Cinema Camera Round Up

There's a growing recognition among churches today that in order to truly engage our culture we must be speaking the language of video and film—and speaking it well. It means moving beyond newscast-style recaps and announcements into the realm of storytelling and artistry. Embracing this paradigm for the first time presents both challenges and opportunities, simultaneously exhilarating and a little frightening, too.

Moving from the video atheistic to the filmmaking approach requires a very different type of camera than we would ever employ for electronic news gathering (ENG) or IMAG work. Fortunately, over the past few years, many of the major camera manufacturers have been taking steps to address this need for dedicated digital cinema cameras. No matter your specific context, there's very likely already a camera on the market today to meet those needs.

RULES OF THE GAME

In creating this roundup of cameras for digital filmmaking, CPM has focused the discussion on three specific parameters:

1.] Large Sensors

Having complete control over your depth-of-field (the distance between what's in focus and what's out of focus) is a critical component of filmmaking. Achieving that shallow “depth of field” is often a matter of how much light a sensor can gather, so for the purposes of this roundup we're only looking at cameras with Micro Four Thirds-sized sensors or larger.

2.] Pro Audio Features

As anyone with experience in DSLR filmmaking can attest, having a camera unable to monitor or record usable audio is a huge pain. For the purposes of this article we solely considered cameras with professional-level audio features.

3.] Total Cost Under $10K

For most churches a digital cinema camera purchase is a significant investment. That investment's a lot easier to discuss if the cost can be expressed in four digits instead of five. (Having said that, don't forget to budget for a lens or two to use with your new camera.)

So with those considerations in place, let's take a look at some of the best digital cinema camera options available on the market today.



AJA Cion 4K Production Camera

AJA is no Johnny-come-lately to the 4K game. The Ki Pro quad 4K recorder/player has been on the market for several years, so the release of a 4K camera shouldn't have surprised anyone when it was introduced in 2014. What might be a surprise, is the attention to detail. From the 4K complementary metal–oxide–semiconductor (CMOS) Global Shutter Sensor, to the native Apple ProRes workflow, down to the professional mounting rosettes, there is a lot to like about this camera. If the resolutions don't get you excited, the recording format should. The Cion uses ProRes, in all of its flavors.

Street Price: $4,995



BLACKMAGIC PRODUCTION CAMERA 4K

Designed as a logical next step from DSLRs, the Production Camera 4K looks and feels different than any other camera on the market. As indicated in the camera's name, it captures 4K footage in 24 or 30 frames per second (FPS) directly to SSDs. The entire back of the camera is a five-inch touchscreen design for both camera control and visual monitoring. The Production Camera 4K's real selling point, however, is its ability to record footage in Apple ProRes 422 or RAW, providing Hollywood-levels of flexibility in post.

Street Price: $2,995



BLACKMAGIC URSA

For film projects incorporating larger teams and more demanding specifications, Blackmagic Design also offers the URSA. The camera features include filming in 4K up to 120fps into ProRes, Raw and Compressed Raw. What really makes the URSA unique is its larger, team-focused design, featuring three screens for live monitoring, including a 1080p 10-inch flip out LCD.

Street Price: $4,995



CANON C100 Mk II Digital Video Camera

A workhorse of many high-profile church film teams across the country, the Canon C100 Mk II camera design is based on the belief that image quality trumps resolution. As Canon asserts, “The bulk of production that's being done today is in full HD. We wanted the camera to be as good as it could for the full HD output.” The C100 Mk II features a 4K sensor downscaling to 1080p, recording at frame rates up to 60fps, as well as Canon's new “Dual Pixel Auto-Focus,” which allows the camera to achieve usable auto-focus with high-end Canon photography lenses. And with the camera body weighing less than 2.5 pounds, it's an ideal device for Steadicam and gimbal work.

Street Price: $4,499



JVC GY-LS300 Super 35mm Camcorder

In the process of researching this article the JVC GY-LS300 was easily the biggest surprise. Boasting a super-35mm Altasens sensor, the LS300 records 4K footage at 24 and 30fps, and 1080p at 60fps. And a free update coming later this year promises to boost frame rates up to 120. According to JVC, “The majority (of LS300 users) are independent producers, users wanting an all-in-one package,” which is definitely reflected in the overall design and form factor. The real surprise that JVC is hiding up its sleeve is the camera's ability to both record to media and broadcast a livestream simultaneously. While this is a feature not every filmmaker will need, for some ministries it could well be a deciding factor.

Street Price: $2,995



SONY PXW-FS5

Following up of the success of the FS7, Sony has recently released the FS5, which boasts similar features in a smaller, hand-held form factor. It utilizes the same Super 35mm sensor as the FS7, filming 4K in 24 and 30fps, and HD at an astounding 240fps. While it's not able to film at the same bit-depths of its older sibling, the FS5 weighs in at less than two pounds (without the lens), making it ideal for operators who run-and-gun for long periods, or for shooters who routinely utilize the gimbal systems. As an added bonus, the FS5 is one of the first cameras to feature Sony's groundbreaking Variable ND, allowing the operator to carefully control light hitting the sensor without affecting the aperture, shutter speed or gain settings.

Street Price: $5,599



CANON C300 Mk I Digital Cinema Camera

While this camera is in the process of being phased out by Canon, it's an excellent option for teams wanting Canon's higher-quality XF 4:2:2 50Mbps codec and HD-SDI, genlock and timecode outputs. The C300 Mk I shoots 1080p at 24 and 30fps and includes the new “Dual Pixel Auto-Focus” hardware upgrade. And while those specs might seem a little last-gen, it's worth noting that this camera has been used on feature films from Ron Howard and Spike Jonze.

Street Price: $6,999



PANASONIC DVX200 Memory Card Camera Recorder

In a departure from most digital cinema cameras on the market today, Panasonic's DVX200 combines a large sensor with a traditional camcorder-style body and fixed lens. As Panasonic asserts, “The DVX200 is all about the fixed lens.” The glass on this camera is an impressive 28-364mm-equivilent zoom with a variable f2.8-4.5 aperture. This hybrid approach to the camera allows videographers to use the camera in a number of different run-and-gun styles while still achieving a shallow depth of field when needed. It's also no slouch on the technological front, filming 4K in 24 and 30fps and 1080 in 120fps to MP4, MOV and AVCHD codecs. The DVX200 also features 3G-SDI and HDMI connectivity for those needing professional connectivity.

Street Price: $4,195



SONY PXW-FS7

Another digital cinema camera that's being widely adopted for ministry filmmaking is the Sony PXW-FS7. The FS7 boasts a number of impressive technologies, beginning with its Super 35mm-sized sensor that captures imagery at a whopping 14 stops of dynamic range. It films in 4K to both 24 and 60fps, and to HD at 180fps for extremely smooth slow motion. The FS7 utilizes the XAVC-I codec with bit rates up to 600Mbps, giving filmmakers an unusually high degree of flexibility in post-production and color grading. It also features a unique side handle grip and retracting arm for quickly transitioning between tripod and shoulder mounted shooting.

Street Price: $7,999