Camera for filming movies: The 5 Best Cameras For Filmmaking – Spring 2023: Reviews
The 5 Best Cameras For Filmmaking – Spring 2023: Reviews
- Table of Contents
- Intro
-
Best Camera
-
Best Upper Mid-Range
-
Best Mid-Range
-
Best Budget
-
Best Low Light
- Notable Mentions
- Recent Updates
- All Reviews
- Discussions
Updated Jun 01, 2023 at 01:36 pm
By Adriana Wiszniewska
Investing in a mirrorless or DSLR camera is an increasingly viable option for amateur filmmakers who want to produce high-quality videos without spending a fortune on professional video gear. Many stills and hybrid cameras on the market have impressive internal video recording capability and support a variety of recording formats, codecs, and picture profiles, allowing you to control the creative process from shooting to editing. Generally speaking, when looking for a filmmaking camera, you should consider the camera’s video resolution and frame rate options, whether or not it has in-body image stabilization (IBIS), and design features like dual memory card slots and ports to attach peripherals like microphones or external recorders. Of course, budget and ergonomic preferences also play a big role in determining which camera is best for you.
We don’t currently test cinema cameras, and because dedicated cinema cameras run the gamut from affordable prosumer models to astronomically expensive professional models, this article focuses primarily on consumer stills and hybrid cameras with advanced video features for those looking to get started shooting films. Note also that your chosen lens will significantly affect your camera’s performance, including its stabilization and autofocus performance.
We’ve bought and tested over 85 cameras in our lab, and below, you’ll find our recommendations for the best hybrid cameras for aspiring filmmakers to buy. If you’re looking for a simpler, more affordable camera to create videos for online media platforms, check out our recommendations for the best cameras for YouTube. Otherwise, see our list of the best 4k cameras for the best 4k-capable cameras we’ve tested or our best cameras overall for the best all-around models we’ve tested.
-
Best Camera For Filmmaking
Canon EOS R6 Mark II
Searching
Finding Store
Searching
Finding Store
Studio Video
9.2
Sensor Size
Full Frame
In-Body Image Stabilization
Yes
Mirrorless
Yes
Body Type
SLR-Style
See all our test results
The Canon EOS R6 Mark II is one of the best hybrid cameras we’ve tested and a powerhouse for video and content creators. With key improvements over the already-excellent Canon EOS R6, the Mark II is now a great option for those looking into a mirrorless camera for advanced video work. Canon removed the 30-minute recording time limit from the original R6 and improved its heat management to help prevent some of the original’s overheating issues, making it that much better for video work.
It’s also one of the few options at this price to offer 4k up to 60 fps with no crop.It supports 10-bit 4:2:2 internal recording to get a wider dynamic range and give yourself more leeway to edit and color grade your footage. Plus, it can output 6k ProRes RAW video with a compatible Atomos recorder, which is great news for filmmakers who prefer to work with RAW footage. That aside, the oversampled 4k video quality out of the camera looks fantastic. It also has a highly effective in-body image stabilization system to help you get smoother handheld footage. It’s an excellent option for enthusiast hybrid shooters looking to step up their video game or get into filmmaking.
See our review
-
Best Upper Mid-Range Camera For Filmmaking
Panasonic LUMIX GH5 II
Searching
Finding Store
Searching
Finding Store
Studio Video
8.
8Sensor Size
4/3 (MFT)
In-Body Image Stabilization
Yes
Mirrorless
Yes
Body Type
SLR-Style
See all our test results
Another great option for aspiring filmmakers is the Panasonic LUMIX GH5 II, a hybrid camera heavily geared toward videographers. It uses a Micro Four Thirds sensor instead of a full-frame sensor like the Canon EOS R6 Mark II, which means working with a 2x crop factor and losing out on some low-light capability. However, it still delivers excellent video quality. It has many resolution and frame rate options, including anamorphic modes to get a wider, more cinematic aspect ratio and UHD and DCI 4k up to 60 fps. You also get Log profiles and 10-bit 4:2:2 4k recording (up to 30 fps) to capture more color information and give you more flexibility in post-production.
That said, if you’re set on a full-frame camera for better low-light performance, the Panasonic LUMIX DC-S5 is an excellent choice in a similar price range.
It has 10-bit 4:2:2 video capture and cropped 4k 60 fps recording, though it doesn’t have as many recording formats/codecs. Full-frame lenses are also typically bigger and more expensive. The GH5 II has since been replaced by the Panasonic LUMIX GH6, which has a higher-resolution sensor, higher-resolution video recording, and a CFexpress card slot. But, for the price, the GH5 II is still one of the best cameras for videography that you can get.See our review
-
Best Mid-Range Camera For Filmmaking
Canon EOS R7
Searching
Finding Store
Searching
Finding Store
Studio Video
9.0
Sensor Size
APS-C
In-Body Image Stabilization
Yes
Mirrorless
Yes
Body Type
SLR-Style
See all our test results
The Canon EOS R7 is the best mid-range camera we’ve tested for filmmaking.
It sits below the Canon EOS R6 Mark II in Canon’s mirrorless lineup and offers many of the same features but uses a smaller APS-C sensor. It’s one of the most capable APS-C cameras for video, with internal 10-bit 4k recording at up to 60 fps. It also has fantastic battery life and excellent heat management, making it well-suited for long-form video recording.If that wasn’t enough, the camera also has a highly effective IBIS system for smoother handheld recording. Of course, its APS-C sensor doesn’t have as much dynamic range as a full-frame camera like the R6 Mark II. It also doesn’t support as many resolution options and recording formats as the Panasonic LUMIX GH5 II. Having said that, if you don’t need full-frame video quality and low-light performance, this is a fantastic video camera for the money.
See our review
-
Best Budget Camera For Filmmaking
Sony ZV-E10
Searching
Finding Store
Searching
Finding Store
Studio Video
7.
9Sensor Size
APS-C
In-Body Image Stabilization
No
Mirrorless
Yes
Body Type
SLR-Style
See all our test results
The Sony ZV-E10 is the best camera for filmmaking on a budget. Though it’s marketed as a vlogging camera, this entry-level APS-C model offers a lot for videographers and filmmakers who don’t want to spend a fortune on camera gear. It doesn’t have a viewfinder like the cameras above, but the fully articulated screen is perfect for video work. The camera’s portable size also makes it a breeze to shoot anywhere. Unfortunately, it doesn’t have IBIS, but you can pair it with optically stabilized lenses or use a video rig to get smoother camera movements. It also has excellent connectivity options, with headphone and mic jacks and a Micro HDMI port to connect an external monitor.
There’s no time limit on recording, which is great for longer recording sessions.
Its battery life is also impressive, and you’re unlikely to have any issues with overheating. Compared to higher-end options, though, you’ll miss out on 10-bit internal recording and 60 fps 4k video. However, you still get 4k at up to 30 fps and 1080p at up to 120 fps for slow-motion recording. Overall, it’s a great choice for the budget-conscious filmmaker.See our review
-
Best Low Light Filmmaking Camera
Panasonic LUMIX GH5s
Searching
Finding Store
Searching
Finding Store
Studio Video
8.7
Sensor Size
4/3 (MFT)
In-Body Image Stabilization
No
Mirrorless
Yes
Body Type
SLR-Style
See all our test results
If you frequently shoot in low light, the Panasonic LUMIX GH5s is one of the best options.
Released as a video-optimized alternative to the GH5 (the predecessor to the Panasonic LUMIX GH5 II above), this camera uses a lower-resolution sensor with dual-native ISO, meant to minimize noise and grain when shooting in low light at higher ISOs. It also uses a multi-aspect sensor, meaning you can change the aspect ratio without altering the diagonal field of view. It can record UHD 4k and DCI 4k at up to 60 fps. It also has a full set of inputs and outputs, including a full-sized HDMI port to connect an external monitor easily.The other big difference is that this camera doesn’t have in-body image stabilization. Panasonic deliberately removed it to make space for the multi-aspect sensor and eliminate the possibility of micro-vibrations to the sensor. That means you must use a gimbal or cinema rig when shooting handheld. If that isn’t a dealbreaker for you, this is one of the best cameras for videography in low-light conditions.
See our review
It’s also one of the few options at this price to offer 4k up to 60 fps with no crop.
