Hasselblad X2D Mark II images and major core specifications surface today. Since in our previous post we have clearly mentioned that the camera maker has 180 days of time to announce the camera, and since they have failed to do so, the FCC ID, according to their rules, has publicly released the major core specifications and images of the camera.
Exclusive insight from the registration details
The Hasselblad X2D II is Hasselblad’s next generation mirrorless medium format digital camera with a large 100-megapixel CMOS sensor
that boasts 16-bit colour depth and a dynamic range of 15 stops. The camera features a 5-axis 8-stop in-body image stabilization (IBIS) and face
detection. Hasselblad Natural Colour Solution (HNCS) technology is integrated into the camera’s system, delivering superb, true-to-life tones that
match what the human eye sees. The HB722 offers more storage with a built-in 1TB SSD and users can expand the capacity further with a
CFexpress Card Type B. With access to a vast range of high-quality lenses including XCD, HC, HCD, XPan, and V System, the creative possibilities with the HB722 are
endless.
So now we have the official core specifications and real images of the camera. And now its up to hasselblad when they want to do an formal announcement for X2D II
Hasselblad X2D II Full Specification
100-Megapixel CMOS Sensor: A 100MP medium format sensor with 16-bit color depth and 15 stops of dynamic range for exceptional image quality.
8-Stop 5-Axis IBIS: Advanced in-body image stabilization for sharper handheld shots, even in low-light conditions.
LiDAR Autofocus System: Cutting-edge LiDAR technology for fast and precise focusing, ideal for challenging lighting scenarios.
Hasselblad Natural Colour Solution (HNCS): Delivers true-to-life colors that align with human vision.
1TB Internal SSD: Built-in storage with support for CFexpress Type B cards for high-speed, high-capacity workflows.
Lens Compatibility: Supports XCD, HC, HCD, XPan, and V System lenses for versatile shooting options.
Connectivity: Bluetooth and WiFi (2.4GHz) for seamless wireless integration with modern devices.
Display: Top LCD screen for quick access to shooting parameters, enhancing the user experience.
Body Design: Black aluminum alloy top plate, maintaining Hasselblad’s signature minimalist aesthetic.
What’s NEW inside the Hasselblad X2D II
The Hasselblad X2D Mark II features a 100MP new BSI CMOS Medium Format sensor, upgraded LiDAR autofocus, and enhanced sensor shift image stabilization, 8-stop IBIS, The camera is actually made for photographers. While video capabilities remain unconfirmed, earlier leaked information suggests that X2D II may include 4K recording,
Follow TheNewCamera.com for the latest updates, reviews, and camera rumors. Join our community on X for real-time news! Also Follow us on our social pages FACEBOOK | INSTAGRAM, If you have time –>see more+ Hasselblad rumors 24X7
Disclaimer: This post contains affiliate links. As an Amazon Associate, we earn from qualifying purchases, which helps keep TheNewCamera.com running without additional cost to you.
Sony FX2 versus the Nikon Z6 Mark III camera, let’s explore the differences between the two point by point
The Nikon Z6 Mark III camera is slightly larger, with a photography-friendly body and controls. The Sony FX2 does have a deep hand grip, but it has a somewhat boxy design. The thing that makes a big difference between the two, specifically in the design part, is that Sony is made for cinematography purposes and carries a lot of tripod threads all over the body to mount it perfectly in cinema rigs. The other advantage we have with the Sony FX2 camera is the moving viewfinder.
Nikon Z6 III and the Sony FX2 — both of them support dual card slots, one dedicated for CFexpress and one SD card slot. The Nikon Z6 Mark III monitor is slightly larger and of higher resolution, so users may experience better LCD quality with the Z6 Mark III camera. At the very same time, the electronic viewfinder is also a 5.76 million-dot unit compared to a 3.6 million-dot electronic viewfinder in Sony, but yeah, we are getting better display units in the Nikon Z6 Mark III.
The wireless functionality of the two is almost the same, but Nikon does have GPS support via smartphone to enable geotagging functionality for travel purposes, documentary work, or maybe for photojournalism purposes. The FX Mark 2 camera misses out. Although the humidity tolerance and the weatherproof criteria of both cameras match each other, so we literally do have almost the same build quality in both cameras.
