Earlier this year, three potentially groundbreaking cameras were announced, and they all have something in common: They shoot raw video at 2K resolution or higher and cost under $7,000.
These cameras are of course: Blackmagic Digital Cinema Camera, Digital Bolex and Kineraw.
As with any camera, all three have their pros and cons, but instead of making a comparison list, I’m going to highlight some of the important features of each camera and explain my choices among the three. Let’s first take a look at some of the highlights and pricing of these cameras:
Blackmagic Digital Cinema Camera – $3000
- 2.5K resolution
- 13 Stop dynamic range
- Base ISO: 800 (expandable to 1600 ISO)
- RAW Cinema DNG, ProRes, DNxHD
- Record to any brand of SSD hard drive
- Sensor size between S16 and MFT
- EF and ZE lenses compatible with aperture control, MFT version coming soon, passive mount
- Built-in battery – 2 hours of battery life (can be powered by almost any device with an adapter)
Bonus: Included software: DaVinci Resolve and UltraScope
Digital Bolex – $3300
- 2K resolution 16:9
- DR’s 12 stations
- ISO options 100, 200, 400
- Adobe Cinema DNG (RAW), TIFF, JPEG image sequences, all resolutions
- 12 bits – 4:4:4
- Kodak CCD: 12.85 mm (H) x 9.64 mm (V) – similar to Super 16mm
- Up to 32 fps at 2K, 60 fps at 720p, 90 fps at 480p
- 1920 x 1080 via mini HDMI or 640 x 480 black and white via ‘HD-SDI’ video jack (HD-SDI available in separate unit)
- Dual CF card slots, SSD (buffered drive)
- Internal battery, 12V via 4-pin XLR port External, 12V DC output
- C interface is standard; PL, EF, and B4 are optional. M, Micro 4/3, turret under development.
KineRaw – $6,300
- Super 35mm size CMOS sensor
- True RAW 12-bit linear output (such as CinemaDNG) or Cineform RAW 10-bit Log90 output
- PL mount as standard, interchangeable lens mounting system, adjustable flange distance
- 2K@23.976fps, 24fps, 25fps, 30fps
- All are uncompressed True RAW, such as CinemaDNG and GoPro-Cineform™ RAW
- 480p, 576p, 720p, 1080p, RGB 8bpc, compatible with third-party EVF, LCD and high-definition monitors.
- 24 bit depth and 48KHz
- 3-pin XLR 2-channel
- Dual CF card slots, SSD (buffered drive)
- Internal battery, 12V via 4-pin XLR port External, 12V DC output
- C interface is standard; PL, EF, and B4 are optional. M, Micro 4/3, turret under development.
So we’re left with three very good options.
I will probably do a separate blog about these cameras as I get to use them and start shooting with them in the field. I can see each of these three serving its own unique purpose, but having said that, if I had to choose one it would be: Blackmagic Cinema Camera.
Why BMCC? All three are great choices, but for me, Kineraw is ruled out almost immediately. This camera will certainly be a great device, probably far superior to the BMCC in some situations, but for many the biggest benefit of owning a KineRaw is the larger sensor. I come from a Micro Four Thirds background, so am used to the smaller sensor format, and I prefer this format for narrative filmmaking work. Also, for the price of KineRaw, there are other options. Maybe second-hand scarlet? Maybe the C100 (not RAW or 2K, but still a great camera).
Another factor is build quality. The KineRaw may appear to have a sturdier physical build than the other two cameras, but at $3,000, you can get two KineRaws for the price of one. Not to mention that cameras are becoming obsolete faster than ever these days, and I wouldn’t be happy if all three of these cameras had been replaced by better, equally cost-effective versions by this time next year – maybe even from the same manufacturer. will be surprised. While build quality is certainly important, I’ve never used any camera long enough for the physical build to wear off. I tend to upgrade early.
Why not choose Digital Bolex?
Digital Bolex is a close second for me. The price is right, the specs look great, in fact I almost pre-ordered one when the Kickstarter campaign launched earlier this year. But I didn’t, for a few main reasons. In terms of value, I think you get more for your money with BMCC. The fact that it comes with DaVinci Resolve (which normally sells for $1,000 on its own) is huge. I frequently work as a colorist and Resolve is my tool of choice. To me, this is a given. Also, I don’t like the look of the Digital Bolex. The design is a fun retro look that’s cool but gets dated quickly, almost making it feel like a toy in some ways. For many people this won’t be a factor as image quality does matter, but for me it’s a bit of a turn off. Finally, the Digital Bolex doesn’t have any physical features that I would consider superior to the BMCC. The sensors are roughly the same size, have similar frame rates, and shoot in 2K.
Therefore, I once again chose the BMCC as my camera. It’s the highest resolution of the three, probably has the greatest dynamic range, and comes bundled with DaVinci Resolve. Not to mention I find the metadata functionality provided by the camera particularly interesting. While there are pros and cons as with any of these three options, for me it was the right choice. I, like everyone else who has ordered a camera over the past few months, eagerly awaits its arrival. I will write a separate blog in the future reviewing the camera, with a special focus on your choice of lens mounting options (MFT vs. EF). For me, based on all the lenses I own, MFT is the best choice, but for many people EF may be a better choice.
The good news is that no matter which camera you choose, there are now options. a lot of. Choose a camera that suits your needs and budget, and focus on what’s really important – what you put in front of the lens.
