Sony FX2– 33MP Full-Frame CMOS Exmor R Sensor, AI-Powered Auto Focus & Framing, & Dynamic Active AI-Based Stabilization

Sony has announced the FX2, which is not a successor to the extremely popular FX3 but rather a new addition to the lineup. The camera utilizes a 33MP Full-Frame CMOS Exmor R Sensor, and it features AI-powered auto focus and framing, and Dynamic Active AI-Based stabilization.

It can record 4K up to 60 fps (in a Super 35 crop), and 1080p up to 120 fps in 10-bit 4:2:2 XAVC S-I.

The Sony FX2 also gets a 3.68m-Dot OLED viewfinder, a claimed 15+ stops of dynamic range, and 4K live streaming. You can also capture stills in S-Log3 mode with optional LUT application.

The FX3 was announced way back in February 2021, and it turned out to be an immensely popular camera for Sony, and that is probably why we haven’t seen a successor. The FX2 is not the FX3 II, but rather a new camera in the line-up that sort of positions itself between the FX30 and FX3.

Sensor

The Sony FX2 has a 33MP Full-Frame CMOS Exmor R Sensor. This is a lot larger than the FX3’s full-frame Approx. 12.9 megapixels (total), 10.2 megapixels (effective) back-illuminated CMOS Exmor R 4K sensor.

Above, you can see the difference between a standard sensor (on the left), and a back-illuminated sensor on the right. Back-illuminated technology places the metal wiring of the photodiode beneath the diode instead of above it. Back-illuminated sensors offer increased sensitivity and less noise.

The FX3 utilizes the same BIONX XR image processor that is found in the FX3, a7S III, and FX6. The processor is claimed to be able to read the sensor 3x faster than the a7S II and 2x faster than most traditional mirrorless hybrid sensors.

The FX3 has a low megapixel count and a fast sensor readout, so it will be interesting to see how the FX2’s new sensor compares.

Arguably, one of the biggest downsides of the FX3 and its smaller megapixel 4K sensor was that you can only shoot UHD in full-frame. If you switch to the 1.5x S35 shooting mode, you are limited to recording in HD. You needed to be seriously aware of this because if you are shooting documentaries or events, you are going to have serious limitations with focal length.

With the FX2, you can shoot DCI 4K and UHD in full frame and in an APS-C crop mode. There is 7K oversampling in full-frame mode and 4K resolution in Super 35 mode.

[1] Recording format [2] Shooting frame rate [3] Recording frame rates [4] When recording in XAVC HS format, 29.97p or 25p is not available.

7K oversampling is used with full pixel readout and no pixel binning when shooting full-frame 4K (QFHD 3840 x 2160), and 4K 60p (59.94p) recording is available in Super 35mm mode. With 10-bit depth, 4:2:2 color sampling, an efficient MPEG-H HEVC/H.265 codec, and Intra recording including DCI-4K (4096 x 2160).

Now, because the FX3 utilized a smaller megapixel sensor, Sony could give you UHD at up to 120p with full pixel readout and no pixel binning.

With the FX2, you are limited to 4K 60 in a S35 Crop. If you want to capture 120fps, you can only do so in HD. The camera supports a wide range of recording formats, including 4:2:2 10-bit All-Intr, and records in high-quality options, such as XAVC S-I DCI 4K at 24.00p

The sensor in the FX2 should still allow you to comfortably shoot in very low-light environments without generating a lot of image noise. Although it arguably won’t be as good as the FX3.

Sony is claiming 15+ stops of dynamic range from the FX2 (the same as the FX3), but I would take that figure with a grain of salt. Most manufacturers exaggerate their camera’s real dynamic range.

Sony is also keen to stress that all of the cameras in the Cinema Line have similar color science and that they have all been designed to match. Given the FX2 has S-Cinetone, if you were also using the FX30, FX3, FX6, and FX9 with S-Cinetone also selected, the cameras should match up pretty well.

Concept

Just like the FX3 and FX30, Sony is pushing the FX2 as a lightweight, compact mobile production camera that can be used by solo operators.

Even though it falls under the ‘Compact Cinema Line‘, the FX2 arguably has a lot more in common with the alpha series than it does the FX6. In saying that, lots of people have been using the FX3 with the X6, and that will most certainly be the case with the new FX2.

Form factor & EVF

Sony designed the FX2 to be as small and as compact as possible. It is considerably smaller than the FX6. While the FX6 and FX9 share a similar design philosophy, the FX2 shares the same form factor as cameras such as the FX30 and FX3.

