Nothing Phone 4a Pro hands-on: A premium design with a price to match the Pixel 10a

Nothing has announced its latest premium midrange device, the Phone 4a Pro. The company says it's the thinnest full-metal phone on the market, measuring in at 7.95mm. It also looks notably different from the prior A-series phones – and pretty much any of the company's phones to date.

It features an aluminum unibody while retaining Nothing’s retro-clear hardware design touches, with a clear, redesigned camera unit. Yes, the aggressively protruding circular camera unit of the Phone 3a Pro is gone, replaced with an oblong housing that houses the triple-camera array and a tweaked Glyph Matrix, similar to what debuted on last year’s Nothing Phone 3. It also feels incredibly premium – more so than even the company’s flagship phones.

Despite that, Nothing seems to be strikeinga balance between affordability and wow factor with the Phone 4a Pro. It has a slightly higher price tag ($499) than the 4a and alongside a major hardware redesign, a lot of the improvements here make this phone feel “pro” compared to its smaller sibling. This new premium vibe comes at a cost of design excitement, though. 

It also looks a little like another certain smartphone or two. Don’t call it a camera plateau.

Nothing Phone 4a Pro hands-on
Image by Mat Smith for Engadget

The Phone 4a Pro has its own take on the Glyph Matrix, composed of 137 mini-LEDs. That’s fewer LEDs than the Nothing Phone 3, but they are 100 percent brighter at around 3000 nits. It supports pretty much all the Glyph toys we enjoyed on last year’s Nothing flagship, although the 4a Pro lacks a dedicated Glyph Button, which is a shame. This means in order to hop between toys and modes, you’ll have to dig into Glyph settings inside the settings menu – not the existing Glyph menu – in order to flit between them. Honestly, may make me less likely to play around with the Glyph, but I’ll have to see after further testing. It’s a little odd when there’s a circular metal detail on the lower left corner that looks like it could have been a Glyph button. Ah well.

The Phone 4a Pro will land in three different colors: silver, black and pink. The pink hue is tastefully subtle. So subtle, in fact, that you'd think it was the silver option. I like the black version. 

Nothing Phone 4a Pro hands-on
The gigantic camera unit seen on the Phone 3a Pro is no more.
Image by Mat Smith for Engadget

The Phone 4a Pro has a slightly bigger screen than both its predecessor and the 4a, but the real news isn’t just the extra fraction of an inch. The 6.83-inch display can now reach 144Hz refresh rates, while it can also top out at 5,000 nits of brightness with HDR content. That makes it up to 66 percent brighter than its predecessor, and it was noticeably easier to read in Nothing’s harsh spotlights and daylight.

Nothing has further refined the cameras, and the 4a Pro uses the same telephoto sensor as the flagship Phone 3. That’s paired with a new 50-megapixel Sony LYT-700C camera sensor that’s 24 percent bigger than the 50MP sensor inside the 3a Pro. It’s also faster at auto-focus than its predecessor, and seems to more easily lock onto subjects without having to tap on what you want in focus.

There’s also a new triple 12-bit Image Signal Processor (ISP), which enables up to 140x ultra zoom, like we’ve seen on Galaxy phones for the last few years. Don’t expect to be blown away by those zoom extremes: it seems to work well on the easy-to-guess structures of buildings and patterns, but a 70x zoom range and higher aren't settings I'm going to lean into much.

I haven’t had time yet to fully scrutinize the 4a Pro’s camera, but there’s a lot of feature parity with pricier phones. It can capture super-slow 120fps video at full HD, while Action Mode is built directly into the camera app to shoot up to 30 Ultra XDR images in a row. Codeveloped with Google, Ultra XDR images are high-dynamic-range images that capture 13 RAW frames at different exposures and combine them into a single image. In practice, this should offer another way to pull usable shots from challenging low-light or harsh-light environments.

Power users may also like new presets, alongside Nothing’s own collection of camera filters. There are seven new editing options, letting you tweak (and save) contrast levels or even apply a vignette effect. I’m a fan of the built-in presets, but it’s nice to have access to the same camera settings to make and save my own B&W filter.

Nothing says you can expect 30 percent improved graphics performance and 27 percent faster CPU speeds, with “flagship” LPDDR5X memory, which makes it 100 percent faster than last year’s 3a Pro. Improvements to the chipset and memory speed weren’t immediately noticeable during my time seeing the device.

Nothing Phone 4a Pro hands-on
Image by Mat Smith for Engadget

Nothing continues to refine its own OS skin, but it’s still a refreshing, different take on the Android interface you’re used to. And if you’re not a fan, you can turn it back to a more stock look. Based on user feedback, there are new size options for the home screen widgets and a new custom lock screen. It may be due to the more powerful processor, but both the 4a Pro and the base 4a seem to have smoother animation flourishes when opening and switching between apps or swiping across content.

