II. The big PZ lens just doesn't fit the FX6 well. It takes away from the thing that makes the FX6 special.My hope is that we will see a more compact mid range PZ lens offering from Sony. A 24-70mm PZ or 24-105mm PZ lens that is built the same as that new 16-35 PZ would really make the FX6 shine. The kit 24-105 lens is okay. It's not the easiest to twist for zoom. Again, the big old 28-135 PZ is just too big.The faults that this camera has are lack of audio recording in 120p, like the FX3 has. They corrected the auto focus touch issue. Another fault is lack of a mic input on the body. A 3.5mm input would have made it great for building the camera down when necessary. It has the built in scratch mic, but sometimes you just want that 3.5mm input, and it isn't there. Of course my solution is to keep the FX6 built, and just use an FX3 for my built down needs, like gimbal and times when I need to be less conspicuous.I'll be using this camera to cover documentary, commercial work, and low/no budget narrative needs of those come around. The only other camera I was thinking of getting instead was a Komodo, but that camera doesn't do so well for one man, run and fun stuff.Going into 2023, I think the FX6 is a great buy, and unless they start broadcasting commercials and regular TV in 8K, I don't see it needing upgrading for many years to come. Of course when a FX6 V2 comes out, I would probably move fast to upgrade if it fixes the few issues mentioned above.
I love my FX6. My RED and FS7 collect dust and I find myself pushing to replace the Alexa Mini with the FX6 on any shoot I can.It's all about usability and ergonomics. I want the best camera in the smallest lightest package with a button for each function. The FX6 is an extension of my arm. I can shoot docustyle all day without any fatigue and get a great image with a relatively small file sizes, and ultra fast copy times.If you get the Sony lenses the autofocus is impeccable. The build quality on some components is heavily reliant on plastic, but in a lot of ways for a full time shooter you could treat them as replaceable.It can easily fit on a small gimbal, or be mounted in a vehicle, shoot through a window. It's a workhorse.
I've had this camera for a little over 3 months now. I have covered this camera extensively on my YouTube channel (Muon Video.) Of the things I discuss is how glass makes such a massive difference. Like many others, I used the FX6 along with the 24-105 f/4 and it simply didn't make any sense in that it is NOT a servo video lens, but a stills lens. Cheeky move by Sony perhaps?So the servo lens you want is not even the more recently released, $5000, 16-35mm servo lens, but instead -- the sub-$3K, 28-135mm f/4. And yes, the 28-135 f/4 power zoom is a seven year old lens, but with autofocus improvement in Sony bodies, it makes entirely more more sense on this camera. Plus, the lens stabilization works fairly well. I would even say better than the 24-105 (perhaps ... MoreI've had this camera for a little over 3 months now. I have covered this camera extensively on my YouTube channel (Muon Video.) Of the things I discuss is how glass makes such a massive difference. Like many others, I used the FX6 along with the 24-105 f/4 and it simply didn't make any sense in that it is NOT a servo video lens, but a stills lens. Cheeky move by Sony perhaps?So the servo lens you want is not even the more recently released, $5000, 16-35mm servo lens, but instead -- the sub-$3K, 28-135mm f/4. And yes, the 28-135 f/4 power zoom is a seven year old lens, but with autofocus improvement in Sony bodies, it makes entirely more more sense on this camera. Plus, the lens stabilization works fairly well. I would even say better than the 24-105 (perhaps that's also due to the weight.)So with all this lens talk out of the way, let's get to the camera. Highlight features include 4K 60P, and 4K 120P along with the simply terrific internal ND filter system that works near flawless (save for the auto-ND feature that sometimes exposes for the space, instead of the subject.) In a world where 6K, or 8K resolution video steals headlines the most -- the internal ND filter system has been my favorite feature on this camera.Filming is easy, and not too complicated apart from the learning curve of the menu system that seems almost intentionally technocratic, and unintuitive.Things that could be better on the FX6 (mainly hardware issues):- No XLR input on the body alone. Meaning that you give up audio when you detach the top handle (aside from scratch audio on the body.)- Also the included monitor isn't the best quality (as is the case with Sonys.)- The mic holder is limited. Thankfully, I have a Sony mic from the XLR accessory for the FX3 and A7S3 -- that mic fits like a charm. But my other, higher quality mics do not. Also the mic holder could be stronger material-wise (I have a substitute mic holder on order from Sideways to circumvent this.)Comparing the FX6 and FX9, the FX6 is extraordinarily light (2 lbs), which I find a huge plus versus the FX9's over double the weight (4.4 lbs.) The FX9 does offer 6K, and more detail with broadcast features, for me the FX6 does the job though, and it doesn't require that massive brick on the end of it for RAW. You can attach a Ninja V+ via SDI and do RAW that way on the FX6.Overall, loving this little cinema camera.
