Panasonic GH5 Mark II review
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A minor upgrade with unique live-streaming talents
(Image: © Future)
TechRadar Verdict
If you’re looking for a well-built, lightweight mirrorless camera with excellent handling, a fantastic range of video shooting options and solid stills performance, the GH5 Mark II his well worth a look. The GH5 was already a great choice, and the tweaks here just make it all the more appealing. If you own the original GH5, though, the GH5 Mark II seems slightly redundant: aside from minor performance upgrades and the addition of live streaming, it’s largely unchanged. Unless you really need that live-streaming functionality, you’re better off waiting for the Panasonic GH6.
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Pros
- +
Wireless live streaming built in
- +
Strong all-round image quality
- +
Many small improvements to an already great camera
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Two-minute review
The Panasonic GH5 II’s predecessor, the original GH5, was a landmark camera for video makers. It offered gorgeous 4K footage quality, a wide variety of shooting options and good handling, as well as valuable features like in-body image stabilization and dual SD card slots. It was also a solid stills camera, with decent all-round imaging performance, despite its small Micro Four Thirds sensor.
The GH5 II doesn’t do anything to spoil the party. It comes with everything that made its predecessor a success, plus a little bit extra. But only a little bit: with more or less the same sensor and same range of video resolutions, frame rates and bitrates, there’s no great leap forward here.
For some, the addition of built-in wireless video live streaming might make it worth the upgrade, but generally speaking we don’t think owners of the GH5 shouldn’t bother replacing it with the GH5 II; the improvements are too minor.
(Image credit: Future)
For others, particularly those looking to take their first steps into “serious” video production, the Panasonic GH5 II is a great camera for beginners. By retaining all the benefits of the first model while adding quality-of-life updates like internal battery charging and the aforementioned wireless live streaming, it instantly establishes itself as Panasonic’s new go-to model for demanding content creators, making it one of the best YouTube cameras, as well as one of the best video cameras.
- Panasonic GH5 Mark II at Amazon for $1,197.99
It can shoot everything from pristine 10-bit 4:2:2 videos to buttery smooth slow motion Full HD clips, and its videos can look superb with minimal post-production editing required.
Compact, lightweight, weatherproof and a joy to use at home or in the field, the GH5 II represents great value for money and is among the best beginner mirrorless cameras around. It’s got serious video chops, is strong on stills too, and is built to last.
Panasonic GH5 Mark II price and release date
The Lumix GH5 Mark II will be available from the end of June in two main packages: a body-only option for $1,699.99 / £1,499 / AU$2,699 and an L kit (including a 12-60mm f/2.8-4 Leica lens) for $2,299.99 / £1,999 / AU$3,799.
Some regions like the UK and Australia will also have the extra option of an M kit (including a 12-60mm f/3.5-5.6 Lumix lens) for £1,699 / AU$2,999. There’s even a Pro kit available in Australia that comes with a 12-35mm Lumix G lens and will set you back AU$3,799.
(Image credit: Future)
This means the GH5 Mark II is actually cheaper at launch than the original Panasonic GH5, which arrived in 2017 for $2,000 / £1,699. Then again, it does share much of the same hardware four years on, so this was to be expected.
Build and handling
The GH5 Mark II is nigh-on indistinguishable from its predecessor: it has the same dust-proof, splash-proof and freeze-proof magnesium alloy body with the same 138.
5 x 98.1 x 87.4mm dimensions, and at 727g (including battery and memory card) weighs just 2g more.
To be fair to Panasonic, this is one area where change didn’t feel required. The quasi-DSLR shape of the camera fits well in your hands, and all the main controls (including the large red video stop/start button) are situated within easy reach of your fingers or thumbs. Dials give quick access to a wide range of shooting modes, including four user-customizable configurations, and a cursor-nub for your right thumb allows for fast menu navigation or autofocus point movement.
(Image credit: Future)
As with the original GH5, there’s a full-size HDMI output (able to transport a C4K 4:2:2 10-bit video feed to an external recorder, should the internal 4:2:0 recording not meet your needs), mic and headphone jacks, a dedicated remote, two SD card slots and a USB Type-C port. The USB connection on the GH5 Mark II is a level above its predecessor’s though, capable of recharging the battery and supplying power; it’s a really useful upgrade, particularly given the live-streaming feature.
The touchscreen size has been slightly reduced, from 3.2-inch to 3-inch, but gets slight bumps to its brightness and resolution that we think make up for this. It keeps the extremely flexible tilt-and-swivel design, allowing it to flip around the side to face fully forward – essential for vlogging and live-streaming, really. The electronic viewfinder remains exactly the same as the GH5’s, which isn’t a problem as it’s bright, crisp and does its job perfectly well.
Live streaming
Wireless live streaming might not seem like a huge craze yet, but Panasonic has made it a big promotional point of the GH5 II’s launch. At the time of writing, it’s the only high-quality mirrorless camera with built-in wireless live streaming, so vloggers and other content creators should take note.
The camera’s live streaming setup uses the standard RTMP/RTMPS protocol, which means it can be used on a variety of platforms. For those who want to get started with a minimum of fuss, YouTube and Facebook streaming comes built in: download the Lumix Sync app for your phone or tablet, go through the simple steps to get your device paired with the GH5 II, then log into your Facebook or YouTube account and you’re basically there.
(Image credit: Future)
You will need to connect the camera to the internet via Wi-Fi for this; this can be your smartphone’s Wi-Fi hotspot if you’re out and about, and having tested it we can confirm that this works pretty well. Whether you’re using a home Wi-Fi connection or a hotspot, you can get a stream up and running in a matter of minutes, particularly once you’ve gone through the initial setup and saved your login details for whatever platform you’re using.
