Film Shooting Camera Prize

Film Shooting Camera Prize The best cinema cameras usually differ significantly from standard mirrorless cameras. Although the technical details may be identical, cinema cameras are made for high-end professional video work that requires connectivity, flexible architecture, and a team-based production process. More and more videographers are using “industry standard” cine cameras as their costs decline. Even if the ability to shoot at 6K, 8K, or even 12K is a welcome feature, a cine camera’s physical factor, video codecs, and connectivity are crucial.

Film Shooting Camera Prize
Film Shooting Camera Prize

Film Shooting Camera Prize

1. Sony FX6

Although the Sony FX6 does not support 6K or 8K, we believe the amazing 4K it produces still qualifies it for the top slot. After all, most TVs won’t show the video in its entirety until you crop into it. The sensor is identical to that of the Sony A7S III, but it has been enhanced to provide greater low-light performance, the ability to shoot DCI 17:9 CRK (rather than only 4K), an XLR input, and built-in filters.

It also benefits from the conventional cine camera handling, making it simple to mount one of the top external monitors or microphones. It can shoot gorgeous, noise-free 4K even at high ISOs, has exceptionally quick video AF, and captures 10-bit internally. The Sony FX6 is essentially unmatched for professional work close to home, but the portability of the A7S III would be ideal if you were seeking for something to take on trips.

2. Canon EOS C300 Mark III

Since the C300 Mark II’s release, it has been the preferred camera for many cinematographers, but Mark III’s introduction has entirely eclipsed it. The Canon C300 Mark III(opens in new tab) is the first camera to take advantage of Canon’s Dual Gain Output technology (also known as dual native ISO), which yields a massive 16 stops of dynamic range, HDR capture, and amazingly clear low light image quality. It can record at 120 frames per second in 4K Super35 or 180 frames per second in 2K Super16.

Internal recording choices include XF-AVC (MXF) at 4:2:2 10-but ALL-I or LongGOP, 2K Raw at 10-bit or 12-bit, and 4K Cinema RAW Light at 10-bit or 12-bit. As a result of its modular construction, the lens mount can be switched between EF, PL, or EF Cinema Lock without having to take the camera in for service. Although it is a fantastic camera, many of these capabilities are available in less expensive substitutes.

3. Blackmagic Ursa Mini Pro 12K

The Blackmagic Ursa Mini Pro 12K is the highest resolution cinema camera currently available and has earned the right to brag about itself thanks to its astounding 79.6-megapixel sensor. It can also shoot 12K Blackmagic Raw files with 14 stops of dynamic range and a very filmic aesthetic.

If like us, the notion of the 12K file sizes gives you the willies, you can still get fantastic quality by lowering the resolution to 8 or 6K, and it can also film at frame rates that no other camera can. Although it shares several characteristics with the original Ursa Mini Pro, it does not have IBIS, phase-detection AF, continuous AF, or any other codecs besides RAW.

This camera is intended for seasoned cinematographers who like total control over their shooting rather than someone looking for a camera that can handle any situation.

4. Blackmagic Design URSA Mini Pro G2

The URSA Mini Pro is one of the reasons why filmmakers adore Blackmagic’s cinema cameras, which are a favorite in the industry. Despite being considerably less expensive than a Canon C300 II, it has the same 15 stops of dynamic range and can shoot RAW at an astounding 150 frames per second at up to 4.6K resolution. The built-in ND filter is paired with IR compensation at two, four, or six stops.

The Mini Pro G2 has two SDXC cards and two CFast cards in addition to being able to record straight to an SSD using its USB-C interface, just like the Pocket Cinema Camera 6K (below). With the purchase of one of these fantastic cinema cameras, you’ll also receive a free copy of DaVinci Resolve, Blackmagic’s top-notch video editing program, which now includes audio and graphics tools to help you take your film beyond basic edits and grading.

5. DJI Ronin 4D 6K

Is this a portable movie camera or a full-size one? Although it is made to be portable, it is fairly large. There are no other cinema cameras like the DJI Ronin 4D 6K. You practically have to think of it in two parts: the DJI Zenmuse X9 camera and the body, which houses all the camera controls, the screen, and the gimbal arm.

It’s not a lightweight piece of equipment, weighing almost 5 kg, but you must keep in mind that because it includes a built-in gimbal with 4-axis stabilization, you won’t need to add much weight to it in comparison to other cinema cameras.

For cinematographers that find themselves constantly using a gimbal or stabilization equipment, it’s a different style of camera to get used to and will take some understanding, but it’s worth looking into. For those who desire even higher quality, it is also available in an 8K version. Despite this, it can still record in ProRes 422 HQ and H.264 4:2:0 10-bit at a variety of different frame rates (check out the review to see the full list).

