Building My Dream Camera

It’s that time again when my brain starts to ponder the endless question: What would be my idea of a perfect camera?

I’ve asked this question before, multiple times. Every time, the obvious realization lands that there is no such thing as a perfect camera. Or, more accurately, there are a million and one different ideas of a perfect camera for a million and one different photographers. Even my own concept of a perfect camera has changed over the years as my interests and needs as an artist have evolved. So, if I can’t even decide on the idea of a perfect camera for myself, the odds of nailing down the camera that is universally perfect for everyone is going to be a tall order.

Just the same, it is a fun thought experiment. And, for once, the timing is right to let my mind wander. Usually, letting my mind wander too much on camera options is a bad thing. It generally ends up in me spending money I don’t have on something I didn’t really need. But, at the moment, I find myself in a unique position. For one, overflowing pockets isn’t a problem I have right now. So, sheer practicality is protecting me from my own stupidity. Two, I happen to have actually reached the hallowed ground where I currently own what might be the perfect camera for me, the Nikon Z9. I’m not saying it’s the perfect camera for everyone. I’m just saying that, based on my own use case, the camera scratches me right where I itch—so much so that I bought two of them. So much so that, even if Nikon were to release a Z9 II tomorrow, I can reasonably see myself skipping the upgrade and waiting for a Z9 III (subject to change depending on the presumed Z9 II specs).

But, even though the Z9 has been the perfect fit for the majority of my needs, I still use a variety of cameras for different purposes. As a filmmaker and commercial director, for instance, I will almost always rent an Alexa when the budget allows. As an advertising photographer, I will occasionally need to rent a medium format camera for specific assignments. And, because I review cameras for Fstoppers, I often find myself cheating on my beloved Z9 with cameras from pretty much every brand on the planet.

In fact, I’ve recently been playing around with the Canon R5C, which is what started me thinking again about the idea of my perfect Frankencamera to begin with. That camera has certain strengths and weaknesses compared to my Z9, and my brain started to ponder whether I could animate my cameras so the R5 C could teach my Z9 a few tricks, and vice versa.

So, today, let’s just have a bit of fun and speculate on what my current ideal camera might look like. I’ll base this on my own use case, so it will likely not be the same as your own. So, I’ll want to hear your own use case in the comment section and how your perfect camera might differ. For me, my work is divided probably 70/30 between directing and cinematography versus stills. That used to be more like 30/70, but the trendlines of my own business are fairly clear. As a filmmaker, I focus mostly on narrative projects as well as commercials. I don’t do a lot of documentary work, music videos, or weddings. Professionally, I usually find myself working as part of a team, meaning I have a crew that is going to need to interact with my camera—first ACs to pull focus, boom operators that are going to need to match timecode, DITs who are going to need to pull a wireless live feed. I am rarely running and gunning when it comes to video. Although, I do like to have a camera with certain capabilities, as I do occasionally find myself working solo. In the photography world, my focus is on athletic subjects—not sideline photojournalism, but ad campaigns that feature athletes and dancers. So, my subjects move fast, but I usually have the option to do a second take.

Hmm. Let’s see. Anything else you need to know as context before we get started? No, let’s just get right to it.

High Dynamic Range

The reason I get weak in the knees when standing in close proximity to the Arri Alexa 35 isn’t just because it’s so pretty. It’s because I know that hiding on the beautiful sensor are 17 stops of dynamic range—the best in the business. We like to talk about a lot of specs when it comes to cameras, frame rates, resolution, etc., but, at the end of the day, the thing that matters most is image quality. And that starts with dynamic range. From the lightest area to the darkest area, what can your sensor capture?

In a completely controlled environment, pretty much any camera can have suitable dynamic range if you know what you’re doing. Where cameras like the Alexa 35 shine is when you find yourself forced to work under more difficult conditions and still need to return home with a pleasing result. This doesn’t even begin to factor in the color science that Arri has become known for. So, since this is my dream camera, and, in my dreams, I can afford whatever I want, I’ll start with the sensor with the most dynamic range.