I've shot professionally for over 35 years with cameras made by Sony, Panasonic, Ikegami and Arri. The Sony XDCAM line of HD camcorders had been fantastic in my opinion. The field durability and image quality have never let me down. With the introduction of the FX6 I was really curious about the build quality and overall image quality. The chassis is both light and easy to work with and the menu system offers everything I need for optimum quickness, ergonomics and image adjustments. Now let's speak about the game changer aspect to this camera and that is stepless neutral density system that enables you not to worry about under or over exposure with your chosen aperture whether shooting inside or out in various lighting environments. I can shoot at f2.8 continually ... MoreI've shot professionally for over 35 years with cameras made by Sony, Panasonic, Ikegami and Arri. The Sony XDCAM line of HD camcorders had been fantastic in my opinion. The field durability and image quality have never let me down. With the introduction of the FX6 I was really curious about the build quality and overall image quality. The chassis is both light and easy to work with and the menu system offers everything I need for optimum quickness, ergonomics and image adjustments. Now let's speak about the game changer aspect to this camera and that is stepless neutral density system that enables you not to worry about under or over exposure with your chosen aperture whether shooting inside or out in various lighting environments. I can shoot at f2.8 continually with a really soft boheh and not worry about having to adjust it iris as the ND system does it in complete auto. The buttons are all logically placed and have a great feel about them and the 3rd party accessories make this a wonderful cam to custom build to offer the client a superior product. I bought two because one was not enough for me!
This Camera was pushing my budget by a couple Gs. I don't regret it one bit. I have worked with Cinema/Documentary cameras before and have longed for the day when I could own my own. I never though I could get something with so much capability as this. I have not even tried out the Raw recording, external recording, and workflow capabilities yet. The colors I have seen coming out of this in s.Gamut.slog3 look great though. Even in the slightly more compressed file format. I haven't tested the Dynamic range to much, but I have not had any reason to complain yet with 15+ stops. I only get to shoot with this a couple times a month right now but want to use it more consistently moving forward. Will need to use it with stabilization of some kind as there is no IBS. (It ... MoreThis Camera was pushing my budget by a couple Gs. I don't regret it one bit. I have worked with Cinema/Documentary cameras before and have longed for the day when I could own my own. I never though I could get something with so much capability as this. I have not even tried out the Raw recording, external recording, and workflow capabilities yet. The colors I have seen coming out of this in s.Gamut.slog3 look great though. Even in the slightly more compressed file format. I haven't tested the Dynamic range to much, but I have not had any reason to complain yet with 15+ stops. I only get to shoot with this a couple times a month right now but want to use it more consistently moving forward. Will need to use it with stabilization of some kind as there is no IBS. (It is very easy to hold still though). All around great camera. Would recommend for any application.
