Used Camcorders

DSMC Side Control Handle, USED

The DSMC® Side Handle is a hand-held, customisable module that will grant you complete control over all EPIC or SCARLET® menu functions. The DSMC Side Handle also provides space to insert a single REDVOLT® battery to power your DSMC BRAIN® and provide hot-swap support for other batteries.

Bundle of GoPro accessories, notably including: 1 x ARMTE-001 WiFi remote 1 x Wasabe Power charger and Battery 2 x GoPro WiFi Remote and smart remote charging cable 1 x full housing for GoPro Hero 3/4 5 x Bulky skeleton back door (for GoPro 2) 1 x standard skeleton back door 7 x Gopro Mounts...

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Multiple recording formats includes HD/2K/4K on SxS memory and 16-bit RAW 2K/4K on AXSM media Multiple recording formats include MPEG-2 HD422, MPEG4 SStP*, XAVC 2K*/HD, XAVC QFHD*/4K and 16-bit RAW 2K/4K**. You can have simultaneous recording on internal high-speed SxS PRO+ memory cards and RAW 2K/4K recording on sleek AXSM memory cards using the optional...

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Hitachi DK-H100 Camcorder, used

The DK-H100 is Hitachi's Multi-format, self-contained, Digital Processing HD camera. Designed for advanced remote observation systems, it provides outstanding images from three 2/3-inch CCD image sensors and the latest generation Hitachi DSP with 14-bit A to D converters.

The DK-H100 is a high-performance special application HDTV/SD camera.The camera is ideal for graphic stands point of view and remote observation applications. With its new 2.3 million pixels native 1080i 3-CCD, the DK-H100 provides outstanding performance. The camera offers sharper and cleaner HD images due to its 14-bit A/D converters and Hitachi's implementation of the latest digital processing technology. The camera achieves outstanding high sensitivity and a low vertical smear specifications.

Dimensions Stands: Sections: 4 Height: 12' (365cm) Closed length: 43.5" (110cm) Leg spread: 36.5" (92cm) Legs diameter: 7/8" (22mm) Tube diameter: 1 3/8" (3.5cm) BackDrop Pole: Open length: 12.5 (396cm) Closed length: 4' 7" (139.7cm) Weight Each stand: 6 lbs (2.7kg) Kit weight: 17 lbs (7.7kg) Packaging Info Package Weight 20.9 lb

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Blackmagic Design URSA Mini Pro 4.6K Digital Cinema Camera G1, used 

Introducing URSA Mini Pro, a professional digital film camera that combines the incredible image quality of URSA Mini 4.6K with the features and controls of a traditional broadcast camera You get a massive number of ergonomically designed controls on the side of the camera so you can adjust most settings by feel, and without ever having to take your eyes off the action. URSA Mini Pro also features built in ND filters, a status display and a revolutionary new interchangeable lens mount that lets you change between EF photographic lenses or PL and B4 lenses. URSA Mini Pro records up to 60fps and features dual C-Fast 2.0 recorders as well as dual UHS-II SD Card recorders. URSA Mini Pro is lightweight and comfortable enough to use all day, has controls that are extremely fast to use, and image quality that’s far superior to broadcast cameras costing ten times more

Blackmagic Camera 5.1.1 Update

For the latest upgrades and improvements, you can download the latest Blackmagic firmware here. Details also available when clicking this link.

Digital Film Quality for Every Project

The perfect camera for digital film, broadcast, live production and more URSA Mini Pro is “three cameras in one” because it combines high end digital film quality with the ergonomics and features broadcasters need. It’s ideal for any kind of work from high end feature films, television shows and commercials, to independent films, broadcast news, and even studio and live production URSA Mini Pro features beyond Ultra HD 4.6K resolution plus 15 stops of dynamic range, all with a super wide colour gamut and DaVinci colour science so you always capture cinematic quality images. The super compact body features broadcast camera ergonomics and advanced operating software that make it faster to set up and use than any other camera Whether you’re on set, on location or shooting run and gun, URSA Mini Pro has the image quality and features you need to work on any type of project Two Incredible Models

Choose URSA Mini or URSA Mini Pro models. The URSA Mini family are powerful and robust cameras that are available in five different versions, so you can choose the camera that best suits your needs. Choose the affordable URSA Mini 4K and URSA Mini 4.6K models with cinema quality, fixed EF or PL lens mounts, and dual C-Fast card recorders. Or choose the all new, advanced URSA Mini Pro 4.6K that adds built in ND filters, an interchangeable lens mount, dual C-Fast UHS-II SD card recorders and powerful broadcast features and controls Revolutionary URSA Design

