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nal monitors will allow you to preview
your footage with a LUT applied to
make it easier to get proper exposure
while preserving the extra informa-
tion captured in log profi les.ISO and dynamic range
ISO is a factor here as well. Cameras
capture the least noise at their native
ISO. Therefore, this is also the point
at which they capture the greatest
dynamic range. At the native ISO,
cameras can capture deeper shadows
before noise is introduced. Some cin-
ema cameras now feature dual native
ISO. This feature originated in top-
end, Hollywood level cinema cameras
and is now trickling down into more
accessible camera models.Low light performance
Low light performance is another thing
cinematographers should be aware
of when choosing a camera. Because
video shooters are usually locked into
a single shutter speed and limited to
the maximum aperture of their lens,
ISO is one of the few controls we
have to compensate for poor lighting.
However, with each increase in ISO,
the analog signal from the sensor must
be amplifi ed, introducing more noise
into the picture. At a high enough ISO,
the noise in the image will become too
distracting, making the image unsuit-
able for professional use. At that point,
the only solution is to add more light
to your scene — which is not always
possible, depending on the situation.
If you’re concerned about low
light performance, look for a camera
with a large ISO range and seek out
test footage showing how the cam-
era performs in a variety of shooting
situations. One way camera manufac-
turers attempt to mitigate the effectsof boosting ISO is with Dual Native
ISO technology. The native ISO of a
camera is the highest ISO a camera
can shoot at before the signal must be
amplifi ed. Dual Native ISO uses two
circuits set at different sensitivities to
reduce noise at higher ISOs without
sacrifi cing quality at lower ISO levels.
Though good low light perfor-
mance is certainly desirable, unless
you’re planning a lot of shooting in a
dark or in uncontrolled environments,
there are defi nitely other factors that
should have more infl uence on your
purchasing decision.Recording formats
Cinema cameras will typically offer
a number of high-quality codecs to
fi t various workfl ows. ProRes and
DNxHD codecs are especially com-
mon, and some kind of raw recording
is now all but standard. As you shop,
look for recording formats that give
you enough information to freely
grade and composite in post-produc-
tion. Just make sure they don’t bog
down your workfl ow.Resolution
4K resolutions and above are more
or less standard for modern cinema
cameras. If you’re considering a 4K
capable camera, you should be aware
that there are two fl avors of 4K:
UHD and DCI 4K. DCI has 256 more
horizontal pixels than UHD. DCI is the
cinema standard, whereas UHD is the
consumer standard, and the most pro-
lifi c. Most if not all cinema cameras
will offer both options.Bitrate
Another important feature that’s not
often advertised is bitrate. Bitrate is
best described as the amount of datain every second of video — it deter-
mines the size of the fi les the camera
creates. Low bitrate usually means a
high amount of compression. This
means you’ll get artifacting or tear-
ing when there is lots of movement in
your shot. Shoot with a high bitrate
when you don’t need it and your fi les
will be larger than they need to be.RAW recording
Raw recording captures unaltered
information directly from the sensor to
provide maximum fl exibility for color
grading and compositing in post-pro-
duction. It preserves all of the dynamic
range and color information captured
by the sensor. Raw footage does require
post-processing, however, and takes
up a lot more space on a storage drive.
Most times, you’ll need an external
recorder to capture raw video.Bit-depth and color reproduction
Connected to this are color science
and bit-depth. Each camera manu-
facturer has developed a particular
way of capturing and recording color
information. That’s why Sony cameras
produce an image that looks different
from one out of a Canon camera, even
if all the settings match.
However, what’s more important
is the amount of color information a
camera can record, or the bit depth.
Bit depth is sometimes confused with
bitrate, but they are not the same
thing. A camera capable of recording
at a higher bit-depth will be able to re-
produce more colors leading to fewer
issues with color banding and more
fl exibility in post-production
Typical consumer cameras and
most DSLR and mirrorless cameras are
limited to recording at a bit depth of 8
bits. Cinema cameras, however, often
capture 10-, 12- or even 14-bit video
when shooting in a high-quality codec
or raw format. Again, it’s all about
fl exibility. The more color information
your camera can deliver, the more lati-
tude you will have in post-production.
This, in turn, means you’ll be better
able to craft a unique look for your
fi nished video.
Also related to color reproduction,
Chroma subsampling involves the
compression of color information. It’sBest Cinema Cameras Best Cinema Cameras
The more color information your camera can
deliver, the more latitude you will have in post-
production.385 B02 Cinema Camera BG.indd 18 4/23/19 1:58 PMVIDEOMAKER >>> JUNE 2019 19
in every second of video — it deter-
mines the size of the fi les the camera
creates. Low bitrate usually means a
high amount of compression. This
means you’ll get artifacting or tear-
ing when there is lots of movement in
your shot. Shoot with a high bitrate
when you don’t need it and your fi les
will be larger than they need to be.RAW recording
Raw recording captures unaltered
information directly from the sensor to
provide maximum fl exibility for color
grading and compositing in post-pro-
duction. It preserves all of the dynamic
range and color information captured
by the sensor. Raw footage does require
post-processing, however, and takes
up a lot more space on a storage drive.
Most times, you’ll need an external
recorder to capture raw video.Bit-depth and color reproduction
Connected to this are color science
and bit-depth. Each camera manu-
facturer has developed a particular
way of capturing and recording color
information. That’s why Sony cameras
produce an image that looks different
from one out of a Canon camera, even
if all the settings match.
