I was recently researching whether to sell my late father’s 20-year-old Panasonic NV-GS400 3CCD Mini DV camcorder that’s been consigned to a drawer for years. A browse of eBay found unboxed second-hand models listed at a respectable £120 ($160) and upwards. I guess there are filmmakers out there who value a 2000s-era handheld video aesthetic (or need them to play or transfer old tapes). 

But undoubtedly, the main market for video these days is social media. Instagram now prioritizes moving footage over the stills photography the platform initially built its reputation on. Content creators and influencers who want their reels to stand out might conceivably investigate the stickiness that authentically retro video gives.

With the above rattling around my brain, I wasn’t at all surprised to receive news to my inbox of a Kickstarter campaign for a brand new Yashica-branded Journey camcorder.

While not a high-end model like my Dad’s Panasonic once was, the Journey, should it be successful, could place affordable filmmaking in the hands of the TikTok generation. If, that is, they can be torn away from their smartphones with the temptation of a more ‘immersive’ filming experience.

This announcement follows on from the Fujifilm Instax Mini Evo Cinema release at the start of the year, the similarly ‘Marmite’ upright Canon PowerShot V10 from 2022, plus video-first mirrorless cameras like its EOS R50 V, or competing Nikon Z30 and ZR.

The Yashica Journey’s difference is that with its cylindrical body, flip-out LCD screen and palm-sized dimensions it deliberately apes the classic camcorder design.

A glance at the specifications indicates that, like recent Kodak-branded point-and-shoot compacts, this is more of a re-introduction, rather than reinvention.

A 3x optical zoom providing the equivalent of a 16-50mm focal length is modest stuff, as is 2.2-inch LCD rotatable through 270° with video recording to microSD memory card. More positively, the 4K resolution device is portable as well as affordable. At a featherweight 167g, it can be comfortably carried in Gen Z’s jacket pocket.

With Panasonic, Canon and Sony having offered filmmakers high-end semi pro / pro video cameras in recent years, it’s interesting to see a more consumer-friendly budget-price option reappearing. 

Add the Yashica Journey to the Panasonic HC-VX3 and V900 at the tail-end of 2024 and the electronics giant’s HC-X1600 and HC-X1200 at the beginning of 2025, and could camcorders be the next image capture device that sees its stock rise?

With the Yashica having already met its Kickstarter target 10 times over at the time of writing with a full month to go, stranger things have happened.

Check out the best camcorders you can buy today

Camcorders never really went away – but like the compact camera, they are a lot less popular than they were 20 years ago. There are plenty of good camcorders on the market – but most are designed for serious or professional videomakers with prices to match.

Yashica is aiming to put that right with the launch of the Yashica Journey – a fuss-free basic palm-sized camcorder that is designed to appeal to the vlogging generation. Most importantly, it comes at a price that is considerably cheaper than current rivals from Panasonic, Sony and Canon, who have discontinued their budget models in recent years.

Unlike other camcorders, there is only a modest 3x optical zoom on board – with an effective focal length of 16-50mm. This wide-angle lens is perfectly suited to self-shooting using the 2.2in 800x480-pixel touchscreen LCD panel, which hinges outwards from the body and then rotates through a full 270°.

The sensor is a 1/2.8in with an 8-megapixel resolution, which can shoot 4K at 30 or 60fps, recording to a microSD memory card.

Weighing 167g, it is powered by a removable 1250mAh lithium-ion battery, which is recharged using a USB-C socket on the camcorder body. There is also a standard 3.5mm microphone input for monitoring the sound – although there is no headphone jack. 

The camcorder is being launched on Kickstarter – offering big discounts for those who back the new project before it is officially launched. Early bird backers can get the Yashica Journey, in white or black, for $188 (£140), with the eventual list price being $268 / £200.

As ever, we warn that there is always some risk in backing any crowd-funded product.

Check out the best camcorders currently on the market, and the best video camera options 

The retro trend has surged among still cameras for years – but in recent months, it seems as if that trend is finally expanding beyond still cameras. The newest retro tech trend? Camcorders. If the Camp Snap video camera, dubbed the CS-8, and the Instax Mini Evo Cinema are any indication, the retro tech trend has finally arrived for camcorders.

I’ve now tried both the Camp Snap CS-8 and Instax Mini Evo Cinema, and the retro-inspired cameras have more in common than just the unusual Super-8-inspired design. In fact, I think both speak towards a shift in how we want our memories delivered: as short-form, easily digestible videos.

I’ve used both the CS-8 and the Evo Cinema, and both cameras are wildly different from traditional camcorders in that they’re really meant more for short clips. The Evo Cinema won’t even record beyond 15 seconds. The CS-8 can record until the battery runs out – which means up to around 30 to 45 minutes, but holding down that trigger for a long time isn’t exactly ergonomic.

That makes the footage that I shot with the CS-8 and the Evo Cinema feel more like moving pictures than full videos. They aren’t the sort of camcorder that you can mount on a tripod and record your kids’ entire band concert or t-ball game with.

While traditional camcorders certainly have their place, I’m a bit charmed by the short-form videos. With a retro filter applied, they come out of the camera already feeling a bit like a memory.

Yes, long videos have their place, but I love the bite-sized memories coming from this new style of retro-inspired digital camcorders. An hour-long video is time-consuming to digest – not to mention we’re in the midst of a data storage crisis – but the short video clips feel far easier to revisit.

Perhaps the CS-8 and Evo Cinema aren’t just proof of the retro trend arriving in camcorders, but a shift towards recording memories as shorter video clips. Undoubtedly, short-form vertical video plays a role in this. TikTok and Reels make short-form video feel more commonplace, proving that being entertained by a video doesn’t require sitting still for an hour and a half.

But I think the short-form videos also speak to the fact that everyday moments are memories too. Yes, it’s worth having big memories in long-form video, like weddings and even kids sports games and concerts. But the older that my kids get, the more I miss the little everyday things like footie pajamas and toddler talk, and wish that I had more videos of those everyday moments, even at just a few seconds long.

I’m not the only one charmed with the resurgence of Super 8 style cameras – Taylor Swift was spotted at a football game using the CS-8, and the Instax Mini Evo Cinema’s decade dial generated a bit of buzz (and put the camera on some bestseller lists).

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Sometimes tech moves so fast we forget what made it great. We let specs take over. Or competition. Or, for camcorders like so much else, we just let phones destroy the form factor, swallow it up, and leave us with a compromised little slab that does that job – and so many others – well enough that we don't get the joy of a product specifically built for the task anymore.

Earlier this month, in a hall full of award-winning cinematographers, I was reminded just what it was to use a camcorder built for the job.

Why? I was at the British Cinematographers Show (held inconveniently near Valentine's Day unless you're literally dating cinema) and amongst exhibitors with high-end movie-making gear like Sony and Arri, was CamCo – the specialist camcorder rental outfit.

The company had seen the market for retro cameras, and had a stand filled with them.

The company says: "Probably the largest collection of camcorders for rent in the world," but why would you want to rent them? Can't you just pick up everything on eBay now?

The answer is that these aren't just props. "We're using everything all the time, so everything's working," I'm told, and modern creatives enjoy the look.

"So if they want to shoot on tape, they can still have that option" James Worsley tells me – though the team have also come up with a clever means of creating a modern backup.

The digital generation does, of course, have worries about shooting onto tape, which suffered from reliability issues even in its heyday. Many of these cameras are very definitely of the tape era – remember Mini DV? Remember VHS-C and Hi8?

Remember all those seemingly endless seconds as the tape wound itself around play and record heads, each time potentially adding a little more subtle damage to the magnetic strip, or, worse, the polyester-type material it was made of?

Thanks to the technology used by a lot of FPV drones – analog video and digital conversion – monitors that can record onto SD card exist, and can be connected to cameras too. (This kind of tech also makes for the best VHS to DVD converters)

Seeing these cameras, and their form factors, reminded me that the generations of design faced ever-improving capabilities in terms of recording. Sensors and camera systems got better, but, crucially, the means of recording did too.

All of this meant that the shapes were designed to accommodate different levels of equipment, and ever-changing equipment.

Phones and modern cinema cameras record onto infinitesimally smaller pieces of memory and that is, of course, miraculous, but I definitely felt my nostalgia flare up when I saw real handles and even tape compartments.

It's funny what you miss, isn't it? The nearest many of us ever need is the best iPhone grip.

If you're looking to browse the company's collection, then check it out CamCo's Instagram, while to rent, you should check its page on Hygglo.

Following on from the successful introduction of a range of point-and-shoot cameras over the last year, Yashica is about to launch its first digital camcorder. The Yashica Journey is currently being prepped for a crowd-funding campaign – with the Kickstarter page announcing that it will be "launching soon".

The full specifications for the Yashica Journey have yet to be announced. But we do have at least some of the details. The white-bodied palm-sized camcorder has a traditional camcorder shape with a white casing, and offers an LCD screen with folds out and rotates through 270°.

However, very unusually for a camcorder, the Journey appears not to have a massive zoom, but instead has a small 3x wide-angle zoom with a maximum with angle of view of 115°. As such, this is likely to appeal most to vloggers. The minimum focus is 50cm / 20in.

The camera does promise to record in 4K, however, and can download footage wirelessly to your smartphone using a custom app. 

When I originally wrote this story, the price had not been announced. Without a zoom, I guessed that it would sell for around $200 / £200. We now have an official price, ahead of the Kickstarter crowdfunder going live, which will be $268 – discounted to $188 for early adopters.

As Sony and Canon have discontinued their cheapest camcorder models, there is certainly a gap in the market for a competitively-priced model.

Check out our guide to the best camcorders that you can buy right now

Well, Fujifilm, you’ve done it again. You’ve made me care about something I thought I didn’t give a darn about. I am, of course, talking about the newfangled (or rather ‘oldfangled’) Fujifilm Instax Mini Evo Cinema. When this little nostalgic nod to the Super 8 cine cameras of yore was announced a few weeks ago, I couldn’t help but pass it off as nothing more than a charming oddity. What I couldn’t appreciate then was that the odd-factor is entirely its appeal.

Upon filming the latest episode of Bokeh Face: The Digital Camera World Podcast, I got to play with this curious little device for the first time. And it instantly clicked for me! Firstly, the product images cannot do it justice. It’ll never be a conventionally pretty camera like the Fujifilm X Half, but it does have a utilitarian charm all of its own, what with the various physical dials, that dainty little lens, and the throwback, upright form factor.

But similarly, I don’t think product descriptions do this camera justice, either. It’s such an odd concept that manages to squeeze in so many features, I actually think it can be a little difficult to get your head around, on paper. However, in the hand, it feels exceedingly intuitive.

I didn’t need to look up the product page, I didn’t need to scan through a manual, I didn’t even need to ask my colleagues, Chris and James, who had just been discussing the camera on the podcast, how I should use it. It was all so instinctive. I switched it on, looked through the rear LCD, and immediately started playing with the Eras Dial.

I deny anybody who doesn’t have a good time journeying through the history of filmography, from a 1930s hand-cranked effect, all the way to 2020 in 10-year increments. And that’s before you’ve fiddled with the Degree Control Dial that you simply twist around the lens, providing 10 ‘Expressions’ per era. Expressions allow you to adjust color, contrast, and noise, combining with Eras to provide 100 different filter effects.

And all that video nonsense is before you consider the fact that the Fujifilm Instax Mini Evo Cinema is also a functioning instant camera (and digital camera for that matter). Granted, I didn’t get to use it for stills, but I've used enough Instax cameras in my time to know what’s what. Now, don’t get me wrong, like the Fujifilm X Half, this isn’t a perfect camera. In fact, it’s far from a perfect camera – it certainly isn’t for everyone.

The 15-second video cap is perhaps the biggest elephant in the room, and as much as I love the Eras Dial, I could see myself only swapping between four or five favorites, as, naturally, some do look very similar. It’s also not the snappiest camera out there, often having to ‘think’ for a moment between settings. Now, you can read the Digital Camera World review to explore the pros and cons in more depth. I haven’t used the camera long enough to offer any definitive review myself.

However, I do think it’s important to remember that some devices aren’t meant to be practical creative tools. And photography journalists (like me), professionals, and hardcore enthusiasts often forget that. The Fujifilm Instax Mini Evo Cinema is meant to be a fun, creative tool. I couldn’t tell you how much use I’d get out of it, but what I can tell you is that I cannot remember having such an intense burst of fun with a new camera. In many ways, it transported me back to the noughties, when technology had a tendency to be far less practical.

Remember the original Nintendo DS, with its headache-inducing graphics? A far inferior console to the Sony PSP, yet infinitely more fun! The iPod Shuffle, a USB-sized MP3 player with no screen and no way of knowing what the heck you were playing. But fun! The Fujifilm Instax Mini Evo Cinema gives me that same impractical appeal.

I also don’t think it’s a terrible price for what it offers. It retails for $409.95 / £329 / AU$599 – an Instax Mini 12 will set you back $93 / £70 / AU$129, before you’ve even started to consider the Cinema's video features. And while it might still seem a lot for a camera with the Instax moniker, the far-less-feature-rich Instax Wide Evo retails for roughly $350 / £320 / AU$599.

I also think the Mini Evo Cinema is priced far more competitively than the Fujifilm X Half, which has seen plenty of reductions, despite its short lifespan. When the Mini Evo Cinema eventually gets reduced, the price will be even more palatable, and I think I’m going to find it very hard to resist. I don’t think this is a camera anyone really needs. And that’s part of its charm.

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Are you a 'Fuji' fan? Check out the best Fujifilm cameras. For more on the Instax Mini Evo Cinema, I can’t decide whether Fujifilm’s crazy Instax camcorder combo is absolute madness or absolute genius! Plus, cheap cameras are typically terrible. The Fujifilm Instax Mini Evo is an exception.

A retrospective video from @photokyol has surfaced on Instagram, detailing a video camera that could actually see through clothing.

Despite sounding like a futuristic device from a sci-fi flick, the Sony Handycam CCD-TRV65 could be modified to perform a very weak brand of X-ray vision, prompting Sony to fix the production line and abolish the potentially nefarious byproduct, which courted controversy for fear of exploitation.

Sony's best cameras have debuted some pretty groundbreaking technology, from the debut of global shutter sensors in the Sony A9 III to the wholescale introduction of full-frame mirrorless camera systems. However, as you'll see in the video below, when Sony brought night vision to the home market, it got a whole lot more than it bargained for:

This seemingly innocent analog camcorder recorded footage onto an 8mm videotape and was, according to @photokyol, the first home video camera to feature night-vision, via an infrared mode called NightShot. As the Reel points out, the problem was that you could radically change NightShot’s exposure, enabling it to be used during the day.

Somebody then found out that, by attaching a cheap infrared filter, NightShot turned into a very weak brand of Superman’s x-ray vision. And while it certainly couldn’t see through walls, or much at all, it could see through some thin fabrics.

According to the Associated Press, Takarajima, Japan’s largest men’s magazine (at the time), brought this troubling prospect to the fore – and not in a particularly sensitive manner – but in doing so, alerted Sony to the problem, which acted decisively. Good on you, Sony!

Still, the Sony TRV65 does deserve a place in the annals of imaging history for both its groundbreaking night vision capabilities and the aforementioned, unfortunate byproduct.

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For a camcorder that won't court controversy, check out the best camcorders. For more camera oddities, take a look at these weird and wonderful Canon cameras. And for more photo and video news, take a look at the latest camera news.

We have tested lots of kids cameras – but we haven't seen anything quite like this new three-in-one device from Canal Toys. The Photo Creator Video Projector Camera looks and handles like a traditional camcorder - recording video at 1080P on the supplied 16GB microSD memory card. It can shoot stills photos too - with the camera boasting a 48-megapixel resolution.

But it is the third string to its bow that will undoubtedly impress the kids the most... the device also has a built-in video projector. The marketing people tell us that "project their creations up to 200 x 112 cm on any surface, walls, ceilings, tents, even the garden fence". More impressive still, the unit won't just project their own creations - they can cast movies and videos from apps like YouTube and Netflix over wifi to a surface up to 4 metres away.

The camera itself has a flip-out screen with a 2.4in LCD color panel. There are 27 different effects and borders that you can add to still and footage to customize your creations.

The Projector Camera has a built-in rechargeable battery that is topped up using a USB-C input.

The Photo Creator Video Projector Camera retails for £75 (US availability and pricing have yet to be announced.

Also check out our full guides to the best camcorders and the best video projectors

Video production cameras tend to fit neatly into one category: Studio-style cameras, box cameras, or PTZ remote-controlled options. But Panasonic wants to merge all three into a single multi-purpose camera that it is dubbing the Panasonic AK-UBX100.

Panasonic calls the AK-UBX100 “the future of video production” in the development announcement shared on September 2.

The Panasonic AK-UBX100 is a box-style 4K multipurpose camera with a 2/3" bayonet lens mount that can be used as a traditional box camera, but can also be used as a studio camera or, with compatibility with camera robotics, as a remotely-controlled PTZ camera.

Panasonic says the camera is a response to the increasing demand for creators to supply multiple types of content simultaneously, from live content to studio recordings. Along with the multi-use design, Panasonic says the camera will have a world-first autofocus feature that “enables fast and stable target acquisition regardless of the type of lens used or the operator’s skill level.”

The Panasonic AK-UBX100 is a 4K camera that shares the same core and interface design as the Panasonic AK-UCX100 4K. Panasonic did that on purpose in order to eliminate the need to color match between the two cameras, as well as allowing the cameras to use the same remote operation panel.

While footage quality should be similar, the UBX100 has a flat design on all four sides, unlike the previous model, which allows the upcoming camera to be modified with different lenses, camera heads, as well as mounting for robotic shooting.

But, Panasonic is also teasing a “world’s first AF function” that will arrive for both the new UBX100 and previous UCX100 via firmware. Panasonic says the autofocus feature is designed to quickly lock on to the subject regardless of the operator’s skill level or the lens used.

Panasonic describes the new autofocus feature this way: “This AF function allows incremental adjustment of the position, size, and speed of the target area, and even for experienced operators, the instantaneous AF support provided by the one-push AF function allows for a smooth transition to final manual adjustments, contributing to the realization of a focus on the angle of view.”

Panasonic says the AK-UBX100 will be released in the fourth quarter of 2025, with the autofocus firmware update for the AK-UCX100 slated for a December release and the autofocus firmware for the new camera slated for the second quarter of 2026.

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Digital cameras that look retro have become exceptionally popular, but what happens when that retro trend meets camcorders? The Camp Snap CS-8 is a digital camcorder that looks and even operates like a 1970s Super 8 camera, and after several teasers, the camcorder is finally available to pre-order.

The CS-8 is made by Camp Snap, the same brand behind the screen-free compact digital cameras that feel a bit like a disposable film camera despite being fully digital and reusable. The brand’s take on bringing a retro camcorder into the digital era is a camera that maintains the look of look and even the trigger-style shooting of Super 8, but with a digital sensor and retro filters packed inside.

Like the Camp Snap point-and-shoot still camera, the CS-8 is a screen-free camcorder. Instead, the camcorder uses a viewfinder at the back of the camera. Dials on the side of the camera allow creators to scroll through vintage-inspired presets, including grainy analog, black and white, and sepia. Another dial allows users to choose the aspect ratio, from the 4:3 classic to 9:16 for Reels and TikToks.

A dial shows how much battery life and memory card space is left – and a 4GB SD card is even included with the camera. Toggles adjust zoom, and there is a built-in speaker to capture audio.

Like a classic Super 8 camera, creators press and keep holding the trigger to record. And like camcorders before the digital era, users can’t see the video that they just shot, but unlike real Super 8, there are no developing costs, and viewing the images just requires a computer (or an SD card reader on a smartphone).

Another modern feature is a USB-C port for charging.

Camp Snap hasn’t yet shared full specifications, like the sensor size, although from images of the front of the camera, the CS8 appears to have an f/2 lens with 8x zoom. Of course, footage from the CS-8 is meant to be retro, so a camcorder like this is going for intentionally poorer quality than modern camcorders. Camp Snap says the camera is set to shoot at 18 fps (the standard frame rate for Super 8 film) and, when using analog mode, there’s no stabilization.

I’ve long been a fan of retro digital cameras (and still shoot some occasional 35mm film), and I'm itching to try out the CS-8. I’m not much of a videographer, but the in-camera filters look like the CS-8 could be a fun way to capture family memories without all the video editing. I’m particularly eager to try out the filter with retro scratches and dust that seem to appear in some of the sample footage shared by Camp Snap.

After a limited pre-sale with just 30 cameras, the Camp Snap CS-8 became available for pre-order on July 31. The company says the camera will ship after approximately one month.

The Camp Snap CS-8 lists for $199. Camp Snap hasn't yet shared international pricing, but that converts to roughly £147 / AU$302.

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Shooting for documentary features or news comes with its own set of requirements, which can vary from other types of shooting, where more control of the location, subject matter, and conditions is a viable option. Sony has for a long time had a strong presence in this field, notably with the current PXW-Z280 camcorder. However, they have just announced a new member of the family, to be available in the fall – the PXW-Z300. And, on paper at least, it looks set to be packed with just the features for the job.

While the form factor is similar to other Sony ENG cameras, the newcomer has taken feedback from users and made a few adjustments to make shooting more efficient and comfortable. To start with, the LCD mount has been redesigned and is more flexible, allowing for better repositioning. It can be more traditionally placed or moved forward, to sit near the front of the lens, perfect for shoulder-mounted shooting. The LCD is a touch panel, can display HDR content, and runs at 1280x720.

Other shooting aids include a side V-mount for attaching accessories such as a PDF-FP1 transmitter, great for streaming and uploading on the spot. Third-party developers are sure to release other devices for this too. And speaking of streaming, there are both Ethernet and WiFi connections, so you can go directly from card to FTP or cloud.

When it comes to imaging, things get interesting. The 4K 60p camera’s 3 CMOS sensors are paired with the Boinz XR 4K chip, and they sit behind an f/1.9 constant aperture lens. Having a parfocal lens is great, but even more important with wide focal range zoom, and the PXW-Z300 is equipped with a 17x optical zoom, plus a 4x digital zoom. Operators should have no trouble working this with dials for focus, zoom, and iris.

Many Sony cameras have excellent subject recognition and tracking features, and the PXW-Z300 adds to these with new AI-based tools, which can recognise people, even when they are wearing masks, or are turned away from the camera. The AI tools analyse anatomy and posture, to ensure you get the shot.

For those who don’t like adding filters, or who simply prefer on-board tools, there will be a 1/4-1/128 ND, quite a range of glass to be carrying in your kit bag, so very welcome news.

Interestingly, the PXW-Z300 has some features that could make it useful for more narrative work. It can employ user-loaded LUTs and it can shoot in S-Cinetone as well as REC.709, using MPEG HD422 or XAVC. If you shoot with a Burano or FX3, etc, then matching footage will be all the easier.

Physically, the camera has dust and moisture protection as well as cooling systems, to keep it running even in harsh environments. Storage is taken care of by dual CRExpress and SDXC UHS-II slots, which can be run in series or parallel. As for power, this can be supplied by an AC adapter, Sony batteries, or even a USB-C power bank and includes a locking USB-C port.

Now, the current climate has raised many worries about the authenticity of footage and news stories, so Sony has made sure that footage shot on the PXW-Z300 guarantees reliability and authenticity, with tools to ensure it is shot by a person and not generative AI. There will be embedded signatures using the C2PA standard, which preserves the editing history.

On top of that, the camera will capture 3D data of the scene shot to prove that it isn’t recording a picture of a picture. Clever stuff and with much fake news distributed, it will be useful for the diligent and genuine to be able to authenticate their stories.

The PXW-Z300 will be released later this year at a price of around £9,600 in the UK. US pricing is still to be confirmed, but conversions suggest it might cost around $10,799.

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As a long-time camera nerd, I’m always obsessing over tech specs – which is why I was surprised when I actually fell in love with the low-tech Camp Snap, a screen-free digital compact camera for unplugging.

But now Camp Snap is moving beyond compacts. The Camp Snap CS-8 is a digital camcorder inspired by the retro Super 8 film cameras – and I don’t think I’ve ever been this excited about a camcorder launch.

The Camp Snap CS-8 has digital guts, but the design and even the way it shoots are inspired by Super 8 – the pre-VHS camcorder of the Sixties and Seventies.

Like a retro Super 8, the CS-8 has a large body with retro styling and a handle. Super 8 cameras recorded whenever the trigger was depressed, and the CS-8 is the same way.

Like the original Camp Snap compact camera, the CS-8 is screen-free, but that doesn‘t mean users are shooting totally blind. There’s a viewfinder built in. A retro gauge at the side indicates the battery level, and there’s a dial to change the aspect ratio, including 1:1 for Instagram, 16:9 for a more cinematic look and 9:16 for Reels and TikTok.

Camp Snap says that the CS-8 will also offer different vintage digital filters, including sepia, grainy analog, washed-out retro tones, black and white, and a standard film look.

The Camp Snap CS-8 feels decidedly low-tech – but that’s exactly why I’m excited. I’m more of a photographer than a videographer, but I’m always taking videos with my iPhone. The trouble is, I don’t have the time to really make them look good, so I’m really hoping the CS-8 delivers dreamy retro vibes straight out of the camera.

I used a compact camera on my last vacation more than my mirrorless camera or iPhone – and the feeling of unplugging was liberating. That’s the other reason that I’m hoping the CS-8 is as fantastically retro as it looks – I want to take short videos of my kids growing up, without the distraction of a screen.

Camp Snap has previously teased the CS-8, but now the camera is coming out in a matter of days. The company launched a limited 30-unit pre-release on social media that quickly sold out, but the company says pre-orders will begin on July 31, with a list price of $199 (which is roughly £147 / AU$302).

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Retro-inspired digital cameras are trending. But the maker behind a digital compact camera that mimics the feel of disposable film is targeting a new retro video camera next; the Camp Snap CS8 is an upcoming digital video camera designed to mimic the experience of shooting on Super 8.

The Camp Snap CS8 doesn’t just look like an old Super 8 camera – it shoots like one, too. The brand explains that, like the retro video cameras, the CS8 shoots by pressing a trigger on the handle, releasing the trigger to end the recording.

At the side of the camera, the CS8 will also have a real analog battery gauge as well as an old-school indicator for how much space remains for recordings. An assortment of dials will enable users to choose from different retro filters as well as different aspect ratios.

Camp Snap says it was inspired to create a digital retro camcorder after stumbling across an old Super 8 camera in the attic.

The manufacturer first gained traction for its screenless digital camera, the Camp Snap, which skirted summer camp rules but also found a following among digital minimalists and retro camera fans.

The CS8 will actually have a screen, but a small one built inside the viewfinder. The company stresses that the little screen is only for viewing footage as you shoot.