I returned my FX6. I had really wanted to love this camera, but it's just not working out for me.To understand where I'm coming from, know that I am from the old school of shoulder-mount camcorders. I shoot a mix of interviews, office B-roll, and outdoor events. I was hoping this camera would replace my beloved Sony NEX EA-50, which is a great all around camcorder, but doesn't do 4K. (I also have an A7 iii - which does 4K but overheated on me during an interview, very scarring experience.) So I was super excited to get my hands on the FX6.Unfortunately, I felt already mildly disappointed when I started unpacking it. I attached the zoom handle, and it had a wiggle in it. Why?? Then I attached the LCD and found the cable being in the way of things. Had to tuck it ... MoreI returned my FX6. I had really wanted to love this camera, but it's just not working out for me.To understand where I'm coming from, know that I am from the old school of shoulder-mount camcorders. I shoot a mix of interviews, office B-roll, and outdoor events. I was hoping this camera would replace my beloved Sony NEX EA-50, which is a great all around camcorder, but doesn't do 4K. (I also have an A7 iii - which does 4K but overheated on me during an interview, very scarring experience.) So I was super excited to get my hands on the FX6.Unfortunately, I felt already mildly disappointed when I started unpacking it. I attached the zoom handle, and it had a wiggle in it. Why?? Then I attached the LCD and found the cable being in the way of things. Had to tuck it away through the handle, so it wouldn't hang over my shorter lenses. The lens hood feels extremely flimsy, can't imagine that holding up in the field for any length of time. The last thing I thought was really bad, was the placement of the headphone jack. My fingers are not gigantic, but I found it annoyingly difficult to grab and pull the headphone connector out of there. (Again, why Sony? There are so many other places it could have gone!)But ok. I was ready to forgive all of those things because I was immediately in love with the nice bokeh and the touch screen tap focus & tracking feature.So, off to the first race - I set the FX6 up next to my ancient NEX EA-50 and was prepared to be blown away by the image quality. And ... wasn't. I used a variety of my Sony lenses, including full frame primes. Granted, the FX6 has an amazing dynamic range, and shallower depth of field. But the object I actually was shooting didn't look that much different. I literally had to watch the shots side by side in post to see the slight improvement in image clarity and sharpness. Definitely not 6K worth of a difference.The next big annoyance was the fact that Sony is making me jump through $400 hoops in order to get a working viewfinder on this rig. One has to either get a Zacuto, or install a third party arm that allows you to use an existing Sony loupe without the thing falling down on you - the LCD mount is simply not strong enough to hold it. I think that is just ridiculous.So, I was already mildly ticket off when I took the FX6 outside for a test shoot. And that's where it failed me completely.The first thing I noticed was that the much touted Auto ND feature was shooting way too hot. Maybe I could have fixed that in the menu somehow, not sure. Certainly didn't leave a good first impression.The last straw was this: My plan had been to use the FX6 in FF mode when shooting indoor interviews in 4K, but to keep shooting my events in HD for now, using my old Sony SELP 18-200 zoom lens. The reason is, I would have been perfectly willing to spend the money buying a Sony FF zoom lens, but there doesn't seem to be one available that is of any real world use. The PZ 28-135 is neither wide enough nor long enough for events. I could make it long enough by shooting on crop sensor, but then it would not be wide at all on the other end. Also, there is this scary user review mentioning the lens breaking off the mount??Anyway, so I attached my old zoom lens, and switched the FX6 to crop sensor mode to get rid of the vignette. The image looked fine. But as I engaged the servo zoom, the camera lost focus for a moment! Repeatedly! This, with such a shallow depth of field is of course extremely noticeable, and was the deal breaker for me. I don't know if I had ended up with a faulty unit, or if there is a valid reason why the old Sony lens doesn't work with this camera - but I'm not about to spend a few more thousand Dollars to try to find out. So, back to the drawing board for me.Sony, if you're listening: Can I pretty please have this camera in a shoulder mount body with a built in viewfinder and a useful zoom lens? Ready to go out of the box?
