The best cinema cameras are designed specifically for professional video work, where 6K or 8K headline grabbing takes second place to the right connections, the right form factor and the right video codecs.
We have left out two groups of cameras. We have not included Arri or Red cameras because these are seriously high-end tools that are a little outside most users' scope. We've also left out most mirrorless cameras because they don't have quite the same cinema focus as the cameras listed here.
But it's true that advanced video-orientated mirrorless cameras are eating into the cinema camera market and there is now a great deal of crossover – and not just with the camera tech, but with the filmmakers who are using it. With this widening array of cameras in mind, we've split this guide into three sections:
• Full size cinema cameras: Designed for professional studio or location work with all the connectors, mounting points and audio inputs that professional productions will need.
• Portable cinema cameras: A new breed pioneered by Blackmagic but now copied by Canon and Sony – pint-sized cinema cameras little bigger than mirrorless models.
• Mirrorless cinema camera crossovers: Regular mirrorless cameras but heavily adapted for filmmaking. Perhaps the best way to get started for filmmakers who also need to shoot stills.
Mirrorless vs cinema cameras
So when does a video camera become a cinema camera? Some might say it's when the camera is clearly designed for video capture and not stills; others might say it's when the cameras switch to a much larger, modular, cinema-focused form factor.
• Cinema vs crossover: A few cameras throw this into very sharp focus (sorry). Is the new Panasonic Lumix GH5 II a stills/video crossover or a proper video camera? We have decided it's just one step away from a true cine tool, and that the Lumix BGH1 is closer to the mark.
• New form factors: The Sigma fp and the new Sigma fp L are both very interesting indeed in this context. They are both stills/video hybrids, but both have a modular form factor and a cine-focused interface that qualifies them for this guide.
• 8K isn't everything: Obviously the 8K capture of the Canon EOS R5 and Sony A1 have made the headlines, but they are both stills cameras that can shoot video and not purpose made cine cameras. For that, there's the Canon EOS C70 and the Sony FX3.
• Cinematography vs filmmaking vs vlogging: There is overlap, but they are not the same things. If you're a vlogger or a single-handed filmmaker, a cinema camera may not be what you need. Here, some of the best mirrorless cameras are also the best cameras for vlogging or the best 4K cameras for video all-round.
In this guide we're sticking to cameras designed for professional film production and program making. We one section for full size, modular cinema cameras, one for portable cinema cameras and one for crossover mirrorless cinema cameras.
You can think of the first list as 'A' cameras and the second as backup 'B' cameras. But that's in a professional filmmaking setup. Any of these 'B' cameras could be ideal for independent filmmakers or single-handed video shooters who have moved beyond vlogging and are ready to put time and effort into their filmmaking.
Best cinema camera in 2021
Full size cinema cameras
Sony’s recent A7S III mirrorless camera sent video shooters into a frenzy with its stunning 4K image quality, especially at high ISOs, incredible video AF, fast frame rates and very high-spec internal 10-bit codecs. The story here is that Sony has put the same sensor and all that clever tech into a compact cinema camera, the FX6, and actually improved on it in many ways. It has even better performance in low light, shoots at DCI 17:9 C4K instead of just 4K, and of course has XLR audio, built-in ND filters and all the usual handling benefits of a dedicated video camera. And at this price, it’s by far the best value full-frame cinema camera you can buy.
Read more: Sony FX6 review
The Mark II was our cinema camera of choice for a long time, but the Canon EOS C300 Mark III eclipses it in every way. The first camera to boast Canon's Dual Gain Output technology (basically dual native ISO), the result is It achieves remarkably clean low light picture quality, HDR acquisition and a whopping 16 stops of dynamic range. It can perform high-speed recording at up to 120fps in 4K at Super35, or 180fps in 2K at Super16, with internal recording options including 4K Cinema RAW Light at 10- or 12-bit, 2K RAW (in Super16) at 10- or 12-bit, and XF-AVC (MXF) at 4:2:2 10-bit ALL-I or LongGOP. And its modular design extends all the way to the lens mount, which can be changed between EF, PL or EF Cinema Lock without needing to send it to a service center. However, many of the same features are available in a cheaper, sleeker, more advanced camera…
If you really must have the bragging rights that comes 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 colours. 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 drama such as feature films and VFX specialists rather than all-rounders.
Read more: Blackmagic Ursa Mini Pro 12K review
Blackmagic’s cinema cameras are an industry favourite, and the URSA Mini Pro is a shining example as to why its products get so much love from filmmakers. Despite costing significantly less than a Canon C300 II, it delivers the same 15 stops of dynamic range, as well as up to 4.6K resolution shooting at a staggering 150fps when shooting RAW. The inbuilt ND filter at two, four or six stops is combined with IR compensation. Like the Pocket Cinema Camera 6K (below), the Mini Pro G2 can record directly to an SSD through its USB-C port, and it also features two SDXC cards and two CFast cards as well. Pick one up one of these excellent cinema cameras and you even get a free copy of DaVinci Resolve, Blackmagic’s excellent video editing suite, which now comes loaded with audio and graphics software to elevate your footage beyond simple edits and grading.
For serious video shooters, the Panasonic Lumix BGH1 boxcam can make a lot of sense as it can be rigged up for a multitude of different uses. With the sensor technology and 10-bit recording of the popular Lumix GH5S, Varicam colour science and Dual Native ISO sensor as found in the high-end Panasonic camcorders, and a small modular body, it can be pressed into service for a huge range of high-quality productions. From documentary to full-on cinematic films, event coverage and live streaming, the BGH1 can be used for just about everything a professional filmmaker might need. But it’s definitely not a walk-around hybrid camera for people who like to shoot stills and video.