Like the Camp Snap compact, the CS8 won’t offer any playback to view video files on the camera. With physical dials for the different aspect ratios and film simulations, there’s also no need for any menus in the camera.

Camp Snap teased the development of the CS8 earlier this spring and hasn’t yet revealed a full list of specifications. The company’s website lists a US$139 / £104 price – which to me suggests that the camera will have a small sensor like the brand’s disposable-film-lookalike.

Part of the charm of the retro look is imperfection, so a small sensor may not necessarily be a dealbreaker.

While the retro experience is charming, the hold-the-trigger-to-shoot style of recording is likely better for shorter clips than extended videos. Unlike the original Camp Snap made for stills, the CS8 isn’t pocketable.

“The CS8 isn’t built for your pocket – it’s built to be carried,” the brand said in a teaser blog. “It turns heads at concerts. It gets smiles at recitals. It starts conversations when you’re out with friends.”

I found Camp Snap’s digital still camera to be a charming experience, snapping photos without the distractions of a screen. The company has had low stock notices due to unexpected demand ever since I started following it, and I predict the CS8 will be similarly trendy if the brand manages to deliver on all those early promises.

Originally teased in 2024, Camp Snap hasn’t yet shared when the CS8 will be available, but teased the camera once again just a few weeks ago. Camp Snap instructed fans to follow its Instagram for updates on the upcoming camera.

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Panasonic has just unveiled a brand-new professional camcorder that’s set to turn heads, particularly if you’re into live production, broadcast, or serious video work.

The Panasonic AG-CX370 is the latest in the company’s CX series, and while it may look familiar at first glance, it’s packing some powerful upgrades under the hood. If you're someone who likes to keep pace with pro-level gear, even if it's more than you personally need, it’s worth a closer look at what this new model brings to the table.

The AG-CX370 is essentially a turbocharged evolution of the AG-CX350, a camcorder that’s been around since 2019 and found a solid fanbase among video professionals. Back then, the CX350 made a name for itself with 10-bit 4K capture, a 20x zoom lens, HDR options including V-Log and HLG, and a great set of streaming tools. It hit that sweet spot between professional functionality and mobility, providing handheld, high-performance, and built for a wide range of use cases.

With the AG-CX370, Panasonic keeps that winning formula but builds on it in all the right places. One of the biggest changes is the new 12G SDI output, which enables uncompressed 4K transmission, which is an essential upgrade for workflows using cutting-edge switchers and recorders. It also supports simultaneous 4K output over SDI and HDMI, which adds more flexibility for live events or multi-output setups.

Another new pro feature is the addition of a Genlock input. If you’ve ever worked with multi-cam rigs and had to deal with sync issues, you’ll know this is a huge deal. It means you can lock the timing of multiple cameras together for seamless switching and post-production.

Audio has also had a thoughtful upgrade now with four channels of input, including two XLRs and a stereo mini-jack, each with its own independent volume control. That’s a level of manual control you don’t often see in this form factor, and it’s going to be a big win for those working in environments where audio capture is just as critical as video.

Panasonic’s also leaning into vertical video with a dedicated flag system, making it easier to ingest and edit content for social platforms. That may sound like a minor touch, but for anyone shooting cross-platform content, it’s one of those small things that makes a big difference in workflow.

Other notable features include the same excellent 20x optical zoom lens, full 4K/60p 10-bit recording, support for HEVC and AVC-ULTRA codecs, and advanced autofocus with face detection and tracking. There are also dual SD card slots, plenty of streaming protocols built-in, support for NDI HX2 for IP production, and full remote control over LAN or wirelessly via an app.

The AG-CX370 is expected to hit the market in the second quarter of 2025. Pricing hasn’t been officially confirmed yet, but likely to be in the same ballpark as the CX350 which retails for $3,999 / £2,999.

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The Panasonic HC-X1500 is one of the last camcorders left standing in the prosumer price bracket between expert and total newbie. If you're anything like me, camcorders are best remembered at school plays, birthday parties and sports days. However, their all-in-one handheld designs and oft-epic zoom ranges can still win over some consumers in today's video market.

I've tested almost all of the best camcorders you can still find on sale (a diminishing list) over the last few years, and I think Panasonic is the brand with the most skin still in the game. Despite its mirrorless Panasonic Lumix S5 II proving itself as the best camera for video, the brand has still launched two new budget models within the last year, the HC-VX3 and HC-V900.

These fresh faces are geared more toward family moviemakers and messing-around-filmmakers though, while the X1500 is a camcorder for more serious applications – live concerts, news gathering or even sports events, the latter made all the easier by the 4K recording at 60p or 120fps by switching down to Full HD.

With a small sensor (1/2.5-inch) by modern camera standards (but similar to competitors like the the Canon HF G70) I knew it was never going to give me the same bokeh-laden, high-res footage as the best cinema cameras. But then that's not what the HC-X1500 is about.

It wins in its versatility, and the fact you don't need a monitor, cage or tripod for decent results. The 24X zoom gets you close to a diverse set of subjects from birds to football players, and the camcorder is equally being able to capture vlogs in your bedroom-turned-office-turned-studio at home, or become a run-and-gun documentary partner.

Camcorders like the HC-X1500 are still said to be in their "comeback era", but why? I tested the HC-X1500 for several weeks to find out whether, in 2025, it's simply a pleasingly nostalgic reminder of a bygone era, or a genuinely professional video tool worthy of your money.

Panasonic HC-X1500: What's new?

The HC-X1500 was announced at the infamous annual CES tech show back in January 2020 alongside its pricier sibling, the HC-X2000. It replaced the HC-X1000, which was the first camcorder capable of recording 4K 60p/50p images onto a commonplace SD card rather than specialist media storage. These video specs are matched with the HC-X1500, but Panasonic did upgrade the zoom range from 20x to 24x. That means the HC-X1500 camcorder effectively covers a versatile 25 - 600 mm focal range compared to its predecessor's 29.5 - 626 mm, and while subtle, this view is more usable for wide-angle people shots and up-close pieces video diaries.

Panasonic HC-X1500: Price and Availablity

The Panasonic HC-X1500 may have been released years ago, but it's still widely available at retailers like Amazon and Adorama. Depending on where you buy, it costs around $1,500 (a wider range of £1,000 - £1,500 in the UK the last time I checked). 

This is around 30% more than the prosumer Canon HF G70, which feels fair given you get a longer optical zoom, extra iris ring, and built-in ND filters. However, the sensor size and low-light performance are similar. For around the same price as the HC-X1500, you could buy the hybrid Panasonic Lumix S5II mirrorless camera with its far superior phase-detect autofocus system and excellent stills functionality. But you'd also need to add the cost of a lens on top. 

Overall, I think the HC-X1500 represents fair value for the build camera and monster zoom range you get.

Panasonic HC-X1500: Design & Handling

When the Panasonic HC-X1500 arrived, I was surprised at how big the box was. Your perception of its size and design is likely to come down to what kit you've used before, but in a world of tiny vlogging cameras, the main selling point here isn't compactness.

The camcorder weighs 1.2kg, including the lens hood, battery, and eyecup. Compared to my usual Canon EOS R6 Mark II mirrorless camera, which is 670g (body-only), the budget Sony AX43 camcorder I most recently tested (510g), or the Canon HF G70 (953g), it starts to look and feel like quite a chunky offering.

But in real use, I never found the HC-X1500 uncomfortable or unwieldy. It needs to be as big as it is to accommodate five customizable buttons, two SD card slots, a built-in variable ND filter (with three strengths), and two manual rings at the front of the lens – one for focusing and the other for zoom or aperture changes. The strap is also more padded than the cheaper recorders I've used, and the recording button is raised enough to make it easy to find when you're filming yourself.

On overall design, the HC-X1500 sports the same matte black plastic casing as every other camcorder out there. It's not officially waterproof or weatherproof – and therefore not a confident purchase for outdoor filmmakers – but it also doesn't feel brittle or like it would get easily scratched.

Up top, there's a thread to accommodate a Panasonic VW-HU1 handle unit (sold separately), standard hot shoe mount, built-in stereo microphone and satisfyingly sensitive zoom rocker. As you'd expect there's a standard tripod thread underneath.

As far as other ports go, you get a 3.5mm mic, remote line and micro-USB input to the right of the lines, and these are protected by substantial plastic covers. If you do buy the optional handle, that adds two 3-pin XLR audio inputs and a switch for phantom power to turn the camcorder into a more professional tool.

On the lens hood, you'll find a slider to open and close the aperture, rather than the lens opening up when the camcorder is switched on. It's important to remember to close this when you're done filming, or you risk dust and dirt getting on the lens in your bag.

I could lay the HC-X1500 sideways in a standard over-the-shoulder camera bag, although because the lens hood is much wider than the camcorder's barrel, you have to be careful not to catch it when lifting it out. Fortunately, all the other elements and buttons are more streamlined. Where some camcorders have their power packs awkwardly sticking out at the back, here, the long-life battery sits flush at the rear end so that your finger can always reach the red button.

Unlike beginner camcorders and vlogging cameras, the HC-X1500 has a screen and viewfinder for whizzing around menus and framing and reviewing footage. I was immediately impressed by the brightness and clarity of its 3.5-inch LED monitor, which can be tilted upward and flipped 180 degrees toward you so you can capture yourself talking to the camera. No surprises there. Bettering the Canon HF G70, the screen also snaps neatly into place and doesn't fold back on itself.

On the downside, I found the touchscreen unresponsive unless you're very precise with your finger. It was impossible to press with gloves on, and with no physical buttons next to the screen, I soon got frustrated. However, the menu button is tucked away just under the screen, and there's a pushable scroll wheel beyond this to move up and down and between submenus with your left hand. Once you get used to this approach, navigation becomes quick and easy.

As for the 0.24-inch, 1.56 million dot viewfinder... it's fine. You have to tug it out from the body to extend and activate it – something I kept forgetting to do because I'm so used to my mirrorless camera switching automatically when my eye gets near. The view is also dimmer than I'd have liked. But for the price of this camcorder, I'm probably asking too much.

Panasonic HC-X1500: Performance

The camcorder market isn’t flush with new models, but the Panasonic HC-X1500 is one of the best camcorders you can buy for sheer zoom power. With a focal length range from wide-angle to super-telephoto (equivalent to 25-600mm on a full-frame camera), its versatility and magnifying power are astounding. The furthest zoom was excellent for sports games, and the model’s 4K 60p footage is best in class specs-wise. However, I wish the autofocus had been able to keep up with the action.

One big difference between the Panasonic HC-X1500 and a hybrid mirrorless camera like the Panasonic Lumix S5 II is their autofocus capability. Panasonic’s content-creator camera has a more advanced phase hybrid detection AF system that can detect subjects—such as humans and animals—immediately. However, this camcorder’s AF tech is more vaguely called “High-Precision AF.” 

For me, the HC-X1500 shines in full autofocus mode. It offers basic face detection and skin tone recognition for tracking subjects as they move. The camcorder kept up as long as people didn’t move too erratically around the frame, and it’s just right for vlogs, live streams, and static interview scenarios. 

Area mode is also effective; when activated, you tap on the screen to maintain focus on one portion of the screen and can move it quickly during filming when that point of interest changes. It’s not revolutionary, but it makes switching between near and far subjects smooth, if not speedy.

I often end up featuring my dog in camcorder reviews, not least because capturing the same moving animal over again is a great way to compare the focusing performance of different models. When filming her running toward the HC-X1500 from about 20 meters away, the camera was able to follow her movements sharply until the last 5 meters or so. It didn’t lock onto her body and eyes in the almost creepily good way my Canon EOS R6 Mark II will, but I wouldn’t expect it for its age or price.

The HC-X1500’s 24x zoom is such a draw for wildlife lovers, that my final autofocus tests involved trying to focus on small birds through branches. This is handled with ease by most Sony, Fujifilm and Canon cameras now thanks to bird-specific algorithm-powered AF modes. Sadly the HC-X1500 isn’t equipped to focus on a small subject through layers of foliage, and most of the time I found it easier to swap to manual mode to lock onto the target.

With such a long zoom comes a lot of camera shake. Or so I'd have thought. Optical image stabilization is standard in the camcorders still on sale, but the HC-X1500’s 5-axis compensation gave the most impressive footage of any I’ve tested. Whether walking over uneven ground, filming a kestrel at the full optical 24x, or panning, the footage was never jerky or wobbly.

One feature I loved when filming on the HC-X1500 was its built-in, selectable neutral density (ND) filters, which were incredibly useful for reducing intense sunlight. With four strengths (including clear/off), it’s quick and easy to toggle through these options physically, view the live effect of the exposure on the screen and adjust your exposure. It meant I was able to shoot in brighter conditions than I had with other models, with a greater level of control.

Despite being chunkier than rivals, I hugely enjoyed using the HC-X1500 as a run-and-gun model. It's a generalist capable of shooting a bit of everything (as long as the light is decent). The color reproduction is faithful in auto and there's the ability to set white balance manually. Wi-Fi and live streaming features are also both easy to use. So what gives? 

Its undoing is its tiny 1/2.5-inch sensor. I did much of my testing outdoors, but as soon as I brought it indoors, I noticed how poor the low-light footage was. The HC-X1500 adjusts its sensitivity to light using "gain," similar to how ISO works on a camera. By increasing the gain manually (up to 30dB), you can amplify the signal from the sensor, but this also introduces big levels of noise. This isn't the camcorder for you if you're going to spend long portions filming inside without extra lighting.

Panasonic HC-X1500: Sample video

Above: sample video show with Panasonic HC-X1500

I tested the Panasonic HC-X1500 for several weeks, carrying it on daily nature walks in the countryside with my dog, taking clips in the house and garden, and when visiting family. I also used the camcorder to capture a local football (soccer to US readers) match.

I tested the camcorder in manual and auto mode, manual focus mode, and used all of the ND filter strengths when shooting in bright, direct sunlight. The clips in the sample footage were taken at full resolution, using automatic exposure and focus, as I think that's how most shooters will use the HC-X1500. I didn't include the clips of sports events or chasing children due to lack of official permission.

Panasonic HC-X1500: Final Verdict

The Panasonic HC-X1500 hits a real sweet spot in the current camcorder industry. Its auto mode gives good enough results for many subjects, and I can see it being popular in families with enthusiast-level skills. Conversely, advanced filmmakers can gain full creative control by switching to manual mode and setting the shutter, white balance and ND filter strength, all while tweaking custom buttons to get the handling just right.

This camcorder is relatively affordable, and the money goes on doing a few things well rather than a host of party tricks you'll use once or twice. The HC-X1500 lacks common features on modern vlogging cameras, such as the ability to recognize products and switch between them and your face (helpful for influencers or unboxing videos). The autofocus technology is at times plodding, and while the camcorder stays sharp on faces in front of the lens, it can't recognise eyes so accurately.

The reason to buy the HC-X1500 over a vlogging-specific or hybrid mirrorless camera is because of its versatility. The epic length of optical zoom up to 600mm optical zoom – with stabilization to match – was the biggest draw for me during testing, and I was continually amazed by how close I could get to tiny creatures in the distance.

It's part of a dwindling set of camcorders, which makes its appeal all the more potent. Handling isn't perfect thanks to the unresponsive touchscreen and lacklustre EVF, but filming with a camcorder feels so natural I still can't mark it down too harshly. The sensor isn't big enough for low-light performance either, but as one customer review put it online, "it's fine unless you plan to go cave-diving". The HC-X1500 is a professional video equipment that still warrants a place among filmmakers today.

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Panasonic’s newest camcorders are designed for mixing high quality with mobility to appease both one-man operations and filmmakers that prioritize compact gear. Today, January 21, Panasonic announced four new pro-grade camcorders. The Panasonic AG-CX20, HC-X2100, HC-X1600 and HC-X1200 are all 4K 60p outfits with built-in 24x zoom lenses and five-axis stabilization. Panasonic also said that the company will continue to introduce more camcorders in the future.

The announcement comes shortly after Panasonic revived its consumer camcorders with the HC-VX3 and HC-V900 last fall. But the four newly announced pro-grade options overhaul three models that aren’t quite as dated as the consumer options, upgrading the HC-X1500, HC-X2000, and AC-CX10 that were announced back in 2020. It could be a sign that camcorders are making a comeback like the compact camera as video becomes the favorite for social media algorithms, offering features like a long optical zoom that smartphones don’t offer.

The Panasonic HC-X1200 is the most basic of the four models, with a retail price starting at $1,299 / £1,099 (equivalent to AU$2,072). The camcorder shoots in 4K at 60p; Panasonic didn’t specify the size of the sensor, but the earlier models used a 1/2.5-inch. The HX-X1200 uses a 24x lens with a 25mm equivalent view on the wide-end. The list of specifications also includes what Panasonic is calling 4K High-Precision AF, a 5-axis hybrid stabilization system, and HEVC 4:2.0 10-bit recording. The camcorder will also have a built-in ND filter, a heat dispersing system, two manual rings and dual SD card slots.

The HC-X1600 encompasses the same base specs as the HC-X1200 but adds built-in Wi-Fi and live-streaming capabilities, as well as MOV recording, two XLR inputs, an LED light, and upgrading to 4:2:2 10-bit. It also has a tilting viewfinder and can be paired with an optional handle.

Both the HC-X2100 and AG-CX20 include a removable handle, unlike the HC-X1600 that sells that handle separately. Those two models again build on the features from the HC-X1600 but add specs like 3G SDI-Out, simultaneous SDI and HDMI output capabilities, USB tethering, Ethernet and Dual Codec recording. The AG-CX20 adds P2 MXF and MicroP2 card support, along with being NDI HX2 compatible. A future firmware update will also add SRT Protocol to that high-end model.

Much of the specification list comes from the predecessors, like the 4K 60p recording, but Panasonic says that its added a number of features based on feedback from those earlier models. That includes an improved 177K dot viewfinder, a USB-C port, and better low speed zoom. The cameras will also now support live view from the HC-ROP mobile app. Future firmware will add a low-bitrate FHD MP4 recording mode, Panasonic says.

While the new camcorders don’t overhaul key aspects like the resolution, Panasonic has also hinted that it's not done launching new camcorders. “Panasonic will continue to introduce camcorders that meet a wide range of needs, from directors who conduct on-location shooting and interviews to video creators who pursue high-quality video production and live streaming,” the press release states.

The four new camcorders are slated for a March 2025 sale date, with prices ranging from $1,299.99/£1,099 (equivalent to AU$2,072) to $2,199.99 (equivalent to £1,784 / AU$3,508).

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The Sony AX43 is only four years old, but in many ways, it harks back to another era. Before the term vlogging became mainstream, there was filmmaking (or moviemaking depending on your region), and for that, you needed one of the best camcorders. New camcorder releases might be few and far between, but the AX43 has hung on, and it's one of Sony's last Handycams on sale. So what, if anything, sets this last cam standing apart?

Sony undoubtedly makes some of the best cameras for vlogging, with models for total content newbies through to master YouTubers. There's the Sony ZV-1F, a pocketable fixed-lens model with better image quality than the average smartphone, and the small Sony ZV-E10 II, which has advanced focus features and video formats to help with post-production editing.

Camcorders like the AX43, with their barrel-shaped form, couldn't be more different from these mirrorless miniatures, but that's no bad thing. People still buy them in today's crowded video market because of their impressive built-in zoom lenses and easy-to-use functionality. 

If you're a hobbyist wanting to get closer to subjects than your phone, want a decent built-in mic and a big zoom lens, but definitely don't need the codecs and confusing jargon of the best cinema cameras or best camera for video, the Sony FDR-AX43 might make sense to you. I tested it out for a month to find out who this camcorder is for, and whether its tech is too outdated to recommend for videographers and creators.

Sony FDR-AX43: What's new?

The Sony FDR-AX43 was launched in Europe in 2020, aimed mainly at content creators wanting the all-in-one form factor of a camcorder over the company's compact Sony ZV-1. The AX43, as its name suggests, slotted between the more expensive Sony AX53 – a fantastic model I tested earlier this year - and the cheaper AX33 in Sony's amateur range. These two adjacent models have since been discontinued, making the AX43 the only Sony option readily available for hobbyists.

The AX43 looks and feels similar to the AX53 Handycam, with 4K video quality, a maximum 20x optical zoom (250x digital zoom) and the same modestly-sized 1/2.5-inch Exmor R CMOS sensor. The main difference is that the AX53 had a viewfinder, while with the AX43 there's only a 3-inch tilting LCD touchscreen for framing, focusing and reviewing footage.

When it comes to video settings, you can change the video recording format, the resolution, and the video recording rate. But you won't see options like Sony's S-Log recording, found in its more expensive camcorders to maximise the sensor's performance and allow for more advanced color grading and post-production.

The shooting features are mostly beginner-level, aimed at making it easy for all types of videographers to get good footage. Motion Shot Video creates stills of motion sequences, Time-lapse Capture takes stills over intervals, and high frame rate capture can record up to 100fps/120fps in Full HD. Nine scene selection modes can also be selected to help the camcorder adjust to environments like night or snow. The AX43 is truly video-first, but if you want to take the occasional still you can do so in 8.29-megapixel resolution.

Sony AX43: Design & Handling

The AX43 is designed to be turned on and used straightaway without any lengthy learning curve. My first experience of using it involved slotting the battery in, opening out the LCD to power it up and hitting record (which all took less than ten seconds). Power-up is generally rapid, and there's no lens cap or cover to slow you down or get lost. Instead, flaps open automatically once the camcorder turns on to reveal the lens. The only downside is that once or twice during testing, I noticed they hadn't closed again, leaving the lens exposed to any dust and debris in my camera bag.

The AX43 isn’t the most compact camcorder I’ve ever used (that accolade goes to the Sony HDR-CX405) but I found it small enough to be carried in a satchel or camera pouch; even a coat pocket at times. Unlike professional camcorders – all buttons, modules and handles – its round exterior is smooth and interrupted, save for the battery pack. The plastic build quality doesn't feel cheap, but if you're looking to film outside a lot, note that it isn't waterproof or officially built to resist dust and dirt damage.  

As you'd expect for an entry-level camcorder, the AX43's button and port layout are straightforward and minimal. Underneath, there's a 3.5mm tripod thread, while on the right-hand side, there’s a stereo minijack headphone port nearer the lens, a mic input minijack, and multi-connector back right, plus a charging indicator, start/stop record button and DC power back-right.

I like that all of these ports are covered by a flap to protect them when not in use. I also found that the mic and headphone ports are far enough away that the cables don’t get tangled when both are in use – not always the case with camcorder design.

A 5.1-channel zoom microphone sits flush on top of this camcorder, with a hotshoe behind and underneath the chassis for attaching an external microphone. Behind this, a rectangular zoom rocker and a raised photo button to snap stills. Pulling out the 460K-dot, 16:9 LCD touchscreen reveals an SD card slot, a separate power button, plus playback and a highlight movie maker button. And that's it. While simplicity is key here, I would have loved a few buttons such as record or playback dotted around the display, as I've found these much easier to use with a left hand while your right is hovering over the record button.

As I mentioned earlier, the big difference between the AX53 and the AX43 is that there's no viewfinder. The same can be said for many vlogging cameras and smartphones, of course. While relying on the LCD is fine if you're just recording clips to the camera, I found tracking any moving subjects like planes or birds more difficult this way. The screen, which happily rotates 360 degrees, also has a lot of glare in brighter light, especially when it's pointed up toward the sky for low shots.

And what about interesting camera angles? As there’s no handle on the top of the AX43 (again, not to be expected at this price point) getting stable and well-balanced shots from lower angles is less straightforward. The side strap is flexible and can be adjusted to suit different-sized hands, but I'd like it to be more substantial, as I found my smaller hands couldn’t always get enough of a tight hold. If you are mostly an out-and-about vlogger, I suggest getting Sony's shooting grip (GP-VPT1) for a better handheld experience.

One of the things I dislike about camcorders is their bulky, protruding batteries. The AX43 is no different, with a chunky lithium-ion pack that slots into the back of the unit. On the one hand, it gives your thumb something to rest against when it’s against the record button, but it also blocks access to that button from different angles. Generally, though, filming is comfortable; with your index finger on the zoom and thumb on the red record button, which is raised so that you can find it without looking, or pressing it accidentally.

Sony FDR-AX43: Performance

I found the AX43's video performance pleasantly surprising – in decent daylight, that is. You can delve into the menus, and in fact, you have to delve into the menus, to take control of the exposure and white balance settings manually. But the AX43 shines brightest in Sony's Intelligent Auto Mode, where it effectively adapts to the closeness and brightness of subjects. 

I kept the camcorder in auto for 90% of testing and found that it was able to change to the best mode for the subject – from Macro to Low Light to Walk – in seconds. It's hard to measure how effective these modes are, though, as the results don't seem to drastically change between them. 

Overall, the AX43's video quality is undoubtedly best when you're in an evenly lit and relatively still setup such as vlogging at home in front of your computer. The Sony AX43 has a 1/2.5 type sensor, and this is much smaller than the 1-type you'd find in the Sony ZV-1F, and smaller still than a full-frame model. That makes its light-gathering abilities fairly poor, and I found that the shadow areas became noticeably noisy in low light levels, including during a pretty city sunset or even inside my house (on a dark winter's day).

Generally speaking, the higher a video's bitrate, the better its quality. The AX43 maxes out at 100Mbps, and Sony uses the XAVC S file format because it compresses files efficiently for easily manageable file sizes. It's a bonus having smaller file sizes if you've got an old PC or limited editing software, and I found an average 10-second video clip was just 3MB. However, I noticed so many compression artifacts in the video files that brought down the overall quality of the results.

One of the big selling points of the AX43 is its gimbal system that floats around the lens and results in stable footage when you're walking around. The intelligent mode continues for stabilization, and I was able to keep the picture pretty shake-free while trekking on bumpy ground, and over cobbles. I don't think you'd want to run with this camera as Sony's marketing suggests you can, though.

In my day-to-day life, I use an iPhone 15 Pro and a Canon EOS R6 Mark II for photography and videography; the Apple phone is a compact companion for taking silly reels of my dog and friends, and the mirrorless camera for professional-quality video at weddings. The AX43 camcorder sits somewhere between these two, with a huge zoom range (equivalent to 26.8-536 mm focal length on a full-frame camera) to help it carve a niche all of its own. It's another major selling point over a newer compact vlogging camera.

During testing, I started filming the wildlife on countryside walks, as well as the birds in my garden. The camcorder's 20x optical zoom was big enough to bring the leaves of distant trees into frame-filling proportions, make a tiny Robin the star of the shot bring out all the imperfections in the crystal decorations on my Christmas tree, and follow a plane in the sky hundreds of miles away. 

Although I sometimes found it hard to track fast-moving subjects without a viewfinder, honing in and out with the zoom rocker is a smooth operation, and I like that the camera keeps your zoom position fixed in place even if you turn the camcorder off. Unfortunately, if you head past 20x optical zoom the digital zoom kicks in, and that's where the picture quality degrades beyond anything I'd recommend. 250x digital zoom? Forget it.

