Cinema Line FX6 Camera

Model:
RM 29,999.00
1

1. Prices indicated refer to Suggested Retail Price and may change from time to time without prior notice.

  • Overview
    The FX6 Cinema Line Camera puts revolutionary compactness and performance in the hands of creators, with its full-frame image sensor and breathtaking sensitivity. Leading-edge movie functions deliver game-changing performance and a library of cinematic looks, alongside pro interfaces and an electronic Variable ND Filter. Note: Operation of this equipment in a residential environment could cause radio interference.
  • Highlight

    Full-frame performance with high sensitivity and preset cinematic looks

    Leading-edge movie functions including Real-time Eye AF and Face Detection

    4K (QFHD) high-frame-rate 120fps recording

    Built-in electronic Variable ND Filter

    Cinematic colour science with S-Cinetone

    SENSOR TYPE

    35 mm full-frame, single-chip CMOS image sensor

    PIXELS

    Approx. 12.9 megapixels(total), Approx. 10.2 megapixels(effective)

    SENSITIVITY

    ISO 800/12800 (Cine EI mode, D55 Light source)

    BUILT-IN OPTICAL FILTERS

    Clear, linear variable ND(1/4ND to 1/128ND)

    MEDIA TYPE

    CF express Type A / SD card (x2);Slot B can be used for saving configuration data.

    LCD

    8.8 cm (3.5 type);Approx. 2.76M dots

  • Specifications

    General

    LENS MOUNT

    E-mount

    Size & Weight

    WEIGHT (MAIN UNIT ONLY) (approx.)

    890g (1lb15oz)

    WEIGHT (INCLUDING SUPPLIED ACCESSORIES) (approx.)

    2.59kg(5lb11oz) (with Viewfinder, Grip Remote Control, BP-U35 battery, SEL24105G LENS, Lens Hood, Handle, MIC holder)

    DIMENSIONS (W X H X D) (BODY WITHOUT PROTRUSIONS) (approx.)

    114 x 116 x 153 mm(4 1/2 x 4 5/8 x 6 1/8 inch) (body without protrusions)

    Power

    POWER REQUIREMENTS

    DC 19.5V

    POWER CONSUMPTION

    Approx. 18.0 W (while recording XAVC-I QFHD 59.94p, SEL24105G Lens, Viewfinder ON, not using external device)

    BATTERY OPERATING TIME

    Approx. 105min. with BP-U35 battery (while recording XAVC-I QFHD 59.94p, SEL24105G Lens, Viewfinder ON, not using external device), Approx. 215min. with BP-U70 battery (while recording XAVC-I QFHD 59.94p, SEL24105G Lens, Viewfinder ON, not using external device)

    Operation

    OPERATING TEMPERATURE

    0°C to 40°C, 32°F to 104°F

    STORAGE TEMPERATURE

    -20°C to +60°C, -4°F to +140°F

    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 29.97p mode:CBG, MAX bit rate 111 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 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

    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 29.97p/25p/23.98p/59.94p/50p mode:VBR, MAX bit rate 50 Mbps, MPEG-4 H.264/AVC, XAVC-L HD 29.97p/25p/23.98p/59.94p/50p mode:VBR, MAX bit rate 35 Mbps, MPEG-4 H.264/AVC

    Recording Format (Audio)

    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, 50P, 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, 29.97P, 23.98P, 25P, XAVC-L HD 35 mode:1920 x 1080/59.94P, 50P, 29.97P, 23.98P, 25P

    Recording/Playback Time

    XAVC INTRA

    XAVC-I DCI4K/QFHD 59.94p When using CEA-G160T (160 GB):Approx. 30 minutes When using CEA-G80T (80 GB):Approx. 15 minutes, XAVC-I DCI4K/QFHD 50p When using CEA-G160T (160 GB):Approx. 36 minutes When using CEA-G80T (80 GB): Approx. 17 minutes, XAVC-I DCI4K/QFHD 29.97p When using CEA-G160T (160 GB):Approx. 60 minutes When using CEA-G80T (80 GB):Approx. 29 minutes, XAVC-I DCI4K/QFHD 25p When using CEA-G160T (160 GB):Approx. 71 minutes When using CEA-G80T (80 GB):Approx. 35 minutes, XAVC-I DCI4K 24p When using CEA-G160T (160 GB):Approx. 74 minutes When using CEA-G80T (80 GB):Approx. 36 minutes, XAVC-I DCI4K/QFHD 23.98p When using CEA-G160T (160 GB):Approx. 74 minutes When using CEA-G80T (80 GB):Approx. 36 minutes, XAVC-I HD 59.94p When using CEA-G160T (160 GB):Approx. 78 minutes When using CEA-G80T (80 GB):Approx. 38 minutes, XAVC-I HD 50p When using CEA-G160T (160 GB):Approx. 78 minutes When using CEA-G80T (80 GB):Approx. 38 minutes, XAVC-I HD 29.97p When using CEA-G160T (160 GB):Approx. 150 minutes When using CEA-G80T (80 GB):Approx. 74 minutes, XAVC-I HD 25p When using CEA-G160T (160 GB):Approx. 150 minutes When using CEA-G80T (80 GB):Approx. 74 minutes, XAVC-I HD 23.98p When using CEA-G160T (160 GB):Approx. 185 minutes When using CEA-G80T (80 GB):Approx. 91 minutes

