I haven't been following the whole saga, but gear insurance would ease some of your problems/frustrations. I pay around $1000/year with a $250 deductible which covers around $30k worth of gear, repair costs, and also rental costs while you wait for a replacement (since Sony won't send loaners). Also covers up to $50k rentals so could be cheaper if you aren't often renting EQ. While annoying to pay for every year, it is essential for me.
Maybe a used FX6 as a backup is the cheapest option? No change in workflow, same peripherals, etc. Whoever said, "electronics fail, it's normal," is absolutely right. Yeah, they fail. I'm not even fully convinced your issue was the with peripheral or media. As you mentioned before, an SDI failure would exhibit different symptoms. And from a electrical engineering POV, I can't see how media could burn a board without killing itself first. I've been using the Tilta plate with SmallRig VB99 batteries for the past ~1.5 years without a single issue. I use Sony Type A media because I didn't have enough time to research cheaper alternatives before I got the FX6. Yeah, it totally could be the plate or battery. You'd have to do some voltage tests to see if either spikes over several battery cycles. But the plate is passthrough/unregulated; there's not much there that can go wrong that can't be easily reproduced. My eyes are on the battery and the board. Boards are built to tolerate some variance in voltage. The battery should not output voltage outside of what a board can handle. Replace the board: Done. The battery should be quarantined until you run voltage tests to ensure stable output. If it passes, then we can chop all this up as a manufacturing defect in the camera (board or some component, connection, port, etc.).
His issue is more about solving "what failed" and why. Since he can't isolate the issue, his investment cost to replace everything carries a cost have offset buying a new camera.
@@CLIFFLIX I am not a fan. You are getting all of the weight and bulkiness of an fx6 without the actual benefits. -No sdi -no internal nd -side handle does not rotate and is not relocatable -ports are on the side and not the back (not ideal for shoulder operating) -double on switch is annoying (one for cineback, one for camera) It’s good if you are leaving it on sticks. Anything beyond that reveals its inefficiency.
@@davidmorefield bro if you have the funds just get the Canon eos C400. I watched your entire video. And my opinion is get the C400 than constant repairs
@ ‘Constant repairs’ would be an exaggeration. It’s one repair that I have to send back. I like the c400. It doesn’t have market desirability yet. I need that as a freelancer
David, my opinion is the media card error message was the effect, not the cause. You will find out.the tilta plate and /or battery is the cause. It was a power issue. Get a different plate and battery. Just an opinion.
Dont forget that the Cranky Cameraman also had his HDMI port blowout on his Burano. I can imagine that would be a heavy repair. Everything can break, man. The FX6 is still the best fit for you right now it seems. I think today, Sony is so demanded by industry workflow.
I mean heck, I still run 2 rigged out FS5M2s because they are tanks and still work fantastic. I love shooting those even more than my A7SIII. The Super 35 lens is what keeps me sort of in that realm as well. The only options really is a FX9 for my upgrade.
@@davidmorefield Wow. I missed the price. I imagine Sony will probably take faster service for top-tier products. The Burano would be a huge step up for you, for sure, once you get to that pricing point.
D Tap is the biggest problem with SDI / HDMI frying , it happens to all cameras ,Arri made their own video it was so prevalent for them, Im guessing because they usually have a lot more accessories hanging off them than your average Fx user , D tap really is dangerous . But its not a Sony thing at all.
When you used the FX3 with the Cine back how did you like the ergonomics? Could you get one a FX3 rig so then you can still use your lens and media just would need the camera body.
@@SammySuperStar I am not a fan. You are getting all of the weight and bulkiness of an fx6 without the actual benefits. -No sdi -no internal nd -side handle does not rotate and is not relocatable -ports are on the side and not the back (not ideal for shoulder operating) -double on switch is annoying (one for cineback, one for camera) It’s good if you are leaving it on sticks. Anything beyond that becomes clunky.
I understand you want to move past the issue… but these series of videos have been a learning experience of tremendous value for us all… 😅 Gonna miss them…
Just some food for thought. We are running Canon C300Mkii, have 5 of them. A 9 year old camera system. For 95% of our projects they are the right tool; our crew knows them inside out; they are reliable; and we always have a spare. We will likely upgrade 3 of them to C400 at some point; but its rare our clients have any hesitation with us shooting on them. If we need to deliver in something higher than 4k30 10 Bit, then we rent; but thats happened a total of 3 times this year. Canon plans on supporting this camera with labor and parts until December 2029. I've always had great experiences with Canon.
@@7thlens I love that strategy! Dependable simple tools that keep on trucking. It sounds like you guys are the production company and get to dictate your camera workflow. As a freelancer, I have to assimilate to these workflows. Currently I am only asked for Sony… and it is a consistent request.
Hey David! Have been loosely been following this thread of videos as I fried my camera last year and it's interesting to hear other stories! Not sure who you use for your business insurance, but I have coverage (equipment and general liability) through PPA and apparently their claims process is pretty easy for repairs. It's a $50 flat rate for any repair once you can prove ownership of the gear and have receipt of the repair. You still have to pay out of pocket for the repair but then get reimbursed on the back end for everything but the $50. In addition, your premium will not go up in response to making a claim. A friend was recently telling me this after speaking to an agent about a claim and it made me wish I would have explored that route back when I fried my camera, as I was carrying their coverage at the time. I feel like the thought of dealing with insurance is always a pain and I view it as a last resort, but sounds like my mind could be getting changed on that. Anywho, just tossing that out there to you or anyone reading this as hearing that makes me want to actually use my insurance next time something happens. Also. I haven't read much of the comment sections so maybe folks have already discussed this 🤔
@@blasepivovar I should totally have a policy in place. It’s negligence on my part but I’ve just procrastinated it. Thanks for sharing. I’ll look into them.
I’m currently on the fence right now about switching from Canon to Sony. A big factor is the currently market share that Sony has. I have missed out on jobs because so many companies are looking for Sony shooters to fit their workflow. Even though the c400 is the better camera, I’m leaning toward getting an fx6 because when it comes down to it, I have to consider my ROI, not necessarily the camera specs.
@@lazorkophotography Yes sir, that was the exact situation I was in. However, I didn’t have the c400 to consider so it was an even easier choice. It came down to these factors: -I am a freelancer and therefore need to consider which cameras are requested. 29/30 times it’s “any Sony camera… oh you have an fx6? Even better!” - I can’t invest in a company that takes 4 years to catch up to their competitors. Man, missing out on jobs when you are fully qualified but don’t have the camera they want really sucks. It happened enough times that I realized I should add friction in the decision process to hire me.
@@davidmorefieldCanon is great , but unless your network and clients are asking for it, it’s not a working camera for your business. C300 Mark II was a “better camera too” but the FS7 was by far more popular.
david at this point, are you happy with the response from Sony and is Canon a better customer service experience? Repair etc. I went from sony to blackmagic just because I like the quality and the recording options of SSD was way cheaper than actual memory cards. Compared to sony the con is , I have the ef mount , getting harder to find some lenses but I also have the PL mount. etc, be honest invest in what is more stable for you and cost-effective, Then again I'm quick to switch if it's going to keep me going, and save money. Sony is to big to worry about our expenses, but you did bring up a great point about buying cheaper bodies I buy second-hand all the time and I've been fine. Just no warranty etc but I can replace those bodies. But now gives you peace of mind, insurance, etc. PPA said they would cover my fx6 when I had it up to 15k in damages and a few hundred deductible? I would need to check again. Let us know what you decide, the pyxis for 3k and SSD as memory storage could save you tons, I think they sell adapters with drop-in filters too. Not as easy as hitting a button tho, B&h has them for 5500 for pl or ef mount or L with 2 Irix Cine lenses, but the manual of course. What ever you decide try to take advantage of black friday.
@@hi.imgonner5813 If I had my own production company, I would make a decision following your logic. But as a freelancer that is requested for Sony, I need to continue fulfilling those inquiries. I don’t want to make a hurdle for me to receive easy income.
Currently been rocking the Canon C400 with the lenses you mentioned and the r5c as B-Cam for a month and totally happy! However also have different requirements for my kind of work. If the fx6 gets more jobs it seems much more economical to just buy another/get it fixed.
My advice is to just stick with Sony, and if you had the same issue with a C70, stick with Canon, get it fixed and move on.. Too many times I see on TH-cam videographers change their entire systems because it is 'better' and has either more resolution, higher frame rates, faster autofocus or internal RAW, yet when you look at the final result it looks no better. I suspect your camera had a power surge which points to the Smallrig battery, which is a very high wattage, but here is the thing; if your camera had not fried, you would not have been contemplating any change whatsoever. I'm a C70 user - I also own an FS7II as there are demands for the Sony look but I purchased it used for a low price; both are 'better' in different ways but in the end the client wouldn't know the difference, and that's what matters.
@@alvinburrell You and I have different clients then. My clients are production companies. They ask for a particular camera, they go with the operator that fits in their workflow. I do not deal with end clients.
One of my clients is a Hollywood movie producer. He's never asked me what camera I use. He just looks at the image (and audio) and if it's good he's happy. He literally said the image from my FX3 looks like a RED from the images I got recently... mostly just because of really good lighting and color grading. There's surely lots of producers who think they're savvy on hardware and want to ask for particular hardware. But in this range I don't think it matters that much. Unless we're getting into Arri and RED, shooting all raw, 1:1 pixel readout for VFX, I don't think it really matters. Have you tried asking your clients "why" they want a Sony FX6? You don't have anything to lose because if they're asking for it, you can provide it. But, if their answer is the autofocus or low light ISO, there are other options now. It could be good to educate clients that hardware is less important than the person behind it.
@@skymakai I have asked… many times. Like I said in the video, it’s the workflow. Their entire post house or project basis is on the same log, codec and file type. They don’t want to introduce unnecessary variables.
I think it’s fair to say that eventually you will get to a level where clients and producers are hiring you for you, and you set the expectation on gear. You get to say I like shooting Sony or Canon or Red they say, great! We trust you :) and they are working with experienced post folks (like me 😝 ) that have handle matching cameras and different formats pretty easily. So you get to set the tone of production. But in the mean time stick with what gets you hired and get excited about saving I’ll for the Baby Burano I’m hoping they make lol. And your FX6 will be an amazing BCAM for that newer option.
Not really reality , even feature film DP,s dont always get to choose the camera used , except a few of them. Let alone our market , if they want Sony , then we will have to give them that camera . You can argue all day that shooting log can match anything , but they dont even know what log footage is most of the time , you are just the nutty guy ranting down the phone :) Ideal world yeah , but in reality for a freelance DP , you don't tell them which camera to use , or just pass on the shoot.
