The Sony FX2 announcement last month is arguably an unusual addition to the brand’s cine lineup, as a cinema camera that’s also poised for some hybrid still photo capabilities.
But thanks to a recent interview, creatives now have a bit more insight into why Sony made some of the seemingly odd choices for the FX2 – including why the camera is priced higher than the stills camera with the exact same sensor.
In an interview with YouTuber, filmmaker, and self-proclaimed gear nerd Armando Ferreria, Sony’s Cinema Line product manager, Jie Song, shared insights into some of the camera’s features – from the lack of open gate to the camera’s price.
Song explained the reasoning behind using the same sensor as the Sony A7 IV, a 2021 camera, noting that the goal was to create a more affordable cinema body that could closely match the picture performance and high dynamic range of the high-end Venice bodies.
One of the reasons that the Sony FX2 is unusual is that, while it is a cine camera, it's also a hybrid camera designed to take photos. “A cinema camera can take amazing photos,” Song said.
Where other FX series cameras lack burst and flash capabilities, the FX2 does not. Sony calls the FX2 an entry for future filmmakers, but the FX2 doesn’t replace another model in the lineup; rather it sits as an affordable entry that offers more stills features than the FX3 and FX30.
But the Sony FX2 retails for US$2,699 / £2,699 body only, where the original list price of the A7 IV with the same sensor originally sold for US$2,500/ £2,399. The sensor isn’t the only factor that plays into price, but Song had an explanation for the price difference.
“The cinema line is generally always priced higher compared to the Alpha. The reason of that is, as a professional lineup, generally we hold the value much longer compared to the consumer.”
At launch, many wondered why the Sony FX2 had a built-in tilting viewfinder, rather than the add-on viewfinders that can be removed on the higher-end cinema options. But Song says the FX2 was designed with the idea of making cinema and still photos easier for entry-level users.
“We are not only designing for one purpose, we are more thinking about how we can make it easier for everybody,” he said.
One of the criticisms of the FX2 is that the camera lacks open gate – a recording format that uses the full sensor for more flexibility to crop in post, as well as having benefits for anamorphic lenses.
Song said adding the feature in a later firmware update was “definitely a possibility,” but did not explicitly state if the feature would be coming. He also hinted that a 1.5x desqueeze for anamorphic lenses could be a possibility in the future.
In addition, Song teased a future menu system change for the brand’s cinema series in a way that would enable users of the entry-level models to more easily step into the high-end models down the road.
“The goal for the future is that we really want to unify the menu system, the operation, the experience, and even for the people who can early access the more advanced menu system.”
Shipping for the new Sony FX2 is expected to begin in July.
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Browse the best cinema cameras or the best Sony cameras. And to see how the existing FX range compares, check out our Sony FX30 vs FX3 and Sony A7S III vs Sony FX3 vs Sony FX6 comparisons.
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