The best 4K camera for filmmaking in 2019, for photographers, vloggers, pros

Best 4K camera for filmmaking

Choosing the best 4K camera has become more difficult because it has become the new standard for video capture lots of different devices designed for lots of different users. If you want the best 4K camera for filmmaking, there's more to consider than just that magic 4K resolution.

It might not look much of a mystery. The best camera phones already shoot 4K, as do many of the best point and shoot cameras. But these are fixed lens devices with small sensors, which limits their versatility and performance. There are many nuances to capturing great quality video beyond simple resolution, and this requires features and controls you will only get on cameras designed for serious 4K filmmaking.

The other point is that there are many different types of videographer now, from stills photographers who are moving into video, through vloggers and YouTubers through to professional filmmakers.

If you're an enthusiast or pro photographer with clients who now want video as well as stills, you'll need a camera that can do both, and the latest pro DSLRs and mirrorless cameras are perfect for the job.

We have a whole guide on the best cameras for vlogging, but we've also picked out a couple of great 4K vlogging cameras to include in this list.

There are other ways to shoot 4K video, of course! We look at the best action cameras and the best camcorder categories separately.

Read more: Key 4K video jargon explained

So here we’ve gathered together ten of the best 4K cameras for filmmaking across a range of price points, starting off with hybrid stills/video cameras for photographers who work in both areas, and with a special section for video-centric models to see what they do that’s different, and why many video pros will choose dedicated video cameras.

Hybrid 4K/stills cameras

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1. Fujifilm X-T3

Amazing 4K video capabilities in a great all-round camera

Type: Mirrorless | Sensor: APS-C | Sensor resolution: 26.1MP | Lens mount: Fujifilm X | 4K frame rates: 60, 50, 30, 25, 24p | 4K sensor crop factor: 1.1x | Standard ISO range: 160-12,800 | Memory cards: 2x SD/SDHC/SDXC (UHS II)

60fps 4K and 10-bit internal capture
F-Log and HLG modes
A brilliant stills camera too
No in-body stabilisation

Best video editing sofware for vloggers and filmmakers

The Fujifilm X-T3 isn't just a great all-round mirrorless stills camera, it's also a spectacularly effective camera for 4K video. Most rival cameras can capture 4K video up to a frame rate of 30p (normal speed), but the X-T3 can shoot 4K at up to 60p, for a smooth 2x slow motion effect. Not only that, it can also capture the slightly wider Cinema 4K format at the same speeds. There's more. Most 4K cameras capture 8-bit video internally to memory cards, but the X-T3 can capture higher-quality 10-bit video internally and, if you connect an extenal recorder, it can save video at a higher 4:2:2 colour sampling quality. To cap it all, the X-T3 comes with a high dynamic range F-Log mode as standard (missing or a paid extra on some cameras) and HLG (hybrid log gamma)  mode via a firmware update. The only thing missing is in-body stabilisation, but many videographers will use a tripod or a motion-smoothing gimbal anyway. 

Read more: Fujifilm X-T3 review

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2. Panasonic Lumix S1

Panasonic's new S-series cameras bring high-end video capabilities

Type: Mirrorless | Sensor: Full frame | Sensor resolution: 24.2MP | Lens mount: L-mount | 4K frame rates: 60, 50, 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 100-51,200 | Memory cards: 1x SD/SDHC/SDXC (UHS II), 1x XQD

60fps 4K and 10-bit internal capture*
In-body stabilization
*Needs paid-for software key
Big and heavy compared to rivals

The Panasonic Lumix S1 may not have the headline-grabbing megapixel count of its S1R stablemate, but it's around 35 per cent less expensive, and is a great all-round performer for shooting both stills and video. In fact its video capabilities leave most of its rivals trailing in its wake, though to get 4:2:2 10-bit internal recording made possible by this camera, you have to pay extra for a 'software key'. While larger than the mirrorless competition, the S1 feels very solid and is built to last. Its controls take some getting used to, but the S1 offers a superb blend of direct and touch-control. Factor its huge dynamic range and great high ISO performance, along with stunning video features, and the S1 is a superb full-frame mirrorless camera for both stills and video.