I could somewhat understand the FX6 not having an EVF, but I personally found it strange that the FX3 didn’t have one. Given the form factor of the FX3, I think a lot of potential users would agree with me. It is good to see that Sony has addressed this with the FX2. The FX2 gets a 3.68m-Dot 0.7x OLED EVF with the ability to tilt 90°.

With the FX3, you needed to add a third-party EVF or a monitor to make it usable in a lot of shooting scenarios. The trouble with this is that an EVF or monitor is going to be nearly as big as the camera, and by the time you add a battery or powering solution, it will end up weighing more than the camera.

The FX2 also has a 3″ 1,440,000 Dot articulating touchscreen LCD, which looks to be the same one that is used on the FX3. This is slightly smaller than the 3.5″ screen found on the FX6.

To keep the cost down, Sony has undoubtedly used existing components and this is probably why the FX2 shares the same LCD screen as the FX3.

The LCD screen has the following brightness modes:

• Manual (5 steps between -2 and +2)
• Sunny Weather mode

Top Handle

The optional top handle connects to the top of the camera through a couple of 1/4 20″ screws and it also interfaces with the MI hot shoe. The top handle also features three 1/4 20″ threads for attaching accessories.

The XLR audio module is the same one that works with the FX3 and FX30, which are very similar to the Sony XLR-K3M. More on audio later.

Just like the FX3, the camera features its own exoskeleton that lets you mount accessories without having to use a third-party camera cage.

There are built-in mounting points (UNC 1/4-20 x3) to support a cageless configuration.

The camera has been designed to be modular, and you can build it up or break it down depending on your needs. This is certainly a trend these days with cameras, and one that is unlikely to change anytime soon.

Size & Weight

The FX2 is tiny, and it weighs 1 lb 8.0 oz, and it has physical dimensions of approximately 5 1/8 x 3 1/8 x 4 1/8 in. As a comparison, the FX3 weighs 640g / 22.57 oz (body only). It is 129.7 mm (5.11″) wide, 77.8 mm (3.06″) high, and 84.5 mm (3.33″) deep.

Just like the FX3, the FX2 has a built-in cooling fan that Sony has somehow managed to squeeze into the tiny body of the camera. The air intake is on the bottom of the camera, and the exhaust is on the left-hand side beneath the HDMI port.

While Sony doesn’t state that the camera will not overheat, they do say that you can record UHD 60p 4:2:2 10-bit in 25°c (77°F) ambient temperatures continuously without any overheating issues. Now, depending on what mode you are shooting in and the ambient temperature, you could still potentially run into overheating problems when recording for long periods of time.

Heat buildup is prevented through a combination of an internal cooling fan, a highly thermal conductive graphite material used in the image stabilization unit, and an innovative design that allows ample air intake even when the LCD monitor is closed. The cooling fan has three modes that can be selected according to shooting conditions: Auto, Minimum, and Off while Recording.

It is impressive that Sony has been able to make the FX2 so light and small, especially since they have included a cooling fan.

The internal structure of the FX2 is made out of magnesium alloy and the camera also features dust and moisture sealing. The external exoskeleton of the camera that features the built-in 1/4 20″ threads is made out of stainless steel.

Between a rock and a hard place

Sony already has the FX30 and the FX3, so creating a camera that doesn’t overlap with either of those two models is far from an easy task.

The line between the FX2 and the FX3 is not as blurred as you may think. Both cameras share some similarities, but they are quite different.

If you are going to try and squeeze a new model into an already crowded line-up, then you need to differentiate it.

No Electonic Variable ND

The FX2 doesn’t have the same electronic variable ND system that is found in the FX6 and FX9. In fact, it doesn’t have any built-in ND at all.

There is one reason and one reason alone why this camera doesn’t have electronic variable ND, and that is due to its small size. It has nothing to do with 5-axis in-body image stabilization or anything else.

Sony’s variable electronic ND system mechanism is placed below the sensor on both the FX6 and FX9. On the FX2, there is no space to put this mechanism. This makes it physically impossible to place this system in a small-sized camera.

Could Sony have utilized a traditional rotating ND system instead? That is a good question. Again, I think because the camera is so small, there is no physical room for any type of internal ND.

One of the reasons that the Canon C70/C80 and Sony FX6 are a lot bigger than the FX2 is mainly due to them both having an in-built ND system.

