Download
Share
Print this page
Sony PXW-FX9 Quick Reference Manual
  1. Manuals
  2. Brands
  3. Sony Manuals
  4. Camcorder
  5. PXW-FX9
  6. Quick reference manual

Sony PXW-FX9 Quick Reference Manual

Hide thumbs Also See for PXW-FX9:

Advertisement

Quick Links

Download this manual
Quick Reference Guide
PXW-FX9
pro.sony/FX9
This guide has been optimised for
mobile viewing and is fully interactive

Advertisement

loading

Related Manuals for Sony PXW-FX9

Summary of Contents for Sony PXW-FX9

  • Page 1 Quick Reference Guide PXW-FX9 pro.sony/FX9 This guide has been optimised for mobile viewing and is fully interactive...
  • Page 2 Contents A. Introduction to this guide B. Initial Camera setup C. Choosing the right operating mode D. Scan Modes, frame rates and codecs E. Shutter, Shutter Speed and Shutter Angle F. ISO, Gain and Dual ISO G. White Balance and Tint H.
  • Page 3 Contents L. Gamma Settings In Custom Mode M. The MATRIX: How to change the colour ranges N. Custom Mode Other Settings (use with caution) O. Using the Cine EI Mode (in detail) P. Slow and Quick Motion, Interval Record and Picture Cache Record Q.
  • Page 4 A. Introduction to this guide This guide does not replace the user manual. It is intended to be used in conjunction with the user manual and it is recommended that you read both this guide and the user manual to get the very best from the camera. Where you see text in bold it indicates a menu setting, button or switch setting.
  • Page 5 B. Initial camera setup Section Index B1. APR and bright pixels B2. Multi-function Dial 3. Assignable Buttons B4. User Menu B5. Direct Menu B6. Saving your preferred camera settings B7. Status Pages Contents...
  • Page 6 B. Initial camera setup B1. APR and Bright Pixels After switching the camera on you may see a message saying “Please Execute APR”. This is not an error or malfunction. The APR (Automatic Pixel Restoration) function minimizes the appearance of bright or dark sensor pixels and minimizes sensor noise.
  • Page 7 B. Initial camera setup B2. Multi-Function Dial The multi-function dial at the front of the camera is very useful for navigating through the camera’s menus. In addition, it can be used in conjunction with the push buttons for ISO/Gain, White Balance, shutter, iris etc. to quickly change these settings.
  • Page 8 The FX9 has 10 assignable buttons plus the ability to assign an alternate function to the focus hold button that is found on certain Sony lenses. By default, nothing is assigned to buttons 2, 3, 6. 7, 8, 9 and 10. So there is plenty of scope to add new functions to these buttons.
  • Page 9 B. Initial camera setup B4. User Menu The FX9 has a user menu that can be customized to include the menu items that you use most often. This allows you to go directly to the items in the user menu with no need to scroll through the menu systems different sub sections.
  • Page 10 You cannot unlock the menu system if you lose this code number and will need to contact your local Sony office for assistance. To unlock the full menu system, press and hold the Multi-...
  • Page 11 B. Initial camera setup B5. Direct Menu Direct menu allows you to quickly access the many of the cameras settings without the need to enter the main menu system. The direct menu system can be access by pressing the “Direct Menu” button on the hand grip or by pressing the Multi-function Dial.
  • Page 12 B. Initial camera setup B6. Saving your preferred camera settings If you have made any changes to the user menu, you can save those changes to an SD or Card or Memory Stick in the Utility card slot by going to (MENU: Project – User File).
  • Page 13 B. Initial camera setup All files are saved to an SD card in the Utility Card slot by going to (MENU: Project – All File). See the user manual for full details of what is saved in the different file types. Contents Section Index...
  • Page 14 B. Initial camera setup B7. The Status Pages By pressing the “Status” button on the camera you can view a series of pages that show the current status and setup of the camera. These pages are very useful for quickly checking things like recording setup, audio levels, scan mode, network and monitoring status.
  • Page 15 C. Choosing the right operating mode Section Index C1. Custom Mode and Cine EI Mode – What’s the difference? C2. Overview of Custom Mode and S-Cinetone C3. Overview of Cine EI Mode Contents...
  • Page 16 In Custom Mode the PXW-FX9 behaves much like any other conventional video camera where the picture you see in the viewfinder is the picture that is recorded to the XQD cards.
  • Page 17 Previous generations of Sony cameras have created images with a default look based on the Rec-709 standard for television cameras. When Sony’s VENICE digital cinema camera was introduced it came with a new default look tailored for high end, film style production. This new look produces very pleasing images with warm skin tones and very smooth film-like highlights.
  • Page 18 C. Choosing the right operating mode C2. Custom Mode and S-Cinetone: The default operating mode Custom mode is the easiest way to use the camera. In Custom Mode the camera operates much like any other traditional video camera where the pictures you see in the viewfinder or on a monitor are the same as the images that are recorded.
  • Page 19 In addition, in Custom mode it is also possible to use other gamma and matrix combinations to match the FX9 to other Sony cameras. See sections 12, 13 and 14 for more details on using Custom Mode and its various settings.
  • Page 20 The other base operating mode is the “Cine EI” mode. This mode is tailored for obtaining the largest possible dynamic range and colour range from the PXW-FX9. In this mode you shoot using the S-Log3 gamma curve and either the SGamut3 or SGamut3.cine colour space. When viewed on a conventional monitor this S-Log3 material will often look flat and washed out.
  • Page 21 C. Choosing the right operating mode RECOMMENDATION: For straight forward projects or where a fast turnaround is needed use Custom Mode. For film-style productions, where image quality is paramount and there will be the time and budget for post-production grading use the Cine EI mode. Contents Section Index...