    XAVC LONG

    XAVC-L QFHD 29.97p/25p/23.98p When using CEA-G160T (160 GB):Approx. 170 minutes When using CEA-G80T (80 GB):Approx. 86 minutes, XAVC-L QFHD 59.94p/50p When using CEA-G160T (160 GB):Approx. 115 minutes When using CEA-G80T (80 GB):Approx. 57 minutes, XAVC-L HD 50 /29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB):Approx. 320 minutes When using CEA-G80T (80 GB):Approx. 155 minutes, XAVC-L HD 35 29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB):Approx. 430 minutes When using CEA-G80T (80 GB):Approx. 210 minutes

    PROXY AUDIO

    XAVC Proxy: AAC-LC, 128 kbps, 2 channels

    PROXY VIDEO

    XAVC Proxy: AVC/H.264 High Profile 4:2:0 Long GOP, VBR 1920x1080, 9Mbps

    Camera Section

    SENSOR TYPE

    35 mm full-frame, single-chip CMOS image sensor

    PIXELS

    Approx. 12.9 megapixels(total), Approx. 10.2 megapixels(effective)

    BUILT-IN OPTICAL FILTERS

    Clear, linear variable ND(1/4ND to 1/128ND)

    SENSITIVITY

    ISO 800/12800 (Cine EI mode, D55 Light source)

    SIGNAL-TO-NOISE RATIO

    delete

    SHUTTER SPEED

    64F to 1/8000 sec

    Slow & Quick Motion

    XAVC-I

    4096x2160, 1 to 60 frames (59.94/50/29.97/25/24/23.98)

    XAVC-I/L

    3840 x 2160, 1 to 60, 100, 120 frames (59.94/50/29.97/25/23.98), 1920 x 1080, 1 to 60, 100, 120, 150, 180, 200, 240 frames (59.94/50/29.97/25/23.98)

    White Balance

    WHITE-BALANCE MODES

    Preset, Memory A, Memory B (2000K-15000K)/ATW

    Exposure

    GAIN CONTROL

    -3 to 30dB (every 1dB), AGC

    Gamma

    GAMMA CURVE

    SDR mode : S-Cinetone, Standard, Still, ITU709, HDR mode : HLG_Live, HLG_Natural

    Latitude

    Latitude

    15+ stop

    Interface

    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 OUT: BNC, 12G-SDI, 6G-SDI, 3G-SDI(Level A/B)

    USB

    USB Type-C(x1), Multi/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)

    GRIP

    Minijack(φ3.5mm / 4pin)

    Monitoring

    LCD

    8.8 cm (3.5 type), Approx. 2.76M dots

    Built-in Microphone

    BUILT-IN MICROPHONE

    Omni-directional monoral electret condenser microphone (body) (x1), Stereo electret condenser microphone (handle) (x1)

    Media

    MEDIA TYPE

    CF express Type A / SD card (x2), Slot B can be used for saving configuration data.

    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

    SECURITY

    WEP/WPA-PSK/WPA2-PSK

    NFC

    NFC Forum Type 3 Tag compliant

    Supplied Accessories

    SUPPLIED ACCESSORIES

    Handle(1), LCD monitor(1), Grip remote control(1), AC Adaptor(1), Power cord(1), Battery charger(1), Battery pack(1), USB-C cable(1), LCD hood(1), Cold shoe kit(1), Lens mount cap(1), Handle connector cap(1), Before Using This Unit(1)

  • Features
    Image sensor with blazing fast readout speed

    Image sensor with blazing fast readout speed

    The back-illuminated full-frame Exmor R<sup>TM</sup> CMOS sensor, with 10.2 effective megapixels, boasts a blazingly fast data readout speed along with high sensitivity and wide dynamic range. An advanced colour filter array boosts colour reproduction accuracy, while focal plane phase-detection AF enables solid autofocus stability and excellent precision, all of which contribute to outstanding image quality.

    High performance image-processing engine

    High performance image-processing engine

    The BIONZ XR<sup>TM</sup> image-processing engine boasts class-leading speed performance, minimising latency while providing impressive real-time processing capabilities. The engine performs real-time processing of AF, image recognition and image quality adjustments, while also handling data transfer, user interface and other camera operations.

    High sensitivity, wide dynamic range

    High sensitivity, wide dynamic range

    The full-frame 10.2-megapixel configuration enables high sensitivity with low noise throughout the camera's sensitivity range by optimising the output signal from the sensor. Capture usable images in near total darkness with an impressive ISO expanded range up to 409600. The dynamic range is an impressively wide 15+ stops, for beautiful, true-to-life images without blown highlights. Together, the camera's high sensitivity and wide dynamic range expand your creative freedom during shoots. 

    4K High Frame Rate 120fps recording

    4K High Frame Rate 120fps recording

    Full-frame 4K (QFHD) recording at up to 120fps with autofocus is possible thanks to the high-speed readout capabilities of the image sensor and the powerful BIONZ XR processor. Even at high frame rates, ultra-detailed 4K (QFHD) images are captured using full-pixel readout without binning, for clear post-produced slow motion (up to 5x slower than real time). The high-precision AF even allows beautiful full-frame bokeh to be achieved during slow motion shooting, for impressive creative scope.