I think you could get better image quality from pretty much any modern smartphone compared to the AX43, which gives flat and muddy results at best (see above). Given that it's not why you'd buy this camcorder, I'm not going to mark it down too harshly because of that or linger too long on the subject. 

Frustratingly, the AX43's 4K footage is limited to 25fps, and you can’t access smooth slow motion (120fps) at the best-quality 4K video setting. Dropping down to HD unlocks this mode (basically the same as the slow-mo setting on a smartphone) and it's more of a gimmick than anything, but it does work if you want to create a fun effect. Unlike the Sony AX53, the AX43 doesn't have an infrared light-based Night Shot mode – a loss for the ghost hunting or wildlife tracking community, but not a dealbreaker for most users.

I haven't talked much about focusing in this review, and that's because the AX43 mostly just works as it should. Tapping on a subject on the screen will lock on and follow it for the duration of filming, but you should know this is a very basic box-type focus, rather than the sometimes scarily-accurate eye-detection or animal detections of the latest mirrorless cameras. Focus transitions while zooming with the AX43 are painless, unless you zoom in very far, very quickly, or very close – then it takes a few seconds to catch up.

Last but not least, what is the audio like? Given how important sound is to video productions, I'm pleased to say that the AX43's 5.1-channel microphone is ace. Its wind-reduction setting worked well on a blustery dog walk, it picked up my voice clearly and warmly while in my home studio and on location, and for wildlife and ambient sounds, it caught the songs and calls of birds excellently. There is a little background hum in some outdoor clips, but you could easily edit these out with the right software.

Sony FDR-AX53: Sample video

Above: sample video show with Sony AX43

I used the Sony AX43 every day for several weeks, giving me enough time to test the different video modes, assess its performance in different lights and environments, and how its handling and design contributed to a good (or poor) experience.

All the sample clips were recorded using the in-built microphone and the highest quality video setting of XAVC S 4K 100MB/s unless otherwise stated.

Sony FDR-AX43: Final Verdict

I was quite impressed with Sony’s previous AX53 camcorder, although it did have some handling niggles, including an outdated menu system and hard-to-see screen. Unfortunately, I can't see that Sony has addressed any of these complaints in the Sony AX43 more than four years later, but that doesn't mean the camcorder is a flop.

If you're shooting in decent light, the AX43 offers okay-quality 4K video with continuous recording. It won't overheat and you'll only be limited by the size of your memory card and the battery (the high-capacity battery back gives you enough life to record, uninterrupted, for a good hour or more). The built-in microphone is rich and crisp when you're talking to camera and picks up ambient noise well (sometimes too well). On the whole, I also found that the gimbal stabilizes shots effectively, but you'll want a tripod for long-range zoom and any work at night.

Although focus tracking for fast-moving subjects is light years behind the latest AI-powered systems in Sony's mirrorless cameras, focus finding for static subjects is quite accurate until you reach the end of the 20x optical zoom range. And that zoom range is impressive and versatile, although without being able to change the lens, there’s no way to change your aperture and take greater cinematic control over the visuals.

The AX43 has a few limitations. Despite being able to shoot stills, I wouldn’t recommend its photo function to anyone serious about image quality. And its small sensor means grainy video in low-light conditions. If you're a modern streamer used to your smartphone, the AX43 isn't particularly dynamic or well-connected either, but it offers an easy-to-use LCD touch interface and a mainly grab-and-go approach to shooting. You could stick this camcorder in Intelligent Auto mode and never touch the settings again if you didn't want to.

While the AX43 isn't the perfect all-rounder, it's simple to use, helpful in loads of different settings and affordable for what you get. If you’re looking for a video recorder you can turn on and use straightaway – for home videos, vlogs or even travel diaries – the AX43 is a brilliantly dependable device. But if you want the latest autofocus technology and features, or best-in-class cinematic visuals, it's best to keep searching.

Alternatives

Checkout our complete guide to the best camcorders, and for an introduction to video-making options look at our guide to the best camera for video

Panasonic has just launched two new camcorders, aimed at the family moviemaker and budding filmmakers. The HC-VX3 offers 4K shooting, whilst the simpler HC-V900 offers 2K video resolution.

With new consumer-focused camcorders rarely being launched nowadays - and companies like Canon discontinuing its cheaper models - so the new additions are a very welcome addition.

Camcorders had their heyday back in the 1990s, but have become less popular as smartphones and video cameras have become such a viable alternative to the casual moviemaker. However, the form factor and the huge built-in zoom mean that the modern digital camcorder remains a very sensible option for many filmmakers.

The new VX3 and V900 are essentially replacements for Panasonic's VX1 and V800/V808, which were launched way back in 2018. The updates bring a suite of useful additions - including USB-C charging, a remote control socket, and an improved LCD that now offers touchscreen functionality.

Both models offer a microphone input and offer wifi connectivity.

Panasonic HD-VX1

The Panasonic HC-VX3 uses a 1/2.5in 8.5MP sensor to offer 4K recording at 30fps. The built-in 24x zoom offers the equivalent coverage of a 25-600mm zoom, with a bright maximum aperture of f/1.8, and 5-axis image stabilization.

The 1.5-million dot 3in LCD touchscreen folds out, swivels and rotates to aid shooting from a variety of angles - including vlogging straight to camera. 

Weighing 433g, the VX3 records to a single SDXC memory card, and offers 3.5mm sockets for both connecting an accessory headset and microphone. 

HC-VX3 is equipped with Timestamp recordability and Audio Line-in which are designed to appeal to more professional users.

Panasonic HD-V900

The V900 is very similar to the VX3, but records in Full HD rather than 4K. The has the same 24x zoom range, and uses the same 1/2.5in CMOS sensor, and also features an identical 3in articulating touchscreen LCD.

Although the V900 offers a very-welcome mic input - it doesn't offer the audio line input function of the VX3, and also does without the timestamp. 

The Panasonic VX3 is available to order now for $899.99 / £679, while the V900 will sell for $699.99 / £529. Both are scheduled to go on sale towards the end of November.

Check out our guides to the best camcorders, and to the best cameras for video of all types

Canon's super cute, super compact vlogging camera now comes in a clean new colorway, as a white version of the Canon PowerShot V10 has just dropped.

Eyebrows were raised in some quarters when Canon launched its cigarette packet-sized content creation camera last year. But it keeps on going from strength to strength, as evidenced by this fresh new finish.

Everything else about the camera is the same as it was before. The same 20.1MP 1-inch sensor, same 4K 30p / FullHD 60p video, same 2-inch touchscreen, same autofocus system… the only difference is, the camera now comes in a very attractive white finish.

Which, if the company's launch video is anything to go by, Canon seems to think will appeal to fashionable young women.

I personally love this little camera. The "camera people" I speak to don't understand the point of the V10, pointing out that other vlogging cameras like the Sony ZV-E1 and ZV-E10 do a better job.

The problem is, both cameras still have way too many controls and dials for anyone unfamiliar with a camera, the ZV-E10 burdens you with choosing a lens, and they're both still designed like conventional cameras that you point at yourself with all the buttons on the wrong side.

That's why the "non-camera people" I speak to really like the V10, because its ergonomics actually suit its purpose, there are minimal controls, and you basically just turn it on and press record. It even has a built-in stand.

Right now the white version of the Canon PowerShot V10 is only available in select Asian territories, but I can see it making its way to other regions sooner or later. Canon sells the white EOS R50 all over the world, after all.

Patent applications are filed by companies all the time, and more often than not they don't amount to anything other than to aid in research and development. On the other hand, they sometimes result in groundbreaking new technology that finds its way into the best mirrorless cameras on the market.

On August 16, Panasonic submitted a patent (design registration 1777795) in Japan for a three-dimensional camera. On first inspection of the design illustrations, it resembles a vlogging-style camera, especially when it is attached to a selfie stick with a separate monitor.

The design looks less like a traditional camera and something more akin to the DJI Osmo Pocket 3. The Pocket 3 has been an incredibly popular camera with creators, especially in the Asian market, and with the demand for content creation rising, it would be a great idea to take advantage.

Recently Panasonic launched the slightly revamped Lumix G100D and the full frame Lumix S9, both conventional cameras aimed at creators. Perhaps it is taking a leaf out of DJI's playbook and creating a more unique vlogging-focused camera.

There isn't much to go on from the patent design, except for a short description:

"This product is a camera with a slide filter used to measure three-dimensional space. As shown in the reference figures showing an example of how it is used, images are taken while checking them using a stretch bar or a touch panel monitor".

There are many different ways in which this can be interpreted, as 'three-dimensional' can relate to many approaches. From Canon's recent 3D lenses and cameras designed for creating content for the Apple Vision Pro, to 3D mapping as often employed in drone and interior photography (such as the Matterport Axis).

More companies are leaning into 3D content since the release of the Vision Pro, with many seeing it as the future of content. Blackmagic Design recently created the Blackmagic URSA Cine Immersive, a cinema camera specifically for this purpose, and with Apple keen to create more options for the platform, perhaps Panasonic is exploring these options.

The truth is we don't know for sure, and we may never. Patent applications are a fun insight into what a company's research and development may be working on but, as mentioned, more often than not don't amount to anything. Although it is definitely interesting to see that more companies are thinking about 3D capture.

You may also be interested in our guides to the best camera for vlogging, the best camera for YouTube videos, and the best cinema camera.

Sony has added two handheld camcorders for streaming and broadcasting aimed squarely at individual creators and small teams – although Sony is promising that this can be done with the minimal of experience, perfect for those put off by the technical challenges of live broadcasts.

The new camcorders have the catchy names of the Sony HXR-NX800 and Sony PXW-Z200. Fundamentally, the two cameras are the same, both being built around Sony’s 1.0-inch-type Exmor RS CMOS stacked sensor and a Sony BIONZ XR processor, and both capable of up to 4K60p/50p footage oversampled from 5K, 120p in 4K with hybrid AF, or up to 240p in Full HD.

The camcorders feature a 20x optical Sony G f/2.8-4.5 Power Zoom lens, which covers a full-frame equivalence of 24mm to 480mm, this can be boosted even further with digital zoom, which can reach 30x (720mm) zoom in 4K and up to 40x (960mm) zoom in FHD using Sony’s Clear Image Zoom image processing to clear up the picture. The lens also has optical stabilization for steadier handheld footage, which can be combined with Sony’s tried and tested Active Stabilisation for heavier movement, but at the penalty of a crop to the final footage.

The lens has in total 14 different assignable buttons, as well as rings for the focus, and zoom, and a dial for iris control. The HXR-NX800 and Sony PXW-Z200 also feature a built-in electronic variable ND filter with 1/4 to 1/128 stops – this can either be deployed manually using an additional dial on the lens, or you can use a new auto-ND feature which allows the camera to adjust the ND filter between stops which is useful for filming in environments with changing light sources or going from inside to outside. 

Both cameras sport a tiltable 0.39m dot OLED viewfinder, a folding 3.5in LCD monitor for recording at awkward angles, a removable microphone holder, as well as a built-in silent fan for unlimited recording times. The camcorders can be powered by Sony BP-U35/70/100 type batteries.

The HXR-NX800 and PXW-Z200 are equipped with a plethora of ports including HDMI Type-A, USB Type-C, LAN, and REMOTE terminals, as well as dual SDXC/CFExpress Type-A memory card slots. 

The PXW-Z200 has a few more port options with SDI (12G, 6G, 3G [Level A/B], HD) input/output, and TC input/output. 

Both cameras are compact and relatively light, coming in at slightly under 2kg (around 4.5 lbs), with the PXW-Z200 naturally being the slightly heavier of the two.

This new pair of camcorders takes advantage of the latest developments we have seen recently from its Alpha, ZV, and FX camera lines including AI-powered autofocus and auto-framing tricks. Autoframing allows the camera to crop on a subject and maintain them in the center of the frame as they move around – I have used this on the Sony ZV-E1 and it is very cool and very effective. Autofocus also has Sony’s latest algorithms that use predictive skeletal tracking, which has been shown to produce some incredibly sticky autofocus in Sony’s other cameras.

If you want to color-match footage with other Sony cameras, then the HXR-NX800 and PXW-Z200 can record footage in S-Cinetone, ITU709, 709tone, HLG Live, HLG Mild, and HLG Natural to match cameras in the Sony Alpha, ZV or cinema ranges. 

The cameras also feature a night shot function which uses infrared light to create B&W recordings even in total darkness.

The camcorders can also take advantage of Sony’s range of recording formats including XAVC HS, XAVC S, and XAVC SI, with the PXW-Z200’s also having access to the XAVC (MXF) standard (but not until summer 2025). Both cameras can also record proxy files for easier transfer for post-production which can be automatically uploaded to the cloud or FTP server – both cameras will also be compatible with Sony’s PDT-FP1 portable data transmitter for uploading on the go away from a steady connection. For streaming, the cameras are capable of streaming in RTMP/RTMPS or SRT via wIFi or USB tethering.

The new cameras will be available in September, with the HXR-NX800 costing $3,299 and the PXW-Z200 $3,999.

Check out our guide to the best camcorders, at all budgets

If you're a budding filmmaker and love seeing the best cinema cameras being used in productions, then you are going to love this new documentary series. 

Guardians showcases the valiant efforts of anti-poaching rangers in Mozambique's Zambezi Delta. Produced by Conservation Film Company for EarthXTV, the 7-episode, 23-minute docuseries highlights the daily challenges faced by these unsung heroes as they protect endangered wildlife in one of Africa's toughest environments. 

Through breathtaking cinematography filmed with a Blackmagic Ursa Mini Pro 12K, along with numerous other bodies from the Australian manufacturer, director and camera operator Sean Viljoen' intimate storytelling offers viewers a rare glimpse into the lives and dedication of these remarkable individuals.

Below is a behind-the-scenes look at how this amazing docuseries was filmed:

"Guardians is a character-led factual series that goes beyond the headlines to show audiences the effort that goes into safeguarding wildlife in Africa through the eyes of the local people on the front line," explains Viljoen. "We wanted to tell their story as cinematically as possible.” 

The series unfolds against a backdrop of a country recovering from civil war, where wildlife populations had plummeted by 90%. With conservation efforts leading to a gradual recovery, the resurgence of poaching posed new threats that the rangers tirelessly combat.

Filming Guardians required versatile and robust equipment to capture high-quality footage in challenging conditions. The production team, alongside 19 rangers, patrolled the 2,000 square kilometers of the Coutada 11 safari concession. They relied on a comprehensive outfit digital cinema cameras including the Ursa Mini Pro 12K, Ursa Mini Pro 12K OLPF and Ursa Mini Pro 4.6K G2, along with several Pocket Cinema Camera 6K Pros.

"Most of the content we were creating was handheld," notes Viljoen. "We were often jumping on the back of motorbikes with the anti-poaching guys, so that limited the amount of kit we could bring with us."

The harsh filming conditions, with daytime temperatures reaching 104°F / 40°C and high humidity, tested the durability of the camera gear. Viljoen was impressed with the performance of the Ursa Mini Pro 12K, especially in handling highlights and natural light exteriors. "There's a lot of latitude within the Blackmagic RAW codec to work with." 

The production also employed DJI Mavic 3 drones for aerial shots, and LUTs applied by DP Garth de Bruno Austin ensured consistent and high-quality visuals throughout the series. 

"We wanted to get the most out of the image and tap into some of that downsampling benefit by shooting in 8K," says Viljoen. "We were extremely happy with the images and the amount of information to work with."

It's amazing to see some of the best video cameras and the best camera drones being put through their paces in a real-world environment, and it goes to show that you can have multiple camera setups all tuned to offer the best overview of certain products. 

They might be out of reach for many of us, but being able to see how they were used to produce the docuseries is a real eye-opener to any aspiring filmmaker.

Sony ushered in something new with its ZV series of cameras, call them what you will  – vlogging cameras, travel cameras, YouTube cameras, but there is certainly a demand for smaller cameras with bigger capabilities, so much so that they apparently made up almost half of Sony’s camera sales last year. 

The first generation of ZV cameras offered a lot of potential but managed to trip over a few hurdles on their way to greatness. The ZV-E10 especially uses a sensor that probably should have been marked for retirement, but instead left the camera struggling with hefty crop factors on 4K footage and poor streaming performance. However, if Sony had learned anything was a little unclear after the first ZV camera to get a follow-up, the ZV-1 II did little to move the needle, and in fact, I prefer the original. 

Thankfully Sony has pushed a bit harder with the ZV-E10 II, with much more substantial and noticeable improvements, with a new 26MP sensor (well not new new, it's the same as in the Sony FX30 and Sony a6700), a much larger battery, and Sony’s modern and infinitely better menu system. 

Sony ZV-E10 II: Specifications

Sony ZV-E10 II: Price

The ZV-E10 II costs $999 / £925 / AU$1,699 for the body only or $1,099 / £999 / AU$1,899 with the kit lens. I usually don’t get to say this, but despite a whopping price increase of $200 over the previous model, the ZV-E10 II actually represents good value. 

Where the first model was compromised, the sequel manages to correct those mistakes with a new sensor and new battery which I think entirely justifies the price increase. The ZV-E10 II also managed to shave a healthy $400 off the price of the Sony a6700, and $800 off the price of a Sony FX30 which shares the same sensor, processor, and battery.

It is hard to find direct comparisons for the ZV range, as they are still fairly unique, but if 4K footage is the main priority, there are cheaper cameras such as the Nikon Z30 and Canon EOS R50, but these lack the same features and audio capabilities. I still think the Fujifilm X-S20 is the hybrid vlogging camera to beat, but that will set you back an additional $300 (without a lens).

Sony ZV-E10 II: Design & Handling

There isn’t much of a noticeable change in design from the first ZV-E10, but then I really didn’t have any complaints about that original model. The camera is still wonderfully compact and small weighing just 10.3oz/292g, with a squared-off shape that is minimalist and inoffensive in design. On the rear, there is still a 3-in 1.04m-dot screen that is articulating for movie-making but as this is a ZV camera there is no EVF. 

If you look very closely you might be able to tell the grip has gotten ever so slightly larger to accommodate the new Z battery, it's impressive that Sony has managed to squeeze this 50% larger capacity battery in the camera without having to compromise on the camera's compact size. The SD card reader is on the opposite side of the camera, and not in the battery compartment, which is how it should be done.

The grip is very comfortable to hold, although very large hands might struggle slightly. I have mostly been using the camera with the new kit lens, which is the perfect size for this camera, and the two together feel like this is a compact camera. However, despite this decent grip, there is an issue trying to use the ZV-E10 II with large lenses. In fact the camera is so compact that your lenses don’t even have to be that “large” before they start causing a problem handheld, with lenses quickly becoming front-heavy and requiring a two-handed shooting style.

But this camera is clearly not designed with big glass in mind, and the camera should pair well with entry-level Sony lenses, or Sigma’s Contemporary range – although Sony will deny you focus breathing compensation on third-party lenses.

The only other changes to the ZV-E10 II’s layout are the swap to a three-way switch for the photo/video/S&Q modes rather than a button, which makes it so much easier to know which mode you are in with a glance, and the on/off button has also moved to a switch under the shutter button, which is fairly standard, so no notes.

The camera is very light on buttons and dials compared to Sony’s more advanced cameras, but it still manages to hold onto the essentials, with common settings including ISO, exposure, and timer positioned around the scroll wheel. There are also buttons dedicated to some of Sony’s ZV tricks including background defocus and product showcase which put them front and center, and also helped me remember they were there rather than being lost in a menu and rarely used.

Talking of menus though, the ZV-E10 II has Sony’s latest revamped menu system, which will be a revelation for anyone coming from Sony’s older and positively dreadful menu system on prior cameras. Not only are the settings menus easier to navigate, but there are also now easy options on the main screen for quickly changing common settings, which is a much more smartphone-like experience for anyone who may be less familiar with digital cameras. The menus are also fully customizable and flip automatically into a vertical orientation. This is clearly an area where Sony heard user frustrations and has come though with solid fixes.

Sony ZV-E10 II: Performance

Sure the ZV-E10 II can take pictures, it can even take really good pictures, but it really isn’t a photographer’s camera. The body has minimal control over settings for images, the lack of an EVF means you only have the screen to compose on, and the camera has no mechanical shutter so fast-moving subjects can turn into a house of mirrors. 

Lens choice can also make all the difference in how useful this is as a photography camera. The included kit lens is a video-oriented lens, as while it has no issue with 4K60p video, it is not the sharpest photography lens out there. Of course, this being a Sony E-mount camera there is no shortage of lenses to pair with this camera, although as discussed earlier, the compact size of the camera is a very limiting factor in lens choice. 

However, all that said, the camera does share the same sensor and processor as the photography-oriented Sony a6700, so with the right lens and the right conditions, images themselves have the potential to be every bit as good as that camera. There are some 'Looks' on the camera for tweaking the style of your images, although Sony's are a little like an Instagram filter and are not nearly as advanced and useful as Fujifilm's film simulations or Panasonic's photo LUTs. You can see a couple below to get an idea.

How much benefit you will get from the ZV-E10 II’s photography mode really depends on how you intend to use the camera. If you are primarily a videographer who might want to snap some pictures on occasion, then the ZV-E10 II is perfect. However, if you are a hybrid shooter and pictures matter more to you than that, I would recommend looking harder at the Sony a6700 (or even Sony’s Alpha series) instead.

When it comes to video, the ZV-E10 II is essentially a Sony FX30. Okay, there are a few more differences, but the sensor and processor are the same between the models, so we know how good the ZV-E10 II footage should be, and the ZV-E10 II does not disappoint. 

After the missteps with 4K on the previous model, there is very little to complain about, with 4K30p here with no crop, and 4K60p with a negligible 1.1x crop, the only omission is 4K120p which is possible on other cameras sharing this sensor but isn’t really make or break for this price. 

With regular 4K, the ZV-E10 II does get hot, although it didn’t cut out for me with my short bursts of filming, longer periods of filming, or long streaming sessions might cause a few more issues. I left the camera filming in 4K60p, where it managed around 45 minutes before needing a cooldown. I suspect that it might not have been able to cope with 120p footage which is why it was left out.

The regular 4K footage directly out of the camera is great, with a good amount of detail and the dynamic range producing a good balance between the highs and lows. However this is the tip of the iceberg, and the ZV-E10 II is capable of so much more. Cinematic vlog mode can automatically use Sony’s S-Cinetone grading makes for great-looking footage with minimal effort, you can also import your own LUTs directly into the camera, or if you want to edit after the fact, then the ZV-E10 II can record in S-Log with 10-bit color. For a camera of this size and price, it is great to have this much flexibility when it comes to recording.

Above: footage shot in Sony's 'Cinematic Vlog' mode using S-Cinetone makes for some great-looking footage straight out of the camera.

Sony’s product showcase focus trick is also fantastic for product or beauty vloggers who might want to hold products up to the camera. The ZV-E10 II will automatically focus on whatever the nearest object to the camera is, and snap back to a face when the product is lowered. It works really well and the autofocus is seamless. The other gimmick for more ‘cinematic’ footage is to use the background defocus mode which uses the widest aperture possible to achieve the most blur, but it really will depend on your lens for how beneficial this is, with the standard kit lens, I didn’t notice a massive difference with its mediocre maximum aperture.

There is the now ZV-signature three-capsule stereo microphone built into the top of the ZV-E10 II. This microphone offers three-way directional audio (front, back, and surround), which can be manually selected or you can leave the camera to pick the best direction to record audio from. There is also a dead-cat-style microphone cover in the box, which did a good job of keeping the wind noise at bay. 

The directional pickup works well, I found when setting the audio to the rear and walking around outdoors filming and chattering away behind the camera, it picked up my voice out of the surrounding din. However, I did find this led to an overall more compressed sound, and lost the richness of the environment, and if I was filming in a more serious capacity then I would have recorded dual audio channels and mixed them in post. 

Overall the inbuilt mics in the ZV-E10 II are excellent, and leagues ahead of almost any other built-in microphone on any other camera, and in a bind, the built-in directions definitely can save the day without an external mic. However, they are not going to be a replacement for a good external microphone used correctly. When recording a quick piece to camera for the review, I much preferred the sound captured from my RØDE shotgun mic for its richness and depth. 

Above: footage captured using the ZV-E10 II's automatic settings is nicely sharp and colorful and a huge step above video from a smartphone.

The ZV-E10 II features improved autofocus from the previous model, which is definitely faster and more accurate with far more focus points, and some of the best you can get at this price point. However, I did notice a few times that the autofocus would be slow to adjust itself in more complicated scenes. One example was when filming a flower bed, the camera had trouble determining the most prominent flower in the scene where it should have been quite obvious due to the scale and framing.

The ZV-E10 II also falls behind other Sony cameras in subject recognition and tracking due to the lack of AI chip. But first, the good news is I had no issue getting the camera to recognize my face and eyes, so for vlogging. However, the animal recognition was a step back from what I am used to from other cameras, with the ZV-E0 II having a lower-than-ideal hit rate on domestic animals, but failing miserably on more exotic animals at the zoo.

As mentioned a few times already, battery life has been significantly improved in the ZV-E10 II as it now uses the NP-FZ100 battery. Sony thinks you should be able to get a total of 195 minutes of continuous recording on one charge which seems reasonable based on my tests. Battery life will depend quite dramatically on how you use the camera. Still, in my experience, each day I mostly was filming short video clips totaling around one to two hours when combined and came back home with around 20-30% battery. 

Sony ZV-E10 II: Lab Results

We are awaiting the release of an update to our testing software to recognize the RAW files from the ZV-E10 II. We will update this section in the coming weeks when the camera and update become publicly available.

Sony ZV-E10 II: Verdict

I was quite impressed with Sony’s first ZV-E10 camera, although it did fall short in a few areas, such as its limited battery life and restrictive crop factors. Fortunately, Sony has addressed nearly all of these issues in the ZV-E10 II.

This time around, the ZV-E10 II offers great quality 4K video with (mostly) no crop, which is a significant improvement. Handling is a dream with small lenses and the generous grip is a welcome feature for such a small camera. The hugely improved battery life also ensures you can shoot for longer without interruptions. Finally for streamers, the camera offers better resolution streaming options with more ways to connect.

However, there are still some limitations. The absence of an AI processor means subject recognition is limited, and it misses out on cool auto-framing tricks. The tiny body doesn’t pair well with bigger lenses, which can be a drawback for those with bigger optics. Additionally, the camera lacks in-body image stabilization (IBIS), which would have been a valuable feature for smooth shooting without relying on active stabilization and more crops. 

While it isn't the perfect all-rounder, it comes remarkably close to achieving vlogging camera perfection. It is priced higher compared to the original, however, remaining under $1000, it still provides good value for the features, and there is nothing else quite like it on the market. Despite any drawbacks, the ZV-E10 II comes as one highly compelling option for vloggers and content creators. 