  • Page 22 D. Scan Modes, frame rates and codecs Section Index D. Section Introduction D1. Scan Modes Overview D2. Full Frame Scan Modes, FF 6K and FF 2K 3. S35 Scan Modes, S35 4K and S35 2K D4. Codecs: XAVC-I, XAVC-L and MPEG HD D5.
  • Page 23 D. Scan Modes, frame rates and codecs D. Section Introduction The PXW-FX9 features a 6K Full Frame sensor. With this sensor it is possible to select various scan modes and frame sizes. It is important to understand what these mean and which scan modes can be used with which frame rates and recording formats.
  • Page 24 D. Scan Modes, frame rates and codecs The Super 35mm modes use a smaller, central part of the sensor that is of a similar size to a frame of super 35mm movie film (S35). This is the same frame size as cameras such as the PXW-FS7 or FS5.
  • Page 25 D. Scan Modes, frame rates and codecs Picture: When using the same 35mm full frame lens the field of view will be wider when the camera is set to Full Frame Scan. The use of a Full Frame sensor with Full Frame lenses has become desirable for film style productions as you can achieve a wider field for any given focal length than would be achievable using a super 35mm sized sensor.
  • Page 26 D. Scan Modes, frame rates and codecs D2. Full Frame Scan Modes, FF 6K and FF 2K FF 6K Scan: Optimised for image quality. FF 6K Scan is the highest quality scan mode available in the FX9. The sensor operates in the Full Frame format and a full 6K scan is used, reading 19 million pixels from the sensor.
  • Page 27 D. Scan Modes, frame rates and codecs FF 2K Scan: Optimised for speed. FF 2K scan uses the same Full Frame sized sensor area as FF 6K. However, the sensor is read at 2K instead of 6K. The reduced resolution allows the sensor to be read out much faster.
  • Page 28 D. Scan Modes, frame rates and codecs D3. S35 Scan Modes, S35 4K and S35 2K S35 4K: A Good Balance Between Quality and Frame Rates. S35 4K operates the sensor using the smaller Super 35mm frame area. In this mode the full 4K wide, 8.8 mega pixels that make up this area are read out.
  • Page 29 D. Scan Modes, frame rates and codecs shooting where the ability to shoot at a high frame rate is the main priority and only Super 35mm or APS-C lenses are available. You can only record HD from S35 2K. * In this S35 2K mode, you are recommended to use the settings below, •...
  • Page 30 D. Scan Modes, frame rates and codecs D4. Codecs: XAVC-I, XAVC-L and MPEG HD The FX9 has 3 primary codecs plus H.264 for proxy recording. The codec choices are: XAVC-I: Best quality, 10 bit 4:2:2 UHD and HD. XAVC-I offers an excellent balance between image quality and file size.
  • Page 31 D. Scan Modes, frame rates and codecs XAVC-L requires more processing power in postproduction than XAVC-I, so a high-performance computer is recommended. MPEG HD 422 is an 8 bit HD only codec that has been used for HD television production for a very long time. As a result, it is extremely widely supported, even when using older editing hardware.
  • Page 32 D. Scan Modes, frame rates and codecs D5. HD Sub Recording and Proxy Recording It is possible to make a secondary recording alongside the main recording. There are several ways to do this, 4K with an HD sub recording or proxy recording or HD Simul Rec. You can only do one or the other, not both at the same time.
  • Page 33 D. Scan Modes, frame rates and codecs D6. Proxy Recording Great for recording a small compact file that can be uploaded over the internet. Proxy Recording allows a compact H264 file, with timecode that matches the main recording, to be recorded on to an SD card or Memory Stick in the Utility Card slot.
  • Page 34 The setting (MENU – Project – Rec Format – Frequency) is used to determine the camera’s base frame rate. Unlike some other Sony cameras there is no PAL or NTSC region setting. As a result, you can now quickly choose any of the cameras base recording and playback frame rates with this single menu setting.
  • Page 35 E. Shutter, Shutter Speed and Shutter Angle Section Index E. Section Introduction E1. Choosing between shutter speed or shutter angle E2. Setting the shutter speed 3. ECS Shutter E4. Auto Shutter Contents...
  • Page 36 E. Shutter, Shutter Speed and Shutter Angle E. Section Introduction It is recommended that to avoid issues with flicker from some types of light fixtures that the shutter speed is set to a multiple of the local mains electricity frequency. Please check the mains frequency of the country you are shooting in to determine the most appropriate shutter speed.
  • Page 37 E. Shutter, Shutter Speed and Shutter Angle E1. Choosing between shutter speed or shutter angle The shutter speed or shutter angle effects how motion is portrayed in the recordings. A very fast shutter will freeze rapid movements in each frame of the recording making them crisper but possibly adding judder or jitter.
  • Page 38 E. Shutter, Shutter Speed and Shutter Angle of which is cut away to allow light to fall on the film. The most commonly used shutter angle is 180 degrees, which is half of the 360 degrees of a full circle. So a 180 degree shutter on a film camera would allow light to fall on the film for half of the shutter’s rotation period.
  • Page 39 E. Shutter, Shutter Speed and Shutter Angle E2. Setting the shutter speed To change the shutter speed: Press the Shutter button on the side of the camera body and use the scroll wheel to choose your desired shutter speed or angle. If the shutter is set to “Off”...
  • Page 40 E. Shutter, Shutter Speed and Shutter Angle E3. ECS Shutter The ECS Shutter is useful for shooting computer displays or devices where it is necessary to finely tune the shutter speed to match a particular frequency. For example, when shooting a computer monitor you may see a dark band rolling down the computer screen.
  • Page 41 F. ISO, Gain and Dual ISO Section Index F. Section introduction F1. What is the difference between gain and ISO F2. Selecting gain or ISO (Custom Mode) 3. What is Dual ISO and how to use it F4. When to switch to Hi Base ISO Contents...

