Sony didn't sneak into cinema. They kicked the door in with one camera, then built a whole ladder under it so there's a body for every budget and every job. Here's the Cinema Line that matters right now, from the little one that lives in a backpack to the flagship that shoots features.
The compact end
Sony FX30
The way in. Super 35 sensor, 4K, and the same menu and color world as the bigger bodies. No full frame and no SDI here, it's HDMI out only, so plan your monitoring around that. For the price, it punches way above its weight as a B-cam or a first real cinema camera.
Sony FX3
Full frame in a body the size of a mirrorless. Around 12 megapixels, 4K, and the low-light performance that made it the default for gimbal work, run-and-gun, and tight spaces. Like the FX30, it's HDMI out, no SDI. People shoot real features on these now, which says everything.
Sony FX2
The newer compact full-framer Sony slid in to sit between the FX3 and FX6. Think FX3 DNA with updated guts. If you're choosing today, look at it next to the FX3 and let the specifics of your work break the tie.
The working middle
Sony FX6
The doc and corporate workhorse. Full frame 4K, the same sensor lineage as the A7S line, built-in variable ND that shooters genuinely love, and a 12G-SDI out so it drops into a real signal chain. If you do one-person video for a living, this is probably the body you reach for.
Sony FX9
The bigger run-and-gun rig. A 6K full frame sensor downsampled to a very clean 4K, proper XLR handle, and a 12G-SDI out (plus a separate 3G out). It sits above the FX6 for higher-end documentary and broadcast-style work where you want the bigger sensor and the better build.
The flagships
Sony VENICE
The original full-frame cinema flagship. 6K sensor, dual base ISO, and the color science that got it onto a long list of features and high-end commercials. 12G-SDI on board. The camera that made the rental houses take Sony seriously at the top end.
Sony BURANO
The flagship sensor, shrunk into a body one person can actually build and operate. An 8.6K full frame sensor, built-in electronic ND (a big deal in a body this size), internal X-OCN recording, and 12G-SDI. It's the bridge between the run-and-gun world and the VENICE world, and it's everywhere right now.
Sony VENICE 2
The current crown. 8.6K full frame, around 16 stops of dynamic range, dual base ISO, and internal 16-bit X-OCN in a few sensor variants. 12G-SDI out. If you're on a high-end narrative or commercial set running Sony, this is what's on the cart.
Quick reference
| Camera | Sensor | SDI | Best for |
| FX30 | Super 35, 4K | None (HDMI) | Entry / B-cam |
| FX3 / FX2 | Full frame, 4K | None (HDMI) | Gimbal, low light |
| FX6 | Full frame, 4K | 12G-SDI | Doc / solo work |
| FX9 | Full frame, 6K to 4K | 12G-SDI | High-end doc |
| VENICE | Full frame, 6K | 12G-SDI | Features |
| BURANO | Full frame, 8.6K | 12G-SDI | Solo cinema |
| VENICE 2 | Full frame, 8.6K | 12G-SDI | Top-end narrative |
What this means for your cable bag
Watch the SDI column, because Sony is not consistent here. The FX3, FX2, and FX30 give you HDMI only, so if you need a real run to a monitor or a switcher, you're converting or you're rethinking. The FX6 and FX9 also give you a 12G-SDI out. Step up to VENICE, BURANO, or VENICE 2 and you're on 12G-SDI, which means good 12G-rated cable kept short, same as any other 12G body.
Buy 12G cable once and you're covered across the whole range. The only thing it won't fix is an HDMI-only body, and that's a dongle problem, not a cable problem.
Yeah, the A7S line shoots gorgeous footage too. That's a stills-camera conversation. This list is the bodies built to live on a set.
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