|1. Fujifilm||2. Nikon||3. Panasonic|
For any filmmaker, finding the best camera is one of the most critical decisions. That’s because your camera can be a significant financial investment. It determines the quality of the content you create.
With so many different types of cameras on the market, it’s hard to decide which video camera is best for your shoot. It’s important to understand that even without the huge price tag that some cameras bring, filmmakers can get effective performance results. You can get the best 35mm film camera with professional features without burning a hole in your pocket.
Read on to find the best 35mm film camera choices and a few more details on filmmaking cameras.
Factors To Consider When Buying a Camera For Filmmaking
When picking a camera, the most crucial aspect is what lenses you choose to use. Lenses can cost way more than the camera itself. They would have more impact on the quality of your image than your camera.
This alone will limit your options, though many EF installed cameras require a PL conversion adapter. You may also want to shoot your picture with different lenses, or you may wish to get the maximum number of lenses you can for the same amount of money. In this case, you should definitely go for the EF lenses.
If you want to shoot your movie with a pair of zoom lenses or “variable primes” as the best-quality ones, you’ll need to use a zoom motor or follow focus in a studio that will require PL mount lenses.
2. Needs And Budget
The needs and budget is a crucial aspect to consider before evaluating specific cameras. It is imperative to be reasonable. Think about starting with the best beginner film camera or a more affordable alternative if you’re a novice or relatively new to filmmaking. Don’t jump into the finish line with something that might end up being an overkill for your requirements.
Due to the likes in DSLR video capabilities and mirrorless cameras, the price levels of greater and more professional cameras have dropped. Fortunately acquiring cinematographic results has become much more cost-effective.
Sometimes, you ought to be mindful of the risks involved. At first, the price of a camera could seem great, but what if it needs an independently usable electronic viewfinder and shoulder rig to operate the way you need it, or an external scanner to achieve the highest quality of image?
Let’s not ignore filters, spare batteries, and media packs. In short, pause for a moment and recognize the whole package before making your purchase. The last thing you want to do is to waste your money on a gadget that can only act as an expensive paperweight before you can afford to equip it fully. These considerations are imperative to find the best 35mm film camera.
3. Cinematic Look
It helps to look at the big boys — the top-of-the-line cameras that are used to make big movie images. How should they get chosen? What are they selling that lets bosses, DPs, and producers select them for their outputs over others? When watching interviews, you will often realize that it is because the camera could generate high-dynamic cinematic images that look filmic.
As a film-goer, our eyes and brain have been trained over the years to know how a film must look. You must know when something doesn’t look filmic.
While skilled set design, lighting, and choice of shots play an essential role in accomplishing the cinematic look, numerous camera factors also contribute, such as image-sensor size, resolution, dynamic range, and color sampling. These are among the significant factors to take into account along with more practical concerns, such as format recording, connectivity, and form factor.
4. Lens Mount
Lens choice is one of the fundamental elements of cinematography. This should be one of the most important aspects you recognize when choosing a camera. Several standard lens mounts are available, including native DSLR mounts, mirrorless camera mounts, and the PL mount used on high-end movie cameras.
These mounts can be more flexible than others. For example, the limited flange focal distance of mirrorless camera mounts allows them to conveniently adapt to certain forms of mounts by utilizing readily accessible adapter rings.
This opens up a seemingly endless choice of vintage and modern lenses, giving you the flexibility and freedom to choose lenses based on your budget and the look you want.
While the mirrorless camera mounts are more adaptable, this does not mean that you should prevent DSLR mounted cameras. Many cine-style lenses for DSLR systems are available today.
DSLR systems also have a wide selection of native lenses. Although these are not always the right alternative for cinema use, due to the absence of manual aperture rings and electronic or focus-by-wire focusing systems. It makes them tough to execute focus with impossible to do smooth iris pulls.
5. Sensor Size
The Digital camera’s core is the image sensor. When asked about the scale of the sensor, many people would tell you that the larger the scale, the stronger it is. Although they’re right; size isn’t the only factor. .
The norm is referred to as “full-frame” in the still photography universe and is about the same size as a picture shot on 35 mm film. Something less than this scale is sometimes defined as having a crop factor. You can get the same pro-quality with the best 35mm film camera.
In the film world, the typical sensor scale has grown into the Super 35 camera. It has a crop factor of around 1.5x relative to the complete picture. That’s about the same size for people who come from the still world as an APS-C sensor capturing 16:9 video.