  • Page 42: Section Introduction

    F. ISO, Gain and Dual ISO Section Introduction The PXW-FX9 features a Dual ISO function. This function gives the camera the ability to operate at two different sensitivity levels, Hi or Low. This is different from adding gain and has only a very minimal impact on image quality.
  • Page 43 F. ISO, Gain and Dual ISO F1. Understanding Gain as dB or ISO dB gain is easy to understand. 0dB is no added gain and is always the optimum setting for the best possible image quality. Every time you increase the gain by 6dB you are making the picture twice as bright, the equivalent of opening the lens aperture by 1 stop.
  • Page 44 F. ISO, Gain and Dual ISO The optimum ISO levels are: Lo Base Lo Base High Base High Base Gamma Lowest Highest ISO Lowest Highest ISO S-Cinetone STD Gamma 320 ISO 2500 ISO 1600 ISO 12800 ISO HG1 - HG4 HG7, HG8 500 ISO 4000 ISO...
  • Page 45 To select the use of gain or ISO: (MENU: Shooting – ISO/Gain/EI – Mode). There are several ways to change the gain/ISO of the PXW-FX9. You can use the ISO/Gain push button to quickly set the gain simply by pressing the button and then using the multi- function dial to quickly set the desired gain/ISO level.
  • Page 46 F. ISO, Gain and Dual ISO You can also assign 3 different gain levels to the L/M/H gain switch via: (MENU: Shooting – ISO/Gain/EI – ISO/ Gain<L>) etc. It should be noted that if you then use the gain/ISO button and Multi-Function dial to set a new gain or ISO level, this new level will be assigned to the currently set L/M/H switch position, overriding the value set via the menu.
  • Page 47 F. ISO, Gain and Dual ISO F3. More information on the Dual ISO function The FX9 has a very useful Dual ISO function that allows the camera’s sensor to operate at two base sensitivity levels. In Custom mode the two levels are denoted as Hi and Low and in the Cine EI mode the two sensitivities are 800 ISO and 4000 ISO.
  • Page 48 F. ISO, Gain and Dual ISO This gives you the flexibility to choose the most appropriate base sensitivity for the scenes that you are shooting, including using a mix of both Hi and Lo base within the same project. Where you have good light levels you should choose Lo Base as this has the very lowest noise levels and where your light levels are lower you should choose Hi Base.
  • Page 49 F. ISO, Gain and Dual ISO F4. When to switch to Hi Base ISO? RECOMMENDATION: I suggest that whenever you add more than +8dB of gain in the Low Base ISO mode you should switch over to Hi Base ISO for a picture with less noise.
  • Page 50 G. White Balance and Tint Section Index G. Section Introduction G1. Preset White Balance G2. Auto White Balance G3. ATW (Auto Tracking White Balance, Custom Mode only) 4. Tint Contents...
  • Page 51 In previous generations of Sony cameras you were only able to use white balance presets in Cine EI. The FX9 has greatly improved white balance flexibility in the Cine EI mode and you are able to set the white balance of your choice.
  • Page 52 G. White Balance and Tint G1. Preset White Balance The white balance can be fixed to a fix value that is selected when the WHT BAL switch is set to Preset. To change the preset value set the switch to Preset and go to (MENU: Shooting –...
  • Page 53 G. White Balance and Tint In addition pressing white balance button on the camera or selecting the colour temperature indication in the viewfinder using direct menu allows you to dial in the colour temperature manually using either the Multi- function Dial, Thumbstick on the hand grip or the Up/ Down menu buttons.
  • Page 54 G. White Balance and Tint G2. Auto White Balance A and B There are two memories in the camera that will remember the white value for a white target. To set the white balance correctly aim the camera at a white target such as a piece of white paper that is under the same lighting as the rest of the scene.
  • Page 55 G. White Balance and Tint G4. Tint As well as adjusting the White Balance you can also add a tint to compensate for different lighting conditions or to adjust the overall hue of the image. Like White Balance, you can have separate tint settings for both the A and B WHT BAL switch positions.
  • Page 56 H. Exposure, Zebras, Waveform and Histogram Section Index H. Section Introduction H1. Using Zebras H2. Using the Waveform or Histogram Contents...
  • Page 57 H. Exposure, Zebras, Waveform and Histogram Section Introduction Exposure is controlled through a combination of shutter speed, gain/ISO, iris (aperture) and ND filter. The camera includes a number of tools for measuring exposure. H1. Using Zebras Zebras are commonly used to measure the brightness of either skin tones or highlights.
  • Page 58 H. Exposure, Zebras, Waveform and Histogram H2. Waveform and Histogram These are selected via (MENU: Monitoring- Display On/ Off – Video Signal Monitor). Waveform: The waveform display measures the brightness of the recorded image and displays the brightness levels on a vertical scale that goes from 0% or black at the lower dotted line at the bottom to 109% (clipping point) at the top.
  • Page 59 H. Exposure, Zebras, Waveform and Histogram Histogram: The histogram displays the exposure brightness on a horizontal scale where black is at the left and 109% (clipping point) is on the right. The vertical height of the indicated level represents the amount of the image that is exposed at that brightness.
  • Page 60 I. Aperture/Iris and Auto Exposure Section Index I1. Iris in Custom Mode I2. Auto Exposure Offsets I3. Getting a shallow depth of field for the filmic look Contents...
  • Page 61 I. Aperture/Iris and Auto Exposure I1. Iris in Custom Mode The iris of a lens with an electronically controlled iris can be controlled automatically or manually. By pressing the Iris button on the side of the camera for at least 2 seconds or using Direct Menu to select the iris indication in the viewfinder allows you to toggle the camera between manual iris and auto iris.
  • Page 62 I. Aperture/Iris and Auto Exposure I2. Auto Exposure Offsets When using auto iris or any other auto exposure function it is possible to include an offset to the auto exposure to brighten or darken the image. There are presets for backlit scenes or scenes where the main focus of the scene is under a spotlight.
  • Page 63 I. Aperture/Iris and Auto Exposure stops. A plus value will make the images brighter and a minus value will make them darker. Contents Section Index...
  • Page 64 I. Aperture/Iris and Auto Exposure I3. Getting a shallow depth of field for the filmic look For a shallow depth of field, film-like look it is often desirable to use a large iris (f1.4 – f4). With large iris settings you will get the greatest difference between the in focus and out of focus areas of your footage.
  • Page 65 J. The ND Filter System Section Index J. Section Introduction J1. The electronicaly controlled Variable ND Filter J2. Auto ND Filter Contents...

