canon camera lcd touch screen made in china
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London, UK, 8th February 2010 – Canon today announces the arrival of the latest and most advanced touch screen IXUS – the new IXUS 210. Available in black, gold, silver and pink*, the IXUS 210 offers a sculpted metal exterior, a 14.1 Megapixel image sensor and 24mm genuine Canon lens - delivering premium imaging performance to match its iconic IXUS styling. A newly-developed touch user interface coupled with on-screen Hints and Tips, makes capturing, browsing and sharing images easier than ever before.
The IXUS 210 is the most advanced touch screen IXUS to date. By using large and easy-to-press on-screen icons while shooting, users can swiftly access commonly-used camera functions, while a simple-to-navigate touch menu system aids swift access to other camera settings. Touch AF allows the user to focus on their subject by simply ‘touching’ it on the screen. If the subject is moving, the camera’s integrated Servo AF/AE will automatically track it, maintaining both focus and exposure for the perfect shot.
Browsing images is also made easy and natural by enabling users to simply drag their finger across the screen and the camera will match the speed of image review with the speed of the gesture made on-screen. “Touch Actions” allow users to match gestures made on-screen to commonly used functions, such as tagging images as favourites or erasing, rotating, or protecting images in their collection.
The colour theme and on-screen icon layout can be customised - allowing users to tailor the interface to suit their preference and style. On-screen Hints and Tips also guide users through the camera’s functions, helping them to understand how and when to use each one to capture the perfect image.
A large, high-resolution, 8.8cm (3.5”) PureColor II Touch LCD screen offers plenty of space for users to easily navigate the finger-friendly touch interface. With wide colour reproduction and high contrast, users can also enjoy their images in rich colour from almost any angle. Active Display now allows users to browse through their images by simply tapping the sides of the camera, introducing a new dimension to sharing content on the camera with friends and family.
The IXUS 210 offers stunning image quality to accompany its stand-out design. Featuring a 24mm ultra-wide angle, genuine Canon lens – it’s ideal for landscapes and large group shots which require a wider field of view to capture the entire scene. The IXUS 210 also features a 5x optical zoom which allows users to get even closer to the action. An optical Image Stabilizer (IS) and Motion Detection technology work together to reduce image blur by effectively reducing camera shake and detecting the presence of motion in the scene. In addition, the IXUS 210’s high speed DIGIC 4 processor delivers outstanding responsiveness, rapid auto focus and natural-looking skin tones and colour in the final result.
The IXUS 210 features a range of technologies and functions to enable users to capture the perfect picture, every time. Smart Auto with Scene Detection Technology can identify up to 22 different shooting scenes, intelligently analysing shooting conditions and automatically applying the optimum picture settings to capture the image. So whether taking a picture of a loved one in sunny conditions, or a group of friends at night, users can relax in the knowledge that the camera is taking care of the complicated settings, all they need to do is point and shoot.
Smart Flash Exposure has also been introduced to the IXUS 210 - allowing the camera to effectively control the flash in a range of shooting conditions. For example, when taking portraits in sunny conditions, Smart Flash Exposure will identify shadows on the subject’s face and use just enough flash to eliminate them. To prevent over-exposure when photographing at close distances, Smart Flash Exposure will detect how reflective the subject is, its distance from the lens, and set the flash power accordingly.
With Face Detection Technology, the IXUS 210 can identify up to 35 faces in a single frame before adjusting focus, exposure, flash and white balance to achieve the best possible result. A new Smart Shutter mode also provides inventive ways to control the shutter using Face Detection Technology. In Smart Shutter mode, the user can trigger the shutter using a smile or - with Wink Self-Timer - a simple wink of an eye. FaceSelf-Timer also triggers the shutter two seconds after a new face joins the frame. With these innovative functions, IXUS 210 users can take great people shots, including self-portraits, without the need for another person to be behind the camera.
A range of new and creative shooting modes make taking exciting and unique shots easy and fun. Fish-eye Effect allows users to achieve the effect of a fish-eye lens with three levels of distortion to choose from, whilst Miniature Effect mimics the effects possible with a ‘Tilt–Shift’ lens - making buildings within a wider landscape appear of model-scale for dramatic results. The IXUS 210 also offers a Low Light mode, providing the ability to shoot in very low light at reduced resolution, expanding the range of conditions in which the camera can be used.
Users of the IXUS 210 can also capture special moments in High Definition (HD) video at 720p resolution. Thanks to a YouTube™ upload function, integrated into the bundled CameraWindow software, users who have already registered with YouTube™ can login and upload video clips from their PC at the touch of a button. The IXUS 210 also features an integrated HDMI port, allowing video and images to be viewed on any HDMI-compatible output device without loss of quality.
Allowing users to store more video and photos than the standard SDHC memory cards that are currently supported, the IXUS 210 is among Canon’s first products to support SDXC storage cards, offering up to 2TB of storage capacity.
For users who want to transfer content wirelessly, the IXUS 210 includes Eye-Fi** connected functions. The IXUS 210 features a dedicated Eye-Fi section in the User Interface, on-screen icons, and it disables the automatic power-down function when an Eye-Fi card is detected - allowing users to transfer content easily and without interruption**.