For most cinematographers, their ideal choice is the motion picture frame from the best 35mm camera and not the complete frame. However, with digital sensors gradually getting used to substitute 35 mm film and full-frame cameras for video research. The difference has become something of a grey field. However,crop factor provides a common point of reference, which is used to measure sensor sizes.
6. Angle Of View
Sensor size directly affects many image characteristics such as lens integration, view angle at a given focal length, and evident field depth. All lenses construct an image circle onto the sensor high enough to accommodate the format they are constructed for.
A lens designed for a full-frame camera will cover full-frame sensors.. Lenses can also contain sensors smaller than the required size. However, if you try to use them on larger sensors, you may see vignetting or even the image circle edge.
The smaller the sensor size, the lower the section of the image circle will be detected, which means the view angle or width of the detected scene will reduce. Comparing or attempting to balance the viewing angle between two cameras with different sensors is where thinking in terms of the crop factor can come in useful.
7. Depth Of Field
For many people, the ability to get shallower depth of field is a significant benefit of a larger sensor. Frame a shot with a lens at f/2.8 with a full-frame camera, and it will appear shallower than a shot on a Super 35 sensor with the same lens, framing, and aperture. A specific component for achieving a cinematic look is being able to separate your subject from the background using the shallow depth of field. And then, the larger is not always stronger.
Even for a knowledgeable focus puller, the shallower the depth of field, the harder it is to keep a subject in focus during a shot. A workable depth of field could mean stopping down to f/4 or even f/5.6 on the full-frame and losing some light stops. A super 35 camera could be excellent at f/2.8.
8. Dynamic Range
A camera’s dynamic range is the amount of luminance it can capture. In turn, the amount of shadow and highlight imagery can be repeated before reaching absolute black or white. Dynamic range has been one of the critical fields for several years in which optical sensors fall behind as opposed to film.
Cameras with wide dynamic range in the shadows and highlights can hold on to more detail. One of the key components of cinematic look is a broad dynamic range. The best 35mm film cameras have a dynamic range of more than 14 frames for motion picture video. While even the top-of-the-line optical cinema cameras seem to view the film in this way, more extensive dynamic ranges provide more realistic alternatives.
When speaking of the resolution, you have to remember both the resolution of the captured video file and the sensor resolution. Many advanced cinema cameras are expected to have sensors with resolutions that suit the camera’s maximum quality video capture.
DSLRs and cameras intended for still photography may capture with 24MP or higher resolution. They often miss entire rows of pixels to record 4K or 1080p from those sensors. They incorporate information of adjacent pixels together to create a single-pixel or both. Depending on the camera, this may have a negative effect on the image, including the introduction of moiré and aliasing.
Not all mirrorless cameras and DSLRs resort to line skipping or pixel binning. You need to take into account what your market for deliveries is when determining your resolution needs. If your videos will only be uploading online, you may not need anything higher than 1080p. Also, if your creation has a theatrical debut, maybe you don’t need to make the leap to 4K.
However, with the gradual move to Ultra HD televisions and continuing video, buying a 4K-resolution camera will help make your investment more future-proof and marketable if you want to contract your services or camera kit.
If you’re distributing in 2K/1080p, having a camera that’s worthy of filming 4K/UHD is a right choice. Downscaling the 4K video to 2K nearly always offers you better videos than capturing 2K in the movie.
It also gives you a 4K master that you can archive and export in full resolution in the future. Moreover, you should note that plenty of these days’ best video cameras provide 4K capture. And even though you’re just considering 2K/1080p filming, the device would be 4K equipped.
Top 10 Best Cameras For Filmmaking 2020
1. Fujifilm X-T3 Mirrorless
If you are looking for the best 35mm film camera, you have come to the right place. This new edition of the higher-end X-T model from Fujifilm sports a lot of new functionalities and upgrades. The exterior design is remarkably similar to X-T2. The image pipeline undergoes a massive redesign with a new 26MP BSI X-Trans APS-C sensor and an all-new quad-core image processor.
Although at the same time, the AF device has undergone a substantial update with quicker tracking performance, more AF points, and greater sensor coverage. Also, the increased sensitivity to low-light AF adds up to a small boost.
The exterior has slight refinements, and the design of the frame is a little beefier than its predecessor. But still, Fujifilm seems to have adopted an attitude of “if it’s not fixed, don’t repair it” towards the production of the X-T3 “if it’s not fixed, don’t repair it.” It has lots of external controls, and a compact yet robustly sealed weather design that is easy to operate.
