Cameras have become a lot better over the last few years. This means you can now own an amazing cinema camera for about $6,000 that can film a solid documentary, commercial, corporate video or short film or web series.
Which brings me to this article. I wanted to compare five cameras to see which is the best deal in filmmaking. Treat it as a fun comparison with currently available specs.
Here are the cameras compared:
- Sony FX6 (Amazon, B&H)
- Red Komodo
- Kinefinity Mavo mark2 LF
- Blackmagic URSA Mini Pro 12K (Amazon, B&H)
- Z Cam E2-F8
The camera body
Here’s how much the base camera body costs:
| Camera | Price of Camera Body |
| Sony FX6 | $5,998 |
| Red Komodo | $5,995 |
| Kinefinity Mavo mark2 LF | $5,999 |
| Blackmagic URSA Mini Pro 12K | $6,385 |
| Z Cam E2-F8 | $5,995 |
It would be in your best interest to feel out the after sales and service in your country or area prior to committing to any camera. No point buying a camera and then having to tear your hair out when you realize you have to ship your camera overseas for repair.
The price of the camera body is misleading, because some of the cameras on this list are ready to shoot, but others need a few accessories to get even. Read on, we’re going to look at this, too.
Remember, only one winner!
Comparison of sensors and video features
Sensor performance
Here’s how the camera sensors compare:
| Camera | Maximum Resolution | Sensor Size |
| Sony FX6 | 4096 x 2160 | 35.7 x 18.8 mm |
| Kinefinity Mavo mark2 LF | 6016 x 3984 | 36 x 24 mm |
| Red Komodo | 6144 x 3240 | 27.03 x 14.25 mm |
| Z Cam E2-F8 | 8192 x 3456 | 35.97 x 23.98 mm |
| Blackmagic URSA Mini Pro 12K | 12,288 x 6480 | 27.03 x 14.25 mm |
The Red Komodo and the Blackmagic URSA Mini Pro 12K (Amazon, B&H) have a Super 35mm sensor. The other cameras have full frame sensors. To know about the distinction read this:
There is also quite a difference in maximum resolution. The advantage of a higher resolution on full frame cameras is you can crop to Super 35mm and still get 4K or higher. In this respect the Kinefinity Mavo mark2 LF and the Z Cam E2-F8 have an advantage.
Let’s dig deeper:
| Camera | Dynamic Range* | ISO Range^ | Built-in ND | Shutter |
| Red Komodo | 16 | 250 to 12,800 | No | Global |
| Kinefinity Mavo mark2 LF | 14+ | 800, 5120 | No | Rollling |
| Sony FX6# | 15+ | 800, 12800 to 409,600 | Yes, 2-7 stops | Rollling |
| Blackmagic URSA Mini Pro 12K | 14 | 125 to 3200 | Yes 2, 4 and 6 stops | Rollling |
| Z Cam E2-F8 | 14 | 400, 1250 | No | Rollling |
*You can’t compare these dynamic range numbers directly because almost all of them fudge the numbers. None of these cameras beat the Arri Alexa LF with 14+ stops of dynamic range – not where it matters anyway!
#The Sony FX6 has 15+ stops dynamic range with 10% crop.
^The Kinefinity Mavo mark2 LF, Sony FX6 and the Z Cam E2-F8 cameras have dual native ISO. The Red Komodo and the Blackmagic URSA Mini Pro 12K don’t.
The Sony FX6 (Amazon, B&H) is definitely the best camera for low light. It also has built-in ND filters. The USP of the Red Komodo is it is the only camera in this price range with a global shutter.
Frame rates
Let’s look at frame rates:
| Camera | Max fps at 4K | Max fps at 1080p |
| Sony FX6 | 3840 x 2160 @ 120 fps* | 120 fps** |
| Kinefinity Mavo mark2 LF^ | 3840 × 2160 @ 58 fps | 220 fps in S16 format | 112 fps in S35 format |
| Z Cam E2-F8 | 3840 × 2160 @ 60 fps | N/A |
| Red Komodo | 4096 x 2160 @ 60 fps | 120 fps |
| Blackmagic URSA Mini Pro 12K | 4096 x 2160 @ 120 fps | 240 fps in S16 | N/A |
*In XAVC-S/L mode only, in UHD, not 4K DCI. In XAVC-I the maximum frame rate is 60 fps.
