Sony FX5 Review | 5k Open Gate 16-Bit RAW... We Waited 6 years For This

Boys and girls, here it is. The Sony

FX5. The camera that we have all been

waiting for for years. It's here.

The FX5 has a completely new 16.6

megapixel full-frame sensor and new

Bion's XR2 processing engine that lets

you shoot in 5K OpenGate 3x2 in 16bit

linear raw. It produces an image better

than any other proumer camera I've ever

seen in my life. With [music] 15 stops

of dynamic range, beautiful colors, rich

detailed, no oversharpened 50

megapixels. The image is the best thing

about this camera. We get a 3.5 in 4axis

[music] very angle monitor, 96 kHz 32bit

float audio, which I think is a first in

a camera. Forget dual base ISO. We get a

triple base ISO for even crazier

lowlight performance. 4K 120 frames per

second and in the future 4K 240 frames

per second in RAW in pretty much the

same size body as the FX3. I've only had

a couple days with it so far and I've

been testing it every single day in so

many different situations to give you

guys all the information I can and show

you all of the footage. And for me, I

already know after 6 years of testing

camera after camera, I'm fully replacing

my Sony FX3 with the brand new Sony

[music]

FX5.

>> There it is.

>> Wow.

>> This is what we've been waiting for.

This is a big moment.

>> No way. It's real. What am I supposed to

do with my Nikon ZR now? [laughter]

>> Wa.

>> That's a win.

>> Yeah.

>> That's the dorkiest thing to be excited

about. You like it? To me, it's the

camera that you need. It's not really

the camera that you wanted.

Okay, so let's get into it. All of the

nittygritty details because I know you

want to know everything you can just

like I would if I was hearing about this

camera for the first time. And I have so

much to say already. And yes, I am

filming in 3x2 opengate 5K 16 bit linear

raw right now. Uh, I've never done that

for a roll, but I had to go all out for

you guys. Let's first talk about the

image quality because I think that is

the biggest story here. The FX5 has a

16.6 megapixel full-frame stacked Xmore

RSIMOS image sensor and a new Bion's XR2

processing engine with integrated AI

processing. [music]

This sensor has an even higher readout

speed than the FX3. So, even though it's

not global shutter, we should have

better rolling shutter than the FX3,

which was already really good. There was

basically no complaints there. The

craziest part here is that we get 16bit

linear raw, which they call XCN. And we

get three different flavors of it. We

get the LT, the C1, and C2. When it

comes to the big cinema cameras in the

Sony lineup, the LT is the smallest file

size codec. So, we actually now get two

smaller ones than they've had before.

The XCN RAW comes from the highestend

cinema cameras that Sony produces. And

if you were impressed with the Nikon ZR

12-bit RAW, well, this is 16 bit RAW,

which is crazy cuz it wasn't too long

ago that we only had 8 bit and now we're

getting 16 bit RAW in a tiny camera

[music] like this. So, the C1 they're

saying is about 25% smaller file sizes

and the C2 they haven't quite decided

how small they're going to make it yet.

But here's a comparison of all the

different codecs of the FX5 and there's

an FX3 clip in here. I'm curious, can

you guys see the difference once it's on

YouTube, it's been compressed and all

that stuff cuz I did this test with both

Tyler and Spencer and they could

definitely see the difference between

all them and Tyler isn't like the most

filmmaker person and he could still see

the differences. All right, time for

test. Spencer, can you tell the

difference between these? Let's play it

for a second here. Can you see the

difference?

>> Is this all FX5?

>> You tell me. You should be able to see

some difference, though.

>> Some [laughter] sharpening. I mean, this

one looks like the FX3

for sure.

>> Bingo.

>> Um, did you like manipulate it in any

way?

>> Same color grade, same everything on top

of it.

>> Okay. This is the best bit rate for

sure. [laughter]

>> Correct. Yeah.

>> And then all of these kind of look the

same except for this one. This one's

like kind of soft. And then these ones

are probably raw. This is probably H265.

That's my guess.

>> Yeah. Good guess. Good guess. I'm

actually surprised that you're able to

Tyler said the same thing. He's a little

bit

>> Our faces are right next to the screen.