8
It has 10-bit 4:2:2 video capture and cropped 4k 60 fps recording, though it doesn’t have as many recording formats/codecs. Full-frame lenses are also typically bigger and more expensive. The GH5 II has since been replaced by the Panasonic LUMIX GH6, which has a higher-resolution sensor, higher-resolution video recording, and a CFexpress card slot. But, for the price, the GH5 II is still one of the best cameras for videography that you can get.
It sits below the Canon EOS R6 Mark II in Canon’s mirrorless lineup and offers many of the same features but uses a smaller APS-C sensor. It’s one of the most capable APS-C cameras for video, with internal 10-bit 4k recording at up to 60 fps. It also has fantastic battery life and excellent heat management, making it well-suited for long-form video recording.
9
Its battery life is also impressive, and you’re unlikely to have any issues with overheating. Compared to higher-end options, though, you’ll miss out on 10-bit internal recording and 60 fps 4k video. However, you still get 4k at up to 30 fps and 1080p at up to 120 fps for slow-motion recording. Overall, it’s a great choice for the budget-conscious filmmaker.
Released as a video-optimized alternative to the GH5 (the predecessor to the Panasonic LUMIX GH5 II above), this camera uses a lower-resolution sensor with dual-native ISO, meant to minimize noise and grain when shooting in low light at higher ISOs. It also uses a multi-aspect sensor, meaning you can change the aspect ratio without altering the diagonal field of view. It can record UHD 4k and DCI 4k at up to 60 fps. It also has a full set of inputs and outputs, including a full-sized HDMI port to connect an external monitor easily.Notable Mentions
- Fujifilm X-T4:
The Fujifilm X-T4 is an excellent upper mid-range option for hybrid shooters, with 4k recording at up to 60 fps. While its APS-C sensor is better suited to low light than the Panasonic LUMIX GH5 II, it has fewer recording format/codec options and is limited to 4:2:0 subsampling internally.
See our review - SIGMA fp L:
The SIGMA fp L is a unique full-frame camera with a compact, modular design. It supports many recording formats, including 12-bit CinemaDNG RAW, and has many cinema features. However, its modular design takes some time to get used to and potentially means additional costs compared to a more traditional camera like the Canon EOS R6 Mark II. It also has a sub-par autofocus system and can’t record 4k / 60 fps.
See our review - Sony α7 IV:
The Sony α7 IV is another fantastic hybrid option, with video specs mostly on par with the Canon EOS R6 Mark II. However, it can only record 4k / 60 fps video with a Super35 crop and can’t output RAW video.
See our review
While its APS-C sensor is better suited to low light than the Panasonic LUMIX GH5 II, it has fewer recording format/codec options and is limited to 4:2:0 subsampling internally.
Recent Updates
-
Jun 01, 2023:
Reviewed article for accuracy and clarity. -
May 04, 2023:
Renamed the Panasonic LUMIX GH5s from ‘Best Camera For Filmmaking In Low Light’ to ‘Best Low Light Filmmaking Camera’. -
Apr 05, 2023:
Replaced the Sony α6600 with the Canon EOS R7 as the ‘Best Mid-Range Camera For Filmmaking’. -
Mar 02, 2023:
Moved the Sony a7 IV to Notable Mentions and replaced it with the Canon EOS R6 Mark II as the ‘Best Camera For Filmmaking’. -
Feb 02, 2023:
Removed the Nikon Z 6II and Sony a7 III from Notable Mentions.
All Reviews
Our recommendations above are what we think are currently the best filmmaking cameras for most people to buy, according to their needs. We factor in the price, feedback from our visitors, and availability (no cameras that are difficult to find or almost out of stock in the U.S.).
If you would like to choose for yourself, here’s the list of all our reviews for video-capable cameras. Be careful not to get caught up in the details. There is no single perfect camera. Personal taste, preference, and shooting habits will matter more in your selection.
Sony FX6 review | Digital Camera World
Digital Camera World Verdict
Sony’s recent A7S III mirrorless camera has 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. Now 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.
TODAY’S BEST DEALS
Pros
- +
Most affordable full-frame cinema camera ever
- +
Advanced Alpha hybrid AF
- +
10-bit 4:2:2 4K/120p and 240fps HD!
Cons
- –
No internal Raw recording or EVF
- –
No built-in image stabilisation
- –
CFexpress Type A cards expensive and uncommon
Why you can trust Digital Camera World
Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out how we test.
The Sony FX6 answers a real need for filmmakers that Sony’s mirrorless Alpha cameras do not. For shooting video, there is nothing that comes close to using a real cinema camera that has professional controls and ergonomics, multi-channel XLR audio, built-in ND filters, no overheating issues and a very long battery life.
These cameras are purpose made for the job, but have lacked the full-frame sensor and advanced AF features that mirrorless camera users are used to. Until now.
Related articles
Just over a year ago, Sony and Canon finally fitted full-frame sensors and the latest advanced AF systems into the more affordable end of their cinema camera ranges, but the price was still steep. The 4K Sony FX9 costs around $11,000/£11,000 and the 5.9K Canon C500 Mark II $16,000/£17,000.
- Sony FX6 (Black) at Amazon for $5,998
Now Sony has really put the cat among the pigeons with the FX6 that is smaller and lighter than the FX9, is more advanced in many ways, and costs around $6,000/£6,000. Using the full-frame 4K sensor and hybrid AF from the A7S III mirrorless camera along with its codecs, it also inherits the well-loved S-Cinetone colours of Sony’s Venice motion picture camera and a dual native ISO sensor for stunning performance at high ISO settings.
It’s a camera that can be used for everything from real feature films and drama to run-and-gun documentary shooting, events and even news gathering.
All for the price of a professional DSLR.
• Note that the FX6 is supplied body only. All lenses, mics and accessories are the author’s own!
Specifications
Sensor: 10.2 megapixels BSI-CMOS, full frame
Video formats: 4096×2160 C4K, 3840×2160 4K, 1920×1080 FHD, MXF
Codecs: C4K XAVC-I 10-bit 4:2:2 up to 60p 600Mbps; 4K 10-bit 4:2:2 up to 120p 600Mbps; 4K XAVC-L, 8-bit 4:2:0 150Mbps up to 120p, FHD XAVC-I 10-bit 4:2:2 up to 60p 223mbps, XAVC-L 10-bit 4:2:0 up to 240p 50mbps, MPEG 8-bit 4:2:2 50Mbps 60p, 16-bit Raw via external recorder
Gamma curves: S-Cinetone, Std, HLG, S-Log3
ISO: Base ISO 800/12,800
ISO range: 800-102,400 (expandable 160-409,600)
Dynamic Range: 15+ stops
Autofocus: Fast Hybrid AF with real-time Eye AF, touch AF. 627 on-sensor phase detection points. one shot, continuous, face priority, eye tracking
Lens Mount: Sony FE
Controls: Peaking, waveform, zebras, focus assist
Shutter speed: 1sec – 1/8000sec
Filters: Stepless variable ND 1.
4 – 1/128
Memory card: 2x CFexpress Type A or SD/SDHC/SDXC card slots
LCD: Fully articulating 3.5in LCD, 2.76 million dots
Audio: 2x XLR inputs on handle
Connectivity: Wi-Fi, Bluetooth, BNC 12G-SDI, HDMI-A, UBS-C
Size: 114x116x153mm
Weight: 890g (body only)
Key features
(Image credit: Adam Duckworth)
The FX6 doesn’t use the same sensor as the FX9, which is actually 6K but downsampled to 4K. Instead, it inherits the same BSI-CMOS sensor from the Sony A7S III mirrorless camera and also the majority of its video spec and on-sensor phase detection autofocus.
So like the A7S III, the FX6 records in 4K at 60fps full frame with no crop, which is stored internally to SD or the same new CFexpress Type A cards as first used in the A7S III. While the mirrorless camera records only in 4K at 16:9, the FX6 can go to DCI 4K at 17:9 XAVC-I 10-bit 4:2:2 at up to 60p, recording at 600Mbps.
But at this super-wide setting, the view actually becomes shallower (in height) to give the DCI-4K aspect ratio.
