If you love capturing your adventures, from mountain biking trails to underwater dives, an action camera is a must-have in your gear bag. The best action camera delivers crisp footage, rugged durability and the flexibility to shoot in just about any environment — including in the rain, snow or under water. These compact, often wearable devices are built to go where your phone or mirrorless camera simply can’t, offering features like image stabilization, wide angle lenses and impressive video resolution for smooth, immersive footage.

Many models now support HDR for vibrant colors, slo-mo for dramatic effect and advanced settings like adjustable aspect ratio and frame rates. Some are even designed as a single-lens solution that can still give you stunning results, without the complexity of multi-camera rigs. And if you're planning long shoots or travel adventures, don’t forget to look for extra batteries and a reliable SD card — two essentials that make a big difference in how much you can capture on the go.

Whether you're new to the world of video cameras or you're a seasoned pro, this buying guide covers our top picks across different price points and use cases. From high-end rigs to the best waterproof camera options, we’ll help you find the best action cam with the compatibility and features you need to capture every epic moment.

Best action cameras for 2025

What to consider before choosing an action camera

Action cameras have certain traits that separate them from regular cameras or smartphones. The most important is ruggedness that makes them resistant to water, dust and shocks. Most action cameras are now waterproof cameras without the need for a separate enclosure. At the same time, you can purchase housing accessories to make them waterproof to even greater depths.

Video quality is also key. Every model we recommend goes to at least 4K 60fps, but some models like GoPro’s latest Hero 13 boost video resolution up to 5.3K 60fps, or even 8K 30p with the Insta360 Ace Pro 2. That allows you to crop in on shots and capture vertical video at higher resolutions for social media. Another nice feature is log video that improves dynamic range when filming on sunny, contrasty days — and many newer models now support HDR for even more vibrant footage. Plus, if you film in dim environments, you’ll want the largest sensor possible for the best low-light performance, much like with high-end video cameras or mirrorless systems.

For activities with bumps and jolts like mountain biking, image stabilization is incredibly important. You want your video to look smooth, but still need to convey the thrill and speed of the action. The Hero 13 is still the top pick in this regard, delivering jolt-free video that makes the viewer feel like they’re going down the bike trail or ski slope, with no annoying digital artifacts. DJI and Insta360’s products are good, but not quite at that level yet.

Some action cameras are easier to handle and use, so take that into account as well. You’ll want bright and colorful displays both front and back, buttons you won’t have to fumble to find and easy-to-use menus. Remote control is another factor that can ease operation. And you’ll want to check which software is available to improve image stabilization, edit video, remove selfie sticks and more. Also, look out for compatibility with third-party accessories or apps that can expand what your camera can do.

Then there's the area of accessories. Do you need helmet or chest mounts, extra batteries, waterproof housings, or a fast SD card? GoPro has the largest number of those, but DJI makes handy wireless mics that connect directly with its cameras. And of course, battery life is critical for action shooting as it’s hard to change one when you’re out surfing.

After nearly disappearing as a category, compact cameras are making a comeback. Fujifilm’s X100 VI became a star on the photography side, thanks to its good looks and trendy film emulations. And DJI’s Osmo Pocket 3 captivated content creators with its motorized subject tracking and a gimbal that smooths harsh camera moves.

Now, Canon has jumped back into compacts with the PowerShot V1, a vlogging-centric model that follows the six-year-old G7X Mark III. It’s designed to outshine rivals with a large 1.4-inch 22-megapixel sensor, and boasts other impressive features like optical stabilization and 4K supersampled video. At the same time, this camera is surprisingly solid when it comes to photography.

The V1’s 16-50mm lens is nice and wide but it’s slow compared to its main rival, Sony’s ZV-1 II. And where Fujifilm’s X100 VI is svelte and pretty, the PowerShot V1 is plain and a bit chonky. Still, none of that detracts from the fact that this is a powerful compact camera capable of capturing incredible video and images, especially in low light, and should suit many creators.

Design and handling

Instead of going retro like Fujifilm, Canon chose a more functional approach to the PowerShot V1’s design. It’s relatively thick at 2.1 inches, a bit bigger than the X100 VI if you don’t include the lens, but it’s slightly lighter at 15.03 oz with a battery. By comparison, Sony’s ZV-1 II is just 10.3 ounces and 1.84 inches thick.

