Click Chart to View and for Printable PDF
Click Chart to View and for Printable PDF
2018 Camera Comparison Chart. ARRI - Blackmagic Design - Canon - Kodak - Panasonic - RED - Sony. Compiled by Thomas Fletcher and Gary Adock with information gathered from numerous conversations with various cinematographers, rental houses, and manufacturers.

Please note portions of these chart are subjective. This is not scientifically tested and collected data. We have sincerely tried to assemble accurate information to share with the industry. Our goal is to help producers make an educated decision in a rapidly changing camera and optical landscape - that said - numbers do not tell the whole story - look at the images and consult your cinematographer. We encourage you to test for yourself!

Click Chart to View and for Printable PDF
Click Chart to View and for Printable PDF
Thank you to all that offered assistance and feedback in the collection of the data:

Geoff Boyle, Cinematographer
Scott Dale, VER
John Deboer, Sim
Megan Donnelly, AbelCine
Stosh Durbacz, Fujifilm
Phil Holland, Cinematographer
Michael Koerner, Koerner Camera
Jim Mathers, Cinematographer
Mike Sippel, Arri Rental
David Stump, ASC, Cinematographer
Marcelo Trotta, ABC Cinematographer
Bruno Vieira, Cinematographer
Adam Wilt, Technologist

Susanne Mayer
Frederick Merten
Marc Shipman-Mueller

Tor Johansen
Tim Schumann

Joe Bogacz
Alan Craig Lewis
Tim Smith
Larry Thorpe

Brent Carter
Brian Henderson
Kenta Honjo
Alan Zarnegar

Steve Cooperman
Mitch Gross
Stephen Mahrer
Barry Russo

Peter Crithary, Sony
Simon Marsh, Sony

Mike Brown, Kodak


Cinematographer Edward Lachman ASC, walk the red carpet of the Palais des Festivals at the 71st Festival de Cannes to receive the 2018 Pierre Angénieux ExcelLens in Cinematography, accompanied by film director and long time collaborator Todd Haynes. He was escorted also by Raphaël Keller, Director of Innovation Video and Technical industries at the CNC- Centre National du Cinéma et de l’Image Animée, Severine Serrano, Managing Director, Angénieux International Sales & Marketing, and Emmanuel Sprauel, Vice-President of Angénieux and Cinematographer Cecile Zhang.
Lachman was the cinematographer on four movies directed by Tod Haines, Far from Heaven, I’m not There, Carol and Wonderstruck. 

A delegation of the new artistic generation posed in a photo call with cinematographer Ed Lachman.   Among the actors were, American actor Michael Pitt, French actors Élodie Bouchez and actor Nahuel Pérez Biscayart, and French-Spanish actress Astrid Bergès-Frisbey.

Edward Lachman received an Angénieux Optimo 28-76 lens specially engraved to his name as a trophy, from Emmanuel Sprauel, Vice-President Angénieux brand who said: "As the President of the Angenieux brand, be sure all people in Angenieux share the passion to help you bring your vision to life. We all are truly dedicated to make the best products for your eyes and hands so that you can simply forget them because it simply suits you the best", said Sprauel.

Tod Haines and Ed Lachman viewing the video 
tribute video prepared for the occasion 

During his speech, Ed Lachman said: “For me the challenge of cinematography is revealing or trying to evoke the poetic or psychological authenticity of the image in the story you are telling...Images aren’t only around pleasant pictorial aesthetics but also can be the projection of the emotions for the characters in the story. Images are about experiencing something with your camera, it is the immediacy of that experience inside yourself that you are able to translate, and you can share in a documentary or narrative form.”

Angénieux also distinguished Chinese young cinematographer Cecile Zhang (right) who graduated with honors from the Beijing Film Academy – got the opportunity to use an Angénieux zoom lens of her choice on her next project. She received this Angénieux special encouragement from Severine Serrano’s (far right) Angénieux Managing Director and famous Chinese actor Xu Zheng.