The Sony FX6 is designed a video camera, not a mirrorless camera that can shoot video. (Image credit: Adam Duckworth)
The Sony FX6 stores video on twin SD/CFexpress Type A cards, though this smaller CFexpress format is still hard to find and expensive. (Image credit: Adam Duckworth)
Like its mirrorless sibling, the FX6 records in up to 10-bit 4:2:2 All-Intra with no recording time limit. And the all the advanced hybrid AF functions still work. Both cameras can shoot 120fps in 4K internally too, and 240fps in HD for up to 10x super slow-motion. There is a slight 1.1x crop at frame rates over 60fps.
As well as these headline options, there are lots of other settings to choose from in HD and 4K options, in 10-bit and 8-bit, 4:2:2 and 4:2:0 versions, All-Intra and Log-GOP compression. On the FX6 in 4K at up to 60p, it records from the whole width of the sensor.
Being able to shoot in 4:2:2 10-bit makes a real difference for videographers who want to shoot in Log settings to extend the dynamic range of the 10.2-megapixel BSI sensor.
The Sony FX6 has no EVF, only a 3.5-inch touchscreen LCD. It has a dual-ISO sensor with native values of ISO 800 and ISO 12,800 and an ISO range of 800-102,400, expandable to 160-409,600. (Image credit: Adam Duckworth)
The camera has two different base ISO settings. When using S-Log 3 for maximum dynamic range of up to a claimed 15 stops, the first is at 800, and the second High Sensitivity mode ISO is 12,800. So when light levels drop and the ISO has to go up, the higher setting takes over and does a fantastic job of eliminating noise.
Where the A7S III and FX6 are very different is in codecs. The FX6 uses the MXF wrapper like most cinema cameras, and there is no H.265-based codec like the A7S III. The FX6 has standard colours as well as the S-Cinetone colour technology from the Venice and FX9.
This gives filmic colours right out of camera, with great skin tones.
There are built-in LUTs or you can add your own, and they even work in fast frame rate settings up to 120fps.
And if you want to get the ultimate quality from the FX6, it can output raw video files to an Atomos recorder, which converts it to 12-bit ProRes Raw files.
Build and handling
(Image credit: Adam Duckworth)
The camera body is actually very compact and light, until you start to bolt on all the components that you need. There is an adjustable handle grip which screws into the body and houses the two XLR inputs and the MI shoe. There are lots of user-customisable buttons, but sadly no viewfinder at all. Instead, there is just the monitor screen.
This touchscreen is good and has buttons to turn on and off the peaking, zebras or move AF point. All of these buttons can be customised.
The touchscreen itself can be used to change settings, or you can use the multi-function knob at the front or the small joystick near your thumb.
One nice touch is the menu button which has a short push for most-used function, then a long push to reveal the full menu.
There are lots of customisable options, and the FX6 has all the professional controls that real filmmakers can’t live without. There are waveforms and vectorscopes, focus peaking and adjustable zebras, plus all proper audio controls. There are nine user-settable buttons for most-used settings, too. The menu is complicated, but OK when you get used to it.
The Sony A6 body is relatively compact, but by the time it’s kitted out with filming accessories it’s more weight – especially with Sony’s substantial full frame G Master lenses. (Image credit: Adam Duckworth)
A huge benefit of the FX6 is the Electronic ND filter which allows you to switch between stepped ND filters or variable ND. You can also use Auto ND, so you can keep your shutter speed and aperture constant and the camera alters the ND amount to get the exposure right.
Having built-in ND filters mean there is no room for IBIS, so the only in-camera image stabilisation comes from the use of stabilised E-mount lenses.
But like others in the cinema camera range, the FX6 records gyro metadata for every shot, then Sony’s Catalyst software can stabilise it.
The camera has Wi-Fi built in and can be controlled remotely with a smartphone using Sony’s free Content Browser Mobile where you can alter camera settings and view what’s being filmed.
Performance
This is one of the best low-light video cameras you can buy, thanks to its full-frame sensor’s large photosites and dual native ISO settings. As the sensor is relatively low-resolution, the signal is processed very quickly by the new Bionz XR processors so rolling shutter issues are very well controlled, too.
You can watch a sample movie shot with the Sony FX9 below:
But it’s not all about low light performance, as in all conditions the camera produces footage that is very natural and bright without being too oversaturated. Using the S-Cinetone setting gives a more filmic look that’s useable right out of camera.
Or youu can switch to S-Log to maximise dynamic range, and those 10-bit 4:2:2 files are packed with colour information so you can push and pull the footage around in post to grade it exactly how you want it. In this way, it’s a camera that can produce everything from subtle, natural colours to stylish, graded looks, as well as bright and punchy looks that work well on certain subjects. It gives you all these options.
And the 120 and 240fps footage is addictive. There is some slight drop in image quality but it’s hardly noticeable unless you’re a pixel-peeper.
But perhaps the biggest bonus for filmmakers is the useable autofocus, once you learn how to master the system. The face and eye detection is very good, in particular. There is Face Detection, with a Face Only mode which only changes focus when it detects a face, and Face Priority focuses all the time but gives priority to any face. Up to eight faces can be detected, and you can choose one to track with the touch screen.
You can alter the AF transition speed and AF subject shift sensitivity, which refers to how long it locks onto a subject before finding something else to focus on. Then the focus area can be altered, from a wide area to a tighter zone, and to spot for the most precision. You move these areas around using a toggle switch or touch-to-focus on the touchscreen which also lets you do smooth focus pulls.
Many stills shooters have had tech like this for years, but it is relatively new to video . Many advanced mirrorless cameras have a much more limited range of AF settings for shooting video but, like the A7S III, the FX6 has the lot. The AF locks onto the subjects quickly and stays with it like no other system in any other cinema camera.
Verdict
(Image credit: Adam Duckworth)
You don’t get something for nothing in this world, so the Sony FX6 is not just a cheaper FX9 with all the same spec. For professional cinematographers, the more expensive FX9 has the appeal of a 6K sensor that’s oversampled to get the recording down to 4K.
The FX9 can also be set to a 5K crop at a maximum of 60p, and a Super35mm crop at 4K. The FX9 has full interlaced recording and output at up to 50/ 60i while there is no interlaced internal recording on the FX6. The FX9 has more connections, more gamma choices, live streaming capability and so is more suited for big productions.
But still… if you can get by without the FX9’s additional features, the FX6 is just a stunning cinema camera, not just for its own exceptional feature set and performance, but for its ground-breaking price point too.
Read more:
• Best cinema cameras
• Best cameras for filmmaking
• Best cameras for vlogging
• Best Sony lenses
Sony FX6: Price Comparison
$6,549.95
$5,474.95
View
$5,998
View
$5,998
View
$5,998
View
Show More Deals
powered by
Thank you for reading 5 articles this month* Join now for unlimited access
Enjoy your first month for just £1 / $1 / €1
Already have an account ? Sign in here
*Read 5 free articles per month without a subscription
Join now for unlimited access
Try first month for just £1 / $1 / €1
Already have an account ? Sign in here
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.
Choosing a camera for shooting a movie
Now you have a great dream – to shoot a movie or a high-quality video. Since I believe that you, our readers, are goal-oriented guys, the dream will definitely develop into a clear goal. And many questions will arise: where to start, what to shoot for, how to write a script? You will definitely learn about all this on the pages of Say-Hi magazine, and today we will come to the technical side of this wonderful process – the necessary equipment. Namely, a video camera.
Part I Beginning
I can’t deny the possibility of a question: why buy a separate camcorder when you can shoot with a professional camera or smartphone? Here the words “the main thing is not the technique, but the very idea of the author, its embodiment” are recalled.
But we, sane people, understand that if the goal is to shoot a high-quality video, then everything must be high-quality – from the script and the acting, to the picture itself.
First of all, answer the following questions for yourself:
1) Will it be a video, a short film or a feature film?
2) Where will you shoot: mostly indoors or outdoors?
3) Will we mainly shoot static scenes – compositions of nature, streams, leaves, birds on trees? Or dynamic – walking, running, shooting cars, noisy streets, exclusively action?
After you have decided on the idea, you should pay attention to the main characteristics of the video cameras.
Part II. Study
The main features are: resolution standard, optics and zoom, recording media, image sensor type, image stabilizer type.
Resolution
The desired good picture quality on playback devices will depend on the resolution of the camcorder.
SD (Standard Definition) – I must say right away that when choosing a camera with this standard, you should not count on the clarity of the picture.