Owners of the new IXUS 210 are entitled to free membership of CANON iMAGE GATEWAY, an online facility for sharing photos and video. Users can take advantage of up to 2GB of personal storage capacity, creating enough room for hundreds of high-quality images. Mobile browsing is also supported, making it easy for friends and family to view photos on the move.
Japanese semiconductor equipment suppliers Canon, Ulvac, Advantest, and material maker Sumitomo Bakelite are accelerating the R&D of back-end process products. Rapidus, a chip...
Japanese camera and lithography machine maker Canon will invest more than JPY50 billion (US$345 million) to build a new plant in Japan"s Tochigi prefecture, Nikkei Asia reported...
AIMobile, an AI solution joint venture between Inventec and Advantech, has partnered with Canon to integrate its AI technologies into the Japanese firm"s imaging systems to strengthen...
Canon has unveiled EOS 90D, a DSLR camera, and EOS M6 Mark II, a mirrorless interchangeable-lens camera (MILC), for launch in Taiwan on September 27, according to Canon Marketing...
Canon has launched EOS R MILC camera, and four supporting lenses in Taiwan, with the camera body for sale at a recommended retail price of NT$67,000 (US$2,175).
Canon has unveiled a high-end network camera, ME20F-SHN, in Taiwan. Equipped with a 35mm full-frame 2.26-megapixel CMOS sensor, a DIGIC DV 4 processor and smart video analytics, ME20F-SHN...
Canon has launched EOS M50 mirrorless interchangeable-lens camera in Taiwan at a recommended retail price of NT$18,900 (US$647) for body only, NT$21,900 for body plus EF-M 15-45mm...
Canon on July 25 unveiled the EOS 6D Mark II, a full-frame DSLR camera, for launch in the Taiwan market on August 1 at a recommended retail price of NT$59,900 (US$1,970) for camera...
Canon on April 14 launched the EOS M6 MILC camera featuring a 24.2-megapixel CMOS image sensor, 3-inch 1.04 million-dot LCD touch screen, dimensions of 112.0 (W) by 68.0 (H) by 44.5...
I am going to make a lot of comparisons between the FX6 and the Canon C70 in this review because the Canon is the camera that is most likely to be compared to the Sony.
Sony is very much pushing the FX6 as being a lightweight, compact mobile production camera that can be used by solo operators. Its small size and low weight certainly do make the camera suitable for anyone who needs to do a lot of handheld shooting without placing the camera on their shoulder.
Even though the FX6 falls under the ‘Cinema Line‘ this camera is very much a blend of the Cinema and alpha cameras. Essentially it is a blend of an FX9 and an a7S III. We recently saw Sony announce the FX3, but that has a lot more in common with the alpha series than Sony’s FX series. Yes, the FX6 is a lot more expensive than an FX3, but in my opinion, it is far better suited to shooting video than an FX3 or an a7S III. The FX6 has SDI, BNC timecode, variable electronic ND, and the ability to load up user LUTs. This is something you won’t find on the FX3 or a7s III.
The PXW-FX6 uses a full-frame Approx. 12.9 megapixels (total), 10.2 megapixels (effective) back-illuminated CMOS Exmor R 4K sensor. Whether or not this is the same sensor that is in the a7S III and FX3 is fairly likely. When I asked Sony directly if the FX6 was using the same sensor as the a7S III, the response I got was- ‘The sensors in both cameras utilize the same technology.’
If they had have put the FX9 sensor in the FX6 then they would have had to cripple the camera by reducing frame rates, codec options, etc. Why? Because if they didn’t what would be the difference between the FX6 and the FX9? You can’t have your cake and eat it too. Once you have several camera models below a certain price point in your line-up you put yourself between a rock and a hard place. Complain all you like, but you tell me what else Sony could have done from a business perspective that made more sense. Anybody complaining that they were expecting an FX9 in a smaller body with the same features for less money is living in a dream world.
Sony is claiming 15+ stops of dynamic range from the FX6, but I would take that figure with a grain of salt. Most manufacturers exaggerate their camera’s real dynamic range. Most cameras have good dynamic range these days and if you can’t make a camera with 12 or more stops of dynamic range work then you are doing something wrong.
Sony is also keen to stress that all of the cameras in the Cinema Line have similar color science and that they have all been designed to match. Given the FX6 has Cinetone, in theory, it should match up pretty well with the FX3/ a7S III, and the FX9.
The FX6 has a full-frame sensor, while the Canon C70 utilizes an S35 sized sensor. The sensor in the C70 is the exact same sensor that can be found in the C300 Mark III. It also utilizes the exact same DGO (dual gain output) technology. You shouldn’t confuse Dual Gain Output with Dual Base ISO. Although it’s the same basic idea of having different readout calibrations, Dual Gain Output is much harder to do than Dual Gain ISO because that switches between the two. What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame.
In some ways releasing a camera in 2020 that can only record 4K when a lot of your competition is doing 6K and 8K might at first seem like a strange decision. However, how many people actually need greater than 4K at this point in time? The majority of the content you consume is either HD or UHD, and that is unlikely to change anytime soon. Yes, you could very well argue that capturing at a higher resolution allows for more flexibility with reframing in post or downsampling to get a better 4K image, and those are good arguments, however, if you are capturing in 4K and still delivering in HD (which a lot of people are) you don’t need resolutions above 4K.
