Panasonic Lumix S5 II review
Digital Camera World Verdict
Building on the solid foundation of the original LUMIX S5’s tough compact frame, class-leading 5-axis in-body image stabilization, and excellent color science, the LUMIX S5 II didn’t need any significant overhauls. However, the addition of phase detection autofocus brings the S5 right in line with some of the best hybrid cameras money can buy. We could be looking at a camera of the year contender.
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As someone who’s used the LUMIX S1 since its launch in 2018 and the original LUMIX S5 since 2020, I’ve watched LUMIX full-frame steadily grow into a system that has every right to be revered among photographers and videographers. The one thing holding it back from capturing the attention of the masses was the contrast-based Depth-from-Defocus autofocusing system that Panasonic developed and championed for years, despite much of the competition adopting phase-detection-based AF setups.
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Uncharacteristically late to the innovation party, Panasonic is aiming the phase hybrid AF-powered LUMIX S5 II squarely at “Creators”. You know, that annoying tribe of people who make content for a living or a hobby, in the hope of someday turning it into a career. I can say that because I’m one of those annoying people. To tick the right boxes the S5 II needs to be able to deliver beautiful stills that are easy to edit and transfer off the camera on the go. It also needs to be able to capture a variety of video content; from self-shot presentations to robust video files that can be graded heavily, to slow-motion clips, time-lapses, and more.
Entering the market with a lot of hype to live up to isn’t easy, but does the LUMIX S5 II deliver? Let’s get into it.
(Image credit: Jon Devo)
- Panasonic Lumix S5II (Black) at Amazon for $1,997.99
Panasonic Lumix S5 II Specifications
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Sensor: 24.2MP CMOS sensor without Low Pass Filter
Image processor: Co-developed with L2 Technology
AF points: 779-point Phase Hybrid AF
Dual Native ISO: Auto/Low/High
ISO range: ISO100-51200
Max image size: 6000x4000L (RAW, JPEG), 96MP High Resolution Mode (RAW, JPEG)
Metering modes: 1728-zone multi-pattern sensing system, centre-weighted, spot
Video: 6K (Full-sensor readout)/29.97/25/24/23.98p, 5.9K/29.97/25/24/23.98p, C4K/60/50/30/24p
HFR: C4K/47.95/48p, 4K/47.95/48p, 3.3K/47.95/48p, FHD/180/120/100/60/30/24p
Viewfinder: EVF, 3.68m dots
Memory card: 2 x SD/SDHC/SDXC (UHS II)
LCD: 3-inch vari-angle touchscreen, 1.
84m dots
Max burst: 30fps (electronic shutter), 7 fps with AF-C (mechanical shutter)
Connectivity: Wi-Fi, Bluetooth
Size: 134.3 x 102.3 x 90.1 mm
Weight: 740g (Body, Hot Shoe Cover, Battery, Card x 1)
Panasonic Lumix S5 II Key features
A newly designed 24.2-megapixel full-frame CMOS sensor is housed inside the LUMIX S5 II. It’s the same resolution as the original S5, but it’s different in a key way, it now incorporates a 779-point phase hybrid autofocusing system. It’s a hybrid system because it also utilizes Panasonic’s DFD AF technology. Contrast detection tends to be more consistently accurate when taking pictures of still subjects. However, it’s not as quick or as clever when it comes to detecting and following moving subjects or recording video. Combining the two approaches effectively represents a remarkable, dare I say it “game-changing” upgrade for the LUMIX S5 II.
The Lumix S5 II has a brand new 24.
2MP CMOS sensor. (Image credit: Jon Devo)
Another key upgrade for the LUMIX S5 II includes Active I.S., but what is the difference between Active I.S. and familiar boosted image stabilization modes that we’ve seen before? Active I.S. utilizes the power of an entirely new image processor, co-developed with Leica. Active I.S. deploys algorithms that can detect and anticipate camera motion, particularly when the camera operator is also moving. The S5 II can monitor the 5-axis of motion and prioritize intended movements while suppressing unwanted movement that is likely to negatively impact picture or video quality.
The new processor and sensor combo are also designed to deliver greater color depth and detail, as well as a maximum of 14 stops of dynamic range. It also has Dual Native ISO of ISO 640 and 4000, which helped the original S5 deliver clean footage and stills at higher sensitivities.
Speaking of depth, Panasonic has introduced a new function called Real-Time LUT. Not to be confused with Photo Styles, Real-Time LUT allows you to bake in the same LUTs you may use to grade your content while color grading.
This time-saving trick applies to photos and videos and will appeal to people who want to achieve a specific look without having to spend extra time applying LUTs or presets at their desks.
The top dial houses control for the shooting mode as well as buttons for quickly switching up the ISO and exposure, and a red record button to jump straight into video shooting. (Image credit: Jon Devo)
In terms of video, the S5 II is a 10-bit video specialist. Almost all of its extensive recordable video formats can be captured with a maximum of 10-bit color, including 4:2:2 10-bit C4K/4K 60p video, which has no video recording limits. The LUMIX S5 II can also record up to 4:2:0 10-bit 6K/29.97p LongGOP video in an H.265 codec, using the full readout of the camera’s sensor and producing a 5952×3968 (3:2) image.
Full sensor recording or “Open Gate” as camera manufacturers seem intent on calling it, is perfect for when you have to shoot content for multiple formats and aspect ratios.
With such a large frame, you can comfortably crop a square, 4:5, or 9×16 frame for social media from videos shot this way. It can also now record up to 4 channels of 96kHz/24-bit audio when attaching a 3.5mm microphone or optional DMW-XLR1 adapter.
Panasonic Lumix S5 II Build and Handling
For a compact full-frame mirrorless camera, the LUMIX S5 II looks and feels assuredly tough, thanks to its boxy aesthetic and deep, texturized grip. At a glance, it could easily be confused for the original S5, but a quick game of spot the difference will draw your eye to the new S5 II left shoulder badge.
You’ll also notice the extra width of its viewfinder hump, expanded to house an all-new cooling system for the LUMIX S5 II. This helps to deliver practically unlimited recording in all modes. It does add some additional weight and size to the body, which is up 26g from 714g to 740g and it’s now fractionally taller by 5.2mm.
These small increases deliver some decent benefits though.
Panasonic states that the S5 II has been tested to operate in temperatures as extreme as 40°C, and offers unlimited recording times at up to C4K/60p. It does have a stated recording limit of 30 minutes when recording video at its maximum 6K resolution.
However, if you change its Thermal Management setting to “High” and ok the subsequent Caution message, the S5 II will keep recording and fill whatever sized UHS-II SD cards you place in its dual UHS-II slots or until its 2,200mAh battery runs out. Of course, you could keep powering the S5 II via its USB 3.2 Type-C input with power delivery.
The Lumix S5II has two separate SD card slots for alternate or simultaneous recording. (Image credit: Jon Devo)
The S5 II impressively retains a degree of dust and splash resistance, despite the new fan vents on either side of the EVF. It also has a full die-cast magnesium alloy frame, providing comprehensive protection against bumps and drops.
Unlike the Sony A7IV, which costs $500/£400 more and has a partial magnesium frame, exchanging metal for tough polycarbonate plastic on its rear.
Potential buyers of the S5 II will be pleased to know it is built with professional use with potentially tough conditions in mind.
Its logical button layout is identical to the original S5, with extensive options to fully customize how the camera operates. It also includes a dedicated anodized red REC button for recording videos and a dial for switching between focusing modes, as well as an 8-direction joystick for selecting focusing points.
People who regularly need to switch between photography and video will find doing so on the S5 II intuitive, although the experience would be even more seamless if the camera would maintain the settings between movies and stills modes independently. But you do have the choice of creating custom menus and up to three custom profiles on the mode selection dial.