Overall, the Fuji X-T3 is an incredibly versatile camera that features fantastic image efficiency and durability, making it suitable for different photography types. What’s more, Fujifilm priced this camera very conveniently.
Despite being one of their flagship APS-C models, the $1500 priced X-T3 is more inexpensive for a wider variety of photographers and less expensive than a number of competing mirrorless cameras.
As stated, not much has improved compared to the previous model, when it comes to the structure of the X-T3 or the overall design. However, there are some minor changes in the reliability of the camera’s lens mount and foundation.
As stated earlier, numerous buttons and dials are available on the camera. Most of them can be exhaustively customized. What’s more, even swipe gestures can be used to configure functions on configurable functions with the new X-T3’s touch-screen display! There’s also a fresh, higher-rested OLED EVF that looks superb.
The X-T3 retains the distinctive combination of modern engineering and usability with a classic design of the best SLR film camera. Unlike other cameras in the Fujifilm X range, the X-T3 utilizes different exposure dials instead of a standard PASM control dial. For first-time Fuji owners, the lack of a PASM mode dial may be somewhat confusing. However, you will quickly get the “Fuji way” of changing exposure modes used.
The X-T3 looks very close to the X-T2 in the pocket, despite the differences in design. The scale and control mechanism is essentially the same. Though ample in number, the buttons and dials for this decently-sized camera frame still feel a little tiny. The handgrip remains relatively shallow, helping to maintain a sleeker, more compact form.
The camera is comfortable to hold due to its unique design for long durations, even for those with larger hands. But when using longer, heavier lenses, it can be a bit tough. If you intend on taking loads of sports and wildlife shots with wider lenses, having the optional vertical battery grip VG-XT3 would be advisable.
The latest touch-screen monitor is a pleasant addition to the joystick control and allows you to quickly push the AF point around. Along with tap-to-shoot functions, are also available, as well as the ability to use swipe gestures as additional buttons for other functions. The touch-screen functions well. Fujifilm has made some notable changes in the sensitivity of the touch-screen as well.
When it comes to picture consistency of the X-T3,they are no different than Fujifilm’s APS-C cameras that produce outstanding results in picture efficiency at low and large ISOs. The X-T3 is no different.
The all-new 26MP X-Trans CMOS IV sensor from the X-T3 offers a modest upgrade in power resolution compared to the 24MP X-T2. It provides a native ISO range with a slightly lower ISO base of 160. The photos of the X-T3 at low ISOs are bright,clear, clean, and packed with tons of fine detail and vivid colors.
As usual, the unique film simulations of Fujifilm are amazing. In fact, it is a great way to directly capture stunning images from the camera without editing it later.
2. Nikon Z6 Mirrorless
The more potent and higher-resolution Z7 has an upper hand over the Nikon Z6. But in fact, the latter is comparatively more versatile and reasonably priced. On paper, it could quickly come across as a bit dull on paper but is worthy overall.
Its finesse, performance, and image quality are remarkable. Every camera has shortcomings, but they ceased to exist after the launch of the Z6.
The Nikon Z6 is developing into more of a classic camera. It was in the shadow of the 46-megapixel Nikon Z7 when it was introduced. However, the Z6 has all of the Z7’s build quality, ergonomic skill, and reliability at a much discounted cost.
Also, a noticeable element is the size. Since the camera’s launch, Z6 pricing has proved to be increasingly competitive, and a whole series of firmware updates have significantly expanded its capabilities. Not only is the Nikon Z6 becoming cheaper, but it is also getting better.
For filmmakers, the Z6 is especially enticing and can act as the best 35mm film camera. Capable of shooting full-width 4K video right from the edge, the Z6 can now stream 12-bit ProRes RAW video to an external Atomos Ninja V recorder, thanks to its firmware upgrades.
The Z6 can still utilize the updated CFexpress protocol, with the latest software upgrade. It increases the range of available memory card brands. Nikon has enhanced the eye AF program, with animal eye AF and clearer subject monitoring.
These firmware updates have also profited the Nikon Z7 with its 45.7-megapixel super-high-resolution sensor, advanced autofocus phase detection, constant high-speed shooting, and 4 K video. Yet this is a qualified high performance system with a great price tag.