Such a resolution will be acceptable for watching videos on ordinary TVs and computers, while on HD screens the picture will be extremely blurry. Such cameras shoot at a resolution of 720×576 pixels, which corresponds to the quality of DVD-video.
HD (High Definition) – footage will be in higher resolution. Such cameras have a relatively normal price and shoot with a resolution of 1280×720 and even 1920×1080 pixels.
Full HD – Full HD resolution supported by AVCHD (Advanced High Definition Video Codec) cameras. Video in this format immediately has a frame size of 1920×1080, while other HD cameras first record video in 1440×1080 format, and then the image is enlarged to Full HD when playing the file. AVCHD camera content is best viewed on a Full HD screen.
Optics and Zoom
Optics is one of the most important features of a camcorder. An image enters through the lens, and the quality of the image depends on the quality of the optics.
It is difficult to assess the quality of optics by formal features. Even the presence of the name of a well-known brand (Carl Zeiss, Leica and others) will not help here. You can evaluate the image quality after a trial shooting.
One optical parameter that can still be assessed is the maximum viewing angle, that is, the minimum focal length. The human visual angle is approximately 36°, which corresponds to a focal length of 6.9mm. Video cameras with a lens focal length of less than 6.9 mm will visually move the image away, more than 6.9 mm will zoom in accordingly.
Magnification is also important if you are going to shoot subjects that are far away from you.
Zoom is optical and digital . With optical zoom, the image that is projected onto the matrix changes, and with digital zoom, the image itself remains unchanged, and the increase occurs through the program.
I’ll try to explain a little more. With optical zoom, the focal length changes – the lenses move away and approach the lens.
It’s like in childhood, when you move the lens away from the object or bring it closer, and you see either an enlarged image, or a reduced one. Digital zoom, on the other hand, leaves the previous image on the matrix and only selects a part of it, stretching it to full screen.
I think it’s clear which magnification is better.
Recording media
Digital cameras store video on DVD, HDD, Flash memory cards and analog cassettes MiniDV .
Cameras using DVD media are inexpensive and allow you to view footage immediately on your computer or laptop. But now such video cameras are considered somewhat archaic. Plus, they are inconvenient during transportation, as they can easily be scratched or damaged, which in turn damages the material.
MiniDV media are mini video cassettes that also record digital video. Their main disadvantages are large dimensions, poor sound quality and relative fragility. But despite this, they are very fond of operators and they are still used in professional shooting
I consider HDD and Flash drives to be the best solution for shooting.
They allow you to shoot everything in the same high quality, easy to use and transport.
Sensor type and size
Photosensitive matrix – an analog or digital-to-analog microcircuit that converts the light signal that enters the lens into an electrical one.
There are two types of sensors: CCD and CMOS.
The first type allows you to get high image quality, less noise, but it has a large pixel size and consumes a lot of power. In addition, such matrices are very expensive.
The second type consumes less power, is less expensive, does not have the effect of “smearing”, but these types of matrices increase the degree of noise.
Image stabilizer type
An image stabilizer is needed to reduce camera shake when shooting without a tripod. This is of great importance for amateur photography and is important to us. There are two types – optical and electronic .
In electronic – stabilization occurs due to image processing algorithms in the video processor. It is very difficult to achieve high-quality stabilization here.
The meaning of optical stabilization is that the lens in the lens is not fixed rigidly and can move along the x and y axes. This stabilization system captures camera shake by electronic systems and forms a corrective effect on the lens of the lens.
The optics are installed in medium and high class cameras, its efficiency is much higher. One of the best stabilizers in amateur camcorders is O.I.S. Panasonic company.
If you decide to shoot with a camcorder with an electronic stabilizer, it’s better not to give up on a tripod and take into account its help.
Part III. More specifics
Static scenes
If you decide to shoot static scenes, then you can use a full frame camera, such as the Canon 5D Mark II. Also remember to get yourself a decent video tripod, an extra battery pack, a good on-camera microphone, and some fast 32GB memory cards.
With this device, you can get professional quality pictures with a static camera placement or slow panning. Such cameras often shoot TV commercials and serious music videos.
Due to the large size of the sensor and high-quality built-in processing, excellent color reproduction and low noise level even at ISO 2000 are obtained, it also allows you to make good bokeh – a strong blur of the background or shifting focus from one object to another with a clear blur of the rest. But such equipment is not suitable for dynamic scenes, since the 5D Mark II does not have dynamic autofocus in video mode, you need to buy a rather expensive external drive for autofocus, or turn the focus ring manually, which is fraught with errors. But with a tripod, everything will work out fine. For nature photography, this option is excellent.
Dynamics in the frame
If you have undertaken to shoot a short film or feature film with equal dynamics and static, then you need a universal self-sufficient camera.
For example, consider the Panasonic AG-AC160. It has a normal dynamic focus, in daylight it turns out a gorgeous picture, but spectacular bokeh (blurring the background) cannot be done. But it is recommended to purchase a shoulder holder for this camera, since you can’t do without shaking with your hands, a video tripod and a second battery.
Also consider that a full-fledged high-quality film, if it is not a one-man show, is very difficult to shoot with one camera. The movie is filmed with several cameras, plus you also need a normal microphone on the boom to record the sound of dialogues immediately, or as a guide for dubbing in the studio. Therefore, it is better to buy three Panasonic X900 cameras for simultaneous shooting from different positions, which will ensure comfortable work with different shots and make your life easier. The Panasonic X900 gives a worse picture than the Panasonic AG-AC160, but in the conditions of a limited budget, the interestingness of the film, the possible embodiment of the author’s idea, should be put in the first place./man-using-large-camera-AB12643-5761692c5f9b58f22ec22ade.jpg)
I suggest watching a video that explains the basics of shooting indoors.
https://www.youtube.com/watch?v=GUkUdX4-Krg
In a word – action!
If you’re going to shoot a video about extreme sports like diving, skiing, snowboarding, and your scenes will consist of solid motion – it makes sense to think about compact action camcorders like GoPro. Such cameras have a wide field of view, sharper images, high-quality audio systems (for example, wind noise reduction).
GoPro 4 Black Edition shoots video in impressive resolutions of 4K (at 30fps), 2.7K (at 50fps) and 1080p (at 120fps).
You can also buy various fasteners and a waterproof case for such cameras. All this will help to create the perfect action video that will captivate many.
0003
Filmmaking Basics: Preparatory Period
TOP 12 Best Professional Movie Cameras in 2023
The best professional movie cameras are built to handle high-end video.
They are often used for shooting movies and TV programs, but as prices for “standard” movie cameras drop, more and more videographers are choosing them. While the ability to shoot in 6K, 8K, or even 12K is a welcome feature, the form factor, video codecs, and connectors that a movie camera has are very important.
In a nutshell, we excluded the Arri and Red cameras from our list of the best cinema cameras due to the fact that, although they have very high quality sets of equipment, they are slightly outside the price range of most filmmakers. Many mirrorless cameras also have very high video quality, they are slightly different from movie cameras so they weren’t included either. For those looking for a camera with great video recording features, check out our guides to the best cameras for 4K video and the best cameras for vlogging.
03/18/2023 Update
Added DJI Ronin 4D 6K and Sony FX30 to the ranking of the best professional cinema cameras.
To make the rating easier to digest, we have divided it into two sections on different types of cinema cameras:
• Full size cinema cameras: what you would expect to see on film or TV, these cameras are quite large if you add a lens, monitor, handle, etc.
And they have plenty of connection ports and attachment points for professional needs.
• Portable Movie Cameras: First developed by Blackmagic, these professional movie cameras may be smaller than a “real” movie camera, but they’re still powerful. Canon and Sony have also embraced the idea and released their own smaller version of the movie camera.
Affiliate program
Share links to ratings, reviews and get rewarded. Everyone can start, and to start we will give 990 points (1 point = 1 ruble) , learn more
You can think of the first list as “A” cameras and the second as “B” backup cameras if you’re working in a professional filmmaking environment. However, any of these “B” category cameras can be ideal for independent filmmakers or one-handed video shooters who have gone beyond vlogging and are willing to put in the time and effort to make movies.
Professional base
Full-size cinema cameras
1
Sony FX6
The full-frame movie camera that changes everything
LOOK IN Y.