Big camera features that are fast to use in a lightweight, portable design URSA Mini Pro is designed to include everything you need in a handheld camera so you can take it anywhere unlike cheap plastic cameras, the evenly weighted camera body is made out of a super tough magnesium alloy. It’s a true professional camera with full redundancy on every control, even the power switch Plus, the tactile controls allow full setting changes without having to take the camera off your shoulder There’s an external high visibility LCD status display so you can see critical shooting information, and a 4” foldout touch screen for reviewing shots so you don’t have to carry an extra on-set monitor You get professional connections such as 12G-SDI, XLR audio, a built in high quality microphone and more. The optional electronic viewfinder and shoulder mount kit lets you go from tripod to handheld shooting in seconds, or you can turn URSA Mini Pro into the ultimate live production camera by adding an URSA Studio Viewfinder Built in ND Filters

High quality neutral density filters with IR compensation URSA Mini Pro features high quality neutral density (ND) filters that let you quickly reduce the amount of light entering the camera. The 2, 4 and 6 stop filters have been specifically designed to match the colorimetry and colour science of URSA Mini Pro, providing you with additional latitude, even under harsh lighting conditions. This lets you use different combinations of aperture and shutter angle to achieve shallower depth of field, or specific levels of motion blur, in a wider range of situations. The IR filters have been designed to filter both optical wave lengths and IR wave lengths evenly to eliminate IR contamination of the images that most ND filters can suffer from. The ND filters are true optical filters with a precision mechanism that quickly moves them into place when the ND filter dial is turned. The filter settings can even be displayed as either an ND number, stop reduction or fraction on the LCD Powerful Tactile Controls

Quickly change settings without taking the camera off your shoulder. Like the world’s best broadcast cameras, URSA Mini Pro features powerful tactile control buttons, switches, knobs and dials, giving you direct access to the most important camera settings. The controls are laid out in a logical order that makes them easy to remember, so you’ll be able to adjust settings, use ND filters, change frame rate and even snap a still photo without having to look at the buttons or take the camera off of your shoulder. The external controls are so fast to use, you don’t even have to stop shooting that’s what makes URSA Mini Pro both a powerful broadcast and studio camera, as well as a digital film camera Interchangeable Lens Mounts

Compatible with EF, PL and B4 lenses. Different projects require different lenses, which is why URSA Mini Pro features a new interchangeable lens mount Imagine shooting regular work using a photography lens but then being able to change to a PL mount cinema lens if you get a high end film job. URSA Mini Pro makes that easy because you can quickly switch between EF, PL and

B4 lenses, making it compatible with the widest possible range of professional lenses. That means you can work with high quality EF photographic lenses, large PL cinema lenses, and even B4 broadcast lenses, all with the same camera URSA Mini Pro comes with an EF mount and you can purchase optional PL and B4 lens mounts separately. With URSA Mini Pro, you get a single camera that works with virtually all professional lenses so you can choose precisely the lens you need Status Display

See critical shooting information in bright daylight. The status display is a high visibility LCD screen that’s designed to be easily seen, even in bright light the status display shows record timecode, locked timecode and reference timecode, along with the current shooting frame rate, shutter angle, aperture, white balance, ISO and IRIS. It also features a battery indicator, card recording status and audio meters for monitoring levels. The screen’s backlight can be turned on when you’re shooting in dimly lit locations, and off when you’re shooting outdoors and in bright light to increase contrast, making it easy to read under any condition Cinematic 4.6K Sensor

Capture incredible digital film images with 15 stops of dynamic range. When it comes to image quality, URSA Mini Pro operates at a higher resolution and dynamic range that goes well beyond traditional motion picture film. You get a 4.6K image sensor that captures up to 4608 x 2592 pixels, which is bigger than full DCI 4K The sensor features a massive 15 stops of dynamic range, making it perfect for high dynamic range (HDR) projects. The built in active refrigeration ensures maximum dynamic range and low noise so you get incredibly clean pictures with amazing detail in both the dark shadows and bright highlight areas. You can also choose the lower cost URSA Mini 4K model with 12 stops of dynamic range when you don’t need the performance and are on a tighter budget.

