I look forward to seeing this sort of survey every year, but that just marks me as a gear freak.  It seems pretty clear that shooting in 4K, and using a log color space and at least a 10 bit, 4:2:2 codec (to allow for producing an HDR master) will make a project more marketable and future proof.  This is especially true if the film might be sold to a network (like PBS, or Discovery, or the BBC…).  Beyond that, money sure sets productions apart.

If a production as a budget, the Sony FS7 seems to dominate these days.  It is pretty well suited to run-and-gun production – something really important to me, since I am often a one-man-band.  It has OK low-light performance, not the very best…But it costs something over $12,000 with a lens and a battery or two!  Still, maybe the best compromise out there at present.

Here is the link to the IndieWire story:

Sundance 2018: Here Are the Cameras Used to Shoot This Year’s Documentaries