Perhaps adopting a more hybrid approach rather than requiring modular systems where you require additional equipment, represents the cinema camera of the future. It’s undoubtedly an excellent method to get started in filmmaking if you’re new to videography and searching for an all-in-one bundle with a camera that can capture everything, anyplace.

6. Z CAM E2 Professional 4K Cinema Camera

Z cam E2 features include its raw codec, Z Raw, and ProRes, comparable to those offered by premium brands like Arri and Red cameras. It can record in full HD at 240 frames per second to capture footage in super slow motion as well as DCI and UHD 4K at 160 frames per second. It can record in H.265 and H.264 codecs, as well as 10-bit ProRes 4:2:2, so you may compress your film while preserving its quality.

Due to its well-known Micro Four Thirds mount, it features a wide variety of lens compatibility and a dynamic range of 13 stops using Zog or 16 stops in WDR. Given that it lacks a screen, the camera is simply managed via an app on your smartphone, which may also be used to enable a live view feature via WiFi or a USB cord.

It uses a Sony L series battery, which is regrettably not supplied, but you can use an AC adaptor to power it from the wall. In particular, for less than £2000/$2761, you get a lot of professional features that you won’t get on other cameras for the price.

7. Panasonic Lumix BS1H

The Panasonic Lumix BSH1 boxcar may be configured for a wide range of diverse uses, which can be quite appealing to serious video shooters. It has a full-frame 24.2-megapixel sensor with Dual Native ISO technology, 14+ stops of dynamic range, and an optical low pass filter (OLPF) that helps to reduce moire and false colors and makes it outstanding in low light.

It can record in 6K 24p or 4K 60p 10 bit using an image area that is comparable to a Super 35mm film. It can shoot 4K 30p 10-bit 4.2.2 in H.264 if the entire 35mm sensor area is being used.

The BS1H can send high-definition video to social streaming platforms through a wired LAN network, which is becoming more and more common as live streaming becomes more and more popular. It can stream 4K 60p video in H.265, which means the bit rate is cut in half while maintaining the same level of visual quality.

Although the lack of a screen may be disconcerting, the modular design allows you to quickly attach an external recorder, such as the Atmos Ninja V, which will also enable 12-bit raw video output.

8. Panasonic AU-EVA1 5.7K

Netflix has authorized the Panasonic EVA1, which is unusual for a small cinema camera. It is a terrific run-and-gun alternative because it weighs only 1.2 kg without a lens and even fits on a gimbal, especially if you’re using a pancake lens.

Although outdoor viewability isn’t fantastic, the 3.5-inch screen goes beyond articulating in that you can remove it and move it around depending on what you’re recording. The EVA1’s 5.7K CMOS sensor oversamples to produce exceptional 4K output, and similar to the Blackmagic Pocket Cinema Camera 6K (below), it boasts a dual native ISO that gives it two sweet spots: one at ISO 800 and the other at ISO 2500. Less grain and more dynamic range are the outcomes of this.

While the slow-motion capabilities may not be class-leading when working with the out-of-the-box kit, pair it with a few accessories and you can get stellar results that are ready for big and small screens alike. A compatible recorder, such as the Atomos Shogun, can output 5.7K RAW or 240fps at 2K resolution.

9. Canon EOS C70

The Canon EOS C70 resembles a C300 Mark III remix. The same Super35 sensor, Dual Gain Output, 16 stops of dynamic range, and 4K 120fps / 2K 180fps capabilities are all packed into a small body that resembles a conventional stills camera.

Additionally, it has a touchscreen that completely alters the way Cinema EOS cameras operate, making it much simpler to keep focus. The Canon EOS-1D X Mark III’s iTR AFX system, with head detection and uncannily precise autofocus, is featured in the C70 for lone photographers.

The only cinema camera with a Canon RF mount, it unlocks a world of cutting-edge optics while still allowing the use of EF lenses with an additional f-stop and a full-frame angle of view thanks to a new Canon speed booster! However, you’ll need to upgrade to the C300 if you want to record in raw format or use PL lenses.

10. Blackmagic Pocket Cinema Camera 6K Pro

Many of the features in this Pro version are present in the new, “entry-level” Blackmagic Pocket Cinema Camera 6K G2, which we recently finished examining. Nevertheless, the Pro model is the one we would choose because, for a small premium, it provides a brighter screen and integrated ND filters.

The Blackmagic Pocket Cinema Camera 6K Pro is an advancement of the original 6K model, however, while having a shape that resembles a mirrorless camera, you must get used to handling the Super35mm Blackmagic Pocket Cinema Camera 6K Pro’s weird size and huge shape, which is undoubtedly not pocket size.

Others may find it problematic as there is no continuous autofocus, no picture stabilization, and no auto-exposure at all. Unquestionably, it is not a run-and-gun camera. However, if you utilize it as a tool for deliberate, cinematic filming, it’s a bit of a bargain because its dual native ISO sensor delivers rich, detailed files in raw or ProRes.

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