In live productions, achieving a film look often requires cameras with shallower depth of field, typically provided by larger imagers. While a Super35 imager with PL mount lenses is ideal for a film-like appearance, many live applications use smaller 2/3” imagers, which can result in overly shallow depth of field. A mix of camera types—standard, super slow-motion, wireless, and compact—is needed, each with consistent color reproduction and image sharpness. This paper explores the differences between film and live production camera requirements, highlighting that while larger imagers are preferred for their depth of field, live productions often need global shutters not available in all cinematography cameras. It examines how advancements in CMOS imagers and signal processing can bridge these gaps, offering solutions to achieve a film-like quality in live settings while accommodating the specific demands of both environments.