In this competitive decade a professional needs two things from his or her camera:
- Reliability
- Versatility
Reliability is a given when you’re investing north of $10,000. Owning a second body might not be practical. Versatility is the ability of the camera do accomplish multiple kinds of jobs.
E.g., one day you are filming a wedding solo; next day you are called to be part of a multi-cam setup, and on day three you’re filming a short film. The more kinds of jobs you do, the greater the earning potential.
You can get some serious professional filmmaking camera for under $11,000 nowadays. In this article let’s look at the five best cameras for filmmaking in this price range.
Please note: This is only a fun comparison of the specs of these cameras. There are many variables that come into play and you might want to match these to the kind of work you want to pursue.
Here are the cameras considered:
- Sony PXW-FX9
- Blackmagic Design URSA Mini Pro 12K
- Canon EOS C300 Mark III
- Sony PXW-FS7 Mark II
- Panasonic VariCam LT
Sony PXW-FX9
Sensor Size
The Sony PXW-FX9 has a full-frame sensor (35.6 x 23.8mm). It is one of the best low light sensors you can buy for filmmaking.
Resolution and Frame Rates
The Sony PXW-FX9 can shoot in 4K DCI (4096x 2160) up to 60p in 10-bit 4:2:2. 4K is supposedly downsampled from 6K. You can shoot in S-Log2 and S-Log3 which will give you a dynamic range of 15 stops.
It does not shoot RAW without the XDCA-FX9 extension unit and an external recorder. It’s a weird way to get around patents, and makes the camera more expensive and heavy than it needs to be.
The best format to record in is XAVC-I in H.264 compression. Maximum fps in 4K UHD is 120 fps. This is very useful.
The data rates range from 50 Mbps to 600 Mbps.
ISO range for video
The Sony PXW-FX9 has an ISO range/gain of -3 to 18 dB for video. 18 dB is about 51,200 ISO. The FX9 has dual base ISO, one at 800 ISO and the other at 4000 ISO. Low light shoots should not be a problem with this camera. Sony is the world leader here.
ND filters
The Sony FX9 comes equipped with an electronic + optical ND (neutral density) filter. You can move in increments between 2 to 7 stops or dial in any ND range from 1/4 (2 stops) to 1/128 (7 stops).
There is also an Auto mode. If you select “Auto” the camera automatically controls exposure through the right ND setting. Sony’s videos about this “Auto” mode have been impressive, but I feel the technology is only if you’re desperate. It’s not as seamless or elegant as riding the iris, for example.
RAW Output
You get “16-bit” 4K (4096 x 2160) RAW footage output only via the XDCA-FX9 extension unit. The maximum frame rate is 59.94p.
Unfortunately, the extension unit costs $2,500. You still need an external recorder like an Atomos Shogun or similar with a BNC input. It adds weight, consumes more power and increases the size of your camera. The extension unit does get you more than RAW, though.
Genlock and timecode
The XDCA-FX9 unit gives you Genlock. The FX9 does have timecode in built, otherwise.
Lens Mount
The Sony PXW-FX9 has a locking E-Mount. A locking mount is better than standard mounts especially if you are going to use heavier, cine lenses. For help with lenses, check out this article:
For the best Cine lenses, check out this article:
Memory Card
To record in 4K 120 fps, you need XQD cards. The FX9 is also compatible with UHS-II cards but only for proxy recording or similar.
Battery Life
The Sony PXW-FX9 gives you about 108 mins of actual recording time with a BP-U70 battery.
Image Stabilization
The Sony PXW-FX9 has no image stabilization. It does have gyroscopes which allow you to stabilize the footage in post.
Autofocus
The FX9 has world-beating continuous AF and face detection AF for video.
Audio
The FX9 has 2 XLR inputs to record sound professionally. The audio is recorded as Linear PCM in 24-bit mode. The cold shoe can transmit power directly to a Sony mic or XLR adapter. It also comes with an in-built 3.5mm headphone and microphone jack.
Size and weight
The body of Sony PXW-FX9 comes in at around 2 Kgs. While it is pretty lightweight and compact, adding on accessories will change that.
Blackmagic Design URSA Mini Pro 12K
Sensor Size
The Blackmagic Design URSA Mini Pro 12K has a Super 35mm sensor (27.03 x 14.25 mm).
Resolution and Frame Rates
The Blackmagic Design URSA Mini Pro 12K can shoot in 12K (12,288 x 6480) up to 60p in 12-bit BRAW.
You also get 120 fps in 6K in Super 16mm mode, and 220 fps in 4K.
For 12K RAW, the maximum data rate is 578 MB/s. In Apple ProRes XQ the data rates max out at 360 MB/s.
