The newest body in Sony’s Cinema Line, on our shelf and bookable now — full-frame 5K stacked sensor, Open Gate, internal 16-bit X-OCN RAW and a triple base ISO of 800 / 4000 / 12800, E-mount, 0.7 kg, at ₹5,000 per day. The FX5 launched in July 2026 and is still rare in Indian rental stock. The rest of the line runs alongside it at the same rates in both cities: FX3 ₹3,000, FX30 ₹2,250, FX6 ₹6,000, FX9 ₹10,000, A7S III ₹2,250 and the Venice 2 at ₹40,000. Owned kit, out of our Ranchi studio and dispatched same-day across Delhi NCR.
Three things on this body are firsts for the FX line. They are the only reasons to pay ₹5,000 instead of ₹3,000 for an FX3 — if none of them apply to your shoot, book the FX3.
The FX5 reads the full height of the sensor rather than a 16:9 slice. From a single take you pull a 16:9 master, a 9:16 vertical and a 4:5 crop, each with real resolution behind it instead of an upscaled centre crop. No FX body before this one did that. For brand work delivering to TV, YouTube and Reels off the same shoot day, it is the difference between one setup and three.
RAW at the quality level the Venice 2 records, written internally — no external recorder bolted to the cage, no extra battery, no SDI run to keep alive. The trade is file size: X-OCN days need card and drive budget, and a DIT at ₹3,500 stops that becoming your problem at wrap. Ask us and we will spec the media with the body.
Three native sensitivity points instead of two. 12800 is a clean starting point, not a gained-up 800, which is what makes night exteriors and practical-lit interiors shootable without a lighting truck. In daylight or on a lit set it buys you nothing — that is the honest limit of this feature.
At 0.7 kg it rigs like an FX3: gimbal, handheld, drone-adjacent, tight interiors. On spec it records past the FX6 and, in RAW terms, past the FX9. What it does not have is the FX6’s built-in variable ND or the FX9’s shoulder ergonomics, so it is not a straight upgrade over either — it is a different tool.
If you are looking for a Sony camera on rent in Delhi and are not sure which body the shoot needs, start here rather than with the model number. The Sony cinema line runs from the A7S III and FX30 at ₹2,250 a day, through the FX3 at ₹3,000 and the new FX5 at ₹5,000, up to the FX6, FX9 and the Venice 2. Tell us the format, the delivery and the budget and we will say which one fits — including when the cheaper body is the right answer.
Every body below is owned, not sub-rented, and every rate is the same in both cities. Rentals are dry by default — body, cage, cables, media and batteries — with glass and crew added on request.
The first FX body to shoot Open Gate and record 16-bit X-OCN without an external recorder. One take gives you a 16:9 master and a real 9:16 vertical, and the third base ISO at 12800 holds up after sunset. Rigs like an FX3, records like something two tiers above it.
The lightest full-frame body we carry and the one that goes out most. Documentary, gimbal days, tight interiors, second unit. If the deliverable is 4K 16:9, this is the honest choice and it saves you ₹2,000 a day.
Built-in variable ND and a proper video-camera body. The one to take when you are on sticks or a shoulder for ten hours and want to change exposure without touching the matte box.
6K full-frame in a shoulder build with real broadcast ergonomics. Long-form, live events, multi-cam interviews. RAW is available but needs the extension unit, so tell us in advance if you want it.
Super-35, so it crops relative to the full-frame bodies — but it matches FX colour and cuts cleanly against an FX5 or FX3. The cheapest way to add a second angle.
When one body has to deliver stills and video on the same day. Same E-mount glass as the FX line, same colour family, and it fits in a bag.
The top of the Sony range, for national spots where the client has specified resolution. Eight times the money of an FX5 — book it only when 8.6K and PL glass are actually in the brief.
We would rather send you the ₹3,000 body that fits than the ₹5,000 one that does not. Read down this list and take the row that matches your call sheet.
FX5 at ₹5,000. Open Gate is the whole reason — you cut a 16:9 master, a 9:16 reel and a 4:5 crop out of the same take with real resolution behind each, instead of upscaling a centre crop. This is the job the FX5 was bought for.
FX5 at ₹5,000 for the third base ISO at 12800 — it is a native point, not a gained-up 800. If the shoot is lit or in daylight, the extra stop buys you nothing and the FX6 at ₹6,000 or FX3 at ₹3,000 is the better spend.
FX3 at ₹3,000. 0.64 kg, full-frame, dual base ISO, XAVC-S-I. Add an FX30 at ₹2,250 as the B-cam and you have two angles for less than one FX5 day.
FX6 at ₹6,000 for the built-in variable ND, or FX9 at ₹10,000 if you want 6K and a shoulder build. Pair either with the SELP 28-135 parfocal zoom at ₹1,000 and you stop changing lenses.