The ceremony reached a particular emotional point with an impressive series of video testimonials from directors, actresses and actors who crossed Ed’s creative life (Christopher Doyle, Julianne Moore, Mark WIener, John Malkovich, Volker Schlondorff, Peter Sellars, Ulrich Seidl, Michelle Williams, Werner Herzog, Willem Dafoe, Sofia Coppola, Greta Gerwig, Steven Soderbergh, Meryl Streep, Wim Wenders) and a very nice attention from Daft Punk member and former creative collaborator Thomas Bangalter from Random Access Memories Album release time.

About the “Pierre Angénieux ExcelLens in Cinematography”
The Pierre Angénieux ExcelLens in Cinematography award ceremony pays tribute to a director of photography whose work has marked the history of world cinema. After Philippe Rousselot (2013), Vilmos Zsigmond (2014), Roger A. Deakins (2015), Peter Suschitzky (2016), Christopher Doyle (2017), Edward Lachman distinguished cinematographer is the 6th awarded.


ARRI launched at the BSC Expo in London a complete large-format system that meets and exceeds modern production requirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible with existing lenses, accessories, and workflows.

Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K with ARRI’s best overall image quality. Filmmakers can explore a large-format aesthetic while retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG workflows. Versatile recording formats,including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150fps, provide total flexibility.

“The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image,” says Marc Shipman-Mueller, ARRI Product Manager for Camera Systems. “This doesn’t just add definition, it creates a whole new look—one that is truly immersive, with a three-dimensional feel. The various recording formats and sensor modes make this look available to all productions and satisfy any possible deliverable requirement.”

ARRI Signature Prime lenses
Accompanying the ALEXA LF camera are 16 large-format ARRI Signature Prime lenses, ranging from 12 mm to 280 mm and fitted with the ARRI LPL mount. While the Signature Primes exemplify state-of-the-art optical precision, they render organic, emotionally engaging images, gently softening and texturizing the large format.

A fast T-stop of T1.8 facilitates shallow depth of field and the smooth focus fall-off gives subjects heightened presence in the frame. Thorsten Meywald, ARRI Product Manager for Optical Systems, comments: “The ARRI Signature Prime lenses are incredibly lightweight and robust, due to the magnesium lens barrels. They also feature LDS-2, ARRI’s next-generation Lens Data System.

What has impressed cinematographers most, however, is the look. Skin tones are rendered beautifully and kindly, while all the detail of landscapes can be captured. Our focus was on the emotional impact of images, creating unique and pleasing bokeh both in the foreground and background.”
New LPL lens mount
Optimized for large-format sensors, the new LPL lens mount has a wider diameter and shorter flange focal depth, allowing the ARRI Signature Primes and all future large-format lenses to be small and lightweight, with a fast T-stop and pleasing bokeh—a combination of features that would not be possible with the PL lens mount. The LPL mount will also be available for other ARRI cameras and is being licensed to third-party lens and camera manufacturers.

Backwards compatible with lenses, accessories, and workflows Although the camera, lens mount, and lenses are new, full compatibility with existing PL mount lenses and ALEXA accessories is a cornerstone of the system's design. A PL-to-LPL adapter offers backwards compatibility with all PL mount lenses, whether Super 35 or full frame. The adapter attaches securely to the LPL lens mount without tools, allowing crews to rapidly switch between PL and LPL lenses on set, and offering cinematographers an unlimited lens choice.

“As always, we want to make sure that our customers get the best possible return on their investments in ARRI equipment,” says Stephan Schenk, Managing Director of ARRI Cine Technik and responsible for the business unit Camera Systems. “Providing compatibility with existing lenses, camera accessories, workflows, ARRI Look Files, lens metadata, and software tools makes it easier for crews to work with ALEXA LF on set and for rental houses to incorporate it into their inventories.

We think the system sets a new standard for the future, but it also minimizes redundancies and leaves no one behind.” The first ALEXA LF cameras will be shipped at the end of March 2018. The initial set of four Signature Prime lenses (35 mm, 47 mm, 75 mm, and 125 mm) will be shipped in early June 2018. The remaining lenses will be available over the course of the year.

For more information, please visit: www.arri.com/largeformat
For a complete technical report, see sidebar. FDT ARRI LF standalone report.


Panavision  introduced the new Millennium DXL2 8K camera at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution (Stand 502). The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances.

“The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.”

