Sony introduces the previously rumored FX5, the newest addition to the Cinema Line family. Designed to bridge the gap between the FX3 and FX6, the FX5 combines the portability of a compact body with advanced imaging technologies inspired by Sony’s flagship cinema cameras. Additional information on the FX5 is available here and here.
The Sony FX5 features a newly developed full-frame stacked Exmor RS CMOS sensor and Sony’s latest BIONZ XR2 image processor, delivering more than 15 stops of dynamic range, three Base ISO settings, and introducing Open Gate recording and internal X-OCN RAW recording to the FX series for the very first time. The video recording options are up to 5K 60p, 4K 120p, and Full HD 240p,
Additional features include AI-powered Real-time Recognition Autofocus, enhanced in-body image stabilization, a larger multi-angle LCD with the CineAlta-inspired BIG6 interface, expanded professional connectivity, and new optional OLED viewfinder and XLR handle accessories with 32-bit float audio recording.
A newly developed image sensor and the latest high-speed image processing engine
Uses a full-frame, fully-stacked Exmor RS CMOS image sensor and the latest BIONZ XR2 high-speed image processing engine with a dedicated AI processing unit.
In S-Log3, captures 15+ stops of dynamic range.
Three base ISOs of ISO 800, ISO 4000, and ISO 12800[2] keep noise low across a wide range of conditions. The Dual Gain Shooting function,[3] a first for the FX series, draws more from the sensor for smoother gradation and wider latitude while reducing noise and preserving shadow detail.
Also a first for the FX series, the camera supports 3:2 full-pixel readout across the entire sensor, or Open Gate shooting[5], plus 17:9, 16:9, and Super 35mm scan modes. In-camera recording in X-OCN, Sony’s proprietary 16-bit scene-linear RAW format, captures high quality without an external recorder. Alongside X-OCN LT, the new X-OCN C1 and X-OCN C2 codecs cut data size to speed transfer and streamline post-production.
High-precision AF powered by AI and detailed settings that support intentional shooting
AI-based human pose estimation recognizes a subject’s eyes, head, and body, holding strong AF performance even in dark scenes. Real-time Tracking follows subjects automatically.
Auto Tracing White Balance (ATW) combines visible-light and IR (infrared) sensor data with deep-learning light-source estimation to read scenes accurately, giving more stable[5] and natural white balance in shade, indoors, and other conditions.
Noise suppression settings (on/off) give flexibility to match shooting intent and post-production workflows.
A de-squeeze function supports anamorphic lenses at 1.3x, 1.5x, 1.6x, 1.8x, and 2.0x.
Excellent operability and high mobility in a compact, lightweight body
5-axis optical in-body image stabilization anchors the image, and the latest stabilization unit roughly doubles the roll correction range of the previous system[6] to suppress rotational blur. Active Mode and the new Dynamic Active Mode[7] keep handheld footage steady.
A 3.5-type, approximately 2.76-million-dot 16:9 touch-panel LCD monitor, larger than the FX3’s, mounts on a 4-axis multi-angle arm. It tilts ~98 degrees up, 40 degrees down, and opens ~180 degrees to the side, with a high-brightness adjustable panel. Shooting information sits around the edges of the screen so it never overlaps the image. The “BIG6” home screen, carried over from CineAlta cameras, gathers key settings such as frame rate, exposure, and LUTs so creators can focus on the shot.
A new menu system gives operability consistent with CineAlta cameras and the FX6 on a shared production.
High reliability and expandability to support professional production environments
A high-efficiency cooling fan and optimized heat dissipation keep the camera stable through long recording sessions.
The lightweight, rigid body carries screw holes in multiple locations to attach accessories directly, so you can build rigs without a cage.
Integration with the Monitor & Control application brings video monitoring and remote operation to smartphones, tablets, and Mac.
Uses the recently released high-capacity NP-SA100 battery (2670 mAh), which holds approximately 1.3 times the capacity of the Z-series NP-FZ100 for longer shooting.
Two USB Type-C ports accept timecode input through an optional timecode adapter cable and external power through USB Power Delivery (PD),[9] for stable long-duration shooting.
A wired LAN terminal enables remote operation and a stable network connection, with the expandability professional production networks require.
Planned Firmware Update ver. 2.0 (coming 2027)
A planned update will add higher resolution high frame rate shooting up to 240 fps in X-OCN, XAVC S-I recording in 3:2 (Open Gate shooting), an optimized interface for vertical shooting, and a frame grab function.
Accessibility and environmental considerations
Accessibility features support visual recognition and operation, including a screen reader[11] that reads menus aloud and an enlarged menu display.
Recycled plastic accounts for approximately 30% or more of the camera’s parts.[12] The Thailand and China sites that build the camera run on 100% renewable energy.[13] Product bags use plant-derived nonwoven fabric,[14]cutting packaging plastic and lowering environmental impact.
Optional Accessories
0.58-type OLED Viewfinder “DVF-EL1”
This detachable viewfinder carries a 0.58-type, approximately 7.07-million-dot OLED panel.[8] It supports HDR display with a DCI-P3-equivalent color gamut and 10-bit gradation. The wide gamut confirms subject colors accurately, and HDR reveals fine detail when shooting and playing back high-contrast scenes.