MARKET
Sensor size: full-frame
900 25 Sensor resolution: 10.2 MP
Card slots: 2x card slots CFexpress Type A or SD / SDHC / SDXC card
Lens mount: Sony FE
Maximum shooting resolution: 4K
Display size: 3.5-inch touch screen
EVF: No
Pros
- Cheapest Full Frame Cinema Camera Ever
- Advanced Alpha Hybrid AF
- 10bit 4: 2:2 4K/120p and 240fps HD!
Cons
- No Raw recording or EVF
- No built-in image stabilization
- CFexpress Type A cards are expensive
90 002 The Sony FX6 professional camera has an improved sensor that is also used in the Sony A7S III . This camera has better low light performance than DCI 17:9 video formatC4K instead of 4K, plus an XLR audio input, built-in ND filters and all the benefits of a dedicated cinema camera.
High-quality codecs deliver stunning 4K video even at high ISOs, while fast movie AF and high frame rates make it even more compelling. In our opinion, this is the best cinema camera with an optimal ratio of price and quality.
2
Canon EOS C300 Mark III
High quality with excellent dynamic range and excellent autofocus
VIEW IN J.MARKET
Sensor size: 26.2 x 13.8 mm (Super35)
Sensor resolution: 4096 x 2160 (8.85 MP)
9 0025 Card slots: CFexpress x 2 , SDXC x 1
Lens mount: EF or PL
Maximum shooting resolution: 4K
Display size: 4.3″
Pros
- 902 44 4K up to 120 fps, 2K up to 180 fps second
- Bi-amp with 16 stops of dynamic range
Cons
- The C70 is similar and cheaper
The Mark II has been our favorite camera for a long time, but the professional Canon EOS C300 Mark III surpasses it in every way.
It is the first camera to use Canon’s Dual Gain Output technology, which delivers amazingly clear low light images, HDR and 16 stops of dynamic range.
The camera can record high-speed video up to 120 fps in 4K (Super35) or 180 fps in 2K (Super16) using recording formats such as 4K Cinema RAW Light in 10 or 12-bit, 2K RAW (in Super16) in 10-bit or 12-bit and XF-AVC (MXF) in 4:2:2 10-bit ALL-I or LongGOP. In addition, the camera has a modular design that extends to the lens mount, which can be changed from EF, PL or EF Cinema Lock without sending it to a service center.
3
Blackmagic Ursa Mini Pro 12K
Forget 8K, she gives you 12K! However, there are compromises
VIEW IN KREMLINSTORE
Sensor Size: 27.03×14.25 mm (Super35)
Sensor Resolution: 79.6 MP
Slo card slot: 2 CFast 2.0 slots, 2 slots SD UHS-II
Lens mount: PL, optional EF or F
Maximum shooting resolution: 12K
Display size: 4-inch touch screen
EVF: optional
Pros
- Shoots in 12K
- 8K and 4K look great too
- Built like a tank to last
Cons
- Super 35 not full frame
- AF very limited
- Blackmagic Raw recording only
If you’re looking for a camera that lets you pride yourself on the highest resolution on the market, the Blackmagic Ursa Mini Pro 12K is the one for you.
It is equipped with 79.6 megapixel CMOS sensor and captures Blackmagic Raw 12K files with stunning detail, 14 stops of dynamic range and rich film colors.
If you reduce the resolution to 8K or 4K, the quality will not deteriorate, and the shooting speed will become even faster. But Ursa Mini Pro 12K is not only a high-resolution camera. It’s based on the Ursa Mini Pro, which came out almost four years ago, and therefore doesn’t have all the latest technologies like IBIS, continuous autofocus, or phase-detection autofocus.
4
Blackmagic Design URSA Mini Pro G2
External recording and excellent dynamic range plus power and quality
WATCH IN KREMLINSTORE
14.25 mm (Super35)
Sensor: 4608 x 2592 (12 MP)
Card slots: CFast x 2, SDXC x 2
Lens mount: Canon EF
6 K
Display size: 4″
EVF: optional
Pros
- Excellent dynamic range
- Convenient material storage options
- 9018 2 Built-in ND filters
Cons
- Bulky
Blackmagic professional cameras enjoy great success in the film industry, and the URSA Mini Pro is a perfect example of why their products are so popular.
Although it costs a lot less than the Canon C300 II, it has the same 15 stops of dynamic range and up to 4.6K resolution when shooting RAW at up to 150fps. Once again it is confirmed that the built-in neutral filter in two, four or six steps with IR compensation is very convenient. The Mini Pro G2, like the Pocket Cinema Camera 6K, can record video directly to an SSD via a USB-C port, and has two SDXC cards and two CFast cards.
What’s more, with the purchase of one of these excellent cinema cameras, you’ll receive a free copy of Blackmagic’s DaVinci Resolve, an excellent video editing suite that now comes with audio and graphics software. This will allow you to not only edit and rate your footage, but also make it even better.
5
DJI Ronin 4D 6K
All-in-one package for those who need a cine camera and stabilizer
LOOK IN J.MARKET
Sensor size: Full frame CMOS
Image stabilization: 4 axis
Memory card slots: 1 x CF Express 1x DJI Pro SSD
Lens mount: DJ I DL Mount
Maximum shooting resolution: 6K
Display size: 5.
5″ LCD touchscreen, 1920×1080
EVF: no
Pros
- All-in-one package
- Built-in ND filters
- Work alone or with a team
Cons
- Needs a lot of learning
- Non-standard battery type
- 6K requires proprietary media 902 46
Should the DJI Ronin 4D 6K camera be considered a full size or portable cinema camera? Although it is intended for use outside the studio, its size is quite large.
The camera consists of two parts – a body with controls, a screen, a gimbal, and a DJI Zenmuse X9 camera. The weight of the kit is almost 5 kg, but you no longer have to increase the weight of the camera, since it has a built-in gimbal with 4 stabilization axes. This is a great choice for filmmakers who use gimbals or stabilizers.
The camera is available in 8K and can record in ProRes 422 HQ and H.264 4:2:0 10-bit at multiple frame rates. Perhaps this is the future of cinema cameras with a hybrid approach, rather than modular systems requiring additional kits.
If you’re new to videography and looking for an all-in-one package, then a camera is a really good way to enter the world of cinema, where you can shoot anywhere, anytime.
6
Z cam E2
Has professional features such as native RAW to Z Raw codes
WATCH IN Y.MARKET
Sensor size: MFT (Micro Four Thirds) 9 0222 Sensor resolution: 10, 28 MP
Card slots: 1 x CFAST 2.0
Lens mount: MFT
Maximum shooting resolution: 4K
Display size: N/A 90 222 EVF: No
Pros
- Small and light
- Many lenses available
- ProRes and Raw recording
Cons
- No battery
- No screen
- Only one card slot
Z Cam E2 provides professional features available from top brands such as Arri and Red. Including a unique raw codec – Z Raw, as well as ProRes, H.
265 and H.264 codecs that allow you to maintain high quality when compressed, plus the ability to shoot in various formats.
The camera has a dynamic range of up to 13 stops in ZLog mode or 16 stops in WDR mode. With a Micro Four Thirds mount, it is also compatible with a wide range of lenses and can be conveniently controlled via a smartphone app. Get live view via Wi-Fi or USB cable is also possible. This camera is powered by a Sony L-series battery sold separately, but can also be connected to an AC adapter. In general, for its price you get a lot of professional features that are not available on other cameras.
7
Panasonic Lumix BS1H
Panasonic’s latest box camera now equipped with full frame sensor 5 mm
Sensor resolution: 24.2 megapixels
Card slots : 2 x UHS II SD
Lens mount: Leica L
Maximum shooting resolution: 6K
Display size: No
EVF: N/A
Pros
- 12-bit raw video when using external recorder
- Excellent low light performance
- Live broadcast capability
Cons
- No screen
- No battery
For professional video shoots, the Panasonic Lumix BSh2 can be quite useful as it can be configured for many different tasks.
The camera features a 24.2-megapixel full-frame sensor with Dual Native ISO, 14+ stops of dynamic range and OLPH (optical low-pass filter) to reduce moiré and false colors in low light for excellent image quality. The camera is capable of recording video in 6K 24p or 4K 60p 10-bit resolution in an image area equivalent to Super 35mm. With full use of the sensor in 35mm format, it can shoot 4K 30p 10-bit 4.2.2 in H.264.