The body of the Lumix S5II is water resistant so can survive a spell of bad weather and keep going (Image credit: Jon Devo)
The S5 II does make a couple of small missteps in terms of build and design though.
One of them is highlighted by another of its major improvements; the S5 II gains a full-size HDMI port. A very welcome addition. But, unfortunately, it didn’t also gain the ingenious tilt and flip screen that Panasonic first deployed in the LUMIX S1H and improved for the LUMIX GH6.
It appears to be the same 1,840k LCD display as the GH6, just without the brilliant mechanism. Being able to tilt the screen up and then flip it out is vital for keeping the screen clear of cables, especially large full-sized HDMI inputs. I can only imagine this was due to cost, as the S5 II undoubtedly uses the same frame and rear molds as the original S5. But it’s genuinely frustrating to have cables prevent you from easily flipping or seeing the screen. Particularly while self-shooting.
This leads us to the next issue I have with the design of the S5 II. It doesn’t have any tally lights. This is important for creators on or behind the camera, as well as other people being filmed. The LUMIX S5 II does have a recording frame indicator that can be switched on or off, but with a bunch of cables and the seal doors blocking the screen it’s not easy to see.
It also means you can’t see the time you’ve been recording for at all. No tally light and keeping a now surpassed and awkward flip-out screen design aren’t deal breakers by any means, but those two updates would have made a practical improvement to how well this camera operates.
Nit-picking, I’m also disappointed to not see a hole on the base of the S5 II near the standard tripod thread to house an anti-rotation pin. Anti-rotation pins ensure that cameras don’t turn slightly while fixed to professional tripod plates. The S1H and GH6 have all of these small pro-leaning design features in them, why are we taking small backward steps with the latest and potentially greatest camera from LUMIX so far?
With all of that said, you can tether the S5 II to a compatible smartphone or tablet via the LUMIX Sync app, which works great and lets you monitor and control camera settings via WiFi and Bluetooth.
The Lumix continues the angular styling of the Lumix S5 and S1 cameras.
(Image credit: Jon Devo)
Panasonic Lumix S5 II Performance
Unfortunately, people hoping that a firmware upgrade could deliver similar focusing performance in older LUMIX cameras will be left disappointed. The LUMIX S5 II uses an entirely new image sensor and processor, which combine to deliver faster data readouts and utilize more sophisticated algorithms. The new imaging system at the core of the S5 II delivers on most of its intended promises, in full.
How good is the autofocus of the LUMIX S5 II? And how does the S5 II compare to the S5? That’s what most people want to know. For the majority of situations, the most recent LUMIX cameras; the LUMIX GH6 and LUMIX S5, are pretty reliable, if not fast. But LUMIX S5 II combines DFD technology and phase detection autofocusing to deliver a system that is a significant step up in terms of speed and consistency.
Looking through the camera’s bright 3,680k OLED viewfinder, the camera detects subjects immediately, forming a dynamic box around both humans and animals.
It can also detect faces and eyes when subjects are in proximity, and it will highlight those as well. Autofocusing on the S5 II is reasonably customizable.
It will allow you to select its speed and sensitivity, you can also choose which type of focus you want. You have three choices; Human, Face/Eye, and Animal+Human detection.
The S5 II consistently and quickly identifies subjects as they enter the frame and with multiple people in the frame, you can use the joystick or tap the screen to select which person is a priority. One area of improvement though, I would like to see more options for subject recognition, such as AF detection for vehicles and birds. Fujifilm, Canon, and Sony all offer much more granular AF Subject Detection settings, so it would be good to see LUMIX add to its AF detection repertoire.
Above: Watch the face priority autofocus switch between a human face and the face of a statue.
Shooting stills, the S5 II can handle 7 fps bursts of RAW+JPEG shooting with AF-C for roughly 200 frames.
If you need more speed, its mechanical shutter can do 9 fps with AF-S or 30 frames per second using its electronic shutter with AF-C. At the time of testing I was still using pre-production firmware and still, the results were impressive.
From a panning burst of a person running in flat light for bursts of 10-20 frames, the camera lost focus slightly on one or two frames. But there were still plenty of usable shots from my sequences.
Trying to photograph birds was a little tougher. Using both of the LUMIX S PRO 70-200mm lenses, F4 and F2.8, I was able to get some decent shots of birds in flight, but tracking their movement without the assistance of an algorithm tuned to predict their movement was more challenging than I’ve found when using cameras like the Sony A7IV or Fujifilm X-h3S.
But things can be improved via firmware and the competitors mentioned have enjoyed a decent head start. The fact that we’re now legitimately comparing a LUMIX to pricier cameras with some of the best AF systems available, is a positive sign of the brand’s direction of travel.
The autofocus is fast and accurate enough to catch birds in flight, but tracking was subpar. LUMIX S PRO 70-200mm, f/4, 1/400, ISO100. (Image credit: Jon Devo)
Face detection autofocus works well to pick out individual faces in a crowded place like the Tokyo subway. 24-105mm, f/4, 1/160, ISO 2500. (Image credit: Jon Devo)
With respect to video, the LUMIX S5 II is a standout camera in its class, offering a raft of recording and video monitoring options that are uncommon at its price point. As a hybrid camera, the main competition in this bracket comes in the form of the speedy Fujifilm X-h3S and the LUMIX GH6.
The X-h3S has a slightly higher resolution 26.1-megapixel APS-C sensor, while the LUMIX GH6 has a 25.2-megapixel micro-four-thirds sensor. Due to their smaller sensor sizes, both rivals can do internal ProRes 422 HQ recording and 4K/120p video.
Those are two features that would have been amazing to have in the S5 II, but I wouldn’t trade its full-frame sensor to gain them.
The LUMIX S5 II camera can be used to produce cinematic quality footage that doesn’t need any correction work in post if you’ve exposed it to your tastes and perhaps taken advantage of its Real-Time LUT feature.
However, its 10-bit files are robust enough to tune saturation in standard profiles, as well as recover moderately blown highlights and raise underexposed shots without the quality of your clips breaking down. It also comes with a full V-Log as standard and allows you to pre-load up to 10 .cube LUT files for assistance when shooting flat footage.
There are other popular assist features included too, such as; Luminance Spot Metering, Waveform/VectorScop, Anamorphic Desqueeze Display, Synchro Scan, and more. These extras are part of the package that makes the S5 II such an enjoyable camera to use for video work because it’s designed with video creators in mind.
This low-light shot put the image stabilization and ISO to the test, with a good level of detail being maintained in the shadows and noise kept under control.
24-105mm, f/4, 1/30, ISO 512000. (Image credit: Jon Devo)
Beyond what was mentioned about the newly introduced “Active I.S.” in the features section, there’s not much to say about the image stabilization in this camera. The LUMIX S5 II image stabilization remains best-in-class, for now. And it will allow you to get away with not using a gimbal or a tripod in a lot of instances. If you’re trying to pack light or can’t use additional stabilization, the S5 II’s 5-axis IS have you covered. Its ability to steadily hold a frame is beyond black magic.
Above: Watch the Lumix S5 II’s new active image stabilization in action on a bumpy car journey.
Lastly, due to the fan, the battery life on the S5 II isn’t quite as good as that of the LUMIX S5, unless you operate the camera completely in Power Save mode. But there has to be some trade-off somewhere. As long as you have 2-3 fully charged batteries, you should have no problem getting a full day’s use from this camera.
When I got caught short, because I’d forgotten to charge my spare battery, it was handy being able to plug my BioLite Charge 80 power bank straight into the LUMIX S5 II’s Type-C port and keep going. Any 5V-9V power bank should do the trick in a pinch!