    Acclaimed cinematic colour with S-Cinetone™

    Acclaimed cinematic colour with S-Cinetone™

    The inclusion of Sony’s acclaimed S-Cinetone look, inherited from the development of the FX9, allows beautiful images to be achieved directly in-camera. S-Cinetone is optimised for natural skin tones and mid-range colours, with gentle highlight roll-off, for impressive subject depiction and powerful camera-matching and post-production possibilities. 

    Preset and User 3D LUT compatibility with Scene File

    Preset and User 3D LUT compatibility with Scene File

    The Scene File function provides powerful colour interpretation right in the camera, with a range of presets and custom User 3D LUT imports to fit your production or style requirements. Four preset scene file types are included for SDR shooting (S-Cinetone, Standard, Still, ITU709) and two for HDR (HLG Live, HLG Natural). A further 16 slots support User 3D LUT import to achieve custom looks or for specific monitoring or colour-space transforms.

    10-bit HLG picture profile

    10-bit HLG picture profile

    An HLG (Hybrid Log-Gamma) HDR picture profile, complete with the wide-gamut BT.2020 colour space, can be used for direct HDR (HLG) playback on compatible TVs. The result is true-to-life imagery close to what the naked eye can see, with detailed shadows and highlights, less blackout and less whiteout, all without the need for colour grading. In particular, 10-bit recordings reproduce a level of fine gradation and detail for extraordinary realism. [1] High flexibility to fine-tune images as desired (colour grading required)[2] Instant high-quality image (colour grading not required) 

    S-Log3 for better reproduction of gradations

    S-Log3 for better reproduction of gradations

    S-Log3 gamma curves are available, with S-Log3 designed for better reproduction of gradations from shadows to the mid-grey range (18% grey), enabling a dynamic range of up to 15+ stops. Two colour gamut settings (S-Gamut3, and S-Gamut3.Cine) make it easier to match the colours of footage shot with Sony's Cinema Line Cameras. Because the colours match, colour grading is easier in post-production editing, making it more convenient when used along with other pro cameras.

    Recording movies with 10-bit depth and 4:2:2 colour sampling

    Recording movies with 10-bit depth and 4:2:2 colour sampling

    The FX6 is capable of 4K internal recording, encoding 10-bit depth and 4:2:2 colour sampling with All-Intra compression. This makes it possible to push your colour grades further, stretching video out for ultimate HDR realism while still retaining natural gradation, for true editing freedom.

    A choice of battery types for different applications

    A choice of battery types for different applications

    The FX6 is compatible with BP-U series battery packs. The BP-U35, BP-U70, BP-U100, or BP-U60T can be selected according to shooting needs. The BP-U35, for example, is an ideal choice to make most of the camera’s mobility when it is to be used handheld. The BP-U100, on the other hand, can provide extended recording time when the FX6 is to be mounted on a tripod or other support. The battery CHECK button allows charge level to be checked even when the battery is not connected to the camera.

    All-Intra internal recording

    All-Intra internal recording

    In addition to Long-GOP inter-frame compression, internal intra-frame (All-Intra) recording is supported. XAVC 4K Intra recording compresses each frame independently at a high bitrate, up to 600Mbps, so is ideal for capturing complex motion, and allowing maximum flexibility and playback performance during post-production. [1] All-Intra (All-I)   [2] Long-GOP   [3] Group of Pictures

    16-bit RAW data output

    16-bit RAW data output

    Facilitating improved image quality and more flexible and efficient editing in post production, the camera supports 16-bit RAW data output to an external recorder via SDI. RAW video output is 4096x2160 or 3840x2160 data from the image sensor with a choice of 120 / 100 / 59.94 / 50 / 29.97 / 25 / 24 / 23.98 frame rates.

    Proxy recording for more efficient editing workflow

    Proxy recording for more efficient editing workflow

    When shooting movies, low bit-rate HD proxy files can be recorded simultaneously with higher bit-rate formats such as XAVC 4K, and these smaller proxy files can then be used for editing and previewing prior to final production delivery. This reduces computer load and allows faster and more efficient workflows. Proxy files are captured in 8-bit XAVC-L (1980x1080 9Mbps MP4 wrapper).

    Fast Hybrid AF for dependable focus during movie shooting

    Fast Hybrid AF for dependable focus during movie shooting

    Fast Hybrid AF combines focal plane phase-detection AF with contrast-detection AF. This results in highly precise, smooth tracking of fast-moving subjects even over a wide range with a shallow depth of field. AF Transition Speed and AF Subject Shift Sensitivity parameters allow more flexible focus control, as demanded by professional users. Both allow preset settings to be recalled during recording by using a customisable button. 

    Real-time Eye AF and Face Detection AF

    Real-time Eye AF and Face Detection AF

    For reliable focusing on people, especially in unpredictable shooting environments such as news gathering, event and documentary shooting, powerful Real-time Eye AF and Face Detection AF are built in. The real-time processing capability of the BIONZ XR image processing engine automatically maintains accurate eye focus on faces even in profile, looking up or down, or partially obscured - allowing you to concentrate fully on shot composition.

    Reliable durability and weather resistance in tough situations

    Reliable durability and weather resistance in tough situations

    In response to pro opinions, enhanced sealing is applied to the media compartment lid, terminal cover and all joints in the chassis. Routes to dust and moisture entry have been re-examined to ensure reliable operation in challenging environments.