New AI software includes a formal launch of Essential Search, able to scour the entire device for information, images, documents, apps and more. The 4a series include the first Nothing devices to include cloud access for the still useful Essential Space app, housing your voice notes, screengrabs, text notes, and more. This means, hopefully, I can transition everything across from my Nothing Phone 3. (Or even between the Phone 4a and 4a Pro.)

Nothing Phone 4a Pro hands-on
Image by Mat Smith for Engadget

It’s a different look for Nothing, and the 4a Pro’s price (and timing) will pit it against both the Pixel 10a (priced the same) and base flagship devices from Samsung. The Phone 4a series pre-orders are open now at nothing.tech and other retailers, with sales of the Phone 4a Pro starting March 27. Expect our full review in the coming weeks.

This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/nothing-phone-4a-pro-hands-on-price-launch-date-123053485.html?src=rss

Xiaomi 17 Ultra hands-on: Incredible cameras, but maybe hard to get

China’s biggest phone makers continue to relentlessly forge ahead with high-spec phones that you may never see in the US. With the Xiaomi 17 Ultra this year, the company has continued its pattern from previous iterations by focusing on powerful camera sensors, huge batteries and… being selective about global availability.

Xiaomi’s 17 series is launching across multiple European territories months after its Asia debut, but at the time of writing, no word yet on US availability. Another logistical point of interest? When we last checked out Xiaomi’s devices, it was the 15 series, and the company has decided to skip 16 and leap straight to 17, conveniently matching Apple’s latest number.

Storied camera brand Leica has been involved with Xiaomi’s phones for a few years and its newest flagship doesn’t disappoint in that regard, because this is another Xiaomi device dedicated to photography.

Xiaomi 17 Ultra hands-on at MWC 2026
Image by Mat Smith for Engadget

The 17 Ultra has a huge 1-inch 50-megapixel main camera sensor with a f/1.67 lens, and a telephoto setup with a 200MP 1/1.4-inch sensor and going up to 4.3x optical zoom. Xiaomi claims it’s capable of up to 17x “optical-level zoom,” but quality doesn’t measure up to, say, the Oppo Find X9, with its dedicated telescopic lens add-on. There’s also a 50MP ultrawide camera to round things out.

The main camera is very impressive, delivering plenty of detail and performing incredibly well in low light, seemingly before any computational photography kicks in. A new Light Fusion 1050L sensor features LOFIC HDR technology, delivering stronger control over highlights and more detail in darker areas of your shots. I've been impressed by the balanced color tone and contrast, without having to edit or add one of the (many) Leica camera filters.

If anything, the slightly heavy-handed algorithms can sometimes ruin parts of a shot. For instance, by scrambling lettering or capturing blurry, AI-mutated faces where computational photography takes a swing (and a miss) at people in the distance.

Xiaomi 17 Ultra hands-on photo samples
Mat Smith for Engadget

The telephoto camera alone is also technically interesting in a few ways. It offers continual optical zoom across the 75-100mm range without in-sensor cropping. This means the lenses physically move to deliver lossless zoom across a range of distances, without jarring leaps between camera sensors and crops. This doesn’t run across the full gamut, but it does roughly cover the 3-4x optical zoom range, which is often used in portrait photography.

The APO (apochromatic) lens design on the telephoto is more immediately useful and effective. An APO lens significantly reduces chromatic aberration by focusing three wavelengths of light (red, green and blue) onto the same focal plane. This lens design means it can correct color fringing and improve image sharpness.

Xiaomi 17 Ultra hands-on photo samples
At full optical zoom, this light fitting at Soho Theatre Walthamstow doesn't bloom or fringe to the extent that most smartphone zooms suffer from.
Mat Smith for Engadget

At higher zoom levels, fringing and lighting bloom often hamper telephoto photos on smartphones, and Xiaomi’s solution has some appeal. I noticed less fringing than on other zoom-capable Android phones from Samsung, Oppo and Google. It also supports macro photography, but is hindered this time by a minimum focal distance of 30cm (11.8 inches). Most smartphone cameras’ macro modes let you get much closer.

The 17 Ultra can capture up to 8K video (at 30 fps), 4K Dolby Vision up to 120 fps, and 4K 120 fps Log video, ensuring you can make the most of that huge 1-inch sensor in video, too. That said, it seems to struggle with stabilization at times, while its low-light performance doesn’t match its prowess in still photography, lagging behind flagship phones from Apple, Google and Samsung.

There's also a special Leica edition of the 17 Ultra, which is largely the same, specification-wise, but with a manual zoom ring around the camera unit. It's a cool gimmick, but felt oddly loose on a few devices I've handled. 

Xiaomi made a few design changes to its Ultra line this year, with a new, entirely flat display, and flattened edges that look like a certain family of devices. In fairness, it’s not the only company using imitation as flattery. There’s also IP68 protection against dust and water.

