The AirPad Air series has long been the more affordable alternative to the Pro line that doesn’t quite throttle the features like the budget iPad model, but with the iPad Air M3, creatives are gaining a few key features including faster speed and graphics along with native support for ProRes video editing. Unveiled on March 4, the new Apple iPad Air M3 brings the mid-tier tablet a newer processor without touching the list price.

The iPad Air M3 isn’t a radical update but rather an incremental one, with the same design as the earlier version but a speed boost created by moving from the M2 to the M3 Apple-made processor. What is a surprise, however, is when Apple made the announcement. When Tim Cook teased “something in the Air” earlier this week, many analysts expected the MacBook Air. Instead, it’s the tablet that got a March refresh.

While the iPad Air M3 is more of an incremental update than a radically new tablet, the March 2025 launch brings a few key features for creatives. The biggest change over the older model is the move to that M3 processor right in the name, which Apple says is almost twice as fast as the M1 model.

The update also brings around 40 percent faster graphics, Apple says, compared to the M1. In a first for the Air series, the M3 variant also uses Apple’s more advanced graphics architecture that includes dynamic caching, hardware-accelerated mesh shading and ray tracing, which the company says translates into more accurate lighting and shadows on screen.

But the new iPad Air M3 also lists a ProRes engine in the specifications. While earlier models could support ProRes editing in third-party apps, the inclusion of a native ProRes engine should boost speed when working with the video files. The iPad Pro series has traditionally been the better choice for video editing in part due to that ProRes engine and, while the Pro series still carries an edge with the M4 chip, the Air M3 narrows the gap between the two with that integrated ProRes support in the media engine.

Oddly enough, while the M3 includes ProRes in the media engine, the camera specifications don’t carry support for shooting ProRes video, although iPads aren’t as well known for taking photos and videos as Apple’s smartphones. The camera specs for the iPad Air M3 line-up with the older M2 version with a 12MP wide-angle camera with an f/1.8 aperture and 4K at up to 60 fps. Compared to the Pro model, the Air series still lacks a portrait mode and ProRes recording, while the camera also doesn’t have a flash.

The M3 chip and iPadOS 18 brings an AI-based Clean Up tool to remove distractions in the native Photos app. Support for Apple Intelligence also includes Image Playground, Genmoji, and AI-powered Siri. Like the latest iPhones, the iPad Air M3 uses on-device processing for many AI requests while Private Cloud Compute doesn’t store user data for larger off-device processing.

The iPad Air M3’s battery life remains unchanged at up to 10 hours on Wi-Fi or up to nine hours on a cellular network, but Apple notes that, for the first time, the battery contains 95% recycled lithium.

The refreshed iPad Air also comes with a new Magic Keyboard, which includes a larger trackpad, a row of function keys, and a lower price point. The new keyboard lists for $269 / £269 / AU$449 for the 11-inch version and $319 / £299 / AU$499 for the 13-inch.

The iPad Air M3 announcement also comes with the release of a new budget tablet, the iPad A16, which is about 30 percent faster than the earlier budget iPad with the A13 Bionic chip. The new budget model lacks Apple Intelligence.

The iPad Air M3 will be available in 11-inch and 13-inch sizes, with 128GB, 256GB, 512GB, or 1TB storage options and a choice of blue, purple, starlight or space gray. Pre-orders for the new iPad Air M3 are already open in 29 countries, with shipping and availability in physical Apple Stores expected to begin on March 12. The base 11-inch model starts at $599 / £599 / AU$999 for the Wi-Fi model and $749 / £749 / AU$1,249 with cellular. The 13-inch option starts at $799 / £799 / AU$1,349, and $949 / £979 / AU$1,599 with a cellular network.

The base model iPad is also available for pre-order with an expected March 12 ship date and starts at $349 / £329 / AU$599.

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The iPhone 16 Pro and Pro Max models have been announced, alongside the new iPhone 16, Apple Watch 10, and new AirPods, and the most noteable thing for those watching the event as I did, was how much it concentrated on photography rather than, as anticipated, Apple Intelligence.

You can watch the Glowtime event back here (and enjoy my commentary). Sure, there was a lot about Apple Intelligence – as I spotted Tim Cook didn't waste the opportunity to mention it early, but perhaps not as often as you might imagine, while Craig Federighi – the enthusiastic Apple engineer – did speak with his typical strong stance, he still steered the intelligence onto the photo app for a good chunk of the time.

Perhaps this was, in part, because a good chunk of the intelligence features look like they're going to drip out slowly – even more so to customers outside the United States (even if they do speak English... like (ahem) England...).

iPhone 16 Pro key feature updates:

• Both get largest displays ever for iPhone; 6.3-inch and 6.9-inch

• New Camera Control Button opens the camera app and controls it using swipe and pressure sensitivity

• Apple's 48MP Fusion Camera paired with a new 48MP larger sensor on the wide lens – the 12MP 5x is now on both Pro and Pro Max.

• Can record video at 4K 120fps - Apple call in Cinematic Slow Motion – in ProRes if you want, and frame-rates can be re-assigned afterward. 

• New graphite-clad substructure to improve thermal efficiency / battery life

• A18 Pro chip – faster USB-C data transfer.

The new 'Camera Control' button is on both the iPhone 16 and the Pro models, and has been linked to software. It is flush to the surface, and when you 'click' it launches the camera, before becoming a shutter (or click-and-hold for video shutter).

It is also capable of swipe gestures as it has haptic and signal processes, so it can also detect soft and hard presses, and the UI and overlay gives access to controls by sliding along the button. I can't say how it feels in the hand yet, but it looks very natural for camera enthusiasts (and of course the design language of Apple's camera app, with 'ƒ' control, is reassuring too!)

The iPhone 16 Pro series also has the ability to usr the 4 microphones for signal processing, and the best demo in the presentation showed the ability to pick out spoken words in a restaurant while recording video with the option to choose the recording effect – to pick out the voice clearly (Studio) or to create surround with the voice from the center (Cinematic).

The phone will go on sale on 20th September and cost $999 / AU$1,799 for the Pro or $1,199 / AU$2,149 for the Pro Max. The new color is 'Desert Titanium'

Lexar recently launched a Kickstarter for a brand-new portable SSD system targeted toward smartphone content creators, and within a couple of hours it had surpassed its $10,000 target goal (approximately £7,600 / AU$15,000) and hit $700,000 (£532,000 / AU$1.03 million).

While Lexar is probably best known for making some of the best memory cards for cameras, the new launch focuses on the new wave of content creation – and offers a memory solution for those shooting on camera phones.

Photography and particularly filmmaking on phones has become increasingly popular, and a fantastic option given the continued advancement of mobile technology. But content creation on a phone faces hurdles – perhaps the main one being a shortage of internal storage.

Creators using phones will be all too familiar with the lack of memory on mobile device, particularly as things like ProRes become more widely adopted, but the Lexar Professional Go Portable SSD provides up to a whopping 2TB of extra storage.

"We've had a great response from our backers already," says Lexar's director of marketing, Joey Lopez.

"We're gaining valuable insights on the demand of mobile filmmaking storage, and we love the opportunity to engage with our customers as we strive to deliver more cutting-edge products that enable them to create more freely."

Using SSDs with your phone is not a new idea, but there are many features of the new Lexar device that make it more phone-friendly than your standard SSD.

Although compatible with Android, the Lexar Professional Go Portable SSD is targeted towards iPhone users – in particular those using the iPhone 15 and iPhone 15 Pro Max. It is designed for recording 4K 60fps videos in Apple ProRes, and via its USB-C interface provides "lightning fast" read (1,050 mb/s) and write (1,000 mb/s) speeds.

It is super compact and can attach directly via USB-C or can be clipped to the back of the phone or iPhone rig with little footprint, offering versatility and convenience.

For its size the SSD is also surprisingly durable and robust, and is ready to tackle most shooting scenarios that can be thrown at it. It features an IP65 rating for dust- and water resistance, and can withstand drops from up to 3.28ft / 1m. It also has a silicone case to further enhance this protection.

For those who want a more advanced setup (or, as Lexar states, to go from "amateur to pro") the SSD comes with a Hub system, complete with additional USB-C interfaces and improved power.

This creates a central hub for your iPhone rig and enables further expansion, with options for adding microphone receivers and lights without trailing wires and cables feeding to the same hub.

At the time of writing the Lexar Professional Go Portable SSD Kickstarter campaign has a two days left, and although it has soared past its target it is still offering exclusive discounts for backers.

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign. 

You may also be interested in our guides to the best memory cards, the best portable SSD, and the best phones for video.

The Ninja Phone might just revolutionize on-camera monitors. While we are still waiting to get our hands on one at DCW for testing, we are one step closer, as the Ninja Phone has officially started shipping ahead of IBC2024 in Amsterdam.

Early signs point to this being an incredibly exciting device for filmmakers – announced back in April of this year, the Ninja Phone allows iPhone users to use the latest iPhones (iPhone 15 Pro and 15 Pro Max) as on-camera monitor-recorders, although Atomos is promising more smartphones will be compatible soon. Personally, I would love to see the Ninja Phone paired with the larger unfolded screen of a Pixel 9 Pro Fold or Samsung Galaxy Z Fold 6.

The Ninja phone utilizes Apple's latest Bionic chipset in the iPhone 15 Pros, plus a video co-processor built into the Ninja Phone itself to record in up to 10-bit Apple ProRes and 10-bit H.265 from professional cameras with an HDMI output. The Ninja Phone can then use the iPhone's 5G and WiFi 6E connections to beam footage straight to the cloud or FTP servers including Atomos' own Cloud Studio (ACS).

Recording is accomplished via the iPhone's USB-C connection and the Ninja Phone app (available in the app store), which can coordinate syncing recording with external devices like wireless microphones.

“We are excited to deliver Ninja Phone to market in advance of IBC 2024,” says Atomos CEO and Co-Founder Jeromy Young. “Ninja Phone is the perfect tool for video professionals who want to adopt a cloud workflow without a complex and expensive technology footprint. And it’s great for the thousands of content creators who capture, store, and share video from their iPhone 15 Pro but aspire to work with professional cameras, lenses, and microphones. This is a real TikTok, Instagram and YouTube enhancement tool for creators!”

Costing $399/£409/AU$699, the Ninja Phone looks set to pit your iPhone against established monitor-recorders like the Atomos Ninja and Blackmagic Video Assist 7 as one of the world’s portable and connected professional HDR monitor-recorders.

It’s been a long time coming and the rumor mill has been at fever pitch for a year or more, but Nikon has finally unveiled the latest in its Z6 line of ‘enthusiast’ full-frame mirrorless cameras. 

With a lower 24.5Mp count than its more upmarket (and expensive) Nikon Z8 and Nikon Z9 pro models, which boast twice the resolution at 45.7Mp. It’s a little bit bigger than its predecessors (the Z6 and Z6 II shared almost identical dimensions), but a fair bit smaller than the bigger-bodied Z8 and Z9. It shares some of the same tech as the similarly enthusiast-level Nikon Zf but ushers in some serious upgrades and has more up-to-date handling characteristics, whereas the Zf has retro styling with plentiful control dials, more akin to a classic Nikon 35mm film camera. 

Ultimately, the Z6III aims to be among the best Nikon cameras on the market, as well as taking full advantage of the best Nikon Z-mount lenses.

Nikon Z6 III: Specifications

Nikon Z6 III: Price

As I mentioned at the outset, the Nikon Z6 III is about 25% more expensive to buy than previous Z6-line bodies when they were launched. For comparison, the original Z6 launched in November 2018 at $1,999 / £2099, and was followed by the Nikon Z6 II in December 2020, priced at $1,999 / £1999 / AU$3,299. The Z6 II addressed criticisms of the original model by adding a second SD card slot and dual processors, offering a fast burst rate of 14fps and improved buffer capacity. 

The Nikon Z6 III launched in July 2024 at $2,499 / £2,699 / AU$4,499. That might seem like a substantial price hike but I feel the Z6 III is very good value, considering its new tech, which includes the partially stacked image sensor, electronic viewfinder, and uprated image stabilization system. For the sake of comparison, the Z6 III body is similar in cost (identical in the USA) to the launch price of competing models aimed at enthusiast photographers and content creators, including the Canon EOS R6 II at $2,499 / £2,799 / AU$3,799, and the Sony Alpha A7 IV at $2,499 / £2,400 / AU$3,499.

For new adopters rather than upgraders, the new Nikon Z6 III is available in three kit options, as well as a body-only package. The kits offer a modest discount compared to buying the camera and lenses separately. The kit with a Nikon Z 24-70mm f/4 S costs $3,099 / £3,249 / AU$4,999. I love this lens for its superb optical quality throughout the zoom range, and it’s one of the sharpest kit lenses ever made. 

If you need additional reach, the Nikon Z 24-120mm f/4 S kit costs £3,539 / AU$5,999, provides an extra 50mm of reach, and covers short-telephoto focal lengths. The Nikon Z 24-200mm f/4-6.3 VR kit is priced at £3,439 / AU$5,799, and although not an S-line lens, this one is noted for its stunning optical quality considering its zoom range and includes built-in VR for super telephoto shots.

Nikon Z6 III: Key Features

I’ll start with what remains the same, as it’s a shorter list. As previously mentioned, the sensor resolution is the same, at 24.5Mp, It has two memory card slots; one CFexpress (backward-compatible with XQD) and one SDXC USH-II. It takes the same EN‑EL15c battery that slots into the protruding grip at the bottom of the camera, and a pair of rubber flaps on the side reveals the mic, headphone, USB-C, and HDMI sockets, plus an ‘Accessory Terminal’ for connecting a remote controller. 

Just as the Nikon Zf was no mere ‘reskinned’ Z6 II, the Z6 III takes some tech from the Zf, but also some from the flagship Z8 and Z9, while also adding some new innovations of its own. While the sensor has the same megapixel count as previous models, it’s an all-new ‘partially stacked’ sensor, which enables much faster readout speeds than previous-generation sensors. It’s not as flat-out speedy as the fully stacked sensor in the Z 8 and Z 9 but is nevertheless about 3.5x faster than the readout of Nikon’s previous 24.5MP sensors. 

The upshot is that while the camera has a mechanical shutter, you won’t need to use it for most shooting scenarios, and can instead rely solely on the fully electronic shutter. This enables blistering shooting speeds of up to 120 frames per second, although images are limited to using DX crop mode, which is about 10MP in size. Dropping to 60fps enables full FX 24.5MP images. If you do engage the mechanical shutter, then the frame rate drops to a still-impressive 20fps for JPEG images and 14fps for Raw images. Impressively, the Raw buffer depth is cavernous, catering to over 1,000 shots.

One time you’ll definitely need to use the mechanical shutter is if you’re shooting with flash. That’s because the readout from the image sensor when using the electronic shutter isn’t quite fast enough to accommodate the very brief pulse of light from a flashgun. Even so, it's more than capable of keeping up with the action for sports and wildlife photography, including panning, without exhibiting signs of ‘shutter lag’ that would otherwise cause images to shear. Nikon’s decision to develop a ‘partially’ rather than fully stacked sensor is down to cost; aiming to keep the Z6 line of cameras reasonably affordable.

The sensor is mounted onto an in-body image stabilization (IBIS) device that offers up to eight stops of stabilization, up from five stops with the Z6 II. Following the ‘one over’ rule that says you should shoot at a shutter speed of the reciprocal of the focal length (1/200 sec at 200mm), you would theoretically be able to get sharp shots on the same 200mm focal length with shutter speeds as slow as 1 sec – provided your subject is static, of course.

What’s more, the IBIS is designed to pivot around the active focus point, rather than arbitrarily shifting the sensor. This gives even greater finesse in keeping the intended subject sharp, rather than basing stabilization on the whole image frame. It’s the same system that debuted in the Zf, and like that camera, can be used for a trick ‘sensor-shift shooting’ mode, where the sensor is shifted by tiny amounts and a series of images are taken, which can then be merged in Nikon’s NX Studio software for super-detailed high-resolution shots equivalent to 96 megapixels. Both the subject and camera have to be perfectly still for this to work, so you’ll need to use a tripod.

As with other Z-system cameras, the autofocus points are spread across the length and breadth of the imaging sensor, giving edge-to-edge autofocus no matter where in the frame your subject is. This time around it has 299 AF points spread across the entire sensor, like the Zf, and it’s not an insignificant increase over the 273 points of previous Z6-line cameras.

Autofocus works right down to an exposure value of -10EV, which effectively means the camera can focus on subjects when lighting conditions are too dark for the naked eye to see clearly. That can be a major bonus for night photographers, as well as potentially making autofocus possible for astrophotographers. 

The camera is powered by the latest generation of EXPEED 7 image processor, as used in the Z8, Z9, and Zf. That’s a major step forward from the EXPEED 6 processor used in the Z6, while the Z6 II featured a pair of EXPEED 6 chips. Nikon says that this processing grunt enables powerful autofocus performance that matches that of the Z8 and Z9, and there’s a raft of subject detection modes for people, animals, and vehicles. 

The vari-angle touchscreen rear LCD has a resolution of 2.1Mp, and unlike the tilt-only design for shooting high or low of the previous Z6-line cameras, this time around it’s a full vari-angle screen that flips out to the side and can be rotated 180 degrees up and down for front-facing selfies or reversed so the screen is tucked away for protection when shooting with the viewfinder. When shooting in a vertical orientation, the information overlay automatically rotates too, as first debuted in the Z9. Some may still prefer the relatively quick and easy operation of a tilt screen, as featured on previous Z6-line cameras, but the front-facing facility of the vari-angle screen makes the Z6 III much more useful for vlogging as well as for taking selfies.

As in other Z-series cameras, the information in the electronic viewfinder (EVF) is mirrored from the rear LCD and reflects the exposure settings dialed in, as well as the ability to overlay vital information such as a histogram, in-camera level, and grid display. 

The electronic viewfinder of the Z6 III is something of a masterpiece in its own right. It’s the brightest and highest-resolution EVF that Nikon has ever made. While previous Z-system cameras’ EVFs top out at 3.69 million dots, this one has seen a significant increase in the pixel count to 5.76Mp. The EVF refresh rate is a super-smooth 60fps, to a realistic-looking display, and it’s incredibly bright, measured at 4000 nits, which auto-adjusts according to the ambient light. 

This increased brightness will be particularly beneficial for sports and wildlife photographers who’ve perfected the ability to shoot with one eye looking through the viewfinder, while the other looks for the subject itself in the real world, providing a more natural balance when shooting in bright light. 

The EVF also has a DCI-P3 color gamut, for a wider range of more lifelike colors than previously, and of course, it’s fronted by Nikkor glass, to ensure the projected image is crisp and sharp right to the corners of the display.

Nikon Z6 III: Design & Handling

When it comes to the physical build of the camera, it’s very much evolution rather than revolution, with the near-identical button layout, aside from the aforementioned Playback and Release Mode button swap. It took a little getting used to, coming from a previous-generation Z6, but it makes sense as you may well wish to change from Continuous to Single Shot shooting mid-shoot, and the button placement makes it easier to do this without taking your eye off the viewfinder.

Our main grumble with the Z 6/7 line was the lack of direct access buttons for oft-used features, the most obvious of which is the ability to change the focus mode between Single (AF-S), Continuous Drive (AF-C), and Manual focus (MF), although this is set to one of the pair of programmable Function buttons at the front of the camera. However, while these Function buttons are user definable, we reckon most will leave them to the defaults as they are set to such vital functions. 

That said, a jab of the ‘i’ button does bring up a quick menu of commonly used settings, which becomes second nature to access, but more advanced functions, such as bracketing (which has its own dedicated button on the Z 8/9 and DSLRs like the D850) require delving into the menu system.

The top-plate LCD illumination button is a welcome addition, enabling you to see your settings when shooting in dark environments as the OLED display isn’t particularly bright.

While it looks pretty similar to the previous Z6 line, side-by-side the difference is more obvious, and it’s a fraction bigger and heavier. The differences may be slight, but one upshot is that owners of the previous model’s battery grip will have to invest in the new MB-N14, which is purpose-built for the Z6 III. That can be a real pain if you’ve already swapped from the original battery grip for the Z6 after upgrading to the Z6 II – it’s a different grip for all three cameras. Likewise, custom-fit third-party accessories such as L-brackets are likely to require reinvesting in if you’re upgrading from the previous model.

Nikon Z6 III: Performance

I was thoroughly impressed with the performance of the Z6 III before even fully pressing the shutter button to take my first shot. Just putting my eye on the viewfinder gave me an instant wow factor. The new OLED viewfinder combines high dynamic range with an enhanced color gamut, as well as ultra-high-resolution, and with none of the dreaded lag for which electronic viewfinders have often been notorious. The outcome is an incredibly lifelike display that rivals an optical viewfinder but with the additional attraction of a live preview for parameters including exposure value, white balance, and alternative picture control settings like portrait, vivid, and landscape. In essence, ‘what you see is what you get’!

Next up, there’s the autofocus system. For quite a while now, Canon has been shouting loudly about its much-vaunted ‘deep-learned AI’ autofocus technology in recent EOS R-system cameras. I’ve found that the latest generation of subject-tracking autofocus in Nikon Z-system cameras is every bit as good, arguably even better. Our team initially tried out the Z6 III on a rooftop basketball court in North Greenwich, within striking distance of the O2 Arena. The camera tracked the fast-moving players with unerring accuracy, consistently picking out human forms and latching onto them. Selecting the Person subject recognition mode and setting the wide-area focus mode, the camera unwaveringly locked onto the basketballer's faces and eyes as they battled one-on-one, shooting hoops. It certainly felt like a more reliable performance than when using previous Z6-line cameras, and akin to the Z8 levels of speed and accuracy.

I found animal-recognition autofocus similarly superb, seeking out a pet cat in a range of indoor and outdoor environments and switching to the animal's head and then eyes even at fairly lengthy distances. I had the same positive experience with birds and other animals. In most cases, I was able to set the autofocus subject recognition system to ‘automatic’, with the confidence that it would pick out my intended subject matter. I’ve become used to recent Nikon Z-system cameras finding vehicles like cars, motorcycles, trains, planes, and bicycles, but the Z6 III even picked out a distant lawnmower in one of my test shots.

The camera feels entirely natural in the hand, with the bulbous grip that houses the battery feeling comfortable to hold while offering a firm grip. 

In normal use, the camera defaults to using the electronic first curtain shutter or mechanical shutter, depending on shutter speed. In fully electronic shutter mode, you might initially miss the physical and audible feedback from the mechanical shutter operating. It can be disconcerting at first, with only the briefest of flashes indicating that a shot has been taken, particularly when set to the higher 120fps or 60fps frame rates. There’s good news, however, in that these super-fast frame rates come complete with continuous autofocus and exposure metering. Of course, you can set an electronic sound to provide further feedback.

Naturally, the bottom line in terms of performance is image quality. The superb sharpness, clarity, and all-round optical performance of Nikon’s Z-mount lenses has always been a big draw to the Z-system for me, and the Z 6III makes the very most of these lenses. Sure, the 24.5-megapixel Z6 III doesn’t tax the resolving power of lenses as much as the 45.7-megapixel Z8 and Z9, but pixel-peeping reveals excellent levels of fine detail and texture. In our lab tests, the Z 6III scored higher than the Z 6II for resolution, in the ISO 100-6400 section of the sensitivity range, matching it at higher ISO settings.

There’s been talk in some quarters that the speed of the partially stacked image sensor comes at the expense of a drop in dynamic range. I found that dynamic range was actually very good in my tests, drawing level with that of the Zf at all ISO settings. Our lab tests for dynamic range returned very similar results to the Zf and Z6 II and were actually slightly better than for the Z9. In practical terms, I found I was able to push the exposure compensation of Raw files in Nikon NX Studio by a full +5 EV stops and get very good detail in near-black shadows with fairly little noise. The Z6 III certainly compares favorably with the Z6 II in this respect, as well as with similar Canon and Sony cameras.

Our lab results for raw signal-to-noise weren’t quite as good as from the Z 6II at high ISO settings but, again, very similar to the Zf. In real-world shooting, I found that the Z 6III delivered really clean image quality even at super-high ISO settings, with impressive retention of fine detail and texture.

Color quality is up to Nikon’s usual high standards. There’s a wealth of picture control options to choose from, which you can tweak to your own preferences. I’ve always been a fan of Nikon’s Active D-Lighting which, in the Z6 III, gives the typical advantage of reigning in very bright highlights and boosting detail in very dark shadows, for a more balanced overall exposure. My only slight complaint with Z-system cameras in general, and inherited by the Z6 III, is I feel that all of the many and varied options for Auto white balance can sap a little of the warmth from very sunny scenes, compared with switching to the Daylight white balance setting. Many would argue, however, that the results are simply ‘accurate’ and that there’s plenty of latitude for making adjustments to Raw files anyway.

When it comes to battery life, the Z6 III is par for the course as a mirrorless camera. Depending on how much you use the viewfinder and rear screen, you can expect about 360 to 390 shots from a fully charged EN-EL15c battery. I’m a bit frustrated that Nikon (among other manufacturers) no longer supplies a standalone charger with its cameras, instead relying on in-camera charging. Even so, quick USB-C charging is supported and separate chargers aren’t expensive to buy. A bonus is that the Z6 III is backward compatible with older EN-EL15a and EN-EL15b Nikon batteries, which have a slightly lower capacity. Only the ‘b’ and ‘c’ versions of the battery can be charged in-camera.

Nikon Z6 III: Video

Video capture tops out at 6K/60p rather than 8K, but I suspect that’s more than enough for most videographers and content creators. On the plus side, 4K UHD/60p footage from oversampled 6K footage is very crisp, and, thanks again to the fast readouts of the partially stacked image sensor, there’s negligible rolling shutter effect. Reign in the resolution to Full HD and 240p is available for 10x slow-motion video capture. Further options include shooting 10-bit log files for maximizing dynamic range and enabling precise color grading in post. Video compression options include N-RAW (12 bit), Apple ProRes RAW HQ (12 bit), Apple ProRes 422 HQ (10 bit), H.265/HEVC (8 bit/10 bit), and H.264/AVC (8 bit).