The PowerShot V1 bears some resemblance to Canon's G7X III that has become massively popular of late, but is thicker due to the built-in fan and power zoom lever. Unlike the G7X III, the V1 lacks a popup flash unfortunately, but does have a hotshoe for external flashes. Canon also moved the record button from the back to a more practical position on top.

The grip is small, but the rubberized surface makes it easy to hold, especially when vlogging. Controls are sufficient for a compact, but I’d prefer at least one dial on the top to change settings. It would also be nice if the camera was a bit more pocketable like Sony’s ZV-1 II. The buttons and dials are responsive, but they do feel a bit cheap next to Canon’s mirrorless models. In short, the PowerShot V1 offers solid handling but isn’t a looker like Fuji’s offerings.

Steve Dent for Engadget

Another nice change is a new fully articulating screen, replacing the previous model’s pop-up display. That makes vlogging and photography easier, as you can see the screen when holding the camera high, low or toward you. My only complaint is that it’s a bit too dim when used in bright sunlight. And you can’t just look through the electronic viewfinder to get a clearer view, because there isn’t one on the PowerShot V1.

This camera has decent battery life for a compact at 400 shots or about 75 minutes of 4K 30p shooting on a charge. Other notable features include mic and headphone inputs along with a microHDMI and USB-C (charging and data transfer) ports, plus a single SD UHS-II card slot.

Vlogging and content creation

The ‘V’ in PowerShot V1 stands for vlogging, so let’s talk about that next. To best serve in that capacity, it uses a wide 16-50mm equivalent lens so you can always fit your face into the frame, even in cropped mode. However, that zoom range can also be limiting for capturing closeups or B-roll.

Video specs are top-notch for a compact, with sharp, supersampled 4K 30p video that uses the full sensor width or 4K 60p video with a 1.4x crop. On top of that, you can capture 10-bit video when using Canon’s C-Log 3 or HDR formats.That’s better than Sony’s ZV-1 II, which only offers 4K 30p and S-Log video with no 10-bit option. However, DJI’s Osmo Pocket 3 surpasses both models with uncropped 4K at up to 120 fps, while also offering 10-bit D-LogM or HDR video.

With its large sensor, the PowerShot V1 offers sharp video and accurate, natural color rendering with Canon’s usual excellence in skin tones. Shooting in C-Log3 10-bit boosts dynamic range considerably in sunny or contrasty scenes, while giving you more latitude to adjust video in post. And when you need to shoot indoors or at night, the camera outperforms compact rivals, displaying lower noise at high ISO settings.

Steve Dent for Engadget

The disadvantage of a larger sensor is that rolling shutter that can warp video is more pronounced than on Sony’s 1-inch ZV-1 II at the 4K 30p setting. If that’s a concern, the cropped 4K 60p setting reduces the problem since it samples a smaller portion of the sensor.

Overheating isn’t an issue with this camera either, thanks to the built-in fan. I never saw any sign of a heat-related shutdown when using the PowerShot V1 with the temperature threshold setting at “high.”

Autofocus is a crucial feature for vlogging and the PowerShot V1 competes well against Sony’s ZV-1 II, thanks to its upgraded processor. It stays locked even on fast-moving subjects and the eye- and face-detection, along with subject detection for animals and vehicles, all work well.

Where the ZV-1 II only offers electronic video stabilization, the PowerShot V1 marries 5-stop optical stabilization with electronic stabilization. That means you can shoot smooth handheld video without any impact on image quality, or enable e-stabilization for walking or other challenging scenarios. However, neither camera holds a candle in that regard to DJI’s Osmo Pocket 3, which has a built-in 3-axis gimbal.

Audio is also a plus on the PowerShot V1, as it offers both mic and headphone jacks, while the ZV-1 II lacks a headphone port. Canon’s model also has a decent built-in stereo mic and comes with a hotshoe-attached wind muff.