Nowadays, live broadcasting is becoming more and more popular, so BS1H can transfer high quality video content to social streaming platforms via wired LAN. It can stream 4K 60p video in H.265 format, which reduces the data rate by half but leaves the image quality unchanged.
The lack of a screen can be off-putting, but the camera’s modular system means it’s easy to connect an external recorder such as the Atmos Ninja V, which also outputs 12-bit raw video.
8
Panasonic AU-EVA1 5.7K
This Netflix-enabled cinema camera is a complete alternative to the Lumix S1H 24.
89 x 18.66 mm
Sensor resolution: 6340 x 3232 (20.5 MP)
Card slots: SDXC x 2
Lens mount: EF
Maximum shooting resolution: 4K
900 25 Display size: 3.5″
EVF: No
Pros
- 5.7K downsampling works well
- Double native ISO
Cons
- Flare Screen
- Mediocre AF
Netflix approved the Panasonic EVA1, which is rare for such small cinema cameras . Weighing just 1.2kg without a lens, it’s ideal for mobile shooting, and can also be placed on a stabilizer, especially if you’re using a pancake lens. The 3.5-inch screen is not limited to articulation frames and can be rotated any way you like, but its visibility in bright sunlight is low.
As for the 5.7K resolution CMOS sensor, it is used for high quality 4K shooting by oversampling. In addition, similar to the Blackmagic Pocket Cinema Camera 6K, the EVA1 also has a dual native ISO that provides two optimal grain levels, one at ISO 800 and the other at 2500.
This results in softer, more dynamic footage. When connected to a compatible recorder such as the Atomos Shogun, the camera is capable of recording video at 5.7K RAW or 240fps at 2K resolution.
Excellent fallback
Portable cinema cameras
9
Sony FX30
Very capable and affordable cinema camera
LOOK IN Y.MARKET
90 025 Sensor size: APS-C Exmor R CMOS
Sensor resolution: 20 .1 MP (26 MP still)
Lens mount: Sony E-mount
Maximum shooting resolution: 4K
Display size: 3-inch vari-angle touch screen
EVF: no
Pros
- Cinema camera features and design
- Premium build quality
- 4K 120p (albeit cropped)
- Price!
Cons
- No EVF
- 3-inch rear screen feels small
- IBIS not very effective
9000 2 Judging a camera based on limited familiarity is always risky, but the FX30 certainly deserves high marks.
It’s a complete cinema camera that’s affordable as a mirrorless camera and is great for aspiring creators looking to develop their professional skills.
While the FX30 is a video camera, it is also capable of taking 26MP photos. Not only does it outperform Sony’s aging A6000 series, it also makes the comparatively limited FX3 camera not a very attractive choice.
10
Canon EOS C70
Combines Canon RF mount with best auto focus and great form factor 2 x 13.8mm (Super35)
Sensor resolution: 4096 x 2160 (8.85 MP)
Card slots: SDXC x 2
Lens mount: RF
Maximum shooting resolution: 90 026 4K
Display size: 3.5″
EVF: N/A
Pros
- 4K up to 120 fps, 2K up to 180 fps
- Bi-amp with 16 stops dynamic range 9 0246
Cons
- N/A RAW
- Cannot use PL lenses
The Canon EOS C70 resembles the C300 Mark III remix.
It contains the same Super35 sensor, Dual Gain Output, 16 stops dynamic range and 4K 120fps / 2K 180fps support in a compact form factor more like a traditional camera.
Also equipped with a touch screen that is a game changer for Cinema EOS cameras, touch control makes maintaining focus much easier. For single shots, the C70 boasts the Canon EOS-1D X Mark III’s iTR AFX system, with head detection and precise autofocus. It is the only cinema camera to use Canon’s RF mount, opening up a world of advanced optical systems.
Among other things, EF lenses can still be used with Canon’s new Speed Booster, which increases aperture and angle of view for a full frame! However, it doesn’t record in RAW and there’s no option to use PL lenses – you’ll need to upgrade to the C300 for that. At the moment, the C70 seems to be out of stock in most stores, but we hope these are supply chain issues and will be back on sale soon.
11
Blackmagic Pocket Cinema Camera 6K Pro
Incredible value for money, but we’d still like to see a “pocket” that fits it in
VIEW ON Y.
MARKET
Type: mirrorless
Sensor: Super 35
Megapixels: 8.8 MP (native 4K)
Lens mount: Canon EF
Frame rate 4K / 6K: up to 60 / 50p
Standard ISO range: 400, 3200
Memory cards: 1x SD / SDHC / SDXC UHS-II, 1x CFast
Pros
- 902 44 Excellent value for money and quality
- Built-in ND filters
- Blackmagic Raw and ProRes
Cons
- This is not a small camera!
- No continuous autofocus, autoexposure, or IBIS
- Tilt screen only
The Blackmagic Pocket Cinema Camera 6K Pro is an upgraded version of the original 6K model with additional features found in professional models, such as built-in ND filters . Despite this, the dimensions of the Blackmagic Pocket Cinema Camera 6K Pro are unusual and far from pocket-sized.
Also, the lack of continuous autofocus, image stabilization, and auto exposure may be a problem for some users. All in all, this is not a camera for on-the-go use.
However, when used as a smart cinematic tool, it can be extremely useful as it is capable of producing rich and detailed RAW or ProRes footage with its dual native ISO sensor.
12
Blackmagic Pocket Cinema Camera 4K
Pocket Cinema Camera 4K in MFT format – old but not useless
LOOK IN Y.MARKET
Type: mirrorless
9 0025 Sensor: MFT
Megapixels: no specified
Lens mount: MFT
Frame rate 4K / 6K: to 60 / 50p
Standard ISO range: 400, 3200
Memory cards: 90 026 1x SD, 1x CFast
Pros
- Great set of ports
- Giant 5-inch touch screen
- Shoots RAW video
Cons
9024 3
The Blackmagic Pocket Cinema Camera 4K offers an attractive price-performance ratio that makes it an interesting alternative for Olympus or Panasonic users who already have MFT optics.
Despite some shortcomings, such as the lack of continuous autofocus and a fixed screen, be aware that this is a movie camera, not a video camera for bloggers. Pocket Cinema Camera 4K is well-deservedly popular due to its set of features. Equipped with a mini XLR audio input, USB-C support for HDD recording, a full-sized HDMI port, and two card slots, this camera is designed to outperform the competition in virtually every video-related area.
In addition, the camera comes with a full license for high quality professional video editing software, Davinci Resolve, which typically costs $379. All in all, Pocket Cinema 4K is a very good value proposition.
13
Sony FX3
If you can get it, it’s worth it Sensor: full frame
Sensor resolution: 12.1 MP
Lens mount: Sony FE
4K frame rate: max.
4K sensor crop factor: 1x Standard range
ISO: 80-102 400
Memory cards: 2x SD / SDHC / SDXC (UHS II) / CFexpress Type A
90 002 Pros
- 4K 120p
- Active cooling
- 627 AF points
- Carry/shooting handle included
Cons
- More expensive than A7S III
- Alpha design, not FX
Sony we think FX3 is essentially the Sony A7S III, which should have been originally.
Although it is part of the Sony FX family of cinema cameras, it clearly shares similarities with the Sony Alpha mirrorless cameras.
Despite the looks of the Alpha, the FX3 is a true cinema camera with Sony Cinetone-S technology, a detachable handle with XLR audio input, mounting points and film-specific control circuitry, unlike Sony’s entire line of Alpha cameras. We are confident in its high qualities and we think that it will take one of the leading positions in the market.
Mirrorless and motion picture cameras: what’s the difference?
What makes a movie camera a movie camera? Some argue that it’s when it’s clearly designed for shooting video rather than photos, while others might argue that it comes down to size, lens mount, and whether or not it can shoot in RAW or ProRes.
New form factors: Sigma fp and new Sigma fp L are very interesting in this context. They’re both photo/video hybrids, but with a modular form factor and cinematic interface that puts them in the same category.
8K isn’t everything: Obviously the Canon EOS R5 and Sony A1 8K cameras are very popular, but they are both still cameras that can shoot video, not dedicated movie cameras. For this there is Canon EOS C70 or Sony FX3.