With a good graphics card Davinci Resolve is well-optimized for 12K, but it’s still a back-breaking workflow for most professionals who have to work alone or on small budgets.
ISO range for video
The URSA Mini Pro 12K has an ISO range of 160 to 3200 for 12K video. Low light shoots will be problematic with this camera.
SDI output
You need to use an external recorder to get 10-bit 4:2:2, limited to 4K at 60fps.
Lens Mount
The Blackmagic Design URSA Mini Pro 12K has an EF-Mount. It can also be swapped for a PL mount or an F mount. For the best lenses check out this article:
Memory cards
The URSA Mini Pro 12K has two CFast 2.0 card slots, two SD UHS-II card slots and one USB-C 3.1 Gen 1 expansion port for external media for Blackmagic RAW and ProRes recording.
No other camera comes close to this level of versatility.
Battery Life
You get 12v DC power supply to power the camera. I don’t have reliable info on its actual mileage. It is a power hungry camera and will not compete with the Sonys and Canons in this comparison.
Image Stabilization
None.
Autofocus
None.
ND filters
The URSA Mini Pro 12K has in built manual ND filters with a range of three stops: 2, 4 and 6 stops.
Audio
The Blackmagic Design URSA Mini Pro 12K comes with an two phantom powered XLR inputs switchable between mic, line and AES audio.
Size and weight
The URSA Mini Pro 12K weighs around 3.0 kgs (excluding battery and memory cards). This is the heaviest camera on this list. Adding on accessories will increase it even more.
Canon EOS C300 Mark III
Sensor Size
The Canon EOS C300 Mark III has a Super 35mm-sized (26.2 x 13.8 mm) Dual Gain Output sensor, like the Canon EOS C70, and, dare we say, the Arri Alexa.
With this technology you get a mind-bending dynamic range of 16+ stops in Canon Log2.
Resolution and Frame Rates
The Canon EOS C300 Mark III can shoot in 4K DCI (4096 x 2160) up to 120p in 10-bit 4:2:2. It does shoot in Cinema RAW Light internally, which is supported by most editing softwares.
The best format to record in is Cinema RAW Light. Maximum fps in 4K is 120 fps. Maximum fps is 180 fps in 2K cropped mode.
The data rates range from 250 Mbps to 1 Gbps for 4K RAW.
ISO range for Video
The Canon EOS C300 Mark III has an ISO range of 100 to 102,400. The native ISO is ISO 800 in both Canon Log2 and Canon Log3.
Low light shoots should not be a problem.
ND Filters
The Canon EOS C300 Mark III is equipped with in-built mechanical and motorized ND (neutral density) filters with up to 10 stops.
You get five steps from 0, 2, 4, 6, 8 and 10 stops. 8 and 10 are extended stops. Really impressive.
HDMI and SDI Output
You don’t even get 4K through the SDI outputs, maximum resolution is 2K at 60p.
But through HDMI you get 4K DCI. Unlike the two cameras above you really don’t need an external recorder.
Genlock and Time code
The C300 Mark III has Drop frame and Non Drop Frame timecode. For Genlock, you have to get a Canon EU-V2 Expansion Unit. That adds about $1,600 but gives you additional benefits like:
- V-mount connector for V-mount batteries.
- DC Out (24V, 2A), and
- a lens control port
- two additional audio channels
Lens Mount
The Canon EOS C300 Mark III has an EF-Mount. You can get an EF-C locking mount for an extra $2,199. A PL-mount is also an available option. For help with lenses, check out this article:
Memory Card
The Canon EOS C300 Mark III has dual CFexpress 2.0 (Type B) slots.
Battery Life
The C300 Mark III gives you about 130 minutes of actual recording time with a Canon BPA battery.
Image Stabilization
The Canon EOS C300 Mark III has no IS in-built. You’ll have to rely on the IS available in lenses.
Autofocus
With dual-pixel AF, the Canon C500 Mark III is class-leading on this front. You don’t get any better than this.
Audio
The Canon EOS C300 Mark III has two phantom powered XLR inputs that record in 4-Channel; 24-bit, 48 kHz Linear PCM.
Size and weight
The body of Canon EOS C300 Mark III comes in at around 1,750g. Adding accessories will increase that.
Which is the better camera between the Canon EOS C300 Mark III and the Blackmagic URSA Mini 12K Pro? Read the following article for a better comparison:
What about Sony FX9 vs Canon EOS C300 Mark III? Which one is the better camera? Let’s dive deeper in to this comparison:
If you don’t mind older cameras, you can still opt for these options:
Sony PXW-FS7 Mark II
Sensor Size
The Sony PXW-FS7 Mark II has a Super35mm sensor.