Dual Base ISO

The FX2 has a dual base ISO when shooting in SLOG3 SGamut3.Cine of 800 and 4000.

But it’s only 4K

In some ways, releasing a camera in 2025 that can only record 4K when a lot of your competition is doing 6K and 8K might at first seem like a strange decision. However, how many people actually need greater than 4K at this point in time? The majority of the content you consume is either HD or UHD, and that is unlikely to change anytime soon. Yes, you could very well argue that capturing at a higher resolution allows for more flexibility with reframing in post or downsampling to get a better 4K image, and those are good arguments, however, if you are capturing in 4K and still delivering in HD (which a lot of people are) you don’t necessarily need resolutions above 4K depending on what you are doing.

Just like the FX9, the FX2 is downsampling from a larger sensor to record 4K, whereas with the FX3/FX6/a7S III, you are getting 4K from a 4K sized sensor.

The worst argument I always hear in regards to resolution is that I am future-proofing my material. Is historical content not being shown anymore because it was captured in black and white, or 4:3 or SD? Of course not. Future-proofing my footage is a ridiculous argument, especially considering the majority of people’s work isn’t something that needs to be preserved and shown in 20 years’ time. In my opinion, there is no such thing as future-proof. Again, there is nothing wrong with wanting to capture something in the highest quality possible, but just don’t use the future-proof argument.

Eye-popping specifications and marketing hype sell cameras, and while the FX2 arguably doesn’t have specifications that leap off the paper, it is still bound to be a very popular camera.

Remember, a camera is just a tool, and it’s not going to magically make you a better shooter. The camera you are currently using is probably still getting you work and making you money. I personally don’t get the fascination with people wanting to continually change their cameras when the camera they are already using is perfectly up to the tasks required.

Stills

From a still image perspective, the camera features an additional log shooting option with a newly added ‘Log shooting’ menu. This feature allows creators to shoot high-resolution 33MP stills, optimized for color grading in post-production. The FX2 also offers smooth operation with a MOVIE/STILL mode lever, allowing for a quick switchover between still and movie shooting. Depending on the selected mode, the displayed menu items will automatically adjust. Additionally, mode selection is made easy with a long press of the Fn button, which recalls and changes the shooting mode.

AI Processing Unit & AF

The FX2 features Sony’s AI processing unit, enabling Real-time Recognition AF. This technology strengthens Sony’s legacy of industry-leading auto focus and allows the user to accurately track animals, birds, insects, and various vehicles. It also introduces Sony’s human pose estimation, which instantly recognizes and tracks a person’s head and torso even when they’re moving or looking away. The FX2 also brings the latest evolution to Sony’s Real-time Recognition AF, featuring a new “Auto” mode that enables automatic subject recognition without the need to select a specific subject mode

Its new Real-time Recognition AF (auto focus) delivers fast and reliable performance with improved accuracy for human subjects, although its intelligent subject recognition extends to animals, birds, vehicles, and insects, with an Auto mode available for effortless detection. For even more control, tools like focus breathing compensation, AF Assist, and customizable autofocus transition speed and sensitivity give creators the flexibility to fine-tune focus for expressive, cinematic imagery. The FX2 comes with Active Mode and Dynamic active Mode, which is new to the Cinema Line, and are both designed to ensure smooth and steady handheld shooting. 

The Auto Framing feature automatically crops and tracks a subject to keep them in a prominent position when the camera is mounted on a tripod, producing footage that looks like it was shot by an experienced operator. The Framing Stabilizer function automatically keeps the subject in the same position within the frame, which can be useful, for example, when the camera operator is moving alongside the subject.

No Locking E-Mount

It’s no real surprise that the FX2, just like the FX3 and FX6, doesn’t have the same locking E-mount found on the FS7 M2 and FX9. It features a regular E-mount. This mount is fully compatible with E-Mount lenses and supports all electronic connections.

Not having a locking E-mount means you really do need to use lens support for certain larger lenses. With a locking mount, it reduces lens play and allows you to use most 35mm lenses, including PL, EF, Leica, and Nikon via optional adapters. That stronger E-mount is also handy for using heavier-long cine-zooms without having to add additional lens support.

Personally, I don’t think it is of any real concern that this camera doesn’t have a locking E-mount.

Button Layout

The FX2’s control and button placement have virtually nothing in common with any of the other cameras in Sony’s Cinema Line. The controls have a lot more in common with the FX3 and other Sony alpha series cameras.

