Image: Property of Sony
Sony announced the FX5 on July 22, 2026, and it is the most significant Cinema Line release since the FX3. It slots between the FX3 and FX6, but Sony is clear: this is not an FX3 Mark II. The FX5 borrows from the VENICE 2 and BURANO, bringing internal X-OCN RAW recording, Open Gate capture, and three base ISOs to a body that weighs just 734 g (1.62 lb).
The Canadian price is CAD $6,999.99 with the XLR handle unit, or USD $4,999 body only. Available since August 2026. Here is a full breakdown of what the FX5 does, how it compares to the FX3, and whether it makes sense for Canadian creators.
At the core of the FX5 is a newly developed 16.6-megapixel full-frame, fully-stacked Exmor RS CMOS sensor. This sensor is unique to the FX5; it is not shared with any Alpha camera. The stacked design allows for faster readout speeds, which is what makes the high frame rates and internal RAW recording possible.
The sensor pairs with the BIONZ XR2 processor, which includes a dedicated AI processing unit. This is the same processor family used in recent Alpha cameras, but the combination with the new sensor is what enables the FX5's feature set. Sony says the integration improves image quality, subject recognition, connectivity, and overall operability.
For the first time in the Cinema Line FX series, the FX5 supports Open Gate shooting. This means it captures the full 3:2 sensor area at 4992 x 3328 pixels, giving editors the entire sensor frame to work with in post-production. You can reframe for different aspect ratios, squeeze anamorphic footage, or crop for vertical delivery without losing resolution.
The available shooting modes are:
Open Gate is available when recording in X-OCN format. At launch, the FX5 shoots 5K at up to 60fps, 4K at up to 120fps, and FHD at up to 240fps. Faster high-frame-rate modes, including 5x slow motion in 5K and 10x in 4K, are coming in a future firmware update.
Anamorphic de-squeeze support has also been extended. The FX5 adds a 1.8x ratio alongside the existing 1.3x, 1.5x, 1.6x, and 2.0x options carried over from the FX3, giving filmmakers more lens options for accurate real-time monitoring.
This is the headline feature for many filmmakers. The FX5 records 16-bit X-OCN RAW internally, Sony's proprietary scene-linear format that was previously available only on the VENICE 2 and BURANO. No external recorder required.
The FX5 supports the existing X-OCN LT codec plus two newly developed, more compressed variants called C1 and C2. Both still record 16-bit images but in smaller files. Sony's stated benefit is reduced storage requirements and faster file transfer times, which streamlines post-production workflows.
For context on file sizes at 4096 x 2160 24p, Sony's own comparison puts X-OCN LT at approximately 389 Mbps, the new C1 at a theoretical 289 Mbps, and C2 at a theoretical 232 Mbps. For comparison, XAVC S-I 4K sits at 240 Mbps and ProRes 422 HQ at 754 Mbps.
Beyond X-OCN, the FX5 also supports XAVC HS-L422, XAVC HS-L420, XAVC S-I, XAVC S-L422, and XAVC S-L420 codecs, with availability varying by imager mode.
The FX3 has two base ISOs (800 and 12,800) when shooting in S-Log3. The FX5 adds a third: 800, 4,000, and 12,800. Sony says filmmakers specifically asked for a middle option to bridge the gap between the two extremes, and it makes a real difference for indoor and mixed-light shooting.
Dual Gain Shooting is another first for the FX series. It takes a double readout of the sensor to reduce noise in the shadows without compromising shadow detail, extending latitude further. Gain in this mode is limited to the equivalent of 18dB, and the function may not be available depending on other shooting settings.
The FX5 is marginally larger than the FX3: 132.3 mm (5.21 in) wide (+2.6 mm), 79.0 mm (3.11 in) tall (+1.2 mm), and 86.95 mm (3.42 in) deep (+2.45 mm). Weight with battery and memory card is 734 g (1.62 lb), about 3% more than the FX3.
Controls have been reworked to align with VENICE 2 and BURANO. The FX3's rear control wheel is replaced with a new multi-function dial, alongside a front dial, power switch, zoom lever, and multi selector in the same layout as VENICE 2. The mount index, multi-function dial, and buttons have distinct shapes and tactile feel so they can be operated without looking.
The biggest interface change is the menu system. The FX5 moves from the FX3's ILC-style menu (shared with Sony's Alpha stills cameras) to a new CineAlta-style system matching VENICE 2, BURANO, and the FX6. It uses the BIG6 home screen, which consolidates key settings like frame rate, exposure, and LUTs into a single display. This is the one screen that cannot be output over HDMI.
The FX5 also includes a screen reader function that reads menus aloud and an enlarged menu display option for accessibility. Supported languages for the screen reader vary by region.
The FX5 carries the same optical 5-axis in-body stabilization hardware as the FX3, but with an updated stabilization unit. Sony says the roll correction range has been expanded to approximately twice that of the previous system.
A new Dynamic Active Mode is added on top of the existing Active Mode. Dynamic Active Mode narrows the angle of view (and disables Clear Image Zoom) in exchange for steadier handheld footage. It is available up to 60fps with gain limited to the equivalent of 26dB.