However, unlike the FX9 that is downsampling from a 6K sensor to record 4K, with the FX6 you are getting 4K from a 4K sized sensor. I personally feel that the image you get out of the FX9 is better than that of the FX6. In saying that, both are capable cameras.
Eye-popping specifications and marketing hype sell cameras, and the FX6 certainly has a lot of that going for it on paper, despite the fact that it is only a 4K camera.
The FX6, just like the FX9, features a next-generation sensor chipset that Sony claims provides much improved AF with face detection and Eye-AF. This is the same technology that has made its way over from Sony’s Alpha series mirrorless cameras.
As a comparison, the Canon C70 features EOS iTR AF X. iTR stands for Intelligent Tracking and Recognition. This is the exact same system that is found in the Canon 1DX Mark III.
By utilizing deep-learning algorithms, the system can track a subject’s head with good accuracy regardless of whether they are tuned towards the camera on not.
The C70 also has a distance indicator that works in conjunction with RF lenses. Information from the lens will be displayed on the LCD screen as both a numerical display (distance to the subject) and as a bar display.
There are various AF modes including fast One-Shot AF and Continuous AF available within 80% of the frame both horizontally and vertically with touchscreen selection and control. Tracking AF can also automatically track a selected object even as it moves.
The Face & Eye Detection on the FX6 works really well and most times it is going to do a very good job. It isn’t full proof, but you could reliably use it for locked-off interviews or tracking people if there isn’t too much else going on in the frame. The one thing you will notice is that it won’t detect the back of somebody’s head if they are walking away from camera or you are following them from behind. I shot this test backlit to challenge the AF system. It is pointless to do an AF test like this indoors under good lighting conditions because it won’t challenge the system.
As a comparison above you can see how the FX6 and Canon C70 compare. The C70 doesn’t have any eye detection like the Sony FX6. However, the C70 can track the back of subjects’ heads which is something the FX6 can’t do. From my testing, I found that both cameras performed well and there wasn’t a huge difference between the two. However, I did find that the Sony system tended to pick up faces quicker than the Canon.
One key difference between the Sony FX6 and Canon C70 when it comes to AF is that the Canon has an object tracking mode where you can lock focus on any object and then move the camera around and it will stay locked on that object. With the FX6 it will only track a person.
The a7S III and the FX3 both feature an enhanced 5.5-stop effective 5-axis SteadyShot image stabilization system, which compensates for five different types of camera shake. The FX6 doesn’t feature any type of IBIS, instead, you need to use post stabilization to improve shake.
The advanced image stabilization information means handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software in post-production to look smoother. Unlike in-camera or lens stabilization, metadata generated by the FX6’s built-in gyro allows you to creatively choose the balance between the level of shake compensation, and the resolution. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilization workflows.
The Canon C70 uses a combination IS that allows for coordinated control between the RF mount, an RF lens, and the electronic IS. If you use EF lenses through one of the adapters you still get Optical IS and Electronic IS in camera, but they are done separately.
The camera does have a Clear Image Zoom setting. What this allows you to do is to create a small zoom in or zoom out. You can control it using the zoom rocker that is on the top handle, or the zoom rocker that is on the side handle. As the FX6 has no ability to shoot UHD or 4K DCI in its S35 mode, the Clear Image Zoom can come in handy.
The only monitoring for the camera comes in the form of the 3.5″ 1280×720 LCD touchscreen. While this is ok, it isn’t great. It isn’t overly bright, nor overly large. I personally wouldn’t just want to rely on this for composing, focussing or judging critical exposure.
The LCD screen that comes with the FX6 is the exact same LCD that comes with the FX9. This LCD screen can be moved around and positioned in a variety of places on the camera. Any third-party loupe that works with the FX9, or the actual loupe for the FX9, will work with the FX6.
The top handle, microphone holder, and smart grip are both very similar to those used on the FS5. All of the components have been designed to be modular so you can strip the camera right down for certain applications.
Well, above you can see the difference when we just look solely at the camera bodies themselves. The C70 is wider and a little taller, but the FX6 is deeper.
What you need to factor in is that Canon is not as modular as the FX6. The C70 consists of the camera body and a removable top handle. On the other hand, the FX6 consists of the camera, removable top handle, removable LCD screen, and removable side grip
If we look at the removable top handles we will see quite a few differences between the two cameras. The FX6 handle is considerably larger than the one that comes with the C70. This is where you will find the built-in XLR inputs, various controls as well as the rosette attachment for putting on the removable LCD.
You will also notice that the FX6 handle has quite a few tapped 1/4-20″ threads while the C70’s handle has none. I am not sure what Canon was thinking by not including any mounting points.
As you can see the XLR inputs are located on the removable handle of the FX6. The biggest problem with this is that Sony failed to put a 3.5mm microphone jack on the camera body, so you need to use the top handle to record any type of good audio. This is a massive design blunder in my opinion. You have a small camera that is no longer small if you need to record good audio because you have to use the large top handle. Yes, there is a tiny internal microphone on the body that you can activate if you do remove the top handle, but it is no better than a scratch mic and you can’t really use it for anything other than that purpose.
As far as mounting options go the FX6 has a clear advantage. It features lots of mounting points on the body and better mounting options beneath the camera. It is really strange that Canon only put a single mounting point facing forwards on the bottom of the camera. This means you can’t secure it with two screws onto a tripod plate.
