Blackmagic is finally updating the base Pocket Cinema Camera 6K with some welcome (if not earth-shattering) refinements. The company has introduced the Pocket Cinema Camera 6K G2 with features borrowed from the Pro model, including its larger battery, swivelling touchscreen and support for a 1,280 x 960 OLED viewfinder. You can record video for longer while improving the composition of your shots, to put it simply.
The G2 otherwise sports the same capabilities as the original Pocket Cinema Camera 6K. You'll find its namesake 6,144 x 3,456 Super 35 image sensor with 13 stops of dynamic range and a peak dual native ISO of 25,600. A Canon EF mount gives you a wide selection of potential lenses, while mini XLR inputs provide high-quality audio. PetaPixelnotes you won't get the Pro's ND filters, however, and the conservative update means you won't find continuous autofocusing or in-body stabilization.
The 6K G2 is available now for $1,995, or $500 less than its predecessor cost when new. You'll also get the full DaVinci Resolve Studio to edit your work. This is clearly a better bargain if you're looking for a reasonably compact video-focused mirrorless camera, although you may still want to look at competition like the Sony A7 IV (with continuous autofocus and built-in stabilization) if you're equally interested in taking photos.
DJI has significantly expanded its gimbal lineup with the RS3 and RS3 Pro models designed for mirrorless and cinema cameras. It also launched some other interesting cinema products derived from the innovative Ronin 4D camera gimbal, including a LiDAR focusing system and "DJI Transmission" for remote monitoring and control of compatible gimbals. Finally, it announced that it has joined Panasonic and Leica's full-frame L-Mount alliance and unveiled a compensation for removing ProRes RAW from the Ronin 4D.
DJI's flagship mainstream gimbal is now the DJI RS3. The key new feature over the RSC 2 is an automatic locking system that releases and unfolds the gimbal when it's turned on, then folds and locks it when turned off. That avoids the usual dance of steadying the camera by hand when turning off the gimbal, then manually locking three separate axes.
DJI
Tapping the power button sends it into sleep mode, "which makes powering on the device, stowing it away and relocating much faster," DJI notes. It also uses quick-release plates for "position memory" so in theory, you only have to balance your camera once.
It weighs in at just under 2.8 pounds but can handle a payload of 6.6 pounds, enough to support most mainstream mirrorless cameras. The 3rd-generation stabilization algorithm offers a 20 percent improvement over the RSC 2, so it's easier to shoot low angles, running or filming from a moving vehicle. For longer lenses up to 100mm, SuperSmooth provides further electronic stabilization.
DJI
It has a Bluetooth shutter button that supports automatic connection without the need for a camera control cable, along with a 1.8-inch full-color OLED display with 80 percent more surface area than the RSC 2. That screen allows a full gimbal setup in most scenarios without connecting the mobile app, while the redesigned UI and control layout makes it easier to operate. Part of that is a new physical gimbal mode switch that lets you select pan follow, pan and tilt follow and FPV modes instantly.
Finally, a new battery grip provides up to 12 hours of battery life and can be easily changed out via a quick release system. It supports PD fast charging at 18 watts and can be charged independently or during use for non-stop operation. The DJI RS3 gimbal is now available from authorized retailers and at DJI's store priced at $550 for the standalone gimbal and $720 for the DJI RS3 Combo that adds a briefcase handle, focus motor, second control cable and a carrying case.
DJI
Next up is the RS3 Pro, another technological tour de force from DJI. It's built from carbon fiber so it weighs just 3.3 pounds, but can handle up to 10 pounds of payload — enough for pro cinema cameras like the Sony FX6, Canon C70 and RED Komodo. Like the RS3, it also has the new automated axis lock system, Bluetooth shutter button, 1.8-inch OLED touchscreen and gimbal mode switch.
The RS3 Pro borrows a key feature from the Ronin 4D, the optional DJI LiDAR Range Finder. It projects 43,200 ranging points within a 46 foot indoor area, and powers a next-generation focus motor with extra torque and one-step mounting. That allows for "autofocus on manual lenses with no need for repetitive calibration," according to DJI.
DJI
The LiDAR Range Finder has the same chip as the one on the Ronin 4D and a built-in 30mm camera, giving similar ActiveTrack Pro focus and gimbal tracking capabilities. That will allow pro cameras to maintain steady, clear shots in "even more dynamic scenarios," DJI says. The RS3 Pro is now available starting at $870 or $1,100 in a combo with an extended quick release plate, phone holder, focus motor and kit, Ronin Image Transmitter and more. The LiDAR Range Finder will be sold separately priced at $660.
DJI has also announced that it's selling the DJI Transmission remote control/monitor seen with the Ronin 4D as a separate device. It uses DJI's O3 tech used on drones like the Mavic 3, transmitting video in 1080p/60fps at a ground range of up to 20,000 feet with end-to-end ultra-low latency. Monitoring is done via the 7-inch, 1,500-nit High-Bright Remote Monitor.
DJI
With compatible devices like the RS3 Pro, you can not only monitor and record video output but also control the gimbal, camera recording and more, using the DJI Master Wheel and Force Pro. It also adds a DFS band that allows for up to 23 channels, letting large crews work simultaneously with ten or more transmitters. The DJI Transmission arrives this September for $2,500 or you can purchase the High-Bright Monitor separately for $1,700.
Finally, DJI announced that it's now a member of the L-Mount Alliance and has partnered with Leica on the Zenmuse X9 L-Mount unit that's compatible with Leica, Panasonic and Sigma L-Mount lenses. And for any Ronin 4D buyers disappointed with the removal of Apple ProRes RAW support, DJI announced that it will support Apple ProRes 4444 XQ, the highest-quality ProRes codec short of ProRes RAW.