[laughter]

>> That's what I mean. And they're not

compressed through YouTube. So,

>> Right. Yeah. We're looking at the the

raw footage.

>> Yeah. I'm curious what the people will

see. But so far I can see the difference

for sure. Tyler has seen the difference

and Spencer has called it exactly. So

there is a difference. There's a massive

difference between the FX3 and then the

rest of them like massive.

>> The FX5 just has such rich, beautiful

detail. Now when it comes to the

different codecs of the FX5, they're a

lot closer, which to me is a good thing.

It would kind of suck if you always had

to film at the highest raw codec to get

like a good image. I love that the H.265

still looks really [music] good to me.

But when you blow it up on a big

monitor, you can definitely see the

difference between the raw clips and the

H.265 clips. But when it comes to the

raw clips, I feel like the LT is is

definitely the best. You can see the

difference, but there's not as drastic

of a difference between the C1 and the

C2, and very little difference between

the C1 and C2. So, file sizes. You've

seen the quality. Now,

um this is my like very unscientific. I

did a 10-second clip with each of the

codecs. The LT in 5K comes in at 600

megabits per second. So, six times what

you're used to on your A7S3, your FX3 or

whatever. The C1 comes in at 450

megabits, so 4 and a half timesish. The

C2 360 megabits. And then the H.265 265

is 160. It's like kind of doubleish to

go raw from H.265.

>> That's not that bad though considering

the quality jump.

>> That's what I mean. Like it's not like

on like the Nikon ZR and stuff where

it's like 30 times the data. [laughter]

Like two times is not that bad. Do you

think with these data rates you would

actually use RAW?

>> Yeah, I'm thinking is this the new

standard right now? I think most people

are just going to start shooting

everything on C2.

>> Also, considering that the like files

have been really smooth for playback.

>> I was just going to say five clips, 5K

full res with color grade

plays perfect. Not a single frame drop.

>> That is like the big from this test.

That was the biggest takeaway. I'm like,

"Holy crap." You can use the raw H.265.

Uh you can see not a single frame drop.

23 uh.97

full full quality. Everything is playing

perfectly. Even if I stop again, it

plays like almost immediately. That's a

big deal. The biggest takeaway for me

was having five clips that are 5K and 4K

all stacked together raw and H.265 and

all of it playing perfectly. That makes

such a big difference. Like it doesn't

matter if you have an amazing color

science and codec that looks so

beautiful and it's 16- bit RAW, but in

your editing program it's just like h

and you're trying to edit. It's just a

nightmare. You're never going to use

that codec and you're going to have to

do proxies if you do it. It's a

nightmare. This all of these codecs you

can play perfectly fine in Da Vinci and

I was using like a beta version of it.

That being said, I am on the latest and

greatest Apple silicon. So yeah, I'm not

sure exactly at what point it might

start to slow down.

>> No way. It's real. [laughter]

>> Wow.

>> Dreamed it would be.

>> Oh my god. I I I swear I saw I thought

it was like an AI image when I

[laughter] first saw it. Epic side.

>> I just taped it on there.

>> This is amazing. What am I supposed to

do with my Nikon ZR now? [laughter]

>> Well, this thing films 16 bit RAW.

>> Holy

>> with three different flavors. So like

way more compressed. So, it's actually

like usable on projects.

>> Yeah, Sony's just figured it out now.

>> I think they want to keep the FX3 as

like a staple and then you can have even

more even better if you want.

>> I mean, I just put this in my hands and

I'm sold. [laughter]

>> Come on.

>> You want You want to try it out?

>> The ring.

>> Give it a go.

>> It's a crazy file size.

>> So, they have

>> You're in the market for a Venice. Now

you can

>> I know. No, I just

>> It's Exosen LT, which is like fairly

big, but then there's two smaller

versions.

>> You like it?

>> Bittersweet for me. It is the camera

that we've all been waiting for. And I

feel like there's no like big wow

factor. It's just like, oh yeah, this is

what we wanted.

>> Yeah.

>> Yeah.

>> Yeah. Check, check, check.

>> Yeah, exactly.

