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2 Year
$259.99
3 Year
$409.99
4 Year
$552.99
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Review Summary
2022-10-28T09:16:32
A great step up from the Fs7. Cleaner images, less noise. Full Frame is a fantastic option when needed. Auto focus with native E-mount lenses is a neat perk. Variable ND is silent and smoothe. I use it every day!
Thomas T.
2022-03-20T08:31:56
Love the dual ISO 6k FF and ND variable
Felix M.
2022-01-11T07:14:47
Great cameras work perfectly with LED screen
ANDREW H.
2021-07-23T10:22:04
Amazing everything!
Juan C.
2020-12-02T08:06:22
Love the weight, feel, and ergonomics of this camera system.
Jonah T.
2020-08-13T08:09:56
I bought this as an u[grade to my FS7 package....and thats exactly what it is. Almost every facet of the camera is slightly better. The full frame sensor, much more advanced graduated ND system and accessibility to audio and monitoring dials are particularly significant improvements. The only CONS I have found so far are the increased power consumptions in comparison to the FS7, the almost identical slightly fragile viewfinder design and the shotgun mic holder which I replaced with something better immediately. Overall though, maybe the best run'n'gun camera out there at the moment.
Dominic G.
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DC 19.5V
Approx. 35.2 W (while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device)
32 Degree F to 104 Degree F (0 Degree C to 40 Degree C)
-4 Degree F to +140 Degree F (-20 Degree C to +60 Degree C)
Approx. 54 min. with BP-U35 battery
(while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device)
Approx. 108 min. with BP-U70 battery
(while recording XAVC-I QFHD 59.94p, SELP28135G Lens, Viewfinder ON, not using external device)
Approx. 4.41 lb (body only)
Approx. 10.58 lb (with Viewfinder, Eyepiece, Grip Remote Control, BP-U35 battery, SELP28135G LENS, an XQD memory card, handle, mic holder)
5.75 x 5.61 x 9.02" (14.6 x 14.2 x 22.9cm) (body without protrusions)
XAVC-I QFHD 59.94p mode: VBR, MAX bit rate 600 MBps, MPEG-4 AVC/H.264
XAVC-I QFHD 50p mode: VBR, MAX bit rate 500 MBps, MPEG-4 AVC/H.264
XAVC-I QFHD 29.97p mode: VBR, MAX bit rate 300 MBps, MPEG-4 AVC/H.264
XAVC-I QFHD 25p mode: VBR, MAX bit rate 250 MBps, MPEG-4 AVC/H.264
XAVC-I QFHD 23.98p mode: VBR, MAX bit rate 240 MBps, MPEG-4 AVC/H.264
XAVC-I HD 59.94p mode: CBG, MAX bit rate 222 MBps, MPEG-4 AVC/H.264
XAVC-I HD 50p mode: CBG, MAX bit rate 223 MBps, MPEG-4 AVC/H.264
XAVC-I HD 59.94i/29.97p mode: CBG, MAX bit rate 111 MBps, MPEG-4 AVC/H.264
XAVC-I HD 50i/25p mode: CBG, MAX bit rate 112MBps, MPEG-4 AVC/H.264
XAVC-I HD 23.98p mode: CBG, MAX bit rate 89MBps, MPEG-4 AVC/H.264
XAVC-L QFHD 29.97p/25p/23.98p mode: VBR, MAX bit rate 100 MBps, MPEG-4 H.264/AVC
XAVC-L QFHD 59.94p/50p mode: VBR, MAX bit rate 150 MBps, MPEG-4 H.264/AVC
XAVC-L HD 59.94i/29.97p/50i/25p/23.98p/59.94p/50p mode: VBR, MAX bit rate 50 MBps, MPEG-4 H.264/AVC
XAVC-L HD 59.94i/29.97p/50i/25p/23.98p/59.94p/50p mode: VBR, MAX bit rate 35 MBps, MPEG-4 H.264/AVC
XAVC-L HD 59.94i/50i mode: VBR, MAX bit rate 25 MBps, MPEG-4 H.264/AVC
MPEG2 HD422 mode: CBR, MAX bit rate 50 MBps, MPEG-2 422P@HL
LPCM 24 bits, 48 kHz, 4 channels
XAVC-I QFHD mode: 3840 x 2160/59.94P, 50P, 29.97P, 23.98P, 25P
XAVC-I HD mode: 1920 x 1080/59.94P, 59.94i, 50P, 50i, 29.97P, 23.98P, 25P
[XAVC Long]
XAVC-L QFHD mode: 3840 x 2160/59.94P, 50P, 29.97P, 23.98P, 25P
XAVC-L HD 50 mode: 1920 x 1080, 1280 x 720/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
XAVC-L HD 35 mode: 1920 x 1080/59.94P, 50P, 59.94i, 50i, 29.97P, 23.98P, 25P
XAVC-L HD 25 mode: 1920 x 1080/59.94i, 50
[MPEG-2 Long GOP]