The Lumix S5II handles low-light situations well, holding onto details in the shadows and keeping the highlights in check. 18mm, f/1.8, 1/13, ISO8000. (Image credit: Jon Devo)
The camera handles the exposure of these Tokyo towers well against the bright sky. 18mm, f/5, 1/1600, ISO1600. (Image credit: Jon Devo)
Panasonic Lumix S5 II Lab results
For our lab data comparison, we compared the Panasonic S5 II to three full-frame mirrorless rivals with similar price tags: the Canon EOS R6 Mark II, Nikon Z 6II, and Sony a7 IV.
We test resolution using Imatest charts and software, and dynamic range and signal-to-noise ratio with DxO Analyzer.
Resolution (line widths/picture height):
(Image credit: Future)
With 33MP on tap, it’s no surprise the Sony a7 IV is the camera to beat in this sector if outright detail capture is of particular importance to you.
The S5 II’s images are a little more prone to exhibiting moiré than those from the Canon and Nikon cameras, which has the effect of slightly obscuring the resolution patterns on our test chart. Consequently the S5 II scores slightly lower than the EOS R6 II and Z6 II, despite it having essentially the same sensor resolution.
Dynamic range (EV):
(Image credit: Future)
The S5 II is strong when it comes to capturing dynamic range, almost matching the class-leading Z6 II throughout the tested sensitivity range. At high ISOs the Panasonic can capture as much as 2EV more dynamic range than the Canon and Sony cameras.
Signal to noise ratio (decibels):
(Image credit: Future)
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 S5 II’s images exhibit very similar levels of noise to those from the EOS R6 II, though images from the Z6 II are marginally cleaner across the tested sensitivity range. Perhaps inevitably, the extra megapixels crammed onto the Sony’s sensor means it’s images contain a little more noise than those from the arguably more light-sensitive 24MP cameras on test.
Panasonic Lumix S5 II Verdict
Should I buy the Lumix S5 II? Is it important to have a weather-sealed camera with no recording limits, that is equally capable of capturing professional-level photography and video content, while shooting in a wide variety of environments?
Every S-series and GH LUMIX camera in the past five years ticks most boxes. But for some people, they’d be ruled out because of DFD autofocus, despite the brand’s reputation for faithful color science and intuitive functionality. Now, those days are gone. On a level playing field, the case for the LUMIX S5 II is undeniable. It has a quality 24.
2-megapixel sensor, paired with an image processor that was co-developed with Leica. It can capture rich stills at up to 30fps in E-Shutter mode and offers unbeatable image stabilization. Its phase hybrid autofocusing system matches or in some cases beats cameras above its price range. Oh, and it has a full-sized HDMI port.
By offering all of that with truly no limit 4K/60p 4:2:2 10-bit recording internally, S&Q 4K/60p and FHD/180p, as well as up to 6K, full sensor readout video recording, Panasonic have delivered a highly versatile camera for content production. Specs aside, the S5 II is easy to get familiar with and once you do, it handles like an extension of your hands. Every function is where you’d expect it to be on the body and within its menus. The kicker? You can now use EF-mount lenses with phase detection AF for stills and video on a LUMIX – via the Sigma MC-21 adapter.
At $2500/£2000, the LUMIX S5 II is astonishingly good value for money. It’s more than just a camera, it’s a true tool for creators.
Read more:
• Best L-mount lenses for Panasonic, Leica and Sigma mirrorless cameras
• L-mount lens roadmap
• Best camera for professionals
• Best mirrorless camera
• DSLR vs mirrorless cameras
• The cheapest full frame cameras
• Best full frame DSLR
Panasonic Lumix S5II: Price Comparison
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Jon is a gadget reviewer, content creator and influencer. He spends his time reviewing products, covering technology news, giving talks on content strategy and creating content in partnership with a wide variety of forward-thinking brands.
He also contributes to commercial radio, as well as in national print newspapers and magazines.
Fujifilm X-h3S review | Digital Camera World
Digital Camera World Verdict
The Fujifilm X-h3S boasts the highest performance for stills and videos in the history of the X Series. With double the processing power of its predecessor, it offers a class-leading 40fps continuous shooting with full autofocus functions. The video specs are spectacular at 6.2K 30p uncropped, and with the option of three Apple ProRes codecs. For sports photographers, bird enthusiasts and users who do a lot of on-location work and don’t want the size or price of a full-frame sensor, the Fujifilm X-h3S is a terrifically powerful companion.
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The Fujifilm X-Summit is always full of surprises, and the company used its most recent global event to announce the Fujifilm X-h3S. With it was the announcement of a brand-new fifth generation sensor and processor, the X-TransTM CMOS 5 HS and X-Processor 5 respectively. With the X-h3S, Fujifilm looks to have created a camera that high-speed photographers of sports, wildlife and action should love – and be well served by.
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We gave the Fujifilm X-h2 top marks when it was released more than 4 years ago, and we couldn’t help but give the Fujifilm X-T4 a five-star review back in 2020 (see our Fujifilm X-h3S vs X-T4 comparison). But does the Fujifilm X-h3S do enough to warrant its place as the manufacturer’s latest flagship? And, since we’re wondering, does it outsmart competitors such as the OM System OM-1?
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The Fujifilm X-h3S is certainly one of the best professional cameras you can buy.
Its continuous shooting speed using the electronic shutter is a staggering 40fps – that’s 10 to 20 fps faster than any full-frame stacked sensor camera currently on the market, including the Canon EOS R3 the Sony A1 and the sports-centric Nikon Z9.
Thanks to the rumor mill surrounding Fujifilm’s May 2022 X-Summit event, we thought we were getting a 40MP Fujifilm X-h3 (we now learn that’s coming later in 2022) but the X-h3S surpasses many of our expectations – especially when it comes to its impressive video specs. We’ll delve into these more below, but needless to say that 10bit video at 6.2K 30p and 4K 120p internally, the addition of three Apple ProRes codecs, and an improved sensor readout speed during video recording (to suppress rolling shutter effects) are all things that serious video creators will look for.
Fujifilm is a bit late to the high-speed party, having traditionally aimed its cameras squarely at the lifestyle end of photography – think food, portrait and travel.
However, the manufacturer might now have done enough to be considered a serious contender among those who rate speed as a priority when it comes to choosing a camera. And to be honest, speed aside, the the Fujifilm X-h3S is a brilliant camera in its own right – both for stills and video.
Image 1 of 6
The X-h3S has the highest performance for stills and videos in the history of the X Series (Image credit: Fujifilm)(Image credit: Fujifilm)The camera buttons have been streamlined somewhat (Image credit: Fujifilm)The vari-angle LCD is ideal for reaching fun angles both for stills and videos (Image credit: Fujifilm)A new battery gives capacity of up to 720 shots in economy mode – or up to 90min of 6.1K video recording (Image credit: Fujifilm)A dedicated video recording button is now on the top plate (Image credit: Fujifilm)
Specifications
Sensor: 26.1MP 23.5mm x 15.6mm (APS-C) X-Trans CMOS 5 HS
Image processor: X-Processor 5
Mount: Fujifilm X-mount
ISO range: 80 to 51,200
Shutter: 30 secs to 1/8000sec.
Image stabilization: 5-axis IBIS
Max image size: 6,240 x 4,160
Max video resolution: 6.2K 30p, 4K 120p, 1080 240p
Viewfinder: 5.76-million-dot OLED
Memory card: 2 x CFexpress Type B/SD UHS-II cards
LCD: Vari-angle touchscreen, 1.62m dots
Max burst: 40fps electronic, 15fps mechanical
Connectivity: Wi-Fi, Bluetooth, HDMI, USB-C
Size: 136.3 x 92.9 x 84.6mm
Weight: 579g (body only)
Key features
(Image credit: Hannah Rooke)
Aimed at pro photographers who need high-speed performance for tracking wildlife, sports or action, the Fujifilm X-h3S is designed to pack all the features that a photographer could want or need when shooting at a race track or tucked away in a bird hide. It’s also a powerful machine, catering to the diverse needs of the modern content creator as well as hybrid shooters.
