Cinema cameras
Cinema cameras built around the picture file — raw codecs, dynamic range, audio inputs, timecode and a body designed to carry a rig.
How to choose a cinema camera
Sensor size and mount. Super 35 and full-frame behave differently at the same focal length, and the mount decides which glass you can put in front. Blackmagic's URSA Mini Pro takes interchangeable PL, EF and B4 mounts; Sony's FX3, FX30 and FX6 are E-mount.
Dynamic range and codec. This is the specification that survives the grade. Blackmagic RAW and ProRes give a colourist room; a long-GOP consumer codec does not.
Media. CFexpress, SSD or SxS — each has a cost per hour and a workflow. Check the recording media before you budget the body.
Rigging. None of these ship ready to shoot. SmallRig supplies Sony FX9, FX6 and FX3/FX30 kits, and the URSA and Pocket bodies need cages, handles and power.
Blackmagic supplies 34 models with published MSRP, from the Pocket Cinema Camera 4K to the URSA Cine 17K 65. Sony's cinema records are currently sourced from a Japanese catalogue and are not store-ready — they are visible for reference, and any Sony body goes through enquiry until we have an English dealer feed.