Most of the best 8K and 6K cameras are hybrid mirrorless systems that have seriously impressive specs for both video and photo. Once upon a time, cameras were either for video or for photography but these days many "stills" cameras can be used to shoot professional, high-quality video too!
Of course, the best cinema cameras can still do things that regular hybrid mirrorless cameras can't but it's not all about the resolution - you need to think about design, handling, and versatility too. Take the Blackmagic Pocket Cinema Camera 6K G2 for example, it offers professional ^K raw and Apple ProRes capture plus it comes free with Davinci Resolve Studio 18 which we voted the No.1 video editing software - all for less than all but one camera on this list.
The very top-of-the-range cameras have been left off the list because they are incredibly expensive but we have included several more affordable box-style "compact" cameras and cinema cameras ideal for individuals and small independent studios.
It will be a surprise to no one that the three stars of this particular guide are the Nikon Z9, Canon EOS R5, and the Sony A1. Neither is strictly speaking a cinema camera and both have well-documented issues (and responses) to the tricky topic of temperature control. But it's a sign of the times that hybrid stills/video shooters like these are nipping at the heels of full-on cinema cameras and making some of them look a bit silly into the bargain.
But we have also included a couple of 8K 360 cameras. Is that cheating? After all, once you crop an 8K spherical view to a flat video, you've got a much lower resolution. But these cameras do have 8K capture systems (which counts, in our book), and 360VR capture is just as exciting technically.
But 8K capture does bring issues with overheating, processing power, and both storage and editing. 6K is a more practical proposition for many, yet still offers a substantial resolution increase over 4K.
4K video is broadly equivalent to 8 million pixels, whereas 6K is around 18 million pixels. It depends on whether you're talking about 4K UHD, C4K, 5.9K vs 6K, etc, but it's still roughly double the resolution.
What's interesting here is that while the list of 6K cameras is still relatively short, that could change quickly. The latest Panasonic firmware updates bring 6K Blackmagic RAW output via a BM Video Assist recorder to the Lumix S5 and S1. If Panasonic can add 6K with a firmware update, it's a sign that the leap from 4K to 6K capture might actually be a smaller step than we thought.
We also HAD to mention the Blackmagic URSA Mini Pro 12K. This doesn't instantly make it the best cinema camera to get, for various reasons, but if you're buying into 8K purely for the numbers, then Blackmagic might just have pulled out the rug from under you.
The best 8K and 6K cameras in 2023
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Nikon might've been late to the game in launching its professional, top-spec mirrorless but the Nikon Z9 was definitely worth the wait. It's an absolute beast of a camera when it comes to video, knocking the Canon EOS R3 out of the park. It's capable of recording in 8K 30p 10-bit Apple ProRes 4:2:2 HQ or 8K 60p 12-bit ProRes RAW HQ (although not until 2022) and has an enormous record limit of 2 hours.
Nikon removed the mechanical shutter completely which means the Z9 is capable of 120fps continuous shooting and has a max shutter speed of 1/32,000 which makes it perfect for sport and bird photography. The Z9 is powered by Deep Learning AF which makes the camera capable of nine kinds of recognition: human eyes, faces, heads and upper bodied; animal eyes, heads, and bodies; and cars, planes, trains, and motorbikes.
It has the same 493 AF points as the Nikon Z7 II which seems impressive until you find out that the Canon EOS R3 has a whopping 4,779 AF points. The Z9 comes in quite a bit cheaper than both the Sony A1 and the Canon EOS R3 and it's packed with advanced features. Admittedly, the Z9 is still on pre-order otherwise, it would probably take the number one spot. As you can't actually get your hands on it right now, we've popped it in at a solid second place.
Read our full Nikon Z9 review for more details
If you have an obscene amount of money to spend on a camera, you can't really beat the Sony A1. There is nothing it can't shoot may it be sports, fine details, portraits, landscapes, or video. Thanks to its insane 30fps continuous shooting, its 50.1-megapixel resolution, 8K recording, and its fully weather-sealed make it an absolute powerhouse of a camera. Perhaps the only downside is the fact it doesn't have a fully articulated screen.
