The Camera That Almost Ruined Everything
I stood in a cramped apartment in Victoria, staring at my bank account. $8,000 saved. Three years of doorman shifts and weekend shoots. One decision that would either launch my filmmaking career or leave me eating ramen until 2027.
The RED Komodo sat in my cart. Amazon was offering a deal. My finger hovered over “Buy Now.”
Then I thought about “Going Home“—my short that got into Soho Film Festival. Shot on that same RED Komodo with Orion anamorphic lenses. The image quality was stunning, sure. But you know what made it work? The story. The performances. The lighting I borrowed from a gaffer friend who owed me a favor.
Not the $6,000 camera body.
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Direct Answer: Best Cinema Cameras Under $10K (2026)
For documentary work, the Sony FX6 ($5,998) remains the industry standard with dual base ISO and reliable autofocus. Indie narrative filmmakers get the best color science from the RED Komodo-X ($6,999), while budget-conscious shooters should grab the Blackmagic Pyxis 6K ($2,495) before prices climb. Canon’s new C80 ($5,799) offers triple base ISO for commercial work. All Netflix-approved except the Pyxis.
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The Problem Nobody Talks About
Every filmmaker faces this: You need cinema-quality footage, but you’re not working with Netflix budgets. You scroll through forums, watch YouTube reviews, and somehow every camera is both “essential” and “overpriced garbage” depending on who’s talking.
The real problem? Most camera guides are either:
- Written by gear reviewers who’ve never missed a 6 AM call time
- Sponsored content disguised as honest advice
- Outdated by six months because camera tech moves faster than firmware updates
Meanwhile, you’re trying to figure out if you should drain your savings for that Canon C80, or if the Blackmagic Pyxis 6K can actually deliver what those sample videos promise.
I’ve been on both sides. I dressed sets for Maid on Netflix, where we had ARRI Alexas and a truck full of backup gear. I’ve also directed indie shorts where the “backup camera” was my iPhone 13 taped to a lighting stand.
The gap between those two experiences taught me more about cameras than any spec sheet ever could.
Why This Keeps Happening
Camera companies know how to sell dreams. They show you festival-winning films shot on their cameras. What they don’t show you: the $50K in lenses, lighting, and crew that actually made those images sing.
I learned this on Married & Isolated. We used a Sony FX6—beautiful camera. But the scenes that got the most festival comments? Shot in my kitchen with one Aputure 120D and a shower curtain stretched across a C-stand for diffusion. The camera captured it. The lighting made it.
On Maid, I watched professional DPs work. They spent fifteen minutes dialing in a single lighting setup. They spent thirty seconds adjusting camera settings. The camera was the least interesting part of their workflow.
The industry wants you to believe you need more. Better sensor. Higher resolution. Fancier codecs.
Sometimes you do. Most times? You need to understand what your project actually demands.
The Missing Insight: Match Camera to Workflow, Not Budget to Hype
Here’s the truth nobody wants to say: buying the “best” camera under $10K is the wrong question.
The right question: which camera disappears on set so you can focus on directing?
I shot Going Home on the RED Komodo because I had time to rig it properly, pull focus manually, and spend three days color grading in DaVinci Resolve. Controlled narrative environment. Perfect fit.
If someone handed me that same Komodo for a documentary run-and-gun shoot? Disaster. No autofocus. Manual ND filters. Bulky rig. I’d miss half my shots fumbling with settings.
On Blood Buddies, the DP used a Canon C70. Fast autofocus. Built-in NDs. One crash scene needed a sacrificial camera—we used an iPhone. Not a single festival audience member noticed the switch.
Your camera choice should answer three questions:
- What am I shooting? (Controlled narrative vs. chaotic documentary vs. VFX-heavy)
- What’s my post-production setup? (Laptop editing vs. dedicated workstation)
- What workflow kills my momentum? (Manual focus? Heavy rigs? Terrible battery life?)
Everything else is marketing.
The Solution: 2026 Cinema Cameras That Actually Work
Let me break down what’s worth your money based on real shooting conditions—not lab tests or sponsored YouTube reviews.