Design Comparison
Feature
Sony FX2
Nikon Z6 III
Lens Mount
Sony E
Nikon Z
Material of Construction
Magnesium Alloy
Magnesium Alloy
Dimensions (W x H x D)
5.1 x 4.1 x 3.1″ / 129.7 x 103.7 x 77.8 mm
5.5 x 4 x 2.9″ / 138.5 x 101.5 x 74 mm
Weight
1.3 lb / 594 g (Body Only), 1.5 lb / 679 g (With Battery, Recording Media)
23.6 oz / 670 g (Body Only)
Shoe Mount
1x Intelligent Hot Shoe
1x Hot Shoe
Tripod Mounting Thread
2x 1/4″-20 Female (Bottom)
1x 1/4″-20 Female (Bottom)
Accessory Mounting Thread
3x 1/4″-20 on Camera Body
Not specified
Operating Conditions
32 to 104°F / 0 to 40°C
32 to 104°F / 0 to 40°C up to 85% Humidity
Media/Memory Card Slot
Slot 1: CFexpress Type A / SD (UHS-II)
Slot 2: SD/SDHC/SDXC (UHS-II)
Slot 1: CFexpress Type B / XQD
Slot 2: SD/SDHC/SDXC (UHS-II)
Wireless
2.4 GHz Bluetooth 5.0, 2.4 / 5 GHz Wi-Fi (802.11a/b/g/n/ac)
2.4 / 5 GHz Wi-Fi 5 (802.11ac), Bluetooth 5.0
Mobile App Compatible
Yes: Android & iOS (Sony
Creators’ App
Global Positioning
No
GPS (via Connected Smartphone)
Monitor
3″ Tilting Touchscreen LCD, 1,036,800 Dot
3.2″ Articulating Touchscreen LCD, 2,100,000 Dot
Viewfinder
Electronic (OLED), 3,686,400 Dot / Titling EVF
Electronic, 5,760,000 Dot, 0.5″
Best Camera for Photographers
Sony FX2 camera offers higher resolution at 33 megapixels, but at the very same time, the Nikon Z6 Mark 3 camera offers 24.5 megapixel resolution, which is of course limited. But if you talk about sensor architecture, then the Nikon Z6 Mark 3 camera is using a partially stacked CMOS sensor.
Video Recording: Nikon Z6 III Excels
Of course, the Sony FX2 camera is able to create highly detailed 4K 30fps footage from a 7K oversampled file. At the very same time, when you are recording videos at 4K 60 frames per second or 4K 120 frames per second with the Nikon Z6 Mark 3 camera—and of course, to be noted—4K 120 FPS is not possible with the Sony FX2 despite being in a higher price range. Other than that, even when you are trying to record 4K @ 60 frames per second, at that time you have to face a 1.5x crop in the Sony FX2. So with the FX2, we have limitations attached in the higher frame rate, and 4K 120 is not possible.
Continuous Shooting Speed Comparison
The same advantage we also get in the continuous shooting speed of the camera, where we are able to get up to 20 FPS RAW, and up to 60 frames per second in full resolution, and up to 120 frames per second in the DX crop mode. Thankfully, the Sony FX2 camera is using a mechanical shutter, but despite that, the continuous shooting speed of the camera remains limited to 11 frames per second.
Autofocus: Sony FX2’s Precision
When you dive into autofocus performance, each system really brings something different to the table. Sony’s FX2 boasts a whopping 759 phase-detection points (compared with Nikon’s 299 “hybrid” points), which means it can lock onto—and keep track of—moving subjects across with Sony’s famous AI AF. That’s a huge advantage when you’re shooting fast-paced street scenes or busy event coverage.
Nikon Z6 III’s Low-Light Autofocus
On the other hand, Nikon’s autofocus shines in low-light situations. With a sensitivity down to –10 EV (versus Sony’s 4 EV), the Z6 III can find and focus on subjects in near-darkness—perfect for late-night cityscapes, dimly lit weddings, or cozy indoor gatherings.
Autofocus Tracking: Nikon Closing the Gap
Recent reviews peg the Z6 III’s subject recognition and tracking as nearly on par with Sony’s vaunted system, so you’re not really “giving up” much by choosing Nikon—especially if you need that extra push in challenging light. Still, many pros continue to call Sony the gold standard for sheer reliability, so it really comes down to what kind of shooting you do most often.
Image Stabilization: Nikon’s Edge
Sensor-shift image stabilization of the Nikon Z6 Mark 3 is more helpful, since you can link your autofocus point with the VR system of the camera, and you will be getting a true 7.5 stops of stabilization all the time, even if you are focusing in the corner of the frame. Sony’s Active Image Stabilization is highly effective in video mode, but when you are talking about stills, it’s the traditional-style IBIS system we are getting.
Why Choose Nikon Z6 III for Pros
Nikon Z6 Mark III camera, due to its partially stacked CMOS sensor and Expeed 7 image processor, the autofocus calculation is being done at the rate of 120 frames per second in-camera. So the autofocus and the auto exposure refresh rate is actually 120 FPS. And due to the introduction of a new artificially intelligent autofocus algorithm inside the camera, the overall photographic experience is now elevated to the next level.
So if you are a professional photographer, then the Nikon Z6 Mark 3 will be a perfect choice for your requirements.
