Sony FX5 Review – Finally, a Compact Camera Worthy of the Cinema Line Name

by Johnnie BehiriJuly 22^nd, 2026

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The Sony FX5 is here. And it’s promising to be the most significant camera the company has delivered in years! Sitting perfectly between the aging FX3A and the FX6, this new camera will surely capture the attention of many. The new 16.6MP back-illuminated stacked CMOS sensor and the new BIONZ XR2 processor with an integrated AI unit deliver great low-light performance, faster readout speeds, and more. 5K 3:2 open-gate recording will satisfy the needs of those who want to make the most out of working with anamorphic lenses, or those who are shooting with the intention of finishing their productions in multiple aspect ratios. And to top it all off, a triple base ISO setting (800, 4000, 12800) will ensure clean images in different lighting conditions, next to internal RAW recording. Sony’s proven proprietary compressed 16-bit RAW codec, X-OCN, is implemented in this camera in three different flavors: LT, C1, and C2 (the latter two are completely new). I had the pleasure of having the camera for a short time, and here is my first-look review to share with you guys.

This camera review was born rather spontaneously while I’m currently traveling in Japan. In other words, I had to use the equipment I brought with me, initially to test another camera, the Kinefinity VISTA. The above footage was filmed with the Sony FX5 together with our trusted Atlas Mercury 42mm T2.2 1.5x anamorphic lens. The additional sample footage was captured in 3:2 open-gate with a ZEISS Batis 25mm lens. And lastly, I used a 1TB memory card, the Angelbird AV PRO CFexpress 4.0 Type A. Generally, filming took place in Kyoto, where the annual Gion Matsuri festival was underway. Please note that not all resolution/frame rate/codec combinations are working yet, so I set myself up to record in full-frame, 5K, 24p, using the X-OCN LT codec.

In general, running around with a “soon-to-be-released” camera is always fun, but it also feels a bit risky. Here in Japan, a camera-loving country where no one really minds other people’s business, the last thing I needed was someone spotting the big Sony logo on the newly available detachable EVF. Yes, you read that right. Are EVFs having a comeback? I truly hope so! Offered as an optional item for €750 next to the 32-bit float audio handle (€900), this is an item that, as far as I’m concerned, is a must. Please be aware that it is ONLY compatible with the Sony FX5. On top of that, one will have to decide whether to connect it to the camera OR use the camera handle instead, as you cannot attach both to the camera body simultaneously. What a bummer.

And for those who are looking to buy a hybrid camera, look elsewhere, as there is NO photo functionality here. (A frame-grab option will be added in the future, but we cannot verify its quality.) Unlike the FX3, which was built on the solid foundation of the Sony a7S III, the new FX5 is not rebuilt from anything. Maybe in the future, Sony will decide to go in the reverse direction and create a hybrid Sony Alpha camera based on this model.

What I can and cannot share with you

Before I dive into it, I want to be completely transparent and share with you guys some of the imposed restrictions that the company asked me to respect. The camera itself was a preproduction model, but more importantly, the installed V2 firmware will only become available to the masses sometime after August 2027 (it is currently a prototype). In other words, I was allowed to test some upcoming features like the new X-OCN C1 and C2 codecs, but I was not permitted to share any footage taken in these formats. Hence, given the short time I had with the camera, I decided to skip this option entirely and just compare the file sizes of those new codecs with the established LT flavor. The same goes for higher frame rates, resolutions, and compressed codecs (XAVC).

So the new FX5 will continue to develop with time, and it is great to see that its roadmap is clear. On the other hand, for those who are considering buying it now, be aware that some of its attractive features won’t be available upon purchase.

What’s coming up and will NOT be available at launch:

• Full Frame, 3:2 open gate, X-OCN, 120fps
• Full Frame, 3:2 open gate, XAVC 4K, 60fps
• Full Frame, 16:9, X-OCN, 120fps
• Full Frame, 17:9, X-OCN, 120fps
• Full Frame C (crop, 76.9%), 16:9, X-OCN, 240fps

EDIT: I was asked to clarify the point about the firmware V2 coming in August 2027. So, the above features will NOT be available at launch. The new C1 and C2 X-OCN codecs will be.

Here is the place to mention a challenge I had to deal with: reading and editing the RAW files. At present, the options for doing so are very limited, and I hope that by the time the camera is out and about (August), the situation will improve. I was supplied with a beta version of Sony RAW Viewer (6.0), which, as a new user, I found far from perfect. Luckily, I had access to an upcoming version of Blackmagic Design’s DaVinci Resolve, which proved to be a much superior option. For my work, unfortunately, I’m still using Adobe Premiere Pro, so I needed to convert the files first in DaVinci Resolve (ProRes 4444) to finish my edit. Speaking of which, when I see how long it took Adobe to support RAW video files from the Nikon ZR and Canon EOS C50, I’m not holding my breath for quick file support for the new camera — but of course, I’ll be happy to be proven wrong. Otherwise, I’ll need to move forward and simply ditch Adobe Premiere altogether…

EDIT: Adobe notified us that their Premiere Beta version is now supporting the new different X-OCN flavour RAW formats found in the FX5. More here.