Advanced Colourimetry

Super wide colour gamut and precision colour science URSA Mini Pro features an incredibly wide colour gamut that captures more of the visible colour spectrum than Rec. 2020, which is vastly larger than the P3 digital cinema colour space Third generation Blackmagic Design colour science is used to process the raw sensor data, enabling amazingly rich skin tones, natural colour response and enormous amounts of dynamic range. Whether you’re shooting a Hollywood blockbuster, an indie film, high end commercial, or a broadcast television show, URSA Mini Pro’s combination of resolution, dynamic range and colour gamut delivers amazingly rich and lifelike images High Frame Rate Recording

Capture the action with smooth flowing motion URSA Mini Pro can shoot at high frame rates and then play it back at the edit frame rate so you get smooth slow motion video that’s crystal clear. You can set the camera’s default shooting frame rate and also specify an “off speed” frame rate.

Switching between them is simply done with the touch of a button on the outside of the camera, making it incredibly fast to switch between standard and high frame rate shooting URSA Mini Pro can capture full resolution 4.6K recordings at up to 60 frames per second Non Stop Recording

Works with both C-Fast and SD card media URSA Mini Pro features both dual C-Fast 2.0 recorders and dual UHS-II SD card recorders so you can choose the media that works best for you. C-Fast cards are ideal for full resolution RAW recording, while SD and UHS-II cards are inexpensive and commonly available, making them perfect for recording ProRes Ultra HD files or RAW HD files. Simply choose the media type, insert the cards and start shooting with dual slots for each media type, you never have to stop recording because when the first card is full, it automatically continues onto the next card. You can even swap the full card for an empty one, all without having to stop recording URSA Mini Pro can record lossless 12-bit CinemaDNG RAW files for the highest possible quality, or 10-bit ProRes files for easy post production workflows with minimum storage requirements Built in Monitoring

Fold out touch screen for monitoring and camera controlThe built in 4” fold out touchscreen URSA Mini Pro and the 5” fold out touchscreen on URSA Mini are super bright, high resolution colour displays with a wide viewing angle that makes them perfect for monitoring and reviewing shots on set The screen can also show you a “heads up display” overlay with critical information such as format, frame rate, timecode, ISO and more. You even get a histogram, card recording status indicators and audio meters The fold out touchscreen lets you use the incredible new URSA Mini operating software so you get super-fast access to every camera function, ATEM broadcast switcher integration features for live broadcast, digital slate for metadata management and more Advanced URSA Mini Software

Incredibly fast software with revolutionary new user interface All URSA Mini cameras feature a new user interface that revolutionizes the way you work The advanced camera operating software lets you use simple tap and swipe gestures to control all features, setup, the digital slate and more. You get powerful and super-fast software with a unique heads up display that puts commonly used functions at your fingertips. Simply touch an on screen icon to make changes for things such as audio levels, white balance, shutter angle and more you’ll instantly see sliders and controls for making adjustments without ever having to navigate through any menus the new digital “slate” makes entering metadata faster than ever before with a built in dictionary, predictive entry and on screen keyboard. Using a professional digital film camera has never been faster Highly Customizable

Flexible enough to be rigged for any production Blackmagic URSA Mini cameras are completely customizable so you can create a rig that’s built specifically for your production you can add accessories like the Blackmagic URSA Viewfinder, URSA Studio Viewfinder and Blackmagic URSA Mini Shoulder Kit, or choose from hundreds of third party accessories. URSA Mini and URSA Mini Pro have 9 standard ¼” threaded mounting points on the top and bottom of the camera so you can mount it directly to a tripod as well as add accessories such as rails, sliders, matte boxes, microphones, ring lights, batteries and more. Whether you’re building a feature film rig or outfitting the camera for an ENG style shoot, URSA Mini has all of the mount points and connections you need High Resolution Viewfinder

Full HD display and glass optics makes precise focus easy. The optional Blackmagic URSA Viewfinder is designed to be the perfect match for URSA Mini Pro and URSA Mini cameras. You get a high resolution 1920 x 1080 colour OLED display matched with precision glass optics, adjustable diopter and built in digital focus chart so you get perfect focus every time. To preserve OLED screen life, there’s a built in sensor so the OLED only turns on when you’re looking through the viewfinder. The Blackmagic URSA Viewfinder is adjustable so it can be used on both the left or the right eye. There’s even a built in record light Blackmagic URSA Studio Viewfinder