Photographic Features Compared
Feature
Sony FX2
Nikon Z6 III
Sensor Resolution
Actual: 34.1 MP, Effective: 33 MP
Actual: 26.79 MP, Effective: 24.5 MP (6048 x 4032)
Image Sensor
35.9 x 23.9 mm (Full-Frame) CMOS
35.9 x 23.9 mm (Full-Frame) Partially Stacked CMOS
Image Stabilization
Sensor-Shift, 5-Axis, Active IS
Sensor-Shift, 5-Axis, AF points can be linked to VR
ISO Sensitivity
Native 100-51,200 (50-204,800 Extended)
Photo: Native 100-64,000 (50-204,800 Extended)
Shutter Type
Mechanical Focal Plane and Electronic Rolling Shutter
Mechanical Focal Plane and Electronic Rolling Shutter
Shutter Speed
1/8000 to 30 Seconds (Photo)
1/8000 to 15 Minutes (Mechanical), 1/16000 to 15 Minutes (Electronic)
Continuous Shooting
Not specified in the provided data (10 fps per web sources)
2500 to 10,000K, Presets: Auto, Cloudy, Color Temperature, Direct Sunlight, Flash, Fluorescent, Incandescent, Shade
Image File Format
Not specified (JPEG, Raw per web sources)
HEIF, JPEG, Raw
Bit Depth
Not specified (14-bit per web sources)
14-Bit
Best Camera for Video
When it comes to video, the Z6 III feels like a powerhouse that’s ready to stretch your creativity. Imagine being able to capture in gorgeous ProRes RAW—right inside the camera—at up to 6K/60p. With the help of the stacked CMOS sensor, the camera can record 6K 60fps videos. Despite being a consumer hybrid mirrorless camera, the Nikon Z6 Mark III is able to deliver 6K resolution, that is really a big surprise. That means you’ve got room to push and pull your colors, tweak contrast, and hold onto every bit of shadow and highlight detail without worrying about external recorders or cables.
Nikon Z6 Mark III Slow-Motion Capabilities
And if you need silky-smooth slow-mo or a little extra resolution, you can jump into uncropped 4K/120p or even 1080p/240p modes. While shooting 4K 120 frames per second, you have to face a 1.5x DX crop, and when you are shooting 4K @ 60 frames per second, there is a negligible amount of crop, which remains unnoticeable.
Sony FX2 Video Features
Sony’s FX2 isn’t slouching, though. It delivers clean, 10-bit H.264/H.265 internally and will give you oversampled 4K/30p for sharp, detailed footage. If you really need that ProRes RAW goodness, you can use an external recorder via HDMI—but that means more gear hanging off your rig. And when you want to push the frame rate higher in 4K—meaning if you want to record your 4K videos at 60 frames per second—you have to face a 1.5x crop, and there is no 120 frames per second option available in the Sony FX2 while recording 4K videos.
Sony FX2 Live-Streaming Advantages
Where Sony shines is in its live-streaming chops: built-in RTMP/RTMPS and SRT support make it a dream camera for one-person streaming setups, whereas the Z6 III leaves you hunting for a separate encoder. Both cameras give you flexible picture profiles—N-Log on Nikon holds up beautifully alongside Sony’s S-Log 3 and S-Cinetone—but in professional circles, S-Log and Cinetone have built a bit more of a buzz.
Audio and Rolling Shutter Comparison
Don’t forget audio: both record in 24-bit LPCM, but Sony’s extra channels give you more mics or ambient tracks to play with. And if rolling shutter is a worry, Nikon’s stacked sensor really pulls ahead—its readout is faster, so you’ll see far less “jello” when you whip the camera side-to-side at 4K/60p or 120p.
Nikon Z6 III vs. Sony FX2: Which to Choose?
In short, if you’re a solo shooter who loves to color-grade, chase cinematic slow-mo, and keep your rig light, the Z6 III’s internal RAW and high-speed modes deliver. If you’re streaming live, mixing multiple audio sources, or don’t mind an external recorder for 16-bit RAW, the FX2’s built-in streaming and flexible codecs have you covered.
Video Comparison
Feature
Sony FX2
Nikon Z6 III
RAW
16 BIT via HDMI
12 Bit internally
MAX RES.
4K 60p
6K 60p N-RAW, 6K 30p ProRes RAW
Internal Recording Modes
H.264/H.265 8/10-Bit:
UHD 4K (3840 x 2160) at 23.98/25/29.97/50/59.94 fps
DCI 4K (4096 x 2160) at 23.98/24/25/29.97/50/59.94 fps
ProRes RAW/ProRes RAW HQ/Raw: 6048 x 3404 at 23.98/25/29.97/50/59.94 fps
4032 x 2268 at 23.98/25/29.97/50/59.94 fps 3984 x 2240 at 23.98/25/29.97/50/59.94/100/120 fps
UHD 4K (3840 x 2160) at 23.98/25/29.97/50/59.94/100/120 fps
Format and codes
16 Bit RAW, 10-Bit 4:2:2 XAVC S-I
12 Bit RAW,
4k 60 FPS
Yes, 1.5X Crop
Yes, No crop at 4k 60FPS
4K 120 FPS
No
Yes, 1.5X Crop
External Recording Modes
4:2:2 8/10-Bit via HDMI:
DCI 4K (4096 x 2160)
UHD 4K (3840 x 2160)
HD (1920 x 1080)
Raw 16-Bit: 4672 x 2628
HDMI: UHD 4K (3840 x 2160)
Dual Native ISO
Dual Base 800/4000
Dual Native ISO 800
Built-in Fan
Yes
No
Video IS
Very effective / Active IS + Gyro
Mechanical IBIS + EVR
Fast-/Slow-Motion Support
Yes
Slow-Motion Only
Gamma Curve
HDR-HLG, Rec709, S Cinetone, Sony S-Log 3, Standard
HDR-HLG, Nikon N-Log
Anomorphic Lenses support
Yes
No
Audio Recording
2/4-Channel 24-Bit 48 kHz LPCM
2-Channel 16-Bit 48 kHz LPCM
16-Bit 48 kHz AAC Audio
2-Channel 24-Bit 48 kHz LPCM Audio
IP Streaming
RTMP, RTMPS, SRT: 1280 x 720 to 3840 x 2160 at 25p, 29.97p, 50p, 59.94p
The Sony FX2 is an extended version of the Sony A7 IV, optimised for its maximum cinematography specifications. So hardware-wise, both the cameras are the same — is it true? NO, we do have some sort of advancement in the hardware part, and the advancement is the introduction of the AI chip, which was absent in the Sony A7 IV, as well as the very unique tiltable electronic viewfinder design. So let’s explore the differences between the two.
