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Sony PXW-FX9

Well, it’s happened. Sony have just announced the next big thing…maybe. The Sony PXW-FX9 is the natural progression from the camera that has dominated the handheld market for the last few years, the PXW-FS7 and PXW-FS7ii. Boasting a Full Frame 6K Sensor and 4K Recording, the FX9 ergonomically is very much born out of the FS7. The FX9 combines the technology of their Venice series, FS series and the Alpha camera creating a hybrid that could further bridge the gap between everyday TV shooting and digital cinema.

Upgrades to the FX9 include the 6K dual native ISO sensor, upgraded auto-focus ca[abilities and something that we’re very happy to hear here at Alias, built in timecode and genlock. We’ll be having a more in depth investigation into this announcement at IBC this weekend, but rumours are the units will start shipping this December. How quickly will this camera catch on in the market? Tough to say. There is not a huge need for 6K at the moment but there will always be those looking to future proof their content.

For now here is a quick look at some of the specs but expect more info next week. Stay tuned.




HDMI Output: Yes

Recording Media: SD card, XQD

Resolution: 6008×3168

SDI Output: Yes

Video Resolution: 4K

Lens Mount: Sony E

Sensor Resolution (Mega Pixels): 35.7MP

Sensor Size: S 35mm

Weight: 0-2kg

XLR Audio Input: Yes

IBC 2019

The Benefits of Trade Shows.

Are you heading to IBC in Amsterdam this weekend? We are. And we’ll tell you why. With our industry being heavily based in technology it’s important for a company like ours to make sure we stay informed and top of current trends, new equipment, new brands and new technologies. The fundamentals of making programs and films are very simple. Film, record, edit, post. But’s it’s the equipment behind those stages that are forever changing and right now in this age of rapid expansion and development, that equipment seems to have a fairly short shelf life until the next big thing comes pouring on to the shelves.

Being a hire company, we have to be both proactive, and reactionary. We have to assess what we believe will be the next hot ticket item which can often mean gambling to get ahead of the competition and be on the forefront of what every one will be demanding. And that in turn moves us nicely on to being in a reactionary business. We may see a new piece of kit or brand and think that won’t take off, but at the end of the day if the client base is calling for it, we have to be able to provide it. And that is why it’s important for Alias to stay up to date on all new releases so that we know what it is the clients are calling for.

We’re excited to see what IBC 2019 holds. We’ll be on the ground this weekend visiting the exhibitors that we know, and those that we don’t to make sure we are well versed in what is announced. If you are going to be there and want to say hello, be sure to book us in to your schedule. We’ll be roaming the floors Saturday.

Stay tuned though as next week we’ll have our report back from IBC. What excited us; what announcements were made and what new kit was released that may be of interest.

Summer Filming

It’s hot. Boy it’s super hot. I mean melting to my seat hot. But hey, the show must go on. Shoots have to be done, programs have to be made. But what do you need to think about when filming in this sort of sunshine and heat. First off, I’ll be mum and say drink plenty of water and apply plenty of sun cream. Now that is out of the way, what considerations need to be made equipment wise?

Let’s start with shading from the sun. If you are hiring kit or taking your own kit on a shoot, make sure your lenses have sunshades and if possible UV filters. ND’s wouldn’t be a bad idea either. If you are using monitors on a shoot and it’s outdoors, make sure it comes with a sunshade. In this sort of summer sun it will be a struggle to see anything without one. If you are planning on using the LCD on a camera and it does not come with an attachable eyepiece, look at getting in a sunhood. We stock a variety of sunhoods for LCD screens for cameras such as the Canon C300 and C300mkii, Sony PMW-200 and the Canon XF305.  What about bigger sun protection? We hire out EZ up tents to give the kit and crew a bit of protection when out on location.

What about when it comes to keeping cool? For this I would say, if you are planning on using lighting either inside or out at location (if needed) try going for LED over standard bulb related lights. It will cut down dramatically on the heat that the lighting equipment would kick off. We have a wide range of LED lights that you can find here.

Beyond these tips, have a few ice lollies.

Stay sun safe people.


Who Misses Simple Camera Setups?

Ops Manager Mark Wilson takes a retrospective look at what Camera Setups in hire used to be.


Who else misses the days of simple camera setups and kits like the Sony PMW EX1 and Canon XF305?

Cameras that were built for you to take straight out of the bag and press record. No fuss, just do the job. Then we had the DSLR revolution and we entered into a whole new world of cameras. The ‘body only’ camera where you buy all of your accessories separately dependent on what the user wants.

I approach this question from a kit hire perspective because that has been my world for nearly ten years. My initial answer is yes. Hell yes! I miss the simplicity of an order from a client being camera, tripod, top mic and radio mic. They were the good old days because it was all uniform and simple.

