Fujifilm’s successor to the GFX 100S, its 2021 medium format camera with terrific performance but slow speeds, is the aptly named GFX 100S II. The new model is $1,000 cheaper, smaller, lighter and has (shocker) AI features to improve its autofocus, one of our gripes with its predecessor.
The Fujifilm GFX 100S II uses a 102MP high-speed sensor and the X-Processor 5 processing engine. The company says its medium format sensor is about 1.7 times larger than a 35mm full-frame sensor. Its body weighs around 883g (including the battery and memory card), making it the lightest in the lineup.
The camera has “enhanced” in-body image stabilization, allowing for a maximum of eight-stop, five-axis performance. This could boost its image quality when using longer exposure times.
Fujifilm says it improved the sensor’s pixel layout design, enabling a standard sensitivity of ISO80. “When the sensor sensitivity is set at ISO80, the camera can capture images at greater dynamic range and lower noise than with the previous model” when shooting in 16-bit RAW mode, the company wrote in a press release. This should lead to better low-light performance, autofocus accuracy and overall image quality.
The camera’s sensor has an improved micro-lens design, increasing light use efficiency at its edges. Fujifilm says this gives it better image quality and autofocus accuracy around the edges than its predecessor.
Fujifilm
Like nearly every other bit of recent tech gear, Fujifilm is using AI in its products — in this case, AI-based subject detection. Fujifilm says it can automatically recognize animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones and focus accordingly. The company claims its improved autofocus predictive algorithm and a continuous shooting speed of up to seven FPS make it better at tracking high-speed subjects. Autofocus was one of our nitpicks in Engadget’s review of the GFX 100S, so we’ll be curious to see if those claims hold up in practice.
On the video front, the new camera supports 4K / 30P 4:2:2 10bit videos (for more precise color reproduction) when using its internal SD card. It’s equipped with the F-Log 2 profile for improved dynamic range. Its compatibility is boosted by supporting Apple ProRes, but only when using an external solid-state drive connected via USB-C.
The Fujifilm GFX 100S II costs $4,999, or €5,499 in Europe. That’s cheaper than the $7,500 GFX 100 II, trading some extra video perks for less of a hit on the wallet. You can order it on Friday from Fujifilm’s website.
This article originally appeared on Engadget at https://www.engadget.com/fujifilms-medium-frame-gfx-100s-ii-is-lighter-cheaper-and-ai-enhanced-060037826.html?src=rss
Fujifilm’s successor to the GFX 100S, its 2021 medium format camera with terrific performance but slow speeds, is the aptly named GFX 100S II. The new model is $1,000 cheaper, smaller, lighter and has (shocker) AI features to improve its autofocus, one of our gripes with its predecessor.
The Fujifilm GFX 100S II uses a 102MP high-speed sensor and the X-Processor 5 processing engine. The company says its medium format sensor is about 1.7 times larger than a 35mm full-frame sensor. Its body weighs around 883g (including the battery and memory card), making it the lightest in the lineup.
The camera has “enhanced” in-body image stabilization, allowing for a maximum of eight-stop, five-axis performance. This could boost its image quality when using longer exposure times.
Fujifilm says it improved the sensor’s pixel layout design, enabling a standard sensitivity of ISO80. “When the sensor sensitivity is set at ISO80, the camera can capture images at greater dynamic range and lower noise than with the previous model” when shooting in 16-bit RAW mode, the company wrote in a press release. This should lead to better low-light performance, autofocus accuracy and overall image quality.
The camera’s sensor has an improved micro-lens design, increasing light use efficiency at its edges. Fujifilm says this gives it better image quality and autofocus accuracy around the edges than its predecessor.
Fujifilm
Like nearly every other bit of recent tech gear, Fujifilm is using AI in its products — in this case, AI-based subject detection. Fujifilm says it can automatically recognize animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones and focus accordingly. The company claims its improved autofocus predictive algorithm and a continuous shooting speed of up to seven FPS make it better at tracking high-speed subjects. Autofocus was one of our nitpicks in Engadget’s review of the GFX 100S, so we’ll be curious to see if those claims hold up in practice.
On the video front, the new camera supports 4K / 30P 4:2:2 10bit videos (for more precise color reproduction) when using its internal SD card. It’s equipped with the F-Log 2 profile for improved dynamic range. Its compatibility is boosted by supporting Apple ProRes, but only when using an external solid-state drive connected via USB-C.
The Fujifilm GFX 100S II costs $4,999, or €5,499 in Europe. That’s cheaper than the $7,500 GFX 100 II, trading some extra video perks for less of a hit on the wallet. You can order it on Friday from Fujifilm’s website.
