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The best cinema cameras in 2021: full size and portable professional video cameras

best cinema cameras
(Image credit: Canon)

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. This goes way beyond having 4K resolution and above or high-speed frame rates. Cinematographers also need a modular design based around essential add-on accessories like handles, microphones and external monitors. They also look for built-in ND filters, long recording times, raw capture – and a whole lot more.

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. 

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.

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.

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 almost qualifies them for this guide. Next time around, we might just put them in.

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.

If you're a vlogger or a single-handed filmmaker, the answer will be different. 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 have one section for full size, modular cinema cameras and another for smaller and more portable video cameras for a broader audience of filmmakers and advanced vloggers.

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

(Image credit: Sony)

1. Sony FX6

The full frame cinema camera that could change everything

Sensor size: Full frame | Sensor resolution: 10.2MP | Card slots: 2x CFexpress Type A or SD/SDHC/SDXC card slots | Lens mount: Sony FE | Max shooting resolution: 4K | Display size: 3.5-inch touchscreen | EVF: No

Cheapest full-frame cinema camera ever
Advanced Alpha hybrid AF
10-bit 4:2:2 4K/120p and 240fps HD!
No internal Raw recording or EVF
No built-in image stabilisation
CFexpress Type A cards expensive

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

(Image credit: Canon)

2. Canon EOS C300 Mark III

Quality all the way, with superb dynamic range, excellent AF and raw output

Sensor size: 26.2 x 13.8 mm (Super35) | Sensor resolution: 4096 x 2160 (8.85 MP) | Card slots: CFexpress x 2, SDXC x 1 | Lens mount: EF or PL | Max shooting resolution: 4K | Display size: 4.3-inch | EVF: (Optional)

Cinema RAW Light output
4K up to 120fps, 2K up to 180fps
Dual Gain with 16 stops dynamic range
C70 is similar and cheaper

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…

(Image credit: Blackmagic)

3. Blackmagic Ursa Mini Pro 12K

Forget 8K, this gives you 12K! There are compromises, however

Sensor size: 27.03x14.25mm (Super35) | Sensor resolution: 79.6MP | Card slots: 2x CFast 2.0 slots, 2 x SD UHS-II slots | Lens mount: PL, optional EF or F | Max shooting resolution: 12K | Display size: 4-inch touchscreen | EVF: Optional

It shoots in 12K and nothing else does!
8K and 4K are useful and beautifully filmic
Built like a tank to last for years
Super 35 not full-frame
AF is very limited
Only records in Blackmagic Raw

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

(Image credit: Blackmagic Design)

4. Blackmagic Design URSA Mini Pro G2

External recording and excellent dynamic range, plus power and value

Sensor size: 25.34 x 14.25 mm (Super35) | Sensor resolution: 4608 x 2592 (12MP) | Card slots: CFast x 2, SDXC x 2 | Lens mount: Canon EF | Max shooting resolution: 4.6K | Display size: 4-inch | EVF: Optional extra

Excellent dynamic range
Convenient storage options
Built in ND filters
Bulky when loaded up

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. 

(Image credit: Panasonic)

5. Panasonic Lumix BGH1

Micro Four Thirds grows up, in this fascinating new 'box cam'

Sensor size: MFT (Micro Four Thirds) | Sensor resolution: 10.28MP | Card slots: Twin SD/SDHC/SDXC card slots
 | Lens mount: MFT | Max shooting resolution: 4K | Display size: None | EVF: No

Small and light
Excellent low light performance
Can be rigged up for lots of uses
Quirky handling with no screen or EVF
Doesn’t even come with a battery
AF system is not the best

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

(Image credit: Panasonic)

6. Sony PXW-FS5 MII

The best cinema camera for capturing slow-mo footage

Sensor size: 24.6 x 13.8 mm (Super35) | Sensor resolution: 4096 x 2160 (8.84 MP) | Card slots: XQD x 2 | Lens mount: Sony E Lens Mount | Max shooting resolution: 4K | Display size: 3.5-inch | EVF: Yes

Excellent slow motion credentials
BT.2020 colour space
Virtually identical to original FS5
Lacks the full frame sensor of the Sony FX9
AF inferior to Canon

The Sony FS5 MII is virtually identical to its predecessor, with the same body. However, it comes pre-loaded with many of the paid firmware upgrades that unlocked advanced features of the original. It’s able to shoot 4K at up to 60p for example, with support for the BT.2020 colour space, elevating footage to broadcast standards. With its built-in electronic variable ND filter, variable lighting conditions aren’t a problem, and with 10 assignable buttons, you can also tune it to your shooting tastes. If you're a fan of slow-motion this is the camera for you; it offers up 180fps 1080p capture with no crop. With 14 stops of dynamic range, it’s no slouch – even though it can’t quite stack up to the C300 on that front. Finally, it supports Sony’s E mount lens system, so there’s plenty of glass around you can combine it with to capture sensational, cinematic results. 