But if I was answering that question from the shooters perspective then my answer would be no I don’t miss it. We live in an exciting world where the possibilities are endless for creating an amazing camera set up, how can you not be excited about the ability to personalise what you shoot with. There are so many different companies creating bolt on accessories and lets not forget about the myriad of lenses to choose from. It really has become a big world.

However, this does cause some issues when hiring kit. Hire companies face an ongoing struggle to have in stock every camera, every lens and every accessory that every individual user wishes to use. Gone are they days of buying the same mic in bulk or the same tripod in bulk, because client 1 may not want to use what client 2 does. This is a struggle that I’m well aware of. I often get requests for the most obscure piece of kit that no one stocks. It then becomes a test to fulfill the clients needs with what is available. Thankfully at Alias, we can usually cover every aspect of what a shooter needs, even if its not the brand or style the client was originally after.

This is the camera world we now live in. Choice. It has it’s positives and it’s negatives. But we’ll keep helping to fulfill clients shooting package needs. We’ll keep offering choice as long as you keep shooting. And if you do miss the simple shooting kits, we still offer Sony PMW EX1 and Canon XF305 for hire. #workhorses

Buy or Hire?? Camera Kit for Productions

Buy or Hire???

by Mark Wilson (Manager)

As a manager at a kit hire company, one would expect me to immediately say hire, never buy. But that is not the case. Don’t get me wrong, it’s never a simple this or that answer. You always have to weigh up the pros and cons for each circumstance. Because every hire is different. It didn’t use to be though. 7 years ago when I first started in the hire industry, you had 5 items that would make up a kit and that was it. The client was happy. The booker was happy. It was an easier time. EX3, tripod, top mic, radio mic and cards. That’s the price. Done. And in that case I would say always hire. But now it’s a completely different ball game with all of the accessories and ‘build it yourself rigs’ that are available. Every shooter wants something different and this does put the pressure on the hire company to be able to stock and supply everything that is requested. So you have to take that in to account when making the decision. Can the hire company supply me with everything I need?

Of course the biggest factor in this question is cost. If you are shooting long term, would the cost of hire be as much, or more than the value of the kit to purchase. If so, then if funds are available for an outright purchase it would be a no brainer to buy, because if the kit was not needed after the production, the equipment can be sold on and you can make some of the initial outlay back. But what do you lose in buying kit, rather than hiring? The main thing would be peace of mind to know that if any issues arose with the kit while on a shoot, the hire company would replace or repair any item where a natural fault occurs, usually at little or no charge. Being able to have a technical team at the end of the phone to help with situations on location is always a bonus. Something that you may not have access to if you are not using a suppliers kit.  It’s also good to be able to build a kit list with someone who knows all of the various kit that is available. If you have a PD who is so well versed in all equipment that is on the market right now, then great. But if your PM or Coordinator is working from a loose kit list that they have to bring together for a production, being able to speak and liaise with a booker at a hire company allows for a much fuller kit list to be built.

If you do come to the point of measuring up costs between hire and purchase, do take into consideration all of the extras that may not be as obvious when purchasing. It’s not always as easy as googling the cost of a C300mkii body, lens, tripod and mic because more often than not there will be a lot of extra bits you need to purchase just to get the kit up and running. Things like batteries, memory cards, bags, grips, cables and all of the fun little bits that actually turn out to be quite expensive. Things that would normally come as standard with a kit when hiring or at a smaller price. This is again a pro to hiring, because more often or not, the little things have been thought of.

So my advice to those who are gearing up for a shoot or production and may face this question is do your homework. Get together a complete kit list of what your shooter will need and get the quotes from a hire company to rent, and sales company to buy. If the quotes come back and it’s a close call, then ask yourself, what will we do if there is a problem at any point with the kit? And can I afford to buy all of the equipment and related accessories upfront? The thought of buying and owning can be a tempting one, but from my experience of long shoots and productions is that items are constantly added during production that may not be thought of in pre-production. So purchase costs can inflate, whereas the cost to hire is often lower. And there is nothing like knowing you can call on someone to sort out any equipment problems that may arise.

Google Skate Park Ad

When Alias Hire moved to Hackney Wick we had a feeling that the area, as a whole, would eventually be something different from the time we moved in. Something more. Something better. We knew there was a migration of self expressing people to Hackney Wick. We knew that the area had seen better times in the not-too distant past and we always believed that better times were on the way. We felt that that there is not only a belief that things were turning for the better, but a whole new mindset with a drive to change the area whilst respecting the people, the buildings and the positive way of life that were here beforehand.

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