Professional filmmaking cameras: The best cinema cameras in 2023

Blackmagic Pocket Cinema Camera 6K G2 review

Digital Camera World Verdict

Appearances can be deceptive. The Blackmagic Pocket Cinema Camera 6K G2 might look like an upscaled mirrorless camera, but it’s a completely different beast altogether. It’s only the price that puts in the same ballpark. This is an out-and-out cinema camera that raises the bar for filmmaking features but demands know-how and effort in return.


  • +

    Huge 5-inch touchscreen

  • +

    Excellent big-button interface

  • +

    ProRes and Blackmagic RAW codecs

  • +

    Choice of storage media, from SD to SSD

  • +

    Excellent connectivity

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The Blackmagic Pocket Cinema 6K G2 is a new variant in the company’s Pocket Cinema camera. These are serious cinema cameras designed to look and handle like regular handheld cameras and at a price which frequently undercuts them.

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The range started off with the MFT format Blackmagic Pocket Cinema Camera 4K, still on sale today, then moved on to the larger Blackmagic Pocket Cinema 6K, with a Canon EF lens mount and Super35 sensor (both very widely used in the cinema industry), a 6K Pro version and now this Blackmagic Pocket Cinema 6K G2 model, which replaces the original 6k and add some but not all of the features in the Pro version – but without an increase in price.

  • Blackmagic Pocket Cinema Camera 6K G2 (Black) at Amazon for $1,995
  • Prime Day 2023: see our pick of the best camera deals in Amazon’s sale

The chief differences between the G2 and the Pro seem to be that the Pro version has built in ND filters and a brighter display – both of which played a part during our testing.


Sensor: 23. 10mm x 12.99mm (Super 35)
Lens Mount: Canon EF
Dynamic Range: 13 Stops.
Dual Native ISO: 400 and 3200
Shooting Resolutions: 6144 x 3456 (6K) up to 50 fps, 6144 x 2560 (6K 2.4:1) up to 60 fps, 5744 x 3024 (5.7K 17:9) up to 60 fps, 4096 x 2160 (4K DCI) up to 60 fps, 3840 x 2160 (Ultra HD) up to 60 fps, 3728 x 3104 (3.7K 6:5 anamorphic) up to 60 fps, 2868 x 1512 (2.8K 17:9) up to 120 fps, 1920 x 1080 (HD) up to 120 fps
Built in ND Filters: None
Focus: Single-shot AF using compatible lenses.
Screen: 5-inch tilting touchscreen, 1920 x 1080.
Storage: 1 x CFast card slot, 1 x SD UHS‑II card slot, 1 x USB-C 3.1 Gen 1 expansion port for external media for Blackmagic RAW and ProRes Recording
Formats: Blackmagic RAW 3:1, 5:1, 8:1, 12:1, Q0, Q1, Q3 and Q5 at 6144 x 3456, 6144 x 2560, 5744 x 3024, 4096 x 2160, 3728 x 3104 and 2868 x 1512 with film, extended video, video dynamic range or custom 3D LUT embedded in metadata. ProRes at 4096 x 2160, 3840 x 2160 and 1920 x 1080 with film, extended video or video dynamic range or custom 3D LUT
Software: DaVinci Resolve Studio for Mac and Windows including activation key

Key features

The BMPCC 6K G2 takes Canon EF mount lenses – the second most popular mount for cinema cameras. (Image credit: Rod Lawton)

Inside is a Super35 sensor (not full frame) with dual native ISO settings of 400 and 3200 and a max ISO of 25600. (Image credit: Rod Lawton)

The 6K G2’s array of ports shows just how serious it is, including two mini-XLR mic ports, full size HDMI, USB 3.1 for external SSDs and a 12V power supply port. (Image credit: Rod Lawton)

On the back is a huge 5-inch tilting touchscreen display. (Image credit: Rod Lawton)

Storage is taken care of by one SD slot, one CFast slot (shame it’s not CFexpress) and the option to plug in an external SSD. (Image credit: Rod Lawton)

There are a few key features of this camera worth a closer look. First, it has a Super35 format sensor rather than full frame, and its use of Canon EF lenses might look a little backward in the mirrorless age, but in cinema the Canon EF format is second only in popularity to the PL mount.

