Moviemaking is the most collaborative of arts, and
it brings together a spectacular array of talented people who share
one common goal—to create the best motion picture they are
capable of making. Regardless of their talent, veterans of the
process are the first to tell you that success or failure depends
to a large degree on choosing the right equipment for the job and
getting the best performance from that equipment.

There is little debate that the single most important
element of movie- making equipment is the motion picture camera.
Not all cameras are created equal, though, at least as far as the
independent moviemaker is concerned. Why do directors of photography
and their assistants inevitably favor one camera system over another?
Their reasons are almost always based on hands-on experience, and
of course what their budgets have allowed.

The following survey could not include every camera
available on the market, but the consensus clearly shows that
certain cameras and models are preferred by working indie professionals.
It isn’t a surprise to find that Arriflex and Panavision
still reign supreme, but this article gets a bit more personal,
with several working Los Angeles-based D.P.’s, operators,
and assistants reflecting on why they are loyal to their favorite
equipment. Not every aspect of the camera systems mentioned is
discussed. We prefer that readers form their own conclusions
and contact the various camera companies, as listed at the end
of this article, to request literature on the cameras they believe
best fits their needs.