Quick Comparison Table
2026 cinema cameras – Netflix approved and indie favorites
| Camera | Price | Best For | Netflix Approved | Key Strength | Deal Breaker |
|---|---|---|---|---|---|
| Blackmagic Pyxis 6K | $2,495 | Indie Narrative | No | Modular design, price | No autofocus, no ND |
| Sony FX6 | $5,998 | Documentary | Yes | Low-light, autofocus | No internal RAW |
| Canon C80 | $5,799 | Commercial | Yes | Triple base ISO | Expensive RF glass |
| RED Komodo‑X | $6,999 | Narrative/Color | Yes | REDCODE RAW | Accessory costs |
| DJI Ronin 4D‑8K | $9,999 | Solo Gimbal Work | No | Built‑in gimbal | Heavy, complex |
🎥 Affiliate links – we may earn a commission if you purchase through these links. Prices are estimates as of 2026. Netflix approval status based on current published lists.
For Documentary Filmmakers: Sony FX6 ($5,998)
I shot parts of a Kenya doc series on this. Low-light performance saved us when we lost our generator in the middle of nowhere. The autofocus tracked subjects through chaotic market scenes. The built-in ND filters meant we could move from dark interiors to bright equatorial sunlight without breaking stride.
What makes it work:
- Dual Base ISO (800/12,800) for clean night shooting
- Fast Hybrid AF that doesn’t hunt during interviews
- 4K/120fps for slow-motion documentary moments
- Compact enough for one-person crews
- 2026 firmware update added improved AI tracking and cloud sync
The catch: No internal RAW. If you need maximum color grading flexibility, look elsewhere. Also, battery life is mediocre—budget for four batteries minimum.
Best for: Solo shooters, doc work, event coverage, anything unpredictable.
Who should NOT buy this: Narrative filmmakers who need that “cinema” color science. The FX6 looks “video-ish” straight out of camera compared to RED or ARRI.
For Indie Narrative: RED Komodo-X ($6,999)
The upgraded version of what I used on Going Home. Paired with Orion anamorphic lenses (50mm, 65mm, 80mm), we got that classic cinematic look everyone raves about—without the usual RED price tag.
The Komodo-X adds 6K at 80fps (vs. 40fps on the original) and improved I/O. If you’re shooting action or need high frame rates, this matters.
What makes it work:
- REDCODE RAW for insane post-production flexibility
- Global shutter eliminates rolling shutter issues
- RED color science (genuinely different from Sony/Canon)
- Compact enough for gimbal work
- 80fps at 6K for smooth slow-motion
The catch: You’ll spend another $2-3K minimum on accessories (RED Mini-Mags, battery system, monitor). RED cameras are modular—factor that into your budget. Also, learning REDCODE workflow takes time.
Best for: Controlled shoots, narrative work, anyone who lives in post-production.
Who should NOT buy this: Documentary shooters who need autofocus. Run-and-gun crews who can’t stop to rig up.
The Game-Changer: Blackmagic Pyxis 6K ($3,295)
This is the camera everyone’s talking about in 2026. Full-frame 6K for just over $3K. Box-style design means you can rig it however you want. Same sensor family as the Cinema Camera 6K, but way more versatile.
I haven’t shot a full project on this yet, but I rented one for a weekend test. The modular design reminded me of working with the ARRI Mini on Maid—you build the camera for your specific shoot, not the other way around.
What makes it work:
- Full-frame 36x24mm sensor
- Modular design with customizable side plates
- 13 stops dynamic range
- Dual CFexpress card slots
- Comes with DaVinci Resolve Studio ($295 value)
- Choice of L-Mount, EF, or PL mount
The catch: No internal ND filters. No autofocus. Fixed LCD screen (doesn’t flip out). You’ll want an external monitor. Battery life is poor—plan on external power for serious shoots.
Best for: Indie filmmakers who want modular flexibility, anyone building a custom rig, shooters who prioritize image quality over convenience features.
Who should NOT buy this: Documentary crews who need autofocus and fast setup times. Anyone shooting solo without an AC.
Real talk: This camera is selling like crazy. Blackmagic finally listened and made a box camera people have been begging for. At $3,295, it’s genuinely disrupting the market.
For Commercial Work: Canon EOS C80 ($5,499)
The true successor to the C70. Canon added full-frame (the C70 was Super 35), 6K resolution, and triple base ISO (800/3200/12,800). This thing owns low-light commercial work.
