The best cinema cameras are designed for high and professional video work. They are mostly used to shoot movies and television programs and shows. But as the price of industry-standard cinema cameras drops, more and more videographers are choosing to use them. While the ability to shoot 6k, 8k, or even 12k is a welcome feature of the form factors of video codecs and connection, cinema cameras are very important.
Image by Alan Barrington from Pixabay
Best cinema cameras
We excluded the aries and red cameras from this list of the best cinema cameras. They are very seriously high-end cinema cameras and a little out of price range for most commercial filmmakers.
The first camera on this list is the sony fx6.
The sony fx is one of the best values for many cinema cameras you can buy. It doesn’t skim and sound after features either.
It has the same sensor as in the long-awaited sony a7 s3 only is even better with improved low-light capabilities. The abilities shoot at DCI 17×9 CRK rather than just 4k and XLR input built-in filters and the handling benefits of cinema cameras are stop-and-buy without the high-end price tag.
It can shoot stunning 4k even at high ISO. The video autofocus is incredibly fast. It can shoot 10-bit videos internally.
It might not have the portability of the a7 s3, but depending on what you’re shooting and where you need to take it. Has a lot of other things going for it.
The second camera is the Canon eos c300 mark iii.
Canon eos c300 mark iii since the release of the c300 mark ii. It was a go-to camera for many cinematographers but the release of the mark 3 completely overshadowed it.
The c300 RC is the first camera to benefit from canon dual gain output technology. In other words dual native ISO results in remarkably clean. low light picture quality HDR acquisition and enormous 16-stop of dynamic range. It’s capable of recording up to 120 fps in 4k super 35 and 180 fps in 2k super 16.
Internal recording options include 4 casino morale lights, a 10-bit or 12-bit 2k raw, a 10-bit or 12-bit, and XF APC MXF at 422 10-bit all-eye or long cup. It benefits from the modular design that can be changed between ef pl or ef cinema lock without needing to take it to be surfaced.
The third camera on this list is the Blackmagic Ursa mini pro 12k.
If you really must have the bragging rights that come with owning the highest resolution video cameras on the market and the Blackmagic Ursa mini pro 12k is it with a 79.6-megapixel CMOS sensor.
It shoots 12k raw files which give starting quality with 14 stops of dynamic range and very filmic colour reduction. It is more reasonably priced at 8k and 4k. Not only the quality is incredible but you can shoot at a fast frame rate that no other cameras can, but the camera is more than just its headlines resolution and the Ursa mini pro software is based on the original USA.
Mini pro launched almost four years ago and it’s starting to show its age.
For example, it has super 35 sensors and no ibis no codex other than raw. No continuous autofocus at all, and certainly no face detection out of focus; it’s really a camera for the experience.
Cinematographers shoot narrative dramas such as feature films and visual effects specialists rather than all around.
The four cameras on this list are a canon eos c70.
Photo by Luis Quintero from pexels
The canon eos c70 is a remix of the c300 mark iii. It packs the same super 35 sensors, dual gain output 6 installs of dynamic range, and 4k 120 fps and 2k 180 fps slow motion performance into a compact form factor more like traditional still cameras.
It’s also packs of touchscreens that change the game of our cinema. eos camera with touch control making it so much easier to maintain focus for long shooters. The c70 bose has the ITR AFX system from the canon eos 1dx mark iii with head detection and spooky accurate autofocus.
The only cinema camera that uses canon RF mount it opens a world of cutting-edge optics and not only do you still use ef lens, but a new canon speed booster enables you to use them with an extra f-stop and a full-frame view of the angle.
The five camera on this list is the black magic pocket cinema camera 6k pro.
The black magic pocket cinema camera 6k pro is an expansion of the original 6k models which add features missing from the first including inbuilt ND filters. First, though you have learned to handle the odd size and large shape of the super 35 black magic pocket cinema camera 6k pro.
Which is certainly far from being the pocket source and the lack of continuous autofocus. Image stabilisation or any auto exposure can be an issue for some. It’s definitely not a run-and-gun camera but if you use it as a tool for considering cinematic shooting.
Then is a bit of steel as the product reaches detailed files in raw and progresses from its dual native ISO sensor.
The sixth camera on this list is the sony fx3.
What sets the sony fx3 apart from the other video-centric? Sony cameras such as the sony a7 s3 are the speckled grey colours of the occasion.
We have slightly suspicious that the fx3 is what the a7s3 should have been all along despite being part of the FX family. It pretty much looks like the alpha series cameras. However, the fx3 is without that certified movie camera complete with astonishing tones as colour science.
Detachable handles with accelerated audio input integrated mounting points and a movie-specific control layout, which is a complete change to what we know about accessing alpha models.
The last camera on this list is the Panasonic au a1 5.7 k.
The Panasonic ava one is Netflix approved. Something you don’t usually find in such small cinema cameras. It’s just 1.2 kilograms without the lens. So it’s a great run and grand option and even fits on a gimbal. Especially if you’re shooting with a lens the 3.5-inch screen goes a step beyond articulating.
You can detach it and reposition it. Depending on what you’re shooting. So the outdoor feel ability isn’t great as for its k CMOS sensors.
It oversamples to create excellent 4k results and just like the Blackmagic pocket cinema camera 6k.
The Eva one also has dual native ISO giving it two sweet spots one at ISO 800, and the other at 2500 this result, is less grain and more dynamic range with compatible recorders such as atomos shogun.
The cameras can output 5.7 k rows or 240 fps at 2k resolution. So the slow-motion capabilities might not be class-leading when you’re working with an out-of-the-box kit couple.
It has few accessories and you can get stellar results that are ready for big and small screens like those are the seven cameras that I list and I recommend use for filmmaking and its cinema cameras. So what do you think? Is it a good camera or are there any cameras that are not on this list? just please comment on this comment section and see you.