Nikon Z6 III: Lab Results

For our lab data comparison, we pitched the Z6 III against its main full-frame rivals from Canon, Panasonic and Sony: the Canon EOS R6 Mark II, Panasonic S5 II, and the Sony Alpha A7 IV.

Resolution (line widths/picture height):

Resolution is measured using standardized text charts which give results in line widths / picture height, which is independent of sensor size.

Based on image sensors with practically identical megapixel counts, resolution throughout most of the ISO range is virtually the same for the Nikon and Canon cameras. Inevitably with its higher 33MP resolution, the Sony a7 IV comes out on top in this test.

Dynamic range (EV):

Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').

There’s very little to choose from between the Z6 III and Panasonic S5 II here - both cameras capture excellent dynamic range throughout our tested sensitivity range. The Canon and Sony cameras don’t fare quite so well.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

The Z6 III and the competition from Canon and Panasonic are very evenly matched when it comes to image noise levels, especially at higher sensitives where noise is most apparent. The higher-resolution Sony holds its own but isn’t quite as impressive.

Nikon Z6 III: Verdict

My first reaction to the Nikon Z6 III was that it’s a bit pricey compared with previous Z6-line cameras. Now that I’ve got to know it, it actually seems very good value for money. Headline attractions include a new ‘partially stacked’ image sensor that enables super-fast readouts, equating to mighty shutter speeds and continuous drive rates, along with stellar video performance. The OLED viewfinder with its ultra-high-resolution, high dynamic range and extended gamut is the best electronic viewfinder I’ve ever used, rivaling the clarity of an optical viewfinder in giving an incredibly realistic display. It’s a stunning camera for shooting stills, and the new vari-angle screen with its front-facing facility makes the Z6 III equally adept for vlogging and other videography. The speed, accuracy and consistency of the autofocus system with its subject recognition and tracking abilities is superb, even in near-darkness, and the bottom line is that image quality simply stellar.

Alternatives

Following on from the big iPad announcements given by Apple, Final Cut Pro has been given a significant update with a ton of new features for the iPad app and Mac. 

Final Cut Pro is Apple's video editing software and ranks highly among creators for creating, editing and rendering video. As is the case with most software updates in 2024, the new 'Final Cut Pro for iPad 2' and 'Final Cut Pro for Mac 10.8' will have a host of new AI-powered features that make editing workflows all the more efficient. 

AI already plays a huge part in Final Cut Pro, with features such as Fast Cut (which accelerates time‑consuming editing tasks) and Auto Crop (which crops your footage for the various aspect ratios required for posting on different platforms).

The new iPad Pro is the first Apple product to come with an M4 chip, meaning that its processing power has enhanced dramatically, enabling fast video rendering and support for more streams of ProRes RAW. This has meant that new and improved features can be added to Final Cut Pro for iPad 2. 

The first on the list is the new Live Multicam feature, which turns the iPad Pro into a portable multicam production studio, as seen in the video above. This enables users to set up four separate camera views that all feed back to the iPad as a central hub, where the exposure focus and zoom can be controlled. 

This on-the-go editing and directing facility can be extremely useful when streaming live events or recording interviews. It does appear that the only cameras that can do this at present are iPhones and iPads, so hopefully this will open to include further cameras in the future. 

In conjunction with Live Multicam, Final Cut Camera comes to iPhone and iPad to enable live monitoring and individual control of each video feed. This changes the camera app used when recording with Multicam, enabling enhanced monitoring and settings adjustments. 

Another improvement that will make Final Cut Pro for iPad 2 more appealing to users is that it now supports external projects. This enables users to create or open projects on an external storage device, and import media without taking up space on their iPad. This is a huge change and will help make the new iPad Pro an even more viable video editing device.

"Editors can quickly hand off external projects to another editor or take them into Final Cut Pro for Mac; create new projects on external storage; and seamlessly import high-resolution files and professional codecs like ProRes and Log," says Apple.

New customizable elements bring more options to projects, with the inclusion of twelve new color-grading presets, eight basic text titles, twenty new soundtracks and additional dynamic backgrounds, overlays, and, title sequences. And the ability to bring controlled and precise adjustments is supported by the new Apple Pencil Pro. 

It's not just Final Cut Pro for iPad that has seen an update, either, as Final Cut Pro for Mac has also benefited from improved features – and of course, they are likewise powered by AI. 

"Available as a free update to existing users, Final Cut Pro 10.8 introduces Enhance Light and Color, offering the ability to improve color, color balance, contrast, and brightness in one simple step, and is optimized for SDR, HDR, RAW, and Log-encoded media," Apple continues.

"With Smooth Slo-Mo, frames of video are intelligently generated and blended, providing the highest-quality movement and more drama to a project."

Improvements have also been made to the naming system, and search functions to speed up workflow efficiency. 

Final Cut Pro for iPad 2 will be available later this spring as a free update for existing users, and available on the App Store for $4.99 / £4.99 / AU$4.99 per month or $49 / £49 / AU$49 per year, with a 1-month free trial for new users.

Final Cut Camera will be available for free later this spring as a standalone app.

Final Cut Pro for Mac 10.8 will be available as a free update for existing users and  $299.99 / £299.99 / AU $299.99 for new users on the Mac App Store. All new users can download a free 90-day trial of Final Cut Pro.

You may also be interested in our guides to the best iPad, the best Macbook, and the best iMac.

Atomos just announced a device that could completely change the playing field: the Ninja Phone turns any iPhone 15 Pro or Pro Max into an Atomos Ninja. 

By attaching the Ninja Phone to your iPhone, it instantly becomes one of the best on-camera monitors with a 1,600-nit, 10-bit, 2,000,000:1 contrast ratio, 460ppi, HDR OLED, ProRes display.

Below is a video introduction to the Ninja Phone by Atomos co-founder and CEO, Jeremy Young, along with a transcription.

"The iPhone 15 Pro and Pro Max can now run Ninja software and display 1,600-nit, HDR, OLED, amazing P3 tone and color that you just won't believe how good it is. 

"The Ninja Phone is a coprocessor for the iPhone. It takes HDMI in, converts it into ProRes 10-bit, and sends it out over USB-C. It has a microphone input, so that you can put all your USB-C mics to the shot and make sure that they're locked, the video and audio, before they hit the phone's screen. And you've also got power in from battery, and you've got an AC power supply as well. 

"The video comes into the iPhone via the USB-C connector, and at the same time we've made a really professional locking system that allows you not only to lock the Ninja Phone to the iPhone, but also the cables are all professionally locked cables – so you don't have any cables disconnecting at any time. 

"The first thing you need is a case. This case is available for the 15 Pro and Pro Max, two different sizes. You'll notice it has a cover, over your camera lenses on the phone, because we're not using the phone camera; we're using professional, high-quality sensors and big-lens cameras. And then you take the Ninja [Phone] and you click it in. So now, your phone is a Ninja! 

"It's an amazing revolution that we think will give social media guys, the ability to step up from their phone, get a really nice camera, and then they take the HDMI out and their phone is now a Ninja. We display the ProRes on the screen, at the same time as recording the ProRes to the phone internally, and at the same time we can then send it out to social media in 10-bit HDR – 1,600-nit amazingness to all other devices. 

"The last thing I want to talk about is the combination of the Ninja Phone into the 5G and WiFi on the phone. Just sending that out at really high quality is something that you really haven't been able to do from these professional cameras – now you can. You can bring it in for social media, you can bring it in for pro video, and you can bring it in for cinema."

The Atomos Ninja Phone is priced at $399 (UK and Australian pricing to be confirmed) and will be available in June. The Ninja Case for iPhone 15 Pro and Pro Max will cost $59. 

Pre-order the Atomos Ninja Phone at B&H
Pre-order the Atomos Ninja Case at B&H

Take a look at the best cameras for filmmaking, as well as the best cameras for vlogging and the best cinema cameras. 

Arri has unveiled the the new AlexaL 35 Live – a Multicam System, bringing the exceptional cinematic quality of its flagship Alexa 35 camera to the realm of live productions, spanning concerts, sports, e-sports, fashion, corporate events, talk shows, game shows, and house of worship broadcasts. 

This new system seamlessly integrates into current live production setups, offering the functionality of a system camera, while maintaining the flexibility of a dockable camera configuration. It complements Arri's comprehensive lineup of lenses, lights, stabilizers, and custom solutions, for the live entertainment sector.

Over the past decade, Arri equipment has been instrumental in various live production scenarios due to its outstanding image quality and reliability. Noteworthy events captured with Arri's Multicam System include international concert tours featuring artists like Ed Sheeran, Adele, Coldplay, the Rolling Stones album launch, and prominent half-time shows at major sporting events – and now Alexa 35 Live is taking this to the next level live broadcasting.

The Alexa 35 Live camera delivers the signature Arri aesthetic, with a Super 35-sized 4K sensor enabling a shallow depth of field, a popular trend in live productions. It boasts 17 stops of dynamic range, unrivaled in the market, capable of handling extreme lighting conditions for exceptional results in both SDR and HDR. 

Arri’s proprietary Reveal Color Science ensures accurate color reproduction from vivid hues to subtle shades, faithfully capturing even the most challenging concert lighting and rendering beautiful skin tones. Low-light scenes exhibit minimal noise, and highlights roll off naturally like film. During live productions, the camera supports full-quality ProRes recording in-camera for post-production flexibility. Its modular lens mount accommodates LPL, PL, EF, and B4 lenses, offering versatility for different applications. Owners can also upgrade to the full Alexa 35 functionality with an optional Cine License.

For creative versatility, the system includes "Arri Look Files" and textures, The Arri look library offers 87 pre-made looks for diverse shooting scenarios, while Arri textures modify grain and contrast, providing distinctive visual effects.

The fiber camera adapter and fiber base station ensure efficient integration into live setups, supporting multiple output formats with up to 4K video transmission over long distances. The Skaarhoj RCP also gives users comprehensive control over camera settings and creative adjustments.

To round off, the Alexa 35 Live – Multicam System from Arri is a comprehensive toolset tailored for live content producers, letting them bring the Arri look into live production environments, and perhaps making them a little more cinematic?

See our guide to the best cinema camera.

It's not long since the Panasonic Lumix S5II and S5IIX came onto the scene, launching in January and June 2023 respectively, but they have already cemented their reputation as two of the absolute best hybrid mirrorless cameras you can buy for video production. But Panasonic seems keen to not hold anything back for an eventual successor, with a huge update planned for both these cameras in the coming weeks.

Now, this isn’t some boring lens compatibility update, when I say huge firmware update, I am not being hyperbolic here, there is a lot packed into this update including Frame.io integration, proxy recording, improved electronic stabilization, improved autofocus, and pre-burst shooting. Phew, let's unpack these new features.

Proxy recording

If you haven’t heard of proxy recording before, it is a simple way to quickly capture a smaller version of video files simultaneously with the full resolution video file, these smaller files are faster to offload onto the cloud so remote editing teams can get working on edits faster. If your software allows, the full-quality file can be dropped into the timeline in its place later with all the edits already applied for export in full resolution.

There are a few limitations on the main video file when using proxy recording. The maximum quality of the non-proxy video can be in 17:9 Cinema 4K (C4K) or 16:9 4K/60p, both in 4:2:2 10-bit and 200MB/s, and can be recorded in MOV or Apple ProRes. Whilst the smaller proxy file will be recorded in a maximum of 1080p/60p, 4:2:0 10-bit at 16MB/s, and in MOV format. When recording in both the full resolution and proxy file, frame rates are limited to 60p/50p/30p/25p/24p and the frame rate will be matched in both files.

To make the offloading and organization workflow a little simpler, the S5II and S5IIX can record the main full-res video file to the SD card in slot one, and the proxy file to slot two. The S5IIX can go one better, and with its ability to record directly to SSD, it can record the full-res file to an attached SSD and the proxy to slot two.

Last but certainly not least, you can use Panasonic’s in-camera real-time LUT recording to either add the LUT to the full-res file only or encode the LUT into both the full-sized video and proxy.

Frame.io integration

Frame.io continues its camera-to-cloud push by directly integrating into another camera system. For those who haven’t come across Frame.io yet, it is a one-stop solution for cloud storage and team collaboration for photos and videos, with editing integrations baked into popular editing software like Adobe Premiere, DaVinci Resolve, and Final Cut.

The S5II and S5IIX are introducing a simple in-camera way to directly link an existing Frame.io account via WiFi or tethered connection and immediately upload proxy videos (plus RAW/JPEG photos) to cloud storage. This benefits both solo creators and collaborative teams, as videos can be quickly checked and commented on so any necessary reshoots can happen on the day, remote editors can also push out same-day edits to clients.

Autofocus improvements / Pre-burst shooting

With the Lumix G9 II, Panasonic introduced some new autofocus recognition and tracking that has so far been conspicuously absent from the S5II and S5IIX despite these being Panasonic’s current flagships. But no more – the S5II and S5IIX will soon gain Animal Eye AF, Car AF, and Motorcycle AF recognition and tracking. These bring Panasonic’s autofocus ever closer to rivals which have long been seen as further ahead when it comes to focusing.

The S5II and S5IIX will also get pre-burst shooting, a very useful feature if you shoot a lot of fast-moving subjects. When pre-burst is on, the camera will start recording frames half a second before you fully press the shutter, and hopefully catch any motion at the start of a sequence of events that our human reflexes are just a bit too slow to react to.

Improved e-stabilization

Panasonic's class-leading stabilization tech is already one of the most useful features for any budding videographer without a good gimbal. But with the new firmware update, the S5II and S5IIX are getting a new 'High' mode setting for electronic stabilization (E-Stabilization) during video recording. The firmware will also enhance e-stabilization further by adding perspective distortion correction when using a wide-angle lens.

Electronic stabilization corrects shaky camera movements using algorithms to predict and track movement and crop and rotate frames to make them appear steadier. This high mode will allow for even larger shakes to be corrected, although it is not clear yet if a significantly larger crop will be applied. Stabilization can be performed in post-production, but it is far more convenient to just do it in-camera and save precious editing time. 

Price and availability

Now, if you were worried that all these superb new features were going to cost you, you can relax. Firmware V3.0 for the S5II and V2.0 for the S5IIX with all these new features will cost absolutely nothing. The firmware can be downloaded from Panasonic’s website starting on 22 April.

Lexar has launched two new portable SSDs aimed at demanding photographers and videographers. The SL500 portable SSD is a sleek, compact device featuring an aluminium unibody construction that assists with heat dissipation. As with most portable SSDs, the device is powered by its single USB-C connection, and it uses a single-chip controller to lower power consumption while also minimising heat generation.

Thanks to a fast USB 3.2 Gen 2x2 data connection, read speeds are said to be up to 2000MB/s, and write speeds up to 1800MB/s - both highly respectable figures. 256-bit data encryption is available via Lexar DataShield, so your files will be secure should the SSD fall into the wrong hands. The SL500 also supports Apple Log video recording in 4K 60FPS ProRes format on the iPhone 15 Pro and iPhone 15 Pro Max.

Read more: the best portable SSDs

To make the SL500 work even more seamlessly with an iPhone, it's also available as a Magnetic Set. This bundles the SL500 with accessories like a magnetic ring, lanyard and data cable for easier carrying. Simply slip the SSD into its magnetic set and it'll attach securely to an iPhone, or other devices like laptops, cameras or games consoles.

Lexar has also announced the ARMOR 700 portable SSD. This features IP66 ingress protection to guard against water and dust, plus the SSD can withstand a drop from up to 3 meters. Designed for adventurous photographers, videographers and content creators, the ARMOR 700 SSD can be used with PC, Mac, Android devices and the iPhone 15 series, as well as cameras and games consoles. Like the SL500 SSD, read/write speeds are up to 2000MB/s and 1800MB/s, respectively, again via a USB 3.2 Gen 2x2 USB-C connection. The supplied USB cable also contains a Type-A plug for backward compatibility with older devices.

The Lexar SL500 portable SSD will be available soon, in capacities ranging from 1TB to 4TB. Expect to pay $229.99/£189.99 for the 2TB version, while the 1TB capacity is priced at £109.99. The Magnetic set bundle and ARMOR 700 SSD are due to arrive in April, with a £20 price premium over the standard SL500.

Buy the 2TB SL500 portable SSD at Amazon.com

DaVinci Resolve 18.6  is a free nonlinear editing (NLE) app from Blackmagic Design, which also manufactures a comprehensive range of high-end digital video cameras for filmmakers. NLE apps enable you to swap the running order of a program’s clips by dragging and dropping them around in a timeline in a non-linear fashion, compared to the original (and much slower) method of copying clips from a tape player to a tape recorder in a linear video editing suite.

Blackmagic Design also makes other hardware devices such as the DaVinci Resolve Speed Editor which is a console that lets you perform a host of video editing operations using tactile knobs and buttons.

In many ways DaVinci Resolve 18.6  looks and behaves like professional NLE apps such as Final Cut Pro and Adobe Premiere, despite the fact that it’s free to download and use. If you pay to upgrade the free DaVinci Resolve 18.6 to DaVinci Resolve Studio 18 then you’ll find tools that Final Cut Pro lacks (such as advanced HDR grading and voice isolation tools). This review focuses on the free DaVinci Resolve 18.6 app, but we’ll touch on some of the more advanced features of the paid-for version below.

DaVinci Resolve Studio

The free version of DaVinci Resolve 18.6 includes the same high-quality processing as the paid-for DaVinci Resolve 18.6 Studio and can handle unlimited-resolution media files. However, it does limit project mastering and output to Ultra HD resolutions or lower. 

DaVinci Resolve 18.6 only supports a single processing GPU on Windows and Linux and 2 GPUs on the latest Mac Pro. If you need features such as support for multiple GPUs, 4K output, motion blur effects, temporal and spatial noise reduction, multiple AI-based tools, HDR tools, camera tracker, voice isolation, multiple Resolve FX, 3D stereoscopic tools, and remote rendering, then you’ll need to upgrade to DaVinci Resolve 18.6 Studio. 

For more check out our full review of DaVinci Resolve Studio 18.

Specifications

Price

DaVinci Resolve 18.6 is available to download for free! You can find the download link on Blackmagic's website. 

However, if you want to unlock all the full features of the software, you can upgrade it to DaVinci Resolve Studio for $295 / £245.

Interface and Usability

Calling DaVinci Resolve a non-linear editing app is like calling James Bond’s Aston Martin DB5 a ‘car’. DaVinci Resolve does so much more than simply enable you to edit and trim clips as we’ll explain. 

Anyone familiar with NLE apps should be able to get up and running quickly in DaVinci Resolve’s workspace. The app lets you take baby steps on the basic Cut page. Here you can drag and drop imported clips from a bin into a classic timeline and then drag them around to re-arrange the running order in true non-linear fashion, before trimming them. This helps you quickly create a rough edit. 

The Edit page gives you a more sophisticated timeline where you can combine (and composite) video and audio in layers and watch your narrative take shape in a classic main viewer.  Here you can perform keys and add masks to your layered content.

To grade your clips’ colors and tones click on the Color icon. Here’s where you’ll find the type of color grading tools that you’d expect to see in a paid-for app such as Final Cut Pro, including a histogram that gives you a clearer view of the spread of tones in a clip and a vectorscope that helps you produce faithfully rendered skin tones.  DaVinci Resolve started out as a color grading app (adding editing tools as the app evolved), so unsurprisingly its grading tools are second to none. 

The Fusion page gives you motion graphic tools to enhance your tightly edited and beautifully graded footage and the Fairlight page gives you access to a comprehensive collection of post-production audio tools. It may help to compare DaVinci Resolve’s various pages to Lightroom Classic’s modules, as each page gives you access to a different suite of tools so that you can focus on the task at hand.

Performance

I’ve used NLE apps since they were invented in the 1990s (having learned to edit on linear tape-to-tape edit suits back in the 80s), but my ‘go-to’ app for professional work is Final Cut Pro. 

I found it fairly easy to get up and running in DaVinci Resolve 18.6 when it came to importing and editing, though as it was a new app I had to adapt to DaVinci’s differences. One gripe I had was when swapping the order of clips in the main Edit page. When I dragged a clip from the end of the timeline and placed it between two other clips it would over-write sections of the clips (instead of moving them apart to accommodate the new clip). After some googling, I learned that I could employ a keyboard shortcut when I dragged and dropped a clip to avoid overwriting the others, but this made the app less intuitive to use than when editing in Final Cut Pro. 

However, when using the more basic Cut page moving clips around in the timeline behaved the way I was used to, with clips sliding aside to let new clips into the timeline (with no overwriting.)

The Color page features a wide range of ways to enhance a clip’s colors and tones. It had no trouble taking the desaturated and flat-toned log color clips from my iPhone 15 Pro Max and giving them more vibrant colors and a richer range of tonal detail with a click on the Auto Color command. Creative grading is catered for too - by using Curves I was able to sample a blue sky and then change the hue from blue to a cinematic cyan just by dragging a point on the curve (just as I could in Final Cut Pro). 

A key difference to Final Cut Pro is DaVinci’s use of Nodes. Nodes enable you to apply an effect (or mask) to a particulate clip (in a similar way to applying an adjustment layer to an image layer in Photoshop). You can then unplug and rewire nodes to change their effect on the clip in a very organic way. I found this new way of working was a steep learning curve to climb but this extra level of control is worth mastering. Check out my supporting video to see Nodes in action. I created a mask to brighten a light in a clip, adjusted its blending mode, and made it track the light as the camera moved.

One tool that made me seriously think about defecting from Final Cut Pro was DaVinci Resolve’s ability to use AI to listen to the content of my timeline and then transcribe it as text. This proved a much faster way to create captions and subtitles than having to play a clip and then type out the dialogue by hand. I used to earn quite a lot charging clients to manually transcribe subtitles over a period of days but those days are over! 

Verdict

If you use entry-level apps such as iMovie and want to develop your skills as a non-linear video editor, then DaVinci Resolve 18 is well worth a look, though you’ll need to climb a fairly steep learning curve to grasp its suite of tools (especially in relation to color grading). 

If you’re a more experienced Final Cut Pro or Adobe Premiere Pro user then DaVinci Resolve definitely deserves your time and attention, and exploring its tools may act as a springboard to motivate you to license the outstanding suite of AI-assisted tools in DaVinci Resolve Studio. 

Whatever your experience as a video editor you have nothing to lose but time when you explore what DaVinci Resolve 18 has to offer (and potentially much more to gain when it comes to producing cinematic-looking footage).

Alternatives

Finally, Blackmagic has gone full frame with the Cinema Camera 6K and dropped the name ‘Pocket’ which was always a misnomer as the camera is simply huge – as were the crop-sensor versions that came before it. 

It’s also the third lens mount as the original Pocket Camera used a Micro Four Thirds sensor and matching lenses, which was then upgraded to an APS-C – called Super35 by filmmakers – then a Canon EF mount fitted in the 6K Pro version. Now it’s gone full-frame 6K and there’s a Leica L mount. 

Not everyone has lots of these L-Mount lenses, but it means the camera can use an adapter to accept popular glass that cinematographers often use, like Arri PL/ LPL or Canon EF.

You could consider it as the successor to the Pocket Cinema Camera 6K Pro but fitted with a larger sensor. In some ways, it is a serious upgrade which includes the addition of an Optical Low Pass Filter to combat moire. But in other ways, some of the spec has been downgraded. The built-in ND filters have been dropped, and also absent are the twin card slots of the 6K Pro – one for CFast cards and one SD. These are replaced by a single CFexpress type B card, although you can record to an external SSD via the USB-C port, as long as you’re not using the port to trickle charge the camera.

But the biggie is that the new 6K camera can only record in Blackmagic’s own Raw format – or BRAW for short. The 6K Pro also offered ProRes in C4K, 4K, or FHD which meant you have an edit-ready codec that needs no conversion.

The full-frame 6K model does record a folder of low-res 1080p proxy copies of the Raw files that can be used in a quicker workflow. But you have to use the large B-Raw files for final output, so you need to transcode these in DaVinci Resolve software which means more time in front of the computer for color correcting, grading, and adding noise reduction. There is also a lot more memory used in the camera and on your hard drives, too.

Resolve usually is a standalone purchase but is industry-standard for color grading and also great for editing, too. You get a free, full Studio version of Resolve bundled with the camera to allow you to use all its high-end formats. But there is a learning curve to getting the best out of it, as it is powerful yet complicated. 

The new camera has a very similar shape and size to the older 6K Pro version, including the Large, five-inch tilting rear screen, Sony-fit NP-F batteries, and the latest Blackmagic color science.

Blackmagic Pocket 6K: Specifications

Blackmagic Pocket 6K: Key Features

Blackmagic’s new 35mm CMOS sensor has dual native ISO and is the most obvious upgrade in terms of image quality and the formats the camera can shoot in. And there’s any codec you like, as long as it’s Blackmagic Raw.

The sensor shoots in 3:2 format in 12-bit Blackmagic Raw ‘open gate’ as it records from the full area of the sensor where the frame rate maxes out at 36fps. This is because the camera is largely designed to be shot in this way, and then the image is cropped in post to suit whatever size and format you need. From super-wide anamorphic to widescreen 17:9 and even 9:16 vertical for social media, all from one setting which is then cropped in post. There are lots of in-camera overlays to help monitoring. 

There are other options, such as DCI 6K, DCI 4K, Super 35 4:3, and 1080 HD. But in these settings, the sensor is windowed during shooting. So as there is a crop factor to the shot, the camera doesn’t have to scan the whole sensor which means there is an increase in frame rates.

In full-frame 6K the frame rate is 36fps, in DCI 6K widescreen it’s 48fps but with a 1.06 crop. At DCI 4K it speeds up to 60fps, but there’s a 1.57x crop and in FHD 1920x1080 you can go to 120fps but there’s a huge 3.3x crop. Of course, cropping into part of the sensor means image quality and resolution are reduced. 

The camera offers 13 stops of dynamic range and dual native ISO which bases at 400 and 3200, so it’s clearly a camera that likes a lot of light. As it’s all shot in Raw, there is no in-camera noise reduction so you need to add this to every shot in post. 

There is also the file size issue as you will need a lot of CFexpress cards to shoot in the best quality. But the camera allows you to select different Raw compression levels from 3:1 to 12:1 if you keep the bitrate constant, or four quality levels from Q0 to Q4 for consistent quality. 

