The best cinema cameras are typically quite different from regular mirrorless cameras. The outright specifications may look similar, but cinema cameras are designed for high-end professional video work which demands connectivity, modular design, and a collaborative production workflow.
As the prices of ‘industry standard’ cine cameras drop, more and more videographers are choosing to use them. While the ability to shoot in 6K, 8K, or even 12K is a welcome feature, the form factor, video codecs, and connections a cine camera has are very important.
The company that’s really blurring the boundaries between consumer and cinema cameras is Blackmagic. Its latest camera, the Blackmagic Pocket Cinema Camera 6K G2 can capture 6K Raw or Apple ProRes, with built-in support for custom user LUTs and Blackmagic’s Davinci Resolve Studio software as part of the package. This program is right up with Final Cut Pro and Adobe Premiere Pro as the three top-tier best video editing software programs of all. And yet, you can get this camera for less than $2000/£2000!
We’ve excluded Arri and Red cameras from our list of best cinema cameras due to the fact they sell seriously high-end bits of kit that are a little out of the price range for most commercial filmmakers. While many mirrorless cameras also offer very high-quality video, they are slightly different from cine cameras so they also haven’t been included. For anyone looking for a stills camera that offers excellent video recording features, check out our guides on the best cameras for filmmaking and the best cameras for video.
There’s also the DJI Ronin 4D – an 8K or 6K cinema camera that is basically a flightless drone. It’s the first cinema camera to include 4-axis stabilization which means it will absorb a lot of the movement from walking and running shots and it won’t be so necessary to record sliding shots on a dolly. This latest release from DJI goes to show how varied cine camera designs.
To make the guide easier to digest, we’ve split it into two sections that cover different types of cinema cameras. They are:
Full-size cinema cameras: What you would expect to see on a film or TV set, these cameras are pretty big once you add a lens, monitor, handle, etc, and have lots of connection ports and mounting points for professional needs.
Portable cinema cameras: Pioneered by Blackmagic, these professional-grade cameras may be smaller than a ‘proper’ cine cam but they are still mighty. Canon and Sony have also jumped on the bandwagon and released their own versions of a pint-sized cine cam.
Best cinema cameras: Our top picks
Best bang for the buck
Despite the Sony FX6 not having 6 or 8K capabilities, we think the stunning 4K it outputs still makes it deserve the top spot. After all, unless you’re cropping into the footage most TVs won’t display it in all its glory anyway.
Best small form factor
For serious video shooters, the Panasonic Lumix BSH1 box cam can make a lot of sense as it can be rigged up for a multitude of different uses.
Best APS-C camera
It’s always risky giving a camera a 5-star rating based on a fairly limited acquaintance, but unless something dreadful crawls out of the woodwork that we don’t know about yet, the FX30 deserves it.
Since we have split this guide into two sections; Full size and portable cinema cameras, if your looking for a big rig, and don’t mind the extra weight then I would suggest the Sony FX6, it’s the best bang for your buck, and is trusted by many award-winning filmmakers.
If you’re looking for something just as powerful but in a smaller package then I would go straight for box-style cameras like the Panasonic Lumix BS1H, this full-frame 6K camera offers it all in a tiny form factor perfect for those cinematographers that use gimbals a lot in their workflow.
Best cinema cameras in 2023
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Full size cinema cameras
Despite the Sony FX6 not having 6 or 8K capabilities, we think the stunning 4K it outputs still makes it deserve the top spot. After all, unless you’re cropping into the footage most TVs won’t display it in all its glory anyway. It has the same sensor as the Sony A7S III only it’s been improved to give a better low-light performance, the ability to shoot DCI 17:9 CRK (rather than just 4K) plus it has an XLR input, and built-in filters.
It also benefits from the traditional cine camera style handling so you can easily mount the best external monitors or one of the best mics. Even at high ISOs, it can shoot stunning, noise-free 4K, it has incredibly fast video AF, and shoots 10-bit internally. If you’re looking for something to travel with, the portability of the A7S III would be better but if it’s for professional projects close to home we think the Sony FX6 is pretty unbeatable. The one downside is it’s still on pre-order so there’s no saying when yours might arrive even if you order it today.
Read our full Sony FX6 review for more details
For serious video shooters, the Panasonic Lumix BSH1 box cam 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 BS1H review for more details
It’s always risky giving a camera a 5-star rating based on a fairly limited acquaintance, but unless something dreadful crawls out of the woodwork that we don’t know about yet, the FX30 deserves it.
This is a full-on cinema camera at a mirrorless camera price point and is perfectly positioned to help ambitious creators develop their professional skills. The FX30 is a video-first camera but can still take 26MP stills, and it doesn’t just blow Sony’s aging A6000 series out of the water, it makes the FX3 look a bit limited too.
Read our full Sony FX30 review for more details
If you want a camera you can brag about, the Blackmagic Ursa Mini Pro 12K has earnt bragging rights thanks to its astonishing 79.6-megapixel sensor, In fact, it’s the highest resolution cinema camera on the market and is capable of shooting 12K Blackmagic Raw files with 14 stops of dynamic range and a very filmic look.
If like us, the thought of the 12K file sizes sends a shiver down your spine, drop the resolution down to a more reasonable 8 or 6K, and not only is the quality still incredible but it can shoot at frame rates no other camera can. Based on the original Ursa Mini Pro it does have a few features it’s lacking such as IBIS, phase-detection AF, continuous AF, and no other codecs except RAW. It’s definitely a camera aimed at experienced cinematographers who want complete control when shooting rather than someone who wants a camera to suit everything.
