Sony just announced the FX5, and the filmmaking world is paying attention. Priced at $4,899 body only, it slots directly between the beloved FX3 and the workhorse FX6, bringing features previously reserved for higher-end cinema cameras into a compact, run-and-gun body.
Open Gate recording. Internal X-OCN RAW. Three base ISOs. A newly developed 16.6MP stacked sensor. All firsts for this class of Sony camera. But here’s the question everyone’s actually asking: is it worth the upgrade from your FX3 or A7SIII, and does it change where the FX6 sits in the lineup? Let’s break it down.
Here’s what we’ll cover:
- What’s genuinely new in the Sony FX5
- FX5 vs FX3: what’s changed and what’s improved
- FX5 vs A7SIII: hybrid vs cinema-first
- Where the FX6 still holds its ground
- Which camera fits your workflow
At VG Creations, we’ve built our production kit around Sony’s Cinema Line for years, so we’ve been watching this release closely. Here’s the honest breakdown.
TL;DR: Complete Comparison of Sony FX5 vs FX3 vs A7SIII
| Specification | Sony A7SIII | Sony FX3 | Sony FX5 |
| Camera Line | Alpha (mirrorless) | Cinema Line | Cinema Line |
| Release Year | 2020 | 2021 | 2026 |
| Price (body only) | ~$3,499 | ~$3,899 | $4,899 |
| Sensor | 12.1MP BSI CMOS | 12.1MP BSI CMOS | 16.6MP fully stacked CMOS |
| Sensor Format | Full-frame | Full-frame | Full-frame |
| Processor | BIONZ XR | BIONZ XR | BIONZ XR2 with AI unit |
| Dynamic Range | 15 stops | 15 stops | 15+ stops (more with Dual Gain) |
| Base ISOs (S-Log3) | 640, 12,800 | 800, 12,800 | 800, 4,000, 12,800 |
| Base ISOs (709) | 80-102,400 | 80-102,400 | 320, 1,600, 5,000 |
| Dual Gain Output | No | No | Yes |
| Max Video Resolution | 4K UHD | 4K UHD | 5K (Open Gate 3:2) |
| Open Gate Recording | No | No | Yes, 5K 3:2 |
| Max Frame Rates | 4K 120p, FHD 240p | 4K 120p, FHD 240p | 5K 60p, 4.5K 120p, FHD 240p (4K 240p via firmware) |
| Internal RAW | No | No | Yes, X-OCN 16-bit (LT, C1, C2) |
| External RAW | 16-bit via HDMI | 16-bit via HDMI | Yes, plus internal |
| Codecs | XAVC S, XAVC S-I, XAVC HS | XAVC S, XAVC S-I, XAVC HS | X-OCN LT/C1/C2, XAVC S-I, XAVC HS-L, XAVC S-L |
| Color Profiles | S-Log3, S-Cinetone, HLG | S-Log3, S-Cinetone, HLG | S-Log3, S-Cinetone, S-Gamut3.Cine |
| Rolling Shutter (readout) | ~8.7ms | ~8.7ms | ~5.5ms (16:9), ~8.5ms (Open Gate) |
| In-Body Stabilization | 5.5 stops | 5.5 stops | 8.5 stops (center), 7 stops (edge) |
| IBIS Lock Service | No | No | Yes (irreversible) |
| Active Cooling Fan | No | Yes | Yes (improved) |
| Continuous Recording | Limited (heat) | Extended | Up to 24 hours |
| Autofocus | Real-time Eye AF | Real-time Eye AF | AI-powered subject recognition |
| AI Processing Unit | No | No | Yes, dedicated |
| Subject Recognition | Human, animal | Human, animal | Human, animal, bird |
| Menu System | Alpha-style | Alpha-style | Venice-style BIG6 |
| Shooting Modes | Custom only | Custom, Flexible ISO | Custom, Cine EI, Cine EI Quick, Flexible ISO |
| False Color | No | No | Yes (dedicated button) |
| Waveform Monitor | No | No | Yes |
| Vectorscope | No | No | Yes |
| Focus Map | No | No | Yes |
| Histogram | Yes | Yes | Yes |
| Zebras & Peaking | Yes | Yes | Yes |
| Body Weight | ~700g | ~715g | ~750g |
| Body Dimensions (mm) | 128.9 x 96.9 x 80.8 | 129.7 x 77.8 x 84.5 | Similar to FX3 (slightly thicker) |
| Built-in EVF | Yes (0.64″ OLED) | No | Optional (3.68M-dot OLED, tilting) |
| LCD Screen | 3.0″ side-flip | 3.0″ side-flip | 3.5″ 4-axis multi-angle |
| Tally Lamp | No | Yes | Yes (dedicated) |