Photography

Steve Dent for Engadget

Despite the vlogging emphasis, the PowerShot V1 is highly capable for photos as well. In fact, it excels in both image quality and speed thanks to the unique 22.4MP, 1.4-inch sensor and Canon’s latest Digic X image processor to power autofocus and AI functions.

You can fire off bursts at up to 30 fps in electronic mode, and a very rapid 15 fps with the mechanical shutter (and yes, it has a mechanical shutter which is rare for a compact). That makes it one of the fastest compacts available. By comparison, the X100 VI can hit 25 fps speeds while the ZV-1 II is limited to 15 fps speeds. The Osmo Pocket 3, meanwhile, can take photos but is really designed almost exclusively for video.

The PowerShot V1’s high speeds are backed up by Canon’s Dual Pixel II focus system that delivers sharp photos the majority of the time, powered by the company’s latest AI tech for face- and eye-detection. As with other recent models, the camera also offers AI subject detection for animals, vehicles, airplanes and more.

The PowerShot V1 trumps Sony’s ZV-1 II with its built-in 5-stop optical stabilization to reduce blur. That enabled me to take shots down to an eighth, and sometimes even a quarter of a second, to blur backgrounds while keeping the foreground sharp.

The trouble with most compact cameras is that they can take nice photos in well-lit conditions but start to fall down in low light. That’s not the case with the PowerShot V1. The larger 1.4-inch sensor is very close in size to Micro Four Thirds, so it delivers clean images up to ISO 6400, with manageable noise even as high as ISO 12800.

The beauty of Canon cameras is that you get great-looking images straight out of the camera with no fuss, particularly with skin tones — a great boon for beginners. JPEG images have a good balance of sharpening and noise reduction, while RAW photos boost dynamic range in tricky shooting conditions and give you more room to play around when editing in Lightroom.

Wrap-up

Steve Dent for Engadget

I can see what Canon was going for with the $900 PowerShot V1. It effectively beats out its main compact vlogging rival, Sony’s ZV-1 II, by offering a larger sensor, optical stabilization and more video options for around the same price. And it appeals to hybrid shooters more than DJI’s Osmo Pocket 3 as it can better handle photography chores while also capturing higher-quality video.

The problem is that it’s still primarily a vlogging camera and a lot of content creators have abandoned this type of compact model in favor of the Osmo Pocket 3. That’s because the Pocket 3 offers unique features like motorized camera tracking and a superior three-axis gimbal. It also pairs with DJI’s popular Mic 2 and Mic mini wireless microphones, which is another big advantage. At the same time, the PowerShot V1 has a pretty basic design, so it may not appeal to buyers looking for something prettier like the X100 VI.

At the end of the day, the PowerShot V1 is bound to be a hit because it delivers when it comes to video and photo quality — especially given the current popularity of the now-ancient G7X III. In fact, I’d recommend it over Sony’s ZV-1 II, particularly if you’re looking for a hybrid camera that pulls double duty.

Roku is wading deeper into the smart home space with two new security cameras, which can run on batteries. As such, you'll be able to place the Roku Battery Camera and Roku Battery Camera Plus pretty much anywhere. 

The former is said to run for up to six months on a single charge, while the Roku Battery Camera Plus can operate for up to a couple of years before you need to juice it up. There's an optional solar panel attachment so you might never have to manually recharge the batteries.

These cameras are designed for simplicity. A step-by-step guide on your phone walks you through how to set them up. They provide 1080p full-color visuals and there's a color night vision mode. Other features include motion detection and notifications. You can create schedules for the cameras too. 

Of course, you can monitor what the cameras see via the Roku Smart Home app or the web, as well as Roku TVs and streaming devices. Through the Roku Cameras app on your TV, you can view a carousel of camera feeds that cycle either periodically or based on motion events. There's a picture-in-picture option in case you want to watch TV and keep and eye on what's happening in and around your home too. The cameras lack microSD card support for local storage, though; if you want to store video clips in the cloud (or receive object-specific detection alerts), you'll need to pay a subscription fee.

Roku hasn't announced pricing for the cameras as yet. They'll be available in the coming months and will join the likes of the Indoor Security Camera in Roku's lineup. The company also unveiled its latest streaming sticks and announced new TVs and feature updates at an event on Wednesday.