However, what’s more important
is the amount of color information a
camera can record, or the bit depth.
Bit depth is sometimes confused with
bitrate, but they are not the same
thing. A camera capable of recording
at a higher bit-depth will be able to re-
produce more colors leading to fewer
issues with color banding and more
fl exibility in post-production
Typical consumer cameras and
most DSLR and mirrorless cameras are
limited to recording at a bit depth of 8
bits. Cinema cameras, however, often
capture 10-, 12- or even 14-bit video
when shooting in a high-quality codec
or raw format. Again, it’s all about
fl exibility. The more color information
your camera can deliver, the more lati-
tude you will have in post-production.
This, in turn, means you’ll be better
able to craft a unique look for your
fi nished video.
Also related to color reproduction,
Chroma subsampling involves the
compression of color information. It’sexpressed as a ratio of the pixel width
of a sampling region compared to the
number of pixels sampled from each
row in that sampling region. When the
chroma information is reduced due to
chroma subsampling, dynamic color
grading can reveal digital artifacts in
footage. That’s why a camera support-
ing codecs with 4:4:4 chroma subsam-
pling are more desirable than those
using 4:2:2 or 4:2:0, which store less
color information.Frame rate options
The term overcrank refers to the abil-
ity to shoot more frames per second
in order to slow down footage for slow
motion. If you want to achieve glass-
smooth slow motion, be sure to check
what max frame rate the camera
offers. The more frames per second
it shoots, the slower the footage will
look when played back at normal
frame rates. Everything faster than 60
frames per second is considered good
for cinematic slow-mo. Some cam-
eras offer the ability to conform faster
frame rates in camera. This gives you
the ability to playback your slow-mo-
tion footage within the camera with-
out needing post-processing to see
the slow motion effect. Other cameras
need their footage to be digitally inter-
preted to a lower frame rate in the edit
suite, which tends to be hit or miss.
Additionally, often, not all frame
rates are available in every resolu-
tion. Make sure you know your fi nal
delivery resolution so you can make
sure you’ll be able to shoot in the
frame rate you want at the resolution
you require.Additional cinema camera
controls and settings
Since cinema cameras aim to give
the DP ultimate creative control, they
often include some handy bonus
features. For instance, anamorphic de-
squeezing helps when working with
anamorphic lenses. Global shutter is
another feature that allows cinema
camera to behave more like traditional
fi lm cameras. This also eliminates roll-
ing shutter issues that cause straight
lines to bend during quick pans. In
general, these extras are there to make
it easier to capture the desired image.Monitoring options
The type of monitoring a camera has
can affect your ability to see your shot
well enough to get proper exposure
and focus. Find out if the LCD screen
has any articulation. If so, will it fi t
your type of shooting? Some monitors
are highly refl ective, so you might re-
quire a tilting screen to be able to sup-
press any unwanted glare if you often
shoot outdoors. Outside of the monitor
built into the camera, you might need
to use an external monitor. It’s best to
know if the camera has an HDMI or
SDI output, and if so, what size it is.
Additionally, shot assist tools like
focus peaking, zebras stripes, LUT
previewing and waveform monitors
are useful for any video producer,
though some will get used more than
others and none are strictly necessary
to achieve the shot you’re going after.
Still, these tools do make it much eas-
ier to get proper exposure and focus.
So, cameras with these features should
be considered more strongly than cam-
eras without them. These tools are also
built into most external monitors, so
that’s an option to consider as well.
Finally, if you want professional
quality video, you need good audio.
Look for what types of audio inputs
a camera has. Does it have XLR or
eighth-inch inputs? How many audio
inputs does it have?Gear and workflow considerations
The last thing you must consider is
the equipment you already have. Is
the equipment you already have com-
patible with what you are looking to
buy? Don’t forget all of the accessories
that are required to get the best shot.
Accessories like cables, lenses, tripods,
batteries and media can get expensive.
Don’t be the person that buys a newcamera but can’t use it because they
don’t have all of the additional prod-
ucts you need to operate it.
At fi rst glance, a smaller cinema
camera may look like the most com-
pact option. However, while the cam-
era bodies are small, you have to add
to it to create a usable rig; your little
camera can become large and heavy
rather quickly.
If your camera and rig end up being
heavier than fi ve pounds, make sure
your tripod and other support can han-
dle the weight. This will allow you to
operate the support as it was designed.
Many different support systems will
not function or will improperly func-
tion if they are over-weighted. Tripods
capable of holding heavy cameras tend
to come with big price tags.Time to choose
It is extremely hard not to get caught
up pursuing every camera announced
during the latest camera craze. How-
ever, if you’re always chasing the
best and latest you will never learn to
make better videos. The perfect cam-
era for you is the one you can afford
and know how to use. Any camera can
be used to tell a story. Sure, a RED will
probably look better and you may not
have to work as hard to get the image
where you want it. But if you are solid
in your trade and know how to tell
a story, that does not matter. We are
slaves to the story, not our cameras.
Disagree with our picks? Think we
missed something great? Tell us about
it in the forums.Our buyer’s guide are a collaborative effort cre-
ated by Videoma ker’s editorial staff.To view our most current recommendations, visit:
http://www.videomaker.com/?p=Best Cinema Cameras
It is extremely hard not to get caught up pursu-
ing every camera announced during the latest
camera craze.385 B02 Cinema Camera BG.indd 19 4/23/19 1:59 PM