If we compare it to the Canon C70, the C70 weighs in at 1,170g / 41.27 oz. The C70 has physical dimensions of 6.3 x 5.1 x 4.6″ / 160 x 130 x 116 mm. What you need to factor in is that C70 already has everything attached to it apart from the top handle. Once you had the top handle, LCD screen, and side grip, the weight advantage of the FX6 had disappears.
Below you can see the weight comparison between the FX6, Canon C70, RED Komodo, Kinefinity MAVO 6K S35, Z CAM E2-S6 Super 35, Panasonic EVA1, and the BMPCC 6K Pro.
As you can see, the FX6 is lighter than all of these other available options, but not by a lot. This is simply to show you that most of these cameras have a similar weight. However, it is hard to judge the actual weight of these cameras as nobody is going to use one without a screen, battery, lens, etc.
The FX6 has a massive cooling system that takes up a lot of space within the camera. The air intake and exhaust are both on the non-operators side of the camera. Sony states that the camera will not overheat in any recording situation.
As soon as you attach the optional loupe to the LCD screen it just wants to move by itself because the LCD mount is so weak. It doesn’t matter how tightly you lock it off, it still wants to move.
The Canon C70 build quality is fairly comparable to the FX6, however, the buttons feel more tactile and the overall attention to detail seems a bit better.
Small details such as the plastic coverings on the inputs and outputs are better on the canon C70 than they are on the FX6. On the FX6 you really need to remove them entirely because they just end up getting in the way.
These may be really small details, but when you actually considering buying a camera, it is important to look at every little detail. Usability is far more important than camera specifications.
Just like the FX6, the Canon C70 also utilizes a fan and cooling system. The C70 has its ventilation and electrical systems separated to protect the sensor from water, sand, dust, etc.
With the C70 you can also utilize the optional EF-EOS R 0.71x speedbooster. This allows you to get the most out of Canon EF full-frame lenses. The EF-RF speedbooster creates a 0.71x wide optical conversion. It fully supports CMOS AF and optical correction with Canon EF lenses. It will also pass through and display f-number, focal length, and lens metadata.
The C70 has a lot of buttons and while most of them are conveniently located, the audio controls are located behind the LCD screen. To access them you need to have the LCD screen flipped out.
Menus should be intuitive, well thought out, and easy to use. Most of the Japanese manufacturers haven’t cottoned onto this concept. They continue to make cameras with complex menus and naming parameters that don’t always make sense.
As a comparison, the Canon C70 has 10 pages on menus. I personally found the Canon C70 menus were even worse to navigate than the Sony. The joystick on the C70 that you can use to toggle through the menu pages often gets stuck or is unresponsive.
Just like on the FX9, the FX6 has the same touchscreen operation available from its LCD screen. This allows you to access menu features and make changes to certain camera parameters.
It also allows you to use touch AF directly on the screen. Now, this is a little confusing to figure out at first when using the FX6. You can’t just simply touch screen to focus. You need to set an assignable button to Focus Setting and then the focus box goes yellow. When it is yellow you can move the focus point around via the touchscreen.
This really has been made a little more complicated than it needs to be. Look, I get it, Sony didn’t want people to accidentally touch the screen and change the focus, but as there isn’t any other type of touchscreen functionality except for when entering the Quick Menus this doesn’t seem to make a lot of sense. They should have just put a touchscreen function directly on the screen to be able to turn it on or off.
One of my biggest pet hates with Sony cameras is they seem to have a way of making some things more complicated than they need to be. While all of this may be fine if you are familiar with their cameras, if you are buying a camera for the first time, or renting a camera, these little quirks can be very frustrating when you are learning how to use it and set it up.
Unfortunately, you cant change the white balance, ISO/Gain, ND, shutter, or Iris using the touch screen while you are on the Main Status menu. The only items you can change have a thicker white box around them.
The only trouble with the touch menu is that you can’t access it from the main screen. You still need to leave your main screen to make any changes using these menus.
There is also another way of making changes where you can scroll through certain parameters that are shown on the LCD display. You can access this feature by either doing a long push of the multi-function button or by placing the feature on an assignable button. This allows you to change items such as ISO, WB, focus modes, etc. This is a far better way of making changes than trying to use the Quick Menus.
With the Canon C70, you have the ability to access and change key parameters of the camera’s operation right on the LCD screen without having to go into any menus. This makes it very quick to make changes. I much prefer Canon’s touch screen implementation for this very reason.
The FX6 can internally record in resolutions of up to 4K DCI. Given the small megapixel count, this camera will only ever be capable of recording in resolutions of 4K. This is something you need to keep in mind long term, even though I personally think 4K will be fine for many years to come.
The FX6 can capture 4K DCI at up to 59.94P in 4:2:2 10-bit XAVC Intra (Class 300). In UHD it can capture up to 120P also in 4:2:2 10-bit XAVC Intra (Class 300). Sony doesn’t specifically state what the bitrate is when recording UHD at 100 or 120P. One thing you need to be aware of is that the camera can’t shoot in 4K DCI in frame rates above 59.94p.