Jeff Dunn for Engadget

The Insta360 X5 ($550) is the company’s latest 8K 360 action camera and, while it remains a different proposition to traditional action cams, it is more powerful, more reliable and easier to use.

The X5 has a larger 1/1.28-inch sensor compared to the X4's 1/2-inch sensor, ensuring more detail and a notable boost to low-light performance. The issue with wide-angle camera capture is that detail gets lost, especially in low-lit settings. The specification upgrades this time around reduce that substantially, including up to 13.5 stops of dynamic range.

Over the years, I’ve tried to incorporate 360-degree cameras into my workflow, using them both on vacation or at events. However, a lot of the content I capture is either during the evening or in a dark venue, literally the main weakness of these kinds of cameras. In a bid to address those shooting conditions, Insta360 introduced a new PureVideo mode that with AI noise reduction and dynamic range optimization for clearer, brighter footage in low-light conditions. It’s not perfect, but it moves dim video from unusable to decent, if not outright good. With a 5nm AI chip and two imaging chips, the X5 can also now capture Active HDR on footage at up to 5.7K 60 fps.

Image by Mat Smith for Engadget

This chip array also reduces processing time. Insta360 doesn’t specify how much faster, but anecdotally, on-device processing and file transfers to my smartphone were noticeably faster. Videos are saved almost instantly onto the camera, while saving several short clips to my phone took around 30 seconds, compared to minutes on previous devices.

While the X5 doesn’t offer higher resolution video than its predecessor, it packs in even more shooting options, like InstaFrame, which is fast becoming my go-to shooting mode. InstaFrame can record a typical “flat” video and a 360-degree video at the same time. The notion is that this gives an “instantly shareable” flat video, with no reframing or heavy editing needed.

But when you do have to, Insta360’s companion smartphone app has been further improved, with some incredibly useful editing tools. You can re-edit 360-degree video to focus on the user, or force a single view. It’s all quite intuitive too, which is a trait that shouldn’t be ignored.

Image by Mat Smith for Engadget

The X5 an incredibly versatile tool, and there’s something to be said for a camera that can capture everything. However, in less favorable conditions (or when you’re not the camera person), you might prefer the simpler settings and shooting methods of a traditional action camera.

The X5 does perform better in lower light, but it doesn’t quite match the improvements we’ve seen in low-light smartphone photography in recent years. Despite my cautiously walking around in the late evening to capture low-light footage, there was a vibration after-effect as the camera struggled to stabilize the footage. This can be reduced by staying still, but even with PureVideo (which can also be a little too aggressive addressing noise), it’s not quite there yet. I will continue to test the camera and provide further impressions. Insta360 pushed a firmware update to the X5 hours before I published this story, adding 4K60fps recording in single-lens mode, and several resolution bumps across other recording modes.

Design-wise, you have to get up real close to tell the difference between the X5 and the X4. They’re largely the same size, although Insta360 has switched to a polygon effect on the front, with a panel for the mic (and a new mesh wind guard).

The battery compartment and microSD slot are secured with a double latch where the microSD slot lives, and are protected by solid covers with sliding locks. Both sides of the camera have a grippy texture, with record and mode buttons nestled under the screen.

With the same threaded mount, Insta360’s existing selfie sticks will work with its latest camera, although fast-chargers and cases won’t, due to hardware changes. The most important thing: Insta360’s bullet time effect is still here – if you have the right peripheral.

Most of the settings adjustments, like its predecessors, are found in pull-down menus from, well, pretty much every side of the screen. Swiping right will take you to the gallery, while manual camera options are a left swipe away. Toggles and lock settings are located in the dropdown menu. There’s a lot, but if you’ve used a smartphone, you should find the basic navigation familiar.

