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At IBC 2026, Tilta filled gaps around two Sony FX5 accessories CineD has tracked since the camera’s launch: the Full Camera Cage and the EVF Extension Kit that relocates the optional DVF-EL1 viewfinder. We spoke with Kelvin at the Tilta booth about the cage’s bidirectional base plate, how the extension kit attaches to a shoulder rig, and when Tilta expects to solve the cage’s biggest current limitation: using the EVF and the XLR top handle at the same time.
CineD covered Tilta’s Full Camera Cage for the Sony FX5 when it was first announced, and followed up in August when the company quietly added EVF support to that same cage without publishing a price or a release date for the new parts. At IBC 2026, Tilta showed the finished hardware running on a shoulder rig alongside its Nucleus autofocus adapter, and put numbers on both accessories.
Tilta’s cages for the Sony FX3 shipped as three parts: a top NATO rail and left and right side plates that combine into a full cage or strip down to a lighter half cage. For the FX5, Kelvin said the design grows to four pieces, with the fourth being the bottom base plate, which Tilta has made removable and bidirectional.
On a standard cage, the base plate slides onto a gimbal or tripod plate from one direction only, right to left. Kelvin explained that this becomes a workflow problem on DJI gimbals, where users first have to remove the plate from the gimbal, slide the camera on, and then reattach it, a sequence that eats up setup time on set. The FX5 cage’s base plate slides in from either side instead, and a small locating pin in the middle locks it into a central position once it is seated, giving what Kelvin called a central locking mechanism for safety.
The Full Camera Cage for Sony FX5 is sold only as the complete four-piece unit for $99, a price that has held since the cage’s original announcement and that CineD confirmed is unchanged at IBC. Buyers cannot purchase the left or right sections separately, but the modularity is in how the cage is used afterward: removing the top NATO rail and one side plate turns the full cage into a lighter half cage for run-and-gun work, while keeping every piece attached gives the full rigging surface for a build-out shoulder setup. The cage has already been available to order for some time, well ahead of the FX5 itself.
On the booth’s demonstration rig, the FX5 cage was mounted on what Tilta calls its lightweight shoulder rig, with a Nucleus autofocus adapter positioned in front of the camera. The adapter reads the FX5’s native phase-detection autofocus data directly from the lens mount rather than relying on a lidar sensor, and uses that data to drive autofocus on any lens attached through it, including older manual glass that would otherwise have no autofocus capability at all.
A Nucleus control hand grip sits on the top handle of the shoulder rig. When an operator wants to override the adapter’s autofocus, the hand grip provides manual control to pull focus through the same motor, without needing to physically reach the lens barrel. Kelvin also pointed out that the FX5’s own autofocus system, which uses AI-based object detection and tracking, works natively through the cage and adapter combination, so operators are not limited to older, less capable autofocus behavior when using Tilta’s rigging.
The EVF Extension Kit is built to work with Sony’s optional, removable DVF-EL1 electronic viewfinder, which normally sits fixed in a single position on top of the FX5. Kelvin described the kit as two separate components: a metal extension cable with a 215mm run, and a NATO rail clamp bracket that mounts to either side of the cage’s top rail. Tilta calls the bracket the EVF extension bracket, and the cable the EVF extension cable, and both are needed to relocate the viewfinder.
Tilta designed the cage’s own NATO rail deliberately narrow so it sits on top of the camera body without blocking the autofocus adapter or its monitor, which then let the company extend a mount off to the side for the EVF specifically. Two mounting approaches are supported: clamping the bracket directly to the cage’s NATO rail on either side, or skipping the bracket and mounting the cable alone to a magic arm attached elsewhere on the shoulder rig, which is how Tilta displayed it on the booth’s reference poster.
Once mounted, the bracket rotates through a full 360°, and its screw holes carry locating pins so small accessories can be attached directly to it. Kelvin noted the additional screw holes on the rod section are aimed at left-handed operators who want to mirror the standard mounting position.
Kelvin said Tilta rated the EVF bracket and cable assembly using an internal test the company refers to as its own durability standard: 5kg of pulling load applied repeatedly, combined with more than 5,000 swing cycles, to confirm the mount and cable hold up to repeated mounting and dismounting in the field.
The FX5’s current design forces a choice between the EVF and the optional XLR top handle, since both attach through the same interface near the hot shoe. Kelvin confirmed this remains unresolved for now, but said Tilta is developing an adapter that connects the EVF interface and the XLR handle’s shoe interface at the same time, letting operators run both the top handle’s audio inputs and a repositioned EVF simultaneously. He gave no firm date for that adapter beyond expecting it to follow the FX5’s own release “shortly,” without committing to a specific window.
Tilta priced the EVF Extension Kit, cable, and bracket together at $199, available globally on September 28. Bought separately, Kelvin quoted the cable at $129 and the bracket at $79. The Full Camera Cage for Sony FX5 remains $99 and has been orderable for a while already, ahead of both the EVF kit and the FX5 camera it is designed around. For more information, please visit the Tilta website.
Does a relocated EVF and a bidirectional base plate fix your biggest FX5 rigging gripes, or are you waiting for the XLR-plus-EVF adapter? Let us know in the comments below!
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Johnnie Behiri is a documentary filmmaker with more than three decades behind the camera: he learned the craft in daily television news gathering, filmed for Japan's public broadcaster NHK, and spent eight years shooting and editing for BBC News. He joined cinema5D in 2011 and has co-owned and co-run CineD and MZed ever since. Johnnie writes many of CineD's camera reviews, co-hosts our weekly Focus Check podcast, and heads CineD's manufacturer relationships and product development.