As a comparison, the Canon C70 is capable of recording in resolutions up to 4K DCI (4096 x 2160) and in frame rates of up to 120p. In 2K or HD you can record up to 180p. Unlike the FX&, the C70 can record 120p in 4K DCI.
In 2K or HD you can record up to 180p in 4:2:2 10-bit XF-AVC HFR (Special Rec) H.264 Long GOP. Please note the camera can shoot in S35 mode in 4K DCI, UHD, 2K and HD.
What is interesting to see is that Canon has enabled simultaneous audio recording when shooting high frame rates. The audio gets recorded in a separate file from the video. The file format it records in is BWF (.WAV extension). This is a great feature and something that shouldn’t be overlooked.
With the FX6 you can output the exact same 16-bit linear RAW signal from the camera and then record it in the exact same 12-bit ProRes RAW file without needing to pony up $2,500 USD to do it.
It is great that you can now just use the much smaller Ninja V and AtomX SDI module to record RAW from the FX6. This is a much better size for the camera than trying to use a Shogun 7.
Unlike the FX9 which uses two XQD media slots that support simultaneous or relay recording, the FX6 utilizes new CFexpress type A cards. This doesn’t mean you have to use the new cards, the camera is still backward compatible with SD UHS-II cards as well, however, you do need the faster CFexpress type A cards if you want to record frame rates over 100P.
The FX6 is just the third commercially available camera that I know of that can use CFexpress type A cards. The other two cameras are the a7S III and FX3.
As a comparison, the Canon C70 uses SD UHS II cards. You do need to use the more expensive V90 cards to record HFR material such as 4K 120p. V90 cards are still a lot more affordable than CFexpress Type A cards. A 128GB V90 card retails for around $160 USD, that’s around $240 USD cheaper than a 128GB CFexpress Type A card. V90 cards are also available in sizes of up to 256GB.
What is interesting to see is that Canon allows the user to record different resolutions at the same time. For example, you could record 4K DCI to one card and 2K to the other at the same time. You can also record progressive and interlaced at the same time. So you could record UHD 50P to one card and HD 50i to the other. If you wanted to record different codecs at the same time you can also do that. For instance, you could record XF-AVC ALL-I to one card and XF-AVC Long GOP to the other.
I found one thing that found with the electronic variable ND is that if you have it turned on and you use the ND Variable scroll wheel on the camera body to adjust the ND, if you scroll the wheel too much it actually turns the Variable ND off and you will see the clear filter roll back in. You do get a sort of warning that pops up on the screen that says ND: Variable 1/4. If you are still turning the ND wheel it will quickly go to no ND. This is something you just need to be aware of, especially if you are recording and making adjustments to the ND at the same time.
On the Canon C70, you cannot load up any LUTs. There is a “Look File” for creating custom picture profiles. This allows you to import a .Cube format 3D LUT into the camera and apply the captured 3D LUT for recording. This makes it possible to record with the intended look even in workflows that do not do color grading.
With the Canon C70, you do have the ability to view de-squeezed anamorphic images, but there are no anamorphic modes on the camera. You can also output a de-squeezed image over HDMI.
It is nice that Sony gave the FX6 timecode In/Out capability through a dedicated BNC connector. This is something that we are now slowly starting to see appear on lower-priced digital cinema cameras. This is a big deal if you are using cameras in multi-cam situations and you need to everything synched up. It is also crucial when working with a sound recordist if you are recording sound separately.
Audio functionality is very important, especially with cameras that are being aimed at solo operators. Even though the FX6 only has two physical audio control dials on the body, it is still capable of recording up to four channels of audio. The XLR inputs are located on the handle, so if you remove the handle you will lose those inputs.
In my opinion, not including a 3.5mm stereo input on the body was a big oversight. If you are going to harp on about modularity then you should be able to use the camera without the top handle and still be able to input a mic source. As I mentioned earlier in the review there is an internal microphone on the camera body, but it isn’t usable for anything more than a scratch mic.
Sure you could argue that because it has a timecode input that you could just record sound externally and then sync it up later, but small mid-tier cameras like the FX6 are going to be used by a lot of people who are doing their own sound.
This is a major problem if you want to run the camera on a gimbal and need to remove the top handle. As I just mentioned, considering this is a camera aimed at solo operators, not having any XLR audio inputs on the body itself seems to be a major design flaw. In saying that, I just don’t see where Sony could have put two full-sized XLR inputs given the camera’s design.
Along with the two XLR inputs on the camera handle, the camera also has a MI shoe that allows you to attach the Sony XLR-K3M Dual-Channel Digital XLR Audio Adapter. This way you can also add two additional XLR inputs to the camera as the audio signals are passed through the MI shoe. The adapter also gives you the additional controls for those two channels of audio.
The FX6 also features a stereo onboard microphone in the body of the camera itself. If you go into the Quick Audio menu you can control and adjust all four channels of audio.
As a comparison, the Canon C70 has two Mini XLR terminals that can provide +48-volt phantom power for attaching professional microphones. Canon doesn’t include any Mini XLR cables with the camera. There is also a 3.5mm microphone input allowing the connection of a variety of different microphones.
On the back of the camera, you will find audio control dials. These allow you to independently change the levels for channels 1 and 2 as well as switch between Mic/Mic +48/Line. You can either choose to set either channel to auto or manual.
