Best Cameras – above $5,000

FUJIFILM did a remarkable job in creating a “Swiss Army Knife” camera, one that can be used in so many kinds of productions.

The new GFX100 II is much smaller than the original GFX100 camera as FUJIFILM managed to shave off the built-in battery grip. Not only that but there is no need to buy an additional transmission grip for sending material to the cloud as FUJIFILM managed to squeeze it all into the body, keeping the camera size and weight as low as possible. 

If you are looking for the best internal recording codec, simply use ProRes HQ. Uncompressed 12-bit external recording output via the large HDMI connector is supported as well, of course, but for the first time ever in a FUJIFILM camera, ProRes can also be recorded externally via USB-C to an external SSD drive. 

Ergonomics are extremely important for me when running & gunning. We truly like what comes out of this camera!

That being said, we wish that the internal noise reduction could have been further controlled beyond the available “-3”. Noise in the footage is not necessarily always a bad thing as it can greatly contribute to the picture aesthetic most of us are after.

The versatility of this camera is really outstanding. Next, we would love to see FUJIFILM opening up to third-party lens manufacturers by allowing them to license the FG mount protocol. In doing so, they could offer the GFX line of camera users a much broader lens selection, essential for the success of the camera format.

A flagship in the truest sense, the Sony Alpha 1 is the one camera designed to do it all.

Built without compromise, this full-frame mirrorless offers high-resolution for stills shooting, impressive 8K video recording, speed and sensitivity, and connectivity for the most demanding professional workflows. However, it comes in a compact mirrorless form factor, perfect for filmmakers on the go.

• Sensor Size: 35.9 x 24 mm
• Lens Mount: Sony E
• H.265/XAVC HS 4:2:2 10-Bit: UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p/100p/119.88p [50 to 280 Mb/s]
• H.265/XAVC HS 4:2:0 10-Bit: up to UHD 8K (7680 x 4320) at 23.976p/25p/29.97p [200 to 400 Mb/s]
• H.264/XAVC S-I 4:2:2 10-Bit: up to UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p [240 to 600 Mb/s]
• external Raw 16-Bit: 4.3K (4332 x 2448) up to 59.94p
• external 4:2:2 10-Bit: up to UHD 4K (3840 x 2160) at 23.976p/25p/29.97p/50p/59.94p
• external 4:2:0 8-Bit: up to UHD 8K (7680 x 4320) at 29.97p

The Nikon Z 9 is a very capable filming tool, one that will be remembered for being the first to include internal ProRes recording in a mirrorless camera. Indeed it is not for everyone, as its size might be an obstacle for some, but let’s hope that the technology found in this powerful filming tool can be scaled down in size to something more compact. Price-wise, it is not a cheap camera in any way, yet, competing very well in its upper class. (The camera is $500 cheaper than the Canon EOS R3 and $1000 cheaper than the Sony A1). In any case, this particular model will evolve over time and will offer even greater filming flexibility to anyone who considers purchasing it.

The new Canon EOS C80 is the best value-for-money cinema camera Canon has introduced so far. It shares many of the specs found in the new EOS C400, like a full-frame 6K BSI sensor, triple ISO, and more.

Canon did their homework, and it’s nice to see that they are keeping the same price policy that they started with the launch of the EOS C400, meaning, releasing modern, capable cameras at a very attractive price point. The EOS C80 is simply a great value-for-money camera by Canon, especially if you care about full-frame sensor size and 6K resolution.

The Canon EOS R3 shines with impressive photo and video capabilities: 30fps burst mode with AE/AF tracking, Dual Pixel CMOS AF II, a new Eye control AF that focuses where you look at (In photo mode only), 6K 60P internal RAW video recording, 4K 120P, Canon LOG 3, and so much more. The EOS R3 is one of the most impressive mirrorless cameras we might see in 2021!

The FX6 Full-Frame Camera from Sony was developed to offer versatile, cine-style imaging in a compact form.

Sporting Sony's S-Cinetone gamma for filmlike skin tones, and up to 10-bit, 4:2:2 XAVC-I recording, the FX6 is perfect for documentary, gimbal, and even drone shoots. The FX6 camera combines a 4K full-frame Exmor R sensor with a BIONX XR engine for extremely sensitive capture in a range of settings using a base ISO of 800 as well as an ISO 12800 high-sensitivity mode for nuanced low-light scenes.

