Sony FX9

Use Monitoring > Output Display > Setting. The SDI1, SDI2 and HDMI fields show the status resulting from the output format; they are not three independent switches. Setting Off removes overlays from active outputs. The table below describes software 3.0.

For operator information alongside clean program, an HD output configuration allows SDI1 for program and SDI2 or HDMI for monitoring with Setting On. The reverse combination—clean HDMI with overlays on SDI—is not listed in that table. With 4K output, Setting On adds overlays to both SDI1 and HDMI.

1. Before testing, identify the camera variant on its label, check Maintenance > Version > Version Number and save the starting settings. If the software is not 3.0, check the corresponding manual before using this table.
2. Take the camera off program, check its output format and change Setting. Look at the destination switcher or recorder input as well as the camera monitor to establish which outputs carry the overlays.
3. If the destination still shows text with Setting Off, check whether the receiving monitor or device adds its own display. If the text is already embedded in the camera feed, record the settings and software version for further diagnosis. Do not reset the entire camera for this test.

When SDI1 outputs 4096×2160P or 3840×2160P, the manual’s format combinations leave SDI2 without an output. Enabling SDI2 does not make it deliver simultaneous HD. Check the recording resolution separately from the format sent to the switcher.

Define two signal paths: program at the required format, and monitoring at a format each receiver supports. If both paths must use SDI while program remains 4K, select and verify external distribution/conversion equipment against the manuals for the exact models.

1. Record Project > Rec Format > Frequency and Video Format, Monitoring > Output Format and Output On/Off, plus each receiver’s model and supported formats. Use the complete format-table row: frame rate, scan type and Level A/B can affect compatibility.
2. Off program, compare the 4K configuration with a supported HD combination at the same frame rate. If SDI2 returns in HD, that is consistent with the documented limitation; it does not validate the whole 4K signal path. If it remains blank, check Output On/Off and test with a known-working compatible receiver and cable.
3. Before connecting SDI, follow Sony’s grounding and 75 Ω coaxial cable precautions. Sony recommends connecting with both devices powered off. If the camera must remain on, connect the external-device end first, then the camera end.
4. For external conversion, verify input and output formats, actual conversion capability, power and latency. An output or loop connector does not establish that the device downconverts to HD. Test recording and reception for the agreed duration, note any dropouts and restore the starting settings if the result is unsuitable.

With software 3.0, a 4096×2160 or 3840×2160 output carries the same image as the main recording. If that recording remains Log, setting Monitor Out to MLUT On does not convert only the 4K output. The monitoring LUT applies to 1920×1080 output under the manual’s specified conditions: Cine EI with 4096×2160 or 3840×2160 recording.

Internal Rec determines whether the LUT is applied to the main XQD recording. Changing it to fix the monitor image also changes the file you deliver. Agree on that result with production before changing the setting.

1. Record the variant and software version, Project > Base Setting > Shooting Mode, recording format, output format and Internal Rec. Keep the starting configuration while establishing which recording and output production needs.
2. In Shooting > Monitor LUT Setting, SDI1, SDI2 and HDMI are status fields. If the destination accepts HD, compare a supported 1920×1080 output with Monitor Out set to MLUT On and Off, without changing Internal Rec. Check the final receiver and a short test recording.
3. If program must remain 4K and recording must stay Log, verify an external color transform on the specific device you intend to use. Establish the required gamma, gamut, LUT and input/output levels; check its manual and measure latency before adding it to the signal path.
4. Note the LUT name. The manual describes 709(800%) as extending the dynamic range to 800%, and s709 as a cinematic look. Agree on the delivery look and levels: a LUT name alone does not establish that the switcher receives the required signal.

Gamma Display Assist affects the camera viewfinder. Its state does not establish that SDI or HDMI is being converted. Check the recorded clip, the FX9 output and the external monitor’s processing separately.

1. With the camera in Stby and off program, open THUMBNAIL, choose a test clip and press SET or the multifunction dial. Note its name, format and recording settings. Compare the same point in the clip on the viewfinder and external receiver.
2. Record Gamma Display Assist and the output format. Compare standby/recording with playback while keeping the same cable, input and receiver settings. If the change occurs only during playback, record that behavior before treating it as a cable fault.
3. Identify the monitor model and software version, then check whether it can transform that signal or load a LUT. Establish where conversion occurs in the test signal path; avoid applying an equivalent transform at a second stage.
4. If a LUT is already baked into the clip, check additional receiver processing before applying another correction. If both the clip and received signal remain Log, verify the viewing transform on the selected device. Do not alter future recording settings just to correct the display of an earlier clip.
5. Use CANCEL/BACK to end playback and confirm the return to Stby. Restore the test settings and verify program output before returning the camera to the event.