MPEG HD422 mode: 1920 x 1080/59.94i, 50i, 29.97P, 23.98P, 25Pi
XAVC-I QFHD 59.94p
When using QD-G128A (128 GB): Approx. 22 minutes
When using QD-G64A (64 GB): Approx. 10 minutes
XAVC-I QFHD 50p
When using QD-G128A (128 GB): Approx. 26 minutes
When using QD-G64A (64 GB): Approx. 13 minutes
XAVC-I QFHD 29.97p
When using QD-G128A (128 GB): Approx. 43 minutes
When using QD-G64A (64 GB): Approx. 21 minutes
XAVC-I QFHD 25p
When using QD-G128A (128 GB): Approx. 52 minutes
When using QD-G64A (64 GB): Approx. 25 minutes
XAVC-I QFHD 23.98p
When using QD-G128A (128 GB): Approx. 54 minutes
When using QD-G64A (64 GB): Approx. 26 Minutes
XAVC-I QFHD 23.98p
When using QD-G128A (128 GB): Approx. 54 minutes
When using QD-G64A (64 GB): Approx. 26 Minutes
XAVC-I QFHD 25p
When using QD-G128A (128 GB): Approx. 52 minutes
When using QD-G64A (64 GB): Approx. 25 minutes
XAVC-I QFHD 23.98p
When using QD-G128A (128 GB): Approx. 54 minutes
When using QD-G64A (64 GB): Approx. 26 Minutes
XAVC-I QFHD 23.98p
When using QD-G128A (128 GB): Approx. 54 minutes
When using QD-G64A (64 GB): Approx. 26 Minutes
XAVC-I QFHD 25p
When using QD-G128A (128 GB): Approx. 52 minutes
When using QD-G64A (64 GB): Approx. 25 minutes
XAVC-I QFHD 23.98p
When using QD-G128A (128 GB): Approx. 54 minutes
When using QD-G64A (64 GB): Approx. 26 Minutes
XAVC-I QFHD 23.98p
When using QD-G128A (128 GB): Approx. 54 minutes
When using QD-G64A (64 GB): Approx. 26 Minutes
XAVC-L QFHD 29.97p/25p/23.98p
When using QD-G128A (128 GB): Approx. 125 minutes
When using QD-G64A (64 GB): Approx. 62 minutes
XAVC-L QFHD 59.94p/50p
When using QD-G128A (128 GB): Approx. 86 minutes
When using QD-G64A (64 GB): Approx. 42 minutes
XAVC-L HD 50 59.94i/29.97p/50i/25p/23.98p/59.94p/50p
When using QD-G128A (128 GB): Approx. 225 minutes
When using QD-G64A (64 GB): Approx. 110 Minutes
XAVC-L HD 35 59.94i/29.97p/50i/25p/23.98p/59.94p/50p
When using QD-G128A (128 GB): Approx. 305 minutes
When using QD-G64A (64 GB): Approx. 150 minutes
XAVC-L HD 25 59.94i/50i
When using QD-G128A (128 GB): Approx. 410 minutes
When using QD-G64A (64 GB) approx. 200 minutes
MPEG HD422 59.94i, 50i, 29.97P, 23.98P, 25P
When using QD-G128A (128 GB): Approx. 220 minutes
When using QD-G64A (64 GB): Approx. 105 minutes
XAVC Proxy: AAC-LC, 128 kbps, 2 channels
XAVC Proxy: AVC/H.264 Main Profile 4:2:0 Long GOP, VBR
1920 x 1080, 9 MBps
1280 x 720, 9 MBps
1280 x 720, 6 MBps
640 x 360, 3 MBps
MountE-mount
1.38 in full-frame, single-chip CMOS image sensor
20.5 M pixels (total)
Clear, linear variable ND (1/4ND to 1/128ND)
ISO 800/4000 (Cine EI mode, D55 light source)
57 dB (Y) (typical)
64F to 1/8000 sec
FF 6K mode:
XAVC-I/L
3840 x 2160, 1920 x 1080
1 to 30 frames (29.97/25/23.98)
S35 4K mode:
XAVC-I/L
3840 x 2160, 1920 x 1080
1 to 60 frames (59.94p, 50p, 29.97/25/23.98)
FF 2K, S35 2K mode:
XAVC-I/L
1920 x 1080
1 to 60, 100, 120 frames (59.94p, 50p, 29.97/25/23.98)
Preset, Memory A, Memory B (2000K-15000K)/ATW
-3 to 18 dB (every 1 dB), AGC
S-Cinetone, STD1, STD2, STD3, STD4, STD5, STD6, HG1, HG2, HG3, HG4, HG7, HG8, S-Log3
15+ stop
XLR-type 3-pin (female) (x2), line/mic/mic +48 V selectable
Mic reference: -30 to -80 dBu
SDI OUT1: BNC, 12G-SDI, 3G-SDI (Level A/B), HD-SDI
SDI OUT2: BNC, 3G-SDI (Level A/B), HD-SDI
USB device, micro-B (x1)
Stereo mini jack (x1) -16 dBu 16 Ohm
Monaural
DC jack
Stereo mini-minijack (2.5 mm)
Type A (x1)
3.46" (3.5 type) approx. 2.76 M dots
Omni-directional monaural electret condenser microphone
XQD card slot (x2)
SD/MS card slot (x1) for saving configuration data
SD card slot also can be used for proxy video recording
IEEE 802.11 a/b/g/n/ac
2.4 GHz bandwidth
5.2/5.3/5.6/5.8 GHz bandwidth
Depending on country/regional regulation and only on PXW-FX9V and PXW-FX9VK.