**The FX6 can do higher frame rates but less than 1080p resolution.
The Blackmagic URSA Mini Pro 12K (Amazon, B&H) seems to be the most versatile camera in this list for high frame rate recording.
You’ll also have to factor in the low light ability for HFR work. The more the frame rate, the more light you’ll need. Having a sensor with greater sensitivity is definitely an added advantage.
Codecs
| Camera | Internal RAW | External RAW* | Bit depth for RAW | Other Codecs |
| Red Komodo | Redcode RAW | No | 12-bit | Prores HQ (up to 4K) |
| Sony FX6 | No RAW | ProRes RAW via HDMI | 16-bit^ | XAVC-I |
| Blackmagic URSA Mini Pro 12K | BRAW | No | 12-bit | None |
| Kinefinity Mavo mark2 LF | No RAW | No | 12-bit 4:4:4:4 XQ (no RAW) | Apple ProRes XQ |
| Z Cam E2-F8 | ZRAW | ProRes RAW via HDMI | 12-bit | H.265 / H.264 |
^Disregard the 16-bit bit depth on the Sony FX6, it’s probably just 12-bit rewrapped. It’s unlikely you’ll get true 16-bit for this price.
I’d give this to the Red Komodo. Redcode RAW is the most versatile RAW, accepted by almost all major NLEs. The ability to also shoot in Prores up to 4K is useful.
What you get externally:
| Camera | Connection (BNC) | Best resolution and fps | Audio |
| Red Komodo | 12G SDI | 2160p @ 60fps | None |
| Kinefinity Mavo mark2 LF | 3G-SDI x2 | 1080p @ 60fps | 2x XLR |
| Sony FX6 | 12G SDI x1, HDMI x1 | 4264 x 2408 @ 60fps | UHD @120 fps^ | 2x XLR |
| Z Cam E2-F8 | HDMI x 1 | 5.8K @ 30 fps | 2160p @ 60fps | None |
| Blackmagic URSA Mini Pro 12K | 12G-SDI x1, 3G-SDI x 1 | 2160p @ 60fps | 2x XLR |
One of the important distinctions of a cinema camera is the availability of additional SDI/HDMI ports for monitoring and recording.
In this regard the Sony FX6 (Amazon, B&H) wins this for me, with XLR inputs and a frame rate of 120 fps if that’s what you need. The higher resolution is also useful if you need to crop or stabilize your footage. The Z Cam E2-F8 would have been decent except for the HDMI port.
Lenses
| Camera | Mounts | Price for PL mount |
| Z Cam E2-F8 | EF mount (optional M, MFT, and PL mount accessory) | $0 |
| Sony FX6 | Sony E mount | $369** |
| Blackmagic URSA Mini Pro 12K | PL (optional EF, F) | $0 |
| Red Komodo | Canon RF | $369** |
| Kinefinity Mavo mark2 LF | Active PL Mount, Active E Mount, Native KineMOUNT | $699* |
**I’ve assumed the Metabones PL to E mount adapter. Red does sell a $1,500 PL to RF adapter with mount.
I don’t think you’ll be restricted by the lens mount, though it must be mentioned the mark2 cameras support Active PL and E mounts. I’m not sure it makes complete sense in the case of PL. Why would anyone use a cheaper camera but still need accurate lens data? Wouldn’t the Edge 6K make more sense instead?
If your goal is to end up with PL glass you need to understand how the pricing changes. Some cameras have separate mounts you need to purchase and swap as needed, others don’t. For the latter you need adapters instead.
Overall, I feel the Blackmagic URSA Mini Pro 12K (Amazon, B&H) does best here by not overcharging unless you need additional mounts.
If you don’t need PL, then maybe autofocus is something you’re considering.
Autofocus performance
| Camera | Continuous Autofocus |
| Sony FX6 | Phase Detection AF with Eye Tracking |
| Kinefinity Mavo mark2 LF | None |
| Red Komodo | PDAF – Kindergarten Class |
| Z Cam E2-F8 | AF exists |
| Blackmagic URSA Mini Pro 12K | None |
The Sony FX6 (Amazon, B&H) autofocus wins hands down.