Read more: Panasonic Lumix S1 review

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3. Nikon Z 6

It's Nikon's cheapest Z-mount camera, but it's the best for video

Type: Mirrorless | Sensor: full frame | Sensor resolution: 24.5MP | Lens mount: Nikon Z | 4K frame rates: 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 100-51,200 | Memory card: 1x XQD

In-body image stabilisation
Excellent high-ISO quality
10-bit 4:2:2 HDMI output
Single XQD card slot

There are lots of reasons to love the Nikon Z 6. It has the same build qualtiy and controls as the more expensive Z 7, it can capture full-width oversampled 4K video and it's better at high ISO settings. And thanks to some aggressive recent pricing by Nikon, it's a whole lot cheaper. Stills photographers might prefer the extra resolution of the 45.7-megapixel Z 7, but for 4K video the Z 6 is clearly the better camera. Nikon's in-body image stabilisation is really effective, and if you connect an external recorder you can record high-quality 10-bit 4:2:2 footage – and Nikon also includes a high dynamic range F-Log mode for those who want the flexibility to carry out colour grading work later. The only things you don't get are 60p 4K capture (though it can do 1080 video at 120p) and a flip-around front-facing screen (it simply has a tilting mechanism).

Read more: Nikon Z 6 review 

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4. Sony A7 III

Here's another camera that's the cheapest in its family but the best for 4K

Type: Mirrorless | Sensor: full frame | Sensor resolution: 24.2MP | Lens mount: Sony FE | 4K frame rates: 30, 24p | 4K sensor crop factor: 1x | Standard ISO range: 100-51,200 | Memory cards: 1x Memory Stick Duo/SD (UHS-I), 1x SD (UHS-II)

In-body image stabilisation
Good high-ISO performance
Twin card slots
Video specs now look average

It's a measure of how quickly 4K capture technology is advancing that the Sony A7 III should find itself half way down our list, as when  it was launched it was setting new standards for 4K capture amongst mirrorless cameras. But it's still the best A7 model for video all round, even including the video-centric A7S II, which was good for its time but now looks long overdue for a refresh. The A7 III is a great all-round camera for any photographer who wants to move up to full frame without spending a fortune, and who wants a good 4K video camera too. The A7 III tops out at 30fps but it uses the full sensor width with no crop factor to capture great quality 'oversampled' 4K footage, and comes with an S-Log mode for high dynamic range scenes and colour grading later on.

Read more: Sony A7 III review

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5. Olympus OM-D E-M1 Mark II

Good video and highly effective stabilisation

Type: Mirrorless | Sensor: Micro Four Thirds | Sensor resolution: 20.4MP | Lens mount: Micro Four Thirds | 4K frame rates: 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 200-25,600 | Memory cards: 1x SD/SDHC/SDXC UHS I, 1x SD/SDHC/SDXC UHS II

Compact, fast and powerful
In-body stabilisation
Smaller sensor size
Overshadowed by Panasonic's rivals

When it comes to cameras with 4K video, Olympus has not built quite the same reputation as that of other Micro Four Thirds camera maker Panasonic, but its OM-D E-M1 Mark II still offers some powerful video tools for stills shooters. It can shoot both 4K UHD (3840x2160) and Cinema 4K video (4096x2160) at 30 or 24fps, and with a maximum bitrate of 237Mbps, which is pretty good for a consumer-orientated crossover camera and the best 4K camera in the Olympus range (we've yet to give the 4K video in the E-M1X a full test). It also benefits from Olympus’s 5-axis in-body stabilisation system, which works alongside the optical stabilisation in certain newer Olympus lenses. The M.ZUIKO Digital ED 12-100mm 1:4.0 IS PRO is the perfect parter for this camera, combining an effective 24-200mm focal range with a constant f/4 maximum aperture and its own in-built stabilisation to provide a combined stabilising effect of up to 6.5 stops. The Olympus captures crisp, clear and natural-looking video with only slight rolling shutter effects, but it’s harder to get cinematic depth of field with the smaller Micro Four Thirds sensor size.