• Sensor Size: Full-Frame
• Lens Mount: Sony E-Mount
• XAVC-I 4:2:2 10-Bit: up to 4096 x 2160p at 23.98/24/25/29.97/50/59.94 fps (240 to 600 Mb/s)

Incorporating key Cinema EOS video tools in a mirrorless- style body, the Canon EOS C70 Cinema Camera features a Super35 DGO (Dual Gain Output) sensor for capturing nuanced images with up to 16+ stops (advertised) of high dynamic range.

The innovative DGO system combines two separate gain readings for each photodiode on the sensor, emphasizing saturation in bright areas of your image and lowering noise in darker areas. Video resolutions include DCI 4K capture at rates ranging from 23.98 to 60 fps, plus high-speed options up to 120 fps in UHD 4K and 180 fps in cropped 2K. The camera features active cooling, so there's no overheating.

• Sensor Size: 26.2 x 13.8 mm (Super35)
• Lens Mount: Canon RF
• XF-AVC 4:2:2 10-Bit: up to 4096 x 2160p at 23.98/24/25/29.97/50/60 fps (24 to 410 Mb/s)
• H.264/H.265/MP4/XF-AVC/XF-AVC Proxy 4:2:2 10-Bit: up to 4096 x 2160p at 119.88/120 fps

The DJI Ronin 4D is an extremely complex product and definitely deserves a lot more attention from us in the future, where we look more closely at various aspects of the device in upcoming videos.

We can say that this feels like something from the future – it’s nothing short of a revolution and while this is certainly not for everybody, we think it means that most cameras won’t look the same in a few years from now. It’s the beginning of a new category of gimbal cameras, and it will make many shots that have been quite tricky to execute so far, become much more mainstream quite quickly.

Whether you're shooting documentaries, events, reality TV, education, or corporate productions, the PXW-FX9 XDCAM 6K Full-Frame Camera System from Sony has you covered with its powerful and flexible 4K interchangeable lens camera system.

The PXW-FX9 features a full-frame, oversampled 6K Exmor R CMOS sensor that allows you to capture 4K images with cinematic depth of field. The camera's E-mount is machined from stainless steel and allows you to use E-mount lenses.

• Sensor Size: 35.7 x 18.8 mm (Full-Frame)
• Lens Mount: Sony E-Mount
• XAVC-I 4:2:2 10-Bit: up to 4096 x 2160p at 23.98/24/25/29.97/50/59.94 fps

The KOMODO 6K Digital Cinema Camera is REDs first ultra-compact, all-in-one design that weighs just 2.1 lb measures about 4 x 4 x 4". Key to achieving this goal was the use of the Canon RF lens mount and the KOMODO 19.9MP Super35 CMOS sensor which offers Global Shutter technology.

It is able to record up to 6K at 40 fps, 5K at 48 fps, 4K at 60 fps, and 2K at 120 fps in REDCODE RAW for incredible flexibility in post-production. As with every box-shaped camera out there, you'll need to add some rigging to properly use this camera in hadheld situations.

• Sensor Size: 27.03 x 14.26 mm (Super35)
• Lens Mount: Canon RF
• REDCODE RAW: upt o 6144 x 3240 at 40 fps (280 MB/s)
• ProRes 422/ProRes 422HQ: 4096 x 2160p up to 60 fps
• ProRes 422: 2048 x 1080p up to 120 fps

The Canon EOS-1D X Mark III is a powerful DSLR designed for sports, wildlife, and other trying and dynamic imaging applications.

It features a 20.1MP full-frame CMOS sensor and updated DIGIC X image processor. Complementing this speed is an impressive native sensitivity range from ISO 100-102400, that can be expanded to ISO 50-819200, to suit working in a variety of lighting conditions. Also benefitting the speed is the EOS iTR AF X autofocus system, which uses 191 points for quickly and accurately acquiring focus.

It also enables Face Tracking and Head Detection AF functions, which use Deep Learning Technology, to maintain critical focus on moving subjects. Additionally, when working in live view, Dual Pixel CMOS AF uses 3869 manually selectable points and provides a smooth, natural focusing quality akin to the way a camcorder acquires focus.

