Sony FX2 徹底レビュー！これは誰のためのカメラなのか？

Sony FX2 徹底レビュー！これは誰のためのカメラなのか？

Released about four years ago in 2021, the “CinemaLine FX3” The FX3 has now become an essential part of our work. It has continued to support countless creators, from amateurs to pros, and even now in 2025, it’s still leading the video industry. Naturally, what everyone’s looking forward to is the successor to the FX3. It’s one of the cameras I’ve personally been waiting for, too. And now finally, a new model has been released from Sony CinemaLine. Its name is “FX2.” The first thing I checked was the specs, and 4K60P has a 1.5x crop. No built-in ND filter. Base ISO is ISO 800 and ISO 4000. Wait, this might not be the FX3 successor we were all waiting for. Even so, the FX2 features a newly designed body, and cutting-edge tech like the AI Processing Unit. It’s the newest CinemaLine camera packed with Sony’s latest technologies. So who exactly is this CinemaLine camera for? Is it worth switching to the FX2? Let’s check everything out. So what kind of position does “CinemaLine” actually hold? It’s considered Sony’s “professional line for video creators.” It includes models like the FX6, which we’re using to shoot this video, and even the VENICE 2, used in Hollywood films, and affordable options like the FX30 that support young creators with prices in the ¥200,000 range. It covers a wide range of video needs, from large-scale productions to individual creators. To me, the standout features of CinemaLine are its great usability and reliability. With unified controls, a cooling fan, and strong durability, it offers peace of mind when shooting—one reason I choose CinemaLine. I’ve never had the FX6 or FX3 freeze up on me during use. And now, “FX2” joins the CinemaLine family. To put it simply, it feels like the CinemaLine version of the α7M4 or α7CM2. The FX2 comes equipped with a full-frame sensor with about 33 megapixels. It supports 7K oversampled 4K at 30fps, and 4.6K oversampled 4K at 60fps. You can choose from three recording formats: XAVC HS, S, or All-Intra. And unlike the α7M4 or α7CM2, you can also shoot in DCI 4K. This is a feature unique to CinemaLine, supporting the wider 17:9 aspect ratio used in Hollywood films. That said, the FX3 and FX30 support 4K at 120fps, so when I first saw the FX2’s specs, I was a bit let down, thinking “Really? Max 4K 60p with a 1.5x crop?” But how many people are actually using 4K 60fps or 120fps regularly? This FX6 I’m using to shoot for YouTube stays locked at 4K 24fps. For content like YouTube or interviews, Vlogs and promotional videos, 4K 24fps or 30fps is usually more than enough. I’m sure there are many users who don’t even use high frame rates with the FX3. Now, please enjoy a short film shot entirely in 4K 24fps on the FX2. What did you think of the short film? This time, we collaborated with pianist Mai Morimoto, and recorded a piano performance scene as the main subject. We used a combination of tracking rails, gimbals, and handheld shots to create the piece. The FX2 is the first CinemaLine camera to feature Dynamic Active Mode. It crops more compared to Standard mode, but in return, you get powerful image stabilization. When comparing the FX3’s Active Stabilization and the FX2’s Dynamic Active, you can clearly feel the difference in stabilization power. Most of the Vlog content I’ve shared so far has been shot handheld on the FX3. When traveling a lot, the compact body and high-performance stabilization become crucial in choosing a camera. The FX3’s Active Stabilization is already quite strong, and it’s been super helpful in tough or unstable shooting environments. But the FX2 offers even better stabilization, making it a very reliable option. On top of that, the FX2 has an AI processing unit and supports real-time subject recognition AF. This allows for high-accuracy recognition based on body shape and posture estimation, and it can detect humans, animals, birds, insects, cars, trains, and airplanes. I usually use the FX3 or α7M4, which don’t have the AI processor, so I was really impressed that it could keep tracking eyes even in low light and recognize eyes instead of faces even in hard-to-detect situations. Another spec worth noting is the dual base ISO: ISO 800 and ISO 4000. As the name suggests, dual base ISO means you have two native ISOs. In the case of the FX2, those are ISO 800 and ISO 4000, and at those values, you get the cleanest image and capture the most information. Let me know in the comments how you use it in real life— but how many people actually shoot at ISO 12800 on the FX3 or α7S III on a regular basis? Honestly, we’re guessing it’s probably not that many. Since we’re based in Tokyo, the