At the heart of the camera is a brand-new X-Trans CMOS 5 HS sensor. It has a signal readout speed that’s roughly four times faster than the Fujifilm X-T4 but the same 26.1MP resolution. The sensor has a stacked-layer structure, and this is what enables the photographer to achieve blackout-free continuous shooting up to a sort-of-ridiculous 40 frames per second. By comparison, the flagship Nikon Z9 and Sony A1 both max out at 30fps continuous shooting when using the electronic shutter. You’ll actually get over 1,000 frames when setting the high-speed burst shooting mode to 30 frames per second in JPEG, or 20 frames per second in RAW mode.
To keep up with such speed, the camera features dual memory card slots now supporting CFexpress Type B and SD UHS-II cards, as CFexpress Type B cards can process high-speed data – allowing the h3S’s fast continuous shooting and video performance to reach its full potential. The Fujifilm X-h3S also shoots 10 bit HEIF (High Efficiency File Format) files, which are more efficient than JPEGs when it comes to storage space and capturing greater color depth.
In terms of autofocus, Fujifilm says that an “improved prediction algorithm for AF” has led to a big boost in the X-h3S’s ability to track a moving subject. The camera uses an Intelligent Hybrid AF system (a mix of through the lens contrast and phase detection). Continuous autofocus is absolutely imperative for sports and wildlife photographers whose subjects often move erratically, and the processor now features subject-detection AF that’s been developed with Deep Learning technology to improve tracking in Continuous AF mode.
This autofocus system can lock onto a myriad of subjects such as faces, animals, birds, bikes, planes, cars and trains. The aim is that the photographer can focus on the creativity of the shot and the composition while the AF system will keep things sharp. It’s worth pointing out that with the AI learning, the camera uses information from a massive database and doesn’t actually learn from the user, but obviously that’s something that Fujifilm has the potential to update over time.
(Image credit: Hannah Rooke)
When it comes to video, the Fujifilm X-h3S represents a potentially massive upgrade for pros. The new sensor/processor combo enables recording of 10bit video at 6.2K 30p, as well as high-speed 4K/120P video which will allow fast-moving subjects – birds, planes, runners – to be captured in slow-motion.
What’s more, the Fujifilm X-h3S supports three Apple ProRes codecs; ProRes 422 HQ, ProRes 422, and ProRes 422 LT. If you’re not familiar with Apple ProRes and why it’s important for many pros, it essentially streamlines the overall workflow from shooting to editing, as it’s a more efficient codec.
F-Log2 capability is another new video feature on the camera, which preserves up to 14+ stops of dynamic range from the camera sensor.
In recent years the phenomenon of mirrorless cameras overheating and limiting video recording has been a notorious and even amusing source of contention, so what about maximum recording times? Well the Fujifilm X-h3S has been designed with a built-in heat-dissipating structure which increases the maximum video recording time to 240 minutes of 4K/60P video.
This is only the quote for reasonable temperature climates, and to ensure longer video recording in high-temperature conditions, photographers will probably have to buy and attach Fujifilm’s new optional cooling fan (catchily named FAN-001) which extends the video recording further – priced at $199/£169.
Accessories
The hefty vertical battery grip extends battery life for long shoots (Image credit: Fujifilm)
An optional cooling fan can be purchased and fitted to the rear of the X-h3S to extend its recording times in hot weather (Image credit: Fujifilm)
The Fujifilm X-h3S has been released with several optional add-on accessories that could definitely enhance the shooting experience – depending on your genre of photography. These include a Vertical battery grip (VG-XH) that fits two high capacity batteries, and File transmitter (FT-XH) due to be released in Sep 2022, which features wired LAN connectivity and high-speed wireless communications capability.
There’s also the cooling fan (FAN-001) that we mentioned earlier, which has been designed exclusively for the the Fujifilm X-h3S to allow it to record continuously for longer in high temperatures without shutting down.
This small and portable fan clips onto the back of the camera body without cables, and it runs off the camera’s battery.
Build and handling
(Image credit: Lauren Scott)
In many ways the X-h3S feels similar to the Fujifilm X-h2 when it’s in your hand. However it is slightly smaller, even though it uses a bigger battery with a capacity up to 720 frames in economy mode – a full day, in other words. It features a chunky and pleasing grip that works well to give you a secure hold even in smaller hands. Just like its predecessor, it has a monochrome LCD display on the top panel that displays at a glance the key exposure settings and camera modes.
Fujifilm has taken on board feedback from its users and made some small but welcome changes that enhance handling, refining the modes and dials to improve operability. Some the switches and dials from the X-h2 have been removed entirely, so that you’re more reliant on the custom buttons for control, but this leads to a less cluttered design – where everything you need feels accessible and sensibly placed.
For example, the focus select switch has now gone, and a function button is in its place. The actual dials themselves feel more robust and nicer to press, and half-pressing the shutter button is so much smoother. Even the eyelets on the top plate have changed so that you can now fit larger straps on the camera.
One obvious change is the addition of a dedicated record button on the top of the camera plate next to the shutter. This – alongside the 1.62-million-dot vari-angle LCD touchscreen – could cement the Fujifilm X-h3S as a more than decent hybrid camera.
(Image credit: Lauren Scott)
(Image credit: Lauren Scott)
Performance
Image 1 of 4
(Image credit: Lauren Scott)
Sample images gallery
(Image credit: Hannah Rooke)
Sample images gallery
Plenty of detail captured by the APS-C sensor and fast prime, and a decent balanced exposure given the intermittent and changing sunshine (Image credit: Nial Hampton)
Sample images gallery
Pleasing colors, even with the Provia/Standard film simulation that may not have been the go-to choice here (Image credit: Nial Hampton)
Sample images gallery
The first thing you noticed about the Fujifilm X-h3S is how tactile it is, and how enjoyable the handling.
The slightly larger grip allows you to grab onto it comfortably even when using it with very long lenses such as the new Fujifilm XF150-600mmF5.6-8 lens (which was announced at the May 2022 X-Summit at the same time).
As well as a street photography session around London’s Covent Garden, we got the opportunity for some action photography and video at the Goodwood Festival of Speed, where the frankly phenomenal burst speed wowed us most of all.
The effective in-body image stabilization and, where available, lens stabilization too, makes it much easier to get sharp shots handheld from a static position. Our panning experiments worked out pretty well too, and while even with subject detection enabled the X-h3S didn’t offer a 100% hit rate, it did enable a good percentage of sharp shots at very slow panning speeds.
Here’s some sample video we shot at the Goodwood Festival of Speed (thanks, Fujifilm).
The stabilization comes into play for video shooting too, and here the X-h3S demonstrated very effective static stabilization but did produce more mixed results with panning movements.
We’ve seen this many times before with in-body stabilization systems – the technology is great when the camera is still, but not so effective with deliberate camera movements. The X-h3S seems to do a kind of occasional ‘jump-reset’ with its stabilizer that we’ve seen with the X-S10 too.
(Image credit: Rod Lawton)
The X-h3S’s IBIS and fast burst shooting let us pull off some pretty decent panning shots. Fujinon XF50-140mmF2.8 R LM OIS WR, 1/125sec, fast pan. (Image credit: Rod Lawton)
The X-h3S is a great all-round camera, not just for high-speed action and video. (Image credit: Rod Lawton)
Detail rendition is excellent, making the best possible use of the 26MP X-Trans sensor. (Image credit: Rod Lawton)
Although we know that the name of the game with the Fujifilm X-h3S is speed, it also handled portraits well. Fujifilm is well known for its color science and color profiles, and the camera rendered skin tones accurately and smoothly.
