The 2025 Emmy Awards have once again highlighted the tools behind television’s most cinematic moments. Looking across all 20 nominated productions, we see a fascinating balance between long-established champions like Sony and ARRI and some unexpected entrants (DJI Ronin 4D) that prove how dynamic the world of cinematography has become.

The Heroes of Adolescence: DJI Ronin 4D, and Cooke SP3 32mm

Emmys 2025: Camera (and lenses) list

Before diving into the cameras themselves, it is important to recognize the source of this data. Each year, IndieWire publishes its comprehensive Emmys Cinematographers Camera Survey, which has become one of the most valuable resources for anyone tracking cinematography trends. By speaking directly with the directors of photography behind nominated productions, IndieWire compiles unique insights into the creative and technical decisions that shape award-winning television. This year’s survey is no exception. It provides not only raw information on camera and lens packages but also the personal reasoning of the cinematographers who used them, making it a gold standard reference for our industry. Explore the full list below: 

Camera Usage Count (Emmys 2025 Cinematographers Survey)

1. Adolescence — Matthew Lewis | DJI Ronin 4D 6K | Cooke SP3 (32mm only)

2. The Amazing Race — Joshua Gitersonke | Sony FX6 | Sony E-mount Zooms

3. American Primeval — Jacques Jouffret | Red Raptor VV, Sony Venice 2 | Panavision Sphero 65, Angénieux Optimo Ultra 12×1

4. Andor — Christophe Nuyens | Sony Venice | Panavision Ultra Vista 1.6 Anamorphic

5. Chef’s Table: Legends — Adam Bricker, ASC | RED V-RAPTOR XL | Leitz Cine Thalia 65

6. The Day of the Jackal — Christopher Ross, BSC | Sony Venice 2 | ARRI ALFA Anamorphic

7. Emily in Paris — Séamus Tierney | ARRI ALEXA Mini LF | Cooke S8/i FF, Cooke Varotal Zooms (19–40, 30–95, 85–215)

8. Étoile — M. David Mullen, ASC | ARRI ALEXA 35 | Panavision VA Primes

9. Georgie and Mandy’s First Marriage — Buzz Feitshans IV | Sony Venice 1 | Panavision Primo Zoom 17.5–75, Primo 11–1

10. Hacks — Adam Bricker, ASC | RED V-RAPTOR XL [X] | Panavision Primo 70

11. Love on the Spectrum — Dave May, ACS | Canon EOS C500 MkII, Canon EOS C70 | Canon EF 70–200 f/2.8, 24–70 f/2.8, 35 f/1.4, 85 f/1.4

12. Pachinko — Ante Cheng | ARRI ALEXA 35 | Leica M Summicron (35/50/90), Panavision T Anamorphic, VA Spherical

13. Ren Faire — Nate Hurtsellers | ARRI ALEXA Mini | Cineovision Anamorphic, Angénieux HR 50–500 Anamorphic, misc. Panavision detuned

14. The Righteous Gemstones — Paul Daley | ARRI ALEXA 35 | Zeiss Supremes, Leitz Summilux-C

15. Severance — Jessica Lee Gagné | Sony Venice 2 | Panavision C-Series Anamorphic

16. The Studio — Adam Newport-Berra | ARRI ALEXA 35 | ARRI Zeiss Master Prime 21mm

17. Survivor — Scott Duncan | ALEXA 35, ALEXA Mini, DJI, Freefly Ember, GoPro 13, Phantom Flex 4K, RED, Sony Z750, FX6, A7S III | Angénieux, Canon, Fujinon, Nikon, Zeiss

18. The Traitors — Matt Wright | Sony FX9, Panasonic GH5, DJI Inspire 3 | Canon CN7, CN10, CN20, Olympus (GH5 rigs)

19. The White Lotus — Ben Kutchins, ASC | Sony Venice | ARRI Movicam, Petzval, Zero Optik Leica

20. Zero Day — John Conroy | Sony Venice 1, Sony FX6, Sony FX3 | Panavision Primo Artistes

The Camera Chart

Explore the Emmys 2025: Cinematography Nominees – Camera Chart below: 

Emmys 2025: Cinematography Nominees – Camera Chart

Discussion

A Tradition of Sony VENICE Dominance

When we examined the Emmy field back in 2020 in The Cameras Behind 72nd Emmy Awards: Sony Venice Leads the Way, the Venice was already a clear favorite among cinematographers. That trend has continued. In 2025, the Sony Venice and Venice 2 together powered a large share of nominees, including Andor, Severance, The Day of the Jackal, and The White Lotus. This consistency across years shows that Sony’s full frame platform remains a trusted choice for high-end television, particularly for series that demand a blend of cinematic scale and emotional intimacy.