• Sensor Size: 36 x 24 mm
• Lens Mount: Canon EF Raw 12-Bit: 5.5K (5472 x 2886) at 23.976p/24.00p/25p/29.97p/50p/59.94p [1800 to 2600 Mb/s]
• MP4/H.265 4:2:2 10-Bit: up to DCI 4K (4096 x 2160) at 23.976p/24.00p/25p/29.97p/50p/59.94p [170 to 1000 Mb/s]
• MP4/H.264 4:2:0 8-Bit: up to DCI 4K (4096 x 2160) at 23.976p/24.00p/25p/29.97p/50p/59.94p [120 to 940 Mb/s]

Create cinema-quality productions with the Canon EOS C300 Mark III Digital Cinema Camera, which features a Super 35mm Dual Gain Output sensor with up to 16 stops of high dynamic range capability for superior HDR recording and low noise.

The EF lens mount offers compatibility not only with Canon's existing broad range of DSLR lenses but also with their line of EF-mount cinema prime, zooms, and even 2.0 and 1.33 anamorphic lenses. The mount is also interchangeable with a separately available PL mount by the end user.

• Sensor Size: 26.2 x 13.8 mm (Super35)
• Lens Mount: Canon EF
• Cinema RAW Light: up to 4096 x 2160 at 24/25/29.97/50/59.94 fps (250 to 1 Gb/s)
• MXF/XF-AVC: up to 4096 x 2160p at 23.98/24/25/29.97/50/59.94 fps (17 to 810 MB/s)

The Canon EOS C500 Mark II 5.9K Full-Frame Camera Body is part of the Cinema EOS lineup of cameras, and it features a full-frame CMOS sensor with an effective 18.69MP resolution.

This allows it to feature a 5.9K output in full frame, and crop (window) the sensor for Super 35 and Super 16 frame sizes while maintaining a high resolution. The C500 Mark II comes with a Canon EF mount and features an interchangeable lens mount system, allowing you to swap out the mount in the field for an optional Cinema Locking EF or PL mount, thus greatly expanding the amount of glass you can use with the camera.

The sensor features over 15 stops of dynamic range and Dual Pixel autofocus support, and the camera uses a DIG!C DV 7 chip for image processing.

• Sensor Size: Full-Frame
• Lens Mount: Canon EF
• Cinema RAW Light 10-Bit, 12-Bit: up to 5952 x 3140 at 23.98/24/25/29.97/50/59.94 fps
• XF-AVC 4:2:2 10-Bit: up to 4096 x 2160p at 23.98/24/25/29.97/50/59.94 fps (160 to 810 Mb/s)

Upping the electronics and recording capabilities of its Mini Pro predecessor, the Blackmagic Design's URSA Mini Pro 4.6K G2 Digital Cinema Camera brings expanded control set and even more functionality.

The G2 introduces an updated Super 35 4.6K sensor featuring 15 stops of (advertised) dynamic range at 3200 ISO, high frame rate recording up to 300 fps, and additional recording functionality.

• Sensor Size: 25.34 x 14.25 mm (Super35)
• Lens Mount: Canon EF
• Raw 12-Bit: up to 4608 x 2592 at 23.98/24/25/29.97/30/50/59.94/60/120 fps
• ProRes 4444XQ 4:4:4 12-Bit: up to 3840 x 2160p at 23.98/24/25/29.97/30/50/59.94/60/120 fps (312.5 MB/s)
• ProRes 422HQ 4:2:2 10-Bit: up to 4608 x 2592p at 23.98/24/25/29.97/30/50/59.94/60/80 fps

Step your cine-style video recording up to 12K with the URSA Mini Pro 12K Digital Cinema Camera from Blackmagic Design.

This pro video camera uses a 12,288 x 6480 12K Super35 sensor, a new color science, and up to 14 stops of dynamic range (advertised) to produce extraordinarily detailed images. The URSA Mini Pro 12K records up to 80MP per frame in Blackmagic Raw and offers flexible recording options that include dual CFAST card capture and high-speed USB Type-C output.

Recording rates include up to 60 fps in 12K 17:9 full sensor, up to 75 fps in 12K 2.4:1, 120 fps in 8K, and up to 240 fps in 4K Super16.