| Handgrip | Standard | Deep, cinema-oriented | Deep, cinema-oriented (updated) |
| Mounting Threads | 1 tripod thread | Multiple (top, sides, base) | Multiple (top, sides, base, 2 on base) |
| Lens Mount | Sony E | Sony E | Sony E |
| Memory Card Slots | 2x CFexpress Type A / SD | 2x CFexpress Type A / SD | 2x CFexpress Type A / SD |
| Battery | NP-FZ100 | NP-FZ100 | NP-SA100 (new, +17% capacity) |
| Battery Life (video) | Baseline | Baseline | ~30% improvement over FX3 |
| Photo Capability | Full stills | Full stills | Video-only (no stills mode) |
| Wi-Fi | Wi-Fi 5 | Wi-Fi 5 | Wi-Fi 6E (AX standard) |
| Ethernet Port | No | No | Yes, full-size |
| HDMI | Full-size Type A | Full-size Type A | Full-size Type A |
| USB | USB-C 3.2 | USB-C 3.2 + Micro USB | 2x USB-C (PD power support) |
| Audio Inputs | 3.5mm mic/headphone | 3.5mm + XLR (via handle) | 3.5mm + XLR (via handle) |
| 32-bit Float Audio | Via XLR-A4 accessory | No | Yes (via XLR handle) |
| XLR Handle | Optional (separate) | Included | Optional / bundled |
| Anamorphic De-Squeeze | Limited | Limited (1.33x, 2x) | 1.3x, 1.5x, 1.6x, 1.8x, 2x |
| Timecode Input | No | No | Yes (via USB-C adapter) |
| Best Use Case | Hybrid photo + video | Compact cinema, hybrid | Compact cinema-first production |
| Netflix Approved | Yes | No | Not at launch |
| What Stands Out | Built-in EVF, hybrid flexibility | Compact cinema at value price | Open Gate, X-OCN RAW, Dual Gain |
What’s Genuinely New in the FX5
The FX5 isn’t a mild refresh. It’s a significant jump in capability for the compact cinema class.
The Sensor and Processor
Sony built a new 16.6MP fully stacked full-frame Exmor RS CMOS sensor for the FX5, paired with the latest BIONZ XR2 processor and a dedicated AI processing unit. This is a completely different beast than the 12.1MP BSI CMOS in the FX3 and A7SIII. You get faster readout, reduced rolling shutter, and improved dynamic range.
The Headline Features
Several are Cinema Line firsts:
- Open Gate 5K recording (the full 3:2 sensor readout)
- Internal X-OCN RAW (Sony’s proprietary 16-bit RAW format)
- Three Base ISO settings with Dual Gain shooting mode
- 15+ stops of dynamic range
- 5K at 60fps, 4K at 120fps, FHD at 240fps
- AI-enabled autofocus with subject recognition
- Venice-style menu system with the BIG6 interface
The Body and Handling
- Roughly the FX3’s form factor but slightly thicker for cooling
- Approximately 750g with battery
- 4-axis multi-angle LCD
- Dedicated tally lamp
- Improved cooling for long recording sessions
- Wired LAN and dual USB-C
- Uses NP-FZ100 or new NP-SA100 (about 1.3x capacity)
The Optional Accessories
Two matter most:
- Detachable OLED electronic viewfinder (finally, for bright outdoor shoots)
- XLR handle unit with 32-bit float audio at 96kHz
The Trade-Off You Need to Know
No internal ND filters. That’s a deliberate design decision to keep the body compact. You’ll need lens-mounted NDs or a matte box. For run-and-gun documentary and interview work, that’s a real workflow consideration.
Dual Gain Output: The Standout Feature
This is the feature that separates the FX5 from every other Sony compact cinema body before it. The FX5 introduces a Dual Gain Output mode, similar to the technology in the Canon C70 and ARRI Alexa cameras, that dramatically improves shadow performance and dynamic range.
How It Actually Works
Dual Gain combines two different sensor sensitivities into a single output. The result is a cleaner image with substantially more dynamic range, particularly in the shadows.
