Learn More About Cinema Cameras
Choosing the right camera can make your head spin with questions, whether you're a student or a seasoned pro. Does the size of the sensor matter? What makes the ratios 4:2:0 and 4:2:2 different? Is it really necessary for me to have a camera that can record in 4K? What about unprocessed? We'll go over the key components that help a camera produce cinematic images, hopefully assisting you in making that crucial decision.
How much does a Cinema Camera cost?
Our products' price range starts at $1,295 to $9,995, where you can find the pocket cinema cameras, with body image stabilization, 13 stops of dynamic range, wireless Bluetooth camera remote control.
What Cinema Camera brands are available?
Moment's list of products carries the best cinema cameras with high image quality, allowing our filmmakers to capture deeper colors, higher image detail, and a wider dynamic range between the brightest highlights and deepest shadows. Our best sellers are:
What to Consider when Buying a Cinema Camera
You must first determine your needs and budget before considering specific cameras. Also, be honest with yourself. Consider starting with a more affordable option if you're a student or new to filmmaking, rather than diving right in with something that may be overkill for your needs. Fortunately, thanks to the rise in video capabilities of DSLRs and mirrorless cameras, as well as the decrease in the price of larger, professional cameras, achieving cinematic results has become increasingly affordable. Lenses, extra batteries, and media cards should all be considered. To summarise, take a step back and consider the entire package before making a purchase. You don't want to waste your money on a camera that will only serve as an expensive paperweight until you can afford to properly outfit it.
Cinematic Look... what?
Looking at the big boys—the top-of-the-line cameras used in major motion pictures—can help. Why have they been chosen? What makes directors, cinematographers, and producers choose them over others for their projects? When you read interviews, you'll learn that it's because the camera is capable of producing cinematic images with a high dynamic range that feel "filmic". When we talk about different aspects of digital cinema cameras, we always bring up film photography as a point of reference.
So, what does it mean to have a “cinematic” look? As a moviegoer, your eyes and brain have been conditioned to recognize how a film should look over time. You also know when something doesn't look cinematic, perhaps even more so. Many camera factors, such as image-sensor size, resolution, dynamic range, and color sampling, contribute to achieving the cinematic look, in addition to professional set design, lighting, and shot selection. These are some of the most important factors to think about, as well as more practical considerations like recording formats, connectivity, and form factor.
Finding the perfect Lens is one of the most important aspects of cinematography, so it should be one of the first things you think about when choosing a cinema camera. Native DSLR mounts, such as Canon EF and Nikon F; mirrorless mounts, such as Micro Four Thirds or Sony E; and the PL mount found on high-end cinema cameras are among the standard lens mounts. Some mounts are better than others when it comes to adaptability. Mirrorless camera mounts, for example, have a short flange focal distance, making them easily adaptable to other mount types using readily available adapter rings.
While mirrorless camera mounts are more adaptable, that doesn't mean DSLR mounts should be avoided. For DSLR systems, many cine-style lenses are now available. In addition to PL, Zeiss CP.3 Compact Primes are available in Canon EF, Nikon F, Sony E, and MFT mounts. DSLR systems also have a large selection of native lenses, though these aren't always the best choice for cinema use due to the lack of manual aperture rings and electronic or focus-by-wire focusing systems, which make pulling focus difficult and smooth iris pulls impossible.
Learn more about Sensor Size
The image sensor is the digital camera's brain. Many people will tell you that bigger is better when it comes to sensor size. They are correct in many ways, though the size isn't everything. The “standard” in still photography is referred to as “full-frame,” which is roughly the same size as an image captured on 35mm film; anything smaller than that is often referred to as having a “crop factor”.
The Super 35 (3-perf 35mm) frame, which has a crop factor of approximately 1.5x when compared to the full-frame, has become the standard sensor size in the cinema world. This is roughly the same size as an APS-C sensor capturing 16:9 video for those coming from the stills world. Part of the reason I dislike the term "crop factor" is that most cinematographers use the motion picture 35mm frame, not full-frame, as their standard. The distinction is becoming more of a grey area as digital sensors replace 35mm film and full-frame cameras are increasingly used for video work, so crop factor does, at the very least, provide a standard reference point from which to compare sensor sizes.
Many imaging characteristics, such as lens compatibility, angle of view at a given focal length, and apparent depth of field, are directly influenced by sensor size. A lens designed for a full-frame camera will cover full-frame sensors, an APS-C lens will cover APS-C sensors, and so on.
A camera's dynamic range is the range of luminance it can capture; in other words, how much shadow and highlight detail it can reproduce before hitting pure black or pure white. Consider how many times you've seen digital footage where a window or sky was blown out and all that was left was white with little to no information. Consider the same scene in a film shot on film, with color in the sky and details visible through the window. While good lighting and working within a camera's usable range help, the limitations of older digital cameras were obvious.
When discussing the resolution, we must take into account both the resolution of the recorded video file and the sensor's resolution. Many professional cinema cameras will have sensors with resolutions that match the camera's highest-resolution video. The Sony F5 and F55, for example, feature an 8.9MP sensor that can capture 4K (4096 x 2160) or Ultra HD (3840 x 2160) video natively. DSLRs and cameras designed for still photography, on the other hand, can have sensors with resolutions of 24MP or higher. You must consider your needs when determining your resolution requirements. If your videos are only going to be shared on the internet, 1080p may be sufficient. Even if your film is slated for a theatrical release, you may not need to upgrade your video camera to 4K.
Consider cameras with raw recording capabilities if you want the most flexibility when it comes to post-production adjustments. Raw differs from log gamma and uncompressed video in that it isn't actually a video file; rather, it is raw data, as the name implies. Raw video, like raw still photos, does not bake in any in-camera decisions, allowing you to adjust things like white balance and exposure in post.
For many filmmakers, a camera's low-light performance is an important consideration for your video capture process. This may not be as important for larger productions with a full light package and crew as it is for a student, amateur, or indie filmmaker who plans to shoot with small packages or mostly natural light. Pixel size is a contributing factor. The larger the pixel, the better it collects light and reduces image noise in general. Larger sensors and sensors with a lower pixel density, on the other hand, tend to perform better in low light.
Which Cinema Camera should I buy?
Videographers, if you're unsure of what cinema camera would have the best features for your needs, be sure to reach out to Moment Team, and we will connect you to one of our Gear Guides at firstname.lastname@example.org.