Resolution and Frame Rates
The Sony PXW-FS7 Mark II can shoot in 4K (4096 x 2160) up to 60p in 10-bit 4:2:2. 60p seems old in 2021, but it still is good enough for a lot of jobs. The FS7 Mark II shoots in S-Log2 and S-Log3 which will give you a dynamic range of 15 stops.
It does not shoot RAW without the XDCA-FX7 extension unit and an external recorder. It’s a weird way to get around patents, and makes the camera more expensive and heavy than it needs to be.
The best format to record in would be XAVC-I in H.264 compression. Maximum fps in 4K is 60 fps. In 1080p, the maximum frame rates go up to 180 fps.
The data rates range from 50 Mbps to 600 Mbps.
ISO Range for video
The Sony PXW-FS7 Mark II has an ISO range/gain of -3 to 18 db for video. 18 db is 51,200 ISO for video. Sony claims that the base ISO for the FS7 Mark II is 2000 ISO. Low light shoots should not be a problem.
RAW Output
You get 12-bit 4K (4096 x 2160) RAW output via the XDCA-FS7 extension unit. The maximum frame rate is 59.94p.
Unfortunately, the extension unit costs about $2,000. You still need an external recorder like an Atomos Shogun or similar with a BNC input. It adds weight, consumes more power and increases the size of your camera. The extension unit does get you more than RAW, though. The first is Prores HQ. Then you have:
Genlock and timecode
You get Genlock with the extension unit XDCA-FS7. The FS7 Mark II does have timecode in built.
Lens Mount
The Sony PXW-FS7 Mark II has a locking E-Mount. Locking mounts provide better stability and are more reliable than standard mounts. For help with lenses, check out this article:
Memory Card
To record in 4K 60 fps, you need XQD cards. The FS7 Mark II has two XQD card slots.
Battery Life
The Sony PXW-FS7 Mark II gives you 95 mins of actual recording time with a BP-U35.
Image Stabilization
The Sony PXW-FS7 Mark II has no image stabilization.
Audio
The FS7 has two XLR inputs for professional sound recording. The audio is recorded as Linear PCM in 24-bit.
The cold shoe can transmit power directly to a Sony mic or XLR adapter. It also comes with an in-built 3.5mm headphone and microphone jack.
Size and weight
The body of Sony PXW-FS7 Mark II comes in at around 2 kgs. Adding on accessories can increase that.
Panasonic Cinema VariCam LT
Sensor Size
The Panasonic Cinema VariCam LT has a Super35mm sensor.
Resolution and Frame Rates
The Panasonic Cinema VariCam LT can shoot in 4096 x 2160 up to 60 fps in 10-bit 4:2:2, and 2K up to 240 fps in 10-bit 4:2:2. It lags amongst the others on this list.
You get V-RAW externally via SDI. You get 14 stops of dynamic range with V-RAW.
ISO range for video
The Varicam LT has an ISO range of 200 to 12,800 for 4K video. It also has Dual Base ISO, one being at 800 ISO and the other at 5000. Low light shoots should not be a problem. The Varicam range is the first to have dual ISO, and everyone else has followed their lead.
Genlock and timecode
The Panasonic Cinema VariCam LT has both timecode and Genlock in built. This is a huge advantage for the Varicam LT over its competitors.
HDMI output
You need to use an external recorder to get 12-bit RAW 4K.
Lens Mount
The Panasonic Cinema VariCam LT has an EF-Mount. For the best lenses check out this article:
Memory Card
The Cinema VariCam LT has one expressP2 card slot and one UHS-II SD card slot for sub recording.
Battery Life
The VariCam LT has hot swappable batteries, this means you can swap batteries without stopping the recording. It has a power draw of 47W.
Image Stabilization
None.
Autofocus
None.
Audio
The Panasonic Cinema VariCam LT comes with an in-built 3.5mm microphone jack. This is the most underwhelming feature of the VariCam LT.
Size and weight
The body of Cinema VariCam LT weighs around 2.7 kgs. Adding on accessories will increase it even more.
How do you pick the right camera?
I believe if versatility is important, then the big question you need to ask yourself is:
Will great AF add value to your work?
The three next important questions are:
- Do you need 120 fps in 4K?
- What lenses are you going to work with, mostly?
- What lenses do you own (or are likely to own)?
The answers to these questions should point you to the ideal camera for your work. On general terms, the camera that does the most in this list is the Sony PXW-FX9. It wins on both our initial criteria:
- It can handle more kinds of projects than the other cameras in this list.
- Sony service and support is only matched by Canon.
I hope this article has helped you make an informed decision for your filmmaking needs. Let us know what you think in the comments below.