Sony made some very, very odd decisions with this camera. Granted, a variable ND is a function like no other when transitioning from scenes with extreme differences in brightness. But aside from the variable ND, the FX6 leaves much to be wanted.In some ways, the cheaper FX3 is a better camera than the FX6. Sony's decision to leave out any UHD 10-bit Long-GOP makes the FX3 more useful for long interviews.In fact, the FX3/A7SIII have far more frame rate and bit rate options, with the only omission being true 24p. The FX6 has no XAVC-L 4K options in 10 bit... only 8-bit... a staggeringly odd choice, especially considering that XAVC-L 1080p is 10-bit.Both the FX6 and the FX3 have a similar audio interface built into the handle. However, the FX3's audio handle has ... MoreSony made some very, very odd decisions with this camera. Granted, a variable ND is a function like no other when transitioning from scenes with extreme differences in brightness. But aside from the variable ND, the FX6 leaves much to be wanted.In some ways, the cheaper FX3 is a better camera than the FX6. Sony's decision to leave out any UHD 10-bit Long-GOP makes the FX3 more useful for long interviews.In fact, the FX3/A7SIII have far more frame rate and bit rate options, with the only omission being true 24p. The FX6 has no XAVC-L 4K options in 10 bit... only 8-bit... a staggeringly odd choice, especially considering that XAVC-L 1080p is 10-bit.Both the FX6 and the FX3 have a similar audio interface built into the handle. However, the FX3's audio handle has not only two XLR inputs, but an additional input, useful for wireless mics. And, without the audio handle on the FX6, there are actually zero audio inputs, while the FX3 still has an audio input without it's audio handle.The biggest benefit of the FX6 is the variable ND. But, it has the added benefit that most video-centric buttons and controls are on it's exterior. It's useful to have a dedicated button or control for many functions. But, at the cost of so much other functionality, are these controls worth it?What good are audio controls without the audio handle?This camera is made for people who don't want to be forced to rig up a camera in order to run it all day long... like documentary filmmakers. Using BP style batteries, it's able to run all day without adding bulk or weight.But, I argue that for many working professionals, you'd be better off rigging up an FX3. There are significant tradeoffs with the FX6. Some could be easily fixed with firmware updates, like adding a massively useful Long-GOP 4K 10-bit recording option. But with such a limited number of recording options, the FX3/A7SIII are far more versatile. That is, if you're willing to rig them out a little.
I bought this to move up from the A7S iii. While cameras like the A7S and FX3 are very capable, they are built in photo-inspired bodies that are more comfortable for those that started out on DSLR or mirrorless. I have started to work a lot more in the field on bigger sets and productions, and have been feeling like I needed to move up from the A7S. The A7S/FX3 are excellent content creation cameras and travel setups, but for dedicated video work, the FX6 is king. It was an intimidating leap, with completely different menus and learning curves compared to mirrorless, but I used it on a shoot for the first time this week and it blew my mind. The ergonomics and video dedicated body design of it combined with internal variable ND are reasons enough to upgrade.I got a ... MoreI bought this to move up from the A7S iii. While cameras like the A7S and FX3 are very capable, they are built in photo-inspired bodies that are more comfortable for those that started out on DSLR or mirrorless. I have started to work a lot more in the field on bigger sets and productions, and have been feeling like I needed to move up from the A7S. The A7S/FX3 are excellent content creation cameras and travel setups, but for dedicated video work, the FX6 is king. It was an intimidating leap, with completely different menus and learning curves compared to mirrorless, but I used it on a shoot for the first time this week and it blew my mind. The ergonomics and video dedicated body design of it combined with internal variable ND are reasons enough to upgrade.I got a bit nervous watching youtubers' experience with the FX6, with most of them saying mirrorless setups are more convenient and that the FX6 slows you down. I notice more and more that youtubers tend to be brand ambassadors rather than people that actually work regularly in the field (not all of them are like this, but many are). It's very easy to say this camera isn't great when you aren't using it how it's designed to be used.If you do regular video work in the field and want a workhorse that is truly a rockstar, the FX6 is an amazing choice. I am excited to not have to rig up my mirrorless cameras anymore and use them as B cams and content creation tools where they can shine more. It is a decent learning curve coming from the mirrorless world, but it is very worth it. I also feel like I made a better investment with this camera. It feels like cinema bodies have much more longevity, where new mirrorless bodies are dropping every month. The FX6 does everything I will need for years to come. Stellar service from B&H per usual. Very happy!