>> The 16 bit colors just look so good that

you can really see them in this clip of

Tyler with the kind of decorations

behind his head. The colors all stand

out so much. I've never seen detail and

colors like this from a proumer camera.

And we get opengate 3x two. Some people

might be like, "What's the big deal?"

Look how beautiful this looks. It looks

like it's like medium format or

something. And then you can shoot in

anamorphic and all this stuff. Um the

resolution is 4992x

3328.

The only catch here is that you cannot

shoot in open gate unless it's in RAW.

You have to use the RAW codecs. Now,

they will have a firmware update later

on where you can shoot in XAVCI.

I think it might just be 4K. I'm not

sure. 4K or 5K, but as of right now, you

can only shoot an open gate 3x2 in the

RAW codecs. And great news, we get D

Squeeze built into the camera. Bad news

is it disables the autofocus. So, uh,

there's some really nice lenses out

there like these Blazar Talon autofocus

anamorphic lenses, which would be so

good for this camera, except you lose

autofocus. So, if you want to monitor

DSqueeze footage in camera on the

monitor, uh, you're going to lose

autofocus. And so, I was literally

filming all of these clips with Dqueeze

turned off because I didn't mount an

external monitor. And so, that's a

pretty big bummer. I'm not sure if they

can update that in firmware and fix

that. Um, I know it's a little bit of a

niche thing, but I think this is going

to be more and more of like a common use

thing where people are shooting in

autofocus anamorphic lenses, especially

as we get more and more cameras that

have open gate. I'm not going to go into

all the details about anamorphic lenses,

but basically you're using the whole

sensor and then squishing it down. So

you're using all of the data of the

sensor to get a better image and at the

same time the aspect ratio doesn't

become just like a sliver. This was all

1.5x squeeze anamorphics. So it's still

kind of like widescreen format. Um but

it's not crazy crazy widescreen. We also

get 17x9 but again you have to shoot in

RAW except we do get XAVC in 4K. So you

can do that in 17x9 but basically you

have to shoot in RAW. There's also a

dual gain ISO mode where you're supposed

to get even more dynamic range. Um,

without this, it's 15 plus stops of

dynamic range. Now, I tested it just a

little bit and I didn't really see any

difference. Um, and I feel like I would

really have to test something like this

to like see where does it break and

where is it good and where is it not. I

probably won't end up using this much

because the dynamic range of the camera

is already really really good and it

doesn't work in RAW anyways. So, I think

the 16- bit RAW is like that is the that

is the big thing here. This is the best

image I've ever seen from a camera

that's not like a full-on cinema camera.

I guess I I guess this is a cinema

camera, but I think the 16- bit RAW,

actually compressed in a reasonable way

that you can actually use and edit with

totally fine, is the biggest reason to

get this camera. And the final image and

how easy it is to work with is the

number one reason to buy a camera. All

of the other stuff, the slow motion and

all those other things, they're kind of

just bells and whistles. But on every

single project, you [music] want a great

image that's not a nightmare to work

with in post and while you're shooting.

>> There it is.

>> Wow.

>> The moment you've been waiting for that

we've all been waiting for.

>> Why does it look kind of the same?

[laughter]

>> It was had the exact same reaction. I

like, wait, is this Oh, no. Wait. Yeah,

it is. It's got some like new texture,

new button dials.

>> Flip out THE SCREEN.

>> WHOA.

THIS is a bigger screen. This is a way

bigger screen.

>> It is definitely a bigger screen.

>> They listened.

>> Does it feel much different? Does it

look much different?

>> No, not really. But but also, yes,

there's subtle differences.

>> What's the one thing that you've been

like hoping is true about the FX5? I

mean, the one thing that I was hoping

was true is gonna have internal ND, but

I know that's [laughter] true. You know

what I mean? I made the whole video. I

told you it wasn't [laughter] gonna

There's no way they were going to put

it. But, uh, yeah, it's it's kind of

interesting. I'm I'm a little mixed

feelings about it right now.

>> I see a false color button.

>> Yep. I like that. I like that a lot. 5

years of waiting. 6 years of waiting or

whatever it is. Are you being wowed

right now?

>> It just feels like I'm holding an FX3.

That's [laughter] what I mean.