While cameras may be the highlight, this is a flagship device by any specification metric. With a 6.9-inch display, this expansive OLED display has variable refresh rates (1-120Hz) and peaks at 3,500 nits of brightness.

At that size, the Xiaomi 17 Ultra is in the territory of devices like the iPhone 17 Pro Max and S26 Ultra. A phone this size isn’t for everyone, but it is the thinnest Ultra phone from Xiaomi to date, with a profile measuring 8.29mm. Xiaomi has also reduced the camera unit’s diameter and raised it on the device, making it easier to use and helping keep fingers out of your shots.

Xiaomi 17 Ultra hands-on at MWC 2026
Image by Mat Smith for Engadget

Also, I’d be remiss if I didn’t mention the huge 6,000mAh silicon-carbon battery, with support for Xiaomi’s 90W HyperCharge (if you have the right charger) and 50W wireless HyperCharge (which also requires Xiaomi’s own dock) speeds. Other phone makers: Please put a battery this huge in your flagship.

At MWC 2026, the company announced the global launch and rollout of the device across Europe, including the UK where the Ultra will start priced at £1,299 (roughly $1,750). We're still waiting to confirm US availability and pricing.

While the specs are powerful, “launching” a flagship device that’s already been in the wild for a few months — even if elsewhere in the world — reduces the spectacle.

This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/xiaomi-17-ultra-global-launch-hands-on-leica-camera-143006810.html?src=rss

Leica’s Leitzphone by Xiaomi has a huge 1-inch camera sensor and a stylish new design

Alongside a global launch for Xiaomi's 17 Ultra (read about that right here), the company announced a further deepening of its relationship with Leica. The CEO of Leica, Matthias Harsch, took to the stage to announce a new Leitzphone, which appears to be an even deeper collaboration than 17 Ultra by Leica, which is a different phone. Confused? That's fair. 

Design-wise, Leica has shifted back to a single tone body color, which looks more "Leica" to this camera dilettante's eyes. And if you’re thinking you’ve heard of the Leitzphone before, you probably have: it was a series of phones made by Sharp that launched in Japan in 2021. They all had a 1-inch camera sensor, as does Xiaomi’s first Leitzphone. It also has a mechanical, physical ring dial around the camera unit to control settings like zoom, exposure and shutter speed.

The camera interface is also designed by Leica. It's designed to be as intuitive as possible, with an Essential mode in the camera app that strips away all those modes and labels, showcasing whatever you're looking to shoot. You can switch between a monochrome shooting mode and a more familiar punchy, contrasty Leica filter. And that's it.

Aside from that there's no major standout interface or UI changes that I could spot while trying out the Leitzphone briefly at Xiaomi's MWC keynote. However, if you're intrigued by the functionality — or the cameras — check out our hands-on coverage and sample photos of the Xiaomi 17 Ultra. The cameras are good.

Leica Leitzphone by Xiaomi hands-on at MWC 2026§
Image by Mat Smith for Engadget

All three iterations (the regular Xiaomi 17 Ultra , the "by Leica" edition and the Leitzphone) have a Snapdragon 8 Elite Gen 5 chip and a 6.9-inch 120Hz display that can reach up to 3,500 nits of peak brightness. While cameras are naturally the focus, it’s a flagship device by pretty much any metric. It also has a 6,000mAh battery for extended vacation photo shoots.

Barring some Leica-tinged wallpapers and design accents, it's a lot like the 17 Ultra by Leica, just with different messaging. This is Leica's phone, made by Xiaomi, but does a rose by any other name still have great low-light photography? Maybe increased Leica branding will be enough to coax its camera fans into making this their next smartphone, perhaps.

Leica Leitzphone by Xiaomi hands-on at MWC 2026§
Image by Mat Smith for Engadget

After years of collaboration (and cute little badges), this may be the first pure "Leica phone" manufactured by Xiaomi but sold directly by both companies. It's priced at €1,999 (roughly $2,362), but it's not known yet whether this phone will launch in the US. Welcome to MWC, everyone.

This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/leica-leitzphone-xiaomi-mwc-2026-135744417.html?src=rss

The best budget cameras for 2026

Like other electronics products, cameras have shot up in price in the US of late due to tariffs and other reasons. Fortunately, there are still many models available for less than the price of a budget smartphone ($750 or less) that offer great features for creators and photographers alike. 

If it’s speed you want for sports or action shots of your kids, models like Canon’s R50 can shoot bursts as fast as many high-end cameras. Creators, meanwhile, can choose Sony’s ZV-E10 for vlogging jobs. There are also great, and cheap, models in the action and gimbal camera categories. 

Which one to pick therefore depends not only on your budget but what you want to do with your camera. So we’ll not only detail the best picks, but how to home in on the best model for your specific needs.