Usability. In my opinion, this is something that not enough shooters pay attention to. Usability is the number 1 item I look for when choosing a camera. All digital cinema cameras being released today have good recording options, good sensors, a similar amount of dynamic range, and in a lot of cases, similar feature sets.
Arguing over dynamic range figures from cameras that are so close is a pointless exercise in futility. Almost every camera out there can now record 4:2:2 10-bit in a decent onboard codec. Gone are the days where there were huge differences between the sensors and recording capabilities in cameras.
Now, usability means different things to different people. The usability of camera XYZ could work really well for me, but not well for you. There is no way of making a blanket statement when it comes to usability. Only you will know what camera works best for you when it comes to usability.
I am going to compare the usability of the FX6 to the usability of the Canon C70. Now, I can only do this from a personal standpoint. I can’t tell you which one of these cameras has better usability for your particular needs. Please bear this in mind when you are reading this.
Now, both cameras have their usability pros and cons. I am not going to sugarcoat anything, but again please remember this is my personal opinion from using both cameras. It is just an opinion, feel free to agree or disagree.
The first thing I check with any camera is how easy is it to make operating changes without having to go into complex menus. Sony menus, for the most part, have tended to be overly complicated and not intuitive to use. Sony tried to alleviate user pain by adding a series of what they refer to as ‘Quick Touchscreen’ menu options. The trouble I personally found is you have to leave the main screen to go into these menus. Then you have some options you can change and others you can’t. From my personal perspective, what is the point of having items in a quick menu that you can’t change?
Now, because of the physical design of the FX6, you really need to hold with one hand on the smart grip and the other underneath the camera and towards the front if you need to adjust a lens.
As the camera has some depth to it you can place the back of the camera against your chest to create a third point of contact. Having the LCD screen out towards the front of the camera helps when doing this.
You can also tuck both elbows back into your chest to gain four points of contact. This is a better option if you want to have the camera further away from your body.
With all of these smaller-sized cameras, if you are hand-holding them and you aren’t tall you are ultimately going to end up shooting everything from a lower perspective. This is also something you need to be aware of.
The only trouble with operating a camera like this is that you really need to utilize the smart grip. Not only for accessing some features, but also so you can hold onto it properly.
If you use the optional loupe with the camera it is best to take the LCD screen off the top handle and attach it to the back of the camera body. This way you actually handhold the camera and put it up to your eye. You can also tuck your elbows into your sides to create a more stable shooting platform.
The biggest problem with using the loupe is that the monitor mount is so weak that the loupe just keeps falling down. I also found that the diopter adjustment didn’t go far enough for it to work with my eyes. The other problem is that obviously, you have no way of accessing any of the touchscreen features when you have the loupe on.
When you collapse the hood down to protect the screen and then try to open it up again, the locking mechanism that keeps the hood on the screen is too close to the place where you open up the hood. half the time when I went to open the hood I ended up releasing the locking mechanism.
The saving grace is that at least there are physical switches for the WB and the gain settings. This makes them easy to access and identify just by touch. The electronic variable ND scroll wheel is also easy to locate.
The issue with having touchscreen functionality is that if you take your bottom hand away from supporting the camera to touch the screen the camera will want to roll to the left. If you are in the middle of recording a shot this is something you need to be aware of.
Making changes on the touchscreen is a little difficult because I mentioned the camera want’s to roll to the left if you are just holding it by the grip. Even if you try to support the back of the LCD screen with some of your fingers, the balance just doesn’t feel right. This is mainly because one of your hands is at the front and higher, while the other is towards the back and lower. The LCD mount is also pretty badly made and the whole screen tends to move around unless you have it completely locked off.
Speaking of the screen I wanted to see how bright it is. In the FX6’s menu, I turned the brightness up to +15, and then I shot a white card and exposed it so it was right on 100 on a waveform. I then played that file back and measured the brightness of the screen using a Sekonic C-800. I found that the brightness of the screen was 570 nits. I found the screen was reasonably good to use even in bright, sunny conditions.
You do this by pressing and holding the WHT BAL function button. This brings up a small window on the bottom left-hand side of the LCD screen where you can toggle through the following options:
There is also an ATW (Auto Tracing White) setting you can select. This will let the camera continually adjust the white balance in changing lighting conditions. You need to be aware that this doesn’t work if you are in the CINE EIshooting mode.
You can see the Tint value next to the white balance on the Quick Menu page, but this doesn’t mean much to anyone. Why Sony insists on using Tint, R Gain, and B Gain and not including proper CC (+/- G/M) adjustment like most digital cinema cameras is a headscratcher.
The APR function minimizes the appearance of bright or dark sensor pixels, as well as sensor noise, so you should do this regularly. It is only supposed to appear if the camera hasn’t been turned on in a few days. Sony recommends that you do it when changing locations due to lighting, and ambient temperature changes.
If you want to let the camera do all the heavy lifting for you by utilizing all of its auto functionality you can. If you are doing run & gun you could put the camera in ATW (Auto Tracing White), ND AUTO, AF, and AUTO EXPOSURE (turning the AGC-auto gain control on). Then set the camera to S-Cinetone and off you go.
I wanted to see how easy it is to change frame rates on the FX6. I set the camera to record 4K DCI in XAVC-I with a project frame rate of 23.98P. To change it quickly to 60fps from 23.98 fps all I had to do was to assign S&Q to an assignable button and the press it. As long as I have the S&Q preset to 60fps it can be done with the push of a button.