This article originally appeared on Engadget at https://www.engadget.com/fujifilms-medium-frame-gfx-100s-ii-is-lighter-cheaper-and-ai-enhanced-060037826.html?src=rss
After years of rumors, Canon has confirmed that a flagship EOS R1 camera is in the works for its EOS line. The full-frame mirrorless camera is slated to arrive later this year and, while Canon hasn't revealed all the details just yet, it teased just enough to whet your appetite. There's no indication as to how much the EOS R1 will cost just yet either, but you may need to dig deep into your wallet this one.
The company says that the professional-grade camera will have an RF mount and offer improved video and still performance compared with the EOS R3. It will boast an upgraded image processing system that combines a fresh CMOS sensor, a new image processor called Digic Accelerator and the existing Digic X processor.
Canon says the system will be able to process a large volume of data at high speed and deliver advancements in auto focus and other areas. The company claims it's been able to combine the capabilities of the image processing system with its deep-learning tech to achieve "high-speed and high-accuracy subject recognition."
This powers a feature called Action Priority, which can, for instance, detect a player carrying a certain action in a sports game (like shooting a ball) and identify them as the main subject for a shot. The system would be able to instantly shift the auto focus frame in that person's direction to help make sure the photographer doesn't miss out on capturing key moments from a game.
Canon claims the EOS R1 can track athletes during sporting events even if they're momentarily out of line of sight. The focus on sports in the initial announcement suggests that the camera could be put to the test at this summer's Olympic Games in Paris.
In addition, Canon says it's bringing the image noise reduction feature that was initially built for PC software directly into the camera. It suggests this further improves image quality and can help users fulfill their creative goals.
This article originally appeared on Engadget at https://www.engadget.com/canon-confirms-its-long-rumored-flagship-eos-r1-is-coming-later-this-year-142838188.html?src=rss
After years of rumors, Canon has confirmed that a flagship EOS R1 camera is in the works for its EOS line. The full-frame mirrorless camera is slated to arrive later this year and, while Canon hasn't revealed all the details just yet, it teased just enough to whet your appetite. There's no indication as to how much the EOS R1 will cost just yet either, but you may need to dig deep into your wallet this one.
The company says that the professional-grade camera will have an RF mount and offer improved video and still performance compared with the EOS R3. It will boast an upgraded image processing system that combines a fresh CMOS sensor, a new image processor called Digic Accelerator and the existing Digic X processor.
Canon says the system will be able to process a large volume of data at high speed and deliver advancements in auto focus and other areas. The company claims it's been able to combine the capabilities of the image processing system with its deep-learning tech to achieve "high-speed and high-accuracy subject recognition."
This powers a feature called Action Priority, which can, for instance, detect a player carrying a certain action in a sports game (like shooting a ball) and identify them as the main subject for a shot. The system would be able to instantly shift the auto focus frame in that person's direction to help make sure the photographer doesn't miss out on capturing key moments from a game.
Canon claims the EOS R1 can track athletes during sporting events even if they're momentarily out of line of sight. The focus on sports in the initial announcement suggests that the camera could be put to the test at this summer's Olympic Games in Paris.
In addition, Canon says it's bringing the image noise reduction feature that was initially built for PC software directly into the camera. It suggests this further improves image quality and can help users fulfill their creative goals.
This article originally appeared on Engadget at https://www.engadget.com/canon-confirms-its-long-rumored-flagship-eos-r1-is-coming-later-this-year-142838188.html?src=rss
Fujifilm’s X100 V became a surprising viral hit thanks to influencers who loved not only its performance but also its retro-chic cool factor. Now, the company has launched its successor, the similar-looking but more-capable X100 VI. It’s only been on sale a short time, but retailers are already reporting months-long waiting lists.
It features some key improvements over the previous model, including a much higher-resolution 40-megapixel sensor, in-body stabilization and better video. At the same time, it retains the looks and compact size people loved about the X100 V.
I couldn’t wait to get a hold of one to check out the performance for myself and see if it’s worth a purchase or upgrade. To test, I hopped on the Eurostar over to London with my French photographer friends to see if it’s worth the high price and considerable wait.
Body and handling
The X100 series is beloved in large part because of the vintage rangefinder camera styling, and Fujifilm didn’t mess with that. In addition to the near-identical looks, the X100 VI’s button and dial layout is unchanged. Fujifilm also kept the previous model’s 23mm f/2 lens.
To accommodate the in-body stabilization, the X100 VI is slightly chunkier and weighs 18.4 ounces, about 1.4 ounces more than before. That’s not much, but every bit counts for a camera designed to be carried around all day.
The control design with dedicated dials for ISO, shutter, aperture and exposure compensation is a bit old-fashioned compared to modern cameras. But it does serve a purpose, showing settings at a glance. That’s a must for shooting on the fly.
The X100 VI isn’t just cosplaying as a rangefinder, either. On top of the 3.69-million dot electronic viewfinder (same as the last model), it offers a rangefinder-style optical finder and a hybrid of the two with a picture-in-picture EVF. The last setting is for people who still want a digital security blanket, and it works very well.