In comparison, the Nikon Z6 provides a smaller 24.5-megapixel resolution and not nearly as many AF points as the Z7. But the price is less than two-thirds. It offers a broader ISO set, full 4K video capture, and a 12fps frame rate much higher than that. Its lower cost and 4K video capabilities is what secures the Z6’s place on our list of the best 35mm film cameras.
Nikon isn’t just trying to poach users of other brands with its mirrorless Z-series cameras, but is also using them as an effective and simple way to transform to a mirrorless device for current Nikon users
And although the Nikon Z cameras use a new lens mount, Nikon still offers an FTZ mount adapter that enables you to use any current Nikon lens without limitation. There are currently three new Z-mount lenses available, but you can also use your existing lenses with the adapter.
Nikon has developed this latest version with a lot of updates. One of them is a much narrower lens flange-sensor gap of only 16 mm. You can create it without a mirror to require, opposed to 46.4 mm on a Nikon DSLR. This means the frame can be rendered much slimmer.
It also offers Nikon the ability to build a much larger lens mount allowing for more sophisticated and broader optical designs and a modern, higher picture quality standard. The Nikon Z6 does not have AF motors in-camera which serves as its only drawback. So if you have older AF lenses without internal drives, these would just be the manual focus – just like they are with the DSLRs of one Nikon entry-level D3000/D5000 range.
3. Panasonic Lumix S1
The Panasonic S1 is a reliable, high-quality camera that captures excellent videos and stills in several situations. In 2018 Photokina first confirmed the Panasonic S1 and S1R. The S1 is the 24.2Mp model, which is designed for experienced and professional photographers and videographers.
Meanwhile, the 47.3Mp S1R is the high-resolution model targeted at professional still photographers who may want to take footage. It’s on full-frame mirrorless cameras’ lower resolution tier, but that tends to make it best suited for uncropped 4K video capture. Also, its capabilities in this area alone make the Panasonic Lumix S1 the best 35mm film camera.
And if it’s not a twin-gripped camera, the S1 is more prominent than the Nikon Z6 and Sony A7 III. This ensures there’s space for a sturdy handle and buttons, so that it does not cause you any discomfort while it’s in your pocket. You can also change the adjustments rapidly and conveniently with front and rear dials.
Plus it has a control panel at the back, and an outstanding touch-screen. The OLED electronic viewfinder (EVF) has 5,760,000 dots which is the highest resolution viewfinder among all. The view is superb until the light levels drop.
The 3.2-inch, 2,100,000-dot panel at the rear of the camera has a dual-tilt system that looks robust. This is good for film and stills, regardless of whatever direction you take. However, it can’t be rotated from the front of the camera display. Given the S1’s high-end ranking, it is logically structured and has a comprehensive menu.having a comprehensive menu is no shock, but it is relatively logically structured.
Nonetheless, it takes some time for you to return back to the last feature that you accessed on each tab when you progress through sections. It seems to be scanning up and down, continuously looking for the functionality you want.
Panasonic is a part of the L-Mount Alliance, along with Leica and Sigma, which allows Panasonic to use the S1 and S1R on the Leica L-mount. This mount was first launched in 2014 and used on the Leica T APS-C camera.
The L-mount has a 51.6 mm inner diameter and a 20 mm flange-distance. These results are remarkable but not as spectacular as those of the Nikon Z-series cameras with a larger mount diameter and a much shorter flange span.
Nonetheless, according to the L-Mount Alliance, this design allows the use of dust and moisture seals. It also allows the fast creation of lenses. Crucially, having three L-Mount Alliance suppliers ensures that the number of compatible lenses increases higher than expected.
4. Sony A7 III ILCE7M3/B
The Sony a7III has been modified in every possible way. The a7III is much better compared to other cameras with a similar price tag. The a7III is suitable for generalist artists, wedding, festival shooters, and even sports specialists. Unlike previous Sony mirrorless full-frame cameras, there are particular characteristics that persist with this new model.
Compared to the previous model, the a7III is thicker and heavier. However,it is still a compact camera, provided that it has a 35 mm full-frame sensor inside. It is also equipped with most of the ergonomic modifications and controls.
The deeper grip of the A7III makes it easier to handle while also making room for larger batteries. That larger battery capacity offers the 2.2x more endurance than the previous models, and it will conveniently last you a heavy shooting day.