Read more: Olympus OM-D E-M1 Mark II review

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6. Sony A6400

Perfect for vloggers, the A6400 is also a handy all-round camera

Type: Mirrorless | Sensor: APS-C | Sensor resolution: 24.2MP | Lens mount: Sony E | 4K frame rates: 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 100-32,000 | Memory card: 1x SD/SDHC/SDXC (UHS I)

Flip-over screen for self-filming
Great AF tracking/eye AF
Mediocre handling
No in-body stabilisation

On the surface, the Sony A6400 is just another variant in Sony's long-running A6000-series of cameras that first appeared in 2014, but with the company's latest high-tect AF system and a flip-over screen for selfies. But while these features might leave regular stills photographers unmoved, they are great news for videographers – especially vloggers – which is why we've included this camera in our list. Flip-over screens used to be considered a gimmick  for selfie fans, but they're really useful for vloggers who need to film a piece to camera.  The same goes for Sony's latest eye AF and eye AF tracking capabilities, because when you're in front of the camera rather than behind it, you need to be sure it's going to keep you in focus. The A6400 is not the cheapest 4K vlogging camera, but it is very effective and it's a pretty decent stills camera too, especially for action subjects.

Read more: Sony A6400 review 

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8. Panasonic Lumix G90/G95

Design for both stills photography and vlogging, the G90/G95 is versatile

Type: Mirrorless | Sensor: Micro Four Thirds | Sensor resolution: 20.3MP | Lens mount: Micro Four Thirds | 4K frame rates: 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 200-25,600 | Memory cards: SD/SDHC/SDXC (UHS II)

Vari-angle touchscreen
Dual stabilization
Quite expensive
Smaller MFT sensor

The Panasonic Lumix G90 (G95 in the US) is a great stills and video camera for enthusiasts and vloggers. It's true that the Micro Four Thirds sensor is smaller than the APS-C sensors in some rival mirrorless cameras, but this doesn't seem to harm its performance. The handling and control layout are great, and the autofocus feels very snappy indeed. Panasonic is keen to push this model as a perfect hybrid stills/video camera that's also affordable, the only issue we'd have is with the price. It's a good camera but it's not cheap.

Read more: Panasonic Lumix G90/G95 review

Video specialists

Blackmagic Pocket Cinema Camera 4K

8. Blackmagic Pocket Cinema Camera 4K

An extraordinary portable 4K camera from a cinema specialist

Type: Mirrorless | Sensor: MFT | Megapixels: 8.8MP (native 4K) | Lens mount: MFT | 4K frame rates: 60, 50, 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 100-32,000 | Memory cards: 1x SDXC, 1x CFast

Big 5-inch touchscreen
Shoots raw video
MFT lens mount
No continuous autofocus

The Blackmagic Pocket Cinema Camera  4K is a long way down our list, but that's not because it's no good – it's because it's a unique and specialised camera than needs a bit of thinking about. It's styled like a compact rangefinder camera, but it's designed solely for video,  not stills. It uses a Micro Four Thirds sensor and lens mount, so there's no shortage of lenses to choose from, but it's an 8.8MP sensor made specifically for native Cinema 4K resolution. The Blackmagic does have autofocus, but not continuous AF – but it can capture 4K video at 60fps, and it can even capture raw video for high-quality grading/editing later. It's also no more expensive than, say, the Sony A6400. The Blackmagic Pocket Cinema 4K camera looks ideal as a second, pocket-sized camera for a videographer, but video is all it does – this is not a stills camera.

Read more: Blackmagic Pocket Cinema Camera 4K review 

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9. Panasonic Lumix GH5S

A brilliant camera for 4K video – not so much for stills

Type: Mirrorless | Sensor: Micro Four Thirds | Sensor resolution: 10.28MP | Lens mount: Micro Four Thirds | 4K frame rates: 60, 50, 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 160-51,200 | Memory cards: 2x SD/SDHC/SDXC (UHS II)

60fps 4K and 10-bit internal capture
Great power for the price
10MP stills only
No in-body stabilisation

Panasonic has made 4K crossover cameras its speciality, but with the GH5S it’s gone a step further, sacrificing outright resolution for high-end video features. The 10MP sensor dents its appeal for stills photography, but it's ideal for 4K, especially as this is a Multi Aspect sensor. This allows it to shoot in both the 17:9 Cinema 4K and 16:9 4K UHD aspect ratios, in addition to regular 3:2 and 4:3 stills ratios, without the focal length changing as you alternate between these. Uniquely amongst crossover cameras, it can capture 4:2:2 10-bit video internally to suitably fast SD cards. The GH5S also comes with Panasonic’s V-logL log mode pre-installed for extra dynamic range, and while most rivals have a maximum 30min recording time, the GH5S supports unlimited recording (up to the capacity of the memory cards used). Performance is first rate, capturing great clarity, contrast and colour straight out of the box. It's more limited for stills photography than many of its rivals, but one of the best 4K cameras for filmmakers. If you need high-quality stills capability too, get the GH5, which shoots 20MP stills and is almost as good as the GH5S (but not quite) for 4K video.

