Sony has announced the FX5, a full-frame cinema camera that sits between the FX3 and FX6 in the company's Cinema Line. The FX5 uses a newly developed Exmor RS CMOS sensor with roughly 18.2 megapixels total (16.6 effective), measuring 35.9 x 24.0 mm, and it is the first FX-series camera to offer full-frame Open Gate recording — meaning it uses the entire sensor area at a 3:2 aspect ratio, giving filmmakers maximum resolution and flexibility to reframe for different output formats (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 uses Sony's X-OCN codec (Extended tonal range original camera negative), which delivers 16-bit linear RAW that Sony says can represent 280 trillion colors (Engadget). For context, 16-bit RAW captures far more color and brightness information than the 10-bit or 12-bit formats common in prosumer cameras, which matters for color grading and visual effects work. 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 modes will be available at launch: Sony says 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 confirms a firmware update adding 5K (3:2) X-OCN 120 fps is also planned for August 2027 or later (Sony US).

The sensor supports three base ISO settings: 800, 4000, and 12800. Base ISO is the sensitivity level at which the sensor performs optimally with the least noise, and having three options lets filmmakers pick the best starting point for different lighting conditions. A Dual Gain mode provides up to 16 stops of dynamic range — the span from darkest shadow to brightest highlight the sensor can capture — at the cost of increased rolling shutter, a distortion that can appear when fast motion is captured as the sensor reads data line by line (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.

The body weighs roughly 735 grams (1.62 pounds) and includes 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 uses dual CFexpress Type A card slots alongside dual SDXC UHS-II slots — CFexpress Type A provides the sustained write speed needed for high-bitrate RAW recording, while the SDXC slots offer a lower-cost option for lighter recording formats. An anamorphic de-squeeze function is built in for use with cinema lenses (Engadget).

Sony's Cinema Line now runs from the FX3 (compact full-frame, roughly $3,900) through the FX5 to the FX6 and up to the VENICE 2 flagship. The FX5 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 staggered firmware roadmap 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 irreversible IBIS lock option is a detail that tells you something about Sony's intended audience. Cinematographers working on stabilized rigs, gimbals, or steadicam setups often dislike sensor-shift stabilization because the floating sensor element 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 (lower-resolution copies used for editing) or less demanding codecs, which matters in multi-camera shoots where media costs add up 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 arrive until roughly a year later, but the core capabilities shipping at launch cover the majority of single-camera and B-unit (secondary camera) production scenarios.