@@robinprobyn1971 Totally agree in our market and I hear you. But I have worked on shows and films that were essentially budgeted to use whatever kit they wanted for the look being achieved. Agreed sometimes budget a major factor, but sometimes the show or film has specific goals a Venice can achieve that an Alexa can't and vice versa. At this level however, your kit can make a large difference too, agreed.
@@avdpost Yes agree, as you say , the show or the film, ie the producers , have a specific look they want , so they will be deciding say a Venice or an Alexa , even if the DP happens own either camera . I think we are saying the same thing , no ?
@@robinprobyn1971 I mean that it can be both. Sometimes producers and shows have specific needs of production and goals or "netflix" style requirements and the dp's own kit is irrelevant. And at that higher level, it's generally not recommended to rent your own kit anyway, using a rental house is far better for extremely large productions. I just mean that there are just as many productions that lean on the DP's opinion about the look, the camera package to achieve that look, especially things like lens choice and filtration. the DP informs all those decisions as best they can. What I'm trying to get at fundamentally, is that there are plenty of producers and directors who gain trust with the individual and the "kit" they own is irrelevant to that negotiation process. There is a turning point where they are hiring you before gear is even discussed because they want your look, your style and your taste.
Im in the Canon camp my self.. but in your shoes I would get the repair and keep the fx6 until the next fx6 mark 2 came out and fill the gab between fx6 and Burano. (dont go to the old fx9, you will cry your self to sleep) But when thats said the CFexpress B cards are twice the speed of sonys cfexpress a cards.. you save som time there.. (if you do go angelbird) the new lenses are awesome and nothing anyone have done before.. but Crazy price for those RF lenses. especially the 24-105 2.8 lens Then again if you need 6K its not a bad buy to get the C400.. in many ways it compares or even beat the Burano..
@@baekmedier I think $3k for the 24-105 is actually a solid deal. Like you said, there’s nothing else on the market like it. And lenses have much higher prices than that once you get into the cine level.
@@davidmorefield I do agree.. i do corporate jobs my self.. have two C70 speedbooster and EF lenses (the adaptor makes the mount EF) And I have an R5C + ND adaptor.. and a R3 camera.. I am looking into getting C400 + R1 and the RF 24-105 f 2.8 and the RF 15-35 f2.8 But it has to run for 3-4 years before it makes sens to sell the cameras.. :) sell them when they still have some value, but not wait to fast so they dont get to make money and pay for themself. :)
@@davidmorefield I do it mostly because its fast with two similar cameras. My dream was to go C500 mark 2.. or FX9.. but money... bills bills bills.. If the FX6 have had sound recording on the body I would have been a Sony shooter today. :)
Small suggestion- I have gotten lazy on rigging out w the atomos ninja recorders but I use those to record redundancy typically in case of a record failure, which ultimately, you had with the audio. On top of that I use rode wireless pro device, which audio records a redundancy to itself. Obviously it's never ideal to be running a one man band where you are video/audio but seeing as that has become fairly common these things ensure some level of redundancy.
Thats the thing.. i’d LOVE switching to red or something else but I feel like in my sphere most people use and hire sony so I’d probably miss out on jobs
@@Conjuredfilms Right. I need to buy for the circle I’m in. In your situation it sounds like you would temporarily need both. One to satisfy current clients and one to help reach the higher tier clients.
I agree with your decision to continue with Sony because of your clients' workflow. Currently, I'm filming with Blackmagic Pocket cameras. My clients are interested in something other than workflow, just the final video. Plus, I resonate with argument #1 about using inexpensive cameras, especially when starting a video business like I did in 2022.
Though I've been on the side of considering a Canon switch (back) lately, another thing that Sony has over Canon and the rest is that their catalog of lenses is just so much wider than the other mounts. There are some cool lenses releasing and you can always expect that the first mount the manufacturers provide at the beginning is surely E-Mount. Then if you're lucky they might come to the other mounts. And RF is just ridiculously expensive... I forgot about that aspect of a switch back to Canon. If I were to go Canon I'd likely personally end up relying on EF lenses and an adapter still lol
@@allen_bernardo_jr Yep! This is a mnother huge reason why I wouldn’t invest in canon. Prohibiting 3rd party manufacturers to make full frame rf lenses. That’s a monopoly I will not be involved in.
With Canon in Europe you can pay back monthly payments without rent. Paid for my C500 in 36months. Will buy C400 +28-70 F2 soon, absolute killer combo.
Another thing to point out is I do enjoy your content, but I primarily watch your channel to see your workflow specifically with the FX6. It is how I found your channel in the first place. So it could potentially hurt your TH-cam revenue.
@@XJoeywhoX The authenticity is worth it. I have a genuine connection with my audience and I show the good and bad. But as a side note, revenue has been up during this series 😂
I've had my C500 M II for almost 4yrs and I've been on sets as the A cam with Sony as the B cam ...I don't think the brands matter as much as it use to if at all. I think we're at the point were we can pretty much make any Sony mach any Canon. Having said that, I don't think you can go wrong with the C400 or your FX6
My R5C essentially caught on fire due to a fault dtap cable during a shoot. Crazy experience, luckily I had great customer service from Canon. From there on I brought equipment insurance, had to really dig deep for the best deal.
Good video, one thing I see here is getting the extended warranty when you first buy. I did when I got the FX3 so I have at least 3 years worry free use.
I appreciate you documenting the issues you have had. Obviously this is not unique to Sony. I think a lot of shooters assume a camera will run issue free for years. But's that's just not the case. Hopefully everyone charging day rates are charging enough to rent cameras as needed when their personal camera goes down. Best wishes as you move forward.
Hey David, what’s your opinion on the Ursa 4.6k g2? I know you said you’re not a fan of the Pyxis because of the lack of ND and only BRAW work flow. With the Ursa it has pro res options and built in ND. Hope you find the right system for you!
@@Jvvsing I think it was great at the time it was released. A bit outdated now. Recently it was used on a job that I PA’d for and the director was really unhappy how noisy it was and he reverted back to everyone use Blackmagic pocket cameras bc they were so much cleaner.
Depends on the jobs you're on. The Ursa is a weird middle spot. You'll lose jobs to Sony operators and higher end stuff that wants Red/Arri. If you're finding and producing you own work i'd say it'll work out. BMD really hits the market for production company over freelancer. I think it's a fanastic image, but it's heavy, sucks power and the g2 is dated now.
Hey love the content bro.. I have an FX6 and been watching these updates just to get a perspective. It’s a hard decision but I think you are doing the right thing. The hard truth is that with tech we run the risk of this happening to any camera brand. I feel like it’s easy to get caught in the cycle of jumping ship when we face problems with our camera companies or when the next new and shiny thing comes out. For me the FX6 is my first “big boy” cam and since I already invested in lenses and have a b cam making the switch will be extremely costly and it wouldn’t grantee you facing another problem in the future. If I’m you I’d get it fixed and continue to stack your paper.
On ali expres you can get a 8k camera for less than 200 dollars, and you get the sd card and battery included Why should you spend 1000's of dollars if you can buy everything at once for only 200 dollar ??
I have been using the small rig 99W batteries with the Tilta power plate and the sony 160 CFexpress cards with my Sony FX6 with no issues for over a year now. You may have got a bad camera from the factory.
@@arcadedudes8268 Your experience and mine are anecdotes. It’s hard to pull reasoning without answers from the Sony techs. Your situation was without fail for a year. I’ve had my setup without fail for 2 years. And then… it fails. Correlation isn’t causation.
Good points! I have to say that one of the reasons why I've been hanging out in the Canon ecosystem has been CPS. For the $300 yearly membership, turn around times on repairs are super fast. Break it on Saturday, send it out Monday morning, I typically have it back Thursday/Friday at the latest. Saved my butt many times.
@@CDStudios oh that’s awesome to hear. However it seems so weird that we have to pay an extra premium if we want good customer service 😅 shouldn’t that be the standard of all companies?
@@davidmorefield Yeah, this IS a pain point for sure. There are different levels of membership which provides for different levels of discount and speed of service. While I'm not in agreement of how it works, all I can say is that my Platinum membership has been worth is many times over. The free (included) 2-way overnight shipping is killer too. Sucks, but I do feel confident I can depend on my kit because of CPS.
I never left the canon system. Used a C300 mk2 from 2016 to 2020, then went all in on the R5 C300 mk3, still using 2 of the R5 today. People see my work and ask me all the time if I’m using an FX3 or FX6 lol
c400 + c70 is a great combo, but that's been my world for a while now. I wouldn't switch unless you sold everything on the Sony side and it balanced, which it probably won't - especially because you have a repaired system. That said, fx6 mk2 will be coming out soon enough so it will most likely still be cheaper to just stick with the current setup and upgrade... But if it were me, I'd want get out of that fx6 sooner than later, equipment fails all the time, but clients don't see or care. Gear that costs money isn't the same as gear that is costing you money, and I'd say Sony didn't handle this one to the best of their ability given your timeline to relief. How much did you spend to rent your friend's fx3 with all the mods?
How has that been your world for a while? 😂 The c400 just came out! Yeah, it’s a bummer situation. But the gigs I had during the repair time, supplied their own kit. So no rental fees for me. I also have an a7s3. Man, if Sony made a killer 6ii, I would definitely consider upgrading.
Just purchase another FX6 and be done with it, get your other camera fixed and you will always have a backup. *You need to stay with Sony that’s where the majority of the jobs are at.
Switching does involve much more than just costs. Once you are familiar with a camera, it becomes a tool that you know how to use. You now its flaws and pro's. In an age where image quality is so high you can stick to a system. I used the Sony Fs7 for 5 years next to the F5 and F55s in broadcast. Aslong as I knew how to handle that camera, i could stay in the game. But it was more down to camera handeling, lightning, composing and directing than that the camera was laging me behind. Once broadcast switched to Fx9 I stayed on the Fs7 till the major companies went with the FX9. And as soon as the Fx6 hit the market, i got my hands on one. And having two base ISO's, the same colors as FX9, beter autofocus, beter slowmotion, the Fx6 was a no brainer. I sold my Fx7 with two Fujinon S35 lenses (the MKs). That money was enough to buy an Fx6 body. I will hold on to that camera till something disrupts the market as radical as the Fx9. For now, I do not see any camera do that in broadcast. Fx9 is the norm. And if an Fx9 II comes along and the image stays almost the same... i will still hold on to the Fx6 because clients won't tell the difference.
@@caprediemplukdedag Curious why you chose a different camera than what your industry had as the standard (fx9). You mentioned better specs but wouldn’t you fit more seemlessly into broadcast with a 9?