What makes it work:
- Triple base ISO covers every lighting scenario
- Dual Pixel autofocus (still the best in the industry)
- RF mount means access to incredible glass
- Netflix-approved out of the box
- Compact cinema form factor
The catch: RF lenses are expensive. The camera body is the cheap part. A good RF zoom will cost $1,500-3,000. Also, the C80 is brand new (released early 2026), so used market doesn’t exist yet.
Best for: Commercial shooters, corporate video, anything requiring autofocus reliability and Netflix approval.
Who should NOT buy this: Budget filmmakers who can’t afford RF glass. Narrative shooters who prefer the RED color science.
For Solo Gimbal Work: DJI Ronin 4D-8K ($9,999)
This dropped under $10K in late 2025. It’s a cinema camera, gimbal, focus system, and LiDAR autofocus in one package. Completely changes the game for solo operators.
I tested this on a music video shoot. The gimbal integration is seamless—no separate rig, no balancing, no fumbling with motors. You just shoot.
What makes it work:
- Built-in 4-axis gimbal (no separate rig needed)
- LiDAR autofocus tracks focus through chaotic movement
- 8K recording for serious cropping in post
- All-in-one design saves setup time
The catch: It’s heavy (9 lbs fully rigged). Complex menu system. Not Netflix-approved. Limited third-party lens support.
Best for: Music videos, action sequences, solo operators who need gimbal work without a crew.
Who should NOT buy this: Traditional narrative filmmakers who prefer modular setups. Anyone who needs Netflix approval.
Complete Kit Breakdowns: What You Actually Need to Spend
Most camera guides show you body prices. Here's what you actually need to get shooting.
$3K Starter Kit: Blackmagic Pyxis 6K
Camera Body: $2,495 (on sale)
Essential Accessories:
- 2x CFexpress Type B cards (128GB): $240
- BP-U style batteries (2) + charger: $120
- SmallRig cage + top handle: $150
- Basic monitor (Feelworld): $200
- Vintage lens (Canon FD 50mm f/1.4): $150
Total: $3,355
$6K Mid-Tier Kit: Canon C80
Camera Body: $5,799
Essential Accessories:
- SD cards (2x 256GB V90): $300
- Canon RF 24-105mm f/4: $1,099
- SmallRig cage kit: $200
- External monitor (Atomos Shinobi): $329
- Extra batteries (2): $200
Total: $7,627
Alternative: Drop the RF lens, use EF adapter + vintage glass, stay under $7K.
$10K Complete Kit: RED Komodo‑X Setup
Camera Body: $6,999
Essential Accessories:
- RED Mini-Mags (3x 480GB): $2,100
- REDVOLT battery system + charger: $900
- SmallRig cage + accessories: $400
- SmallHD monitor (5"): $1,299
- Canon EF vintage lens set (3 primes): $800
- ND filter system: $300
Total: $12,798
Reality check: Yes, this goes over $10K. That's the RED tax. Budget accordingly.
🎥 Affiliate links – we may earn a commission if you purchase through these links. Prices are estimates as of 2026.
5 Mistakes I Made Buying My First Cinema Camera
1. I Bought the Body Without Budgeting for Lenses
My first “cinema camera” was a Sony A7S II. Spent $2,500 on the body. Had $300 left for glass. Ended up shooting with a kit lens that looked like a kit lens.
The fix: Budget 50-100% of your camera cost for lenses. A $3K camera with $2K in good glass will destroy a $6K camera with cheap lenses every time.
2. I Ignored Storage Costs
CFexpress Type B cards are $120 each. For 128GB. You need at least two. Then you need external SSDs for backup (another $200-300). Then you need a fast editing drive ($400).
Suddenly that “affordable” camera needs another $800 in storage before you can actually use it.
The fix: Add storage to your initial budget. Factor in $500-1,000 for cards + backup drives.
3. I Didn’t Test Ergonomics First
The Blackmagic Pocket 4K looks great on paper. In my hands? Terrible ergonomics. Too small for my grip. Awkward button placement. Sold it after three months and lost $400 in depreciation.
The fix: Rent before you buy. One weekend rental ($200-400) can save you from a $2,500 mistake.
4. I Chased Specs Over Workflow
I almost bought the URSA Mini Pro 12K because 12K sounded amazing. Then I realized my laptop couldn’t edit the files. I would have needed to upgrade my computer ($2,000), then faster storage, then more storage.
That $6K camera would have turned into a $10K workflow nightmare.