Alternatives

Amazon Prime Day is just a few days away, and this week we've got new product releases, scathing reviews, firmware fixes, and a big tease from Canon. 

We were also very sad to hear of the passing of esteemed photojournalist, Thomas Hoepker, at age 88. 

While the Nikon Z6 III left us wanting, Sony has created its best vlogging camera to date and Fujifilm has released a bounty of fresh firmware. On top of that, Canon has revealed a big announcement for Wednesday that could be very big indeed…

Fujifilm firmware fixes 

Fujifilm has issued firmware updates fixing bugs and issues to its entire GFX camera line, including some postponed lens firmware. 

Fujifilm is great at updating its cameras and lenses, future-proofing existing models and ensuring they work to maximum potential. Firmware updates usually fall into one of two categories: one that adds new features and one that fixes issues. We recently saw what Fujifilm dubbed Kaizen firmware updates, which added new features, however, the new wave of updates focuses on fixing issues.  

The cameras benefiting from the updates are the Fujifilm GFX 100 II, GFX 100S II, GFX 100, GFX 50S II, GFX 50S, GFX 50R, X-T4, and X-T50…

Read more: Fujifilm rolls out firmware fixes for multiple cameras and lenses

Canon has a big announcement…

Canon has just announced that it is making an important announcement next week. All we are being told is that it is a "Canon EOS R System live event". But the very fact that it has told everyone it's happening almost a week before it happens, means that the news must be big. And that almost certainly means it's a new EOS R camera.

The launch takes place on Wednesday July 17 at 06:00 ET / 11:00 BST / 20:00 AEST. The big bonus is that the announcement will be live online, so that everyone can follow along with the news…

Read more: Big Canon EOS R announcement next week (and we're all invited!)

The Nikon Z6 III might not be as good as the Z6 II

Reports have been emerging that the new Nikon Z6 III might have a more restricted dynamic range than the old Z6 II. This observation was made by William Claff over at Photons to Photos, who does in-depth testing of camera sensor performance and plenty more besides. Claff's findings show the Z6 III maxing out at 10.44EV of dynamic range at ISO 100, compared to the Z6 II's 11.26EV at the same sensitivity. 

Now, Claff evidently knows his stuff and has been testing sensor performance for many years, so I'm not about to criticize his results or testing methodology. But what I can say is when I lab tested the Z6 III, I found that (in contrast to Claff's results), the Z6 III's dynamic range was almost identical to that of the Nikon Z6 II at lower sensitivities, although the new camera did trail the previous generation by 0.5-1EV at ISO 6400 and above…

Read more: The Nikon Z6 III's image quality has been compromised, and we can prove it

Sony has created its best vlogging camera yet

Sony’s ZV series of vlogging cameras is a little convoluted, but my personal favorite is the Sony ZV-E10 – a camera that strikes the perfect balance between affordability and features. That isn’t to say the camera wasn’t without its faults, however, being criticized for its poor menus and limited streaming resolutions. Now Sony is hoping to address any shortcomings in a brand new update – the Sony ZV-E10 II.

Glance at the exterior of the ZV-E10 II and you might not notice anything has changed from the previous version, with just a subtle update to the photo / video / S&Q button, becoming a three-way switch, and the on / off switch moving to underneath the shutter button. 

Yet, Sony engineers have also found a way to squeeze a Z-battery inside the grip, giving an additional 50% power improvement over the previous model – which equates to 610 images or 130 mins of video. We praised the ZV-E10’s tiny vlogging-focused body with its decent grip and 3-in vari-angle screen, so no complaints here that Sony hasn’t tried to reinvent the wheel for its sequel…

Read more: The Sony ZV-E10 II is a sequel to Sony’s best vlogging camera

German-born photojournalist Thomas Hoepker has died

Thomas Hoepker, the esteemed German photographer and long-time member of Magnum Photos, has passed away peacefully at the age of 88 – announced on Instagram via Magnum Photos.

Born in Munich, Germany, in 1936, Hoepker's career spanned 70 years, leaving an indelible mark on the world of photojournalism and documentary photography. Hoepker's fascination with photography began early. Aged 14, his grandfather gifted him an old plate camera, igniting a passion that would shape his future. He pursued studies in art, history, and archaeology at the University of Göttingen, but his calling was always behind the lens. 

In 1960, before completing his studies, Hoepker was hired by Münchner Illustrierte magazine. He continued to hone his craft at Kristall until 1963 and joined Stern magazine in 1964, where he gained widespread recognition for his compelling photojournalism…

Read more: Thomas Hoepker, legendary Magnum photographer, passes away peacefully aged 88

Interested in any of the brands in this article? Check out our guides to the best Canon cameras, the best Fujifilm cameras, the best Nikon cameras, and the best Sony camera.

Sony’s ZV series of vlogging cameras is a little convoluted, but my personal favorite is the Sony ZV-E10, a camera that strikes the perfect balance between affordability and features. However, that isn’t to say that the camera wasn’t without its faults, criticized for its poor menus and limited streaming resolutions. Now Sony is hoping to address any shortcomings in a brand new update – the Sony ZV-E10 II.

A glance at the exterior of the ZV-E10 II, and you might not notice anything has changed from the previous version, with just a subtle update to the photo/video/S&Q button, becoming a three-way switch, and the on/off switch moving to underneath the shutter button. Yet, Sony engineers have also found a way to squeeze a Z-battery inside the grip, giving an additional 50% power improvement over the previous model which equates to 610 images or 130 mins of video. We praised the ZV-E10’s tiny vlogging-focused body with its decent grip and 3-in vari-angle screen, so no complaints here that Sony hasn’t tried to reinvent the wheel for its sequel.

Inside, the ZV-E10 II now features a 26MP sensor (up from the 24MP sensor in its predecessor), this is actually the same sensor that is used in both the Sony FX30 and Sony a6700 and has been shown to be a very capable sensor in both those models. The sensor features 759 focus points that cover 94% of the sensor, which is a significant jump from the 425 and 84% from the original ZV-E10.

The ZV-E10 II is capable of producing video footage up to 4K60p in 4:2:2 10-bit with data oversampled from 5.6K, or 4K40p from oversampled 6K, however, there are no options for 6K recording or open-gate footage. You can also go down to FHD120p to get 5x slow-motion video.

The sensor is paired with a Bionz XR processor, however, the camera misses out on the AI co-processor that has been featured in other more pricey Sony models like the Sony ZV-E1 which enables some of the more fancy AI-powered auto-framing options and subject recognition.

However, despite not featuring a separate AI processor, the ZV-E10 II is still capable of tracking human subjects including faces and eyes, as well as animals, but misses out on insects, vehicles, and planes. The processor also enables the use of Sony’s ‘Active’ image stabilization for steadier handheld filming although at a 1.4x crop (or 1.5x when shooting in 4K60p). Sony is also promising the new processor is going to reduce the effects of rolling shutter versus the prior model.

Of course, this wouldn’t be a ZV camera without featuring advanced sound recording capabilities. The ZV-E10 II has a three-capsule stereo microphone on the top of the body with options for directional recording either in front of the camera, behind, or all around. There is also digital wind noise reduction, and the ZV-E10 II comes with a dead-cat microphone cover in the box.

The ZV series is made for getting footage that is instantly sharable, and the ZV-E10 II continues in that tradition with Sony’s usual options for cinematic vlogging modes, with different creative looks including S-cinetine from Sony Venice cameras, or looks to mimic “film”. Users can also import their own LUTs onto the camera for a consistent or unique look to footage. The ZV-E10 II also features Sony’s background blur mode, which artificially enhances the blur behind a subject to give a more cinematic feel, and ‘product showcase’ which identifies and focuses on products that are held up to the camera during recording, which is a useful feature for product and beauty vloggers.

For live streaming, the ZV-E10 II can be hooked up to a computer via USB-C to stream in 4K30p or FHD60p. Or if you want to free yourself of wires, the camera is capable of direct network streaming over WiFi.

The ZV-E10 II will launch alongside a new kit lens – the Sony E 16-50mm f/3.5-5.6 PZ OSS II. This is an update on the current kit lens that ships with the ZV-E10 offering improved image stabilization and auto-tracking performance, as well as supporting 120fps shooting, and maintaining focus while zooming.

The Sony ZV-E10 II will be available at the end of July and will cost $999 / £949  / AU$1,849 for the body only, or $1099 / £1049 / AU$1,999 for the ZV-E10 II body + Sony E 16-50mm f/3.5-5.6 PZ OSS II kit lens.

Want to find out more about vlogging? Check out our guides to the best YouTube cameras or the best cameras for vlogging.

Sony will announce a new camera next week, which will be a member of the company's ZV series of vlogging cameras. 

The announcement will take place on Wednesday July 10 at 10:00 EDT / 15:00 BST / Thursday July 11 at 00:00 AEST. 

A series of teasers have been posted to Sony's social media channels and sent out as email blasts, and a microsite has been set up on the official Alpha Universe webpage.

The messaging differs slightly depending on the territory. In the US and Japan, Sony is leading with the tagline "Unlock your aesthetic"; in Europe, the tag is the slightly broader "Your new creative chapter". 

The new camera will join Sony's labyrinthine ZV range, which includes the entry-level Sony ZV-1, Z-V1 II and ZV-1F compacts, the midrange Sony ZV-E10 and ZV-E10L APS-C cameras, and the advanced Sony ZV-E1 full-frame camera. 

"The countdown to next week begins," reads the post on the Sony Alpha Instagram account (above). "Stay tuned for a new ZV camera coming on 7/10/24". The email blasts reveal little more, simply promising "an exciting new camera announcement from Sony".

Sony's ZV line feels like it is constantly the subject of camera rumors, such is its increasing scale and importance to the company, with 48% of sales coming from its vlogging cameras. 

With so many branches to the ZV tree – covering everything from fixed-lens bodies to zoom lens bodies to interchangeable lens bodies, and 1-inch sensors to APS-C sensors to full-frame sensors – the new product could fit any number of categories.

You can check out the latest Sony rumors to see if you can work out what this new launch might be, but Sony is staying understandably silent on the matter. 

All will be revealed next Wednesday – and we'll be right here to tell you what it is and whether it's worth looking at.

You might be interested in the best Sony cameras and the best Sony lenses, as well as the best lenses for vlogging.

Zoom has been making portable sound recorders – known as "handy" recorders – for decades. Beloved by videographers and filmmakers, the company has also been a major innovator in the music space, launching multi-effect processors for guitar straps, iPhone microphones, and more recently in a world where everyone seems to have a podcast, podcast recorders.

One of Zoom's latest novel releases is the Zoom Q2n-4K, a palm-sized video recorder aimed squarely at musicians and users wanting to share their music online. It's an adorably small device, with a wide-angle lens on one side, an LCD screen on the back, and a wraparound microphone design incorporating an X/Y stereo array. It can function as a standalone webcam and audio recorder, making it an incredibly versatile product for music teachers and YouTubers equally.

Of course, you might ask yourself – and I have done – why not just get one of Zoom's best audio recorders and pair it with your smartphone, or one the best cameras for vlogging with a decent microphone? There are two reasons. Firstly, Zoom is known for its audio quality, and its handheld devices can capture a wide range of sounds and environments brilliantly with minimal training or setup required. 

Adding a camera to the mix with the Q2n-4K, Zoom has created a convenient all-in-one without trailing wires or moving parts. Secondly, at around $200, the Zoom Q2n-4K is affordable for music students, musicians breaking into the industry, or those building up a following online. 

The Zoom Q2n-4K is cheaper than the Zoom Q8n-4K I've previously tested, but that offers 4-track audio, XLR-mic inputs, plus a rechargeable battery to bring it in line with vlogging rivals. 

The Q2n-4K is affordable, for sure, but does it offer the quality that its target market needs? I've always been pleased with the build and audio quality of Zoom products but found their usability more varied. I tried the Q2n-4K for several weeks to discover whether it was a livestreaming dream or a musician's nightmare. Read on to find out whether it's the right handy recorder for you.

Zoom Q2n-4K: Specification

Zoom Q2n-4K: Price

Considering its compact size and feature set, the Q2n-4K delivers excellent value at around $200/£200. It's a more budget-friendly option compared to the Q8n-4K, which makes sense as it sacrifices some audio capabilities, recording in stereo only, and lacking XLR microphone ports for professional setups.

What lets down this handy recorder is its reliance on two AA batteries for power. These weren't included with my sample, so unless you have rechargeable AA batteries, you'll have to factor in the cost of buying and replacing them. I found frequent replacements were necessary, so this will be an ongoing expense unless you plan to power the camera from your computer (with a cable also sold separately).

Zoom Q2n-4K: Design & Handling

The Zoom Q2n-4K looks nothing like the Zoom Q8n-4K, and that's a good thing as it's designed to be more portable. In fact, it doesn't look like any camera I've tried before, but that doesn't mean it's hard to use. On the front is the 15-degree wide-angle lens and a handy light to indicate when you're recording (it turns red when you are). You also get a lens cap for protection and a tiny lens hood to block out flare in sunshine or bright studio lights.

On one side, there's a headphone jack – always important for checking audio levels – an external input, and volume buttons for the headphones. Flip the camera around and there's a small dial for controlling the microphone level, plus micro USB and mini HDMI ports. I'm surprised that in 2024 we haven't got a USB-C port instead, both for charging the camera and connecting it to a computer. My iMac only has USB-C ports, so I had to get an adapter just to connect it.

What I liked most about the Zoom Q2n-4K was its ease of use. At the back of the camera, there's a 1.77-inch four-color LCD (160 × 128 resolution) for viewing the scene and menu settings, while nine buttons aid handling, as the screen isn't touch-sensitive. It only takes a few hours of use to remember what these buttons do, although I'd love them to be slightly more responsive when pressed.

Underneath the screen is a power/play button, an obvious red record button, and a button for exit/settings. You also get physical buttons for tweaking the field of view between five settings, the video quality (or setting audio only), the scene type (there are twelve, including outdoor, sunset, monochrome, and film), Lo Cut, the audio quality, and auto gain. A camera like this is designed to be used quickly, and I love that almost everything you need can be accessed without having to dig into the menu, which themselves are still clear and accessible.

Given that the LCD screen doesn't articulate in the same way as the Q8n-4K for forward-facing shots, it's hard to know when you're in the frame when you're filming yourself. There were many takes where I was filming myself for a few seconds with the camera on a tripod, reviewing it back, and then moving around to improve my positioning.

One advantage is that the light on the front of the camera goes red to tell you you're recording. There's no remote or timer delay function built into the system to start recording, so you have to start the camera and get into position, which adds editing time to your footage and could make your live streams a bit janky.

You access the battery and memory card slot by unclipping the plastic cover underneath the Zoom Q2n-4K. It's a MicroSD card, a size which I assume was chosen to keep the size down, and while the two AA batteries were easy to slot in, the card slot was a slight paint point for me. There's no spring mechanism, making it difficult to remove. When I wanted to take the card out to transfer the footage to my Mac, I had to prise it with my nails or tweezers. This is fiddly and makes you worry you'll cause damage.

Zoom Q2n-4K: Performance

Overall, I'm impressed with the performance of the Zoom Q2n-4K, for its price bracket, and I think musicians will find a lot to love about the audio quality. Thanks to the camera's three WAV audio formats (96 kHz/24-bit, 48 kHz/24-bit, 44.1 kHz/16-bit) you can tailor the quality and size of files to your project's needs. And using “Camera Off” mode opens up the Q2n-4K to become a handy recorder in its own right, or to replace your computer mic if you so wish.

I found it easy to monitor the audio output levels using headphones with the stereo output jack or to glance at the levels on the LCD screen and see when they were peaking too high. I mainly recorded in 98kHz/24-bit during testing and loved the well-balanced, rich tone, whether at home, in a field at a festival, or in an echoey conference room. I noticed that setting the microphone to auto-gain (you've got the chance of concert, solo, or meeting here) left some of my recordings on the quiet side, but then the Zoom Q2n-4K handles loud music so well I don't mind this.

The X/Y mics within the recorder sound great. I did a test recording at a loud folk music night, and not only was my voice clear, but the three different instruments could be heard clearly and evenly. The Q2n-4K handles bass notes well, giving them a rounded sound even at low or extreme volumes. The recorder also performs well as a USB mic, much better than my iMac's in-built microphone and rivaling the pro-grade Sennheiser mic I usually have plugged in.

If I were to sum up this review in a sentence it'd be; audio great, video not so great. Even at the maximum 4K resolution, the Zoom Q2n-4K's video is serviceable, but nowhere near as good as my iPhone or even my GoPro from a few years back. In anything but bright sunshine, the small camera sensor produced footage with muddy shadows and a noisy picture overall. By their nature, music settings are often low-light environments, so it's a shame that the Zoom Q2n-4K struggled so much with detail and color here. I'd recommend that musicians keep the room as well-lit as possible when recording.

Having five steps for changing the field of view, rather than a rolling ability to zoom in and out of your chosen subject, means you’re limited somewhat by the framing options. If you press the field of view button to toggle through zoom levels during filming it's also very audible, and hard to remove in post. The video quality degrades the further you zoom in, as the camera crops in on the image rather than relying on a physical lens zoom.

The Q2n-4K was designed to take in performances on a tripod or stable platform and it excels at that. It doesn't feature built-in stabilization, which is something to bear in mind if you want any freedom of movement while filming, or to get handheld footage at a live show. The footage becomes incredibly shaky when you try shooting vlog-style videos and if you're that type of music YouTuber you may want to look elsewhere.

Given that the Zoom Q2n-4K comes at such an affordable price point, I can live without Bluetooth or WiFi, or a remote control to start recording. But its biggest downside is the battery life and power source. One set of AA batteries lasted me less than an hour of recording time, and I felt I was constantly replacing them during filming. For one live music event, I'd checked the battery before leaving home and it showed two-thirds full. Unfortunately, when I started recording, the camera only lasted a few minutes before dying completely, meaning I missed capturing footage of my favorite teenage artists. There are two lessons here: always pack spares and ensure the camera can't turn on in your bag.

Of course, at home or in a studio you can power the camera via micro-USB when it's used as a webcam (why not USB-C?). And if you buy the Zoom BCQ2n battery case Q2n-4K, which takes four AA batteries, you can significantly expand the camera's battery life for field work and live gigs without a power outlet.

Zoom Q2n-4K: Sample video

Above: sample video show with the Zoom Q2n-4K

I had the Zoom Q2n-4K for a few weeks, testing it for recording sessions at home (a keyboard and guitar, and my rusty playing skills), live gigs, folk performances, and some spoken word. Unfortunately on several opportunities to record, the battery was lower than displayed and the camera ran out of power before I could get any decent clips.

Zoom Q2n-4K: Verdict

The Zoom Q2n-4K is a great choice if good sound is more important than good video, and you have about $200/£200 to spend. I'm not a professional musician, but I do play several instruments, get incredibly hung up on audio quality, and have a ton of experience using microphones for filmmaking. While the Zoom Q2n-4K feels a bit dated in terms of video performance and lags behind the best camera phones, the clarity and richness of its sound make up for that.

Although there's no video stabilization, it's easy enough to pop the Q2n-4K on a cheap mini tripod to keep the footage nice and stable. The fact, that you can pop the Q2n-4K in your pocket, then whip it out and get usable clips in seconds is fantastic. The automated nature of the camera means that even those new to recording themselves should get decent results, but there are enough audio options for budding audiophiles too.

The recorder isn't marketing itself as an advanced broadcast-level device. Instead, its size and convenience make it perfect for musicians wanting to capture clips and quick videos on the go, when they don't have the budget for pro gear – or the desire to carry it around. I found it could handle everything from jazz to folk to heavy metal in the car, and still produce a rich, well-balanced tone.

I've loved using the Q2n-4K to get back into keyboard and guitar playing, grabbing snippets at gigs, and recording vocals for video projects. It's just not going to be my recorder of choice until Zoom swaps those AA batteries for a rechargeable, sustainable option.

Zoom Q2n-4K: Alternatives

Zoom is a specialist manufacturer known among videographers for making high-quality, portable audio recorders. In fact, it was the only brand I used during the filmmaking modules of my university course when – like most budding creators – I learned that audio is just as important as visual quality when it comes to video. 

Zoom makes some of the best audio recorders out there, and its handheld devices are trusted by professionals who need to capture a range of sounds while filming on location. But the Zoom Q8n-4K, one of its latest releases, combines 4-track audio and adds a wide-angle fixed lens camera on the front, to make a portable all-in-one content recorder. It's a successor to the Zoom Q8, an HD video recorder that left some disappointed with the video features. 

The Zoom Q8n-4K offers more than a smartphone but is cheaper than a mirrorless or DSLR camera. It's aimed at musicians, teachers, and filmmakers wanting something quick to set up and operate. It's also suitable for podcasters, given that it can record four tracks of audio at the same time.

I'm sometimes surprised that the best camcorders are still going steady, and the release of the Zoom Q8n-4K surprises me even more. But with 4K resolution at 30fps, an f/2.8/150º wide-angle lens, and its multi-mic input capabilities, I can see this being a hit with music students and YouTubers who value audio in their production. I tested it for several weeks to discover whether it's a one-trick pony or a genuinely handy video recorder for different creators.

Zoom Q8n-4K: Specification

Zoom Q8n-4K: Price

The Zoom Q8n-4K scores favorably for price. At around $399/£329, it's slightly more expensive than the aging Panasonic HC-V180 camcorder, and that's limited to Full HD recording rather than 4K. Given that the Q8n-4K is marketed as a step up (or sideways) from using a smartphone, I'm pleased to see that it doesn't cost just as much as the best phones for video recording, as some vlogging cameras do. 

Anyone serious about improving their online content should be looking to invest at least as much money as the Q8n-4K. The flip-out LCD screen may be more basic than most modern creators are used to, but for the price, the fact that you're also getting high-quality 4-way audio is impressive.

Zoom Q8n-4K: Design & Handling

The Zoom Q8n-4K takes some of its design cues from the Zoom Q8 before it, with a long cuboid design that folds in on itself for neat carrying. It's about the right size to fit in a palm; solid-feeling but not too cumbersome, and the plastic exterior feels smooth rather than cheap. Looking at the recorder front-on, the lens cap unscrews easily and is attached to a cord so you don't lose it. There's a big red power button directly above it, which isn't as springy as I'd like but is at least very obvious. 

On the right side, a large cover unclips fully to reveal the battery, and above this, there's a "push" button to unlock the microphone unit and rotate it upwards to reveal the LCD screen behind it. On the left are two 3-pin XLR microphone inputs with corresponding volume button dials above (between 0-10), a 3.5mm headphone jack, and a micro-HDMI and USB-C port. The dials are smooth and satisfying to turn, but I found the numbers hard to see in a dim concert environment and larger, brighter printed numbers would have helped with handling here.

The Zoom Q8n-4K's entire design concept is puzzling, partly because the Q8 is more like a traditional camcorder – it has a flip-out LCD touchscreen revealing key buttons behind. Instead, to use the Q8n-4K (and access the memory card slot or power button) you need to move the retractable mic arm upwards and open out the LCD screen – which adds unnecessary steps. You're also slightly limited by the angles you can shoot without a fully articulating screen. Interestingly, the camera takes microSD, microSDHC, and microSDXC cards up to 512 GB, whereas the Q8 takes SD cards.

Turning the camera on with the power button first brings up a language selector, followed by some prompts for the date and time. Once these are in, you're ready to start filming should you want to. Powering up the recorder does take a few seconds, and it's made more awkward by the fact that the button is behind the 2-inch LCD screen, meaning you either have to pull it out if it's faced towards you or turn the recorder around to find it if you're recording vlogging footage.

Minor gripes aside, I like how easy navigation is on the Zoom Q8n-4K, given you can change all the key settings using the labeled buttons arranged around the LCD screen. FOV means Field of View, for example, and you can toggle through the five different camera views (from Wide to Tele) by repeat presses of the button. Of course, this approach isn't ideal if you miss your setting, as you have to toggle through all the options again to get to your choice. 

It's simple and works, but a touchpad or arrow pad would have been a better choice. The LCD also feels small, cramped, and low-resolution (320 x 240), but this is a well-priced budget choice rather than a fully-fledged mirrorless model for pros, and corners had to be cut somewhere.

Zoom Q8n-4K: Performance

Despite having very grab-friendly dimensions, the Zoom Q8n-4K isn't a recorder you'll want to use handheld often. For a start, it doesn't have the stabilization smarts to support that sort of application – I found walking clips very stuttery when compared to my iPhone 15's smoothed footage – and it also feels awkward to hold it in your hand for too long, use the settings buttons, and potentially support any XLR mics simultaneously. You'll want to use the 1/4-inch-20 female tripod thread to mount the Q8n-4K for most things, but it's more than light enough to sit atop a mini tripod.

Visually, the footage is as I expected it to be from a 1/2.3-inch sensor. There's little depth to scenes, and the recorder's low light performance is poor – which is a shame given this is the environment where so many gigs and concerts happen. The scene modes did little to change the image style, and I failed to get a rich, detailed video with any of them. It's nice to have a range of frame rate options (24/25/30fps) but I'd have to keep the resolution at 4K for the most usable content.

By default, the camera has a 150-degree field of view, which is nice and wide for fitting in small rehearsal rooms, and that most prolific of locations – the YouTuber's bedroom. I disliked having buttons to step the zoom rather than a rolling ability to zoom in and out of your chosen subject subtly, and the video quality dipped noticeably at full zoom so I used it sparingly. Pressing the FOV button was also audible on clips, so I'd advise against doing this during an important recording. 

I had to remind myself of the Zoom Q8n-4K's low price during testing, but I still found the LCD frustratingly small. Previewing video on a bigger monitor via the micro HDMI output was easy and helped me to pay attention to what I was filming properly. This handy recorder is also incredibly versatile, and you can plug it into a PC or Mac via USB-C to use it as a webcam, mic, or SD memory card reader. It was also picked up automatically by Google Meet, with audio quality crisper than my computer but video quality much darker and grainier than my iMac's built-in webcam.

If the visual quality was expected but disappointing, the audio quality from the Zoom Q8n-4K was surprising and exceeded my expectations. The X/Y mics up top were subtle enough to put up crowd ambience at a live music event, and conversations from passers-by in the street while filming buskers.

The mixer on the screen made it easy to check the levels and effects for all four channels, and you can easily balance the audio sources while filming. I used the helpful headphone jack to monitor the sound more carefully, as the camera's speaker is very quiet and tinny. While I haven't yet had the chance to record a full show with all four channels, I can see how useful it'd be to plug a mic for vocals and a direct instrument, or a mixing board straight into the XLR ports. Being able to record audio and video in a combined file, multi-channel audio, or stereo audio only adds to the Q8n-4K's versatility as a content-creation tool.