Turn URSA Mini into a true professional studio camera. The URSA Studio Viewfinder is a true professional viewfinder for URSA Mini Pro and URSA Mini. You get a bright 7” screen with large handles and variable tension pivot points that let you smoothly adjust the viewfinder’s position and angle, even while you’re live on air. The tactile knobs and buttons give you direct control of settings so you can keep your eye on the action combined with the new software update for URSA Mini, the URSA Studio Viewfinder turns your URSA Mini into the ultimate live production camera you get support for talkback, tally, and program return, along with remote control of focus, iris, colour balance and more, all from your ATEM Switcher Professional Connections

Full size, durable connections that work with standard cables Blackmagic URSA Mini Pro features multiple connections such as 12G-SDI out, HD-SDI monitoring out, 2 LANC inputs, balanced XLR audio with phantom power, timecode in and reference input. On the front right side of the camera is a

12 pin Hirose control connector for broadcast lenses. There’s also a 4 pin XLR DC and an HD-SDI monitoring output that are located in the perfect position for connecting an optional viewfinder or on set monitor. The 12G-SDI output handles all formats up to 2160p60 using a single BNC cable, and also switches to 6G-SDI or HD-SDI depending on the shooting format.

Advanced 12G-SDI

Work with all formats up to 2160p60 over a single cable 12G-SDI is an incredible 8 times faster than regular HD-SDI which makes it fast enough for Ultra HD video at up to 60 frames per second, all over a single regular SDI cable the high quality BNC connections are multi rate so it can automatically switch and work with 6G-SDI, 3G-SDI, and regular HD-SDI equipment. That means URSA Mini Pro and URSA Mini are compatible with all of your existing HD and Ultra HD equipment so you can plug it into things like ATEM live production switchers, on-set monitors, decks and more Professional Audio

Built in production quality sound recording URSA Mini Pro has a high quality microphone and professional audio recorder built right in so you don’t have to carry around extra sound equipment use the built in stereo microphone to record natural location sound or connect professional microphones using the two XLR wide dynamic range mic inputs. The XLR connections have 48V of switchable phantom power so you can plug in everything from shot gun to wireless clip on mics for capturing every detail of the performance. You can quickly adjust levels using the external knobs and monitor audio using the onscreen audio meters.

Digital Slate

Embedded metadata, store location, camera orientation, scene details and more. The built in touchscreen makes it astonishingly simple to set up and enter metadata for tagging clips. Metadata is saved directly in the video files so you don’t have to worry about managing extra sidecar files. You can import the files directly into software like DaVinci Resolve, Final Cut Pro and Avid Media Composer then use the metadata to sort, search and find the clips you need so you can spend more time on creative editing and less time managing mountains of media Flexible Power

Compatible with industry standard batteries and power URSA Mini Pro and URSA Mini cameras include a 4-pin XLR industry standard power connector that works with 12V to 30V external power supplies. That means it’s easy to use the camera with all of your existing power supplies and batteries all URSA cameras use the same battery power connector and mounting points on the rear of the camera so you can use a wide range of battery plates from manufacturers such as IDX, Frezzi, Anton Bauer and more. You can also add the optional Blackmagic URSA VLock Battery Plate for using popular V-Mount batteries.

ARRI Amira Camcorder (1600 Hours) With Premium Licence, Used

3 month warranty

Premium Licence

Good condition

MPEG-2 recording, 50 MBit/s  422p@HL in MXF container: XDCAM HD workflow compatible

AMIRA multi-cam interface: camera remote control with Sony RCPs

Intervalometer: for sophisticated time lapse and stop motion recordings

WiFi remote control support: full camera control with WiFi devices

Viewfinder status overlay enhancements, other useability improvements and improved support for accessories

Support for Lexar CFast 2.0 cards: LC 128GB and LC 256GB 3600x cards

Product AMIRA

Sensor Type 35mm format ARRI ALEV III CMOS (28.17x18.13)

Sensor Pixel Count 3200x1800 (4K UHD, 3.2K) 2880 x 1620 (HD), 2868 x 1612 (2K), for monitoring with surround area: 3168 x 1772 (HD), 3154x1764 (2K),

3414 x 2198 (4K UHD, 3.2K)

Recording Pixel Count 1920x1080 ProRes HD and HD outputs, 2048 x 1152 ProRes 2K, 3200x1800 ProRes 3.2K, 3840 x 2160 Pro Res 4K UHD and UHD outputs*

