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How Do You Choose a Music Video Camera?

Why do some music videos captivate you and make you want to watch them again, whereas others do not? Aside from creative concepts, forward-thinking visual effects, and elaborately choreographed scenes, it is great camera work that leaves a lasting impression. This impact cannot be achieved without a high-quality music video camera. To help you choose one, Alex Aleinikov, Director of Photography (DoP) at our music video production company, has shared his opinion on the best music video cameras, both expensive and budget-friendly.

Choosing the Right Music Video Camera: Why It Matters

A little foreword. Alex Aleinikov began his career – first as a photographer, then as a cinematographer and director of photography – more than 20 years ago. Since then, he has filmed numerous music videos, documentaries, interviews, television series and feature films. Our portfolio on website includes some of his best work. He also provided expert insights to our recent articles on how to make a music video step-by-step and how to shoot a low-budget music video. What is the most important thing he has learned on his professional journey?

In most cases, the budget does not matter. When it comes to making creative music videos, your inner confidence, creativity, and willingness to come out of comfort zone always take center stage. Because of this, some music videos – like Michel Gondry’s brilliantly shot The Hardest Button to Button by The White Stripes – look amazing without pricey digital effects. What could be simpler than the classic pixilation animation? However, it often takes an experienced video production company to generate and shape such unconventional ideas.

Why Can a Right Music Video Camera Make or Break Your Project?

Choosing the right camera for a music video can be just as critical as thinking outside the box. Sure, a skilled DoP can do an excellent job even without high-end equipment. For example, Alex used a Canon 5D mkIII camera with Canon 18-135mm f/3.5-5.6 lenses, a Carl Zeiss Planar T* 50mm f/1.4 ZE lens, and a Carl Zeiss Planar T* 85mm f/1.4 ZE lens to shoot ZUI’s Dad Got Fired music video. The video’s total production budget was only $600, but it does not appear cheap due to the careful selection of the music video camera and lenses. Here’s why making the right choice matters:

  • Visual quality. The resolution, dynamic range, and color science of a music video camera all contribute significantly to the visual quality of your video. High-quality cameras can capture fine details, vibrant colors, and subtle gradations of light and shadow, resulting in a professional and polished look. For instance, cameras like the Arri Alexa Mini or Red Komodo 6K offer superior image quality that can elevate the aesthetic appeal of your video.
  • Creative freedom. Different music video cameras provide varying degrees of creative control. Features such as interchangeable lenses, high frame rates, and advanced autofocus systems allow you to experiment with different visual styles and techniques. A camera that can shoot in RAW format, for example, offers a great deal of flexibility in post-production, helping you achieve precise color grading and color correction.
  • Suitability for specific scenes. Different cameras work better in different situations. For example, Sony A7 III is ideal for nighttime or dimly lit scenes due to its low-light performance. For smooth, dramatic slow-motion shots, a camera with high frame rates is needed. The choice of lens can also impact the final look of a music video. For instance, a Canon 50mm f/1.2L lens can create a beautiful, shallow depth of field, making it one of the best lenses for a music video when you aim for a dreamy, cinematic bokeh effect.
  • Efficiency. When choosing a video camera for music videos, consider how the equipment will affect the overall production process. A music video camera with user-friendly interfaces, reliable autofocus, and good battery life can reduce the time and effort required on set. Moreover, compatibility with your existing equipment and software can simplify the workflow, from shooting to video editing.
  • Budget considerations. Choosing a right music video camera that fits your budget while meeting your production needs is vital. You don’t have to buy it; partnering with a reliable rental service can be a smart alternative. However, splurging on a high-end camera might strain your budget, leaving less for other important aspects like lighting, props, and post-production. Conversely, underestimating the importance of a good camera can lead to subpar video quality, which might not do justice to your creative vision.
Postproduction is the last phase of making a music video

Best Music Video Cameras for Your Consideration

Picking the right camera for a music video isn’t only about the technical stuff; it’s a creative choice that influences everything in the production. The right camera can really step up your game by making your video look awesome and giving you more freedom to be creative and work faster. Take into account your project’s specific requirements, budget, and the aesthetic you’re aiming for. This will guide you in selecting the ideal camera to bring your artistic vision to reality. In this section, Alex Aleinikov will highlight some music video cameras that could bolster your creative efforts.

Before that, let’s enumerate music video camera features that could impact the production process. Frame rate, sensor size, and dynamic range play critical roles in achieving the desired look and feel. Additionally, the camera’s compatibility with different lenses and accessories can provide the versatility you need for various shooting scenarios. If you’re going for a movie vibe or a raw look, knowing these technical things will help you make a better-informed choice. Another crucial factor is the camera’s ability to perform well in different lighting conditions, which can significantly enhance your music video.