While its video quality isn't pristine, the Q8n-4K offers enough options for budding musicians to capture clips for social channels. It fulfills its brief of a jack-of-all-trades recorder and for many will be the stepping stone they need from smartphone to semi-professional recordings of their live performances.

Zoom Q8n-4K: Sample video

Above: sample video clips shot with the Zoom Q8n-4K in a variety of conditions

I had the Zoom Q8n-4K for several weeks. I captured footage and audio in various scenarios – in a crowd at live music events, at home recording my keyboard, and out in the field for vlogging scenarios. I tested the video at all resolutions and the audio at all sampling frequencies.

*The wind noise in the outdoor clips is an unfair representation of the Q8n-4K's audio capabilities. It's not designed for that usage, and I didn't have the windscreen on.

Zoom Q8n-4K: Verdict

If you’re a musician or YouTuber looking for an all-in-one video and audio recorder, the Zoom Q8n-4K is an affordable albeit niche option. I found its design awkward compared to a traditional camcorder or vlogging camera, and easiest to manage when used on a tripod or support – which is likely what you'd do if you were recording yourself. While the Q8n-4K is compact, its cuboid shape is unusual to handhold, and I wanted the screen to be bigger, brighter, and sharper.

One of the great things about the Zoom Q8n-4K is that you don't need much technical knowledge to start using it, or to get decent results. You can monitor audio using the LCD screen as a guide, and tweak the unit's microphone volume via a dial on the top. Its simplicity is also a downside, as this product doesn't give you any manual control over exposure settings, which means you're reliant on its metering even in dim conditions. You also don't get the option to change lenses or zoom in and out more gradually than the preset fields of view, which can be annoying making transitions feel more cinematic. 

The Zoom Q8n-4K is not just a camcorder but a fully-fledged audio recorder that can capture your music and vocals admirably. If you're looking for a portable recorder that you can set up in one place and rely on for great-sounding audio recordings at gigs, concerts, or in a home studio setup, the Zoom Q8n-4K is a great buy. If you're looking for high-end visuals and a raft of video settings, there are better buys.

Zoom Q8n-4K: Alternatives

Following the announcement of the new Canon EOS C400, Canon has released major new firmware updates for seven models in its Cinema EOS range of cinema cameras and camcorders.

Firmware updates have become a crucial part of future-proofing cameras. Mirrorless technology makes it easier for manufacturers to add new and improved features, and these latest updates add new modes and focusing systems.

The cameras receiving the updates include the Canon EOS C500 II, EOS C300 III, EOS C70 and EOS R5 C cameras, and the XA75/70, XA65/60 and Vixia HF G70 camcorders. All updates are developed in direct response to user feedback and are available via a free download from the relevant product page on Canon's website.

Here are the official update notes for each product:

Canon EOS C500 Mark II & C300 Mark III

“Sensor Mode” will be saved to an assignable button on the camera body to quickly change between Full-frame, Super 35mm and Super 16mm crop modes.

The Focus Guide box will have two size options: Standard and Large (approximately two times larger than standard).

Camera LCD screen will display a playback marker in Media Mode.

For the EOS C300 Mark III camera:  

• Cinema RAW Light HQ/ST/LT recording modes will be added.
• Auto ISO/Gain functions that can be operated from the camera menu, an assignable button, or with a compatible remote-control unit will be added.

Canon EOS C70 & R5 C

Same Focus Guide and playback marker enhancements as the C500 Mark II and C300 Mark III cameras will be added.

Option of assigning functions to the select dial on the back of the camera, including AF subject selection, shutter, iris, ISO/gain, and white balance mode will be added.

For the EOS R5 C, the following will be added:

• Ability to adjust the thickness of the AF frame, making it easier to see in certain lighting conditions

• Ability to reset the AF position by pushing the joystick or set buttons

• When shooting RAW VR content with Canon’s dual fisheye lens, you will be able to record both the peripheral illumination and chromatic aberration data. This will help with processing footage into smoother and even more amazing VR content than before the firmware update.

• New features from the March 2024 R5 firmware update.

Canon XA75/70, XA65/60 & Vixia HF G70 Camcorders

Option to view the date and time in the on-screen display (OSD) while recording will be added. White balance will be able to be changed while recording.

You can find all of the new firmware notes, a guide to download, and the links for download on the Canon website.

You may also be interested in our guides to the best Canon cameras, the best Canon lenses, and the best cameras for filmmaking. 

When Panasonic launched the Lumix GH6 just over two years ago, the reception was pretty overwhelmingly positive, with it quickly racking up accolades as one of the best video cameras for independent filmmakers. In our review, we gave the camera the full five stars, saying “the GH6 holds its own with cameras almost twice its price in terms of functionality and image quality and excels beyond the competition”. 

The only major complaint of the camera was its outdated contrast-detect autofocus system, but since then Panasonic has answered its critics with its much-improved phase detect auto-focus (PDAF) in the Lumix S5 II and Lumix G9 II – now PDAF is coming to the GH series with the launch of the new Panasonic Lumix GH7.

On the surface you’d be forgiven for thinking not much has changed with the Lumix GH7, as the camera shares the same body as the previous GH6 model, and as the old adage goes, if it aint broke don't fix it. The GH7 offers the same chunky grip, in-built cooling fan, array of tactile buttons, and articulating LCD that favors filmmakers. Anyone familiar with using any of the latest Lumix cameras will instantly feel at home as the camera follows a nearly identical layout to the recent Lumix S5II, S5IIX, or G9 II. 

Inside, the GH7 still features a Micro Four Thirds (MFT) sensor, while this sensor has been newly developed for the GH7 it has the same pixel density as the previous model with 25.2 megapixels, but now on a BSI CMOS sensor which enables up to 13+ stops of dynamic range. The sensor is backed up with advanced image stabilization including distortion correction in videos and a High I.S. mode for even steadier digital stabilization in tough situations.

As mentioned already, the sensor also features the biggest upgrade from the latest generation of Lumix cameras, with PDAF autofocus, enabling faster and more accurate focus and tracking for human faces and eyes, as well as animals, birds, cars, and motorcycles – and two new additions with airplanes and trains.

A video camera first and foremost, the GH7 builds on the already incredible specs of the GH6, with internal recording of 5.7K 30p ProRes 422 HQ and ProRes RAW HQ for advanced color work, as well as 5.7K60p, 4K120p or Full HD 240p video. The GH7 is also capable of unlimited video recording through its integrated heat dissipation and cooling fan.

You can also record in Open Gate which records using the entire sensor making it easier to crop videos later for different aspect ratios – perfect for social media. The camera also supports proxy recording and Adobe Frame.io for camera-to-cloud backup, allowing teams to edit small proxy files quickly which can then be seamlessly swapped out for the full-quality video. The GH7 is also capable of recording using the Real Time LUT feature that was recently used to great fanfare on the Lumix S9, enabling user-programmed color grading baked directly into footage.

Also bringing new audio tricks, the Lumix GH7 features the world’s first 32-bit float recording in an interchangeable lens camera when used with the new XLR microphone adapter – the Lumix DMW-XLR2. This allows a much wider range of noises to be recorded without having to worry about fiddling with levels during recording to make sure you aren’t clipping the highs and lows.

The Panasonic Lumix GH7 will be available at the end of July and will cost $2,199 / £1,999/ AU$3,899 . 

The DMW-XLR2 will also be available at the end of July for $499 / £499 / AU$899.

For more check out our guides to the the best camera for filmmaking or the best hybrid cameras.

The best camcorders are something of an anachronism in today's market. Yet, their barrel-shaped handheld format, built-in zoom lenses, and ability to get going with minimal setup see them continuing to be popular with a certain type of buyer. If you're an enthusiast looking for something that can shoot decent, stable 4K video out of the box then the Sony FDR-AX53 makes some sense. 

It makes even more sense if you're looking for good value, want to upgrade from a smartphone, and don't need or understand the features, codecs, and interchangeable lenses offered by the best cinema cameras.

The Sony FDR-AX53 4K Handycam was released in 2016 when the best phones for video recording were nothing like the conte-creating flagship devices they are today. Designed to offer high-quality 4K video to families and enthusiasts, it reflected the idea that 4K content was becoming more mainstream in the homes of enthusiast consumers.

Sony's mirrorless camera lineup is comprehensive, with advanced hybrid cameras catering to professional creators and the Z lineup leaning towards vloggers. So where do its remaining camcorders fit in for recording video? The FDR-AX53 is ideal for family users with more to spend or filmmakers on a budget. It's around three times the price of the entry-level Sony HDR-CX405, but half the cost of the Sony FDR-AX700 with its larger 1-inch sensor and phase-detect autofocusing system.

The Sony FDR-AX53's headline specs include UHD 4K video at 24 or 30fps, 1080p 120 fps for slow-motion footage, 16.6MP images, 20x optical zoom, an equivalent of 5-axis Image Stabilization, and a 5.1 channel microphone. You also get a hot shoe mount, but most of the ports feel outdated by today's standards. Despite its age, the AX53 has endured with consumers, and Sony doesn't appear to be stopping production yet.

But how does it compare to a similarly-priced vlog-friendly camera like the Sony ZV-1? Can an eight-year-old camcorder keep up with the AI-powered autofocus of today's best mirrorless cameras? And is it even fair to ask that? As a millennial, I can enjoy the nostalgic format of the Sony AX53 while also questioning who it's suitable for. Here's what I made of it throughout several weeks of testing.

Sony FDR-AX53: What's changed?

Launched in early 2016 alongside the HDR-CX675 and HDR-CX455 camcorders (no longer available), the Sony FDR-AX53 replaced the AX33. Compared to its predecessor, it's capable of smoother footage with Sony's 5-axis Intelligent Active mode and better audio thanks to a new mic structure picking up sound from more directions.

The XA53's back-illuminated sensor also features pixels that are about 1.6x larger than the previous model, which means it should perform better in low light and handle noise better in these scenarios. For handling, the 4K camcorder also has an electronic viewfinder (something you don't get in the cheaper, newer XA43) plus a customizable control ring on the lens that you can assign for focus, zoom, and exposure adjustments.

Sony AX53: Design & Handling

I've seen the FDR-AX53 described as having the dimensions of a beer or Coke can, and that's almost accurate, although it's a little longer and fatter. It feels well-built, with no rattling parts, and at just over 500g it's delightful to handhold. A sturdy velcro strap adjusts the grip to accommodate different hand sizes, and there's a standard tripod thread underneath the camera for static, stable footage.

Pulling out the flip-out 3-inch LCD screen or the viewfinder turns the camcorder, and I was impressed at how quickly it fired up and was ready to shoot. The ZEISS Vario-Sonnar T lens is hidden behind an automatic cover that unlocks when it's turned on, so you don't have to remember to open and close it as you do on cheaper camcorders. I can't imagine ever being able to clean the lens effectively, so you better hope that it doesn't pick up any real dirt.

I found the monitor too dim in Normal mode, especially when filming outdoors, but changing it to Bright (there are only two settings) improved the experience. The viewfinder also helped in bright sunshine, but - likely being spoiled by pro DSLRs - it’s small at just 0.6cm. You have to get your eye in just the right position to see it clearly, and it mirrors exactly what’s on the LCD rather than offering anything new.

One of the main distinctions between consumer camcorders and pro models is that they prioritize being easy to use over offering granular controls. The AX53 is designed to be picked up and used in automatic mode, meaning there are very few buttons on the body, save from power, Night Shot, playback, and a feature called "My Voice Canceling" (more on that later) behind the screen on the left-hand side. 

There's a button to toggle between video and stills up top (and one to take a photo) and a record button where your thumb naturally rests next to the battery at the back. The ports are sensibly placed, too. The SD card slot sits behind the screen with an HDMI micro port, and headphone and microphone sockets are on the outside so that you can use them with the screen tucked in.

For me what lets this camcorder down is the lack of any assignable buttons; something that I enjoyed when handling the Canon HF G70, and a design choice I think is still valid even for amateur filmmakers. It's hard to see where Sony would have added these custom buttons onto the body, but I feel they'd have sped up operation and taken away some of the fiddly menu navigation I experienced when changing settings like white balance (which I avoided, for this reason) on the screen.

The XA53’s interface is, to put it politely, clunky, as you might expect from a 2016 camcorder. The menu is accessed with a tap on the LCD screen, and it’s split into sections like Shooting Mode, Image Quality, and Playback. Generally, each section has a sensible label, although you’ll find all the manual shooting settings under the generic Camera/Mic. There are six submenus here, but they all appear on the screen, giving you over 30 to move through. 

Thankfully, the LCD is touch-sensitive, but modern scroll and swipe gestures don’t work and you have to tap the up and down arrows to move through each parameter. It’s not ideal, particularly when you’ve gotten used to the speed of smartphone apps or the fluidity of modern camera interfaces. But it’s not a dealbreaker either, especially if you’re going to stick to the camera’s automatic settings.

What Sony has done is made the AX53’s lens ring function customizable. It’s set to Zoom by default but you can assign it to Exposure, Shutter Speed, AE Shift, and White Balance Shift. Pressing the manual button under the lens on the left (for a few seconds) brings up the functions on the screen, and then you twist the lens and press Menu again to set it. All of this takes longer than it should, and that means you won’t want to swap modes too often.

Sony FDR-AX53: Performance

I’ve tested six camcorders in as many months, and I’m probably most impressed by the footage from the Sony FDR-XA53 – despite its average specs and features. I’m not saying it’s technically the best, but it performs admirably for its price bracket, age, and my expectations. The XA53’s 1/2.5-type sensor is back-illuminated, with larger pixels for improved low-light handling. 

I shot footage at sunset and night, and there was no evidence of the muddy details and dull colors I experienced with the XA45. When shooting at the highest 4K 100mbps in bright daylight, the tonal range and clarity blew me away, and at least matched the more expensive Canon GH70. 

I kept things largely in automatic mode, letting the camcorder choose settings for me. Great move. When recording videos to the camera, my skin tones were smooth and natural, and the Face Detection features did a great job of following my face in sharp focus around the frame. 

In outdoor shots, the greens were vivid and accurate, and the out-of-focus areas in front of and behind subjects at the long zoom range were impressive for a sensor of “children’s cute sleeping faces” (Sony’s words) or in my case, nocturnal wildlife visiting the garden. It does what it’s meant to, even if it does have a slight green tinge to it.

The widest angle is equivalent to 26.8mm, which is ideal for vlogging at arm’s length. While the 20x optical zoom let me get up close to springtime lambs several fields away. I can see it being seriously impressive for sports games or your kid's graduation ceremonies. While the digital zoom can reach 250x, I wouldn’t rely on this unless you’re not precious about image quality – given that it seriously degrades the picture beyond about 50x.

The lens is floating on a gimbal inside the camcorder, which helps with stability. The AX53’s (5-axis) stabilization compensates for vibration across five directions. While Sony says it’ll stop camera shake even while running, I’d say you’d have to be a very smooth runner for this to be true. I was able to walk fast on uneven ground and capture usable footage, while vlogging was very static with no distracting movements.

I’ve already talked about the fiddly lens ring, but it's possible to control the Sony FDR-AX53 remotely with a smartphone (or tablet) by downloading the Imaging Edge Mobile app. Within a few minutes, I'd paired the camera to my iPhone 15 and could start and stop recording, view the picture, and zoom in and out from a distance. This was perfect for moments when I didn't want to be in a shot and would be just as helpful for being in group shots with the camera on a tripod. Multi Camera Control means you can join several camcorders via Wi-Fi, but I didn’t get a chance to test this feature.

Sony’s XA53 battery lasted me around two hours of 4K recording, plus some menu faffing time on top of that. That’s a lot more than the Canon HF G70 and a great deal longer than the Sony ZV-1 vlogging camera. Once you’re out of power though, charging takes over three hours to get back to full capacity.

The audio quality could be better. The XA53 comes with a built-in 5.1 channel microphone, but this is sadly limited to stereo (2 channels) in 4K. Still, it offered brilliant clarity when I recorded pieces to the camera in a home studio. When filming in a city it picked up ambient noise from multiple directions and could distinguish between vehicles, people talking, and music in the distant background. 

Windy conditions caused a lot of noise disturbance (despite the Auto wind reduction being activated) but that’s not unusual for a built-in mic. I’d suggest adding an external shotgun mic for the best audio, which you can do without spending much extra or weighing yourself down.

If there’s any area of disappointment then it’s undoubtedly autofocus performance. Nine years is a long time in technological terms, and the AX53’s AF system can’t keep up with fast-moving subjects or rapid changes in zoom in the way that its latest AI-powered systems can. I always found myself zooming in and out gradually, rather than all at once, otherwise the camcorder would take a while to refocus properly.

And if you're a videographer or a filmmaker who likes control, you won't get it here. You can only turn off one automatic feature at a time, and all the features you've set manually then revert to full auto. Add that to the lack of customizable buttons, and it's a frustrating experience for more advanced users. 

Sony FDR-AX53: Sample video

Above: sample video show with Sony AX53

I had the Sony FDR-AX53 for several weeks and created dozens of short clips of everyday life (because that's what the camcorder is designed for). I captured footage inside and out, in low light and under LEDs. All the shots were captured handheld, relying on the FDR-AX53's microphone. These clips were shot at the maximum XAVC S 4K output (3840 x 2160 px).

Sony FDR-AX53: Final Verdict

If you're looking for a family-friendly camcorder that's easy enough to be used by most ages and skill levels, the Sony FDR-AX53 is a winner. It's bigger than the most compact of Sony's camcorders, the HDR-CX405, but still portable enough to pop in a bag. It's also very comfortable to carry around, and the built-in stabilization does a good job of keeping your wobbly walking shots steady. What it doesn't give you is the manual control over settings you'll need for professional work and documentaries.

Still, despite having a pro-level mirrorless camera with great video specs, I preferred using the FDR-AX53 for capturing footage on the fly, because of its light, one-handed handling. Although the viewfinder is a bonus in a camera of this price bracket, I preferred having the camcorder at a lower angle and using the monitor for composition and checking the audio.

The FDR-AX53 is also a good choice for film students, who want to create projects on a budget. But it's nothing like Sony's latest vlogging lineup, and although you get Wi-Fi to send clips to your phone, the process is more labored than I'd have liked. Of course, you also can't change the lens, which would be a great limitation if the wide-angle and 20x optical zoom offered didn't cover most scenarios effectively.

The Sony FDR-AX53 is a decent generalist camcorder for everyday clips but the autofocus technology is outdated. You'll notice this when zooming in and out quickly and in high-contrast lighting situations, but unless you expect it to be as zippy as the AI-powered AF on the best Sony cameras, you'll be satisfied.

Alternatives

There’s no denying that 2023 was a strong year for Sony when it came to vlogging and video cameras – and 2024 is gearing up to be no different. So far, Sony is rumored to release five cameras next year including a new FX system, yet another camera for vloggers in the ZV range, successors to the Sony A7S III and A1, and another E-mount video-centric camera. 

That's according to a recent report by Sony Rumors, detailing an effective "roadmap" for the year ahead. 

It’s been four years since the A7S III was released, so out of all the existing video-centric cameras this is the one most overdue an upgrade. But the FX line, featuring the FX3 and FX30, doesn’t seem to leave much demand for the A7S series – unless of course you’re desperate for an electronic viewfinder, and prefer the chunky grip on the A7S. If, however, you’re specifically after a camera for filmmaking and are likely to be using it alongside a cage, gimbal and external monitor or recorder, the FX series will likely be better suited.

In spring 2024 we’ll likely see yet another compact vlogging-focused camera in the form of the ZV-E10 II. This interchangeable camera will appeal to a broad audience including influencers, content creators, and businesses who regularly share video content. Looking towards the end of the year, another E-mount video-focused camera is likely – although we're not expecting a new model in the A6XX range, as Sony seems to be focusing more on its popular line of vlogging cameras. 

It’s also expected that we will see the Sony A1 II before the year is out, as Sony’s current top-of-the-line camera was released three years ago and is due an update. It now has to compete with the likes of the Nikon Z8 and Z9, and the upcoming Canon EOS R1. There was initially speculation it could be released at the end of 2023 but it’s now looking like the end of 2024 is much more likely. 

There is also a very small possibility we might see something completely new, which Sony Rumors speculates could be a new RX1 full-frame compact camera – the first since 2016's RX1R II. While there is demand according to surveys conducted by Sony, it hasn't given any official statement about whether the idea will turn into anything more. But it would be nice to have an alternative to the Leica Q3!

If all (or even some) of these rumors are correct, 2024 is going to be an exciting year for Sony – which seems to be shifting more and more towards video-focussed cameras. 

Take a look at the best Sony cameras, and why not check out the best Sony lenses to make the most of them!

When I was young, before smartphones or mirrorless cameras were invented, camcorders were an essential way to record life's big events. I remember them coming out at weddings, christenings, parties, or when you (I) wanted to demonstrate my directing skills and make a home movie. For serious broadcasters, camcorders were and still are ideal for documentaries and news, as the convenience of an all-in-one device trumps having the best quality.

But to my mind, if you're a prosumer in 2023 – somewhere past a beginner but not quite a professional – having a camcorder feels like an outdated concept. After all, the best hybrid cameras can capture high-end video, the best phone for video recording will be good enough for social media, and the best cinema cameras are there for big-budget productions. 

So do camcorders still have a place? The current lineup from modern manufacturers suggests so – with Panasonic, Canon, and Sony all offering a range of options for enthusiasts. The Canon HF G70 sits at the higher end of these (sold in the Vixia range in the USA, and under the Legria sub-brand in Europe), but it's still a traditional video camera sharing many issues that have made the format fall out of favor.

If you're focused on video, the best camcorder can offer many handling benefits over the best camera for video. Camcorders typically have big built-in zooms, and because their controls, buttons, and overall design are dedicated to video recording, they make it easy to stop and start recording, zoom in and out while filming, and monitor audio levels. 

The Canon HF G70 is aimed at the sort of people who might want to record their favorite sports team, a wedding, or film a documentary for YouTube without swapping lenses or worrying too much about file types and log profiles. Its headline features include a 20x optical zoom, 5-axis image stabilization, and 4K UHD video footage, oversampled from full HD quality. Several years ago these specs would have been more impressive, but mirrorless cameras have advanced so much that they sit fairly average among camcorders at this price.

The HF G70 is Canon's flagship consumer camcorder and is called the Vixia HF G70 in North America or the Legria HF G70 in Europe. It succeeds the HF G60 released in 2019, a model beloved by a niche set of people covering events and sports, thanks to its lightweight build, easy operation, and 15x optical zoom. Canon's camcorder range is much smaller than its mirrorless cameras range, and the enthusiast 4K-capable HF G70 sits under professional models like the Canon XA65, at half the price. But given the specs on paper are very similar, what differentiates the quality, performance, and functionality of these two, and of competitors?

At just over $1,000/£1,000, the Canon HF G70 is almost double the price of rivals like the Sony FDR-AX43, and the same as capable hybrid cameras like the Fujifilm X-S20 – albeit without a lens. In this review, I'll find out who the Canon HF G70 is for, how it differs from my Canon hybrid mirrorless camera, and whether it's the right choice if you're an advanced video creator looking for a modern and capable camcorder.

Canon HF G70: What's changed?

The Canon Vixia/Legria HF G70 replaces the HF G60 that was announced in 2019. Both cameras look similar, but the new iteration gets a larger 3.5-inch LCD monitor over the previous 3-inch touchscreen. Despite this, the camcorder's overall size has been reduced in all three dimensions, and the weight drops from 953g to 740g (body-only) to make it easier to handhold or stow away.

The optical zoom has increased from 15x to 20x, and this is equivalent to a 29.3 - 601mm focal length in 35mm terms, over the previous 25.5-382.5mm. Both camcorders take the same Canon Battery Pack BP-820.

Canon HF G70: Design & Handling

The Canon HF G70 instantly reminds me of the handy cams of the 00s – in my case, the ones my parents used and I borrowed. It has a long body designed to be held with one hand and a soft adjustable strap for your right hand to clasp the body securely. There's also a tripod mount on the bottom of the camera should you want to keep it fixed, or at a desktop setup for streaming.

The larger 3.5-inch touchscreen pulls out from the body, and it can be fully tilted and flipped towards you for recording pieces to camera or vlogs – selfie videos, in other words. I found it responsive to use and could navigate settings while wearing gloves during a snap of cold weather. Being picky, I would have liked the screen to snap into place more securely so that it doesn't get folded back at the slightest bit of pressure. The HF G70 takes two SD memory cards supporting backup and relay recording, and these slots are easily accessed on the left of the body.

The HF G70 comes with a traditional lens cap as well as a hood mount with a built-in lens cap that flaps over. Both are straightforward, and the flap lets you get filming quickly. On the rear, the battery sits just below the 0.36-inch electronic viewfinder - strange if you're used to it being tucked away inside a camera – but it didn't get in the way as I'd expected.

When it comes to connectivity, there's a solo USB-C power port at the rear, which works with a mains adapter or power bank. Unlike some cameras, this means you can power up the camera with the battery attached, and charge while filming. At the front flap, there's a handy second USB-C/Thunderbolt port for connection to a laptop or PC, a mini-HDMI port for TVS – a full HDMI would have been more convenient – a remote control port and separate 3.5mm ports for a microphone and headphones.

Being a camcorder, controls are more sparse than a hybrid mirrorless camera. To the right of the viewfinder, you'll find a raised record button, a menu button, and a joystick to toggle through menus. I have two main grumbles here; the menu button itself was awkward to reach down and press, and I couldn't use the camera one-handed to change settings. When navigating through menus, I had to support the camcorder with my left hand as it rolled away from me otherwise. Up top is a zoom rocker – smooth enough at different pressures – and a small switch to toggle between Auto and Manual focus. A similarly tactile off/camera/media switch top left lets you go from recording to playback mode. This is best done with your left hand, and I did notice a delay when switching between them.

You can assign five (labeled) buttons on the Canon HF G70 with customized functions such as white balance or markers. However, there's only one record button, and as I've already described, it's around the back. This is let down if you're predominantly shooting in front of the camera, as it's almost impossible to reach from that position. The screen itself has two of these customizable buttons, and not being able to set them to record feels like an oversight for handling. Of course, if you're using the camera with a remote, or software to start and stop footage, this won't be so much of an issue.

Canon HF G70: Performance

Overall, I was pleasantly surprised at the quality of the footage straight out of the HF G70, but that's probably more to do with my low expectations of what an amateur camcorder can do rather than it excelling in any given area. The Canon EOS R6 is my main camera for stills and video, and while the quoted stabilization from the HF G70 is on par with that (5-axis IBIS) on paper, the real-world results didn't always match up, as my Canon RF 24-70mm zoom lens has stabilization, too. Still, the stability is a million miles better than the camcorders of old if you're shooting handheld, and I was able to wander around a Christmas market at night and still take some usable footage. Dynamic stabilization allowed fairly sharp walking shots, but I'd recommend a gimbal for professional applications like reportage or wedding videos.