And if you’re coming to the camera from a mirrorless or DSLR model, you’re going to have to sacrifice a few home comforts. There’s no continuous AF, so although the 6K G2 can focus for you ahead of recording, you’ll have to do your own manual pull-focusing after that – maybe set up a rig with a follow focus unit.

There are three storage options for recording video. One is a built-in UHS II card slot, which will be fine for the more modest codec and video settings, and there’s also a CFast card slot for higher bitrates – though CFast does seem to be a format on the wane. The third option is one you don’t get on mirrorless cameras, which is the option to record straight to an SSD via the cameras USB 3.1 port. (A fourth option would be to connect an external recorder/monitor. )

One more thing to note is that although you can set the 6K G2 for ready-to-share video recording, it’s really set up for a grading workflow, and since it’s got Blackmagic’s own RAW format, you’ll probably want to use it – or the set of four Apple ProRes options. If you already have a finished grade to work with, you can install it to the camera as a LUT.

Build and handling

There’s no getting around it, this is a big camera. Not only is it heavy to hand hold, it also lacks stabilization, so it’s going to be better on a tripod, gimbal or rig. (Image credit: Rod Lawton)

The rear screen is fine indoors, but outdoors it’s too dim and prone to glare, and the shooting info can be almost impossible to see. (Image credit: Rod Lawton)

You can add an optional EVF unit, and you might be glad of it. (Image credit: Rod Lawton)

Blackmagic’s interface is brilliant, dramatically simplifying format, quality, resolution and frame rate settings. (Image credit: Rod Lawton)

The controls are functional rather than refined – the ISO, shutter angle and WB buttons could do with being larger. (Image credit: Rod Lawton)

A further six buttons on the back offer quick access to key shooting controls. (Image credit: Rod Lawton)

This is a big camera. It gets even bigger when you put a lens on the front because the body has to accommodate the extra flange depth of the EF mount lenses, even if it doesn’t have a mirror. Officially, it only supports EF lenses, but we’ve heard from users who use EF-S lenses too. One of ours (a Canon EF-S 18-55mm kits lens) didn’t seem to want to fit but another, a Tokina 12-24mm f/4 APS-C lens, went on fine.

You could use this camera handheld, or attempt to, but in the absence of any in-camera stabilization you would need a lot of skill, or a lot of luck, to get usable footage. 

Blackmagic Pocket Cinema cameras do now store gyro movement information thanks to a software update, and this can be used in DaVinci Resolve 18 to stabilize your footage. However, you won’t be able to see how well this has worked until you. get down to editing, but by then it’s too late. It’s not the same as being to check in-camera if the stabilization has been effective.

Despite looking like a handheld camera, this is one that’s going to be most at home on a tripod, on a meaty gimbal or on a rig with other accessories like mics, storage and a monitor.

The buttons work well enough, though the ISO, shutter angle and WB buttons could do with being bigger. The interface is a joy to use, however, and puts the poky little menus on mirrorless and DSLR cameras to shame. With big buttons and simple swipes to go through settings screens, it’s easy to use.

But while this screen is fine for indoor use, it’s hard work outside. We did some shooting in bright sunlight and found it almost impossible to see the settings and could only just make out broad shapes for composition. We tried turning the screen brightness up to maximum, but it didn’t help much. If you get this camera for outdoor use, you might want to budget for the optional screw-on EVF or an external monitor bright enough for daylight.

If you want sensible shutter angles and iris settings outside, you’ll also need a variable ND filter for your lens – the main reason for choosing the 6K Pro model over this one.


We don’t have too much to say about the image quality because we had to raid the cupboards for a couple of EF lenses to use it with, and they weren’t the best examples of modern optical science.

Neither did we test every permutation of codec, frame rate and quality settings, as that would be a lifetime’s work on its own. We have already reviewed the Blackmagic Pocket Cinema Camera 4K and Pocket Cinema camera 6K Pro models and assessed the image quality there.

What we have done is put together a short set of clips captured in the time we spend with this camera. These have not been graded and were shot with the closest suitable setting for straight-from-camera use. It’s clear, though, that even though Blackmagic claims a modest 13 stops of dynamic range, our footage has a lot of shadow and highlight detail.