Also unchanged is the rear display, allowing basic up and down tilting for high or low angle shooting. That’s not great for selfies or vlogging, but perfect for shooting from the hip.
The menu system is mostly the same, which is a good thing as it’s relatively easy to find key settings. To avoid diving in, though, you can use the quick menu and numerous buttons and dials for easier adjustments. It’s also customizable and I’d advise buyers to set it up to their preferences to avoid any shooting errors.
The X100 VI has a single slot that only supports slower UHS-I cards, unfortunately, along with a USB-C port for charging and data. The MicroHDMI port also lets you use external recorders, though the tiny camera looks awkward with one attached. Finally, the battery is the same smallish one as before, unfortunately — more on that in a bit.
Performance
Samuel Dejours for Engadget
Despite the higher resolution, the X100 VI still shoots at a decent 11 fps, with buffer space for about 17 uncompressed RAW frames. JPEG bursts are a bit faster at 13 fps in electronic shutter mode and the buffer size jumps to 37 frames in that case.
Unless you really need total silence, the mechanical shutter is your best bet. It’s very quiet, and you’ll see considerable rolling shutter in electronic mode.
Autofocus is much-improved compared to the V. It’s more reliable for subject tracking and adds new autofocus modes for animals, birds, cars, motorcycles, airplanes and trains. Fuji’s eye- and subject-detection are in separate modes though, forcing you to change settings.
Fujifilm’s AF system was already middling, lagging behind Sony and Canon. The X100 VI is even less effective than Fujifilm’s larger X-H2 and X-T5, due to the slowish motors on the fixed lens. That means focusing on moving subjects is a bit hit or miss. That said, burst shooting is not what this camera is for and the fact that it’s decent at all is a bonus.
Steve Dent for Engadget
In-body stabilization might be the biggest improvement to come to the X100 lineup. With six stops of shake reduction, you can get sharp photos down to about a quarter second. That lets you blur motion to make interesting, creative shots.
The optical finder takes some getting used to, as it’s not a direct view through the lens like with DSLRs. It’s off to the side of the lens, so this parallax means subjects that are close to the camera may not be framed the way you expect. That’s why the EVF insert mode is so handy as it supplies a second true view of the scene.
One issue is battery life, with only 450 shots on a charge or 310 if you use the EVF. I found that one battery wasn’t enough for a full day’s shooting, so factor extra ones into your buying decision. You may also want an external charger, as Fujifilm doesn’t supply one in the box.
Image quality
The 40MP sensor obviously delivers a big boost in resolution over the X100 V’s 26MP. The extra pixels are also handy if you need to crop in, which is a common requirement with a fixed wide-angle lens camera. And while the lens is the same as before, it’s sharp enough to resolve the extra detail.
If this sensor seems familiar, that’s because it’s the same as the one on the X-T5 and X-H2, so the image quality here is similar to those. In-camera treatment of JPEG and 10-bit HEIF files is handled well, with pleasant, accurate colors and a nice balance of noise reduction and detail. You can often share photos straight out of the camera, too, something that’s important to street photographers who do little to no post-processing.
The 14-bit RAW photos offer plenty of room for fine-tuning, even in bright or dark areas. However, if you underexpose shots and try to boost levels, noise can get out of hand compared to a full-frame camera.
The higher resolution doesn’t hurt image quality much at higher ISOs. Noise is well controlled up to ISO 6400, and you can go up to 12800 if exposure is set correctly. I was impressed with the quality when shooting in bars and other dark environments.
And of course, the X100 VI offers Fujifilm’s full array of film simulation modes. You can experiment with popular looks like Velvia, Eterna or Acros black and white, and still have a full-color RAW backup. As the only major camera company also selling 35mm film, Fuji’s simulations are the most pleasing and realistic.
Video
The X100 VI’s excellent video specs are another bonus. It has nearly the same feature set as the X-T5, so you can shoot 6.2K at 30 fps with a 1.23x crop, or 4K at up to 60 fps with line-skipping and a 1.14x crop. The camera also offers sub-sampled 4K at up to 30p using the full sensor width, or high-quality 4K 30p with a 1.23x crop. Fujifilm also introduced 10-bit and F-Log2.
Samuel Dejours for Engadget
It took me a while to get used to the different modes and cropping levels. At 6.2K and 4K HQ, rolling shutter is pronounced so you’ll need to be aware of that. At the same time, full-sensor sub-sampled 4K is noticeably more low-res than the HQ mode.
Video autofocus matches what I saw with photos, meaning it was decent but not super reliable for moving subjects. The AI-powered AF did lock onto subjects, but again, couldn’t always keep up to flying birds, animals or vehicles.
Handheld video is now a realistic option with in-body stabilization. It worked well as long as I didn’t move around much, and offers a “boost” mode that smooths out jiggles further. Digital stabilization is also an option, but isn’t supported with the 6K or HQ modes, and doesn’t really reduce jolts for walking or fast movements.