As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design.

Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.”

The RED MONSTRO 8K VV sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science.

An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses.

New to the DXL2, LiColor2 streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays.

“We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and President Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market.”

The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company’s large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems.

Also at BSC Expo, Panavision presents “The Beauty of Large Format 8K” at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery.

DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis.

Courtesy of Panavision. For more information, visit www.panavision.com/dxl


SmallHD introduces the 502 Bright daylight viewable on-camera 5-inch monitor. The 1,000nit display incorporates the extensive feature set of the 500 Series monitors, while raising the bar on view-ability in direct sunlight.

The 502 Bright displays 100% of Rec. 709 color gamut. The 1920x1080 resolution LCD screen provides full high-definition viewing. It utilizes SmallHD’s latest software, version OS3, which provides false color and waveform tools. The unit also features is a new battery meter and the ability to adjust color computer-free with the SmallHD Color Probe.

For those who prefer to use waveform to compose an image, OS3 features spot metering to an already extremely customizable waveform. The spot meter indicates the exposure level of a particular area of an image without the psychedelic appearance false color can create. It is particularly useful for exposing faces.

Consistent with other SmallHD monitors, the unit is extremely rugged thanks to a milled aluminum frame and a Gorilla Glass protective screen. The 502 Bright has both HDMI and SDI inputs and outputs, with lightning fast cross conversion between the two video formats.

The new 502 Bright weighs just 9.4oz (267.5g), and is 6.4"W x 3.4"H x 1.1"D (16.2 x 8.6 x 2.8 cm). Deliveries begin in February 2018 with an MSRP of $1299.

The 502 Bright is available from SmallHD authorized dealers or SmallHD’s website. 
For more information visit www.smallhd.com



The American Society of Cinematographers announced the nominees in all five competitive categories for the 32nd annual ASC Awards for Outstanding Cinematography.


Roger Deakins, ASC, BSC for Blade Runner 2049

Bruno Delbonnel, ASC, AFC for Darkest Hour

Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk

 Rachel Morrison, ASC for Mudbound

Dan Laustsen, ASC, DFF for The Shape of Water

Máté Herbai, HSC for On Body and Soul
Mikhail Krichman, RGC for Loveless
Mart Taniel for November

Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
Alasdair Walker for Outlander (“The Battle Joined”) on Starz

Dana Gonzales, ASC, ABC for Legion (“Chapter 1”) on FX
David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
Kurt Jones for The Originals (“Bag of Cobras”) on The CW
Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

Pepe Avila del Pino for The Deuce pilot on HBO
Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
Shelly Johnson, ASC for Training Day pilot (“Apocalypse Now”) on CBS
Christopher Probst, ASC for Mindhunter pilot on Netflix

Four cinematographers selected as this year’s ASC Awards honorees were announced in October  Russell Carpenter, ASC (Lifetime Achievement Award), Russell Boyd, ASC, ACS (International Award), Alan Caso, ASC (Career Achievement in Television Award) and Stephen Lighthill, ASC (Presidents Award).

2017 ASC Board of Governors Award recipient Denzel Washington

The winners will be revealed at the organization’s February 17 ceremony, which will be emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM). The event will be held at the Ray Dolby Ballroom at Hollywood & Highland.


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The British Academy of Film and Television Arts (BAFTA) announced  this morning, their 2017 Nominations in all categories, all awards are presented Sunday 18, February 2018.

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BLADE RUNNER 2049,   Roger Deakins
DARKEST HOUR, Bruno Delbonnel
DUNKIRK,  Hoyte van Hoytema

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BLADE RUNNER 2049,  Denis Villeneuve
CALL ME BY YOUR NAME,  Luca Guadagnino
DUNKIRK,  Christopher Nolan
THE SHAPE OF WATER,  Guillermo del Toro

CALL ME BY YOUR NAME,  Emilie Georges, Luca Guadagnino, Marco Morabito, Peter Spears
DARKEST HOUR,  Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas Urbanski
DUNKIRK,  Christopher Nolan, Emma Thomas
THE SHAPE OF WATER,  Guillermo del Toro, J. Miles Dale
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI,  Graham Broadbent, Pete Czernin, Martin McDonagh

The nominations were announced this morning, January 9th by Natalie Dormer and Letitia Wright at BAFTA’s London headquarters, 195 Piccadilly.