The Blackmagic Pocket Cinema Camera 6K G2 is only as good as you are. If you’re good and you know what you’re doing, it’s pretty exceptional, but if you’re not, it’s not going to help you.


(Image credit: Rod Lawton)

The Blackmagic Pocket Cinema Camera 6K G2 is extraordinary value for money. There are plenty of mirrorless cameras that cost more than this and do a lot less from a filmmaker’s point of view. 

But it’s not really an appropriate comparison. With no in-camera stabilization, no continuous AF and support only for Canon EF lenses, this is not a mirrorless alternative. This is a big, ponderous camera that’s going to be at its best in planned productions and on shoots where you’ve got time to get everything right. And while it can be used as-is, straight from the box, it really needs to be rigged up with extra gear – especially a better screen – to deliver its best work.

Blackmagic Pocket Cinema Camera 6K G2: Price Comparison

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Rod is an independent photography journalist and editor, and a long-standing Digital Camera World contributor, having previously worked as DCW’s Group Reviews editor. Before that he has been technique editor on N-Photo, Head of Testing for the photography division and Camera Channel editor on TechRadar, as well as contributing to many other publications. He has been writing about photography technique, photo editing and digital cameras since they first appeared, and before that began his career writing about film photography. He has used and reviewed practically every interchangeable lens camera launched in the past 20 years, from entry-level DSLRs to medium format cameras, together with lenses, tripods, gimbals, light meters, camera bags and more. Rod has his own camera gear blog at but also writes about photo-editing applications and techniques at

The 7 Best Cinema Cameras for Video Professionals

When working in film and video, there are a lot of terms to learn. Not only do you need to know about aspect ratios, gaffers, and mise-en-scene. You also need to know abstract terms which sometimes mean one thing, then sometimes mean something else.

“Cinematic” is probably my favorite of these terms. In some senses, it means absolutely nothing besides “this image looks pretty.” However, in other terms, it’s an important qualifier that distinguishes a high-end, job-specific video camera from the smartphone in your friend’s pocket.

So, for those who might be doing their research into which camera is right for their video needs, or perhaps those looking to see how their current camera compares to the competition, let’s quickly outline our picks for the actual best cinema camera currently on the market:

  1. Canon EOS C300 Mark III
  2. Blackmagic Ursa Mini Pro 12K
  3. Sony FX6
  4. Panasonic Lumix BS1H
  5. Red Komodo
  6. ARRI Alexa Mini
  7. Sony Venice 2

But, before we dive into each of these selections a bit more in-depth, let’s go over some basics first.


What makes a camera a cinema camera?

Now, this is a big question to answer in a short article which is supposed to be about camera options. Still, without going too in-depth on the specifics, we do need to clarify a few things which separate a cinema camera from your friend’s smartphone camera.

A cinema camera is any type of digital video camera that (more or less) has the following elements:

  • Interchangeable lens mount
  • 35mm sensor size (or better)
  • Deep depth-of-field
  • High dynamic range
  • Low light performance
  • In-camera log gamma
  • 4K resolution (or higher)
  • Modular design (and usable with an external recorder)

Now, please take this with a grain of salt as many of the elements included (or not included) may be debatable to different filmmakers or cinematographers. But in general, these are the basic features which every cinema camera should have.

Image Quality and Other Factors to Consider

The real crux of what you should consider for your cinema camera (as well as what might qualify as a cinema camera) really comes down to the image quality and other factors you might need to create cinematic footage.

There’s a real debate within the film and video world whether or not a smartphone can shoot “cinematic” footage. By some definitions, there have already been numerous feature films shot on iPhones or the like. 

However, there’s also plenty to be said about the limitations of working with a non-cinema camera on a project where you can’t shoot 4K or with a high dynamic range to really capture the colors and looks many filmmakers might desire.

As such, for our list below we will be providing any aspiring filmmakers with the seven best selections that we could come up with for going out and shooting high-quality cinematic footage. 

These are real bona-fide cinema cameras which represent the best investments for any serious video professionals, companies, or agencies looking to provide the best footage possible.

Canon EOS C300 Mark III

Our first selection is the Canon C300 Mark III as one of the best tried-and-true cinema cameras on the market. Taking a step up from the Mark II version, the current Canon camera is perhaps the best video camera when it comes to either shooting high-quality footage that looks great in a studio or run-and-gun documentary shooting handheld in low light situations.