The  Optical Low-Pass Filter effectively combats moire but with a large sensor and not the fastest processor, there are some rolling shutter issues. One clever way of reducing this is in DaVinci Resolve which uses the camera metadata to detect skewed verticals and then correct the image for it. This works surprisingly well, but there is a small crop which is something the camera could do without. The same technology also works to reduce camera shake, which is useful use as there is no built-in image stabilization.

Resolve is also the only place to process stills from the 6K camera. There is a separate shutter release next to the main video button, which takes a full-resolution still image. This is also in Blackmagic Raw format, so they have to be opened in DaVinci Resolve and worked on like a video file. So it’s decent for a thumbnail but is a long way from stills out of a conventional mirrorless camera. This is a camera for serious video only.

Blackmagic Pocket 6K: Design & Handling

This pumped-up camera has lots of vents to help keep the sensor cool when it’s recording 6K video Raw files, so there is never an overheating problem. Add on the optional £492 EVF and £161 battery grip and the camera is a bit of a monster, though. The EVF has a 1280 x 960-color OLED display and the unit can swivel through a 70-degree range. There is an adjustable dioptre lens as well as a choice of eyecups. These do fall off easily, though.

The battery grip screws onto the bottom plate which accepts two additional NP-F batteries. In tests, we coaxed approximately an hour of shooting and reviewing per battery.

The left side of the camera has rubber covers over ports that include a headphone socket and mini XLR jacks. And there are good-quality internal mics and preamps, too, with on-screen audio monitoring. The screen tilts but does not swivel around, sadly.

On the back of the camera is an auto exposure button which gives a rough setting but isn’t particularly accurate. 

There is also the autofocus button which uses the contrast-detect AF system in single-shot only that often hunts around before locking on. Not only is the AF not a clever hybrid phase-detection system but it this is old-school, one-shot AF. There is no C-AF, subject tracking, face detection, or any mod cons. You really need to focus manually, which is decent as there is a punch-in focus button to zoom feature, and the screen is big. 

Like the Blackmagic Pocket Cinema Camera 6K Pro the new 6K full-framer has a carbon fibre composite body but it doesn’t feel premium or like it would take a significant beating.  

However, the controls are well-designed with a large Rec button and an obvious control dial on the front to adjust the aperture. There are clear buttons to change ISO and white balance, and three customizable function buttons ideal for false color, effect of the display LUT, and frame guidelines. 

The large touchscreen menu is clear and allows you to change settings including shutter speed or shutter angle. Once shooting, the main info is all around the outside of the screen or you can turn it off for a clear view. 

Compared to cameras with built-in ND filters, you need to use a variable ND or standard ND filter in a matte box. Maybe Blackmagic will launch a full-frame 6K Pro that includes NDs, or perhaps they are too hard to squeeze in because of the large sensor. 

Blackmagic Pocket 6K: Performance

There is little to compare to the ultimate quality and flexibility you have when shooting Raw files. In the full 6K setting, even the most compressed files give superb results. The files are detailed and packed with colors to allow extreme grading, thanks to the Generation 5 color science. The hues are not oversaturated, even in the ‘video’ setting, which is relatively bold and punchy. The Extended Video has a wider dynamic range, and the Film setting has a more organic, filmic feel. Included LUTs can be used to normalize the monitor image while recording Log. And you can load your own LUTS, too. This ultimate control in image quality is what this camera is all about.

Yes, there are some rolling shutter issues that can be combated in Resolve, albeit with a crop. And you definitely need to add noise reduction, even at low ISO settings, as there is none applied in camera. But the ability to change white balance, push highlights and shadows, and change colors in post is a massive benefit thanks to those BRAW files.

Faster frame rates look good if you don’t mind the crop. But the 3.3x crop to achieve 120fps should be considered a get-you-out-of-jail card for occasional use rather than for serious-quality filmmaking. 

But to get the best out of the Blackmagic Cinema Camera 6K, you really need a decent amount of light as the sensor isn’t best at high ISO. The camera really needs to be on a tripod or motorized gimbal to take out the shakes and focus manually. The old-school AF and lack of image stabilization means it isn’t great for events or fast-paced work, either.

We found the sweet spot at DCI 4K with 5:1 compression, shot at 60p which allows for half-speed slow motion, and just put up with the 1.57x crop. Or shoot in 6K and you can crop in post anyway, but your frame rates are stuck at a maximum of 36fps. 

Once you get to grips with this camera, you will be rewarded with superbly sharp and cinematic images at a price nothing else comes close to.

Blackmagic Pocket 6K: Video Sample

Blackmagic Pocket 6K: Verdict

There is much more to a camera than simply its sensor and processor pipeline to get the images onto the card. But in the case of the Blackmagic Cinema Camera 6K, the new full-frame chip and full-on BRAW workflow it allows really are at the heart of what this machine will do. 

It’s about creating top-quality, wonderfully cinematic films that can be cropped and graded to taste, with a super-shallow depth-of-field if you want it.

Yes, it’s a big machine that makes it a bit awkward to use, with no built-in ND filters or fully articulating screen. The AF is poor, there are no edit-ready codecs in full resolution, the frame rates aren’t great and there’s a crop on everything except open gate 6K. 

But once you work on the files in DaVinci Resolve, you can’t fail but to be impressed at the results. And considering the low price of the camera body, you will forgive it all its quirks.

If you have the talent and vision to make stunning, filmic movies, this camera will help you deliver.  

It was only back in October that we received the last Panasonic firmware updates, boosting performance across the Lumix S5 range, but Pansonic has managed to sneak in another just before Christmas. 

New firmware updates for the Panasonic Lumix S5 II, S5 IIX, GH6, and G9 II see several issues fixed, along with improved video functionality for the G9 II. Multiple Panasonic cameras have made it onto our best hybrid cameras list, and this update may provide a case for the G9 II to be included as well. 

Each model has slightly different update notes, due to different fixes and improvements. They are as follows: 

Lumix G9 II

Firmware Ver.2.0

RAW video output over HDMI to Blackmagic Design external recorder

• [5.7K] / [C4K] / [5.8K (4:3)] / [4.4K (4:3)] 12-bit RAW video data can be output over HDMI to Blackmagic Video Assist 5" 12G HDR and Blackmagic Video Assist 7" 12G HDR, to be recorded as Blackmagic RAW.

RAW video output over HDMI to ATOMOS external recorder

• [5.7K] / [C4K] / [5.8K (4:3)] / [4.4K (4:3)] 12-bit RAW video data can be output over HDMI to ATOMOS "Ninja V" "Ninja V+" "Ninja" "Ninja Ultra" "Shogun" "Shogun Ultra" "Shogun Connect" devices, to be recorded as Apple ProRes RAW.

Others

• Operational stability when using in some storage devices has been improved.

• There were cases where horizontal lines would appear in the image when capturing JPEG photos in SH Burst Shot mode. This bug has been fixed.

• Improved operational stability.

Lumix GH6

Firmware Ver.2.5

Operational stability when using in some storage devices has been improved.

Lumix S5 II & S5 IIX

Firmware Ver.2.3 (S5 II) / Firmware Ver.1.4 (S5 IIX)

Operational stability when using in some storage devices has been improved.

There were cases where horizontal lines would appear in the image when capturing JPEG photos in SH Burst Shot mode. This bug has been fixed."

For the majority, the new update is not as impactful as the one back in October. However, all the fixes improve the cameras' operational abilities – and the updates to the video output of the G9 II will be a much-loved addition for filmmakers. The ability to use external monitors via HDMI will increase video recording performance, providing more versatility and creative options.  

If you are unsure how to update your firmware, Panasonic provides a helpful step-by-step procedure on the firmware webpage. 

See our guides for more information on the best Panasonic cameras, the best L-mount lenses, and the best micro-four-thirds cameras. 

DJI are well known for their world-leading drones, but a while back it announced the Ronin 4D camera which brought the buttery-smooth gimbal to handheld operations. For some time the Ronin 4D-6K edition has been available; now, finally, the long-awaited 8K powerhouse is in stores.

The Ronin 4D-8K, has – not coincidentally – a detachable camera gimbal system like the DJI Inspire 3, one of the best drones out there for filming. It has full-frame 8K/60fps and 4K/120fpr capabilities with 800/40000 dual-native ISO providing 14.7 stops of dynamic range, enough to please cinema-grade creators.

"Empowering creators with cutting-edge technology has always been at the heart of DJI's mission,” said Paul Pan, DJI Senior Product Line Manager. “The Ronin 4D-8K stands as a testament to our dedication to delivering unparalleled imaging solutions and providing creators with the tools they need to bring their visions to life with exceptional clarity and brilliance.”

That includes the convenience of 9-stops of physical ND filters built-in for precise exposure control, an automated focus on manual focus lens control, and a LiDAR focussing sensor. Many of these innovations are also found in the 6K edition, but the new model also brings DJI Cinema Color Science (DCCS) which, DJI says, delivers natural skin tones and "unlocks boundless creative possibilities by vividly reproducing the kaleidoscopic colors perceived by the human eye."

The new camera's 'CineCore' processing system supports Apple ProRes RAW, ProRes 422 HQ, H.264 and Cinema DNG, like the Inspire 3. DJI can provide LUTs and say that their D-Log curve ensures detailed highlight and shadow retention and "effortless" alignment with an ARRI cinema camera's color.

It was certainly true in my tests of the Inspire 3 that it handled color exceptionally well, so it seems plausible, while my colleague Sebastian certainly liked the 6K version in his review.

The Ronin 4D-8K combo includes the Ronin 4D body, a Zenmuse X9-8K gimbal camera, a DJI DL PZ 17-28mm T3.0 ASPH lens, a PROSSD 1TB, a PROSSD Mount, hand grips, a top handle, a High-Bright main monitor, a TB50 intelligent battery, a LiDAR range finder and a DJI Ronin 4D RAW License Key. The combo retails at $12,838 / £11,038 / AU$18,588.

The Zenmuse X9-8K gimbal Ccamera alone is $3,599 / £2,599 / AU$5,450.

Read more about the best cinema cameras and the best 6K and 8K cameras (in a broader sense) in our guides.

Atomos has revealed the new generation of Shogun monitors, the Atomos Shogun 7” HDR Monitor-Recorder 6K RAW and the Atomos Shogun Ultra 7” HDR Monitor-Recorder 8K RAW, scheduled for release in October 2023. 

Launched at IBC 2023, the new monitors are the successors of the much-loved original Shogun monitors that left a stamp on the industry by enhancing the creative workflow of filmmakers worldwide. The new monitors look set to continue the success of the previous models by boasting an array of improved features. 

• These are the best on-camera monitors right now

The Shogun and Shogun Ultra both sport a 7-inch display with 2,000 nits of brightness, offering complete visibility even on the brightest of days. Both monitors incorporate a host of connectivity options that include In-Out 12G-SDI, HDMI 2.0 In & Out, Wi-Fi, Ethernet, and AirGlu. When it comes to codecs, the monitors have an extensive selection that includes 6K Apple ProRes RAW (and 8K with Shogun Ultra), Apple ProRes, DNxHD, and H.265. 

Both monitors have local and cloud-based modes, offering more recording and workflow capabilities. The Local mode employs the recently revealed AtomOS 11 as its foundation and is packed with an extensive monitoring suite that incorporates tools such as RecordAssist, PlaybackAssist, ELZone, and Arri False Color. All this is conveniently pre-configured and ready to use, straight out of the box. 

Cloud mode offers a range of wireless and network capabilities, allowing for cloud-based workflow for camera-to-cloud and Atomos Edit. Atomos Cloud Studio ACS  offers further ability for remote collaboration and live production. Other capabilities include top-tier Wi-Fi, Ethernet, and AirGlu wireless synchronization technology.

The Shogun Ultra monitor takes things further by supporting Dual Record ProRes RAW / H.265 for Camera to Cloud. It also continues to impress by offering SDICine, providing automated matching of filenames, timecode synchronization, and record triggering compatibility with professional cameras from Arri, Canon, Red, and Sony SDI cameras.

The new monitors are scheduled to ship in October 2023 at the price of around $1,330 / £1,070 / AU$2,045 for the Atomos Shogun 7” HDR Monitor-Recorder 6K RAW, and $2,460 / £1,290 / AU$2,460 for the Atomos Shogun Ultra 7” HDR Monitor-Recorder 8K RAW.

Check out the best 8K and 6K cameras, which will benefit hugely from these new Shoguns. You might also be interested in the best cinema cameras and the best cameras for video. 

Atomos has announced the latest generation of its immensely popular Ninja line of camera-mounted monitor recorders – the Ninja and Ninja Ultra.

These latest Ninja recorders build on the previous versions, with new and improved headline features including a 5-inch HDR screen and ProRes RAW recording up to 8K. Atomos is also making a big claim that its latest recorders can connect to almost every camera in the world.

• Check out the best on-camera monitors to elevate your videography

Video recording internally on your camera has never been the best way to get the cleanest and richest footage possible. Only recently have camera companies finally started to include the latest RAW codecs to unleash the full dynamic range and color profiles available from a camera sensor – but still not all cameras are up to the task.

Atomos has built its tremendous success over the years by providing videographers with the tools to get the most from their footage, by using its range of external recorders that can output clean video via a camera's HDMI output.

The Atomos Ninja V and V+ were the manufacturer's latest recorders in this series, and are both incredible external recorders. It's a big Apple-esque statement to ditch the numbering from the name, so what's new with these updated models? 

Starting with the new standard Ninja, it can record in 4K60p in Apple ProRes and also in the latest H.265 – which offers smaller file sizes than H.264 without compromising on quality. The new Ninja Ultra steps it up a notch in professional recording, and now includes more codecs as standard – including 6K ProRes RAW, ProRes, DNxHD as well as H.265, which were previously only available as paid add-ons for prior Ninja models. The Ninja Ultra is also able to record in ProRes RAW including 8K 30p.

The new Ninjas are also debuting an entirely new and overhauled operating system, with AtomOS 11 promising a cleaner and faster experience while also incorporating brand new features including EL Zone exposure referenced colorized image, Arri False Color, and new scheduled playback and recording tools.

With the Ninja Ultra, Atomos is going hard on pushing camera-to-cloud features. Camera-to-cloud might well be the next frontier in creative workflows, as work becomes more remote and collaborative across the globe, with lots of companies offering their own systems (with Adobe's frame.io being the most notable).

To help with this, the Ninja Ultra can be combined with the optional Atomos Connect module to enable super-fast WiFi 6E, with lower latency and higher throughput. Furthermore, you can add the Atomos Connect expansion module to either a Ninja or a Ninja Ultra to enable Atomos RemoteView, whereby you can wirelessly share your camera view not only with other Atomos screens but also with iPads, Macs and Apple TVs anywhere in the world.

For cloud workflows, the Atomos Ultra can also locally record full-quality files to ProRes RAW up to 4K 60p while at the same time recording H.265 in HD60p in the cloud. H.265 is half the size of H.264 but still is high enough quality for social media or news reporting.

The Ninja Ultra also supports automatic matching filenames, timecodes, and records from Arri, Canon, and Red cameras, with additional cameras being added over time.

For existing Atomos users, you'll be relieved to know that the new Ninja and Ninja Ultra are backward-compatible with the Ninja V and Ninja V+, so all Atomos and third-party accessories can be used with the latest Ninja and Ninja Ultra monitors. The Ninja and Ninja Ultra will be shipping from early September 2023, priced at $599 / £629 and $799 / £809 respectively (Australian pricing to be confirmed).

You can preorder the new Atomos Ninja right now at B&H or Adorama in the US, or in the UK from Wex.

If you're looking for a great screen on which to watch your content back, take a look at the best video editing monitors. You might also be interested in the best video editing software and the best free video editing software. 

Thanks to its high resolution and speed, the Nikon D850 was a big hit when it launched in August 2017, and many photographers still love it it. It also has a robust, weather-sealed build but is smaller and lighter than the D5 and D6 above it in Nikon's DSLR line-up.

Although camera manufacturers are switching to mirrorless technology, many Nikon D850 users have been waiting for the right model to replace their trusty SLR. The new Nikon Z8, which has much of the same technology and features as the Z9, looks like a great option.

This post compares the Nikon Z8 and the D850 to identify their key differences.

1. Sensor

Nikon Z8: Full-frame (FX 35.9 x 23.9mm) 45.7MP stacked backside illuminated (BSI)
Nikon D850: Full-frame (FX 35.9 x 23.9mm) 45.7MP backside illuminated (BSI) 

The Nikon Z8 and Nikon D850 have the same pixel count, but the Z8's sensor uses much newer technology and has a stacked CMOS design. This chip means the Z8 has faster data readout, and that combined with the new Expeed 7 processing engine, contributes to the overall performance, particularly the nippy focusing and subject detection.

Although the D850 has the older Expeed 5 processing engine, the camera has the same native sensitivity range as the Z8 (ISO 64-25,600). However, the updated sensor design and noise reduction algorithms mean that the Z8 should produce better results in low-light.

2. Lens mount

Nikon Z8: Nikon Z
Nikon D850: Nikon F

As the D850 is a DSLR and the Z8 is a mirrorless camera, they have different lens mounts. Thankfully, Nikon D850 users can use an FTZ adapter to use their Nikon F-mount lenses on the Z8, which has the Z mount.

The Nikon Z mount has a diameter of 55mm, 8mm bigger than the F mount. This means it can let in more light and Nikon's engineers have greater scope with lens design. There's also faster communication between the lens and the camera body with the Z mount, and that's useful for fast focusing and image stabilization.

3. Video

Nikon Z8: 8K (7680 x 4320): 60p/30p/25p/24p, 4K (3840 x 2160): 120p/100p/60p/50p/30p/25p/24p, Full HD (1920 x 1080): 120p/100p/60p/50p/30p/25p/24p
Nikon D850: 4K/UHD (3,840 x 2160) video at up to 30p

The Nikon Z8 can record 8K video at up to 60p while the Nikon D850 has a maximum resolution of 4K (3,840 x 2160) at 30p (25p and 24p are also available). In many situations, 8K video is overkill, but it's likely to become more prevalent and brings scope to crop to 4K.

In addition, the Z8 can record 4K video at up to 120p, while the D850 is limited to 30p in 4K and 90p in Full HD (1920 x 1080) or there's a 4x / 5x slow-motion Full HD movie option. It means the Z8 is much more helpful for creating slow-motion videos. 

The Z8 also has the option to shoot in Nikon's N-Raw format N-RAW (12 bit), Apple ProRes RAW HQ (12 bit), or Apple ProRes 422 HQ (10 bit).

Both cameras have an HDMI connection that can be used to connect an external recorder. This enables the D850 to record uncompressed 4:2:2 8-bit 4K footage, while the Z8 can record 8K 4:2:2 10-bit video.

4. Autofocus system

Nikon Z8: 493 phase-detection points plus subject detection
Nikon D850: Viewfinder: 153-point with 99 cross-type phase detection, Live view: contrast detection

Because the D850 is a DSLR, it has two AF systems, one that works when images are composed in the viewfinder and the other for use in Live View and video mode. Their performance is very different, with the phase-detection AF system being fast and accurate even in low light. The contrast detection system that operates in Live View and video mode, however, is slow.

However, as usual, with a full-frame DSLR, the focus points are clustered quite closely around the center of the frame.

Meanwhile, the mirrorless Z8 uses the same hybrid (phase and contrast detection) AF system however the image or video is composed. It also has 493 phase-detection points distributed across the whole imaging frame. This makes it easier to focus on and track subjects at the edge of the frame than with the D850, which has 153 AF points clustered around the center of the frame.

In addition, the Z8 has Subject detection that can be set to look for specific subjects. It can detect people (eyes, faces, head, and torso), animals (whole bodies and heads and eyes for cats, dogs, birds, and 'other animals'), cars, motorbikes, bicycles, trains, and airplanes. It makes shooting moving subjects much easier than with the D850.

5. Continuous shooting

Nikon Z8: 20fps
Nikon D850: 7fps

In 2017, the D850's ability to shoot 45.7MP images at 7 frames per second (fps) was impressive, and it could be boosted to 9fps with the battery grip. Today, however, that seems pedestrian in comparison with some mirrorless cameras, including the Z8, which has a maximum rate of 20fps when capturing full-resolution raw files. It can also hit 30fps when shooting full-resolution JPEGs and 120fps when shooting 11MP normal-quality Jpegs.

The Z8's burst depth also beats the D850's, as the mirrorless camera can record more than 1000 images in one sequence. In comparison, the D850 can shoot at 7/9fps to a maximum of 51 14-bit lossless compressed raw files or 170 12-bit lossless compressed raw files.

Another key difference from the D850, the Z8 doesn't have a mechanical shutter, just an electronic shutter. This enables shutter speeds of up to 1/32,000 sec. The D850 has both types of shutter, and when the electronic shutter is in action in Silent Live View mode, it can capture full-size images at 6fps or DX format (APS-C) images at 30fps.

6. Screen

Nikon Z8: 3.2-inch 2,100,000-dot 4-way-tilting touch-screen
Nikon D850: 3.2-inch TFT LCD 2,359,000-dot tilting touch-screen

The D850 has a 3.2-inch 2,359,000-dot screen, but it can only tilt up or down in landscape orientation, so it's no help when photographing in portrait orientation. However, the Z8's 3.2-inch, 2,100,000-dot screen has a 4-way tilting mechanism that can be tilted in landscape or portrait orientation, making it much more helpful.

7. Viewfinder

Nikon Z8: 0.5-inch 3.69-million-dot, 3,000-nit OLED viewfinder
Nikon D850: Optical with pentaprism 100% coverage and 0.75 magnification

As a DSLR, the D850 has an optical viewfinder, but the mirrorless Z8 has a 0.5-inch 3.69-million-dot, 3,000-nit OLED electronic viewfinder. Although some people still prefer an optical viewfinder, an electronic finder enables you to preview the impact of camera settings. The Z8's EVF also has dual-stream technology that allows a real-time view with no blackout.

8. Weight

Nikon Z8: 910g with battery and memory card
Nikon D850: 1005g with battery and XQD card

The Nikon Z8 and D850 are both single-gripped cameras, but they can be used with a battery grip if a vertical grip is needed. It's their single-gripped design that makes them smaller and lighter than the models directly above them in Nikon's line-up.

The Z8 is 95g lighter than the D850, which won't make a huge difference when you're carrying a bag full of lenses. It's also 15% smaller than the D850 so it is arguably more portable.

9. Battery life

Nikon Z8: Stills in Energy-saving mode: 340 images using the viewfinder, 370 using the main screen, Standard mode: 330 images using the viewfinder, 340 using the main screen, Video: 85 minutes when using the viewfinder or screen
Nikon D850: Stills: 1840 images using the viewfinder, 70 minutes of video

If you're shooting stills and composing images in the viewfinder, then the Nikon D850 is the clear winner here. You may still want a spare battery for a day's shoot, but it's essential for the Z8.

Interestingly, the Z8 can shoot video for longer on a single battery charge than the D850. This suggests that the D850 will capture fewer images in the Live View mode than the Z8 when using the screen to compose images, but it's not a camera we would use in Live View mode frequently.

10. Nikon Z8 vs D850: Verdict

The Nikon D850 has proved its worth and has been a dependable camera for many enthusiast and professional photographers. It's been popular with many photographers, including those who shoot weddings, landscapes and events. And it remains an excellent camera for those genres. However, the more advanced focusing system, faster shooting rate and deeper burst depth of the Z8 make it a better choice for sport, action or wildlife photography. It's also got some serious video credentials making it a better all-rounder, and much better choice for videography.

11. Prices

Best Nikon Z lenses
Nikon Z8 vs Z9
Nikon D780 vs D850
Best professional cameras

If anyone is counting, the DJI Inspire is probably owed an award as the industry's "Most Changed Drone." In its first iteration, it had a white shell like the iMacs of its day, and was definitely impressive, with a 4K camera, but still felt like a high-end consumer device. 

Since then DJI's Inspire has grown up. There was a pro edition, then the metallic Inspire 2 introduced interchangeable lenses and high-budget production teams took notice. Even then, however, the cash-rich enthusiast could dip into their pocket for a cheaper edition, recording to a budget-friendly MicroSD card. The ProRes license and recording to DJI SSD were optional.

The Inspire 3, however, has gone all in on Pros. It makes a certain sense. The Mavic 3 Pro now offers ProRes and multiple camera choices for a single operator needing portability, while regulations make bigger drones a more difficult choice. That means we're looking at a no-compromise device for pro productions. The question is, have DJI made the right choices? Oh, and if you're a money-no-object enthusiast is there something here for you too?

Drone Specifications

Since the camera is detachable, we'll cover these separately.

Gimbal tilt range: -128˚ to 110˚ (gear lowered) or -148˚ to 90˚ (gear up)
Gimbal pan: ±330˚
Take-off-weight: 3.995kg (to 4.31kg depending on accessories)
Live video (preview) bitrate: 50Mbps
Battery: 4280mAh x 2 TB51 – 25 mins hovering time
Size: 710 x 501 x 176 mm (28 x 20 x 7 inches)
Speed: 94kph / 58.4mph

Camera specifications

Sensor size: Full frame – 36 x 19mm
Sensor pixels: 44.7 megapixel (8192 x 5456)
Maximum video: 8.1K
Slow motion options: 4K @ 120fps, 8k @ 75fps
ISO: Dual-native (800/4000) at up to 30fps
Dynamic Range: 14+ stops claimed
Shutter type: Electronic

Key features

The Inspire 3 is nothing less than a flying cinema camera. It brings together all the drone tech improvements from the nearly seven years of development since the Inspire 2, and adds a full-frame 8K camera – the Zenmuse X9-8K Air. That camera, of course, has interchangeable lenses. Now we're off to the races (it is not, however, the same camera as the Ronin 4D, and they're not interchangeable).

The Inspire 3 records Cinema DNG, ProRes RAW, ProRes 422 HQ and good old H.264 to a removable SSD card. There is no MicroSD port. A 1TB DJI Pro SSD card is included, and it has a USB-C socket with 900MBps read (this isn't the same as the CineSSD from the Inspire 2, but is established with the Ronin 4D).

The airframe changes shape after take-off to allow a second operator to steer the camera around 360 degrees while a pilot flies using the much improved forward-facing camera. Dual batteries mean you can land and hot-swap without powering down completely.