What’s new – highlights

Sony implemented so many new features in this camera. Some I have briefly touched on already; others I’ll mention now (big or small, in no particular order).

A CineAlta-style camera menu: This is the “real thing” and not just an implementation of the “Big Six” menu. Those who are coming from the Sony BURANO or VENICE 2 will feel (mostly) at home. Others who are coming from Sony’s Alpha line, including the FX3, should be prepared for a bit of a learning curve.

How do I like it? Well, it is great to “feel like a pro,” and maneuvering the extended menu can be simplified by pressing the HOME and/or MENU/USER buttons. On the other hand, when it comes to easier usability, it would have been great to have a much more prominent horizontal leveling indicator, a less confusing LUT viewing option, and easier usage of the “flexible focus” option.

For the LUT, Sony is using the word “Base Look” (Under Paint/Look), which is confusing to me, as the “Base Look” is what you choose to film with. In my case, I chose S-Log3, but here, any LUT that I use for viewing the footage on the EVF/LCD sits under this “Base Look” menu name. A suggestion: How about adding a line and calling it a “viewing LUT?”

As for “flexible focus,” first, it is such a pity that the company did not take the opportunity to change the actual position of the joystick (or Multi Selector, as Sony calls it) on the camera body. As with the FX3, it is still on the upper part of the camera and not so easy or intuitive to use. Secondly, when using the “flexible focus” option and accidentally touching another user button, the focusing square will “freeze” and become grey, so I needed to access it again. Maybe I was doing something wrong, and I’ll triple-check when I return the camera to Sony.

A deep camera grip: This great design feature helped me carry the camera for an extremely long time and still feel comfortable with it.

A 3.5-inch 4-axis multi-angle wide LCD screen: It’s not that I used the LCD screen so much, but it certainly felt very capable. The flexibility of using it when filming low or high shots is a breeze. Also, since there is now “additional real estate,” Sony is using it to the max to display different kinds of useful information.

My favorite layout is false color, and how easy it is to read the different values.

As with the FX3, there are many built-in 1/4″-20 attachment points, and now a second tripod plate point has been added to prevent twisting.

There is a new Multi-Function Dial that helps A LOT with speeding up menu navigation. For those like me who don’t like to constantly touch the LCD screen, such a solution is perfect.

Other new buttons added for easier usage and navigation are: “CLIPS” for playback, “BACK” (needless to explain), “HOME” for quick Big Six menu access, and “USER” for an additional Big Six menu for accessing different functionalities.

Added anamorphic de-squeeze ratio options: I’m an anamorphic lens junkie, and it is great to see that monitoring footage taken with 1.3x/1.5x/1.6x/1.8x and 2.0x lenses in the correct de-squeeze ratios is available out of the box. On the other hand, stabilization won’t work in anamorphic mode when filming in full-frame/open-gate, at least when using the X-OCN codec. And to complete the picture, when filming with spherical lenses at the same exact settings (but with anamorphic de-squeeze being “ON”), “standard stabilization” is functional. Being completely open, I had to stabilize most of my shots in Adobe Premiere.

It is also worth mentioning that AF anamorphic lenses won’t find love when paired with this camera. If you’re like me, and anamorphic filming is important to you, and maximizing support for the new breed of lenses is needed, raise your voice and help me bring it to Sony’s attention.

The camera will come with a dual battery charger (BC-SAD1). Be aware that older Sony batteries won’t fit. These new batteries (NP-SA100) were first introduced with the Sony a7R VI, and after running with the camera for longer periods of time, I’m convinced they are better.

Back to internal RAW recording: We have long asked Sony in private meetings to consider allowing internal RAW recording. It took time — and it may be that market pressure did its magic — but whatever the reason, it is finally here in three X-OCN flavors: LT, like the one you can find in the Sony BURANO, next to C1 and C2 (only available in this new camera). All are 16-bit. In a way, it eliminates the need for external RAW recording, but on the other hand, what is still missing is the ability to record files via USB-C to an external SSD. I don’t have the technical knowledge to judge if this is even possible, but in today’s climate, when memory prices are heading in a single direction, multiple options would have been a blessing.

I promised a file size comparison between the different X-OCN flavors, so here it is. As you can see, due to its higher compression ratio, X-OCN C2 is the most economical one, and it will be good to compare it to XAVC at the same settings when it becomes available.

• One minute at 5K/FF/OG/24p, X-OCN LT: 5.54GB
• One minute at 5K/FF/OG/24p, X-OCN C1: 4.13GB
• One minute at 5K/FF/OG/24p, X-OCN C2: 3.34GB

One last thing to mention here is Sony’s recommendation to record X-OCN files on CFexpress Type A VPG400 cards. Throughout my filming days, I was using the Angelbird 1TB AV PRO CFexpress 4.0 Type A memory card without any issue — until I got a message that the “data on the card needs to be rebuilt.” As I was in the middle of a shoot and this message came out of nowhere, I guess my face changed colors. Following the on-screen recommendation to rebuild it did the trick. Maybe you guys have more experience than me, but I cannot determine if this is a card or camera issue. As a side note, usage of an SD card is also allowed, but Sony is clearly stating that there is no guarantee that it can sustain the high bit rate needed for recording some of the codec/resolution/frame rates.