With a Super 35mm sensor capable of 4K video at up to 120 fps, you’ll have plenty of DCI 4K to use, which is recorded directly to your CFexpress card (and with two slots). 

The 16-stops of high dynamic range really set this cinema camera body apart from your other mirrorless cameras or DSLR offerings, as its beautiful image quality combines well with all of its practical bells-and-whistles for professional video production. (And it’s truly a great cine camera to invest in to level up your Canon mirrorless camera.)

  • Super 35mm Dual Gain Output (DGO) Sensor
  • 4K 120p, 2K Crop 180p HDR
  • Cinema RAW Light and XF-AVC H.264 Codec
  • EF Lens Mount, DIG!C DV7 Image Processor
  • Dual Pixel CMOS AF and Face Detection
  • LM-V2 4. 3″ LCD Touchscreen Monitor
  • 12G-SDI and 4-Channel Audio Recording
  • 2 x CFexpress Slots, Canon Log2 and 3
  • Electronic Image Stabilization
  • Proxy Recording, Anamorphic Lens Support

Price: $10,999.00

Blackmagic URSA Mini Pro 12K

After spending years being known for color editing software, Blackmagic Design actually has several cinema quality cameras which we could shout out on this list. (Most notably the Blackmagic Pocket Cinema Camera 4K, the Blackmagic Pocket Cinema Camera 6K, and the Blackmagic Pocket Cinema Camera 6K Pro are all right there on the cusp of cinema quality but at a fraction of the budget.)

That being said, the Blackmagic URSA Mini Pro 12K might be the current best of the bunch with its insane video recording capabilities and low light performance. It can certainly broadcast as well, but the Mini Pro 12K is simply one of the best options for all your commercial shoots, corporate videos, and even indie shorts or features.

With a 12K Super35 sensor, 14 stops of dynamic range, and some beautiful new Blackmagic color science, you can rest assured that your footage is going to look absolutely stunning and comparable to any camera currently in existence.

  • 12K Super35 HDR CMOS Sensor
  • 12K 17:9 to 60 fps/12K 2.4:1 to 75 fps
  • DCI 8K to 120 fps/14 Stops Dynamic Range
  • User-Changeable PL Lens Mount
  • 4K Super16 up to 220 fps
  • 80MP/frame Blackmagic Raw
  • Dual CFast or SD Card Recording
  • USB Type-C Recording to Disk/SSD

Price: $5,995.00

Sony FX6

For our list to be complete, we also have to look at perhaps the best cinema camera from Sony. And the Sony FX6 is certainly one of the Sony cameras to talk about right now, as it’s perhaps the best Sony camera in terms of functionality-to-price ratio.  

With a 4K 10.2MP CMOS full-frame sensor capable of recording DCI 4K at up to 60 fps (and UHD 4K at up to 120fps), the FX6 has become a real workhorse in the industry for professionals of any ilk.

The 15+ stops of dynamic range also don’t hurt, as Sony’s FX6 is quickly becoming a go-to camera for all types of projects — not just in the studio, but also out on low light locations or in the field. It’s also surprisingly compact and lightweight compared to some others on the list, so feel free to grab this one and go with little worry about where it might fit into your workflow.

  • 4K Full-Frame 10.2MP CMOS Exmor R Sensor
  • DCI 4K60p | UHD 4K120 | 1080p240
  • 15+ Stops of Dynamic Range in S-Log 3 EI
  • Compact Form Weighs Just <2 lb
  • Phase Detection AF/Face Tracking/Eye AF
  • Base 800-12,800 ISO / 320-409,600 Max
  • S-Cinetone, S-Log3, HLG Modes
  • 10-Bit 4:2:2 XAVC-I/16-Bit Raw Output
  • Dual CFexpress Type A/SDXC Card Slots

Price: $5,998. 00

Panasonic Lumix BS1H

One of the “cheapest” options on our list that still satisfies our basic tenets of what makes a cinema camera actually a cinema camera, the Panasonic Lumix BS1H is a behemoth. Designed as a “box camera,” the BS1H is really meant to be modular and tailored for your individual production needs as it can be built up as big (or as small) as you want.