Video quality is solid for a small compact camera, offering the same accurate colors you see in JPEG photo modes. Shooting in 10-bit F-Log makes it possible to adjust footage considerably in post or get creative. You can also shoot video using the film simulation modes if you want a specific look straight out of the camera.
Wrap-up
Samuel Dejours for Engadget
Fujifilm has made all the right moves to keep the X100 VI’s popularity high by tucking a very competent street and travel camera into a beautiful retro-cute body. The extra resolution, in-body stabilization and new video features should be more than enough to tempt owners to upgrade.
At $1,600, the X100 VI doesn’t have a lot of competition — which is odd, given its success. Leica springs to mind with the Q3, though that costs a whopping $6,000. Another option is the $1,000 Ricoh GR IIIx, which also offers in-body stabilization and an ND filter. However, resolution is lower at 24MP and it lacks the X100 VI’s high-end video features.
Sony’s ZV-1 II is also in this compact category, but it’s mostly designed for video. Keep an eye on Panasonic, as it may release a new compact camera, according to recent rumors. In any case, if you’re in the market for a high-end compact and can afford the X100 VI, I wouldn’t hesitate — there’s a lot of camera inside that beautiful body.
This article originally appeared on Engadget at https://www.engadget.com/fujifilm-x100-vi-review-a-one-of-a-kind-camera-for-street-photography-and-travel-133004951.html?src=rss
Fujifilm’s Instax cameras have been around for a while. They offer instant photo printouts in cute frames, taking over where Polaroid left. Over the years, the company has experimented with pastel colorways, retro styles, hybrid digital and manual photography, and even collaborations with Pokèmon and Taylor Swift.
The new Instax mini 99, which was released this month, comes in black. It looks more like my X-T2 and other Fujifilm models than a Polaroid. From a distance, it looks like a pricey digital camera, although it costs only $200. When you get to handle it though, you might be a little disappointed by the plasticky build. Still, there are parts where Fuji has lavished the camera with machined elements, like a tripod stand converter and some of the controls.
With a matte finish, the Instax mini 99 looks more professional, even cooler, than most of its predecessors. While there are no hybrid digital camera features, it delivers far more versatility than pretty much any other instant camera.
Mat Smith for Engadget
There are a lot of controls here for an instant camera, including three shooting options with different focal lengths. You twist the lens to switch between landscape, macro and standard settings, and each is (fortunately) labeled with a distance marker so you can best eyeball your shot. While there is a viewfinder, it won’t scale based on your shooting mode. Again, let’s not forget this is an instant camera. Having said that, with the mini 99 you do get access to filters and some basic exposure options.
Those filters attempt to strike those nostalgia chords. Normal is your typical shooting mode, and there’s faded green, soft magenta, light blue, warm tone and of course, sepia.
Light leak, meanwhile, sort of messes up your shots with LEDs built inside the camera, adding a burnout effect to your photos as they’re captured. What impressed me further were even more shooting modes, adding the ability to capture double-exposure shots, a manual vignette switch – which was nearly always on when I was shooting – and even fill-in flash, red-eye removal and automatic flash options. There’s also a sports mode that attempts to avoid blur when capturing moving subjects. Photos weren’t pin-sharp, but the mode seemed to capture things a little bit more crisply than in auto mode.
It’s an awful lot for an instant camera, and I found half the fun was in experimenting with modes and shooting effects. While I wouldn’t go so far as to call each shot a risk, it’s been so long since I’ve used film of any kind that each time I reached for the shutter button (of which there are two), I tried extra hard to nail framing and composition – probably more than I would with digital.
A lot of the shots I took (at a family birthday party with constantly moving babies and toddlers) were in ideal sunny outdoor lighting, but when I was indoors or areas with less light in general, I leaned heavily on the flash, which muddied a lot of the photos.
Mat Smith for Engadget
The learning curve is a bit steep if you haven’t owned an Instax over the last decade(or three). Each messed-up shot is roughly a dollar down the drain. But with each attempt, you begin to gauge lighting and focal distances better. An hour and ten photos later, I got nice shots of my nieces’ birthday party, even catching them looking at the camera on a few instances. Some photos I seemed to nail the correct focal distance, but that was the exception rather than the rule. Fortunately, half the appeal is off-focus moments, off-center framing and other happy accidents. I chose to apply a light leak effect – why would I complain if it’s not as pin-sharp as my iPhone 15 Pro?
There are a few things I’d love to see Fujifilm tackle if it attempts to make another premium Instax mini. First, add a small mirror for taking photos of yourself with the lens facing you. Many cameras offer a tiny mirrored surface so you can loosely tell you're pointing in the right direction. One selfie attempt with my niece cropped her almost entirely from the shot. Also, to recharge the Instax mini 99, you must take out the battery and put it into the included charger with a USB cable. That's too much of a hassle, and Fujifilm should offer a simpler method in future. Fortunately, I didn’t ever need to recharge the camera as I captured over 20 shots.