One more thing to think about is how easy it is to use the camera. Having a camera that is simple to use and manage can greatly simplify the shooting process, enabling you to concentrate on the creative side rather than technical hurdles. For shoots that involve moving between different locations or filming for extended periods, it is vital to prioritize battery life, weight, and durability. Opting for a music camera that combines quality and practicality can make filming more enjoyable. Without further ado, here’s our list of the best music video cameras you could use in your project.

Canon 5D Mark III
$700 used, $1,500 new

Canon 5D Mark III

Full-frame DSLR, 22.3MP sen­sor, ro­bust build. Go­od for achie­ving a ci­ne­ma­tic look with depth of field, ideal for nar­ra­ti­ve mu­sic vi­de­os with cont­rol­led lighting.
  • Full-frame DSLR sensor
  • 2K video, 4K stills
  • DR 11.8 stops
  • Canon EF-mount
  • Rolling shutter 20.5ms
  • 24fps 2K
  • Good in low-light
  • Relatively small but heavy
Fujifilm X-T3
$700 used, $1,500 new

Fujifilm X-T3

APS-C sensor, 26.1MP, 4K ex­ter­nal/­in­ter­nal vi­deo re­cor­ding. Per­fect for dy­na­mic, vib­rant mu­sic vi­de­os, es­pe­cial­ly when por­ta­bi­li­ty and ease of use are essential.
  • APS-C sensor
  • 4K video and stills
  • DR 11.2 stops
  • Fuji FX-mount
  • Rolling shutter 16ms
  • 60fps 4K
  • Weak in low-light
  • Relatively small and light
Sony A7 III
$1,200 used, $1,800 new

Sony A7 III

Full-frame, 24.2 MP, ex­cel­lent auto­fo­cus. Sui­tab­le for both stu­dio and out­do­or shoots; exc­el­lent for low-light mu­sic vi­de­os due to its high ISO performance.
  • Full-frame sensor
  • 2K video, 4K stills
  • DR 13.8 stops
  • Sony FE-mount
  • Rolling shutter 12.5ms
  • 30fps 4K, 60fps 2K
  • Superb in low-light
  • Relatively small and light
BMPCC 6K Pro
$1,600 used, $2,500 new

BMPCC 6K Pro

Super 35 sensor, 6K re­so­lu­ti­on, built-in ND fil­ters. Ideal for high-re­so­lu­ti­on, high-de­tail mu­sic vi­de­os; per­fect for post-pro­duc­ti­on fle­xi­bi­li­ty with BRAW footage.
  • Super 35 sensor
  • 6K BRAW video
  • DR 13.0 stops
  • Canon EF-mount
  • Rolling shutter 19.8ms
  • 60fps 4K, 120fps 2.8K
  • Weak in low-light
  • Relatively light but large
Sony FX3
$3,300 used, $4,000 new

Sony FX3

Full-frame sensor, 4K vi­deo at high fra­me ra­tes, com­pact ci­ne­ma ca­me­ra. Go­od for hand­held, gim­bal work in mu­sic vi­de­os, par­ti­cu­larly in low-light environments.
  • Full-frame sensor
  • 4K video (RAW externally)
  • DR 15.0 stops
  • Sony FE-mount
  • Rolling shutter 10ms
  • 120fps 4K
  • Superb in low-light
  • Compact and light
Sony FX6
$4,500 used, $6,000 new

Sony FX6

Full-frame sensor, pro vi­deo fea­tu­res, com­pact form fac­tor. Gre­at for mu­sic vi­deo pro­duc­ti­ons nee­ding ci­ne­ma­tic qua­li­ty and ver­sa­ti­le shoo­ting conditions.
  • Full-frame sensor
  • 6K video (RAW externally)
  • DR 15.0 stops
  • Sony FE-mount
  • Rolling shutter 8.7ms
  • 120fps 4K
  • Superb in low-light
  • Relatively large and heavy
Canon C70
$4,500 used, $5,000 new

Canon C70

Super 35 sensor, 4K vi­deo, com­pact ci­ne­ma ca­me­ra. Ideal for mu­sic vi­de­os re­qui­ring pro­ qua­li­ty with ef­fi­cient work­flow, go­od for run-and-gun shooting.
  • Super 35 sensor
  • 4K Cinema RAW video
  • DR 16.0 stops
  • Canon EF-mount
  • Rolling shutter 7.7ms
  • 120fps 4K
  • Weak in low-light
  • Relatively large and heavy
RED Komodo 6K
$4,500 used, $6,000 new

