Sigma is working on super zoom lenses, the latest patent revealed that Sigma is working on a pair of 800 mm lenses. One of the lenses is 400 to 800 mm with a constant f/8 aperture, and the other is 180 to 800 mm with f/5.8 – 8.4 aperture. From the optical construction, it is very clearly visible that they are trying to make more compact super zoom lenses, which are easy to carry and fall in the budget pocket range.
Examples include 800mm zoom lens optical systems such as the 400-800mm F8 and 180-800mm F5.8- 8.4. Although the maximum aperture is large, the overall length is shorter than the 300-600mm F4, making it more portable.
The article “Sigma Developing Two 800mm Super Zoom Lenses – Sigma Latest News” was published at 8:23 am, Saturday, 7 June 2025, Greenwich Mean Time (GMT)). By thenewcamera.com Team. You can Follow us on our social pages FACEBOOK | TWITTER | INSTAGRAM to get live Camera News + + Sigma Rumors 24X7.
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
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.
Sony registered a new mirrorless camera on May 23, 2025, and the most important factor is that the manufacturing division of this mirrorless camera is at Wuxi city, where most of the VLOGCAM and semi-professional cameras of Sony are manufactured.
Where is the breakdown of Sony’s manufacturing factories? You can have a good idea where they manufacture the high-end Alpha cameras or the intelligent compacts.
Sony Alpha Cameras Manufacturing Unit Worldwide
Sony Japan: High-end products such as the α1, α9 III, and FX3
Sony Shanghai: Cinema line and video products such as FX9 and FX6
Sony Wuxi: Low to mid-range products such as ZV-1F, ZV-E10M2, α7 IV, and α7C
Sony Upcoming Camera Models Codes Updated List
Model number
Model
correspondence
Registration date
manufacturing
WW084220
5.1/2.4
Bluetooth
2025.05.23
Wuxi
WW697160
5.1/2.4
Bluetooth
2025.05.09
Japan
WW934774
FX2?
5.1/2.4
Bluetooth
2025.04.21
Shanghai
WW045578 WW912257
α1 II
5.1/2.4
Bluetooth
Japan
WW279317
Cinealta B MPC-2610
5.1/2.4
2023.09.20
Shanghai
WW293541
ZV-E10 II
5.1/2.4
Bluetooth
2024.03.25
Wuxi
WW030588
microphone?
2.4GHz
2025..1.10
WW773396 WW277226
ILME-FX3A
5.1/2.4
Bluetooth
2024.12.04
Japa
So there is a very high probability that this camera is a VLOGCAM or maybe an update to the existing A7 IV / Sony A7 V, coming next from Sony. Based on past trends, we expect the registered camera to be announced on or before September 2025, so we may see some additional information by the summer.
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
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.
Lowlight tests done by Jake Hayden. He recently purchased a Canon C400 cinema camera; earlier, he was using a Sony FX30 camera for studio and professional work. But now he is regretting his decision since the C400 generates more noise compared to the FX30 in the same situation. Take a look at the sample below
Take a look at what Jake said –
What’s really interesting is I have access to an FX30. Now we’re always making fun of Sony for having a lot of internal noise reduction but look at this difference first of all I’m going to go to the extreme. This is six stops underexposed. The FX30 is recording XF-AVC 10bit 422 in 4k and look at that noise pattern you can tell there’s a little bit of noise reduction but it is so fine, I just wanted to compare that to the same mode on the C400 which looks so bad, the C400 broke at three stops under here’s the FX30 not in raw it’s an XF-AVC, looks like it’s fine granular noise. I am blown away at how bad the noise performance is on the C400 if you want a spiky takeaway from this you could buy five FX30s for the price of one C400 and all five of them would have better image quality but here’s the thing does any of this actually matter
Summary Table
The table below encapsulates the reviewer’s observations on noise performance and image quality, using corrected terms for accuracy.
Camera
Codec
Underexposure Tested
Noise Performance
Image Quality Observations
Sony FX30
XF-AVC 10-bit 4:2:2
6 stops, 3 stops
Fine, granular noise with some noise reduction
Less digital noise, usable at 3 stops under despite compression
Canon C400
XF-AVC, Raw
6 stops, 3 stops
Digital, crunchy noise pattern
Poorer noise performance, especially in raw, breaks at 3 stops under, less usable
Blackmagic Ursa
Raw
Reference (3-4 stops)
Fine, pixel-level noise
~8 stops latitude with headroom to 9, better highlight and shadow recovery
I got an email today from one of our subscribers pointing towards this video, and this is quite seems to be a legit testing, and most importantly of all, he has put his hard-earned money into getting the camera, so it’s a fair review, not a sponsored one.
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