Sony FX5 adds full-sensor capture and internal X-OCN RAW recording

Sony has introduced the FX5, a compact full-frame Cinema Line camera built around a newly developed stacked Exmor RS CMOS sensor. As the first camera in the FX series to support 3:2 Open Gate capture alongside internal recording in Sony’s X-OCN RAW format, it allows production crews to capture a larger sensor area without relying on an external RAW recorder.

In terms of video performance, the FX5 records 5K footage at up to 60 frames per second, 4K at up to 120 frames per second, and Full HD at up to 240 frames per second. Driving these capabilities is a BIONZ XR2 processor, which incorporates a dedicated AI processing unit designed for subject recognition, autofocus performance, and white balance adjustment.

Full-sensor capture allows footage to be reframed

Open Gate recording utilises the sensor’s full 3:2 image area rather than restricting capture to a widescreen frame. This enables editors to crop a single piece of footage for horizontal, vertical, or other delivery formats, thereby reducing the need to commit to one aspect ratio during filming. Beyond 3:2, the camera provides 17:9, 16:9, and Super 35mm recording areas.

At launch, Open Gate capture remains limited to X-OCN recording. X-OCN is Sony’s 16-bit scene-linear RAW format, which the FX5 records directly to its internal media. Alongside X-OCN LT, the camera supports the new X-OCN C1 and C2 codecs, both of which are designed to reduce file sizes and shorten transfer times while preserving high-quality footage.

Sony plans to expand these capabilities through a version 2.0 firmware update scheduled for August 2027 or later, which will add 3:2 recording in the XAVC S-I format. That same update is expected to introduce X-OCN recording at up to 240 frames per second, a revised interface tailored for vertical video, and a dedicated frame-grab function.

When recording with Sony’s S-Log3 profile, the camera achieves a rated dynamic range of more than 15 stops. Three base sensitivity settings of ISO 800, 4000, and 12800 cater to varying lighting environments, whereas Dual Gain Shooting helps preserve shadow detail and minimise noise across a wider tonal range. Sony notes that these performance claims are based on internal specifications rather than independent testing.

The camera’s autofocus system leverages human pose estimation to identify a subject’s eyes, head, and body, even in dimly lit environments. Real-time Tracking continuously follows a chosen subject, while Auto Tracing White Balance combines visible-light and infrared sensor data with software-based light-source estimation. Additionally, built-in preview correction supports anamorphic lenses with 1.3x, 1.5x, 1.6x, 1.8x, and 2.0x squeeze ratios.

A compact body supports mobile production

The FX5 features a flat-top body constructed for handheld filming, gimbal mounting, and operation within confined spaces. Five-axis in-body image stabilisation is enhanced by Active Mode and Dynamic Active Mode, though Dynamic Active Mode narrows the field of view, caps recording at 60 frames per second, and cannot be paired with Clear Image Zoom.

Director Gareth Edwards put the FX5 through its paces during a project filmed across Cambodia, Thailand, and Nepal. Expressing his impression of the hardware, he stated, “Guerrilla filmmaking just went to the next level, the FX5 is the run-and-gun cinema camera to beat.”

To aid framing and navigation, the camera features a 3.5-inch, 2.76-million-dot touchscreen that opens approximately 180 degrees sideways while tilting 98 degrees upwards and 40 degrees downwards. Shooting information can be positioned around the frame rather than overlaying the image, while the BIG6 home screen consolidates settings like frame rate, exposure, and colour lookup tables into a single view. Furthermore, the revised menu structure mirrors the user interface found on Sony’s FX6 and CineAlta cinema cameras.

Sustained recording operations are made possible by an active cooling system with an isolated air chamber, backed by a dust- and moisture-resistant chassis alongside USB Power Delivery support. Physical connectivity includes two USB-C ports, wired network capabilities, and built-in mounting points that allow external accessories to be secured directly to the body without requiring a cage.

Operators can manage remote monitoring and camera control via Sony’s Monitor & Control application on smartphones, tablets, and Mac computers. Version 3.0 of the app, scheduled for release in July 2026 or later, will expand multicamera control and vertical video monitoring. Meanwhile, Catalyst Prepare version 3.0 is set for release from August, bringing playback, stabilisation, and parameter adjustment for X-OCN C1 and C2 footage using embedded metadata.

To accommodate diverse user needs, the camera incorporates accessibility features including a menu screen reader, an enlarged menu display option, and tactilely distinct controls designed for easier touch identification.

Accessories and Singapore pricing

For expanded audio and viewing capabilities, Sony offers optional dedicated accessories. The XLR-H2 handle provides two XLR/TRS inputs with four-channel audio recording at up to 96 kHz and 32-bit float. Alternatively, the DVF-EL1 detachable electronic viewfinder features a 7.07-million-dot OLED panel with HDR support that tilts upwards by roughly 90 degrees. Because both devices attach using the camera’s Multi Interface Shoe, the viewfinder and the XLR handle cannot be mounted simultaneously.

In Singapore, the body-only ILME-FX5B is priced at S$6,399, whereas the ILME-FX5 bundle including the XLR handle costs S$7,199. Local pre-orders are open from 23 July to 9 August via Sony Stores, Sony Store Online, and authorised camera dealers, excluding airport outlets.

Customers placing pre-orders during this promotional window will receive a complimentary 240GB CFexpress Type A memory card. Additional discounted add-on options are available for the DVF-EL1 viewfinder, the NP-SA100 battery, and selected Sony lenses. Purchased separately, the DVF-EL1 viewfinder costs S$899, while the VMC-BNCU1 timecode adapter cable is priced at S$129, with both expected to arrive after mid-August. Finally, the standalone XLR-H2 handle is priced at S$1,099 and will be fulfilled via special order.