Thanks to the 5-axis in-body image stabilization, we found that we were able to capture sharp handheld shoots indoors and as the weather turned grim, so we’d likely have no qualms about taking the camera on a low-light shoot without a tripod – especially given the ISO capabilities of up to 51,200.
Fujifilm X-h3S: Lab results
For our lab data comparison, we compared the X-h3S to rival cameras which are strong performers for both still and video shooting, as well as being capable of fast burst shooting. Given that the price of the Fujifilm puts it in the realms of full-frame camera territory, we’ve included two full-frame cameras in the comparison.
We test resolution using Imatest charts and software, and dynamic range and signal to noise ratio with DxO Analyzer.
Resolution:
(Image credit: Future)
Resolution is measured using standardized text charts which give results in line widths / picture height, which is independent of sensor size. We chose three rivals based on price and broad capabilities – the full frame Canon EOS R6 and Nikon Z6 II, and the APS-C Sony A6600.
The results here are broadly in-keeping with each camera’s sensor resolution, with the R6 resolving slightly less detail than the Nikon, and the 26.1MP X-h3s coming out on top.
The surprise performer is the 24MP A6600, which manages to equal the Fujifilm’s resolving power at lower sensitivities, and even resolve more detail at higher ISOs.
Dynamic range:
(Image credit: Future)
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’).
At lower sensitivities, the X-h3S can capture an almost identical amount of dynamic range as the EOS R6 and Z6 II, which both have full frame sensors. It remains level-pegging with Canon right through our tested ISO range, though the Nikon manages to record as much as 1EV broader dynamic range at ISO 6400 and above. The A6600 has an older sensor design and can’t match the other three cameras for dynamic range across the ISO scale.
Signal to noise ratio:
(Image credit: Future)
The X-h3S has the highest resolution in this group and is also up against two full frame cameras, so it does well to stay only slightly behind for noise.
The A6600 trails by some margin.
Verdict
(Image credit: Fujifilm)
We’ve now been able to spend some time with a production version of the X-h3S and it’s clear that Fujifilm’s new flagship will be an excellent choice for pros who are keen to stick with the APS-C format but want a camera that breaks new speed barriers – all without breaking the bank. It’s not cheap for an APS-C model, but it is when you put it against comparable full frame models.
The other key factor is that Fujifilm has built a very convincing array of lenses for all manner of photographic genres – including pro sports photography – and in the APS-C market only Sony has come close to matching that. And Sony’s best APS-C camera, the A6600, is no match for the Fujifilm X-h3S.
The initial price point is around $2499/£2499, which is a touch more than some of the best hybrid cameras and the much-loved Fujifilm X-T4, one of (in our opinion) the best APS-C hybrid cameras ever made, but the performance and capabilities of the X-h3S easily justify that price tag.
If you already shoot with the Fujifilm X-h2 or Fujifilm X-T4, you might not find enough of a reason to upgrade to the h3-S just yet unless your work involves shooting fast subjects (in which case the X-h2 might not be the best choice anyway).
But if you want to experience the latest and greatest Fujifilm X-series flagship and potentially future-proof yourself with a stills and video camera that will last for many years to come, the Fujifilm X-HS2 looks to be a very good buy indeed, especially if you’re already an X-system user looking for the next step up.
Read more:
Fujifilm X-T4 review
Fujifilm X-h3 vs X-T4
The best Fujifilm camera
The best Fujifilm lenses
Fujifilm X-h3S: Price Comparison
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Lauren is the Managing Editor of Digital Camera World, having previously served as Editor of Digital Photographer magazine, a practical-focused publication that inspires hobbyists and seasoned pros alike to take truly phenomenal shots and get the best results from their kit.
An experienced photography journalist who has been covering the industry for over eight years, she has also served as technique editor for both PhotoPlus: The Canon MagazinePhotoPlus: The Canon Magazine and DCW’s sister publication, Digital Camera Magazine.
In addition to techniques and tutorials that enable you to achieve great results from your cameras, lenses, tripods and other photography equipment, Lauren can regularly be found interviewing some of the biggest names in the industry, sharing tips and guides on subjects like landscape and wildlife photography, and raising awareness for subjects such as mental health and women in photography.
How to choose a camera for video in 2021: answers to basic questions | Articles | Photo, video, optics
Photo: camerajabber.com
Are you an aspiring videographer or vlogger and are thinking about buying a video camera? Or maybe you already have a photo camera and are considering whether to buy a separate video camera? In this article, we have collected the most popular questions on how to choose a camera for shooting video: from considering the required characteristics to answering the question of whether it is possible to ultimately get by with a smartphone.
How to start choosing a video camera?
First of all, you need to decide why and how you are going to use the camera. The characteristics of the camera you need directly depend on the goals. Are you going to make a vlog? If yes, which one – gadget reviews, lifestyle or beauty vlog? Maybe you need a camera to capture family celebrations? Do you create content exclusively for social networks or have you decided to get serious about videography? Having determined the goal, you can proceed to consider the available types of cameras.
Which type of camera is right for me?
If I’m a Photographer and/or Videographer: DSLRs and Mirrorless
If you’re a photographer who decides to diversify your material with videos, DSLRs and mirrorless cameras will suit you (maybe the camera you use to take photos is already good for video). Most modern cameras (cameras) shoot pretty decent quality video, so using a camera to shoot video isn’t such a bad idea. Among the cameras that can take beautiful professional-quality photos and shoot great video at the same time are the following models: Nikon Z6, Fujifilm X-T4 and Sony a7 III.
More advanced videographers also often opt for mirrorless cameras specially designed for video, such as the Panasonic Lumix DC-S1H, Panasonic Lumix DC-GH5, Sony a7S III and Canon EOS R6.
Panasonic Lumix DC-S1H mirrorless camera “sharpened” for video shooting. Photo: bhphotovideo.com
If you need to shoot for a long time: camcorders
Camcorders have their pros and cons, in addition, some cons for some tasks turn into pluses for others. Built-in lens means more compact, but more limited creative shooting options; a large depth of field makes it easier to work with focus, but you won’t get a beautiful “cine-like” background blur (bokeh). The advantages of camcorders include fairly stable focusing and good sound processing capabilities. You can read more about the advantages and disadvantages of camcorders, as well as about the most interesting models, here and here.
The camcorder is perfect for reportage photography. In the photo: Panasonic HC-VXF990 / fotosklad.
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In general, the camcorder can hardly be recommended as a main universal camera for a beginner, but as an additional camera it is quite relevant. Camcorders are also suitable for shooting family reunions, reportage, or any extended event. In general, camcorders are versatile in terms of shooting video and can be used to record a wide variety of videos.
If high quality is a priority: digital cinema cameras
However, for professional studio level video, you will need the appropriate equipment. Digital cinema cameras offer the highest picture quality, excellent ergonomics and all sorts of built-in features. The video shot on such a video camera, with the proper experience of the operator, amazes with the detail and beauty of the picture, bypassing any cameras and cameras in these qualities. At the same time, movie cameras are the least compact, the most difficult to master and the most expensive cameras from the entire list. Among others, you can pay attention to Red, Blackmagic Pocket Cinema Camera 4K and 6K, Canon EOS C70.
When you need to shoot on the go: action cameras
Action cameras are great for shooting travel, extreme sports and blogging on the go. Their quality has continued to improve over the years, and 4K resolution is now the norm for most models. Among the available models, you should pay attention to the Hero line from GoPro, DJI Osmo Action. With some action cameras, you can even shoot 360° VR video. For example, Insta360 One R has a modular system: you can purchase a module for standard 4K shooting or a special VR module for 360-degree video.
Insta360 One R’s modular design allows you to use both regular and 360-degree cameras
Can I shoot high-quality video with a smartphone?
