If you're looking for a discreet action camera that can take Dolby Vision-ready 4K resolution videos, Insta360's latest model is a great candidate. The Insta360 GO 3S is an updated version of the GO 3 action camera the company released last year, and it comes with several upgrades in addition to its capability to capture 4K 30fps footage. It's equipped with a chip that has 50 percent more computing power than its predecessor's, and it has a new wide-angle lens that enables videos with less distortion and straighter edges. The model can also take smoother slow-motion footage with a 1080p resolution at 200fps or a 2.7K resolution at 100fps.
Insta360's new action-camera is compatible with Apple's Find My network, which sounds incredibly useful for such a small device that could be easily misplaced. It also has native waterproofing for up to 33 feet, or twice that of the GO 3. If you want to switch from horizontal to vertical shooting, you can simply twist the camera. And if the device is out of reach, you can use its new hand gesture feature to start or to stop shooting, as well as to take photos.
Insta360
For hands-free shooting, you can set a recording frequency and length if you want the camera to automatically record your day, thanks to its new Interval Video mode. Plus, you can use its app's new Auto Edit function to get an AI to combine several clips into one long video, with scoring, in case you'd rather not edit your footage manually.
The model's Action Pod serves as its all-in-one housing, remote control and charger, and you can still preview your shots on its 2.2-inch touchscreen that you can flip up or down. Aside from the Action Pod, the Insta360 GO 3S standard bundle also comes with a magnet pendant and an easy clip that you can use to attach the camera to your cap, clothes, your pet's collar or anywhere else you want to. It also ships with a pivot stand and a lens guard. The standard bundle is now available for purchase around the world via the Insta360 website and retailers like Amazon. You can choose between the 64GB and the 128GB variant, which will set you back $400 and $430, respectively.
This article originally appeared on Engadget at https://www.engadget.com/insta360s-go-3s-is-its-new-tiny-wearable-camera-with-4k-video-130044121.html?src=rss
Panasonic just announced the followup to its popular Lumix GH6 vlogging camera, the GH7. This Micro Four Thirds mirrorless camera comes just two years after the release of the GH6, which is pretty quick in the videography world. The GH5 was released five full years before the GH6.
The 25.2-megapixel BSI CMOS sensor is likely the same as the one on the photo-centric Lumix LG9 II announced earlier this year. It also offers improved autofocus performance, which has been a much-requested feature, thanks to phase detection auto-focus (PDAF). There’s also a newly added real-time auto-focus recognition algorithm for use on airplanes and trains.
The GH7 is designed for video, and it looks like it delivers in that regard. It now supports internal ProRes RAW recording at up to 5.7K 30p along with ProRes as before, and can shoot 5.8K 60p 10-bit H.265 video. It can handle 4K at up to 120fps or Full HD at 240fps. It's equipped with both SD UHS II and CFexpress card slots, with the latter required for ProRes and ProRes RAW recording.
On top of ProRes RAW for video, it supports 32-bit float audio recording. Panasonic says the float recording “eliminates the need to adjust sound recording levels during shooting,” though it does require a separate XLR adapter. The image stabilization technology has also gotten a boost, which includes perspective distortion correction for videos.
We don’t know how heavy it’ll be and the GH6 was certainly on the heftier side. The battery life of the previous model was also fairly short, maxing out at 400 still images and around an hour of continuous 4K shooting. This camera should be able to shoot for long periods of time, however, as Panasonic has added a cooling fan for heat dissipation. It’s also splash resistant, dust resistant and freeze resistant down to 14 degrees Fahrenheit.
Panasonic
The GH7 supports native Camera to Cloud integration via Adobe’s Frame.io, which automatically uploads images and videos to the cloud. Otherwise, many features from the GH6 have been retained, like the flip-out display, dedicated audio setting button, real-time LUTs, time code in/out, 3.68-million-dot OLED viewfinder (120Hz), external USB-C SSD support and more.
All in all, this looks like a worthy update to the line. Panasonic’s latest and greatest vlogging camera will be available in July for $2,200. Incidentally, this is the same price that the GH6 released at back in 2022.