Cinematography vs filmmaking vs vlogging: If you’re looking for the best camera for vlogging on YouTube, the cameras on this list may seem like overkill. Most of them are not only very expensive, but also require a lot of technical knowledge to get the most out of them. If you’re looking for an all-around camera, you might be better off with the Best Mirrorless Cameras or the Best Video Cameras.
This rating describes cameras intended for professional use in film and television production. The list includes high-spec modular cameras, as well as portable options that support 4K and 6K formats.
The first section is made up of category “A” cameras, and the list of the second section can be classified as replacement cameras of category “B” for professional use in the film industry.
And while this is enough to store several games, chances are that you’ll run out of space before long, especially since games get larger all the time.
For a boost in loading times, you can also opt for an external SSD, though these cost a lot more.
Be sure to restart your PS4 if you run into trouble, too.
2 Gen2x2) 
50 or later [You can check this in the game console settings] 
… Try this … To set up screen sharing with your LG TV, select the device you would like t…
… You can enable the Auto Update function, if turned off, for the TV to automatically downlo…
… ➔ Connecting your smartphone to the wireless router … ※ Make sure you connect your smartphone to the same router to which …
30.40) Detailed applicable model list : Please check with reference Tab exactly
CA
00 (details)
The NanoCell Display provides greater color accuracy and unveils a spectrum of a billion rich colors. Local dimming offers enhanced contrast and black levels with dimming control across localized zones of the LED backlight. The innovative a7 Gen 2 Intelligent Processor is at the center of intelligent enhancement of images, action and color – a powerful processor empowered by AI at its core. The IPS 4K panel’s wide viewing angle keeps you enthralled with spectacular realism – displaying almost 100% color accuracy, even from a 60-degree angle.
Autonomous has really outdone itself with this gaming L-shaped desk model. It’s not strictly a standing desk. Instead, it features a motor that allows you to adjust the height at will. 
While this L-60 is more of an R-shaped gaming desk, as one edge is not much longer than the other, the L-shaped frame makes it an ideal fit for corners. The Eureka Ergonomic L-shaped gaming desk is 60 inches wide, on the higher end for gaming setups. This means you cannot only build a single but a triple monitor setup with some other accessories and space to spare.
It has curved edges for a smooth finish and a safety feature to prevent oneself from poking into corners. We love several features in this large L-shaped gaming desk, but one of our favorites is the mouse pad surface. This prevents gaming lags and gives quick mouse action to the users.
The computer desk is a pink-colored, pretty and cute-looking desk for anyone who loves a pretty little touch in their gaming setups. Unlike the conventional black and white colors, the Eureka desk has been highly popular among users.
The desk has two tiered shelves at the top if you need more versatile storage options. The pegboard design behind the working surface, which might be considered an attempt to elevate the aesthetics, is also smart to keep your important notes, documents, and details in front of the eyes. This pegboard design can also help minimize the wire clutter in the work setting.
The knee space of 50 inches by 24 inches ensures comfortable legroom, allowing you to work for extended periods without feeling cramped. The height range from 29.5 inches to 48 inches accommodates both sitting and standing positions, promoting healthier work habits.
This sleek and spacious desk is designed to optimize productivity while adding a touch of sophistication to any office setup.
The open design means that there’s nothing to hide your cables on or behind, so the responsibility of managing all of that falls on your shoulders. 
Ironstone, it also comes with a cup holder and headphone hook. 
96-inch wood desktop and four shelves provide additional space for the Earth sign large L-shaped gaming desk. The desk features several monitors, docking stations, mouse pads, keyboards, and multiple monitors. On the sides of the desk are two-tier shelves that can be removed, so you can adjust them as needed.
This way, you can go looking for one yourself even if you don’t like our picks. 
Most gaming desks do, L-shaped or not, and typically in the form of a platform under the desk that can be used to run your wires along to keep them off the floor. 
If not, try to reference our buyer’s guide when you go shopping for yourself. Don’t just buy the first L-shaped desk for gaming setup that catches your eye. You’re going to be spending a lot of time with it, so you need to make sure it’s built to suit your needs. 
99
With RGB LED lights integrated into the tempered glass desk surface, the GTG-I43 lights up your room with over 200 light effects. Thanks to its advanced technology, the desk is the only audio-reactive RGB desk on the market. Setup your vibe like never before with the most advanced gaming desk on the market.
The I62-EGD-B Gaming Desk keeps the e-sports style of our S-line, with its RGB LED lights, carbon fiber texture desktop, cup holder, headphone hook, and cable management, while giving gamers the ergonomic flexibility of a height adjustable desk, reducing the fatigue that comes with sitting for long periods of time. When it comes to functionality, style, and quality, the I62-EGD-B is the best gaming desk.
Thankfully, the price is affordable. I ordered and on the appointed day I came to the showroom to inspect and pay for the goods. When I saw him live – it was just something!!! Looks great and even has a backlight! I’ve been using it for over a week now and I’m very comfortable. I recommend this table to everyone – you won’t regret it!
Also, it’s generally inexpensive. I took it and I don’t regret it) Therefore, I recommend it to everyone !!!!)
In general, I recommend to anyone who is looking for a chair for work or play.
Cougar Mars
75″ – 49.5″ | Desktop size: 48-72 inches x 30 inches 
Featuring an ergonomic curved design that lets you sit closer to the action, its surface has a textured carbon fiber pattern that is smooth and should resist scratches well while being easy to clean. 
There’s plenty of room to thread wires around the back through the large opening, and its bottom edges are padded to reduce pressure on the arms and elbows. 
5″ x 49.5″ | Desktop size: 52.6″ x 23.6″ 
13″ | Desktop Size: 27.88″ x 23.50″ 
9″ to 40.7″ | Desktop size: 59″ x 27.5″ 
We also gauge how accurately the AC reaches its set temperature, whether it can recover from a simulated brownout, the intuitiveness of the controls, and how loud each unit is when running on low and high.
com, MSNBC, and Ladies’ Home Journal. One of her earliest jobs was at Good Housekeeping.
00)
This unit looks virtually indistinguishable from its predecessor and put up a strong performance during testing, dropping the temperature by 10°F in only 40 minutes.
75 x 19.88 x 17.88 inches (height x width x depth)
You can even upgrade its vinyl roller curtains for a solid panel, either matte or translucent to allow more light in. 
It has the standard box shape, with no fancy chassis or design variations, and installation is relatively straightforward. 
However, during testing, we found that it can still excel in small spaces. 
you could potentially leave it installed the whole year round.
26 x 21.9 x 19.17 inches (height x width x depth)
While two people are always recommended for installing something as heavy as an air conditioner, this unit makes it an absolute requirement.
The higher an air conditioner’s BTU rating, the more heat it’s capable of removing from the air. 
However, you may prefer something even quieter if you are sensitive to sound or will be sitting close to the AC unit when it’s in use.
Other features that you might find include quiet and sleep modes, timers and a remote control. 
She holds a master’s in journalism from Boston University and bachelors’ degrees in English Literature and Anthropology from the University of Utah.
77KB 
45KB
71KB
org/ImageObject”>
5KB
95KB
org/ImageObject”>
53MB
09MB
1KB
org/ImageObject”>
52MB
This concern includes such well-known brands as AEG (AEG), Zanussi (Zanussi), Zanker, White Westinghouse, Kelvinator, Gibson, Philco, Leonard and many others. 
Frigidaire manufactures its millionth refrigerator and begins selling appliances worldwide. 
6 cm
3 m
This is because lifting your eyes is very tiring and can cause strain when settling in for a movie marathon or bingeing your favourite series.
Now very much in the small bracket, a 32-inch television still has many of the features that you will find in bigger models. 
5m away from the screen. Fortunately, this distance is halved if you choose a 4K television. This means even an average living room could accommodate a 60-inch TV. 
What’s more, the TV supports Dolby Vision 4K gaming at 120Hz, meaning even ultra-fast actions appear crisp and smooth.
Boasting uncompromised picture quality at any viewing angle, immersive sound and incredible clarity, it will impress whether bingeing your favourite series, watching the latest blockbuster or playing the newest video games. 
The TV dimensions are given for a 16:9 aspect ratio. This is the most common format.
3″
The most common TV sizes in the United States are in the range of 55-inch TVs to 65-inch TVs. More and more customers choose 75-inch TVs, though.
These sizes are becoming more and more standard, especially in dedicated media rooms. The larger screen makes the most of high-definition content. Check out our TV-Size-Guide for more infos.
