If you search for “best cameras for filmmaking in 2021,” you’ll likely receive a plethora of camera recommendations, often from blog posts or articles sponsored by camera brands.
This article is not sponsored by any brand and represents my personal opinions as a narrative filmmaker.
My goal is to help you find the best camera for your needs, in this case a very affordable camera under $1000.
There are a lot of great cameras out there that I didn’t include on this list for various reasons, usually because they excel in other areas.
If you’re shooting weddings, documentaries, corporate videos, or anything else in the field, there are many other cameras out there besides the ones I recommend.
But if you primarily produce narrative film material (shorts, features, episodic content, etc.) and need to stay on a budget, this list is for you.
Here are the details on my 5 most used cameras for narrative filmmaking under $1000.
In no particular order:
Fuji X-T30
Fujifilm X-T30: $899 from B & H.
Like many other filmmakers, I love Fuji for their incredible color science. That’s why I bought it Fuji X-T2 Then came the X-T3, which is a large part of the reason why the X-T30 makes this list.
In many ways, the Fujifilm X-T30 is like the younger brother of Fujifilm’s flagship X-T4. They even share the same Super 35mm sensor, allowing them to produce nearly identical images. But there are some significant differences –
Firstly, the X-T30 doesn’t have internal image stabilization like the X-T4, which may be a hindrance for some. This isn’t a problem for me personally as I never use image stabilization when shooting narrative films, but understandably everyone has their own workflow.
The X-T30 also doesn’t do 10-bit recording like the X-T4, which again may deter some people from buying it. But in my opinion, the X-T30’s 4K footage is gorgeous, even in 8-bit, so I wouldn’t discount this camera based on that alone.
in short: If you like Fuji colors and don’t need internal stabilization or 10-bit recording, this is the camera for you.
Rumex G9
Lumix G9: $997 B & H
The Lumix GH series has long been a favorite camera for low-budget narrative filmmakers, and the G9 isn’t far behind. Some have even referred to the Lumix G9 as the “Mini GH5” since the two cameras share the same sensor and offer similar image quality.
Unlike the video-focused GH5, the G9 was designed first and foremost as a stills camera. This means it lacks some of the video features found on the GH5, such as 4:2:2 10-bit internal recording and v-log color profiles.
That said, this camera is still capable of taking great photos. Don’t let the lack of a flat v-log color profile deter you – logging is a nice feature, but you’ll probably get better results if you use a 100Mbps bitrate that blends the contrast into the original footage. Stretching highly compressed files Recorded to Rec 709 Conversion usually reduces image quality.
in short: If you want to benefit from all the advantages the Micro Four Thirds format has to offer (i.e. lens options and versatility) and you like the Lumix “look”, the G9 allows you to do that at a fraction of the cost.
Blackmagic Micro Cinema Camera
Blackmagic Micro Cinema Camera: B & H $995
This camera is by no means new, but it is still actively on sale and as a personal favorite of mine I had to put it on the list.
Blackmagic’s miniature cinema camera shares the same 16mm sensor as its original version Pocket camera. The main difference between the two cameras, however, is that the Micro Cinema Camera does not include a monitor.
I think this camera is mainly used on drones or installed in other small spaces. But if set up correctly, it can also function as a camera in independent productions. All you really need is a small cage or stabilizer and an external monitor.
One of my most popular short films was shot with this camera.
Of all the cameras on this list, miniature movie cameras deliver the most natural and cinematic images. In the right hands, it really looks like Over 16mm Film strips.
The main drawback of this camera (besides the need for accessories) is that it cannot record in 4K. But even though the camera tops out at 1080p, that’s perfectly fine for most narrative work. In fact, I purposely shot and mastered my last feature film 2K resolution on Alexa Classic.
The camera isn’t particularly easy to use in the field either, as it’s so small (and the buttons are difficult to operate), but that can always be worked around.
in short: If you like the analog 16mm look and 4K recording isn’t a big deal for you, then by all means consider a microfilm camera. Be prepared to invest in some extra peripherals to make it work how you like it.
Canon EOS M50 II
Canon EOS M50 II: $599 at B & H
Yes, it’s 2021 and I’ve included a Canon camera in this list. Just like the Fuji, the main reason I chose the M50 II has to do with its excellent color science.
You can beat Canon in many ways, but color science isn’t one of them. They did this with the original 5D MKII a few years ago and still do today. This is true of their line of cinema cameras, digital SLRs, and even entry-level products like the M50 II.
That’s not to say that the M50 II doesn’t have its shortcomings, but for some filmmakers (i.e., those working in narrative films) the impact of these shortcomings may be minimal.
One example is the lack of internal stability, which as I said above is something many filmmakers tend to avoid entirely. Or the intense crop factor when shooting in 4K, which essentially turns the M50 II into a super 16mm camera. For some, this is a huge drawback, but for others, it’s an added bonus – namely, because they can pair the camera with old-school 16mm glass.
In a lot of ways, this camera doesn’t perform very well, and it’s certainly not a very versatile camera. But the things it’s good at, are the things it’s good at. With the right approach, both on set and in post-production, you can create some pretty stunning images.
I wrote a short review of the M50 II that you can read here that elaborates on all of this.
in short: If you like the 16mm look and are a fan of Canon’s color science, this is a great camera. Just don’t expect it to work properly.
ZCAM E2C
Z CAM E2C: B & H $799
The ZCAM E2C is the most modular camera on the list. It was also the only camera designed to be a true cinema camera, not only in terms of image quality but also in terms of ergonomics.
The camera body is very reminiscent of RED’s lineup, which clearly had an influence on the design. In many ways, you can think of it as a mini RED camera, just with a more limited functionality and feature set.
Even so, the basics are covered. The camera will record video at up to 4K resolution in 10-bit RAW format using its 4/3-inch sensor, while also supporting ProRes and H265 recording. It also includes a ton of other pro features like in-camera support Color grading LUTagent file records, log color profiles, etc.
However, like miniature movie cameras, the ZCAM E2C is basically a box that houses a sensor. You still need to invest in a monitor, battery solution, and other accessories. But for the right filmmaker, it’s worth it.
in short: If you’re looking for the ultimate budget RED camera – this is it. You won’t get all the bells and whistles, but you will get a modular camera built for professional use on set.
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