Noise suppression: Same as in the Sony BURANO, video noise levels can be better controlled with this option. Depending on the recording codec and Cine EI/custom mode, you can play between low/mid/high settings, or simply turn it ON/OFF

Dual Gain function: For reducing noise in dark areas. Note that when enabled, the following limitations apply:

• When shooting in Log, Base ISO is fixed at 800, and the maximum EI is 3200
• When the shooting mode is set to Custom, Base Sensitivity is fixed at Low, and the maximum ISO is 2500
• The maximum frame rate is 30p for 5K 3:2, and 60p for all other modes
• Not available when recording in FHD, FFc 4.5K 17:9, FFc 4.5K 16:9, and FFc 3.8K 16:9

Slow-motion recording (5K 120p / 4K 240p): As mentioned before, it will be implemented with firmware V2.

When it comes to stabilization, next to the “standard” and “active” modes, a “dynamic active” mode has been added. The rule of thumb is: the stronger the stabilization, the greater the crop into the footage.

A LOT of monitoring options have been added, like false color, waveform, vectorscope, and focus map.

Autofocus: The autofocus was functioning well, but what was most amazing to me was how well it tracks objects in complete darkness. Even at ISO 12800, it works as well as it does in daylight.

I’ve already mentioned the new EVF. In general, the quality of the screen is good, but not exceptional. But who am I to complain, as I’m so happy to see this option available. When it comes to operability, I like the idea that it can be used when needed (detachable), and even more so, that it can be tilted up to 90°, which is extremely useful.

Its biggest limitation is the hard eyecup. If you are wearing glasses, you will hate every moment working with it. You will feel as if your glasses are fighting with that hard rubber — and I’m telling you now, the rubber will win…

When it comes to the new XLR handle unit, I didn’t really try it. It offers 96kHz/32-bit float audio recording, but knowing that it is possible to include such a feature inside a camera body, I’m not that impressed.

Speaking of which, one point that I’ll have to clarify with Sony is the ability to use TRRS headphones. (Three black strips for easy recognition). At least in my case, the simple Apple wired headphones were not supported when trying to monitor audio.

There is also a new TC cable to help with timecode synchronization between cameras.

Last but not least, there is a paid service option to lock the IBIS FOREVER. This irreversible action is done by Sony on request after sending them the camera.

Working with the Atlas Mercury 42mm 1.5X T2.2 lens

I mentioned it before and will write it here again: this lens is truly fun to work with. I mostly appreciate the following: Subtle, homogeneous flares and streaks (sun-tinged golden flares). Good minimum focus (0.56m / 2.0ft). Length: 11.2cm/4.9 in only. Very smooth focus and aperture gears. It’s a lens that supported this camera in such a beautiful way. If I had to find something to criticize, it would be for its ability to accommodate filters. Strangely enough, at our office we have a single 86mm screw-in variable ND filter from a company that doesn’t exist anymore (Velium). It did the job fairly decently, as this 86mm ND filter doesn’t easily screw onto the Atlas lens. Atlas is currently running a special sale of NEW Mercury lenses (link here). For example, this 42mm anamorphic lens that I’ve been using can be found for $4,499 instead of $7,995. Technical specifications for the Mercury line of lenses can be found here.

Sony FX5 – Conclusion

Sony is finally back in the game with this capable little camera. I love that they finally implemented open-gate and internal RAW recording. The lower pixel count and triple base ISO enable great low-light performance, and the availability of a detachable EVF is a very welcome option. I’m aware that many of you guys will claim that you don’t need internal RAW recording, but for me, as a one-man band who is busy doing “everything alone on set,” recording in RAW can truly save my behind.

For anyone curious to find out how this camera performs in our Lab Test, please be patient, as we were promised to get the camera when it is in production with the final firmware installed.

Is it worth upgrading from the FX3?

As always, the answer depends on what you film and whether you can allocate the budget for such a purchase. The Sony FX5 is, without a doubt, a better camera, offering features the FX3 simply doesn’t have. Does it make the FX3 obsolete? Absolutely not. If you are happy using it and there is no logical (hence, work) reason to upgrade, then stay with what you already have. BUT, if you need to decide on a new camera and you don’t have an FX3, then my recommendation would be to seriously consider the Sony FX5, as most probably, this camera will be here for the next five years – at least… And for those who are waiting to see if an FX3 II will suddenly appear, well, we have no solid news. But looking objectively at Sony’s current lineup and the price difference between the FX3A and FX5 cameras (€3,599 vs. €5,400), what can Sony actually include in such an update that will NOT make the FX5 less desirable? I truly hope to hear your opinion on that matter!

Were you waiting to see an update of the Sony FX3, or does the FX5 already fulfill your expectations? And what about the price difference — is it too big to make the jump, or easy to swallow? Please share your thoughts with us in the comment section below.