This article originally appeared on Engadget at https://www.engadget.com/panasonic-has-revealed-the-followup-to-the-popular-lumix-gh6-vlogging-camera-210033083.html?src=rss
Acer has unveiled the new SpatialLabs Eyes Stereo Camera specifically for those who want to take 3D photos and videos. Users can not only use it to capture 3D content, but also to livestream in 3D on YouTube and other platforms, as well as to make 3D video calls on Teams, Zoom and Google Meet. The company describes the camera as "compact" and "pocket-sized," with dimensions measuring 4 x 2.6 x 0.9 inches.
It has a resolution of 8 megapixels per eye and a built-in selfie mirror encased in a weather-proof shell. The more casual users can take advantage of its Electronic Image Stabilization (EIS) feature, along with its auto and touch focus capabilities. But experienced photographers can customize their output as much as they want to in manual mode, which will allow them to adjust the camera's ISO, white balance and shutter speed settings.
The camera's 3D livestreaming feature will be enabled by version 3.0 of Acer's SpatialLabs Player, while high-resolution 3D video conferencing will be made possible through the company's SpatialLabs video call widget. It will, of course, be compatible with Acer's range of SpatialLabs devices, including laptops with glasses-free 3D screens. But you can view 3D content captured by the device even on other companies' AR or VR headsets and 3D projectors.
The Acer SpatialLabs Eyes Stereo Camera will be available in the third quarter of the year with prices starting at $549 or €549 in the US and in Europe, respectively.
Acer
This article originally appeared on Engadget at https://www.engadget.com/acer-launches-a-compact-spatiallabs-camera-for-3d-photos-and-videos-060035723.html?src=rss
Acer has unveiled the new SpatialLabs Eyes Stereo Camera specifically for those who want to take 3D photos and videos. Users can not only use it to capture 3D content, but also to livestream in 3D on YouTube and other platforms, as well as to make 3D video calls on Teams, Zoom and Google Meet. The company describes the camera as "compact" and "pocket-sized," with dimensions measuring 4 x 2.6 x 0.9 inches.
It has a resolution of 8 megapixels per eye and a built-in selfie mirror encased in a weather-proof shell. The more casual users can take advantage of its Electronic Image Stabilization (EIS) feature, along with its auto and touch focus capabilities. But experienced photographers can customize their output as much as they want to in manual mode, which will allow them to adjust the camera's ISO, white balance and shutter speed settings.
The camera's 3D livestreaming feature will be enabled by version 3.0 of Acer's SpatialLabs Player, while high-resolution 3D video conferencing will be made possible through the company's SpatialLabs video call widget. It will, of course, be compatible with Acer's range of SpatialLabs devices, including laptops with glasses-free 3D screens. But you can view 3D content captured by the device even on other companies' AR or VR headsets and 3D projectors.
The Acer SpatialLabs Eyes Stereo Camera will be available in the third quarter of the year with prices starting at $549 or €549 in the US and in Europe, respectively.
Acer
This article originally appeared on Engadget at https://www.engadget.com/acer-launches-a-compact-spatiallabs-camera-for-3d-photos-and-videos-060035723.html?src=rss
With small and stylish compact cameras like Fujifilm's X100 VI all the rage for influencers, Leica has decided to jump back into the game. The German brand just unveiled the $1,595 D-Lux 8, a followup to the D-Lux 7 released way back in 2018. While substantially restyled compared to the last model, it carries the same 17-megapixel Micro Four Thirds sensor and 24-75mm (35mm equivalent) f/1.7-2.8 lens as before.
The original was effectively a rebadge of Panasonic's LX100 II, but it's not clear if the D-Lux 8 is using exactly the same sensor or an updated version. Other features, like video, autofocus and more have yet to be revealed.
