12/22/2025
"Broadcast Cinema"... something I have wanted to see for years as a self-titled "Lens Nerd" who ended up in the traditional broadcast world. Well, after many years, it's finally here, but now there are so many questions…
- Should we consider shooting “cinema-style” or stay with 2/3” cameras?
- How does this affect the way we shoot?
- Can we adapt our current lenses to S35mm cameras?
- Can I just drop these into my existing system and workflow?
- Is this just another fad like “3D”?
- Is this going to be a new future “standard”?
I will be tackling all these questions and much more in a coming video dropping early January 2026. Until then, I at least want to see how many of you have been curious, contemplating or have already decided to get into this style of shooting.
To be clear, cinema-style is nothing new. That’s been going on for around 130 years.. way before the live broadcast camera was even thought of or invented. However, for the last 25 years or so we’ve been trying to adapt cinema lenses (16mm, 35mm) onto broadcast cameras to try to steal some of the wonderful benefits of photography and inject them into live cameras… And let’s be real… it’s been ugly. From the huge tradeoffs in stop and resolution with bulky adaptors, to the severe lack of sensor technology in those early days, (remember shooting Standard Def. - 525 lines, 4:3 aspect ratio, and then letterboxing it in post? Yuck!) the tiny benefit in quality lenses and additional Depth of Field just wasn’t worth the effort. Fast forward to 2025. We now have professional cameras from the big names (Sony, Panasonic… and yes, even Blackmagic) that are producing sensors with 6K and greater resolution shooting in S35 and Full Frame with tools such as global shutter, HDR, RAW and so many others that have made the quality of a frame of video at least arguably compatible with a frame of film. So now, all that the manufacturers needed to do was build their cameras with standard cinema camera lens mounts, which they have done!
I have to give a quick shout out to Fujifilm for developing the “broadcast-friendly” DUVO lens series. Honestly, none of what I’m discussing here would even be possible without the contribution that lens manufacturers like FUJINON have made to hybridize the optics of a 35mm lens with the servos and controls that are universally known and understood with broadcast professionals. I’m confident that the range of lens options will continue to grow as this type of production becomes more mainstream.
Cameras such as the Sony HDC-F5500 and the Panasonic AK-PLV100 both come standard with a 35mm sensor PL mount. Aside from that, you wouldn’t know the difference between any other standard broadcast camera by looking at it. It runs on SMPTE fiber, has tallies, intercoms… all the standard stuff. But what goes in front of that camera (including the sensor) makes ALL the difference! This is where I will start to address all the differences you can expect with these cameras in my upcoming video. …and there are a LOT of differences and things that you strongly need to consider before you make the commitment. It could be the worst or best thing that you do for your production workflow and artistic direction. So, it all depends… so stay tuned!
Finally, I want to address whether or not this is a fad or a trend. I really don’t think it is… Cinema and Broadcast have always been separate industries, but now that line is rapidly becoming blurred. If we don’t take some time and learn from the Film/Cinema industry pros on how to shoot, then you’re just going to “shoot” yourself in the foot. (See what I did there? …sorry, Dad joke). In all seriousness, Film/Cinema production has been slowing dramatically in the last several years, and we will be seeing those industry professionals slowly make their way into the live multi-camera production space. Even iconic brands in the Film/Cinema world are now trying to adapt to this new style of shooting. ARRI has modified the ALEXA and AMIRA cameras into a multi-camera version called “ARRI Live”. There’s little argument that ARRI cameras make beautiful pictures, but it’s yet to be seen if their adapted backs and 3rd party integrations to make them “multi-cam” capable will hinder their acceptance in the market over companies like SONY and PANASONIC that can turnkey the entire camera chain.
Now, I’d like to hear from you all. Is this a direction that you or your customers have been discussing? Do you think this is going to begin to take over all forms of multi-camera broadcasting, including sports? Let me know in the comments below or give us a call… Personally, I love what this merger in technical arts can achieve visually, and if you do too, my best advice is, “don’t dive into it alone”.