In terms of subjective picture quality, the footage was noticeably muddy at night, which is to be expected given the sensor size. It's worth bearing in mind that you only get the option to shoot in an MP4 file format, with a maximum resolution of 3840 x 2160 (and 25P), and it's the same for stills, only with JPG format, no RAW – making the editing of both mediums very limited. Without Canon Log you won't be able to color-match as easily with other cameras, although the custom picture menu does allow you to tailor in settings slightly. You also have to drop the resolution to 1920 x 1080 to get 50P, which limits the quality further.

As someone used to mirrorless video, at first I missed the ability to change lenses with the HF G70. However, there's no denying that the camcorder's 20x optical zoom has huge reach and versatility, especially if you're a videographer wanting catch-all coverage without any faff. I think that's the main benefit of buying it over a mirrorless or even smartphone, and the zoom motion is relatively smooth across the range – with the High Speed and Soft Zoom options working well when you want to vary the rate of focus transition for different applications. Despite Canon's claims of cinema-style bokeh with the 8-blade aperture, it wasn't as pronounced as I'd have liked.

Speaking of the Hybrid autofocus, the minimum focus distance is just 1cm at the widest end of the zoom, and 60 cm across the entire zoom range, which I found helpful for close-ups and detailed B-roll footage. It's nice to be able to focus manually using a ring on the lens, with tactile grooves aiding smooth movements. I often used the touchscreen for AF point selection, but face detection was also very usable, looking on 90% of the time for vlogs – albeit without the lightning-face eye-detection precision I'd get from Canon's mirrorless cameras. In busy street scenes or high-contrast lighting, the camera lens hunted in a way I haven't seen since using a DSLR – but when locked onto a target, it kept up admirably. It also lacked the precision to find smaller subjects; I couldn't focus on a robin at around 10x zoom, no matter how many times I tapped on the subject on the screen. For sports, the camera's autofocus will keep up at a wide angle, but you can't track the movements of fast players accurately across a football pitch, for example. 

On the Canon HF G70, you get several exposure modes to choose from; center-weighted average metering and Auto, the usual P, Av, and Tv, as well as Portrait, Sports, Low Light, and IR modes. I didn't test out these niche modes like Snow or Beach (I didn't get the opportunity, sadly) but center-weighted metering was good, with a slight tendency to overexpose in sunlight – nothing that exposure compensation or the built-in ND filters couldn't fix.

I focused more on visuals than audio during my time with the HF G70, but the stereo condenser mic did an okay job of picking up vocals and ambient sound. Although background noise was an issue If I was going to use this camcorder for paid work, I'd plonk one of the best shotgun mics on top for a better outcome.

The HF G70 ships with the Canon BP-820, but an optional (slightly bigger) BP-828 is also available separately. When recording video in UHD/25p, Canon quotes the typical battery life at around 95 minutes. Given that an hour's recording (in cold weather) saw a drop off in power by about three-quarters, I'd say this was fairly accurate. You'll want a few spares if you're planning to be out all day, but if you're shooting videos at home, rigging the camera up to a USB-C for charging means you can film as long as you want to without ever thinking about running out of juice. I've not come across a mirrorless camera with two separate USB-C ports – for charging and connecting to a computer – and this is something I'd like to see more often.

The HF G70's form factor made it incredibly easy to get run and gun footage in a city. But it's worth saying that with this camcorder, I felt much more conspicuous filming in public than I would have done with my iPhone or even with a bulky mirrorless camera. You stand out with a camcorder, even one as compact as the Canon HF G70, and that's something to bear in mind if you're after subtle footage, or you don't enjoy being looked at. If you're just going to be in your home office or studio filming video diaries, that's not a problem.

Canon HF G70: Sample video

Over a few weeks, I carried the Canon HF G70 in my bag (because it's small enough to fit in a satchel) and created dozens of clips in a range of scenarios. I shot footage indoors and outdoors in low light, outside in bright light, and under artificial LED lights while the camcorder was rigged up to my iMac – to replicate the type of setup you might have as a vlogger or YouTuber. All of these shots are handheld, using the HF G70's built-in microphone. The loud noise coming from some clips is the result of shooting near a weir.

Canon HF G70: Final Verdict

The Canon HF G70 is the right choice if you want a good-quality video camera that's easy to use straight out of the box. I can see it being popular with wedding photographers who use a DSLR or advanced mirrorless for the stills side of the day but want a dedicated camera for video only. The controls aren't perfect, but the five assignable buttons do add a decent level of customization.

Given the lack of Wi-Fi connectivity, I can't see the HF G70's interesting content creators. And as there's no serious waterproofing, it's not a great fit for outdoor filmmakers either. If you're serious about video production, hybrids like the Panasonic Lumix S5 offer interchangeable lenses, greater durability, and a myriad of different filming formats. And they also serve as excellent stills cameras, which the HF G70 isn't designed for.

The Canon HF G70 is ideal for people who want a camcorder around the $1k/£1k mark, but I still find it hard to recommend. And that's purely because Canon's enthusiast EOS R mirrorless models are so good at video and stills. Even so, the HF G70 will appeal to a lot of people – people like my parents – who are familiar with the way that a camcorder works and handles, and don't want or need extra video modes, codecs, or formats for intense editing.

Alternatives

Looking for the best camera for music videos? Let me help you out! Video is an absolutely essential promotional tool for musicians in the modern information ecosystem, especially now that many of the platforms people use to discover music are video-based.

If you want your music video content to stand out – whether you're thinking of recording live performance in high quality or producing a full accompanying video where performers mime to a track – these are the cameras that will get it done.

I’ve aimed to give you a broad spectrum of the best options. This is a mix of different types of cameras, each of which suits a slightly different purpose, and I've made sure to include options for a range of budgets.

I’ve drawn on both my own experience and that of DCW’s expert review team to make my picks. For more general options, you can also check out our guide to the best cameras for videography.

The quick list

The best camera for music videos

Best overall

I think Sony's ZV-E10 II is probably the most well-balanced vlogging camera you can buy right now, and it's got a brilliant feature-set that's perfect for music videos. Sony has done well here to keep his camera at a three-figure price while also fixing a few of the niggles and frustrations that came with the first ZV-E10 – and while a compact like the PowerShot V1 (my third pick) may be easier to use, the versatility afforded by a mirrorless camera like the ZV-E10 II makes it the superior choice in my book.

Let's get the obvious out of the way – this camera shoots fantastic video. It inherits the sensor-processor combo of the cinema-focused Sony FX30, producing glorious uncropped 4K 30p footage, and 4K 60p with a very minor 1.1x crop. You can also use the Cinematic Vlog mode to automatically take advantage of Sony's S-Cinetone grading to produce dynamic, great-looking footage straight out of camera. Of course, if you prefer, there's also the option to shoot in S-Log with 10-bit color and handle the grade yourself.

Autofocus has also been improved, however something that Gareth really welcomed in our review was the new battery; the ZV-E10 II uses Sony's NP-FZ100 battery, which delivers terrific longevity and greatly lessens the risk of losing power mid-shoot (though of course, always pack a spare).

I think in terms of a balance between performance, versatility, ease of use and price, the Sony ZV-E10 II is your best bet for shooting music videos right now. Its video quality is sound, it's relatively affordable, and having access to Sony's E-mount gives you loads of cheap lens options.

See our full Sony ZV-E10 II review

Best full-frame

Nikon has already made plenty of great cameras for video-makers, however its acquisition of cinema giants Red has sent its video offering to the next level. The Nikon ZR is a superb full-frame filmmaker's camera; its incorporation of Red Color Science and ability to record 12-bit Raw video in an all-new R3D NE (Nikon Edition) format provides a huge amount of flexibility for colour-grading your footage. And if you don't want to get into the nitty-gritty of RAW video, the camera also includes a number of Red Picture Controls that apply stunning cinematic looks in-camera.

As part of our review, Adam already tried his hand at music video production with the Nikon ZR – click through below to see some of the scintillating drumming footage he shot with it. If you're recording live music, the Nikon ZR's 32-bit float audio is a genuine game-changer, enabling a vast range of sound levels to be recorded faithfully and crisply. The ZR has three built-in mics to facilitate spatial audio recording, or you can attach an external mic – Adam used Nikon's ME-D10 digital shotgun microphone to record his drumming video.

With a 4-inch screen that's bright enough to be used in full daylight, and no viewfinder, the Nikon ZR is built wholly for video. And then there's that price – my word. At $2,199 / £2,199 / AU$3,499, the Nikon ZR significantly undercuts pretty much any comparable cinema camera you could name, and is a fantastic choice for producing professional-looking music videos for this reason.

See our full Nikon ZR review

Best compact

I was really impressed by what Canon achieved with the PowerShot V1. Released in 2025, it's the newest camera on my list, and if you're our looking for an all-in-one compact to use for music videos, it's far and away the best one. Specifically optimised for video, it features a 1.4-inch sensor that's larger than the 1-inch sensor used on many comparable compacts (though not as big as the ZV-E10's APS-C sensor).

In our full review, James found the PowerShot V1 to be a brilliant performer at just about everything you'd need for music videos. Its autofocus is fast and accurate, benefiting from subject-detection to lock quickly onto subjects. The video itself looks excellent, with punchy colours and impressive dynamic range, and the built-in fan lets you keep shooting for longer. The built-in audio recording is also a cut above the average, and there's a 3.5mm mic jack if you want to improve it further.

Disadvantages? Well, while the 16-50mm lens covers the main focal length spectrum you're likely to use for video, you are still limited to this focal range. You won't be able to get super-creative with a fisheye, telephoto or other type of specialised lens, the way you can with a mirrorless camera like the ZV-E10. For that reason, it's not my top pick – but it's a brilliant performer nonetheless, and well worth considering for music videos.

See our full Canon PowerShot V1 review

Best for live audio

As I mentioned up top, recording a music video isn’t always about filming someone miming to a track. Sometimes you’ll want to record live music performance in all its glory, and a terrific choice for that is the Zoom Q2N-4K. With a comprehensive built-in stereo microphone setup, the Zoom Q2N-4K is capable of capturing crisp and accurate sound from all sorts of different instruments, from drums to saxophones.

Video-wise, it produces decent-looking 4K and comes with a variety of preset ‘scene’ modes such as ‘Jazz Club’ and ‘Concert Light’ to help you get the right look for the right situation. It’s not meant for run-and-gun shooting – with no stabilization or much of a handgrip to speak of, it’s a camera best-suited to being set up and left.

As Lauren found in our review, it's a pretty specialised camera, and it's difficult to imagine many situations outside of specifically recording live music in which it would be particularly useful. Also worth noting is that in our testing, it chewed through AA batteries like nobody's business – so it's worth packing a few spares for a long gig, and being prepared to quickly change over between songs if necessary.

See our full Zoom Q2N-4K review

Best action camera

An action camera can be a great way to shoot a music video. The diminutive form factor and effective stabilization makes it easy to get POV footage and run-and-gun shots, while the waterproof/shockproof build lets you take a few risks.

This may be a predictable answer, but I have to say that the best action camera to use for music videos is the GoPro HERO13 Black. With its 8:7-format sensor, it allows you to shoot footage that can easily be cropped to different aspect ratios, including mobile-friendly 9:16 – again, this is a real time-saver for producing promotional content that's going to have to go out on multiple platforms at once.

In our review, Gareth loved the sheer wealth of video recording options offered by the Hero 13 Black. This is not just in terms of pixels, codecs and frame-rates, but also the more radical transformations offered by the new attachable HB-series lenses. While these do, of course, cost extra, so does any lens, and they lend the Hero 13 Black a truly impressive versatility unmatched by any other action camera on the market. This is what cements it as my pick for music videos, as it means you're not locked into that familiar fishbowl action-camera perspective.

See our full GoPro HERO13 Black review

Best gimbal camera

For solo and run 'n' gun videographers, a stabilising gimbal is an essential accessory – however, buying both a camera and a gimbal is an expensive proposition. So, an effective way to thread the needle and save some cash is the DJI Osmo Pocket 4, the latest in DJI's phenomenally popular series of handheld gimbal cameras. If you've ever seen a gathering of YouTubers in a single room, you will have seen several Osmo Pocket cameras.

This superbly effective stabilisation makes the Osmo Pocket 4 an effective choice for music videos. Thanks to the intelligent ActiveTrack system, it can also intelligently follow a subject while you're moving, making it easier to keep the frame centred on your star. Also, as we've already discussed, nowadays content creators need to be able to produce content in a vertical aspect ratio as well as horizontal. The Osmo Pocket 4, and its rotating screen, making it easy to switch from horizontal to vertical orientations.

While there are many gimbal cameras on the market, DJI's offering is still the best, and is a fantastic choice for making dynamic music videos that are full of movement and character. One thing to note, however, is that due to ongoing trade disputes, DJI products are not currently available in the US – but you are still able to buy the similar, and cheaper, older model, the Osmo Pocket 3.

See our full DJI Osmo Pocket 4 review

How to choose the best camera for music videos

A good music video camera needs to capture great-looking video – that’s a given. But it also needs the ergonomics to be easy to use in creative ways, allowing you the freedom to shoot from unusual angles. A fully articulating screen can be helpful there.

Optical stabilization is also highly useful, as music videos often include a lot of dynamic camera movement. Also, while music videos will of course generally have a track laid over the top, it’s not uncommon for diegetic sound elements to be incorporated too, so a mic input is handy – and if you're also going to be filming live music, 'handy' can be upgraded to 'essential'.

These days, you’ll likely also need cut together a version of your video (or at least clips) into vertical orientation for mobile viewing on TikTok or Reels. A camera that can shoot using the full breadth of its sensor will make your life much easier when you’re cropping footage into this different aspect ratio, and others.

How we test cameras

When our reviewers test cameras, there are two key areas of assessment – our imaging lab, and real-world testing. We'll come onto our lab tests in a moment, but we believe it's hugely important for cameras to be tested in the scenarios that real users are likely to put them in. For video-focused cameras such as these, that means assessing the quality of the video the cameras produce in a range of real-world settings, indoor and outdoor. We look at the quality of the footage and audio captured, assess how the camera feels to use, and measure how easy it is to produce a finished, polished video from the raw footage the camera has created.

In the lab, we put mirrorless and DSLR cameras through a series of scientifically controlled tests designed to get the most accurate picture (no pun intended) possible of what they can do. We use two key assessment tools – Imatest Master and DxO Analyzer – to look at the following:

1. Resolution (ISO-12233): We use a resolution chart based on ISO-12233 from Applied Image inc to indicate the limit of the camera’s vertical resolution at the centre of the frame. The higher the value, the better the detail resolution.

2. Dynamic range (DxO Analyzer): This is a measure of a camera’s ability to capture detail in the highlights and shadows. We use DxO’s transmissive chart, which enables us to test a dynamic range of 13.3 stops.

3. Noise (DxO Analyzer): We use the dynamic range transmissive chart to analyze the signal-to-noise ratio for RAW and JPG files at every sensitivity setting using DxO Analyzer. A higher value means the signal is cleaner.

FAQs

• Lenses. If you've chosen an interchangeable-lens camera, then you'll need at least one lens, and if you're after lots of different types of shots then you may need more than one. If you're not sure where to start, a good catch-all lens for video is a 24-70mm.
• Lighting. Being able to control the shape, quality and intensity of the light is a hugely important part of making your videos look and feel professional. For music videos, you'll want something portable and quick to set up – check out our guide to the best LED panels.
• Gimbal / stabiliser. For introducing motion into your shots, a gimbal is a must. In-camera stabilisation is useful, but in most cases, it's not the same. See our rundown of the best gimbals.
• Batteries / memory cards. Oft-forgotten, but essential. You can't afford to have your shoot day cut short by a dead battery or a full card. Bring spares. Lots of spares. More than you think you'll need.

Read more:

The best camera for filmmaking

The best camera for streaming

The best lenses for concert photography

With one of the best budget vlogging cameras, you can produce footage that looks and feels professional without incurring the huge cost of a proper video setup. Producing video for YouTube, TikTok or similar platforms really doesn't have to be expensive – I've pulled together this guide to help you find a great budget camera that meets your needs.

Everything on this list have been fully tested and reviewed by our team. There are many 'budget' cameras out there that aren't worth even their meagre price tags, and the cameras on this list are ones that we know are going to deliver the goods, even at a lower price point. There's a real mix here, from mirrorless cameras and compacts to 360-degree cameras and some more unusual vlogging cameras.

You can scroll to the bottom of this page to see the criteria I used to select this list, and throughout you can click through each entry to our full reviews, where you’ll also find sample footage taken with every camera. If you have a bit more budget, see also our guides to the best cameras for filmmaking and the best cameras for vlogging.

The Quick List

The best budget vlogging cameras 

Best all-round budget vlogging camera

A compact camera can be a great choice for the budget-conscious vlogger. There’s no need to spend extra money on lenses — you’ve got everything you need from the moment you open the box. The best vlogging compact you can buy right now is the Canon PowerShot V1. With its 1.4-inch sensor, it has an immediate image quality advantage over most compacts, which tend to use 1-inch sensors, and its raft of vlogging-focused features make it a capable all-rounder that’s going to get the job done in the vast majority of vlogging situations. There are cheaper options on this list, but if your budget stretches to the V1 (which, let’s keep perspective, is much more affordable than a cine camera or full-frame mirrorless) then I’d say it’s worth it.

With a 16-50mm zoom (17-52mm when shooting 4K 30p in 16:9) covers pretty much exactly the range you’re going to be using in vlogging, allowing you to cram loads into the frame at the wide end, and zoom in on details at the long end. A built-in fan ensures that recording sessions don’t get curtailed by overheating — James tried to overheat the thing in bright blazing sunshine, and couldn’t — and the autofocus is reliably sticky, locking onto eyes and faces in exactly the way you want it to.

Extra features like image stabilisation, built in ND filters and an attachable wind muffler for the microphones all add up to a camera that can handle the majority of situations you’re likely to throw at it. The 4K video looks great, coming with a crop when shooting in 60p, but the oversampling that’s enabled by the larger sensor makes a hell of a difference to the quality. It's just a brilliant vlogging toolbox, giving you everything you need to produce great, slick-looking video.

Read our full Canon PowerShot V1 review for more.

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Best budget vlogging camera for beginners

The original EOS R50 is a great little camera for photographers who want a slimmed-down and affordable version of the high-end professional cameras in the EOS R series. The EOS R50 V essentially does the same thing but for video shooters, redesigning the body to be a bit more video-friendly and packing in a few features borrowed from Canon’s EOS Cinema range. The result is one of the best kinds of cameras for beginners – the kind that gives you room to grow.

With a big unmissable red ‘record’ button non the front, and a tally lamp to make it clear when it’s recording, the EOS R50 V feels a lot more like a proper video camera than the rest of the smaller-sensor EOS R family. It ditches the viewfinder to keep the body as small as possible, and without a lens, it can practically fit in a pocket.

While the EOS R50 V is fairly easily to use straight out of the gate, once you’re confident with the basics, you can start diving into more advanced features like Look Files, timecode, zebras, false color, log profiles and more. Its 4K footage looks great (it’s oversampled from 6K) and the Dual Pixel CMOS II autofocus has proved brilliantly reliable in our testings, locking onto human, animal and vehicle subjects alike with impressive tenacity.

The lack of in-body stabilization is a shame – I’d say the most essential next purchase after you’ve got your EOS R50 V and a lens is a gimbal. When APS-C rivals from specialists like Fujifilm all offer this feature, it does feel like something's missing. Otherwise though, I think this is some of the best value for money beginner vloggers can get right now.

Read our full Canon EOS R50 review

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Best budget vlogging camera with 6K

It used to be the case that high-resolution 6.2K video was something you'd only be likely to see in professional or advanced enthusiast cameras. However, the pocketable new Fujifilm X-M5 turns that on its head, boasting not just 6.2K, but open-gate 6.2K, meaning it uses the full width of its sensor to capture the image.

This is pretty significant and should put the X-M5 high on any budget vlogger's list of considerations. While you generally won't actually need to produce 6.2K content very often, if ever, the extra level of flexibility this provides for cropping into your footage makes you much more versatile and gives more latitude in the edit.

The X-M5 is very clearly tilted towards vloggers – it has a dedicated vlogging menu, and also makes it easy to capture footage in a range of aspect ratios – perfect if you need to post content on different social platforms like TikTok and YouTube. As a Fujifilm X camera, the X-M5 has access to a stable of truly excellent lenses – though there are fewer cheap options in the X-mount stable than in other brands', it must be said.

The camera is so pocketable that those with large hands may even find it a bit fiddly. But for many vloggers, particularly those who want portability without compromising on quality, it's likely going to find itself very welcome indeed. It earned the full five stars in our review, not just for being a technically proficient vlogging camera, but also for being just downright fun to use.

Read more: Fujifilm X-M5 review

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Best 360°

Depending on what kind of vlogging you plan to do, a 360° camera might actually be your best bet – even if you don't plan to make 360° content. As the name implies, 360° cameras capture everything around them, with two back-to-back fisheye lenses. In the edit, you can then pick out a slice of this huge area and export it as a standard 'flat' video in a regular aspect ratio. This way, you don't have to worry about framing in the moment – you simply record everything, and frame later.

The flexibility of the 360° footage means you can also simulate camera movements, instructing your editing software to slowly pan from one area of the footage to another, for instance. Insta360 produces a selection of great cameras in this mold, but one of the best for users on a budget is the Insta360 X4 Air.

Even though it's slimmed down compared to the flagships, the Insta360 X4 Air still produces great-looking 8K footage. It's not the best in low light, as Adam noted in our review, but if you do most of your recording during the day, you'll find it to be a responsive and good-quality vlogging camera. 360° footage takes a little more time and effort to process, but Insta360's software is very streamlined – and it can take a lot of the stress and hassle out of the shoot.

Read our full Insta360 X4 Air review

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Best for travel

This palm-sized release from Canon is a clever little camera specifically designed for vlogging. You may notice that it doesn't look all that much like a regular camera, and that's because it's not. It's built to be held in the palm and pointed towards the user, allowing them to easily see themselves on the screen while recording themselves one-handed. You know, the way vloggers do!

The focal length of the fixed lens – 18mm for stills, 19mm for video – is pitch-perfect, giving you a nice wide field of view for getting yourself in the frame, whether you're holding the camera or propping it on a table. And there's no need for a tripod if you're doing the latter, as the clever design of the PowerShot V10 means it can be entirely freestanding.

In terms of video quality, James was impressed by the V10 in our full review. Its Full Auto mode generally does well, choosing sensible settings for balanced exposures. The 4K and Full HD quality is perfectly fine, and sound quality from the built-in mics also impresses, even without attaching the optional wind mufflers (sadly sold separately).

If you want a snappy, responsive vlogging camera that's inexpensive and can be taken with you everywhere – the Canon PowerShot V10 is an excellent choice. Its form factor is actually designed for the needs of vloggers, and it's one of the easiest cameras to just pick up, use, and get great results.

Read our full Canon PowerShot V10 review

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Best vlogging camera for lens choice

The Sony ZV-E10 II is designed as an upgraded vlogging camera with enhanced features for video content creators. It shares the same sensor and processor as the Sony a6700, ensuring high-quality images, but its primary focus is on video rather than photography.

The camera offers impressive video capabilities, including 4K30p without cropping and 4K60p with only a minimal 1.1x crop, making it versatile for vloggers. Notable features include the "Cinematic Vlog" mode, utilizing Sony’s S-Cinetone for outstanding footage straight from the camera, and the option to record in S-Log with 10-bit color for flexible post-production editing.

Additionally, the product showcase focus feature provides seamless autofocus between the subject and background, which is beneficial for vloggers showcasing products.

While it lacks 4K120p, this isn't a significant drawback considering its price point. It's worth noting that extended 4K recording may cause overheating, so it's more suitable for shorter video sessions.

Overall, the ZV-E10 II is an excellent option for vloggers seeking a compact, feature-rich camera at an affordable price.

Read more: Sony ZV-E10 II review

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Best value vlogging camera

This baby Lumix is remarkably powerful and extremely good value for money. Unlike many rival budget vlogging cameras, this one has a viewfinder and a very good one at that. The Lumix G100D also has access to a wide range of Micro Four Thirds format lenses from Panasonic, Olympus, Laowa, and others, and these lenses are typically a little bit cheaper and lighter than those of other systems.

New vloggers will enjoy the simplicity of the Lumix G100D. It makes it easy to capture high-quality video and stills with its approachable button layout. Even people uninterested in the technicalities of capturing great-looking videos will be able to get results with this camera.

There are just a couple of downsides that stop the Lumix G100D from taking the top spot. First, Panasonic's DFD autofocus system is just not quite as smooth as the hybrid systems from other makers; second, if you shoot in 4K it does come with a crop factor that reduces the angle of view.

See our full Panasonic G100D review

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Best fixed lens budget vlogging camera

If you're after a vlogging camera but don't want to faff with investing in lenses, the fixed-lens Sony ZV-1F might just be the answer. While a fixed lens camera can be limiting it can also take away a lot of financial stress and you won't feel like you have to constantly invest or change lenses - instead, you learn to adapt and shoot with what you've got. It's aimed at an amateur vlogger who wants to have a dedicated camera for content creation instead of just relying on a phone.

It does have the edge when it comes to 4K video footage, even if the quality of the stills lets it down a bit. It's perfect for run-and-gun scenarios as you can set it up and start shooting quickly and it's so easy to use you can pass it among friends to make sure everyone has some airtime.

Sure this camera doesn't have some of the bells and whistles of other mirrorless cameras but if you're after high-quality 4K video for social media wrapped up in a pocket-sized compact camera, you'll be hard-pushed to beat the price of the ZV-1F.

Read our full Sony ZV-1F review

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Best cheap gimbal camera for vlogging

Since a gimbal is such an essential part of a serious vlogger's setup, it can make cost-effective sense to get a gimbal camera, which provides built-in 3-axis optical stabiliser that enables super-smooth footage to be captured even while the camera operator is moving. The ur-example is definitely the DJI Osmo Pocket 3, but if it's out of your budget, this affordable option from Feiyu may be of interest.

Indeed, even if it weren't obvious from the looks, the name 'Feiyu Pocket 3' makes it extremely unsubtle what product this camera is aping. Still, it does bring some originality to the table, not just in its price tag which is half that of the DJI version, but also in its detachable head that can be used completely separately from the handle, with a smartphone standing in for the screen via wireless connection.

Of course, compromises have to be made for a cheaper camera, and the Feiyu Pocket has more pixels crammed onto a smaller sensor than the DJI Osmo Pocket 3, and this does have an impact on video quality, particularly in low light. In our testing, Dan found that the footage was perfectly fine in good light, but lacked the dynamic pop you get iht the Osmo Pocket 3.

