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Sony FX9 Series | Introduction & S-Cinetone

Welcome to our new series, taking a closer look at the FX9. In this series, we're going to be taking look at some tests we've shot with the FX9 looking at its high ISO performance (including that of its dual native ISO) colour performance as well as testing the new Autofocus, which is a first from Sony in a camera like this.

Unfortunately, before shooting this series, we didn't have long with the camera at all, and the weather has unfortunately been rather miserable (as it does in the UK in the winter) so rather than attempt to get pretty footage with the camera. We decided to run a series of tests, taking a closer look at what's new.

The first of these tests that we'll be looking at is comparing the S-Cinetone and new colour rendition of the FX9. With the FS7, Sony have been criticized when it comes to colour. The FX9 is said to have inherited some of the colour performance of the Venice, along with a new what you see is what you get colour profile, called S-Cinetone. When compared to REC709 gamma within the FX9, you can immediately see the difference, especially in the highlights. The highlight roll-off in the S-Cinetone is far more pleasing than on the REC709, where the white hat in the below image is completely blown out. FX9

If you look closely at the skin tones, you'll see that the S-Cinetone is much more vibrant and healthy looking than the REC709. FX9

When you compare the S-Cinetone to Slog3 (here we used the built-in Slog3SGammut3.CineToLC-709TypeA LUT in Resolve) and as you can see, there the Slog3 looks more vibrant than the S-Cinetone. The contrast from the Slog3 is also quite good, even just from using a LUT, we'd like to adjust the white and black points here slightly, but are still very happy with the way the image turned out with a simple technical LUT applied. FX9 FX9