With the best camera for filmmaking, you can record cinematic footage, capture exciting music videos or even just document your own adventures. There are a lot of options available, but we've tested and picked all the best cameras for filming available right now, rating them on their design, performance, and quality – to help you can make the best decision.
Whether you're a social media content creator or a specialist cinematographer, the best camera for filmmaking will depend on what you want to shoot and how much you want to spend. While some videographers might be able to get away with one of the best phones for video recording and vlogging, those at the top of their game should probably be looking at the best 8K and 6K cameras or the best cinema cameras. And if you are off to college, do check out our best cameras for film students.
In this guide, we've mainly got interchangeable lens cameras that offer strong 4K video capture capabilities but we have also included some of the best cameras for vlogging suited to content creators who shoot a lot of self-directed videos and hybrid cameras that suit both photographers and filmmakers.
Below are our best picks in the rapidly growing list of hybrid stills/video cameras that can handle every type of content creation. This is where all the action is happening at the moment, as mirrorless cameras move upmarket and start to eat into the territory of professional cinema cameras – at a fraction of the price. And we also pick a selection of models that are designed specifically for video alone.
The best filmmaking cameras in 2023
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Best hybrid cameras for filmmaking
In this section, we list the best hybrid cameras – stills cameras that can also capture 4K video at a professional level. These are cameras that are split 50:50 between stills and video for photography and filmmaking – and content creators who need to capture both mediums with ease and speed.
The Panasonic Lumix S5 II builds on the original Lumix S5’s tough compact frame, class-leading 5-axis in-body image stabilization, and excellent color science.
The most significant new addition is a Phase Hybrid autofocus system that combines PDAF with Contrast Detect AF to provide 779-area metering. This means it's better at detecting and tracking subjects, especially in low light and backlit scenarios.
The Lumix S5 II gives you truly unlimited 4K/60p 4:2:2 10-bit recording internally, S&Q 4K/60p (a high-speed 60fps) and FHD/180p, as well as up to 6K, full sensor readout video recording, making it a highly versatile camera for content production. And at $2500/£2000, the LUMIX S5 II is astonishingly good value for money.
Read our full Panasonic Lumix S5 II review
The Fujifilm X-H2S is the fastest camera in the Fujifilm X-mount range and can capture 4k video at 120fps. With a chunky pro-spec body and handling, a top-mounted status panel, and a fifth-generation sensor, it offers four times the speed of its predecessor.
The X-H2S can shoot at 40fps with minimal screen blackout, has in-body stabilization, a flip-out vari-angle screen, and a 5.76m dot electronic viewfinder.
There's so much power here for professional photographers and filmmakers will need it – but it comes at a price. The X-H2S is the ultimate professional APS-C camera and is ideal for filming wildlife and sports – or anyone who wants to shoot fast.
Read our full Fujifilm X-H2S review
The Panasonic Lumix GH6 had pretty big boots to fill following the popular Panasonic Lumix GH5, which still is regarded as one of the best value options for shooting video. However, the GH6 is an improvement in just about every way. It has a brand new 25.2MP sensor, it can shoot 4K at 120p or a staggering 5.7K at 60p.
For those looking to shoot stills, Panasonic decided to stick with its DFD (Depth From Defocus) contrast AF system which is super fast and effective. From what we've seen so far, the image quality is very good, it can shoot up to 75fps in burst mode (when using the electronic shutter and AFS) although this is reduced to 8fps when shooting with continuous AF.
The body is very big for a Micro Four Thirds camera – it's even bigger than some of the Sony A7 bodies however, the lenses are still much more compact and there are loads to choose from.
As far as APS-C compact cameras go, the Fujifilm X-T5 is up there with the best. It's a natural successor to the Fujifilm X-T4, and although the X-T5 isn't billed as a hybrid video camera, it's no slouch when it comes to movie capabilities. You get 6.2K movies at 30P in 4:2:2 10-bit color, but also the 4K HQ mode, which uses 6.2K over-sampling to produce high-quality video.
The X-T5 supports F-Log2, a format that is wider than F-Log, expanding the dynamic range to 13+ stops. F-log is Fuji’s proprietary log format, and it can be used to preserve more dynamic range and tonality from the sensor when recording video.
In terms of handling, the X-T5 favors manual dials to help you to take full control of the settings. On the shutter speed dial, there's a switch to go between stills and movie recording, and like all X-T series cameras, there's no top plate LCD to display settings. If you're into traditional photography but want a camera that can handle video as well, the Fujifilm X-T5 is an excellent, up-to-date choice.
See our full Fujifilm X-T5 review and lab tests
The Sony A7 IV supersedes the A7 III, it’s an altogether more advanced camera that targets a higher-level audience. Stills photographers can revel in its 33MP resolution and incredible burst mode, while filmmakers get a camera that leaves the previous A7 III far behind.