The fix: Be honest about your post-production setup. If you’re editing on a laptop, 4K or 6K is probably your ceiling.
5. I Forgot About Audio
Cinema cameras have terrible built-in mics (if they have them at all). You need external audio. Rode NTG5 ($449). Zoom F6 recorder ($599). Cables. Boom pole.
Suddenly I needed another $1,200 just to get usable sound.
The fix: Budget $500-1,000 for audio gear. Your audience will forgive bad video before they forgive bad audio.
Lens Recommendations by Camera
Budget to pro glass for every system
🎥 Blackmagic Pyxis 6K (L‑Mount)
- Budget: Vintage Canon FD adapted ($100‑300 each)
- Mid‑tier: Sigma Contemporary primes ($500‑800 each)
- Pro: Sigma Art series ($800‑1,200 each)
📸 Canon C80 (RF/EF)
- Budget: Canon EF 50mm f/1.8 STM ($125)
- Mid‑tier: Canon RF 24-105mm f/4 ($1,099)
- Pro: Canon RF 28-70mm f/2 ($2,999)—if you win the lottery
🔴 RED Komodo‑X (EF/RF)
- Budget: Vintage Canon FD via adapter ($200‑400)
- Mid‑tier: Rokinon Cine DS primes ($400‑600 each)
- Pro: Atlas Orion anamorphics ($4,500+ each)—what I used on Going Home
🎬 Sony FX6 (E‑Mount)
- Budget: Vintage Minolta MD adapted ($100‑250)
- Mid‑tier: Sony E 35mm f/1.8 ($450)
- Pro: Sony G Master glass ($2,000+ each)
📸 Affiliate links – we may earn a commission if you purchase through these links. Prices are estimates as of 2026.
The Used Market: Where to Buy & What to Watch For
Save thousands buying used—if you know what to look for
📍 Best Places to Buy Used:
- B&H Photo Used Department (inspected, graded, warranty)
- Adorama Used (similar to B&H)
- KEH Camera (specializes in used gear)
- Facebook Marketplace (local pickup only—test before buying)
- REDuser.net Classifieds (for RED gear specifically)
🚩 Red Flags When Buying Used:
- No original packaging (reduces value by 15-20%)
- High sensor hours (check in camera menu)
- Missing accessories (batteries, chargers, cables add up fast)
- "Sold as-is" with no return policy
- Price too good to be true (probably grey market or stolen)
✅ What to Check Before Buying:
- Sensor test (shoot white wall, check for dead pixels)
- Record test (shoot 10+ minutes, check for overheating)
- All buttons/dials work
- Firmware is latest version
- Includes original packaging + accessories
📉 Depreciation Reality Check:
| Camera | Original Price | 1 Year Old | 3 Years Old |
|---|---|---|---|
| Sony FX6 | $5,998 | $4,500 (25%) | $3,000 (50%) |
| Canon C80 | $5,799 | TBD (too new) | TBD |
| RED Komodo‑X | $6,999 | $5,600 (20%) | $4,200 (40%) |
| BMPCC 6K Pro | $2,495 | $1,750 (30%) | $1,100 (56%) |
| Blackmagic Pyxis | $2,495 | TBD (too new) | TBD |
📌 Key insight: RED cameras hold value better (20-40% depreciation over 3 years) vs. Sony/Canon (50% over 3 years). But RED also requires expensive accessories, so factor that in.
🎯 Pro tip: Buy 1-2 year old cameras from trusted sellers. Let someone else eat the depreciation hit. A 1-year-old Sony FX6 for $4,500 is a better deal than new at $5,998.
🎥 Affiliate links – we may earn a commission if you purchase through these links. Prices are estimates as of 2026.
Cloud Workflow & Modern Integration
2026 is the year cloud workflows actually matter. Here’s what’s changed:
- Works natively with Pyxis, Pocket cameras, URSA series
- Upload proxies while shooting
- Share timelines with colorists/editors in real-time
- Free with Blackmagic cameras
- Canon C70 and Sony FX6 support Camera to Cloud (C2C)
- Upload footage wirelessly to Frame.io while shooting
- Clients can review dailies instantly
- Requires paid Frame.io account ($20-40/month)
Why this matters: On “Closing Walls,” we shot in a remote location. Used Blackmagic Cloud to upload proxies overnight via hotel WiFi. Our editor started cutting next morning while we were still shooting. Saved us three days in post.