Approximately 0.9x magnification[15] and you can switch between display modes that prioritize resolution or eye point.
A tilt mechanism moves from 0 to approximately 90 degrees upward for comfortable monitoring at low, high, and handheld angles.
XLR Handle Unit “XLR-H2”
The XLR-H2 carries two XLR/TRS combo terminals and supports up to 4-channel audio input. Dual AD converters digitize microphone signals with high precision across a wide dynamic range and record in-camera at up to 96 kHz, 32-bit float. It connects directly to the body through the Multi Interface (MI) Shoe for stable digital transmission.
Timecode Adapter Cable “VMC-BNCU1”
The optional USB-C to BNC timecode adapter cable feeds timecode from external devices into the camera. It synchronizes multiple cameras and external audio devices for timecode-based workflows across multicamera shooting, broadcasting, and filmmaking.
Applications Supporting Production with the FX5
Monitor & Control ver. 3.0
Scheduled for July 2026 or later, enables wired and wireless video monitoring and camera control
Catalyst Prepare ver. 3.0
Scheduled for August 2026 or later. Catalyst Prepare and Catalyst Browse, which provide high-precision video stabilization and color editing, merge into Catalyst Prepare ver. 3.0.
The world’s first Megadap M2RF autofocus lens adapter for using Leica M lenses on Canon RF cameras (previously reported here) is now available to order at:
Peak Design introduced a new modular field L-bracket system for Sony, Nikon, Canon, Fuji, and Leica cameras (with an AirTag pocket) and is currently crowdfunding the project on Kickstarter. In just the first few hours, they already raised over $200k:
In addition to the new FX camera, Sony will also announce a new FE 100-400mm f/5.6-8 OSS lens that will have an integrated focus limiter switch (∞-3m) into the lens’s AF/MF switch (according to camerainsider).
You can clearly see how the big Japanese brands are behind on the trend – Kodak has four cheap mediocre cameras in the top 10 list.
The BCN Ranking is a POS database that collects and aggregates daily sales data of digital cameras from major consumer electronics retailers and online shops covering approximately 40% of the Japanese retail market.
The official announcement is rumored to be on July 22nd – here is what to expect from the new FX model that will be positioned between the FX3/FX3A and the FX6:
Ultra-Wide 16mm Field of View: With a full-frame equivalent of approximately 12.6mm, it delivers an expansive field of view exceeding 118 degrees for dramatic medium format compositions.
Bright f/2.8 Maximum Aperture: A fast f/2.8 aperture lets you work at lower ISO for cleaner night skies, astrophotography, and dim interiors on high-resolution sensors.
Built for 100MP Medium Format Sensors: The advanced optical design resolves fine detail from center to edge across the entire image circle, matching today’s highest-resolution medium format cameras.
Native Fujifilm G-Mount Fit: This version mounts directly to Fujifilm GFX medium format bodies with no adapter, in a compact 108mm barrel that balances well in the field.
12-Group, 16-Element Optical Design: Three glass aspherical elements and four ultra-low dispersion elements work together to deliver outstanding sharpness, contrast, and color accuracy.
APO-Level Chromatic Aberration Control: Axial and lateral color fringing is held to a minimum even wide open, resulting in clean edge definition and true-to-life color across the frame.
Clean 8-Point Sunstars: A specially designed 8-blade aperture creates crisp, defined 8-point sunstars from f/4 to f/22 for striking starburst effects in cityscapes and night scenes.
0.25m Close-Focus Capability: A minimum focusing distance of just 0.25m enables close-up compositions with strong foreground impact and an exaggerated ultra-wide perspective.
Weather-Sealed Metal Body: A durable metal barrel with a weather-sealing ring helps resist moisture and dust, staying compact and lightweight at approximately 835g.
82mm Filter Thread with SA+ Coating: An 82mm front thread accepts screw-in filters, while SA+ anti-reflection and ultra-hard surface coatings deliver low flare and lasting protection.
Designed for Fujifilm GFX Medium Format Cameras
This Fujifilm GFX (G-Mount) version mounts natively to Fujifilm GFX medium format bodies with no adapter required. It brings genuine ultra-wide coverage to a system that has long lacked an affordable, fast wide prime, unlocking sweeping landscapes, tight interiors, and night-sky work for high-resolution shooters who want maximum angle without compromise.
16mm Ultra-Wide Coverage
With a full-frame equivalent focal length of approximately 12.6mm, the NiSi 16mm f/2.8 delivers an ultra-wide field of view exceeding 118 degrees. That sweeping angle captures vast scenes, expansive skies, and exaggerated foreground perspective that longer lenses simply cannot reach, making it a natural choice for grand vistas and confined interior spaces alike.
Advanced Optical Design
A 12-group, 16-element optical formula includes three glass aspherical elements and four ultra-low dispersion elements. Together they suppress distortion, control aberrations, and keep lines straight even at the edges, delivering excellent image quality and resolving power across the large medium format image circle for architecture and symmetrical compositions.