An all-direction collision sensor array is complemented with RTK, making it possible to create repeatable "3D Dolly" shots, meaning this drone could replace much less portable cinema gear.

Build and handling

The Inspire 3 is supplied in a large suitcase-sized trolley case, the external shell of which is top quality and the inside carefully trimmed to allow the drone and all its accessories as little room for movement as possible. This is an enormous improvement on the Inspire 2 box, and even better than the Inspire 1 case. Opening it is gadget-lovers dream, though it is also a little bewildering.

The magic of the Inspire series design is the aircraft's ability to re-shape itself, from landing (legs below fuselage), travel (legs and fuselage as flat as possible), and flight mode (legs and props up). That means you're immediately faced with an assembly exercise every time you open the box – it will always take longer than a Mavic-stlye folding drone. Oh, and the camera isn't attached either, so there is that.

Instinctively the first thing you lift from the box is the fuselage, and only in your hand can you fully appreciate just how much bigger this is than a Mavic 3. Without a pair of batteries installed, however, you're not ready to take off.

On my scales, the batteries came to 472g (just over 1 pound) each, and you need two to fly. The test drone I had came with six – i.e. 3 flights. That seemed a reasonable minimum. They fit into the back on a slide-and-clip mechanism and are released by pressing a gorgeous metallic catch. It did, however, seem to stick a bit. The problem is the thing you naturally go for when your grip tightens is the opposite battery release – not ideal when you're trying to swap only one battery at a time (to take advantage of hot-swap).

Each of the drone's legs has a discrete fish-eye vision sensor which contributes to the overall array. There are also two on top and two underneath, so this thing has plenty of data with which to avoid a collision, and I found it helped, even with trees (though thick summer foliage is easier for these systems to spot, and of course vision sensors are essentially useless at night).

The SSD has a USB-C socket so you can plug into your system and copy from it. There is a small white LED on there too. Rather than going under the batteries, it has a dedicated door in the grey plastic top of the fuselage.

The fuselage, incidentally, is a piece of design finally made with humans in mind – the Inspire 2's metallic upper looked stunning but in the years I owned one I kept lifting it up and hurting my fingers on its razor-like edge. Here a space-grey chic has been maintained, but there is thankfully no need for a 'sharp edges' warning sticker.

The Inspire 3 now has props that spin out with centripetal force, just like consumer ones, rather than fixed. Theoretically, they can be left on in the box, but I couldn't find a way to do that and close the case in a way that didn't feel like it put too much pressure on the motors. They push-and-twist attachment process takes moments anyway, and they can only go on the correct motor.

In a new feature called Tilt Boost, the drone can be persuaded to remain with legs in take-off position and tilt the main camera up to 80˚ skywards – though this is more useful near tall features than in fields!

Controller

The new DJI RC Plus / RM700B controller is massive, built around an enormous and responsive screen which DJI say is 1,200 nits. I know I didn't have any trouble seeing it out in the sun.

At first, it might seem almost insanely unmanageable, especially if you're used to more compact drones, but DJI's clever strap and, well, I'm going to say 'gut rest,' though I believe 'waist support' is the official term, in the form of a foldable frame. I found this very comfortable.

The Android-based OS can use your phone as an access point, handy not just for mapping but the tutorials which are provided with DJI's usual panache.

I didn't find any need for the additional swappable battery bay. After setup and burning through 5 pairs of batteries of actual flight, I had only used about half of the power the controller's built-in battery holds (DJI say 3.3 hours).

Since I had to charge the main batteries, it was simple to plug the controller into a USB-C. The socket at the top has a rugged but well-labeled cover. It's next to an HDMI which works not just for live monitoring but replaying, unlike the Inspire 2. Very handy, I imagine, showing things to a director.

Hidden inside the Inspire 3's hull are dual antennas (front and back) and we certainly had no concerns about the signal in the 500m line-of-sight we were allowed to test in. Not even a hint of a glitch on the video preview. O3, DJI's name for their radio control system, seems flawless within the distances we could test – and we imagine a couple of miles, too.

Flight characteristics

Perhaps some folk become blasé, but I still get a thrill the moment I start a drone up. With the Inspire 3 I'll admit a sense of trepidation too – let's be fair, it's not cheap and I have to give it back. The on-site assembly process also serves to remind you just how many pricey components you're in command of.

Some of that assembly could actually be a little easier. The lens mount has a dual grip mechanism; an internal clicking and a kind of grip. Then the camera itself needs to connect to the airframe, and of course the batteries (leave some time for all this, especially at first).

But, boy, once you lift off you forget all that. The thrust will move a lot of nearby dust, even if you use a big pad, then there is the period of adjustment as the bird of prey lifts its wings, but after that it's nearly as responsive as its smaller, lighter cousins. 

Smart Features & 3D Dolly

A significant new feature of the Inspire 3 is the ability to set waypoints and follow them over and over. Although this won't replace every dolly and jib on the film-set simply because the drone has rather more down-draft, it's easy to see the benefit. In use the process is strangely simple – fly once to record the route, then load it when you need. I came away feeling it ought to be trickier.

Admittedly the difference between '3D Dolly' and 'Repeatable Route' is a bit jargonistic, but it boils down to the difference between a short tight route which you'll likely need to make tweaks to as you go and one more designed for day/night cuts or following vehicles.

The other key smart tool in the bag is Spotlight Pro, which uses AI to target the camera on a subject. After a few tries, I found Spotlight Pro good enough to call into question the need for a second operator for the camera in quite a lot of circumstances. Perhaps I'm a natural loner, but given the improvement in the FPV camera I can imagine a good number Inspire 3 operators managing without a second and third crew member (yes, focus can be handled by someone else too).

The ability to partially disable or reduce the range of the obstacle alerts is very useful if you're working in a tight spot and you know what you're doing. Bravo, DJI. 

More precise results can be achieved with these waypoint-based systems by taking advantage of one of the Inspire 3's other upgrades; RTK. This system requires a ground station, which I don't have. John De Caux, Head of First Team Content at Manchester City, did have one while he was trialing the pre-release Inspire 3, and was able to share with me this clip.

• Read about the Manchester City Content Team's Kit Bag

In it, you can see how accurately the drone follows a 'Repeatable Route' at different times of day (and how well it handles low light in Manchester), for the sake of synchronizing with a ground station (which costs about $3,000 / £2,700). This process has been subject to some software updates too.

Camera performance

We can't fully convey the detail the Inspire 3 captures, save to say that it is a step-change from even high-end drones like the Mavic 3. It also beats the pants off my old Inspire 2, which was the Micro SD card version with a Zenmuse X5 (Micro Four Thirds) camera. 

The 20MP RAW or JPEG files are both so sizeable we're forced to show slightly more compressed versions here. Nevertheless, there is rich detail. Every leaf or blade of grass is visible. You can read the light, and from the 8K original it looks nearly as rich when cropped to match the pixels (i.e. 2x at 4K). That gives the 50mm lens a lot more potential in practical use where beating 4K is unusual.

The dynamic range is in no doubt either. With black glass, shade, dark cars, and white near each other, in bright sun we still weren't easily able to blow highlights or lose shadow detail (at least when I let the drone decide camera settings).

We tested the 18mm, 35mm, and 50mm lenses and found the detail extended right into the corners of the frame, where there was no apparent fringing either. I enjoyed shooting with the 50mm which seemed to expose no judder when hovering; the gimbal and dampener are definitely working. Thankfully, though the camera needs removing, you can leave the last lens you used on to pack.

I probably don't need to warn you about this if you're considering the Inspire 3, but 8K is a workaholic's medium that requires serious post-processing. This is where high-end computers like the Mac Studio show their purpose. If you're used to an MP4 workflow, just check your specs and make sure you're prepared for the sheer quantity of data that some of the Inspire 3's video formats will throw at you. Oh, and at best you'll get about 30 minutes of 8K on that 1TB card.

Of course the encyclopedic list of codecs the Inspire 3 offers does include MP4 – at 4K, anyway – but that seems a bit of a waste of the gear. Theoretically, the Mavic 3 can top that (though obviously lacks the optics, sensor size, and other features etc.)

To edit 8K you'll need the right machine. I made the mistake of trying to process the video on a 2019 MacBook Pro with 16GB RAM. "Oh, I'm just assembling a couple of clips," I thought. "It won't take a minute." Well, er, it has done. Suffice to say please check this review in a couple of days for a better sample – for now here are some shots assembled in iMovie (not a tool I know how to grade clips in, as will be obvious by the end!

Final verdict

The Inspire 3 is nearly everything we were hoping for, except affordable. For serious filmmakers, however, it has the potential to change the world and, curiously, save money too. That's to say if you can replace jib and dolly hire with an Inspire 3, you'll be on to a winner (but that won't happen where the props will blow up dust or in a small studio).

I, honestly, still have some mixed feelings about the Inspire 3. My Inspire 2 had its issues (not least its sharp edges), but it is sad to be finally priced out of the Inspire range despite owning both predecessors. The old Zenmuse's ability to accept generic MFT lenses with powered zoom was budget-friendly too. But I'm no longer the target market.

For likely buyers, it's more frustrating that the Zenmuse X9-8K from DJI's Ronin 4D isn't interchangeable with the 'Air' version, and that the Air version lacks a built-in ND filter system, but at least the SSDs are compatible.

Ultimately the Inspire 3 is the perfect refinement of its predecessor. I has found its place, it has literally rounded its rough edges, and it has gained the features needed to achieve anything you can reasonably expect of a drone. It will drive a class of operators into the arms of the Mavic 3 Pro or similar, but the power and flexibility it provides for those who need it is impressive the few irritations come largely from the inevitable issues associated with that power.

If you're looking for the best slow motion camera, that can shoot high frame rates, as well as high resolution, then you should take note of the latest release from Freefly.

The new Freefly Ember S5K is a high-speed slow-motion camera that can capture crazy details in slow-motion at a blistering speed of up to 800 frames-per-second continuous recording. Equipped with a Sony E bayonet lens mount, it weighs 800 grams, and shooting Apple ProRes internally. All this comes in a relatively affordable package of just $17,995 at B&H (approximately £14,370  /  AU$26,650). However, the biggest party piece of all is that this camera can also shoot standard 24fps too - so it's a cinema camera and a high-speed camera all in one - sounds incredible!

The Freefly Ember is able to record these framerates thanks to its on-board 4TB SSD that is capable of recording and storing up to 40 minutes of max 5K framerate - when slowed down is around 19 hours of playback, so I think you going to have enough footage to look at and use within post-production.

Freefly says they are developing a system that will allow recording from removable media in the way of a "backpack" but a date hasn't been confirmed yet. 

You can also control the Freefly Ember like any other box-style camera via its controls or you can do all the controlling by remote via the dedicated IOS app that will all complete control, but its party trick is that it will even let you export clips in a flash so you are able to share them with production quickly or simply share them with your following across social media.

While a high-speed slow-motion camera is a very niche product for most people the Freefly Ember comes in at a reasonable price point against its competitors and will be easily accessible through rental houses, making high-quality cinema-standard images that are now being used in a variety of settings and not just in Hollywood productions.

While this eye-watering price might sound ludicrous to many, the price is very well set for the maybe lesser-known or up-and-coming studios to purchase this camera over higher priced alternatives on the market, also it being able to record in standard 24p in 5K or 4K really makes it's a versatile camera to own and I can see many who are able picking up this camera and using it for everything, as well as stunning high-speed slow-motion work.

Pre-order at B&H for $17,995 (US)

If you're looking for the best slow motion camera, that can shoot high frame rates, as well as high resolution, then you should take note of the latest release from Freefly.

The new Freefly Ember S5K is a high-speed slow-motion camera that can capture crazy details in slow-motion at a blistering speed of up to 800 frames-per-second continuous recording. Equipped with a Sony E bayonet lens mount, it weighs 800 grams, and shooting Apple ProRes internally. All this comes in a relatively affordable package of just $17,995 at B&H (approximately £14,370  /  AU$26,650). However, the biggest party piece of all is that this camera can also shoot standard 24fps too - so it's a cinema camera and a high-speed camera all in one - sounds incredible!

The Freefly Ember is able to record these framerates thanks to its on-board 4TB SSD that is capable of recording and storing up to 40 minutes of max 5K framerate - when slowed down is around 19 hours of playback, so I think you going to have enough footage to look at and use within post-production.

Freefly says they are developing a system that will allow recording from removable media in the way of a "backpack" but a date hasn't been confirmed yet. 

You can also control the Freefly Ember like any other box-style camera via its controls or you can do all the controlling by remote via the dedicated IOS app that will all complete control, but its party trick is that it will even let you export clips in a flash so you are able to share them with production quickly or simply share them with your following across social media.

While a high-speed slow-motion camera is a very niche product for most people the Freefly Ember comes in at a reasonable price point against its competitors and will be easily accessible through rental houses, making high-quality cinema-standard images that are now being used in a variety of settings and not just in Hollywood productions.

While this eye-watering price might sound ludicrous to many, the price is very well set for the maybe lesser-known or up-and-coming studios to purchase this camera over higher priced alternatives on the market, also it being able to record in standard 24p in 5K or 4K really makes it's a versatile camera to own and I can see many who are able picking up this camera and using it for everything, as well as stunning high-speed slow-motion work.

Pre-order at B&H for $17,995 (US)

There are not many new full frame fixed lens cameras nowadays, especially premium cameras. Since Sony offed its RX range, this has effectively left Leica with an open goal for its Q series of cameras, but Leica being Leica, it is still going to showboat before kicking the ball into the net.

The Leica Q series began in 2015, with the idea of a full-frame compact camera that balanced exceptional image quality and intuitive controls. The Leica Q's 28mm f/1.7 lens also won significant praise, with many likening it to Leica’s finest M series lenses. Building on this success, Leica introduced the Leica Q2 in 2019, featuring a higher resolution sensor, weather sealing, and improved usability. Leica is now back with the third iteration of the Q series, the aptly named Leica Q3.

The Leica Q3 aims to take everything that was beloved from the previous two versions, including the same renowned fixed 28mm lens, but build upon it with new cutting-edge technology. However as the Q3 surges ahead into the future, can Leica still maintain the magic of the past versions?

Leica Q3: Specifications

Photo: 60.3MP (9520x6336), 36.5 MP (7404x4928), 18.6MP (5288 x 3518)
Photo formats: DNG 14 bit / JPG 8 bit
Video: 8K 29.97p 4:2:2/10 bit, max 29 minutes; 4K 59.94p 4:2:2/10 bit; FullHD 119.88p 4:2:2/10 bit
Video formats: H.265, H.264, ProRes
Processor: Leica Maestro IV
Autofocus: contrast metering, depth mapping, and phase comparison
ISO Sensitivity: 100 to 100,000
EVF: 5,760,000dots, 120fps, magnification: 0.79x
Screen: 3” TFT LCD, approx. 1,843,200dots, 384ppi, aspect ratio 3:2, touch panel
Connectivity: Bluetooth, WiFi, HDMI, USB Type-C 10Gbps
Storage: 1x UHS-II, UHS-I, SD/SDHC/SDXC
Weight: Approx. 743g/658g (with/without battery)

Leica Summilux 28 f/1.7 ASPH.

Groups: 11 lenses in 9 segments, 3 aspherical
Filter thread: 49mm
Digital Zoom: 1.25x (35 mm), 1.8x (50 mm), 2.7x (75 mm), 3.2x (90 mm)
Aperture: F1.7 to F16
Max shutter: 1/2000s mechanical, 1/16000s electronic
Min focus: 30cm / 17cm Macro

Leica Q3: Key Features

The camera incorporates Leica's new back-illuminated CMOS sensor with Triple-Resolution-Technology, providing users with three resolution options: 60, 36, or 18 megapixels, all utilizing the full sensor width. The 60-megapixel setting captures the finest details, while the lower resolution options offer faster operation, longer image sequences, smaller file sizes, and a slight increase in dynamic range. Powering the camera is the latest Maestro Series processor with L2 Technology.

In addition to photography, the Leica Q3 caters to content creators by offering 8K video recording capabilities and support for codecs such as H.265 and Apple's ProRes. The camera can be connected to external devices like gimbals, power banks, and display recorders via USB-C and HDMI ports. Tethered shooting is also supported using the USB-C cable connection.

The Leica Q3 boasts a fixed Leica Summilux 28 mm f/1.7 ASPH. lens, providing a natural wide and versatile perspective. The lens's wide f/1.7 aperture allows for excellent low-light performance and attractive background blur. It also features an integrated macro mode for close-up shots.

The camera introduces an extended digital zoom enabled by the 60-megapixel sensor, allowing users to capture cropped images at various focal lengths. The Q3 offers additional features like Leica Perspective Control (LPC) for straightening perspective anomalies and Leica Dynamic Range (LDR) for producing high dynamic range JPEG images without post-processing.

Improvements to the autofocus system include a hybrid autofocus system with phase detection for precise focus and fast object tracking. The Q3's intelligent subject recognition recognizes human bodies, faces, and eyes, as well as animals for subject tracking.

The camera features a 5.76-megapixel OLED viewfinder and a tiltable 3-inch high-resolution touchscreen on the rear, offering unique viewing angles and expanded creative possibilities. It maintains its durability with IP52 certification, safeguarding against dust and water.

Connecting to the Leica Photos app is now easier with Bluetooth, WiFi, or the dedicated certified cable for iPhone and iPad. Transfer speeds have been significantly improved, enabling seamless mobile workflow and easy video transfers to smartphones. The app also allows users to apply special Leica "looks" directly to photos for a distinctive style.

Leica Q3: Build & Handling

For anyone familiar with Leica cameras, especially the Q2, then it will come as no surprise that the build quality of the Leica Q3 is outstanding. The body is metal with a textured grip on the front which just feels oh so premium to hold, and the familiar red dot logo sits prominently in the top right corner. The body is also dust and water-resistant, although thankfully we have having a rare spell of sunshine in London, so didn't need to test this.

The rear of the camera has had a welcome upgrade from the previous version. There are now three custom function buttons, by default these are set up for ISO on the top dial, and on the rear, one for switching between photo and video quickly, and the other for changing the digital focal length of the camera. I didn’t even think about changing them, I think Leica has really nailed the key features most shooters want from this camera. If you do want to change them though, then this is easily done by holding in the button until the menu pops up.

The screen on the rear of the camera is very sharp and clear, photos I shot looked amazing on this screen and gave me a happy little buzz each time I reviewed my images and I could just see them pop. And now the screen tilts, so you can shoot at more tricky angles, which is quick and easy to do, and the mechanism feels very robust. The OLED electronic viewfinder is a very nice experience, it is large and clear and I just enjoyed composing images through it. There is a minor note, where it seems to change resolution once focus is locked, which is not an issue per se, just an odd quirk.

The lens remains the tried and tested 28mm lens from previous versions of the Q series, and when a lens is this nice, why would you change it? The lens feels as premium as the camera body. The lens has a very nicely tight aperture ring that is smooth to turn but also stays put, which I found very pleasing as I despise loose controls. There is a ring at the base of the camera for switching between macro mode and regular shooting, when doing this, the whole focal distance scale slides up and down and looks so cool, I found myself doing this just for the enjoyment of watching it.

Finally, there is a manual focus ring, manual focus can be locked and unlocked with a small button on the base of the ring to prevent accidental switches. I didn’t really find this button intuitive to use though, I couldn’t find the button naturally with my finger and had to spend a few seconds hunting for it, this might get easier as a long-term user, but luckily I am not a frequent manual focuser anyway.

The only major issue I had with the Leica Q3 build is that it did get a little uncomfortable to carry for long periods. There is no prominent grip on the camera as standard, and the camera is relatively compact, I was out shooting for several hours and found that my fingers were aching gripping the camera, as well as my dangling little finger taking the brunt of a deep indent from the camera corner. There is an optional grip for the Q3, which I haven’t had the opportunity to try out, but I think that it would make for a far more comfortable experience if you plan to shoot for long periods with the Q3.

Leica Q3: Photo Performance

The photo performance on the Leica Q3 is so very good. The processing that Leica applies to its images is very pleasing, with beautiful colors that pop but are still natural. The dynamic range the camera is able to capture is very impressive, I was shooting in bright sunshine, and clipping in the highlights and shadows was incredibly controlled.

The Q3 has a fixed 28mm lens, although using the new 60MP sensor, the lens is able to crop in-camera for 35mm, 50mm, 75mm, and 90mm focal lengths, with photo sizes varying down to 8MP at 90mm, which sounds very small by today’s standards, but is actually way more than necessary for apps like Instagram. And I know, you could just crop your photos later in editing, but there is something more pleasing in framing your subject at the moment of taking the photo with the right crop and having it all automatically applied. If you mess up your crop in-camera but you are shooting in RAW + JPEG, the full 28mm image will still be recorded as a RAW DNG file without any crop for later editing.

Autofocus across the board is very snappy and accurate if used in any of the zone or area focusing modes, the Q3 rarely had to hunt for its target. The human subject detection was also very good, it easily picked up faces and eyes and had a high hit rate for nailing focus on one eye, even at lower apertures.

Where the autofocus completely fell apart was in its human+animal detection autofocus mode. Let’s start with the good, the Leica Q3 picked up an impressive amount of animals, I really put it through its paces at a zoo, where it managed to find focus on large birds, zebras, alpaca, and other horse-shaped animals, as well as a few species of monkeys and lemurs. For more realistic use cases, the Q3 also had no issue recognizing domestic cats and dogs. At the time of writing, there is no official list of what animals the Leica is officially capable of recognizing, so I am not sure if the autofocus is recognizing specific animals or just prominent moving objects.

Okay and now for the frustrating. The Leica Q3 sees subjects everywhere. Every tree, fence, patterned surface, (and the list goes on), seemed to attract a yellow subject recognition box. Sometimes when actually trying to photograph an animal in the frame, the camera would ignore the animal and instead choose a random inanimate target to focus on instead. It is by far from the only camera system to do this, but this is one of the most extreme cases of false positives I have encountered.

Leica Q3: Video Performance

The Leica Q3 is capable of stunning 8K recording, with excellent video processed in-camera, and there are also codecs including Apple ProRes for those who want to get in-depth editing of their footage. Like in images, the dynamic range for video is outstanding, shooting in full sunlight, especially bright subjects, the detail captured is excellent. Again, Leica’s color processing is a standout.

Autofocus in video is a little on the slow side, sometimes the focus just would not pick up new focal points as the camera moved or would hunt for a few seconds before locking focus. It just isn’t as snappy as the video focus from other systems. In subject and tracking modes, the autofocus can be just a little too eager, the focus is all too keen to shift at the slightest detection of movement, which sometimes causes noticeable refocusing which is distracting on the final footage.

Built-in stabilization is effective at helping to keep panning footage very smooth, but when walking or adding more varied movement, the footage was often too shaky handheld to use for a lot of purposes, although this is not uncommon, if you plan on doing a lot of video on the Q3 then a separate gimbal is probably required to get silky smooth footage.

Leica Q3: Verdict

The Leica Q3 has surpassed my expectations for a fixed lens compact camera. Its 60MP sensor produces breathtaking images, enhanced further by the digital crop feature that adds a fun element of experimentation to the 28mm fixed lens. Each shot exhibits remarkable Leica processing, with beautifully rendered colors as well as exceptional dynamic range. The autofocus performs admirably, delivering swift and precise results, particularly in subject focusing, thanks to its efficient human and eye detection capabilities.

Nevertheless, the animal detection feature leaves much to be desired, as it more frequently misidentifies inanimate objects rather than living creatures. As for its video capabilities, the Leica Q3 excels in delivering high-quality 8K footage in a variety of professional codecs, which is great, but I would question if this is something this camera’s target audience needs. Image stabilization also struggled with handheld shake more than other systems I have tested.

Nonetheless, the Leica Q3 stands as a remarkable camera for day-to-day use, and it effortlessly earns its place as one of the best walking-around photography cameras available today. Though alas, it is a Leica, and the lofty price tag renders it inaccessible to many photographers.

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There is not a huge amount out there similar to the Leica Q3 with fixed lens large sensor cameras disappearing from most manufacturers' ranges. If you are looking to get the same experience as shooting with the Q3, but want to save a little money, then a safe bet is picking up a Leica Q2 from stores with remaining stock, or on the second-hand market.

Another great option would be the Fujifilm X100V, which offers a smaller APS-C  sensor, but in a much smaller body. The camera also has a beautifully designed retro aesthetic, although at the time of writing this camera is having significant stock issues, with back orders for several months.

Read more: Find out more about the latest from Leica in our guide to the best Leica cameras. If you are interested in street or travel photography, then you can find more in our guides to the best camera for street photography, and the best travel camera.

The Leica Q series has won a legion of fans since its launch in 2015, with its sophisticated design, user-friendly operation, and superior craftsmanship. The fixed focal length full-frame compact camera has become a favorite of street, travel, and everyday photographers around the world. The Leica Q3 builds upon the success of its predecessors, promising exceptional photo and video, along with an array of new features.

The Leica Q3 becomes the latest camera to feature Leica’s latest new BSI-CMOS sensor, incorporating Triple-Resolution-Technology, allowing users to choose between three resolutions – 60, 36, or 18 megapixels, all using the full width of the sensor. The 60-megapixel resolution offers the finest details for large prints and displays while opting for 36 or 18 megapixels enables faster operation, longer continuous shooting, smaller file sizes, as well as a small boost in dynamic range. The Leica Q3 has an ISO sensitivity range of ISO 50 to 100,000 and the latest Maestro Series processor with L2 Technology powers the camera.

And it's not just photographers getting an upgrade, for content creators, the Leica Q3 can record videos in 8K resolution and supports codecs including H.265 and Apple's ProRes internally. It is possible to connect the Q3 to external devices such as gimbals, power banks, and display recorders via USB-C and HDMI ports, as well as tethered shooting is also supported through the USB-C cable connection.

The Leica Summilux 28mm f/1.7 ASPH. lens is fixed, but at 28mm, it offers a naturally wide and versatile perspective, suitable for a lot of different subjects, as well as a wide f/1.7 aperture for low light ability and beautiful background blur. The lens also includes an integrated macro mode for close-up shots from a minimum focusing distance of 17 cm.

