Sony FX2 Review: Slow and Steady Might Win This Race

It’s been more than four years since the launch of Sony’s very popular FX3 compact cinema camera, so I was expecting an update to that model to come any time. Imagine my surprise when Sony instead launched a high-resolution cinema camera with a strong emphasis on photographic functionality and a brand-new design.

That’s the Sony FX2, a camera that indicates an interesting change in direction for the FX line. But more importantly, is this a good camera, and who is it for?

Sony FX2 Review: What’s On The Inside?

The main differentiator of the FX2 from the rest of Sony’s cinema line is the 33-megapixel full-frame BSI sensor previously found in the a7 IV and a7C II. This produces extremely sharp oversampled 4K video up to 30p. This is a dual gain sensor with excellent dynamic range at the base ISO of 800 in S-Log3, and very little noise at the second gain step of 4000 ISO. Unfortunately, this sensor is also quite slow. There is considerable rolling shutter or “jello effect” when recording in the oversampled 4K modes, and 4Kp60 requires an APS-C crop. This is in stark contrast to the full-width 4Kp60 found in the other recent FX models.

The other unusual feature is the inclusion of a mechanical shutter for shooting stills. When the FX30 was released with only an electronic shutter, I felt that Sony was moving away from mechanical shutters. Quite the opposite, it turns out, and the FX2 features an electronic first curtain shutter. This will largely eliminate rolling shutter artifacts in photos and is similar to the shutter found in the Sony a7C II.

Flashes can sync with this shutter up to 1/160 second. Sony says that the mechanical shutter was re-introduced to fulfill the needs of set photographers, but most of them will be shooting silently. In silent electronic shutter, rolling shutter artifacts are so plentiful I find this functionality almost useless. One feature those set photographers may appreciate is the ability to shoot JPEGs with the S-Log3 profile, meaning the same grade can be applied to both Log footage and photos for a perfect match.

Footage and photos can be captured on either a CFexpress Type A card (though only one slot is available, but it doubles as a second SD card slot) or a UHS-II SD card. Nearly all of the recordings can be captured to an SD card, so expensive CFexpress A cards are only required for the most demanding All-I modes.

RAW video can only be recorded externally and only with 4.7K resolution from the APS-C region. As a result, if you’re into RAW video, this isn’t the camera for you.

The battery is the ubiquitous Sony FZ-1000, which usually gave me just over an hour of recording per charge.

Sony FX2 Review: What’s On the Outside

The most attention-grabbing aspect of the FX2’s design is the pronounced electronic viewfinder. This is the first FX camera to include one, and it’s certainly not subtle. There is a large, comfortable eyecup included and a good amount of clearance from the body, minimizing accidental contact with the touch screen. Interestingly, this EVF also tilts, which is extremely comfortable when shooting below your eye line. While the specs are middle of the road with 3.69 million dots (1,280 x 960), it’s an absolute pleasure to compose and confirm focus, especially in bright light. One thing to consider though, is that a microphone receiver or monitor can block the EVF articulation, which is frustrating.

The LCD on the other hand is pretty underwhelming for a camera at this price. While fairly bright and fully articulating, this 1.03-million dot (720 x 480) display lacks detail and makes confirming focus difficult without punching in. I kept positioning the camera near my face so I could take advantage of the EVF and ignore the lame LCD.

One other notable update is the deeper grip. With my large hands, I found it quite comfortable, and I appreciated that it remains quite thin, so thicker lenses commonly used when shooting video aren’t bumping up against my knuckles.

I do want to mention that the new flap covers for the HDMI and USB ports are very fiddly and easy to bump open. While shooting in a light rain, I was terrified to find that the HDMI port cover had been pulled back and the port had been exposed to water. Fortunately, it was still functional. It’s also worth mentioning that the mic and headphone jacks are fully exposed, and could easily accumulate water or dust.

Otherwise, the FX2 takes its design cues from the FX3 and FX30 bodies, with a pile of 1/4-inch mounting points, a fiddly power switch, and industrial design. Despite looking pretty chunky, the FX2 weighs in at only 24 ounces (679 grams), making it ideal for handheld and gimbal work. One design choice that remains is the top-mounted AF joystick. This may have made sense on the other FX bodies designed to be held lower, but while using the EVF, I found the control quite difficult to find consistently.