The latest models shoot 4K and even 8K video. They are getting better and better, using computational photography to overcome the limitations. The smartphone is always with you, ideal for travel and everyday shooting.
Smartphones cannot yet fully replace traditional video cameras. Photo: Erlon Silva / cnet.com
However, there are actually many reasons why you should choose a traditional camera. The sensor of a smartphone is smaller than the sensor of full-size cameras, so in most cases the quality of your 4K videos will be lower than 4K video from a large camera. Other negatives include low image control, low dynamic range, and limited zoom capabilities.
Which camera should I choose for vlogging?
For shooting vlogs, it is very important that the camera screen can be rotated to the “selfie” position so that the vlogger can see himself while shooting. At the same time, the display may interfere with additional accessories (microphone, tripod), so you need it to turn sideways, and not lean up or down. In the last year, two models appeared at once, specially “sharpened” for shooting video blogs: Sony ZV-1 and Panasonic G100. They feature high-quality built-in microphones with which you can shoot selfie blogs without an external microphone, a convenient tilting display, and an effective face-tracking autofocus system.
These are the most versatile cameras for various types of vlogging. However, depending on the format of your content, you may prefer shooting with an action camera (for travel blogs, for example), a camcorder (for reportage), or even a smartphone (for casual selfie blogs).
What characteristics should I look for?
First of all, this is the resolution, frame rate and bitrate of the camera. Other important characteristics are the size of the matrix, autofocus system and stabilization. Also pay attention to the dynamic range and audio recording capabilities of the camera. If you are facing complex professional tasks, you should learn about color depth, the ability to shoot in Log modes, the availability of RAW output, as well as additional options such as zebras or waveforms (oscilloscope).
What is bitrate and what is it for?
Bitrate is the amount of data encoded per second when capturing video, measured in megabits per second (Mbps). In general, the higher the bitrate of the camera, the better the video it shoots.
However, high bitrate increases the size of each file, so you will need a larger memory card. You should also look at the bitrate in conjunction with the resolution: the higher the resolution of the camera, the higher the recording bitrate should be.
What resolution should I choose?
4K is becoming the standard, so consider cameras that shoot in this resolution. Ideally, they should capture 4K from the entire width of the sensor, so you get the best detail. But its level in different cameras that record in 4K varies greatly, so you should always watch test videos before buying.
4K resolution has become the industry standard. Photo: fujifilm-x.com
What should be the frame rate?
Usually the number of frames per second is consistent with the resolution: 4K – 30 fps, Full HD – 60 fps, etc. The higher the frame rate, the better the picture becomes. It is worth choosing a camera with a frequency of at least 24 fps, 30 fps is good, and 60 fps is great.
What affects the size of the matrix?
As the size of the sensor increases, the image becomes better, brighter and sharper. However, here everything depends on your tasks: after all, the larger the matrix, the larger the camera, and this is not always convenient. When choosing between a full-frame and a crop camera with interchangeable lenses, there is an important point: full-frame sensors give a more pronounced effect of shallow depth of field, that is, a more “cine-like” picture with pronounced bokeh (background blur).
Do I need autofocus?
Videographers have traditionally relied more on manual focus, but for beginners, having reliable and fast autofocus is a great help, making it easier to shoot everything from selfie blogs to sports events.
A good autofocus system is useful for the beginner. Photo: camerajabber.com
Unfortunately, many cameras have problems autofocusing in video. However, almost all of the latest Sony, Panasonic, Canon, Nikon and Fujifilm mirrorless cameras adapted for video shooting have good autofocus.
Also very handy for taking pictures of people and selfie blogs, autofocus systems with face recognition and tracking. In this regard, perhaps the most advanced system of Sony cameras.
Why do I need a stabilizer and what type of stabilization is better?
Equipped with a stabilization system to prevent image shaking when shooting handheld. For cameras with interchangeable lenses, it is better to choose an integrated system (in the camera body) or an optical system in the lens, or even better, a combination of both. For camcorders with a built-in lens, an optical stabilization system is suitable.
Electronic stabilization is a less advantageous option, since it is carried out at the expense of image cropping and varies greatly in effectiveness from model to model. However, due to their diminutive size, smartphones and action cameras are usually only equipped with electronic stabilization. And if in action cameras, for example, in GoPro, this system works very efficiently, then in order to get smooth video from a smartphone, it is recommended to additionally use a manual stabilizer – a steadicam.
What is dynamic range and what does it affect?
Roughly speaking, dynamic range is the ability of a camera to recognize and simultaneously capture the light and dark details of a scene. The wider the dynamic range of the camera, the better. However, this does not mean that this parameter should be as high as possible for any video – it all depends on the taste and style of shooting, but the ability to get more details in dark and light areas will be a definite plus.
Dynamic range is usually measured in exposure values, or stops. Stop is a change that shows that the amount of light has changed by half, up or down. The dynamic range of the human eye is about 20 stops. Standard dynamic range (SDR) has 6 to 10 stops, and high dynamic range (HDR video format) has at least 13 stops.
How do I get high-quality sound when shooting with a camcorder?
Usually, built-in microphones on any type of camera do not have a special sound quality. In general, unless it’s a dedicated camera for vlogging, it’s worth choosing a model that comes with a separate jack for connecting an external microphone and, ideally, headphones for monitoring volume.
Radio loop is a convenient modern sound recording option for bloggers and not only. Photo: dpreview.com
A convenient option for bloggers is a lavalier microphone or a radio system (radio loop), such as the Rode Wireless Go. And of course, if you need high-quality sound when shooting on a smartphone or action camera, it is better to record it on a separate microphone.
Does color depth matter?
Color depth defines the range of possible colors: the higher it is, the more colors the camera can capture. This affects the smoothness of color transitions and the level of their distortion (up to zero). However, the higher the color depth, the more voluminous files are obtained and the more powerful computer is needed to process them. In general, standard 8 bits are enough for beginners. Higher color depth is needed for professional tasks and requires skill.
The Best Canon Cameras for Vloggers
The Best Canon Cameras for Vloggers – Canon Ireland
VIDEO BLOG
Find out how these Canon vlogger cameras let you create high-quality content and manage your shooting.
Vlogging is a great way to tell people what you love, but vlogging requires the right camera. Whether you’re looking to achieve the recognition of thousands of people or YouTube subscribers, or the thrill of capturing your passions or travels, there are many ways to express your creativity and tell the world about yourself through vlogging. Of course, the world is already full of vloggers, but friendly and creative individuals who have something to say will always find a way to be heard.
You’re in charge of the story and style, but with the Canon vlogging cameras featured in this article, you can easily turn your ideas into reality and create unique, better-quality vlogging videos. All of these Canon vlogging cameras come with built-in Wi-Fi and Bluetooth so you can instantly share your videos and photos on social media by wirelessly transferring files to your mobile device.
In this article, we’ve rounded up the best Canon cameras for beginner vloggers and those looking to take their photography to the next level.
Learn more about the benefits of these models.
- Canon PowerShot V10
- Canon PowerShot G7 X Mark III
- Canon EOS R50
- Canon EOS R10
- Canon EOS R7
- Canon EOS RP
The Canon PowerShot V10 is a portable and easy-to-use camera designed for vloggers with stereo microphones, a swivel screen and even a built-in stand.
With built-in Bluetooth and Wi-Fi, the Canon PowerShot V10 makes it easy to share vlogs with your followers. Install the free Canon Camera Connect app on your smartphone and use it to transfer and upload your videos and remotely control your PowerShot V10.