Which camera to buy obviously depends on what you shoot. If it’s mostly things like extreme sports, skiing or other adventurous activities, the best choice is obviously an action camera from GoPro, DJI or Insta360. Then, you just need to decide whether you want to shoot flat or 360 video, and whether you need a tiny or regular-sized model. The same goes for gimbal-style cameras from DJI and others. 

Buying a camera for travel photography, sports photos or vlogging is a bit trickier. Here, you need to choose either a compact camera with a fixed lens or a mirrorless model that supports removable lenses. 

Compact cameras tend to have smaller sensors and slightly lower quality lenses, but they’re obviously easier to carry — most will fit in a large pocket. So, if budget, convenience and portability is the most important to you, then go for a model in this category. 

When you’re trying to make the highest quality videos, though, you’ll want to choose a mirrorless camera with a decent lens. With the larger sensor, you’ll be able to create nice blurred bokeh backgrounds to separate your subject from the foreground. Lenses are usually sharper as well, and you’ll be able to expand your collection over time for even more versatility. 

This article originally appeared on Engadget at https://www.engadget.com/cameras/best-budget-camera-130000653.html?src=rss

The ridiculously tiny Kodak Charmera captured our hearts (and lots of shoddy pictures)

Every once in a while, a product comes along that sparks a bit of joy in our jaded hearts. This is what happened with the Kodak Charmera, a $30 tiny toy camera that was nearly impossible to get ahold of in the first couple of months after its release, selling out immediately over waves of blind box restocks. Despite the gimmick of it all, the Charmera was just too cute for some of us to resist, and we sprang when they finally started becoming more readily available. 

A few of us on the Engadget team have one now, and even with all of its shortcomings, we kind of love this thing. Here's what two of our writers think about it. 


Lately, it feels like a chore to carry around a full-frame mirrorless camera. My Nikon definitely feels like the right tool to precisely capture a moment in time with fast autofocus and plenty of image resolution. Other times, that perfect moment is more casual, like catching up with friends over dim sum or killing time while you're snowed in at a cabin in Vermont. In these cases, there's no reason to carry around a hulking camera and lens to snap a flawless photo that I have to edit later. Instead, something light, discreet and playful feels like the right tool for the occasion.

A low-res image of a tree standing in a snow-covered field, with other trees in the background
Jackson Chen for Engadget

That's where the Kodak Charmera comes in. It's a toy camera with a 35mm lens with a fixed f/2.4 aperture and a 1/4-inch sensor. In other words, the photos this thing takes are about equivalent to what you would get with a crappy flip phone from the 2000s that also plays Snake.

Kodak is clearly trying to wring out the longing for nostalgia within all of us, and has nailed it with the Charmera, which is even inspired by its old-school disposable Fling cameras. It's definitely not as good as the smartphone in your pocket, but there's something disarming about snapping a quick shot with a tiny block of plastic that's lighter than your keys.

Playing around with the Charmera for a few weeks gave me a healthy reminder that the sillier and more transient parts of life don't need the technical prowess of an expensive camera. Obviously, the Chamera produces photos of terrible quality at 1.6 megapixels and can't really capture anything fast-moving or in low light, but it's undeniably fun and hard to resist shooting with. And sometimes, you and your friends are just doing wildly unserious things and you want a camera that matches that energy.

Jackson Chen, Contributing Reporter


Every time I pull out the Kodak Charmera in public to snap a few pictures, I'm immediately met with a barrage of questions and squeals of delight from full-grown adults: "What is that?"; "Is that a camera?"; "Does it really take pictures?"; "Can I see it?" It is the kind of accessory that doubles as a conversation starter, an effect that's turned out to be as joyous as taking pictures with the camera itself. I've been trying really hard to spend less time on social media and my phone in general lately, and having a two-inch camera clipped to me has made for a pretty fun shift in how I document the day-to-day. 

As the resurgence of compact digital cameras has shown us, a lot of people are yearning for a time of simpler tech — when we had personal devices that could do useful things, like take decent photos and connect us to our friends, but didn't consume our lives entirely. Companies like Camp Snap have shaped their entire brands around recapturing that magic, and some consumers have shown that they're willing to sacrifice in areas like image quality in exchange for a taste of it, too. The Kodak Charmera isn't the kind of product you go into purchasing with high expectations. It is clearly a toy that is only going to be capable of so much. 

Two Sphynx cats, both dark gray with black ears and noses, sit close together cuddled under a light beige blanket, one looking straight at the camera and the other looking off to the side
Cheyenne MacDonald for Engadget

As Jackson noted, the low-resolution 1,440  x 1,080 pictures look about on par with those you'd have taken on a flip phone 15 or 20 years ago. In the right lighting conditions with a clearly defined subject, they're not so bad. But selfies, portraits and nature photos will generally look washed out. It can record videos too — and you should set similarly low expectations for these. 

