GEAR SONY FX2
everything running even in extended 4K shooting on hot days. Yet, the vari-angle LCD offers only modest resolution which can hamper critical focusing when relying on it in bright light. It’s better to use the EVF instead. The crop mode required for 4K/60p means wide-angle coverage is reduced in those modes, and the lack of internal full-frame Raw limits certain high-end workflows. Battery life is solid with Sony’s NP- FZ100 battery giving over an hour of recording in many situations, though heavy-duty users will need spares. It’s the same battery Sony uses in most of its newer cameras so they’re plentiful. If you are already a Sony owner, you’ll quickly get to grips with the FX2. It’s a great performer with unique features that could suit your workflow needs.
social formats. There are dual card slots for CFexpress Type A and SD, a full-size HDMI, USB-C 10Gbps, USB PD, built-in streaming, wired LAN via adapter and UVC/UAC support. In practice, the FX2 is a joy to shoot with and the tilting EVF is a real bonus. Its still-image quality is superb, producing crisp, clean, full-resolution files. The dynamic range and colour science, especially with S-Cinetone and built-in LUT previews, yield footage that feels modern and cinematic straight out of camera. The body cooling system is effective, with the fan keeping
“Image stabilisation in Active and Dynamic Active modes supports handheld shooting, a first for Sony Cinema Line bodies” for stills-and-video hybrid shooters who have to choose between video or stills when shooting key moments. However, the FX2 is a bit limited by its 10fps stills and 60p slow motion with an APS-C crop. In terms of video, it can record 4K up to 60p but in full-frame it is limited to 30p, which is oversampled from a 7K readout. Whereas 60p is supported in Super 35 crop mode, oversampling from 4.6K. For serious slow motion, Full HD can go to 120fps. Raw output in 16-bit is available via HDMI, but only from 4.7K in cropped APS-C mode. If you want full-frame internal Raw, this camera doesn’t deliver. No Sony cameras do, though. The FX2 has image stabilisation in Active and Dynamic Active modes to support handheld and run-and- gun shooting, a first for Cinema Line bodies. These modes work well when shooting without rigs or gimbals but still aren’t the best in the business.
PACKAGE DEAL With an articulating screen, tilting EVF and Sony’s unique MI Shoe mic, you’re ready to shoot serious movies
Autofocus relies heavily on its dedicated AI chip. The system supports Real-time Recognition AF for humans, animals, birds, insects, vehicles and more. There’s an auto recognition mode so the camera chooses what to track, which is how we used it most of the time. This is the autofocus capability that hybrid creators value, especially in dynamic shooting scenarios. The user experience concludes with several workflow-optimising touches such as a physical Movie/Still mode switch, a Big 6 customisable home screen showing frequently used controls, tally lamps, LUT support for 16 user LUTs, anamorphic de-squeeze previews in 1.3x and 2.0x and vertical- orientation information display for
THE VERDICT
With the FX2 sitting in-between the full- frame £3579/$3898 FX3 and crop-sensor £1599/$1798 FX30 in both price and spec, and featuring a similar cine-style body and controls, its the new features that really make it stand out. The great stills performance, tilting EVF and stills-from- video mode are two that are just fantastic. But the crop at higher frame rates means that, for pure video shooters focused heavily on slow motion or low light, the FX3 may still lead. In comparison to its siblings, the FX2 occupies an interesting middle ground. It’s more capable for stills than the FX3 but less optimised for extreme video-only use in some areas. It bridges the chasm between full-frame cinema bodies and hybrid mirrorless tools. Many Sony-based creators will find this balance compelling. But with the internal Raw offerings of the new Canon and Nikon hybrid, they could provide very credible alternatives.
More information sony.com
HOW IT RATES
Features: 9 Has everything apart from internal Raw and fast frame rates Performance: 9 Great stills and video quality, if you don’t need super slow-motion Handling: 9 The titling EVF is a great addition, and Big 6 menu is welcome Value for money: 9 The price of top-quality hybrids continues to be more attainable OVERALL RATING: 9/10 It’s a high-quality cine-and-stills machine with a useful EVF Pros: Tilting EVF, stills-and-video together feature Cons: Crop in 4K/60p and no 120fps higher than HD
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