Streaming quality is limited to a maximum of 1080p/60fps, but will automatically adapt to its connection. Our Facebook stream downgraded the resolution to 720p, for instance – but the connection remained solid, running with a 15-second or so delay.
Those who want to stream via an RTP/RTSP wired connection will have to wait for a promised firmware update, which will also add USB smartphone tethering. In a pinch the GH5 II, as with a lot of Panasonic cameras, can be used as a wired webcam using the company’s Lumix Webcam software, albeit with a resolution limited to 960p.
Autofocus
The GH5 II’s autofocus setup has been largely retained from the GH5, albeit with the addition of head, body and animal recognition (the original only had eye recognition).
Our testing suggests this AI-based detection approach is generally successful: human faces, heads and bodies are quickly picked up, but while a seagull got the attention of the autofocus our own sitting cat seemed to fox it slightly.
(Image credit: Future)
The AF setup uses Panasonic’s own DFD (Depth From Defocus) system rather than the hybrid contrast and phase detection setup favored by the likes of Sony, Canon and Nikon. DFD uses an AI-based algorithm in tandem with contrast detection, and we’d say it’s not quite as reliable as its hybrid rivals when it comes to nailing a fast, perfect focus every time. Is it likely to hinder your photography or filmmaking too much? No, we suspect not.
There are 225 selectable focus points spread across the sensor, and a pleasingly large range of AF modes to choose from.
As is customary with most touchscreen-equipped cameras today, you can tap the display to select an AF area or point, including on an object you’d like the system to track as it moves around the frame.
Performance
In terms of stills shooting speed, the GH5 II is about average – at least if you’re talking about shooting full-resolution images. It can manage a brisk 12fps with manual focus and live view turned off, or an acceptable 9fps with autofocus engaged.
Dial down the resolution, however, and it becomes something of a speed demon. The 6K Photo mode offers up to 30fps bursts, and in 4K Photo it goes as fast as 60fps. The downside, of course, is a drop in pixels: in 6K mode your images will be 18MP in size; in 4K, they’re 8MP. Also, these shots are actually frames taken from MP4 videos rather than traditional stills, so you can’t shoot them in raw.
The GH5 II’s batteries have a slightly larger capacity than the GH5’s (2,200mAh rather than 1,860mAh), but the real-world differences are negligible, suggesting the new model is a little more power-hungry.
With normal use, you can expect a charge to last for about 400 stills or around an hour of 4K video recording.
What has changed is the way the battery is charged. It can now be done internally, with the GH5 II’s USB-C port able to carry a constant power supply to the camera or recharge the battery. That’s a big quality-of-life improvement over the original GH5, which required external charging.
Image quality
Due to the small physical size of the GH5 II’s Micro Four Thirds sensor, it’s not the greatest stills performer if you’re looking for superb low light performance or ultra-detailed landscape images. An APS-C, full-frame or medium format camera can easily outperform it in these areas.
That being said, it can hold its own pretty well in most situations. The performance of its 5-axis in-body image stabilization system has been slightly improved over that of the GH5 (Panasonic claims it can now offer the equivalent of 6.5 stops of compensation) and that helps a lot with low light photography, as does the large extended ISO range of 100 to 25600.
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(Image credit: Future)(Image credit: Future)(Image credit: Future)(Image credit: Future)
Despite having the same 20.3MP resolution, the sensor isn’t exactly the same as the GH5’s. Panasonic has added an anti-reflective coating this time around, which the company says reduces flare from bright light sources.
Stills can be shot in raw format for those who want maximum post-production control, but even its fresh-from-camera JPEG images look engaging and lively. The GH5 II comes with a range of Photo Style picture profiles (the effects of which can also be applied to videos), including Standard, Vivid, Flat, Monochrome and V-Log L, and you can create up to four custom preset profiles if you want more control. In addition to that, there are 22 filters to add instant character to photos.
Video performance and quality
Like the GH5 and GH5S before it, the GH5 II is packed to the gills with video shooting options. For starters, you can choose to record video in either MOV or MP4 formats, with either H.
264 or H.265 compression. Video shooters actually get a fair few new options here, particularly where frame rates are concerned. You can now record 4:2:0 10-bit C4K and 4K video at 60/50fps and anamorphic 4:2:0 10-bit clips at 50fps. It’s also possible to record internal 4:2:0 10-bit video while simultaneously outputting 4:2:2 10-bit video via HDMI for external recording.
Recording in MOV offers the widest range of resolutions, frame rates and bitrates. Resolutions include C4K (4096 x 2160) and anamorphic 6K (4992 x 3744) as well as ‘standard’ 4K and 1080p Full HD. Frame rates available are 23.98fps, 24fps, 25fps, 50fps and 59.94fps when shooting standard video, and there’s also a Variable Frame Rate mode for fast- and slow-motion output. In VFR mode the sensor can capture video at much slower or faster speeds (up to 180fps), and when the resulting video is played back at standard frame rates, it looks either ultra-fast or smoothly slow.
In MP4 you’re limited to 100Mbps or lower and just two resolutions: standard 4K (3840 x 2160) or Full HD (1920 x 1080).
Frame rates available are 23.98fps, 25fps, 29.7fps, 50fps and 59.94fps.
Both formats offer 8-bit and 10-bit options, with the highlights being the internal 10-bit 4:2:2 ALL-Intra and LongGOP settings. These offer the highest bitrates the camera can record internally, with the LongGOP being more compressed (150Mbps opposed to ALL-Intra’s 400Mbps). It therefore takes up less storage space (and is easier to work with on your computer in post-production), without being a noticeable step down in image quality.