Despite all that, I've been pleasantly surprised by how much I'm enjoying the Charmera experience. Its crunchy photos are just good enough to feel like they're successfully preserving a moment in time. And being so tiny, it's really convenient to bring everywhere. It even came with me to CES. The Charmera takes a microSD card (sold separately), allowing for tons of storage and easy transferring. There are a bunch of built-in filters you can apply, too, which have been fun to play around with.

If I want high-quality photos, this isn't the camera I'm going to reach for. But it's great for low-stakes situations when all I care about is taking some pictures I can look back on fondly later. Consider me charmed. — Cheyenne MacDonald, Weekend Editor


This article originally appeared on Engadget at https://www.engadget.com/cameras/the-ridiculously-tiny-kodak-charmera-captured-our-hearts-and-lots-of-shoddy-pictures-140000245.html?src=rss

Canon unveils a Limited Edition version of its popular G7 X III compact camera

Canon released its first PowerShot camera back in 1996 with a 0.5-megapixel sensor, helping kickstart the digital photo revolution. To celebrate that 30-year anniversary, the company has unveiled a Limited Edition version of its still-popular PowerShot G7 X III compact camera. It has a few unique touches but is otherwise the same as the original model released nearly seven years ago.

The limited edition model has a new “graphite” color with a knurled front ring designed to exude “luxury and quality,” Canon wrote. It also carries 30 year anniversary logo printed on the body “to create a special feeling suitable for limited edition models,” the company added in the most Canon-y way possible.

Canon's Limited Edition PowerShot G7 X III compact camera
Canon's Limited Edition PowerShot G7 X III compact camera
Canon

As a reminder, the G7 X III was one of the first cameras announced specifically as a model for vloggers, thanks to its ability to shoot vertical video for Instagram. It features a 20.1MP sensor, flip-up 3-inch touchscreen, 24-100mm f/1.8-2.8 zoom lens and a microphone input. It supports 4K 30 fps video with no cropping and can shoot 1080p at 120 fps. The piece de resistance is direct streaming to YouTube directly over Wi-Fi, then a new thing but now a common feature. It originally retailed for $749.

The G7 X III had been in short supply until recently, but used models became popular with influencers several years ago and started selling way above list price. Possibly because of that viral fame, Canon announced in August 2025 that it was increasing production and the G7 X III started returning to stock a few months later priced at $880.

Canon's Limited Edition PowerShot G7 X III compact camera
Canon's Limited Edition PowerShot G7 X III compact camera
Canon

The Limited Edition G7 X III is selling for a lot more than that at $1,299, though it does come with a limited edition Peak Design cuff wrist strap and 32GB SD card. If you want to one-up the influencers and grab one, shipping will start in April 2026.

Along with the camera, Canon announced a pair of interesting new RF-mount full-frame lenses. The first is the ultra wide angle RF 14mm f/1.4 L VCM prime model priced at $2,599, promising bright, high quality optics. The other is a very interesting $1,899 RF7-14mm f/2.8-3.5 L Fisheye STM zoom lens with up to a 190 degree perspective at the widest setting.

This article originally appeared on Engadget at https://www.engadget.com/cameras/canon-unveils-a-limited-edition-version-of-its-popular-g7-x-iii-compact-camera-040000700.html?src=rss

Sony A7 V review: Awesome speed and photo quality

Sony A7 series camera launches are eagerly anticipated by camera lovers, as those models are typically a showcase for the company’s latest imaging tech. The new A7 V is a great example of that: it’s equipped with Sony's new 33-megapixel partially-stacked sensor — the most advanced in any midrange full-frame mirrorless model.

The A7 V’s resolution is higher than rivals like Panasonic’s S1 II and the Nikon Z6 III in this category while matching Canon’s R6 III. However, Sony trumps the latter with a faster sensor that promises lower rolling shutter distortion in electronic mode. Sony also boasts that it offers the highest dynamic range of any of its cameras to date. 

Unlike Canon with the R6 III, Sony didn’t bend over backwards to accommodate creators, though. Video resolution is limited to 4K, and the A7 V lacks any RAW video capability, compared to 7K and RAW for Canon’s latest model. All of that means the A7 V may be great for some buyers, but fall short for others.

Like other recent Sony cameras, I didn’t find the A7 V comfortable to hold for long periods of time. That’s because the grip, while deep, is a bit short and too small for large hands. At the same time, it has harder exterior materials than Canon’s cameras and is a bit heavier than the A7 IV at 1.53 pounds (698 grams) compared to 1.45 pounds (653 grams) for its predecessor. 

The handling makes up for the lack of comfort, though. It has two dials for the primary controls (shutter speed and aperture), along with a third for exposure compensation. There’s a dual dial with a shooting mode on top and video/photo/S&Q below, plus a rear joystick, rear dial and nine buttons. The main controls fell nicely to my hands, which made camera control a cinch. 