This wasn’t possible two years ago.
Update Timeline: Should You Wait or Buy Now?
Camera Release Cycles in 2026:
- Blackmagic: 18-24 month cycles (Pyxis just released April 2024)
- Sony: 2-3 year cycles (FX6 released late 2020, FX6 II rumors for late 2026)
- Canon: 3-4 year cycles (C80 just released early 2026)
- RED: Unpredictable (Komodo-X released late 2025)
Should You Wait?
Wait if:
- You’re eyeing Sony FX6 and FX6 II rumors heat up
- You can rent in the meantime
- Your current camera is “good enough”
Buy now if:
- You have paying work waiting
- You’re missing opportunities because of gear
- Prices are on sale (Pyxis at $2,495 won’t last)
- You’ve already delayed 6+ months
Reality check: There will always be a better camera in 18 months. The question isn’t “Is this the perfect camera?” It’s “Can I make great films with this camera right now?”
The answer is almost always yes.
What Most Filmmakers Actually Use
Sundance 2026 Documentary Category:
- Sony A7 series: Most common mirrorless
- Canon C80: Leading compact cinema camera (replacing C70)
- Sony FX6/FX9: Dominant full-frame cinema cameras
- Blackmagic Pocket 4K: Popular budget option
- iPhone & GoPro: Increasingly accepted for specific shots
2026 Oscar Season:
- ARRI ALEXA 35: Still dominates high-end features
- Sony VENICE 2: Main competitor to ARRI
- RED V-Raptor 8K: VFX-heavy productions
- Blackmagic Pocket 4K: “Porcelain War” (Oscar-nominated doc)
The takeaway: Professional filmmakers use what works for their story and budget. They’re not precious about brands.
People Also Ask (Answered From Real Experience)
What camera do most filmmakers use in 2026?
Depends on the tier. Hollywood features? ARRI ALEXA 35 dominates. Indie narratives and docs? Sony FX6, Canon C80, and RED Komodo-X lead. Budget indies? Blackmagic Pyxis 6K and Pocket 6K Pro.
The truth: professionals use multiple cameras based on the scene. A24 movies might have an ALEXA as A-cam and a Sony A7S III as B-cam for tight spaces.
What camera is best for documentary cinema in 2026?
Sony FX6 is still the industry standard. Excellent low-light, reliable autofocus, built-in NDs, and proven durability. The 2026 firmware update added improved AI tracking.
Runner-up: Canon C80 if you need better autofocus for fast-moving subjects and can afford RF glass.
Budget pick: Blackmagic Pocket 4K can work if you’re shooting controlled interviews and don’t need autofocus.
Is the Sony FX6 still worth it in 2026?
Yes. The February 2026 firmware update added improved AI tracking, better cloud sync, and refined color science. Sony basically gave FX6 owners half of what the rumored FX6 II will have.
If you already own E-mount glass, the FX6 is a better buy than switching to Canon’s ecosystem. But if you’re starting from scratch and need autofocus, the Canon C80 has leapfrogged it.
What is the cheapest Netflix-approved camera in 2026?
Sony FX3 at $3,898 is the cheapest Netflix-approved camera you can buy new. But the Blackmagic Pocket 6K Pro ($2,495) also meets Netflix technical requirements—it’s just not on their “official” list yet.
Netflix requires: 4K capture minimum, 10-bit color depth, 240 Mbps data rate, wide color gamut, and log picture profile. Both cameras deliver this.
Which camera is best under $10K in 2026?
No single answer—depends on your needs:
- Best overall balance: Sony FX6
- Best for narrative: RED Komodo-X
- Best value: Blackmagic Pyxis 6K
- Best autofocus: Canon C80
- Best modular design: Blackmagic Pyxis 6K
- Best solo gimbal work: DJI Ronin 4D-8K
Real-World Stories: Cameras in Action
RED Komodo 6K: “Going Home” (Soho Film Festival)
I shot this with RED Komodo + Orion anamorphic lenses (50mm, 65mm, 80mm). The low-light performance saved us when we lost power on location. The cinematic color science gave us that film look straight out of camera.
The compact size meant we could rig it on a gimbal for tracking shots in tight Victoria apartments. Total game-changer for indie narrative.
One scene required a slow dolly push through a hallway barely three feet wide. The Komodo’s small form factor let us build a makeshift dolly from PVC pipe and skateboard wheels. An ARRI would have required tearing out the doorframe.