Lens Mounts PL mount w/ Hirose connector and LDS, B4 mount w/ Hirose connector, EF mount, PL mount titan (ALEXA Mini)

Shutter Electronic shutter, 5.0° to 356.0°

Exposure Index EI 160 to EI 3200 (EI 800 base sensitivity)

Exposure Latitude 14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)

Audio Recording 4 channels, 24 bit PCM, 48 kHz

Integrated motorized ND Filters FSND 0.6, 1.2, 2.1

Sound Level < 20 dB(A)

Weight ~ 4.1 kg/9.2 lbs (camera body with PL Lens mount)

Dimensions Length: 309mm/12.1", width: 139 mm/5.4" , height: 149mm/5.8"

(camera body with PL lens mount)

Environmental -20° C to +50° C (-4° F to +122° F)

Viewfinder AMIRA Multi Viewfinder MVF-1 (OLED and LCD)

Outputs Video 2x HD-SDI outputs: 1.5G, 3G and 6G; uncompressed HD/UHD video with embedded audio and metadata***

Outputs Audio 3,5mm headphone jack, Bluetooth audio

Outputs Power Hirose 12pin (for ENG type zoom lenses); 12V: D-tab, Hirose 4pin, Lemo 2pin; 24V: RS 3pin

Inputs Genlock, HD-SDI**, Timecode (In and Output), all BNC

Other Interfaces USB 2.0: For importing and storing AMIRA Look Files, user set up files, frame line files and feature license keys. Stores captured still image formats in DPX (.dpx, 10 bit) or JPEG (.jpg, 8 bit) format.

Stores log files. Also used for installing Software Update Packets (SUPs.; Ethernet LAN RJ-45 for camera remote control.

Recording Media CFast 2.0 memory cards

Recording Formats HD 1920x1080 (interlaced & progressive)

3.2K ProRes 3200x1800*

4K UHD 3840x2160*

Recording Framerates 0,75 - 100 Fps (progressive) HD, 2K

0,75 - 60 Fps 4K UHD & 3.2K*

MPEG-2: 23.98p, 25p, 29.97p, 50i, 59.94i

Recording Codecs (w/ embedded audio & metadata) ProRes

422

422 LT

MPEG-2

Rec709/LogC Rec709

Looks 3 fix Looks (in camera adjustable)

Adjustable image parameters Knee, Gamma, Saturation, Black Gamma, Saturation by Hue

Import of custom 3D LUTs -

Focus and exposure control Peaking, Zebra, False colour

Whitebalance Auto WB

Wifi and Ethernet Camera Remote Control -

Audio monitoring Headphone output (mini jack)

Pre Record function -

Intervalometer Intervalometer

Multicam interface Multicam interface

S16 lens mode S16 lens mode

* Requires installed 4K UHD license

** not available in 4K UHD mode

*** embedded audio only in 1,5G and 3G

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Sony PMW-F5 (PMWF5 PMW F5 PMW/F5) Super 35mm Full HD 4K CMOS Sensor Compact CineAlta Camcorder - Records HD/2K on SxS memory plus 16-bit RAW 2K/4K output Sony 4K sensor for gorgeous, super-sampled HD and 2K The PMW-F5 CineAlta camera shoots spectacular images with its 8.9 megapixels (effective) Sony 4K image sensor. You get superior, super-sampled pictures...

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Mass: Approx. 830g (Body only) Approx. 1lb 13.2 oz (Body only) Dimensions (W x H x D)*: Approx. 111.3 x 128.7 x 172.4 mm (Body only including the projecting parts) Approx. 4 1/2 x 5 1/8 x 6 7/8 inches (Body only including the projecting parts) Power Requirements: DC 14.4V （battery pack) DC 12.0V (AC...

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Sony PXW-FX9 (PXW_FX9, PXW/FX9, PXW FX9) XDCAM 6K Full-Frame Camera System 

Original accessories, great condition, 39 hours and a 3 month warranty

Combined Sony's technology in Digital cinema camera Venice, FS series and a

(Alpha) ILC cameras. Sony's full-frame 6K sensor camera with Fast Hybrid AF, dual base ISO and cinematic colour science and S-Cinetone.

The Sony PXW-FX9 is the long awaited successor to the legendary PXW-FS7 is here and it brings some fantastic upgrades with it. The FX9 has a Full Frame 6K dual native ISO sensor, VENICE colour science, upgraded auto-focus capabilities, built in genlock and timecode and much more.