Venice 2 at ₹40,000 for 8.6K and 16-bit X-OCN, or the ARRI Alexa Mini LF at ₹22,500 if the brief is really asking for ARRI colour. An FX5 is not the answer to that brief and we will say so.
Not on an FX body. Our Atlas Orion 2x set is PL and adapting it onto an FX5 for a paid shoot is not a combination we recommend. Book the Alexa Mini LF and the Orions together instead.
The FX5, FX3, FX6, FX9 and A7S III are full-frame E-mount, so the glass has to cover full-frame or it vignettes. The FX30 is Super-35 and takes anything. Tell us the body and we confirm coverage and mount before the kit leaves.
| Lens | Detail | Why it goes with an FX | Rate |
|---|---|---|---|
| Sony SELP 28-135 G | 28–135mm · F4 · E-mount · parfocal servo zoom | Native mount, no adapter, covers full-frame. The default one-lens answer on an FX5, FX6 or FX9 day. | ₹1,000 / day |
| Sigma Cine FF Art Primes | 20 · 24 · 35 · 50 · 85 · 135mm · T1.5 · full-frame | T1.5 across six focal lengths. The value prime set when the FX5 is the A-cam and the look matters. | ₹3,750 / day set |
| DZO Vespid Primes | 25 · 35 · 50 · 75 · 100 · 125mm · T2.1 · PL | Full-frame budget set, light enough for gimbal work. PL, so it needs a PL-to-E adapter on any FX body. | ₹3,000 / day set |
One limit worth stating plainly: our anamorphic set — Atlas Orion 2x — is PL, and adapted anamorphic on an FX body is not something we would put on a paid shoot. If the brief is anamorphic, book the ARRI Alexa Mini LF instead. The full glass catalogue is on the cine lens rental page.
Knows the Sony menu, the FX picture profiles and where the Open Gate settings live. Bookable in either city.
₹4,000 / day
Worth budgeting on a full-frame body at T1.5 — the FX5 sensor is unforgiving wide open.
₹3,000 / day
On-set offload and dailies. Recommended on X-OCN days, where the file sizes are the real logistics problem.
₹3,500 / day
Our DOPs have shot the Policy Bazaar national TVC, Walkaroo Mr. Kadam, Vega DCUT, a Delhi indie feature, Haryanvi, Punjabi and Bhojpuri music videos and a Jharkhand OTT docuseries — see the ad film and photography team.
Same fleet, same rates, two different logistics. We would rather you knew which is which before you book than find out on the shoot morning.
The FX-series bodies are ours, not sub-rented, and they sit at our studio on Main Road, Ranchi 834001 between jobs. Ranchi is the one city where you can walk in, inspect the body and take it the same day. Jamshedpur, Dhanbad, Bokaro and Hazaribagh run 12 to 24 hours.
We hold no walk-in counter in Delhi; the kit is dispatched to your location. Same-day across Delhi, Gurgaon (Cyber City, Udyog Vihar, Golf Course Road), Noida and Greater Noida (Film City, Sector 62, the Expressway studios), Faridabad and Ghaziabad. West Delhi including Dwarka, Janakpuri, Rajouri Garden and Rohini is usually a few hours.
Covered, but not same-day. Give us 24 hours and the kit is on set with the glass and crew you asked for. Same rate as Delhi and Ranchi; no distance loading.
Pelican-cased, insured, tracked. Mumbai, Bengaluru, Hyderabad, Kolkata, Chennai, Goa. Add a day either side of the shoot for transit and tell us the shoot dates rather than the delivery date so we build the schedule around the call sheet.
The FX5 is the newest body in Sony's Cinema Line, launched in July 2026 and slotted between the FX3 and the FX6. It runs a full-frame 5K stacked sensor with Open Gate readout, records 16-bit X-OCN RAW internally rather than needing an external recorder, and carries a triple base ISO of 800, 4000 and 12800. It is E-mount and weighs about 0.7 kg body-only, so it rigs like an FX3 but records like something considerably further up the range. It is genuinely new to India — most rental houses here do not hold one yet.
The FX5 is ₹5,000 per day in Delhi NCR, and the same ₹5,000 in Ranchi. That is the body with cage, cables, media and batteries. Weekly rates run at roughly five times the day rate. Glass is priced separately — the Sony SELP 28-135 parfocal zoom at ₹1,000 per day, Sigma Cine FF Art primes at ₹3,750 for the set, DZO Vespid at ₹3,000. Crew is optional: operator ₹4,000, focus puller ₹3,000, DIT ₹3,500. There is no delivery charge inside the NCR ring-road cities or inside Ranchi.