Now, what I found strange is that when I selected 100fps with a base project setting of 23.98P AF wasn’t available. I got a screen message saying 100fps MF Only. The same thing happens if I choose 50fps or even 48fps.
As I have already mentioned, the FX6 features a modular design, but in reality, for a lot of shooting situations, you are going to need to attach all of the included accessories to make it work. Hold on you may be saying, why can’t I just not use the top handle. Well, unless you have no need for recording audio in camera that is not a good idea. It may be fine if you are running the camera on a gimbal and recording sound separately, or recording everything in slow motion with no audio, but unless you want to do that you have no other real choice but to use the handle.
Yes, you can make the footprint of the camera smaller by just repositioning the LCD screen on the body and not using the top handle, but I actually found it harder to access the screen when hand-holding the camera this way.
Cameras like the FX6 aren’t designed to be put on your shoulder, and at least in my opinion, it is counterintuitive making something larger just to be able to do this. If you want to shoulder mount this camera you are better off buying an FX9.
Some users of cameras such as the FX6 are going to want to turn around material quickly or not have to shoot Log or RAW. So does the FX6 fill that need. Quite simply, yes.
I have done the exact same tests with the Canon C70 and you can see those down further in this review. Both cameras were using the eaxct same lens to take out any optical bias. The tests were done under the exact same lighting conditions. None of the images have been touched or altered in anyway.
It is very difficult to tell both of these camera’s apart if you use these picture profiles. The biggest noticeable difference is that on the C70 with the Wide DR BT.709 picture profile, the greens are more saturated. On the Sony using S-Cinetone, the reds are slightly more saturated.
The whole idea behind buying a small camera like the FX6 is to keep it small. If you have to start adding lots of things to it it becomes problematic and counterintuitive. Even adding something like the Ninja V makes it a lot heavier and unbalanced if you try and place it on the front part of the handle. All the weight then is at the front of the camera and you are continually struggling to keep it upright and level.
I found it made more sense if you needed to attach a Ninja V (you will if you want to record RAW) to the back part of the handle. This helps with weight distribution. Still, you end up with a short camera that is suddenly very tall.
The form factor of the C70 is more in line with a larger-sized DSLR than a digital cinema camera. The Sony FX6 has a more camcorder-esque form factor.
The camera isn’t deep like the FX6, but it is wide. I found the best way to hold it was to use one hand on the grip and the other underneath the left-hand side.
A lot of the physical buttons on the left-hand-side of the camera are difficult to reach and see, especially the Peaking, Waveform, Display, and Zebra buttons.
The HDMI port is also in a bad position if you are hand-holding the camera. With an HDMI cable inserted you are forced to place your hand further underneath the camera body. You can still access the ND and WB buttons with the mini XLR cables inserted.
I personally found the screen on the C70 easier to access and touch than the FX6 when I was hand-holding the camera. You can still maintain stability while touching the screen. I could still tuck my elbows into my chest and use my left hand to support the LCD screen while making changes on the front of the screen. This works because essentially both your hands are at the same height on the camera. On the Sony FX6, you have to reach up to access the screen and that throws the balance off.
Speaking of the screen I wanted to see how bright it is. In the C70’s menu, I turned the brightness up to +50 and then I shot a white card and exposed it so it was right on 100 on a waveform. I then played that file back and measured the brightness of the screen using a Sekonic C-800. I found that the brightness of the screen was 296 nits. Now, here lays the problem. Turning the brightness up on the C70’s LCD screen makes everything look washed out and it isn’t actually usable.
Turning op the brightness is a bad idea. What you need to do is to turn up the luminance. You can only change the luminance from Normal to +1 or +2. At +2 the reading I got was 299 nits. The screen on the FX6 is almost twice as bright as that of the C70. I personally think that the C70’s screen is not usable outdoors in bright, sunny conditions.
The other issue with the C70 is that you have all of this information covering large parts of the screen. Yes, you can get rid of it, but it would have been nice to have seen an option where you could have the information displayed on the outside of the picture.
Having the ability to quickly access and change key functionality of the camera right from the touchscreen is really nice. Being able to change white balance, ND, shutter speed and ISO very quickly make a world of difference when you need to operate quickly.
Whatever is selected orange you can then adjust with the joystick that is located just above the FUNC scroll dial. Once you make an adjustment you have to press the middle of the joystick. If you don’t no changes get made. Now, you need to be very aware that once you press the WB button the orange box that comes up only stays active for 5 seconds. If you don’t make a change or touch any of the controls within 5 seconds it will turn off.
To do an actual white balance you need to point the camera at a gray card or white object so that it fills the center of screen. You then press the button below the WB button. The A or B setting (whichever one you have selected) will then flash quickly. Once the flashing stops the white balance has been done.
Now, you can also make white balance changes by accessing the quick menus on the touchscreen. Here you can cycle between all of the settings and make changes to the Kelvin color temperature and CC value. Strangely you can’t actually do a white balance from this screen. You still need to select A WB or B WB and then press the physical button on the camera.
I wanted to see how easy it is to change frame rates on the C70. I set the camera to record 4K DCI in 108Mbps LGOP with a project frame rate of 23.98P.