>> Like I'm not wowed because I've used

this camera for so long.

>> It is a great camera and I know I'll

switch to I I will I'm saying it now.

I'll 100% switch to this. But it's not

that exciting. New batteries. Yeah,

>> this is a new battery. They made a new

battery.

>> Yeah, new battery. So, it's not global

shutter. That's going to be a big

disappointment for a lot of people, but

it is an even faster readout speed. And

I did this little test where I flashed

both the FX3 and FX5 sensors um with a

flash. And I kind of wanted to see how

do they process the flash because

usually you only get like a little bit

of the flash. And they're not that

different. But I would say the FX5 a

little bit more consistently got more of

the flash every single time. Sometimes

they both just missed it and whatever,

but more consistently you could see more

of the flash every single time. And then

I also did like a poor man's rolling

shutter test and I couldn't see any

difference. I think the FX3 already had

great rolling shutter. It's not global

shutter, but it's really great. And I

think the FX5 is just better, but not

global shutter. Let's talk about low

light. So, we now get a triple base ISO.

It is 800, 4,000, and 12,800.

And I went out filming in anamorphic

during the night, very little light, and

it looks beautiful. The 16- bit RAW

especially, it just looks so good even

at nighttime in the dark. For me, I'm

still like wrapping my head around when

I would use the 4000. I feel like a lot

of time it's kind of one or the other,

but maybe there'll be situations where

I'm like, "Oh, the 4000 is actually

perfect." And funny enough, actually on

the FX3, I've already for the longest

time, the way I use it, like for my

videos, is I will always have an ND

filter on. And then when I'm inside, I

use the base ISO 800 if I can. And if

not, I just switch to the 12,800 and

then add a little bit of ND. And then

when I go outside, I just put it to the

base 800 and then use the ND. So I never

really have to take off the ND filter.

And I [music] think that's kind of a

missed opportunity for the FX5. I feel

like we didn't get internal NDs. So a

lot of people will be disappointed by

that. I knew we weren't going to get it.

Not in a little camera like this. It

just cannibalizes too many cameras and

it's not really meant for a camera like

this. [music] I guess I would still like

it, but yeah, we don't have it. But they

could have just put in like one flat ND

that comes in. Just press a button, ND

comes in, and then we have those triple

base ISOs that we could go through. And

so in theory, you might not really need

variable NDs anymore. And even better, I

don't know if this is like just physics-

wise not possible, but I would have

loved like a really low base ISO. So, we

would still have the 12,800 and 800 and

then we get like a 50 ISO or whatever

100 ISO. And so, in theory, you could

when you're outside and it's bright, you

could just go to that lowest base ISO

and then that would mean that you don't

really need ND filters anymore. But then

with the RAW, none of this really

matters. You could basically use any

ISO, ramp through them all, and they it

it just looks great. It's raw. So, yeah.

At the same time, the triple base ISO is

like, yeah, nice, but also not the

biggest deal. It's incredible in low

light, even better, I think, than the

FX3, especially with all that rich

detail and all that stuff. And even the

noise just feels like a little bit

smaller, I think, because it's 5K. It

just it feels more like film grain. That

maybe that's a cliche to say, but it it

looks really good. Much better than the

FX3. As soon as you go like off base

ISO, it just like the noise gets crazy

and it's all big and wonky. Um, the FX5

is very good in low light stabilization.

So, we're supposed to get better inbody

stabilization and approximately two

times improved roll correction. Now, I

wasn't noticing right off the bat like,

oh, this is way better. It's definitely

not worse. And then on top of that, we

have the standard stabilization, the

active stabilization, and we get a new

one, the dynamic active stabilization,

which crops in even more and stabilizes

even more using software inside the

camera. I only did a little bit of a

test. To me, it seems decent, but also

at the same time goes a little wonky.

So, I think it's really nice to have.

How much will I use this, especially

with how much it crops in? like the

active stabilization already crops in a

little bit and dynamic crops in even

more. I just can't see myself using it

that often, but the active stabilization

was already really good. So, yeah, it's

just nice to have options, but to me,

it's not like I'm going to get this

camera for the this feature. Also, if

you're shooting in RAW, you do not get

any of the extra stabilization. You only

get the standard one. You don't get any

of the software processing

stabilization. No active or dynamic

active.