The A7 V has the same well-organized menu system as other recent Sony models and it's easy to customize dials, buttons and quick menus to your liking. Overall, Sony’s menus are now among the best, and functions are easier to access than on Canon’s R6 III, for example.

The 3.69-million dot EVF display is relatively sharp and on par with the R6 III, but falls short of 5.76-million-dot EVF on the significantly cheaper Nikon Z6 III. The 3.2-inch rear display fully articulates as before, but it also tilts now, so I was able to easily shoot from high and low angles. It’s also slightly bigger and has 2.1 million dots, up from 1.65 million dots on the A7 IV. 

The A7 V has a dual-slot card system with two SD UHS II slots and a faster CFexpress Type A slot. However, Type A CFexpress cards are less than half as fast as the CFexpress B cards used in other cameras. The A7 V includes a full-sized HDMI port for external display, 3.5mm mic and headphone ports, and two USB-C ports — one for charging and one for 10Gbps data transfers. Battery life is decent with up to 630 shots on a charge or 100 minutes of continuous 4K 30 fps capture. The camera isn’t constrained much by temperature limits, as I was able to shoot 4K 30p video for 90 minutes straight with no issues. 

The 33MP partially-stacked sensor has made a big difference in the A7 V’s speed and autofocus accuracy. It can now hit 30 fps blackout-free RAW burst speeds with the electronic shutter (with autofocus and auto exposure enabled), compared to an anemic 10 fps with the A7 IV. That makes it a surprisingly good choice for sports and wildlife photography, or just shooting fast-moving kids or pets. Speeds drop to 10 fps in mechanical shutter mode, which is on par for this category.

ISO 6400, f/2.8, 1/40th
ISO 6400, f/2.8, 1/40th
Steve Dent for Engadget

Rolling shutter distortion is only an issue when shooting super fast subjects like airplane propellers or golf swings. And unlike Canon’s R6 III and other rivals, the A7 V maintains full 14-bit RAW quality during electronic shutter bursts instead of dropping to 12-bit RAW, which allows for higher dynamic range.

As you’d expect with Sony, autofocus is fast and extremely accurate, delivering the best in-focus hit rate of any camera in this price range. When tracking moving subjects like bikes, birds or kids, I rarely saw a blurry shot. This applied even in tricky lighting and chaotic situations with multiple subjects. The A7 V also nailed auto exposure and auto white balance, even when I shot at dusk with a mix of indoor and outdoor lighting.

Sony’s latest AI features make it easy to track nearly anything. Face, eye and body tracking are supported for people, and you can also follow animals, birds, insects, cars, trains and airplanes. The AI has been trained to track people in any position, even if they’re partially obscured or disappear in the frame. This proved to be convenient when I shot street photos in crowds with a specific subject in mind. 

This does bring up one sore point with the A7 V. When using third-party lenses, the burst rate speeds drop from 30 fps to 15 fps. In addition, you may not be able to use some lenses at all in AF-C (continuous) mode without applying a firmware update.  

In-body stabilization is improved significantly over the A7 IV from 5.5 to 7.5 stops with compatible lenses, but falls short of all rivals that hit at least eight stops. Still, I was comfortably able to shoot at shutter speeds as low as a half second handheld without any camera blur. 

Photo quality is where the A7 V shines. Dynamic range is superior to rival cameras, both in the real world and specialized testing. This is due to Sony’s latest dual gain output tech that combines two ISO levels at once integrated with the new 33MP partially-stacked sensor (when using the mechanical shutter). 

I noticed this when taking photos at twilight in several of Paris’ squares. After shooting a statue against a bright sky, I was able to extract noise-free shadow detail from RAW files and easily adjust bright areas. When shooting ducks in water that reflected a bright sky, I saw similarly high levels of detail in both dark and bright picture areas. There is one thing to keep in mind, though: As Photons to Photos noted, there’s a slight drop in dynamic range below ISO 1,000 when using the electronic shutter.

Should you need even more detail and dynamic range, Sony’s new Composite RAW feature that’s borrowed from the A9 III combines four, eight, 16, or 32 RAW images to reduce noise and improve image quality. I used it to photograph some high-contrast scenes on a sunny Paris day and it dramatically reduced noise, but isn’t a good option for moving subjects.

Sony's A7 V has plenty of manual controls for easy operation
Sony's A7 V has plenty of manual controls for easy operation
Steve Dent for Engadget

JPEGs look great straight out of the camera with excellent detail, though noise reduction can be a bit excessive at high ISOs. Sony’s color science has improved over the last model, so colors are accurate and the magenta-hue issues seem to be largely resolved. However,I still find Canon’s cameras capture more accurate skin tones.

The A7 V is a low-light marvel, with relatively noise-free photos all the way up to ISO 12,800 and usable shots at ISO 25,600. What’s remarkable is that the A7 V beats all its 24MP rivals in this regard, despite the nearly 50 percent higher resolution. 