Image by Mat Smith for Engadget

There’s a whole list of smaller notable hardware improvements on the X5 compared to the predecessor, too:

• Scratch-resistant glass lenses —- which are replaceable

• Larger capacity battery that lasts up to 180 minutes

• Faster-charging battery (0 to 80 percent in 20 minutes)

• New built-in steel mesh wind guard

• IP68 waterproofing up to 49 feet

• Magnetic mounting system

• ‘Twist to shoot’ record feature, to initiate recording by twisting a connected selfie stick

The Insta360 X5 is now on sale, priced at $550, with an Essentials Bundle also available for $660. The bundle includes an extra battery, fast-charge case, “invisible” selfie stick, lens guards and a carry case. That’s $50 more than the Insta360 X4 was at launch. The improvements to both low-light performance and new shooting modes may be worth the price increase, but don’t expect crisp 4K (or 8K) video if light is an issue.

Competition in this category remains relatively limited. Ricoh continues its Theta series, with a similar camera form factor, but seems to focus on stills more than video, while GoPro’s Max 360 camera lacks features like traditional 4K video capture, let alone 8K recording. The best alternatives are arguably Insta360’s other 360 cameras, like last year’s X4.

While there are less major spec and design changes compared to last year, the Insta360 X5 is another step forward for this type of camera, both in terms of imaging and in simplifying how you share what you capture.

At Apple's WWDC presentation this year, the company said it was working with Blackmagic Design to make immersive videos for the Vision Pro easier to work with and capture. Turns out Blackmagic is currently developing a camera specifically to capture immersive films for Apple's mixed-reality headset. The digital cinema company and manufacturer announced the Blackmagic URSA Cine Immersive camera on X/Twitter and made sure to add a few photos to give us a glimpse of what it would look like. 

It didn't share a lot of details about the device other than it's "designed to capture content for Apple Vision Pro" with 8,160 x 7,200 resolution per eye and "16 stops of dynamic range for 90fps stereoscopic 3D immersive cinema content." Based on the images Blackmagic attached to its post, users will even be able to strap the camera to a drone for aerial videos.

The company is hoping to release the camera sometime later this year, though it didn't say how much the device would cost. In the past, Blackmagic released a camera that can shoot in 12K for $9,995, which is much lower than what other comparable models cost. Last year, it unveiled its first full-frame model that can shoot video in 6K for $2,595. 

Blackmagic Design

Apple showed off the new lens Canon is working on for its R7 camera at WWDC, as well. The 7.8mm f/4 dedicated spatial lens is also meant to capture content for the Apple Vision Pro. While the brand has previously released lenses for virtual reality, it said that none of its current cameras are fast enough to offer video that matches Apple's headset. Like Blackmagic's announcement, Canon's was light on details, though we'll most likely hear more information the nearer we get to the lens' release date. 

Catch up here for all the news out of Apple's WWDC 2024.

Alongside announcing its next-generation OS for Vision Pro, Apple wants to improve the content you can capture and share on the headset. Camera expert Canon is working on a new dedicated spatial lens for its R7 camera.

While details are light for now, the new lens, shown briefly during WWDC’s big presentation, is a lot more subtle than previous stereo lenses. It’s a 7.8mm f/4 lens with STM (stepping motor technology) that keeps focus quiet and smooth.

Canon has teased lenses aimed at VR and spatial content in the past, but intriguingly, the company has already said that none of its current cameras are high-speed enough to offer video that matches the Vision Pro. We’re waiting to hear exactly what kind of video (and at what refresh rates and resolution) this lens-and-camera combo can capture. Apple followed up with updates to its 180-degree 3D 8K video format, partnering with Blackmagic to create a new workflow to make Immersive Videos easier to capture and work with.

Catch up here for all the news out of Apple's WWDC 2024.

Panasonic just announced the followup to its popular Lumix GH6 vlogging camera, the GH7. This Micro Four Thirds mirrorless camera comes just two years after the release of the GH6, which is pretty quick in the videography world. The GH5 was released five full years before the GH6.

The 25.2-megapixel BSI CMOS sensor is likely the same as the one on the photo-centric Lumix LG9 II announced earlier this year. It also offers improved autofocus performance, which has been a much-requested feature, thanks to phase detection auto-focus (PDAF). There’s also a newly added real-time auto-focus recognition algorithm for use on airplanes and trains.