6K

As I mentioned earlier, I own two Nikon Z9s. Those cameras are brilliant, as they can shoot everything from 1080p all the way up to 8K. As I wasn’t immune to the megapixel race as a still photographer, it should come as no surprise that I’m not immune to the resolution race as a filmmaker. But facts are facts. Fact one: The vast majority of material you see broadcast on TV or projected in theaters is still presented in 1080p or 2K. In other words, the world hasn’t even fully adapted to 4K yet. And 4K has been around for 20 years now. So, the odds of 8K becoming the dominant presentation format any time soon seem highly unlikely.

Instead, the main benefit of 4K has always been that it allows you wiggle room for error so that you can crop and reframe in post without a significant penalty when ultimately outputting to 1080p. Likewise, the benefit of 8K is that you have some wiggle room when eventually outputting to 4K.

In recent years, it seems as though many cinema cameras have settled on 6K as the accepted standard for many mid-tier to high-end cameras. I think this may actually be the optimal resolution. As someone who owns an 8K camera, I can say that I almost never find myself needing the full resolution of the sensor. On the Z9, in fact, I’ll usually shoot in the cropped sensor 5K option, as I find this gives me plenty of room to shift things around for 4K while minimizing the storage requirements when shooting everything in 8K. To that end, 6K is a happy medium that gives you room to play, but demands far less storage investment than 8K.

Built-In NDs

Why, oh why, are built-in NDs still not the standard for all cameras in the current market? I’m sure the camera manufacturers have their reasons. But using a camera with internal variable ND options is sort of like flying first class. Once you try it, it’s very hard to go back to coach.

My Canon C200 was the first camera I had with variable NDs built-in. And, while you can certainly screw in a variable ND onto your lens, simply being able to dial in your ND without needing to attach any more hardware to your rig is such an unbelievable time saver that this feature alone can be the deciding factor whether I purchase a camera or not. Considering you’ll likely be shooting outside at least 50% of the time, and thus will need some type of ND, having one built-in is a must.

Top Autofocus

I can hear my fellow filmmakers now: “Real pros use manual focus for video!” And, while I definitely do opt for manual focus on most occasions, there’s no reason not to have the option for amazing autofocus at your fingertips. It’s sort of like a photographer who writes to me complaining that modern cameras have video functionality when they should be all about stills. If you don’t want it, don’t use it. But, in the current day, with amazing autofocus being built into even the cheapest cameras, having the option to flip your amazing cinema camera into autofocus mode when that’s the most efficient choice is a win-win, even if you don’t use it all the time.

4-Axis Articulating LCD

There’s long been a debate between those who want their LCD screens to tilt and those who want them to flip out to the side. Generally, the split is because those who want fully articulated LCD screens (those that flip out to the side) want them because they are filming themselves often and need to be able to see their image when standing in front of the camera. Those who rarely or never film themselves often prefer the stability and centrality of the tilting screen, which stays lined up with the lens and can be more convenient when you are always behind the camera. Personally, since I’m not often in front of my own camera, I prefer the tilting screen of my Z9. It just works best for 90% of my own needs. But that doesn’t mean that I can’t see the appeal of having a screen that I can flip out and see on those rare occasions when I am both videographer and subject.

So, why can’t I have both? Turns out Sony seems to have figured this out and a couple of their cameras now have screens that can either fully articulate and flip out so you can see yourself while filming or can stay put on the back and just tilt up and down. I’m not sure if this is some kind of patent issue or not. But, much like the built-in NDs, this seems like an idea that should be standard on all cameras going forward.

Modularity

Any filmmaker at some point will come to a crossroads. Oh, how nice it would be to strip my camera down to its bare essentials and not have to break my back every time I go out to shoot. But then you start to add all the necessary accessories (monitors, microphones, etc.) and you suddenly find your super compact camera transformed quickly into an unwieldy, overwired beast that more resembles an octopus than a photographic device.

But what is the answer? You don’t want your rig to be too big when you’re just out running and gunning. Yet, you need it to be big enough to accept all the connecting points required when working in a professional production environment. It’s hard to know how to solve this question, but I think the answer that makes the most sense is one word: modular.