When your dad decides to take his photography game to a new level, a smartphone may no longer be enough. Some may want a sports camera to capture their adventures while others may need a mirrorless camera for better family photos, films or artistic shots. Thanks to the rapidly advancing technology, they keep getting better with faster shooting speeds, sharper video and incredible autofocus. We found five of the best models for budgets ranging from $350 to $2,500, along with some accessories to complement the gear your old man already owns.
GoPro Hero10 Black
GoPro
If your dad would rather star in his own sports adventures than watch them on TV, the Hero10 Black is the camera he needs. It has all of the stellar features its predecessor did, plus a new GP2 processor that brings faster performance and a boost in frame rates. We were impressed by its speedy user interface, the improved image quality and the new “hydrophobic” lens coating that makes the camera a bit more water-resistant than previous models. (We would still recommend dad being careful with it, though.) Best off, it can be yours for $350 with one-year GoPro subscription — a discount of $200 off the regular price without a subscription.
So your dad is taking up photography? An entry-level camera is a good way to start out, and the best one out there is Canon’s EOS M200. With a 24-megapixel sensor and Canon’s skin-friendly colors, it delivers great photos. They’re also easy to capture thanks to an intuitive smartphone-like interface, fast autofocus speeds and great eye-detection performance. He’ll also be able to shoot 4K 24p video (albeit with a 1.6 times crop), along with full-sensor 1080p at 60 fps. And it’s available for significantly less than most other mirrorless cameras at $549, complete with an EF-M 15-45mm kit lens.
Sony cameras generally make great gifts and the best value right now is the A6100. It features class-leading autofocus and eye-tracking performance for humans and animals, ensuring your sharp shots, even with fast moving subjects. Sony has also improved the color science and low-light capabilities, so family photos will be sharp and color accurate, even in dimly lit environments. The drawbacks are bad rolling shutter that can cause video wobble and a low-resolution electronic viewfinder. Still, for $748 (body only) the A6100 is the best mirrorless camera in its price range.
Fujifilm’s X-T4 is the best crop-sensor camera on the market, making it a desirable gift for any lucky father. It’s notably improved over the X-T3 with the addition of in-body stabilization and a fully articulating screen. At the same time, it has the best video features for an APS-C camera, with sharp 4K video at up to 60 fps, along with 1080p at 240 fps. Both photo and video quality are outstanding, with great skin tones second only to Canon’s models. But the autofocus, with tracking and eye-detection, is good but not quite up to Sony’s standards. And while the generous manual controls deliver great handling, it’s less compact than before. It’s not cheap at $1,700, but it can hold its own against far more expensive full-frame cameras.
For dads who can’t decide between photos and video, Canon’s EOS R6 does both things well. The 20-megapixel sensor lacks resolution compared to rivals, but it offers killer specs like in-body stabilization and Canon’s fast and accurate Dual Pixel autofocus for video and photos, along with sharp 4K video at up to 60 fps. Other features include a flip-out display, relatively compact size and skin tones that will flatter your dad’s subjects (you, possibly). It does suffer from overheating issues with video, but that’s only likely to affect pros who shoot for long stretches at a time. Overall, it’s currently our best pick for under $2,500.
Smartphone stabilizers are fine, but nothing tops a gimbal for tracking shots. The best deal out there for mobile devices is DJI’s OM5, ideal for your dad if he’s tired of jerky tracking shots. This model rocks a magnetic mount system that makes attaching your phone faster and easier, plus a smaller design with a built-in extension rod. It also has features like “dynamic zoom” and “spin shot” that will give your dad a new repertoire of moves. As with other DJI gimbals, it delivers smooth, reliable performance and has a solid app that’s easy to use. It’s also relatively affordable: You can grab one now with a grip and tripod for $159.
With its rugged, practical design, Peak Design’s Everyday Messenger Bag is an ideal gift for adventurous or photo-shooting dads. It’s built with a lightweight yet durable 100-percent waterproof recycled 400D shell with the ingenious Flexfold dividers in the main storage area. It also offers a pair of zipped pockets, two elastic side pockets and a compartment big enough for a 13- to 15-inch laptop. I own one myself and find it practical both for work and daily activities, letting me fit a camera, lens and laptop along with my wallet and keys. At $230 it’s not the cheapest bag out there, but your dad won’t have to buy another for a good while.
For dads serious about video, the Magnus VT 4000 is the best budget tripod option. It’s stout enough to handle a mirrorless camera and accessories weighing up to 8.8 pounds, more than the eight-pound weight of the tripod itself. That lack of heft makes it practical for travel, while the fluid head helps you tilt and pan smoothly. Other features include a middle spreader to keep things steady and legs that extend up to 64 inches so you can match the eyeline of your subjects. All of these features come for $199, a relative steal considering the quality.
The most useful accessories out there for vlogging dads are Joby’s famous mini-tripods, and the best one for the money is the GorillaPod 3K. Attaching your camera couldn’t be easier thanks to the secure clip-in mounting plate with a built-in level. The flexible also lets let you set your camera anywhere to shoot, or even wrap it around a tree or other object. And, of course, you can bend them out for the ideal vlogging angle and steady out your shooting, to boot. It's $57 at Amazon right now, a bargain for such a versatile tool.
Camera-loving dads can never get enough memory cards, but they can be a pretty pricey gift. One of the best budget options is SanDisk’s ExtremePro UHS-I SD cards. While they don’t offer the top 300 MB/s speeds of UHS-II cards, they’re far cheaper, and the 90 MB/s read/write speeds are fast enough for most types of photography and video. What’s more, you can transfer files at speeds up to 170 MB/s with a compatible reader, and SanDisk is known for producing reliable cards. SanDisk has models for all budgets, with the 256GB version in the sweet spot at $100. If that’s too much, the 128GB version is $45 and the 64GB model a mere $25.