The GH7 is designed for video, and it looks like it delivers in that regard. It now supports internal ProRes RAW recording at up to 5.7K 30p along with ProRes as before, and can shoot 5.8K 60p 10-bit H.265 video. It can handle 4K at up to 120fps or Full HD at 240fps. It's equipped with both SD UHS II and CFexpress card slots, with the latter required for ProRes and ProRes RAW recording.

Panasonic

On top of ProRes RAW for video, it supports 32-bit float audio recording. Panasonic says the float recording “eliminates the need to adjust sound recording levels during shooting,” though it does require a separate XLR adapter. The image stabilization technology has also gotten a boost, which includes perspective distortion correction for videos.

We don’t know how heavy it’ll be and the GH6 was certainly on the heftier side. The battery life of the previous model was also fairly short, maxing out at 400 still images and around an hour of continuous 4K shooting. This camera should be able to shoot for long periods of time, however, as Panasonic has added a cooling fan for heat dissipation. It’s also splash resistant, dust resistant and freeze resistant down to 14 degrees Fahrenheit.

The GH7 supports native Camera to Cloud integration via Adobe’s Frame.io, which automatically uploads images and videos to the cloud. All in all, this looks like a worthy update to the line. Panasonic’s latest and greatest vlogging camera will be available in July for $2,200. Incidentally, this is the same price that the GH6 released at back in 2022.

Acer has unveiled the new SpatialLabs Eyes Stereo Camera specifically for those who want to take 3D photos and videos. Users can not only use it to capture 3D content, but also to livestream in 3D on YouTube and other platforms, as well as to make 3D video calls on Teams, Zoom and Google Meet. The company describes the camera as "compact" and "pocket-sized," with dimensions measuring 4 x 2.6 x 0.9 inches.

It has a resolution of 8 megapixels per eye and a built-in selfie mirror encased in a weather-proof shell. The more casual users can take advantage of its Electronic Image Stabilization (EIS) feature, along with its auto and touch focus capabilities. But experienced photographers can customize their output as much as they want to in manual mode, which will allow them to adjust the camera's ISO, white balance and shutter speed settings. 

The camera's 3D livestreaming feature will be enabled by version 3.0 of Acer's SpatialLabs Player, while high-resolution 3D video conferencing will be made possible through the company's SpatialLabs video call widget. It will, of course, be compatible with Acer's range of SpatialLabs devices, including laptops with glasses-free 3D screens. But you can view 3D content captured by the device even on other companies' AR or VR headsets and 3D projectors. 

The Acer SpatialLabs Eyes Stereo Camera will be available in the third quarter of the year with prices starting at $549 or €549 in the US and in Europe, respectively.

Acer

Panasonic’s mirrorless cameras have always been popular with pro video shooters, but to date the company hasn’t directly tackled a key segment: influencers. Today, it’s finally jumping in with the S9, a small and stylish full-frame camera with similar capabilities to Sony’s ZV-E1. The S9’s key feature is a dedicated LUT button and app that let you quickly select custom and preset video looks, much like you can with Fujifilm’s simulations.

With the same 24-megapixel sensor as Panasonic’s S5 II, the S9 supports up to 6.2K 30p video and comes with Panasonic’s latest phase-detect and AI-tracking autofocus. It also has advanced in-body stabilization that promises gimbal-like smoothness.

There are a few things missing, though, like a viewfinder and mechanical shutter. Finally, there’s the $1,500 price, which isn’t much less than the more-capable S5 II. So does Panasonic’s first camera for influencers deliver? I tested a pre-production version of the S9 in Japan to find out.

Stylish and petite

At 486 grams (17.1 ounces), the S9 is light for a full-frame camera and just three grams heavier than the ZV-E1. I’ll discuss Panasonic’s new 26mm f/8 lens soon, but with that, the whole system is small enough to slip into a bag and is actually a bit lighter than Fujifilm’s X100 VI.

The S9’s design is cute, but the polycarbonate body doesn’t feel nearly as premium as, say, Fuji’s X100 VI. It comes in a choice of red, blue, green and black in a faux leather covering. It’s not as pretty as Fujifilm’s offerings, but is more stylish than most Lumix cameras.