The EE British Academy Film Awards take place on Sunday 18 February at the Royal Albert Hall, London. The ceremony will be hosted by Joanna Lumley and will be broadcast exclusively on BBC One and BBC One HD. The ceremony is also broadcast in all major territories around the world.
*Nominations are correct at the time of going to print. BAFTA reserves the right to make changes to the names listed at any time up until 18 February 2018.

For a complete list of Nominees, visit The British Academy of Film and Television Arts (BAFTA)


Ridley Scott premiered "All the Money in the World" on December 25. The film recounts the kidnapping of John Paul Getty III in Rome and the refusal of his moneygrubber grandfather J. Paul Getty, the richest man in the world at that time to pay any ransom whatsoever for his release. 

In order to complete the successful depiction of the slow negotiations between the kidnapping gang and the Getty family, Ridley Scott had to stop the production of the film to recast his principal actor, the disgraced Kevin Spacey for Christopher Plummer to play the tightwad old tycoon.  

(courtesy Vanity Fair)


On Wednesday, September 6, Sony unveiled VENICE, its latest flagship CineAlta full frame (36mm x 24mm) and S35 motion picture digital  camera at the Cary Grant Theater in Sony Pictures Studios, Culver City, California.

Sony Picture Studios George Leon/Filmcastlive
The evening  presentation started with the introduction of the new VENICE camera features and the showing of  the short film "The Dig"  photographed by Claudio Miranda, ASC and directed by Joe Kosinski, followed by a Q&A panel moderated by Peter Crithary, Sony’s marketing and production manager for media solutions and production technology. The presentation ended at Stage 7 with a hands-on time with the cameras, lenses and workflow demos.

Peter Crithary, Sony’s marketing and production manager, introducing the next generation of CineAlta motion picture camera systems engineered from the ground up with a new ergonomic design, strong build quality, high dynamic range, high speed shutter readout sensor, 24x36mm Full-Frame 6K Sensor in a modular up-gradeable block design, ease of operation menu navigation,  8 step/ 8 stops mechanical ND filters built inside, PL and E lens mount making aspect ratio agnostic, full frame, widescreen, S35, anamorphic and more.

VENICE comes with a 24x36mm full-frame 6K sensor with 15 stops +  of dynamic range and up to a maximum resolution of 6048 x 4032 (firmware update). Also it can be configured to S35 window mode, Super35 18.66 x 24.89 mm, 4096 x 3024 (4-perf film equivalent) and S35 Window mode 14 x 24.89 mm, 4096 x 2160 resolution, similar height as previous Sony CineAlta (3-perf equivalent).

VENICE’s new full frame sensor can capture full frame 24mm high anamorphic, S35 18mm high anamorphic, S35+ 20mm high anamorphic, FF spherical, S35 spherical, S35 14mm high (as in F65, F55), etc. meaning you could use practical any still photo lens out there.

VENICE is the world’s first camera of its class with a servo-controlled 8-step Mechanical ND filter mechanism built into the camera chassis. It offers a massive ND of 0.3 (1/2 = 1 stop) to ND2.4 (1/256 = 8 stops) range that reduces time lost on set changing external filters. The ND filters also greatly increase VENICE’s flexibility when being controlled remotely on drones and cranes, or in an underwater housing.

 VENICE has control displays on both sides of the camera, with the main display on the camera outside for fast access to the camera settings by the camera assistant while shooting. The camera operator’s OLED mini display allows intuitive control of commonly accessed features such as ND filter, shutter, FPS, White Balance and Exposure Index. The control interface is an all-new design based on extensive researches with camera operators.

Interchangeable Sensor Block assembly with full frame sensor and E-mount. This module can be  easily swapped by the user on the field. No camera house services need it. Upgrade to future sensors available by Sony, keeping the camera.