Empowered by the new 60-megapixel sensor, the Q3 introduces an extended digital zoom, enabling users to record cropped images at focal lengths of 28mm, 35mm, 50mm, 75mm, and now 90 mm. Two additional features, Leica Perspective Control (LPC) can help straighten building and other perspective anomalies, and Leica Dynamic Range (LDR), can assist in producing high dynamic range JPEG images without the need for post-processing.

The autofocus system of the Leica Q3 has undergone significant improvements. It now incorporates a hybrid autofocus system with phase detection, ensuring precise focus and fast object tracking. The Leica Q3 now has more intelligent subject recognition, enabling the Q3 to recognize human bodies, faces, and eyes, as well as animal subject recognition and tracking.

The Q3 is equipped with a new 5.76-megapixel OLED viewfinder for composition. On the rear, the Leica Q3 now features a tiltable 3-inch high-resolution touchscreen. The tilting mechanism offers unique and hard-to-reach viewing angles and expanded creative possibilities for both photos and videos. The camera maintains its durability with IP52 certification, protecting against dust and spray water.

The Q3 is easier than ever to connect to the Leica Photos app via Bluetooth, WiFi, or the dedicated certified "Made for iPhone and iPad" cable, with the transfer speed seeing a significant increase by up to ten times over the previous Q2. On the app, special Leica ‘looks’ can be applied directly to photos to go give photos a unique style.

The Q3 is launching alongside a number of accessories. The new Leica Charging Pad and separate camera handgrip enable wireless charging for the Leica Q3’s newly designed BC-SCL6 battery and other Qi-compatible devices. There will also be the usual collection of stylish Leica branded accessories including leather half cases, color-matching thumb rests, and soft-release buttons.

The Leica Q3 is now available globally through Leica Stores and authorized dealers, priced at $5,995 / £5,300 / AU$9,790.

Find out more with our guides to the best Leica cameras. You might also be interested in our guides for the best camera for street photography and the best travel camera.

If you're a keen filmmaker looking to take your next step in cinematography then this astronomical deal on a RED Dragon-X camera really can't be passed up. RED is a name synonymous with producing some of the leading cameras for Hollywood blockbusters and is always hot don't the heels of ARRI.

Now you can own this outstanding camera that comes at a kit with a Sigma 18-35mm f/1.8 as a ready-to-shoot package at B&H with a whopping saving of $10,000, now priced at just $9,950.

This RED Dragon-X Camera Kit is part of the RED unified DSMC2 lineup, which has just been superseded by the RED Komodo and V-Raptor DSMC3 cameras.

The RED Dragon-X kit includes a body or "brain" as it's referred to by RED users, as well as all the gear you need to make a functional shooting package.  The kit includes the Sigma 18-35mm f/1.8 DC HSM Art, Canon EF mount, V-lock I/O expander, 480GB RED mini-mag, IDZ system 96Wh V-mount battery, and the sought-after RED 4.7" LCD touchscreen, along with many more accessories to get you well on your way to making award-winning visuals.

This Dragon-X features a Super35 sensor and can also shoot and record at 6K uncropped up to 75 frames per second and comes equipped with REDCODE RAW, the format of choice for DSMC2 cameras. This is RED's versatile RAW video codec that uses wavelet compression to reduce data rates while maintaining a visually lossless image rendering. This efficient codec can be edited on many available software programs, such as Adobe Premiere Pro without transcoding; though if you prefer, you can record to ProRes or DNx as well. 

All in all, you are saving $10,000 big ones on this Hollywood-grade rig that is ready to shoot whenever you are and B&H now has this kit priced at just $9,950 - it's a steal of a deal!

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Hot on the heels of the Inspire 3, DJI today launched the Mavic 3 Pro, a new variant of the high-end folding drone with a triple-camera gimbal – wide and two tele cameras. Switching cameras is as straightforward as doing so with an iPhone.

"The Mavic 3 Pro’s triple camera combination gives users the ability to switch between shot composition with just one tap, allowing content creators a wider variety of shots in less time than ever before," said Ferdinand Wolf, Creative Director at DJI.

It's not mentioned explicitly by DJI, but we can see how this might fill a gap below the newly-announced Inspire 3, since that drone – just announced at well over five figures – no longer features a variant in this price bracket. Mavic 3 Pro, above the single-camera Mavic 3 Classic and the original dual-camera Mavic 3. You can find out more in our guide to the best DJI drones.

The new camera system can be operated as a hybrid camera – with a pinch and zoom mode – or restricted to the three optical focal lengths. These are 24mm, the original Hasselblad camera first seen on the Mavic 3, a new 70mm (3x telephoto) focal length, and a new 166mm (7x telephoto) mode.

While the previous Mavic 3 drone features a 7x camera, this is a new lens to improve resolution over the Mavic 3 (there is the 'focus' mentioned in the teaser!) Flight time will be 43-minutes with the new camera block.

This is the new flagship drone for the consumer/prosumer range, and is being offered in both the standard (MicroSD card) and Cine versions. The Cine edition can encode in ProRes HQ, ProRes 422, and ProRes LT and records to a built-in 1TB SSD. A 10Gbps data connection allows data transmission, just like the Mavic 3, but here all three cameras support ProRes. 

The main camera is a 4/3 CMOS, and can capture video at 5.1K at 50fps, 4K at 120fps, and 4K at 60fps with features like subject tracking working. The medium telephoto is 1/1.3 inch and the longer 7x telephoto uses a 1/2-inch sensor. Their resolutions are 20MP, 48MP, and 12MP respectively.

New software features include – at last, DJI – waypoint flight, allowing the drone to follow a route you've already planned. In this regard, the Mavic 3 has been some way behind Skydio, as discussed in our review of the Skydio 2+. Cruise control will allow long smooth flights in any direction and there are improved return-to-home options.

In other respects, though, the DJI Fly software is familiar and has the advantage of being ready at launch rather than following some months later as with the Mavic 3.

The Mavic 3 Pro will be available in a number of bundles, starting at $2,199 / £1,879 / AU$3,099, rising to $3,889 / £3,169 / AU$5,329 for the Fly More Combo with the RC Pro, and peaking at $4,799 / £4,109 / AU$6,939 for the Mavic 3 Pro Cine Premium Combo, see the DJI store.

We've already had a quick test, so check our Mavic 3 Pro review.

Recent rumors have suggested that Panasonic Lumix S1H II is imminent, with leaked specs revealing that we might see the long-awaited debut of 8K in a Panasonic camera.

The Panasonic Lumix S1H II is obviously a successor to the manufacturer's flagship camera for videographers, the Panasonic Lumix S1H, which was released in 2019. Panasonic makes some of the best hybrid cameras, with the hugely popular Panasonic Lumix GH6 using a Micro Four Thirds sensor while the original S1H is a full-frame body.

The S1H is a serious video machine for filmmakers who want the extra resolution, depth of field, and low light ability that full-frame sensors afford. The S1H includes pro video features including 6K resolution, and is capable of internal 4:2:2 10-bit recording, V-Log / V-Gamut, as well as 14+ stops of dynamic range. Not just a video device, the S1H is also a capable stills camera with 24MP images.

The Panasonic Lumix S5 II and S5 IIx debuted at the begging of the year to a very positive critical response, and we awarded the S5 II with a coveted five-star review. With a lot of praise being heaped upon Panasonic's latest phase detection autofocus and tracking system, it is natural that the manufacturer would be keen to bring this new AF technology to other best-selling cameras in its range.

An S1H II is almost certain to be one of the first in line to upgrade to the new autofocus, but the goodness doesn't stop there. According to leaked specifications from Ordinary Filmmaker, the upcoming camera is likely to have a sensor close to 50MP in resolution. 

This will not only make this a powerhouse for photography, but also give video makers a lot more flexibility, with a 50MP sensor technically capable of 8K oversampled footage. 

In terms of other video specs, leaked info suggests that the S1H II can shoot in 8K UHD and DCI in 24/25, 30, 48, or 50/60 frames per second, as well as output oversampled 4K in up to 120 frames per second. The new camera should also be capable of 6K and 8K RAW, and 8K and 6K Apple ProRes RAW, although there is no confirmation on whether these are internal or using an external recorder such as the Atomos Ninja V.

What media the camera will use is still not clear – although we would suspect that, with video specs that serious, it will have at least one CF Express slot, as even the best SD cards struggle with bitrates for 8K video. There is also no additional information on the photo capabilities of the S1H II beyond its rumored sensor size, so we eagerly await more information on shooting speeds and buffer rate.

The original S1H was launched for $3,999 / £3,599 / AU$5,999, which puts it firmly in the professional category, although slightly under the cost of rivals such as the Canon EOS R5C. It would be expected that a new SH1 II would cost around the same price and, with the S5 II, Panasonic has shown a willingness to price very competitively.

Rumors suggest that the S1H II might be announced within the next month, so we hopefully won't have long to wait to see what this camera is capable of.

If this article was of interest, you may want to check out the best Panasonic cameras, the best cameras for video, and the best 8K cameras available right now.

If you're looking for the best Panasonic GH6 deals, you've come to the right place, as this is most likely the best Panasonic GH6 deal your going to find on the internet right now.

UK camera store Wex is currently running an offer with a £500 voucher on selected Panasonic products when you use PANA500 at checkout, as well as throwing in two Panasonic 128GB CFexpress Type-B memory cards worth £450 to sweeten the deal - the body-only deal is now priced at £1,449 at Wex with the voucher. This is a phenomenal deal and the best we've seen on the Panasonic GH6.

Since its release in 2022, the GH6 has been one of the most sought-after Micro Four Third cameras around for video and stills in a compact package. After missing its 2021 release in the height of the Pandemic, the Panasonic GH6 finally arrived and the manufacturer's new GH flagship packs a brand new 25.2MP sensor, 5.7K 30p internal video in ProRes 4:2:2 HQ, and unlimited recording. 

The Panasonic GH6 becomes the first Micro Four Thirds camera to use CFexpress Type B cards, facilitating an almost overwhelming capacity for high-end video recording – including 4:2:0 10-bit Cinema 4K 60p internal (with simultaneous 4:2:2 HDMI output), 5.8K 10-bit anamorphic using the full sensor area.

Another first for G series cameras is the inclusion of V-Log / V-Gamut, to maximize the GH6's 12 stops of dynamic range – which increases to 13 stops when employing the Dynamic Range Boost mode. This acts in a similar way to Panasonic's dual gain readout (which is distinct from dual native ISO), and employs a base ISO of 800 to produce a high-saturation image and ISO2000 to capture a low-noise image; these are composited, at up to 60p, for rich HDR video.

Audio gets as much love as video, with the new flagship supporting 4-channel, 24-bit,  48kHz or 96kHz recording via XLR microphone adapter. The 2-channel built-in microphone also supports 24-bit 48kHz.

So if you have been waiting to update your current camera to increase your video output to professional standards, while also still being able to take great stills this incredible Wex deal for a Panasonic GH6 + two free 128GB CFexpress cards for just £1,449 is a steal! 

If this article has been interesting why not consider looking at our picks for the best cinema camera or best cinema lenses to give your productions the extra edge against others

DJI, renowned around the world for its civilian and commercial drones, launched its first product targeted at the cinematography industry with the Ronin 4D 6K and 8K cameras in 2021. 

These pioneering cameras combined the use of a four-axis gimbal with the traditional aspects of a professional camera for filmmakers to deliver a winning combination. Now DJI is expanding on the Ronin 4D range and delivering evermore flexibility to its workflow, with the new DJI Ronin 4D Flex. 

• If you're looking for the best cinema cameras on the market, look no further!

The 4D Flex enables operators to separate the Zenmuse X9 gimbal camera from the main body of the Ronin 4D, reducing handheld weight and size to achieve professional footage with even more flexible camera movement – just like the extended system from the Sony Venice cinema cameras, but at a far more 'affordable' cost.

The new DJI 4D Flex is fully compatible with the Ronin 4D hand grips and main monitor included in all Ronin 4D purchases, effectively transforming a camera operator into a one-man cinema unit.

Also announced is a new zoom lens for the 4D cinema lineup, the DL PZ 17-28mm T/3.0 Lens. DJI’s first-ever cinema-grade zoom lens, it offers 100% native focus and zoom for a new level of image quality on the Ronin 4D system.

Finally, an activation license key for Apple ProRes Raw codec on Ronin 4D is now available to purchase at the DJI Store, making it even easier to integrate footage into cinema productions. This was a feature that was previously advertised ahead of launch, but ProRes Raw was removed from the Ronin 4D 6K a week before it was due to be released to the world.

"Ronin 4D reimagined what a single cinema camera can do by achieving a new standard of versatility, cinema quality, and image stability in one piece of equipment," said Paul Pan, senior product line manager at DJI. 

"Ronin 4D Flex and the DL PZ 17-28mm Lens show the expansive capabilities of this platform to allow cinematographers to capture footage in completely new ways. With these products, we want to express that when it comes to what’s possible with DJI Pro, we’re only getting started."

Connecting the Ronin 4D Flex to the main body is a 2m ultra-thin coaxial cable, that supports lossless transmission of up to 8K video. This enables high-speed signals from the camera sensor to reach the main body instantly, and also controls and monitors signals to be delivered in real-time. 

This solid cable connection lends 4D Flex unprecedented flexibility in camera positions, no matter how limited the space is. It also enables the Zenmuse X9 gimbal camera to be used as an ultra-small cinematic-grade remote head.

Price and Availability

Ronin 4D Flex is now available from authorized retailers and direct from the DJI store for $929 / £829 / AU $1259 and includes Ronin 4D Flex, a Pan Axis Quick-Lock, two Ronin 4D Hand Grip Adapters, and two Hand Grip Adapter Cables.

The DL PZ 17-28mm T/3.0 Lens is also available to purchase from authorized retailers and at the DJI store for $1,339 / £1.539 / AU$2,189.

The Apple ProRes Raw license for Ronin 4D, meanwhile, must be purchased directly from DJI store for $979 / £999 / AU$1,559.

If this article has been of interest then why not check out our review of the DJI Ronin 4D, and take a look at our guide on how to become a better filmmaker.

The Apple Mac Mini has been a favorite budget by in our best desktop computers for photo editing for a while now - but the latest 2023 versions promise even more. The svelte miniature computer will now get Apple's latest M2 processor to offer more power – and for those who want even more there will be a 12-core M2 Pro chipped version too! And the good news is that the starting price has not increased from the current M1 versions - with the Mac Mini M2 going on sale from next week from $599 / £649.

"The new M2 Pro chip delivers pro-level performance to Mac mini for the first time," says Apple, "enabling users to run high-performance workflows that were previously unimaginable in such a compact design. As well as faster performance the latest versions will offer support for up to two displays on the M2 model, and up to three displays on the M2 Pro model.

See also Apple reveals the fastest, most powerful MacBooks ever

Compared to the Mac Mini M1, the new M2 version is said to offer 50 percent faster filter and function performance in Adobe Photoshop CC, and 2.4x faster ProRes transcoding when using Apple's own Final Cut Pro video editor. Mac mini M2 features an 8-core CPU with four high-performance and four high-efficiency cores, along with a 10-core GPU.

The faster M2 Pro version offers up to a 12-core CPU with eight high-performance cores and four high-efficiency cores, along with up to a 19-core GPU. The M2 Pro has 200GB/s of memory bandwidth — double that of the M2 — and supports up to 32GB of memory.

Apple says the M2 Pro Mac Mini boosts a ProRes transcode in Final Cut Pro by up to 4.2x, when compared to the M1 Mac Mini; graphics performance in Affinity Photo 2 is enhanced 2.5-fold.

See our full Mac Mini M2 Pro (2023) review

The M2 Mac Mini offers two Thunderbolt 4 ports, whilst the Pro version provides four. Both models feature two USB-A ports, an HDMI port, a Gigabit Ethernet port with a 10GB option, and an upgraded headphone jack to support high-impedance headphones. They feature the latest Wi-Fi 6E standard for up to 2x faster throughput than before, as well as Bluetooth 5.3.

Mac mini with M2 starts at $599/£649 – or from $499/£539 if eligible for Apple Student Discount. 

Mac mini with M2 Pro starts will sell from $1,299/£1,399 - or from $1,199 /£1,289 for those in education.

Both models go on sale from August 24 in the US and the UK - Australians will have to wait a further week until 2 February.

Apple fans, buckle up: the fastest-ever MacBooks are about to launch. The new 2023 MacBook Pro 14” and 16” replace the 2021 models of the same size, and though they're externally almost identical, they pack a major new hardware upgrade within. Out go the old M1 Pro and M1 Max chips, replaced by the brand new M2 Pro and M2 Max system on chips.

Since the launch of the latest 13-inch MacBook Pro with its standard M2 chip, we've been in the somewhat confusing situation where the latest MacBook with the newest Apple silicon wasn't actually the fastest MacBook, as the older M1 Pro and M1 Max were still more powerful. Now order is about to be restored to the Apple silicon hierarchy:

Read more:

MacBook Pro 14" (2021) review
MacBook Pro 16" (2021) review

M2 Pro

Featuring up to 12 CPU cores, the new M2 Pro chip has an additional 2 cores over the M1 Pro, and its maximum 19-core GPU is an improvement over the 16-core M1 Pro GPU. Unified memory specs (Apple silicone's version of RAM) remains the same, with 16GB or 32GB capacity options and 200GB/s memory bandwidth.

Apple is claiming the M1 Pro can handle up to 23 streams of 4K ProRes video playback, as well as 40% faster image processing in Photoshop. Overall, the M2 Pro is said to have 20% faster CPU performance and 30% increased GPU speed over M1 Pro. The machine-learning neural engine also gets a 40% speed boost.

See also Mac Mini gets major M2 power boost for 2023

M2 Max

For the ultimate performance junkie, there's the new M2 Max chip. This boosts memory to a huge 96GB maximum (a healthy increase over the 64GB available with M1 Max), and also doubles memory bandwidth to a whopping 400GB/s. The 12-core CPU in M2 Max is the same as in the top-spec M2 Pro chip, but the M2 Max's GPU can be specced with up to 38 cores - double that of the M2 Pro, for up to 30% faster GPU performance over M1 Max. Compared to M1 Max, Apple claims a 30% faster color grading performance in DaVinci Resolve. 

Power efficiency has also been improved, with the M2 Pro and Max capable of up to 20% greater CPU performance per watt and 30% more efficient GPU performance. Consequently, despite 70 watt-hour (14-inch) and 100 watt-hour (16-inch) batteries as the previous 14" and 16" MacBook Pros, battery life has increased by 1 hour for both. The 16-inch MacBook Pro is now rated to power up to 22 hours of Apple TV playback, which according to Apple gives it the longest battery life of any MacBook.

New MacBooks

While the new M2 Pro and M2 max chips are a marked improvement over the M1 Pro and M1 Max, the new 2023 MacBooks are otherwise almost identical to their respective 2021 predecessors in virtually every area. Externally they retain the same exterior design and dimensions, identical screen specs, and the same storage capacity options, again topping out at 8 terabytes. In fact the only difference other than the main System on Chip is an upgrade to Wi-Fi 6E standard which is said to be up to twice as fast as the Wi-Fi 6 implementation in the previous Mac Pros, and the HDMI output has been improved to support up to 8K external displays.

Pricing for the 2023 14-inch MacBook Pro equipped with a base 10-core M2 Pro chip specced with 16GB memory and 512GB storage starts at $1,999 / £2,149 / AU$3,199 and rises to $3,099 / £3,349 / AU$4,999 with M2 Max chip, 32GB memory and 1TB storage.

The 16" version starts at $2,499 / £2,699 / AU$3,999, equipped with a 12-core version of the M2 Pro, 16GB memory and 512GB storage, and climbs to $3,499 / £3,749 / AU$5,599 when specced with the M2 Max, 32GB memory and 1TB storage.

Fully equipped with the maximum 96GB memory and an 8TB SSD, a fully-loaded 16" M2 Max MacBook Pro will relieve you of a cool $6,499 / £6,749 (currently unavailable as an option in Australia).

Retail availability for the new 14" and 16" MacBook Pros starts on January 24. Start saving!

Read more:

• Best MacBooks
• Best student laptops
• Best Chromebooks
• Best Ultrabooks
• Best photo editing laptops
• Best laptops for video editing
• Best desktop computers
• Best Mac printer
• Best Mac webcam
• Best external hard drives
• Best monitors for photo editing
• Best USB-C hubs

There are many generations of Apple iPhone for photography on the market, and while they're all decent camera phones in their own right, they also all offer different features and levels of advanced photo tools.

When the iPhone 14 Pro and iPhone 14 Pro Max launched in 2022, Apple ProRes video – a high-quality lossy video compression format – was a major selling point for the two devices. But many might not have been aware that Apple ProRAW, the RAW image format, was already available on the iPhone 12 Pro and 13 Pro.

• ProRes vs ProRes RAW: what's the difference?

Here, we'll look at what Apple's ProRAW feature actually is, what iPhones have the feature, and how to turn it on and use it to capture better image quality.

What is Apple ProRaw?

Apple ProRAW is a feature that photographers will find especially appealing, as it captures images similarly to the RAW format on standard digital cameras. This allows for greater creative control during photo editing, particularly with exposure, color, and white balance adjustments.

While ProRAW isn't available for Live Photos or Portrait mode, compatible iPhones can capture images in ProRAW format using any of their cameras, including when using modes like Smart HDR, Deep Fusion, or Night mode.

Which iPhones can shoot ProRAW photos?

ProRAW isn't a feature available on all iPhones, even if you've got the latest iOS installed. Currently, you use the Camera app to take photos in the Apple ProRAW format on these iPhones, with iOS 14.3 or later:

• iPhone 12 Pro
• iPhone 12 Pro Max
• iPhone 13 Pro
• iPhone 13 Pro Max
• iPhone 14 Pro
• iPhone 14 Pro Max
• iPhone 15 Pro
• iPhone 15 Pro Max

Check out our guide to all the iPhone generations if you're not sure which model is right for you.

How to take Raw photos on your iPhone

It's incredibly simple to shoot Apple ProRAW images on a compatible iPhone. To take ProRAW photos on your iPhone, you'll first need to turn on ProRAW.

Turn on ProRAW
Go to Settings > Camera > Formats, then turn on Apple ProRAW under Photo Capture. To take a raw image, you can then tap RAW in the Camera app, then take the shot.

Choose the resolution
On the iPhone 14 Pro, you can capture Apple ProRAW images at either 12MP or 48MP. To change the resolution go to Settings > Camera > Formats and turn on Apple ProRAW to reveal the resolution options.

The best resolution to choose depends on how much storage space you have, and what you want to do with your image. For example, the file size of a 12MP ProRAW image is around 25 MB, and the file size at 48MP is around 75 MB. You can only capture 48MP photos with the main camera at 1x zoom.

Turn off ProRAW
If you turn off RAW in the Camera app, the format of the photo will default to the format you've set under Camera Capture in Settings > Camera > Formats: either High Efficiency (HEIF format) or Most Compatible (JPEG).

As the quality of video and stills from the best camera phones improves with every new model we’re likely to capture more than ever before. This means we put more demands on our smartphones as content creators. Although battery life is improving (with the iPhone 14 Pro Max offering up to 29 hours of video playback) you may still find that you run out of power during a shoot – especially if shooting in Apple ProRes. 

By reviewing high dynamic range clips during a shoot you’ll burn up more power than viewing standard HD footage. As well as enabling you to recharge your device while you shoot the SnapGrip Creator Kit offers a range of accessories to help you improve the production values of your smartphone-generated stills and clips.

Specifications

Powerbank: 3.7V / 3200 mAh / 11.84Wh
Total Power Output: 5W
Wireless Charging Output: DC 5V/1A/5W (Qi Compatible)
USB-C Input: DC 5V/2A/10W
Dimensions: 113.3 mm x 81.74 mm x 34.1 mm
Weight: 126.82g

Key features

ShiftCam’s SnapGrip Creator Kit features three key accessories that will improve your iPhone photography experience. These predominantly plastic gadgets (the SnapPod has a metal shaft) can work independently or can be combined together (like a team) to help you shoot better pictures and footage. The leader of this team is the SnapGrip, an all-in-one compact grip, dock and charger that allows smartphone users to shoot quickly and comfortably.  

Imagine you’re on a shoot and your smartphone is running low on power. Simply place the SnapGrip on the back of your phone and it will clamp to your device using a powerful magnetic ring. If you’re using an older smartphone then the Creator Kit supplies a magnetic sticker to enable you to attach the SnapGrip to your device.

The next member of the SnapGrip Creator Kit team is the SnapPod. This is a selfie stick that also clamps to your iPhone magnetically. It will also magnetically dock with an already attached SnapGrip so the two devices can work together. The SnapPod’s handle doubles up as a mini tripod so you can pop the tripod on the ground, angle the attached iPhone using the SnapPod’s adjustable head, set the Camera app’s timer and then join your friends for a group shot. It’ll also let you shoot more stable and hands-free videos, making it a useful accessory for vloggers when they are out and about.

Finally, we have the SnapLight. This is is a mini LED ring for hands-free lighting. It magnetically clamps to your iPhone (or to an attached SnapGrip or SnapPod).  You can flip the SnapLight to shoot a selfie with the phone’s front-facing camera or add light to subjects in close proximity to your devices’ rear camera.

Build and handling

The three devices in the Creator Kit are predominantly made of lightweight plastic, which is reflected in the kit’s relatively cheap price. They are aimed at enhancing the smartphone shooting experience of the casual consumer. If you do use a high-end smartphone such as the iPhone 14 Pro Max then you might want to consider buying the more expensive ShiftCam ProGrip. 

This is a sturdier version of the Creator Kit’s SnapGrip. Rather than use a magnet the ProGrip clamps onto your smartphone in a more secure way so you can trigger shots via its Bluetooth shutter while simultaneously charging your device. It also boasts a cold shoe mount and an adaptor so that you can attach a more powerful light such as the JOBY Beamo. The ProGrip gives you more ‘street cred’ as a photographer than the seller and more discreet SnapGrip.