The Instax mini 99 uses the same smallish Instax film as other models, but with more controls, options and effects, it delivers on its attempt to be the premium instant camera. The film is still expensive, yes, and the device feels a little cheap for the price, but ultimately it delivers satisfying instant photo moments.
This article originally appeared on Engadget at https://www.engadget.com/the-instax-mini-99-could-pass-for-a-real-fujifilm-camera-150018817.html?src=rss
Fujifilm’s Instax cameras have been around for a while. They offer instant photo printouts in cute frames, taking over where Polaroid left. Over the years, the company has experimented with pastel colorways, retro styles, hybrid digital and manual photography, and even collaborations with Pokèmon and Taylor Swift.
The new Instax mini 99, which was released this month, comes in black. It looks more like my X-T2 and other Fujifilm models than a Polaroid. From a distance, it looks like a pricey digital camera, although it costs only $200. When you get to handle it though, you might be a little disappointed by the plasticky build. Still, there are parts where Fuji has lavished the camera with machined elements, like a tripod stand converter and some of the controls.
With a matte finish, the Instax mini 99 looks more professional, even cooler, than most of its predecessors. While there are no hybrid digital camera features, it delivers far more versatility than pretty much any other instant camera.
Mat Smith for Engadget
There are a lot of controls here for an instant camera, including three shooting options with different focal lengths. You twist the lens to switch between landscape, macro and standard settings, and each is (fortunately) labeled with a distance marker so you can best eyeball your shot. While there is a viewfinder, it won’t scale based on your shooting mode. Again, let’s not forget this is an instant camera. Having said that, with the mini 99 you do get access to filters and some basic exposure options.
Those filters attempt to strike those nostalgia chords. Normal is your typical shooting mode, and there’s faded green, soft magenta, light blue, warm tone and of course, sepia.
Light leak, meanwhile, sort of messes up your shots with LEDs built inside the camera, adding a burnout effect to your photos as they’re captured. What impressed me further were even more shooting modes, adding the ability to capture double-exposure shots, a manual vignette switch – which was nearly always on when I was shooting – and even fill-in flash, red-eye removal and automatic flash options. There’s also a sports mode that attempts to avoid blur when capturing moving subjects. Photos weren’t pin-sharp, but the mode seemed to capture things a little bit more crisply than in auto mode.
It’s an awful lot for an instant camera, and I found half the fun was in experimenting with modes and shooting effects. While I wouldn’t go so far as to call each shot a risk, it’s been so long since I’ve used film of any kind that each time I reached for the shutter button (of which there are two), I tried extra hard to nail framing and composition – probably more than I would with digital.
A lot of the shots I took (at a family birthday party with constantly moving babies and toddlers) were in ideal sunny outdoor lighting, but when I was indoors or areas with less light in general, I leaned heavily on the flash, which muddied a lot of the photos.
Mat Smith for Engadget
The learning curve is a bit steep if you haven’t owned an Instax over the last decade(or three). Each messed-up shot is roughly a dollar down the drain. But with each attempt, you begin to gauge lighting and focal distances better. An hour and ten photos later, I got nice shots of my nieces’ birthday party, even catching them looking at the camera on a few instances. Some photos I seemed to nail the correct focal distance, but that was the exception rather than the rule. Fortunately, half the appeal is off-focus moments, off-center framing and other happy accidents. I chose to apply a light leak effect – why would I complain if it’s not as pin-sharp as my iPhone 15 Pro?
There are a few things I’d love to see Fujifilm tackle if it attempts to make another premium Instax mini. First, add a small mirror for taking photos of yourself with the lens facing you. Many cameras offer a tiny mirrored surface so you can loosely tell you're pointing in the right direction. One selfie attempt with my niece cropped her almost entirely from the shot. Also, to recharge the Instax mini 99, you must take out the battery and put it into the included charger with a USB cable. That's too much of a hassle, and Fujifilm should offer a simpler method in future. Fortunately, I didn’t ever need to recharge the camera as I captured over 20 shots.
The Instax mini 99 uses the same smallish Instax film as other models, but with more controls, options and effects, it delivers on its attempt to be the premium instant camera. The film is still expensive, yes, and the device feels a little cheap for the price, but ultimately it delivers satisfying instant photo moments.
This article originally appeared on Engadget at https://www.engadget.com/the-instax-mini-99-could-pass-for-a-real-fujifilm-camera-150018817.html?src=rss
Nikon is arguably the world's most famous camera brand, but with the decline of DSLRs it has lagged behind Canon and Sony. In 2022, it released the Z9, a flagship mirrorless camera that could finally hold its own against rivals, but the $5,500 price tag put it out of reach for most. To appeal to a wider audience, Nikon unveiled the Z8 last year with the same sensor and nearly the same specs as the Z9 for $1,700 less.