It also has a very powerful 24.2MP full-frame MOS sensor capable of up to 5.9K H.264 video recording, plus plenty of dynamic range (14+ stops), dual-native ISO, and some beautiful V-Log recording. It’s a bit newer to the group, but with a price under $3,500 it might be the easiest upgrade from your current mirrorless cameras options.

  • 24.2MP Full-Frame MOS Sensor
  • Up to 5.9K H.264/H.265/HEVC Recording
  • 14+ Stops of Dynamic Range, HLG Imaging
  • Dual-Native ISO, VariCam Look & V-Log L
  • VFR up to 60 in 4K, up to 180 fps in FHD
  • Ethernet with PoE+, VBR Battery Mount
  • Anamorphic Video & 3D LUT Support
  • Durable Magnesium & Aluminum Body
  • 12 VDC Power Adapter Included

Price: $3,497. 99


We’d be sorely remiss if we put together a “best cinema camera” list and didn’t include at least one RED camera to choose from. Long known for their industry-breaking cinema cameras and their loyal fanbase of video shooters, the RED KOMODO 6K might actually be their most accessible camera for those who haven’t drank the RED Kool Aid yet.

With a 19.9MP Super35 CMOS sensor with Global Shutter technology, a whopping 16+ stops of dynamic range for low light performance, and the ability to record up to 6K at 40 fps (plus 4K at 60 fps), the KOMODO 6K is a beautiful concoction of all things that make RED cameras great. 

The KOMODO 6K also includes all the great RED control system smartphone integrations and wireless controls as well.

  • 19.9MP Super35 Global Shutter CMOS
  • Compact, 2.1 lb All-in-One Design
  • Canon RF Lens & ARRI CFast 2.0 Support
  • 16+ Stops Dynamic Range
  • Up to 6K40, 5K48, 4K60 & 2K120 Recording
  • REDCODE RAW HQ/MQ/LQ & Apple ProRes
  • Integrated 2. 9″ 1440 x 1440 Touchscreen
  • Wireless Control & Preview via Wi-Fi
  • CFast 2.0 Card Slot; RED IPP2 Support
  • EF-to-RF Mechanical Adapter Included

Price: $5,995.00


When most filmmakers and professional videographers talk about cinema cameras, there are usually two levels to consider. The cameras we’ve listed above would fall into the “over-the-counter” (and under $6,000 range) options, which are sort of hybrids that  share several similarities with your run-of-the-mill digital cameras.

The next tier is usually associated with cameras like the ARRI cameras (as well as REDs and others) which, in most instances, you can only get your hands on by renting from a production house.

The ARRI ALEXA Mini LF is one of these upper echelon cameras that, while more exclusive, is about as accessible as a camera at this tier can be. With a large-format 4448 x 3096 sensor capable of recording native 4K video in ARRIRAW and ProRes, the ARRI ALEXA Mini LF will absolutely blow many of these other cameras out of the water.

You should know that the price jumps up quite a bit from the previous cameras on this list. However, the ARRI ALEXA Mini LF has been used to shoot many of the biggest films of our day like The Power of the Dog or Dune: Part One.

  • Large-Format 4448 x 3096 Sensor
  • Native 4K Recording in ARRIRAW & ProRes
  • Large-Format Optimized LPL Lens Mount
  • Open Gate, 16:9 & 2.39:1 Anamorphic Mode
  • Native 800 ASA, 14+ Stops Dynamic Range
  • Array of ARRIRAW & ProRes Capture Modes
  • Works with Most ALEXA Mini Components
  • Internal FSND 0.6, 1.2 & 1.8
  • PL-to-LPL Adapter Included

Price: Rental rates apply

Sony VENICE 2 8K

Along with the ARRI ALEXA Mini LF, we also have to include another highest-end cinema camera on our list for those who are dead serious about producing content at the best clip possible. The Sony VENICE 2 is another 8K behemoth that boasts 4K ProRes video with 4444/422HQ internal raw recording.

16 stops of dynamic range, 8.6K footage at 30 fps, and some very versatile dual-range based ISO at 800/32000 mean this camera is indeed one of the best options for any video production project under the sun. 