Still, the slow-motion works well, and one feature that really impressed in Dan's testing was the battery life – this thing lasts and lasts, and you can comfortably get a good day's shooting out of it.

Read more: Feiyu Pocket 3 review

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How to choose the best budget vlogging cameras

Here are the key factors to look for when choosing a budget vlogging camera.

4K video:
Even though most YouTube videos and other online/social content are still shared at Full HD resolution, 4K is still the new baseline for video capture. Even if you aren't always producing content in 4K, having the ability to shoot it can be enormously helpful, as you can losslessly crop in to tweak your shot composition. The higher resolution will also help futureproof the content you create.

Interchangeable lenses:
Almost all of the cameras on our list are mirrorless camera models that take interchangeable lenses. You can get some good compact vlogging cameras too, but we think the larger sensors and swappable optics of mirrorless cameras are key. Our one exception is the recently-released Canon PowerShot V1 which has been specifically designed with vloggers in mind.

Vari-angle screen:
Vloggers typically need to be in front of the camera as well as behind it, so a camera with a screen that can flip forwards to face the front is a must.

Mic socket:
Even if you're still only starting out, you'll need to think about using an external microphone at some point, so look out for cameras with microphone sockets, otherwise you're a bit stuck.

How we test the best budget vlogging cameras

How we test cameras is by using them in both real-world shooting scenarios and carefully controlled lab conditions.

For budget vlogging cameras, we test things such as how well the image stabilization works when we are shooting on the move, how fast and accurate the autofocus is, whether it can track human and animal eyes and faces, and how easy it is to color grade the video afterward when shooting in V-Log for example.

Shooting in real-life environments, we make short films and clips that put the camera's features through their paces. We also measure a camera's proficiency against its price – does it offer vloggers genuine value for money, or can you spend less elsewhere to get better functionality and video quality?

Compare prices

The new Canon PowerShot V10 is a bit of an odd sort of camera that’s no larger than a cigarette packet, has a fixed focal length 18mm/19mm equivalent lens and a flip-up/fold-back screen for filming a subject in the normal way or filming yourself.

It has a 1-inch sensor, so should be a useful step up from smartphone quality, yet costs only half as much as the best camera phones out there right now. The controls are pretty simplistic, and the only zooming is digital, but it’s designed for simple vlogging use – and that’s the point. It has actually been designed for this. It’s not an adaptation of an existing camera.

Which is where I find the also-new Sony ZV-1 II a bit of a disappointment. It’s essentially a refresh of the earlier Sony ZV-1 with a wider lens for easier selfie vlogging. We liked the original ZV-1, but it was itself clearly a light reskin of Sony’s existing RX100 cameras – and now Sony has reskinned the reskin.

If you want the best camera for vlogging, the Sony ZV-1 II appears the best on paper. But whatever the Canon's technical limitations, if you put the PowerShot V10 side by side with the ZV-1 II, the difference in the design effort is obvious. Canon has made a new camera, Sony has refreshed an old one. And, to be honest, it’s getting increasingly difficult to tell the difference between Sony’s multitude of vlogging cameras, many of which share the same core technologies and designs.

How many physically similar RX100 cameras were there (seven, we counted) and these have spawned three equally similar ZV-1 cameras. The only things to change have been the viewfinder (dropped from the ZV-1 series) and the lenses (two for the RX100 series and a choice of three for the ZV-1, ZV-1F and ZV-1 II).

Let’s not even start on its big brother, the ZV-E1, which gets much of its tech from the A7S I, II and III which also spawned the FX-3 and to a degree the FX6. And then there’s the ZV-E10 which is essentially an A6000-series camera with a flip-out screen and no viewfinder.

When is Sony going to design a new camera? New as in physically and technically new, not new as in market segmentation?

Canon has also been guilty of recycling camera designs plenty in the past, but at least the PowerShot V10 is genuinely new. It’s also very distinctive, with a simple but effective design that you ‘get’ straight away. It's not going to be one of the best cameras for video from a technical standpoint, but as a piece of design it seems to me a really refreshing departure.

Or am I the only one who thinks camera design has stagnated?

That saying, “you can’t have your cake and eat it”, well it’s that. There are so many parameters in mirrorless camera video settings that it can quickly become overwhelming. Worse, you can only have some of them at the same time.

It’s fine with camera phones because you get just a handful of choices between resolutions and frame rates and – if you’re lucky – ‘pro’ formats like ProRes video on the best iPhones. 

But in the world of mirrorless movie-making, you confront a labyrinth of lingo, a torrent of technicalities, an avalanche of acronyms (enough already – ed). It's becoming a nightmare.

You would expect the best cinema cameras to be complex beasts that only experts would understand, but just as this cinema tech is filtering down to mirrorless cameras, so is the jargon. The best 4K cameras for filmmaking can be as complex to set up as a cinema camera, but they're being made available to an audience that just doesn't have that kind of background.

Why has mirrorless video got so complicated?

Here are three reasons:

1. Camera processing power is finite: all the video features and capabilities added by makers as they push forward the frontiers of video tech take their own slice of this finite processing power. Any feature you choose is typically at the cost of another.

2. Mirrorless cameras have too many megapixels: 4K video (for example) really only needs a 12MP sensor, so the extra pixels in a 24MP or a 40MP camera are a processing overhead that has to be managed in some way.

3. Everyone wants ‘pro’ features: it’s always been this way in the world of digital cameras but it often means that cameras get headline features they’re not well equipped to deliver, or at least not in combination with all the other video settings you’ll want.

Video settings, jargon and compromises

Here are some of the concessions and compromises you typically have to work around: 

• Resolution vs frame rate: You can choose the camera’s highest resolution or its fastest frame rate, but you can’t have both. For example, a camera might be able to shoot 4K video but only at 30p (30 frames per second). If you want a faster frame rate, e.g. for slow motion, you might have to drop to full HD resolution. This is an ongoing balancing act likely to be with us forever.

• Pixel-binning vs line-skipping vs oversampling: Sensors having too many megapixels is a genuine problem. If you want full-width video with no frame cropping, the camera has to work out what to do with the ‘spare’ pixels. It can combine them with ‘pixel binning’ or dump them with ‘line-skipping’, both of which have an impact on the clarity of fine detail. Or it can ‘oversample’ all the pixels and then downsample them to 4K for the best detail rendition – but that’s another big processing overhead.

• Full-width vs crop: Oversampling is not always possible. There’s an upper limit to how much extra data you can oversample. Many cameras solve this by switching to a ‘crop’ mode – for example a Super35 crop for full frame cameras. This means the camera has a more manageable resolution to work with, but it changes the effective focal length of all your lenses.

• 4:2:0 vs 4:2:2: These numbers describe the compression used for color data in video signals. 4:2:0 is a kind of baseline acceptable value, but 4:2:2 is better. 4:2:2 capture is often used as a selling point and may improve image quality if you do a lot of color grading later.

• 8-bit vs 10-bit vs raw: Getting the best quality video with finite camera processing power and manageable file sizes is a struggle. Raw video is the ideal (just as raw files are for photography) but the files are huge, the processing power required is enormous and only a small handful of cameras are capable of capturing raw video internally. 8-bit video is the baseline norm (just like JPEGs in photography), but 10-bit capture is better if you plan on doing much color grading later.

• Logs vs LUTs vs profiles: Color grading has a lot to answer for because it’s added a new layer of complexity to video options. Log profiles are one example. These record very ‘flat’ video that captures a much wider range of tones and colors but needs editing later to bring out the colors you want. This can be done quickly enough with ‘profiles’ or you can use custom cinematic LUTs to produce a particular ‘look’. Essentially Log profiles are second-best to raw video, offering much of the flexibility without the processing overheads and file sizes.

• Long GOP vs All-Intra: If you get this far, you’re in pretty deep. Video compression is essential to make video files manageable, and this is another form of compression. Long GOP (Group Of Pictures) is a standard, pretty aggressive form of compression that only records ‘key frames’ in their entirety, and the in-between frames just contain difference information or ‘predictive’ frames. It’s clever but messy and doesn’t always respond well later if you want too create a freeze-frame effect or do any fancy speed changes (speed ramping). All-Intra compression records whole frames. It’s better for editing and overall quality but – you guessed it – needs more power and produces bigger files.

How to prioritize your video settings

These permutations and restrictions are bad enough for pros to navigate, but are very daunting indeed for relative novices. So here’s a two-step checklist that you might find helpful.

1. Decide on your frame rate and resolution. If you want 4K video this may restrict your slow-motion options, but if you’re not shooting slow-mo that’s not a problem. If you do want to mix a lot of different frame rates, consider shooting in Full HD instead – this will give you a lot more slow-mo/speed variations. Don’t write off Full HD video. It’s crisp and sharp and easier to share, manage and play back.

2. Straight from camera footage? Using video straight from the camera is SO MUCH SIMPLER. You lose out on the extended dynamic range of Log profiles and raw video, but if you can get the look you want without grading, you can forget much of the complexity around video settings. Basic 8-bit 4:2:0 might not be good for grading, but if it’s not edited much it looks fine.

3. Colour grading for movie productions? This is where it gets complicated because you have to maximize the quality of the footage you capture to make it more resilient when editing. This is when 4:2:2 10-bit video is better than 4:2:0 8-bit, where Log profiles really come into their own and where raw capture (usually to an external recorder) may start to make sense.

Do you need pro video features?

Maybe yes, maybe no. If you are working on professional video productions, or expect to be in the future, where your video will be edited, color matched and color graded either by you or a team, then all the features and jargon above will become important.

But not everyone works on productions like these. If you’re a YouTuber, an influencer or just an amateur filmmaker, the value of your work lies at least as much in how it’s shot, not how it’s graded, and the jargon, complexity and trade-offs of ‘pro’ mirrorless cameras is just going to get in the way. The best cameras for YouTube or the best cameras for vlogging are not necessarily the most technologically sophisticated. On the contrary, it's simplicity and effectiveness that's the key.

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Canon has launched four professional camcorders – the XA65, XA60, XA75, and XA70 alongside a new prosumer camcorder, the Vixia HF G70 camcorder (called the Legria G70 in Europe). The new camcorders are suited to a wide range of uses, including documentaries, corporate events, or education. 

The best camcorders are the perfect all-in-one video cameras for many workflows, from professional studios to solo filmmakers. Capable of capturing 4K quality content and HD UVC Streaming via USB-C, with advanced autofocus and face detection functionality, these new Canon all models offer professional performance. All five camcorders allow MP4 recording, while the four pro camcorders feature XF-AVC recording to support broadcast applications.

These new models are all powered by a Digic DV6 image processor and have the 1/2.3” type CMOS sensor and 1.0-inch Type CMOS sensor respectively. The XA65/XA60 and XA75/XA70 are capable of shooting 4K UHD and Full HD images using oversampling for superior HD quality, making them perfect for a wide range of shooting scenarios. 

When coupled with Canon’s intelligent optical design, these camcorders offer impressive zoom functionality in a lightweight body, achieving a 35mm equivalent focal length, the XA65 and XA60 offer 20x optical zoom, and the XA75 and XA70 a 15x zoom. 

All professional models also support 40x digital zoom, which extends to 800x in the XA65 and XA60, and 600x in the XA75 and XA70. With impeccable video capabilities, these models are also designed to improve operability with a new, large 3.5inch Touch Panel LCD Monitor and high-resolution Ocular EVF.

With precision AF systems, the XA65/XA60, and XA75/XA70 guarantee that content creators can lock onto their subjects and easily follow the action. Featuring Dual Pixel CMOS AF, the XA75/XA70 models are capable of fast and accurate focusing, which coupled with the Dual Pixel focus guide makes manually focusing on a subject easily.

The XA65/XA60 line-up employs an advanced Hybrid AF system for precise focusing even when shooting in low light situations. All offer adjustable focusing speeds for either fast or smooth AF, which can also be controlled via the 3.5inch LCD, enabling users to easily set the focus by touching a single AF point.

For even greater accuracy and convenience, especially in busy environments where operators need to keep a subject in the shot, Face Detection AF and Face Tracking are now available. All feature models also feature manual focus, which can be set either by using the focus/zoom ring or the control ring on the lens of the XA75/XA70. They also employ 5-axis image stabilization, allowing these models to capture steady, shake-free footage.

These camcorders are designed to fit into professional workflows, whether capturing XF-AVC 4K UHD 160Mbps at 25p for broadcast, or a smaller more manageable codec of MP4 4K UHD 150Mbps at 25p. With a host of specialist recording options including slow and fast Motion, on-screen display recording, which embeds the date and time into the video image, and an infrared mode to capture footage in the dark, these camcorders can be used for a wide range of use cases. They can also be easily integrated into a multi-camera setup thanks to the custom picture menu, allowing users to color-match footage with other Canon cameras. For professional sound capture, the XA65/XA60 and XA75/XA70 have two XLR audio inputs and 4-channel linear PCM to set the recording level and input sensitivity.

So no matter what you are recording, be it documentaries, news broadcasting, or live streaming at events these five new camcorders are up to the demanding tasks professionals and prosumers demand in an all-in-one solution.

While you're here... check out the best Canon cameras, the best cameras for filmmaking, and the best Netflix-approved cameras.

Panasonic has introduced two new 4K camcorders – the Panasonic HC-X2 and HC-X20 – aimed at broadcasters and creators. Both cameras have an integrated lens with 20x optical zoom (which ranges from a 24.5mm wide-angle to 490mm telephoto), 5-axis stabilization, and a 1.0-type sensor boasting a resolution of approximately 15.03 effective megapixels.

The Panasonic HC-X2 and HC-X20 are designed to be used in a wide variety of broadcasting roles. While the HC-X2 is the higher-end model of the two, billed as a camera for medium-scale news streaming, the HC-X20 is built for small-scale independent interviews and events.

The camcorders support 4:2:2 10-bit 4K 30p/25p internal video recording, Super Slow Motion (100/120fps) and Variable Frame Rate (2fps to 60fps), and HEVC recording for more efficient storage.

On the HC-X2 you'll also find HLG2 (Hybrid Log Gamma) and V-log recording for creating 4K HDR content, plus Ethernet connectivity and simultaneous SDI/HDMI output and HD live streaming capabilities.

Panasonic HC-X2/X20 key features

The Panasonic HC-X2/X20 offer high-speed autofocus with new face detection capabilities. Professional video production features include a simultaneous display on the LCD monitor and electronic viewfinder, triple manual rings for easy control, XLR audio input terminals, ND filters, dual SD card slots, unlimited shooting length, and built-in Wi-Fi.

Speaking of displays, the 3.5-inch, 2,760k-dot LCD monitor has more than double the resolution and brightness of the previous models, while the camcorders also include a 2,360k-dot tiltable OLED viewfinder.

The integrated ND filter has four settings: Clear, 1/4, 1/16, and 1/64, and there are dedicated controls for Gain and AWB. The included battery has also been designed to sit within the camera body shape, rather than protrude, and provides long continuous shooting times of approximately 3 hours and 50 minutes on the HC-X2 and 4 hours and 25 minutes on the HC-X20.

Both the HC-X2/X20 offer a number of broadcast-grade image adjustment functions, including Soft Skin, which automatically adjusts and smoothens skin tones, 16-Axis Independent Colour Correction, that allows color matching for multiple cameras, and 8-Mode Gamma, which offers eight gamma presets, including two types of CINE-LIKE. In addition to the gamma modes.

Panasonic is pitching these professional camcorders to operators of all skill levels, from broadcasting corporations to solo filmmakers. Available from October 2022, the Panasonic HC-X2 has a recommended retail price of £2,880 and the HC-X20 has a recommended retail price of £2,250, with US pricing TBC.

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Some of the best Panasonic cameras are about to get even better. That's because the Japanese corporation has just announced new series of firmware updates for its Lumix G Series mirrorless cameras, aimed at enhancing their functions and usability. 

Updates for the GH5S, BGH1 and G9 will be available to download from the LUMIX Global Customer Support website from Thursday 4 November 2021. 

And the big news for GH5S and BGH1 owners is that you'll be able to output RAW video over HDMI, to save Blackmagic RAW on the Blackmagic Video Assist 12G HDR. 

Furthermore, during RAW output, V-Log L or Rec.709 will be selectable on the Live View monitor, and you'll be able to use shooting assist functions, including V-Log L View Assist, WFM (Wave Form Monitor), Vector Scope and Zebra Pattern, too.

Thirdly, Focus Ring Control function will added to all three cameras for the following lenses: H-XA025, H-ES200, H-E08018, H-X1025, H-HSA12035, H-ES12060, H-FS12060, H-X2550, H-HSA35100, H-FSA45200, H-ES50200, H-FSA100300 and H-RS100400.

And finally, for the BGH1 it will be possible to assign the HDMI RAW data output function to the Fn button, and turn it on and off from the camera.

The new firmware will be titled version 2.5 for DC-G9, version 2.2 for DC-GH5S and version 2.3 for DC-BGH1.

Canon has announced its latest professional broadcast camcorder, the Canon XF605 – a studio and electronic news gathering (ENG) camera that delivers 4K 60p 4:2:2 10-bit video, 1080p 120p video, 5-axis image stabilization and Dual Pixel AF in a portable, compact form factor. 

The Canon XF605 will serve as something of a replacement for both the XF405 and XF705 camcorders, and caters not just to the traditional needs of ENG and studio shooting, but the requirements of solo shooters and the smaller, more nimble production environments that have increasingly become the new normal.

• Read more: Best camcorders

Where the XF405 only captures 4:2:2 in 8-bit, and the XF705 only records 4:2:2 10-bit in H.265, the Canon XF605 boasts 4K 4:2:2 10-bit up to 50/60p in either H.265 or H.264 (including Intra and Long GOP).

Its 1-inch CMOS sensor with 8.29MP (effective, from 13.4MP) features 5-axis Multi-Mode Image Stabilization, offering variations of standard optical IS or combined optical and electronic IS in Dynamic and Powered IS Mode. 

It also features Canon's formidable Dual Pixel CMOS AF with EOS iTR AF X (the same Deep Learning autofocus algorithm found in the flagship Canon EOS-1D X Mark III), becoming the manufacturer's first camcorder to support Eye AF and head detection AF – the latter enabling the camera to maintain focus even when the subject's head is turned away or obscured by a helmet or goggles. 

Powered by a Digic DV 7 processor – which offers Canon Log 3 / HLG, PQ and Look Files – the new sensor features a High Sensitivity Mode that delivers a 1-stop boost of 6-21db (over the native ISO200-12,800 range), along with a new gain boost that offers an even greater increase of 36db. 

The 4K L-series f/2.8-4.5 lens offers a 15x optical zoom (or a 30x zoom in 1080p), with a huge 25.5-382.5mm full-frame equivalent focal range (offering up to 765mm in 1080p).  

It also packs an optional 0.8x wide-angle and 1.5x teleconverter for even greater versatility, resulting in a maximum 1,147.5mm reach when shooting in FullHD. In addition, the lens packs built-in glass ND filters in 1/4, 1/16 and 1/64 stops. 

Canon continues to offer a menu structure and touchscreen interface familiar to EOS users, along with all the connectivity you could ask for: 12G-SDI, HDMI, USB-A / USB-C, Timecode In / Out, Genlock / Sync, Remote A / B, full-size XLR, and WiFi 2.4 / 5GHz. 

This incorporates simultaneous output to the electronic viewfinder (1.77 million dots), LCD screen (3.5-inch, 2.76 million dots), SDI external display / recorder and HDMI external display / recorder all at the same time!

Other key features include IP streaming (up to 1080p in H.264) and full compatibility with the NewsML-G2 metadata standard (for full compliance with the Digital Production Partnership), all in a body that's 10% smaller and 600g lighter than the existing XF705.

The Canon XF605 retails for $4,499 / £4,319 (approximately AU$6,818).  Canon Australia hasn't announced a launch price for users Down Under, but has left it to authorized retailers to determine when it becomes available in October. 

• Pre-order the Canon XF605 at Adorama (US)

• Pre-order the Canon XF605 at Wex Photo Video (UK)

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Blackmagic has launched a much-needed upgrade to its studio camera lineup, which is geared towards TV professionals involved in live production. The new cameras, the Blackmagic Studio Camera 4K Pro and the Blackmagic Studio Camera 4K Plus, are now available for pre-order for $1,795 and $1,295 respectively.

Well, we say "new"; basically the manufacturer has brought together a studio viewfinder and a Blackmagic Pocket Cinema 4K in the same device. So the underlying tech is not that groundbreaking or new. 

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What that means in practice, however, is that you can now get cinematic images in live production, within a compact and lightweight camera. And that could be a game-changer for many video professionals.

For the full details of the new releases, watch the launch video from Blackmagic above.

What's on offer?

Made from a carbon fiber-reinforced polycarbonate chassis, the cameras boast a sleek and attractive design that contrasts nicely with the big and bulky devices many video professionals are used to.

The two cameras have the same look and design, and offer broadly the same capabilities, including the ability to shoot at 4K UltraHD (3840 x 2160) at 60 frames per second. 

USB-C output enables you to record to an external SSD, although note that only the Blackmagic RAW format is supported. They also offer up to ISO25,600, a 4K sensor with 13 stops of dynamic range, and are compatible with the best Micro Four Thirds lenses.

As you'd expect, the more expensive Pro model is the more richly featured of the two. The big differences here include 12G-SDI (eight times the bandwidth of normal HD-SDI), professional XLR audio, a brighter HR LCD, 5-pin talkback and a 10G Ethernet IP.

So why buy the Studio Camera 4K Plus? Well, apart from being cheaper, it's designed to work with the Blackmagic ATEM Mini Pro switcher, which eliminates the need for some of the features in the Pro (such as the 12G-SDI input and the XLR audio inputs).

Pre-order the Blackmagic Studio Camera 4K Pro at Adorama (USA)
Pre-order the Blackmagic Studio Camera 4K Pro at B&H (USA)

Pre-order the Blackmagic Studio Camera 4K Plus at Adorama (USA)
Pre-order the Blackmagic Studio Camera 4K Plus at B&H (USA)

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At long last, the Canon XA45 is to be available in Europe. Originally launched in North America in April 2019, the XA45 is a step-up model to the XA40, one of the best camcorders available for pro video makers then and now.

The key difference between these two models is subtle - and hence the reason for the delay in bringing the more expensive XA45 to the European market. The XA45, quite simply, adds an SDI socket to the feature list – making it that much more suitable for documentary and news reporting, as this lockable connector is less likely to become disconnected during the run-and-gun shooting scenarios. The socket, which could be used for streaming via an encoder, uses the 3G-SDI standard that offers data transfer at 2.97Gb/s.

The XA45, like the XA40, features a 1/2.3-inch type CMOS sensor that can shoot 4K video footage at a maximum bit rate of 160 Mbps at 25.00P. The camcorder has an image-stablized 20x optical zoom, with a 35mm equivalent focal length range of 29.3mm at its widest up to 601mm telephoto.

A detachable handle/grip contains two professional 3-pin XLR connectors for external microphones, supporting two or four channel audio recording. It also has line, mic and 48V Phantom inputs and an on-board stereo microphone is available as is a standard 3.5mm Stereo Jack plug which can also supply power to an external microphone.

Canon released firmware updates for both the XA40 and XA45 that at the end of last year that added Custom Picture. This feature adjusts image settings such as, sharpness, saturation, skin detail and noise reduction to suit the users filming needs. For improved customization, users can allocate additional features to assignable buttons, such as zebra, peaking and markers for increased functionality.

The Canon XA45 will go on sale in February for £1,819.99 / €1,999.99. The XA45 has a recommended retail price in the USA of $2,199. 

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If bigger is better then the new Blackmagic Ursa Mini Pro 12K is the best of all as it shoots in 12K. However, the camera’s incredibly high resolution is almost a by-product of what the Aussie boffins at Blackmagic wanted to do. That was to make a camera capable of the very best 4K footage that has a very filmic look instead of looking too digital.

Of course, there are reasons to shoot in 12K, such as the enormous amount of scope for cropping if you are making a film in 4K or HD. It’s also good for extending the life of your footage for when 8K and above becomes the norm. And it’s ideal for VFX workers who want maximum resolution for green screen work.

While the fashion is for ever-larger sensors, Blackmagic found the best way for ultimate, filmic quality is to use a very high resolution 12K sensor in the smaller Super35mm CMOS size. This smaller sensor is packed with tiny photosites, which may not have the best high-ISO performance, but the highlight roll-off and colour gradation are much more organic and like film. 

To get the look right, Blackmagic is involved in the three technical stages of capturing video. It makes its own sensors with its own technology; the camera records in the company’s own Blackmagic Raw format and this is processed and edited and graded in Blackmagic’s Da Vinci Resolve software. That is total integration that no other company has.

The sensor is CMOS but not using the typically Bayer formation which is biased towards green and requires that the colours have to be carefully combined for natural colour. Blackmagic’s new 12K sensor has equal sampling of red, green and blue for more balanced, film-like colours. 

And the only option is to record in Blackmagic Raw using Log which is then edited in Da Vinci Resolve’s new fifth-generation colour technology. 

Staying with Blackmagic technology all the way through the process is what gives the footage its detailed, filmic look.

Specifications

Sensor: 79.6-megapixel, Super35mm, 27.03x14.25mm
Formats: 12K DCI 2.4:1 12,288x6480, 16:9 11,520x6480 and 7680x6408 anamorphic @ 72-578MBps; 8K DCI, 16:9 and anamorphic, 6K and 4K Super15, 4K DCI, 16:9, 2.4:1 and anamorphic. 
Frame Rates: 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60fps
High speed frame rates: Full sensor 12K 17:9 60fps, 8K and 4K 110fps. 2.4:1 8K and 4K 160fps, 6K Super16mm 120fps, 4K Super16mm 220fps 
Codecs: Blackmagic Raw constant bitrate 5:1, 8:1,12:1, 18:1, constant quality Q0, Q1, Q3, Q5
ISO: 200-3200. Native ISO 800
Dynamic Range: 14 stops
Focus: One-shot autofocus on compatible lenses
Lens Mount: PL, optional EF or F
Screen: 4in LCD capacitive touchscreen
Audio: Integrated stereo microphones, 2x XLR inputs with phantom power support
Storage: 2x CFast 2.0 slots, 2 x SD UHS-II slots, USB-C 1 port
Dimensions (wxhxd): 23.37x15.04x14.91cm
Weight: 2.55kg

Key features

If you struggle to keep up with the speed of processing 4K files on your computer, and storing the vast amount of data on your hard drives and memory cards, then the idea of 12K recording might make you feel faint. And if you demand the absolute best results, shooting in 12K and dropping the resolution to 8K or 4K in post is the optimum, and it means you still retain the 12K files.

Just because the camera shoots in 12K doesn’t mean you have to, as you can record in 8K or 4K instead to save space on files. Shooting in camera in smaller sizes has the advantage of still using the whole area of the sensor and also unlocks higher frame rates.

