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Movie cameras offer high-quality images and advanced features that you wouldn’t normally find in the camcorder you use to film your family reunion. (Unless you’re Stanley Kubrick.) In general, digital cinema cameras have interchangeable lenses, Super35 or full-frame sensors, resolutions starting at 4K, high dynamic range, in-camera gamma recording, and decent low-light performance. . They also shoot in relatively uncompressed file formats (including Apple ProRes HQ, MXF, and various flavors) and can do so at high frame rates for smooth slow-motion footage. Other common features not typical of cinema cameras include balanced audio inputs, ND filters, and HDMI or SDI video outputs. All of this serves to capture footage that looks great on TV or the big screen.
Best Budget Camera For Cinematic Video
However, these cameras are not for everyone. They are expensive, with a few exceptions being body-only cinema cameras that sell for between $5,000 and $12,000. Moreover, it takes some experience to use the cameras properly. These cameras reward those who understand the basics of cameras and shooting. That doesn’t mean you have to be a professional director of photography to use it. But taking the time to practice, learn, and really understand how these cameras work will prevent quite a bit of frustration.
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Considering the amount of investment required, buying a cinema camera can be a daunting task. It’s important to do your research, and to that end, we’ve put together a list of what we think are the best film cameras to help you earn your first Oscar nomination.
When evaluating the best film cameras, I looked back at my own experience as a professional cinematographer and cinematographer and consulted closely with my colleagues. I read industry websites for reviews and real-world ratings and looked at buyer reviews to get a comprehensive look at people’s impressions of these cameras. Special papers and white papers completed the research.
I selected five favorite cameras from four companies in 10 areas (made by seven different manufacturers). I focused primarily on the quality of the visuals and how well it met my artistic goals. In addition, I examined the specifications: image resolution, dynamic range, shooting format, frame rate, price, size, lens mount, recording media, and general ergonomics. These factors play a big role in choosing a camera for me.
Why it made the cut: The C300 MK III’s wide dynamic range and dual native ISO combine with Canon’s legendary color science to deliver beautiful 4K imaging in a variety of shooting conditions.
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Canon’s previous model, the C300 Mk II, was used in commercial and documentary films. The new iteration of the camera improves on an already excellent camera by adding dual native ISO and 16 stops of dynamic range. It can record up to 120fps in 4K or 180fps in 2K (using a cropped sensor). The C300 Mk III has excellent low-light capabilities, and the powerful autofocus and mechanical image stabilization are ideal for running and gun work. The camera records internal 4K cinema RAW light and high-quality MXF in 4:2:2 format, and card slots include two CFexpress displays and SDXC for photos and other data. Low quality proxy files can also be recorded during shooting for a faster post-production workflow. The C300 includes a 4.3-inch display, dual XLR audio inputs, and a lens mount that can switch between EF or PL. In fact, the modular design makes it easy to remove the camera for use in gimbal, crane or other shooting situations. Unfortunately, all this power comes with a hefty price tag, and many of the features can be found in different combinations on cheaper cameras. But the power, image quality and flexibility of this movie camera are hard to match.
Why it made the cut: Sony has packed so many professional features into this (relatively) affordable, lightweight, full-frame cinema camera that it’s the industry standard and one of our top picks.
The Sony FX6’s full-frame sensor delivers beautiful shots with narrow depth of field and beautiful bokeh, proving itself in many professional applications. It has the same 10.2MP CMOS Exmor R sensor as the mirrorless A7S III, but has been modified to improve low-light performance. 15 stops of dynamic range open up plenty of creative possibilities for filmmakers, and the camera’s fast autofocus (when using Sony lenses) and lightweight design make it ideal for running and gun shooting. The FX6 can output 4K 16-bit raw footage to external recorders at up to 120fps in 4K UHD and 240fps in HD. Mounting points throughout the FX6’s body accommodate external monitors, wireless audio receivers, and various handheld configurations without the need for a cage. While an internal source is fine, lightweight external monitors with built-in recorders aren’t too expensive and work great. Compared to the 6K resolution found on some other full-frame cameras, it only excels at 4K, but most content creators won’t have a problem – remember, the digital cameras that shot the Star Wars prequels were only 2K, so you’re barely a re!
Why it made the cut: Professional features found in larger cameras explode from the compact and lightweight C70, making this cinema camera very versatile.
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The Canon C70 takes many of the features that made the C300 Mk III such a great camera and packs them into a compact body perfect for shooting on the go or situations where you want to keep a low profile. (And it costs half as much!) It shoots 4K DCI footage and has 16 stops of dynamic range. The files are 10-bit XF-AVC. It’s not raw, but it still looks great and offers plenty of room to stretch and flex in post-production. With the latest firmware update, the camera now supports RAW recording. The wide ISO range makes it a great camera for low-light situations, and Canon’s high-precision autofocus makes running and gun shots a breeze. Footage is recorded in dual SD/SDHC/SDXC slots.
The RF lens mount has good lenses and their compact size helps keep the camera compact. You can easily adapt it for use with EF glass using one of Canon’s adapters—if you don’t mind a few extra bucks. (Many shooters have so many EF lenses that it’s too bad Canon didn’t include a main adapter with the camera.) The C70 has a pair of mini XLR audio inputs and +48V phantom power for recording, and accepts a stereo TRS connector. .
Why it made the cut: Built-in 6K RAW, built-in ND filters, top-notch color science, and compact size for a compact price make it an affordable powerhouse of a camera.
Blackmagic has a reputation for offering high-quality cameras at affordable prices, and the 6K Pro builds on the original 6K. It has a Super35 sensor that natively shoots up to 4K in 6K raw or ProRes 4:2:2 HQ and records to a CFast card connected via USB-C or a cheaper external SSD. It has dual native ISOs of 400 and 3200, with solid (if not spectacular) low-light performance. 13 stops of dynamic range is a bit less than other cameras on our list, but it’s enough to deliver rich, cinematic footage. The camera’s 5-inch, rear-mounted tilting screen is larger than most cameras and makes capturing shots a pleasure. Conveniently placed buttons provide quick access to important functions such as focus assist and exposure zebras, while other settings are accessed via an easy-to-use touchscreen menu. The camera can shoot 60 fps in 4K or 120 fps in HD resolution; It’s not the best, but it still looks nice and smooth. The camera lacks image stabilisation, and the touch-activated autofocus is only useful for stationary subjects – don’t expect anything like Canon’s face-tracking system when running and shooting. The camera’s form factor requires an additional device to accommodate the top handle and external battery (necessary because the internal battery doesn’t sit anywhere for long). This may add to the price, but even with larger battery systems, it’s much cheaper than cameras that don’t offer anywhere near this level of performance. Read our full review of the Blackmagic 6K Pro here.
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Why it made the cut: The EVA1’s compact size hides powerful features, making it a great choice for shooters who prefer a traditional form factor.
Panasonic’s EVA1 uses a 5.7K CMOS sensor to produce super sharp 4K images with excellent color accuracy and pin precision. When using an external recorder like the Atomos Shogun, you can shoot 10-bit raw at 5.7K. Dual native ISOs at 800 and 2500 help the camera perform well in low light. The EVA1 has traditional camcorder styling, but is almost shockingly small. Once removed, mounting the Panasonic on the gimbal is easy
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