Sony has unveiled the FX5, a new full-frame cinema camera that slots between the FX3 and FX6 in the company's Cinema Line. The FX5 introduces a newly developed Exmor RS CMOS sensor with approximately 18.2 megapixels total (16.6 effective), measuring 35.9 x 24.0 mm, and it is the first camera in the FX series to offer full-frame Open Gate recording at a 3:2 aspect ratio using the full sensor width (Sony). The camera is scheduled to ship in August 2026 (Amateur Photographer), with the US model (ILME-FX5B) listed at $4,899.99 on Sony's official store (Sony US).

Internal RAW recording is handled by Sony's X-OCN codec (Extended tonal range original camera negative), delivering 16-bit linear RAW that Sony claims is capable of representing 280 trillion colors (Engadget). The camera records 4K at up to 240 fps (using a full-frame crop), 4.5K at 120 fps, and 5K at up to 120 fps in full-frame 3:2 Open Gate mode. Not all of these modes will be available at launch: Sony states that 4K 240p in RAW and Open Gate 3:2 XAVC-I modes, plus an updated UI for vertical shooting, are expected via firmware by August 2027 (Engadget). The US product page separately confirms a firmware update adding 5K (3:2) X-OCN 120 fps, also planned for August 2027 or later (Sony US).

The sensor supports three base ISO settings: 800, 4000, and 12800. A Dual Gain mode provides up to 16 stops of dynamic range, at the cost of increased rolling shutter (Engadget). Five-axis in-body image stabilization is included, with an electronic Dynamic Active mode for additional correction. For filmmakers who prefer a locked sensor, Sony offers a paid service to irreversibly disable IBIS on the FX5.

The body weighs approximately 735 grams (1.62 pounds) and carries a removable OLED electronic viewfinder with 3.68 million dots and 2,500-nit brightness. The rear LCD is a 3.5-inch 16:9 panel with 2.76 million dots and a four-axis articulating design. Storage is handled by dual CFexpress Type A card slots alongside dual SDXC UHS-II slots. An anamorphic de-squeeze function is built in for use with cinema lenses (Engadget).

The positioning is worth examining. Sony's Cinema Line now spans from the FX3 (compact full-frame, roughly $3,900) through the FX5 to the FX6 and up to the VENICE 2 flagship. The FX5's feature set pulls several capabilities that were previously higher-tier into a sub-$5,000 body: internal X-OCN RAW, Open Gate full-sensor readout, and triple base ISO with a dual-gain dynamic range mode. The 4K/240fps RAW and 5K X-OCN 120fps modes arriving via firmware roughly a year after launch suggests Sony prioritized shipping the core body on schedule over waiting for every recording mode to be production-ready. That is a reasonable trade for a cinema camera, where firmware updates during a production cycle are expected, but buyers should factor the staggered feature rollout into near-term workflow planning.

The irreducible IBIS lock option is a detail that tells you something about Sony's intended audience. Cinematographers working on stabilized rigs, gimbals, or steady-cam setups often actively dislike sensor-shift stabilization because floating sensor elements can introduce micro-jitter that is invisible on a monitor but visible on a large screen. Offering a permanent, paid mechanical lock rather than a software toggle means Sony is acknowledging that a meaningful subset of FX5 buyers will never want IBIS and is willing to let them eliminate the variable entirely.

The dual CFexpress Type A plus dual SDXC UHS-II slot configuration gives the FX5 unusual recording-media flexibility. CFexpress Type A remains a Sony-pushed format with a relatively limited ecosystem of card manufacturers, but it provides the sustained write bandwidth needed for internal X-OCN RAW. The parallel SDXC slots give productions a lower-cost fallback for proxy recording or less demanding codecs, which matters in multi-camera shoots where media costs compound quickly.

For the target buyer, the FX5's value proposition is straightforward: VENICE-derived recording formats and sensor architecture in a body that costs less than many professional cinema lenses. The August 2026 ship date and staggered firmware roadmap mean the full feature set will not materialize until roughly a year later, but the core capabilities shipping at launch cover the majority of single-camera and B-unit production scenarios.