Fujifilm has launched its new flagship APS-C mirrorless camera, the $2,500 X-H2S, with an all-new 26.2-megapixel (MP) stacked BSI CMOS sensor and a raft of impressive features. Some of the key highlights include 40 fps blackout-free burst shooting, 6.2K 30fps video and 7-stop in-body stabilization.
The X-H2S is the long-rumored successor to the X-H1, released over four years ago. However, it bears little resemblance to that model (apart from the top LCD display) with a substantially different grip and button layout. It's also lighter at 660 grams compared to 673 grams. Unlike the tilt-only display on the X-H1, the X-H2S has a fully articulating 1.62-million dot rear display, making it far better for vloggers and solo video shooters. The 5.76-million-dot 120Hz EVF outclasses other APS-C cameras and hopefully addresses EVF performance issues on the X-T4.
It's the first Fujifilm camera with a stacked, backside illuminated sensor (the X-Trans 5HS) and new X-Processor image processor — though the 26.2-MP resolution sensor is the same we've seen on models as far back as the X-T3. By contrast, Canon's new EOS R7 APS-C camera has a 32-megapixel sensor, but it's neither backside illuminated nor stacked.
Fujifilm
The stacked sensor allows for some impressive shooting speeds. It can hit up to 40 fps in silent electronic shutter mode with no blackout, or 15fps in mechanical shutter mode (at 1/8000th maximum), both with autofocus and auto-exposure enabled. It comes with a high-capacity buffer, allowing you to capture 175 compressed RAW frames in 40fps ES mode (4.4 seconds worth) and 400 compressed RAW frames in mechanical shutter mode.
Fujifilm promises much-improved phase-detect autofocus (AF) performance over the X-T4, with three times the speed and improved accuracy. Meanwhile, the AF algorithms can do prediction for moving subjects, while allowing for zone AF subject detection and low-contrast situations. On top of recognizing humans (face/eye), it can also detect animals, birds, cars, bikes, airplanes and trains.
Also enabled by the faster sensor/processor is a big jump in video specs over the X-T4. The X-H2S supports 6.2K video at 30 fps, DCI 4K (4,096 x 2,160 pixels) at 120 fps and Full HD at 240 fps, with no cropping or sub-sampling on all video modes up to 60 fps. 4K at 120p is mildly cropped at 1.29x, but it's still oversampled with no pixel binning or line skipping.
Fujifilm
It's also the first Fujifilm APS-C camera to support ProRes (ProRes422, ProResHQ, ProResLT and ProResProxy), along with H.264 and H.265 video. All of those resolutions can be recorded at 4:2:2 10-bit quality, and Fujifilm has introduced F-Log2 recording that allows for 14+ stops of dynamic range below 30 fps and 13+ stops at higher frame rates (with settings at or above ISO1250) — impressive, if accurate.
External recording via the full-sized HDMI 2.1 port is equally impressive. On top of all of the above settings (6.2K/29.97P, 4K/120P 4:2:2 10bit), you can record ProRes RAW at 6.2K/29.97P and 4.8K/59.94P, both at 4:2:2 12bit with 13 stops of dynamic range. External recording with ProRes RAW means that Fujifilm won't need to deal with RED RAW patent lawsuits, like the one recently slapped on Nikon's Z9.
Like other stacked sensor cameras, the X-H2S promises well-controlled rolling shutter at 1/90th of a second (11 ms) for video under 30fps and 1/180th of a second (5.6 ms) for higher framerates. That's right up there with other stacked sensor cameras like Sony's A1 or the Canon R3, meaning you should see minimal jello or wobble in video, particularly at higher framerates.
Fujifilm
Overheating doesn't appear to be much of an issue at normal temperatures, with a promised four hours of 4K60p shooting at 25 degrees C (77 degrees F). That drops to 20 minutes at 40 C (104 F), but you can boost that to 50 minutes with an optional $199 cooling fan.
The X-H2S has improved in-body stabilization over past Fujifilm cameras, as well. It delivers 7 stops of shake reduction compared to 6.5 stops on the X-T4, which should help smooth videos and reduce blur on photos.
Other key features include both CFexpress and SD UHS II card slots, a USB 3.1 gen 2 (10Gbps) port with a handy cable lock screw, 3.5mm microphone/headphone jacks, 10-bit HEIF photo support and an optional $400 vertical grip. It also supports wireless and wired functions like live streaming, tethered shooting, webcam functions (no app required) and cloud storage uploads. CIPA battery life is 610 shots max with the EVF, or 1,580 shots with the vertical grip.
Fujifilm
Along with the camera and accessories, Fujifilm has launched two new lenses, the XF150-600mm f/5.6-8 R LM OIS WR zoom telephoto (left), arriving on July 7, 2022 for $2,000. It's also introduced the XF18-120mm f/4 LM PZ WR (right), a versatile wide-telephoto zoom coming in September 2022 for $900. Meanwhile, the X-H2S will be Fujifilm's most expensive APS-C camera to date, arriving on July 7th for $2,500 — the same price as Canon's full-frame EOS R5.
Panasonic and Leica have formed a new collaboration called L² (L squared) that will see them jointly develop cameras, lenses and imaging technology, they announced. Both companies are already part of the L-Mount mirrorless alliance (along with Sigma and Leitz) and Panasonic has loaned its camera tech to Leica. However, the new partnership goes deeper, as they'll use "jointly developed technologies" in their respective lens and camera products, while the L² branding will feature in future marketing activities.