• Sensor Size: 27.03 x 14.25 mm (Super35)
• Lens Mount: PL Mount
• Raw 12-Bit: up to 12288 x 6480 at 23.98/24/25/29.97/30/50/59.94/60 fps (72 to 578 MB/s)

Shoot professional high-definition cinema footage with the Z CAM E2-F8 Full-Frame 8K Cinema Camera with a Canon EF lens mount.

The camera features a full-frame sensor with 10-bit 4:2:2 color support and nominal 14 stops of dynamic range (advertised), supports timecode, shoots up to 8K at up to 30 fps, and records data up to 300 Mb/s onto CFast 2.0 media.

• Sensor Size: 37.09 x 24.75 mm (Full-Frame)
• Lens Mount: Canon EF Raw 12-Bit: 4096 x 2160 at 30 fps (300 Mb/s)
• H.265/MOV/MP4 4:2:0 10-Bit: up to 8192 x 3456p at 30 fps (300 Mb/s)
• H.264/MOV/MP4 4:2:0 8-Bit: up to 8192 x 3456p at 30 fps (300 Mb/s)

Housing a high-resolution 5.7K image sensor capable of rendering smooth 4K images inside a compact body, Panasonic's AU-EVA1 Compact 5.7K Super 35mm Cinema Camera is a flexible camera system ready for documentary, cinema, and live event production.

The 5.7K sensor is used to super-sample internal recordings, resulting in higher resolving images with less noise and artifacting when compared to non-super-sampled recordings. Panasonic's acclaimed Dual Native ISO technology is also incorporated into this sensor.

Dual Native ISO uses alternative circuitry within the sensor, rather than adding gain or shifting the gamma of the original signal output, to increase sensitivity while maintaining a high signal-to-noise ratio. The standard native ISO is 800, which works for most production situations. This can be switched to 2500 when working in dim scenarios.

• Sensor Size: Super35
• Lens Mount: Canon EF
• MOV 4:2:2 10-Bit: up to 4096 x 2160p at 23.98/24/25/29.97 fps (400 Mb/s)
• MOV 4:2:0 8-Bit: up to 4096 x 2160p at 50/59.94 fps (150 Mb/s)
• Raw Output via SDI/BNC: up to 5760 x 3072 10-Bit at 23.98/24/25/29.97 fps

Redefining medium format, the FUJIFILM GFX 100S pairs an ultra high-resolution 102MP sensor with an impressively compact and portable mirrorless camera body design.

Appealing to both photo and video needs, too, this camera is further rounded out by a durable construction, in-body image stabilization, and apt autofocus to make the camera more accessible and applicable for a variety of shooting needs.

• Sensor Size: 43.8 x 32.9 mm
• Lens Mount: FUJIFILM G
• H.265/MOV 4:2:0 10-Bit: up to DCI 4K (4096 x 2160) at 23.976p/24.00p/25p/29.97p [100 to 400 Mb/s]
• H.264/MOV 4:2:0 8-Bit: up to DCI 4K (4096 x 2160) at 23.976p/24.00p/25p/29.97p [100 to 400 Mb/s]
• external Raw 12-Bit: DCI 4K (4096 x 2160) at 23.976p/24.00p/25p/29.97p
• external 4:2:2 10-Bit: DCI 4K (4096 x 2160)23.976p/24.00p/25p/29.97p

The Leica SL2-S is a solid product that was designed to be reliable and precise.

Working with previous SL models, we expected to achieve the same picture aesthetic at a more affordable price, but the way it is now, we were not able to do so. Please don’t get us wrong, the video picture quality is very nice, but it’s lacking that original fine noise/grain found in the previous two models.

Again, it’s up to personal taste here, so we encourage everyone who is interested in this camera to try and test it for themselves.

• Sensor Size: 36 x 24 mm
• Lens Mount: Leica/Panasonic/Sigma L
• H.264/MOV 4:2:2 10-Bit: up to DCI 4K (4096 x 2160) at 24.00p/25p/29.97p [400 Mb/s]
• H.264/MOV 4:2:0 8-Bit: up to DCI 4K (4096 x 2160) at 50p/59.94p [150 Mb/s]
• H.264/MP4 4:2:0 8-Bit: up to UHD 4K (3840 x 2160) at 23.98p/25p/29.97p/50p/59.94p [100 to 150 Mb/s]