![]() While all the companies on our list produce a number of new cameras every year, their products that can truly be considered professional grade come out somewhat more rarely. And we also added the Panasonic AJ-CX4000GJ for use in extremely low light situations like nighttime sports. It still couldn't beat out the FX6, however, due to its use of the Super 35 sensor, as well as its 14 stops of dynamic range to the FX series' 15 plus. We also saw the arrival of the Blackmagic Design Ursa Mini Pro 12K, which edged out the FX9 due to its ability to capture 12K or downsample to 4K or even 8K, all while recording RAW footage to CFast cards internally. Neither does the FX6, to be fair, but at least it's nearly half the cost. The reason the slightly less feature-rich, and slightly lower-resolution FX6 beat out the FX9 was that the 9 is prohibitively expensive and still doesn't provide an option for internal RAW recording. ![]() Now, there's the argument to be made that Super 35 will work better with classic cinema lenses that were designed to shoot with celluloid, but the advantages of modern lenes simply outweigh that consideration. These new offerings house full-frame sensors where the previous models worked with Super 35. We saw a lot of exciting upgrades in this sector recently, most notably from Sony, who have upgraded to both the Sony ILME-FX6 Cinema and the Sony PXW-FX9 XDCAM from their older FX5 and FX7 models. ![]()
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