Video image quality is of an extremely high standard, especially considering the small sensor size of the camera. With minimal or no post-production editing, it’s possible to produce rich, detailed and dynamic clips. We wouldn’t say there’s a notable leap in quality over the GH5’s already impressive offering, however, so if you already use that camera for filmmaking don’t look to the GH5 II for a major upgrade.
Should I buy the Panasonic GH5 Mark II?
(Image credit: Future)
Buy it if.
..
You need wireless live streaming
While wireless live streaming isn’t a feature that’ll appeal to everyone, it’s an emerging phenomenon that few other camera manufacturers seem interested in exploring. That leaves the GH5 II as the only game in town for anybody that wants a high-quality mirrorless camera with wireless live streaming capabilities. For now, at least.
You want a compact, easy-to-use but serious 4K video camera
The low weight, forward-facing screen, accurate autofocus system, 5-axis stabilization and huge range of video options make the GH5 II a fine choice for content creators, vloggers and aspiring filmmakers. Its internal video quality is excellent, and its external capabilities are even better.
You’re looking for your first 4K camera
There are cheaper cameras able to record 4K video, but the GH5 II does it so well that it really shows you the value of those extra pixels. With a wide variety of 4K shooting options available, it’s flexible too, and a great step-up model for those looking to make the jump to 4K.
Don’t buy it if…
You own a Panasonic GH5
Aside from the addition of wireless live streaming, there’s very little to separate the GH5 II from its predecessor. With the same sensor (plus an anti-reflective coating), same body and the vast majority of specs untouched, the GH5 II isn’t a significant step up; we’d suggest GH5 owners looking for an upgrade wait and see what the GH6 has in store.
You’re primarily a stills photographer
The GH5 II’s stills performance is nothing to sniff at, but its small Micro Four Thirds sensor and low burst speed limit its appeal for stills photographers. Those prioritizing low light performance, sharp detail or the ability to shoot elusive subjects will fare better with an APS-C or full-frame camera.
You want the best mirrorless for video out there
The GH5 II represents superb value, but those with larger budgets might want to check out rival models like the Sony A7S III, Sony A1 and Canon EOS R5 first.
These mirrorless models cost more but offer some video features that the GH5 II can’t: the A1 and R5 shoot 8K, for instance, and all three can record video at higher frame rates for smoother slow motion playback.
- These are the best 4K cameras you can buy right now
Panasonic GH5 Mark II: Price Comparison
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Sam has been writing about tech and digital culture for over 20 years, starting off in video games journalism before branching out into the wonderful worlds of consumer electronics, streaming entertainment and photography. Over the years he has written for Wired, Stuff, GQ, T3, Trusted Reviews and PC Zone, and now lives on the Kent coast in the UK – the ideal place for a camera reviewer to ply their trade.
Sony A7S III review | TechRadar
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A finely tuned low-light 4K champion
Editor’s Choice
(Image: © Future)
TechRadar Verdict
Sony hasn’t just improved one or two aspects of its A7S series; with the new A7S III, it’s made an across-the-board set of upgrades that result in a camera that’s the best of its kind. It handles beautifully for video thanks to its articulating screen and touch display, while a full-sized HDMI port and excellent IBIS head the list of other treats. It’s significantly dearer than the A7S II was when it launched, but if you’re a videographer in need of big physical pixels and excellent low-light performance, this is as good as it gets.
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Pros
- +
Class-leading low-light video
- +
New Touch UI
- +
Fully articulating touchscreen
- +
Impressive battery life
- +
No overheating issues
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Two-minute review
The Sony A7S III is finally here, and boy does it deliver. With huge improvements to handling and connectivity, a pin-sharp viewfinder, and, of course, hugely impressive low-light performance across both video and stills, it’s the finest hybrid video camera you can buy. Indeed, it’s one of the best video cameras, as well as one of the best YouTube cameras available right now.
Of course, this all comes at a price, with the A7S III costing $3,498 / £3,800 / AU$5,999 for the body only. But, thanks to a long-awaited new 12.1MP back-illuminated full-frame sensor, it’s a best-in-class low-light 4K video camera, and with an also-new Bionz XR processor that brings 8x faster performance and an expandable ISO of 40-409,600, not to mention a class-leading 15 stops of dynamic range, the specs definitely impress.
The fully articulating screen is one of the many other stars of the A7S III show. Sony teased this on the Sony ZV-1, but now it’s finally made its way to an A7-series camera.
Perhaps an even bigger deal for frustrated Sony fans is that it’s finally opted for a full touch UI, making interaction with the camera much more intuitive.
Being a Sony camera, the A7S III also delivers excellent, customizable autofocus, with 759 phase-detection AF points and eye-tracking across animals and humans, which Sony claims to be 30% faster than on the A7S II. This is combined with in-body image stabilization (IBIS) and Active stabilization, which marries optical and electronic systems with a small crop-factor.
The 12.1MP sensor resolution means the A7S III can’t record 6K, let alone 8K, video, instantly putting it behind much of the competition in terms of outright resolution. What it can do, though, is record for a very long time, and in very low light. That’s the key reason you’ll be picking up an A7S III, which wiped the floor with the admittedly (much) cheaper Blackmagic Pocket Cinema Camera 4K in our tests.
- Sony A7S III at Amazon for $3,498
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(Image credit: Future)(Image credit: Future)(Image credit: Future)
With images captured at sensitivities between ISO 2000-4000 looking like they were shot nearer 200-400, the A7S III is a liberating camera to use, and, naturally, you can boost the ISO much higher.
Even when we set the ISO in excess of 40,000, it still produced usable footage for certain types of video.
Sony has also improved focus speeds on the A7S III, and it partly puts this down to the sensor sensitivity performance, which enables the camera to identify subjects in lower light than sensors with inferior sensitivity.