  • Page 66: Section Introduction

    J. The ND Filter System Section Introduction Neutral Density filters are used to reduce and control the amount of light falling on the sensor in bright filming conditions. They allow the use of larger apertures than would otherwise be possible in high light level scenes. ND Filter Preset Controls ND Auto Button ND Filter Dial...
  • Page 67 J. The ND Filter System J1. The Electronicaly Controlled Variable ND filter The PXW-FX9 has an advanced electronically controlled variable ND filter system. When the filter system is set to the clear position there is no additional filtration in the optical path.
  • Page 68 J. The ND Filter System J2. Auto ND Filter The Variable ND filter can also be made to operate automatically by first enabling the ND filter system by pressing the ND+ button and the pressing and holding the ND Auto button for at least 2 seconds. The button will illuminate when the Auto mode is activated.
  • Page 69 K. Auto Focus and Focus Aids Section Index K. Section Introduction K1. Auto Focus Controls K2. Auto Focus Detection Area K3. Changing the AF speed and responsiveness K4. Face Detection AF K5. Peaking K6. Focus Magnification Contents...
  • Page 70 Section Introduction Auto Focus, Peaking, Focus Indicator and Focus Magnification. The PXW-FX9 has an advanced, highly sophisticated auto focus (AF) system purpose designed for video applications. This AF system is called as Fast Hybrid AF. It combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy.
  • Page 71 AF. If using a lens with a focus ring that slides between AF/MF it must be in the AF position. Some Sony lenses have a Focus Hold button on the lens itself. When AF is enabled and this button is pressed the auto focus function is temporarily halted until the button is released.
  • Page 72 K. Auto Focus and Focus Aids K2. Auto Focus Detection Area The focus detection area of the auto focus system can be altered by going to (MENU: Shooting – Focus – Focus Area). By default, both the Focus switch and the AF Push Auto button will use the same focus area.
  • Page 73 K. Auto Focus and Focus Aids Zone: This is a smaller area that can be moved around the image using the thumbstick on the hand grip or the up/ down/left/right menu button. Flexible Spot: This is a much smaller area, useful for isolating a single object or very small part of the image.
  • Page 74 K. Auto Focus and Focus Aids RECOMMENDATION: I suggest using Wide area for the Focus switch and then setting up the AF Push Auto button to use AF-S and the flexible spot. This way you can quickly alternate between Wide area and Flexible Spot.
  • Page 75 K. Auto Focus and Focus Aids K3. Changing the AF speed and responsiveness You can use the AF Transition Speed setting (MENU: Shooting – Focus – AF Transition Speed) to adjust how quickly the focus adjusts. When set to 7 (Fast) the focus will move very quickly from one focus distance to another, this may be useful for following fast moving objects and action.
  • Page 76 K. Auto Focus and Focus Aids the original object even if a new object temporarily enters or crosses through the scene. As an example, 1(Locked On) is useful for shooting across a street where traffic may be passing between the camera and the subject on the other side of the street.
  • Page 77 K. Auto Focus and Focus Aids K4. Face Detection AF The FX9’s auto focus system is able to recognize faces and it can be set to prioritize faces over other objects within a scene. In addition, the camera has the ability to differentiate between different faces allowing you to select, memorize and then prioritize an individual face out of a group of people.
  • Page 78 K. Auto Focus and Focus Aids When set to Face Priority the AF operates as normal but as soon as the camera sees a face within the shot the camera will automatically focus on the face. In the viewfinder a box will be displayed around any detected faces and an orange cursor will appear under one of the boxes.
  • Page 79 K. Auto Focus and Focus Aids Even if that face now passes out of the shot, once the face re- enters the shot the AF will again recognize it and prioritize it. To clear the selected face simply move the orange cursor back to the selected face and select it again, this will cancel the selection.
  • Page 80 K. Auto Focus and Focus Aids NOTE: Auto Focus does not function when using the S&Q mode. To assist with obtaining the best possible focus there are a number of focus aids. Contents Section Index...
  • Page 81 K. Auto Focus and Focus Aids K5. Peaking The camera’s peaking function can be turned on and off via the peaking button on the side of the viewfinder LCD screen. The peaking settings can be changed in (MENU: – Monitoring – Peaking). You can change the peaking type between Normal or Colour.
  • Page 82 K. Auto Focus and Focus Aids K6. Focus Magnification The Focus Magnification Function allows you to magnify the image seen in the viewfinder to closer inspect the focus. By default, pressing assignable button 4 on the hand grip magnifies the image by 3x, pressing it a second time by 6x and the third press returns the image to normal.
  • Page 83 L. Gamma Settings In Custom Mode Section Index L1. What are Gamma Curves L2. Original Gamma (S-Cinetone) L3. Standard Gamma (STD) L4. Hypergamma (HG) L5. S-Log3 Contents...
  • Page 84 The PXW-FX9 Gammas are split in to 4 categories: Original/ STD/HG/S-Log3 (MENU: Paint – Gamma – Gamma Category).
  • Page 85 L. Gamma Settings In Custom Mode L2. Original Gamma (S-Cinetone) This is the default setting and selects the S-Cinetone gamma curve which produces a film-like look with a very smooth highlight roll-off. The S-Cinetone gamma curve behaves slightly differently to most conventional gamma curves such as Rec-709. This behaviour allows you to adjust the amount of contrast in your footage through small changes in exposure.
  • Page 86 L. Gamma Settings In Custom Mode So how should you expose S-Cinetone? It’s actually very easy, generally you expose it no differently to any other standard rec-709 or similar gamma curve. If using the image in the viewfinder to assess your exposure simply expose it so it looks right, it really is that simple.
  • Page 87 L. Gamma Settings In Custom Mode normal looking image. If you expose skintones at 70% then the image will be a touch flatter. If you expose skin tones at 60% the image will be more contrasty. Personally for a more film like look, I really like the results you get when you expose skin tones in the 60 to 65% range.
  • Page 88 L. Gamma Settings In Custom Mode L3. Standard Gamma (STD) The gamma curves available under this category are all variations on standard television gamma. These curves will all provide realistic and true to life contrast when viewed on a conventional TV or monitor. However, these curves have a limited dynamic range.
  • Page 89 L. Gamma Settings In Custom Mode L4. Hypergamma (HG) These advanced gamma curves are designed to capture a wider dynamic range than the standard gammas with only a small reduction in screen contrast (normally the higher the camera’s capture dynamic range the lower the on screen contrast will be).
  • Page 90 L. Gamma Settings In Custom Mode L5. S-Log3 You can use the S-Log3 gamma curve in Custom Mode to capture an extremely large scene brightness range of over 15 stops. This will result in a very flat on-screen image. Note that the peak recording level for S-Log3 is 94%.The PXW- FX9 is primarily designed to use S-Log recording in the Cine EI mode and it is recommended that if you wish to shoot S-Log3 that...
  • Page 91 M. The MATRIX: How to change the colour ranges Section Index M1. The Preset Matrix Options M2. Adaptive Matrix (for dealing with intense blue lights) M3. User Matrix M4. Multi Matrix Contents...
  • Page 92 Cinema: Similar to the Cinema matrix in some other Sony cameras. It gives slightly muted colours with a colour range designed to provide a more film like look.
  • Page 93 M. The MATRIX: How to change the colour ranges incorrect. You should only use the BT.2020 matrix if you are delivering material to be viewed on Rec 2020 devices. Contents Section Index...
  • Page 94 M. The MATRIX: How to change the colour ranges M2. Adaptive Matrix When shooting strong blue lights, such as blue LED stage lights, the blue light may create unpleasant, over saturated blue areas within the image. Activating the adaptive matrix reduces the undesirable effects of bright blue lighting within the image.
  • Page 95 N. Custom Mode Other Settings (use with caution) Section Index N1. White Clip N2. Detail N3. Aperture N4. Black Gamma N5. Knee Contents...
  • Page 96 N. Custom Mode Other Settings (use with caution) N1. White Clip Sets the clipping point of the camera. Normally ON and set to 109%. If going direct to air for broadcast you may want to set this to 104% for digital or 100% for analog broadcasters.
  • Page 97 N. Custom Mode Other Settings (use with caution) N4. Black Gamma Can be used to adjust the slope of the darker part of the standard gamma curves. This lowers or increases the contrast in the darker parts of the image. (MENU: Paint – Black Gamma).
  • Page 98 O. Using the Cine EI Mode (in detail) Section Index O. Section Introduction O1. Setting the color gamut O2. Monitor LUT’s O3. Using Exposure Index O4. Cine EI example (Using the s709 MLUT) O5. When you can’t use MLUT’s - Gamma Display Assist Contents...