Monitoring and ergonomics
Weight and size
Let’s look at the weight and size:
| Camera | Volume (size) | Weight (Body Only) |
| Blackmagic URSA Mini Pro 12K | 315 cubic inches | 2.55 kg |
| Kinefinity Mavo mark2 LF | 82.65 cubic inches | 1.37kg |
| Sony FX6 | 123 cubic inches | 890g |
| Red Komodo | 64 cubic inches | 952g |
| Z Cam E2-F8 | 73.50 cubic inches | 1.09kg (EF mount) / 1.16kg (PL mount) |
The Blackmagic URSA Mini Pro 12K (Amazon, B&H) is large and heavy, but you need to consider the weight and size of additional accessories the other cameras need to arrive at the same functionality.
What about the LCD monitor? Some of the cameras have a monitor you can watch your footage on, and this is handy in a pinch. For serious monitoring, though, you need an external monitor that’s at least 5″, and none of the cameras have that.
All the cameras can be operated without a dedicated monitor or viewfinder.
| Camera | Monitor |
| Red Komodo | 2.9″ touchscreen |
| Sony FX6 | 3.5” touchscreen |
| Blackmagic URSA Mini Pro 12K | 4″ touchscreen |
| Kinefinity Mavo mark2 LF | Size unknown, but it has a screen |
| Z Cam E2-F8 | 1.3″ (No touchscreen) |
The Blackmagic URSA Mini Pro 12K (Amazon, B&H) has the biggest screen but the monitor on the Sony FX6 (Amazon, B&H) can swivel in any direction. Overall I’d give this to the FX6.
Media and Batteries
Media
Here’s a look at the media options:
| Camera | Card slots | Price (Price per GB) |
| Kinefinity Mavo mark2 LF^ | 1x KineMAG Nano SSD | $999 ($1 / 1 TB) |
| Red Komodo | 1x CFast 2.0* | $479.99 ($0.93) |
| Sony FX6 | 2x CFexpress Type A** / SD card | $1,048 ($1.63 / 640 GB) |
| Blackmagic URSA Mini Pro 12K | 2x CFast* / SD UHS-II + 1x USB-C 3.1 Gen 2 | $479.99 ($0.93) |
| Z Cam E2-F8 Full Frame 8K | 1x CFast 2.0* | $479.99 ($0.93) |
^The KineMAG Nano is designed specifically for the Kinefinity Mavo cameras. It is an NVMe M.2 SSD with a capacity of 1 TB.
**The largest size available currently is 640 GB.
There is a high-speed USB Type-C 3.1 Gen 2 port on the Kinefinity Mavo mark2 LF and the Blackmagic URSA Mini Pro 12K (Amazon, B&H).
| Camera | Best Internal Codec | Data rate* | Cost per 4 hours |
| Sony FX6* | XAVC-I | 75 MB/s | $1,719 |
| Kinefinity Mavo mark2 LF | Prores XQ | 221 MB/s | $3,108 |
| Red Komodo | Redcode RAW | 280 MB/s (175 MB/s)^ | $3,662 ($2,289)^ |
| Blackmagic URSA Mini Pro 12K | BRAW | 578 MB/s (361 MB/s)^ | $7,559 ($4,721)^ |
| Z Cam E2-F8 | ZRAW | 154 MB/s | $2,014 |
^In 8:1 setting or MQ compression.
To be fair, I’m going to use the 8:1 and MQ compression settings to be on an even keel. You can see the Red Komodo‘s insane value when shooting in compressed RAW.
What about battery life?
Batteries and Power
| Camera | Battery | Power Draw | Battery Voltage |
| Red Komodo | BP-975 x 2 | 37 W | 14.4V |
| Kinefinity Mavo mark2 LF | V-mount | BP-U | 27 W | 14.8V |
| Z Cam E2-F8 | Sony NP-F | 12V LEMO | 24 W** | 6.8-8.4V |
| Sony FX6 | Sony BP-U70 | 18 W | 19.5V |
| Blackmagic URSA Mini Pro 12K | V-mount | Gold Mount | 55 W | 12V |
Now all we have to do is find the battery life and cost of operation for 6 hours of a day’s worth of work.