@@davidmorefieldthat came down to money and the weight of the camera. I build my fx6 as a shoulder camera. With viewfinderloop (cvp solution) and v mount batteries and shape handle. And I use the tamron 35-150mm f2-2.8 as go to lens. Also swiching between slomo and normal is a pain in the as with the fx9. And 12800 iso vs 8000 is a nice to have extra. And the option to break it down to its totaly basics again makes it possible to use as run and gun for reality in cars, airplains, heli or other thight spaces. No body asks specificly for the fx9. If they ask I explain a shoot the fx6 alone an fx9 as b camera al the time and they couldn’t tell the differents. I show them edits as proof. No one ever overruled by still wanting an fx9 for the job. I recently bought a second fx6. Now i do have a fully setup shoulder fx6 in the bag and a enn and gun small set with the tamron 28-75mm f2.8. Or the wideangle 17-28mm
@ ask them to trade in for new perhaps, just to give you piece of mind. I can imagine the uncertainty of random reoccurrence would be a drag. …..but guess the new warranty is worth something…..and the cheaper option. If it fails again it’s gone idea.
Depends if you bought all new. I can sell most of my gear at what I bought it still. Especially my FX9s.I'm a huge advocate for used. There's no gaurauntee that new won't have issues and saving money is a must. buying used brings your break even point with rental up sooner and rental clients don't care or expect gear to be new, just in working order. I bought two FX9s two years ago basically at half price and they have been very profitable. Buying new would have not allowed that to happen. I could sell them today at any price and still have made a profit.
It comes down to what producers or clients want. Most of them have very little camera knowledge and will just ask for what everyone seems to be shooting with currently. At one time it was the Fs7, now the Fx9 or Burano. I don't see a lot of demand for the Canon range, regardless of how good some of their cameras are.
This .. I had a Sony F5 , when everyone wanted C300 , because thats what all the other producers were using . Canon had the market and dropped the ball , Sony now has 99% of that market and will keep it unless they do the same , for producers, its herd mentality and covering butt. The f5 only get accepted ( with the 4K "upgrade " a whole other story ! with the Fs7 complete take over from the C300. All I had to say was it was the same sensor and files , and bingo ! suddenly it was known and I used it for 7 years. F55 got its break from Netflix , and Arri just getting it very wrong and refusing to make a 4K camera .
@@robinprobyn1971 the fs7 dominated because it was a true shoulder cam. The Burano doesn't feel like a replacement for the F series. I do diasagree about the Amira. Most people using that camera don't care about true 4k.
@@kyleranney the Amira , is a good camera , its great , but heavy :) , but that as a freelancer , its not a requested camera , and thats why there are so many ,at low prices available , but its not just the Amira ,the Alexa wasn't 4K either , Netflix demanded 4K and the f55 was the only camera around and it got a good leg up in popularity and exposure with High end production companies , then backed up by Venice. " Most people using the Amir don't care about 4K " sure if they are shooting their own projects , but what freelancer these days can say to production , that requests 4K , I don't car about 4K :) , thats going to be a short career . Arri lost ground to Sony in the 4K streaming market big time , and then did eventually make a 4K camera having stubbornly refusing to do so. Burano is right for those in that market , but yeah Im really hoping the fx9 is not discontinued , I don't need 8k or raw but IBIS would be handy.
Sony does have us in a choke. In my experience the choice to submit has worked out overall. Shifting brands goes either sideways or comes at a cost that isnt worth the stress.
What would have helped is get an FX3 or another FX6 B or C cam so you have always a Backup...and do the repair when you have the money. Having a spare body in the same workflow is a great thing to have 😊
The problem with the C400 is that even though it's better than the FX6... the FX6 is four years old. So you can imagine that in 1-2 years Sony is yet again going to push ahead. The other problem is what do you get for a B-cam? C80 is good but a weird form factor, no CFexpress, and still $5,500. Their photo cameras can't shoot clog2 except for the very newest - but do you really want an 8K R5 II that is meant primarily for photos? Or expensive R1? You could pick up a clean, used FX6 + FX3 combo for the price of the C400. And you'l get hired right away. If they update the R5C to v2 then I could see that plus the C400 being an appealing combo. But again, I bet Sony will have something better out by then
@@grahmdoughty exactly. They will be playing catch up for quite some time. I’ve heard the same fear from many canon owners, as well as they are financially anchored by the expense rf glass they purchased. Canon isn’t thinking of the operator who needs multiple matching cameras. They seem to make different camera lines without looking at the symbiosis of the entire offerings combined. Not a smart way to run a business.
The Burano would help get you in a different work type weight class like higher end docs and commercial. The FX6 (minus the support nightmare) is the Swiss Army knife of all cameras that seems the best fit at this point. I love my FX6,3 ecosystem.
@@timdanyo898 I don’t think it would. I haven’t had one client even remotely mention a camera at that level. I’m still working on securing doc clients tha require fx6… and I already own it haha. But I would love to consider a used burano as prices fall in the next two years.
The Burano is in a wierd spot. Most DPs that are spending for that level are going with the Venice. Sony Priced it too high and limited features just a bit too much. Buying a camera to get in a hgiher weirght class rarely works by the way. At that level, they are usually renting whatever camera best fits the bill for what they are doing.
I have a few videos uploaded with just that system. C400 & 24-105. It is truly a DO ALL. I totally get the reservations. I understand. BUT, it's bad ass. I've had 2 EOSr's, R6, R5, R5c, 2 C70's and the C400. Never had an issue with Canon. It could be just lucky but... maybe just a damn good camera brand. Easy to get a really good look too. I've seen some videos of shooters having trouble matching Sony to Sony cameras shot in same log. I thought that was a strength of Sony? Canon clog2 on many different cameras cut really well.
@@michellsantana6402 I have zero clients asking for that. I would actually lose clients with that decision. Doesn’t mean I wouldn’t love to try it though!
I like Canon but in your situation I’d stay with Sony for now due to already having all the glass and accessories, and media. If you decided to switch brands however the c300 III ,C70 pair is interesting with current prices
Next few years are going to be FX6 and FX3 for me. I haven’t had any problems, but I also probably don’t have near the hours on mine that you do. Hoping for an FX9II some day to “complete the set.” and maybe branch out a bit. There are days where I just wish I had a big shoulderable camera. Canon doesn’t have that. Building the FX6 up on rails just doesn’t work out the same as the FS7/FX9 style body. Only reason I can think of that I would buy a C400 is if a single job somehow called for it specifically, and it could pay for itself with that job. Canon have been pretty annoyingly short with me over the years when I’ve had questions that their manual or the internet simply cannot answer. And they often can’t answer either. I have zero interest in the Burano. I am considering the idea of having another FX6 on hand, two is one and one is none and all that. Have also thought about getting FS7II or FS5II bodies to have on hand as well. Maybe it’s just me, but I don’t remember all of these cameras having as many issues 10 years ago. Also don’t remember Sony specifically stating you need to use their branded cards and accessories or risk damaging the camera on the FS series cameras, but maybe I just missed that.
@@davidmorefield That could be the ticket. That's how a lot of people I knew got the Red Epic M 10 years ago when it was like $50K new. Burano just seems like a weird camera to me, and I'd rather have the 4 On a different note, I just unboxed a brand new Sony PDX10 from 2002! I'm thinking all this 4K 10 Bit LOG crispy AF variable ND 4 track audio stuff is overrated. We all just need to go back Mini DV! Was like opening a time capsule! I have a few more old cameras coming too; VX2100 (my first "big camera" back in high school), a DVX100b (second big camera after the VX was stolen), HC96 (a handicam I always wanted), and even a Sharp Viewcam (11ish year old me had one of those). Went a little crazy on eBay last week, but I'm looking forward to having some old cameras to play with!
@ Those were the go to cameras for skateboarding!! I owned the vx2000. My buddies had the dvx. However, I will say I’m glad to leave miniDV in the past. They became expendable and I was always at the risk of dirty playback heads.
@@davidmorefield I never got to run one long enough to burn out the playheads I guess. My VX2100 was stolen within the first 2 years (never leave gear in the car lesson learned at age 17!), and the DVX100B that replaced it got sold in 2009 (at a loss) for a Canon HV40 so I could go up to HD at the time, which that little camcorder put out a stellar image for a $699 soccer mom camera. HV40 then got sold within a year for a Canon T2i, which quickly got turned into a Canon 60D because it had a flippy screen and better ISO options. The Canon XF100 came out in 2011, which became my main camcorder for sports and events, plus it paired nicely with the 60D! The 60D got replaced by a 70D, and those two cameras worked for my lower budget stuff, when I wasn't using RED or C100/C300 or FS7, all the way up until 2021 when I finally bought into owning 4K cameras with the FX6 and FX3! Which was a pretty killer move to get to make! I also picked up an XF605 this year because I'm just a sucker for camcorders! Irony is that all of my cameras stay set to 1080 30p most of the time! I'm hopeful that they update the Z90V next, because the Z200 just doesn't do it for me. I want to like it, but from what I've seen so far, the reliability of the image is kind of questionable. XF605 works for my needs right now, so I don't really want to sell it to buy a Z200 when I'm just not sure about it. But a Z90V sized camcorder replacement with 10bit S-Cinetone would be a day 1 buy for me for sure. On the old DV stuff, I'm buying them to tinker with and kind of have as office art too. I've always kind of regretted it every time I've sold off a camera at a loss to buy the next one. I have a new personal rule now to just save to pay for the next camera, and keep the old ones, especially in a time where they're not becoming obsolete as quickly as Mini DV did when the world went HD. Heck, I'm even eying a C205 today that I might get, because I could absolutely use it for live stream jobs, and it was a camcorder that I missed out on in the mid 2010s. And again, I'm a sucker for camcorders...
@@davidmorefield I think the Komodo X has a richer cinematic image but the C400 is more ready to go straight out of the box plus it's thousands of dollars cheaper once you purchase the necessary accessories for the RED
Man, you've had a rough go the last number of weeks. My honest opinion is that sticking with Sony (despite their poor customer service) probably makes the most sense business wise. I feel that Sony is innovative enough, that the benefits outweigh the risks. I've been in the Sony ecosystem for almost 10 years now, and I'm pretty sure that if my FX6 malfunctioned like yours did, I'd probably still stick with them lol. It would be too hard for me to switch.
Pretty incredible that they charged a $2000 repair for a $6000 camera and won’t take responsibility for the inconvenience it has caused you from not doing the repair properly. A loaner camera sounds perfectly reasonable but I guess that’s just how it goes
I fried my hdmi port recently on my 6 thank goodness for sdi Engineers need to find a solution on the M2 In regards to what you talking bout Foo just get a used fx6 stop with all this extra shit just get to the point already Used fx6 $4.5K If you got the s3 just get a X3 and wreck out.