VENICE can record two streams simultaneously onto two separate media cards. RAW or X-OCN on the AXS-R7 as a digital negative and XAVC or ProRes onto internal SxS cards for editing. VENICE will also, with a firmware update, record RAW or X-OCN on the AXS-R7 and XAVC 4K internally at the same time. When not using the AXS-R7, VENICE can record both XAVC 4K and ProRes simultaneously. If you’re using one SxS card, it would be ProRes 422 Proxy.

XAVC is the highest-performing implementation of H.264/AVC intra-frame coding. It supports 4K with superb efficiency and beautiful 10-bit pictures. VENICE supports XAVC Class480, which is the highest bitrate and quality available. Apple ProRes including ProRes 422 proxy formats are popular in postproduction, and are supported by VENICE. Using16-bit linear RAW format preserves all the information captured in 4K, with 16 times more tonal values than 12-bit RAW.

X-OCN - 16-bit eXtended tonal range Original Camera Negative. Full 4K and 6K* resolution, with extraordinary color reproduction, nicely suits Sony’s third generation color development, S-Gamut 3. In particular, 16-bit scene linear tonal gradation retains the camera’s full dynamic range, with far greater capacity for visual expression than 10-bit or 12-bit digital formats.

The DVF-EL200 was specifically created as the perfect partner for VENICE due to its exceptional performance and additional control features*. It has a 1920 x 1080-resolution OLED panel with exceptional high contrast, enabling precise, high resolution focusing and framing. Its all-new ergonomic design allows for tool-free attachment/detachment and reconfiguring within seconds. A rotary encoder provides instant access to brightness, peaking and contrast. The industry-standard LEMO connector offers exceptional durability. * V2.0 firmware required
VENICE has a surprisingly compact design which allows easier shooting in confined spaces or on drones. VENICE’s control buttons reflect the requirements of camera operators, carefully positioned for intuitive operation. They even illuminate for easy use on dark sets. On-set monitoring operation is further enhanced by the addition of an extra HD output alongside the standard 4K-SDI. VENICE can be powered by both 12 V and 24 V power sources that can be connected at the rear. A wide range of accessories are supported, including standard Fischer connectors. For enhanced durability in tough conditions, the viewfinder uses a LEMO connector. Suggested List Price: 42,000

Peter Crithary moderated the Q& A panel with Claudio Miranda ASC, and director Joe Kosinski. Claudio Miranda described the look of VENICE: “It has a very cinematic look. Colors are really beautiful. It is a sort of softer, cosmetic, tonally well rounded look, with skin tones that are gorgeous. It doesn’t feel video-like. It’s not harsh. This is a leap forward. Color rendition is really nice. Tonal values hold true in the lower toe of exposure. It holds highlight detail and color information. It doesn’t go red in the shadows. I would say there’s more dynamic range than the F65".

Jeffrey A. Reyes, BandPro Flm & Digital Inc., Sales Manager placed the same evening an order for fifty new CineAlta VENICE digital motion picture cameras. Preorder the new Sony VENICE at Band Pro and get it first!  Call your BandPro Salesperson at 1-888-BAND-PRO or email sales@bandpro.com today.

Les Zellan, Chairman of Cooke Optics was one of the vendors at Stage 7 outfitting the new Sony VENICE camera with one of his Cooke s7/i 32mm lenses.

Peter Crithary, Sony’s marketing and production manager (l),  Dan Ming, Focus Puller of the short film "The Dig" and Claudio Miranda at  Sony Pictures studio 7 at the unveiling of Sony's CineAlta VENICE Full Frame & S35 digital motion picture camera.

Sony’s VENICE Features:

    Full Frame Sensor 24×36 mm
    Painterly Look
    6K Full Frame 6048 x 4032 maximum resolution
    4K Super35 window
    Full Frame, full 6048 photosite width of the sensor
    Widescreen spherical 2.39:1 or Large Format ‘Scope
    Super35 full height 2.0x squeeze Anamorphic
    8-Step, 8-Stop Internal NDs
    PL and Ruggedized E-mount
    Spherical FF & S35
    Anamorphic FF & S35
    15+ Stops of Exposure Latitude
    Native ISO 500  (maybe 800)
    Retains highlights and color detail 6 stops overexposed and 9 stops into the shadows
    Power:  both 12 VDC and 24 VDC

some text source courtesy of FDTimes

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