Sony FX6: Kenya Documentary
Low-light performance was crucial shooting without reliable power. The autofocus tracked subjects through chaotic market scenes where manual focus would have missed half the shots. Built-in ND filters meant we could move from dark interiors to bright equatorial sunlight instantly.
We shot an interview at dawn. The subject sat under a tree. Sunlight kept changing as the sun rose. I rotated the ND filter dial without stopping the interview. No exposure shifts in post. The FX6’s dual base ISO handled the extreme dynamic range.
The Stuff That Matters More Than Your Camera
After shooting 20+ projects over three years, here’s what actually improved my work:
Lighting: One Aputure 300d II ($600) did more for my image quality than upgrading cameras. I learned this on Married & Isolated. The kitchen scene everyone praised? One light. Shower curtain diffusion. Sony FX6 captured it, but the lighting made it.
Lenses: Vintage lenses ($200-500 each) gave me character no modern lens has. Canon FD glass from the 1970s has a warmth that modern lenses engineer out.
Story: Obvious but true. Going Home worked because of performances, not pixels. I’ve seen terrible stories shot on ARRI Alexas. Beautiful image. Unwatchable film.
Sound: Audiences forgive bad video. They never forgive bad audio. I learned this working as a PA on Blood Buddies. The DP obsessed over lighting. The sound mixer saved the film.
Color Grade: Learning DaVinci Resolve properly transformed my footage. I spent three days grading Going Home. The final look came from the grade, not the camera.
The Decision I Made (And Why)
I bought the RED Komodo.
Not because it’s the best camera. Because it matched my shooting style: controlled narrative shoots where I have time to rig properly, pull focus manually, and spend three days color grading in DaVinci Resolve.
If I were shooting docs tomorrow, I’d rent a Sony FX6.
If I were starting from scratch today with $3K, I’d buy the Blackmagic Pyxis 6K and spend the rest on lights and vintage Canon FD glass.
Your choice will be different. It should be.
What Nobody Tells You About Cinema Cameras
Reality 1: The camera is maybe 20% of your image quality. Lighting, lenses, and skill account for the other 80%. I saw this every day on Maid. The DPs spent fifteen minutes on lighting. Thirty seconds on camera settings.
Reality 2: Camera ergonomics matter more than specs. If the camera fights you on set, you’ll get worse footage than a “lesser” camera that feels natural. The Blackmagic Pocket 4K specs looked perfect. In my hands? Terrible. Sold it after three months.
Reality 3: Rental makes more sense for most people. Unless you’re shooting weekly, renting lets you use $50K cameras for $500/day. Do the math.
Reality 4: Your camera will be “obsolete” in 18 months. That’s okay. The Blackmagic Pocket 4K from 2018 still produces better images than most Netflix content from 2015.
Reality 5: Nobody watching your film cares what you shot it on. They care if it moved them. Made them think. Made them feel.
The Verdict
Last week, I watched Blood Buddies—a short I worked on last year—with an audience at a festival. The DP shot it on a Canon C70. One scene was shot on an iPhone 13 because we needed a crash cam and couldn’t risk the C70.
Not a single person noticed.
Not a single person cared.
They cared about the story. The performances. The moment when the lead character realizes he’s been lying to himself for twenty years.
That’s what cinema cameras are for—capturing those moments. Making your story visible.
The rest is just gear.
Choose something that won’t get in your way. Shoot something that matters. The camera will do its job.
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About the Author: Trent Peek (IMDB | Youtube \ Stage 32) is a filmmaking wizard with over 20 years of experience making award-winning content for film, TV, and social media platforms like YouTube and Instagram.
Former president of Cinevic (Society of Independent Filmmakers), Trent’s work ranges from snapping stunning stills with Leica and Hasselblad to handling powerful cinema cameras from RED and ARRI.
His recent short film “Going Home” was selected to the 2024 Soho International Film Festival in New York, showcasing his storytelling prowess to a sold-out crowd. He’s currently obsessed with the cinematic magic of compact cameras like the Blackmagic Pocket Cinema. When he’s not behind the camera, you’ll find him globe-trotting, buried in a good book, or plotting his next short film masterpiece.
Tune In: Catch my guest spot on the Pushin Podcast for some cinematic chatter and behind-the-scenes insights!