(Image credit: Sony)

7. Panasonic AU-EVA1 5.7K

This Netflix-ready cinema camera is a full fat alternative to the Lumix S1H

Sensor size: 24.89 x 18.66 mm | Sensor resolution: 6340 x 3232 (20.5 MP) | Card slots: SDXC x 2 | Lens mount: EF | Max shooting resolution: 4K | Display size: 3.5-inch | EVF: No

5.7K downsampling works well
Dual-native ISOs
Reflective screen
Mediocre AF

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

(Image credit: Canon)

8. Canon EOS C70

Combines the Canon RF mount with the best AF and a brilliant form factor

Sensor size: 26.2 x 13.8 mm (Super35) | Sensor resolution: 4096 x 2160 (8.85 MP) | Card slots: SDXC x 2 | Lens mount: RF | Max shooting resolution: 4K | Display size: 3.5-inch | EVF: No

4K up to 120fps, 2K up to 180fps
Dual Gain with 16 stops dynamic range
No raw output
Cannot use PL lenses

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

(Image credit: Blackmagic)

9. Blackmagic Pocket Cinema Camera 6K Pro

Incredible features at the price, but we'd like to see the 'pocket' this fits into

Type: Mirrorless | Sensor: Super 35 | Megapixels: 8.8MP (native 4K) | Lens mount: Canon EF | 4K/6K frame rates: up to 60/50p | Standard ISO range: 400, 3,200 | Memory cards: 1x SD/SDHC/SDXC UHS-II, 1x CFast

Great value for the spec
Built-in ND filters
Blackmagic Raw and ProRes
It’s not a small camera!
No continuous AF, AE or IBIS
Screen is tilt-only

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.

Read more: Blackmagic Pocket Cinema Camera 6K Pro review

10. Blackmagic Pocket Cinema Camera 4K

The MFT format Pocket Cinema Camera 4K is old, but gold

Type: Mirrorless | Sensor: MFT | Megapixels: Not quoted | Lens mount: MFT | 4K/6K frame rates: up to 60/50p | Standard ISO range: 400, 3,200 | Memory cards: 1x SD, 1x CFast

Excellent range of ports
Giant 5-inch touchscreen
Shoots RAW video
No flip-out screen
No ND filter
No continuous AF

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 

(Image credit: Panasonic)

11. Panasonic Lumix S1H

Panasonic's powerful mirrorless camera has earned Netflix accreditation

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: Dual Native ISO, 100-51,200 (50-102,400 exp.) | Memory cards: 2x SD/SDHC/SDXC (UHS II)

6K video capture
Effective pro stills camera too
V-Log, LUTs and cinema features
No raw video capture
Camera rather than camcorder design

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

(Image credit: Nokishita)

12. Sony FX3

So new, we haven't even tested it yet

Type: Mirrorless | Sensor: Full frame | Sensor resolution: 12.1MP | Lens mount: Sony FE | 4K frame rates: 120p max | 4K sensor crop factor: 1x | Standard ISO range: 80-102,400 | Memory cards: 2x SD/SDHC/SDXC (UHS II)/CFexpress Type A

4K 120p
Active cooling
627 AF points
Carry/filming handle included
Pricier than the A7S III
Alpha design not FX

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 ooks 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.

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Adam Duckworth

Adam Duckworth is an award-winning professional photographer and videographer based in the UK. He has worked for many top magazines, newspapers and corporate clients for more than 25 years. He was named SWPP UK Commercial Photographer of the Year, and is an Associate of the British Institute of Professional Photography. He has also worked for international publications like Motor Cycle News, Racer X, The Sunday Times, The Guardian, ZOO, Golf World, Today's Golfer, and Mountain Bike Action, among others.