Sony added a new “Compressed RAW HQ” mode with the A7 V, designed to deliver better compressed RAW quality while keeping files smaller than “Lossless RAW.” Note that this new mode is not currently supported by Adobe Lightroom, so I’d avoid using it for now. 

Sony's A7 V can take sharp video but doesn't stand up against rivals.
Sony's A7 V can take sharp video but doesn't stand up against rivals.
Sony

Two or three years ago, the A7 V would have been fine for video but not in 2026. While all its rivals are embracing internal RAW video at 6K or 7K, Sony is sticking with 10-bit 4K MP4 at up to 60 fps, or 4K 120 with an APS-C crop. The video is oversampled from a 7K sensor size so it’s very sharp though, and S-Log3 is available to boost dynamic range. 

Sony likely thinks that creators using this camera will mostly shoot 4K MP4 (as I do), so it didn’t feel that RAW was a must. However, users who do need the benefits of RAW — like minimal degradation when editing, flexible white balance and improved dynamic range — can’t even do external RAW capture. The 4K max resolution and lack of open gate 3:2 is also a downside for creators who like to reframe shots in post or output to social media. 

With that all said, you can capture high-quality 10-bit 4K 60 fps video with the A7 V. The S-Log3 Cine/S-Log 3 option and high data rate 4:2:2 HS video provide flexibility in post, letting you easily correct over- or under-exposed video or tweak colors. As with photos, color accuracy is nearly on par with Panasonic and other rivals. Shooting in low-light is a breeze, especially when you know that noise levels will be minimal even at high ISO speeds. 

Sony has some extra video tricks like focus breathing compensation that eliminates zooming when focusing from a near to a far subject. And the A7 V comes with a new AI Auto Framing mode, which recognizes and crops in on humans, keeping them centered in the frame. I was able to keep subjects centered (while stabilizing the shot) as long as I didn’t move the camera excessively.

Autofocus is just as excellent for video as photos, with the same level of speed and accuracy. AI-powered autofocus supports all the same modes (people, animals, etc.) and usually nails focus of human or animal eyes, like when I captured footage of some ducks and dogs. 

Video stabilization is also very good, just behind Panasonic’s S1 II and ahead of the Canon R6 III. In regular optical-only mode, it removes shaking from handheld video without too much movement. When you engage the “Active” mode, it adds electronic stabilization with a small crop for panning or tilting, and “Dynamic Active” lets you walk with surprisingly smooth results. Rolling shutter is rarely an issue for most types of shooting, including walking, unless you really whip the camera around. The lack of rolling shutter skew also makes it easier to apply stabilization in post with Adobe Premiere or DaVinci Resolve.

ISO 800, f/2.8, 1/500th
ISO 800, f/2.8, 1/500th
Steve Dent for Engadget

The A7 V is an incredible camera for photography, with speeds, autofocus accuracy and image quality ahead of rivals, including the Canon R6 III, Panasonic S1 II and Nikon Z6 III.However, Sony isn’t keeping up with those models for video. The A7 V is missing RAW, native resolution and open gate capture, all of which can be found on the aforementioned cameras. That makes it hard to recommend for serious video users or creators who use full-frame open gate to export high-quality vertical video. 

There’s one intangible, though. I enjoyed taking pictures with the A7 V more than other cameras I’ve tested lately because of the AF accuracy and image results. For anyone who wants a fast, reliable and easy-to-use camera for photography, I can’t recommend it enough. For video creators, though, I’d look at Canon’s R6 III, the Panasonic S1 II, or if you’re on a budget, Nikon’s Z6 III.


This article originally appeared on Engadget at https://www.engadget.com/cameras/sony-a7-v-review-awesome-speed-and-photo-quality-130000592.html?src=rss

Canon EOS R6 III review: A video powerhouse that’s also great for photography

With video features like RAW now the norm on midrange mirrorless cameras, Canon decided not to mess around with its latest model, the 33-megapixel EOS R6 III. It’s a veritable cinematic beast, allowing up to 7K RAW video capture internally with fast and reliable autofocus and rock solid stabilization. 

At the same time, it's a solid photo camera with high burst speeds and warm, accurate image quality. The R6 III has stiff competition with Sony’s 33MP A7 V, though, as the latter delivers higher dynamic range. The price could also be an issue for buyers, as the R6 III costs $300 more than its predecessor. Whether it’s worth that extra money depends on what you’re planning to do with it.  

Canon EOS R6 III
Canon EOS R6 III
Steve Dent for Engadget

The EOS R6 III is quintessentially Canon in terms of design. It strongly resembles the R6 II and EOS R5 II, with the same button and dial layout at the rear. In terms of functionality, this is a good thing as everything falls perfectly to hand, letting you control it by feel once you’re used to it. However, the R6 III’s design is a bit bland, so if you’re looking for a stylish camera a la Fujifilm, this is not the one. 

