The 2026 Sundance Film Festival reveals a significant divergence in camera choices between narrative features and documentary films. While documentary productions favored compact, flexible systems, feature films overwhelmingly opted for high-end digital cinema platforms, with ARRI cameras dominating the landscape. This trend, analyzed in a survey published by IndieWire, highlights differing priorities in workflow and aesthetic goals.
The ARRI ALEXA 35 was the most frequently used camera system at Sundance 2026, appearing in 16 feature productions. The ALEXA Mini LF and ALEXA Mini further solidified ARRI’s position as the leading choice for narrative filmmaking at the festival. This preference stems from a focus on dynamic range, color fidelity, and post-production consistency – qualities prioritized by feature film productions over the compactness and speed often favored in documentary work.
This isn’t simply a matter of brand loyalty, but a reflection of differing production needs. Narrative films benefit from the stability, repeatability, and predictable color science offered by ARRI systems. The ALEXA 35’s 17-stop dynamic range and ARRI Textures, for example, allow cinematographers to confidently work in challenging lighting conditions while maintaining a unified visual identity throughout a production. Films like “Bedford Park” utilized the ALEXA 35 alongside Moviecam prime lenses to achieve a specific aesthetic, leveraging the lenses’ veiling glare to subtly reinforce familial tensions within the story.
While ARRI dominates, Sony remains a significant player, particularly with the VENICE and FX3 cameras. However, Sony’s role is largely complementary. The VENICE, appearing on 8 features, was often selected for productions requiring modular builds or higher ISO flexibility. The FX3, used on 4 features, typically served as a secondary or specialty camera, a different function than its more prominent role in documentary filmmaking. For example, “Gail Daughtry and the Celebrity Sex Pass” utilized a diverse array of cameras including the Sony Venice 2, FX3, DJI Air 3S, GoPro Hero 10, and even an iPhone 14 Pro, demonstrating a more flexible approach to image capture.
The choice of lenses also reveals a trend towards blending modern technology with vintage aesthetics. Many productions paired ARRI cameras with lenses like the Canon K35, Cooke S4 and S2 series, Lomo Illumina, and Panavision VA, prioritizing emotional texture and character over clinical sharpness. This suggests a desire for a contemporary look that isn’t overly digital or sterile.
Interestingly, the Sony FX3, while not a primary camera on most features, represents the most affordable option to appear meaningfully in the Sundance 2026 feature lineup. Its presence underscores the advancements in compact full-frame cameras and their ability to deliver high-quality results even when integrated into larger, more complex imaging pipelines.
The data also shows instances of filmmakers experimenting with alternative systems. Films utilized 35mm film cameras, Bolex 16mm, RED Komodo, and RED Raptor XL, but these were used deliberately and sparingly, often to achieve specific textural or temporal effects. “Zi”, for example, employed a combination of RED Komodo and Bolex 16mm alongside a Super Takumar 35mm lens.
the Sundance 2026 feature film camera data reinforces a clear distinction between narrative and documentary filmmaking. Documentary filmmakers prioritize access and immediacy, leading them to embrace flexible and portable systems. Feature filmmakers, prioritize continuity, control, and post-production reliability, solidifying ARRI’s position as the technical foundation for independent narrative cinema. This isn’t a rejection of new technology, but rather a strategic choice based on workflow philosophy and creative goals.
