Pro video blog…Produced by Philip Johnston DoP/Editor

The Sony FX9 seems a much improved camera over the FS7 especially the colour profile and the autofocus.

HDW “Its Sony’s colour profile that has put me off all their cameras and is why I no longer own any Sony camcorders nor photographic cameras.”

Sony has cracked the autofocus on the FX9 making it very usable especially for older camera persons with blurry eyesight.

I love the skin tones on the FX9 a lot more natural and this will make a great 2nd camera for Sony’s Venice.

Sony “The fast hybrid AF system encompasses phase-detection AF and contrast AF for a fast and smooth AF response capable of precise subject tracking. The AF settings are customisable in addition to being highly accurate to help you personalise the camera to your individual needs and projects. This is perfect when trying to establish your very own signature filmmaking style that can distinguish you from a pool of already highly skilled professionals. The FX9’s wide AF coverage features a maximum of 561 points split between 94% points in the horizontal direction and 96% in the vertical direction.”

For further information on the Sony FX9 why not go over to Philip’s blog post at

SONY PXW-FX9 TEST SHOTS from Philip Bloom Reviews & Tutorials on Vimeo.


Having been working in the video business since 1988 I have amassed a great amount of knowledge of both the kit and production values over the last 30 years.

One thought on “Philip Bloom taking a first look at the new Sony FX9

  1. I remain a little unconvinced about the relevance (nowadays) of “colour profile” in respects to make of camera, and the “look” of different brands.

    It certainly used to be the case – but that was largely the case when many attributes of the image were “baked in” to the design of the camera. (And indeed, in the early days of HD, Sony only made cameras with interlace – 1080 – Panasonic progressive. Very different looks!)

    Can the same really be said now, especially if shooting in RAW? I’ve certainly had someone swear that a scene had been shot on a certain make of camera, when I knew it was nothing of the sort. I know why they thought it – but it was due to a certain type of grading, and I don’t think I can now comment with any certainty which camera any scene was shot on solely on the basis of how the pictures look. The “look”, I would argue, is nowadays nearly all down to camera lineup and/or grade – little to which make.

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