Sony was never a trusty enterprise, works between them but not to us consumers, I have a Sony 7s, I regret it ? No, I learned from mistakes, thank you for sharing your situation, close the dor and continue what you need to do, focus on your life and priorities, they don’t care.
I'm practicing patience that Panasonic will bless us with a EVA2 with L-mount that does everything better than the FX6 and has the latest tech to rival canon.
Investing in an older generation but what's very good e.g. FS7 in the past (near FX6-level today exc the AF) feels like the right path for solo-shooters (like me) working up the ladder. Whereas something like a C400 is what a commercials DP should be getting once freelance life is up-and-running with agencies and ads. Burano is too expensive and IDK who that's meant top be aimed at...Budget Movies?? I say all this but here;s me until last night thinking of buying myself a7iv because its half the price of a7siii as an Xmas pressie for myself but the zve1 is more cost-effective with same low light results, lol.
@@anoophothi It looks like burano is being chosen by commercial DP’s, documentaries that want Venice level IQ without the weight and I would assume episodic reality shows would prefer it over the fx9. I picked up an a7s3 bc it was cheaper than fx3 and I bought it used. Saving a ton of money. I wouldn’t go below a7iv, bc of overheating reasons. You want to have a reliable camera.
@ overheating is always the factor stopping me from buying anything less than a7siii. All good running V-mounts but building a rig for 7/6-series I do feel better off having fx6 instead. Burano sounds like a wise long term play by Sony but that c400 I reckon is going to be super popular in years to come.
@@davidmorefield I was saying to my wife earlier, I feel the c400 might well be a better longer term investment than an fx6 for me if I decide to buy a new/proper camera in the coming months instead of something older (fs7)
@@davidmorefield 100% I recognize that the C400 and C80 are a direct result of the Sony FX6, no question. So I have to give credit to Sony there. I just believe that a C400 and even C80 are better offerings with more live on them. C70 is still a great B Cam cfor any of them and if you want a Gimbal Cam R5C works great with the new battery. I use mine for BRoll and Gimbal 100% amazing
Sony support is not the best. A reason for switching would def. be better support. It’s not too hard to become CPS member and once you are it really is significant in terms of repair and other kinds of support like loaning gear at big events. Sony is really for industrial type work and not for individuals. You’ll always get shafted by Sony in terms of parts and repair like paying $1000 (!!) for the easy to break FX6 handle. Also investing in those silly and expensive CFExpress type A cards which will just disappear soon and are not ubiquitous doesn’t make sense. Lastly, despite the Sonys being wonderful machines the buttons on those cameras are sooo bad and that is def. something that is way better in Canon and makes operating those cameras a lot more pleasing.
I've switched brands just about every 2 years. Blackmagic, Sony, back to Black Magic, Fuji and now back to Sony. I'm staying put Sony has the best all around recogition for freelance. Sorry other fanboys, just get out there and work. If you need the other cameras like Red/Blackmagic/higher end, just rent them for that production. If they production won't do that then they aren't a net positive job and don't run by industry standards. My most asked for camera last year was still the FS7.
@@Joe-cx7wy too many differences: -Panasonic doesn’t offer an A Cam in a production body -They don’t have a full lens lineup -I’ve never had a client ask for any camera in that ecosystem I’m sure there are tons of great cameras but there’s more reasons I need to consider
@@digitalfilmreviews7843 I’m not saying it’s not a great product. I’m saying they are too slow to release cameras. And I don’t have clients (production companies) who are asking for them. They all ask for Sony. Is Red a camera with better IQ? Yes. Doesn’t demand I will get hired in my space with it.
You're spinning in circles. This is what insurance is for. They would cover the costs of this repair and might even get you a replacement while the repair is happening. No camera is perfect, they can all break or malfunction, having insurance eases that pain somewhat.
@@bojanbrbora6453 Haha I’m not spinning in circles. The end of the video literally laid out my decision path. Insurance is great. However, it does not help with Sony sending me an incomplete repair. It does not pay for new media or battery plates. My issue here isn’t with insurance but I think that is a great thing to have in general.
@@davidmorefield sorry what i ment was its always more expensive to switch, i swtiched from nikon to fuji to panasonic to sony, and now i am going back to fuji again so spoken with alot of regrets. sony in my opinion is just a better company than cannon they are more innovative nowadays no? so i think staying is a good choice sir.
@@davidmorefield becuae 60mp is not enough for me anymore, plus i really really really regret and dearly miss the color science of the fuji, so im prabably going to get a second hand gfx100s +a prime and a zoom, becaaue i print big
Buy the cheapest camera that gets the done. Most brand preferences are emotional. Between brands in 2024 the specs are very similar. Cameras (like cars) depreciate fast. Overbuying only makes you broke mostly. Now, if your client specifically requests a Sony, get a Sony. Only you know your clients. ALSO have you contacted your clients and asked them what they would think if you switched to Canon? You might be surprised. They are hiring you, not your camera.
@@Brian-Hansen I’ve shared it repeatedly in a few videos but the short of it is: there is market demand for Sony. I’ve lost many jobs for not having the preferred tool. Since I switched from canon to Sony, I’ve been onboarded to many more productions. I’m looking for the easiest connections to getting hired, no hurdles. My ego would like to believe you but they are not coming to me for me. It’s typically off a production hub inquiry or word of mouth referral. They don’t even know who I am. As a freelancer, I will have more success by owning the tools that are actually requested, not the ones that I have to justify.
@@robinprobyn1971 I know that, I am just assuming that if David goes to Canon, he would keep his Sony. That would seem to be logical. Especially after investing in the fix. Adding a Cannon to the line up would only make the offering better.
@@Brian-Hansen Sure but my point is , the line " they are hiring you not your camera " doesn't apply really in our market , or even at much higher levels. They might want you but they will expect you to hire in the camera they want.
Never in my life has an agency or person ever requested a specific camera. All these cameras are the same quality at that level. If they are good enough for Netflix . The XAVC and XFAVC codecs are so similar
@@davidmorefieldI’m in the canon Eco system. I shoot weddings. My cams are R5C, and R5. I own about 7-9 canon RF lenses for my line of work. Occasionally I do documentary work with the R5C. The canon system is great. My gripe with the system for video lives somewhere around the realm of price, the cost to buy into RF lenses is just bonkers. A day doesn’t go by where I wish I didn’t go Sony and save money. But the gear pays for itself, still an expense nonetheless. Their service is great for repairs. With Sony it’s though, it’s better to break a camera a just buy another one if it’s too far gone, as their service isn’t the best ( My friend complains about their repair quality as well. ) The video quality out of Sony I find is nicer ( personal preference ) Sony is for video what canon is for photo I always say. A lot more people on an industry level these days are more familiar with Sony, clients and editors.
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/n.gif)
I haven't been following the whole saga, but gear insurance would ease some of your problems/frustrations. I pay around $1000/year with a $250 deductible which covers around $30k worth of gear, repair costs, and also rental costs while you wait for a replacement (since Sony won't send loaners). Also covers up to $50k rentals so could be cheaper if you aren't often renting EQ. While annoying to pay for every year, it is essential for me.
Maybe a used FX6 as a backup is the cheapest option? No change in workflow, same peripherals, etc. Whoever said, "electronics fail, it's normal," is absolutely right. Yeah, they fail. I'm not even fully convinced your issue was the with peripheral or media. As you mentioned before, an SDI failure would exhibit different symptoms. And from a electrical engineering POV, I can't see how media could burn a board without killing itself first. I've been using the Tilta plate with SmallRig VB99 batteries for the past ~1.5 years without a single issue. I use Sony Type A media because I didn't have enough time to research cheaper alternatives before I got the FX6. Yeah, it totally could be the plate or battery. You'd have to do some voltage tests to see if either spikes over several battery cycles. But the plate is passthrough/unregulated; there's not much there that can go wrong that can't be easily reproduced. My eyes are on the battery and the board. Boards are built to tolerate some variance in voltage. The battery should not output voltage outside of what a board can handle. Replace the board: Done. The battery should be quarantined until you run voltage tests to ensure stable output. If it passes, then we can chop all this up as a manufacturing defect in the camera (board or some component, connection, port, etc.).
How about FX3?. Same image quality as FX6 but adds sensor stabilization. Keep all your Sony glass and you can rig it with your VMount plate.
His issue is more about solving "what failed" and why. Since he can't isolate the issue, his investment cost to replace everything carries a cost have offset buying a new camera.
No built-in ND filters I think is also another reason why too
@@CLIFFLIX I am not a fan. You are getting all of the weight and bulkiness of an fx6 without the actual benefits.
-No sdi
-no internal nd
-side handle does not rotate and is not relocatable
-ports are on the side and not the back (not ideal for shoulder operating)
-double on switch is annoying (one for cineback, one for camera)
It’s good if you are leaving it on sticks. Anything beyond that reveals its inefficiency.
@@davidmorefield bro if you have the funds just get the Canon eos C400. I watched your entire video. And my opinion is get the C400 than constant repairs
@ ‘Constant repairs’ would be an exaggeration. It’s one repair that I have to send back.
I like the c400. It doesn’t have market desirability yet. I need that as a freelancer
David, my opinion is the media card error message was the effect, not the cause. You will find out.the tilta plate and /or battery is the cause. It was a power issue. Get a different plate and battery. Just an opinion.
@@supercinemascope yep already purchased. Replaced media, battery and battery plate.
Dont forget that the Cranky Cameraman also had his HDMI port blowout on his Burano. I can imagine that would be a heavy repair. Everything can break, man. The FX6 is still the best fit for you right now it seems. I think today, Sony is so demanded by industry workflow.
Yes, he said it was less than a $500 repair and received it back in less than a week.
I mean heck, I still run 2 rigged out FS5M2s because they are tanks and still work fantastic. I love shooting those even more than my A7SIII. The Super 35 lens is what keeps me sort of in that realm as well. The only options really is a FX9 for my upgrade.
@@davidmorefield Wow. I missed the price. I imagine Sony will probably take faster service for top-tier products. The Burano would be a huge step up for you, for sure, once you get to that pricing point.
D Tap is the biggest problem with SDI / HDMI frying , it happens to all cameras ,Arri made their own video it was so prevalent for them, Im guessing because they usually have a lot more accessories hanging off them than your average Fx user , D tap really is dangerous . But its not a Sony thing at all.
@ good to know! Thanks
Man, so sorry you're going through all this. I hope you somehow come out the other side of this feeling better for it.
@@scotey thanks for the support!
When you used the FX3 with the Cine back how did you like the ergonomics? Could you get one a FX3 rig so then you can still use your lens and media just would need the camera body.
