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Best Cinema Cameras for Your Next Documentary

Annie St. Cyr
Published: Last Updated:

No matter what documentary genre you’re working on, here’s a look at some outstanding cameras for documentary filmmaking.

Documentary films frequently require a unique set of needs, skills, and demands. This is especially true when it comes to the camera system that you choose to utilize. Having the best camera for the job is an age-old adage that’s especially important for the documentary filmmaker.

Due to the often fast, unexpected nature of documentary filmmaking, there are a few particular questions you should ask about your camera system.

You’ll want to think about things like:

  • Does this camera system offer a solid auto-focus system?
  • What’s the weight of this camera package?
  • What camera will offer a codec with the least amount of file storage space?

While nearly every camera on the market today can be outfitted and used as a documentary camera, we’re going to look at our best out-of-the-box options on the market.

Some of these common requests and needs of the documentary cinematographer are:

  • Built-in ND filters
  • High ISO performance
  • XLR/audio capabilities
  • Robust features (high-speed, in-camera IS)
  • Plus, general ease of use

A good documentary camera package will perform highly in each category and capture gorgeous footage, given a smart and creative plan for cinematography.

Whether you’re filming the next hit docu-series for Netflix or a film about your eccentric neighbors, let’s look at some documentary cameras today! 


Sony FX6/FX9

Sony’s FX6 and FX9. Image via Sony.

Sony continues to mark itself as a premiere documentary camera maker with its new FX6 and FX9 line. These cameras feature a full-frame sensor and cover all the needs of the documentary filmmaker, including built-in ND, XLR, and an ergonomic form factor. These ultra-reliable cameras have found themselves shooting many high-end documentaries and reality TV shows.

The FX6 offers a 10.2 megapixels BSI-CMOS, full-frame at 4.2K. While the FX9 offers a 24.5-megapixels 6K HDR sensor.

The FX6 doesn’t provide certain features like dual native ISO, locking E-mount, and Super 35mm mode (only in HD), yet it’s still regarded highly in the cinematography landscape.

Both have solid ergonomics, image quality, and similar video feature sets, but choosing between them is dependent on what you need.

If battery life and shooting in low-light is a priority and you want the best bang for your buck cinema camera, the FX6 is a solid recommendation.

The FX9 is an absolute powerhouse when it comes to what it can offer, but at almost twice the price of the FX6, it’s a hard sell—unless you need those extra features you can’t get on the FX6 and want to use the camera for professional broadcasting, as well.

This video provides some solid comparison footage to help you select which camera will work best for your budget and your documentary film type.

Sony FX6 key spec notes:

  • 4K 10.2MP full-frame back-illuminated CMOS Exmor R sensor
  • Recording up to 4K 120p / HD 240p, 10 bit 4:2:2 color depth
  • 15+ stops of dynamic range
  • ISO up to 409,600
  • S-Cinetone profile (also used in FX9)

Sony FX9 key spec notes:

  • 6K full-frame back-illuminated CMOS Exmor R sensor (can only internally record in resolutions of up to 4K DCI)
  • Locking E-mount
  • DualBase ISO 800/4000
  • ISO range up to 102,700
  • 4K Super 35mm mode

Canon C300 Mark III / C500 Mark II 

Canon’s C300 Mark III and C500 Mark II cameras. Image via Canon.

You’re looking at the image above and thinking, “That’s the same camera!” And, yes, I’d say the exact same thing, but there’s a huge difference. Still, design-wise Canon has stuck to the “If it ain’t broke, don’t fix it” approach.

The C500 Mark II offers a full-frame CMOS sensor at 5.9K with up to 15+ stops of dynamic range in CineLog-2, while the C300 Mark III offers a 4K Super35 sensor with 16+ stops of dynamic range.

The C300 Mark III trumps the C500 Mark II in low-light capture. This is due to the C300’s Dual Gain Output (DGO) which offers even better performance at higher ISOs, more dynamic range, and an ability to erase any noise in the shadows completely.

Even though the C500 Mark II offers 60fps in 4K and 120fps in 1080p, the C300 is faster. Offering 120fps at 4K and 180fps at 1080.

From experience, I can say the C300 Mark III is a well-rounded camera that’s a joy to use, producing some of the richest and most dynamic footage I’ve taken to date.

If you’re a solo filmmaker and don’t need to shoot in 6K, or prefer a lighter setup because you don’t need full-frame lenses, then the C300 Mark III is perfect.

As for the C500 Mark II, if you can justify the almost $5,000 price increase and you shoot a lot of high-end work in 6K, and have a range of full-frame/anamorphic lenses, you won’t be disappointed with the C500 Mark II.

Canon has captured and held onto the cinematic camera space with its Cine range, regardless of whatever you choose.

C300 Mark III key specs:

  • Super 35mm dual gain output (DGO) sensor 4K 120fps, 2K crop 180fps 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
  • 2x CFexpress slots, Canon Log 2 and 3
  • Electronic image stabilization
  • Proxy recording, anamorphic lens support

C500 Mark II key specs:

  • Full-frame CMOS sensor, DIG!C DV 7 chip
  • Full-frame, Super 35, and Super 16 modes
  • DCI 4K/2K, UHD 4K, and HD modes
  • User-changeable lens mounts
  • DualPixel CMOS AF
  • Internal Canon RAW light recording
  • Internal XF-AVC recording
  • 2 x CFexpress card slots, SD card slot
  • Canon Log 2 and Log 3 gamma
  • 4-channel audio recording

Blackmagic URSA Mini Pro 12K

The Blackmagic URSA Mini Pro 12K. Image via Blackmagic Design.

