Sony FX5 hands-on review: an incredibly flexible workhorse
22.7.2026
Translation: Megan Cornish
Pictures: Samuel Buchmann
Sony’s new professional video camera impressed in our short test, delivering high image quality in all conditions with three base ISO settings, internal RAW and a large display.
The FX3 was Sony’s first compact cinema camera in 2021. Over five years later, the manufacturer’s finally releasing a successor the FX5. It looks similar to the FX3 on the outside, but the number suggests that Sony sees it as being closer to the professional FX6.
In fact, the FX5’s operation and its features are modelled after larger video cameras, including that it doesn’t have a photo mode. At its heart is a new 16.6-megapixel stacked sensor. Instead of focusing on the highest possible resolution, Sony’s «only» prioritising 5K video, and concentrating on aspects that are more important in practice: dynamic range, light sensitivity, speed and consistent image quality across all frame rates.
The price of 4,599 Swiss francs (or 5,099 Swiss francs with the XLR handle) is higher than that of the Sony FX3, which cost 4,699 Swiss francs with the XLR handle at launch and is now available for 3,699 Swiss francs. The Nikon ZR, Canon EOS R6V and Canon EOS C50 also cost less, but the FX5 offers considerably more.
*5K 120p and 4K 240p will be available from August 2027 at the earliest with firmware version 2.0.
Triple base ISO and dual gain
Most cameras today have two base ISO settings – the FX3, for example, has ISO 800 and ISO 12,800. It delivers its best results at these values. However, in many scenarios, ISO 800’s too low and ISO 12,800’s too high. If you have to use a sensitivity setting in between, the camera just brightens the image from ISO 800, resulting in high image noise in the shadows. Other cameras – such as the Alpha 1 II – have base ISOs of 800 and 4000. This solves the problem I mentioned – but at the expense of image quality at ISO values higher than 4000.
The FX5’s the first camera in this price range to come with not two, but three base ISO settings: 800, 4000 and 12,800. This makes it much more versatile and noticeably improves image quality in a lot of situations. There are no apparent drawbacks. The FX5 even produces less noise than the FX3 at high ISO values. This feature alone should be a deciding factor for many buyers.
A second technological breakthrough will already be familiar from the Alpha 7R VI. Instead of making the stacked sensor with on-chip memory as fast as possible, Sony uses the second layer as a «processing layer» that enables videos with a higher dynamic range. This dual gain mode reads the sensor at ISO 800 and ISO 12,800 simultaneously and combines the data into one image. This mainly results in less image noise in the shadows (see video above) and allows more scope for colour grading.
The way it works means dual gain can only be used at the lowest base ISO (800). And because of the processing power required, it’s limited to 60 frames per second (fps). Plus, the sensor’s read twice, increasing the rolling shutter effect. However, this shouldn’t be too bad in practice. Its relatively low resolution makes the FX5 very fast, even without on-chip memory. Sony doesn’t specify the exact figure, but it mentions a shorter readout time than the FX3. As a rough estimate, I’d put it at around six milliseconds without dual gain.
This figure would fit a theory that Sony hasn’t officially confirmed: that the FX5’s sensor is likely based on that of the Alpha 7R VI, but combines four pixels into one. Fittingly, it has exactly one-quarter the resolution and is faster, which makes more sense for a dedicated video camera.
Internal RAW and Open Gate
The FX5 is the first camera in the FX line capable of recording internally in Sony’s X-OCN RAW format. It’s available in three quality levels: LT, C1 and C2. LT has a bandwidth of 389 megabits per second (Mbps) at 24 fps. This is significantly more than the same frame rate in H.265 (100 Mbps), but less than many other RAW formats. C1 (289 Mbps) and C2 (232 Mbps) are even more compressed and should offer a good compromise between flexibility and quality in a lot of situations. They all offer 16-bit colour depth.
In RAW format, the FX5 always saves videos at their native resolution across the entire sensor width (4992 pixels). However, you can choose the aspect ratio, from the classic 16:9 to 17:9 and Open Gate in 3:2 (finally). For compressed codecs (H.264 and H.265), there are two settings. The imager mode determines which sensor area the camera uses. Besides the full 5K resolution, you can select crops in 4.5K, 3.8K or 3.2K. In the video format setting, you then choose the resolution of the final file – for example, 4K UHD or 1080p.
In practice, most users will likely either film in RAW format in 5K and scale the footage to 4K during editing or film directly in a compressed format in oversampled 4K. With my test unit and its beta firmware, both are possible from 24 to 120 fps. The image noise increases – albeit only slightly – at 120 fps.
This consistent image quality across all frame rates is a huge plus. With a slight crop, you can even get 4K at 240 fps. However, 5K at 120 fps and 4K at 240 fps will still be disabled in the first final firmware because Sony says it wants to fix a few bugs, which I didn’t notice in the beta firmware. An update isn’t expected to unlock the high frame rates until August 2027 at the earliest. To me, that’s quite a long way off.