Its 10-bit 4:2:2 capture makes the Sony S-Log3 mode much more useful for color grading later, and while the 4K 60p capture does mean switching to Super35 crop mode, the A7 III couldn’t do 4K 60p at all (come to that, 4K 30p comes with a 1.2x crop factor on that camera, and only 25/24p 4K is full width).
See our full Sony A7 IV review and lab tests
The Panasonic Lumix S5 is probably the best value filmmaking you can get. It benefits from a smaller build than the Panasonic S1 but uses the same 24-megapixel CMOS sensor.
Its autofocus has been improved, it features a tough, weather-resistant body, and has 6.5 stops of in-body stabilization so that even handheld video is smooth. It's capable of recording 4K video at 60p, 4:2:0 10-bit internally with an APS-C crop, or 4K at 30p 4:2:2 using the entire sensor.
For stills photographers, it offers a high-resolution shooting mode that combines 8 shots into a 96MP image resulting in raw files that are 165Mb in size. The one downside is that it uses contrast-detect AF rather than phase-detect AF which is what the Sony A7 III and Canon EOS R6 use but there are lots of features that make it one of the best 4K cameras.
See our full Panasonic Lumix S5 review
The Sony ZV-E10 is Sony's latest APS-C camera release, offering 4K video, a 24.2MP sensor, and 11fps in continuous burst mode. It's more compact than the A6000 range and unlike the Sony ZV-1, it has an interchangeable lens mount with more than 60 lenses to choose from.
It's the first Sony APS-C camera with a fully adjustable vari-angle screen which is a big advantage for filmmakers. It features a 3-capsule direction mic on top of the camera, to which you can attach a clip-on wind muffler, and also has an external mic port. If you're a stills photographer the lack of a viewfinder might be a drawback but for anyone who wants to primarily vlog or shoot video, it shouldn't be an issue.
See our full Sony ZV-E10 review
The Canon EOS R5 has paved the way for the future of Canon cameras. With a 45MP sensor, 20fps burst shooting, and super-fast autofocus, as far as a stills camera goes it's hard to beat. Its video capabilities are equally impressive. Despite the bad rep it has received for overheating when recording 8K video the Canon EOS R5 is still a landmark camera.
If you're recording lots of short clips you shouldn't experience overheating issues. If it wasn't for the high price point, we would have given the Canon EOS R5 the top spot on our list. When you also factor in how expensive some of the best Canon RF lenses you're looking at spending thousands to get a complete video set up.
See our full Canon EOS R5 review
The Nikon Z6 II is a light refresh of the original Z6, with a second memory card and processor bringing a bump to burst shooting, now up to 14fps, and the promise of 4K 60p video via an update.
However, 60p video is cropped and the camera still lacks an articulating screen, limiting its appeal for video and vlogging. Existing Z6 owners won't see a need to upgrade, but new buyers will get a very capable camera at a pretty good price. The dual card slots are a definite plus point, Nikon's in-body stabilization is very good, and the best Nikon Z lenses are some of the best on the market right now.
See our full Nikon Z6 II review
The Sony A7C offers great practical performance, from its handy vari-angle screen to its excellent AF system. But why have we included this and not the mighty Sony A1? Because the A7C does the right job at the right price, whereas the A1 is overkill for most users.
We will leave it to you to decide if the silver A7C's two-tone design is appealing, but for us, it does not have the quality ‘feel’ of the other A7 models. With that new 28-60mm retracting lens, the A7C is also compact. The main thing for video shooters is the very useful vari-angle screen, the in-body stabilization, and Sony's superb autofocus system.
See our full Sony A7C review
In terms of video the Canon EOS R7 is quite the powerhouse, capable of un-cropped 4K 60p, 4K 30p oversampled from 7K, and 1080p up to 120p – and Canon tells us that you can record around 60 minutes of video before overheating and record limits come into play. The camera features Canon Log-3, clean HDMI out, as well as a microphone input and headphone jack.
In a lot of ways, shooting with the R7 really does feel like shooting with a mirrorless (read: sleeker and smaller) Canon EOS 90D – but with more bells and whistles. For now, we're very impressed with what the Canon EOS R7 can do.
There's plenty of play in the files, giving you lots of leeway for post-production, and the video quality is crisp and clear in both 4K and 1080p, with autofocus performance that won't let you down.
See our full Canon EOS R7 review
Video first
This section contains cameras that are designed for video first and stills second (or, in the case of the EOS C70, video only). The Sony A7S III is a classic example; a stellar 4K camera that can also capture 12MP stills.
The Lumix S1H is another; a big, heavy beast that does have a 24MP sensor but leans so far towards the video that the capability of the still is more of a bonus. The Canon EOS C70 looks like a mirrorless camera, but it's really a cinema camera. We include it as an example of one of the best cinema cameras for handheld video, vlogging, and one-person filming.