This beast of a camera is nothing short of incredible. The URSA Mini Pro 12K camera from Blackmagic design has been the go-to camera for feature films and commercials over the past few years, with its 12,288 x 6480 12K Super 35 sensor and 14 stops of dynamic range.

This camera offers a vast range of shooting resolutions and frame rates—from 12K 75fps, 8K 160fps, and 4K Super 16 up to 240fps—four-position ND filter wheel, user changeable lens mounts, Dual Cfast or SD card recording, and even direct SSD recording via its built-in USB-C connection.

Made from lightweight magnesium alloy, the URSA Mini Pro 12K is a decent lightweight, yet robust build of a camera, solid for handheld work or tripod-based shots.

Other features to mention are the 12G-SDI input and output, 48V phantom power XLR audio, timecode and reference input, ergonomic controls, and a 4″ fold-out display.

I think what sets the URSA Mini Pro 12K apart is how reliable and easy it is to shoot with. The multiple resolutions at hand, while being consistent with its super-high image quality, a clean menu interface with multiple and accessible options, accurate exposure monitoring, and color renditions make the URSA Mini Pro 12K a pleasure to work with.

If you have full control of your surroundings and want a multitude of shooting options at the highest image quality, then the 12K is worth every penny.

URSA Mini Pro 12K key spec notes:

  • 12,288 x 6480 12K Super 35 sensor multiple high speed frame rates (12K/60fps; 8K/120fps; 4K/160fps; 4K Super16/240fps)
  • Recording direct to a flash disk or SSD via USB-C
  • Interchangeable lens mounts
  • 14 stops of dynamic range
  • Dual Cfast 2.0 / SD card recording

Canon C70

The Canon C70. Image via Canon.

The C70 sits just below the C300 Mark III, in my eyes. This smaller frame, mid-tier cinema camera is a good entry point for someone who wants something with weight and durability, but more manageable and compact than its bigger brothers.

There’s no denying it. Canon knows how to produce some of the best products in the cinematic and photo camera space and has been doing it for years. The C70 is pretty much as if the 7D Mark II and the C300 Mark III had a cine camera baby.

It’s everything you’ll need in a camera for a new documentary filmmaker—4K, built-in ND, mini XLRs, and the ever-reliable Canon color science built right in.

Canon C70 key specs:

  • Super 35 dual gain output (DGO) sensor
  • DCI 4K 60p, hi-speed UHD 4K 120p / 2K 180p
  • Canon log 2, 3, PQ & HLG HDR recording
  • RF lens mount / EF mount with adapter
  • DIG!C DV7 image processor
  • 16+ stops of total dynamic range
  • Built-in ND filters / auto ISO & gain
  • Dual pixel CMOS AF & EOS iTR AF X
  • 1 BNC timecode / 2 mini-XLR audio inputs
  • Dual SD card slots, LUT/long GOP support

Panasonic EVA-1

The Panasonic EVA-1. Image via Panasonic.

The Panasonic EVA-1 has been on the market for a few years now. However, it still proves an excellent camera for the documentary filmmaker.

This Super 35 sensor camera fits right below the popular Panasonic Varicam LT that you’ll see on many high-end productions.

It features 14 stops of dynamic range and dual ISO, which proves to be an extremely useful feature for documentary filmmaking. This low-light mode changes the camera’s native ISO all the way to 2500. 

Panasonic EVA-1 key specs:

  • Super 35mm 5.7K sensor
  • Dual native ISO
  • EF lens mount
  • Records 4K up to 60fps
  • Records 2K up to 240fps
  • 5.7K Raw output via BNC
  • 10-bit, 4:2:2 processing
  • Records to SD cards
  • V-Log and V-Gamut capture
  • SDI and HDMI video outputs

Blackmagic Pocket Cinema Camera 6K Pro

The Blackmagic Pocket Cinema Camera 6K Pro. Image via Blackmagic Design.

Released in February 2021, the Blackmagic Pocket Cinema Camera 6K Pro is the newest camera in the pocket cinema line. The original Cinema 4K and 6K both took the indie filmmaker scene by storm, offering a small form-factor cinema camera that was not only affordable, but could go blow to blow in image quality and performance against giants such as Canon and Sony.

Even though this is just an updated 6K, it does bring in some new offerings in this pro model. A weighty, bigger body with a better grip, adjustable tilt HDR LCD touchscreen, built-in ND filters, dual mini-XLR ports, and a larger NP-F570 style battery, just to name a few.

I will say, I love the design, build, and form-factor of the Pocket Cinema Camera 6K Pro. I understand most cameras on the market today only come in black, but there’s something so minimal and sleek design-wise about the 6k Pro. It’s a pleasure to use.

For its price, the 6K Pro is a fantastic package, offering some killer specs at a stupidly reasonable price that can go toe to toe with rivals in the market.

Blackmagic Pocket Cinema Camera 6K Pro specs:

  • Bright 1500 cd/m² tilting HDR LCD
  • Super 35 HDR sensor, Gen 5 color science
  • Dual XLR inputs, Canon active EF mount
  • NP-F570 battery, built-in ND filters
  • Record 6K 6144 x 3456 up to 50fps
  • Dual native 400 & 3200 ISO to 25,600
  • CFast 2.0 & SD/UHS-II card slots
  • Record up to 120fps windowed HD
  • USB type-C recording, 3D LUT support
  • 13-stop dynamic range, autofocus support

For more documentary tips and advice, check out these articles:

Cover image via Lewis McGregor.

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