  • Page 99: Section Introduction

    O. Using the Cine EI Mode (in detail) Section Introduction The Cine EI mode is quite different to custom mode and the way a conventional video camera works. In the Cine EI mode the camera always records using the S-Log3 gamma curve at either the Hi (800 ISO) or Low (4000 ISO) base sensitivity.
  • Page 100 O. Using the Cine EI Mode (in detail) O1. Setting the color gamut When using the Cine EI mode by default the camera is set to use the S-Gamut3.Cine color gamut. This is a good choice for most applications but should you wish to change this you can do so via (MENU: Project –...
  • Page 101 O. Using the Cine EI Mode (in detail) O2. Monitor LUT’s When using the Cine EI mode, depending on how the camera is setup, it can apply a Monitor LUT (Look Up Table) to the Viewfinder, HDMI and SDI outputs to simulate how the footage may look after it has been colour graded.
  • Page 102 O. Using the Cine EI Mode (in detail) MLUT’s can only be enabled when the recording format is set to 3840x2160 (UHD). They are enabled via (MENU: Shooting – Monitor LUT Setting). WARNING: Do not enable an MLUT for internal rec unless you no longer wish to record S-Log3 and instead wish to record the MLUT as a baked in look.
  • Page 103 O. Using the Cine EI Mode (in detail) A full list of the MLUT recording and output options is displayed on the (MENU: Shooting – Monitor LUT Setting) page. The Viewfinder, HDMI and SDI output status can be viewed via page 3 of the Status pages (press the Status button to activate).
  • Page 104 O. Using the Cine EI Mode (in detail) O3. Using Exposure Index Exposure Index allows you to easily offset your S-Log3 exposure in a controlled way so that you can move the mid-point of your recordings up or down to alter the highlight and shadow ranges as well as change the signal to noise ratio.
  • Page 105 O. Using the Cine EI Mode (in detail) O4. Cine EI example (Using the s709 MLUT) I recommend the use of the built in Waveform Display to assist with monitoring and setting the exposure in the CineEI mode. This can be enabled via (MENU: Monitoring – Display On/Off –...
  • Page 106 O. Using the Cine EI Mode (in detail) When viewing the s709 MLUT and you are exposed correctly the picture in the viewfinder should look normal. When the MLUT looks to be correctly exposed then the S-Log3 recording will also be exposed correctly according to the chosen Exposure Index.
  • Page 107 O. Using the Cine EI Mode (in detail) to be reduced in the final images. But your highlight range will be reduced by 1 stop. Highlight/Shadow Middle Grey White Grey Range Base S-Log3 +6 / -9% 800/4000EI Because of the brighter S-Log3 exposure the use of an EI lower than the base ISO may helpful for reducing noise in the final graded images.
  • Page 108 O. Using the Cine EI Mode (in detail) RECOMMENDATION: For most applications using an Exposure Index that matches the base ISO will produce good results. Exposure Index ratings higher than the base ISO should be used with caution due to concerns over increasing noise levels in the final graded material Contents Section Index...
  • Page 109 O. Using the Cine EI Mode (in detail) O5. When you can’t use MLUT’s - Gamma Display Assist MLUT’s cannot always be used just for the viewfinder for example when the camera is set to record HD. When shooting in the Cine EI mode as an alternative to using an MLUT the FX9 has a function called Gamma Display Assist (MENU: Monitoring –...
  • Page 110 O. Using the Cine EI Mode (in detail) Viewfinder with Display Gamma Assist Viewfinder without MLUT or Gamma Assist Viewfinder with s709 MLUT IMPORTANT: It is possible to have both a viewfinder MLUT and Gamma Display Assist enabled at the same time.
  • Page 111 O. Using the Cine EI Mode (in detail) RECOMMENDATION: If you shoot using the Cine EI mode regularly consider assigning the Gamma Display Assist function to an assignable button. RECOMMENDATION: When using Gamma Display Assist with S-Log3 if you wish to use Zebras to check the exposure you should set the Zebra level to 52% for typical skin tones or to 61% to check the exposure using a white card as the zebras will be measuring the levels...
  • Page 112 P. Slow and Quick Motion, Interval Record and Picture Cache Record Section Index P. Section Introduction P1. Setting up for S&Q motion P2. Interval Record - Time lapse recording P3. Picture Cache Record Contents...