7siii/FX3 with a cineback build probably is going to be in every solo-shooters hands in the next year or so
@@SammySuperStar I am not a fan. You are getting all of the weight and bulkiness of an fx6 without the actual benefits.
-No sdi
-no internal nd
-side handle does not rotate and is not relocatable
-ports are on the side and not the back (not ideal for shoulder operating)
-double on switch is annoying (one for cineback, one for camera)
It’s good if you are leaving it on sticks. Anything beyond that becomes clunky.
@@anoophothi I disagree for the reasons I list below.
@@davidmorefield cheers mate
I understand you want to move past the issue… but these series of videos have been a learning experience of tremendous value for us all… 😅 Gonna miss them…
@@VozMadridista I’m sure there will be a new problem at some point haha
Just some food for thought. We are running Canon C300Mkii, have 5 of them. A 9 year old camera system. For 95% of our projects they are the right tool; our crew knows them inside out; they are reliable; and we always have a spare. We will likely upgrade 3 of them to C400 at some point; but its rare our clients have any hesitation with us shooting on them. If we need to deliver in something higher than 4k30 10 Bit, then we rent; but thats happened a total of 3 times this year. Canon plans on supporting this camera with labor and parts until December 2029. I've always had great experiences with Canon.
@@7thlens I love that strategy! Dependable simple tools that keep on trucking. It sounds like you guys are the production company and get to dictate your camera workflow.
As a freelancer, I have to assimilate to these workflows. Currently I am only asked for Sony… and it is a consistent request.
Hey David! Have been loosely been following this thread of videos as I fried my camera last year and it's interesting to hear other stories! Not sure who you use for your business insurance, but I have coverage (equipment and general liability) through PPA and apparently their claims process is pretty easy for repairs. It's a $50 flat rate for any repair once you can prove ownership of the gear and have receipt of the repair. You still have to pay out of pocket for the repair but then get reimbursed on the back end for everything but the $50. In addition, your premium will not go up in response to making a claim. A friend was recently telling me this after speaking to an agent about a claim and it made me wish I would have explored that route back when I fried my camera, as I was carrying their coverage at the time. I feel like the thought of dealing with insurance is always a pain and I view it as a last resort, but sounds like my mind could be getting changed on that. Anywho, just tossing that out there to you or anyone reading this as hearing that makes me want to actually use my insurance next time something happens. Also. I haven't read much of the comment sections so maybe folks have already discussed this 🤔
@@blasepivovar I should totally have a policy in place. It’s negligence on my part but I’ve just procrastinated it.
Thanks for sharing. I’ll look into them.
I’m currently on the fence right now about switching from Canon to Sony. A big factor is the currently market share that Sony has. I have missed out on jobs because so many companies are looking for Sony shooters to fit their workflow. Even though the c400 is the better camera, I’m leaning toward getting an fx6 because when it comes down to it, I have to consider my ROI, not necessarily the camera specs.
@@lazorkophotography Yes sir, that was the exact situation I was in. However, I didn’t have the c400 to consider so it was an even easier choice.
It came down to these factors:
-I am a freelancer and therefore need to consider which cameras are requested. 29/30 times it’s “any Sony camera… oh you have an fx6? Even better!”
- I can’t invest in a company that takes 4 years to catch up to their competitors.
Man, missing out on jobs when you are fully qualified but don’t have the camera they want really sucks. It happened enough times that I realized I should add friction in the decision process to hire me.
@@davidmorefieldCanon is great , but unless your network and clients are asking for it, it’s not a working camera for your business. C300 Mark II was a “better camera too” but the FS7 was by far more popular.
@ yep that is the reality
The FX6 will probably have better and faster resell value as well.
david at this point, are you happy with the response from Sony and is Canon a better customer service experience? Repair etc. I went from sony to blackmagic just because I like the quality and the recording options of SSD was way cheaper than actual memory cards. Compared to sony the con is , I have the ef mount , getting harder to find some lenses but I also have the PL mount. etc,
be honest invest in what is more stable for you and cost-effective, Then again I'm quick to switch if it's going to keep me going, and save money. Sony is to big to worry about our expenses, but you did bring up a great point about buying cheaper bodies I buy second-hand all the time and I've been fine. Just no warranty etc but I can replace those bodies. But now gives you peace of mind, insurance, etc. PPA said they would cover my fx6 when I had it up to 15k in damages and a few hundred deductible? I would need to check again. Let us know what you decide, the pyxis for 3k and SSD as memory storage could save you tons, I think they sell adapters with drop-in filters too. Not as easy as hitting a button tho, B&h has them for 5500 for pl or ef mount or L with 2 Irix Cine lenses, but the manual of course.
What ever you decide try to take advantage of black friday.
@@hi.imgonner5813 If I had my own production company, I would make a decision following your logic. But as a freelancer that is requested for Sony, I need to continue fulfilling those inquiries. I don’t want to make a hurdle for me to receive easy income.
Currently been rocking the Canon C400 with the lenses you mentioned and the r5c as B-Cam for a month and totally happy! However also have different requirements for my kind of work. If the fx6 gets more jobs it seems much more economical to just buy another/get it fixed.
@@MoritzKnoellinger Totally agree. Glad to hear you are enjoying the canon experience.
My advice is to just stick with Sony, and if you had the same issue with a C70, stick with Canon, get it fixed and move on.. Too many times I see on TH-cam videographers change their entire systems because it is 'better' and has either more resolution, higher frame rates, faster autofocus or internal RAW, yet when you look at the final result it looks no better.
I suspect your camera had a power surge which points to the Smallrig battery, which is a very high wattage, but here is the thing; if your camera had not fried, you would not have been contemplating any change whatsoever.
I'm a C70 user - I also own an FS7II as there are demands for the Sony look but I purchased it used for a low price; both are 'better' in different ways but in the end the client wouldn't know the difference, and that's what matters.
@@alvinburrell You and I have different clients then. My clients are production companies. They ask for a particular camera, they go with the operator that fits in their workflow.
I do not deal with end clients.
One of my clients is a Hollywood movie producer. He's never asked me what camera I use. He just looks at the image (and audio) and if it's good he's happy. He literally said the image from my FX3 looks like a RED from the images I got recently... mostly just because of really good lighting and color grading. There's surely lots of producers who think they're savvy on hardware and want to ask for particular hardware. But in this range I don't think it matters that much. Unless we're getting into Arri and RED, shooting all raw, 1:1 pixel readout for VFX, I don't think it really matters. Have you tried asking your clients "why" they want a Sony FX6? You don't have anything to lose because if they're asking for it, you can provide it. But, if their answer is the autofocus or low light ISO, there are other options now. It could be good to educate clients that hardware is less important than the person behind it.
@@skymakai I have asked… many times. Like I said in the video, it’s the workflow. Their entire post house or project basis is on the same log, codec and file type. They don’t want to introduce unnecessary variables.
@@davidmorefield Ah, okay... if they want the same color profile that makes sense.
I think it’s fair to say that eventually you will get to a level where clients and producers are hiring you for you, and you set the expectation on gear. You get to say I like shooting Sony or Canon or Red they say, great! We trust you :) and they are working with experienced post folks (like me 😝 ) that have handle matching cameras and different formats pretty easily. So you get to set the tone of production.
But in the mean time stick with what gets you hired and get excited about saving I’ll for the Baby Burano I’m hoping they make lol. And your FX6 will be an amazing BCAM for that newer option.
@@avdpost Would love a baby ‘baby Venice’ haha
Not really reality , even feature film DP,s dont always get to choose the camera used , except a few of them. Let alone our market , if they want Sony , then we will have to give them that camera
. You can argue all day that shooting log can match anything , but they dont even know what log footage is most of the time , you are just the nutty guy ranting down the phone :) Ideal world yeah , but in reality for a freelance DP , you don't tell them which camera to use , or just pass on the shoot.
@@robinprobyn1971 Totally agree in our market and I hear you. But I have worked on shows and films that were essentially budgeted to use whatever kit they wanted for the look being achieved. Agreed sometimes budget a major factor, but sometimes the show or film has specific goals a Venice can achieve that an Alexa can't and vice versa.
At this level however, your kit can make a large difference too, agreed.
@@avdpost Yes agree, as you say , the show or the film, ie the producers , have a specific look they want , so they will be deciding say a Venice or an Alexa , even if the DP happens own either camera . I think we are saying the same thing , no ?
@@robinprobyn1971 I mean that it can be both. Sometimes producers and shows have specific needs of production and goals or "netflix" style requirements and the dp's own kit is irrelevant. And at that higher level, it's generally not recommended to rent your own kit anyway, using a rental house is far better for extremely large productions. I just mean that there are just as many productions that lean on the DP's opinion about the look, the camera package to achieve that look, especially things like lens choice and filtration. the DP informs all those decisions as best they can.
What I'm trying to get at fundamentally, is that there are plenty of producers and directors who gain trust with the individual and the "kit" they own is irrelevant to that negotiation process. There is a turning point where they are hiring you before gear is even discussed because they want your look, your style and your taste.
Im in the Canon camp my self.. but in your shoes I would get the repair and keep the fx6 until the next fx6 mark 2 came out and fill the gab between fx6 and Burano. (dont go to the old fx9, you will cry your self to sleep)
But when thats said the CFexpress B cards are twice the speed of sonys cfexpress a cards.. you save som time there.. (if you do go angelbird)
the new lenses are awesome and nothing anyone have done before.. but Crazy price for those RF lenses. especially the 24-105 2.8 lens
Then again if you need 6K its not a bad buy to get the C400.. in many ways it compares or even beat the Burano..
i would agree, Sony got to be a year or less then a year to put out there new fx6. Especially if you have sony lens
@@baekmedier I think $3k for the 24-105 is actually a solid deal. Like you said, there’s nothing else on the market like it. And lenses have much higher prices than that once you get into the cine level.
@@davidmorefield I do agree.. i do corporate jobs my self.. have two C70 speedbooster and EF lenses (the adaptor makes the mount EF)
And I have an R5C + ND adaptor.. and a R3 camera.. I am looking into getting C400 + R1 and the RF 24-105 f 2.8 and the RF 15-35 f2.8
But it has to run for 3-4 years before it makes sens to sell the cameras.. :) sell them when they still have some value, but not wait to fast so they dont get to make money and pay for themself. :)
@@baekmedier dual c70’s sounds like the perfect combo for corporate work. I wanted to run that system in the past but couldn’t afford it.