Shooting from the full size of the sensor, you can record up to 17:9 in 12K at 60fps or 8K and 4K at 110fps. That’s shockingly impressive, and the smaller size sensor means rolling shutter is pretty well controlled too.

If you record in the 2.4:1 ratio, then it’s possible to shoot at 75fp in 12K and 160fps in 8K and 4K. If you crop the sensor to Super16mm size then you can record 6K at 120fps and 4K at 220fps, too. That’s a lot of options, although a Super16mm crop is quite severe.

This camera is all about incredible resolution and an organic, filmic look – especially in bright light. While some full-frame cameras can set ISO as high as 409,600, the Blackmagic seems like it’s stuck in the dark ages with an ISO range of just 200-3200. You don’t really want to venture much higher than ISO 800 or else noise starts to show. It can be reduced in post, as is the case with most footage shot in Log.

This isn’t really a camera for low light, and with its solid metal body and lack of decent AF, it’s certainly not for run-and-gun documentary filmmakers. It’s ideal for slow, considered work.

Build and handling

Apart from the 12K logo and the USB-C socket being moved to the back, the camera itself is identical to the old 4.6K Ursa Mini Pro G2. The body feels like it would take you through a warzone and back again, as it is very solid. At the back is a plate to take the big V-Lock style batteries. There is a good viewfinder for use on the shoulder, and the screen is bright for use on a tripod. And like all professional cinema cameras, there are lots of external buttons to access many of the main settings, or you can dive into the menus.

You do this via the touchscreen which is responsive and easy to understand. The menu system is easy to use with obvious tabs along the screen to let you select a group of settings. You just tap and swipe then adjust settings. To help you get your shots in perfect focus and exposed correctly there are displays for histogram, zebra, false colours and peaking. 

The Ursa Mini Pro 12K has built-in ND filters with IR compensation, in 2, 4 and 6-stop range. The left of the camera has a second LCD screen which shows frame rate, shutter angle, aperture, white balance, ISO, iris, battery indicator, card recording status and audio meters. There are XLR audio connections, a 12G-SDI out connector, HD-SDI monitoring out, 2 LANC inputs, timecode in and reference input. That’s the sort of controls that experienced filmmakers like and have a use for.

But there is no image stabilisation, continuous AF or any codecs other than Raw which hinder it for more general use. It’s really made for use on a tripod, with manual-focus prime lenses. And with such high resolution, it really does demand the use of quality cine lenses rather than zooms or primes made for stills photography. 

The camera comes with an Arri PL mount, but this is user-changeable. We used it with the optional Canon EF mount which just bolts right on without any need for shims or other faff. We tried a set of Canon CN-E cine primes and a Sigma full-frame cine zoom which were perfect for the job.

Performance

For best results, you should shoot at base ISO of 800 or under and expose to the right to allow lots of light in. Then the 12K camera gives not only incredible resolution but a dynamic range of 14 stops, with colours that are very filmic once the Raw files are processed. The 12-bit Raw files mean you can change ISO, white balance, sharpening and colours as much as you like to colour correct and grade properly. Some highlight recovery is needed, as it is definitely best to over expose and recover detail rather than under-expose which reveals shadow noise. Going up from ISO 800 reveals some noise which can be reduced in post production. 

But this camera is all about stunning quality so really, it’s best with lots of light and low ISO shot in full 12K, which does give massive file sizes. These are recorded to C-Fast 2.0 cards or the very fastest V90-class SD cards, or you can also plug in a very fast SSD. 

To reduce file sizes, Blackmagic Raw gives you a choice of compression levels of 5:1, 8:1,12:1 or 18:1 at a constant bitrate. Or to keep constant quality by varying the bitrate, then the options are Q0, Q1, Q3, Q5. 

For the highest quality, then, constant bitrate 5:1 is the way to go. But it does gobble up memory space. We found a good balance was 8:1 or Q5 compression, as it was virtually impossible to detect any real difference in quality. In fact, all the settings give very film-like images with natural colours that are definitely different to other cameras on the market.

Verdict

If you demand the very highest resolution traditional video camera, never shoot in low light, control your camera manually, always use a tripod or steadicam, have the time to process your video Raw files in Da Vinci Resolve and have almost ten grand burning a hole in your pocket, then you’re going to love the burly Blackmagic Design Ursa Mini Pro 12K. And you’ll need to flash some more cash on memory cards and hard drives, as well as potentially upgrading your computer to edit the files.

If you don’t need 12K, then the camera’s little brother, the 4.6K Ursa Mini Pro offers the same experience and a wider choice of codecs and faster frame rates at a much lower price. You have to consider both of these as manual focus cameras with push-assist AF to help you focus on static subjects.

If you want modern phase-detection AF, impressive low-light performance, a full-frame sensor for an even shallower depth of field, image stabilisation, a choice of codecs and even live streaming potential, however, then there are other cinema cameras on the market that make more sense. And these are certainly more useable for run-and-gun style shooting. But, of course, nothing else shoots in 12K, or 8K at 110fps, in video Raw at any price.

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Sony has officially announced the Sony FX6, a full-frame camcorder with 15 stops of dynamic range that captures 4K video up to 120p, FullHD video at up to 240p, and is a low light beast with sensitivity that can be cranked up to ISO409,000.

As neatly summed up by YouTuber Gerald Undone, the Sony FX6 is essentially a Sony A7S III in a shrunken-down Sony FX9 body – though it features some new tricks, such as the ability to record in DCI 4K and make cinema-level adjustments such as changes to shutter angle.

• Read more: Best camcorders

The FX6 appears to feature the same 10.2MP back-illuminated Exmor R sensor as the A7S III, along with the same Bionz XR processor, along with the same effective dual native ISO with a base of ISO800 and an enhanced sensitivity of ISO12800. 

It captures 10-bit 4:2:2 All-I in DCI 4K up to 60p, in QFHD 4K up to 120p, and in FullHD (1080p) up to 240p. It also offers Long GOP XAVC recording in 4:2:0 8-bit QFHD 4K up to 120pvi or 10-bit 4:2:2 FullHD up to 240p. 

The Sony FX6 employs the manufacturer's S-Cinetone color science featured in the Venice cameras, with S-Log3, S-Gamut3 and S-Gamut3.Cine for post-production flexibility and seamless integration with senior cinema cameras.

Taken directly from the Alpha cameras is Sony's rock-solid Fast Hybrid phase detection autofocus system, with 627 focus points along with advanced face detection and real-time eye AF. 

Again like the A7S III, the FX6 features twin CFexpress Type A card slots that also double as UHS-II SD card slots. However, in accommodating the built-in electronic variable ND filter system (which unlike optical NDs can be linearly controlled from 1/4ND to 1/128ND) it has had to forego the A7S III's stabilization system – though it still records gyroscopic data that can be decoded in Catalyst Browse for 'post IBIS'.

The magnesium alloy body weighs 890g and measures 116 x 153 x 114mm, and features a 3.5-inch LCD touchscreen that can be mounted on multiple locations to accommodate different shooting scenarios. 

The Sony FX6 will be available in December for $5,998 / £5,994 (approximately AU$8,254). 

Pre-order the Sony FX6 at Adorama (USA / global)
Pre-order the Sony FX6 at B&H (USA / global)
Pre-order the Sony FX6 at Park Cameras (UK)
Pre-order the Sony FX6 at Wex Photo Video (UK)

Read more: 

Sony A7S III review
Best Sony lenses
Best camcorders
Best cinema cameras

Short-form mobile videos are everywhere, but until now they’ve relied only on smartphones. Cue the Akaso Keychain, a seriously tiny clip-on camera that’s seemingly designed for TikTok, but has some core extra features that might just widen its appeal. 

Described as a ‘mini vlog’ camera by its creators – which recently launched the impressive Akaso Brave 7 LE action camera – the splash-proof Keychain is claimed to be the lightest 4K camera around. It’s hard to argue with that; it measures 63x33x18 mm and weighs just 36g, with a microSD card slot and a USB-C slot hidden away behind a flap on its undercarriage. 

There’s something very familiar about the Keychain. Stylistically it’s the spitting image of the Google Clips and the Insta360 GO from a few years ago – albeit a bit bigger – though Akaso’s effort boasts more resolution and a narrower 124º field of view. For most short videos, both are useful. As well as being 4K, the Keychain has a larger suite of features that make it less about ‘life-logging’ and more about TikTok. Its lens has an array of six LED ‘fill lights’ around the lens. 

Its TikToc-centric design becomes apparent immediately; when used in its upright position it shoots portrait-shaped 9:16 video, just like a smartphone. It’s no problem to change its orientation to 16:9 by turning it through 90º, of course, though you can’t do that with its ‘carry-on case’ – a silicon rubber cover with a hook that allows it to be worn around the neck – which keeps Keychain upright for portrait videos. Not so a magnetic ‘easy clip’, which is best used to attach to backpack straps and head-torch harnesses – but which can turn the Keychain into a body cam. 

There’s a magnetic ball-and-socket pivot stand, which can be physically stuck to a surface (or used as a desktop stand). Better still, the bottom screws-off to reveal a 1/4 inch thread for attaching to any tripod or selfie stick. Another useful accessory is a magnet base that slips behind a shirt or t-shirt to attach Keychain anywhere on the body, and in any orientation. 

Handling

Keychain shoots video in resolutions up to 4K 30 frames per second (fps) – including slow-motion 720p 120fps – and has an impressive electronic image stabilization system. It takes still photos in 20 megapixels. 

Attaching it to a phone via WiFi is a little tricky, with a series of subtle presses required to get it into pairing mode. We’re not sure why it doesn’t go into pairing mode automatically when switched-on, though Keychain can also be put to work without using a phone. Once paired, you get a live preview on a phone of what Keychain is seeing through the Akaso Go app that, thanks to that narrow field of view, can be easily held out of sight of the lens. Sadly the Keychain suffered from a couple of freeze-ups during the test, which is a worry, though this was a very early review sample. 

It’s a cinch to use Keychain in its basic modes. You just press record on either the device itself or via the app. Ditto taking photos. You then download content to your phone for editing in the app. 

The app is great, and all about TikTok. There are all kinds of editing options, though everything begins with an option to trim a video. Once that’s done you enter the ‘advanced edit’ suite, which contains hundreds of options. You can add subtitles, stickers, doodles, put another video or photo in the frame picture-in-picture style, change the orientation, add music or increase the speed. You can even reverse the entire video so it plays backwards. A plethora of effects range from a basic black-and-white to various mirror effects, fade-ins blurs, a ‘glitch’ and an old TV broadcast effect. Slightly less zany are options to add filters – of course – as well as adjusting brightness, saturation, white balance, contrast, sharpness and vignetting. 

Performance

Akaso Keychain 4K sample video at 30fps - Image Stabilization on

Akaso Keychain 4K sample video - Image Stabilization off

Akaso Keychain 2.7K sample video at 60fps - Image Stabilization on

Given its narrow field of view, the EIS on this camera is all-important. Thankfully, it’s impressive, with fluid-looking video that’s as useful when walking as it is when cycling or skiing. However, it only works on 4K and 1080p modes with frame rates of 60 fps and below. The detail on show in its videos only just appears 4K in terms of detail, though there’s some decent colour. Photos – for which there are burst (3 shots up to 30 shots) and interval modes – also look reasonably good, with plenty of colour and contrast, but the Keychain’s highlight is its time-lapse mode. Although it necessitates putting Keychain into a special mode before using it, it’s a genuinely useful hands-free way of creating a fuss-free hyper-lapse – a sped-up version of a run, or a walk through a city centre – without having to clutch a phone to your chest. 

Keychain has another trick up its sleeve in the shape of one, three and five-minute loop recording so you don’t miss anything, and can easily create a video around an unexpected ‘moment’. That’s perfect for the TikTok generation.

Akaso Keychain: Verdict

If you’re after a versatile camera for TikTok or YouTube, or hands-free hyper-lapses, the low-cost Keychain is worth investigating, but it does come with that caveat of unknown reliability. Overall we were happy with the quality of the video and photos, and loved the plethora of manual settings and endless editing options in the app, but we’re not convinced the Keychain does enough above and beyond what a smartphone can already do. 

Read more
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This Panasonic S5 vs GH5 comparison pits an older, smaller format Lumix mirrorless camera against a much newer full frame model, but it's not quite the unequal battle it sounds.

Panasonic has a long track record of producing high-performance video/stills orientated mirrorless cameras, starting in the Micro Four Thirds market with its Lumix G models, headed up by the Lumix GH5, a camera launched way back in January 2017, but one which has gained tremendous respect amongst vloggers and filmmakers and is still regarded as one of the best 4K cameras for filmmakers, even now.

And Panasonic has now moved into the full frame mirrorless market, quickly building a compelling range of cameras. The latest is the Lumix S5, which is smaller even than the GH5, despite the larger sensor, and which incorporates many of the advanced cinema features of the larger and more expensive Lumix S models. The best Panasonic cameras now consist of a mix of Lumix G and Lumix S models.

This makes the Lumix GH5 and the new Panasonic Lumix S5 a close match in terms of price, size, video capabilities and intended users – so which is the best one to get, and why?

• Panasonic Lumix S5 review

1 Sensor

• Panasonic Lumix GH5: MFT (17.3 x 13mm) Live MOS, 20.3MP
• Panasonic Lumix S5: Full frame (35.6 x 23.8mm) CMOS, 24.2MP

The first and most obvious difference between these two cameras is that the Lumix S5 has a full frame sensor and the GH5 has a much smaller Micro Four Thirds sensor that’s just a little more than one-quarter the size in terms of area. This has two effects

• The Lumix S5 will give shallower depth of field through using longer focal length lenses for the same angle of view. 

• You can expect the Lumix S5 to offer better low-light/high-ISO Image quality.

2 Lenses

• Panasonic Lumix GH5: Micro Four Thirds
• Panasonic Lumix S5: L-mount

MFT lenses are smaller, lighter, cheaper and available in a greater variety of types. The size and weight could prove a key advantage for filmmakers who need to travel light. The range of L-mount lenses available for the Lumix S5 is growing rapidly, but these lenses are likely to remain more expensive, as well as being larger and heavier.

• L-mount lens roadmap

3 Max video resolution

• Panasonic Lumix GH5: C4K/4K UHD
• Panasonic Lumix S5: 4K UHD (C4K and 5.9K external to follow via firmware)

Both of these cameras can shoot 4K UHD video. The Lumix GH5 also shoots the slightly wider C4K format. However, the Lumix S5 will receive a firmware update by the end of 2020 which will allow C4K capture and 5.9K raw capture to an external Atomos Ninja V recorder.

4 Max frame rates

• Panasonic Lumix GH5: 4K UHD 60p, FHD 1080 60p
• Panasonic Lumix S5: 4K UHD 60p (APS-C crop), 30p (no crop), FHD 1080 60p

Both cameras can capture 4K UHD at up to 60p and full HD video at up to 60p, but the Lumix S5 does need to drop back to an APS-C pixel-by-pixel crop mode for 4K 60p capture.

5 Full width/crop capture

• Panasonic Lumix GH5: Uncropped
• Panasonic Lumix S5: APS-C crop for 4K 60p

As explained above, both cameras offer full width video capture, but the processing demands of the 4K 60p frame mean mean that the Lumix S5 cannot record full width video at this setting and swaps to an APS-C crop mode.

6 Compression

• Panasonic Lumix GH5: All-I, Long GOP
• Panasonic Lumix S5: Long GOP

The Lumix GH5 offers All-I compression in its best-quality modes, where individual frames are compressed, but each frame is complete. It also offers Long GOP compression for smaller file sizes/higher frame rates, where both intra-frame and inter-frame compression is used. The Lumix S5 shoots with Long GOP compression only. All-I gives the best theoretical quality, but is not always practical. Long GOP is likely to be perfectly adequate for all but the most demanding uses.

7 Max bitrate

• Panasonic Lumix GH5: 400Mbps
• Panasonic Lumix S5: 200Mbps

Bitrate is not an important specification in itself, but it does give a broad indication of the cameras maximum quality capture and general processing ‘muscle’. With a maximum bitrate of 400Mbps, the GH5 offers the best quality capture, but many would argue that’s easily offset by the Lumix S5’s larger sensor.

8 Color sampling

• Panasonic Lumix GH5: 4:2:2, 4:2:0
• Panasonic Lumix S5: 4:2:2, 4:2:0

Both cameras can capture 4:2:2 video internally, which is still quite rare amongst 4K mirrorless cameras, even now, and 4:2:0 is also available for smaller files or when outright quality is not essential. The sampling method is not the only factor in video, but one of many, including compression and bit depth, that go towards the final result.

9 Bit depth

• Panasonic Lumix GH5: 10-bit, 8-bit
• Panasonic Lumix S5: 10-bit, 8-bit

Both cameras can capture 10-bit video internally, which is also relatively uncommon. The difference between 8-bit and 10-bit video won’t be obvious if the video is used unedited, but becomes important if it’s going to be heavily edited (graded) later.

10 Log modes

• Panasonic Lumix GH5: Paid upgrade
• Panasonic Lumix S5: V-Log, V-Gamut

The Lumix S5 has Panasonic V-Log and V-Gamut installed as standard, but with the GH5 you have to buy a firmware upgrade to add Panasonic’s V-Log L mode. If you decide this is essential, it will add around $100 to the price of the GH5.

11 Recording time

• Panasonic Lumix GH5: Unlimited (Panasonic quotes no limits)
• Panasonic Lumix S5: 30 mins, unlimited for 4K UHD 4:2:0 8-bit

Panasonic does not quote recording limits for the GH5, and says that the Lumix S5 also offers no 4K recording time limit – but only for 4K UHD at 30p 4:2:0 8-bit capture. There is a 30-minute recording limit for 4K UHD 30p 4:2:2 10-bit capture, or for 4K 60p capture.

12 Viewfinder

• Panasonic Lumix GH5: OLED, 3,680k dots, 0.76x magnification
• Panasonic Lumix S5: OLED, 2,360k dots, 0.74x magnification

Interestingly, despite having a smaller format sensor, the GH5 actually  has a rather better EVF than the Lumix S5. The magnification is very slightly higher and it has 50% greater resolution.

13 Rear screen

• Panasonic Lumix GH5: 3.2-inch vari-angle touchscreen, 1,620k dots
• Panasonic Lumix S5: 3-inch vari-angle touchscreen, 1,840k dots

Both cameras have vari-angle rear screens, and with little to choose between them. The Lumix S5 screen has slightly higher resolution, but the GH5’s is a little larger.

14 Memory

• Panasonic Lumix GH5: 2x SD/SDHC/SDXC, UHS-II
• Panasonic Lumix S5: 2x SD/SDHC/SDXC, UHS-1/UHS-II

Both cameras have two SD/SDHC/SDXC card slots, but while the GH5’s slots are both UHS-II compatible, only one of the slots on the Lumix S5 is UHS-II. This will be an annoyance to videographers who like to use the second slot as a live backup, or anyone who likes to use paired memory cards.

15 Battery life

• Panasonic Lumix GH5: 410/400 shots (rear screen/EVF)
• Panasonic Lumix S5: 440/470 shots (rear screen/EVF)

Again, there’s very little difference here. The Lumix S5 has slightly longer battery life on paper, but it’s unlikely to be particularly noticeable in use. 

16 Size and weight (body only)

• Panasonic Lumix GH5: 138.5 x 98.1 x 87.4mm, 725g
• Panasonic Lumix S5: 132.6 x 97.1 x 81.9mm, 714g

The Lumix GH5 has a smaller sensor but is in fact a little larger than the Lumix S5. The difference is just a few millimetres here and there, however, so while it’s visible it’s unlikely to make any practical difference.

Panasonic Lumix S5 vs Lumix GH5: Conclusion

The Lumix GH5 is now more than three years old and uses a smaller sensor than the Lumix S5. It’s also maintained its value, so that while it is the cheaper option, that’s probably not going to be the most important factor in choosing one of these two cameras.

The Lumix S5 does have a larger sensor, the promise of better quality in low light and more ‘cinematic’ depth of field. The GH5, however, has access to a wider range of smaller, cheaper and lighter lenses. Building a system will be cheaper, and it will be more portable too.

Old as it is, the GH5 has a couple of practical advantages. One is that it offers full-width capture in all modes, where the Lumix S5 has to swap to crop mode for 4K 60p capture. Another is that the GH5 has dual UHS-II card slots where the Lumix S5, oddly, has one UHS-I slot and one UHS-II.

On the other hand, the Lumix S5 has Panasonic V-Log built in, where it’s a paid-for upgrade on the GH5, and the Lumix S5 will also benefit from a firmware upgrade later in the year which will offer 5.9K raw capture over HDMI to an Atomos Ninja V recorder.

Beyond that, in the complex matrix of video resolutions, color sampling, bit-depths and frame rates, both cameras are quite evenly matched. The Lumix S5 offers a remarkable combination of power and value in the current full frame market, but the GH5 still has the specs, features and capabilities to meet it head-on, for video capture at least.

Read more:

• Best cameras for video
• Best Panasonic cameras
• Best Micro Four Thirds lenses
• Best vlogging cameras
• Best cinema cameras
• Best mirrorless cameras

Launched at the same time as the new Sony ZV-1, the Sony FDR-AX43 is the latest addition to Sony's camcorder range. This 20x zoom model, aimed at vloggers and family shooters alike, has been on sale in North America and Australia for some time – but has now arrived in Europe and the UK.

Slotting neatly between the Sony AX53 and AX33 in the range, the Sony AX43 offers 4K video recording in a 510g body. The 1/2.5 type back-illuminated Exmor R CMOS Sensor offers an effective resolution of 8.29 megapixels, and recording XAVC S 4K video at a bit rage of 100 Mbps. Slow-motion can be captured in 1080p resoution at 100fps.

The rotating three-inch touchscreen make this camcorder well suited to vloggers - and an optional pistol grip helps to improve the handling for those who are using the camera for run-and-gun footage. Sony's Balanced Optical SteadyShot offers gimbal-like image stabilization, promising wobble-free footage even when using the longer ends of the zoom range. Minijack outputs are provided for both accessory earphones and microphones. The rechargeable battery promises a running time of up to 235 mins.

The AX43 currently costs $849, and will retail for around £600/€700 when it arrives in Europe in July.

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The Blackmagic ATEM Mini Pro, like it’s predecessor (the ATEM Mini)  is a multi-channel video switcher (or mixer). It’s aimed at videomakers, vloggers and online reviewers across many levels of live video creation. Whether you’re doing a simple computer game or makeup tutorial, right through to productions working on multi-camera shoots, or music venues projecting a live feed to the audience - this little unit covers it all. 

Pro features

The ATEM Mini Pro builds on the feature set of the incredibly-popular Mini Pro - which was launched last year. The new advanced model is a step-up option for those wanting even more professional features.

The main additions to this beautiful, and simply designed panel are the ability to now stream directly to Facebook Live, You Tube, Zoom amongst many others. Also added is the ability to record directly to a hard-disk. 

Finally you can now view all your cameras in four separate and easy to view windows alongside the main output all on a single monitor, so you’ll never accidentally cut to a camera before you’re ready.

Handling

The Blackmagic ATEM Mini Pro for the majority of users is the ultimate way to pimp up your webcam for sending out content to your audience. Streaming direct to all social media platforms works! With up to 4 HDMI inputs you can set up multiple camera angles such as wide shots and close-ups along with independent shots of a product you are reviewing or even a direct feed from a computer game you are currently testing. Businesses may also want to use the ATEM for more dynamic presentations or incorporate video clips.

Everything is extremely easy to set-up and use. Spending a bit of time within Blackmagic’s Software Control system will allow you to customize many of the controls. This is the key to true speed and efficiency, and that appears to be what the ATEM system is all about. 

It took me about 30 minutes from opening the box to seeing my live cameras on my monitor, including setting up 2 cameras, tripods and mics. Not bad considering in the past I’ve had to spend more than a couple of hours doing this exact set-up in the past with broadcast HDV cameras and BNC cables passing through multiple systems to get the exact same end result.

More than one person in your live stream? - No problem. The ATEM Mini Pro also allows the use of audio switching via the 4 HDMI inputs and another 2 X 3.5mm mini jack inputs. You can choose to switch the audio along with picture, or stick with 1 dedicated mic source for the duration of your broadcast. You could easily have 4 people each with a separate microphone and the audio would pass through clearly and seamlessly into your final output.

Verdict

Although many people will have no need for them and stick with hard cuts, creative transitions are still an option in the ATEM Mini Pro with a variety of directional wipes, fades or dissolves.

All in all I can’t think of many reasons not to buy this if my main focus was on creating fast, efficient, high quality multi-camera productions on almost any level. However, do think carefully whether the original, cheaper ATEM Mini is capable of meeting your needs – as that may well have everything that most vloggers using just two cameras will actually need. 

Read more:

• Blackmagic ATEM Mini review
• Best cameras for vlogging
• The best camera for streaming on Twitch, Mixer and Facebook Live
• The best 4K camera for serious filmmaking
• The best camcorders
• The best YouTube camera
• The best action cams
• The best webcams for home working
• The best microphone for vlogging
• Best paid-for video editing software for vloggers and filmmakers
• The best laptop for video editing

We have seen a lot of action cameras and a lot of gimbal stabilizers – and we are now even seeing a new breed of product that combine the two. The Idolcam fits into this new category - but it looks very different to the innovative DJI Osmo Pocket. And in truth looks different to any other camera we have seen.

The Idolcam was launched on Kickstarter back in 2018, but has just started shipping so you can now buy this unusual device for yourself. The peculiar design of the Idolcam however has been built with an appealing purpose. This is a camera designed for the needs of a vlogger... something that is as home shooting on a table indoors, as used on the road traveling.

The really exciting feature is the interchangeable lens system - which allows you to switch as speed between wideangle and fisheye views thanks to an innovative magnetic mount. The lenses use the M12 form factor used in CCTV security and industrial applications.

The supplied wide lens offers a focal length equivalent to a traditional 24mm, with a field of view of 90 degrees. The fisheye, which also comes as part of the kit, ooffers a 180° view with a focal length equivalent to 10mm. 

The modular approach also extends to lighting - with a ringlight that also fits around the lens using a magnetic attachment, and a cute looking spotlight that resembles a rabbit's face. 

At the heart of the device there is a three-axis motorized gimbal to keep footage steady even when moving with the camera. And there is a built-in rotating LCD screen to monitor what you are shooting. The all-up weight of the Idolcam is 275g.

The 1/2.3in Sony sensor can shoot 4K video at 30fps, with higher frame options of 60fps at 1440p, 120fps at 1080p, and 240fps at 720p. The stills resolution is a useful 12 megapixels.  

The Idolcam is now on sale from B&H Photo for $475 in a kit that includes ringlight,  wide-angle lens, and the ultra-wide fisheye lens. An alternative kit includes a six-section extendable selfie stick and retails for $499.

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