Take the Sony Venice as an example. That camera, which is one of the most used systems in professional filmmaking, is completely modular. You can separate many of its components—from the sensor, to the RAW recorder, to the main body—into separate parts depending on your production needs. So, you can run a fully built system with connecting ports for every department in an all-in-one sturdy rig, or you can break down the system to fly lighter when necessary. One example of literally flying lighter would be in Top Gun: Maverick, when the crew was tasked with finding a way to get multiple cameras inside a fighter jet to capture all the angles necessary to build the story the director had in mind. Obviously, having multiple fully built rigs inside a cockpit would be impractical, so they developed the Rialto system to be able to address the issue.

Now, presumably, most of us will not be tasked with shooting images of Tom Cruise inside a cockpit flying through the air in a fighter jet. But the simple concept of having a camera that can be both big or small depending on your specific shooting situation is appealing. You could have access to SDI, full XLR, Genlock, HDMI, and everything else when you want it, then strip down to just a camera with a lens and a sensor when you don’t. Granted, a Sony Venice is likely beyond the budget of most of us. But, even if we are talking about a small mirrorless camera, I can see a world where a manufacturer makes their camera as small as possible, but then also builds it to interact with an optional expansion module that offers the necessary connections for a full-blown production. I would love, for example, if Nikon made a form-fitting expansion device that would suddenly give my Z9 SDI, XLR, Genlock, etc., that I could connect when I’m in “production mode” but leave to the side when I’m shooting stills or in run-and-gun video mode.

Built-In Timecode Ports, XLR Ports, And Both SDI and HDMI

When working as part of a team, part of your job is to play nice with others. So, while most mirrorless cameras are built compact to suit the solo shooter, I often find myself in situations where many departments will need access to the camera simultaneously. The list of gizmos that need to be able to interface with the camera is endless. But, much like a buffet, the more options a camera can provide, the better. To that end, my dream camera would need to have multiple XLR, SDI, and HDMI ports. It would also have a dedicated timecode port to keep everyone in sync.

Wi-Fi and Bluetooth

We live in an ever-connected world. So, why are there still so many darn cords? Finding more ways to connect the camera to other departments without literally needing to be physically connected is a major plus when trying to be both efficient and mobile.

CFast Express Type B

My favorite recording media. Also, selfishly, one that I have a lot of. Whatever the recording media, let’s try to find something non-proprietary, stable, and (relatively) affordable.

Powered By V Mount/Gold Mount/B Mount

The other day, I was again rearranging my camera cases. The sheer variety of batteries and battery chargers required to power all of my devices is staggering. And annoying. The perfect world is where you have one large power source capable of powering everything on your rig—from the camera to the monitors to the follow focus. Because I own a great many V-Mount batteries, and they are universally available (and affordable), I wouldn’t mind a world where the V-Mount was the only kind of battery I needed to bring with me on a shoot. Or the B-Mount if I were shooting with the new Alexa. Or… well, pretty much anything that is large, holds a lot of power, and can be universally adapted to a variety of brands and situations.

Locking Mount

For lighter mirrorless cameras especially, the advancements in lens technology over recent years have been significant. The Z lenses, for example, are one of my favorite parts of the system. But, regardless of what body I’m using, choosing my lens is the single most important factor in baking in a certain look to my footage. For that reason, I am more often than not renting larger cinema lenses to achieve a specific look. These lenses can be rather large and put more stress on the camera’s mount than lighter mirrorless lenses. To address this, several manufacturers have begun introducing locking mounts. While all mounts essentially lock their lenses into place, the added layer of security of a “locking mount” holds your lenses in place in a far sturdier fashion. This is especially important when you are adapting something like a PL mount lens to your RF/Z/E mount body to make sure your lens is held in place securely.

Internal Raw Format

The vast majority of filmmaking can be done in a traditional log format. But, as a photographer, I still find myself partial to raw video whenever possible. With that said, many smaller mirrorless cameras force you to attach external monitors when recording RAW video, which tends to defeat the point of using a small camera to begin with. That’s one of the things I like about my Z9: you can record the N-RAW format internally without needing to add any extra pieces. You can also capture ProRes 422 HQ in-body, giving you a lot of variety depending on your needs.