The FX5 has a 3.5-inch, approximately 2.76-million-dot, 16:9 touch-panel multi-angle LCD monitor. This is larger and brighter than the FX3's screen. It tilts approximately 98 degrees upward and 40 degrees downward, and opens approximately 180 degrees sideways, with brightness adjustable across 15 steps.
Monitoring tools are substantially extended with the addition of false colour, waveform, and vector scope displays, joining the existing histogram, zebra, and focus peaking options. These are the tools that VENICE 2 and BURANO operators expect, and having them on the FX5 makes it easier to match the shooting experience across a multi-camera production.
An optional detachable OLED electronic viewfinder, the DVF-EL1, is also available. It features a 0.58-type panel with approximately 7.07 million dots, supporting HDR display with a DCI-P3-equivalent colour gamut.
| Feature | FX3 | FX5 |
|---|---|---|
| Sensor | 12.1MP full-frame | 16.6MP full-frame stacked |
| Max Resolution | 4K 120p | 5K 60p (Open Gate) |
| RAW Recording | External only | Internal X-OCN 16-bit |
| Base ISO | 800, 12,800 | 800, 4,000, 12,800 |
| Dual Gain Shooting | No | Yes |
| Open Gate | No | Yes (3:2 full sensor) |
| Menu System | ILC-style (Alpha) | CineAlta-style (VENICE 2) |
| Monitor | 3.0" 1.44M-dot | 3.5" 2.76M-dot |
| False Colour / Waveform | No | Yes |
| Weight (with battery) | ~715 g | 734 g |
| Price (CAD, with XLR) | ~CAD $3,099 | CAD $6,999.99 |
The price gap between the FX3 and FX5 is roughly CAD $3,900, which is significant. What you get for that money is internal RAW recording (no external recorder to buy or rig), Open Gate capture, a third base ISO, Dual Gain Shooting, a CineAlta menu, professional monitoring tools, and a larger/brighter LCD. Whether those features are worth it depends entirely on your workflow.
FX5 with XLR Handle Unit (ILME-FX5): CAD $6,999.99
FX5 Body Only (ILME-FX5B): USD $4,999 (Canadian pricing TBC)
Optional OLED Viewfinder (DVF-EL1): Sold separately
XLR Handle Unit (separate): Records 32-bit float at up to 96 kHz
Sony's Canadian pricing is confirmed at CAD $6,999.99 for the kit with the XLR handle unit. The body-only Canadian price has not been officially listed at the time of writing; the USD body-only price is $4,999. For Canadian creators, the XLR handle is likely worth getting since it adds 32-bit float audio recording, which is a major upgrade for run-and-gun shooters who cannot afford clipped audio.
I shoot my tech reviews on a Canon R6 and use a Sony ZV-1 for B-roll. The FX5 is a different category of camera, but the implications for the creator market are worth understanding.
The FX5 matters because it democratizes features that were previously locked behind VENICE 2 and BURANO pricing. Internal X-OCN RAW at this price point means independent filmmakers and production houses can shoot cinema-grade footage without bolting on external recorders. The Open Gate capture is a big deal for creators who deliver to multiple aspect ratios from a single shoot, especially with the rise of vertical video alongside traditional 16:9 content.
For Canadian creators specifically, the CAD $6,999.99 price puts the FX5 in the same range as a fully kitted FX3 with an external Ninja recorder, but without the cable management and power concerns that come with external recording. If you are already in the Sony E-mount ecosystem, the FX5 is a natural step up from the FX3 that will feel familiar but give you substantially more capability.
Where the FX5 does not make sense: if you are primarily a solo content creator shooting talking-head videos for YouTube, the FX3 (or even the FX30) remains the smarter buy. The FX5's strengths are in narrative, documentary, and multi-camera production work where RAW workflows and Open Gate reframing actually save time in post.
How much does the Sony FX5 cost in Canada?
The Sony FX5 with XLR handle unit has a suggested retail price of CAD $6,999.99 in Canada. The body-only price is USD $4,999. The optional OLED viewfinder (DVF-EL1) is sold separately.
What is Open Gate recording on the Sony FX5?
Open Gate recording captures the full 3:2 sensor area at 4992 x 3328 pixels, giving editors the full frame to reframe in post-production without a resolution penalty. It is available when recording in X-OCN format.
Does the Sony FX5 record RAW internally?
Yes, the FX5 records 16-bit X-OCN RAW internally, Sony's proprietary scene-linear RAW format previously available only on the VENICE 2 and BURANO. It supports X-OCN LT plus two new compressed variants (C1 and C2) for smaller file sizes.
How does the FX5 compare to the FX3?
The FX5 adds Open Gate recording, internal X-OCN RAW, three base ISOs (800, 4000, 12,800) instead of two, Dual Gain Shooting, a CineAlta-style menu, false colour and waveform monitoring, and a larger 3.5-inch LCD. It is positioned as a step up from the FX3, not a replacement.
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