From the images released, we can see some substantial differences from the previous model. It has an all-black finish and leather-style wrap, much like Leica's full-frame Q3 compact. The interface has also been simplified, with only a "play," "menu" and d-pad type control on the rear, along with two unlabeled buttons. On top, there's a power switch in place of the "4K" button. All of this is inspired by the Q lineup, the company said.
Leica
The new camera supports RAW file capture, which is a first for the D-lux lineup. Leica also unveiled new accessories including carrying straps, leather protectors, a flash and a hand grip. It also showed off a new app, without saying exactly what it does.
It would be a bit disappointing if the D-Lux 8 is just a spruced up version of the D-Lux 7, launched to take advantage of compact camera craze created by Fujifilm's X100 series. The old model was a solid camera for its time, but offers contrast-detect instead of phase-detect autofocus, along with tame photo and video specs by today's standards.
It certainly does look good, though, and that's been a key element in the compact camera renaissance —and the accessories may also tempt style-conscious shooters. For those attracted to the Leica's storied history and that iconic red dot, $1,595 is as low a price as you'll ever see for a new camera from the brand.
This article originally appeared on Engadget at https://www.engadget.com/leica-takes-on-fujifilm-with-the-compact-d-lux-8-143210473.html?src=rss
Panasonic’s mirrorless cameras have always been popular with pro video shooters, but to date the company hasn’t directly tackled a key segment: influencers. Today, it’s finally jumping in with the S9, a small and stylish full-frame camera with similar capabilities to Sony’s ZV-E1. The S9’s key feature is a dedicated LUT button and app that let you quickly select custom and preset video looks, much like you can with Fujifilm’s simulations.
With the same 24-megapixel sensor as Panasonic’s S5 II, the S9 supports up to 6.2K 30p video and comes with Panasonic’s latest phase-detect and AI-tracking autofocus. It also has advanced in-body stabilization that promises gimbal-like smoothness.
There are a few things missing, though, like a viewfinder and mechanical shutter. Finally, there’s the $1,500 price, which isn’t much less than the more-capable S5 II. So does Panasonic’s first camera for influencers deliver? I tested a pre-production version of the S9 in Japan to find out.
Stylish and petite
At 486 grams (17.1 ounces), the S9 is light for a full-frame camera and just three grams heavier than the ZV-E1. I’ll discuss Panasonic’s new 26mm f/8 lens soon, but with that, the whole system is small enough to slip into a bag and is actually a bit lighter than Fujifilm’s X100 VI.
The S9’s design is cute, but the polycarbonate body doesn’t feel nearly as premium as, say, Fuji’s X100 VI. It comes in a choice of red, blue, green and black in a faux leather covering. It’s not as pretty as Fujifilm’s offerings, but is more stylish than most Lumix cameras.
With that smooth design and no handle, though, it’s a bit hard to grip. This isn’t a problem when using lightweight lenses, but with larger ones like the Lumix 24-70mm f/2.8, the S9 could slip right out of your hand. Panasonic did give us a dedicated SmallRig grip that helps a lot, but that’s not included in the price.
The S9 has stripped-down controls compared to most Panasonic cameras. With no top rear dial or joystick, it's trickier to change settings than on larger models like the S5 II.
What it does have that we’ve never seen is a LUT button that Panasonic actually patented. Those letters stand for look-up table, and pressing the button brings up a choice of built-in or custom simulations.
Steve Dent for Engadget
The flip-around screen is great for vlogging, but the S9 lacks an electronic viewfinder, much like Sony’s ZV-E1. It has just a cold shoe on top, so it can't power flashes, microphones, a viewfinder or other accessories.
It’s also missing a headphone port, which is unfortunate for a camera dedicated to video. And while the Fujifilm X-T30 supports a headphone via the USB-C port, the S9 doesn’t have that option, nor does it support wireless sound. As for storage, the single SD card slot enables UHS-II speeds, but is located inconveniently next to the battery compartment
Photography
For a hybrid camera aimed at videographers, the S9 isn’t bad for stills. You can shoot at 9 RAW frames per second, and the buffer will hold up to 55 shots. The S9 doesn’t have a mechanical shutter, though, and distortion can be problematic with fast-moving subjects.