@@davidmorefield I do it mostly because its fast with two similar cameras. My dream was to go C500 mark 2.. or FX9.. but money... bills bills bills.. If the FX6 have had sound recording on the body I would have been a Sony shooter today. :)
Small suggestion- I have gotten lazy on rigging out w the atomos ninja recorders but I use those to record redundancy typically in case of a record failure, which ultimately, you had with the audio. On top of that I use rode wireless pro device, which audio records a redundancy to itself.
Obviously it's never ideal to be running a one man band where you are video/audio but seeing as that has become fairly common these things ensure some level of redundancy.
@@JRTET21 Definitely utilizing the internal record of the DJI mics now.
Thats the thing.. i’d LOVE switching to red or something else but I feel like in my sphere most people use and hire sony so I’d probably miss out on jobs
@@Conjuredfilms Right. I need to buy for the circle I’m in. In your situation it sounds like you would temporarily need both. One to satisfy current clients and one to help reach the higher tier clients.
I agree with your decision to continue with Sony because of your clients' workflow.
Currently, I'm filming with Blackmagic Pocket cameras.
My clients are interested in something other than workflow, just the final video.
Plus, I resonate with argument #1 about using inexpensive cameras, especially when starting a video business like I did in 2022.
@@bairstories Yeah that is a really interesting decision. I am a fan of low overhead.
Though I've been on the side of considering a Canon switch (back) lately, another thing that Sony has over Canon and the rest is that their catalog of lenses is just so much wider than the other mounts. There are some cool lenses releasing and you can always expect that the first mount the manufacturers provide at the beginning is surely E-Mount. Then if you're lucky they might come to the other mounts. And RF is just ridiculously expensive... I forgot about that aspect of a switch back to Canon. If I were to go Canon I'd likely personally end up relying on EF lenses and an adapter still lol
@@allen_bernardo_jr Yep! This is a mnother huge reason why I wouldn’t invest in canon. Prohibiting 3rd party manufacturers to make full frame rf lenses. That’s a monopoly I will not be involved in.
With Canon in Europe you can pay back monthly payments without rent. Paid for my C500 in 36months.
Will buy C400 +28-70 F2 soon, absolute killer combo.
@@TheFrankJanssens awesome pairing
Another thing to point out is I do enjoy your content, but I primarily watch your channel to see your workflow specifically with the FX6. It is how I found your channel in the first place. So it could potentially hurt your TH-cam revenue.
@@XJoeywhoX The authenticity is worth it. I have a genuine connection with my audience and I show the good and bad.
But as a side note, revenue has been up during this series 😂
I've had my C500 M II for almost 4yrs and I've been on sets as the A cam with Sony as the B cam ...I don't think the brands matter as much as it use to if at all. I think we're at the point were we can pretty much make any Sony mach any Canon. Having said that, I don't think you can go wrong with the C400 or your FX6
@@LonzosStudios I agree. It’s not a spec vs spec comparison but rather following market demand.
My R5C essentially caught on fire due to a fault dtap cable during a shoot. Crazy experience, luckily I had great customer service from Canon. From there on I brought equipment insurance, had to really dig deep for the best deal.
@@xx02 That’s crazy 😅 Which agency did you end up getting a policy with?
Good video, one thing I see here is getting the extended warranty when you first buy. I did when I got the FX3 so I have at least 3 years worry free use.
@@CJ-Adventures That sounds smart. How much was it? Do you have to contact Sony after purchase, I don’t know how to get it.
@ when I bought it from BH, they had the ability to buy the extended warranty from Sony
I appreciate you documenting the issues you have had. Obviously this is not unique to Sony. I think a lot of shooters assume a camera will run issue free for years. But's that's just not the case. Hopefully everyone charging day rates are charging enough to rent cameras as needed when their personal camera goes down. Best wishes as you move forward.
@@CoolBikeProjects thanks for the kind words!
Hey David, what’s your opinion on the Ursa 4.6k g2? I know you said you’re not a fan of the Pyxis because of the lack of ND and only BRAW work flow. With the Ursa it has pro res options and built in ND. Hope you find the right system for you!
@@Jvvsing I think it was great at the time it was released. A bit outdated now. Recently it was used on a job that I PA’d for and the director was really unhappy how noisy it was and he reverted back to everyone use Blackmagic pocket cameras bc they were so much cleaner.
Depends on the jobs you're on. The Ursa is a weird middle spot. You'll lose jobs to Sony operators and higher end stuff that wants Red/Arri. If you're finding and producing you own work i'd say it'll work out. BMD really hits the market for production company over freelancer. I think it's a fanastic image, but it's heavy, sucks power and the g2 is dated now.
Hey love the content bro.. I have an FX6 and been watching these updates just to get a perspective. It’s a hard decision but I think you are doing the right thing. The hard truth is that with tech we run the risk of this happening to any camera brand. I feel like it’s easy to get caught in the cycle of jumping ship when we face problems with our camera companies or when the next new and shiny thing comes out. For me the FX6 is my first “big boy” cam and since I already invested in lenses and have a b cam making the switch will be extremely costly and it wouldn’t grantee you facing another problem in the future. If I’m you I’d get it fixed and continue to stack your paper.
@@damianotchere That sounds like the most efficient route.
@@davidmorefieldkeep up the great content. Definitely inspiring 👍🏿 hope to cross paths one day 💯
On ali expres you can get a 8k camera for less than 200 dollars, and you get the sd card and battery included
Why should you spend 1000's of dollars if you can buy everything at once for only 200 dollar ??
@@shrimptopian3392 I’ll take 10.
I have been using the small rig 99W batteries with the Tilta power plate and the sony 160 CFexpress cards with my Sony FX6 with no issues for over a year now. You may have got a bad camera from the factory.
@@arcadedudes8268 Your experience and mine are anecdotes. It’s hard to pull reasoning without answers from the Sony techs.
Your situation was without fail for a year. I’ve had my setup without fail for 2 years. And then… it fails.
Correlation isn’t causation.
Good points! I have to say that one of the reasons why I've been hanging out in the Canon ecosystem has been CPS. For the $300 yearly membership, turn around times on repairs are super fast. Break it on Saturday, send it out Monday morning, I typically have it back Thursday/Friday at the latest. Saved my butt many times.
Yah agreed CPS is pretty legit.
@@CDStudios oh that’s awesome to hear. However it seems so weird that we have to pay an extra premium if we want good customer service 😅 shouldn’t that be the standard of all companies?
@@davidmorefield Yeah, this IS a pain point for sure. There are different levels of membership which provides for different levels of discount and speed of service. While I'm not in agreement of how it works, all I can say is that my Platinum membership has been worth is many times over. The free (included) 2-way overnight shipping is killer too. Sucks, but I do feel confident I can depend on my kit because of CPS.
@@davidmorefieldYes it is a bit weird, however in Europe (not sure about US) the fee you pay is fully deducted from all services provided by CPS!
I never left the canon system. Used a C300 mk2 from 2016 to 2020, then went all in on the R5 C300 mk3, still using 2 of the R5 today. People see my work and ask me all the time if I’m using an FX3 or FX6 lol
@@this_time_imperfect do you manage your own productions or are you a freelancer?
c400 + c70 is a great combo, but that's been my world for a while now. I wouldn't switch unless you sold everything on the Sony side and it balanced, which it probably won't - especially because you have a repaired system. That said, fx6 mk2 will be coming out soon enough so it will most likely still be cheaper to just stick with the current setup and upgrade... But if it were me, I'd want get out of that fx6 sooner than later, equipment fails all the time, but clients don't see or care. Gear that costs money isn't the same as gear that is costing you money, and I'd say Sony didn't handle this one to the best of their ability given your timeline to relief. How much did you spend to rent your friend's fx3 with all the mods?
How has that been your world for a while? 😂 The c400 just came out!
Yeah, it’s a bummer situation. But the gigs I had during the repair time, supplied their own kit. So no rental fees for me. I also have an a7s3.
Man, if Sony made a killer 6ii, I would definitely consider upgrading.
Just purchase another FX6 and be done with it, get your other camera fixed and you will always have a backup.
*You need to stay with Sony that’s where the majority of the jobs are at.
@@captureprojectone8471 Yes I have a backup a7s3. I don’t want to purchase a second fx6 at this point in time.
Switching does involve much more than just costs. Once you are familiar with a camera, it becomes a tool that you know how to use. You now its flaws and pro's. In an age where image quality is so high you can stick to a system. I used the Sony Fs7 for 5 years next to the F5 and F55s in broadcast. Aslong as I knew how to handle that camera, i could stay in the game. But it was more down to camera handeling, lightning, composing and directing than that the camera was laging me behind. Once broadcast switched to Fx9 I stayed on the Fs7 till the major companies went with the FX9. And as soon as the Fx6 hit the market, i got my hands on one. And having two base ISO's, the same colors as FX9, beter autofocus, beter slowmotion, the Fx6 was a no brainer. I sold my Fx7 with two Fujinon S35 lenses (the MKs). That money was enough to buy an Fx6 body. I will hold on to that camera till something disrupts the market as radical as the Fx9. For now, I do not see any camera do that in broadcast. Fx9 is the norm. And if an Fx9 II comes along and the image stays almost the same... i will still hold on to the Fx6 because clients won't tell the difference.
@@caprediemplukdedag Curious why you chose a different camera than what your industry had as the standard (fx9). You mentioned better specs but wouldn’t you fit more seemlessly into broadcast with a 9?
@@davidmorefieldthat came down to money and the weight of the camera. I build my fx6 as a shoulder camera. With viewfinderloop (cvp solution) and v mount batteries and shape handle. And I use the tamron 35-150mm f2-2.8 as go to lens. Also swiching between slomo and normal is a pain in the as with the fx9. And 12800 iso vs 8000 is a nice to have extra. And the option to break it down to its totaly basics again makes it possible to use as run and gun for reality in cars, airplains, heli or other thight spaces. No body asks specificly for the fx9. If they ask I explain a shoot the fx6 alone an fx9 as b camera al the time and they couldn’t tell the differents. I show them edits as proof. No one ever overruled by still wanting an fx9 for the job. I recently bought a second fx6. Now i do have a fully setup shoulder fx6 in the bag and a enn and gun small set with the tamron 28-75mm f2.8. Or the wideangle 17-28mm
At some point in our career we're obliged to change, we need it.
@@cjcinematics meaning?
Type of work done with this camera. Will pay for it self in no time me think. godspeed.
Its like wanting to buying a new car and seeing the sticker shock, and you find it's cheaper to get the old hooptie fixed!
@@xxphactor haha that’s a perfect analogy
Curious if you could trade in and buy a new fx6 but with extended warranty? You'd take a big loss switching selling and buying new lenses etc.
@@TobermoryCat With this repair, they did give me a new warranty. That seems like the easiest option now.