This is more than just a video camera though, and stills captured indoors look stunning, with simple incidental shots in dimly lit environments exhibiting an ambience and clarity usually missing from out-of-the-camera photos.
When it comes to power, the new Z battery delivers what Sony claims to be a 60% performance improvement over the Sony A7S Mark II’s NP-FW50, which translates to up to 95 minutes of video capture, on paper. While we had a fair amount of variability in our device’s battery life, it comfortably captured 4K video for in excess of 75 minutes in our tests, which is great going compared to much of the competition.
The sticking point with the A7S III is always going to be price – it’s a hefty investment, especially if you want to couple it with decent glass and fast storage – but the camera itself is the best in its class.
Sony A7S III release date and price
- Retails for $3,499 / £3,800 / AU$5,999
- Launched September 2020
The A7S III was released in September 2020 and is now available to buy either directly from Sony or from major retailers for $3,499.99 / £3,800 / AU$5,999 for the body only.
US readers can head to B&H Photo if you’re keen on picking one up, while in Australia, the A7S III began shipping in October 2020 and can be picked up from Aussie retailer CameraPro.
(Image credit: Future)
That’s significantly more than the Sony A7S II cost at launch, and also more than the Canon EOS R6, which costs $2,499 / £2,499 / AU$4,499. Video-focused cameras tend to cost more than comparable stills cameras, however, and at the price the A7S III is in good company with the 6K Panasonic S1H, which costs $3,999 / £3,599 / AU$5,999.
The A7S III also launched alongside Sony’s new CFexpress cards, which promise to deliver read speeds of 800MB/s and write speeds of 700MB/s.
These retail at $199.99 / £210 / AU$369 for the 80GB card, $399.99 / £400 / AU$699 for 160GB and $119.99 / £130 / AU$249 for the card reader, but if you find those prices even more eye-watering than the cost of the camera itself, don’t worry – you can shoot on high-speed SD cards using the A7S III’s other card slot.
Key features
- Overhauled design with new touch interface
- Brand-new 12.1MP back-illuminated sensor
- Up to 15 stops of dynamic range with S-Log
One of the big new changes from the A7S II is the arrival of fully articulating screen. Sony teased the feature on the Sony ZV-1, but now it’s finally made its way onto an A7-series camera, and not a moment too soon.
Fortunately, the breaks from tradition don’t stop there. Perhaps a bigger deal for long-time Sony devotees, and indeed critics, is that the company has finally opted for a full touch UI, and it works beautifully.
These design and ergonomic changes are coupled with other impressive flourishes as you work your way around the body of the camera, from the full-sized HDMI port to the inclusion of a dedicated record button on the top plate.
(Image credit: Future)
It’s hard to find anything to complain about when it comes to the refreshed design of the A7S III – it really does feel like a compromise-free zone for video – but we’d expect nothing less at this price.
The A7S III features a 12.1MP resolution spread across a brand-new full-frame sensor. Sony’s decision to keep the resolution low is single-minded. With competition from Canon climbing up to 45MP and packing 8K video capture, the A7S III resolutely sticks with big pixels and a 4K cap. Its task is simple – to be the best 4K video camera it can be, excelling when it comes to high-ISO, low-light capture.
Being a Sony camera, the A7S III also delivers an excellent, customizable autofocus system, with 759 phase-detection AF points and eye-tracking across animals and humans that claims to be 30% faster than on its predecessor. This combines nicely with optical and electronic stabilization, with the latter coming with a small crop factor.
There are plenty of other highlights: the A7S III can receive an analogue and digital input from its hot-shoe mount, capture 16-bit raw over HDMI when recording at 4K/60p for the first time, and it features a 9.
44MP viewfinder – proving that photographers haven’t been entirely forgotten about.
Build and handling
- Fully articulating 1.44 million-dot screen
- Bright, sharp 9.4MP viewfinder
- Plenty of on-body controls
The Sony A7S III is a relatively compact but solid bit of kit. With a similar body construction to the A7S II, you’d be forgiven for missing just how much of an overhaul this is going on first impressions.
For starters, one of the custom buttons above the grip has been swapped out for a large record button, setting the scene for this camera’s strong emphasis on video shooting. There’s still a control wheel at the top of the grip, and this is joined by an on-off switch, a C2 button, and dials for both mode and exposure (both of which can be locked).
Despite the A7S III not having an official weather-sealing rating, Sony has assured us that it can handle drizzle, and all the ports are under rubberized covers, on the left-hand side of the camera when it’s held lens-forward.
These ports include a full-sized HDMI port – a real boon for videographers – plus a USB-C port and micro USB port (it’s an interesting choice on Sony’s part to feature both), not to mention a headphone jack and 3.5mm microphone jack. If you’re longing for XLR audio-in, you can opt for an XLR-K3M hot-shoe accessory from Sony, for up to four audio inputs. On the right-hand side are the memory card slots and an NFC point.
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(Image credit: Future)(Image credit: Future)(Image credit: Future)
Buttons and dials are plentiful on the back of the camera, dotted around the screen like a candy trail. Starting from the top-left, there’s a C3 and menu button, with the latter firing up the welcome touch UI. Venturing past the eye-piece, the C1 button, AF-on and AEL buttons line up neatly. Below, a handy four-way joystick makes navigating menus in traditional Canon-style a breeze, while an Fn button, four-way jog-dial, select, gallery and trash button round things off.
And then there’s that screen – articulating beautifully, angling around and up like a dream.
With a 1.44 million-dot resolution, it’s sharp enough, and we found it viewable outdoors in all but the brightest environments.