The latching panel hides the dual slots. One of the slots promotes UHS-II at higher speed level cards. The video record button has been designed at a more sensible position. Also, like the Sony a9 and a7R III, the eye-sensor for the viewfinder is disabled when you flip the rear screen to fire from the shoulder, so you don’t inadvertently trip it out and skip a clip.
It proves clear, detailed shots thanks to its 24MP sensor, with lots of white-on-black text aliasing in color. Raw files are often more transparent in both directions than the Sony a9, which uses a better AA filter. The a7III avoids the complexity and aliasing in the picture.
5. Olympus OM-D E-M1 Mark III
The Olympus OM-D E-M1 Mark III makes a relatively modest step-up in some respects, which makes it the best film camera for beginners. Not only does it feel more refined and has some great features that make shooting a little easier in tricky conditions, but also helps photographers capture quality images easily. This is because they are relatively tiny and compact. Though, in some instances, tripods and ND filters may be left behind.
Olympus also provides a vast collection of excellent lenses. The 2x focal length is especially useful for sport and wildlife photography. For enthusiastic photographers looking to switch to a mirrorless camera, the OM-D E-M1 Mark III makes a very attractive option.
Olympus tends to make the OM-D E-M1 III as a mini E-M1X. It has all of E-M1 II hardware,along with all of the E-M1X features. Nevertheless, unlike the E-M1X, the OM-D E-M1 III sports a traditional single-grip configuration that renders it smaller and lighter.
As a result of the upgraded processing engine, E-M1 III comes with some additional features. For example, Live ND mode uses similar systems as that of Live Composite style but allows you to preview the impact of a long exposure. It requires a lot of processing power, and it is a useful feature for landscape and creative photography.
The sensitivity of the camera can be expanded up to 32x. This may indicate you don’t have to take ND filters with you. The smallest aperture is available in Live AND mode. However, it is f/8, and that limits the exposure length you can get.
Olympus has provided a new coating for the OM-D E-M1 III sensor. It is introduced with the E-M1X. This reduces the likelihood of dust sticking. It provides an advanced SSWF technology, which vibrates the filter 30,000 times per second over the image sensor filter. This helps to keep the sensor clean.
The image stabilization of Olympus is outstanding. It has been improved to enable up to 7.5Ev of shutter speed correction with an equivalent lens around five axes for the E-M1 Mark III. Also, without a fixed lens, it is said to require a compensation of up to 7Ev.
E-M1X uses a similar gyro. It is the in-body image stabilization system’s sensor-shifting power that enables the High Res Shot mode of the OM-D E-M1 III. The great news here is that there is also a 50Mp HandHeld variant, in addition to the 80Mp Tripod High Res Shot mode.
6. Panasonic Lumix G9
The Panasonic Lumix DC-G9 is the highest-end stills-oriented camera on the brand, sitting on top of the product line-up next to the video-oriented Lumix DC-GH5. With pro-video shooters, the GH series has long held a good reputation. However, Panasonic has not seen the likes of the GH5 strike a chord with the still enthusiasts.
With the G9, Panasonic hopes to follow the GH series’s footprints’ success in the video realm, gaining a more significant foothold in the stills. There’s a fair amount of spinoff between the two cameras. But the G9 has some juicy offers to whet the appetite of still photographers, particularly advanced amateurs and professionals as well as those looking for a hybrid stills/video.
For example, it’s quicker than its video-centric twin. It is capable of using the electronic shutter to produce an incredible 20 fps with continuous autofocus for around 50 frames. The mechanical shutter, which is similarly amazing, can also fire at nine fps with AF-C for 600+ frames.
Panasonic took a page from Olympus’ book, as other manufacturers with stabilized sensors have recently added a high-resolution mode that moves the sensor to build an 80MP file. This should be highly appealing to still life and landscape shooters that sometimes require more resolution than a Micro Four Thirds camera.
Its excellent physical features include an Led top plate; a real novelty in mirrorless-land,and one of the broadest optical viewfinders on Micro Four Thirds cameras. It has an equivalent 0.83x magnification and a 21mm eyepoint.
The G9 also sports dual UHS-II card slots and can accommodate V-rated SD cards-the quickest to date in the industry. Don’t take these stills-oriented enhancements to mean that the G9 isn’t a capable video camera, because it certainly is. Like the GH5, it can shoot 4K/60p video, offering both headphones and microphone jacks. However, it lacks its sibling’s high bitrate options and extensive video toolset.