Design Comparison
Feature
Sony A7 IV
Sony FX3
Lens Mount
Sony E
Sony E
Material
Magnesium Alloy
Magnesium Alloy
Dimensions (W x H x D)
5.2 x 3.8 x 3.1″ (131.3 x 96.4 x 79.8 mm)
5.1 x 4.1 x 3.1″ (129.7 x 103.7 x 77.8 mm)
Weight
1.4 lb (658 g, with battery and media)
1.5 lb (679 g, with battery and media); 1.3 lb (594 g, body only)
Media Slots
Slot 1: CFexpress Type A / SD (UHS-II); Slot 2: SD/SDHC/SDXC (UHS-II)
Slot 1: CFexpress Type A / SD (UHS-II); Slot 2: SD/SDHC/SDXC (UHS-II)
Electronic (OLED), 3,686,400 Dot (no size/magnification specified)
Shoe Mount
1x Intelligent Hot Shoe
1x Intelligent Hot Shoe
Tripod Mount
1x 1/4″-20 Female (Bottom)
2x 1/4″-20 Female (Bottom), 3x 1/4″-20 on Camera Body
Battery
NP-FZ100, ~520 shots
NP-FZ100, power consumption ≤6.6 W
Operating Conditions
32 to 104°F (0 to 40°C)
32 to 104°F (0 to 40°C)
What advantages do we have in the new Sony FX2 camera over the Sony A7 IV?
It looks like a cinema camera, but it has a very deep hand grip and a very innovative tiltable electronic viewfinder.
Additionally, we have an option in FX2 to use an XLR handle for the body part, and with that grip, we can add 32-bit audio to our videos.
An option to record DCI 4K instead of UHD 4K in the new Sony FX2 camera with lots of custom LUTs as well as an option of extended dual native ISO range, resulting in 15 stops of DR performance.
30% increase in the AI autofocus performance of the new Sony FX2 camera compared to the Sony A7C Mark II or the A7 Mark IV camera.
16-bit RAW video recording is an option available via the HDMI port. Obviously, the Sony A7 Mark IV camera remains limited to 10-bit video.
Introduction of active stabilisation mode as well as frame stabiliser — both of these are not in the way they should be in the Sony A7 Mark IV due to the absence of the dedicated AI chip inside the body.
Support for anamorphic lenses and in-camera de-squeeze functionality for the recorded footage.
Built-in internal fan to manage any sort of overheating issue if required.
The Sony FX2 isn’t just another camera—it’s a Cinema Line powerhouse tailor-made for both aspiring cinematographers and seasoned content creators. Under the hood, it shares the same 33 MP sensor as the A7 IV, but in S-Log3 it unlocks up to 15 stops of dynamic range, giving you richer highlights and deeper shadows. Here are the standout video features you’ll love:
Tilting EVF: A 3.68 million-dot viewfinder that flips up 90°—perfect for shooting low or high without cramping your style.
Video-First Layout: Large, easy-to-find record button, full-size HDMI, plus intuitive shutter-angle control so you can dial in cinematic motion blur on the fly.
AI Power: Thanks to its onboard AI chip, autofocus is 30% snappier, and you get nifty tools like Auto-Framing and the Framing Stabilizer—ideal for run-and-gun solo shoots.
The one caveat? If you were hoping for full-frame 4K at 60 fps, you’ll find the FX2 capped at Super 35 crop at that frame rate—unlike its cousin, the FX3.
Sony A7 IV: The Hybrid Powerhouse
If you wear two hats—photographer by day, videographer by night—the A7 IV is your Swiss Army knife. Its 33 MP sensor churns out gorgeous JPEGs and HEIFs, and its video chops are nothing to sneeze at. Here’s why so many hybrid creators can’t put it down:
Stills & Motion: Capture high-res stills in Log, plus reliable autofocus that tracks fast-moving subjects with ease.
Flexible Design: Dual card slots and a fully articulating 1.03 million-dot touchscreen let you work confidently in any scenario.
Budget-Friendly: At $2,498, it undercuts the FX2 while still offering professional-level performance.
The trade-off? You don’t get the FX2’s video-optimized menus or dedicated cinema-grade controls like shutter-angle adjustment.