The touch UI also deserves a special mention here. With a logical hierarchy of menus, it’s easy to operate with a finger or the four-way jog-dial. We’re still scratching our heads as to why Sony didn’t introduce this sooner, but the fact remains that it’s a very welcome inclusion – although one thing we don’t understand is why the display isn’t in the 16:9 aspect ratio given that the A7S III is a video-focused camera.
Putting video to the side for a second, the A7S III’s bright, sharp viewfinder is a photographer’s dream, with crisp clarity, excellent coverage and ample brightness. And whether you’re shooting stills or video, the Sony A7S III handles well because it offers so many controls and top-end specs.
If you’re a seasoned Canon user, the grip might feel a touch claw-clasp inducing at first, though the A7S III still pulls through a fair amount of comfort and weight to counterbalance most lenses.
The dials are all in the right places, and there are no less than three ways to navigate menus, so while this is a seriously comprehensive camera, the learning curve is anything but steep, whatever system you’re coming from.
Performance
- Shoots 4K video at up to 120p
- S-log color profiles offer up to 15 stops of dynamic range
- Expandable sensitivity range of ISO 40–409,600
One of the first things you’ll notice about the Sony A7S III is how well it performs in low light. Ramping up the ISO is not a stressful experience – in fact, it’s incredibly gratifying, with the camera able to handle high sensitivity mind-bogglingly well.
The A7S III’s low-light capabilities make sense. Sony has created a brand-new 12.1MP sensor which has huge pixels spread across a full-frame, 35mm surface area. On paper, these specs aren’t new, but with twice the readout speeds of the A7S II’s sensor, a back-illuminated structure that’s able to ingest more light, and a new Bionz XR processor powering things along, the low-light boost isn’t a surprise.
(Image credit: Future)
That sensor resolution means the A7S III can’t record 6K video, let alone 8K, instantly putting it behind the Canon EOS R5 on that front. What it can do, however, is record for a very long time. As with the Sony ZV-1, we had no issues recording for in excess of 30 minutes, with the only limiting factors being the card capacity, battery life and heat – and the fact that we never experienced any overheating warnings or issues on the pre-production A7S III we tested bodes well for the final retail unit.
Autofocus for photo and video benefits from 759 phase-detection focus points, not to mention advanced eye-tracking that’s 30% faster than on previous Sony cameras.
Is it as good as Canon’s Dual Pixel AF? Well, it’s different. For video, specifically, Sony gives you beautifully granular control over your focus speeds. You really can get that pan-focus effect with autofocus by touching the display when you slow down the focus speed, and it works very well, whether you’re focusing on a flower, an apple, a cat or indeed a human.
Sony partly puts this improved focusing down to the sensor’s sensitivity performance, enabling the A7S III to identify subjects in lower light than cameras with inferior sensitivity.
When it comes to power, the new Z battery delivers what Sony claims to be a 60% improvement over the performance of the A7S II’s NP-FW50 – up to 95 minutes of video capture, on paper.
While we experienced a fair amount of variability in our review unit’s battery life, it comfortably captured 4K video for in excess of an hour in every test we conducted, which is excellent compared to much of the competition. That said, we’ll have to wait until we get a final retail version to conclusively assess battery performance.
In addition, thanks to the inclusion of a USB-C port, the A7S III takes advantage of fast charging tech, powering up four times quicker than via an old-school micro USB connector. What’s also fantastic is that Sony doesn’t impose its shiny new, ultra-fast, ultra-expensive memory card format on you – but it does support it nonetheless.
(Image credit: Future)
Priced comparably to CFast cards, these CFexpress cards (which deliver 800MB/s read and 700MB/s write speeds) are beauties. Thanks to the A7S III’s dual-format card slots, though, you can also use SDXC V60 cards. That means two memory cards at any given time in the camera, and you can mix and match depending on what you have. You only really need the ultra high-speed CFExpress cards for Sony’s S&Q recording format at 4K resolution.
With other Sony hangovers missing from the A7S III – buffer issues, clunky menus and the lack of an articulating screen – this camera makes us, as camera enthusiasts and professionals, feel heard. Sony has finally taken note and shaken things up.
This sigh of relief is compounded by new features and enhancements that make day-to-day shooting and video capture a seriously future-proofed treat – for example, there’s support for the new HEIF photo format, H.265 video capture, and clean 16-bit raw output at 4K 60fps.
While the sticking point with the A7S III is always going to be price – it’s undoubtedly a big investment before you even start shooting if you want to pair it with decent glass and fast storage – the camera itself doesn’t leave many itches unscratched.
Video and image quality
Moving on to image quality, we compared Sony’s camera directly with a Blackmagic Pocket Cinema Camera 4K at ISO 16,000 and f/2.8, at 25fps at 4K resolution. While the Blackmagic appears to have exposed the scene a touch better than the A7S III, there’s no contest when it comes to noise handling: the A7S III is the clear victor.
If you aren’t familiar with the Pocket Cinema Camera 4K, its low-light handling is well-regarded in the industry thanks to its dual-native ISO – and it comes with an affordable price tag, at less than a third of the price of the A7S III.
That said, the A7S III soars ahead, with virtually no visible image noise despite the footage having been captured in the dead of night, while the Pocket Cinema Camera captures totally unusable, grainy footage.
While the comparison footage was shot on a tripod, the rest of our time with the A7S III was spent capturing handheld video in middling light. With ISO settings ranging from ISO 2000-4000 delivering results that look nearer to ISO 200-400, the A7S III is a liberating camera to use.
Even when we set the ISO to in excess of 40,000 the results were still usable for certain types of video, blowing the lid off a whole a range of possibilities when capturing content across challenging lighting conditions – for example, fireworks, candlelight, and of course wildlife photography at dusk.