Continuous autofocus for photos works well, though it’s still behind Canon and Sony. The AI is good at locking onto human faces, bodies and eyes, and also works with animals, cars and motorcycles. It’s not a sports or wildlife camera by any means, but the majority of my photos were in focus.
Like the S5 II, the S9 shoots 14-bit RAW images in single-shot mode but drops to 12-bit RAW for burst shooting. As this was a pre-production camera without the final firmware, I was unable to test RAW quality, but I’d expect it to be in line with the Panasonic S5 II.
Photo quality otherwise is good from what I've seen so far, with realistic colors and skin tones. In low light, I wouldn’t go past about ISO 6400 as noise can get bad compared to cameras with similar sensors, like Nikon’s Z6 II.
Steve Dent for Engadget
I liked the S9 as a street photography camera, as it’s discreet, silent and lightweight. However, the new $200 pancake lens that helps make it so light is manual focus only and has just one f/8 aperture setting which may turn off buyers. On top of that, with no electronics in the lens, the zoom window doesn’t pop up to aid focus. As such, you need to rely on the focus peaking assist.
Video
As a video camera, the S9 is generally excellent, but has some pluses and minuses compared to the ZV-E1. On the positive side, the higher-resolution sensor allows for up to 6.2K 30p or supersampled 4K 30p video using the entire sensor width. It also supports full readout 3:2 capture that makes vertical video easier to shoot.
4K 60p requires an APS-C crop, and to get 120 fps video you need to drop down to 1080p. Like the S5 II, it supports a number of anamorphic formats with supported lenses.
Steve Dent for Engadget
The ZV-E1 has half the resolution, so video isn’t quite as sharp, but Sony’s camera can shoot 4K at up to 120 fps and rolling shutter isn’t nearly as bad.
One potential issue with this camera for creators is the limited continuous recording time, which is capped at just 10 minutes at 6.2K and 15 minutes at 4K. That’s due to the small size and lack of a fan, but you can start recording again immediately after it stops — so this would mainly affect event shooters needing to do long takes. We'll see if these recording times remain in the final firmware.
The S9 has excellent in-body stabilization, with up to 6.5 stops using supported lenses. Like the S5 II, it offers a boost mode that’s best for handheld shooting with limited movement, and an electronic mode with a 1.4x crop in the “high” setting.
Steve Dent for Engadget
The latter can smooth out footsteps and other jolts well enough to replace a gimbal in a pinch. It does a better job than the ZV-E1 with abrupt movements, but the latter crops in slightly less at 1.3x.
Autofocus mostly keeps subjects sharp, but it can occasionally lag. The AI-powered face-tracking stays locked on a subject’s eyes and face, though sometimes the autofocus itself doesn’t keep up. However, these could be pre-production issues.
With the same sensor as the S5 II, quality is very similar. Video is sharp and colors are realistic, with pleasing skin tones. It’s not quite as good in low light as other 24MP cameras like the Canon R6 II, with noise starting to become noticeable at ISO 6400. The ZV-E1, in comparison, can shoot clean video at ISO 12800 and even beyond.
Steve Dent for Engadget
I enjoy shooting Panasonic V-log video as it’s easy to adjust in post and offers excellent dynamic range. It’s one big reason Panasonic cameras are so popular with professional videographers, so it’s nice to see this on a less expensive model.
So what about the new LUT feature? To get the most out of it, you have to go into the new Lumix Lab app. Panasonic has a handful of presets to get you started, or you can load custom LUTs from a variety of creators. You can also make your own in an editing program like DaVinci Resolve.
Steve Dent for Engadget
Applying the LUT bakes the look into the video, which makes it hard to adjust it later on. However, you can shoot standard or V-Log footage and use the LUT as a preview, then apply that same look in post without being locked in.
The LUT button is a clever idea, as it allows creators to create cool shots without the need to futz around in post. However, many may not even be familiar with the term “LUT,” so Panasonic has an uphill battle selling the benefits. By comparison, many influencers understand the advantages of Fujifilm’s simulations.