While the Sony A1 is probably one of the fastest and most powerful cameras you can buy, it comes with a pretty weighty price tag. It costs almost twice the amount of the Sony A9 II and it's even more expensive than Fujifilm's phenomenal GFX 100S. It does have a tendency to top out at 15-20fps which while is still pretty fast, it's not exactly what the spec sheet says. Also, it's worth noting that you need to update the firmware to 1.10 in order for its in-body stabilization to work as intended. Despite those two little niggles, it's an absolute beast of a camera and a joy to shoot with.
Read our full Sony A1 review for more details
The Fujifilm X-H2 is quite simply astonishing for the price. It may well be Fujifilm's most expensive camera yet but there is good reason for it and you'd be hard-pushed to find another 8K camera at this price. Whether you're using it for photography or videography, the high-resolution sensor, in-body stabilization and lightning-fast AF make for an incredibly smooth shooting experience. One of the disadvantages to shooting 8K is overheating but the X-H2 comes with cooling vents that claim a recording time of 160 minutes at 25° without any cooling or 240 minutes with the cooling fan (purchased separately). It might not be able to capture 5K 120P like the Fujifilm X-H2S but it can record 8K 30P and 6.2K 30P. This incredibly versatile camera would be well suited to a content creator who needs to shoot high-quality videos and photos but doesn't need a full-frame sensor.
Read our full Fujifilm X-H2 review for more details or Fujifilm X-H2 vs Fujifilm X-H2s
As a stills camera, the Canon EOS R5 is simply Canon's finest product ever. It’s the perfect amalgamation of the EOS R’s form, the EOS 5D’s function, and the professional-grade autofocus of the EOS-1D X. If you're a stills or hybrid shooter who flits between photography and videography, it's one of the best cameras you will ever have the pleasure of using.
It has attracted some attention for the wrong reasons, notably overheating (or the threat of it) when recording 8K video, but this shouldn't detract from this camera's extraordinary capabilities, and a subsequent firmware update has extended its 8K recording times. It's not perfect at everything, but given its resolution, its frame rate, and its video capabilities combined, this is genuinely a landmark camera. What's more – and this might sound a little strange – it's taken the arrival of the much more expensive Sony A1 to realize just how good the Canon EOS R5 actually is.
Read our full Canon EOS R5 review for more details
Technically overwhelming, physically underwhelming – that’s how the A7R V feels. The camera body feels too small – or not tall enough in the body – for the big pro lenses you’ll be using with it, and the controls follow a generic layout rather than being adapted to this camera’s strengths. You can customize the buttons endlessly to suit the way you work, but that takes time and also a good memory for which button you’ve customized to do what.
Technically, the A7R V is stunning. With 61 megapixels paired with new AI subject recognition AF is remarkable, both for its rapid identification and acquisition and its very sticky ‘tracking’. The image quality is every bit as good as that of the A7R IV before it (Sony says it’s better), and the bigger buffer makes the A7R V much more effective for prolonged burst shooting.
Read our full Sony A7R V review for more details
We haven't reviewed this camera so we can't tell you too much about it aside from the maker's own specifications. It follows the same 'box cam' design we've seen in the Panasonic Lumix BGH1, and this is good in that it's a modular design that can be adapted to all sorts of filming situations, but on the downside, this is not a complete, ready-to-go camera because it needs rigging up with accessories, including an external monitor, first.
It uses a full-frame 61MP CMOS sensor (which sounds like the one used in the Sony A7R IV and Sigma fp L, maybe) and Z Cam claims the camera's heat dissipation system allows for unlimited recording times up to the capacity of the memory card. Storage is via a single CFast 2.0 card slot, a format not used on stills and hybrid cameras, but still found on pro video gear.
8K 360 cameras
The QooCam 8K is the best 360 camera right now for image quality. A massive (by 360 standards) 1/1.7-inch CMOS sensor, 10-bit color, and, of course, that 8K resolution make sure of that. When it comes to the quality of its photos and videos, the QooCam 8K is peerless in the 360º market. Photos have plenty of colors and contrast like nothing we’ve seen before from a camera like this. The ability to spit out a great-looking photo from a 360º video is welcome, while the detail, sharpness, and smoothness of video – whether in 360º or cut down to widescreen – itself makes the QooCam 8K a giant leap forward for creative filmmakers. It does have an audible fan, however, the battery life isn't great and it's not waterproof without a housing. It was also pretty expensive.