Read more: Panasonic GH5S review

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10. Canon EOS C300 Mark II

A great 4K camera, but you’ll really need to raise your game

Type: Mirrorless | Sensor: Super 35mm | Megapixels: 8.85MP | Lens mount: Canon EF | 4K frame rates: 60, 50, 30, 25, 24p | 4K sensor crop factor: 1x | Standard ISO range: 160-25,600 | Memory cards: 2x CFast 2.0 (4K), 2x SD (FHD only)

10-bit internal recording
Built in ND filters
Video only, not for stills
Expensive and complex

The C300 Mark II is in the middlemost model in Canon’s Cinema EOS range, and while it’s substantially more expensive than any of the DSLR/mirrorless crossover 4K cameras in this group test, it goes a whole lot further towards meeting the needs of professional videographers, with a modular design better suited to attaching external monitors, grips, rigs and sound equipment and for professional videographers this may make it the best camera for filmmaking, despite its size and cost. It uses a Super 35mm CMOS sensor similar in size to APS-C and corresponding to the old 35mm movie format. The 8MP sensor captures 4K video directly without cropping, pixel binning and oversampling, and it can capture 4:2:2 10-bit footage internally to twin CFast memory cards. It can also capture raw 4K to an external recorder. The built-in ND filters are a major asset outdoors, and there was no visible rolling shutter effect at all in our panning tests. However, while this is one of the best 4K cameras for experts, its price, ponderous handling and complex controls make it too much of a handful for amateurs.

Key 4K video jargon explained

4K UHD vs Cinema 4K: What most people refer to as ‘4K’ is actually UHD, or 3840x2160 pixels; it’s not quite 4,000 pixels (or 4K) pixels wide. However, it does have the same 16:9 aspect ratio as Full HD, with twice the horizontal and vertical resolution. Actual Cinema 4K, which is often referred to as DCI 4K, has a resolution of 4096x2160 pixels, with a slightly wider 17:9 aspect ratio.

Autofocus: Most camera makers now offer fast hybrid phase- and contrast-detection autofocus systems, though Nikon DSLRs still use contrast-detect autofocus in live view and during video recording, and Panasonic’s Depth From Defocus (DFD) contrast-detect AF is really fast. In reality, though, many videographers prefer manual focus.

Bit depth: Most cameras capture 8-bit video, which has similar limitations to 8-bit JPEGs and can start to break up and show banding or posterisation effects with heavy editing (or ‘grading’, to use the video term). Some cameras can capture 10-bit video, which offers more scope for editing later.

Bitrate: The level of compression applied to video footage. As a general rule, higher compression (a lower bitrate) produces smaller files but lower quality, while lower compression (higher bitrate) produces larger files but better quality.

The Fujinon MK50-135mm T2.9, mounted here on a Fujifilm X-H1 body

The Fujinon MK50-135mm T2.9, mounted here on a Fujifilm X-H1 body

Cine lenses: Regular lenses are fine for video but cine lenses have special adaptations that can make video easier or better. They use T-stops (actual light transmission values) rather than F-stops, and many have ‘declicked’ aperture/iris rings for smooth and silent exposure adjustment. Some also have toothed rings that engage with professional pull-focus mechanisms.

Colour sampling: Video is recorded as a luminance channel and two chroma channels. Compressing chroma (colour) data is less harmful to the image quality and this compression is quoted as a ratio. In the perfect world, cameras would record 4:4:4 video but usually the chroma channels are compressed, for example to 4:2:0 (basic) or 4:2:2 (better). 

Crop factors: Not all cameras capture 4K video across the full width of the sensor. Regular stills camera sensors have a higher resolution than is needed, so some makers will crop the sensor area to reduce the image processing overhead or achieve a simple 1:1 pixel ratio for 4K video. This produces a potentially annoying crop factor.

