You Won't Believe These 2024 Camera Tests Results!

Results of 2024 Cinema Cameras Tests! ⬇️More INFO below⬇️

Cameras I tested:
➡ ZCam E2-F6 Pro ($3,999)
Key Features:
-6K up to 60 fps, 4K up to 120 fps
-Full-Frame CMOS Sensor
-Up to 15 Stops of Dynamic Range
-Interchangeable Canon EF Lens Mount
-Z-Log2, 10-Bit Color, ProRes 422/422 HQ
-5" Touchscreen Monitor, Camera Control
-Genlock and Timecode Support
-12-G-SDI and HDMI Outputs
-CFast 2.0 or ZBlade Custom Media
-Integrated V-Mount Plate

➡ Red V-Raptor X 8K VV ($29,995 Body Only)
Key Features:
-Global Shutter Full-Frame VV Sensor
-Lightweight & Compact DSMC3 Design
-Locking Canon RF Lens Mount
-Global Vision with Extended Highlights
-Phantom Track for Ghost Frame, Remapping
-Supports up to 8K120, 800 MB/s Video
-17+ Stops of Dynamic Range
-Right-Side Assistant's User Interface
-REDCODE Raw HQ, MQ & LQ | ProRes Options
-USB-C & Dual 12G-SDI Ports

➡ Sony FX6 ($5,998)
Key Features:
-4K Full-Frame 10.2MP CMOS Exmor R Sensor
-DCI 4K60p | UHD 4K120 | 1080p240
-15+ Stops of Dynamic Range in S-Log 3 EI
-1.3x and 2.0x Anamorphic De-Squeeze
-Compact Form Weighs Less than 2 lb
-Phase Detection AF/Face Tracking/Eye AF
-Base 800-12,800 ISO / 320-409,600 Max
-S-Cinetone, S-Log3, HLG Modes
-10-Bit 4:2:2 XAVC-I/16-Bit Raw Output
-Dual CFexpress Type A/SDXC Card Slots
-Built in Electronic Variable ND Filter

➡ Arri Alexa 35 ($82,880 Body Only)
Key Features:
-4.6K Super35 ARRI ALEV 4 CMOS Sensor
-Up to 4.6K 4608 x 3164, Cine License
-PL Mount (LBUS)
-BUD-1 Dovetail, B-Mount Battery Plate
-MXF/ARRIRAW & MXF/Apple ProRes 4444 XQ
-17 Stops Dynamic Range
-Motorized ND Filters, Compact Design

➡ Red V-Raptor X 8K VV ($29,995 Body Only)
Key Features:
-Global Shutter Full-Frame VV Sensor
-Lightweight & Compact DSMC3 Design
-Locking Canon RF Lens Mount
-Global Vision with Extended Highlights
-Phantom Track for Ghost Frame, Remapping
-Supports up to 8K120, 800 MB/s Video
-17+ Stops of Dynamic Range
-Right-Side Assistant's User Interface
-REDCODE Raw HQ, MQ & LQ | ProRes Options
-USB-C & Dual 12G-SDI Ports

Special thanks to the whole crew!

So what camera did you guys choose as your favorite? By looking at the comments left in my video and also across my social media, the most popular was camera B (Arri Alexa 35) with 43% of the vote. Then in second place with 26% of the vote is camera C (Sony FX6). After that is camera A (Red Komodo-X) with 14%, camera D (Red V-Raptor) with 11% and finally camera E (ZCam F6 Pro) with only 6% of the vote.

Chapters:
00:00 Side By Side Reactions
01:28 A-CAM Reactions
02:14 B-CAM Reactions
03:03 C-CAM Reactions
04:00 D-CAM Reactions
04:51 E-CAM Reactions
06:30 Guess Which Camera
08:16 The Results
11:57 Favorite Camera!
12:34 Surprises
13:17 Conclusion

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Remember, in filmmaking there's no problems, just a lack of solutions!

Follow me on:

My name is Tom Antos. I am a film director and cinematographer with over 20 years experience in VFX & animation.

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DISCLAIMERS:
Some of my links have an affiliate code, allowing me to make a small commission at no additional cost to you. As an Amazon Associate I earn from qualifying purchases. Thanks!

The opinions expressed in this video were not influenced by or paid for by any outside individual or company. I use and test lots of products that are sent to me or that I buy myself. In the end, I only talk about the products that I find interesting.

[robertocondotta]

Hi Tom. I am an FX six owner and I say: Thank you so much for this test. 😊

[aLgProduction]

Excellent, this was enjoyable. Thanks for sharing.

[JustChris]

My guesses were 100% correct. Kinda happy I could see what’s what, but also very convinced that all cameras are good rn.

[satsmura]

Great test! I think this shows how difficult it is for even seasoned DPs and colorists to differentiate between a camera’s default color bias and its actual captured color gamut, at least in real-time viewing. The former is correctable in post, while the latter is baked into the image.

Everyone mentions sharpness, dynamic range, exposure latitude, and rolling shutter. But (aside from the Z-Cam), none of those attributes were stressed beyond the limits in this test - there’s a small amount of specular highlight clipping in the +3 stops skintones on A & C, but I think that was more a function of headroom in the selected EI during exposure.