@ ask them to trade in for new perhaps, just to give you piece of mind. I can imagine the uncertainty of random reoccurrence would be a drag. …..but guess the new warranty is worth something…..and the cheaper option. If it fails again it’s gone idea.
Depends if you bought all new. I can sell most of my gear at what I bought it still. Especially my FX9s.I'm a huge advocate for used. There's no gaurauntee that new won't have issues and saving money is a must. buying used brings your break even point with rental up sooner and rental clients don't care or expect gear to be new, just in working order. I bought two FX9s two years ago basically at half price and they have been very profitable. Buying new would have not allowed that to happen. I could sell them today at any price and still have made a profit.
It comes down to what producers or clients want. Most of them have very little camera knowledge and will just ask for what everyone seems to be shooting with currently. At one time it was the Fs7, now the Fx9 or Burano. I don't see a lot of demand for the Canon range, regardless of how good some of their cameras are.
@@JohnFalchetto Where do you see the burano requested most?
@@davidmorefield Docs, indies, EPKs, TV series, commercials
This .. I had a Sony F5 , when everyone wanted C300 , because thats what all the other producers were using . Canon had the market and dropped the ball , Sony now has 99% of that market and will keep it unless they do the same , for producers, its herd mentality and covering butt. The f5 only get accepted ( with the 4K "upgrade " a whole other story ! with the Fs7 complete take over from the C300. All I had to say was it was the same sensor and files , and bingo ! suddenly it was known and I used it for 7 years. F55 got its break from Netflix , and Arri just getting it very wrong and refusing to make a 4K camera .
@@robinprobyn1971 the fs7 dominated because it was a true shoulder cam. The Burano doesn't feel like a replacement for the F series. I do diasagree about the Amira. Most people using that camera don't care about true 4k.
@@kyleranney the Amira , is a good camera , its great , but heavy :) , but that as a freelancer , its not a requested camera , and thats why there are so many ,at low prices available , but its not just the Amira ,the Alexa wasn't 4K either , Netflix demanded 4K and the f55 was the only camera around and it got a good leg up in popularity and exposure with High end production companies , then backed up by Venice. " Most people using the Amir don't care about 4K " sure if they are shooting their own projects , but what freelancer these days can say to production , that requests 4K , I don't car about 4K :) , thats going to be a short career . Arri lost ground to Sony in the 4K streaming market big time , and then did eventually make a 4K camera having stubbornly refusing to do so. Burano is right for those in that market , but yeah Im really hoping the fx9 is not discontinued , I don't need 8k or raw but IBIS would be handy.
Sony does have us in a choke. In my experience the choice to submit has worked out overall. Shifting brands goes either sideways or comes at a cost that isnt worth the stress.
@@CurtChristoph Agree. That makes me think of Blackmagic. Stellar products but I’ve heard so many nightmares about randomly dead units or poor QC.
What would have helped is get an FX3 or another FX6 B or C cam so you have always a Backup...and do the repair when you have the money.
Having a spare body in the same workflow is a great thing to have 😊
@@filipmichalsaffray441 Yes thankfully I was able to use my a7s3 as backup during the repair process.
The problem with the C400 is that even though it's better than the FX6... the FX6 is four years old. So you can imagine that in 1-2 years Sony is yet again going to push ahead.
The other problem is what do you get for a B-cam? C80 is good but a weird form factor, no CFexpress, and still $5,500. Their photo cameras can't shoot clog2 except for the very newest - but do you really want an 8K R5 II that is meant primarily for photos? Or expensive R1? You could pick up a clean, used FX6 + FX3 combo for the price of the C400. And you'l get hired right away.
If they update the R5C to v2 then I could see that plus the C400 being an appealing combo. But again, I bet Sony will have something better out by then
@@grahmdoughty exactly. They will be playing catch up for quite some time. I’ve heard the same fear from many canon owners, as well as they are financially anchored by the expense rf glass they purchased. Canon isn’t thinking of the operator who needs multiple matching cameras. They seem to make different camera lines without looking at the symbiosis of the entire offerings combined. Not a smart way to run a business.
Sell the brz and get the burano
@@LensofWyant how dare you
The Burano would help get you in a different work type weight class like higher end docs and commercial. The FX6 (minus the support nightmare) is the Swiss Army knife of all cameras that seems the best fit at this point. I love my FX6,3 ecosystem.
@@timdanyo898 I don’t think it would. I haven’t had one client even remotely mention a camera at that level. I’m still working on securing doc clients tha require fx6… and I already own it haha.
But I would love to consider a used burano as prices fall in the next two years.
The Burano is in a wierd spot. Most DPs that are spending for that level are going with the Venice. Sony Priced it too high and limited features just a bit too much. Buying a camera to get in a hgiher weirght class rarely works by the way. At that level, they are usually renting whatever camera best fits the bill for what they are doing.
I have a few videos uploaded with just that system. C400 & 24-105. It is truly a DO ALL. I totally get the reservations. I understand. BUT, it's bad ass. I've had 2 EOSr's, R6, R5, R5c, 2 C70's and the C400. Never had an issue with Canon. It could be just lucky but... maybe just a damn good camera brand. Easy to get a really good look too. I've seen some videos of shooters having trouble matching Sony to Sony cameras shot in same log. I thought that was a strength of Sony? Canon clog2 on many different cameras cut really well.
@@scottievee330 They barely give clog 2 to all of their cameras 😅 That was one of my big gripes when trying to find matching A/B cams.
Why not a Red Komodo-X ? It's in this price range now.
@@michellsantana6402 I have zero clients asking for that. I would actually lose clients with that decision.
Doesn’t mean I wouldn’t love to try it though!
I like Canon but in your situation I’d stay with Sony for now due to already having all the glass and accessories, and media. If you decided to switch brands however the c300 III ,C70 pair is interesting with current prices
@@TradeshowThomas Yes those are solid options. It would be even better if they had the same native mount.
@ yes, although part of the draw to the c70 is the speedbooster/ef possibilities.
@@TradeshowThomas that’s what I’m saying. They both should have rf
Next few years are going to be FX6 and FX3 for me. I haven’t had any problems, but I also probably don’t have near the hours on mine that you do. Hoping for an FX9II some day to “complete the set.” and maybe branch out a bit. There are days where I just wish I had a big shoulderable camera. Canon doesn’t have that. Building the FX6 up on rails just doesn’t work out the same as the FS7/FX9 style body. Only reason I can think of that I would buy a C400 is if a single job somehow called for it specifically, and it could pay for itself with that job. Canon have been pretty annoyingly short with me over the years when I’ve had questions that their manual or the internet simply cannot answer. And they often can’t answer either. I have zero interest in the Burano. I am considering the idea of having another FX6 on hand, two is one and one is none and all that. Have also thought about getting FS7II or FS5II bodies to have on hand as well. Maybe it’s just me, but I don’t remember all of these cameras having as many issues 10 years ago. Also don’t remember Sony specifically stating you need to use their branded cards and accessories or risk damaging the camera on the FS series cameras, but maybe I just missed that.
@@billmakesmovies I’m interested in what used burano prices will be in 2 years
@@davidmorefield That could be the ticket. That's how a lot of people I knew got the Red Epic M 10 years ago when it was like $50K new. Burano just seems like a weird camera to me, and I'd rather have the 4
On a different note, I just unboxed a brand new Sony PDX10 from 2002! I'm thinking all this 4K 10 Bit LOG crispy AF variable ND 4 track audio stuff is overrated. We all just need to go back Mini DV!
Was like opening a time capsule! I have a few more old cameras coming too; VX2100 (my first "big camera" back in high school), a DVX100b (second big camera after the VX was stolen), HC96 (a handicam I always wanted), and even a Sharp Viewcam (11ish year old me had one of those). Went a little crazy on eBay last week, but I'm looking forward to having some old cameras to play with!
@ Those were the go to cameras for skateboarding!! I owned the vx2000. My buddies had the dvx.
However, I will say I’m glad to leave miniDV in the past. They became expendable and I was always at the risk of dirty playback heads.
@@davidmorefield I never got to run one long enough to burn out the playheads I guess. My VX2100 was stolen within the first 2 years (never leave gear in the car lesson learned at age 17!), and the DVX100B that replaced it got sold in 2009 (at a loss) for a Canon HV40 so I could go up to HD at the time, which that little camcorder put out a stellar image for a $699 soccer mom camera. HV40 then got sold within a year for a Canon T2i, which quickly got turned into a Canon 60D because it had a flippy screen and better ISO options. The Canon XF100 came out in 2011, which became my main camcorder for sports and events, plus it paired nicely with the 60D! The 60D got replaced by a 70D, and those two cameras worked for my lower budget stuff, when I wasn't using RED or C100/C300 or FS7, all the way up until 2021 when I finally bought into owning 4K cameras with the FX6 and FX3! Which was a pretty killer move to get to make! I also picked up an XF605 this year because I'm just a sucker for camcorders! Irony is that all of my cameras stay set to 1080 30p most of the time! I'm hopeful that they update the Z90V next, because the Z200 just doesn't do it for me. I want to like it, but from what I've seen so far, the reliability of the image is kind of questionable. XF605 works for my needs right now, so I don't really want to sell it to buy a Z200 when I'm just not sure about it. But a Z90V sized camcorder replacement with 10bit S-Cinetone would be a day 1 buy for me for sure. On the old DV stuff, I'm buying them to tinker with and kind of have as office art too. I've always kind of regretted it every time I've sold off a camera at a loss to buy the next one. I have a new personal rule now to just save to pay for the next camera, and keep the old ones, especially in a time where they're not becoming obsolete as quickly as Mini DV did when the world went HD. Heck, I'm even eying a C205 today that I might get, because I could absolutely use it for live stream jobs, and it was a camcorder that I missed out on in the mid 2010s. And again, I'm a sucker for camcorders...
@ yeah I love to keep old cams too. I wish I still had my vx2000 and fisheye death lens.
Have you guys all given up on the Komodo-X just because the C400 has better low light performance and auto-focus?!
< Inspire 3 rules
@@hawaiifreespeechnews I would love to test one! I have zero clients asking for it. At my level it would actually inhibit my income by owning it.
@@davidmorefield I think the Komodo X has a richer cinematic image but the C400 is more ready to go straight out of the box plus it's thousands of dollars cheaper once you purchase the necessary accessories for the RED
@@hawaiifreespeechnews I agree but it needs to make business sense. Currently it’s not justified.
the Komodo is a bcam.
Man, you've had a rough go the last number of weeks. My honest opinion is that sticking with Sony (despite their poor customer service) probably makes the most sense business wise. I feel that Sony is innovative enough, that the benefits outweigh the risks. I've been in the Sony ecosystem for almost 10 years now, and I'm pretty sure that if my FX6 malfunctioned like yours did, I'd probably still stick with them lol. It would be too hard for me to switch.