The Atomos Ninja range record Full HD and 4K footage from compatible cameras

The Atomos Ninja range record Full HD and 4K footage from compatible cameras

External recorder: Video cameras can record compressed video internally to memory cards, but you can usually record ‘clean’ (ie uncompressed) video to an external recorder via the camera’s HDMI port, too. This offers potentially higher quality and greater storage capacity, and many of these have large displays that let you see the scene more clearly.

Frame rate: The traditional frame rate for movies is 24fps, whereas for PAL broadcast TV it’s 25fps and for NTSC broadcast TV it’s 30fps. Now that most video is transmitted and viewed digitally, the old distinctions between PAL and NTSC are less relevant but the frame rate still affects the look of the video. 

Interlaced vs progressive: Interlacing is an old technology where two fields of odd and even scan lines are stripped together. It saves on processing power and bandwidth (for broadcasting) but the quality isn’t as good as progressive video, where each frame is captured in its entirety. Interlaced video has an ‘i’ suffix after the frame rate, progressive video has a ‘p’.

Intra-frame vs inter-frame (IPB): Intra-frame compression compresses each frame individually and gives the best quality frame by frame. Inter-frame compression only stores the changes between key frames. The choice may be expressed as ‘All-I’ (intra-frame) and ‘IPB’ (inter frame) compression. 

Log modes: These capture ‘flat’ video with a wider brightness range designed for editing (grading) later. All camera makers have their own versions of log modes, such as S-Log (Sony) and C-Log (Canon). Log modes are a selling point for video-orientated cameras. 

The RØDE VideoMic Pro is a high-quality, affordable microphone for DSLR and mirrorless users

The RØDE VideoMic Pro is a high-quality, affordable microphone for DSLR and mirrorless users

Microphone: the camera’s internal microphone, stereo or otherwise, will not have the sound quality or directional sensitivity for good-quality video, so an external mic is an essential accessory. You can use directional ‘shotgun’ mics like this RODE VideoMic Pro, or a wireless lapel or ‘lavalier’ mic for clipping to clothing to record speech. See our guide to the best microphones.

The Rotolight NEO 2 is a popular light panel for filmmakers

The Rotolight NEO 2 is a popular light panel for filmmakers

LED lights: naturally, flash is no good for video, so if you intend using artificial light it will need to be continuous lighting. LED panels are the top choice for video because they run for a long time off battery power while providing good levels of lighting and low heat levels. Some also offer variable colour temperature for matching the colour of different light sources. See our guide to the best LED panels

Live view: Mirrorless cameras have an advantage because they offer full-time live view both on the rear screen and in the viewfinder. DSLRs only offer rear screen viewing because they have to shoot video with the mirror up.

Memory cards: memory card makers will quote a maximum transfer speed, which is useful for gauging their performance for stills photography, but for video you need a minimum sustained speed. This is not the same thing, so most memory cards now quote both. The bare minimum for 4K video is 10MB/s (Class 10, UHS Class 1, V10); 30MB/s is better (UHS Class 3, V30) and 60MB/s is ideal (V60). Learn how to understand everything written on your camera's memory card 

Oversampling: A processing technique where video is captured at a higher resolution then downsampled to 4K resolution. This can produce better quality and is sometimes used on cameras where the native sensor resolution is much higher than 4K.

Pixel binning: A way of combining the output from photosites so that a higher-resolution sensor can be used to produce 4K resolution video. It’s not considered as good, in quality terms, as oversampling.

Sensor size: 4K crossover cameras come with a range of familiar sensor sizes, including full frame, APS-C and Micro Four Thirds. Super 35mm is a sensor size used in cinematography some pro video cameras – it’s roughly the size of APS-C but with a wider aspect ratio.

Tilting screen: Very useful when filming at low angles or ground level. Fully-articulating screens are less important for video because you never shoot with the camera held vertically.

Touchscreen control: Useful in videography because you’re less likely to jog the camera if you need to make adjustments while filming.

Video tripod and head: A dedicated video tripod, such as the Manfrotto tripod above, will have twin legs for extra stability and vibration reduction, and a fluid head with a long panning arm will provide much smoother camera movements. The Manfrotto Nitrotech N8 has both these features, together with a counterbalance system that prevents the camera drooping forward when it’s released. See our guide to the best video tripods

Zebra: A tool provided by many recent cameras that's used to help judge exposure. This displays the areas of highlights in the frame, and the user will typically have control over the threshold to better manage detail in these areas.

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