"Through this collaboration, the two companies will jointly invest in new technologies that can be incorporated into camera and lens products, and will incorporate jointly developed technologies into each other's Leica and Lumix products to further enhance their product capabilities," the press release states. "Going forward, Leica and Lumix will utilize L² Technology, which will open up new possibilities for creative camera users, in their marketing activities in order to develop a collaborative system over the long term."
There's no word on when we'll see the fruit of this collaboration. It does make some sense, though, as Panasonic tends to get overshadowed by Canon, Sony and Nikon, despite producing good cameras — especially for video. Meanwhile, Leica has a sterling reputation for lens quality, but gets far less respect for its mirrorless cameras because they're mostly rebadged, overpriced Panasonic models. By collaborating, Panasonic could gain some prestige off Leica's iconic reputation and lens quality, while Leica will get access to Panasonic's technological chops.
Canon has launched its first EOS R APS-C crop sensor cameras, the 32-megapixel EOS R7 and 24-megapixel EOS R10. The new models bring Canon's APS-C and full-frame RF series in alignment, so you can finally use lenses interchangeably, much as you can with its EF and EF-S DSLR cameras. More importantly, they carry impressive specs like 15 fps mechanical shutter shooting speeds, 4K video at up to 60fps and Canon's impressive Dual Pixel autofocus. Both are reasonably priced, as well.
Canon EOS R7
Canon
The R7 is the higher-end option and has an all-new body with some design features we've not seen on any camera before. Rather than the typical two dials on top and one on back, it has just two. The second dial sits on back but at the top, wrapping around the focus point joystick. It looks like it could work, but Canon has had mixed success when messing with its camera layouts — the touch bar on the EOS R was not a popular feature, for instance.
It has a decent sized grip and weighs in at 612 grams (21.6 ounces), quite a bit more than Sony's 503 gram A6600. Vloggers get a fully articulating 3-inch 1.62 million dot display and a 2.36-million dot OLED EVF, which is sub-par compared to the 3.69 million dot EVF on Fujifilm's rival X-T4. The R7 offers 5-axis in-body stabilization rated up to 7 stops, the best in its category. Other key features include dual UHS-II card slots and both microphone and headphone ports. It uses the same LP-E6NH batteries as the R6 and R5, with Canon promising an excellent 660 shots per charge with the EVF enabled.
Canon
The R7 has a 32-megapixel sensor that's neither stacked nor backside illuminated. However, it is new and not the same as found on other Canon APS-C cameras like the M6 Mark II. Much like that model, it allows for some seriously fast shooting, with 30 fps in electronic shutter mode and a superb 15 fps in mechanical shutter mode — all with continuous autofocus and auto-exposure enabled. You can capture compressed RAW photos for about six seconds (100 shots) before the buffer fills in mechanical shutter mode, or 65 shots at 30 fps in electronic mode.
Autofocus is powered by Canon's excellent Dual Pixel system for both photos and videos. Canon says it inherited the system from its flagship R3, including the new subject-, eye- and face-tracking features (it doesn't have the eye-tracking Eye AF option, though). That means you should see AF performance on par with what Sony offers and superior to Nikon and Fujifilm's systems.
As for video, you can shoot 4K at up to 30p using the full 7K sensor area, which should allow for extremely sharp video, though recording time is limited to 30 minutes due to thermal limits. It can also handle sub-sampled (line-skipped) 4K at 60 fps, or do the same with a considerable 1.81x crop, with no overheating time issues. It can shoot 1080p at up to 120 fps.
You can shoot HDR PQ video if you want to create HDR content, or capture 10-bit footage in the C-Log 3 profile for extra editing and color correction flexibility. That feature, combined with the flip-out display, in-body stabilization and 4K modes, makes the R7 is one of the most capable APS-C cameras out there for video or vlogging.
Canon EOS R10
Canon
The EOS R10 dials the feature set back a bit from the R7, but it's still a very capable mirrorless camera. The biggest difference is in the resolution, with the R10 offering 24 megapixels rather than 32. It also lacks in-body stabilization, so you'll need to rely on stabilized lenses for that. And while it has a flip-out display like the R7, the resolution is lower at 1.04 million dots (the 2.36 million dot OLED EVF is the same).
As with the R7, it can shoot continuous bursts at up to 15 fps with the mechanical shutter, or 23 fps in silent electronic mode. However, the buffer will fill quicker, allowing for only about 30 shots in mechanical mode or about 26 shots in silent mode.
Canon
The body design is different, with a more typical two-dial layout on top. It's considerably smaller than the R7, weighing just 426 grams (15 ounces). The grip is slightly smaller, and there's less space for your hand between the grip and lens.
On the video side, you're not giving up too much. It can also shoot oversampled 4K video at 30fps using the full sensor width, or 4K 60p video with a 1.56x crop. It can capture 10-bit video in HDR PQ mode, but doesn't offer any log settings. It comes with a microphone port, but no headphone jack.
Pricing, lenses, availability
Canon
By using the superior RF mount, the new cameras make Canon's lineup less confusing and should help it better compete against APS-C models from Nikon and Sony. However, it begs the question of what Canon plans to do with its current EF-M APS-C mirrorless cameras. Given the more versatile and future-proof EOS R system, it's hard to imagine that Canon will keep both around.
Canon launched its first RF-S lenses along with the new cameras, optimized for the smaller APS-C sensor sizes. They're pretty basic kit-style lenses that won't exactly set the camera world on fire, but you can use RF full-frame lenses as well. The two models are the $300 RF-S18-45mm f/4.5-6.3 IS STM and $480 RF-S18-150mm IS STM, with a 35mm field of view of 29-72mm and 29-240mm, respectively. Both can be used on full-frame EOS R models, albeit with a 1.5x crop.