Read more: Panasonic Lumix BGH1 review
The Panasonic EVA1 is Netflix-approved, something you don’t usually find in such a small cinema camera. It’s just 1.2Kg without a lens, so is a great run and gun option, and even fits on a gimbal, especially if you’re shooting with a pancake lens. The 3.5-inch screen goes a step beyond articulating – you can detach it and reposition it depending on what you’re shooting, though outdoor viewability isn’t great. As for its 5.7K CMOS sensor, it oversamples to create excellent 4K results, and just like the Blackmagic Pocket Cinema Camera 6K (below), the EVA1 also has a dual native ISO, giving it two sweet spots, one at an ISO of 800, the other at 2500. This results in less grain and more dynamic range. With a compatible recorder such as the Atomos Shogun, the camera can output 5.7K RAW or 240fps at 2K resolution, so while the slow-motion capabilities might not be class-leading when working with the out-of-the-box kit, couple it with a few accessories and you can get stellar results that are ready for the big and small screen alike.
Portable cinema cameras
The Canon EOS C70 is like a remixed C300 Mark III. It packs the same Super35 sensor, Dual Gain Output, 16 stops of dynamic range and 4K 120fps / 2K 180fps performance into a compact form factor more like a traditional stills camera. It also packs a touchscreen that changes the game for Cinema EOS cameras, with touch control making it so much easier to maintain focus. For lone shooters, the C70 boasts the iTR AFX system from the Canon EOS-1D X Mark III, with head detection and spookily accurate autofocus. The only cinema camera to use Canon's RF mount, it opens up a world of cutting-edge optics – and not only can you still use EF lenses, but a new Canon speed booster enables you to use them with an extra f-stop and a full-frame angle of view! However, it doesn't record in raw and there's no option to use PL lenses – for that, you'll need to step up to the C300.
Read more: Canon EOS C70 review
The Blackmagic Pocket Cinema Camera 6K Pro is 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.
The Blackmagic Pocket Cinema Camera 4K looks great value for money today and it's an intriguing alternative for Olympus or Panasonic users who've already invested in MFT lenses. It has some disadvantages, such as no continuous AF and a fixed screen, but this is a cinema camera not a vlogging camera. It always comes back to bang for buck with the Pocket Cinema Camera 4K. When you consider the fact you have a mini XLR audio input as well as USB-C storage support for recording to hard drives, a full sized HDMI port and dual card slots, the Pocket Cinema Camera 4K leapfrogs the competition in almost every video-centric area. Consider that the camera also ships with a full licence for Davinci Resolve, an excellent bit of pro video-editing software that normally costs $295/£239, the Pocket Cinema 4K is quite a bargain.
Read more: Blackmagic Pocket Cinema Camera 4K review
We suspect the Sony FX3 is what the Sony A7S III should have been all along. Although it's part of the Sony FX cinema camera family, it's clearly a derivate of the Alpha line, and looks like a bridge between Sony’s Alpha mirrorless cameras and its box-shape cinema camera. Despite its Alpha appearance, the FX3 is an out-and-out movie camera, complete with Sony’s Cinetone-S color science, a detachable handle with XLR audio input, integrated mounting points and a movie-specific control layout unlike anything on Sony’s existing Alpha models. It's still very new and we haven't been able to test a sample yet, but as soon as we do we have a feeling this camera will be climbing much higher in this list.
Crossover mirrorless cameras
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 have been build 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 more: Panasonic Lumix S1H review
The remarkable little Sigma fp L is not a lot more expensive than the original 24MP fp, but comes with a 61MP sensor and yet sacrifices very little in video capabilities The Sigma fp L’s tiny body does bring some handling issues and places a lot of reliance on external accessories – not least its optional clip-on EVF – and while the new phase-detect AF system is great for stills, the video AF remains slow and unreliable. But what this camera can do, with both stills and video, is remarkable at this price. This is a proper little cinema camera – and how many of those can also shoot stills at the highest resolution of any full frame camera on the market alongside the Sony A7R IV?
Like many of these crossover mirrorless cinema cameras, you would probably say the GH5 II is more for independent filmmakers than Hollywood studios – but they still deliver excellent video quality. Many will be disappointed that the GH5 II is not a bigger leap forward from the GH5. In reality, it’s probably not meant to be an upgrade, but a ‘refresh’ that keeps the GH5 concept fresh and competitive for new buyers. And it certainly does that. Its still image and video specifications don’t break any boundaries these days, but it’s the way they are combined in a single camera that’s impressive. Its combination of still image quality, video quality, stabilization, burst mode, wireless streaming capability and all-round handling mark it out as a camera that is so much more than just the sum of its parts. Now we can't wait to see how the GH6 can top this...
• Read more: Panasonic Lumix GH5 II review
It took Sony five years to upgrade the video-centric A7S II to a Mark III, but the wait has been worth it for keen enthusiast and professional moviemakers. It might not boast 6K or 8K video resolution of some of its rivals, and with only 12.1MP it’s not a powerhouse super-stills machine either. But apart from a big and expensive cinema camera, it’s the only camera that can shoot 4K at 60p full frame with no crop, recorded internally, in 10-bit 4:2:2 with no limitations on recording time and with all the advanced AF functions still working. The 12MP resolution means the A7S III is pretty poor as a stills camera, but an absolute natural at 4K, so it is tilted more towards video than stills. However, sports fans should note it can shoot stills at 10fps and has an incredible 1,000-shot raw buffer (using new CFexpress Type A cards). The A7S III shares much of the same tech as the FX3, but where the FX3 is definitely set up for video, the A7S III is a handy hybrid stills shooter too – as long as 12MP is enough.
• Read more: Sony A7S Mark III review
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