>> All right, this is it.

>> This is it. This is like

>> this is what we've been waiting for.

>> This is a big moment. All so much

speculation. [laughter]

>> Yeah, it's great. I mean, I don't know.

Slightly thicker. Almost the same. The

screen is way better.

>> Are you surprised at how similar it is

to the FX3?

>> I'm only surprised that they didn't call

it the FX3 Mark II.

>> Yeah,

>> that's what this is, right? Like

>> that's what it seems like to me, too.

>> The FX3 is still great, so they can keep

that around.

>> Slightly thicker.

>> False color button.

>> Yep. False color.

>> They are leaning. [laughter] they are

leaning into the Pro.

>> I like that. That's like one of my

favorite features right there.

>> As soon as the rumors leaked, I mean,

I'm like the target market. I'm going to

buy this

>> for sure.

>> In terms of the body, the FX5 is very,

very similar to the FX3. And I feel like

at first glance, most people won't even

be able to tell the difference. The FX5

is slightly wider. Not by a lot, but

just a little bit wider. It looks

exactly the same height, just a little

bit wider. The biggest difference would

be the LCD screen. Um, it is a lot

bigger and the FX5 has this very angle

tilt flip LCD screen. So, you can

basically go any way you want with this

screen. I think it's safe to say this is

what most people would like. So, you can

film with it just like this. You just

flip it up like this. But, you can also

flip it out. You can film yourself. You

can do all this stuff. You can have it

normally like this. And again, if you

want to be more discreet, you can just

kind of tilt it up a little bit and just

have it like that. You don't have to

have it sticking out the side, which is

nice. The button layouts are quite

different, and this will definitely take

time getting used to all the different

buttons along with the completely

different firmware. We got a clips

button, which is your playback. That's

how you see the footage that you've

shot. We have a false color button

there, but you can also map that to

whatever you want. We have a menu

button, back, another customizable

button, home, which brings up the big

six, and then a user button, which has

some different like settings, kind of

like the big six. I feel like that

part's a little weird. They're a little

too similar to me. We have a new looking

dial right there, but basically does the

same thing as this dial right here. On

top, the cameras are exactly the same.

We have the same little zoom rocker

here. We got iris up here, or

customizable button. And we have white

balance and ISO customizable record

button and the little like thumb stick

right here. The ports on this side have

changed a little bit. So now we get an

Ethernet. We have the full size HDMI. We

got two USBs. We we lost that like old

school USB that the FX3 had. And now the

headphone and microphone jacks are just

out on the side, not under any cover.

And I think I'm fine with that. Some

people might be freaking out about that.

And the quarter20 mounting moved over.

It used to be on the other side on the

FX3. It's just moved over a little bit,

but basically the same. What do you guys

use Ethernet for? Is that for like live

streaming or something? I don't really

know what I would use an Ethernet for.

>> It's really the end of the of the camera

problem. You just put this in all

different shapes and sizes of bodies.

>> Yeah.

>> And it's kind of like why do we need to

look at new gear?

>> To me, this is it's kind of bittersweet.

I'm super happy it's here, but I'm also

a little sad that like, oh, I think

we're we're we're hitting the end of

digital cameras.

>> Uhhuh.

>> Like there's no frontier.

>> Yeah. There's not much more that we

realistically need. I think for me, they

had a good opportunity to like make

something that's a little bit more

flashy. Like you still grip onto this

and you're like, where's my where's my

pinky here?

>> It does feel better.

>> It it feels it's pretty much the same.

Yeah.

If they made it a little bit taller,

then the screen could be bigger.

>> Yeah.

>> Like, and this would fit better in your

hand and people would be like, "Oh, this

is a new camera.

>> You want a 1DX?" Again, if that's what

[laughter] you want. You just want

>> To me, it's the camera that you need.

It's not really the camera that you

wanted.

>> Here's the question. I remember when the

FX3 came out, the first 6 months were

very like no one was excited about it.