Performance

When mounted on an iPhone a push of a button turns the SnapGrip into a MagSafe charger.  Another button pairs the SnapGrip with your smartphone via bluetooth. You can then hold the SnapGrip’s ergonomic grip in one hand and press the SnapGrip’s physical shutter button to capture shots via the iPhone’s Camera app as if you were using a conventional digital camera.  

This enables you to compose and capture your shots more easily as you no longer have to tap the smartphone camera app’s onscreen shutter button.  You’ll also look more like a traditional photographer when snapping a shot via the SnapGrip. You can easily swivel your magnetically attached smartphone to shoot in a vertical (portrait) instead of horizontal (landscape) orientation.  

However in Portrait orientation only one magnet is holding the SnapGrip to your smartphone which makes it feel less secure. Back in landscape orientation you have an additional magnet to keep your precious phone clamped to the SnapGrip. The SnapGrip also doubles up as a dock, so after a shoot you can stand your hands free phone on a table in a coffee shop and flip through your photos (or watch clips) while it charges.

A little hinge on the SnapLight enables you to flip the light to illuminate your face as you snap a selfie with the smartphone’s front facing camera. There’s also a mirror inside the LED ring but we feel that’s superfluous as you’ll be looking at yourself in the iPhone’s display rather rather than via the SnapLight’s mirror. The light has a variable brightness of four settings (adjusted by multiple taps on a button) and is most useful in low light locations, though it can add a sparkle to the eyes when shooting a selfie even on a bright day. 

The SnapLight does make a difference if you’re holding the smartphone at arm’s length via the SnapPod, but it won’t cast much light on a more distant subject.  The Creator Kit also ships with a sturdy pouch that enables you to store the SnapGrip and SnapLight when they are clamped together. 

Verdict

The beauty of the Creator Kit is that it is modular thanks to a magnet on every device. So you can power your smartphone with the SnapGrip and then attach the SnapLight when you need some extra illumination. You can then stick the combination of phone, SnapGrip and SnapLight onto the SnapPod to extend your reach when shooting selfies or film yourself hands-free using the SnapPod’s mini tripod legs. 

The Bluetooth shutter button on the SnapGrip enables you to snap a shot as if you were shooting with a dedicated digital camera and you don’t need to worry about running out of power thanks to the SnapGrip’s MagSafe charger. On the downside, we found that when using it as a dock for a tall iPhone 14 Pro Max in portrait orientation it ran the risk of toppling backward when we tapped on the iPhone’s screen. Smaller smartphones will be more stable in dock configuration. 

For geeks like me, it's easy to remember when drones seemed like novelty toys for gadget-heads – cameras weren't even included as standard. Now a camera drone is a creative tool few photographers or filmmakers want to go without.

There are choices for amateurs and professionals, offering a choice of creative angles and unique perspectives that simply wouldn’t be possible with any other camera. You just need to decide what is the right choice – what makes it practical?

When I look at a camera drone, I'm looking for the right balance of price, camera capability, and practicality. That last category is affected in most countries, including the UK and USA, by laws that make it easier to operate drones under 250g (0.55 pounds).

If you're looking for high-quality results, you'll need to look for larger image sensors and perhaps even the ability to record using cinema-grade codecs like ProRes. You may also look for multiple cameras, or even a 360-degree camera. More important are the essentials – a gimbal to keep the camera(s) stable and good battery life.

AI is also a key factor for shooting, with many drones having different levels of subject tracking that can greatly ease getting a good, flowing shot, while safety is a factor bolstered by collision sensors, though these can come at a price.

The Quick List

Best camera drones 

Best drone overall

This drone's predecessors, the DJI Mini 3 Pro and Mini 4 Pro, created and developed a new 'top teir' to the ultra-light category. The inital bonus was some collision sensors and a 4K 60fps camera which could physically rotate to vertical mode.

Now the Mini 5 Pro boasts a 1-inch image sensor and can capture 4K video at not just 60fps but 120fps slow-mo as required. 10-bit D-Log M and HLG color and high ISO are also part of the bundle, so from a camera perspective, this is equipped like a professional tool.

Internals also include 42GB of storagebefore you even need a MicroSD card.

Significantly, too, the drone's flight smarts are right up there, bolstered by LiDAR sensors at the front and omnidirectional collision avoidance systems which even work at night (should you be allowed to fly in the dark where you are).

Range – in terms of batteries and radio – is extraordinary (and helped by the option of longer-life batteries, not that the standard 36 minutes isn't impressive enough). Admittedly, these figures are always a bit optimistic and depend on flying style and conditions.

The message of the Mini 5 Pro is that DJI will not let the weight restriction prevent creatives from achieving their goals. The inevitable downside is the pricing, which is somewhat closer to the company's higher-end models than other ultralights, especially if you add high-end remote controller (check out the DJI RC Pro 2).

Read more: DJI Mini 5 Pro review

• Back to the top ⤴

Best drone for flexibility

The DJI Air 3S is more or less perfect. The only real problem is that, if you're based in America, it's not that easy to get hold of unless you order from DJI directly (which you can, no problem) – you might have to go for the older DJI Air 3. That's still a great drone, but...

The Air 3 brings a new, bigger 50-megapixel 1-inch sensor for the 'main' camera, which is 24mm EFL, and keeps a 48-megapixel 1/1.3-inch camera for the 70mm EFL f/2.8 tele lens. Compared to a typical one-camera drone this massively increases your creative capabilities – for example tracking people or moving subjects. It's also great for survey jobs with a bit more safety.

DJI have modernised everything and boosted convenience; the drone boasts 42GB of internal storage so if you forget a MicroSD card you're not in trouble. It skips around the air with impressive confidence, feeling a lot more assured than a 'Mini' sized drone (though, of course, it is nearly 3 times the weight). Low light is impressive,

Something that has been worrying in the past with different-sized sensors has been how the optics blend together, but this question seemed not to present itself in my tests. What I did notice was how impressive the dynamic range was, and the 100-12,800 ISO range is the tip of the iceberg; DJI has even added a new low-light collision sensing system with Lidar which makes crashing that bit harder (I didn't manage it in my testing).

Think of this as a more affordable Mavic 3 Pro which is also more modern and, in some ways, actually better! As well as eclipsing its bigger, heavier cousin with goodies like Lidar, it also gets AI subject tracking and even Waypoints, plus excellent battery life. Why spend more?

If you want to do occasional survey work, and perhaps get some images, then I found the 4x zoom looked very impressive and, honestly, this drone seems to aggressively eat into the use-case for the Mavic 3.

Read my full review of the Air 3S with sample clips

(If you're looking to buy in the USA, I recommend the DJI store; if you need to buy from Amazon, then you'll have to choose the Air 3 – check my review)

Read more: DJI Air 3 review

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Best follow-me drone

An 8K camera sounds like competition for the DJI Inspire, while the lightweight folding design and AI subject tracking seems more like competition for the Flip or the Neo. The real story is that HoverAir came up with the AI tracking drone (which didn't need a controller) first and this X1 Pro Max is a generational improvement, with better battery life and camera.

As such, it's a more powerful, safer version of the already very impressive HoverAir X1 – but it also has the option of being a 'real drone' because this time it is possible to buy not just the drone (which can be flown with nothing more than its AI, or at most a phone app) but also a beacon/ remote control.

Admittedly this doesn't quite have the miles of range that some other drones have, but it does extend things from a simple phone screen and puts real physical controls in the hand, meaning you have real control over an 8K camera in the sky. At this point, you'll also probably start to want a longer battery life but it is swappable, so just make sure you acquire a spare. HoverAir also sell a charging hub in several of their bundles.

If you're looking to create premium content featuring yourself and a lot of the time you'll have no other camera operator with you, this is the drone for you, and it does impress.

NOTE: If you're just after a cheap route into the 'follow me' tech you should be looking at the Neo – I've tried both and written my thoughts on whether I'd still buy the HoverAir X1 or the DJI Neo in this category, and as the firmware evolves you can bet I'll be keeping my attention on this. The Pro Max is all about the bigger and better camera, so it's a premium choice (as well as a choice for those who cannot buy DJI).

Read more HoverAir X1 Pro Max review (or the older HoverAir X1 review)

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Best-value drone

To some extent, drone design has been defined by DJI's efforts in 2016, but, nearly a decade of, this represents a markedly new direction. The lightweight spoke-based propellor cages might look a little ungainly, but make for a clever rugged folding design which is surprisingly pocketable, and seems to bring very little by way of flight time compromise – it's still around half an hour.

Safety isn't exciting to many on its own, but it does mean that hand-launching can become the norm. DJI has taken the opportunity to load this drone with the AI tracking features that mean you don't actually need a remote control for it to see you and follow you – making it, for want of a better term, a 'selfie drone'.

In the box, however, is a remote controller. Depending on your choice, you can either have the plug-your-phone-in type or a built-in screen but, either way, DJI aren't letting you buy this powerful drone without the option to fly it 'properly' (should I say 'traditionally'), and make full use of the camera.

As well as a 3-axis gimbal for the camera which seemed able to keep up with the drone's movements in my tests (some in gusty wind), the drone has some nice modern touches, like some onboard storage (2GB there in case you forget your memory card).

In terms of complaints, I do feel like the enclosed props are a little noisier than the alternative (or the pitch more irksome), but that's such a minor irritation in exchange for the convenience of hand-launching anywhere without worrying about fingers. It really is easy enough to use that my 8-year-old had no issues with it, so I can see why DJI see it as a vlogging drone for everyone.

Read more: DJI Flip review

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Best premium drone

Incredibly two years seems a long time between DJI releases, and so the Mavic 4 Pro has moved the flagship drone on quite a long way. The two biggest chages are the new 'tennis ball' gimbal and the 100MP camera.

As well as bringing the ability to rotate the gimbal through 90 degrees like the Mini pro, the ball can shoot a 'Dutch Angle' (any sideways angle) and keep turning as the drone flies. It can even do this when the gimbal is pointing down. Most of the time this might not be much use to you, but if you do need it for something creative, it's great because you get to keep all the original optical resolution.

Generational improvements to the drone's range, subject tracking, and collision avoidance systems are all also very telling in the experience. When I flew the drone I was able to have it track a moving subject, avoid trees which were blowing in the wind, and keep the camera on the subject.

That camera was shooting video in 6K at 60fps at the time, too, which is not to be sniffed at. All the processing power is there. There are two versions of the drone, the 64GB and the 512GB versions (referring to the built-in memory). If you opt for the later, the drone can also record video with all keyframe (ALL-I). This is quicker to edit with as it needs less processing, and less compressed so higher quality (1200Mbps v 180Mbps with the standard).

The even better aperture (that opens from f/2 to f/11) will even give sun stars at the right angle. The mid tele is essentially the same as the Mavic 3 Pro, but the long tele has a wider aperture and larger sensor.

Read more: DJI Mavic 4 Pro review (outgoing model: DJI Mavic 3 Pro review)

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Best drone for creative control

This is a unique proposition in the drone world – at launch anyway – and, thankfully for those who have been excitedly waiting for it, a brilliant implementation of it.

Antigravity is related to Insta360, the company behind the X5 and X4 Air cameras, among others, which have had prime spots on our guide to the best 360 camera not least because of the tech and, crucially, software which (it won't surprise you) you also gain access to via this drone. The big difference is that you can fly the camera through the air.

What surprised many in the industry, though, is just how elegant a consumer product this is too. It's below 250g so nearly anyone can fly it with very little by way of paperwork. And flying is slick thanks to a Grip controller and FPV goggles which are not only simple to use (more so than they look, I assure you) but which come with guiding tutorials and tool tips.

Build quality is good and small design elements are thoughtful throughout, from features like the powered retracting legs to protect the lens to the folding arms that don't have to be opened and closed in sequence. Accessories are high quality too, like the charging hub with an actual percentage readout of battery charge rather than a mere 4 lights.

Ultimately, the brilliance of this drone is you get the precise control of FPV in flight, and the precise control of re-directing the camera where you like in post using the Insta360 Studio app.

Read more: Antigravity A1 review

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Best budget drone

Potensic has been making drones for quite a while, but until recently hasn't really worried the market leaders. Until the Atom, its strategy seems to have revolved around getting products out for the family fun / toy market. The Atom, though, really caught me by surprise when I tried it.

On opening the very elegant box, I discovered a drone with a build quality and styling that seemed to owe a fair bit to the DJI Mini 2 (and all the drones DJI have based on that airframe, including the current Mini 4K).

So, with DJI standing still on airframes in this category (though innovating with the DJI Neo), the Atom actually gave itself a lead by arriving at a point when DJI hadn't decided to offer 4K video in their cheapest drone. That has now, finally, been corrected with the Mini 4K (probably because of this Potensic). DJI, though, still have a relatively restrictive feature set on their entry-level drone. There is no option for waypoint mission planning, for example, so a geekier mindset might find the Potensic offers more.

DJI, I think, worry that some aren't to be trusted with this tech and, as a bigger brand facing a lot of legal challenges, are cautious about the features they make widely available.

There are no such limitations on the Atom, which also has a very clever controller design. It accommodates a phone in an extendable body design – even my iPhone Pro Max in a case, the result looks a bit like a Nintendo Switch when in use. The app is good, and the drone's batteries charge either via individual USB-C socket or (if you get a Fly More Kit) using a charging hub.

It feels like Potensic has taken everything it has learned, as well as a good look at what's around there, and successfully moved upmarket without pulling its prices all the way up too. That's a very tempting choice. On the strength of this, I don't see it being an economy brand for long.

Read more: Potensic Atom review (or the cheaper, non-stabilized Atom SE review)

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Best drone for cinema

The Inspire 3, with the required accessories, will set you back the same amount of money as a small car, but for the cinematographers it is aimed at, it'll be worth it. It could even save a bit compared to jibs and dollys, though it does have a bit more downdraft! The accuracy of repeatable routes can be centimeter-level thanks to built-in RTK compatibility.

As for cameras, the detachable unit has its own name: the Zenmuse X9-8K Air camera. Perhaps more will come later? It can rotate 360 degrees beneath the drone's airframe, and can be operated by one pilot – with the assistance of AI subject framing if they choose – or a pilot and one or two camera operators.

This is serious professional stuff, which will only record to DJI's own costly SSD cards (the same as used with its Ronin cinema cameras). Editing will require crunching a lot of numbers, but the results are spectacular, and the dual-native ISO full-frame imaging sensor certainly gets the results you'd expect for the investment.

Read more: DJI Inspire 3 Review

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Best cheap DJI drone

propellersSlashing the most common minimum weight by nearly half, this drone shows just how much tech can be crammed into a very compact device. That makes this incredibly safe, especially as it is designed with a frame rather than exposed propellors.

Despire that, the drone has not only a 4K camera, but a 1-axis gimbal that keeps it much smoother than most low-cost drones.

DJI has also cleverly found ways to help you spend as little as you like, while making it possible to use all the best features out there – the drone can follow you using it's AI, like an 'angel on your shoulder', or you can pilot it with your phone within wi-fi range.

Spend a bit more, though, and it has radio control receivers and even the ability to let you pilot it using FPV goggles and controllers. In other words, this drone is everything in one small and potentially very cheap package.

It also has an updated (but slightly pricier, slightly heavier) successor, the DJI Neo 2, which is also worth investigating, but since price is a factor here, I've stuck with the Neo!

Read more: DJI Neo review

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Best drone for photographers

The Mavic 3 is a powerful machine and priced accordingly, but while its ‘hybrid zoom’ is a handy tool for surveying, it isn’t a feature that will excite a lot of photographers. This Classic version ditches the relatively low-resolution zoom camera and retains the 4/3 Hasselblad camera on more or less the same airframe (including C1 certification). 10-bit D-log and all the low-light benefits of the large sensor are retained.

That means creators who would only have used the 24mm EFL camera can pay a little less to get the 15km range, advanced return to home (avoiding and re-routing around objects), and the excellent battery life of the Mavic 3 without really losing out. In fact, compared to the original’s launch, there are some advantages – the subject tracking, panorama capture, and other functions are all working from day one, and are pretty high-end.

However, it's worth noting that the Mavic 3 Pro emerged, improving some of the complaints about the Mavic 3, after the Classic's launch and personally – having flown all three – I would do my level best to buy the version with all the cameras if I could; after all the price difference isn't that much when you're already spending this much and it's better to have options, isn't it? (OK, it is – the difference is more than the price of a DJI Mini 3, but you still have to be very confident that you only need the wide which, in fairness, is true of many videomakers and surveyors. It's your call.

Read more: DJI Mavic 3 Classic review

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How to choose the best camera drone

GPS:
Toy drones usually don’t feature GPS, but if you’re composing photos it’s nigh-on essential. The positioning technology was developed with guided missiles in mind, so ideal for drones. Unlike a missile, though, the aim is to stay very much in the same place, rather than be pushed away by the breeze. Not only is piloting easier, but it enables an automatic return to the take-off point should the drone lose contact with the pilot, a useful backup.

Controller:
Not all controllers are created equal. Most feature the twin sticks but at the lower end, they’ll use standard Wi-Fi with a range of around 100m control and video feedback with a clear line of sight. Higher-end drones (everything on this list) make use of proprietary radio systems (DJI alone have come up with names like Lightbridge, OM3, O3, O4). Their range is measured in miles, support for master & slave controllers (enabling separate pilot & camera operator), and first-person-view goggles.

Camera & gimbal:
Like any camera, sensor size and megapixels matter, but so too do the means of vibration reduction. At the lower end, cushioning or some kind of digital image stabilization works, but the best systems used motorized gimbals to steady and level the camera on 2- or 3-axis.

Battery:
Battery capacity is the key limit in flying drones. Higher capacities don’t always make for longer flight times since overall weight (not least the battery’s) and efficiency are a factor. The much more useful measure is simply minutes of flight time. Lithium batteries store a lot of power, but “Intelligent Batteries” are safer and include built-in monitors so you can easily check their charge. Drones are at their most efficient when flying forward at an average speed, so right out of the gate, you should assume the hover time for each drone is a little less than the given flight time. Maneuvers draw more power too

The app:
The quality of the manufacturer’s free app is a big part of the experience, since many features, especially on higher-end drones, will require you to dig down through menus. Taking the camera beyond auto is certainly done this way. Cunning developers have also found ways to use the drone sensors and the app’s processing abilities to create easier flying modes and awesome visual effects like DJI’s Tiny Planet selfie clip, just one of the “Quickshot” options.

The bundle:
A lot of drones are sold on their own, with a controller, or with a kit that includes things like spare propellers, extra batteries, ND filters, and a bag. Spare propellers, well, sad to say but you’ll probably need these early on. Batteries are expensive, and it can be a long walk to charge them from where you use them, so these should be seriously considered a factor in the price of a bundle. A well-designed bag can protect all of these (even if you just stuff it inside your preferred bag). Don’t forget, too, that you can’t just get ND filters to fit most drones – the gimbals tend to have one-off lens mounts, all worth bearing in mind.

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How we test drones

Our drone tests are carried our in the field, allowing us to assess the quadcopter for its flight performance, easy of use, and its image quality. All our drone reviews are overseen by Adam Juniper, who is one of the UK's leading experts on drones, and has written several books on flying drones, including The Drone Pilot's Handbook. He ensures that the tests – most of which he does himself – cover any notable features thoroughly in real-world scenarios.

That means, especially, take-off, landing, flying at speed, negotiating tight turns, flying toward obstacles to see if the AI avoids them (low-resolution sensors might not see tree leaves, for example), and following subjects at different speeds to test AI tracking.

Because families like drones too, we also have kids offer their input when we are testing family-friendly drones.

Find out more about how we test and review on Digital Camera World

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Apple today launched the latest iPad and iPad Pro, which both feature brand new chips – the A14 Bionic and M2 respectively. As ever, the iPad Pro is packed full of advanced tech for advanced users, while the colorful iPad is designed for everyday use.

We'll cover all the key specs and features below, but here are the key updates:

● iPad Pro – features ProRes video capture, superfast Wi-Fi 6E, and powerful features in iPadOS 16, along with a four-speaker audio system. On the back, there are 12MP Wide and 10MP Ultra Wide cameras, plus a 12MP TrueDepth camera system with Ultra Wide on the front. It comes in a choice of two colors, and a screen size of 11 inches or 12.9 inches. 

● iPad - Features a 12MP front camera and 12MP rear camera, and its front camera is now located along the landscape edge of the iPad for the first time, for a better video calling experience. Gets new A14 Bionic chip. The 10.9in tablet comes in four fun colors.

iPad Pro with powerful M2 chip

Coming in the same two sizes as last year, the new M2 chip running the show offers ProRes video capture for the first time and transcode ProRes footage up to 3x faster. Apple says that "This means content creators can capture, edit, and publish cinema-grade video from a single device out in the field."

● Wondering about ProRes vs ProRAW - What's the difference?

The M2 chip promises to deliver enhanced performance for a range of apps, especially those for photographers – including DaVinci Resolve and Adobe Photoshop (see image below).

The standout upgrade for this new iPad is the "Apple Pencil hover experience" which can detect the pencil up to 12mm above the display, essentially allowing users to see a preview of their mark before they actually make it. We'd have to see how this works in real life, but it could be a game-changer for editing photos, or designing artwork using the aforementioned Adobe Photoshop for iPad.

iPad Pro pricing and availability

The 11-inch and 12.9-inch iPad Pro are available to order now and will be in stores from Wednesday, October 26. They'll come in silver and space gray finishes with 128GB, 256GB, 512GB, 1TB, and 2TB storage options.

The 11-inch iPad Pro starts at $799/£899/AU$1,399 for the Wi-Fi model and the 12.9-inch iPad Pro starts at $1,099/£1,249/AU$1,899 for the Wi-Fi model.

iPad 10th generation with A14 Bionic chip

The latest iPad is billed as "the all‑new colorful iPad for the things you do every day." It comes in four bold colors, but thankfully the redesigns go further than that. The new iPad features an all‑screen design, with a 10.9-inch Liquid Retina display and 2360x1640 resolution.

In terms of cameras, there's an ultrawide 12MP front camera with a 122-degree field of view (on the landscape side for more sensible video calling), and an updated 12MP back camera that can record up to 4K or 240fps slow-motion video.

Inside there's WiFi 6, and 5G is optional, but what's most exciting is the Apple A14 Bionic chip, which not only makes the iPad faster but more efficient for longer battery life. The A14 Bionic also means enough performance to edit high-resolution video.

The iPad works with Apple Pencil and a new purpose-made Magic Keyboard. Plus, there's a USB-C port to make the iPad compatible with a wider range of accessories. We've already written about the benefits of iOS 16 for iPhone, and the iPad runs iPadOS 16 straight out of the box.

iPad pricing and availability

The new iPad is available to order starting today, with availability in stores beginning Wednesday, October 26. 

Wi-Fi models of the new iPad are available at a starting price of $429/£499/AU$749, and Wi-Fi + Cellular models start at $599/£679/AU$999. The new iPad comes in 64GB and 256GB configurations, and blue, pink, yellow, and silver colors.

Check out our iPad generations guide to see where both of these iPad models will fit with the rest of the Apple lineup.

If you've just started out in video, on-camera monitors may seem like a luxury. Experienced videographers will tell you otherwise.

Also known as field monitors, some of the more high-end on-camera monitors not only increase the size of your display but can improve your camera's video functionality. For example, when shooting with a Panasonic Lumix S5 and an Atomos Ninja V external recorder, you can shoot 12-bit RAW instead of 10-bit 4:2:2 with its internal recording option. On-camera monitors are also great additions if your camera lacks features such as a fully articulating screen - the Blackmagic Pocket Cinema Camera 6K being one example.

Even if you have features turned on like focus peaking, zebra lines, and false colors, an on-camera monitor lets you apply frame monitors which can reveal flickers that smaller monitors might not. They also enable you to proof content and show it to other people on set, without having to cram around a small screen.

In this list, we run through the best external monitors and video recorders around, so you can get the big-picture experience before you hit your editing suite and it’s too late to re-shoot.

The Quick List

Best on-camera monitors

Best on-camera monitor overall

The Atomos Ninja has become pretty much the industry standard in monitor recorders. It's a popular choice among both budding and professional videographers and filmmakers thanks to its beautifully calibrated 5.2-inch HDR display and its ability to support 4K 60p ProRes HQ, H.265, 4:2:2 ad DNxHR.

The Ninja will also support 6K Apple ProRes RAW with select cameras. Other features include pro-level monitor tools such as waveforms, false colors, HDR monitoring, and LUT support.

If your camera doesn't support 4K, the Ninja might be a bit overkill as you won't make the most out of the features you're paying for. If you're just after a monitor so that you can view your video easier, the Atomos Shinobi would be a better option and it will save you money.

Alternatively, if you're shooting some serious projects and need something even bigger, the Atomos Shogun which appears later in this list sports a massive 7-inch screen, perfect for use with the best cinema cameras.

Read our full Atomos Ninja review for more details

Best external monitor for Blackmagic RAW

Size may not be everything, but the Blackmagic Video Assist 7 12G HDR boasts a sharp and vibrant 7-inch touchscreen that's an absolute delight to use. With its large, clear display and up to 2500 nits of brightness, it's hard to imagine going back to a standard 3-inch camera screen.

In addition to the user-friendly interface, the built-in scopes for exposure and focusing assessments make achieving precision a breeze. Furthermore, it offers the capability to record up to 4K 60fps broadcast quality Raw footage with the option to overlay or hard-code LUTs into Blackmagic Raw. While there's a lot to love about this device, it may not be suitable for everyone.

The 7-inch monitor adds significant weight when combined with lenses, a camera cage, and other accessories attached to your camera. For those who find this setup too cumbersome, there's a 5-inch version – the Blackmagic Video Assist 5 12G HDR – which is ideal for run-and-gun handheld shooting, where size and weight are key considerations.

Read our full Blackmagic Video Assist 7 12G HDR review for more

Best on-camera monitor for monitoring only

If you're just looking for an external monitor and don't need recording capabilities, the Atomos Shinobi delivers the display quality of the Atomos Ninja V but at a fraction of the price. It's the perfect choice for vloggers who shoot with a camera with limited screen articulation such as the Sony A7 III or the Blackmagic Pocket Cinema Camera 4K which has a fixed display.

You can easily view waveform and histogram information thanks to its intuitive menu. With its centrally mounted battery, the Shinobi is nicely balanced which is perfect for when you need to shoot with a gimbal.