CVP’s in-depth testing showed the difference clearly:
- At 3,200 ISO in low light, footage brought up from ISO 800 in Dual Gain mode looked as clean as ISO 12,800 base footage brought down to 3,200
- At six stops underexposed, the FX5 held detail and color that CVP called “one of the best six stops under performance” they’d ever tested
- Highlight information also expanded noticeably compared to standard mode
The Limitations
Nothing is free. Dual Gain does come with trade-offs:
| Restriction | Detail |
| Max frame rate | 30fps in 5K 3:2, 60fps in other modes |
| Sensor modes | Only certain modes support Dual Gain |
| Slow/quick mode | Cannot be used with Dual Gain |
| Readout speed | Increases significantly (more rolling shutter) |
| ISO ceiling in log | 3,200 ISO max in Cine EI, 2,500 in custom |
Why This Matters on Set
For wide dynamic range scenes (bright windows, mixed interior/exterior, night work), Dual Gain is a game changer. Pair it with Cine EI mode, expose for the highlights, and pull back your shadows in post with almost no noise penalty.
For run-and-gun corporate work at VG Creations, that’s the kind of latitude that turns a difficult location into a clean, gradable image.
Recording Formats and Codecs
The FX5 offers one of the most flexible recording setups in any compact cinema camera. You have two families of codecs to choose from.
X-OCN: The RAW Family
Sony’s proprietary 16-bit linear RAW format, previously reserved for Burano and Venice bodies, now runs internally on the FX5. Three flavors:
| Codec | Bitrate at 4K 24p | Use Case |
| X-OCN LT | ~389 Mbps | Highest quality, best for grading |
| X-OCN C1 | ~289 Mbps | Balanced for most productions |
| X-OCN C2 | ~232 Mbps | Simpler scenes, longer runtime |
X-OCN only works in Cine EI mode. If you want RAW, you’re locking into Cine EI. You’ll also need VPG400-rated CFexpress Type A cards for guaranteed operation.
XAVC: The Practical Family
For everyday shoots that don’t need RAW, you have five XAVC options:
- XAVC S-I (4:2:2 10-bit intraframe)
- XAVC HS-L (H.265 long-GOP, 4:2:2 10-bit or 4:2:0 8-bit)
- XAVC S-L (H.264 long-GOP, 4:2:2 10-bit or 4:2:0 8-bit)
The 10-bit long-GOP options are new territory for FX-class cameras. They dramatically reduce file sizes for social and corporate deliverables while still holding gradeable color.
Which Codec When?
- Cinematic brand video and commercials → X-OCN LT for maximum flexibility
- Corporate and event work → XAVC S-I or XAVC HS-L 4:2:2 10-bit
- High-volume social content → XAVC S-L for smaller files
- Documentary long-form → X-OCN C1 or C2 to balance quality and card capacity
Cine EI and the Shooting Modes
The FX5 uses the same shooting mode structure as the FX6, FX9, Burano, and Venice. That’s a major shift from the FX3’s Alpha-style approach.
The Four Modes
Here are the four modes:
Custom
Standard exposure mode. Shoot in 709 profiles like Cinetone and adjust ISO as you normally would. Great for straight-out-of-camera deliverables.
Cine EI
The mode serious colorists prefer. Locked to three base ISOs. Instead of adjusting ISO, you adjust EI (Exposure Index), which shifts your monitored image without changing sensor sensitivity. That lets you protect highlights, expand shadows, and grade with the maximum latitude the sensor can deliver.
Cine EI Quick
The camera automatically switches between base ISOs as your EI changes. At 2,000 EI it switches from ISO 800 to 4,000. At 8,000 EI it moves to 12,800. Helpful when you want Cine EI’s approach with a bit less manual switching.
Flexible ISO
Log shooting but with traditional ISO behavior. You still switch between base ISOs manually, but you can also apply gain at each base. Behaves like the FX6’s flexible ISO mode.
The Base ISO Values
| Profile | Base 1 | Base 2 | Base 3 |
| S-Log3 | 800 | 4,000 | 12,800 |
| Cinetone (709) | 320 | 1,600 | 5,000 |
The middle base at 4,000 (or 1,600 in 709) is a huge quality-of-life upgrade. On the FX3, jumping from 800 to 12,800 was often too aggressive for many lighting conditions.
Rolling Shutter and Readout Speeds
Sony didn’t put a global shutter in the FX5, but the stacked sensor’s readout speed is fast enough that it barely matters. CVP’s controlled testing showed some seriously impressive numbers.