Sony has really tried to minimize the number of physical buttons and switches with the FX2. All the key buttons are on the right-hand side of the camera, where the user will grip the camera for handheld use.

On the top right-hand side, you will find a Record button, three custom buttons which by default are set to WB, ISO, and IRIS.

There is also a zoom lever that can be used to control compatible Sony E-mount power zoom lenses. In a nice touch, you can also use the zoom lever when you have the Clear Image Zoom function enabled on the camera.

On the back right-hand side of the camera, there is a Menu button and a series of buttons that are similar to what you find on an a7S III. Here you can control the Shutter Speed, enter a Playback mode, and Delete clips.

On the front right-hand side of the camera, there is also another customizable button that is preset as a record button.

You need to be aware that you can’t shoot stills when you are in the video mode. However, in stills mode, if you press the REC button that does trigger video recording.

Menus

Sony menus have improved with recent camera releases, and the FX2 continues with that trend. The menu structure of the FX2 is very similar to the FX3, and the video UI is very similar to the VENICE.

The camera also introduces a customizable “BIG6” home screen that provides quick access to essential shooting parameters, such as FPS, ISO, shutter speed (angle or speed), Look presets, white balance, iris, and neutral-density (ND) filter settings. Addressing the growing demand for vertical content creation, the FX2 supports vertical menu display during shooting, ideal for social media formats.

The menus have been separated for video and stills. To switch between the two you push the MODE button. Once you do this, the menus will change.

Many of the functions cross over when shooting stills. Items such as white balance, iris, and ISO work in both modes.

140 Menu items can be assigned to a total of 15 buttons.

Touchscreen Operation

Just like the FX3, the FX2 has the same touchscreen operation available from its LCD screen. This allows you to access menu features and make changes to certain camera parameters.

It also allows you to use touch AF directly on the screen.

What can it record?

As I mentioned earlier, the FX2 supports a wide range of recording formats, including 4:2:2 10-bit All-Intra, and it records in high-quality options, such as XAVC S-I DCI 4K at 24.00p.

It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes.

The FX2 can also continuously record for up to 13 hours in 4K 60p* thanks to its internal cooling fan and effective heat dissipation structure. The FX2 offers variable frame rate settings, allowing up to 60 fps in 4K (for a maximum 2.5x slow-motion) and up to 120 fps in Full HD (for up to 5x slow motion).

* Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto power off temperature: High, Cooling fan: Auto. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit). Actual performance varies based on settings, environmental conditions, storage, and usage.  Batteries are consumable products, and their capacity degrades over time as they age. Sony does not guarantee the life span of the battery.

It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. Users can import up to 16 user LUTs for on-camera preview.

You can also use S-Cinetone as the default, along with a range of Picture Profile and Creative Look presets. A de-squeeze display function is available, supporting both 1.3x and 2.0x anamorphic lenses for accurate framing.

These are the following codec choices that are available in UHD:

• XAVC HS
• XAVC S
• XAVC S-I

If you are shooting in HD you can choose from:

• XAVC S
• XAVC S-I

XAVC S is a subset format, using many of the superlative techniques and technologies used in XAVC, but it is intended for consumer products and workflows. It supports 1920×1080 HD and the 3840×2160 pixel version of 4K, known as Quad Full HD, QFHD, UltraHDTV or UHDTV. XAVC S is a lighter codec with Long GOP compression and relatively small recorded file sizes. XAVC S uses the .MP4 file wrapper for greater compatibility and suitability in consumer workflows.

You may be familiar with XAVC and XAVC S, but the new flavors are XAVC, XAVC HS, and XAVC S-I.

XAVC S-I is an All-I codec with a data rate of up to 600 Mb/s. XAVC-HS uses H.265 compression so that file sizes are no more than 200 Mb/s. It is claimed to offer twice the efficiency of XAVC S but with the same level of quality.

You can record all these XAVC options on either a CFexpress Type A card or a V90 speed-rated SDXC card. If you are not recording in XAVC S-I you can use slower-rated SD cards.

If you don’t want to record in 4:2:2 10-bit you can also choose to record in 4:2:0 10-bit or 4.2.0 8-bit at lower bitrates as well.

You can also record HD proxies on the FX2.

What can it output over HDMI?