Video Comparison
Feature
Sony A7 IV
Sony FX2
Internal Recording Modes
H.264/XAVC S-I 4:2:2 10-Bit: UHD 4K up to 60 fps [240-600 Mb/s]; H.265/XAVC HS 4:2:2/4:2:0 10-Bit: UHD 4K up to 60 fps [50-200 Mb/s]; 1080p up to 100 fps
H.264/XAVC S-I 4:2:2 10-Bit: DCI 4K/UHD 4K up to 60 fps [240-600 Mb/s]; H.265/XAVC HS 4:2:2/4:2:0 8/10-Bit: UHD 4K up to 60 fps [30-200 Mb/s]; 1080p up to 120 fps
External Recording Modes
4:2:2 10-Bit/4:2:0 8-Bit via HDMI: UHD 4K up to 60 fps, 1080p/i up to 60 fps
4:2:2 8/10-Bit via HDMI: DCI 4K/UHD 4K up to 60 fps, 1080p up to 60 fps; Raw 16-Bit: 4672 x 2628 up to 60 fps
Gamma Curve
HDR-HLG, Sony S-Log 2, Sony S-Log 3
HDR-HLG, Rec709, S-Cinetone, Sony S-Log 3, Standard
User
Dynamic Range
Not specified
15 Stops
Anomorphic lenses support
No
Yes
Fast-/Slow-Motion
Yes
Yes
Built in Fan
No
Yes
Overheating issues
Yes, when used for a prolonged period in the summer season
Phase Detection: 759 / 30% More improved AF performance due to AI chip
So these are the major differences we have between these two cameras. Yes, many minor differences also exist between the two. But without a doubt, if you are a cinematographer or a content creator who loves to have a dedicated professional cinematography camera in his or her hand, without a doubt, the new Sony FX2 is one of the best cameras.
Sony announced the Sony FX2 camera. The camera is a mixture of the Sony A7 IV 33MP sensor and FX3 body. Now we have an AI chip inside the camera. The autofocus speed has been increased by up to 30%, and the tracking has been improved dramatically compared to the Sony Camera AIV. We have lots of new modes that include auto framing, framing stabilizer, and AI tracker that make the entire camera a kind of powerhouse Swiss Army knife.
Video capabilities also extend its boundaries to the maximum extent. Now we have certain angle DCI 4K and true 24fps recording. For professionals and videographers, we have an anamorphic recording mode in-camera, discreetly, as well as 24-bit audio recording capability with the help of XLR input.
Sony FX2 Specification
Sensor: 33MP full-frame BSI CMOS (from a7 IV)
Video:
4K up to 30p (7K full-width oversampled)
4K up to 60p (1.5x APS-C crop)
DCI 4K with true 24p
Autofocus: AI-based, 30% better recognition, auto-framing, AI tracker
Storage: 1x CFexpress Type A/SD, 1x SD (redundant recording)
ISO: Dual native (800, 4000), clean up to 25,600, usable at 51,200
Extended Features:
Shutter angle
4K30 UVC streaming (USB-C)
Focus breathing compensation
Dynamic active stabilization
S-Log Photo mode
4K JPEG shot mark grabs
Active cooling (unlimited recording)
HDMI Type A, headphone/mic jacks
Dual 1/4-20 tripod holes
FX3/FX30 XLR handle compatible
Focus breathing compensation as well as dynamic active image stabilization also help this camera to explore a new dimension of usability and portability. However, the FX2 retains the Sony A7 IV 4K 60fps crop limitation. That’s really disappointing. Sony can add a line-skipping 4K 60 APS-C mode in their camera so users can have the uncropped version of 4K 60p recording by having a bit of loss in quality.
The price of the camera is expected to be somewhere around $2698. B&H Store
Sony Electronics Introduces the FX2 Compact Camera, Expanding Cinema Line’s Versatility for Creatives
The new FX2 has the look and operability of Cinema Line cameras with the ability to shoot high-resolution photos and comes equipped with an articulating eyepiece
Sony Electronics Inc. is proud to announce today the latest addition to its established Cinema Line family, the FX2. The FX2 will offer a seamless entry point into the broader Cinema Line range, giving greater cinematic expression to independent creators or small crews needing a versatile camera.
“The hybrid cinema camera was created based on user feedback and is engineered with unique features to support filmmaking, a new eyepiece, and enhancements for versatile production needs. The FX2 is intended to continue the Cinema Line’s goal of preserving authentic emotion in every shot and empower creators across all areas of content production,” says Theresa Alesso, President, Imaging Products and Solutions Americas, Sony Electronics Inc.
FX2 Features: Full-frame Photo and Video Capabilities
The FX2 comes with a full-frame sensor that delivers stunning imagery and beautiful bokeh effects. Equipped with a 33.0 effective megapixel1 back-illuminated Exmor R™ sensor with up to 15+ stops of wide latitude using S-Log3, it captures impressive detail in both highlights and shadows.
Designed for versatile shooting environments, the FX2 offers Dual Base ISO at 800 and 4000, ensuring optimal performance in both bright and low-light conditions. Its ISO sensitivity for video can be extended up to 102400, making it ideal for challenging lighting scenarios. The camera supports a wide range of recording formats—including 4:2:2 10-bit All-Intra—and records in high-quality options, such as XAVC S-I DCI 4K at 24.00p, providing professionals with the tools needed for flexible, high-end production workflows.
The FX2 can also continuously record for up to 13 hours in 4K 60p2 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 effect) and up to 120 fps in Full HD (for up to 5x slow motion). It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. To further the cinematic expression of the camera, creators can import up to 16 user LUTs for on-camera preview, enabling precise color monitoring on set.