>> Yeah. Where's the viewfinder? I could

never shoot like this. Why were to buy

this? Yeah. And then obviously now

>> it's because of the fact

>> 100%. I think it'll be the same. People

be like, "What? It's the same and you're

charging more and just calling it a

different thing." And then

>> everyone

>> everyone buys it and loves it. It's the

camera that everybody ends up using for

sure.

>> It's I can already see it.

>> That's a win.

>> Yeah.

>> That's [laughter] huge. That's the

dorkiest thing to be excited about of

all time.

>> So out of all the things so far, you're

like, "Dude,

>> what? Two quarters." every [laughter]

single small camera in the world with

the one slot and you put it on a tripod.

It's just [laughter]

>> same dual card slots on this side and

then we get an extra/420 on the bottom

which is really nice. Then you can

actually mount it sturdy or even be able

to mount some sort of like half cage or

something just based off of those two

which is really nice. The FX5's handle

is just a tiny bit longer. So now it

actually like fits your hand whereas on

this one your hand is like falling off

already on the FX3. So, this is a nice

little improvement. They're still both

kind of plasticky and sort of cheap

feeling, which feel like could have been

a nice upgrade. This right here is a big

update. So, you can mount your monitor

and it won't be spinning around, which I

really like. And we get one more

mounting point. So, now there's three,

whereas on the FX3, we only got these

two. The audio controls have slightly

changed also. Here's the FX3. Seems kind

of the same to me, except for slightly

different layouts. And then we get a few

different um options on the inputs here

that we didn't have on the FX3, which I

at this point have not actually dove

into what all those do, but here you go.

That's what you got right there. One big

difference is now we have this new port

here. And so you can actually put on an

EVF. Pops on there and uses the same

mounting points as the handle does. And

now we have an EVF. But me personally, I

do not like EVFs at all. It is really

nice that they gave you the option,

though. If you like EVFs, you can put it

on there. And I personally love the fact

that it's not built in and that it is an

optional thing because for me, it would

just be completely useless. I would

never use it. So, I think this is kind

of a great way to implement having an

EVF for those people that do want one.

And it for an EVF, it seems great. I

just personally hate EVFs. Let's see

what you think. So, there's definitely

going to be I don't know if this is the

only accessory that they're going to

make for it. Like

>> that could Yeah. Yeah.

>> Or other companies could come in maybe.

>> Although, how long was this out and not

not a single extra accessory [laughter]

ever came out?

>> Okay. Fair, fair, fair, fair.

>> I do like the fact that it's not built

in that you can remove it cuz I hate

EVFs. I think they're so stupid.

>> I love an EVF.

>> No, I hate it.

>> This is backwards for me.

>> It looks so like digital like meh. And I

hate just like one eye closing. I hate

everything about EVFs.

>> Come on. Doesn't bring you back to your

rollerblader days.

>> No, we never did that. We had a little

flip LCD screen on our little like

handicam thing. And then I'm I'm left

eye dominant. So you have to like most

of the time you have to hold it

awkwardly over.

>> That's what I'm doing right now.

>> Yeah. Which which is fine on this, but

like on cinema cameras you're always on

the left side of it and then you have to

bring it all the way over. So it's so

stupid. I would never ever ever

say that an EVF is it just looks digital

and bad. The screen looks way better and

it's just easier to look at.

>> It doesn't look great, but I like it

because it removes everything else. So,

you're only focusing on like composing a

shot if it's like super bright or

something like

>> except you got to close one eye and

you're now your eyes are getting all

messed up and then you open now take

your eye off there. You're like,

[laughter]

>> "No, I would rather be able to look at

my monitor when I do both." Okay, you

could do both.

>> Yeah,

>> that's nice. But I would never I would

literally never put that on

>> hot take. I don't think I like the

pinch. I don't think I like

>> really really. Well, it's nice because

you can shoot like this.

>> Okay.

>> So, like when when you don't need it to

be flipped out and looking at you shoot

like that and it's like nice and

compact.

>> This purpose is cool, but I will say my

FX3 hinge on of like this screen is

absolutely holding on by a thread. So

yeah, this one.

>> So like this gives me a lot of fear from

having this like absolutely just

dangling on my camera.

>> For some reason, I feel like that seems

a little stronger. But yeah, you're

probably right.