WEP/WPA-PSK/WPA2-PSK
NFC Forum Type 3 Tag compliant
Required
Required
Required
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So nice, I bought it twice
By Thomas T.
A great step up from the Fs7. Cleaner images, less noise. Full Frame is a fantastic option when needed. Auto focus with native E-mount lenses is a neat perk. Variable ND is silent and smoothe. I use it every day!
The standard in TV docs and reality
By Felix M.
Love the dual ISO 6k FF and ND variable
The camera’s full-frame 6K sensor provides superb recording in DCI 4K, Ultra HD and HD resolutions. Powerful image processing with debayering and down-sampling ensures image quality beyond the limits of conventional Super 35mm sensors.The backilluminated CMOS image sensor also uses Sony’s Exmor R technology for improved sensitivity and noise reduction.
FX9 offers an exceptional 15+ stops of dynamic range - beyond the normal range of human perception - allowing for unprecedented creative freedom in color grading and post. Camera operators can concentrate on framing the scene they want while relying upon the FX9 to capture every nuance and detail using either 4K 4:2:2 10-bit internal recording or 16-bit RAW external recording.
FX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary high base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you’re using slow lenses
S-Cinetone is the default look of FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colors, alluring facial tones and a softer tonal look – developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid.
Effortlessly track fast moving subjects with pin-sharp focus, even when using wide lens aperture settings to maintain a shallow depth of field with the camera’s full-frame sensor. Developed by Sony’s α camera engineers, enhanced Fast Hybrid AF combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognizes and locks on to human faces.
The dedicated 561-point phase detection AF sensor covers approximately 94% of the whole image area width and 96% of height, allowing consistently accurate, responsive AF tracking, even with fastmoving subjects.
FX9’s comprehensive autofocus settings provide the creative flexibility to integrate with any project. 7-level AF transition speeds from Fast - switching between subjects as quickly as possible – to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama. 5-level AF subject shift sensitivity ranges from Locked-on – ignoring other moving subjects in the frame – to Responsive that switches focus from one subject to another.
Sony’s flexible Multi-Interface (MI) Shoe provides power, signal connections and coordinated on/off switching with compatible Sony accessories. For example, you can connect and control Sony UWP-D wireless microphone systems (optional).
Further extend the capabilities of the FX9 with the optional XDCA-FX9 extension unit that optimizes camera weight distribution and ergonomics for comfortable shoulder-style shooting – ideal for ENG (Electronic News Gathering) and documentary applications. The extension unit also adds advanced networking for streaming/file transfers and a slot-in for a wireless audio receiver.
FX9 is equipped with various outputs including a 12G-SDI and a HDMI for 4K output. Also, it has a 3G-SDI for HD output to expand its monitoring flexibility. For multi-camera operation, GENLOCK and TC In/Out terminals are available.
Sony is kicking off the 2019 International Broadcasting Convention (IBC) with exciting new additions to the brand's full-frame cinema lineup. Today, the company has announced the new Sony PXW-FX9 and the FE C 16-35mm T3.1 G wide angle zoom cinema lens, unleashing the powers of your full-frame creativity.