Wrap-up
Steve Dent for Engadget
With the S9, Panasonic is trying to attract influencers with a small, stylish camera that makes it easy to create interesting video looks quickly. At the same time, it has nearly all the capabilities of higher-end models like the S5 II.
It does have some flaws that make it a hard sell for photographers. And I’m concerned about the $1,500 price tag, as that’s just a bit less than the S5 II, which has an EVF, mechanical shutter, extra card slot, better ergonomics and more.
So far, it comes out well against the ZV-E1, though. I like the extra resolution and sharpness, and it has superior stabilization. It’s also cheaper, but only by about $300 at the moment. It looks like a good first try and I have a few quibbles, but I’ll know more once I’m able to test the production version.
This article originally appeared on Engadget at https://www.engadget.com/panasonic-s9-hands-on-a-powerful-creator-camera-with-a-patented-lut-simulation-button-140046910.html?src=rss
Sony used to be a fairly major player in the smartphone space, but its offerings never quite made a splash in the US. Despite that, the company has been pumping out yearly refreshes of its Xperia line of smartphones and the just-announced Xperia 1 VI looks like the perfect device for both amateur and professional photographers. Sony, after all, is no slouch when it comes to cameras.
The sixth-generation of the company’s flagship smartphone is filled with so many camera-centric features that it could actually lure people away from rival iPhone and Pixel devices. There’s a true optical zoom, AI-assisted autofocus and a telephoto camera for snapping macro shots.
This breaks down to three cameras on the back, in the form of a 24mm main camera with a 48-megapixel Sony Exmor T sensor, a 16mm ultrawide and the aforementioned 85-170mm variable zoom telephoto camera. That last one provides 3.5x to 7.1x magnification when compared to the main camera. The ladybug in your yard is begging for its closeup.
As for that AI-assisted autofocus, Sony touts a technology called “human pose estimation” that can recognize a person’s body and head position to provide the perfect focus. The camera system also supports filming video in 4K HDR at 120fps. All of these features work together within Sony’s new unified camera app, so people don’t have to constantly jump between different software to get the job done.
Of course, this is a smartphone and not just a bunch of cameras attached to a rectangle. The Xperia 1 VI boasts the latest Snapdragon 8 Gen 3 chipset, 12GB of RAM and a choice between 256GB and 512GB of storage. Sony says the integrated 5,000mAh battery should allow for up to two days of use before requiring a charge. To that end, the device supports both 15W wireless charging and wireless battery sharing to other devices.
There is an OLED display which is nice, but it’s 2220 x 1080 and the Xperia V shipped with a 4K screen. The aspect ratio gets a hit here too, downsizing from 21:9 to 19.5:9. This display does now offer a variable refresh rate between 1Hz to 120Hz, however, and it can achieve a 50 percent higher peak brightness when compared to last year’s model. Also, 4K resolution on a phone screen is kind of unnecessary and this thing can shoot in 4K, which is what really matters.
The Sony Xperia 1 VI is available for preorders now in the UK, starting at the jaw-dropping asking price of $1,640 in US dollars. There’s some more bad news for US consumers. Unlike previous versions, the company has no current plans to bring this phone stateside.
This article originally appeared on Engadget at https://www.engadget.com/sonys-new-smartphone-could-entice-shutterbugs-away-from-apple-and-google-180755649.html?src=rss
Sony used to be a fairly major player in the smartphone space, but its offerings never quite made a splash in the US. Despite that, the company has been pumping out yearly refreshes of its Xperia line of smartphones and the just-announced Xperia 1 VI looks like the perfect device for both amateur and professional photographers. Sony, after all, is no slouch when it comes to cameras.
The sixth-generation of the company’s flagship smartphone is filled with so many camera-centric features that it could actually lure people away from rival iPhone and Pixel devices. There’s a true optical zoom, AI-assisted autofocus and a telephoto camera for snapping macro shots.