RED Komodo 6K

Super 35 sensor, 6K re­so­lu­ti­on, com­pact, mo­du­lar. Ex­cel­lent for high-end mu­sic vi­de­os whe­re fle­xi­bi­li­ty and ima­ge qua­li­ty are pa­ra­mount; gre­at for vi­su­al effects.
  • Super 35 sensor
  • 6K REDRAW video
  • DR 15.7 stops
  • Canon RF-mount
  • Global shutter 0ms
  • 60fps 4K
  • Good in low-light
  • Relatively small and light
RED Gemini 5K
$16,000 used, $25,000 new

RED Gemini 5K

Super 35 sen­sor, 5K vi­deo, high-re­so­lu­ti­on op­tions, mo­du­lar de­sign. Vi­deo ca­me­ra for mu­sic vi­de­os nee­ding top-notch ima­ge qua­li­ty and post-production.
  • Super 35 sensor
  • 5K REDRAW video
  • DR 16.5 stops
  • ARRI PL-mount
  • Rolling shutter 7.7ms
  • 120fps 4K
  • Good in low-light
  • Large and heavy
Sony Venice
$35,000 used, $42,000 new

Sony Venice

Full-frame sensor, 6K re­so­lu­ti­on, ver­sa­ti­le lens mounts. Best for high-bud­get mu­sic vi­de­os with a ne­ed for the hi­ghest ima­ge qua­li­ty and dy­na­mic range.
  • Full-frame sensor
  • 6K RAW video
  • DR 15.0 stops
  • ARRI PL-mount
  • Rolling shutter 10ms
  • 60fps 4K
  • Good in low-light
  • Relatively large and heavy
ARRI Alexa SXT
$25,000 used, $40,000 new

ARRI Alexa SXT

Super 35 sensor, up to 3.2K, mo­du­lar de­sign. Go­od for mu­sic vi­de­os re­qui­ring the hi­ghest ima­ge qua­li­ty and ro­bust, re­liab­le per­for­man­ce in va­ri­ous conditions.
  • Super 35 sensor
  • 3.2K ARRIRAW video
  • DR 14.0 stops
  • ARRI PL-mount
  • Rolling shutter 8.8ms
  • 60fps 3.2K
  • Weak in low-light
  • Large and heavy
ARRI Alexa Mini
$35,000 used, $42,000 new

ARRI Alexa Mini

Super 35 sensor, 4K UHD re­so­lu­ti­on, com­pact and light­. Ide­al for pro­fes­sio­nal mu­sic vi­de­os re­qui­ring top-tier ci­ne­ma­tic qua­li­ty and fle­xib­le moun­ting.
  • Super 35 sensor
  • 3.4K ARRIRAW video
  • DR 14.0 stops
  • ARRI PL/LPL-mount
  • Rolling shutter 7.4ms
  • 60fps 3.4K
  • Normal in low-light
  • Relatively large and light
ARRI Alexa 35
$60,000 used, $78,000 new

ARRI Alexa 35

Super 35 sensor, ad­van­ced ima­ging tech­no­lo­gy, 4.6K re­so­lu­ti­on. Per­fect for high-end mu­sic vi­de­os with de­man­ding vi­su­al re­qui­re­ments and ex­ten­si­ve post.
  • Super 35 sensor
  • 4.6K ARRIRAW video
  • DR 17.0 stops
  • ARRI PL/LPL-mount
  • Rolling shutter 5.7ms
  • 120fps 4K
  • Good in low-light
  • Relatively large and light
Canon 5D Mark III
$700 used, $1,500 new

Canon 5D Mark III

Full-frame DSLR, 22.3MP sen­sor, ro­bust build. Go­od for achie­ving a ci­ne­ma­tic look with depth of field, ideal for nar­ra­ti­ve mu­sic vi­de­os with cont­rol­led lighting.
  • Full-frame DSLR sensor
  • 2K video, 4K stills
  • DR 11.8 stops
  • Canon EF-mount
  • Rolling shutter 20.5ms
  • 24fps 2K
  • Good in low-light
  • Relatively small but heavy
Fujifilm X-T3
$700 used, $1,500 new

Fujifilm X-T3

APS-C sensor, 26.1MP, 4K ex­ter­nal/­in­ter­nal vi­deo re­cor­ding. Per­fect for dy­na­mic, vib­rant mu­sic vi­de­os, es­pe­cial­ly when por­ta­bi­li­ty and ease of use are essential.
  • APS-C sensor
  • 4K video and stills
  • DR 11.2 stops
  • Fuji FX-mount
  • Rolling shutter 16ms
  • 60fps 4K
  • Weak in low-light
  • Relatively small and light
Sony A7 III
$1,200 used, $1,800 new