7. Sony Alpha A6400
The premium APS-C is a tough competitor to most other mirrorless cameras.. Canon has released its budget for EOS RP full-frame mirrorless camera which amounted to approximately Rs. 1,10,000. It placed it in about the same niche as other popular cropped mirrorless sensor cameras, including the Sony A6500 and the Fujifilm X-T3.
Are the days of compact APS-C mirrorless cameras limited, with full-frame cameras at the price of cropped sensor cameras? We’re doubtful. In the mirrorless segment, when compared with full-frame or medium format cameras, APS-C cameras still have the lion’s share. The latest Sony A6400 cropped mirrorless sensor camera is also proof that this segment is alive and kicking.
The body’s architecture remains pretty much untouched if you compare it with the models that are above and below it. The Sony A6400 has almost the same height and width as the A6500. Although, because of the somewhat rounded-off hand handle, the range is significantly smaller.
If you have small hands, this shouldn’t be a problem. However,long hours of shooting do leave us wishing for a larger body to hold on to. This camera has no sealing of the weather, but it is about 50g lighter than the A6500.
The design of the buttons and ports should be familiar if you have used the older A6300. There’s a slide-out flap on the left side that covers a Micro-USB port, a Micro-HDMI port, and a 3.5 mm microphone input. At the bottom, below the handgrip, is the battery and single SD card slot. The Sony A6400 back has pre-assigned task keys, which can be reshuffled to execute specific tasks.
There is a button knob, which often acts as a keypad. The electronic viewfinder or EVF has a decent resolution of 2.3 million dots. Also, you can choose to run it at either 60fps or 120fps per second. The latter offers a smoother motion, but the resolution is lower.
The Sony A6400 uses a 24.2-megapixel APS-C CMOS camera with the same 425 PDAF points as the A6300 and A6500. The A6400 still has the same amount of autofocus points for comparison detection as that of A6300, which allows it to reach a reported autofocus speed of only 0.02 seconds.
The focus points cover around 84 percent of the sensor area. It makes tracking the topic simple. It’s hard to calculate this reported AF pace objectively. However, you can take Sony’s word for it here, as it’s uncannily fast to lock, concentrate and monitor moving subjects.
8. Blackmagic Design Pocket Cinema Camera
Blackmagic created headlines with its Pocket Cinema Camera 4K series. Pocket is a misnomer because the body of the 6 K is 7 inches long, 3.8 inches thick, and 4 inches deep. So a relatively large pack should do. It’s much fatter and broader than your modern Sony, Nikon or Canon DSLRs and other full-frame mirrorless cameras. However, it maintains the same kind of shape.
It’s interesting because it is always able to take pictures even though that’s not exactly why this device was designed for in the first place. This camera can capture pure, simple videos. It is also smaller relative to the RED, as mentioned earlier, and Arri models.
Physically, the device strongly resembles the 4K variant. A considerable 5-inch touch-screen occupies the rear. It looks impressive inside, but sadly, when you’re out in the sunshine, it’s pretty hard to see it. This is where you will possibly want the camera to have an optical viewfinder like a mirrorless device. So, it’s almost difficult to aim or determine proper exposure. Six auto-exposure, autofocus, HFR, focus assist, menu, and playback buttons are next to the screen.
The record’s start/stop button with the still photo button next to it is on the top right-hand side of the camera. There are ISO buttons, shutter speed, and white balance.Hitting one of those buttons can enable you to monitor these settings with the help of your index finger with the single scroll wheel.
Three customizable function buttons can be programmed to switch zebra, grid lines, or LUT previews so that it may perfectly capture what you are shooting after grading it. The device does have a built-in microphone, but it’s of low quality. You could use this to synchronize video with an external recorder, but that’s about it.
Blackmagic RAW files are getting easier and easier to use. To edit it, you had to use the DaVinci Resolve editing software from Blackmagic until recently. Blackmagic recently launched a software that enables all macOS and Windows machines to access the files in a jiffy. This implies that you might cut the above footage in Adobe Premiere.
9. Canon EOS 6D Mark II
The EOS 6D Mark II has made a significant move forward from the initial 6D, especially in terms of running pace and efficiency.. It’s an excellent camera to use, thanks to its absolute picture consistency. However, its price pits it against a range of popular cameras. It is an all-rounder, rendering a perfect ‘only’ full-frame DSLR.
Its latest incarnation, the long-awaited EOS 6D Mark II, is an enhancement in almost every way compared to its predecessor. It has superior sensor and ISO range, upgraded autofocus system and continuous shooting mode. However, it’s not necessarily still-significant. It’s costlier than the one it replaces.