Sony FX2 Review: More Than an a7 IV

Much of this review has been spent talking about how the FX2 differs from the other cameras in the FX line, and how it includes functions found on the Alpha bodies. So why would you get the FX2 instead of the less expensive and smaller a7 IV? The built-in fan is a major benefit for those requiring long clips, and I was unable to get the FX2 to overheat at room temperature even when recording the oversampled 4K modes.

As well, the FX2’s stabilization is notably improved over the a7 IV. The in-body image stabilization (IBIS) does a good job of taking out the jitters when attempting to keep the frame steady, but when walking with the camera I would recommend engaging one of two “Active Steadyshot” modes, Sony’s name for additional digital stabilization. Unlike the a7 IV, the FX2 offers the stronger “Dynamic Active Steadyshot” which incurs a massive crop to the image but does lead to very smooth footage while walking.

There are a number of interface improvements for video shooters as well. A “Big 6” view shows all your commonly adjusted settings at once, much like what you see on professional Arri, Blackmagic, and Panasonic bodies. The shutter can be controlled by shutter speed or shutter angle, so you don’t need to remember to adjust your shutter speed while changing frame rates. As well, an anamorphic de-squeeze display can be enabled so you can properly compose when using anamorphic lenses. Unfortunately, only 1.33x and 2x squeeze ratios are offered, so those with 1.5x and 1.8x lenses will still want an external monitor or a level of confidence I don’t possess.

The biggest advantage of the FX2 over the a7 IV is the extremely reliable autofocus courtesy of a dedicated processor for AI-based autofocus. While recording several PetaPixel episodes, I have a few examples where the AF wasn’t exactly where I placed it. This same benefit applies to photos as well, with shots of skiers, animals, and kids were consistently bang on. If you find the a7C II too small and want great autofocus combined with the 33-megapixel sensor, the FX2 is a better option than the a7 IV.

The Sony FX2 Gets a Lot Right

Shooting with the FX2 was my favorite experience of any camera in the FX line. Some will argue that the additions like the EVF, deeper grip, and mechanical shutter just make it a glorified Alpha camera, and less of a dedicated cinema camera. However, I do all my professional work with mirrorless cameras specifically because I find those photo-centric functions to be a huge benefit when recording video as well. The ability to truly trust the autofocus also made the shooting experience simple, fast, and truly pleasurable. The one things holding this camera back are the readout speed, its crop at 4Kp60, and extremely noticeable rolling shutter artifacts took some of the shine out of my time filming.

I truly hope Sony revisits this body design with future models in the FX series. An FX3 II with this EVF and autofocus capabilities would be a truly exceptional video tool.

Are There Alternatives?

As mentioned previously, if you have even a passing interest in video and are comparing this with the a7 IV, go with the FX2. The AF, tilting EVF, video interface and improved stabilization absolutely justify the higher asking price.

However, if you are looking at this price range, you’re getting quite close to the older but still very capable FX3. That camera features a similar body with a much faster readout allowing full width 4Kp60 and cropped 4Kp120. However, the 33MP FX2 is a much better photo camera than the 12MP FX3, and it offers better autofocus and that great EVF. If fast action video is a priority, go FX3, for other subjects I’d happily take the FX2.

If you’re willing to look at other brands things get a bit more complicated. Nikon has the versatile Z6 III for $2,500, which boasts a partially stacked sensor enabling uncrossed 4Kp60, a usable electronic shutter, and internal RAW video. The Sony’s fan to control overheating, more consistent autofocus, and easily rigged design mean it’s by no means outclassed, though.

Similarly, Panasonic offers the outstanding S1 II with a similar partially stacked sensor to the Nikon. It offers vastly more recording options, with open gate modes that record the entire sensor, more comprehensive anamorphic support, and internal Raw video. However Sony still has more reliable autofocus, and that can make all the difference in some situations.

Should You Buy It?

Maybe. If you’re a Sony shooter and rolling shutter won’t be a concern for the type of work you do, you should absolutely buy the FX2. The photographic capabilities also mean you won’t be sacrificing stills performance for video chops.

Things are a bit more complicated if you’re considering other systems, and it’s well worth considering if the FX2’s slow sensor will hold you back. If so, there are plenty of compelling alternatives out there.