With that smooth design and no handle, though, it’s a bit hard to grip. This isn’t a problem when using lightweight lenses, but with larger ones like the Lumix 24-70mm f/2.8, the S9 could slip right out of your hand. Panasonic did give us a dedicated SmallRig grip that helps a lot, but that’s not included in the price.

The S9 has stripped-down controls compared to most Panasonic cameras. With no top rear dial or joystick, it's trickier to change settings than on larger models like the S5 II.

What it does have that we’ve never seen is a LUT button that Panasonic actually patented. Those letters stand for look-up table, and pressing the button brings up a choice of built-in or custom simulations.

Steve Dent for Engadget

The flip-around screen is great for vlogging, but the S9 lacks an electronic viewfinder, much like Sony’s ZV-E1. It has just a cold shoe on top, so it can't power flashes, microphones, a viewfinder or other accessories.

It’s also missing a headphone port, which is unfortunate for a camera dedicated to video. And while the Fujifilm X-T30 supports a headphone via the USB-C port, the S9 doesn’t have that option, nor does it support wireless sound. As for storage, the single SD card slot enables UHS-II speeds, but is located inconveniently next to the battery compartment

Photography

For a hybrid camera aimed at videographers, the S9 isn’t bad for stills. You can shoot at 9 RAW frames per second, and the buffer will hold up to 55 shots. The S9 doesn’t have a mechanical shutter, though, and distortion can be problematic with fast-moving subjects.

Continuous autofocus for photos works well, though it’s still behind Canon and Sony. The AI is good at locking onto human faces, bodies and eyes, and also works with animals, cars and motorcycles. It’s not a sports or wildlife camera by any means, but the majority of my photos were in focus.

Like the S5 II, the S9 shoots 14-bit RAW images in single-shot mode but drops to 12-bit RAW for burst shooting. As this was a pre-production camera without the final firmware, I was unable to test RAW quality, but I’d expect it to be in line with the Panasonic S5 II.

Photo quality otherwise is good from what I've seen so far, with realistic colors and skin tones. In low light, I wouldn’t go past about ISO 6400 as noise can get bad compared to cameras with similar sensors, like Nikon’s Z6 II.

Steve Dent for Engadget

I liked the S9 as a street photography camera, as it’s discreet, silent and lightweight. However, the new $200 pancake lens that helps make it so light is manual focus only and has just one f/8 aperture setting which may turn off buyers. On top of that, with no electronics in the lens, the zoom window doesn’t pop up to aid focus. As such, you need to rely on the focus peaking assist.

Video

As a video camera, the S9 is generally excellent, but has some pluses and minuses compared to the ZV-E1. On the positive side, the higher-resolution sensor allows for up to 6.2K 30p or supersampled 4K 30p video using the entire sensor width. It also supports full readout 3:2 capture that makes vertical video easier to shoot.

4K 60p requires an APS-C crop, and to get 120 fps video you need to drop down to 1080p. Like the S5 II, it supports a number of anamorphic formats with supported lenses.

Steve Dent for Engadget

The ZV-E1 has half the resolution, so video isn’t quite as sharp, but Sony’s camera can shoot 4K at up to 120 fps and rolling shutter isn’t nearly as bad.

One potential issue with this camera for creators is the limited continuous recording time, which is capped at just 10 minutes at 6.2K and 15 minutes at 4K. That’s due to the small size and lack of a fan, but you can start recording again immediately after it stops — so this would mainly affect event shooters needing to do long takes. We'll see if these recording times remain in the final firmware.

The S9 has excellent in-body stabilization, with up to 6.5 stops using supported lenses. Like the S5 II, it offers a boost mode that’s best for handheld shooting with limited movement, and an electronic mode with a 1.4x crop in the “high” setting.

Steve Dent for Engadget

The latter can smooth out footsteps and other jolts well enough to replace a gimbal in a pinch. It does a better job than the ZV-E1 with abrupt movements, but the latter crops in slightly less at 1.3x.

Autofocus mostly keeps subjects sharp, but it can occasionally lag. The AI-powered face-tracking stays locked on a subject’s eyes and face, though sometimes the autofocus itself doesn’t keep up. However, these could be pre-production issues. 