>> It does feel very sturdy.

>> It does feel stronger, I think.

>> But I just don't know how much like this

I do really like, but I just don't know

how much use

>> Yeah.

>> folks would get out of the whole thing.

But that's just

>> I think it's the only thing is like

getting it close to you and you just

flip it up, which is nice sometimes. I I

do like that cuz then it's not off to

the side. It's more discreet.

>> Yeah, exactly. Yeah.

>> The FX3 and FX5 are very similar in look

and feel. I think most people when they

pick up the FX5, they'll just think that

they picked up an FX3. It's slightly

bigger, very small differences. The

biggest difference is that monitor. And

for me, this is also the biggest

disappointment. I feel like if they

would have given us like a 5 inch

monitor, just made the camera slightly

taller and given us a big honk and 5 in

monitor in OLED OLED monitor would be

incredible. It would really mean that we

never need to add an external monitor to

this camera and that would have been a

really big deal. But now we're kind of

in this like halfway no man's land of

like it's 3.5 inches and then if you're

filming an open gate you're using even

less of the screen because it's a 16 by9

screen not a 3x2 like the Kfinity Vista

which this 3x2 OLED monitor is the best

monitor ever. Um we also have the Nikon

ZR monitor which is bigger and better in

my opinion than this monitor. Maybe

quality-wise, maybe the FX5 monitor is a

little bit different. I just feel like

they could have gone a little bit

crazier here. If they had a 5- in

monitor, as soon as people saw this

camera, they would be like, "Holy crap,

what is this?" They would have been so

excited. And now, when you hold this

camera in your hands for the first time,

it is very lackluster because it is so

similar to the FX3. Like, if I held this

camera up, you would not know is this an

FX5 or an FX3. There is no way really to

tell. We have a new battery system. New

batteries. You're going to have to buy

new batteries. Um, and they say it lasts

for 130 minutes in 4K 60 frames per

second. I haven't done a test yet. I

haven't had time. But yeah, it seems

pretty good. I only have one battery and

I've just been plugging in a little

battery bank like this when I need more

battery or when I ran out of battery.

So, that is what I've been doing for the

last week. Audio-wise, now we get 96 kHz

32-bit float. I don't know of another

camera that has 96 kHz 32-bit float. So,

I'm kind of interested in seeing some

audio nerds test it out and see like is

there a big difference there. UI-wise,

everything has changed. You are going to

have a very hard time at first with this

like I have. Um, it is similar but

different to the FX6. This is what your

main screen looks like. Um, we now get

waveform, histogram or vector scope. Um,

one weird quirk right now is that the

waveform works based off of the viewing

L, not the log footage, which is dumb.

As you can see here, once I turn uh

false color on, which we also get false

color, and we get even a button for it.

Um, you can see the waveform changes.

So, it's like showing it with the L on.

Now, it's showing the log. That is dumb.

I'm sure that's just a mistake. I

haven't figured out a way to change that

yet. So, maybe I've missed something. I

really love that all of the information

on the is on the outside of the screen

and you can actually customize all of

that. You can turn on and off anything

you want on the outside. I've already

turned off a lot of stuff that I just

don't need. This is the part where I'm I

don't know if I'm just getting used to

it, but I I don't know if I'm a fan of

it yet. Um, we have the clips button.

That's just to get to your clips. Then

we have false color. That's really nice.

And then we have the menu, which takes

you to like this kind of slightly

simplified menu. kind of like a big six

almost which is nice. And then you have

to hold onto this one to get to like the

full full menu. And there's a bunch of

stuff in here. And then there's on top

of that there's these two buttons.

There's the user button which brings up

another kind of big six but a different

big six. [laughter]

I think you can customize these maybe.