Standard Mode Readout Times
| Sensor Mode | Readout Speed |
| 5K 3:2 Open Gate | ~8.5ms |
| 16:9 mode | ~5.5ms |
| Windowed 3.8K | under 3ms |
For context, the FX3 and FX6 sit around 8.7ms with much less sensor area being read. The FX5 reads more pixels faster.
With Dual Gain Enabled
Readout slows noticeably:
- Open Gate 5K: ~18ms
- 16:9 mode: ~14ms
Still usable, but you’ll see more rolling shutter with fast pans or whip pans. That’s the trade-off for the cleaner shadows.
The Verdict
For run-and-gun, gimbal work, and handheld shooting in standard mode, rolling shutter is essentially a non-issue. In Dual Gain, you’ll want to slow your movements slightly, but you’re still miles ahead of most competing cameras in this class.
FX5 vs FX3: The Real Comparison
The FX3 has been our go-to compact cinema body for years. It’s fast, discreet, and delivers cinema-grade footage in a body you can rig or shoot handheld all day. So where does the FX5 change things?
Where the FX5 Steps Up
| Feature | FX3 | FX5 |
| Sensor | 12.1MP BSI CMOS | 16.6MP fully stacked CMOS |
| Rolling shutter | Noticeable | Significantly reduced |
| Open Gate | No | Yes, 5K 3:2 |
| Internal RAW | No (external only) | Yes, X-OCN 16-bit |
| Base ISOs | Two | Three with Dual Gain |
| Max resolution | 4K | 5K |
| Dynamic range | 15 stops | 15+ stops |
| AI processing | No | Yes, dedicated AI unit |
| Menu system | Alpha-style | Venice-style with BIG6 |
Where the FX3 Still Makes Sense
If you’re already running an FX3, don’t sell it yet. The FX3 remains:
- Excellent for hybrid work (photo and video)
- Lighter and slightly more compact
- Proven on hundreds of thousands of productions
- Significantly less expensive (used market especially)
- Perfect as a B-cam or gimbal camera
The FX3 doesn’t become obsolete. It just gets a bigger sibling with more cinema-grade features. For our interview videography and corporate video production shoots, both bodies have a role.
FX5 vs A7SIII: Different Tools, Different Jobs
The A7SIII lives in Sony’s Alpha mirrorless line, not the Cinema Line. That matters more than the shared 12.1MP sensor might suggest.
Where They Diverge
| Feature | A7SIII | FX5 |
| Camera line | Alpha mirrorless | Cinema Line |
| Sensor | 12.1MP BSI CMOS | 16.6MP fully stacked CMOS |
| EVF | Yes, built-in | Optional accessory |
| Body design | Photo-first hybrid | Cinema-first |
| Active cooling | No | Yes, high-efficiency fan |
| Tally lamp | No | Yes, dedicated |
| Internal RAW | No | Yes, X-OCN |
| Open Gate | No | Yes, 5K 3:2 |
| Menu system | Alpha-style | Venice-style with BIG6 |
| Best use | Hybrid photo/video | Cinema production |
The Honest Verdict
The A7SIII is a fantastic hybrid camera. If you shoot both stills and video, need a viewfinder, and value that mirrorless form factor, the A7SIII (or its FX3 sibling) still makes sense.
The FX5 isn’t trying to be a hybrid tool. It’s a cinema-first body with cinema-first codecs, cinema-first ergonomics, and cinema-first workflows. Different tool. Different job.
Where the FX6 Still Holds Its Ground
Here’s the part most FX5 reviews are underselling. Yes, the FX5 brings serious features to the compact class. But it does not replace or outperform the FX6 for professional production work. The FX6 remains our workhorse for good reason.
The Single Feature That Matters Most: Variable ND
The FX6 has a built-in electronic variable ND filter. If you’ve never worked with one, this is the feature that professionals refuse to give up. It saves time on every setup, simplifies exposure control, and lets you stay focused on storytelling instead of swapping filters.
For run-and-gun documentary, event coverage, and corporate work, variable ND is worth its weight in gold. The FX5 doesn’t have it. That’s a workflow trade-off you feel every hour of a shoot.
The Professional Connectivity
The FX6 was designed for full pro-cine workflows. That shows in:
- SDI output for professional monitoring and broadcast
- Genlock and timecode built into the body
- More physical controls (dedicated dials for common adjustments)
- BP-U series battery compatibility (much longer runtime for pro shoots)
- Improved dust and moisture resistance built for challenging environments
The Multicam and Crew Setup
The FX6 remains the go-to for larger crews and multicam productions. The connectivity, timecode, and physical controls make it a smoother fit in professional on-set workflows where multiple cameras need to sync and communicate.