The EOS R10 will cost $980 for the body only, or $1,100 with the RF-S18-45mm lens and $1,380 with the RF-S18-150mm lens. The R7, meanwhile, will sell for $1,500 for the body only, or $1,900 with the S18-150mm lens. Both cameras and the lenses will arrive in "late 2022."
Sony has heavily leveraged its camera expertise to create its upcoming flagship smartphone, the Xperia 1 IV, it announced. It offers a slew of innovative, image-oriented features including what it calls the "world's first true optical 85-125mm zoom lens, true 4K at 120fps, livestreaming and external monitor capabilities and a Snapdragon 8 Gen 1 mobile platform chip.
The key feature of the Xperia 1 IV is the telephoto zoom that offers an 85-125mm equivalent zoom range, enough for sports, wildlife and more. Sony didn't say how it achieved that, but other companies like Huawei have used 90-degree periscope style systems to create optical zooms on smartphones.
Sony
On top of the telephoto zoom, has 16mm and 24mm lenses (35mm equivalent), along with a time-of-flight sensor, and all cameras use a 12-megapixel Exmor RS sensor with readout speeds of up to 120 fps. That allows the phone to record 4K 120 fps video, or the equivalent of 5x slow-motion at 4K.
Other camera features include real-time Eye AF and real-time tracking with every lens, along with an Optical SteadyShot system. All the lenses use Zeiss optics with a Zeiss T* coating designed to boost contrast and sharpness while reducing reflections. The front camera uses a new 12-megapixel Exmor RS sensor that's larger than on previous models, allowing you to shoot selfies with less light.
Sony also added some apps and software features to add video content makers. Much like on the Xperia 1 Pro, that allows users to manually adjust settings like focus, exposure and white balance, even while recording. It also features 4K HDR multi-frame shooting, allowing for videos with wider dynamic range without any loss of resolution.
Sony is also promising "the ultimate mobile gaming experience" with the Xperia 1 IV, thanks to a 120Hz HDR display with 240Hz motion blur and a 240Hz touch-scanning rate. It's powered by a Snapdragon Gen 1 Mobile Platform and uses Qualcomm's Snapdragon Elite Gaming to improve performance. It also has what Sony calls "Heat Suppression power control" that automatically reduces performance at high temperatures, "even during gameplay when connected to a charger."
It's designed to simplify livestreaming as well, as you'll have access to the Eye AF and object tracking features when using the Videography Pro mode. It can also be used as an external monitor if you're livestreaming from any compatible Alpha camera and when paired with Sony's Vlog Monitor, "users can livestream content by using the rear cameras," Sony said.
Other features include 5G with sub6/mmWave, WiFi 6E, 12GB of RAM, 512GB of storage with a microSD card and a 5,000 mAh battery. The price, as you'd expect from all that, will not be cheap. It's arriving on September 1, 2022 for "approximately" $1,600 to Sony dealers around the US, with the purple color available exclusively at Sony's website.
Smartphones and cameras are better than ever for night shooting, but there are still a lot of caveats. You have to hold your phone still to get decent photos as multiple exposures are added together, and video is out of the question. However, there’s an emerging category of cameras dedicated to shooting in the dark using sensitive CMOS sensors and even infrared capability.
Some of those models are designed for commercial or military purposes, like SPi Infrared’s incredible X27 color night vision camera, but a few new models are aimed at consumers. One is the DuoVox Mate Pro, featuring a Sony STARVIS 2 CMOS surveillance camera sensor that’s supposedly a thousand times more sensitive than the latest smartphone sensors.
It promises clear colors images in extremely low light, where a smartphone or your eyes would see nothing. It also offers features like face detection, 2K video and more. It just launched on Kickstarter for $599, a fair amount of cash, so how does it work? I was able to get my hands on one to test it out.
Body and features
The camera is small and light but somehow bulky, weighing just 216 grams and measuring 4 inches wide by 2.1 inches tall. However, the lens juts out three inches, so it’s not even remotely pocketable. You wouldn’t want it in your pocket anyway, as it doesn’t come with a lens cap.
Controls are pretty simple, with a power button, shutter release and four directional buttons that activate different menu settings. You also get a microSD slot that supports up to 512GB cards, plus a USB-C port for charging, powering the camera and file transfers. Most control is done using the three-inch fixed touchscreen that’s bright enough to use in sunlight, which is nice but ironic for a night vision camera.
The settings are specific for night-type shooting, so they’re not what you’d find on a typical camera. For example, it has an instant recording video mode that starts the moment the camera is powered up, in case you see a deer and want to shoot quickly. It also uses a wayback mode that records continuously, but only keeps the footage if you hit the record button. Other video settings include a loop mode, timelapse mode and motion detection (for wildlife traps, for instance).
For photos, you get a quick capture mode that takes an image when the camera is powered on and face detection that automatically takes a photo when specific people are detected. You can also set things like screen brightness, quality and more.
The Mate Pro also has some decent wireless features. By setting it as a hotspot, you can connect your smartphone and use the accompanying Roadcam app to transfer images and control the camera remotely. I used it when I attached the camera to the hood of my car so I could trigger video recording remotely.
Image and video quality
The main attraction of this camera is the 1/1.8-inch Sony Starvis 2 CMOS sensor that’s far more sensitive than conventional sensors. It lets you shoot 3,200 x 1,800 images and 2,560 x 1,440 video at 30 fps. It’s not an infrared camera, but it can detect near-infrared light and is sensitive down to .0001 lux, equivalent to a moonless overcast night sky.