streets are pretty bright and light is usually enough, so ISO 4000 on the FX2 is actually a very usable and practical option for us. Also, the FX2 is estimated to have over 15 stops of dynamic range, which is about the same as the FX3. Dynamic range shows how well a camera can capture bright and dark areas at once, and the higher the score, the better it avoids blown highlights or crushed blacks. The FX30 is estimated at over 14 stops, so 15+ stops on the FX2 is considered pretty great even by industry standards. Alright, from here on, let’s look at the “body design” of the FX2, aimed at people who want top-tier video and photo performance. Let’s dive into the “body design.” The FX2 keeps the compact mirrorless-style body of the FX3 and FX30, but adds a new electronic viewfinder. This EVF has a 0.70x magnification and about 3.68 million dots, and it tilts 90 degrees upward to support shooting from various angles. When the FX3 was released, many people wondered why it didn’t have a viewfinder, and some chose the α7S III with the same sensor just for the viewfinder. So having or not having a viewfinder can be a big factor when choosing a camera. Personally, I don’t often use a viewfinder while filming video, so I was fine with the FX3, but since the FX2 is also great for photography, I really enjoyed shooting with the viewfinder this time. Even with the new electronic viewfinder added, the FX2 weighs around 677g—40g lighter than the FX3. That makes it the second lightest camera in the CinemaLine lineup. It also features a new lever to switch between movie and stills modes quickly. Photo specs include about 33 megapixels effective resolution, and it supports 10 frames per second shooting with the mechanical shutter. There’s this much difference in image quality between the FX2’s 33MP and FX3’s 12.1MP. You’ll especially notice the difference when comparing them side by side. The FX2 also includes new Creative Looks, and the popular “FL” has been expanded to three versions for Sony users. Creative Look is Sony’s original color profile, and you can enjoy these tones and textures straight out of JPEG. The differences between the three new FL styles look like this— you can really feel the contrast and color variation. There’s also a new Home button added. With it, you can check all the info needed for video shooting on one screen. It really helps reduce the chance of shooting mistakes. The home screen shares the same UI as the side monitor of the CinemaLine flagship, Venice 2. It also functions as an assistant display for quick setting changes. So with the FX2, you can have the home screen on the main monitor and the recording display on an external monitor—this could totally change camera workflows. But right now on Sony cameras, you can only display info on either the internal or external monitor, not both. So with that limitation, the home screen might not get much use just yet. Also, the power switch has moved to the center of the camera, so now you can turn it on/off with just your right hand. The switch makes a satisfying click sound when used, and a green light turns on when the power is on. If you’ve used an FX3 or FX30, you’ll probably relate— haven’t you forgotten to turn off the power quite a few times? Most mirrorless cameras have the power switch in a place you can operate with one hand, but with the FX3 or FX30, we’ve often forgotten to turn it off, and the battery would be drained before we knew it. So with the FX2, being operable with one hand, and having a light to instantly check the power status is actually a small but welcome upgrade. Also, there’s now a custom button on the left side of the viewfinder, bringing the total to 7, and two screw holes on the bottom. This helps you balance the camera front-to-back depending on lens weight, and also improves safety when mounting plates. Other button layouts and operability are the same as the FX3 and FX30, with dedicated white balance and ISO buttons, and a zoom lever for smooth operation of power zoom lenses. But there are some disappointing things about the FX2 body. First is the relatively low-resolution monitor at about 1.03 million dots. And only one CFexpress Type-A/SD hybrid slot— the other slot only supports SD cards. About the 1.03 million-dot monitor: The FX3 has around 1.44 million, and the FX30 about 2.36 million dots, so for the FX2 in 2025 to have only 1.03 million dots is pretty underwhelming. Even with the FX3’s 1.44 million-dot monitor, peaking and focusing are still hard to see, and manual focusing can be a bit of a pain. So having an even lower-res monitor on the FX2 is a bit of a letdown. And the other issue is the media slots. It uses SD