The FX9 features a full frame 6K 35.7 by 18.8mm back-illuminated Exmor-R CMOS sensor. This sensor is stated to have 15 plus stops of dynamic range and has a resolution of 6008 x 3168.  You will be able to shoot QFHD full frame up to 30fps, 1080p full frame at up to 120 fps and QFHD S35 up to 60fps and 1080p S35 at up to 120fps. The planned firmware updates will bring Full frame DCI 4K up to 60p, Full HD full frame up to 180fps and QFHD in Super 35 mode at up to 120fps while using an external recorder.

You can also customise the autofocus, tweaking things like the AF transition between slow, for stuff like promo videos where you want slow smooth focus movements to fast which will be great for sports. You can also change the AF subject shift sensitivity which defines how easily the focus is switched to another subject. This goes from locked if you are wanting to do a walk and talk for example to responsive which you may need to keep better general focus.

You can record up to four channels of audio with a range of different input options, The FX9 has an internal scratch mic, two XLR's, you can use a dual channel receiver with the MI shoe on the handle or you can now use the DWX series of drop in receivers and transmitters with the new XDCA -FX9 back module.

The FX9 does not feature SLOG2 only SLOG3 with S-Gamut3 & S-Gamut3. Cine, this is because the SLOG2 gamma curve is designed for 8-bit whereas all of the codecs on this camera are 10-bit. They have also added an S-Cinetone colour profile which is aimed to bring the colour science from the VENICE to the FX9.

Realise beautiful 4K imagery with the creative freedom made possible by oversampling a huge high resolution full-frame sensor. Capture every detail from the scene with shallow depth of field and stunning bokeh with a truly cinematic look. 15+ stops of dynamic range and Dual Base ISO enable capture of every nuance, from subtle shadow detail to specular highlights and with an immaculate colour palette.

Capturing the Impossible

Make sure your story's always clear with enhanced Fast Hybrid AF that tracks your subject with unprecedented speed, smoothness and precision. Its impact is transformative for premium documentary, commercials and event applications.

Shoot in Comfort, Expand your Horizons

FX9 revolutionises full-frame cinematography with peerless ergonomics and advanced technology for on-the-go shooting. The world's first full-frame electronic variable ND filter* transforms possibilities for shooting in variable lighting conditions. Built-in Wi-Fi and 12G-SDI support advanced workflows while the optional XDCA-FX9 extension kit further expands the operational possibilities of the PXW-FX9.

6K Full-Frame "Exmor R" Sensor for Stunning Picture Quality

The camera's full-frame 6K sensor provides superb recording in DCI 4K*, Ultra HD and HD resolutions. Powerful image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35mm sensors. The back-illuminated CMOS image sensor also uses Sony's Exmor R technology for improved sensitivity and noise reduction. Compared to a 4K Super 35mm sensor, the FX9's 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field.

DCI 4K (4096 x 2160 at 17:9 recording) will be available with future firmware release.

Phenomenal 15+ Stops Dynamic Range for Limitless Expression

FX9 offers an exceptional 15+ stops of dynamic range - beyond the normal range of human perception - allowing for unprecedented creative freedom in colour grading and post. Camera operators can concentrate on framing the scene they want while relying upon the FX9 to capture every nuance and detail using either 4K 4:2:2 10-bit internal recording or 16-bit RAW external recording.* In grading, colourists can find colour and detail beyond the normal viewing abilities of the camera operator to create a final image that exactly portrays the mood of the scene.

RAW recording requires future firmware release and external recorder.

Dual Baso ISO for stunning images in any light

FX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary High Base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you're using slow lenses. Combining Dual Base ISO with the camera's electronic variable ND Filter provides superb creative control in almost any shooting environment, with truly next generation responsiveness to changing conditions.

ISO 800 and ISO 4000 are used in S-Log3, Cine EI mode.

Cinematic Colour Science with S-Cinetone

S-Cinetone is the default look of FX9 that's tuned to meet the requirements of today's content creators with rich mid-range colours, alluring facial tones and a softer tonal look - developed with the same expertise as Sony's world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid, with subjects that really stand out while retaining plenty of latitude in post production thanks to the high performance full-frame image sensor. The advanced default looks delivers alluring facial tones and a softer tonal look.