1. Canon PowerShot V10
Smallest and easiest to use vlogging camera with built-in stand
- Sensor: 1″ CMOS, 13.1 MP 1
- AF system: Continuous subject tracking AF
- Screen: 5 cm swivel touch screen
- Image stabilization (in movie recording modes): digital video stabilization or auto level
- Max.
video resolution: 4K (3840 x 2160) - Audio: Built-in stereo microphones and mic socket
- Stand: built-in stand
- Video: vertical video shooting available
- Weight: 211 g
video resolution: 4K (3840 x 2160) The Canon PowerShot V10 offers simple controls, a compact design and fully automatic shooting modes to help beginner vloggers, as well as a manual mode and a range of advanced creative features to help create brighter footage. It’s light and compact enough to carry right in your pocket and be ready to shoot a vlog or start a livestream when inspiration strikes.
If you’re just getting started with the art of vlogging, you can take advantage of auto movie shooting, movie skin smoothing, and face-tracking autofocus on the PowerShot V10. The PowerShot V10 lets you shoot 4K UHD video at 30fps. and Full HD at 60fps, while the 6.6mm f/2.8 ultra wide-angle lens (19mm 35mm film equivalent) lets in enough light for indoor or evening shots while still providing shallow depth of field.
It features a flip-out screen for keeping an eye on the action while shooting a vlog, and a built-in stereo microphone for optimal sound quality, as well as a 3.5mm microphone jack if you want to use an external microphone such as the Canon DM-E100 stereo microphone. .
Unlike a smartphone, the PowerShot V10 has a built-in stand that can be adjusted for high and low angle shots without mounting the camera on a tripod (although it also comes with a standard tripod mount if you prefer to shoot with a tripod).
The PowerShot V10 is for those who want to share their footage immediately with the free Canon Camera Connect smartphone app. It is also compatible with the image.canon cloud platform, and you can automatically upload content to the cloud and share it with other services such as Google Drive™ and YouTube.
Videographer and photographer Jamie James tried out the Canon PowerShot G7 X Mark III while shooting outdoors.
Forget low quality sound. The PowerShot G7 X Mark III is equipped with a 3.
5mm external microphone jack, allowing you to create superb videos with superb sound quality. Canon PowerShot G7 X Mark III0121
The Canon PowerShot G7 X Mark III is a pocket-sized camera with a large image sensor and built-in lens equivalent to the 24-100mm f/1.8-2.8 model. The combination of light weight and large sensor makes this device an indispensable tool for vlogging and the best camera for travel vlogging and sharing on YouTube. You can put this camera in your pocket and take it with you anywhere – it will cope with any tasks. The fast action of the built-in lens makes sure you never miss a moment, and the swivel screen makes it easy to compose with yourself in the lead role.
PowerShot G7 X Mark III allows you to work with a wide range of focal lengths, including the initial distances of the telerange. For example, during sporting events, you can show the audience the entire stadium, and then choose the largest focal length of 100 mm and capture everything that happens close-up. After that, zoom out, rotate the screen, tap on it and capture your reaction to what is happening! The
PowerShot G7 X Mark III also detects faces very accurately in the frame and tracks them in focus tracking mode. This means that you can move freely, wave your arms in a fit of emotion and feel free to express your feelings without worrying that your face will be out of focus.
The PowerShot G7 X Mark III performs well in any lighting condition, whether it’s in the sun or in a bedroom by lamplight, making it a great all-rounder.
Capture stunning, shake-free videos even at full zoom and pan on the go with advanced 5-axis dynamic stabilization that corrects for camera shake.
The Canon EOS R50 is compatible with RF lenses (and EF lenses via a variety of EF-EOS R mount adapters), giving you more creative options. Choose a fast prime lens such as the Canon RF 24mm F1.8 MACRO IS STM for cinematic effect and shallow depth of field, or the Canon RF 16mm F2.8 STM ultra wide-angle lens for capturing everything around you, even when you’re very close to the camera. © Omid Rufi
The EOS R50 also supports the free Canon Camera Connect app, which allows you to share content on social networks and control the camera remotely. © Omid Rufi
3. Canon EOS R50
Light 4K Canon 4K-camer with a replaceable lens for video bloggers who want to shoot both at home and on trips
- sensor: CMOS APS-C, 24.2 MP
- 1
- AF System: Dual Pixel CMOS AF II with Face/Eye Detection and Tracking AF (People, Animals and Vehicles)
- Screen: 7.5 cm, 1.62 M dots, vari-angle LCD
- Max. video resolution: 4K (3840 x 2160), 6K (upsampled)
- Lens system: RF and RF-S, EF and EF-S lenses (via mount adapters)
- Viewfinder: Color Electronic Viewfinder (EVF) OLED 2. 36 M dots
- Sound: built-in stereo microphones, mic socket
- Movie self-timer mode: 2 seconds, 10 seconds, remote control
- Video: vertical video recording available
- Weight: 375 g
36 M dots With a 24.2 MP APS-C image sensor, the EOS R50 lets you create high-quality 4K video footage at home without cropping, and its light weight makes it easy to shoot vlogs on the go. With a compact design, a freely adjustable touch screen and intuitive controls, the EOS R50 is also easy to use for any creative task.
Ready to take it to the next level? The EOS R50 uses Canon’s latest Intelligent AF system to track the eyes, face, head and body of your subject while shooting movies, as well as a special close-up movie mode that shifts focus properly from you to the subject and back again.
The EOS R50 allows you to shoot 4K video with frame oversampling from a 6K sensor for maximum quality, as well as Full HD video at 120 fps. for cinematic slow motion effects.
You can shoot social media videos with 9:16 vertical shooting support and Wi-Fi connectivity on the EOS R50. In addition to a multi-function accessory power supply, the EOS R50 supports microHDMI and a 3.5mm stereo jack for connecting accessories such as monitors and microphones.
The Canon EOS R10 is built with the active adventurer in mind. Weighing in at just 429g, it’s the perfect choice for travel vloggers and those who shoot handheld and on the go. It is shown here with the Canon DM-E1D Stereo Microphone and HG-100TBR Monopod (both sold separately). Canon EOS R100120 Sensor: APS-C, 24.2 MP
9 magnification5x Whether you’re a fast-growing vlogger or a beginner with a desire to create content for YouTube, the Canon EOS R10 is definitely the right camera for you. The EOS R10 is an affordable entry-level mirrorless camera from Canon’s EOS R system that gives you access to Canon’s professional RF mount for lightning-fast autofocus with RF-S lenses. Among them is the affordable and compact Canon RF-S 18-45mm F4.5-6.3 IS STM lens, which is ideal for universal shooting with a mirrorless camera in various conditions.
Canon’s Deep Learning AF system makes it easy for the EOS R10 to track eyes and faces across the frame 2 to ensure you’re the center of attention in any lighting condition. The EOS R10 can also track animal movements for amazing shots of your pets.
The 24.2MP APS-C image sensor delivers the quality you need to create great content, with the camera capable of shooting in 4K at up to 60p with no limit on recording time. The EOS R10 also delivers cinematic slow motion when recording Full HD 120fps video, while vertical shooting capabilities let you create videos for instant upload to Instagram Stories and TikTok.
The EOS R10 is built with handheld vloggers in mind. It lets you record vlogs at arm’s length all day long, and features a tilt-adjustable touchscreen so you can see yourself in the frame when shooting a vlog. Attach the lightweight and compact Canon RF 16mm F2.8 STM lens, perfect for beginner vloggers, and record wide-angle with stunning clarity. Note that an RF lens designed for full-frame cameras on an APS-C camera will have an effective focal length of 1.6 times longer, and objects will take up most of the frame.
Even some of the best cameras for vlogging, content creation and YouTube videos used to require an external microphone.
However, the EOS R10 has a built-in microphone that automatically cancels noise from the camera’s internal components, providing the perfect sound quality for vlogging.
With 32.5MP image sensor and advanced system
autofocus, which is used in professional Canon cameras such as
EOS R5 and
EOS R5 C,
The EOS R7 is a fantastic option for higher level content creation.