Bear in mind that the sensor is designed for security cameras, so image quality likely wasn’t Sony’s first priority. DuoVox does use AI stacking to get the best exposure and keep noise down, but it’s essentially shoehorning an industrial part into a consumer product.
The 7-element lens has a fast f/0.9 aperture and equivalent full-frame focal length of about 70mm. That’s very long, and the minimum focus distance is also very long, somewhere between 10-20 feet – so it’s not at all useful for shooting close objects. If you’re in a very low-light situation, it has a powerful built-in light with three different brightness levels.
I took the DuoVox Mate Pro out at night in a variety of situations to test it out. I had clear skies but no moon, so it was pitch black outside of any towns.
As I quickly discovered, this camera needs some light to work. When I pointed it at some trees, a field and a sky, everything was pitch black except for the sky. It could see stars and clouds, but the image was extremely grainy.
If you’re planning to use it for purposes like wildlife spotting or night photography with no sources of artificial light, as DuoVox touts on its Kickstarter page, you’ll need at least some moonlight to do so.
With a bit more light, it can produce surprisingly bright images with reasonably accurate color fidelity. One shot of a town was bright enough to clearly see the scene, but almost completely black on a smartphone. I mounted it to my car and took a ride, and everything was lit up like daytime.
Even with enough light for a scene, there are some pretty large drawbacks, though. The image is clearly boosted electronically, so the less light you have, the noisier it becomes. The grain clears up with more light, of course, but at that point you could just use your smartphone or a camera.
In addition, the focal length is impractical and the focal distance too long for indoor shooting, unless you have a large room. That issue can also make it difficult to use as a wildlife trap, as any animal approaching it would go out of focus. It’s also prone to strobing with artificial light sources, including its own light. And finally, it has no stabilization of any kind and severe rolling shutter. As such, you can’t shoot video handheld unless you have steadier hands than I do.
Wrap-up
Steve Dent/Engadget
The DuoVox Mate pro costs $600, with the price supposedly doubling to $1,200 once the Kickstarter campaign ends. It appears to be a success so far, with around $175,000 raised. But will buyers get what they expect for their purchase?
From what I’ve seen in the Kickstarter comments and elsewhere, many probably will. And the company does have a track record, having delivered previous night vision products including the Duovox V9, V8 and S1.
However, some backers may be disappointed, because DuoVox has no video that shows the true (noisy) image quality in low light. The company’s campaign really should include more images and video samples in very low light conditions, so backers have a better idea of what to expect.
That said, there are very few devices that deliver bright, full-color images in very dim light. One of those is the $800 Sionyx Aurora, which promises color images using visible and infrared light. It doesn’t offer the same color fidelity with infrared, but that feature appears to give it superior low-light sensitivity.
You could also just use a Sony A7S-series or other low-light camera and crank up the ISO to the max, then boost the signal further in post. It wouldn’t work as well in really dark conditions, but image quality would be far better.
If you’re looking for a night vision camera for travel, security or other purposes, and image quality is secondary, it is worth taking a look. DuoVox expects to start shipping in October, but keep in mind that with Kickstarter, there are no guarantees you’ll receive the product and you may lose all your money.
Panasonic launched the GH5 over five years ago, helping set off a mini vlogging boom and confirming the potential of mirrorless cameras for video. Its replacement has finally come in the form of the $2,200 GH6 with an all-new sensor and desirable features like ProRes, 5.7K 60p video and an all-new stabilization system.
Panasonic had the video creator market largely to itself in 2018, but things are different now. It’s crowded with models from Canon, Sony and Nikon, all offering similar features to the GH6 for a similar price. Some of those, like Sony’s A7 IV and the Canon EOS R6, have full-frame sensors and superior phase-detect autofocus systems.
Panasonic has its own full-frame lineup too, so it’s effectively competing with its own Lumix S5 model. Is there still a place for a video-centric Micro Four Thirds camera with contrast-detect autofocus? I took a final production version of the GH6 out in the French countryside to find out.
Body and handling
Apart from the similar control layout, the GH6 doesn’t look much like the GH5 anymore. The first substantial change is the hump on the back. It accommodates both a multi-angle articulating display and an active cooling system with a fan and vents for continuous video shooting at high video resolutions.
It’s got a new grip too, which is perhaps the largest I’ve ever seen on any camera, mirrorless or otherwise. It uses a tackier rubber material and has a bigger ridge for your fingers, giving a secure grasp on the camera at all times.
All the buttons and dials are in roughly the same spots, save a few exceptions. The most noticeable change is the addition of a switch on the top left corner that lets you lock out any controls you want. The other is a dedicated autofocus button for changing AF areas, models, eye detection and more.
Another big change is the addition of a second video record button on the front, ideally placed for vloggers. There's also a nice dedicated audio control button that lets you quickly access levels, quality and more without diving into menus. Finally, there’s a second button up front that can be set to do whatever you want.
Steve Dent/Engadget
The GH6 uses the new style of Panasonic menu found on the GH5 II and S5. It's among the easiest to use of any mirrorless camera, with logical categories and not too much scrolling needed. Plus, it can be operated by touch or using the buttons and dials.
As mentioned, the GH6 has a fully articulating 1.84-million dot rear touchscreen, as you’d expect, but it borrowed a feature from the full-frame S1H as well: It tilts up by about 45 degrees, letting you keep it clear of the microphone and HDMI ports for vlogging or external capture.
The 3.68 million dot OLED electronic viewfinder is as sharp as rivals, but the refresh rate is limited to 60Hz. Since the GH6 is primarily designed for video that’s not too big a deal, as higher EVF frequencies mostly help action photographers.