With the same sensor as the S5 II, quality is very similar. Video is sharp and colors are realistic, with pleasing skin tones. It’s not quite as good in low light as other 24MP cameras like the Canon R6 II, with noise starting to become noticeable at ISO 6400. The ZV-E1, in comparison, can shoot clean video at ISO 12800 and even beyond.

Steve Dent for Engadget

I enjoy shooting Panasonic V-log video as it’s easy to adjust in post and offers excellent dynamic range. It’s one big reason Panasonic cameras are so popular with professional videographers, so it’s nice to see this on a less expensive model.

So what about the new LUT feature? To get the most out of it, you have to go into the new Lumix Lab app. Panasonic has a handful of presets to get you started, or you can load custom LUTs from a variety of creators. You can also make your own in an editing program like DaVinci Resolve.

Steve Dent for Engadget

Applying the LUT bakes the look into the video, which makes it hard to adjust it later on. However, you can shoot standard or V-Log footage and use the LUT as a preview, then apply that same look in post without being locked in.

The LUT button is a clever idea, as it allows creators to create cool shots without the need to futz around in post. However, many may not even be familiar with the term “LUT,” so Panasonic has an uphill battle selling the benefits. By comparison, many influencers understand the advantages of Fujifilm’s simulations.

Wrap-up

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With the S9, Panasonic is trying to attract influencers with a small, stylish camera that makes it easy to create interesting video looks quickly. At the same time, it has nearly all the capabilities of higher-end models like the S5 II.

It does have some flaws that make it a hard sell for photographers. And I’m concerned about the $1,500 price tag, as that’s just a bit less than the S5 II, which has an EVF, mechanical shutter, extra card slot, better ergonomics and more.

So far, it comes out well against the ZV-E1, though. I like the extra resolution and sharpness, and it has superior stabilization. It’s also cheaper, but only by about $300 at the moment. It looks like a good first try and I have a few quibbles, but I’ll know more once I’m able to test the production version.

Sony used to be a fairly major player in the smartphone space, but its offerings never quite made a splash in the US. Despite that, the company has been pumping out yearly refreshes of its Xperia line of smartphones and the just-announced Xperia 1 VI looks like the perfect device for both amateur and professional photographers. Sony, after all, is no slouch when it comes to cameras.

The sixth-generation of the company’s flagship smartphone is filled with so many camera-centric features that it could actually lure people away from rival iPhone and Pixel devices. There’s a true optical zoom, AI-assisted autofocus and a telephoto camera for snapping macro shots.

This breaks down to three cameras on the back, in the form of a 24mm main camera with a 48-megapixel Sony Exmor T sensor, a 16mm ultrawide and the aforementioned 85-170mm variable zoom telephoto camera. That last one provides 3.5x to 7.1x magnification when compared to the main camera. The ladybug in your yard is begging for its closeup.

As for that AI-assisted autofocus, Sony touts a technology called “human pose estimation” that can recognize a person’s body and head position to provide the perfect focus. The camera system also supports filming video in 4K HDR at 120fps. All of these features work together within Sony’s new unified camera app, so people don’t have to constantly jump between different software to get the job done.

Of course, this is a smartphone and not just a bunch of cameras attached to a rectangle. The Xperia 1 VI boasts the latest Snapdragon 8 Gen 3 chipset, 12GB of RAM and a choice between 256GB and 512GB of storage. Sony says the integrated 5,000mAh battery should allow for up to two days of use before requiring a charge. To that end, the device supports both 15W wireless charging and wireless battery sharing to other devices.

There is an OLED display which is nice, but it’s 2220 x 1080 and the Xperia V shipped with a 4K screen. The aspect ratio gets a hit here too, downsizing from 21:9 to 19.5:9. This display does now offer a variable refresh rate between 1Hz to 120Hz, however, and it can achieve a 50 percent higher peak brightness when compared to last year’s model. Also, 4K resolution on a phone screen is kind of unnecessary and this thing can shoot in 4K, which is what really matters.

The Sony Xperia 1 VI is available for preorders now in the UK, starting at the jaw-dropping asking price of $1,640 in US dollars. There’s some more bad news for US consumers. Unlike previous versions, the company has no current plans to bring this phone stateside.