Read more: Blackmagic Ursa Mini Pro 12K review for more details
Should we consider this a full-size or a portable cinema camera? It’s designed for portable use, but it’s quite a size. The DJI Ronin 4D 6K is unlike any other cinema camera out there. You almost have to think about it in two parts – the body which consists of all the camera controls, screen, and gimbal arm, and then the DJI Zenmuse X9 camera. It’s not a light bit of kit weighing almost 5kg but you’ve got to remember you won’t need to add much weight to it as you would with other cinema cameras as it has a gimbal with 4-axis of stabilization built in.
It’s definitely a different type of camera to get used to that will require some learning but for cinematographers who find themselves always using a gimbal or stabilization rig, it’s well worth looking into. It’s also available in an 8K version for those who want even better resolution although is still able to record in ProRes 422 HQ and H.264 4:2:0 10-bit at various different frame rates (check out the review to see the full list).
Perhaps this is the future of cinema cameras, taking a more hybrid approach rather than needing modular systems where you need an additional kit. If you’re new to videography and looking for an all-in-one package, it’s certainly a good way of entering the world of film with a camera that can shoot anything, anywhere.
Read our full DJI Ronin 4D 6K review for more details
Since the release of the C300 Mark II it was the go-to camera for many cinematographers but the release of the Mark III completely overshadows it. The Canon C300 Mark III is the first camera to benefit from Canon’s Dual Gain Output technology (in other words, dual native ISO) which results in a remarkably clean, low light picture quality, HDR acquisition and an enormous 16 stops of dynamic range. It’s capable of recording up to 120fps in 4K Super35 or 180fps in 2K Super16.
Internal recording options include 4K Cinema RAW Light at 10-bit or 12-bit, 2K Raw at 10-bit or 12-bit and XF-AVC (MXF) at 4:2:2 10-but ALL-I or LongGOP. It benefits from a modular design that extends to the lens mount and can be changed between EF, PL or EF Cinema Lock without needing to take it to be serviced. While it is a great camera, a lot of these features can be found in cheaper alternatives.
Blackmagic’s cinema cameras are an industry favorite, and the URSA Mini Pro is a shining example of 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.
The Z cam E2 offers features that top-end brands such as Arri and Red cameras offer such as its own raw codec known as Z Raw and ProRes. It can shoot DCI and UHD 4K at 160fps for slow-motion shots as well as full HD at 240fps for super slow-motion recording. It’s able to shoot 10-bit ProRes 4:2:2 as well as H.265 and H.264 codecs so you can compress your footage but maintain the quality.
It has 13 stops of dynamic range using ZLog or 16 stops of dynamic range in WDR mode and is compatible with lots of lenses due to its popular Micro Four Thirds mount. The camera can easily be controlled by an app on your smartphone and use it to enable a live view feature via Wifi or a USB cable – a welcome feature considering it has no screen.
It’s powered by a Sony L series battery which unfortunately is not included, you can however connect it to an AC adapter and power it from the mains. For the money, you get a lot of professional features that you won’t get on other cameras, especially for less than £2000/$2761.
The Panasonic EVA1 is Netflix-approved, something you don’t usually find in such a small cinema camera. It’s just 1.2 kg 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. For now, the C70 seems to be out of stock in most retailers but we’re hoping it’s just a supply chain issue and they’ll be back soon.
Read our full Canon EOS C70 review for more details
We’ve just finished reviewing the Blackmagic Pocket Cinema Camera 6K G2, the new, ‘entry level’ 6K model, and it boasts many of the features in this Pro version. However, it’s still the Pro model we would go for because for a little extra outlay, it offers a brighter screen and built-in ND filters.
The Blackmagic Pocket Cinema Camera 6K Pro is an evolution of the original 6K model, but while it might look like a mirrorless camera in its shape, you do 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
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 the 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. Considering that the camera also ships with a full license 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 our full Blackmagic Pocket Cinema Camera 4K review for more details
What sets the Sony FX3 apart from other video-centric Sony cameras such as the Sony A7S III is the speckled grey color of the casing. We have a sneaky suspicion that the FX3 is what the A7S III should’ve been all along and despite being part of the FX family it very much looks like the Alpha series cameras.
However, the FX3 is without a doubt a certified movie camera complete with Sony Cinetone0S color science, a detachable handle with XLR audio input, integrated mounting points, and a movie-specific control layout that is a complete change to what we know on existing Alpha models.
It’s so new that we still haven’t been able to test it yet due to high demand but we suspect that once we’ve had the chance to put it through its paces it’s likely to appear much higher on this list.
Read our Hands-on of the Sony FX3 for more details
Mirrorless vs cinema cameras: what’s the difference?
So what makes a cinema camera a cinema camera? Some argue it’s when it’s clearly designed to capture video rather than stills while others could argue it comes down to size, the lens mount it has, and whether or not it has capabilities of shooting in raw or ProRes.
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 or the Sony FX3.
Cinematography vs filmmaking vs vlogging: If you’re looking for the best camera for vlogging you might find the cameras on this list a bit overkill. Not only are most of them very expensive but they require a lot of technical knowledge in order to get the best out of them. If you’re looking for more of an all-round camera, our guides on the best mirrorless cameras or best camera for video will be more helpful.
In this guide, we’re sticking to cameras designed for professional film and tv production. There is one section for your top-end, high spec, modular cinema cameras and one for the more portable cinema cameras capable of 4K and 6K.
You can think of the first list as ‘A’ cameras and the second as backup ‘B’ cameras if you were in a professional filmmaking environment. However, 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.
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.
Read more:
Best cine lenses
Best 8K camera
Best 4K camera for filmmaking
Best audio recorders
Best video editing software
The best laptop for video editing
Best camera sliders
The best on-camera monitors
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