Whether you're a photographer or videographer, the screen on the Shinobi will be able to accurately display HDR pictures which a camera's native screen won't be able to do. The standard model comes with HDMI connectors (although you will have to supply your own HDMI cables) but you can choose to go for the Atomos Shinobi SDI which has lockable SDI sockets.

Read our full Atomos Shinobi II review

Best on-camera monitor for beginners

With the built-in camera control for various Canon, Sony, Panasonic, Blackmagic, and even Z Cam cinema cameras, this is a great option for anyone wanting a monitor that will help a filmmaker get the shot and be a very helpful visual aid in the composition process.

For a reasonable price, you get a great package that is built to withstand the vigorous day-to-day life of a filmmaker while on set, in the studio, or for on-the-go shooting.

Paired with a tough travel case for ease of transport between shoots, great monitor features, and the ability for onboard audio monitoring, the PortKeys LH5P II is a great 5.5” monitor for anyone looking to up their game in the cinematography world.

Read our full PortKeys LH5P II review for more details

Best on-camera monitor for pros

Hollyland’s Pyro 7 is a great option for any shooter. It boasts an extensive feature list: it can transmit and receive, has a full range of shooting assist tools, as well as multiple IO, different powering options, and much more. Build quality is rock-solid, the controls are well designed and easy to use, and the screen is fantastic, even in daylight. It’s full HD, crystal clear, with good colour rendition and contrast, and it has the ability for the user to load 3D LUTs; the first in a full complement of shooting aids. These cover the usual suspects, from zebras and false colour to peaking, waveforms, histogram, and even a vectorscope.

The Pyro 7 can also be used to record footage, as it has an SD card slot, though video is limited to limited to 40 minutes of MP4 footage. Another handy extra feature is its wireless transmission ability with a range of up to 400 meters and a lag of just 60ms. There's also dual bands and automatic channel hopping that ensure a strong signal and low latency.

Overall, if you want a well specified, robust field monitor and need reliable wireless transmission, the Hollyland Pyro 7 is well worth the money.

Read our full Hollyland Pyro 7 review

Best budget on-camera monitor

The F700 is a device with two sides. It's built to a price point, with cheap-feeling plastics and the menu design (graphically at least) isn't the best. But the screen itself is excellent, with a 2000-nit max brightness that means this monitor can be used outdoors, even on sunny days, with no need for a hood. It feels very much like looking at a good phone screen: clear, bright, detailed, and rich. The screen is also touch-sensitive, though this function can be switched off for those who prefer button control. There are both ins and outs for HDMI, USB-C, and DC inputs for power and an SD card slot, although this is for firmware and LUT loading. Though not perfect, it's hard to criticise the the F700 too much when it's price is so reasonable.

Read our full Neewer F700 review for more details

Best budget on-camera recorder

The Blackmagic Video Assist 5 3G is definitely a solid monitor with excellent build quality and a significant upgrade from the typical 3-inch LCD screens found on most cameras. The larger 5-inch screen greatly enhances focusing, composition, and exposure adjustments.

However, it's worth noting that the monitor's limitation to 1080p video capture might be a setback for some, especially in the current era where 4K has become the standard for many high-end productions.

Nevertheless, for individuals primarily working with 1080p video, the monitor remains a compelling option, especially with its ability to capture Raw video footage. Nonetheless, it's important to acknowledge that the resolution limitation might make the Video Assist 5 3G feel somewhat outdated, so considering a more advanced and pricier model could be a wise move for seasoned users and industry professionals looking to future-proof their equipment.

Read our full Blackmagic Video Assist 5 3G review for more

Best ultra-bright

The Viltrox DC-A1 is a powerful field monitor, well suited to any location, indoor or outdoor. The screen has great contrast and colour accuracy; however, the star feature is the max brightness of 2800 nits. Pretty impressive; it makes for a wonderful experience. Other Viltrox field monitors have good brightness, but nowhere near the capabilities of this one, so if you often shoot outdoors or on particularly bright sets, I would highly recommend this. It minimises the effects of glare, reduces eye strain, and aids in better shots.

The user interface is great too, making one handed use a breeze. The filming assistance is also top notch, so exposure, focus and composition are made just that bit easier.

Considering the accessible price, the DC-A1 is quite a bargain!

Read our full Viltrox DC-A1 review for more details

How to choose the best on camera monitor

As you'd expect, there are a number of different factors that contribute to the decision-making process. The first is the size of the monitor, with most in the range of 5 and 7 inches. Generally, the larger the screen, the heavier your setup is going to be. That brings me to the second consideration, that of weight. If you are a pure run-and-gun, then pick a super lightweight option, as you don't want to carry around any unnecessary weight.

Not all monitors let you record from the device itself, so if that's important to your workflow, then make sure this is included.

How we test on camera monitors

We look at three key elements when reviewing on-camera monitors, including key features, build and handling, and performance.

By looking at the key features first, we're able to see what sets each monitor apart from its rivals. Every company is looking for an edge to be first in people's hearts and minds, so considering these first is important.

We then move on to the quality of the actual unit itself. Monitors need to be rugged and robust, so we're taking the time to check what the build quality is like and whether it'll stand the test of time.

Finally, we obviously want to assess the ability of the monitor to perform as it should. This involves using the monitor in real-world situations and using all its features.

Prices compared

In my years using and testing the best cinema cameras, I’ve come to appreciate just how different they are from standard mirrorless models. Their specs may seem superficially similar, but cinema cameras are very different beasts – built from the ground up for the needs of high-end video productions.

This means things like superior connectivity, a huge range of video shooting options, and modular designs that can be tailored to the user's needs with the addition of accessories. Cinema cameras also often have features that are specifically tailored to team-working, such as multiple screens.

I've only picked cameras that have impressed the DCW team in our full tests and reviews. I keep this list regularly updated – so when we've finished our full testing of the Canon EOS C50, for instance, I expect it'll find its way onto this list. For more video-centric choices, you can also see our list of the best 8K and 6K cameras.

Quick Picks

Best cinema cameras

Best bang for buck

Nikon has announced its arrival in the cine camera game with a bang, in the form of the fantastic ZR. Following Nikon's acquisition of the high-end cinema camera company Red, the ZR comes chock-full of Red's renowned Color Science, which allows this consumer-grade video camera to put out professional cinema-grade footage. And at this price, that is quite something!

Ergonomically, the Nikon ZR is fairly straightforward. Nikon has gone for the 'slab-like' design, producing a cuboid camera that will be a bit of a shock to the system for anyone migrating from SLR-styled mirrorless models. It works brilliantly in rigs or cages, but you're planning on doing a lot of handheld shooting, a wrist-strap or similar safety measure is going to be a must. What's also worth noting is that the rear screen is enormous – a 4-inch vari-angle touchscreen that's fantastic for monitoring.

Footage-wise, the Nikon ZR highly impressed our reviewer Adam Waring. The 6K 60p video output is great, but the real draw is the 12-bit Raw video in the new R3D NE (Nikon Edition) format, which is pretty darn close to Red's 16-bit R3D format, offering a similar look and flexibility. These are big, meaty files that require a powerful computer and absolutely eat through card space, but the processing latitude is huge. Of course, if you prefer not to spend too much time processing, you can use the Red Picture Controls to apply cinema-grade looks in-camera.

Some may be annoyed by the lack of open-gate video (though Adam thinks, and I agree, that a firmware update could deliver it in the future). However, in practically all other respects, the Nikon ZR is an incredibly highly specced cinema camera that puts more expensive rivals to shame. In terms of bang for your buck, this is the one to beat.

Read our full Nikon ZR review for more details

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Best box camera

Users who were dissatisfied with the ergonomics of Blackmagic's Pocket Cinema range have been champing for the manufacturer to release a box-style camera for some time. It has finally arrived in the form of the Pyxis, which at an asking price of less than $3,000, should prove tempting to plenty of users. Sure, there are some omissions – no articulating screen, no built-in ND filters – but as we found when we gave the Pyxis a full test, what you get here is a hugely versatile and capable cinema camera.

Our reviewer Rob Redman took a deep dive into the Pyxis 6K's capabilities, and came away impressed. The image quality it produces proved to be absolutely excellent, even if a little post-production work was required for it to look its best, and the ergonomics of the camera made it a pleasure to shoot with. Like with many box cameras, you get out what you put in, and if you take the time to kit out the Pyxis 6K with your favorite accessories and set it up the way you want it, you'll easily fall in love.

The BRAW codex, with its multiple compression settings and gen 5 color science, offers a huge amount of flexibility for any shooter. Having open-gate video lets you crop at will for different formats without worrying about losing quality, and the tank-like build gives you peace of mind when shooting on location. All in all, a strong first box camera from Blackmagic – and I wouldn't be surprised if the next one is even better.

Read our full Blackmagic Pyxis 6K cinema camera review

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Best entry-level

If you're looking for an accessible entry-point into the world of cinema cameras, the Sony FX2 is an excellent choice. Using the Sony E lens mount that will be familiar to anyone who has used Sony's mirrorless range, this comprehensively featured cine camera opens up Sony's cine line to hybrid and low-budget shooters. With credible stills capability, it works well for anyone who wants to keep a foot in both camps.

It shoots high-quality 4K at up to 60p, though the higher frame rate does come with a Super 35 crop. Footage is oversampled from 7K, and looks great, though we did observe some rolling shutter during fast camera movements in our testing. However, one real strength of the FX2 is its continuous recording capability – with its active cooling system, the camera can just keep going and going. It's rated for up to 13 continuous hours of 4K 60p shooting, and even out on location, we found it basically impossible to make the thing overheat.

The FX2 boasts capable autofocus with Sony's intelligent subject-recognition, as well as highly effective active image image stabilization, all of which adds up to it being one of the most easy-to-use cine cameras around. A perfect entry point.

Read our full Sony FX2 review for more details

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Best for resolution

This is some of the most raw resolution you can get in a cine camera. With a 96MP sensor and the ability to output 12K video, the Blackmagic Ursa 12K LF is one of the most impressive cinema cameras we've seen lately, a powerhouse that captures absolutely stunning imagery.

The body of the camera is large, heavy and bulky. This isn't the best option for agile crews, and it functions best in controlled environments. Of course, all that room means there's lots of real estate for functionality, and as such, the Ursa 12K LF offers plentiful IO, with a 12G SDI, full-size XLR, plenty of USB-C ports, DC power input, a media bay that takes CFexpress modules (which hold CFexpress cards), a 7-pin LEMO port, timecode/reference ports, a 10GB Ethernet port, and two Wi-Fi aerial ports. A lot. And that's not even getting to the multiple screens, which are great even for solo shooters, and utterly invaluable for teams.

And as for the footage itself, in our testing the Blackmagic Ursa 12K LF proved itself and then some. It shoots 3:2 open-gate video, meaning you don't need to worry about crop factors, and the new sensor layout delivers 16 stops of dynamic range. The camera continues to perform well even as you push up the ISO settings, and the impression compression performance helps mitigate the problem of all those big files devouring your card space.

Read our Blackmagic Ursa 12K LF review for more detail.

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Best all-in-one package

Should we consider this a full-size or a portable cinema camera? It's designed for portable use, but it's quite a size. The DJI Ronin 4D 6K is unlike any other cinema camera out there.

You almost have to think about it in two parts - the body which consists of all the camera controls, screen, and gimbal arm, and then the DJI Zenmuse X9 camera. It's not a light bit of kit weighing almost 5kg but you've got to remember you won't need to add much weight to it as you would with other cinema cameras as it has a gimbal with 4-axis of stabilization built in.

It's definitely a different type of camera to get used to that will require some learning but for cinematographers who find themselves always using a gimbal or stabilization rig, it's well worth looking into.

It's also available in an 8K version for those who want even better resolution although is still able to record in ProRes 422 HQ and H.264 4:2:0 10-bit at various different frame rates (check out the review to see the full list).

Perhaps this is the future of cinema cameras, taking a more hybrid approach rather than needing modular systems where you need an additional kit. If you're new to videography and looking for an all-in-one package, it's certainly a good way of entering the world of film with a camera that can shoot anything, anywhere.

Read our full DJI Ronin 4D 6K review for more details

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Best for documentaries

The Canon EOS C70 is like a remixed C300 Mark III. It packs the same Super35 sensor, Dual Gain Output, 16 stops of dynamic range, and 4K 120fps / 2K 180fps performance into a compact form factor more like a traditional stills camera.

It also packs a touchscreen that changes the game for Cinema EOS cameras, with touch control making it so much easier to maintain focus. For lone shooters, the C70 boasts the iTR AFX system from the Canon EOS-1D X Mark III, with head detection and spookily accurate autofocus.

The only cinema camera to use Canon's RF mount, it opens up a world of cutting-edge optics – and not only can you still use EF lenses, but a new Canon speed booster enables you to use them with an extra f-stop and a full-frame angle of view!

However, it doesn't record in raw and there's no option to use PL lenses – for that, you'll need to step up to the C300. For now, the C70 seems to be out of stock in most retailers but we're hoping it's just a supply chain issue and they'll be back soon.

Read our full Canon EOS C70 review for more details

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Best cheap 6K

We've just finished reviewing the Blackmagic Pocket Cinema Camera 6K G2, the new, 'entry level' 6K model, and it boasts many of the features in this Pro version. However, it's still the Pro model we would go for because for a little extra outlay, it offers a brighter screen and built-in ND filters.

The Blackmagic Pocket Cinema Camera 6K Pro is an evolution of the original 6K model, but while it might look like a mirrorless camera in its shape, you do have to get used to the handling from the odd size and large shape of the Super35mm Blackmagic Pocket Cinema Camera 6K Pro – which is certainly far from being pocket size. And the lack of continuous autofocus, image stabilization, or any auto-exposure can be an issue for some. It’s definitely not a run-and-gun camera. But if you use it as a tool for considered, cinematic shooting then it’s a bit of a steal as it produces rich, detailed files in raw or ProRes from its dual native ISO sensor.

Read our full Blackmagic Pocket Cinema Camera 6K Pro review

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Best for students

The Blackmagic Pocket Cinema Camera 4K looks great value for money today and it's an intriguing alternative for Olympus or Panasonic users who've already invested in MFT lenses.

It has some disadvantages, such as no continuous AF and a fixed screen, but this is a cinema camera, not a vlogging camera. It always comes back to bang for the buck with the Pocket Cinema Camera 4K.

When you consider the fact you have a mini XLR audio input as well as USB-C storage support for recording to hard drives, a full-sized HDMI port, and dual card slots, the Pocket Cinema Camera 4K leapfrogs the competition in almost every video-centric area.

Considering that the camera also ships with a full license for Davinci Resolve, an excellent bit of pro-video-editing software that normally costs $295/£239, the Pocket Cinema 4K is quite a bargain.

Read our full Blackmagic Pocket Cinema Camera 4K review

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How to choose the best cinema cameras

As the prices of “industry-standard” cine cameras continue to drop, these powerful tools are becoming more accessible to videographers looking to elevate their craft. While shooting in 6K, 8K, or even 12K is certainly exciting, the real game-changers, and the things to focus on when choosing your cinema camera, lie in the form factor, advanced video codecs, and extensive connectivity options – essential elements for a seamless production experience.

One brand pushing the boundaries between consumer and cinema cameras is Blackmagic Design. The Pocket Cinema Camera 6K G2 is a standout example, capable of capturing stunning 6K RAW or Apple ProRes footage while supporting custom user LUTs. Even better, it comes bundled with DaVinci Resolve Studio—one of the industry’s top-tier editing programs (alongside Final Cut Pro and Adobe Premiere Pro)—all for under $2,000/£2,000. That kind of value is hard to beat.

While brands like Arri and Red dominate the ultra-high-end market, I’ve left them out of this guide, as their gear is often priced well beyond the reach of most filmmakers. Likewise, while many mirrorless cameras deliver impressive video quality, they lack the connectivity and workflow advantages of true cinema cameras. If you’re looking for hybrid stills-and-video options, check out our guides on the best cameras for filmmaking and the best cameras for video.

One of the most innovative cinema cameras today is the DJI Ronin 4D. Available in 6K and 8K versions, this “flightless drone” is the first cinema camera to feature 4-axis stabilization, significantly reducing the need for sliders or dollies by absorbing movement during walking or running shots– a game-changer for handheld cinematography.

Cinema cameras are as diverse as the projects they’re used for, so finding the right one depends on your needs and creative vision. Whether you’re looking for a full-size setup or something more portable, there’s a cinema camera here to match your workflow.

Mirrorless vs cinema cameras: what's the difference?

The definition of a cinema camera isn’t always clear-cut. Some argue it’s any camera designed specifically for video rather than stills, while others point to factors like size, lens mount, or the ability to shoot in RAW or ProRes.

New Form Factors

Hybrid cameras are blurring the lines between stills and cinema. Take the Sigma fp and Sigma fp L – both are stills/video hybrids, but their modular form factor and cine-focused interface make them worthy contenders in this space.

8K Isn’t Everything

High resolution often grabs headlines, as seen with the Canon EOS R5 and Sony A1, both of which offer 8K recording. However, these are still primarily stills cameras with video capabilities, not dedicated cine cameras. If you’re looking for true cinema tools, models like the Canon EOS C70 or Sony FX3 are better suited to professional filmmaking.

Cinematography vs. Filmmaking vs. Vlogging

If you’re searching for the best vlogging camera, the models in this guide will likely be overkill. Not only are most of them expensive, but they also require technical expertise to get the best results. If you need a more versatile camera, our guides on the best mirrorless cameras or best cameras for video may be more helpful.

This guide focuses on cameras built specifically for professional film and TV production. To keep things organized, we’ve divided it into two sections:

High-end, modular cinema cameras – These are your "A" cameras, designed for professional sets with top-tier specs and extensive customization options.

Portable cinema cameras – These serve as "B" cameras, perfect as backups in professional environments or as primary cameras for independent filmmakers and solo video shooters ready to take their work beyond vlogging.

Whether you're looking for a full-fledged production setup or a compact but powerful alternative, there’s a cinema camera here to match your creative needs.

How we test cameras

We test cameras both in real-world shooting scenarios and in carefully controlled lab conditions. Our lab tests measure resolution, dynamic range and signal to noise ratio. Resolution is measured using ISO resolution charts, dynamic range is measured using DxO Analyzer test equipment and DxO Analyzer is also used for noise analysis across the camera's ISO range. We use both real-world testing and lab results to inform our comments in buying guides.

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Best cine lenses
Best 8K camera
Best 4K camera for filmmaking
Best audio recorders
Best video editing software
The best laptop for video editing
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Compare today's prices

Choosing the best DJI drone deal isn't the easiest decision. As the market leader they have a lot of drones, newer and older, and to some extent, they control the prices, but I've flown them all (and owned many since the very first). I know what's on offer for the cash.

In this definitive list of the best DJI drones, I'll reveal exactly what you'll get for your money, including which of the still available older models might represent a great deal. You won't be surprised that DJI drones also top our list of the best drones around.

From a bit of high-flying fun to the ultimate selfie-drone; from a photographer’s favorite through to industrial and educational quadcopters, DJI has at least one offering in every area. There’s even a drone for crop spraying! 2023 has seen more choices come with the DJI Avata for dramatic yet accessible FPV, a pro-standard Mini drone in the Mini 4 Pro, and the Inspire 3.

In 2026, new DJI drones are not going to be approved by the FCC for use in the USA. However, there are plenty of good options for American pilots that are still on sale.

The best DJI drones 

Best overall

The DJI Mini 5 Pro builds on the legacy of its predecessors, the Mini 4 Pro and Mini 3 Pro. The Mini 3 Pro made waves when it launched in May 202, revolutionizing the ultra-light drone category, introducing features like collision sensors and a 4K 60fps camera that could rotate to vertical mode—still a rare feature among larger drones. The Mini 4 Pro took things even further, adding omnidirectional collision sensors, 10-bit D-Log M video, and waypoint programmable flights. The Mini 5 Pro ups the game again with a larger 1in sensor with an improved 50MP resolution, and improved collision avoidance through built-in Lidar detection - all while maintaining its lightweight design.

The Mini 5 Pro is equipped with DJI's updated O4 radio system, offering up to 20km (12 miles) of theoretical range and, more importantly, excellent reception over practical distances. The new DJI RC 2 controller, also seen with the DJI Air 3, provides a premium, professional feel and includes an option with a built-in screen, eliminating the need for a phone and making it more convenient for users.

The Mini 5 Pro’s message is clear: DJI won’t let weight limits hold back creators. However, this comes at a price, which is closer to the company’s higher-end models than other ultra-light drones. For those looking to save, the DJI Mini 4K offers a more affordable option, lacking some of the advanced features like collision sensors but still capturing impressive video and photos for everyday users.

See my full review of the DJI Mini 5 Pro to see sample videos

Best camera

The DJI Mavic 3 Pro is the top-of-the-line folding drone, and if boasts the kind of specs you'd expect. There are no interchangeable lenses, but DJI has made a high-quality variation of the same principle seen in the iPhone Pro and other flagship phones – a 3-camera system with a main camera with the largest image senor and two others offering up to 7x optical zoom.

The main camera is nominally Hasselblad, too (DJI have a financial stake in the famous brand). It's certainly good enough, and the senor is a spectacular 4/3 system.

At just under 1Kg (and just over 2 pounds) the drone is still very portable, but has enough weight to stand up to tough weather conditions, while the cameras are very impressive indeed.

Creators should note that there is a Cine edition of this camera with the option of ProRes recording to a built-in SSD which increases the cost.

The only word of warning with this device in early 2025 is that there have been one or two rumors of a Mavic 4 Pro model coming in April/May.

See my full DJI Mavic 3 Pro review for sample video

Best value option

This drone does a lot of things, despite being the cheapest DJI offers. That amazing flexibility still comes with a 4K camera, though admittedly it has a 1-axis gimbal rather than a 3-axis one, meaning video stabilisation partially depends on AI.

That's not the end of the world, though – Electronic Image Stabilization (EIS) and a 1-axis gimbal is also the approach DJI uses in their high-end FPV (First Person View) drones like the DJI Avata 2.

Oh, and FPV is one of the things you can do with this nifty little drone. But only one. You can also save yourself a lot of effort by letting it fly itself!

That's right, this drone can be launched from your palm and then will just follow you using the camera and AI. You don't even need a controller

You can also add an app as the controller, or a real radio controller. If you want, you can buy FPV goggles and fly the drone from 'inside'. and DJI offers digital FPV goggles for a surprisingly low cost given the tech involved.

That is a lot of choice, and you don't need to go 'all-in' on day one either. Start with the Neo and add an FPV controller later as your interest expands. An obvious contender for a 'my first drone' (whatever your age)!

Do note that there is a more recent Neo 2 model that offers significant improvements (such as improved obstacle avoidance and gimbal) – however, this currently significantly more expensive.

Read my full DJI Neo review for more details

Best Cheap 4K

The lightweight, spoke-based propeller cages might look a bit awkward, but it is a clever, rugged folding design that’s surprisingly compact and portable, bringing all the AI advantages of the Neo and the camera capabilities of other ultralight drones.

Despite the safety design, it doesn't seem to compromise much on flight time, still offering about 30 minutes. While safety features might not be the most thrilling on their own, they make hand-launching a practical option.

DJI has also packed this drone with AI tracking, so you don’t need a remote control for it to follow you—making it a sort of ‘selfie drone.’ However, a remote controller is still included in the box.

You can choose between a controller that requires you to plug in your phone or one with a built-in screen, but either way, DJI ensures you have the option to fly the drone in a more traditional way and fully utilize its camera.

Crucially for creators the drone comes with a 3-axis gimbal that performed well in my tests, even in gusty winds, and includes some nice modern touches, like 2GB of onboard storage in case you forget your memory card. One minor complaint: the enclosed propellers can be a bit louder than other designs, though this is a small tradeoff for the convenience of hand-launching without worrying about your fingers. It’s so user-friendly that even my 8-year-old had no trouble using it, which is probably why DJI markets it as a vlogging drone for everyone.

Read more: DJI Flip review

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Best for FPV

DJI might dominate the drone world, but FPV has always seemed a little to the side of the company's core camera drones. FPV – First Person View – is taken to mean actually wearing goggles that let you virtually sit inside the drone you're flying and it took time for digital tech to reach the standard it now is (earlier FPV involved interference-ridden analog video).

Now, though, with the Avata 2 the company seems to have got things just right. Having hit upon the "cinewhoop" frame style with the previous generation, the Avata 2 has been all about refinement and this drone is an excellent example of what happens when designers listen to critics. There was a lot right with the Avata, and this is better.

Not only that but the bundled controller – the RC Motion 3 – is also more refined, while DJI's Goggles 3 seems to have reached a much tidier point. Previous generations involved dangling cable batteries, but now this is managed in the forehead grip while at the same time improving ergonomics. Beat that, Apple Vision Pro!

All this comes with the ability to just stop and hover because it's still a DJI drone with GPS – it's like having an emergency brake – so while it might be a bit odd for experienced FPV enthusiasts (who will need to fork out for an optional stick-based controller) if you're coming at FPV just for the fun or to get those into and out of building shots, this will do the job and then some, without requiring years of tiresome practice in full manual mode. The Avata 2 will even do a flip for you!

Read my full DJI Avata 2 review for more details

Best for versatility

Since the Air 2S, the drone has put on a little bit of weight and the image sensor is smaller, but by my reckoning it's still the best choice – because now it's got two slightly smaller (but modern, stacked) CMOS image sensors with cameras at a normal (wide) and a medium tele length – much, much better in terms of creativity. It's still lighter – and, importantly, significantly cheaper – than the Mavic 3 Classic (with one camera), let alone the multi-camera Mavic 3 variants.

All the other bells and whistles of the Mavic can be found here – it has version 5 of DJI's AI pilot assist which can track subjects and avoid obstacles and it's as good (i.e. very good, but not quite as cunning as a Skydio). It also gains waypoint mission planning at last.

For anyone wanting a bit more weight and speed – to cope with tougher, windier environments – and the creative clout to capture different kinds of video, this is a fantastic drone. It even has a decent portrait mode that uses the whole height of the sensor. This is a much more video-bias interpretation of the mid-teir brand than the Air 2S, but all the better for it.