    Lens-ring AF subject selection

    Lens-ring AF subject selection

    When the AF Assist function is ON, rotating the focus ring instantly switches from autofocus to manual focus so that a different subject can be quickly selected. The face selection algorithm has also been improved so that the focus ring can be used to quickly and intuitively select specific individuals from within a group when shooting with Real-time Eye AF or Face Detection. Autofocus operation resumes as soon as the user stops rotating the lens focus ring, and the last subject selected by the focus ring is automatically tracked. 

    Sony’s powerful electronic Variable ND Filter built in

    Sony’s powerful electronic Variable ND Filter built in

    The revolutionary electronic Variable ND Filter controls the opacity of the neutral filter seamlessly from 1/4 to 1/128ND to achieve unmatched creative control and fluidity. Unique to Sony, it can manually or automatically adjust exposure without affecting the depth of field or shutter angle, letting you achieve perfect exposure even moving between different environments such as from indoors to out.

    Magnesium alloy body achieves high durability with light weight

    Magnesium alloy body achieves high durability with light weight

    To perform reliably in challenging environments the main chassis, as well as top, front, and rear covers and the handle are constructed from lightweight magnesium alloy. The magnesium alloy main frame achieves high strength and durability with minimum weight in order to maximise mobility. The rigidity of the mount area is also boosted by the provision of six screws for stable attachment of heavy lenses. 

    Innovative heat dissipation to prevent thermal shut down

    Innovative heat dissipation to prevent thermal shut down

    To ensure dependable full-frame recording in demanding environments and at high resolutions and frame rates, the FX6 features an innovative heat dissipation structure. A complete redesign of the chassis structure assessed the placement of internal heatsinks and the entire airflow structure, from louvers to circuit board layout. When required, a silent fan provides ventilation for continuous recording at full resolution, with intake and exhaust air structurally isolated to maintain strong dust and moisture resistance.

    High-definition 2.76 million-dot flexible LCD touch panel

    High-definition 2.76 million-dot flexible LCD touch panel

    The 3.5-size LCD panel (1280 x 720 pixels) is mounted on an extended pedestal, and adjustable to a wide range of angles for easy video monitoring regardless of camera rigging and shooting angle. Mounting points are provided at three places on the handle and two on the body. With touch panel support, it also provides intuitive control for many camera settings, even where camera body controls are less accessible.

    Smart grip

    Smart grip

    The FX6’s ergonomic Smart Grip is designed for powerful and comfortable camera control even during prolonged or dynamic shooting situations. Three customisable buttons, plus essential zoom and start/stop control and a custom dial suitable for Iris or Variable ND Filter control, are all positioned in easy grip reach. The freely-adjustable telescoping handle and grip angle are set with a single button, for effortless position changes without slowing production.

    Smart handle

    Smart handle

    Attachable to the top face of the camera, the smart handle allows stable camerawork and operation when the smart grip is difficult to hold, for example in low-angle shooting. It’s also equipped with XLR terminals, a mic holder and a digital Multi Interface (MI) Shoe, allowing use with a variety of existing pro accessories. Two assignable buttons, a multi-selector button and a handle assignable dial have also been added for improved operability. Quarter-inch screw holes for accessory attachment are provided at seven locations on the handle for increased freedom. Thoughtful touches for adaptable workflows are also considered, such as including storage for the handle protection cap in the handle itself – ready to seal the body connectors if the handle is removed for rigging.

    Professional connectivity

    Professional connectivity

    The FX6 features a range of professional interfaces including independent 12G-SDI (supports 3G/6G-SDI) suitable for external 16-bit RAW recording as well as HDMI output for program monitoring. Timecode (TC IN / TC OUT) connectors allow multi-camera sync, and SuperSpeed USB-C 5Gbps (USB 3.2) allows shooting data to be uploaded to a PC at high speed.

    Dual XLR inputs and enhanced audio capability

    Dual XLR inputs and enhanced audio capability

    The handle of the FX6 carries two independent audio inputs (easy-access XLR connectors) to connect external professional microphones. Additionally, a UWP series wireless microphone may be connected via the MI Shoe. 

    Two CFexpress Type A-compatible media slots

    Two CFexpress Type A-compatible media slots

    The camera's two media slots are compatible with CFexpress Type A cards as well as SDXC/SDHC cards supporting UHS-I and UHS-II speed classes. CFexpress Type A cards are the next standard for compact storage with fast write/read speeds suitable for 4K movie recording at high bit rates. They are capable of quickly clearing camera buffers even when high volumes of movie data are being generated.

    Data communications to support on-site workflow

    Data communications to support on-site workflow

    Network communications features support FTP transfer for movie files as well as remote shooting capability, to facilitate professional workflows during shoots. Wireless 5GHz / 2.4GHz LAN connections are supported, and wired connectivity to 1000BASE-T Ethernet networks is available via a USB-to-Ethernet adaptor cable connected to the camera's USB Type-C® port supporting SuperSpeed USB 5Gbps (USB 3.2).