With a 45-megapixel stacked sensor and the latest Expeed 7 image processor, the Z8 can do everything from sports to wildlife to scenic photography. It's also a powerful video camera, offering 8K RAW internal capture at up to 60 fps.
The only other model that can really compare in terms of speed, resolution and video is the Sony A1, but it costs a whopping $2,200 more. To find out how the Z8 stacks up against that model and others, I rented a Z8 and shot with it around Vancouver, Canada with my photographer cousin.
Body and handling
Design-wise, you can think of the Z8 as the Z9 with the battery grip chopped off. It's still a chunky camera at 910 grams (2 pounds), though, compared to 737 grams for the Sony A1. That might suit pros or those who like a larger camera body, but the size and weight aren't ideal for travel. By the way, a $346 battery grip (the MB-N12) with secondary controls is available for the Z8, effectively transforming it into a Z9 for far less money.
The Z8 has a nice big grip and all the controls you'd expect, including a joystick, D-Pad style menu control, switch for camera/video settings and front and rear dials. Nikon users will enjoy the layout as it's largely similar to past models, but everything is just different enough that it may feel awkward for users coming from other brands.
Unlike the A1, the Z8 features a display on top that shows key settings like shutter, aperture and battery life. Although it takes up space that could be used by buttons or dials, it's a handy way to see everything at a glance and I miss it now on models that don't have it. If you do have to dive into the menus, they take a bit of getting used to, but work well once you're over the learning curve.
One of the key negative points is the lack of a fully articulating display. Instead, the rear 3.2-inch 2.36-million dot screen only tilts up and down and to the left or right. That's too bad, because the Z8 could be a powerful vlogging camera and a flip-out display is must for that type of work (especially as it makes solo shooting easier).
The 3.69 million-dot electronic viewfinder is a bit low-res for a camera in this price range, especially compared to the 9.4 million-dot display on the Sony A1. Even Canon's cheaper R5 has a 5.76 million dot display that makes it substantially easier to check focus.
Battery life is on the weak side at 420 shots (one to two hours of video shooting depending on resolution), compared to 490 shots for the Canon R5 and 530 for the A1, according to CIPA ratings. Again, though, you can nearly double that with the battery grip. Other notable features include UHS-II and CFexpress B memory card slots, a full-sized HDMI port for external capture, as well as two separate USB-C ports for power delivery and data.
Performance
With the fastest high-resolution stacked sensor out there, the Z8 is unbelievably quick for a 45-megapixel camera. You can shoot RAW photos at 20 fps, a bit slower than the A1's 30 fps RAW capability, but the Z8 can shoot 30 fps in JPEG mode. It can handle 40 uncompressed RAW frames before the buffer fills, but can store more compressed images if you have a fast CFexpress card.
The hybrid phase-detect autofocus is Nikon's best to date due to the upgraded image processor, stacked sensor and huge number of AF tracking points. It offers reliable subject tracking, and the face, eye and animal detection is fast and accurate as well. In fact, the company has said it's nearly identical to the far more expensive Z9 as of the latest firmware.
That said, the Z8's AF isn’t quite as dependable as Sony’s A1 when shooting at the highest speeds. It occasionally had trouble tracking subjects, in particular those moving toward the camera, resulting in some out-of-focus shots. The Z8 (and Z9) is quite sensitive to setup, so it's best to fine-tune the AF settings until it works the way you want.
There’s no mechanical shutter, but the Z8’s sensor is fast enough that rolling shutter isn’t an issue, even on fast-moving objects like airplane propellers. The 5-axis in-body stabilization reduces shake by six stops, enough to get sharp photos down to a quarter second or so. That’s superior to the A1, but falls way short of the EOS R5’s 8 stops.
Image quality
The Z8 has the same excellent sensor as the Z9, so of course image quality is identical in all respects. With 45.7 megapixels on tap, it delivers sharp photos on par with the 50-megapixel A1 and second only to Sony’s 60 MP A7R V in the full-frame realm. Dynamic range is also outstanding, arguably a touch better than the A1.
JPEG images are bright and punchy straight out of the camera, with the best results in terms of colors from the Natural Light Auto white balance setting. Colors are accurate, though skin-tones aren’t quite as warm as Canon’s R3 or R5.
Meanwhile, the 14-bit RAW images hold plenty of detail that can be teased out in Lightroom or ON1, particularly in the highlights. Like the Z9, the Z8 no longer has an "uncompressed" option, but now offers "lossless compression" and two high-efficiency lossy modes. I typically used the RAW setting with the highest compression, because it's super efficient and frankly, I can't see any difference between that and lossless compressed RAW.
The Z8 performs reasonably well in low-light, too. Grain is well-controlled up to about ISO 6400, and shots are usable at ISO 12800. Beyond that, noise can become distracting. That lines up with Canon’s R5, but Sony’s A1 performs a bit better in dim lighting.