Pro menu from the FX6 and Venice
If, like me, your background is in Sony’s Alpha cameras or the FX3, you might initially feel a bit lost when using the FX5. The menus are taken from larger models such as the FX6 and Venice and are fully geared towards a professional video workflow. You can adjust settings on four levels:
- Pressing the Home button takes you to the home menu, where you can adjust the parameters you use most frequently: frame rate, ISO, shutter speed/shutter angle, aperture, image look and white balance.
- Pressing the User button takes you to the user functions. These are frequently used functions such as focus peaking, display modes and image stabilisation.
- A quick press of the Menu button takes you to the quick menu, where you’ll find other important settings such as colour space, codec and audio details.
- The full range of settings is available in the full menu, which you can access by pressing and holding the Menu button.
This requires some getting used to, but it starts to feel logical after a while. You’ll also have to rethink things in other areas, such as choosing from one of three shooting modes: Flexible ISO, Cine EI and Quick Cine EI. Only in the first option does the ISO value work as I’m used to from hybrid cameras. And only here are there automatic functions for white balance or exposure.
In Cine EI modes, however, you have to film completely manually and can only choose from three base ISO values. Between them, the camera displays the exposure index (EI), showing the theoretical image you’d get if you later brightened or darkened the recording. The video’s always saved at ISO 800, 4000 or 12,800.
I understand some of the specific features of the different modes, but not others. Why can’t you select an automatic shutter speed in Cine EI? Why isn’t dual gain ISO available in Quick Cine EI? Why can’t you film at 30 fps in the H.265 codec? These limitations feel like Sony’s trying to force you into the exact workflow their engineers have in mind. While the workflow makes sense, I’d like to have as much technical freedom as possible. For example, you can’t let automatic exposure control handle rapidly changing lighting conditions and still film in RAW. Sony considers a non-constant shutter angle unworthy of a Cine mode.
It’s all positive on the features front, though. The FX5 boasts a lot of tools that were previously only available from Panasonic in this price range. Exposure can be assessed both via live histogram and waveform display or in false colour mode. A focus map and a vectorscope display are also available.
Large LCD, modular viewfinder and IBIS
On the outside, the FX5 looks like the FX3. The grey, box-like magnesium alloy body features six 1/4-inch threaded holes for attaching accessories, eliminating the need for a cage. Active cooling prevents the camera from overheating. The air intake’s on the right side, unlike the FX3’s bottom intake, where it’s more likely to be blocked. Warm air’s let out on the left side.
The most noticeable difference is the new LCD on the back. It has a 3.5-inch diagonal, a 16:9 aspect ratio and a pixel density of 420 pixels per inch (ppi). That’s almost as much as the iPhone 17 Pro (460 ppi). This finally makes it possible to properly assess the image without an external monitor. I’m glad Sony’s catching up with Nikon here, who even use a 4-inch LCD in its ZR.
I think the image quality through the electronic viewfinder’s even better. It’s detachable – although not included with the camera – and costs a hefty 629 Swiss francs. However, its resolution (7.07 million pixels), frame rate (120 fps), colour space coverage (DCI-P3) and brightness (2,000 nits) are all outstanding.
The viewfinder’s mounted with two screws to a proprietary connector on the top of the camera. I like the modular design. The only downside is that you can’t use the viewfinder at the same time as the (new and also separately available) XLR handle, as it attaches in the same position.
The larger LCD leaves less room for controls on the back of the camera compared to the FX3. The D-pad with jog wheel’s gone, and I really miss it when navigating the menus. While you can use the joystick on the top or the new rotary push button, both feel like more effort. Instead, I use the touchscreen, which works better or worse depending on the menu.
Unlike Canon with its C-series cameras, Sony’s built in-body image stabilisation (IBIS) into the FX5. Since the camera lacks a dedicated photo mode, there’s no CIPA rating for the number of f-stops it compensates. However, Sony confirms it’s the same IBIS as in the Alpha 7R VI, which has a rating of 8.5 f-stops. Also included are active and dynamic active digital stabilisation modes, familiar from the ZV-E1. These modes result in cropping.
Initial verdict: it delivers where it counts
The Sony FX5 isn’t a hybrid camera in a new body like the FX3; it’s a true compact cinema camera. Sony’s dispensed with headline-grabbing features such as 8K resolution or a global shutter, which offer little added value in practice. Instead, the FX5 excels where it really matters: image quality, flexibility and consistency.
The menu structure, borrowed from professional cameras, presents a steep learning curve for FX3 veterans, but it makes sense. I also like the selection of useful codecs, the modular EVF, the reliable autofocus, the good IBIS and the large display. Although the latter replaces the D-pad, meaning slight compromises in usability. What’s more, I don’t understand some of the artificial limitations in the settings.
I was only able to test the Sony FX5 for two days and couldn’t access the RAW files at the time of testing, so there’s no star rating yet. At first glance, however, the camera sets a new benchmark in its class – especially for run-and-gun applications. It’s available to order now, with delivery from mid-August onwards.
Samuel Buchmann
Senior Editor
Samuel.Buchmann@digitecgalaxus.chMy fingerprint often changes so drastically that my MacBook doesn't recognise it anymore. The reason? If I'm not clinging to a monitor or camera, I'm probably clinging to a rockface by the tips of my fingers.
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