Netflix Approved
The FX6 is Netflix approved for original productions. That certification matters for high-end commercial and streaming work. The FX5, as of launch, will need to earn its own approval process over time.
The Verdict
The FX5 is a compelling compact cinema body. The FX6 remains the more capable production camera for professional workflows that demand variable ND, pro connectivity, and time-tested reliability. Neither camera replaces the other. Each solves a different production problem.
For our event video production and corporate work at scale, the FX6 stays in the primary slot. The FX5 slides in as a powerful complement, especially for the projects that need Open Gate, X-OCN RAW, or the smaller form factor.
Real-World Testing on Set
Specs only tell part of the story. What matters is how a camera performs when you’re actually shooting.
The Nike Spec Commercial Test
One of the earliest real-world tests of the FX5 came in the form of a Nike-inspired spec commercial shot by an early adopter. The setup:
- FX5 paired with DZOptics ARCANNA anamorphic lenses
- DJI LiDAR focusing system to enable autofocus on fully manual anamorphic glass
- 5K Open Gate 3:2 for maximum reframing flexibility
- Internal X-OCN RAW for post-production grading
The takeaway from that shoot? The FX5 handled anamorphic beautifully, delivered a cinematic image straight out of camera, and gave the filmmaker room to reframe for horizontal, vertical, and anamorphic deliveries from a single take.
What CVP Found in Their Day With It
CVP’s tech team put the FX5 through structured testing plus a real evening shoot. Their honest verdict:
- Color science looked “surprisingly close” to the Venice 2 in matched conditions
- Low light performance at 12,800 ISO with light noise suppression produced clean, publishable footage
- 51,200 ISO was still usable for dark scenes with almost no light
- Autofocus locked confidently even in low light where the FX3 hunted
The Practical Takeaway
The FX5 doesn’t just look good on paper. It delivers in the environments where corporate, brand, and commercial work actually happens. That’s what makes it a real production tool, not just a spec sheet.
For our work on commercial shoots and event coverage at VG Creations, that reliability under real conditions is what matters most.
Autofocus, Stabilization, and Handling
The FX5 brings several major upgrades over the FX3 that quietly change how the camera feels in your hand.
Autofocus
The FX5’s AI processing unit unlocks:
- Faster subject recognition than the FX3
- Better tracking when subjects turn or leave frame
- Improved low-light autofocus (locks where the FX3 hunts)
- Human, animal, and bird detection
- Similar control depth to the FX6
For solo shooters and small crews, that autofocus reliability is the difference between confidence and second-guessing every take.
In-Body Stabilization
The FX5 is rated up to 8.5 stops in the center of the frame and 7 stops at the edges. That matches the system in the A7R VI.
Three IBIS modes:
- Standard SteadyShot (subtle, most natural look)
- Active (stronger stabilization with slight crop)
- Dynamic Active (aggressive stabilization for run-and-gun)
Sony is also offering a professional IBIS lock service. For crews that want a fully locked sensor (like a pure cinema camera), you can send the FX5 in for an irreversible conversion. It’s a one-way service, so think carefully before committing.
The Menu System and Tools
The FX5 finally brings professional shooting tools to this class:
- False color (with a dedicated body button)
- Waveform and vectorscope
- Histogram and focus map
- Zebras and peaking
- Auto exposure with priority modes
The BIG6 interface pulls from the Venice’s UI philosophy: quick access to core shooting parameters, deeper menus only when you need them.
Anamorphic Support and De-Squeeze Options
The FX5 finally makes anamorphic shooting practical on a compact Sony body.
Why Open Gate Changes Everything
With 5K 3:2 Open Gate, you capture the full height of the sensor. That’s exactly what anamorphic lenses need to deliver a wide, cinematic aspect ratio without wasting sensor area.
Pair with a 1.5x anamorphic lens like the Atlas Mercury, Cooke Anamorphic /i, or DZOptics ARCANNA, and you get a 2.25:1 aspect ratio after de-squeeze. Perfect for cropping into 2.39:1 cinema or other anamorphic delivery formats.