Take the FX3 at ₹3,000 if the day is gimbal-heavy, documentary or run-and-gun and 4K XAVC-S-I is enough — it is the lightest of the three at 0.64 kg. Take the FX6 at ₹6,000 if you want a built-in variable ND and a body that behaves like a proper video camera on a shoulder or on sticks all day. Take the FX5 at ₹5,000 when the deliverable actually benefits from what it adds: Open Gate for vertical and social crops out of the same take, internal 16-bit X-OCN when the grade is going to be pushed, and the third base ISO at 12800 for night exteriors. For a straightforward corporate or interview day the FX3 or FX6 is the honest answer and we will tell you so.
Yes. The FX-series kit is ours, not sub-rented, and it sits in our Ranchi studio on Main Road between jobs — so Ranchi is the one city where you can walk in, inspect the body and take it the same day. Rate is the same ₹5,000 per day as Delhi. Anywhere else in Jharkhand — Jamshedpur, Dhanbad, Bokaro, Hazaribagh — is a 12 to 24 hour turnaround. When the body is out on a Delhi job it is physically in Delhi, so for fixed Ranchi dates it is worth asking early rather than on the morning of.
Open Gate means the camera reads the whole sensor instead of a 16:9 crop, so one take yields a 16:9 master, a 9:16 vertical cut and a 4:5 social crop with real resolution behind each — you are not upscaling a crop. That is the reason most brand shoots will book this body over an FX3. Internal 16-bit X-OCN means the RAW is recorded in the camera rather than over SDI to an external recorder, so there is no Shogun hanging off the cage, no extra battery and no sync to babysit. It also means bigger files: budget the card and drive space, and book a DIT at ₹3,500 if the shoot day is long.
The FX5 has three native sensitivity points — 800, 4000 and 12800 — rather than the two on the FX3, FX6 and FX9. Each one is a clean starting point, so 12800 is not a gained-up 800; you get usable noise at a stop range where the older FX bodies start to fall apart. In practice this matters on night exteriors, practical-lit interiors and anything shot after sunset without a full lighting truck. In daylight or on a lit set it changes nothing, and the FX6 at ₹6,000 will serve you just as well.
The FX5 is E-mount and full-frame, so it needs glass that covers full-frame. The easy answer is the Sony SELP 28-135 G at ₹1,000 per day — parfocal, servo zoom, native E-mount, no adapter. For a prime set, Sigma Cine FF Art (20/24/35/50/85/135mm, T1.5) at ₹3,750 or DZO Vespid (25/35/50/75/100/125mm, T2.1) at ₹3,000 both cover full-frame. One honest limit: our PL glass — Atlas Orion anamorphics and Zeiss Supreme Primes — needs a PL-to-E adapter on an FX body, and adapted anamorphic on an FX5 is not a combination we would recommend for a paid shoot. If the brief is anamorphic, book the Alexa Mini LF instead.
A refundable security deposit is standard, typically 50–100% of the kit replacement value depending on the package and your rental history. Bank transfer, UPI or an authorised credit-card hold; deposits are returned the same day after return and inspection. For cover, either use your own production insurance rider — we supply invoices and serial numbers for the schedule — or take our in-house cover at 2–4% of rental value per day. A 50% advance confirms the booking.
Availability is usually confirmed within about two hours on WhatsApp during business hours, and the body reaches set the same day across NCR and inside Ranchi. The real constraint on the FX5 is not logistics, it is that stock of this body is thin everywhere in India right now — there is no second unit to fall back on the way there is with the FX3 or FX30. If your dates are fixed, book them; if they are flexible, tell us the window and we will fit you in. Karnal and Chandigarh need 24-hour notice, and anywhere else in India goes by insured air-cargo.
Yes, all of them, at the same rate in Delhi NCR and Ranchi. FX9 ₹10,000 for full-frame 6K on a shoulder build with RAW via the extension unit; FX30 ₹2,250 for a Super-35 B-cam that matches FX colour; A7S III ₹2,250 when one body has to shoot stills and video; Venice 2 ₹40,000 for full-frame 8.6K and 16-bit X-OCN when a national spot has specified resolution. Multi-body days are common — an FX5 A-cam with an FX30 B-cam is the combination we ship most often.
Send the shoot dates, the city and what you are delivering — 16:9, vertical, both — and we will tell you whether the FX5 is worth its rate on your job or whether the FX3 does it for ₹2,000 less. Quote back within about two hours during business hours. FX5 stock is thin nationally, so fixed dates are worth locking early.
Also see camera on rent in Delhi NCR for the full fleet, cine lens rental in Delhi for glass on its own, ARRI Alexa Mini LF on rent for large format, or drone on rent in Delhi NCR for aerial. The same Sony fleet is on the Ranchi and Delhi hub.
Web Accuracy is a digital product agency from Delhi & Ranchi,
building web, mobile, UI/UX, AI/ML and AR/VR solutions
for Indian businesses and global clients since 2015.
