Cinema Cameras
Latest about Cinema Cameras

"I have always loved the look of film, so I wanted a camera with which I could just use my instincts in terms of exposure"
By James Artaius published
Q&A This is what a 17K camera, capturing 8K open gate video to shoot digital 65mm, looks like. The cinematographer of 'To Fly or Float' shares his experience shooting Blackmagic

Only one in ten of this cinema camera model has a malfunction. But the manufacturer is still recalling 100% of them
By Hillary K. Grigonis published
RECALL The Blackmagic PYXIS 12K is being recalled for a sensor board glitch that introduces artifacts under certain conditions

In a “win for filmmakers and fans alike,” the 102MP open gate Fujifilm GFX Eterna 55 has been approved for IMAX screens
By Hillary K. Grigonis published
CINEMA IMAX has now certified the Fujifilm GFX Eterna 55 for the big screen

Canon's latest camera gets the thumbs up from Netflix
By James Artaius published
NEWS Netflix has just approved Canon's latest camera for shooting Netflix Original content

The best slow motion cameras
By Lauren Scott last updated
Buying guide Our pick of the best slow motion cameras you can buy will let you capture all the action in stunning slow-mo

Best 8K and 6K camera: high-resolution video cameras a step up from 4k
By Sebastian Oakley last updated
Buying guide The best 8K and 6K cameras are becoming the next big thing in video for filmmakers who are finding 4K is no longer enough

Blackmagic Pyxis 12K review: a resolution giant in a medium-sized package
By Jon Devo published
Review Packing the massive sensor of the Ursa Cine 12K into a modular body, the Pyxis 12K offers industry-leading resolution, though its power demands and workflow may require a professional approach

A 17K camera sounds like data madness. Why I shot a one-woman show using Blackmagic’s monster-megapixel cine camera
By James Tonkin published
Feature I worked with Blackmagic’s full-frame cameras on one-woman show Musik – including the monstrous URSA Cine 17K 65 – and now I don’t want to go back to Super 35 cameras

Shallow depth of field has killed cinematography – movies all look like they were shot on iPhone's Portrait Mode
By Mike Harris published
Opinion Shooting wide open and capturing blurry backgrounds isn’t always the answer, but it’s the answer many blockbusters and straight-to-streaming flicks are opting for nowadays
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