cards, which are common in many cameras, and CFexpress Type-A, which enables high-speed data transfer— you can use both types in the same slot. I really think Sony’s combo slot design is fantastic. But the FX2 only comes with one combo slot. The other slot only supports SD cards. Of course, the FX3 has two combo slots, and even the more affordable FX30 includes dual combo slots. So for the FX2, a CinemaLine camera supposedly aimed at professionals, cutting corners on media slots feels like a letdown. Maybe it was due to the body design specs, or possibly cost or weight-saving concerns that made it hard to include two combo slots, but for professional use, I personally think dual slots would’ve been better. That said, the rest of the body design is really solid. It uses the NP-FZ100 battery, which is compatible with many other models, has a tally lamp that makes it easy to confirm recording status, and a cooling fan system that allows for long recording sessions. The screw hole on the left side of the body was removed, but the one on the right allows for smooth vertical shooting operation, and the top-mounted screw hole adds expandability. Plus, it’s compatible with the XLR-H1 handle used on the FX3 and FX30. With the XLR-H1 handle attached, you can input audio directly from an XLR mic. The ports include a 3.5mm stereo mic jack and headphone output, both placed uncovered at the bottom, as well as USB-C, Multi Terminal, and full-size HDMI support. With the headphone and mic jacks on the bottom, monitor interference is also reduced, and of course, even with an HDMI cable plugged in, it won’t interfere with the screen. I’ve been using the FX3 for around four years now, and this camera body design has really supported me in so many shoots. The ease of handheld shooting and portability go without saying, but it also works well with various rigs, which is a big plus. Thanks to the compact and lightweight body, I can use smaller jibs when filming, and operating the camera stays smooth. Even with rails or gimbal setups, the system stays light, so I can focus on camera movement, which I really appreciate. At this point, some of you might already be thinking about getting the FX2 or even switching to it. Maybe you’re one of them? The FX2 is priced at ¥416,000 including tax on Sony’s official store. What do you think? Is that about what you expected? Currently, the FX3 is priced at ¥581,900 including tax at the Sony store. The FX30 goes for ¥297,000 including tax. So the price difference between the FX3 and FX2 is about ¥160,000, which is enough to get yourself a decent lens. Considering the similar performance, the α7C2 is priced at ¥328,900 including tax, so personally, I think this price point for the FX2 is pretty fair. That said, now you know the specs and pricing— but what you probably want to see is how it actually performs and compares to other models. From here, we’ll compare it with the FX3, FX30, and even the flagship α1M2. Let’s find out how the FX2 actually stacks up! First up, let’s talk about image quality. We compared five models: FX2, FX3, FX30, α1M2, and α7M4. In bright daylight conditions, the higher-res FX2, α7M4, and α1M2 stand out with clearer details. You’ll especially notice it when zooming in on things like hair strands. Meanwhile, the FX30 with its APS-C sensor shows a bit more noise in the shadows. The FX30 has about 21MP, which is more than the FX3, but still, the FX3 with its full-frame sensor gives off a more natural and cleaner look. As for color, all five of these models have the latest BEYOND XR processor, so skin tones, greenery, and blue skies all have rich and expressive color. We also compared low-light performance. At the low BASE ISO, the other four models aside from FX30 were about the same level, with no major differences in visible noise. But since the FX30 has a smaller sensor, it did feel a bit noisier overall. Next, we compared ISO 2500 on the FX30’s high BASE ISO side. One surprising thing was that FX2 at ISO 2500 looked cleaner than FX3 at the same ISO. The FX2’s high BASE ISO is ISO 4000, so ISO 2500 is closer to that base and probably resulted in lower noise. We also compared at FX2’s BASE ISO 4000, and again, the FX2 looked impressively clean. Lastly, we compared ISO 12800, the high BASE ISO for the FX3. The results were surprising—of course, FX3 looked great, but FX2 also held detail despite some noise, and I feel it’s close to being usable even in very low light. Next, we tested battery life and long recording time. We ran continuous 4K 24fps 4:2:2 10bit HS recording from 100% battery on each camera. The first to hit 0% was FX30 at around 1 hour and 21 minutes. Next was the FX2 at