5. Canon EOS R7
Canon’s ideal camera for vloggers, digital content creators and hobbyists who want professional features
- Sensor: APS-C, 32.5 MP
- Autofocus system: Dual Pixel CMOS AF with eye, face, animal and vehicle tracking
- Integrated Image Stabilizer (IBIS): yes
- Screen: 7.6 cm, 1.62 M dots, vari-angle LCD
- Max. video resolution: 4K (3840 x 2160), 7K (upsampled)
- Memory: two slots for SD memory cards
- Viewfinder: 2.36M dot electronic viewfinder (EVF) with 1. 15x magnification
- Lens system: RF-S lenses, RF lenses (1.6x crop factor), EF and EF-S lenses (via mount adapters)
- Audio: Built-in noise canceling microphone; microphone input
- Movie self-timer mode: 2 seconds, 10 seconds, remote control
- Video: vertical video shooting available
- Weight: 539 g
15x magnification If you’re an experienced digital content creator or want to create high-quality vlogs, an APS-C sensor camera from the EOS R range, such as the Canon EOS R7, is the perfect companion for you. With a 32.5 MP image sensor and an RF mount that allows you to attach professional Canon RF lenses or existing EF and EF-S lenses to the EOS R7, this camera will help you create professional-quality videos and attract followers on YouTube and Instagram. Using the same Intelligent AF system as the EOS R10, the EOS R7 uses 527 AF areas (651 in photo mode) and tracks subjects, their eyes and faces across the frame 2 so that every second of the video is as clear as possible.
Designed for future-oriented independent content creators, the EOS R7 offers 4K 60p recording and oversampled 7K 30p video for capturing 4K footage in incredible detail. Thanks to internal Canon Log 3 recording, you also get complete freedom in post-processing.
The EOS R7 is equipped with a built-in 5-axis IBIS that makes it easy to shoot handheld even in low light and with non-IS lenses. When attaching an RF lens with IS, such as the versatile Canon RF 35mm F1.8 MACRO IS STM, which provides a wide angle of view and fast aperture, the EOS R7 achieves up to 7 stops of stabilisation.0145 3 to create shake-free images even when shooting while walking.
The EOS R7 also features two memory card slots and a simultaneous recording feature to back up all your footage. All of these features make the EOS R7 ideal for the adventurous who never know what conditions they’ll be shooting in.
Like the EOS R10, the EOS R7 features an adjustable-angle LCD screen for handheld video recording and a built-in noise-cancelling microphone for video-quality sound.
The EOS RP’s 26.2 MP CMOS image sensor is incredibly effective in low light, while the adjustable-angle LCD screen lets you see your subject clearly.
6. Canon EOS RP
Powerful full-frame mirrorless camera for vloggers who want to get creative
- Sensor: 26.2 MP full-frame CMOS sensor
- Autofocus system: Dual Pixel CMOS AF with face and eye tracking and detection in light up to EV -5
- Screen: 7.5 cm, 1.04 M dots, vari-angle LCD
- Max. video resolution: 4K (3840 x 2160)
- Lens system: Canon RF professional lenses, RF-S lenses, EF and EF-S lenses (via mount adapters)
- Viewfinder: Electronic Viewfinder (EVF) OLED 2.36 M dots
- Sound: built-in stereo microphones, mic socket
- Movie self-timer mode: 2 seconds, 10 seconds, remote control
- Video: vertical video shooting available
- Weight: 485 g
A full-frame camera like the Canon EOS RP is the perfect solution for those who want to expand their creative horizons and expand their arsenal of skills and abilities.
Its large and highly sensitive 35mm image sensor delivers high performance in complex and variable lighting conditions, and offers the freedom to control depth of field to help create images and videos with the right atmosphere.
The EOS RP has everything you need to make your projects stand out, including Canon’s Intelligent AF that detects faces and eyes, and support for industry-leading fast focusing RF lenses for crisp content up to 4K. It’s the perfect camera to mount a fast, budget-friendly RF wide-angle lens like the Canon RF 16mm F2.8 STM, which was created specifically for vloggers and content creators.
The lightweight RF 24mm F1.8 MACRO IS STM, which offers a semi-macro mode for soft background blur, and the versatile RF 15-30mm F4.5-6.3 IS STM with smooth, quiet zoom are also excellent choices. Both lenses feature built-in image stabilization to ensure smooth footage when shooting handheld.
The EOS RP offers the same intuitive user interface as any other Canon digital camera.
There are 23 Custom Functions that can be assigned to the Fn buttons, and the Canon Photo Companion app helps you learn more about all the features of your new camera. Plus, all of these pro features come in a compact and lightweight package, making the EOS RP handheld for all-day shooting.
7. Best Canon Lenses for Vloggers
- Canon RF 16mm F2.8 STM
- Canon RF 24mm F1.8 MACRO IS STM
- Canon RF 15-30mm F4.5-6.3 IS STM
- Canon RF-S 18-45mm F4.5-6.3 IS STM
If you decide to purchase an interchangeable lens camera from this list, Canon offers a wide range of vlogging lenses that combine a wide angle of view with superb image quality. The inexpensive Canon RF 16mm F2.8 STM Ultra Wide Lens is a great option for beginner vloggers as it offers creative options for content creators who want to shoot both indoors and out in the open. The RF 24mm F1.8 MACRO IS STM offers a wide field of view, fast aperture and built-in stabilization, while the RF 15-30mm F4.
5-6.3 IS STM offers a wide range of focal lengths for users with different needs, from wide-angle to telephoto when needed. Compact and lightweight, the Canon RF-S 18-45mm F4.5-6.3 IS STM retractable lens is also ideal for extended shooting on the go.
Picking the Best Vlogger Cameras
Among Canon’s vlogger cameras, the models on this list are perfect for beginners and those looking to take their photography to the next level, from the all-in-one PowerShot V10 with built-in lens to other all-in-one models with interchangeable lenses , such as the EOS R50.
Want to take your vlogging to the next level? Learn how content creator Alexandra Andreeva first shot video with the full-frame Canon EOS R8 4 trying to create a haiku film 4 . If you want to get into full-time filmmaking, check out our guide to the best cameras and lenses for shooting YouTube videos 4 .
By Jeff Mayer and Peter Wolinsky
- Approx. 13. 1 MP when shooting movies, approx. 15.2 MP when taking photos.
- Applicable when subject frame is displayed during tracking, a compatible lens is attached to the camera, full-area autofocus is enabled, or the subject is successfully detected in different area mode.
- 7 stops based on CIPA standard with Canon RF-S 18-150mm F3.5-6.3 IS STM lens at 150mm.
- Available in some languages only.
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1 MP when shooting movies, approx. 15.2 MP when taking photos. -
Compact Digital Cameras
PowerShot V10
Create unique online content and go unnoticed while shooting with Canon’s versatile 4K vlogging pocket camera.
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Mirrorless cameras
EOS R50
Create the best content with this EOS R mirrorless camera, from crisp photos to 4K video and live streaming. All this in one specialized device.
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Wide Angle
RF 16mm F2.
8 STM
A compact and affordable 16mm ultra wide angle full frame lens for the EOS R series, designed for vloggers and creative content creators.
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RF-S Lenses
RF-S 18-45mm F4.5-6.3 IS STM
APS-C standard zoom lens for EOS R series cameras ideal for everyday photography, including family photography, lifestyle – shooting, portraits and travel.
8 STM
VIDEO BLOG
Introducing the PowerShot V10
Find out why Canon’s compact 4K vlogging camera is ideal for beginners.
VIDEO BLOG
How to become a vlogger
Create a vlog and make quality videos. Our tips for beginners will help you with this.
TRAVEL
The perfect travel companion
Professional photographer Martin Bissig traveled to Sri Lanka with the EOS R10.
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