Sony FX5: Internal RAW X-OCN and Open Gate from the VENICE 2 in a Compact Body
Sony has unveiled the FX5, a new full-frame cinema camera in its Cinema Line range. The most significant new feature comes from above: for the first time in an FX series camera, the company brings internal RAW recording in the proprietary format X-OCN and Open Gate shooting, functions previously the domain of higher-end models.
The lineage from the FX3 is not hidden: "We wanted to build on the FX3 and take it a step further, incorporating some functions from the VENICE 2, such as internal RAW recording and Open Gate," said Yang Cheng, Vice President of Imaging Solutions at Sony Electronics. "These are highly requested features that will give creatives greater freedom with a simpler workflow."
The New Sensor and Shooting Formats
The heart of the FX5 is a newly designed Exmor RS CMOS full-frame sensor with stacked technology, paired with the BIONZ XR2 processor featuring a dedicated AI-based processing unit. In S-Log3, the camera claims over 15 stops of dynamic range and offers three base ISOs (800, 4000, and 12800), in addition to the Dual Gain function, another first for the FX series, designed to extract more information from the sensor while preserving detail in shadows and reducing noise.
On the front of formats, the FX5 reads the full sensor in 3:2 at full resolution, in Open Gate mode, in addition to 17:9, 16:9, and Super 35mm scans. Internal recording takes place in X-OCN, Sony's proprietary 16-bit scene-linear RAW, without the need for an external recorder; alongside existing codecs, the new X-OCN C1 and C2 are introduced to reduce file sizes for faster transfer and post-production. Regarding frame rates, the camera reaches 5K up to 60 fps, 4K up to 120 fps, and FHD up to 240 fps.
Body, Stabilization, and Accessories
The body remains compact and lightweight, with threaded holes in multiple locations for directly mounting accessories and building rigs without a cage. The optical stabilization on five axes doubles the roll correction range compared to the FX3, according to internal Sony measurements, and adds a new Dynamic Active Mode alongside the standard Active Mode. The 3.5-inch LCD touch monitor with about 2.76 million dots is larger than that of the FX3 and is mounted on a multi-angle four-axis arm. The autofocus relies on AI-based human pose estimation, recognizing the subject's eyes, head, and body and maintaining focus even in low-light scenes.
Two optional accessories were announced alongside the camera. The detachable OLED viewfinder DVF-EL1 features a 0.58-inch panel with approximately 7.07 million dots, providing HDR display at 10 bits and a gamut equivalent to DCI-P3. The XLR-H2 grip includes two combo XLR/TRS connectors, supports up to four audio channels, and records internally at up to 96 kHz and 32-bit floating point, connecting to the body via the Multi Interface shoe. Completing the package is a timecode adapter cable from USB-C to BNC, the VMC-BNCU1.
The FX5 will be available from mid-August. The body only, marked ILME-FX5B, has a suggested retail price of $4,899.99; the kit with the XLR grip rises to $5,499.99. For the European market, the indicative prices are €5400 for the body and €900 for the XLR grip. The OLED viewfinder DVF-EL1 is expected to be priced around €750, and the adapter VMC-BNCU1 at €99.
A firmware update is already planned, version 2.0 expected in 2027, which will add high-frequency recording up to 240 fps in X-OCN, XAVC S-I recording in 3:2, and an optimized interface for vertical shooting.
To promote the camera, Sony has enlisted notable names from the film industry: Claudio Miranda, cinematographer of "Top Gun: Maverick," conducted a test shoot, while director Gareth Edwards ("Rogue One," "The Creator") filmed a project with the FX5 across Cambodia, Thailand, and Nepal. Beyond the marketing strategy, the substance remains the transfer of functions from the high-end: the FX5 sits between the FX3 and FX6, with a body price keeping it away from more expensive cinema shooting systems.