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Video-first camera bodies built for filmmaking, from the Blackmagic Pocket and PYXIS to the Canon EOS C and Sony FX6, with the facts that decide which one fits a production: built-in ND filters, internal RAW, XLR inputs, SDI out, timecode, the battery standard it takes and its lens mount. Hybrid bodies such as the Sony FX3 and Canon EOS R5 C are listed with mirrorless cameras.
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Start with how you shoot. Working alone (documentary, run-and-gun), the things that save a shot are autofocus, built-in ND and a light body. For narrative and commercial work, image quality and codec matter most: internal RAW or a 10-bit log codec gives the grade room to work, and a Super 35 or full-frame sensor sets the look. For events and live work, timecode, SDI out and an unlimited record time come first, so several cameras can be synced and fed to a switcher. Then check the mount (a PL or EF body opens the cine-lens market; RF and E mounts take photo lenses too), the battery standard (V-mount and Gold-mount packs run a body and a monitor for hours) and the media it records to.
What is the difference between a cinema camera and a mirrorless camera that shoots video?
A cinema camera is sold only as a video camera: it usually adds built-in ND filters, full-size XLR audio inputs, SDI out, timecode and a pro battery plate, and it records without a time limit. Hybrid bodies like the Sony FX3 or Canon EOS R5 C share some of that but keep a stills spec sheet, so GearFrame ranks them with mirrorless cameras under Filmmaking.
What is a PL mount?
PL is ARRI's cine-lens mount, with a 52 mm flange distance; LPL is its larger 2018 successor at 44 mm. Most professional cine primes and zooms are made in PL, so a PL body takes them without an adapter.