With the introduction of ProRes and ProRes HQ, internal data rates can hit up to 1.9Gbps (237.5 MB/s). To that end, the GH6 now has a high-speed CFexpress slot, along with a UHS II slot. The drawback of having one very fast card and one very slow card is that you can’t backup ProRes (or 800Mbps All-I H.264 video) to the SD card. That could be a problem for videographers that absolutely require a backup when shooting video for weddings and other live events.
Steve Dent/Engadget
As for ports, it has a full-sized HDMI port as you’d hope on such a camera, along with a USB-C port that supports power delivery so you can charge or power the camera while shooting. Naturally, it has headphone and microphone jacks, and you can upgrade that to four-channel XLR inputs using Panasonic’s $400 DMW-XLR1 hotshoe adapter.
Overall, the GH6 is a well designed and great-handling camera, particularly for video. Key settings like audio levels, video resolution and autofocus are easy to change and monitor.
There are a few drawbacks, though. It's heavy for a Micro Four Thirds camera at 823g, and the battery life isn’t great either. It’s rated for just 350 still images on a charge, compared to 400 on the GH5 with the same settings, and about an hour of continuous 4K shooting. On one of our shoots, however, it didn’t manage more than about 45 minutes of stop-start shooting, so you’ll want to buy and carry a lot of extra cells.
Video
Just like the GH5, the GH6 is a video creator’s camera above all. For that, it’s better than its predecessor in nearly every way, from resolution to stabilization to dynamic range.
The GH6 can shoot 5.7K all the way up to 60 fps, DCI 4K up to 120 fps and 1080p at 240 fps. As with other Panasonic cameras, it supports anamorphic shooting up to 5.7K. That lets you use lenses from Vazen, Sirui and others and get those dramatic JJ Abrams horizontal lens flares. 10-bit video with billions of colors is available for most of these formats, with an Intraframe I mode for easier editing and LongGop L mode, (both with H.264 and H.265 codecs), to conserve space.
Steve Dent/Engadget
It also supports 12-bit ProRes and ProRes HQ, formats that gobble card space but are easier to edit than MP4. You can only shoot 5.7K 25p ProRes video for now, but ProRes DCI 4K and full HD are coming later via a firmware update. RAW output at up to C4K (4,096 x 2,160) 120p to an external Atomos Ninja V+ recorder will also be introduced down the road.
The 5.7K ProRes footage allows for crisp downsampled 4K footage or cropping where needed, while delivering the best possible quality with minimal compression and 12 bits of color. It’ll also play in real time on a decent editing computer, but you’ll need lots of storage space – the file sizes are massive.
Meanwhile, 4K at 120 fps is a big plus for dramatic slow-mo. Unlike with rivals, there’s no cropping or drop in sharpness at those higher frame rates, and 10-bit video is available. The only downside to 120p is that a feature called Dynamic Range Boost isn’t supported.
So what is that? Rather than Dual Native ISO like the GH5, the GH6 has Dynamic Range Boost. It combines high and low-gain readouts to deliver extra dynamic range at ISO settings over 800. With the feature turned off, dynamic range is a bit below the GH5 and when enabled, it’s a full stop higher.
The GH6 is also Panasonic’s first non-professional camera with full V-Log, not hobbled V-Log L. With all that, video quality is outstanding, particularly in demanding, contrasty scenes. It’s sharp, colors are right on point and the extra stop of dynamic range over the GH5 gives editors more room to dial down bright scenes and amp up shadows in post-production.
Considering the small sensor, the GH6 is a surprisingly decent low-light camera, too. Noise is well controlled up to ISO 12800, with the best results at ISO 6400. That’s aided by Panasonic’s new “3D Noise Reduction” that kicks in at higher ISOs to suppress grain with a slight loss of detail.
The downside with the system is that, weirdly, there’s more noise in shadows at low ISOs. That’s because the Dynamic Range Boost can’t be engaged below ISO 800, so there’s more noise in dark areas of the picture.
The GH6 has much improved in-body stabilization (IBS) over its predecessor. Panasonic boosted that to 7.5 stops with supported lenses, just below Canon’s R6. However, numbers only tell part of the story. It’s not only great for handheld video, but is the best camera for walkaround vlogging I’ve ever tried. Without even trying to smooth out my footsteps, I only saw a mild up and down motion with none of the jerking I’ve seen on other cameras.
If you do hit the odd jolt or whip the camera around, you won’t see much wobble or jello, either. That’s because even though it doesn’t have a stacked sensor, rolling shutter is well controlled – a big benefit of a smaller sensor.
Shooters have been screaming for a histogram display and Panasonic has finally added one. It’s the best way to set exposure, especially for log video, and you can resize and position it anywhere in the frame.
Steve Dent/Engadget
The GH6’s biggest issue is still contrast detect autofocus, or what Panasonic calls Depth from Defocus. It is improved over the GH5, with new AI smarts to boost tracking and subject recognition for people and animals. However, it still isn’t as fast or accurate as the phase detect systems on rival cameras.
By its nature, contrast detect can’t lock into focus as fast as phase detect. In certain circumstances, Panasonic’s system also has a tendency to “hunt” for focus, causing a distracting pulsing as the video goes in and out of focus.
As a workaround, you can shoot at higher frame rates, as contrast detect AF functions better when it has more frames to analyze. However, that’s not always convenient, particularly if you want maximum control over shutter speeds and motion blur. Because of this, I don’t always trust it for interviews, standup or other situations.
Overall, Panasonic has done as much as it can do with contrast detect, but it’s just a fundamentally inferior system. Thankfully, the company is starting to hint that phase detect might arrive in future models.