@@scottsmokerx I’m on the same mindset
Pretty incredible that they charged a $2000 repair for a $6000 camera and won’t take responsibility for the inconvenience it has caused you from not doing the repair properly. A loaner camera sounds perfectly reasonable but I guess that’s just how it goes
@@themadlightfilms 100% agree
I fried my hdmi port recently on my 6 thank goodness for sdi
Engineers need to find a solution on the M2
In regards to what you talking bout
Foo just get a used fx6 stop with all this extra shit just get to the point already
Used fx6 $4.5K
If you got the s3 just get a X3 and wreck out.
Get 2 C70’s which will be cheat but it may be more economical to stick with what you have…rent something until it’s fixed.
@@photomagique15 Yeah I’ll be sticking with Sony.
I think that a wiser choice and just rent another FX6 in the meantime.
Sony was never a trusty enterprise, works between them but not to us consumers, I have a Sony 7s, I regret it ? No, I learned from mistakes, thank you for sharing your situation, close the dor and continue what you need to do, focus on your life and priorities, they don’t care.
@@florinbalaican7419 sounds like a surf trip will solve my problems 😎
I'm practicing patience that Panasonic will bless us with a EVA2 with L-mount that does everything better than the FX6 and has the latest tech to rival canon.
@@dantecorbett2221 Bro idk if I would wait for that! 😅
Spoke to a Panasonic rep back in July. Pretty much confirmed that they are done with VariCam and EVA line.
@@SuperPhunThyme100 Thanks for this update! :/ Welp that's unfortunate.
@ not surprised to hear that
What part of Virginia? I’m in Richmond
@@jbvtran I misspoke, it’s Asheville NC!
@@davidmorefield maybe next time!
Investing in an older generation but what's very good e.g. FS7 in the past (near FX6-level today exc the AF) feels like the right path for solo-shooters (like me) working up the ladder. Whereas something like a C400 is what a commercials DP should be getting once freelance life is up-and-running with agencies and ads. Burano is too expensive and IDK who that's meant top be aimed at...Budget Movies?? I say all this but here;s me until last night thinking of buying myself a7iv because its half the price of a7siii as an Xmas pressie for myself but the zve1 is more cost-effective with same low light results, lol.
@@anoophothi It looks like burano is being chosen by commercial DP’s, documentaries that want Venice level IQ without the weight and I would assume episodic reality shows would prefer it over the fx9.
I picked up an a7s3 bc it was cheaper than fx3 and I bought it used. Saving a ton of money. I wouldn’t go below a7iv, bc of overheating reasons. You want to have a reliable camera.
@ overheating is always the factor stopping me from buying anything less than a7siii. All good running V-mounts but building a rig for 7/6-series I do feel better off having fx6 instead. Burano sounds like a wise long term play by Sony but that c400 I reckon is going to be super popular in years to come.
@ yeah $8k vs $25k is quite the jump for c409 and burano!
@@davidmorefield I was saying to my wife earlier, I feel the c400 might well be a better longer term investment than an fx6 for me if I decide to buy a new/proper camera in the coming months instead of something older (fs7)
@@anoophothi Big shout out to our partners who have to listen to us rant about camera gear! 😂
The r5c is better than all of them
@@thebarbermosaic As a freelancer, I have to roll with what clients are asking for. I haven’t got an R5C request yet.
100% not worth it if you look at the numbers. Reliability and service should be higher decision factors.
@@AcastroAX Would be nice to see other manufacturers increase their market share and drive up innovation.
@@davidmorefield 100% I recognize that the C400 and C80 are a direct result of the Sony FX6, no question. So I have to give credit to Sony there. I just believe that a C400 and even C80 are better offerings with more live on them. C70 is still a great B Cam cfor any of them and if you want a Gimbal Cam R5C works great with the new battery. I use mine for BRoll and Gimbal 100% amazing
@ Yeah I think c400 and R5C would be a great A cam and gimbal cam or b cam for interviews
patience for fx9ii 🤞🏼
@@jtserrao1962 Uff that sounds bulky haha
@ haha yeahhh… ideally they just take a FX6 body and add on body XLRs!
@@jtserrao1962 and vmount please
I don't think they will have a mkii.
Sony support is not the best. A reason for switching would def. be better support. It’s not too hard to become CPS member and once you are it really is significant in terms of repair and other kinds of support like loaning gear at big events. Sony is really for industrial type work and not for individuals. You’ll always get shafted by Sony in terms of parts and repair like paying $1000 (!!) for the easy to break FX6 handle. Also investing in those silly and expensive CFExpress type A cards which will just disappear soon and are not ubiquitous doesn’t make sense. Lastly, despite the Sonys being wonderful machines the buttons on those cameras are sooo bad and that is def. something that is way better in Canon and makes operating those cameras a lot more pleasing.
@@deovid Sometimes these small things make the biggest differences
I've switched brands just about every 2 years. Blackmagic, Sony, back to Black Magic, Fuji and now back to Sony. I'm staying put Sony has the best all around recogition for freelance. Sorry other fanboys, just get out there and work. If you need the other cameras like Red/Blackmagic/higher end, just rent them for that production. If they production won't do that then they aren't a net positive job and don't run by industry standards. My most asked for camera last year was still the FS7.
@@kyleranney I receive the same line of requests
Canon boyz 👀👀👀👀
what about panasonic s5ii its a tank
Think FX3 would make more sense for him at that point. Not enough to differentiate there. And I'm a S5II user
@@Joe-cx7wy too many differences:
-Panasonic doesn’t offer an A Cam in a production body
-They don’t have a full lens lineup
-I’ve never had a client ask for any camera in that ecosystem
I’m sure there are tons of great cameras but there’s more reasons I need to consider
Lol you gonna let sony keep treating you like that, come on man. Make the switch. Canon is bullet proof.
@@digitalfilmreviews7843 I’m not saying it’s not a great product. I’m saying they are too slow to release cameras. And I don’t have clients (production companies) who are asking for them. They all ask for Sony.
Is Red a camera with better IQ? Yes.
Doesn’t demand I will get hired in my space with it.
You're spinning in circles. This is what insurance is for. They would cover the costs of this repair and might even get you a replacement while the repair is happening. No camera is perfect, they can all break or malfunction, having insurance eases that pain somewhat.
@@bojanbrbora6453 Haha I’m not spinning in circles. The end of the video literally laid out my decision path.
Insurance is great. However, it does not help with Sony sending me an incomplete repair. It does not pay for new media or battery plates.
My issue here isn’t with insurance but I think that is a great thing to have in general.
its mostof the times always more expensive no? just
@@GregoryDai more expensive to stay with Sony? Hmm I’m not sure. I definitely receive more income as a Sony owner. I have to factor that in as well.
@@davidmorefield sorry what i ment was its always more expensive to switch, i swtiched from nikon to fuji to panasonic to sony, and now i am going back to fuji again so spoken with alot of regrets. sony in my opinion is just a better company than cannon they are more innovative nowadays no? so i think staying is a good choice sir.
@@GregoryDai haha why are you switching again?
@@davidmorefield becuae 60mp is not enough for me anymore, plus i really really really regret and dearly miss the color science of the fuji, so im prabably going to get a second hand gfx100s +a prime and a zoom, becaaue i print big
👋🏼 C80 with CPS cough cough
@@f0t0b0y solid choice. But I don’t like the form factor of c80. C400 would be the horizontal move.
Buy the cheapest camera that gets the done. Most brand preferences are emotional. Between brands in 2024 the specs are very similar. Cameras (like cars) depreciate fast. Overbuying only makes you broke mostly. Now, if your client specifically requests a Sony, get a Sony. Only you know your clients. ALSO have you contacted your clients and asked them what they would think if you switched to Canon? You might be surprised. They are hiring you, not your camera.
Sorry this is just not the way it is for freelance DP,s , unless you are Roger Deakins :)
@@Brian-Hansen I’ve shared it repeatedly in a few videos but the short of it is: there is market demand for Sony. I’ve lost many jobs for not having the preferred tool. Since I switched from canon to Sony, I’ve been onboarded to many more productions. I’m looking for the easiest connections to getting hired, no hurdles.
My ego would like to believe you but they are not coming to me for me. It’s typically off a production hub inquiry or word of mouth referral. They don’t even know who I am.
As a freelancer, I will have more success by owning the tools that are actually requested, not the ones that I have to justify.
@@robinprobyn1971 I know that, I am just assuming that if David goes to Canon, he would keep his Sony. That would seem to be logical. Especially after investing in the fix. Adding a Cannon to the line up would only make the offering better.
@@Brian-Hansen Sure but my point is , the line " they are hiring you not your camera " doesn't apply really in our market , or even at much higher levels. They might want you but they will expect you to hire in the camera they want.
@ returning clients hire you back because they like you. That was the point I was attempting to make.
Arri Amiras are so cheap right now.
Yes but have you wondered why .
@@robinprobyn1971 Because everyone bought Alexa 35s. Me included.
@@DavidAcampora I love seeing these top tier cameras become even more affordable.
@@robinprobyn1971 if you use one you'll wonder why. It's an amazing camera.
Never in my life has an agency or person ever requested a specific camera. All these cameras are the same quality at that level. If they are good enough for Netflix . The XAVC and XFAVC codecs are so similar
@@ryanpallotta5 We must be in different market. I regularly get specific workflow requests… typically fx6 or similar.
Lol Sony... 🗑️
@@Makta972 Yet it’s the number one request for productions at my level. I think it’s bc canon dropped the ball a few years ago.
I cannot recommend the Jump.
@@kashifswaynerobinson please share
@@davidmorefieldI’m in the canon Eco system. I shoot weddings. My cams are R5C, and R5. I own about 7-9 canon RF lenses for my line of work. Occasionally I do documentary work with the R5C. The canon system is great. My gripe with the system for video lives somewhere around the realm of price, the cost to buy into RF lenses is just bonkers.
A day doesn’t go by where I wish I didn’t go Sony and save money. But the gear pays for itself, still an expense nonetheless. Their service is great for repairs. With Sony it’s though, it’s better to break a camera a just buy another one if it’s too far gone, as their service isn’t the best ( My friend complains about their repair quality as well. )
The video quality out of Sony I find is nicer ( personal preference ) Sony is for video what canon is for photo I always say. A lot more people on an industry level these days are more familiar with Sony, clients and editors.
Canon is great but I never recommend them to anyone trying to get in or get back in if they jumped. It’s too rigid of a system to shoot right now.
@@kashifswaynerobinson yeah these are the non tech related insights that people need to be aware of.