Learn more about this here.
Here’s how to measure both:
Hardly anyone sits closer to the screen than that in his living room. For Ultra-HD television, the distance is halved! In theory, 65-inches or much larger devices (beamer screen) would be suitable for normal living rooms – provided you watch HD in perfect quality, and better still, UHD movies. Experience shows: a TV can’t be big enough. The most common limitation is the home design.”
These measurements pertain to the TV itself, excluding the stand, and may vary among different models and brands.
In an era of availability of even very large diagonals, this approach is unlikely to be true. Moreover, for example, each diagonal has its own optimal distance that provides comfortable viewing, as well as its own optimal screen placement height, so as not to put too much stress on the eyes. There are other factors that directly and indirectly influence this choice. 
Below we will look at other parameters that affect the recommended viewing distance based on your personal preferences. 
4 cm 
8m, as long as the model has a 4K resolution or higher. So if you have enough space, there is no reason not to choose the largest possible size, of course also making sure that the center of the screen is just below eye level. 
From it you can find out not only the size of the diagonal in centimeters, but also the approximate width or height of the device. 
2×53.5 cm. 
3 
0 
So, if you are on a budget, rest assured that we have a system to get you going. From there, we can upgrade factory setups to very high-quality systems. Most upgraded systems we have come with dual stage impact sensors. So, the system will chirp and warn-away would-be intruders if it gets a slight hit. If the impact is higher, then it sets the alarm off. We make it so that the lights flash as well to bring more attention to your car, truck or SUV.
There is virtually no limit. Your car could be in another state across the country and you will have full control over it.
ABSOLUTE ARS-202. Car auto start: Yes 
It has more sensitive digital sensors of shock, tilt, movement. Higher quality product. For which cars are these auto-start security systems suitable? This is the bulk of Asian and domestic-made cars until about 2010 of release. If you are the owner of a BMW, Mercedes, other cars of European or American production after 2005, you should not buy these car alarm systems. For such vehicles, we recommend Starline products with a CAN (LIN) module, or any Pandora product. 
6″H
99
If you choose this type of opening, you will have to install a pivoting skylight with a tilt between 15 and 90 degrees.
Wood is a precious material that creates a sense of elegance. However, it must be installed taking into account the fact that it will also have to be serviced periodically. 
Technopark
Every detail is well crafted. The realistic design of this model, plus light and sound effects, will allow you to immerse yourself in the game, coming up with new interesting stories. In addition, this toy will introduce the baby to the types of special vehicles. 
Like something? We’ll install it on the spot.
I was very happy with the installation and highly recommend using them.
Security cameras are essential to safeguarding your building. Installing Redmond security cameras in your building is a wise decision to protect people and property. We are recognized professionals offering high-end services to install Redmond security cameras.
Our security cam install team has outstanding knowledge and experience in installing surveillance cameras.
We have expertise in providing phenomenal services in Redmond security cam install. Our CCTV cameras come with cutting-edge technologies.
Laying… 
Laying of cable routes in accordance with the project 
Education not lower than secondary 
Security systems service: OPS, SCS, SVN, ACS. Commissioning (programming … 
Try searching for jobs in the region: 
More 
Careful selection allows you to significantly reduce costs and bring the number of warranty cases closer to zero, thereby maintaining your safety at the highest level.
Assembling it is as simple as slotting the arm on the back and screwing in the two-pronged base. Inside, it’s rocking a 3440×1440 (21:9) resolution, 144Hz refresh rate, 1ms response time, all inside a FreeSync VA panel which is impressive in and of itself. Externally, you’re looking at four USB 3.0 ports, two DisplayPort 1.4, and two HDMI 2.0.
Ultrawide isn’t as much of an advantage as it may have led you to believe but it does provide a small boost. While your aim probably isn’t good enough to snap onto someone in your peripheral vision on Counter-Strike because of just how wide the screen is, the ability to spot them and call their location out to your teammates is vital. Combine that with the 144Hz 1ms specs and kerblammo, you’ve got yourself one heck of a gaming monitor. In Valorant however – my PC shooter of choice – ultrawide isn’t supported.
40
Find out more about our reviews policy.
It’s not unusable in that context, but it’s a lot of money to spend for a suboptimal experience; it really isn’t designed for console use.
By comparison, LCD monitors muck about with various forms of local dimming to compensate for light bleeding through pixels that are supposed to be switched off. That’s never going to be as good.
The Sony PS5, in particular, also doesn’t support the 21:9 aspect ratio.
It’s remarkable.
Speaking of speed, even Call of Duty: Warzone looks fabulous, and that’s not something we’d normally say. There’s almost no softening of the image no matter how fast you whip the camera around to the next target.
At this price point, there are far better screens for multi-purpose computing. The relatively low resolution and pixel density ensure that, as does the lack of USB-C connectivity. If you demand the very last word in low latency, this probably isn’t the best choice, either. But for most types of gaming and provided that no long-term quirks and issues arise, including burn-in problems, this is surely as good as it gets. Here’s hoping this is just the first step towards a brave new age of OLED gaming for the PC.
Such is a routine day in the working life of long-time tech wordsmith, Jeremy Laird. Along with GamesRadar, Jeremy’s 15-year back catalogue includes a host of tech and gaming outlets, including TechRadar and PC Gamer, not to mention contributions to mainstream media from the Independent to the Evening Standard. Complimenting Jeremy’s debilitating addiction to all kinds of digital hardware, he is also afflicted by an obsession with and a significant occupational sideline in cars and automotive technology.
Unless Apple seriously cuts the price of its Pro Display XDR, the closest option you’ll find is LG’s Ultrafine 5K. 
This is a 28-inch model with 4K resolution and a large desktop. The pixel density is also decent, so fonts and menus are nice and crisp. It uses an IPS panel that delivers great viewing angles, although it’s not the world’s brightest screen at 300 nits and there’s absolutely no HDr support. 
It’s a massive 40-inch ultra-wide panel with a resolution of at least 5120 x 2160 pixels. It turns out a huge workspace. 
VA technology provides excellent contrast, but not the best color accuracy. At this price point, you also don’t get the ability to connect over a single USB-C cable with charging. 
It’s a 32-inch model with an IPS panel that delivers excellent viewing angles and colors. This is head and shoulders above the budget IPS options with improved accuracy and Pantone validation, the latter handy for print-focused workflows. 
Instead of 16:9, 21:9 or even wider, it’s an unusually tall 3:2 aspect ratio screen. In terms of pixels, you get 3840 by 2560 on a 28.2-inch panel. So, think of it like a 4K monitor with extra space on top and bottom. 
That’s why BenQ’s 4K UHD PD3200U monitor is so amazing. This display is a 3D designer’s best friend, thanks in part to its CAD/CAM mode and factory-calibrated color accuracy. 
It comes with a 27″ 4K UHD IPS panel with 3840 x 2160 resolution and a slim design that makes multi-monitor setup virtually seamless. 
This monitor is great for everything from compositing to 2D and 3D CGI color grading or visual effects. 
Acer’s 21:9 Predator X34 is a great example of the potential of ultra-wide monitors and what they can do to maximize your productivity. 
The VA panel makes the screen more contrast and colors stand out better. 
If so, aim for at least 95% coverage of the AdobeRGB and DCI-P3 gamut. 
Alienware struck first with the AW2524H, a 24.5-inch monitor with a 10-bit Full HD (1920 x 1080) IPS panel. The monitor is equipped with HDMI 2.1 and DisplayPort 1.4 ports, but be aware that the maximum refresh rate of the HDMI 2.1 port is 240Hz. When switching to DisplayPort 1.4, the refresh rate of the AW2524H monitor is 480Hz. To achieve a refresh rate of 500 MHz, the OC function must be enabled. 
Odyssey OLED G9also boasts a 240Hz refresh rate. 
However, panel technology is slowly making its way into smaller monitors, some of which we saw at CES. 
5-inch OLED panel. It has 4K resolution (3840 x 2160) and has an impressive feature set. Not only does the PA32DCM claim an impressive Delta E <1 color accuracy, it also delivers 99 percent coverage of the DCI-P3 color space. Asus claims the monitor has a maximum brightness of 700 nits and is VESA DisplayHDR True Black 500 certified (500 nits with a 10 percent template). 