Here are the numbers:
| Camera | Battery life^ | Watt hours | Cost | Cost of 6 hours of operation |
| Sony FX6 | 210 mins | 72 Wh | $320 | $549 |
| Kinefinity Mavo mark2 LF | 200 mins | 95 Wh | $200 | $360 |
| Red Komodo | 180 mins* | 106 Wh* | $400* | $800 |
| Blackmagic URSA Mini Pro 12K | 100 mins | 95 Wh | $200 | $720 |
| Z Cam E2-F8 | 110 mins | 45 Wh** | $134 | $439 |
*With two Canon BP-975 batteries.
**Assuming a Sony NP-F970 battery.
The Red Komodo draws a terrible amount of power for a camera that doesn’t have an LCD or viewfinder. Even the Blackmagic URSA Mini Pro 12K (Amazon, B&H) works out to be cheaper.
The Sony FX6 (Amazon, B&H) is best overall with all the added accessories and functionaliy.
Time to sum up everything.
Which is cheaper to own?
Shall we? It’s important to add accessories to put all cameras on an even keel:
| Camera | Red Komodo | Sony FX6 | Kinefinity Mavo mark2 LF | Blackmagic URSA Mini Pro 12K | Z Cam E2-F8 Full Frame 8K |
| Camera body | $5,995 | $5,998 | $5,999 | $6,385 | $5,995 |
| Cost of Media | $2,289 | $1,719 | $3,108 | $4,721 | $2,014 |
| Cost of Batteries | $800 | $549 | $360 | $720 | $439 |
| Lens Adapter | $369 | $369 | $699 | $0 | $0 |
| Total | $9,453 | $8,635 | $10,166 | $11,826 | $8,448 |
The price difference between the cheapest, the Z Cam E2-F8, and the most expensive, the Blackmagic URSA Mini Pro 12K (Amazon, B&H), is more than $3,300. That’s money you can use for other accessories, media, batteries or lenses.
The choice will come down to usability and exactly what kind of work you’re doing.
Verdict
First, a recap:
| Feature | Winner |
| Sensor, ISO and Low Light | Sony FX6 |
| Built-in ND filters | Sony FX6 |
| Frame Rates | Blackmagic URSA 12K |
| Codecs | Red Komodo |
| SDI and XLR | Sony FX6 |
| Variety of Lenses | Sony FX6 |
| Autofocus | Sony FX6 |
| Media | Blackmagic URSA 12K |
| Ergonomics | Tie |
| Gimbal Weight | Sony FX6 |
| Battery life | Sony FX6 |
I interact with thousands of filmmakers every year, and I can tell you: practical cinematography in the real world doesn’t really warrant anything better than what ny of these cameras are capable of producing. So the limitation will always be the cinematography and production values.
Before we take our final decision, we’ll let each camera tell us what it offers that the other doesn’t:
| Camera | USP | Major Cons |
| Sony FX6 | Small and lightweight, low light performance, AF, full frame sensor, E-mount lenses, 4K 120 fps externally, ND filter, XLR inputs, production ready ergonomics, worldwide availability and support | No RAW internally, no locking lens mount |
| Blackmagic URSA Mini Pro 12K | 12K, 8K to 4K modes, 4″ LCD, production ready ergonomics, BRAW in many varieties of compression levels, high frame rates | Low light performance, size and power draw |
| Red Komodo | Global shutter, 6K, Wireless, Hot swappable dual batteries, Internal compressed RAW, Ethernet | No XLR for audio, power draw, no ND filter |
| Kinefinity Mavo mark2 LF | Full frame sensor, XLR inputs, dual battery mounts, Ethernet | No RAW internally, no ND filter |
| Z Cam E2-F8 | 8K, full frame sensor, Ethernet | ZRAW is not a popular RAW format, No SDI, no locking mount |
I promised one winner. If I had to pick one camera that can do everything, from documentaries to film work to even weddings, nothing beats the value of the Sony FX6 (Amazon, B&H). It wins this comparison hands down.
If you really really need RAW, then I’d pick the Red Komodo.
What do you think?