Also, the issue remains whether the price increase justifies the different changes. It also brings the EOS 6D Mark II up against some perceptibly tough competition. However this is definitely the strongest Canon camera for enthusiasts who want to move up to the full-frame shot.
The brand new 26.2-megapixel sensor from the EOS 6D Mark II is a significant improvement in terms of resolution compared to that of the old mode, which was 20.2 megapixels. It is a promising rival with Nikon and Sony’s rival cameras. More importantly, this latest sensor uses Canon’s Dual Pixel CMOS AF system to provide quick phase detection and autofocus even in Live View mode. So Live View and video autofocus will be faster and smoother than that of EOS 6D Mark I.
The standard autofocus feature of the 6D Mark II also gets an upgrade with a 45-point scope that is light years ahead of the old camera’s obsolete nine-point method. Canon’s new DIGIC 7 image process helps to identify artifacts and to monitor the focus to anticipate subject movement around the picture.
10. Canon XC15
Canon presented the XC15, a compact body camera that can record 4 K UHD. It is a follow-up to theXC10 released in 2015. The XC15 has put on a slightly different marketing strategy. The Canon XC15 is aimed at recording and producing 4K pictures and video It comes in a compact size. Nevertheless, the camera retains ample characteristics of its predecessor, including a 1 “CMOS sensor and a 10x optical zoom lens.
The XC15 can capture resolutions of up to 4K UHD at 29.97fps, using a 1 “12MP CMOS sensor. In addition, the camera supports 1080p resolution up to 59.94p. It also has an interchangeable zoom lens f/2.8 – 5.6, 8.9 to 89 mm and is equal in-camera format to a focal range of 27.3 to 273 mm in 35 mm. The XC15 has separate focus and zoom rings along with auto and manual focus controls.
People operating in the ground will find the XC15 highly suitable for them. For starters, considering its small and lightweight structure, a multimedia journalist can carry it around without any hassles.
It makes it a suitable tool for anyone performing portable editorial research and news reporting as well. Movie and TV sets will also gain from using an XC15 because it can serve as a cost-effective B or C monitor. In XF and XA camcorder series, the device can also be combined with Canon Cinema EOS cameras and versions.
The XC10 has always been a great addition to Canon’s camera unit. The Canon XC15 is an enhancement of that model. It even comes with support for XLR input, which is a major requirement according to the user community. But despite its genius abilities, it does have sophisticated controls that could restrict its usage for easy-to-control settings.
FAQs on Cameras For Filmmaking
Q1. Do They Still Make 35mm Film Cameras?
Additional film cameras in 2020? Yes, that is right. Believe it or not, there are still a handful of film cameras in the market. And looking beyond the brand new cameras, photographers willing to gain hands-on experience in film photography naturally have an active target market with the best 35mm film camera.
Q2. Is A 35mm Camera Good?
They are great cameras for anyone who wants to switch from digital to video, thanks to their
robust appearance. It can be economical to set up a frame and lens with a best 35mm film camera. It can even be interchanged with existing AF lenses.
Q3. Are Old Film Cameras Worth Anything?
Not just a whole lot. Some of them have a vintage aura in their appearance and are nice to own or look at. They are bellow cameras that make for trendy interior decor. 90 percent of them are priced within the $20-50 range.
Q4. Are Film Cameras Worth It?
You can always give film cameras a fair chance. Not the least of all because there are film cameras that one might never consider purchasing in digital form today.
Q5. Are Film Cameras Expensive?
It all depends on the product you buy, but it would cost anywhere from $75 and $500 for a new film camera with a regular lens. Based on the quality of the film you wish to invest in, the 35nm or medium format film can cost $10 to $50 per roll.
Best Cameras For Filmmaking – Takeaway
There are too many opportunities to express artistic work today. Creativity is the key to filmmaking. However, equipment costs always overrule creativity. Fortunately, with the rise of young filmmakers and vloggers, higher-quality cameras are now made affordable.
An expensive feature-packed camera will not evaluate the film’s quality at the end of the day. It is you, the filmmaker, who evaluates the finishing film quality. What’s essential is to pick the best method for your shooting style to make your artistic dream come true.
Each of the cameras mentioned above can certainly shoot cinematic footage, and will certainly not disappoint you. Having said that, some are definitely better than others, particularly considering the price.