A video camera is used at film studios, TV commercials, music videos, etc, initially developed for the television industry and production company but now common in other applications as well.
With the advent of digital video capture, the distinction between professional video cameras and movie cameras has disappeared as the intermittent mechanism has become the same. Nowadays, mid-range cameras exclusively used for television and Production companies in NYC are termed professional video cameras.
Video cameras are used primarily in two modes. The first, characteristic of much early broadcasting, is live television and Film studios, where the camera feeds real-time images directly to a screen for immediate observation. A few cameras still serve live television production and production companies, but most live connections are for security, military/tactical, and industrial operations where surreptitious or remote viewing is required. In the second mode the images are recorded to a storage device for archiving or further processing; for many years, the videotape was the primary format used for this purpose, but was gradually supplanted by the optical disc, hard disk, and then flash memory. Recorded video is used in television production, and more often surveillance and monitoring tasks in which unattended recording of a situation is required for later analysis.
Black magic pocket camera, It has a Super 16mm sized sensor, which makes it ideal for a single operator who is also pulling their own focus. Less depth of field less room for error when focus pulling, but at the same time with fast/long lenses the camera is still capable of delivering shallow DOF when you need it to. It also allows for small vintage Super 16mm lenses to be used, which can help keep the overall footprint small too.
Lumix GH5, it’s low light capabilities or it’s dynamic range – and could likely point to a competing camera that can outperform it in any Production company and Film studios NYC. But what those competitors don’t do is deliver it all in one package, or at least not as well as the GH5 does. Again, it is a true all-rounder.
Even its sensor size offers shooters a happy medium between Super 16mm and Super 35mm. It is still highly adaptable to so many different lenses thanks to its mirrorless mount and small-is sensor, but it’s also capable of producing a really shallow depth of field and pretty solid low light performance, especially when paired with a Meta bones Speed Booster. And of course, as a small DSLR-style camera, the Lumix GH5 will blend in easily when shooting in almost any environment.
The FS5, on the other hand, is far easier to shoot with from an ergonomic standpoint and allows director/DPs to change settings more easily, have more control over their camera movement, and shoot for longer periods of time in Production companies without a rig, all thanks to the camera’s design. I am favoring the FS5 based on its small footprint. It is substantially smaller than its bigger brother but includes many of the same features, and in some cases even beats out it’s much more expensive counterpart.
If you are fortunate enough to have multiple cameras, you can pick whichever tool you need for any Production companies and Film studios NYC. And in that respect, you don’t need a Swiss-army knife of a camera that can do it all. But if you’re shooting a lot of material for Production Companies and need a tool that will have your back in a variety of unpredictable scenarios, the 3 on this list are all great options in their own right.