  • Page 113: Section Introduction

    P. Slow and Quick Motion, Interval Record and Picture Cache Record Section Introduction S&Q motion allows the camera to shoot at a frame rate that is faster or slower than the play back frame rate. By shooting at a lower frame rate than the base frame rate action can be sped up, by shooting at a higher frame rate action can be slowed down.
  • Page 114 P. Slow and Quick Motion, Interval Record and Picture Cache Record P1. Setting up for S&Q motion Start by choosing the optimum Image Scan Mode based on the highest frame rate that you wish to shoot at (MENU: Project – Rec Format – Imager Scan Mode). 1 to 30fps: Select FF 6K for the best image quality.
  • Page 115 P. Slow and Quick Motion, Interval Record and Picture Cache Record thumbstick or Multi-function Dial to select the desired frame rate. The range of frame rates available will depend on the selected Imager Scan Mode. FF 6K Scan Mode: 1 to 30 fps. (Best Quality). S35 4K Scan Mode: 1 to 60 fps (High Quality).
  • Page 116 P. Slow and Quick Motion, Interval Record and Picture Cache Record RECOMMENDATION: Whenever possible, including when recording HD, use FF 6K Scan or S35 4K scan as these scan modes offer the best image quality. Only use FF 2K or S35 2K when you need to shoot at 100 or 120fps.
  • Page 117 P. Slow and Quick Motion, Interval Record and Picture Cache Record P2. Interval Record - Time lapse recording Interval record can be used to capture frames at a preset interval. The frames are then combined into a single video clip which can then be played back as a video clip that significantly speeds up the action in the scene recorded.
  • Page 118 P. Slow and Quick Motion, Interval Record and Picture Cache Record TIP: Consider setting the shutter to 1/3 of a second or to 360 degrees, especially when shooting night scenes to add a pleasing blur to movement (If shooting during daylight you may need addition ND filters to control the exposure).
  • Page 119 P. Slow and Quick Motion, Interval Record and Picture Cache Record P3. Picture Cache Record The Picture Cache Record function allows you to capture action that has occurred in the few seconds prior to the moment when you pressed the cameras record button. This is very useful for capturing unpredictable events, for example filming an event that may occur unexpectedly or suddenly without warning.
  • Page 120 Q. SteadyShot and Post Production Image Stabilisation Section Index Q. Section Introduction Q1. SteadyShot, Optical Stabilisation Q2. Post Production Image Stabilisation Contents...
  • Page 121 Q. SteadyShot and Post Production Image Stabilization Section Introduction The PXW-FX9 can use lenses that feature optical image stabilization (SteadyShot) or has the ability to add motion metadata to the internally recorded XAVC clips so that image stabilization can be performed in postproduction.
  • Page 122 Q. SteadyShot and Post Production Image Stabilization Q1. SteadyShot, Optical Stabilisation When a lens that includes a compatible optical stabilisation system is attached to the camera you can enable the the SteadyShot function to make use of the lenses stabilization function (MENU: Shooting – SteadyShot –...
  • Page 123 You must set (MENU: Shooting – SteadyShot – Setting) to OFF. In addition, the lens that you are using must be Sony E-mount lens capable of sending valid focal length data to the camera because the metadata combines not only FX9’s built-in gyro information but also lens information.
  • Page 124 Q. SteadyShot and Post Production Image Stabilization TIPS: Optical stabilization is normally preferable as you can see the stabilization effect while you are shooting. However, the postproduction stabilization is also very effective and you have the ability to adjust the amount of stabilization that is applied.

  • Page 125: Audio Options

    R. Audio Options Section Index R. Section Introduction R1. Audio Input Options R2. Audio Input Level R3. Monitoring Audio Levels Contents...