An HDMI Type-A terminal enables 4K 60p (59.94p) 4:2:2 10-bit or 16-bit RAW video output to an external recorder for flexible post production. 16-bit RAW video is output at 4672 x 2628 resolution (16:9 aspect ratio), which also covers DCI-4K (4096 x 2160), with selectable [59.94p]/[29.97p]/[23.98p]/[24.00p] frame rates. Video output via HDMI can occur simultaneously with proxy recording to an internal memory card.

Below is what the camera is capable of outputting over HDMI:

Raw 16-Bit
4.2K (4672 x 2628) up to 59.94p

4:2:2 10-Bit

• 4K DCI (4096 x 2160) at 23.976p/25p/29.97p/50p/59.94p
• UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
• Full HD (1920 x 1080) at 23.976p/50p/59.94p
• Full HD (1920 x 1080) at 50i/59.94i

4:2:0 8-Bit
UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
Full HD (1920 x 1080) at 23.976p/50p/59.94p
Full HD (1920 x 1080) at 50i/59.94i

What media does it use?

Just like the FX3, a7S III, and the FX6, the FX2 utilizes CFexpress Type A cards. This doesn’t mean you have to use these cards; the camera is still backward compatible with SD UHS-II cards as well. However, you do need the faster CFexpress Type A cards if you want to record certain frame rates.

The FX2 has dual card slots, so you can record to both card slots simultaneously if you want to.

CFexpress Type A cards have come down in price in the last year or so. The highest capacity card you can get is 2 TB.

Power Draw & Batteries

The FX2 utilizes the same Sony NP-FZ100 batteries as the FX3 and a7S III.

You can also power the camera via a USB-PD. This allows you to keep the camera powered up for extended periods of time. You do need to have the battery in the camera when you do this. While it won’t charge the battery while you are doing this, it will not drain the battery either.

PD-compatible USB chargers and mobile batteries can be connected to the camera’s USB Type C port, to supply power or to recharge the internal battery at 3 to 4-times the speed of conventional power supplies.

The camera itself draws the following:

• [Movie] Approx. 7.3W
• [Still image] Approx. 3.4W

As a comparison, the Sony FX6 draws 18W, and the Canon C70 draws 14.6W. The RED KOMODO draws 28 Watts of power in the camera’s basic recording configuration at room temperature, 6K, and 24 frames per second, and 45 Watts of power when using DSMC3 RED Touch 7″, at room temperature, 6K, and 80 frames per second. The BMPCC 6K Pro with the optional viewfinder draws 26W.

User LUTs?

The FX3 got a firmware update in 2022, where you could load up your own LUTs. With the FX2, you can also load up to 16 user LUTs.

No anamorphic

Just like the FX9, FX6, a7S III, and FX3, the FX2 isn’t capable of recording in any anamorphic modes. That is reserved for the VENICE/VENICE 2, and BURANO. However, there are 1.3x and 2x de-squeeze options for viewing.

Timecode/SDI/HDMI?

In Version 2.00 firmware, the FX3 gained the ability to input timecode by using a dedicated adaptor cable. The cable needs to be purchased separately, and it is called the VMC-BNCM1. The VMC-BNCM1 is 0.2 m (0.6 ft) long and it retails for $169.95 USD. You can match the FX3’s time code with devices equipped with a time code output terminal by connecting the camera and the device. You connect the Multi/Micro USB terminal of the camera to the BNC output terminal of a commercially available BNC cable.

You can do the exact same thing with the FX2.

Here is how it works once you have the VMC-BNCM1 adapter cable:

Firstly, you need to go to MENU (Shooting) then TC/UB and set Time Code Make to Preset and Time Code Run to Free Run.

You then connect the BNC output terminal of your timecode device or TC out from another camera to the Multi/Micro USB terminal of the camera with the VMC-BNCM1 adapter cable.

The time code of the camera will then synchronize with the time code of the connected device (external lock state), and EXT-LK will appear on the screen. Once the external lock state has been set for approximately 10 seconds, it will be maintained even after the device on the time code output side is disconnected.

When you set the camera to the external lock status, the time code is instantly locked to the external time code, and the same value as the external time code appears on the time data display. However, Sony does warn that you should not start recording for a few seconds until the time code generator stabilizes. If the frequency of the reference time code and the frame frequency of the camera are not the same, the time code cannot be locked correctly, and the camera will not operate normally.

What is slightly alarming is that Sony states that the video recording may be off by one frame per hour with respect to the reference time code.