Video
The Z8’s video specs are pretty mind-blowing for a non-cinema camera and exceed the A1’s capabilities. You can shoot RAW video at up to 8K 60p in Nikon’s 12-bit N-RAW or 8K 30p with 12-bit ProRes RAW HQ internally, to CFexpress cards only, of course. It also captures 4K video oversampled from the full width of the sensor at up to 60p, and full-width 4K up to 120p — again, all in RAW.
It's worth noting that Nikon recently purchased RED cameras, so it now owns the RED RAW video patent that stymied so many other companies, including Apple. It'll be interesting to see if Nikon loosens up that enforcement, and if the acquisition impacts the tech in its own future models.
As with photos, video autofocus is fast and reliable, while doing a good job tracking subjects, faces and animals. It can handle challenging situations like subjects moving toward the camera, though again, not quite as well as the A1.
Rhonda Dent for Engadget
8K and 4K oversampled video is extremely sharp. Colors are accurate, but again, skin tones aren’t quite as pretty as on Canon’s latest models. Dynamic range is top-notch, particularly in the ISO 400-800 level in ProRes mode, making it easy to adjust shadows and highlights in post. If you love shooting ProRes footage, be sure to get some high-capacity CFexpress cards, because the files can get huge.
One area where the Z9 bests the Z8 in video is with thermal performance, as the Z9’s larger body allows for 125 minutes of 8K 60p recording compared to 90 for the Z8 before overheating. There are very few content creators that will need to continuously shoot 8K video for that long, however.
Wrap-up
Nikon’s Z8 is an extremely capable camera and shows that the company should offer as much speed and power as possible if it wants to catch up to Canon and Sony. For many hybrid shooters, the Z8 is a better option than Sony’s A1, particularly when it comes to video.
While it does out-spec the Sony in a number of areas, the Z8's autofocus isn’t quite as good — and that's arguably the most important feature on any camera. Shooters who require a mechanical shutter (for flash photography, etc.) will also need to look elsewhere. Another 8K-capable full-frame mirrorless model is Canon’s R5 that falls short of both models in many regards, but is cheaper at $3,200.
A decision to buy this camera might be based on what system and lenses you’re already into. However, if I was starting from scratch, I’d go for the Z8 over Sony’s A1, as you get the camera plus a very good lens for the same amount of money.
This article originally appeared on Engadget at https://www.engadget.com/nikons-z8-is-a-phenomenal-mirrorless-camera-for-the-price-180209073.html?src=rss
There’s a cult following for 360-degree cameras. While companies like GoPro and Ricoh continue to dabble in the category, Insta360 simply dominates it. Until today, the X3 was the ultimate 360 camera, with loads of features and shooting modes that were relatively easy to use. Insta360’s collection of selfie sticks, guards, cases and peripherals added even more cool tricks like bullet time effects and fast-zoom video effects. A few years later, we’re getting the Insta360 X4, with improvements prioritizing the fundamentals. There are higher-resolution camera sensors, a bigger battery and even more versatility, thanks to multiple resolutions and framerate options.
Photo by Mat Smith/Engadget
The Insta360 X4 doesn’t look hugely different from the X3. It has the same candy bar form factor, with two huge wide-angle lenses either side. It does seem more elongated, but I had no issue cramming it into my pocket during a week of testing.
The new camera has removable lens guards, which is an intelligent design improvement. Any damage or scratch to the lens will likely affect image quality, especially when it’s exposed in … adventurous settings. Previously, Insta360 offered sticky lens covers, but the X4 new lens has guards that can be twisted on and off the camera sensors. And they come included in the box, which is nice.
Both the USB-C port and battery compartment, where the microSD slot lives, are protected by solid covers with sliding locks. The Insta360 X4’s Type-C port now supports USB 3.0 speeds, arguably necessary when dealing with these higher-resolution videos and bigger files.
Photo by Mat Smith/Engadget
The button layout remains streamlined and familiar to anyone who’s used Insta360 cameras before. There’s a circular ‘shoot’ button (voice and gesture shooting options are built-in, too, but they’re a little less reliable), a mode switcher, a programmable Q button, and the power button. The 2.5-inch touchscreen is bigger, too, and most settings are only a few swipes away. It feels like using a smartphone, which helps make it intuitive.
However, the sheer versatility means there are a lot of menus to peruse. I never felt overwhelmed but during testing, I never quite managed to get Bullet Time and Time Shift to work anywhere near as well as I’ve seen on YouTube.
Photo by Mat Smith/Engadget
Newcomers can power up the X4 immediately and capture video and stills without too much struggle. Naturally, for those who know what they’re doing, this is where things get fun.
The technical improvements focus on video, with the new ability to record footage at up to 8K 30fps or 5.7k at 60fps. Slow-mo video has been boosted up to 4K resolution, too. Insta360’s Me Mode, which captures traditional ‘flat’ video (in combination with its ‘invisible’ selfie stick), has been upgraded to 4K 30fps. In short, it captures more of everything compared to its predecessor. More pixels mean more detail with 360-degree video (or any capture mode). It also ensures that when you crop down to create clips for social media, the footage doesn’t appear too low-res. Plus, Insta360 claims that stepping down to 5.7K resolution to record video will offer better performance in low light, which seemed true during my tests indoors and in the evening.