    Metadata to facilitate editing with Catalyst

    Metadata to facilitate editing with Catalyst

    Sony’s Catalyst Browse and Prepare software are ideal production partners for the FX6. The FX6 records three types of metadata: image stabilisation, clip flag, and camera rotation. These can be useful when previewing and preparing to edit in Sony’s free Catalyst Browse or cost-effective Catalyst Prepare software. [1] Shoot  [2] Edit

  • Support
  • Overview
    • Overview
      The FX6 Cinema Line Camera puts revolutionary compactness and performance in the hands of creators, with its full-frame image sensor and breathtaking sensitivity. Leading-edge movie functions deliver game-changing performance and a library of cinematic looks, alongside pro interfaces and an electronic Variable ND Filter. Note: Operation of this equipment in a residential environment could cause radio interference.
  • highlight
    • Highlight

      Full-frame performance with high sensitivity and preset cinematic looks

      Leading-edge movie functions including Real-time Eye AF and Face Detection

      4K (QFHD) high-frame-rate 120fps recording

      Built-in electronic Variable ND Filter

      Cinematic colour science with S-Cinetone

      SENSOR TYPE

      35 mm full-frame, single-chip CMOS image sensor

      PIXELS

      Approx. 12.9 megapixels(total), Approx. 10.2 megapixels(effective)

      SENSITIVITY

      ISO 800/12800 (Cine EI mode, D55 Light source)

      BUILT-IN OPTICAL FILTERS

      Clear, linear variable ND(1/4ND to 1/128ND)

      MEDIA TYPE

      CF express Type A / SD card (x2);Slot B can be used for saving configuration data.

      LCD

      8.8 cm (3.5 type);Approx. 2.76M dots

  • specifications
    • Specifications

      General

      LENS MOUNT

      E-mount

      Size & Weight

      WEIGHT (MAIN UNIT ONLY) (approx.)

      890g (1lb15oz)

      WEIGHT (INCLUDING SUPPLIED ACCESSORIES) (approx.)

      2.59kg(5lb11oz) (with Viewfinder, Grip Remote Control, BP-U35 battery, SEL24105G LENS, Lens Hood, Handle, MIC holder)

      DIMENSIONS (W X H X D) (BODY WITHOUT PROTRUSIONS) (approx.)

      114 x 116 x 153 mm(4 1/2 x 4 5/8 x 6 1/8 inch) (body without protrusions)

      Power

      POWER REQUIREMENTS

      DC 19.5V

      POWER CONSUMPTION

      Approx. 18.0 W (while recording XAVC-I QFHD 59.94p, SEL24105G Lens, Viewfinder ON, not using external device)

      BATTERY OPERATING TIME

      Approx. 105min. with BP-U35 battery (while recording XAVC-I QFHD 59.94p, SEL24105G Lens, Viewfinder ON, not using external device), Approx. 215min. with BP-U70 battery (while recording XAVC-I QFHD 59.94p, SEL24105G Lens, Viewfinder ON, not using external device)

      Operation

      OPERATING TEMPERATURE

      0°C to 40°C, 32°F to 104°F

      STORAGE TEMPERATURE

      -20°C to +60°C, -4°F to +140°F

      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 29.97p mode:CBG, MAX bit rate 111 Mbps, MPEG-4 AVC/H.264, XAVC-I HD 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

      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 29.97p/25p/23.98p/59.94p/50p mode:VBR, MAX bit rate 50 Mbps, MPEG-4 H.264/AVC, XAVC-L HD 29.97p/25p/23.98p/59.94p/50p mode:VBR, MAX bit rate 35 Mbps, MPEG-4 H.264/AVC

      Recording Format (Audio)

      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, 50P, 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, 29.97P, 23.98P, 25P, XAVC-L HD 35 mode:1920 x 1080/59.94P, 50P, 29.97P, 23.98P, 25P

      Recording/Playback Time

      XAVC INTRA

      XAVC-I DCI4K/QFHD 59.94p When using CEA-G160T (160 GB):Approx. 30 minutes When using CEA-G80T (80 GB):Approx. 15 minutes, XAVC-I DCI4K/QFHD 50p When using CEA-G160T (160 GB):Approx. 36 minutes When using CEA-G80T (80 GB): Approx. 17 minutes, XAVC-I DCI4K/QFHD 29.97p When using CEA-G160T (160 GB):Approx. 60 minutes When using CEA-G80T (80 GB):Approx. 29 minutes, XAVC-I DCI4K/QFHD 25p When using CEA-G160T (160 GB):Approx. 71 minutes When using CEA-G80T (80 GB):Approx. 35 minutes, XAVC-I DCI4K 24p When using CEA-G160T (160 GB):Approx. 74 minutes When using CEA-G80T (80 GB):Approx. 36 minutes, XAVC-I DCI4K/QFHD 23.98p When using CEA-G160T (160 GB):Approx. 74 minutes When using CEA-G80T (80 GB):Approx. 36 minutes, XAVC-I HD 59.94p When using CEA-G160T (160 GB):Approx. 78 minutes When using CEA-G80T (80 GB):Approx. 38 minutes, XAVC-I HD 50p When using CEA-G160T (160 GB):Approx. 78 minutes When using CEA-G80T (80 GB):Approx. 38 minutes, XAVC-I HD 29.97p When using CEA-G160T (160 GB):Approx. 150 minutes When using CEA-G80T (80 GB):Approx. 74 minutes, XAVC-I HD 25p When using CEA-G160T (160 GB):Approx. 150 minutes When using CEA-G80T (80 GB):Approx. 74 minutes, XAVC-I HD 23.98p When using CEA-G160T (160 GB):Approx. 185 minutes When using CEA-G80T (80 GB):Approx. 91 minutes