There is a BNC on one end of the cable so you can attach something like a Tentacle Sync E MKII or a Deity Microphones TC-1 Wireless Timecode Generator Box.

You do get a full-sized HDMI output just like the FX3.

Sony has placed the HDMI input further forward on the camera body, just like on the a7S III, so the articulating LCD screen won’t hit it.

Could Sony have put in at least a mini SDI connector on the camera? Probably, but they didn’t. I think the main reason for sticking with HDMI is that most affordable monitors and other accessories tend to only have HDMI inputs. I assume that this is Sony’s logic for using HDMI instead of SDI. There is obviously not enough space for both HDMI and SDI, so like it or not, HDMI is probably the better option for the target audience of this camera.

Audio

Audio functionality is very important, especially with cameras that are being aimed at solo operators. Sony has clearly thought this through, and by making use of their existing XLR adapter module technology, they are able to offer users a pretty good solution.

The FX2 can be used with the Sony XLR-H1 XLR Handle Unit. This is physically attached to the included top handle, and it allows the camera to be able to record up to 4 channels of audio.

The XLR module lets you choose between inputting mic and line and it can also provide +48V phantom power. There is also a switch on the handle that lets you turn off the audio coming from the XLR module.

Below are some of the options you could use for recording four channels of audio:

• XLR Input 2-channels + Internal microphone (2 channels)
• XLR Input 2-channels + Internal Microphone + 3.5mm mic input
• XLR Input 2-channels + Stereo splitter cable going into the 3.5mm mic input

If you go into the Quick Audio menu you can control and adjust all four channels of audio. There is also a menu for 4ch Audio Monitoring that allows you to select the audio channel combination to output to the
headphone terminals when the audio channel number is set to 4ch.

If you do decide to use the camera without the top handle, you can still record audio via the onboard 3.5mm mic input. This is something you can’t do with the FX6.

You could also remove the top handle and utilize the MI hot shoe to add another audio module directly to the camera body if you wanted to make the camera more compact.

It is a bit puzzling as to why you can’t remove the audio module from the handle and just attach it to the MI shoe directly on the camera body. I think most users would have preferred to have seen the audio module be detachable from the camera handle.

My only concern with running audio through the MI hot shoe is that it could be prone to issues. When the original XLR audio module came out for the a7S it was prone to channel bleed and it caused me all sorts of headaches on a shoot. I do believe that those issues have been solved with subsequent models, but it is worth keeping in mind.

Audio is where Sony seems to have a big advantage over Canon. Canon doesn’t have any type of XLR audio module that you can use with the C70/C80 or R5 II/R6 II. Considering a lot of users of small-sized cameras like these are going to be doing their own audio, the audio options need to be good.

As I have already alluded to, the FX2 also features a stereo onboard microphone in the body of the camera itself.

You need to be aware that the FX2 does not come with an external microphone.

Live Streaming

The FX2 is also a great choice for live streaming to a computer via USB (UVC/UAC) or a wireless or wired LAN30 network. You can stream up to 4K (3840 x 2160) 59.94p video via LAN while simultaneously recording to the camera’s memory card. LAN streaming protocols include RTMP, RTMPS, and SRT.

Connectivity & Remote Control

Unlike the FX6, FX9, BURANO, VENICE/VENICE 2, the FX2 doesn’t work with Sony’s Content Browser Mobile. Instead, you need to use Imaging Edge just like the Alpha series cameras.

For remote control, you can use either Imaging Edge Desktop or Imaging Edge Mobile.

Compatible Accessories

The FX2 can utilize a range of compatible accessories.

These include compatibility with the new UWP-D series of wireless microphones via Multi-Interface Shoe (MI Shoe) with digital audio interface.

Price & Availability

The FX2 will be available early August for a suggested retail price of $2,699.99 USD and $3,499.99 CAD body only or $3,099.99 USD and $3,999.99 CAD with XLR handle. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

At $2,699.99 USD the FX2 is arguably competitively priced. Its main competition is hard to quantify, as there are so many full-frame mirrorless hybrids on the market that have a good blend of still and video performance.

$2,699.99 USD seems to be a reasonable price given its feature set.