Emmy 2020- 72nd Awards Nominees for Outstanding Cinematography- Camera Chart

The Rise of ARRI ALEXA 35

Last year’s analysis in The Cameras Behind Emmy 2023: Sony Venice Leads and Kinefinity Enters the List revealed how new players were gaining visibility, but 2025 has been the year of ARRI’s ALEXA 35. Productions like Étoile, Pachinko, The Righteous Gemstones, and The Studio demonstrate how quickly cinematographers have embraced the 35’s superior dynamic range and color rendition. In 2021, the headline was Emmy 2021’s Cameras: Large Format Rules. Today, large format remains essential, but the ALEXA 35 has taken center stage as ARRI’s flagship in the Emmy spotlight.

Emmy 2021: 73rd Awards Nominees -Camera Chart

RED and the Nonfiction Edge

Documentary and nonfiction programming often push different demands on cameras. Chef’s Table: Legends and Hacks relied on the RED V-RAPTOR XL, with cinematographers highlighting its speed and global shutter advantage. Compared to 2022’s field, where The Cameras Behind Emmys 2022: Sony Venice Goes Head to Head with ARRI Mini described a clear Sony versus ARRI showdown, RED’s strong presence this year signals that high-resolution capture and robust post flexibility remain vital in nonfiction and half-hour comedy formats.

Emmys 2022: Cinematography nominees – Camera chart

Reality Television and the Multicamera Universe

Reality programs again showcased a wide mix of tools. The Amazing Race stayed nimble with Sony FX6, while Survivor deployed an enormous toolkit including ALEXA 35, DJI drones, GoPro Hero 13, and Phantom Flex 4K. The Traitors featured the Sony FX9 paired with Canon CN zooms and even the Panasonic GH5 for fixed rigs. These shows prove that storytelling in unpredictable environments demands flexibility more than uniformity. Note that these are not in the chart, yet they are mentioned in the list.

The Cameras Behind Emmys 2022: Sony VENICE Goes Head to Head With ARRI Mini

The Outlier: DJI Ronin 4D

One of the boldest choices this year came with Adolescence, which embraced the DJI Ronin 4D 6K with a single Cooke SP3 32mm lens. We covered this unique setup earlier this year in The Heroes of Adolescence: DJI Ronin 4D and Cooke SP3 32mm. Its presence among Emmy nominees is a reminder that innovative tools are gaining recognition at the very highest level. What once seemed like a specialized camera for experimental projects has now entered the awards conversation.

BTS of Adolescence. DJI Ronin 4D and Cooke SP3 32mm lens

BTS of Adolescence. DJI Ronin 4D and Cooke SP3 32mm lens

BTS of Adolescence. DJI Ronin 4D and Cooke SP3 32mm lens

BTS of Adolescence. DJI Ronin 4D and Cooke SP3 32mm lens

BTS of Adolescence. DJI Ronin 4D and Cooke SP3 32mm lens

Comparing Then and Now

Looking back over the past five years of Emmy coverage on Y.M.CINEMA, the story is clear. The Sony VENICE platform has been a constant leader, dominating in 2020, 2022, and 2023. ARRI’s large format ALEXA LF and Mini once set the standard, but by 2025, the ALEXA 35 has taken the baton, offering a new benchmark for high-end television. RED has carved out its niche in nonfiction, while Canon continues to serve reality projects with reliable C-series models. And then there are the surprises, like DJI, which highlight how cinematography is more diverse than ever.

Emmy 2023: The cameras. Chart by Y.M.CINEMA Magazine

Wrapping up

The Emmys are always a reflection of what the industry values most in storytelling. In 2025, that value rests in flexibility. Sony VENICE continues as the industry’s backbone, ARRI ALEXA 35 has surged as the artistic darling, RED is thriving in the nonfiction space, and daring outliers like DJI are pushing into new creative territory. The list tells us that the future of Emmy-winning television will not be about one camera to rule them all, but rather about using the right tool for the right story.