Opinion: The Sony a7 V is the Cinema Camera the FX2 Should Have Been

Opinion

by Omri Keren Lapidot6 days ago

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Sony has recently announced its new mid-tier hybrid, the Sony a7V. This camera packs a significant punch thanks to a new sensor and processor combo that significantly cuts readout speeds, while also improving processing efficiency and reducing heat buildup. These are fundamental improvements for motion capture, noticeably elevating the camera’s capabilities in this area. However, we’re not here to talk about the Sony a7V – you can read our previous coverage here or listen to our Focus Check podcast for that. Instead, we’re here to look at which camera Sony might have missed, or could potentially launch sometime in the future.

As I wrote in my recent article about how the FX2 is actually Sony’s best stills body, and in other CineD coverage, I’ve noticed a recurring comment: “Sony is just using old stock to reheat an old camera”. I still think the FX2 is a worthy camera, capable of strong results, but with the arrival of the new a7V, along with broader competition from Nikon, Panasonic, and Canon, its shine quickly wears off. So did Sony trick us all?

I enjoy a good conspiracy rabbit hole as much as anyone, but this feels more like a matter of straightforward business priorities. Rather than diving too deep into speculation, let’s look ahead and talk about what might come next.

What we have

Leaning heavily on the foundation laid by the a7 IV, the Sony FX2 felt somewhat dated on arrival. The sensor architecture, rolling shutter behavior (Lab test here), and overall image character were all too familiar. Sony did add cinema-oriented ergonomics, active cooling, and professional connectivity, but the core imaging pipeline remained conservative. Nevertheless, the FX2 filled a much-needed gap between the FX3 and FX30, offering high-quality oversampled footage as well as cropped 4K from the Super 35 region. It clearly has its merits, but for some users, it arrives as too little, and quite late.

Add the a7V into the mix, and the FX2’s position becomes increasingly awkward. We now have a higher 7K oversample paired with a partially stacked sensor, effectively removing the readout time compromise. (Lab Test coming soon!)

What is happening on the other side

This “family affair” does not happen in a vacuum, as Sony is not the only player in the field. Nikon has announced the Nikon ZR, Panasonic introduced their partially stacked LUMIX S1II, and Canon has been working tirelessly, launching what could be seen as a power pairing: the cine-focused Canon EOS C50 and the hybrid EOS R6 Mark III.

Sony may be late to the hybrid party, but it did make a strong entrance with the impressive a7V. In the compact cine camera space, not the most clearly defined category to begin with, Sony’s lineup is starting to feel long in the tooth. Just imagine how different the market might look had the FX2 launched with the a7V’s “engine”, even if that release had come a little later.

What could have been

“What If” speculation is rarely productive, but it can at least be entertaining. Since most of us don’t have a seat at the table where these decisions are made, all we can do is speculate. I find it quite similar to football fans shouting at their TVs or across a packed stadium. The fact that they have no real influence takes nothing away from the fun.

So let’s play this game. Had Sony launched a beefed-up version of the FX2 instead of the allegedly “reheated” camera, we might now be looking at Canon as the one arriving late with the EOS C50. That would have shifted parts of the market dynamics, though it’s hard to say how much impact it would have had on real-world sales.

Sony has proven itself to be a strong sprinter, entering a market long dominated by Canon and Nikon and quickly capturing a substantial share. After that initial push, the company has settled into a phase of gaining some ground, then losing some. If we’re speculating, it’s worth asking what happens if Sony announces a successor to the Sony FX3 in the near future. Imagine the specs of the a7V packaged in a square, grey, cine-first body. Even if such a camera arrives later than expected, it could create real pressure for Canon, and perhaps even more so for Nikon. This game is far from over.

Are you a Sony filmmaker considering a new system? How long will you wait before you “lose hope” for a new and improved FX3? Will you opt for the hybrid a7V for serious cine work? Let us know in the comments.