      XAVC LONG

      XAVC-L QFHD 29.97p/25p/23.98p When using CEA-G160T (160 GB):Approx. 170 minutes When using CEA-G80T (80 GB):Approx. 86 minutes, XAVC-L QFHD 59.94p/50p When using CEA-G160T (160 GB):Approx. 115 minutes When using CEA-G80T (80 GB):Approx. 57 minutes, XAVC-L HD 50 /29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB):Approx. 320 minutes When using CEA-G80T (80 GB):Approx. 155 minutes, XAVC-L HD 35 29.97p/25p/23.98p/59.94p/50p When using CEA-G160T (160 GB):Approx. 430 minutes When using CEA-G80T (80 GB):Approx. 210 minutes

      PROXY AUDIO

      XAVC Proxy: AAC-LC, 128 kbps, 2 channels

      PROXY VIDEO

      XAVC Proxy: AVC/H.264 High Profile 4:2:0 Long GOP, VBR 1920x1080, 9Mbps

      Camera Section

      SENSOR TYPE

      35 mm full-frame, single-chip CMOS image sensor

      PIXELS

      Approx. 12.9 megapixels(total), Approx. 10.2 megapixels(effective)

      BUILT-IN OPTICAL FILTERS

      Clear, linear variable ND(1/4ND to 1/128ND)

      SENSITIVITY

      ISO 800/12800 (Cine EI mode, D55 Light source)

      SIGNAL-TO-NOISE RATIO

      delete

      SHUTTER SPEED

      64F to 1/8000 sec

      Slow & Quick Motion

      XAVC-I

      4096x2160, 1 to 60 frames (59.94/50/29.97/25/24/23.98)

      XAVC-I/L

      3840 x 2160, 1 to 60, 100, 120 frames (59.94/50/29.97/25/23.98), 1920 x 1080, 1 to 60, 100, 120, 150, 180, 200, 240 frames (59.94/50/29.97/25/23.98)

      White Balance

      WHITE-BALANCE MODES

      Preset, Memory A, Memory B (2000K-15000K)/ATW

      Exposure

      GAIN CONTROL

      -3 to 30dB (every 1dB), AGC

      Gamma

      GAMMA CURVE

      SDR mode : S-Cinetone, Standard, Still, ITU709, HDR mode : HLG_Live, HLG_Natural

      Latitude

      Latitude

      15+ stop

      Interface

      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 OUT: BNC, 12G-SDI, 6G-SDI, 3G-SDI(Level A/B)

      USB

      USB Type-C(x1), Multi/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)

      GRIP

      Minijack(φ3.5mm / 4pin)

      Monitoring

      LCD

      8.8 cm (3.5 type), Approx. 2.76M dots

      Built-in Microphone

      BUILT-IN MICROPHONE

      Omni-directional monoral electret condenser microphone (body) (x1), Stereo electret condenser microphone (handle) (x1)

      Media

      MEDIA TYPE

      CF express Type A / SD card (x2), Slot B can be used for saving configuration data.

      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

      SECURITY

      WEP/WPA-PSK/WPA2-PSK

      NFC

      NFC Forum Type 3 Tag compliant

      Supplied Accessories

      SUPPLIED ACCESSORIES

      Handle(1), LCD monitor(1), Grip remote control(1), AC Adaptor(1), Power cord(1), Battery charger(1), Battery pack(1), USB-C cable(1), LCD hood(1), Cold shoe kit(1), Lens mount cap(1), Handle connector cap(1), Before Using This Unit(1)

  • features
    • Features
      Image sensor with blazing fast readout speed

      Image sensor with blazing fast readout speed

      The back-illuminated full-frame Exmor R<sup>TM</sup> CMOS sensor, with 10.2 effective megapixels, boasts a blazingly fast data readout speed along with high sensitivity and wide dynamic range. An advanced colour filter array boosts colour reproduction accuracy, while focal plane phase-detection AF enables solid autofocus stability and excellent precision, all of which contribute to outstanding image quality.

      High performance image-processing engine

      High performance image-processing engine

      The BIONZ XR<sup>TM</sup> image-processing engine boasts class-leading speed performance, minimising latency while providing impressive real-time processing capabilities. The engine performs real-time processing of AF, image recognition and image quality adjustments, while also handling data transfer, user interface and other camera operations.

      High sensitivity, wide dynamic range

      High sensitivity, wide dynamic range

      The full-frame 10.2-megapixel configuration enables high sensitivity with low noise throughout the camera's sensitivity range by optimising the output signal from the sensor. Capture usable images in near total darkness with an impressive ISO expanded range up to 409600. The dynamic range is an impressively wide 15+ stops, for beautiful, true-to-life images without blown highlights. Together, the camera's high sensitivity and wide dynamic range expand your creative freedom during shoots. 

      4K High Frame Rate 120fps recording

      4K High Frame Rate 120fps recording

      Full-frame 4K (QFHD) recording at up to 120fps with autofocus is possible thanks to the high-speed readout capabilities of the image sensor and the powerful BIONZ XR processor. Even at high frame rates, ultra-detailed 4K (QFHD) images are captured using full-pixel readout without binning, for clear post-produced slow motion (up to 5x slower than real time). The high-precision AF even allows beautiful full-frame bokeh to be achieved during slow motion shooting, for impressive creative scope.