Filmmakers can also easily and quickly create in-camera cinematic looks, with S-Cinetone™ set 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.
Improved Usability for Comfortable Solo Operation
The FX2 features the same compact, flat-top design as Sony’s Cinema Line FX3 and FX30 cameras, ensuring familiarity and compatibility across setups. Built-in mounting points (UNC 1/4-20 x3) support a cageless configuration, offering greater flexibility for rigging. An optional top handle (ILME-FX2) enhances mobility and control, especially during handheld or dynamic shooting. Its lightweight, portable build—measuring approximately 5 1/8 x 3 1/8 x 4 1/8 in and weighing approximately 1 lb 8.0 oz—makes it ideal for solo operators or small crew productions.
The camera offers advanced focus features designed for precision and creativity. 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.
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.
FX2 Features: Improved but Familiar Hardware Inherited From Sony’s Cinema Cameras
The FX2 is equipped with a new high-resolution 3.68-million-dot tiltable EVF3 (electronic view finder) designed specifically for video production, offering a wide viewing angle and enhanced immersion thanks to its included deep eyepiece. Complementing the EVF is a 3.0-type vari-angle touchscreen LCD, making it easy to frame shots from virtually any angle. Intuitively arranged controls on the top panel and grip, along with tally lamps for clear recording status, support efficient on-set operation. 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 handle-equipped model further enhances professional usability with two XLR/TRS terminals and a 3.5mm stereo mic jack, enabling 4-channel, 24-bit digital audio capture.
The camera offers extensive expandability and connectivity options, including an HDMI Type-A terminal capable of outputting up to 4K 60p 4:2:2 10-bit video and 16-bit RAW4 for high-end recording and monitoring. For seamless data transfer and remote control, it supports dual-band Wi-Fi (2.4 GHz and 5 GHz5) as well as wired LAN via a compatible adapter6. Additionally, the USB Type-C port enables SuperSpeed USB up to 10Gbps data transfers and supports USB Power Delivery (PD)7, while built-in USB and network streaming support enables live broadcasting and remote production workflows.
Social Responsibility
Aligned with Sony’s global environment plan, ‘Road to Zero’, this product supports the company’s vision for achieving a zero environmental footprint by 2050. The manufacturing process reflects this commitment through facilities powered entirely by renewable energy sources8.
The camera system incorporates comprehensive accessibility options, including a Screen Reader function9 and Display Magnification, to support visually impaired users across an expanded range of menu items. Additional intuitive controls enhance usability for all shooters, featuring:
Real-time recognition autofocus that reduces manual adjustments
Streamlined touch interface operations for direct menu navigation
Tactile button design with clear differentiation
These inclusive design elements ensure professional imaging tools remain accessible to creators of all abilities while maintaining full operational capability
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.
Is Petapixel host Jordan shooting with a Sony FX2 camera? First spotted by E88_8888, and then many people raised eyebrows by looking at the big body grip of the camera, almost no detail is noticeable.
The fact is that we can visibly see a deep hand grip in the Cinema camera, which is not present in any of the FX line of cameras. This is quite a big & deep, one more thing that hints to us its the new FX2 — whenever they start the NEW episodes, they generally write before the beginning of the video, which camera and lenses they are using to record the particular episode, but specifically on that particular episode Fuji X-Half Review, they have missed that thing. So it can be a coincidence or a conscious decision.
Sony FX2 Specification
– Same 33MP sensor as the α7IV and α7CII
– AI chip
– Equipped with a tilting EVF (resolution unknown)
– EVF is completely different from the LUMIX GX9 and is larger like the GFX100
– Mechanical shutter
– AI AF
– 4K60p in Super35
– 32-bit floating point audio
– The body is thicker than the FX3
– Active cooling system
– Same ports and storage as the FX3
– Vertical battery grip available
– Price is around $3500
But it’s strange that the FX2, a video camera, has a vertical grip. Since the FX2 has a mechanical shutter, perhaps Sony wants it to be used as a still camera as well. Look at the updated set of specifications Sony FX2 camera, which is about to arrive in a few days.
The article “Sony FX2 Leaked Image and Specification” was published at 4:24 pm, Tuesday, 27 May 2025, Greenwich Mean Time (GMT). By thenewcamera.com Team. You can follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM, –>If you have time –>see moreSony Alpha Rumor Latest Camera News
Nikon Z5 II is an entry-level camera, and Sony A7 IV is a semi-professional full-frame camera. The Sony A7 IV camera was announced on October 21, 2021. And if you compare with the Nikon Z5 II, it has been almost 3.5 years of gap between the two cameras, so despite of being an entry-level camera, the Nikon Z5 II has arrived with really advanced core specifications and it looks very competitive.
Price Difference Between the Sony A7 IV and the Nikon Z5 II
The other good thing that we generally see at first is the price difference, even before the specification, current status of both the cameras by applying all the possible discounts:
Sony A7 IV Price – $2498 Nikon Z5 II Price – $1696
So, we do have a good price difference between the two cameras.
And the amount of money we are saving in the Nikon Z5 II body, we can get lenses like Nikkor 50 mm 1.8, Nikkor 28 mm f/2.8 or Viltrox 85mm f/1.8 Z.