The Built-In De-Squeeze Options
The FX5 supports multiple de-squeeze ratios in-camera:
| De-Squeeze | Use Case |
| 1.3x | Modern anamorphic zooms |
| 1.5x | Most popular indie anamorphic glass |
| 1.6x | Cooke Anamorphic /i and similar |
| 1.8x | Some vintage anamorphic sets |
| 2x | Classic Panavision-style anamorphic |
That flexibility is a massive win for brand video, music videos, and cinematic commercial work.
Which Camera Fits Your Workflow
Here’s the straight breakdown by use case.
Choose the A7SIII If
- You need a true hybrid (stills and video)
- You want an EVF built into the body
- You’re on a tighter budget
- You value the smallest, lightest form factor
- You already own Sony Alpha glass
Choose the FX3 If
- You want the compact cinema experience proven over years
- You need the smaller body for gimbals and B-cam roles
- You’re buying used or looking for the value play
- You don’t need the newest features to deliver great work
Choose the FX5 If
- You need Open Gate 5K for vertical and multi-aspect deliverables
- You want internal X-OCN RAW without external recorders
- You need improved dynamic range and Three Base ISO
- You’re building a compact cinema-first kit from scratch
- You’ve been waiting for a Cinema Line upgrade with real reasons
Choose the FX6 If (Still the Pro Pick)
- You need built-in variable ND (huge for run-and-gun)
- You work in multicam or crew-based productions
- You need pro connectivity (SDI, timecode, genlock)
- You want the Netflix-approved workhorse
- You value time-tested reliability for high-stakes shoots
- You need extended battery runtime with BP-U packs
Build Your Kit With VG Creations
Cameras don’t make films. People do. But the right tool in trained hands changes what’s possible. The Sony FX5 is a real step forward for the compact cinema class, and it opens creative doors the FX3 and A7SIII couldn’t. Meanwhile, the FX6 remains our production workhorse for good reason. The best kit isn’t one camera. It’s the right mix for the story you’re telling.
Key takeaways:
- The FX5 brings Open Gate, X-OCN RAW, and Three Base ISO to compact cinema
- It’s a significant jump over the FX3 and A7SIII in sensor and codec flexibility
- The A7SIII remains the hybrid choice for photo-plus-video shooters
- The FX3 stays relevant as a B-cam and gimbal body
- The FX6 remains the pro workhorse with variable ND, SDI, and Netflix approval
Ready to see what production-grade Sony Cinema Line footage looks like on your next project? Book a discovery call with VG Creations, and we’ll build the shoot around the tools that best serve your story. Better tools. Better craft. Better content.
FAQs
How much does the Sony FX5 cost?
The Sony FX5 launched at $4,899 body only, or $5,499 bundled with the XLR handle unit. It ships from August 2026.
Is the Sony FX5 better than the FX3?
For cinema production, yes. The FX5 adds Open Gate 5K, internal X-OCN RAW, Three Base ISO, and a stacked sensor. The FX3 remains excellent for hybrid work.
Should I upgrade from A7SIII to FX5?
If you shoot cinema-first video, the FX5 is a serious upgrade. If you shoot hybrid photo and video, the A7SIII remains a strong choice with its built-in EVF.
Does the FX5 replace the FX6?
No. The FX6 remains superior for professional production, offering built-in variable ND, SDI output, timecode, and Netflix approval. The FX5 complements the FX6.
Does the Sony FX5 have variable ND filters?
No. The FX5 does not have internal variable ND filters. You’ll need lens-mounted NDs or a matte box, which the FX6 solves internally.
What is Open Gate recording on the FX5?
Open Gate captures the full 3:2 sensor readout, letting you reframe for 16:9, 9:16 vertical, and 1:1 square in post from a single take.
When is the Sony FX5 available?
The FX5 ships from August 2026. A firmware update in August 2027 or later adds 240fps HFR in X-OCN and other enhancements.
What is Dual Gain Output on the FX5?
Dual Gain Output combines two sensor sensitivities into one image, delivering cleaner shadows and more highlight information. It’s a first for Sony’s compact Cinema Line.
What is X-OCN recording on the FX5?
X-OCN is Sony’s 16-bit linear RAW format, previously reserved for Burano and Venice. The FX5 records it internally in three flavors: LT, C1, and C2.
Can the Sony FX5 shoot anamorphic?
Yes. Open Gate 5K plus built-in de-squeeze options for 1.3x, 1.5x, 1.6x, 1.8x, and 2x anamorphic lenses make the FX5 an excellent anamorphic body.