  • Page 126: Section Introduction

    R. Audio Options Section Introduction The PXW-FX9 can record up to 4 channels of audio. There are switches to control the input options for audio channels 1 and 2 as well as a separate audio level control dial for each of the 4 audio channels. There is a basic built in microphone on the right side of the camera body and a small loudspeaker on the left side.
  • Page 127 R. Audio Options R1. Audio Input Options As well as the two XLR connectors on the camera body you can input up to another 2 channels of audio either via the MI Shoe on the cameras handle or via the drop in radio mic slot in the optional XDCA-FX9.
  • Page 128 R. Audio Options R2. Audio Input Level There are several ways of adjusting the audio input levels. There is a manual audio level control dial for each of the 4 audio channels. On the side of the camera there is a switch to select between auto and manual audio control on the side of the camera.
  • Page 129 R. Audio Options As well as the individual controls for each channel there is also a global audio input level control that affects the recording level of all 4 channels by the same amount. (MENU: Audio – Audio Input – Audio Input Level). Normally this should be left at the default setting of 99 but it can be useful for globally changing the recording level of all 4 audio channels together.
  • Page 130 R. Audio Options R3. Monitoring Audio Levels In order to view the audio levels of channels 3 and 4 you need to select Status Screen page 3 by pressing the Status button and using the Multi-function Dial, Up/Down buttons or thumbstick. If you need to frequently view the Status screen pages consider assigning Status to an assignable button.
  • Page 131 S. Recording, Recording Media and Backups Section Index S. Section Introduction S1. Simultaneous Record S2. Utility Card Slot S3. Formatting Media S4. Safely Ejecting and Removing Media S5. Restore Media S6. Backing up media Contents...
  • Page 132 S. Recording, Recording Media and Backups Section Introduction The PXW-FX9 records on to XQD memory cards. While a wide variety of XQD cards can be used, it is recommended that Sony’s “G” series cards are used to ensure the greatest compatibility and reliability.
  • Page 133 S. Recording, Recording Media and Backups S1. Simultaneous Record When recording, by default once the XQD card in the first slot becomes full the camera will automatically switch to the other slot. When shooting in 1920 x 1080 HD it is also possible to record simultaneously to both XQD card slots.
  • Page 134 S. Recording, Recording Media and Backups S2. Utility Card Slot The camera has two XQD card slots plus an additional “Utility” card slot that accepts either an SD cards or Memory Stick. Cards inserted into the Utility slot it can be used to store setup files such as “User Files”, “All Files”...
  • Page 135 S. Recording, Recording Media and Backups S4. Safely Ejecting and Removing Media The XQD memory cards can be removed from the camera at any time provided the access indicator LED next to the card slot is green. If the access indicator LED is red the card must not be removed.
  • Page 136 S. Recording, Recording Media and Backups S5. Restore Media If you see the message “Restore Media” in the viewfinder it is an indication that the camera has identified an issue with the files on one of the media cards. Don’t Panic! In most cases allowing the camera to complete the restore media process will fix any file problems.
  • Page 137 It is a good idea to always check your material before the original files are permanently removing from the XQD cards. Sony’s free Catalyst Browse application can be used to play back, copy and manage the files recorded by the FX9.
  • Page 138 T. Networking and Wi-Fi Overview Section Index T. Section Introduction T1. First you must set up a password T2. Access Point Mode or Station Mode T3. Using Access Point mode to connect a mobile device to the camera T4. Connecting the camera to a network using Station mode Contents...
  • Page 139 T. Networking and Wi-Fi Overview Section Introduction The PXW-FX9 has built-in Wi-Fi and NFC. Via Wi-Fi the camera can connect directly to Android and Apple mobile devices for remote control and monitoring. In addition, the camera can be connected to a wireless network for remote control via a web browser as well as file upload via FTP.
  • Page 140 T. Networking and Wi-Fi Overview T2. Access Point Mode or Station Mode Once you have set your username and password you next need to decide on which connection mode to use (MENU: Network – Wireless Lan – Setting). When the camera is set to Access Point mode you will connect your device to the camera.
  • Page 141 T. Networking and Wi-Fi Overview However, in some cases you may find that you can get a more stable and more reliable connection by setting the camera to Station Mode and connecting the camera to the mobile device. Contents Section Index...