Now let’s talk about the design difference, the difference we have in the photographic features of both cameras and finally the video core specs difference.
Best camera design-wise:
Nikon has been creating their DSLR for decades, and their mirrorlessZ5 II is very easy to hold. At the very same time, we now have a 3000-nits brightness-based electronic viewfinder which helps us to shoot even in harsh light conditions.
Sony is in its 4th generation of A7 series camera, and overall design of the camera is really very good, and the good thing is that the old menu system of the Sony has been upgraded in the A7 IV so now you don’t have to fight with the old menus in the Sony camera. So overall, the A7 IV camera design is also very appealing and usable, although about EVF screen brightness information remains uncertain. Sony hasn’t disclosed how many nits of brightness does the A7 IV EVF has.
Why do We Need a CF Express card SLot in the Sony A7 IV?
For storage purposes, the Sony A7 IV camera also features an additional CFexpress card slot inside it, but we don’t know the exact requirement of the CF card type A existence inside the Sony body since the continuous shooting speed of the A7 IV camera is limited to 10 frames per second. Even in that, the specific scenario doesn’t require that CFexpress card. And when we talk about 4K 30 APS-C crop 60fps recording, in both of these scenarios the recording resolution and bitrates match with the Nikon Z5 II, which does the everything same or even better by recording complete N-RAW video internally and providing continuous shooting speed in high resolution up to 30 frames per second in the SD card slot.
Yes, we do have a slight resolution difference between the 24 MP and 33 MP sensor, and we are going to compare both sensors here in this article and let’s find out the best sensor for you. Image credit to all tests goes to dpreview.com
Which Camera Captures the Best Images?
Yes, we do have a slight resolution difference between the 24 MP and 33 MP sensor, and we are going to compare both sensors here in this article and let’s find out the best sensor for you.
Now we have picked up the Nikon Zf camera since the Nikon Z5 Mark II uses the same sensor as the Nikon Zf, so we are comparing the Nikon sensor against the Sony A7 IV in this comparison.
A comparison is very clear the Sony A7 IV camera is able to pick a bit more detail due to a slightly higher-resolution sensor, so if you are into commercial photography or need large prints,
But this is not always the case. In some of the specific spots of the image, we have witnessed that the Nikon Zf / Z5 Mark II camera sensor is able to grab a bit more detail. As you can see, the pencil shading and the fine lines are more clearly visible in the samples below.
Best Camera for LOW LIGHT Photography?
The Nikon Z5 II is more suitable for low-light photography. We have to consider several factors before we judge the best camera for low-light photography. As in the comparison table, you can see that the Nikon Z5 Mark II autofocus sensitivity can go down up to -10EV, which is exceptional in this price range. At the very same time, the Nikon Z5 Mark II camera features 7.5 stops of sensor image stabilisation system, and that can be linked to the autofocus point of the camera, resulting in a highly stabilised video or still output. And at the very end, we have a 24MP BSI sensor that helps us reach the maximum potential of the camera. Combining all three factors makes the Nikon Z5 ideal in terms of low-light photography.
Best camera for wildlife photographers and sports shooters?
Nikon Z5 II is the best camera, again, and it depends on several factors. Starting from the continuous shooting speed, the Nikon Z5 Mark II camera excels. It has a maximum continuous shooting speed of up to 30 frames per second. The Sony A7 IV camera remains limited to 10fps. But that’s not the only limitation — we have again the autofocus sensitivity of the Sony A7 IV is limited, and the sensor image stabilisation of the Nikon Z5 II has become increasingly advanced. You can link the entire IBIS unit with your moving autofocus points. And at the end, if you are worried about the autofocus performance, then the Z5 II, paired up with the Expeed 7 image processor, features 9 different types of subject detection algorithms inside it. And even if you love to capture birds, the camera can do bird-eye autofocus with the latest updates.
Best camera for video?
Both of the cameras record 10-bit footage, RRS video, and 4K 60FPS video with a 1.5X crop. At the very same time, both of them can record Full HD videos at 120 frames per second. The big difference can be seen when the new Nikon Z5 Mark II camera can deliver complete RAW footage of 12-bit in your internal SD card, and the cherry-on-top thing is when you are shooting in N-Log, then you have a different set of RED LUTs available to you, which will make your entire footage more and more professional. And apart from all these, we also have vectorscope, waveforms, and timecode functionality. The Nikon Z5 Mark II camera is recommended for professional use. If you are a professional wedding cinematographer or someone who loves to capture short stories in a professional way, then the Nikon Z5 Mark II is best for you.
Sony A7 IV doesn’t support complete RAW video recording. At the very same time, the picture profiles are limited. But it does support high-quality 4K recording and S-Log, HLG support. At the very same time, the gyro-based image stabilization system helps to stabilize the footage to the maximum extent. So if you’re shooting handheld, like creating your own personal vlog, then instead of having the Nikon Z5 Mark II camera, the A7 IV will be a bit more suitable.