Resolving Power for 100-Megapixel Sensors
The optical design delivers outstanding resolution from center to edge across the entire image circle, perfectly matched to high-resolution medium format cameras. Fine textures, distant detail, and subtle tonal transitions are rendered cleanly on today’s 100MP sensors, with peak performance reached around f/5.6 for the most demanding studio and landscape work.
Stays Sharp Wide Open at f/2.8
Even wide open at f/2.8, the NiSi 16mm f/2.8 holds sharp detail from the center to the edge. Three aspherical elements help control coma, rendering point light sources cleanly, which makes it a strong performer for Milky Way and astrophotography. The bright aperture also lets you shoot at lower ISO for cleaner, less noisy night-sky frames.
Minimal Chromatic Aberration
The lens delivers APO-level control of chromatic aberration across the entire image circle. Axial and lateral color fringing is kept to a minimum even wide open, resulting in clean edge definition and true-to-life color in high-contrast scenes such as backlit horizons, city lights, and bright winter skies, so files need less correction in post.
Clean 8-Point Sunstars and Close Focus
A specially designed 8-blade aperture produces clean, defined 8-point sunstars from f/4 to f/22, balancing image quality with a strong starburst effect and a small, tidy center spot. A close 0.25m minimum focusing distance and 0.12x magnification let you push in on foreground subjects for added depth, scale, and dramatic wide-angle storytelling.
Precision Handling and Durable Build
The manual focus ring moves smoothly across a 180-degree rotation, while the clicked aperture ring gives accurate, tactile stop control. A weather-sealed metal body, cinema-inspired painted markings, SA+ anti-reflection coating, and an ultra-hard surface coating that resists water, oil, and fingerprints round out a lens built for serious, repeatable work in tough conditions.
Whether you are capturing the Milky Way, expansive landscapes, or dramatic architecture, the NiSi 16mm f/2.8 ASPH. delivers a rare combination of ultra-wide coverage, a bright f/2.8 aperture, and ultra-high resolution. Its 82mm filter thread also pairs with the JetMag Pro 95MAG magnetic system using a dedicated adapter. Built for the Fujifilm GFX (G-Mount) medium format system, it stands among the highest image quality ultra-wide medium format lenses available today, ready for ambitious work in the studio and the field.
DxO released new modules for the latest releases from Canon, Sony, Sigma, Panasonic, and Smayang. A total of 1,515 new DxO Modules were released. Some of the newest camera modules have already been delivered automatically – here is the complete list:
Both Fujifilm and Canon registered new cameras in Asia. Canon registered a new DS126965 camera on July 1st. It features dual-band Wi-Fi. This brings Canon’s total registrations for fiscal year 2026 to three new devices: DS126947, DS126973, and DS126965, none of which have corresponding existing models:
Fujifilm now has two registered and not yet announced cameras:
Fujifilm FF260001: registered on April 7, 2026, featuring the X-Processor 6 APS-C interface, tri-band Wi-Fi 6, NP-W255 battery, and CMOS Image Sensor.
Fujifilm FF260002: registered on July 3, 2026, featuring the X-Processor 6 interface, tri-band Wi-Fi 6, and CMOS Image Sensor – this will probably be the rumored Fujifilm X-T6:
The first 80mm Russian anamorphic cinema lens (previously reported here) was recently presented by Shvabe Holding (part of Rostec State Corporation) at the Innoprom 2026 show. This marks the first time a domestically produced anamorphic film lens has reached the ready-made prototype stage in Russia. The anamorphic series, developed by the Lytkarinsky Optical Glass Plant (LZOS) within the Shvabe holding, includes four focal lengths:
40mm
60mm
80mm (first finished model, now shown)
100mm
All lenses feature a 2x anamorphic squeeze, PL mount as standard (with adapters available for other mounts), and are designed for digital cinema cameras.
Ultra-wide field of view without the edge distortion and corner darkening typical of wide-angle spherical lenses.
Distinctive cinematic rendering, including characteristic bokeh and flares.
High image quality and “unique picture” that sets them apart from many foreign alternatives.
The front elements have an unusual concave shape – a hallmark of this optical design that enables the horizontal squeeze while preserving overall image integrity.
“The development of anamorphic lenses is an important step by a domestic manufacturer for the development of the Russian film industry. In addition to the extended horizontal frames and high image quality, they allow you to create unique cinematic effects. We will launch the film lenses into mass production next year. It is planned to produce 4 sets of products as part of the first installation batch. Test copies will appear this year. They will be available for delivery to film studios, and their cost will be lower than their foreign counterparts.” — Lev Borisov, Deputy General Director for Sales of Civilian Products at Shvabe Holding
Development Timeline & Availability
July 2026: 80mm ready-made model presented publicly for the first time.
Later in 2026: test copies are expected to become available for film studios.
2027: serial/mass production launch, starting with an initial batch of 4 sets.
LZOS & Shvabe Background
Lytkarinsky Optical Glass Plant is one of Russia’s premier optical manufacturers. It is the only facility in the country capable of producing large-scale ground- and space-based mirrors used in major telescopes worldwide. The plant also produces the well-known Rubinar mirror lenses.
Connexion
CMOS image sensor and the latest BIONZ XR2
