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.

There’s science behind this too since Sony’s FX-6 and FX-9 actually share the same sensors as their cine-camera’s big sister, Sony Venice and the result is that the quality of all mid-range cameras has become incredibly good.  Many of these can now shoot 4K+ quality of 12/14 stops+ of latitude in log format, so professionals would be hard-pressed to be able to discern which camera was used from shot images alone.

 Yet even when using the less expensive mid-range cameras, many productions choose not to compromise on the lenses used and continue to hire the same premium lenses from Zeiss, Leitz, Cooke, Angenieux and ARRI as they did before.

That’s because clients continue to be discerning about creating a look by choosing from the increasing range of lenses now available. They can decide to shoot either spherical or anamorphic, as many FF cameras have anamorphic capability.  Atlas anamorphics, for example, introduces a modern blue anamorphic flare to images and have become a popular choice as a lower cost alternative to more expensive Cooke anamorphics.

Modern or classic?

There’s a choice between ‘modern’ and ‘vintage’ to shoot clean images or to introduce ‘character’ – a catch-all term which is hugely subjective but immensely important to programme makers. 

The Canon K35s continue to be really popular but are exceptionally expensive as a consequence of their vintage look and rarity value. However, lenses like Sigma Classic Primes, Canon Sumire and Celere primes are able to create a lot of character which many clients value but for much less money – an important quality.

What surprised me most was seeing how many productions chose to shoot with Sony FX-9 cameras in combination with premium lenses like Zeiss Supreme Radiance primes (they were used in the Netflix drama series, Man Vs Bee with a double Venice package). Because programme makers have so much choice it is clear that they are embracing this too!

Flexible mount options

…but that isn’t all.  With the increase in performance and functionality of cameras being offered with Sony and Canon mounts, many filmmakers now also choose to use Sony G-Master and Canon/Sigma lenses which incorporate native E and EF mounts in preference to traditional film lenses with PL mounts. They are using them to shoot commercials and other quality productions – but why?

The reason for this is clear – many E and EF mount lenses (though not all) have auto-focus capability and while autofocus used to be a swear word in production circles, many operators now use it as a focussing aid to ensure that their focus is pin sharp, which can be tricky with full frame sensors.

It is interesting to also note that recent entrants to the film lens market, such as Sigma, whose High Speed primes were recently used to shoot Top Gun 2: Maverick (by Claudio Miranda ASC, who apparently insisted that he would only use these lenses if Sigma integrated Cooke i/data compatibility, which is why they now do!), have found great favour amongst our clients.  These lenses offer premium quality at an affordable rate and we now offer many sets in both EF and PL mounts. [Read VMI article: Sigma Lenses – all you need to know]

Coated or uncoated?

Cinematographers can also choose between using either coated and uncoated lenses to craft their look (uncoated lenses flare easily) but these no longer need to break the budget. Choose from traditional choices such as uncoated Zeiss Superspeeds, or instead consider using modern alternatives such as uncoated Cooke Mini S4is (which are being used to shoot the latest series of Endeavour). 

Unusually, there also now is a budget choice available, though this is only available from VMI.  Uncoated Zeiss ZF uncoated Distagon/Planar primes were manufactured in-house by VMI to offer an uncoated look using DSLR lenses and whilst they remain in their original DSLR lens housings, they are nevertheless fully manual lenses which are fitted with external follow focus.

S-35 or FF?

Producers still face the same creative decisions about whether to shoot in S-35 or Full-Frame.  For fans of Full-Frame and there is now enormous choice at every budget level and for those who still champion S-35 – well, there are thousands of S-35 lenses in circulation and if it is good enough for ARRI to release a brand-new Alexa-35 camera to market, then it continues to be relevant today.

We need to factor-in that the medium camera range continues to be extended with the release of the RED Komodo (finding a home as a B-cam on productions like The Matrix Resurrections; Jurassic World: Dominion and Indiana Jones 5) which joins the RED Helium and Gemini; then also the Sony FX-9, FX-6 and Sony FS7 II as well as the Canon C300 III and FF Canon C500 II – and these are only the most popular models. 

It doesn’t end there of course: Other potential options include the Sony A7S III and Panasonic S1H which are built into really small camera bodies alongside the Canon C-70 and Sony FS5.  All are really interesting and have their own USPs, though defining real distinctions between them can become quite difficult.

All the choice, none of the confusion

Essentially, using a mid-range camera doesn’t have to mean mid-range quality and the DP no longer has to compromise creating a distinctive look imposed due to a tight budget.

So how about the latest ZCAM camera? Users may not be too familiar with the ZCAM E2-F6 Full-Frame unit but this latest version offers digital cinema specifications at a real budget rental price.  A Full Frame CMOS 6K sensor offers anamorphic capability, 14 stops of dynamic range and 4K (with RAW) capture up to 120fps in 2.40:1 aspect ratio with native PL or EF mounts to cover all bases.

Or the Blackmagic Pocket 6K Pro which VMI now stock? A 6K compact camera capable of shooting 13 stops of latitude of up to 120fps with on-board RAW capture and native EF mount? 

These are three more cameras to add to a crowded marketplace but each have their own USPs and fans.

Conclusion

In short, it’s clear that filmmakers have discovered an abundance of options to achieve great quality on lower budgets than previously and are changing their production choices as a result.

We are responding too by increasing both the quantity and range of these great cameras that our clients love to use and look forward to the arrival next month of the arrival of the RED 8K Raptor to join our fleet and the Alexa-35 shortly after (when ARRI can finally supply this camera – we have after all been waiting 4-years for it to arrive…!)

You may be interested to learn that we are designing a ‘Shooting Kit Wizard’ module for our website in order to make it easier for web visitors to understand every (compatible) permutation of camera, lens and accessory in order to reflect the huge range of options at your disposal and then be able to offer solutions at every budget too.  We are hoping for a summer release of this function.

With double-digit inflation busting our budgets, it is great to recognise that clients now have more options in their armoury to avoid having to make hard choices which compromise the production values of their programmes.

CAMERAS

List correct as of July 2022. Note that these are not formal categories!

PREMIUM DIGITAL FILM CAMERAS

MID-RANGE DIGITAL CAMERAS

SUPER COMPACT DIGITAL CAMERAS

IN ITS OWN CATEGORY!