Best camera for longer recording
If you have to shoot podcasts, then the initial specification says the Sony A7 IV can record unlimited videos, whereas the Nikon Z5 Mark II has a 2-hour 5-minute limit, and after that, you have to start it again. Now, the concern with the Sony A7 Mark IV camera is that you have to use it in controlled weather environments and with fast V90 or CFexpress cards if you wish to record 10-bit videos for more than 1+ hour. But that’s not the case with the Nikon Z5 Mark II camera — the body is heat-resistant and supports uninterrupted recording for long periods. So you have to decide whether you want an overheating-free camera (but again, you have to restart at the 2 hour 5 minute mark), or you can deal with the Sony A7 IV if you are sitting in a controlled weather environment with air conditioners.
Specification Comparison Table Nikon Z5 II vs Sony A7 IV
Feature
Nikon Z5 II
Sony A7 IV
Design
Lens Mount
Nikon Z
Sony E
Dimensions (W x H x D)
5.3 x 4 x 2.8″ / 134 x 100.5 x 72 mm
5.2 x 3.8 x 3.1″ / 131.3 x 96.4 x 79.8 mm
Weight (With Battery, Media)
1.5 lb / 700 g
1.4 lb / 658 g
Material of Construction
Magnesium alloy/polycarbonate
Magnesium Alloy
Operating Conditions
32 to 104°F / 0 to 40°C, up to 85% humidity
32 to 104°F / 0 to 40°C
Display Size
3.2″
3.0″
Display Resolution
2,100,000 Dot
1,036,800 Dot
Display Type
3-Way Tilting Touchscreen LCD
Free-Angle Tilting Touchscreen LCD
Viewfinder Type
Electronic (OLED)
Electronic (OLED)
Viewfinder Size
0.5″
0.5″
Viewfinder Resolution
3,690,000 Dot
3,680,000 Dot
Viewfinder Magnification
Approx. 0.8x
Approx. 0.78x
Viewfinder Eye Point
21 mm
23 mm
Viewfinder Diopter Adjustment
-4 to +2
-4 to +3
Media/Memory Card Slot
Dual Slot: SD/SDHC/SDXC (UHS-II)
Slot 1: CFexpress Type A / SD (UHS-II), Slot 2: SD/SDHC/SDXC (UHS-II)
Video I/O
1x Micro-HDMI Output
1x HDMI Output
Audio I/O
1x 3.5 mm TRS Stereo Headphone Output, 1x 3.5 mm TRS Stereo Microphone Input
1x 3.5 mm TRS Stereo Headphone Output, 1x 3.5 mm TRS Stereo Microphone Input
Other I/O
1x 3.5 mm Remote Input, 1x USB-C (USB 3.2 / 3.1 Gen 1) Data Input/Output
1x Sony Multi/Micro-USB Remote Input, 1x USB-C (USB 3.2 / 3.1 Gen 1) Data Input/Output
Wireless
Bluetooth 5.0, 2.4 / 5 GHz Wi-Fi 5 (802.11ac)
Wi-Fi 4 (802.11n), Bluetooth 4.1
Mobile App Compatibility
Yes: SnapBridge (Android & iOS) for file access, firmware updates, and remote control
Yes: Creators’ App (Android & iOS) for file access, settings, remote control, and setup
H.264/MOV/MP4:
UHD 4K (3840 x 2160) at 23.98/25/29.97/50/59.94 fps
1920 x 1080p at 23.98/25/29.97/50/59.94/100/120 fps
H.264/XAVC S-I 4:2:2 10-Bit:
UHD 4K (3840 x 2160) at 23.98/25/29.97/50/59.94 fps [240 to 600 Mb/s]
1920 x 1080p at 23.98/25/29.97/50/59.94 fps [89 to 222 Mb/s]
H.265/XAVC HS 4:2:2 10-Bit:
Video IS
IBIS + EVR
Yes, Gyro
External Recording Modes
8-Bit via HDMI:
UHD 4K (3840 x 2160) up to 29.97 fps
4:2:0 8-Bit via HDMI:
UHD 4K (3840 x 2160) at 23.98/25/29.97/50/59.94 fps
Fast-/Slow-Motion Support
No
Yes
Overheating issues, if any
No
Requires V60 above the card, Fixed with the recent firmware updates
In a recent patent spotted by Rumor Mill, the Viltrox is working on a 2x teleconverter for the Nikon Z Mount camera. It is very clearly visible from their patent images the lens mount has been designed for the Z Mount. Although the E-mount does not allow third-party teleconverters, the fact that Viltrox is preparing a Z-mount teleconverter suggests that Nikon may be considering allowing third-party teleconverters.
The pins’ location and numbers exactly match with Z Mount. For the first time that a third-party manufacturer is also free to create teleconverters, which was not possible earlier. So it will help the photographers to buy it at an affordable cost. This step may also indicate one thing very clearly, that Viltrox is also planning to bring Telephoto lenses Z mount soon.
Buy Canon Lenses, Buy Music CD or Digital Camera at amazon it helps this site, and you do not pay anything extra, it is just a way to help support this site.
New Camera Website, we list all type of new camera information, price review and all type camera rumors, subscribe us or follow us via twitter or facebook.
Disclaimer: We have attempted to select useful information to include on New Camera, and to ensure that the resources we have included on the site -- as well as the way we have described them -- are accurate, fair, and balanced. However, we make no claims, warranties, or other representations concerning the accuracy, completeness, or utility of the information provided, or concerning the abilities or performance of the organizations, agencies, companies, and other resources presented through New Camera