  • Page 142 T. Networking and Wi-Fi Overview T3. Using Access Point mode to connect a mobile device to the camera NFC. The simplest method is to use NFC if your mobile device has this. Ensure that Wi-Fi and NFC are enabled on the mobile device. Then go to (MENU: Network – Wireless Lan –...
  • Page 143 T. Networking and Wi-Fi Overview WPS. Go to (MENU: Network – Wireless Lan – WPS) and select Execute. Now on the mobile device go to the Wi- Fi settings and select the SSID of the camcorder, it will be something similar to “DIRECT*****:PXW-FX9_********”. Now select the WPS option on the mobile device to connect.
  • Page 144 T. Networking and Wi-Fi Overview T4. Connecting the camera to a network using Station mode WPS. Go to (MENU: Network – Wireless Lan – WPS) and select Execute. Now on the access point or router press the WPS button. When the connection is successful, the network status indicator icon will show a strength of 1 or higher on the viewfinder screen.
  • Page 145 Hotspot. If the mobile device has a good cellular network connection you can also upload files via FTP using the phone as the internet connection. See the PXW-FX9 user manual for more information on the cameras network functions. Contents Section Index...
  • Page 146 U. Error messages and common problems Section Index U1. Restore Media U2. Execute APR U3. Audio is not being recorded U4. Unable to enable MLUTS U5. Using an external recorder connected via HDMI U6. Unable to change the SDI or HDMI output format U7.
  • Page 147 U. Error messages and common problems U1. Restore Media If on switching on the camera or inserting an XQD card you see the message “Restore Media” do not worry. This is the camera performing routine maintenance on the card to keep the file system tidy and free from corruption. Always allow the camera to perform the Restore Media function.
  • Page 148 U. Error messages and common problems U3. Audio is not being recorded When using S&Q motion or Interval Record audio recording is not possible. If the audio levels are low or there is no audio check the level set at (MENU: Audio – Audio Input – Audio Input Level) and return this to the default value of 99.
  • Page 149 U. Error messages and common problems U6. Unable to change the SDI or HDMI output format If Picture Cache is turned on you may not be able to change the monitoring output format settings. Temporarily turn off the picture cache function to change the output settings.
  • Page 150 Index A. Introduction to this guide B. Initial camera setup APR and bright pixels Multi-function Dial Assignable Buttons B4. User Menu Direct Menu B6. Saving your preferred camera settings Status Pages C. Choosing the right operating mode Custom Mode and Cine El Mode - What’s the difference? Overview of Custom Mode and S-Cinetone Overview of Cine El Mode...
  • Page 151 Index D. Scan Modes, frame rates and codecs Scan Modes Overview D2. Full Frame Scan Modes, FF 6K and FF 2K D3. S35 Scan Modes, S35 4K and S35 2K D4. Codecs: XAVC-I, XAVC-L and MPEG HD D5. HD Sub Recording and Proxy Recording D6.
  • Page 152 Index F. ISO, Gain and Dual ISO What’s the difference between gain and ISO Selecting gain or ISO (Custom Mode) What is Dual ISO and how to use it When to switch to Hi Base ISO G. White Balance and Tint Preset White Balance G2.
  • Page 153 Index Aperture/Iris and Auto Exposure Iris in Custom Mode Auto Exposure Offsets Getting a shallow depth of field for the filmic look J. The ND Filter System The electronically controlled Variable ND Filter Auto ND Filter K. Auto Focus and Focus Aids Auto Focus Controls Auto Focus Detection Area Changing the AF speed and responsiveness...
  • Page 154 Index L. Gamma Settings in Custom Mode What are Gamma Curves Original Gamma (S-Cinetone) Standard Gamma (STD) Hypergamma (HG) S-Log3 M. The MATRIX: How to change the colour ranges M1. The Preset Matrix Options M2. Adaptive Matrix M3. User Matrix M4.
  • Page 155 Index N3. Aperture N4. Black Gamma N5. Knee O. Using the Cine El Mode (in detail) Setting the colour gamut O2. Monitor LUT’s O3. Using Exposure Index O4. Cine El example (Using the s709 MLUT) O5. When you can’t use MLUT’s - Gamma Display Assist P.
  • Page 156 Index Q. StreadyShot and Post Production Image Stabilization SteadyShot, Optical Stabilisation Q2. Post Production Image Stabilisation R. Audio Options Audio Input Options Audio Input Level Monitoring Audio Levels S. Recording, Recording Media and Backups Silmultaneous Record Using Waveform or Histogram Formatting Media Safely Ejecting and Removing Media Restore Media...
  • Page 157 Index T. Networking and Wi-Fi Overview First you must set up a password Access Point Mode or Station Mode Using Access Point mode to connect a mobile device to the camera Connecting the camera to a network using Station Mode U.