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Sony Unveils FX5 Cinema Line Camera With New Sensor and Open Gate Recording

Sony's latest full-frame Cinema Line camera adds Open Gate shooting, internal RAW recording and a detachable OLED viewfinder

Marco Lisi by Marco Lisi
July 25, 2026
in News, Cameras
Reading Time: 3 mins read
Sony FX5 full-frame Cinema Line camera front view

The Sony FX5 introduces a new full-frame stacked sensor within the Cinema Line series.

Sony has introduced the Sony FX5, a new full-frame camera within its Cinema Line series that pairs a freshly developed sensor with professional-grade recording tools in a compact, mobile body. The Sony FX5 is the first camera in the FX line to support Open Gate shooting and internal RAW recording, bridging cinema-grade image quality with the flexibility filmmakers need on location.

Table of Contents
  • A New Full-Frame Sensor for Low-Light Work
  • AI-Driven Autofocus and a Flexible Touchscreen
  • New XLR Handgrip and Detachable OLED Viewfinder
  • Pricing and availability
  • Key specifications

A New Full-Frame Sensor for Low-Light Work

At the heart of the Sony FX5 sits a full-frame, fully stacked Exmor RS CMOS sensor paired with the latest BIONZ XR2 processor and a dedicated AI-processing unit. In S-Log3 the camera delivers a dynamic range of more than 15 stops, preserving detail in both highlights and shadows. Three Base ISO settings (800, 4,000 and 12,800) keep performance consistent across lighting conditions, while a new Dual Gain Shooting mode maximises sensor output for cleaner, more detailed footage with less noise.

For the first time in the FX-series, the Sony FX5 supports Open Gate recording with full sensor readout in 3:2, alongside 17:9, 16:9 and Super 35mm aspect ratios. Internal X-OCN (16-bit RAW) recording removes the need for external recorders, and two new codecs, X-OCN C1 and C2, reduce file sizes for faster, smoother post-production workflows.

Sony FX5 camera rear panel and touchscreen
The rear panel houses the new multi-angle touchscreen and BIG6 home screen.

AI-Driven Autofocus and a Flexible Touchscreen

AI-based human pose estimation lets the Sony FX5 track not just eyes but body and head position for reliable autofocus, even in dim conditions, with Real-time Tracking keeping subjects locked in. Auto Tracing White Balance combines visible-light and infrared sensor data with deep-learning-based light-source estimation for more natural colour in mixed and shaded scenes. A 3.5-type, roughly 2.76-million-pixel touchscreen with a 4-axis multi-angle hinge tilts up to 98 degrees up, 40 degrees down and rotates around 180 degrees sideways, borrowing the BIG6 home screen layout from Sony’s CineAlta cameras for faster access to frame rate, exposure and LUT settings.

Sony FX5 camera top view showing accessory mounting points
Screw holes across the body allow accessories to be mounted without an extra cage.

New XLR Handgrip and Detachable OLED Viewfinder

Two optional accessories launch alongside the camera. The XLR-H2 handgrip adds two XLR/TRS combo inputs with a dual AD converter for internal recording up to 96kHz, 32-bit float across four audio channels, aimed at documentary and ENG-style shooting. The detachable DVF-EL1 OLED viewfinder uses a 0.58-type, roughly 7.07-million-pixel panel with DCI-P3 colour coverage and 10-bit HDR display, tilting up to 90 degrees for low- or high-angle work.

Built-in 5-axis optical stabilisation doubles the roll-correction range compared with the previous system, and a Dynamic Active Mode adds further stability for handheld shooting. The Sony FX5 also introduces a redesigned cooling fan in its own air chamber, dust- and moisture-resistant construction, dual USB-C ports with USB Power Delivery, and a wired LAN connection for remote control in networked production environments.

Pricing and availability

The Sony FX5 (ILME-FX5, bundled with the XLR handgrip) and the FX5B body-only version are available for pre-order from 22 July 2026, shipping from August. The ILME-FX5 is priced at €6,000, the ILME-FX5B at €5,400. The optional DVF-EL1 viewfinder costs €750, the XLR-H2 handgrip €900, and the VMC-BNCU1 timecode adapter cable €100. Prices may vary by country and region.

Sony FX5 camera mounted with the new XLR-H2 handgrip
The optional XLR-H2 handgrip adds two-channel XLR audio input up to 96kHz/32-bit float.

The Sony FX5 follows on from the Sony FX2, extending the Cinema Line further up-market for filmmakers who need cinema-grade colour science without stepping up to a full CineAlta rig. Full specifications are available on the Sony Cinema Line website.

Key specifications

  • Sensor: full-frame, fully stacked Exmor RS CMOS with BIONZ XR2 processor and AI unit
  • Dynamic range: 15+ stops in S-Log3; Three Base ISO (800/4,000/12,800)
  • Recording: Open Gate 3:2, internal X-OCN (LT/C1/C2) RAW, up to 5K/60p, 4K/120p, Full HD/240p
  • Stabilisation: 5-axis optical IS with Active and Dynamic Active Mode
  • Monitor: 3.5-type multi-angle touchscreen, ~2.76 million dots
  • Audio (with XLR-H2): 2x XLR/TRS combo, up to 96kHz/32-bit float, 4 channels
  • Viewfinder (optional DVF-EL1): 0.58-type OLED, ~7.07 million dots, DCI-P3/HDR
  • Connectivity: 2x USB-C (PD-capable), wired LAN, MI Shoe
  • Price: €6,000 (ILME-FX5) / €5,400 (ILME-FX5B), pre-order from 22 July 2026
Tags: SonySony FX5
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Marco Lisi

Marco Lisi

Publisher

Marco Lisi is the publisher of Best of High End, part of AV Concepts BV. His path into audio started early: as a teenager he was drawn into the world of free radio, presenting shows and living immersed in music every day. In his early twenties he ran his own production studio for five years, creating jingles and commercials — hands-on training in sound design, pro-audio workflows, and critical listening through studio monitors that still shapes how he evaluates gear today. He also spent years DJing in clubs before moving into publishing, first at two earlier online magazines before founding Best of High End. His hi-fi and home cinema passion was inherited from his father, an inveterate system-swapper. Marco's first setup — a confirmation gift — paired AKAI separates with entry-level Bowers & Wilkins speakers, a brand he stayed loyal to for years as his system grew from stereo into full surround and home cinema. Like many enthusiasts, he went through an extended "audiophile" phase chasing the next upgrade, before settling into a more grounded view: gear as a means to enjoy music and film, not an end in itself. Years of critical listening have given him a well-trained ear — the ability to characterize a system or pinpoint a change in the chain quickly and accurately. Just as important, his teaching background (a Belgian "regent" degree in Dutch language) gives him the tools to translate those listening impressions into clear, readable writing.

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