And then there's the home button which

brings up the big six that we're used

to. And I just find this to be a little

bit cumbersome right now. A lot of

settings you need to do like a lot of

clicking around and like pressing to get

to. I feel like they could definitely

dial this in a little bit, but overall I

I'm pretty happy with it. I do like this

main screen a lot. We should also get

better autofocus now. Um I don't know if

that's true or not, but um in theory, we

have better autofocus now, better white

balance, and better stabilization with

that new processing unit. Um, I I feel

like I haven't really seen any big

differences yet. Um, it feels a little

different, but uh I think I need to

really test that stuff out more to see

if there actually is like drastic

differences. Oh, and the app works

better now. You I guess you guys can't

see cuz of the ND filter. Um, it works

better now because we have a better

Wi-Fi system on the FX5. So, it's more

stable. It's still not the best, but I'm

really curious to see can somebody

really leverage how fast the Wi-Fi is in

this camera to get a better hopefully

near no latency um wireless monitoring

system on your phone. I love doing this.

So, that's a really nice thing. Then,

let's talk about the price. Uh that's a

big deal. So, price at launch in the

USA, it will cost $4,899.

That is without the handle. With the

handle, it'll cost $5,499.

In Canada, it'll be $6,300 [music] and

$7,000. So, that is more expensive than

the FX3, and I think that's going to

hurt for a lot of people. I think this

camera isn't as flashy cuz the 16- bit

RAW is really hard to understand. The

body looks kind of the same and people

are like, "What was the big update here?

It's been 6 years. What have you guys

been working on?" and then you have to

pay more for it. Also, I think that is

going to be like a a point of pain for a

lot of people. So, let's talk about my

final thoughts. After using this camera

for a week, I'm for sure switching. No

questions asked. I'm for sure switching

to this. It is just way better than the

FX3. They're not calling it an FX3 Mark

II, but to me, it really does feel like

just an FX3 Mark II. I probably wouldn't

have called it an FX5, but I think they

want to keep around the FX3 because it

is still a really great camera, but then

if you need even more, you can get the

FX5. So, I understand that and that's

that's nice. [music] I thought I was

going to use the Nikon ZR more, but the

H.265 codec is just so brutal on this

camera that I never really ended up

switching to it. I used it a little bit

and I used it less and less and just

went back to the FX3. This camera is so

easy to switch to as an FX3 user. It's

basically the same except just better in

every way. And I think the FX5 is the

perfect combination of incredible

quality, but still really, really easy

to use. Does that mean it's perfect? No,

definitely not. I think there's still

like room for improvement. The screen,

especially the monitor, it's not bad.

It's definitely way better than the FX3,

but it just I feel like it could have

been so much more. just make the body a

little bit bigger and then that make

that monitor just a massive 5- in

monitor on the back of the camera. Like

people would have flipped. I knew we

weren't going to get internal ND

filters. Would [music] it be nice to

have them? Of course. But I I feel like

there is maybe a way to solve this now

with that triple base ISO. Like can we

even just make an ND filter that goes

between the sensor and the lens? and you

just like have that ND filter in there

at all times and then just use the

triple base ISO. Kind of like I've been

using my ND filters and just using the

the dual base ISO. I also think it's a

bummer that when you first pick up the

FX5, it just kind of feels the same.

There's no like, wo, this is crazy. In

some ways, that is good though, also

because a lot of us are so used to the

FX3. So, it's just picking up the same

camera basically and maybe even some of

your other accessories and rigs and

stuff like that will work just as well

with the FX5. But the most important

thing, the the brain of the camera, the

sensor, all of that stuff is incredible.

Like, it is so good. It is so much more

than anybody basically needs. This is

the best video camera anybody has ever

made in this size. And it definitely

beats the Nikon ZR easily. Although a

lot more expensive, it beats cameras

like the Kin Infinity Vista easily. It

is way better than the FX3. It is better

than all of the Canons. I can tell you

right now, it probably even beats most

of the high-end cinema cameras out

there. I wouldn't be surprised. And if I

had to pick one camera to use for the

rest of my life right now, it would

easily be the FX5. This is the new king

of cameras. It's just maybe not as

exciting as I thought it was going to

be, but it is still the king. All right,

let me know what you guys think and let

me know what are you still interested

in. I want to do a lot of side by sides

with a lot of the different cameras and

show you guys what that looks like. But

yeah, let me know if there's anything I

missed. I'm sure there's a bunch of

things. I've been going crazy trying to

test everything in just a few days. So,

hope you guys enjoyed it. I will see you

guys later. Bye.