Selectable Frame Rates in Both Full-Frame & Super 35

Choose your desired frame-rate from 1fps up to 180fps* for impressive quick and slow-motion footage. FX9 creates an immersive image with a wide angle look and shallower depth of field provided by its full-frame sensor in combination with quick and slow-motion. Engage your audience with this new creative look. FX9 also offers a Quality priority setting* that maximises full HD slow motion image quality with advanced oversampling technology.

Up to 120fps with Ver1.0. Full-HD 180fps will be supported with future firmware

In Full-frame scanning mode: selectable at 1-30fps / In S35 scanning mode:

selectable at 1-60fps

Supported in future firmware update

Supported in future firmware update. RAW output only

Supported in the future firmware update. Scanning area is cropped around 83% of full-frame and 122% larger than S35. (diagonal)

Catch the Action with Enhanced Fast Hybrid AF

Effortlessly track fast moving subjects with pin-sharp focus, even when using wide lens aperture settings to maintain a shallow depth of field with the camera's full-frame sensor. Developed by Sony's α camera engineers, enhanced Fast Hybrid AF combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognises and locks on to human faces.

The dedicated 561-point phase detection AF sensor covers approximately 94% of the whole image area width and 96% of height, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects.

Customisable AF Settings

FX9's comprehensive autofocus settings provide the creative flexibility to integrate with any project. Customisable AF settings can be used for a wide range of situations, depending on your requirements.

7-level AF transition speeds from Fast - switching between subjects as quickly as possible - to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama.

5-level AF subject shift sensitivity ranges from Locked-on - ignoring other moving subjects in the frame - to Responsive that switches focus from one subject to another - ideal for snapping between race cars as they speed by.

AF Assist

You can control MF ring during AF shooting if AF Assist is set to ON. You can adjust the focus manually even in AF shooting, you can manually operate the ring to focus the person behind.

One Push AF

While you are shooting in MF, pushing One Push AF button enables you to change to the focus mode to AF.

Autofocus with all E-Mount Lenses

Experience smooth, responsive autofocus with every E-mount lens, including Sony's new Cinema Lens Series with premium optical performance and operability for demanding cinematography applications. Advanced E-mount lever lock operation allows quick, easy lens exchange in the field, plus added stability and security with large lenses.

World's First Electronic Variable ND Filter for Full-Frame Sensor

Realise even greater creative control with Sony's unique built-in electronic variable neutral density (ND) filter - a world first* for professional full-frame camcorders. Set to Auto, or adjust filter density manually in smooth increments from 1/4 to 1/128 as you shoot, for perfectly exposed images without affecting depth of field as lighting conditions change. Use higher density settings with a slower shutter speed for breath taking artistic effects.

The built-in variable ND filter, with no need to prepare multiple ND filters separately can be flexibly and immediately used for every exposure change situation; when you move from inside to outside, and when you shoot under the natural light condition where exposure changes moment by moment.

Proven Ergonomics & Accessories Compatibility

FX9 chassis is the latest refinement of the revolutionary FS7 design, so you can be sure it will feel great to shoot with from almost any position, while also offering compatibility with a large proportion of the countless FS7 accessories including U-Series batteries, chargers, E-Mount lenses, plus third-party rigs, arms and lens adapters.*

The control arm is easily adjusted without tools, so FX9 adapts effortlessly to your physique and preferred shooting style - handheld, at waist level or shoulder mounted.

The smart grip features an updated design, more compact than before while still holding all the key shooting controls, allowing you to concentrate on the scene without distractions. FX9 also introduces a micro USB interface for improved responsiveness and support for a wrist strap.

16-bit RAW Capability

16-bit RAW offers a phenomenal increase in post-production creative freedom to fully exploit FX9's exceptional 15+ stops of dynamic range. FX9 supports export of 16-bit RAW at either 4K or 2K resolution using the optional

XDCA-FX9 extension unit with a single BNC cable connection to compatible external RAW recorders.**

RAW output will be enabled with a future firmware release. Limited to 10-bit recording during 120fps high frame rate shooting within Super35 image circle

Stable, Shake-Free Handheld Footage

Advanced image stabilisation information means even handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software* in post-production to look as smooth as if it were shot with a gimbal.Unlike in-camera or lens stabilisation, meta data generated by FX9's built-in gyro allows you to creatively choose the balance between the level of shake-compensation and the resolution of trimmed 4K imagery. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilisation workflows**.

Catalyst Browse/Catalyst Prepare Ver.2019.2 is required.

Resolution and angle of view reduced compared to native footage.