This breaks down to three cameras on the back, in the form of a 24mm main camera with a 48-megapixel Sony Exmor T sensor, a 16mm ultrawide and the aforementioned 85-170mm variable zoom telephoto camera. That last one provides 3.5x to 7.1x magnification when compared to the main camera. The ladybug in your yard is begging for its closeup.
As for that AI-assisted autofocus, Sony touts a technology called “human pose estimation” that can recognize a person’s body and head position to provide the perfect focus. The camera system also supports filming video in 4K HDR at 120fps. All of these features work together within Sony’s new unified camera app, so people don’t have to constantly jump between different software to get the job done.
Of course, this is a smartphone and not just a bunch of cameras attached to a rectangle. The Xperia 1 VI boasts the latest Snapdragon 8 Gen 3 chipset, 12GB of RAM and a choice between 256GB and 512GB of storage. Sony says the integrated 5,000mAh battery should allow for up to two days of use before requiring a charge. To that end, the device supports both 15W wireless charging and wireless battery sharing to other devices.
There is an OLED display which is nice, but it’s 2220 x 1080 and the Xperia V shipped with a 4K screen. The aspect ratio gets a hit here too, downsizing from 21:9 to 19.5:9. This display does now offer a variable refresh rate between 1Hz to 120Hz, however, and it can achieve a 50 percent higher peak brightness when compared to last year’s model. Also, 4K resolution on a phone screen is kind of unnecessary and this thing can shoot in 4K, which is what really matters.
The Sony Xperia 1 VI is available for preorders now in the UK, starting at the jaw-dropping asking price of $1,640 in US dollars. There’s some more bad news for US consumers. Unlike previous versions, the company has no current plans to bring this phone stateside.
This article originally appeared on Engadget at https://www.engadget.com/sonys-new-smartphone-could-entice-shutterbugs-away-from-apple-and-google-180755649.html?src=rss
Fujifilm has unveiled the X-T50 APS-C mirrorless camera, a long-awaited follow-up to the consumer-friendly X-T30 and X-T30 II. The new model retains key features from the past model, including the light weight and generous manual controls. At the same time, it adds a higher-resolution 40.2-megapixel sensor, 6.2K 30p video and other features from the X-T5 and other recent models. However, it also has a much higher price than the X-T30 and unusual new dial that may prove controversial.
The X-T50 looks similar to the X-T30 II, with a relatively slim and light 438 gram (15.45 ounce) body, just a bit heavier than before. However, in place of the shooting mode dial on the previous model, Fujifilm introduced a dedicated film simulation dial with eight preset modes (Acros, Nostalgic Negative, Classic Neg and others), three custom slots for other built-in simulations and a custom slot for user-designed simulations.
The company likely believes that sales of the X100 V and VI took off due to the popularity of film simulations with the TikTok and influencer set. However, users may find that it's more of a hassle to change shooting modes (burst, single-shot etc.) than before.
Fujifilm
One key feature missing from the X-T30 was in-body stabilization, but with the X-T50, Fujifilm has introduced a five-axis system with seven stops of shake reduction that hardly adds any weight. That will make it a much better tourism and street photography camera, as handheld shooting is possible at shutter speeds down to 1/4th of a second or so. It will also make the X-T50 far more useful for video.
Unfortunately, the rear 1.8-million-dot display still only flips up/down and not out, so it's not going to be great for vlogging. Another feature carried over is the NP-W126S battery (about half the power of the battery in the X-T5), which is pretty small considering the higher-resolution sensor and upgraded video capabilities.
With the same sensor as the X-T5, X-H2 and X100 VI, you can expect similar image quality and speeds, up to 13 fps bursts with the electronic shutter. Autofocus performance is likely to be in line with the X100 VI, which is to say, pretty good but not great. The main attraction, Fujifilm hopes, will be the film simulations that let creators take Instagram-ready shots straight out of the camera.
Fujifilm
Like the X-100 VI, the X-T50 is surprisingly competent at video as well, with 6.2K at up to 30p and 10-bit F-Log2 on tap. That's why, again, it's a shame that it doesn't have a flip-out screen as vloggers and content creators may prefer the form factor and interchangeable lenses over the X100 VI.
