Archive notice: This camera comparison was published in June 2020 and reflects the models, firmware, codecs and prices available at that time.
AG DOK compared the Panasonic S1 and S1H, Blackmagic URSA Mini Pro G2 and Pocket Cinema Camera 6K, Canon C500 Mark II and Sony FX9. ARRI Amira, Panasonic EVA1 and Sony FS7 II footage provided reference points.
Test setup
The test used Zeiss Supreme Prime cinema lenses and a Schneider Kreuznach infrared cut-off neutral-density filter. Each camera recorded a 13-stop exposure series at its native ISO using the codec the testers considered strongest for the model. The exact claim that each choice represented the best possible codec was not independently verified at press time.
Panasonic and Sony
The testers judged Panasonic’s cameras to offer the strongest image-quality-to-price balance. The S1H added more recording formats, a more practical articulated display and timecode input; its optical low-pass filter produced a softer image than the S1.
Sony’s FX9 delivered cleaner low-light images than the FS7 II. Its autofocus worked well for static interview-style shots but was less convincing with a moving camera. The test found that FX9 and Canon C500 Mark II colour and dynamic range did not match the Amira reference.
Canon and Blackmagic
Canon C500 Mark II autofocus responded reliably through the touchscreen. The monitor and Canon external viewfinder could not be connected simultaneously, although a third-party viewfinder remained possible. Well-exposed images were detailed, while increasing underexposure reduced fine detail.
Between the Blackmagic models, the testers favoured the Pocket Cinema Camera 6K for its newer design, lower cost, equipment package, dynamic range and low-light handling. Crews should repeat exposure, colour, rolling-shutter and codec tests with current firmware before choosing a camera for production.