Some reviewers have criticized this camera for essentially being a mirrorless camera (the A7s IV) in a cinema body. Like that doesn't matter that much, when, in realty, it does! I haven't done screen tests against the FX3 or A7s IV, but I own both the FX3 and FX6, and can you guess which one is easier to use? The FX6 is by far the better camera. Ergonomics matter a lot, especially in this day and age where every camera shoots 4k, offers LOG options, and varied frame rates. Instead of spending my time screwing a .6 ND filter onto the front of a lens- oops, I need a step up ring- I'm spending my time and energy crafting the perfect shot. With the flip of a switch I activate the variable ND filter, and almost instantaneously, my problem is solved. I don't have to ... MoreSome reviewers have criticized this camera for essentially being a mirrorless camera (the A7s IV) in a cinema body. Like that doesn't matter that much, when, in realty, it does! I haven't done screen tests against the FX3 or A7s IV, but I own both the FX3 and FX6, and can you guess which one is easier to use? The FX6 is by far the better camera. Ergonomics matter a lot, especially in this day and age where every camera shoots 4k, offers LOG options, and varied frame rates. Instead of spending my time screwing a .6 ND filter onto the front of a lens- oops, I need a step up ring- I'm spending my time and energy crafting the perfect shot. With the flip of a switch I activate the variable ND filter, and almost instantaneously, my problem is solved. I don't have to fumble around with additional gear. The button layout on the camera is a thing of beauty. Similar to past models (I used the FS7 and 5 extensively), but better, and simpler. The programmable buttons are easy to locate, change, and optimize for your work style. The viewfinder has buttons on the side that allow you to activate peaking, a waveform monitor, and other visual features. To sum it up: someone thought this through a lot. And it can't be overstated that this camera feels like an evolution of technology, rather than a reiteration- which isn't always the case.The images themselves look fantastic, I can't complain at all. I like the addition of the fast menu, as well as the longer one. I like the advanced audio controls for single shooter work. And it's a camera that clients respect a lot more than the FX3, while not being a pain to lug around. Do I wish I could shoot in 4k in S35 mode? Yeah, that was an awesome feature in the Fs7 ii I used for awhile. But it's not a dealbreaker. And the low-light capabilities and advanced autofocus features make the camera versatile enough as it is. The autofocus system is game changing, for people who haven't experienced it. So much of my work as a documentary filmmaker is dependent on capturing the moment. With this amazing touch autofocus system, I never miss anything. I just touch the screen where I want it to focus on someone, and it tracks the subject. I can easily deactivate this for different effects with the push of a button, and reactivate it when I want to track again. What does this all mean in the end? It means that even if you're filming by yourself, this camera is the only tool you need to make a world-class production. You have professional audio and pre-amps, with incredible autofocus, an internal variable ND filter, variable ISO's in cinema mode that are both amazing, and everything else that you need to optimize your shoot to be possible. Problems that were prevalent even just a few years ago are gone with this camera. It even can eliminate focus breathing with certain G master lenses through the flip of a menu switch. It makes filmmaking as fun as possible, and frees you up to make creative choices, instead of presenting you with limitations. It's about as good as it gets.
I recently filmed&directed an 8-part natural history series for Channel 5 and as the series required both actuality with ecologists and scientists as well as wildlife photography (macro and long lens) the FX6 proved to be the most versatile camera I have ever worked with. Its ability to capture cinematic documentary style sequences and be portable and light enough to trek into and out of the forest every day only served to make it even more attractive as a camera set up. The internal ND filters were brilliant in maintaining accurate exposure without the need for a matte box (a great help in difficult to film situations) and its ability to quickly switch from S&Q and Cache during wildlife filming to GVs and actuality-led sequences allowed for fast capture of scenes. ... MoreI recently filmed&directed an 8-part natural history series for Channel 5 and as the series required both actuality with ecologists and scientists as well as wildlife photography (macro and long lens) the FX6 proved to be the most versatile camera I have ever worked with. Its ability to capture cinematic documentary style sequences and be portable and light enough to trek into and out of the forest every day only served to make it even more attractive as a camera set up. The internal ND filters were brilliant in maintaining accurate exposure without the need for a matte box (a great help in difficult to film situations) and its ability to quickly switch from S&Q and Cache during wildlife filming to GVs and actuality-led sequences allowed for fast capture of scenes. It is especially impressive in low light environments. I used a variety of lenses throughout production across a wide range of brands (Canon, Tamron, Sony) and all worked exceptionally well with the FX6. The Sony wireless microphone system through the hot shoe mount helped to reduce the inconvenience of mounting two receivers and stripped down, the camera body was light enough to use on both a gimbal and slider effectively. A pretty remarkable little camera (that could). I was so impressed with its performance, latitude and picture quality, I purchased one after production wrapped!
| Effective Pixels | 16 megapixels |
| Sensor Size | Four Thirds (17.3 x 13 mm) |
| Max resolution | 4608 x 3456 |
| Sensor Type | CMOS |
| Processor | TruePic VIII |