So, how does the price compare to some of the competition? Below you can see:

	PRICE
Sony FX3	$3,899.99 USD
Sony a7S III	$3,498 USD
Canon EOS R5 Mark II	$4,099 USD
Sony FX6	$5,999.99 USD
Canon C70	$4,399 USD
Canon C80	$5,499 USD
RED KOMODO	$2,995 USD
Panasonic Lumix S1 II	$3,197.99 USD
Panasonic Lumix S1 IIE	$2,497.99 USD
Panasonic S5 II	$1,597 USD
Sigma BF	$1,999 USD
Blackmagic Design Pocket Cinema Camera 6K G2	$2,195 USD
Blackmagic Design PYXIS 6K Cinema Box Camera	$3,295 USD

Where does this camera sit?

Whether you love Sony cameras or loathe them, the Japanese company has always priced its mid to lower-end cameras fairly aggressively. As I have mentioned in recent articles, the camera market has started to divide into two key sectors: the under $10K category and the high end. There really isn’t much in between. The FX2 falls clearly into the lower sector of that under $10K category.

It used to be that half the battle was being first to market and providing something your competitors don’t. If you look at the F5, F55, FS5, and FS7. All of these cameras were released at a time when they didn’t have any direct competition. However, in 2025, with mirrorless hybrids, once you have a user hooked into your ecosystem, where they have bought a lot of native lenses, it is very easy to keep them. Just because another company comes out with a camera that arguably has better specifications, it doesn’t mean that someone is going to suddenly just switch over. If you have invested a lot of money into native E-mount lenses, you aren’t suddenly going to jump over to a Panasonic camera, because you would need to sell all of your lenses and start again.

Despite the FX3 not having ‘jump off the page’ specifications, it was extremely successful for Sony. Not only did it work well with the popular FX6, but it was marketed well. It also helped that it was used on a couple of big films.

How does it compare to the FX3?

Let’s compare the two (at least on paper).

	FX2	FX3
Sensor	33MP Full-Frame CMOS Exmor R Sensor	Full-Frame 10.2MP back-illuminated CMOS Exmor R
Dual Native ISO	No (High Sensitivity mode)	No (High Sensitivity mode)
Dynamic Range (Claimed)	15+ stops	15+ Stops
IBIS	Yes	Yes
Electronic Variable ND	No	No
Picture Profiles	S-Log3, S-CineTone, S-Gamut3.cine, S-Gamut3	S-Log3, S-CineTone, S-Gamut3.cine, S-Gamut3
Internal Recording	UHD up to 59.94p XAVC Intra 422 10-bit (Class 300) UHD up to 60p XAVC Intra 422 10-bit (Class 300) HD up to 120p XAVC Intra 422 10-bit (Class 100)	UHD up to 59.94p XAVC Intra 422 10-bit (Class 300) UHD up to 120p XAVC Intra 422 10-bit (Class 300) HD up to 240P XAVC Intra 422 10-bit (Class 100)
External Recording	UHD up to 59.94p 4:2:2 10-bit 16-bit linear RAW output over SDI	UHD up to 59.94p 4:2:2 10-bit 16-bit linear RAW output over HDMI
HDMI Out	Yes	Yes
SDI Out	No	No
Timecode In/Out	Yes (with adapter)	Yes (with adapter)
Genlock	No	No
Recording Media	1x CFexpress type A 1x SD	1x CFexpress type A 1x SD
LCD Screen	Yes	Yes
EVF	Yes	No
Audio	XLR Module Support for 4 channels of audio 1x 3.5mm Mic Input	XLR Module Support for 4 channels of audio 1x 3.5mm Mic Input
Headphone Jack	Yes	Yes
Included Battery	Yes	Yes

Initial thoughts

The FX2 will be popular, because people love the FX3 and FX30. While some of the specifications don’t jump off the page, the content creator market has boomed and this camera fits a lot of that market like a glove.

The FX2 does step on the toes of the FX3, but I personally think there is enough differentiation between the two models.

The AI features, larger sensor, and EVF are all features that are likely to appael to users.

We tend to expect a lot with camera releases, and sometimes that involves having unrealistic expectations. The FX2, at least in my opinion, is a solid offering, and with the success of the FX3, Sony has stayed on the same path without deviating too much. If you own an FX3 and are happy with it, there is probably no reason to swap over to the FX2.

People are still likely to complain that there’s no internal RAW recording, there are no anamorphic modes, it can’t record in 6K, and that it doesn’t have electronic variable ND. Complaining about what a camera does or doesn’t have is an exercise in futility. If you don’t like what Sony has done, there is nothing wrong with that, there are plenty of other camera options out there.

What is your reaction to this announcement? Is the FX2 the camera you are going to be interested in? Let us know in the comments section below.

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