Another area that’s seen improvements is rolling shutter. Sony cameras have historically struggled in this department, but the A7S III’s new sensor and faster readout speeds result in the jelly effect being hardly noticeable, unless you’re a seriously aggressive panner.
All this talk of great focus performance and noise handling suggests that this is more than just a video camera – and it is.
The 10fps continuous AF/AE works beautifully when eye-tracking a person walking towards the camera, and it also did a great job with a tabby cat, although it struggled with a black cat when positioned slightly off-angle.
Image 1 of 8
In our burst shooting test, the A7S III did a good job of tracking our cat (1/80s at f/2.8, ISO12800)at (Image credit: Future)The AF again worked well here, despite the gloomy conditions (1/125 at f/2.8, ISO12800) (Image credit: Future)The AF continued to work well in burst mode, until the cat got too close for tracking (1/125 at f/2.8, ISO12800) (Image credit: Future)Here you can see the amount of shadow detail that it’s possible to recover in programs like Lightroom. (Image credit: Future)Our ISO tests revealed how impressive the A7S III’s low light capabilities are – this is shot at ISO8,000… (Image credit: Future)…followed by the same shot at ISO10,000. (Image credit: Future)Shots at ISO12,800 exhibit an impressive lack of noise or artifacts.
.. (Image credit: Future)…and even still shots at ISO16,000 is distinctly usable. (Image credit: Future)
Stills captured indoors look stunning, with simple incidental shots in dimly lit environments packing an ambience and clarity usually missing from out-of-the-camera photos. In turn, if you’re a wedding photographer-cum-videographer, and need a camera that can capture mood across both, then provided you’re prepared to sacrifice pixel-power, the A7S III is a top performer.
Between the fantastic high-ISO performance, IBIS and electronic image stabilization, handheld shooting on the A7S III is a great experience too. The stabilization won’t totally counterbalance hand-shake, especially when you’re using a large lens, but if you can find a thigh or ledge to rest on, you can get some fantastically steady footage.
Should I buy the Sony A7S III?
(Image credit: Future)
Buy it if…
You need stellar low-light performance
The Sony A7S III combines a new sensor and processor with beautiful image processing and excellent dynamic range, to deliver class-leading low-light performance.
Your Sony lens collection is in a good place
The high price of the A7S III is only really going to be palatable for many if they already have a fleshed-out series of Sony’s excellent accompanying glass – if you’ll need to build out your kit around the A7S III, you could easily spend several thousand dollars or pounds to cover all your bases.
You shoot long video clips
With its humble 4K capture, there’s less strain on the Sony A7S III’s sensor and processor – and in turn, we didn’t experience any overheating issues when testing out the camera, nor were there recording limitations. For video shooters, it’s one of the best mirrorless cameras around.
Don’t buy it if…
You need a lot of pixels
Whether you’re talking about photos or videos, the Sony A7S III captures them with comparatively low resolution when compared to the Panasonic S1H, Blackmagic Pocket Cinema Camera 6K or the EOS R5, which climb up to 6K, 6K and 8K respectively.
You want maximum bang for your buck
If you need an affordable 4K camera, you can get better-value options than the A7S III, especially if you know you’ll be shooting primarily in well-lit conditions. The Blackmagic Pocket Cinema camera is an excellent-value alternative, although you will be massively sacrificing on ergonomics and low-light performance, not to mention stills capture.
You’re a daylight photographer
If you shoot in a studio and can control lighting, like shooting on a tripod, or need pixel-power, avoid this camera. Far better value can be found in the likes of the Nikon Z7, Fujifilm X-T4 or Sony’s own A7R IV.
Sony A7S III: Price Comparison
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Basil Kronfli is the Head of content at Make Honey and freelance technology journalist. He is an experienced writer and producer and is skilled in video production, and runs the technology YouTube channel TechEdit.
rating of the top best inexpensive underwater cameras for summer and winter fishing with prices and reviews according to the KP version
Underwater cameras for fishing – a portable device with a camera that is submerged in water and broadcasts an image on the screen. Such a gadget will allow you to monitor the behavior of fish, the situation in the water, improve your fishing skill and increase your catch.
There are many different underwater cameras for fishing. Some of them can be attached to the rod, allowing anglers to watch the lure and the reaction of the fish to it. Other cameras can be attached to the boat and watch underwater life as it swims around. Some devices are equipped with LED lights that illuminate the dark corners of the pond and allow you to see more details at the bottom. Consider the main types of underwater cameras:
| Wired | Connect to screen or monitor via wire. As a rule, they are tied to a rod or boat and immersed in water to a depth equal to the length of the wire; |
| Wireless | These cameras use wireless technology to transmit images to a screen or monitor and are not limited in depth. Functionally similar to wired ones; |
| With video recording | Devices record video and save it to built-in memory or memory card. Often equipped with LED lights to improve visibility and transmit video to a screen or monitor; |
| Fishfinders | Special cameras that help detect and track fish. They are equipped with highly sensitive sensors and can work in murky or dark water; |
| Interactive | Allows you to control the direction of view and zoom using the remote control. Such cameras are chosen by fishermen to study various parts of the reservoir and to detect hidden obstacles. |
Choosing the right underwater camera depends on your needs and preferences, as well as on the fishing conditions.
Editor’s choice
Chip 430
Chip 430. Photo: yandex.market.ru
Universal underwater camera of the middle price segment, suitable for both summer and winter fishing (operating temperature – from -20 to +60 °C). The image is transmitted to a color screen with a resolution of 480 by 272 pixels, the camera shoots in HD quality, the viewing angle is 150 °. Battery life of the device – no more than seven hours, runs on battery or 12 V.
The submersible cable is 15 meters long, and the device is equipped with eight infrared LEDs, allowing you to get a good picture even in poor lighting conditions. Of the minuses, users note a deterioration in image quality at a depth of more than five meters.
