I don't like to think of myself as a Fan Boy, especially when it comes to cameras. There are so many options now all with their own incredible capabilities. For the past 5 years I've been shooting on the de-facto industry standard (TV, doc, corporate) Sony FS7 - a true workhorse of a camera. It's been faultless for me, operating in all conditions and environments around the world and on TV Docs, commercials, feature docs, music videos and even short narrative films.
I had the opportunity a couple of years ago to buy a RED with a substantial grant. I even went to Pinewood for a one-on-one training course. The image was truly outstanding but the cost of ownership just grew and grew, from the media to all the peripherals needed just to get decent sound capabilities. No matter how I looked at it I just couldn't drink that RED Kool Aid.
When the FX9 was announced I immediately pre-ordered. I wondered initially about their resolution strategy - not going higher than 4K but using a 6K sensor; but then the more I thought about it, I really can't remember how many times I'd been asked for an actual 4K delivered project in the last 5 years - other than Rom Boys, shot and mastered at true 4K DCI pretty much everything is delivered at HD. And with it's 4K image, albeit true 4K from a 6K sensor with an all new colour science, dual ISO and phenomenal autofocus I just knew that this was the camera to move to. Add in the variable ND, Full frame, 4 channels of audio input and even the lens locking mount and this is quite a significant upgrade from the MK1 FS7.
After a while in this business you also get an idea of the type of work you want to take on, I'm more focused these days on documentary and branded content (with the right brands) and so this camera really will shine in those areas, but also with it's "baby" Venice colour science it's more than capable of taking on commercials, narratives and music videos.
I can't wait to see where this camera leads over the coming year...Watch this space..