      Acclaimed cinematic colour with S-Cinetone™

      Acclaimed cinematic colour with S-Cinetone™

      The inclusion of Sony’s acclaimed S-Cinetone look, inherited from the development of the FX9, allows beautiful images to be achieved directly in-camera. S-Cinetone is optimised for natural skin tones and mid-range colours, with gentle highlight roll-off, for impressive subject depiction and powerful camera-matching and post-production possibilities. 

      Preset and User 3D LUT compatibility with Scene File

      Preset and User 3D LUT compatibility with Scene File

      The Scene File function provides powerful colour interpretation right in the camera, with a range of presets and custom User 3D LUT imports to fit your production or style requirements. Four preset scene file types are included for SDR shooting (S-Cinetone, Standard, Still, ITU709) and two for HDR (HLG Live, HLG Natural). A further 16 slots support User 3D LUT import to achieve custom looks or for specific monitoring or colour-space transforms.

      10-bit HLG picture profile

      10-bit HLG picture profile

      An HLG (Hybrid Log-Gamma) HDR picture profile, complete with the wide-gamut BT.2020 colour space, can be used for direct HDR (HLG) playback on compatible TVs. The result is true-to-life imagery close to what the naked eye can see, with detailed shadows and highlights, less blackout and less whiteout, all without the need for colour grading. In particular, 10-bit recordings reproduce a level of fine gradation and detail for extraordinary realism. [1] High flexibility to fine-tune images as desired (colour grading required)[2] Instant high-quality image (colour grading not required) 

      S-Log3 for better reproduction of gradations

      S-Log3 for better reproduction of gradations

      S-Log3 gamma curves are available, with S-Log3 designed for better reproduction of gradations from shadows to the mid-grey range (18% grey), enabling a dynamic range of up to 15+ stops. Two colour gamut settings (S-Gamut3, and S-Gamut3.Cine) make it easier to match the colours of footage shot with Sony's Cinema Line Cameras. Because the colours match, colour grading is easier in post-production editing, making it more convenient when used along with other pro cameras.

      Recording movies with 10-bit depth and 4:2:2 colour sampling

      Recording movies with 10-bit depth and 4:2:2 colour sampling

      The FX6 is capable of 4K internal recording, encoding 10-bit depth and 4:2:2 colour sampling with All-Intra compression. This makes it possible to push your colour grades further, stretching video out for ultimate HDR realism while still retaining natural gradation, for true editing freedom.

      A choice of battery types for different applications

      A choice of battery types for different applications

      The FX6 is compatible with BP-U series battery packs. The BP-U35, BP-U70, BP-U100, or BP-U60T can be selected according to shooting needs. The BP-U35, for example, is an ideal choice to make most of the camera’s mobility when it is to be used handheld. The BP-U100, on the other hand, can provide extended recording time when the FX6 is to be mounted on a tripod or other support. The battery CHECK button allows charge level to be checked even when the battery is not connected to the camera.

      All-Intra internal recording

      All-Intra internal recording

      In addition to Long-GOP inter-frame compression, internal intra-frame (All-Intra) recording is supported. XAVC 4K Intra recording compresses each frame independently at a high bitrate, up to 600Mbps, so is ideal for capturing complex motion, and allowing maximum flexibility and playback performance during post-production. [1] All-Intra (All-I)   [2] Long-GOP   [3] Group of Pictures

      16-bit RAW data output

      16-bit RAW data output

      Facilitating improved image quality and more flexible and efficient editing in post production, the camera supports 16-bit RAW data output to an external recorder via SDI. RAW video output is 4096x2160 or 3840x2160 data from the image sensor with a choice of 120 / 100 / 59.94 / 50 / 29.97 / 25 / 24 / 23.98 frame rates.

      Proxy recording for more efficient editing workflow

      Proxy recording for more efficient editing workflow

      When shooting movies, low bit-rate HD proxy files can be recorded simultaneously with higher bit-rate formats such as XAVC 4K, and these smaller proxy files can then be used for editing and previewing prior to final production delivery. This reduces computer load and allows faster and more efficient workflows. Proxy files are captured in 8-bit XAVC-L (1980x1080 9Mbps MP4 wrapper).

      Fast Hybrid AF for dependable focus during movie shooting

      Fast Hybrid AF for dependable focus during movie shooting

      Fast Hybrid AF combines focal plane phase-detection AF with contrast-detection AF. This results in highly precise, smooth tracking of fast-moving subjects even over a wide range with a shallow depth of field. AF Transition Speed and AF Subject Shift Sensitivity parameters allow more flexible focus control, as demanded by professional users. Both allow preset settings to be recalled during recording by using a customisable button. 

      Real-time Eye AF and Face Detection AF

      Real-time Eye AF and Face Detection AF

      For reliable focusing on people, especially in unpredictable shooting environments such as news gathering, event and documentary shooting, powerful Real-time Eye AF and Face Detection AF are built in. The real-time processing capability of the BIONZ XR image processing engine automatically maintains accurate eye focus on faces even in profile, looking up or down, or partially obscured - allowing you to concentrate fully on shot composition.

      Reliable durability and weather resistance in tough situations

      Reliable durability and weather resistance in tough situations

      In response to pro opinions, enhanced sealing is applied to the media compartment lid, terminal cover and all joints in the chassis. Routes to dust and moisture entry have been re-examined to ensure reliable operation in challenging environments.