Insta360 has considered the increased processing demands of higher-resolution content. The X4 has a 2,290mAh battery, 67 percent bigger than the X3's. According to the press release, it should be able to capture video for up to 135 minutes.
While we’re focusing on the upgrades, a lot of Insta360’s best camera features are carryovers from the X3. 360-degree horizon lock keeps all your footage level regardless of how you hold the X4, and there’s still impressive image stabilization and waterproofing up to 33 feet. While the X3 fixed many of the biggest problems with capturing 360-degree video, the X4 has boosted fidelity to the point where it’s possible to capture polished footage without much effort.
The X4 is now available to order directly from Insta360, priced at $499.99. That is $100 more than its predecessor but still less than the company’s pro-level $800 camera, the One RS 1-inch 360 Edition.
This article originally appeared on Engadget at https://www.engadget.com/insta360-x4-release-date-price-first-impressions-130001066.html?src=rss
There’s a cult following for 360-degree cameras. While companies like GoPro and Ricoh continue to dabble in the category, Insta360 simply dominates it. Until today, the X3 was the ultimate 360 camera, with loads of features and shooting modes that were relatively easy to use. Insta360’s collection of selfie sticks, guards, cases and peripherals added even more cool tricks like bullet time effects and fast-zoom video effects. A few years later, we’re getting the Insta360 X4, with improvements prioritizing the fundamentals. There are higher-resolution camera sensors, a bigger battery and even more versatility, thanks to multiple resolutions and framerate options.
Photo by Mat Smith/Engadget
The Insta360 X4 doesn’t look hugely different from the X3. It has the same candy bar form factor, with two huge wide-angle lenses either side. It does seem more elongated, but I had no issue cramming it into my pocket during a week of testing.
The new camera has removable lens guards, which is an intelligent design improvement. Any damage or scratch to the lens will likely affect image quality, especially when it’s exposed in … adventurous settings. Previously, Insta360 offered sticky lens covers, but the X4 new lens has guards that can be twisted on and off the camera sensors. And they come included in the box, which is nice.
Both the USB-C port and battery compartment, where the microSD slot lives, are protected by solid covers with sliding locks. The Insta360 X4’s Type-C port now supports USB 3.0 speeds, arguably necessary when dealing with these higher-resolution videos and bigger files.
Photo by Mat Smith/Engadget
The button layout remains streamlined and familiar to anyone who’s used Insta360 cameras before. There’s a circular ‘shoot’ button (voice and gesture shooting options are built-in, too, but they’re a little less reliable), a mode switcher, a programmable Q button, and the power button. The 2.5-inch touchscreen is bigger, too, and most settings are only a few swipes away. It feels like using a smartphone, which helps make it intuitive.
However, the sheer versatility means there are a lot of menus to peruse. I never felt overwhelmed but during testing, I never quite managed to get Bullet Time and Time Shift to work anywhere near as well as I’ve seen on YouTube.
Photo by Mat Smith/Engadget
Newcomers can power up the X4 immediately and capture video and stills without too much struggle. Naturally, for those who know what they’re doing, this is where things get fun.
The technical improvements focus on video, with the new ability to record footage at up to 8K 30fps or 5.7k at 60fps. Slow-mo video has been boosted up to 4K resolution, too. Insta360’s Me Mode, which captures traditional ‘flat’ video (in combination with its ‘invisible’ selfie stick), has been upgraded to 4K 30fps. In short, it captures more of everything compared to its predecessor. More pixels mean more detail with 360-degree video (or any capture mode). It also ensures that when you crop down to create clips for social media, the footage doesn’t appear too low-res. Plus, Insta360 claims that stepping down to 5.7K resolution to record video will offer better performance in low light, which seemed true during my tests indoors and in the evening.
Insta360 has considered the increased processing demands of higher-resolution content. The X4 has a 2,290mAh battery, 67 percent bigger than the X3's. According to the press release, it should be able to capture video for up to 135 minutes.
While we’re focusing on the upgrades, a lot of Insta360’s best camera features are carryovers from the X3. 360-degree horizon lock keeps all your footage level regardless of how you hold the X4, and there’s still impressive image stabilization and waterproofing up to 33 feet. While the X3 fixed many of the biggest problems with capturing 360-degree video, the X4 has boosted fidelity to the point where it’s possible to capture polished footage without much effort.
The X4 is now available to order directly from Insta360, priced at $499.99. That is $100 more than its predecessor but still less than the company’s pro-level $800 camera, the One RS 1-inch 360 Edition.
This article originally appeared on Engadget at https://www.engadget.com/insta360-x4-release-date-price-first-impressions-130001066.html?src=rss