So if you ignored the obvious giveaways like respective field of view between the full frame and S35 sensors given the same focal length used, then the test really came down to color reproduction.

To me, some of the takeaways were:

1. How similar the color science is between the two Red cameras - A (Komodo) and C (V-Raptor). Both had the same green midtone bias, easily correctable in post. I would love to know if there was a white balancing step applied in Resolve before the LUT was applied or not?

Also, both clipped at the same EI, indicating they should probably be rated a bit faster for more headroom. To some extent, this is on Red for not specifying a ‘native’ or recommended EI.

2. How much more color info the Alexa 35 captured in the carpet, green clothing, salmon drapes while keeping skintones neutral. Also the saturated primaries in the Macbeth chart were much more subdued in overexposure, indicating a larger color gamut. Of course, skin tone looked very neutral and film/like.

3. How well Sony have done with the FX6 default color science, although there is so much less info captured in the greens and blues - you really see it when shown next to the Alexa 35. Also how thin the XAVC codec is, creating a noisy mushy image when underexposed. The primaries in the Macbeth chart were also easily oversaturated, indicating the smaller color gamut.

I think if this test included a 200% punch-in, it would also be obvious how much less resolution there is. And you’d see aliasing on high contrast edges and banding on near white gradations. But without pixel peeping, it’s a very pleasing image punching way above its weight class.

4. How far behind the Z-Cam is in all aspects. The loss of color saturation in skintones when not exposed optimally reminds me of the previous generation of cameras like the FS7 and Ursa Mini 4K. But when exposed and lit well, it can still pass the eye test.

[Jamminn]

Great concept and edit, Tom. So great to see this comparison and all the filmmakers' thinking and final guesses. Excellent video, man.

[zoetmoments]

I would love to see the Venice, URS 12K LF, PYXIS 6K along side all this other camera and also include the C400 as well. and maybe the Z8 & C80. this will really show what people are really paying for and getting in returning.

[timdanyo]

I own a FX6 and FX3. It’s cool to see this sensor hitting above its weight class!

[dannypassion]

Thanks Tom.

So happy to see that either of these caneras cab get the job done

[philipcook]

Brilliant, enjoyed the test, the suspense, the drama. Well done!

[areapictures]

AKA Which camera manufacturer LUT is peoples favorite? lol. This is a good idea, but they should’ve been brought into ACES and bounced out using IDTS. That would really unify the playing field and make differences harder to see, but more important once notified

[coder]

Isn’t “workflow” the main benefit of an expensive cinema camera? Which is why the Pyxis is so disruptive, since it gives you virtually all of the workflow benefits of a good cinema box camera at a very low price. Tons of cinema camera sensors these days are all very good.

[Yupthereitism]

B was obviously the best followed buy c

[Triflixfilms]

Said it in the first video and still stand by it:
1. Cam B - Alexa 35 NO CONTEST!
2. Cam C - Sony FX6 / E - Zcam (Very different looks, but both clean images)
3. Cam D - Red Raptor
4. Cam A - Komodo X

Please include the Ronin 4D next time if possible.

[orcanimal]

Cameras really don't matter anymore, and haven't for a while now it just took people time to realize it. If you get a good enough camera, whether it's Canon, Sony, or Blackmagic, the differences in image quality compared to Arri and the highest budget stuff is so tiny that even professional cinematographers can't tell the difference 99% of the times. Yes, the higher end cameras are technically better. But really it's such small differences that you can only notice them with a side by side comparison, and even then it's tiny details and not a lot...
With the exception of specific filming conditions, such as low light etc, the camera is really not all that important anymore.
But watch people comment to tell me how wrong I am etc. It's all cope, folks.

[deminmax]

Tom, what a thriller! Love it! I've got none right :) Alexa looks so easy to colorgrade.

[nshea]

I got the Raptor and Alexa 35 wrong.. I thought B(Alexa 35) was the Raptor because it wasn't showing any Rolling Shutter. Overall I thought B looked best on the test. E(Z-cam) was the worst with bad rolling shutter and terrible dynamic range. C Obviously was the FX6, with very noisy Blacks in under exposure and Sony's color science (exaggerated reds in skin tones). A(Komodo-x) had no rolling shutter but the Skin Tones were too Green... B(Alexa 35) and D(Raptor) were the best

[williamcodywinter]

Interesting. I would have loved to see a BlackMagic Design camera in the comparison.

[clabart]

Ahaha, I'm the least titled of you who are lucky enough to work with the best of film technology I chose the B... which was the Alexa 35!! 😡 I keep my Panasonic and have fun.
Post scriptum: why didn't you include Panasonic in the shootout? Does it suck?
Good job Tom!

[GabrielCalva-seod]

Oh I was waiting for this, I haven't watch the video yet but I remember I liked camera b and I can't recall if the next in my list was camera c, I will watch again and let's see.

[krumyankov]

They invited Peter Brook to stage an opera and wrote in the letter, "Our orchestra often plays false, but no one understands this."