      Lens-ring AF subject selection

      Lens-ring AF subject selection

      When the AF Assist function is ON, rotating the focus ring instantly switches from autofocus to manual focus so that a different subject can be quickly selected. The face selection algorithm has also been improved so that the focus ring can be used to quickly and intuitively select specific individuals from within a group when shooting with Real-time Eye AF or Face Detection. Autofocus operation resumes as soon as the user stops rotating the lens focus ring, and the last subject selected by the focus ring is automatically tracked. 

      Sony’s powerful electronic Variable ND Filter built in

      Sony’s powerful electronic Variable ND Filter built in

      The revolutionary electronic Variable ND Filter controls the opacity of the neutral filter seamlessly from 1/4 to 1/128ND to achieve unmatched creative control and fluidity. Unique to Sony, it can manually or automatically adjust exposure without affecting the depth of field or shutter angle, letting you achieve perfect exposure even moving between different environments such as from indoors to out.

      Magnesium alloy body achieves high durability with light weight

      Magnesium alloy body achieves high durability with light weight

      To perform reliably in challenging environments the main chassis, as well as top, front, and rear covers and the handle are constructed from lightweight magnesium alloy. The magnesium alloy main frame achieves high strength and durability with minimum weight in order to maximise mobility. The rigidity of the mount area is also boosted by the provision of six screws for stable attachment of heavy lenses. 

      Innovative heat dissipation to prevent thermal shut down

      Innovative heat dissipation to prevent thermal shut down

      To ensure dependable full-frame recording in demanding environments and at high resolutions and frame rates, the FX6 features an innovative heat dissipation structure. A complete redesign of the chassis structure assessed the placement of internal heatsinks and the entire airflow structure, from louvers to circuit board layout. When required, a silent fan provides ventilation for continuous recording at full resolution, with intake and exhaust air structurally isolated to maintain strong dust and moisture resistance.

      High-definition 2.76 million-dot flexible LCD touch panel

      High-definition 2.76 million-dot flexible LCD touch panel

      The 3.5-size LCD panel (1280 x 720 pixels) is mounted on an extended pedestal, and adjustable to a wide range of angles for easy video monitoring regardless of camera rigging and shooting angle. Mounting points are provided at three places on the handle and two on the body. With touch panel support, it also provides intuitive control for many camera settings, even where camera body controls are less accessible.

      Smart grip

      Smart grip

      The FX6’s ergonomic Smart Grip is designed for powerful and comfortable camera control even during prolonged or dynamic shooting situations. Three customisable buttons, plus essential zoom and start/stop control and a custom dial suitable for Iris or Variable ND Filter control, are all positioned in easy grip reach. The freely-adjustable telescoping handle and grip angle are set with a single button, for effortless position changes without slowing production.

      Smart handle

      Smart handle

      Attachable to the top face of the camera, the smart handle allows stable camerawork and operation when the smart grip is difficult to hold, for example in low-angle shooting. It’s also equipped with XLR terminals, a mic holder and a digital Multi Interface (MI) Shoe, allowing use with a variety of existing pro accessories. Two assignable buttons, a multi-selector button and a handle assignable dial have also been added for improved operability. Quarter-inch screw holes for accessory attachment are provided at seven locations on the handle for increased freedom. Thoughtful touches for adaptable workflows are also considered, such as including storage for the handle protection cap in the handle itself – ready to seal the body connectors if the handle is removed for rigging.

      Professional connectivity

      Professional connectivity

      The FX6 features a range of professional interfaces including independent 12G-SDI (supports 3G/6G-SDI) suitable for external 16-bit RAW recording as well as HDMI output for program monitoring. Timecode (TC IN / TC OUT) connectors allow multi-camera sync, and SuperSpeed USB-C 5Gbps (USB 3.2) allows shooting data to be uploaded to a PC at high speed.

      Dual XLR inputs and enhanced audio capability

      Dual XLR inputs and enhanced audio capability

      The handle of the FX6 carries two independent audio inputs (easy-access XLR connectors) to connect external professional microphones. Additionally, a UWP series wireless microphone may be connected via the MI Shoe. 

      Two CFexpress Type A-compatible media slots

      Two CFexpress Type A-compatible media slots

      The camera's two media slots are compatible with CFexpress Type A cards as well as SDXC/SDHC cards supporting UHS-I and UHS-II speed classes. CFexpress Type A cards are the next standard for compact storage with fast write/read speeds suitable for 4K movie recording at high bit rates. They are capable of quickly clearing camera buffers even when high volumes of movie data are being generated.

      Data communications to support on-site workflow

      Data communications to support on-site workflow

      Network communications features support FTP transfer for movie files as well as remote shooting capability, to facilitate professional workflows during shoots. Wireless 5GHz / 2.4GHz LAN connections are supported, and wired connectivity to 1000BASE-T Ethernet networks is available via a USB-to-Ethernet adaptor cable connected to the camera's USB Type-C® port supporting SuperSpeed USB 5Gbps (USB 3.2).

      Metadata to facilitate editing with Catalyst

      Metadata to facilitate editing with Catalyst

      Sony’s Catalyst Browse and Prepare software are ideal production partners for the FX6. The FX6 records three types of metadata: image stabilisation, clip flag, and camera rotation. These can be useful when previewing and preparing to edit in Sony’s free Catalyst Browse or cost-effective Catalyst Prepare software. [1] Shoot  [2] Edit

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