Sony A7 III

Full-frame, 24.2 MP, ex­cel­lent auto­fo­cus. Sui­tab­le for both stu­dio and out­do­or shoots; exc­el­lent for low-light mu­sic vi­de­os due to its high ISO performance.
  • Full-frame sensor
  • 2K video, 4K stills
  • DR 13.8 stops
  • Sony FE-mount
  • Rolling shutter 12.5ms
  • 30fps 4K, 60fps 2K
  • Superb in low-light
  • Relatively small and light
BMPCC 6K Pro
$1,600 used, $2,500 new

BMPCC 6K Pro

Super 35 sensor, 6K re­so­lu­ti­on, built-in ND fil­ters. Ideal for high-re­so­lu­ti­on, high-de­tail mu­sic vi­de­os; per­fect for post-pro­duc­ti­on fle­xi­bi­li­ty with BRAW footage.
  • Super 35 sensor
  • 6K BRAW video
  • DR 13.0 stops
  • Canon EF-mount
  • Rolling shutter 19.8ms
  • 60fps 4K, 120fps 2.8K
  • Weak in low-light
  • Relatively light but large
Sony FX3
$3,300 used, $4,000 new

Sony FX3

Full-frame sensor, 4K vi­deo at high fra­me ra­tes, com­pact ci­ne­ma ca­me­ra. Go­od for hand­held, gim­bal work in mu­sic vi­de­os, par­ti­cu­larly in low-light environments.
  • Full-frame sensor
  • 4K video (RAW externally)
  • DR 15.0 stops
  • Sony FE-mount
  • Rolling shutter 10ms
  • 120fps 4K
  • Superb in low-light
  • Compact and light
Sony FX6
$4,500 used, $6,000 new

Sony FX6

Full-frame sensor, pro vi­deo fea­tu­res, com­pact form fac­tor. Gre­at for mu­sic vi­deo pro­duc­ti­ons nee­ding ci­ne­ma­tic qua­li­ty and ver­sa­ti­le shoo­ting conditions.
  • Full-frame sensor
  • 6K video (RAW externally)
  • DR 15.0 stops
  • Sony FE-mount
  • Rolling shutter 8.7ms
  • 120fps 4K
  • Superb in low-light
  • Relatively large and heavy
Canon C70
$4,500 used, $5,000 new

Canon C70

Super 35 sensor, 4K vi­deo, com­pact ci­ne­ma ca­me­ra. Ideal for mu­sic vi­de­os re­qui­ring pro­ qua­li­ty with ef­fi­cient work­flow, go­od for run-and-gun shooting.
  • Super 35 sensor
  • 4K Cinema RAW video
  • DR 16.0 stops
  • Canon EF-mount
  • Rolling shutter 7.7ms
  • 120fps 4K
  • Weak in low-light
  • Relatively large and heavy
RED Komodo 6K
$4,500 used, $6,000 new

RED Komodo 6K

Super 35 sensor, 6K re­so­lu­ti­on, com­pact, mo­du­lar. Ex­cel­lent for high-end mu­sic vi­de­os whe­re fle­xi­bi­li­ty and ima­ge qua­li­ty are pa­ra­mount; gre­at for vi­su­al effects.
  • Super 35 sensor
  • 6K REDRAW video
  • DR 15.7 stops
  • Canon RF-mount
  • Global shutter 0ms
  • 60fps 4K
  • Good in low-light
  • Relatively small and light
RED Gemini 5K
$16,000 used, $25,000 new

RED Gemini 5K

Super 35 sen­sor, 5K vi­deo, high-re­so­lu­ti­on op­tions, mo­du­lar de­sign. Vi­deo ca­me­ra for mu­sic vi­de­os nee­ding top-notch ima­ge qua­li­ty and post-production.
  • Super 35 sensor
  • 5K REDRAW video
  • DR 16.5 stops
  • ARRI PL-mount
  • Rolling shutter 7.7ms
  • 120fps 4K
  • Good in low-light
  • Large and heavy
Sony Venice
$35,000 used, $42,000 new

Sony Venice

Full-frame sensor, 6K re­so­lu­ti­on, ver­sa­ti­le lens mounts. Best for high-bud­get mu­sic vi­de­os with a ne­ed for the hi­ghest ima­ge qua­li­ty and dy­na­mic range.
  • Full-frame sensor
  • 6K RAW video
  • DR 15.0 stops
  • ARRI PL-mount
  • Rolling shutter 10ms
  • 60fps 4K
  • Good in low-light
  • Relatively large and heavy
ARRI Alexa SXT
$25,000 used, $40,000 new