Main characteristics
| Type | underwater camera universal |
| Display | yes, color | Cable length | 15 m |
| Housing | waterproof IPX6 |
| Power supply | battery, mains | Battery life | 7 hours |
| Operating temperature | -20 to +60 °C |
Pros and cons
Value for money, temperature flexibility
Good image quality up to five meters depth
Rating of the top 3 best inexpensive underwater cameras for fishing
FishCam Plus 750
FishCam Plus 750.
Photo: yandex.market.ru up to +60 °C). Battery life – seven hours, runs on battery (2600 mAh). The screen resolution is 960×240 pixels, it is possible to adjust the brightness, contrast and saturation of the transmitted image.
Cable length – 15 meters, viewing angle 120°. Eight infrared sensors allow you to get an image even in low light. Of the minuses, one can note the not entirely clear instructions for use.
Main characteristics
| Type | underwater camera universal |
| Display | yes, color | Cable length | 15 m |
| Housing | waterproof IP55 |
| Power supply | Battery operated |
| Battery life | 7 hours |
| Operating temperature | -20 to +60 °C |
Pros and cons
Value for money, temperature versatility
Instructions not clear enough
AVT 997HB
AVT 997HB .
Photo: yandex.market.ru
Universal video rod with rod attachment and working temperatures from -20 to +60 °C is suitable for summer and winter fishing. The cable length is 15 meters, the maximum battery life is five hours. The screen is color, the camera is equipped with eight diodes of infrared illumination, which does not attract or scare away fish, and also allows you to get a high-quality picture in a poorly lit space. Of the minuses, it can be noted that the connection of the camera to the monitor must be made only when the monitor is turned off, otherwise a short circuit is possible.
Main characteristics
| Type | underwater camera universal |
| Display | yes, color | Cable length | 15 m |
| Housing | waterproof IP55 |
| Power supply | Battery operated |
| Battery life | 5 hours |
| Operating temperature | -20 to +60 °C |
Pros and cons
Value for money, universality of operating temperatures
Only connect the camera to the monitor turned off
LUCKY Otter FF3309 9005 5 LUCKY Otter FF3309.
Photo: yandex.market.ru
An underwater camera without a display that connects via Wi-Fi to your smartphone using the Luckylaker app (compatible with Android and iOS systems). Video can be recorded on a mobile phone or tablet if desired. The operating temperature varies from -10 to +50 °C, the camera has four diodes, and the viewing angle is 120 °.
Battery life – six hours, and cable length – 20 m. Battery operated, you can charge the device using the cigarette lighter in the car. Of the minuses, users note the low wear resistance of the camera itself.
Main features
| Type | underwater camera for summer fishing |
| Display | no |
| Cable length | 20 m |
| Enclosure | waterproof IP55 |
| Battery powered | |
| Battery life | 6 hours |
| Operating temperature | -10 to +50 °C |
Pros and cons
Value for money, smartphone connectivity and video recording
Low wear resistance of the camera
Top 3 rating of the best underwater cameras for ice fishing
Rivertech C5
Rivertech C5.
Photo: yandex.market.ru
The Rivertech C5 underwater video camera has a built-in compass that shows the direction of the camera during shooting, there is also a battery indicator on the display that shows the camera’s operating time, how much charge is left and when it will need to be recharged. The built-in battery lasts for six hours of continuous shooting.
The camera is equipped with a 5-inch TFT color monitor with a resolution of 960×480 pixels. The viewing angle of the camera is 130 degrees. The water temperature varies from -25 to +60 °C. There is an anti-corrosion and wear-resistant cable for 15 meters. The package includes a camera, a bag-case, an 8 GB microSD card, clamps for a fishing rod and a hand, a magnetic charging cable and an adapter. Of the minuses, users note the tight pressing of the buttons.
Main features
| Type | ice fishing underwater camera |
| Display | yes, color | Cable length | 15 m |
| Housing | waterproof IPX6 |
| Power supply | from battery |
| Battery life | 6 hours |
| Operating temperature | -25 to +60 °C |
Pros and cons
Value for money, temperature flexibility, compass
Stiff buttons
GoldFish Pro
GoldFish Pro.
Photo: yandex.market.ru
Camera for ice fishing with a portable case, the screen is protected from sunlight. Battery life is six hours (battery capacity is 4,500 mAh), and the screen resolution is 480×960 pixels. The operating temperature is from -20 to +60 °C, the cable length is 15 meters. Also, the camera can withstand prolonged immersion in water at great depths. Of the minuses, one can note the lack of the ability to record video.
Main features
| Type | ice fishing underwater camera |
| Display | yes, color | Cable length | 15 m |
| Housing | waterproof IPX6 |
| Power supply | from battery |
| Battery life | 6 hours |
| Operating temperature | -20 to +60°C |
Pros and cons
Value for money, temperature versatility, sun shade
No video recording capability
Eyoyo EF07H 900 55 Eyoyo EF07H.
Photo: yandex.market.ru
Budget camera for winter fishing with a 7-inch color screen. Battery life – 10 hours, operating temperature – from -30 to +60 °C. The camera transmits a clear image, has a high moisture protection IP68 and can withstand immersion to a depth of 15 meters. The device is powered by a 4500 mAh battery. Of the minuses, one can note the lack of the ability to record video.
Main features
| Type | ice fishing underwater camera |
| Display | yes, color | Cable length | 15 m |
| Housing | waterproof IP68 |
| Power supply | from battery |
| Battery life | 10 hours |
| Operating temperature | -30 to +60 °C |
Pros and cons
Value for money, temperature versatility, long runtime, high water resistance
No video recording capability
chambers for summer fishing
CALYPSO UVS-03 Plus
CALYPSO UVS-03 Plus.