For serious video shooters, the Panasonic Lumix BSH1 boxcam can make a lot of sense as it can be rigged up for a multitude of different uses. It has a 24.2-megapixel full-frame sensor with Dual Native ISO technology, 14+ stops of dynamic range and an OLPH (Optical Low Pass Filter) which helps to suppress moire and false colors and make it excellent in low light.
It's capable of recording 6K 24p or 4K 60p 10 bit when using an image area equivalent to Super 35mm. If you're using the entire 35mm sensor area, it can shoot 4K 30p 10-bit 4.2.2 in H.264.
With live streaming growing increasingly popular, the BS1H is capable of transmitting high-quality footage to social streaming platforms over a wired LAN collection. It can stream 4K 60p video in H.265 which means the bit rate is halved and the image quality is kept the same.
The lack of a screen may be off-putting but its modular system means you can easily attach an external recorder such as the Atmos Ninja V which will also make it capable of outputting 12-bit raw video.
The Sony A7S III might not boast the 6K or 8K video resolution of some of its rivals, and with only 12.1MP it’s not a powerhouse super-stills machine either. But apart from a big and expensive cinema camera, it’s the only camera that can shoot 4K at 60p full frame with no crop, recorded internally, in 10-bit 4:2:2 with no limitations on recording time and with all the advanced AF functions still working.
The 12MP resolution means the A7S III is pretty poor as a stills camera, but an absolute natural at 4K, so it is tilted more towards video than stills. However, sports fans should note it can shoot stills at 10fps and has an incredible 1,000-shot raw buffer (using the newer CFexpress Type A cards).
If you're primarily a filmmaker or videographer and looking for a camera strictly for video, the Blackmagic Pocket Cinema 4K is a cine camera without the high price tag. Even though it was launched back in 2018, it's still a popular choice among filmmakers who need Pro-Res and Raw recording.
It has a Micro Four Thirds sensor which means there are a huge number of Olympus, Panasonic, and third-party lenses available both brand new and secondhand.
It can shoot up to 4K 60p with no crop factor and has 13 stops of dynamic range. With a Canon LP-E6 battery, you could argue it's a bit of a mix-match of a camera and although it only has 60 minutes of battery life you can plug it into the mains for continuous recording.
It features one SDXC card slow and one CFast 2.0 card slot which supports 4K Raw. The one downside to the camera is it doesn't have a flip-out screen but if you're a serious filmmaker you'd probably want to invest in one of the best on-camera monitors anyway.
The Canon EOS C70 is Canon's first RF-mount cinema camera offering powerful video capabilities. It features Canon's Super35 sensor, Dual Gain Output, a massive 16 stops of dynamic range, and 4K 120fps / 2k 180fps.
It also includes a game-changing touchscreen which makes accurately focusing quicker and easier. The C70 boasts the deep learning iTR AFX system from the Canon EOS-1D X Mark II which offers head detection and extremely accurate autofocus.
If you don't want to invest in expensive RF lenses we suggest you use an adapter to mount EF lenses onto them. Canon's new speed booster will also enable you to use them with an extra f-stop and a full-frame angle of view. Where the C70 falls down is that it doesn't record RAW and you can't use PL glass on it - for that, you'll have to step up to the Canon C300 Mark III.
See our full Canon EOS C70 review
How we test the best filmmaking cameras
We test cameras both in real-world shooting scenarios and in carefully controlled lab conditions. Our lab tests measure resolution, dynamic range and signal-to-noise ratio. Resolution is measured using ISO resolution charts, dynamic range is measured using DxO Analyzer test equipment and DxO Analyzer is also used for noise analysis across the camera's ISO range. We use both real-world testing and lab results to inform our comments in buying guides.
Find out how we test and review on Digital Camera World
Alternative video camera options
These days, mirrorless cameras have such amazing 4K capabilities that they can really challenge professional cinema cameras. The powerful Panasonic Lumix S1H and the remarkable Panasonic Lumix S5 are two cameras paving the way for 4K-ready mirrorless cameras. If you want even more resolution, the Canon EOS R5 and the Sony A1 are now capable of shooting in 8K video which sounds great on paper but is probably a bit overkill for most vloggers, commercial photographers, and filmmakers.
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For most scenarios, a camera that shoots decent 4K video is more important than one that shoots at higher resolutions due to the massive file sizes and processing power needed to edit them. Let's not forget that these videos also take a very long time to transfer and share!
Other things you need for filmmaking
When investing in a camera for filmmaking, you'll also have to think about the accessories you might need such as a video tripod for capturing still shots and dynamic panning motions, video editing software such as Adobe Premiere Pro or Blackmagic DaVinci Resolve Studio 18 and video lights so you can shoot no matter how dark the environment is.
There are hundreds of video accessories out there including gimbals, microphones and camera rigs and if you're starting to get really serious it might also be worth investing in a dedicated video editing monitor. Not only will it make your job a lot easier, but it will accurately reproduce colors and be high res so you can really appreciate the 4K video.