However, as with any ARRI camera or other higher-end options, your best bet for working with the VENICE 2 would be to rent it on a project-by-project basis. And make sure you (or your DP) really know what they’re doing to get the most out of this cinema camera.

  • X-OCN Internal Recording
  • 4K ProRes 4444/422HQ Internal Recording
  • Interchangeable CMOS 8.6K Sensor Block
  • 16 Stops of Dynamic Range
  • 800/3200 Base ISO Range
  • Removable PL Mount, Cooke /i Protocol
  • Sony E-Mount with Electronic Contacts
  • 8 x Integrated ND Filters Plus Clear
  • Integrated Assistant-Side Info Screen

Price: Rental rates apply

Further reading

Those are our picks for the best cinema camera currently on the market. If these cameras are in the right price range and boast the right specs for your needs, then hopefully we’ve helped you on your journey to pick the right camera for you.

However, if you’re looking for other camera options at other price points, or simply want to spend some more time developing your cinematography craft, check out these other guides and resources below:

  • The Top 10 Cameras for New Video Production Companies
  • The 7 Best Cameras for Music Videos in 2022 (Plus Helpful Shooting Tips)
  • The Best Lighting, Kits, and Tips for Video Interviews
  • 9 Cheap Vlogging Cameras For Creators In 2022
  • Is the DJI Ronin 4D Actually Good for Filmmakers?

GAU RS (Y) “National Center for Audiovisual Heritage of the Peoples of the Republic of Sakha (Yakutia) named after I.S. Zharaev”


Film cameras of the Krasnogorsk Mechanical Plant

Amateur 8 mm film cameras of the Quartz family and 16 mm film cameras of the Krasnogorsk series.

Krasnogorsk film cameras were widely used in television, for shooting newsreels and documentaries.

16-mm film cameras of the Kyiv plant of automation named after. G. I. Petrovsky

Kiev Plant of Automation named after G. I. Petrovsky (on some film cameras the manufacturer was designated as the “Tochpribor plant”) from the second half of the 1950s to the 1980s inclusive produced 16 mm film cameras, which were used mainly for professional purposes. Nevertheless, the Kyiv and Alfa (Alpha-semi-automatic) movie cameras entered the retail network and were available to film lovers.

  • Kiev-16S-2 ” (since 1957) – 16 mm film with double-sided perforation, spring drive, loading with 15 m Kodak-Magazin cassettes, disc shutter. Lenses “RO-51” 2.8 / 20, “Industar-50” 3.5 / 50. It was a copy of the “Magazine Camera-200 T” movie camera manufactured by Bell & Howell, USA.
  • Kiev-16S-3 ” (1966-1971) – modification of the Kyiv-16S-2 camera, designed for film with double-sided and one-sided perforation. The tape drive mechanism and the design of the cassette, which are not interchangeable with the previous model, have been changed. The camera is equipped with additional accessories.
  • Kiev-16U ” (since 1966) – removable spring drive, speeds 12, 16, 24, 32, 48, 64 fps, frame-by-frame shooting, autoloading and manual film rewind. Coaxial bobbin arrangement. The following lenses are mounted on the turret: Mir-11 2.0/12.5, Vega-7 2.0/20, Tair-41 2.0/50 with M32×0.5 threaded mount, working distance 31 mm. It was completed with an adapter for installing interchangeable lenses from other cameras.
  • Kyiv-16UE ” (since 1972) – modification of the Kyiv-16U camera, removable electric drive powered by batteries (built-in or external). Compatible with the spring drive of the Kyiv-16U camera, there is a complete set with two drives.
  • Kiev-16E ” – electric drive, powered by external or internal batteries, speeds 16, 24, 32 fps and frame-by-frame shooting, interchangeable lens “Vega-7” 2. 0 / 20 (with mount type “C ”), an adapter for installing interchangeable optics with a threaded mount M42 × 1/45.5 mm, a mirror obturator, a parallax-free viewfinder. TTL is a exposure meter. Includes extension rings, charger. Charging with special cassettes.
  • Alpha ” (since 1969) – spring drive, speeds 12, 16, 24, 32 fps and frame-by-frame shooting, interchangeable lens “Vega-7E” 2.0 / 20 (with type “C” mount). Charging with 30 m spools. Parallax-free viewfinder, light selection from the lens through a beam-splitting prism. Carbon fiber body.
  • Alpha semi-automatic ” (since 1972) – modification of the Alpha camera, TTL exposure meter with semi-automatic exposure setting.