Fujifilm also introduced the Fujinon XF16-50mmF2.8-4.8 R LM WR (24-75 or so in full-frame terms). It's a compact, lightweight and decently fast kit zoom that should be ideal for the X-T50. Though it costs $700 by itself, it's a much better deal if purchased in a kit.
The X-T50 is now on pre-order for $1,400 (body only), or $1,800 with the XF16-50mm. That's a hefty $500 more than the X-T30 II cost at launch, and just a few hundred dollars less than the X-T5. I'm not sure that the extra features justify such a large jump, but Fujifilm must be confident that people will pay it, given the runaway success of the X100 series.
This article originally appeared on Engadget at https://www.engadget.com/fujifilms-x-t50-has-a-special-dial-for-film-simulations-060043643.html?src=rss
Fujifilm has unveiled the X-T50 APS-C mirrorless camera, a long-awaited follow-up to the consumer-friendly X-T30 and X-T30 II. The new model retains key features from the past model, including the light weight and generous manual controls. At the same time, it adds a higher-resolution 40.2-megapixel sensor, 6.2K 30p video and other features from the X-T5 and other recent models. However, it also has a much higher price than the X-T30 and unusual new dial that may prove controversial.
The X-T50 looks similar to the X-T30 II, with a relatively slim and light 438 gram (15.45 ounce) body, just a bit heavier than before. However, in place of the shooting mode dial on the previous model, Fujifilm introduced a dedicated film simulation dial with eight preset modes (Acros, Nostalgic Negative, Classic Neg and others), three custom slots for other built-in simulations and a custom slot for user-designed simulations.
The company likely believes that sales of the X100 V and VI took off due to the popularity of film simulations with the TikTok and influencer set. However, users may find that it's more of a hassle to change shooting modes (burst, single-shot etc.) than before.
Fujifilm
One key feature missing from the X-T30 was in-body stabilization, but with the X-T50, Fujifilm has introduced a five-axis system with seven stops of shake reduction that hardly adds any weight. That will make it a much better tourism and street photography camera, as handheld shooting is possible at shutter speeds down to 1/4th of a second or so. It will also make the X-T50 far more useful for video.
Unfortunately, the rear 1.8-million-dot display still only flips up/down and not out, so it's not going to be great for vlogging. Another feature carried over is the NP-W126S battery (about half the power of the battery in the X-T5), which is pretty small considering the higher-resolution sensor and upgraded video capabilities.
With the same sensor as the X-T5, X-H2 and X100 VI, you can expect similar image quality and speeds, up to 13 fps bursts with the electronic shutter. Autofocus performance is likely to be in line with the X100 VI, which is to say, pretty good but not great. The main attraction, Fujifilm hopes, will be the film simulations that let creators take Instagram-ready shots straight out of the camera.
Fujifilm
Like the X-100 VI, the X-T50 is surprisingly competent at video as well, with 6.2K at up to 30p and 10-bit F-Log2 on tap. That's why, again, it's a shame that it doesn't have a flip-out screen as vloggers and content creators may prefer the form factor and interchangeable lenses over the X100 VI.
Fujifilm also introduced the Fujinon XF16-50mmF2.8-4.8 R LM WR (24-75 or so in full-frame terms). It's a compact, lightweight and decently fast kit zoom that should be ideal for the X-T50. Though it costs $700 by itself, it's a much better deal if purchased in a kit.
The X-T50 is now on pre-order for $1,400 (body only), or $1,800 with the XF16-50mm. That's a hefty $500 more than the X-T30 II cost at launch, and just a few hundred dollars less than the X-T5. I'm not sure that the extra features justify such a large jump, but Fujifilm must be confident that people will pay it, given the runaway success of the X100 series.
This article originally appeared on Engadget at https://www.engadget.com/fujifilms-x-t50-has-a-special-dial-for-film-simulations-060043643.html?src=rss