ARRI Alexa SXT

Super 35 sensor, up to 3.2K, mo­du­lar de­sign. Go­od for mu­sic vi­de­os re­qui­ring the hi­ghest ima­ge qua­li­ty and ro­bust, re­liab­le per­for­man­ce in va­ri­ous conditions.
  • Super 35 sensor
  • 3.2K ARRIRAW video
  • DR 14.0 stops
  • ARRI PL-mount
  • Rolling shutter 8.8ms
  • 60fps 3.2K
  • Weak in low-light
  • Large and heavy
ARRI Alexa Mini
$35,000 used, $42,000 new

ARRI Alexa Mini

Super 35 sensor, 4K UHD re­so­lu­ti­on, com­pact and light­. Ide­al for pro­fes­sio­nal mu­sic vi­de­os re­qui­ring top-tier ci­ne­ma­tic qua­li­ty and fle­xib­le moun­ting.
  • Super 35 sensor
  • 3.4K ARRIRAW video
  • DR 14.0 stops
  • ARRI PL/LPL-mount
  • Rolling shutter 7.4ms
  • 60fps 3.4K
  • Normal in low-light
  • Relatively large and light
ARRI Alexa 35
$60,000 used, $78,000 new

ARRI Alexa 35

Super 35 sensor, ad­van­ced ima­ging tech­no­lo­gy, 4.6K re­so­lu­ti­on. Per­fect for high-end mu­sic vi­de­os with de­man­ding vi­su­al re­qui­re­ments and ex­ten­si­ve post.
  • Super 35 sensor
  • 4.6K ARRIRAW video
  • DR 17.0 stops
  • ARRI PL/LPL-mount
  • Rolling shutter 5.7ms
  • 120fps 4K
  • Good in low-light
  • Relatively large and light

How to Choose a Camera for Filming Music Videos: Practical Tips

When it comes to music video cameras, budget-friendly options like Blackmagic Design and Sony provide excellent image quality at a reasonable price. For high-end productions, our DoP prefers ARRI Alexa cameras because of their superior image quality, ease of use. ARRI Alexa Mini LF and ARRI Alexa LF provide full-frame capabilities, lower noise and higher sensor sensibility. However, the scope of a project and the production budget are not the only considerations. To select the best music video camera for your project, you should:

  • Define your vision and style. Are you aiming for a cinematic look, a gritty documentary feel, or a high-energy, fast-paced visual? By answering this question, you will be able to assess your technical requirements correctly and choose the best video camera for music videos. You can also contact YOPRST for a professional consultation.
  • Calculate music video production expenses. If you’re operating on a shoestring, consider choosing the Blackmagic Pocket 6K Pro, Sony A7 III, or Fujifilm X-T3 as your music video camera. For a mid-range project, the Canon C70, Sony FX3, or RED Komodo 6K can be viable options. And if you have a major label behind your back, opt for the ARRI Alexa Mini, Sony Venice, or RED Ranger Gemini 5K to achieve maximum quality.
  • Evaluate camera features. Higher-resolution cameras (4K, 6K, and 8K) offer more detail and flexibility in post-production. Full-frame sensors provide better low-light performance and depth of field, while Super 35 sensors are often more affordable. Choose a music video camera with high frame rates (60 fps, 120 fps) to achieve smooth slow-motion shots. Cameras with a wide dynamic range capture more detail in shadows and highlights, which is crucial for high-contrast scenes.
  • Zoom in on your project requirements. Are you shooting a music video at night, or does it contain dimly lit scenes? In this case, the best camera to shoot a music video will be Sony A7 III or Canon C70, which maintain optimal image quality without excessive noise. Compact cameras like the Fujifilm X-T3 or Blackmagic Pocket 6K Pro are great for handheld shooting and dynamic movements. Blackmagic Pocket 6K Pro and RED Komodo 6K are also the best music video cameras for shooting in RAW, which is the go-to format for videos requiring complex editing and color grading.
  • Seek expert advice. Purchasing or renting a music video camera is not an easy task, especially if you are new to video production. That is why you should read reviews first, watch test footage, get recommendations from experienced filmmakers, and, if possible, test the equipment before purchasing or renting it.

Wrapping Up

Choosing the right camera for your music video requires careful consideration of your budget, technical requirements, and creative vision. By following these practical tips and thoroughly researching your options, you can select a music video camera that will help bring your concept to life with stunning visuals and pro-grade quality. And if you need help shooting a music video, just drop us a line! YOPRST is a team of like-minded, seasoned filmmakers who have hands-on experience, an unbridled imagination, and our own music video cameras and gear. We will handle your project with care.