Lanthanum, format 2×8 mm

Lanthanum ” (1969-1975) – film loading 2 × 8 on standard reels of 10 m. spruce – cadmium batteries D-0.06). Spring drive, winding for 2 meters of film. Speeds 8, 16, 24, 48 fps and frame-by-frame shooting, manual film rewind. Zoom lens “Granit-3” 1.4 / 7.5-32 mm. Possibility of macro photography. Synchronizer for synchronous sound recording using the Synchro-8 device. Parallax-free viewfinder with an extended field of view, part of the rays are deflected from the lens through a beam-splitting prism

Lada, 2×8 mm format

CINEMA CAMERA Lada, 2×8 mm format ohm with variable focal length distance.

Exposure meter with external CdS photoresistor, powered by mercury-zinc cells RTs-53 (nickel-cadmium batteries D-0.06). It is possible to manually set the aperture with control by the arrow indicator in the viewfinder field of view. Spring drive. Film loading 2×8 on standard 10 m reels. Speeds 8, 16, 24, 48 fps and single frame. Disc obturator. Lens “PF-2” with variable focal length 1.7/9-37. The viewfinder is parallax-free with the removal of rays from the shooting lens through a beam-splitting prism.

The Lada film camera was equipped with light filters, masks for combined filming and a compedium for mounting them.

Cinema camera “ Lada-2 ” has minor technical differences s-automatic is a professional manual film camera with a mirror shutter, designed for the use of 35 mm film according to GOST 4896. One of the most famous and massive Soviet movie cameras, produced in various modifications in total from 1954 to 1992 ] . Designed for handheld and tripod shooting of conventional format films, widescreen and cassetted with image size and position in accordance with GOST 24229.

The name of the film camera is made up of the name and surname of the developer Vasily Konstantinov. The design reflects the global trend set in 1937 by the German Arriflex 35, which for the first time combined almost studio quality and unlimited mobility in one compact body. This camera is the first to use a mirror shutter, providing continuous through-sighting and precise focusing on ground glass. Another starting point for the Konvas designer was undoubtedly the French Caméflex, which entered the international film market in 1947 year. This camera was the first to use quick-change magazine-type one and a half cassettes containing almost the entire tape path, including gear drums and the rear sled of the split film channel. The size of both film loops is set at the moment it is loaded into the cassettes, and reloading the entire apparatus takes no more than five seconds, sufficient to insert a new cassette into the slot instead of the used one. In general, the layout and general device of the Konvas are similar to the Cameflex, providing the same mobility and versatility.

The first model of the Soviet camera, released in 1954 to replace the obsolete meter “KS-50B”, was additionally equipped with interchangeable manual and spring drives, but later they were excluded from the design, leaving only the electric drive acting as a handle. Compared to the Cameflex, the Soviet device turned out to be more compact, but much poorer equipped: it never supported two-format, shooting only on 35 mm film, the magnifier in the first model was fixed, and the rotary one of later releases did not have optical compensation for image rotation, as in the French counterpart. In addition, a simple plexiglass shutter “Konvas” with a mirror coating did not allow changing the shutter speed, having a constant opening angle. Due to the too long magnifying glass, the Konvas could not be rested against the shoulder, like the Cameflex, and the entire weight of the apparatus fell on the hands of the cameraman. Nevertheless, the new device quickly became widespread in the film studios of the USSR, and won the sympathy of filmmakers for many years. In a short time, Konvas-Avtomat became the main instrument of Soviet documentary cinema. Despite the fact that the device was originally designed as a newsreel, it also received recognition in staged films due to its versatility. The design was extremely technological, which contributed to the mass production of this camera, which was produced at the Moscow Film Equipment Plant (Moskinap) and at the Krasnogorsk Mechanical Plant.

LUMIX Modular Cinema Cameras – Panasonic CIS

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Mirrorless modular camera for live broadcasts and filming with 6K 24p / 5.9K 30p 10-bit video recording.

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Mirrorless modular cinema camera for film and live production with C4K 60p/50p 10-bit video.

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