To change it quickly to 120fps from 23.98 fps all I had to do was to use the touchscreen and change the Recording Modefrom Normal Recording to either Slow & Fast Motion or S&F Clip / Audio (WAV). If I already had the Slow & Fast Frame Rate set to 120 this happens automatically. What is nice is that the camera doesn’t need to reboot after you make this change.
On the touchscreen, you can also long-press on the Slow & Fast Frame Rateand it brings up a very nice interactive screen where you can make changes. You need to be aware that you can only choose S&F frame rates that are multiples of your project rate. So for example, I can’t shoot 100fps if my base frame rate is 23.98P. I actually like how Canon has implemented this.
Just to clarify, you can load up LUTS, but they only work as picture profiles. Whatever you choose gets burned into your footage. Canon gives you 20 places to store picture profiles.
Some users of cameras such as the C70 are going to want to turn around material quickly or not have to shoot Log. So does the C70 fill that need? Quite simply, yes. Canob cameras have generally had a good reputation for producing nice images straight out of the box, and the C70 follows that trend.
What I also like about the C70 is that you can still record audio without needing to use the top handle. This keeps the size of the camera to a minimum. I found that just utilizing a RØDE Wireless GO II was a nice way of keeping everything small and easy to use. This is something you can’t do with the FX6.
For me, the whole reason to use a small camera is that I can keep it small. I don’t want to have to add anything to it to make it work out of the box. For the most part, the C70 ticks these boxes. If anything, I think the C70 would benefit from a small top plate. Although in saying that, I found that by just adding a dual cols shoe plate I could run a top mic and a dual-radio mic receiver without increasing the camera’s footprint.
Both cameras definitely have their pros and cons when it comes to usability. I hope that at least I have made you aware of some of the potential issues you could run into.
The FX6, like most of today’s modern cameras, is capable of producing nice imagery in the right hands. S-Cinetone is a really nice option if you need to turn material around quickly or the client isn’t requesting footage to be shot in Log or RAW.
The Canon C70 is also capable of producing nice quality images. Again, just like with the FX6 or any other camera it is up to the user to get the most out of it. Both cameras can record in good onboard codecs and both will be perfectly adequate for delivering 4K DCI, UHD or HD material.
There are tons of examples of footage from both cameras out there for you to see so I am not going to waste your time by showing you anything else. There is nothing I can show you in the confines of testing out a camera that someone hasn’t already done.
The FX6 works with Sony’s Content Browser Mobile. This allows you to control your camera and also control focus, iris, and zoom with a lens such as the new Sony FE C 16-35mm T/3.1 G E-Mount Lens.
At $5,999.99 USD the FX6 is competitively priced when you look at its main competition. Its main competition arguably comes in the form of the Canon C70, RED KOMODO, Z Cam E6-S6, Kinefinity MAVO 6K S35, Panasonic EVA1, and BMPCC 6K.
At $5999.99 USD it is basically the same amount as a RED KOMODO and around $500 USD more than a Canon C70. Options from Kinefinity, Z CAM, and Blackmagic are more affordable.
As I have been comparing the Sony FX6 against the Canon C70 throughout this review let’s have a look at what the real cost of entry is if you were to buy either of these cameras with 3 batteries, a dual charger, an onboard microphone, XKR cables, 4 memory cards, and a card reader. For media, I will compare the best available cards for both cameras. Now, unfortunately, the CFexpress Type A cards used by the FX6 only come in capacities of 80GB and 160GB. I will reference 160GB against 128GB as that is the closest comparison that can be made. Yes, both cameras can use cheaper media, but I am listing cards that are required to record any type of resolution and frame rate.
We have got to a point where image quality, recording capabilities, and dynamic range are all very, very close with most sub $10K cameras. Just about all of the cameras out there are capable of getting the job done.
In my opinion, if you are in the market for a new camera then you should be primarily looking at usability. How do you like to work? Does camera XYZ have the inputs, outputs, usability that you are looking for. From being in this industry for over 30 years I can tell you that often the better camera, is not the camera that has the best specifications on paper.
Same sensor as the C300 Mark III- the DGO sensor is very impressive and it is nice to see that you get the sensor from a lot more expensive camera in the C70. The FX6 uses a sensor from a hybrid mirrorless.
Easy out of the box usability- apart from the top handle there are no other parts. You can put a lens on this camera and start shooting straight away. With the FX6 you need to attach the additional components to use the camera.
Only one output- with the C70 you are stuck with a single HDMI output. This limits what you can do with the camera unless you want to add an additional monitor.
As you can, I personally think both cameras have their strengths and weaknesses. Both cameras are far from perfect. If you combined the best bits from both of them and made one camera you would probably end up with a pretty good solution.
Now, I actually bought one of these cameras and I would be interested to hear which one readers thought I purchased. Let me know in the comments section at the bottom of the article.
Whether you love Sony cameras or loathe them, the Japanese company has always priced its mid to lower-end cameras fairly aggressively. As I have mentioned in recent articles, the camera market has started to divide into two key sectors; the under $10K category and the high end. There really isn’t much in between. The FX6 falls clearly into that under $10K category.
Sony almost always seems to get its camera timings just right (at least when it comes to digital cinema cameras). Half the battle is being first to market and providing something your