Photography
Now, let’s talk about photography. With relatively slow 7 fps burst speeds with continuous autofocus, the GH6 is not a great choice for action or wildlife shooting. If you’re into that and want Micro Four Thirds, get the Olympus OM-1 instead.
There are improvements that make it good for certain things, though, particularly the 25.2-megapixel sensor. That’s the highest resolution yet on a Micro Four Thirds camera, so it’s more useful than the GH5 for things a hybrid shooter might do like product photography or portraits.
Like video, photos have improved dynamic range, sharpness and high-ISO capability. The Dynamic Range Boost is particularly useful for RAW photos in tricky lighting situations, letting you pull detail out of shadows and highlights.
Finally, the contrast-detect AF isn’t as big of a drawback for photos as it is for video, particularly for a relatively slow camera like the GH6. It usually delivers sharp photos for burst shooting with human or animal subjects, though it’s still not as reliable as recent competing cameras. Overall, it’s an improvement over the GH5, but still well short of models like the Sony A7 IV.
Wrap-up
Steve Dent/Engadget
Panasonic’s GH6 is a lot of camera for the money, offering an outstanding feature set for vloggers and creators that rivals many professional video cameras. The stabilization system and handling are first-rate, video quality is outstanding and it’s more affordable than rival full-frame cameras with similar capabilities. Micro Four Thirds lenses are also much cheaper than full-frame lenses.
As usual, the bugbear with the GH6 is the contrast-detect autofocus that’s not up to par with Sony, Nikon and Canon’s latest offerings. It’s also heavy for a Micro Four Thirds camera and battery life is subpar. Finally, the Micro Four Thirds sensor might not cut it if you need shallow depth of field and superior low-light capability.
It has some stiff competition like the Sony A7 IV and Canon EOS R6, both priced at $2,500. For a lot less, look at Fujifilm’s $1,700 X-T4 or the $960 Nikon Z FC. And if you want a Micro Four Thirds action or wildlife camera, get the $2,200 OM-1. If you’re good with the AF and sensor size limitations, however, the GH6 is a top choice for vlogging and content creation.
Nikon has released the firmware 2.0 update for its flagship mirrorless Z9 camera that gives it significant new video powers including 8.3K 60p RAW. It also offers benefits to photographers with autofocus and EVF enhancements along with a new feature that pre-captures photos before you hit the shutter button.
The 45-megapixel Z9 was already a powerful mirrorless camera for video, but the new enhancements put it ahead of all rivals, including Sony's A1 and Canon's EOS R5, at least on the spec sheet. The biggest update is the addition of 12-bit RAW video at up to 8.3K 60p using Nikon's new RAW video format called N-RAW, along with 12-bit ProRes RAW HQ capture at up to 4.1K 60p.
Nikon
N-RAW "records a vast amount of scene information, yet is a significantly smaller file size, allowing for much more recording time and [a] less intensive workflow," Nikon wrote in a press release. The files take up about half the space of equivalent ProRes RAW HQ files (ProRes RAW HQ 12-bit, 4K 24p video has a data rate of 80-140 MB/s).
A company called IntoPix previously said that Nikon would be using its TicoRAW technology for RAW video. When the firmware is released, N-RAW will be supported on DaVinci Resolve and Edius, but not Premiere Pro, Final Cut Pro or other editing apps.
On top of 8.3K 60p, the Z9 can capture N-RAW 4.1K 120p, 60p, 30p and 24p (plus equivalent PAL formats) in full frame FX mode, 5.3K 60p, 30p and 24p with a 1.5X crop and 3.8K 120p with a 2.3X crop. It also creates an MP4 proxy file, allowing for "previews, quick transfers or edits on the fly," according to Nikon.
If you'd rather shoot ProRes RAW HQ, 8K isn't an option as capture is limited to 4.1K 60p, though crop options are available. Nikon has also introduced an "extended oversampling mode" delivering 2:1 oversampled 4K 60fps footage from an 8K capture. That setting requires a very fast CFexpress card, limited to ProGrade's Cobalt 650GB or 325GB memory cards. Nikon also launched its own CFexpress card today, the 660GB MC-CF660G, arriving in June 2022 with up to 1700 MB/s and 1500 MB/s read/write speeds.
Video operation is also improved with several new features. The most requested is the addition of a waveform display that greatly helps visualize exposure, particularly with in log modes. You can also put a red frame around the display during recording and adjust the magnification. Other features include finer ISO increments for smoother transitions and a "Fast AF On" function that lets you quickly change the AF speed without diving into menus — another much-asked-for setting.
Nikon
On the photography side, the Z9 now has a pre-buffer option for JPEGs only, at 30fps full resolution and 11-megapixel 120 fps modes. It captures buffered images when the shutter button is half press pressed, keeping up to a second of images when you fully press it. It also retains up to 4 seconds afterwards.
Meanwhile, Nikon boosted the EVF's refresh rate to a smoother 120 fps, bringing it in line with rivals like Sony and Canon — though enabling the setting will reduce battery life. It also added custom Wide AF zones, letting you select which parts of your scene are active and create two user-defined zones. That way, you can keep the AF and subject tracking in a defined area to improve focus reliability.
The update is one of the most impressive I've seen and significantly improves the $5,500 Z9's functionality and desirability. Features like MP4 proxy recording are usually only seen on pro video cameras. However, Nikon has nothing to lose by making the Z9 a limit-free video powerhouse, because unlike Sony and Canon, it has no professional video lineup to cannibalize. The firmware 2.0 upgrade will be available to download for free starting on April 20, 2022 at Nikon's website.