Menus and Monitoring

All the physical tools I’ve been talking about are fun to chat about. But, at the end of the day, the only reason they are useful is that they save me time and make me more efficient on set. Often overlooked in that equation is the speed at which I can judge my exposure and set up my camera for the next shot.

Many of even the lowest-priced mirrorless cameras these days have enviable shooting options built in. The problem is that most of the time, you will be forced to spend 20 minutes diving into menus before you can find what you’re looking for. The advantage of many larger-body cinema cameras is that they put most of those options onto tangible buttons and dials. So, adjusting certain functionality is literally just a click away. On smaller mirrorless bodies, there naturally isn’t as much real estate for all of that. So, that’s why you get buried into menu madness.

My favorite implementation in a small body setup is the Blackmagic Design menu setup they use for their cameras. In a very simple and intuitive interface, I can have every camera setting dialed in with just a few swipes of the touchscreen. I can change resolution, color science, data rate, and all things under the sun without a hassle. I can even flip on tools such as false color or focus peaking just by tapping my LCD, saving me the need to mount a separate monitor to my system or menu dive to turn on the option.

Speaking of false color, focus peaking, and waveforms, these things are essential to any camera claiming to be purpose-built for filmmakers. These are pretty basic tools. My Z9 has waveforms, which I love. But, I’ll admit, when working with the R5 C, I was envious that my Z9 (as of yet) doesn’t include false color. It’s not the end of the world, but the more tools you give me to quickly and accurately judge my exposure, the faster I can work on set. A large part of me hopes that one of the things that comes from the recent Nikon/RED merger is that Nikon cameras might get access to RED’s awesome Goal Posts and Traffic Light exposure tools. Those are one of my favorite parts of working with RED cameras and would be a tremendous addition to the Z system.

Global Shutter

Speaking of RED, the global shutter they use in the cinema cameras would be a definite inclusion in my dream camera. Especially given that I shoot a high number of fast-moving subjects, being able to do so without a high occurrence of rolling shutter is a decided benefit. I wouldn’t say that rolling shutter problems are my highest priority. But, since we were already talking RED, I just thought I would offer a little encouragement to continue down that path.

The other advantage of the global shutter would be that, in theory, I would no longer need to worry about flash sync speed as a photographer. Due to my specific aesthetic, this would be a dream come true.

100 MP Stills

Okay, this might be the point where I should point out that I am both a professional photographer and a professional filmmaker. Not, for instance, a filmmaker who needs to take a still occasionally as a thumbnail, or a photographer who dabbles in motion. So, while most of this article has been focused on filmmaking tools, still photography performance does still matter to me when making a hypothetical dream camera.

In contradiction to the title of this section, I do find that 50MP seems to be more than adequate for 99.9% of still work. I put 100 MP as I did at one time own the 102MP Fuji GFX 100 and the files that camera could produce were simply jaw-dropping. Personally, I found some of the other oddities that came with shooting with that camera to not be to my liking (read my old reviews for further explanation). But one thing was clear: that was a beautiful sensor. So, I’ll opt for 100 MP for my dream camera even though, in actual practice, I think 50 MP is the sweet spot. And if I could get all the other goodies on my list in exchange for a few megapixels, I’d happily make that trade.

So Does This Camera Already Exist?

There are plenty of options for my dream camera, and many cameras come close to giving me most, if not all, of my dream specs. As you might imagine, the number of dream specs a camera ticks off tends to be directly proportional to its price tag. So, for the foreseeable future, I am more than happy to suffer through shooting with a camera like the Z9 that is legitimately the best camera I’ve ever owned. Such, such, a tragedy (he says with intended sarcasm in his voice).

But I guess that’s the joy of living in the time we are living in. There are so many amazing camera options that we can afford to do random thought experiments to see how we can make them even better. But, truth be told, the cameras we currently have in hand are already pretty spectacular.