What makes a cinema camera?

 

    Regular readers of my blog may recall a few articles of mine wherein I discuss the history and merits of various kinds of filmmaking technology: like my article about color-correction, the issues of under-exposed cinematography, and the debate of film vs. digital. While most of these articles were camera-related, I hardly discussed the camera itself. Modern digital video cameras, including video-enabled mobile phones, have reached a kind of quality few believed possible. Even so, there is still a debate going on about what constitutes a "cinema" camera. Popular conjecture will claim to have the answer, but if there's one thing I've learned so far in life, popular does not always equal right. 

    I will never grow tired of saying this so long as it bears repeating; technology does not define artistic merit. 

    

    There are many technical specs that most people claim constitute a "proper cinematic" camera (data rate, LOG recording, and so on). However, probably the biggest aspect that most folks tend to believe is the determining factor is the size of the camera's sensor.  

    As you can tell from the chart above, different cameras have unique sensors based on their needs and expectations, not to mention their manufacturer. While some sensors can offer better images than others regardless of size, most people tend to believe that larger sensors are required to qualify as "cinematic." 

Arri Alexa sensor

    There are many reasons most folks would want a larger sensor for their cinematic projects: they provide excellent depth-of-field (blurry backgrounds), they excel in low light, and they offer tons of clarity and sharpness. Most cameras built for cinema, such as the Arri Alexa or the Sony Fs5, feature sensors that are roughly the size of traditional 35mm celluloid film. However, not all cameras built for cinema (or "non-cinematic" cameras, for that matter) are created equal. 

Michael Mann shooting Public Enemies (2009) on the Sony F23

    Many of the earlier digital cinematic cameras, such as the Sony F23 (shown above), did not feature larger or even single sensors. Some of them had up to three sensors that were all less than an inch in diameter. To put it in better context, if the Arri Alexa's sensor was about the size of a postage stamp, then the Sony F23's sensors were roughly the size of a Micro SD memory card. It was also partially shot on a Sony EX1, which had even smaller sensors. 

    Public Enemies was not the first or the only movie captured in such a tiny format. Danny Boyle's apocalyptic zombie thriller, 28 Days Later, was mostly shot on a Canon XL-1, which featured a 1/3 inch size sensor and shot on a Mini DV cassette. 

Cinematographer Anthony Dod Mantle shooting 28 Days Later (2002) 

    Some of you might be wondering what the benefits of shooting your movie on smaller sensors are. Well, for one thing, most of the cameras with small sensors tend to be lightweight and easier to handle, making them more ideal for quick shooting and interesting shot compositions. Also, smaller sensors tend to put more of the image in focus, reducing the need to constantly change focus while moving the camera around and creating more liberating movement within a scene. Basically, it boils down to fewer hands required on deck. 

    Now, I have shot several films on all kinds of cameras over the years. I've used larger sensors, LOG images, and even excessive data rates. All of them have proven to be absolutely wonderful and produce gorgeous images. Even so, I often found myself struggling to make the cameras conform to the style of filming I've come to prefer. I like deep focus (no blurry backgrounds), decent in-camera color, and lightweight enough to move around without worrying about losing focus or proper exposure. Some of the cameras I've used before, such as the Panasonic GH5, were convenient enough to allow me these freedoms, but not as much as I would have preferred. So, as of late, this has become my favorite camera: 

    This little guy shoots high-quality video & audio, provides full manual controls, decent performance in low light, gorgeous in-camera color, and a 1/2.5 size sensor. Is this a cinema camera? Technically no, but it is the right camera for the kind of cinema (and other assorted video projects) that I like to make. And that's ultimately what it all comes down to; personal artistic preference. 

    Even though digital cameras will continue to evolve in quality and affordability, just because a camera is labeled for cinema doesn't mean that it's the right kind of camera for the style of cinema you may prefer. Know what you like out of your images and choose the camera that best delivers it. Don't fall into the trap of blindly following popular conjecture. That road can lead to madness, believe me! 

Ladies & gentlemen, I am TheNorm; thank you all for reading.