• See my full DJI Air 3 review

Best for stills

The Mavic 3 or 3 Pro are powerful drones, and priced accordingly, but not everyone needs a “hybrid zoom.” The Mavic 3 version, especially, is much more about surveying than content creation.

This “Classic” version ditches the relatively low-resolution zoom camera(s) but retains the 4/3 Hasselblad camera on more or less the same airframe (including C1 certification). Video recording with a 10-bit D-log, plus all the low-light benefits of the large sensor, is retained too.

That means creators who would only have used the 24mm EFL camera can pay a little less to get the 15 km range, advanced return to home (avoiding and re-routing around objects), and the excellent battery life of the Mavic 3 without really losing out. In fact, compared to the original’s launch, there are some advantages – the subject tracking, panorama capture, and other functions are all working from day one, and are pretty high-end.

Read our full DJI Mavic 3 Classic review for more details

What makes the standard Mavic 3 such a brilliant device is that, while still being bigger than some telephoto lenses, the entire thing can be stuffed into a kit bag and taken traveling. It doesn’t look noticeably bigger than the older Mavic 2, but it sits more proudly from the ground, helping protect the lenses of the dual-camera gimbal; the system has a large sensor (4/3rds) camera which more than exceeds the old Pro version and bolstered by a 12-megapixel zoom camera for closer views (albeit of less exceptional quality).

The drone has also matured in terms of flight time, hovering for an exceptional 40 minutes (or ploughing forward for 46), and vision sensors (collision avoidance) which use up to 200m “sight” to plot the best return to home route. Sadly not all the software was quite there in time for launch; DJI has promised much in terms of tracking subjects while avoiding, for example, trees, (like a Skydio). This has already improved with one major update, so we’re inclined to trust DJI here, but we won’t know for sure until later in winter 2022 and it wasn’t a great precedent to set in terms of delaying core features.

All that said, in terms of still and D-log video (we’ll cover the Cine edition separately in this list,) this really amounts to a big compact drone.

Read our full DJI Mavic 3 review for more details

Best for cine

We noted at the beginning of the Mavic 3’s mention (above) that its size made it an exceptional device for a 4/3-sensor camera. That compact nature is just as important in the Cine edition which has the same camera but rebuilds the internals to find space for a 1TB SSD and the throughput to handle ProRes 422 HQ video. If you need this format, you’re likely to understand that (and its price), though we did think it a little odd that DJI didn’t even offer the choice of going without the Pro remote, it is one fewer thing to set up.

The new video transmission system, O3+, brings a notable improvement in live view to both Mavic 3s – 60fps rather than 30fps for the 1080P stream which makes on-screen composition greatly more fluid and natural. The drone shares the same faster, more powerful, and more capable airframe too (and the same late firmware features).

Best for pro filmmaking

If the Air 2S is a “creative compact,” this is a high-end DSLR. Like an SLR, there is a choice of lenses, and there is a much bigger full-frame sensor than you will find on other DJI drones.

The large aircraft is powered by two (expensive) batteries and features other backup systems. It can also capture CinemaDNG or Apple ProRes video onto its SSD-based memory card. All of this is aided by 360-degree unobstructed camera rotation, lending itself to dual-operator flights, or fly-bys with automated object tracking.

This is very much a professional aircraft - designed to produce cinema-grade 8K video footage. The big 44-megepixel sensor means that the quality of the image, and most importantly the dynamic range, blows other drones out of the sky. But this is an expensive drone - and significantly more than its predecessor the Inspire 2.

Read our full DJI Inspire 3 review

FAQs

How we test drones

Our drone tests are carried out in the field, allowing us to assess the quadcopter for its flight performance, easy of use, and its image quality. All our drone reviews are overseen by Adam Juniper who is one of the UK's leading experts in drones, and who has written several books on flying drones, including The Drone Pilot's Handbook.

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Compare prices

If you're an aspiring cinematographer, and are looking for a great monitor and external recorder capable of capturing formats from the leading cinema cameras all the way up to an eye-splitting 8K RAW, then this amazing deal for $400 off the Atomos Ninja V+ from B&H is for you!

The Atomos Ninja+ features a 5.2-inch display and records and plays back up to 8K RAW video to and from purpose-built mini-SSDs (sold separately). The Ninja V+ can also record Apple ProRes RAW up to 8K 30p or DCI 4K 120p directly from the sensor, and it's compatible with select cameras such as the Canon EOS R5 C.

It also includes a H.265 free-to-download license to record with the high-quality, low-bandwidth codec for up to 10-bit recording in ProRes 4:2:2. Display features include a 10-bit screen with a brightness of 1000 cd/m², AtomHDR technology for accurate monitoring of your log gamma footage, and support with popular log formats from Sony, Arri, Red, Canon, Panasonic, Nikon, and Z Cam cameras. 

For $400 off, and now at a price of $599 at B&H, this is a great price to pick up one bit of equipment that you can use for the rest of your career. From 4K to 8K RAW, this monitor and recorder can handle anything your input to it and will be a vital tool in your kit.

Read more:

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If you are looking to upgrade your laptop or simply want the best Macbook for photo or video editing then now is the time to upgrade thanks to these amazing deals from B&H saving you up to $250 on an 14" M1 Macbook or  $150 on a 13" M1 Macbook Air.

The M1 Pro chip in the MacBook Pro 14-inch offers up to 200 GB/s of memory bandwidth as well as support for up to 32GB of unified memory. The efficient architecture of M1 Pro means they deliver the same level of performance whether MacBook Pro is plugged in or using the battery. The M1 Pro also features enhanced media engines with dedicated ProRes accelerators specifically for pro video processing, which means even the toughest of video project will be made much easier when hitting the editing suite.  With up to a 16-Core GPU, the M1 Pro also delivers up to 70 percent faster CPU performance than the M1, making sure the the most demanding tasks are delivered in rapid time, perfect for creatives always on the move.

The 13.3" Retina Display on the MacBook Air features a 2560 x 1600 screen resolution and a 16:10 aspect ratio for 227 pixels per inch (ppi). The display also features up to 48 percent more color than the previous generation and offers True Tone technology, meaning the white balance automatically adjusts to match the color temperature of the light around you for a more natural viewing experience and a better color grade on your videos and accurate editing to your batch of photos. As well as being equipped with Apple's M1 chip, which features four high-performance cores, each designed to run a single task, which allows for multithreaded workloads.

There are also four efficiency cores to handle lighter workloads, using only a tenth of the power while still delivering fast performance. This means the Apple M1 performs up to 3.5 times faster than the previous generation while still delivering battery life up to 15 hours of wireless web browsing and up to 18 hours of video playback.

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DJI has announced that its latest cinema camera, DJI Ronin 4D, which is the first endeavour into the world of cinematography cameras for DJI, will now no longer support Apple ProRes RAW, a spec which was highlighted as one of the main features of this new revolutionary product at its announcement.

Statement from DJI reads:

"Ronin 4D will not support internal compressed RAW (Apple ProRes RAW) recording at launch, but Apple ProRes 4444 XQ will be made available through a firmware update later in 2022.

“To reflect this change in specifications, the list price of the Ronin 4D 6K combo is being lowered to $6,800” and “Users who pre-ordered Ronin 4D at the original price, should contact their dealers to receive a refund of the difference”

• What is ProRes Raw?

This is certainly a blow to those filmmakers who have already pledged $6,799 / £4,715 / AU$10,149  to this revolutionary 6K cinema camera, because of its RAW recording capabilities. This is not the first time we have seen Apple ProRes RAW removed from a camera just before its official releases, chinese cinema camera manufacturer Kinefinity announced that were removing the ability of Apple ProRes RAW recording in all of its existing models and that the codec would be removed before launch of its Mavo Edge 8K cinema camera.

Rumor has it that this instance, and quite possibly the same for DJI, is that competitors and global cinema camera giant RED, or Red Digital Cinema as they are officially known, own the patent for compressed onboard RAW video recording. 

We know that DJI’s Zenmuse x9, which is the camera used on the DJI Ronin 4D and on their professional cinematic drones, does shoot ProRes RAW internally, but via its crafty CineCore 3.0, which bypasses said patent’s limitations. However, it must be noted that this “patent bypass” does not fix the issue of the new DJI Ronin 4D not being able to record Apple ProRes.

DJI has held its hands up and are offering a reduction in price and has confirmed that Apple ProRes 4444 XQ will be available via a firmware update later in 2022, but it does beg the question… Why do we have to wait for a firmware update later in the year and not have it available on the day of its release? 

Read more:

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Atomos and Assimilate have announced that every new purchase of an Atomos Ninja V or Ninja V+ will include a full license of Assimilate Play Pro worth $299 US for free, and did we mention that currently you can also save $500 of the Nina V+ at B&H or $50 on the Ninja V from Adorama? Atomos has not forgotten about existing registered owners of the Ninja V/V+ as it is also offering an exclusive deal price of $99 for a full license.

Filmmakers understand that there are many choices to be made when it comes to defining a production pipeline for your existing for future project, be that client project or your next feature. While there are more options available today, not only in terms of cameras, but also recording formats, NLE, visual effects and finishing software, the specific workflow is often predetermined by any one of those solutions. Atomos wants to challenge these expectations and change the nature of the game for the better.

The ability of the Ninja V/V+ to record in a range of professional formats, including Apple ProRes RAW, Apple ProRes, Avid DNxHD and H.265 (HEVC) makes them incredibly versatile pieces of kit for any cinematographer. Filmmakers can take content created on these devices and use any number of post-production workflows. The addition of Play Pro dramatically expands the available options and it opens new avenues for filmmakers to explore and provides an opportunity to switch lanes midstream. 

In practical terms, cinematographers are able to select ProRes RAW as a production format, then choose further down the road to leverage Assimilate Play Pro’s software to convert  footage to a different format, for example ProRes 4444 XQ (with embedded metadata). This means the content can be harmonized to match footage recorded on different cameras including Red, Aarri, Phantom and Blackmagic. It also creates an opportunity to work with applications that do not currently support ProRes RAW, including DaVinci Resolve. With Play Pro filmmakers can take footage recorded on any of these systems and transcode it to work alongside their established ProRes RAW workflows allowing for more streamlined and time-efficient editing.

As described above  Play Pro is an advanced software solution for professional quality control and transcoding.  This software supports changing white balance, ISO gain and exposure offset with ProRes RAW, debayer to all known colour spaces and log-curves, including ACES. It also reads all and any metadata from the ProRes RAW files, such as: camera model, lens used, t-stop number, focal length and many more. It can be used to view files in a wide range of codecs, including ProRes RAW as well as transcode files to Apple ProRes, H.264 and H.265 (HEVC) and is available for both macOS and Windows.

To be able to get this software into your workflow for free with any purchase of the Ninja V/ V+ or for an exclusive offer to existing owners of just $99 is an amazing offering, it might not be something you utilize everyday, but it will earn its hard drive space that one time you need it or you are having to run multiple cameras from different manufacturers due to the on-going chip shortage. 

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If you're a photographer looking to get into filmmaking and are searching for the best cinema camera, or you're a cinematographer looking to upgrade to 6K, then this Z Cam E2-S6 and Atomos Ninja V+ bundle for $4,099 (saving you $500!) could just be what you need to get started. It even includes a 1TB Angelbird SSD!

The Z Cam E2-S6 is a Super 35 cinema camera that is capable of producing stunning 6K video up to 60p, DCI 4K up to 75p, and slow-motion 1080p video at 120p. It also offers 10-bit color in 4:2:2 and delivers 14 stops of dynamic range, making it the perfect camera to get yourself started in the world of cinematography or a great upgrade from your previous 4K camera.

With this cinema camera you get the best of both worlds; a compact box-style design that can accommodate a minimalist setup, or you can rig it to become a full blown production monster that is more than capable of producing stunning 6K visuals for any feature film, documentary or music video.

B&H has taken a step towards the latter by offering this kit in Canon EF mount and supplying you with all the tools you need to get up and running – including the Atomos Ninja V+, below – so all you need is a lens and you're good to go. 

This bundle features the Atomos Ninja V+ – an upgraded version of the Atomos Ninja V, which can record ProRes RAW at up to 8K 30p via purpose-built mini SSDs or standard 2.5” SSDs. 

B&H has thought about this, and is also supplying in this kit an Angelbird AtomX SSDmini with 1TB of storage – enabling you to use the recording features to your advantage, and simultaneously use it as a 5.2” touchscreen monitor featuring a full HD 1920 x 1080 display.

For those that are looking to skip Super 35 6K and go right full frame quality, B&H is also offering this same kit with the full frame 6K Z Cam E2-F6 for $5,599, which also saves you $500. 

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Launched in May 2021, the Atomos Ninja V+ is the world's first 8K recorder. Between now and 31 December, you can get this 5-inch external camera monitor for the astonishingly good price of $999 which gives you a saving of $500 - making it one of the best Black Friday camera deals we have seen so far. Delivering up to 8K 30p or 4K 120p continuous recording in Apple ProRes RAW, it's an absolute powerhouse and is future-proofed to stay compatible with the latest camera releases.

Like its little brother, the Atomos Ninja V (which is one one the best on-camera monitors you can buy) is also capable of recording HDR 4K 60 as well as HD 120p slow motion. 

The next-generation chip technology of the Atomos silicon chip, the AtomIC3 and AtmosOS10 is what enables the monitor to handle higher framerates and higher resolution in addition to all the features Ninja V users would expect. 

Other compatible codecs include AppleProRes - the industry standard, edit-ready codec with scaleable compression, Avid DNx and H.265 - a highly efficient codec that enables you to create high-quality files at a low bit rate and small file size which make them perfect for sharing. 

The Ninja V+ is equipped with a super-bright, 5-inch IPS LCD display that uses a 1000 cd/m2 backlight. This 1920 x 1080 display enables you to view accurate images on screen, even in bright daylight without the need for an additional hood. It's powered by a single L series battery and comes in a quality, protective neoprene sleeve. 

If you're a serious filmmaker and thinking of investing in a monitor that will last as camera technology advances, pick up this one while you can and save yourself a pretty penny. 

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The Atomos Ninja V  recorder monitor is now available for an incredible $196 discount in this flash deal at US dealer B&H Photo. This recording monitor features a 10-bit exterior viewable monitor, 4K HDMI input and a 1,920 x 1,080 touchscreen display. It's also due an upcoming 4K 12-but ProRes Raw update that will further increase the quality of the output. 

The Atomos Ninja V recorder monitor is compatible with a wide range of consumer cameras, such as the Nikon Z6, Nikon Z7, Sigma fp and more. According to recently released news, you'll also be able to use the Atomos Ninja V recorder monitor to output 4K 30p 12-bit ProRes RAW video via HDMI from a Fujifilm GFX 100. 

• Read more: Best on-camera monitor

The Atomos Ninja V records to standard 2.5" SSD drives or to compact AtomX SSD mini drives, capturing up to 150 minutes of 4K video on a 1TB drive. It also featured AtomHDR, which gives you the ability to monitor up to ten stops of dynamic range of your camera's LOG image. 

If you want to invest in an Atomos Ninja V, then don't delay! This deal will end on 30 June at 11:59 EDT.

B&H is a US retailer that may ship to other regions. If you're looking to purchase this product from another country, please ensure you double-check shipping costs and availability, as well as compliance with local tax and import laws.

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Whether you're a budding filmmaker, an experienced cinematographer, or simply a photographer who's looking to add another string to their bow, the Blackmagic Pocket Cinema Camera 6K would make a fantastic addition to your kitbag. This compact cine camera is perfect for run-and-gun shooting – and it also features a Canon EF mount for the ultimate versatility.

The Blackmagic Pocket Cinema Camera 6K can record up to 50fps 6K video, has 13 stops of dynamic range and features ISO support of up to 25,600. It also features two card slots, one for a CFast 2.0 and one for an SD/UHS-II card. However, you can also record externally with the USB-C port using either 10-bit Apple ProRes or 12-bit Blackmagic RAW in order to capture longer clips to an external drive. 

• Read more: Everything photographers need to work from home

The Blackmagic Pocket Cinema Camera 6K is crafted from a lightweight and durable carbon fiber polycarbonate composite, which allows you to produce quality video using a compact piece of kit. It also has four built-in mics and a mini XLR input with phantom +48V power. The Blackmagic Pocket Cinema Camera 6K also has a large 5" LCD for easy focus and playback. 

You can now pick up the Blackmagic Pocket Cinema Camera 6K for just $1,995 from both B&H and Adorama below…

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If you're looking for a on-camera monitor recorder to help take your filmmaking to the next level, then you'd struggle to do better than the Atomos Shogun 7. This piece of equipment is the perfect bridge between prosumer videography using DSLRs and mirrorless cameras, to cine-quality filmmaking equipment such as RED or Arri cameras. 

Global Distribution swung by The Photography Show's Burst Mode studio to give us a closer look at the Atomos Shogun 7 – and explain exactly how useful it can be for enthusiast and professional videographers alike.

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The 7" screen on the Atomos Shogun 7 is the perfect size for helping videographers see what they're capturing in full detail. The 1,000,000:1 contrast ratio and peak brightness of 3,000nits doesn't hurt either! This high-quality screen also means that you can easily show clients footage without having to transfer the files to a computer.

The Atomos Shogun 7 is also capable of recording up to 5.7K Apple ProRes RAW or 4K Apple ProRes directly onto SSD drives, which bypasses the limitations that SD memory cards have. You can even shoot RAW at high frame rates up to HDp240.

One of our favorite aspects of the Atomos Shogun 7 is that you can load up to eight of your own LUTs onto the monitor itself – and you can store even more on the SSD drive that you connect to it. You can then have the flexibility to view your footage half-graded and half-ungraded to  see whether you're achieving the right effect. You can even burn a LUT into the video itself if you're working on a project that needs a super quick turnaround. 

For more information on the Atomos Shogun 7, watch the video above or check out Global Distribution's website.

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Atomos is a well-known name in the world of filmmaking – and for good reason. Their range of monitors enable videographers to capture professional-quality video from consumer DSLR and mirrorless cameras. Global Distribution dropped by The Photography Show's Burst Mode studio to show us how the Atomos Ninja V  can be an essential part of your filmmaking kit.

The Atomos Ninja V is a 5" on-camera monitor recorder that can record the uncompressed image from the sensor before the camera compresses the footage. It's able to record and play back DCI 4K, UHD 4K and HD video from purpose-built mini-SSDs. 

• Read more: Everything photographers need to work from home

The Ninja V also features a 10-bit FRC IPS screen with a brightness of 1,000 cd/m². This means it's perfect for use in bother exterior and interior conditions. It features a color accurate display that's easy to calibrate. You can also access features such as waveforms, translucency and brightness, focus peaking and frame guides to get as much out of the monitor recorder as possible.

Recently, Atomos and Nikon worked together to ensure that the Nikon Z6 and Z7 could record ProRes RAW video footage with the Atomos Ninja V. However, Panasonic will also be joining the RAW video party at some point in the future.

While you might not be able to capture RAW video with other camera manufacturers, you can still use the Atomos Ninja V with brands including Sony, Canon, Fujifilm and Olympus for more flexibility with your filmmaking.

For more information you can either watch the video above or check out the Global Distribution website.

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Atomos turns 10 years old in 2020, and it is celebrating by reducing the Atomos Ninja V by a cool $50. You've gotta love those friends who share the love on their birthday! 

The Atomos Ninja V will be reduced to just $649 for a "limited time only", marking one of the lowest prices we've ever seen for the fantastic external screen, which tops our list of best on-camera monitors on the market right now. 

The Ninja V has set a new standard for external monitors, delivering up to 4K 60p Apple ProRes and AVID DNxHR recording, Apple ProRes RAW recording over HDMI at up to 6K 30p, 1,000nit calibrated high brightness HDR display and plenty more besides. All of which made it a fitting choice for Atomos' first birthday promotion of the year – with more still to come.

"2020 sees the 10th anniversary of the birth of Atomos," stated the company in a celebratory release. "We will be marking the occasion throughout the year to show our gratitude to everyone that has been a part of this journey."

For those interested in Atomos' ten-year legacy, the company offered a crib notes version of its past to catch you up. 

"The Atomos journey started when our CEO Jeromy Young released the original Ninja HD HDMI monitor recorder a decade ago, bringing Apple ProRes recording to an affordable camera top device that was also a monitor — unlocking much higher quality recording from many cameras, especially DSLRs. It also made Atomos a bridge between the camera world and computing world. The superior ProRes files produced made for much easier editing and post processing in programs like Apple Final Cut Pro, Adobe Premiere and AVID Media Composer. 

"Fast forward a decade and Atomos have also led the way with a series of products and technologies that have changed the industry for the better. We brought 4K recording to mirrorless cameras for the first time with either the Ninja Assassin or Shogun combined with Sony’s A7S. We led the way with on-camera HDR monitoring and we changed the industry again when we launched ProRes RAW recording from a wide range of popular cinema cameras."

If getting the brilliant Ninja V for a discount price is just the first of many birthday celebrations, we can't wait to see what presents Atomos unwraps for us next…

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RAW video output for Nikon Z6 and Z7, plus CFexpress compatibility!

Nikon has launched RAW video output for its Nikon Z6 and Nikon Z7 mirrorless cameras, but that’s not all. Nikon’s US press room has also announced the much-anticipated support of CFexpress cards via firmware upgrade 2.20, although we’re still awaiting an official release for the UK.

The former offers Nikon Z6 and Z7 shooters the ability to output 12-bit RAW to an Atomos Ninja V – the 5.2-inch on-camera monitor and recorder that comes with the Nikon Z6 Essential Movie/Filmmakers kit. This makes the camera behemoth the only manufacturer (currently) to enable RAW video to be output directly from a full-frame mirrorless camera via HDMI.

• Read more: Why ProRes RAW is a file format you should know about

The video format used during recording is ProRes RAW, developed by Apple. The popular codec compresses RAW files to make them more manageable, while still retaining much of the data necessary when heavily manipulating footage in post.

Once the firmware has been downloaded, RAW video output support will need to be installed at Nikon service centers and will cost $199.95/£179 (plus shipping). However, if you have already purchased the Nikon Z6 Essential Filmmaker kit (or plan to do so) this service will be provided free of charge (those who have already purchased the kit will need proof of purchase).

Nikon Z6 & Z7 CFexpress compatibility

Nikon has confirmed CFexpress card compatibility for both the Z6 and Z7, with support for the Nikon D850, D500 and D5 (XQD variant) expected in the future. 

• Read more: The best memory card for your camera

Firmware 2.20 enabled the Nikon Z6 and Z7’s card slots to accept the new CFexpress Type B memory cards, which are physically very similar to the standard XQD cards. As it stands, only Sony CFexpress cards are ‘fully supported’, but according to Nikon "the number of supported cards will continue to expand as additional cards are tested and certified."

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Atomos would consider switching from SSD drives to the newly-released CFexpress memory cards in the future - according to Atomos CEO Jeromy Young. Speaking to DCW at IBC 2019, the attraction of the new memory format would be to make the successor to products like the best-selling Ninja V that much smaller.

"We're right behind that technology, as it comes down in price we will offer it in our products," says Young, speaking to us in an exclusive interview about ProRes RAW.

But they are sticking with SSD at the moment, because it is a cheaper way of achieving the high data read/write rates needed to record and playback video at the highest resolution and quality. But as CFexpress is so much smaller than the miniSSD drives that Atomos currently uses with its devices, Young is excited about using CFexpress to create units with a smaller form factor - once the price of CFexpress comes down.

Currently Sandisk and Angelbird are the two card makers to have launched CFexpress cards. SanDisk's and Angelbird's Type B CFExpress cards offer read speeds of up to 1700MB/s and 1400MB/s write speeds. Angelbird’s AtomX SSDmini designed for Atomos monitor/recorders, by comparison, offers read speeds of 540 MB/s and write speeds of 500 MB/s.

We are committed to miniaturization of our products, we're committed to increased performance," says Young. And in that spirit, he also revealed that Atomos is considering a separate video recorder that would be "a small Ninja, without a screen. Kinda click into your camera, you know like the battery packs do".

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On August 27, Nikon announced that it was bringing officially supported RAW video output to the Z6 and Z7, making them the first consumer cameras to have this revolutionary feature. Then, just over 24 hours later, Atomos sent out a brief press release to announce that it was co-developing RAW output for the Lumix S1H with Panasonic. 

Jeromy Young, Atomos CEO, says, "We are very proud of continuing to develop new ground-breaking technology with a company of the caliber of Panasonic. We are both highly committed to the democratization of filmmaking for creators, and the ability to transmit RAW over HDMI from the S1H to a Ninja V is a major leap forward in this endeavor."

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The announcement of the Panasonic S1H's full specs was already exciting enough - what with 6K internal recording, 10-bit 60p 4K recording and over 14 stops of dynamic range. However, RAW video output will truly make the S1H a videography heavyweight. 

At Panasonic's LA event for the announcement of the S1H's full specs, Panasonic said, "The leading brand of external monitor-recorders is definitely Atomos. Both companies have a very good relationship and we have been providing 4:2:2 10bit HDMI output recording for the Lumix GH series for years. We are very proud to be developing RAW output via HDMI with Atomos for the S1H.”

This announcement is certainly very exciting, but with the S1H on sale from the end of September, when will this feature become available? 

Well, while Nikon hasn't given a specific date for the arrival of RAW video output for the Z6 and Z7, it has said that it'll materialize later this year. In contrast, we don't appear to have any timeframe for when RAW video will be available for the S1H. This announcement only says that the two companies are co-developing the feature, not that it will be available any time soon.

We also wonder how Apple's legal petition against Red for its patent for RAW video recording will affect this. Our understanding is that anyone who wishes to use RAW video output in their technology have to pay Red a (likely hefty) fee for the pleasure. This seems to be, at least partially, the reason why RAW video output has been so slow to come to consumer cameras. 

While Panasonic haven't announced which RAW video codec it'll be using, Nikon has already stated that it'll be using Apple's ProRes RAW format. If Apple's legal petition fails, what will happen with its RAW codec - and will Nikon's plans of RAW video output be affected?

Either way, we're definitely excited to see plans in motion for RAW video output to come to consumer cameras - and we'll be sure to keep you updated on any further developments. 

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