Blog / Resources / Cameras 2019 Camera Comparison Chart Cameras Compiled by Tom Fletcher and Gary Adcock with information gathered from numerous conversations with various cinematographers, colorists, colleagues and manufacturers and reproduced with kind permission from Tom Fletcher Click on the chart to open the full size PDF. Compiled by Tom Fletcher and Gary Adcock with information gathered from numerous conversations with various cinematographers, colorists, colleagues and manufacturers. and reproduced with kind permission from Tom Fletcher Related articles Z CAM: Does This Powerful Underdog Have a Future? Cameras Did you know that the American heist action feature film “A Day to Die” was shot entirely on Z CAM E2-F6 and S6? Also, did you know that the E1 … Read more Mid-range cameras don’t mean compromise Cameras At VMI we’ve noticed a recent trend among filmmakers and wondered if you agree? We’ve spotted that a significant number of productions are ‘trading down’ from using traditional top of the range cine-cameras like ARRI Alexa Mini/LF or Sony Venice to instead using mid-range cameras, like Sony FX-6, FX-9, Canon C300 Mk III and Canon C500 Mk II etc. The reason? We think producers (or rather DPs) have realised that they can achieve similar production values by using mid-range cameras whilst saving budget on camera hire. WORKING RESOLUTION: CONSIDERATIONS & BEST PRACTICES Cameras, Media, DIT and Streaming Netflix have published a very useful article, which takes an in depth look at the concept of a working resolution and outlines the best practices for image scaling throughout the production lifecycle…
Z CAM: Does This Powerful Underdog Have a Future? Cameras Did you know that the American heist action feature film “A Day to Die” was shot entirely on Z CAM E2-F6 and S6? Also, did you know that the E1 … Read more
Mid-range cameras don’t mean compromise Cameras At VMI we’ve noticed a recent trend among filmmakers and wondered if you agree? We’ve spotted that a significant number of productions are ‘trading down’ from using traditional top of the range cine-cameras like ARRI Alexa Mini/LF or Sony Venice to instead using mid-range cameras, like Sony FX-6, FX-9, Canon C300 Mk III and Canon C500 Mk II etc. The reason? We think producers (or rather DPs) have realised that they can achieve similar production values by using mid-range cameras whilst saving budget on camera hire.
WORKING RESOLUTION: CONSIDERATIONS & BEST PRACTICES Cameras, Media, DIT and Streaming Netflix have published a very useful article, which takes an in depth look at the concept of a working resolution and outlines the best practices for image scaling throughout the production lifecycle…