around 1 hour and 37 minutes. Then α1 II at about 1 hour and 45 minutes, and FX3 shut down about 3 minutes later. The last one standing was the α7M4, which shut down after 2 hours, 10 minutes, and 52 seconds. Even though all used the same FZ100 battery, the difference between FX30 and α7M4 was about 50 minutes. Among these five models, FX2 showed faster battery consumption. But we couldn’t completely equalize battery degradation across cameras, so please consider this more as a reference than a strict comparison. Now for the “long recording” test— we were able to shoot continuously for over 12 hours with no issues. And finally, the most interesting part: rolling shutter performance. So what is rolling shutter? It’s a phenomenon where fast-moving objects appear distorted because the sensor reads top to bottom. We started by comparing the FX2 and FX3. The FX3 sensor is known for fast readout, so it can shoot with minimal distortion. In contrast, the FX2 showed more noticeable rolling shutter effect. When you pan the camera sideways and pause the footage, you can see buildings bending. When compared to the stacked sensor in the α1M2, the readout speed difference becomes very obvious. The FX2 and α7M4 showed similar levels of distortion in the rolling shutter test. So to sum up this comparison— The FX2 offers a great balance of image quality, low-light performance, and long recording reliability. Its high ISO performance, like ISO 4000 and ISO 12800, was especially impressive. But in terms of battery life and rolling shutter, the FX3 still has the edge. Still, the FX2 clearly shows how CinemaLine has evolved. When I first got this camera in my hands, to be honest, I didn’t really feel any big surprises. But there’s no doubt that people were waiting for a camera exactly like the FX2, and I believe it will become a valuable tool that supports many creators as part of the CinemaLine. Sony’s CinemaLine is truly a core part of what keeps our creative work going. It’s become more than just gear—it’s like a partner or infrastructure we rely on. That “FX30 early review” was actually AKIYA MOVIE’s first collaboration with Sony. After taking the leap and switching to the Sony system, our YouTube activity really took off, and before we knew it, we surpassed 170,000 subscribers. Right now, we’re working daily toward hitting the 200,000 mark. And the thing that’s always supported our daily activities is “Sony CinemaLine.” The Sony FX6 we’re using to shoot this video right now has a built-in variable ND filter, uses BPU batteries, and is equipped with an SDI port— a box-style Cinema camera that can handle all kinds of shooting environments. The FX3 has the same sensor as the FX6, but in a compact, lightweight body with powerful in-body stabilization, making it ideal for run-and-gun shooting. And then there’s the FX30 as the entry model for the line, positioned as a starter camera to support young creators. So who exactly is this new “FX2” camera for? At this point, my answer is— it’s the perfect camera for creators who want both video and photo performance without compromise. It offers stunning 4K 4:2:2 10bit footage, and lets you take high-res 33MP stills using the EVF. If you shoot video solo but also need to take photos at the same time, it’s a perfect match for that kind of workflow. And just like this piano performance piece, even if you’re not using slow motion, the FX2’s high resolution becomes a major asset for your visuals. The FX3 and FX6 are low-megapixel models built for low-light strength, so a camera like the FX2 that balances decent resolution for both photo and video might just be truly one of a kind. We’ve also prepared free downloads of sample photos and videos shot with the FX2. Feel free to check them out—try editing or color grading the data and see the high quality for yourself. You can already download them from our online shop “Visual Park,” which we operate. The entire color grading for this video was done using our own “Power Grade” that I developed myself. Using it, I think you’ll be able to achieve high-quality color grading quickly and easily. So definitely check that out too! So, what are your thoughts or impressions on the FX2? Please feel free to let us know in the comments! And if you liked this video, don’t forget to hit like and subscribe to the channel. Alright everyone, see you in the next video! Bye-bye!

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【目次】
00:00 プロローグ
01:29 Cinema Line FX2 登場
03:36 shot on FX2
05:55 新機能と進化ポイント
08:59 最新ボディデザインの魅力
12:37 惜しい点・気になったところ
14:17 ポート類や拡張性について
15:35 価格
16:20 FX3 vs FX30 vs FX2 vs α7Ⅳ vs α1Ⅱ
20:21 エピローグ

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