Read our full QooCam 8K review for more details
We haven't reviewed the Insta360 Pro II because it's a specialized device that's outside our regular territory, but we are familiar with Insta360's consumer 360 devices like the Insta360 One R and One X2, and the Pro II extends this 360 3D VR expertise into the professional territory, with no fewer than six 200-degree fisheye/camera units, four mics for 360 audio, a Farsight remote control system and built-in GPS.
It's a big old beast compared to Insta360's pocket-sized consumer cameras, but packs in way more power, including the ability to stream 360 3D VR 4K video live to YouTube, for example, while still recording 8K internally. The size, shape, and weight make this more of a tool for commercial projects than random vlogging, and while it can stitch 4K 360 video internally, you need to stitch 8K 360 in software later.
Read more: Best 360 cameras
If you really must have the bragging rights that come with owning the highest-resolution video camera on the market, then the Blackmagic Ursa Mini Pro 12K is it. With a 79.6-megapixel CMOS sensor, it shoots 12K Blackmagic Raw files which give stunning quality with 14 stops of dynamic range and very filmic colors. Reduce it to a more reasonable 8K and 4K, and not only is the quality incredible, but you can shoot at fast frame rates that no other cameras can.
But a camera is more than just its headline resolution and the Ursa Mini Pro 12K is based on the original Ursa Mini Pro launched almost four years ago and is starting to show its age. For example, it has a Super35mm sensor, no IBIS, no codecs other than Raw, no continuous autofocus at all, and certainly no phase-detection AF. It’s really a camera for experienced cinematographers shooting narrative dramas such as feature films and VFX specialists rather than all-rounders.
Read our full Blackmagic Ursa Mini Pro 12K review for more details
For serious video shooters, the Panasonic Lumix BSH1 boxcam can make a lot of sense as it can be rigged up for a multitude of different uses. It has a 24.2-megapixel full-frame sensor with Dual Native ISO technology, 14+ stops of dynamic range, and an OLPH (Optical Low Pass Filter) which helps to suppress moire and false colors and make it excellent in low light. It's capable of recording 6K 24p or 4K 60p 10 bit when using an image area equivalent to Super 35mm. If you're using the entire 35mm sensor area, it can shoot 4K 30p 10-bit 4.2.2 in H.264.
With live streaming growing increasingly popular, the BS1H is capable of transmitting high-quality footage to social streaming platforms over a wired LAN collection. It can stream 4K 60p video in H.265 which means the bit rate is halved and the image quality is kept the same. The lack of a screen may be off-putting but its modular system means you can easily attach an external recorder such as the Atmos Ninja V which will also make it capable of outputting 12-bit raw video.
Read our full Panasonic Lumix BSH1 review for more details
The new Blackmagic Pocket Cinema Camera 6K G2 is cheaper still, but we think it's worth paying the extra (and it's not much) for the Blackmagic Pocket Cinema Camera 6K Pro. It's an evolution of the original 6K model which adds features missing from the first, including in-built ND filters.
First of all, though, you have to get used to the handling from the odd size and large shape of the Super35mm Blackmagic Pocket Cinema Camera 6K Pro – which is certainly far from being pocket size. And the lack of continuous autofocus, image stabilization, 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 considered, cinematic shooting then it’s a bit of a steal as it produces rich, detailed files in raw or ProRes from its dual native ISO sensor.
Read our full Blackmagic Pocket Cinema Camera 6K Pro review for more details
With the Lumix S1H, Panasonic has used its considerable video experience to bring many of its high-end VariCam features to the Lumix S range. The controls, the interface, and certainly the hardware has been built for video and cinematography, and the fact it’s also a very serviceable 24MP stills camera is a bonus.
It’s a truly compelling ‘bridge’ between conventional system cameras and higher-end cine gear, especially for existing Panasonic videographers. It's designed like a stills camera rather than a cine camera, though, so the handling is compromised in that respect, but its specifications, performance, and dedicated video-centric UI make this a strong challenger to more conventional cine camera designs.
Read our full Panasonic Lumix S1H review for more details
How we test cameras
We test cameras both in real-world shooting scenarios and in carefully controlled lab conditions. Our lab tests measure resolution, dynamic range, and signal-to-noise ratio. Resolution is measured using ISO resolution charts, dynamic range is measured using DxO Analyzer test equipment and DxO Analyzer is also used for noise analysis across the camera's ISO range. We use both real-world testing and lab results to inform our comments in buying guides.
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