Photo: yandex.market.ru
A portable underwater camera with a 4.3-inch color screen and a resolution of 960×480 pixels. Battery life is six hours, powered by a 4,000 mAh battery. The twenty-meter cable has an increased load (25 kg). The device has the ability to record video and create photos, which will allow you to share your fishing experience with loved ones.
High degree of moisture protection – IP68, working temperature – from -20 to +60 °C will allow you to fully enjoy fishing in any reservoir. The kit includes a bag-case, a 32 GB memory card, a charger, a gimbal for camera orientation and a fin-cassette for working in the current. Of the minuses, users note the poor quality of shooting.
Main features
| Type | underwater camera | |
| Display | Yes, colored | |
| Cable length | 20 m | Battery |
| Battery life | 6 hours | |
| Operating temperature | -20 to +60 °C |
Pros and cons
Value for money, universal operating temperatures, high degree of moisture protection
Poor video quality
Aqua-Vu micro Revolution Pro 5.
0
Aqua-Vu micro Revolution Pro 5.0. Photo: yandex.market.ru
A hand-held camera with a 125° viewing angle and a 5-inch color screen. The device is equipped with the ability to record video and take photos, as well as infrared illumination (you can shoot even at night, in low light conditions it switches to black and white mode).
Cable length – 15 m, battery life – no more than six hours (4000 mAh). Of the minuses, users note that each time the device is turned on, it needs to be configured again (previous settings are not saved).
Main features
| Type | underwater camera |
| Display | yes, color |
| 15 m | |
| Housing | waterproof IP67 |
| Power supply | battery |
| Battery life | 6 hours |
| Operating temperature | -10 to +50 °C |
Pros and cons
Value for money, high degree of moisture protection
Settings not saved
FocusFish
FocusFish.
Photo: yandex.market.ru
Underwater fishing camera with 2 MP camera and 5-inch HD screen. The cable length is 20 meters, it is possible to record video. Two backlight modes (infrared and LED) reduce screen glare when fishing, and a 3x zoom allows you to view objects in more detail.
Battery life – up to 10 hours, operating temperature – from -10 to +50 °C. The kit includes universal mounts for ice fishing and open water fishing. According to customer reviews, shooting on shallow water bodies (nearby) is not very high quality.
Main features
| Type | ice fishing underwater camera |
| Display | yes, color |
| Cable length | 20 m |
| Power supply | from battery |
| Battery life | 10 hours -10 to +50 °C |
Pros and cons
Value for money , video recording
Poor quality close-up shooting
How to choose an underwater camera for fishing
When choosing underwater cameras, you should pay attention to the following characteristics:
Battery life
One of the most important characteristics when choosing a device is to pay attention to gadgets with a battery life of six to seven hours.
Also, choose devices with the ability to charge from a portable battery or cigarette lighter, so as not to be left without a camera during a long trip.
Camera resolution
The higher the resolution of the camera, the clearer and more detailed the image it provides and displays. Usually underwater cameras for fishing have a resolution of 480 to 1080p.
Maximum cable length
The choice of this characteristic depends on the reservoir where the fishing takes place: if you plan to fish in wide rivers or reservoirs, buy models with the greatest declared depth. The longer the wire, the deeper you can lower the camera into the water. Typically, the length of the wire is from 15 to 100 meters.
Field of view
The wider the field of view, the greater the field of view of the fisherman. At the same time, a high viewing angle reduces the quality of the picture. Choose values between 120-150°.
Recording function available
This function is optional, but allows you to review interesting shots after fishing and share them with others, which makes the fishing process even more fun.
Capturing video with the iPad camera
You can use the Camera to record videos on the iPad, including slow motion and time lapse video.
Video recording
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Select Video mode.
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Touch the record button or press any of the volume buttons to start recording.
Pinch in or out on the screen to zoom in or out.
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Touch the record button or press any of the volume buttons to stop recording.
The default shooting speed is 30 fps. Depending on the model, you can change the frame rate and resolution. To do this, go to Settings > Camera > Video Recording. As the frame rate and resolution increase, the video file size increases.
For your safety, when the Camera app is active, a green dot is displayed at the top of the screen. See Control access to hardware features.
You can use quick switches to change the video resolution and frame rate.
In Video mode, you can use the quick switches at the top of the screen to change the video resolution and frame rate settings available on iPad. To display quick toggles, go to Settings > Camera > Video Recording, then turn on Control Video Format.
Recording slow motion video
Slow motion video is recorded at normal speed but played back in slow motion. When editing a video, you can also set a specific start and end time for the slow motion effect.
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Select Slow mode.
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Touch the record button or press any of the volume buttons to start or stop recording.
To select a portion of the video to play in slow motion and play the rest of the video at normal speed, tap the video icon, then tap Edit. Move the vertical bars below the preview frame to select the part of the video you want to view in slow motion.
You can change the frame rate and resolution depending on the model.
The higher the frame rate and the higher the resolution, the larger the video file will be.
To change your slow motion settings, go to Settings > Camera > Slow motion. video”.
Time lapse video recording
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Select Time Lapse mode.
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Place iPad wherever you want to capture sunsets, traffic, or other activities that take place over time.
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Touch the record button to start recording. Touch it again to stop recording.
Auto Frame Rate Settings
On models that support Auto Frame Rate, iPad can improve video quality in low light by automatically reducing the frame rate to 24 frames per second.
Go to Settings > Camera > Record Video, then do one of the following
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On iPad (9th generation), 11-inch iPad Pro (1st and 2nd generation), and 12.9-inch iPad Pro (3rd and 4th generation). Turn on Auto Frequency (low light).