Holding the R6 III is also a pleasure thanks to the grippy, soft rubber exterior, though at 1.5 pounds it’s a bit heavier than the A7 V. It’s comfortable to hold and use all day, unlike Sony’s A7 V which felt uncomfortable after prolonged usage because of the harder material and sharp crease around the fingertip area. 

The R6 III’s 3.69-million dot, 120 fps electronic viewfinder (EVF) worked fine for me to check color and focus, but falls short of the one on the much cheaper Nikon Z6 III. The flip-out 3-inch 1.65-million-dot rear touch display is on par for this category and does the job well. For storage, the R6 III supports CFexpress Type B cards for capturing RAW video, along with SD UHS II for MP4 video and photos. 

Other key features include headphone and microphone ports, a full-sized HDMI input (instead of microHDMI as before, thankfully) and a USB-C port for charging and transfers. Battery life is decent for this category with a maximum 510 shots per charge or 620 shots if you engage the power saving mode or about 90 minutes of continuous 4K capture. However, you can roughly double those figures with Canon's optional $150 BG-R20 battery grip.

Canon's EOS R6 III offers fast burst speeds and skin-tone friendly colors
Canon's EOS R6 III offers fast burst speeds and skin-tone friendly colors
Steve Dent for Engadget

The R6 III offers a boost in shooting speeds over its predecessor thanks to an all-new 33MP sensor. It has a faster readout speed than the R6 II as well, allowing for faster bursts and lower rolling shutter skew. In comparison, Sony’s A7 V also has a 33MP sensor but it’s partially stacked, so it delivers less distortion when shooting fast-moving subjects. 

With that new sensor and a 34 percent faster Digic X processor, the R6 III can shoot bursts at up to 40 fps in electronic and 12 fps in mechanical shutter modes (with continuous AF and AE enabled). That’s second only to the Panasonic S1 II (70 fps) in this price range. You can fill the buffer in about 3.7 seconds at that speed (150 RAW frames), which is a decent amount for a midrange camera.

You usually want to avoid the electronic shutter with fast-moving action due to rolling shutter distortion, but the R6 III’s faster sensor can handle objects that are moving reasonably quickly. I also caught a few photos of babies, bikes and dogs I might have otherwise missed by using the new pre-capture mode that records up to 15 photos before fully declencing the shutter.

The new sensor and processor also make the R6 III’s autofocus system faster and more accurate than before. When shooting bursts for fast moving action like dogs running or biking, less than five percent of my shots were out of focus. And the EOS R6 III can now track animals, birds and vehicles, on top of the faces, eyes and bodies of people. 

This camera also has a couple of new autofocus tricks, including one called Register People Priority. That lets you save up to 10 individuals on camera that it can identify and automatically switch to. I found it handy in a large gathering, helping me focus on my niece enjoying her second Christmas. However, the R6 III lacks a few autofocus features found on the R5 II like “action priority” for sports, eye control AF and AI upscaling. 

In-body stabilization is also excellent, keeping the sensor rock-steady for handheld shooting with 8.5 stops of shake reduction. With that enabled, I was able to nicely blur action on the streets while keeping the background sharply in focus at shutter speeds down to a full second. 

With a 33MP sensor instead of a 24MP sensor, the R6 III offers quite a bit more sharpness and a touch more dynamic range than its predecessor. When shooting RAW, I was able to coax a lot of detail out of high contrast shots on sunny days with dark shadows. However, Sony’s A7 V soundly beats the R6 III in terms of dynamic range, thanks to its innovative new sensor. 

The R6 III’s high ISO performance isn’t too bad for a higher-resolution camera either, with noise staying under control up to ISO 12,800. As is typical with Canon models, skin tones are warmer and more flattering than on Sony and Nikon cameras, due to the slightly more yellow-biased pink tones. Those pleasing colors were consistent, even at high ISOs, when I shot kids and adults at a couple of indoor gatherings. If you don’t want the hassle of RAW, JPEG rendering is excellent straight out of the camera, with well balanced sharpening and noise reduction.

Note that switching to electronic shutter mode drops the sensor to a 12-bit readout, which helps burst speeds but hurts image quality. This is a pretty big downside compared to the A7 V, which maintains 14-bit quality even when shooting at the camera’s maximum rate at 30 fps. So while on paper the R6 III wins the speed race, the 10 extra fps won’t be worth the drop in quality for many photographers. 

Canon’s EOS R6 III
Canon’s EOS R6 III
Steve Dent for Engadget

Canon has improved video on the R6 III in every way, putting it nearly on par with the more expensive R5 II. Though it can’t shoot 8K, it can handle 7K RAW video at up to 60 fps (on CFexpress only) and 4K at 120p, with less rolling shutter than the R6 II. It also supports 3:2 “open gate” video that uses the full sensor area so you can output high-res vertical video and other formats.

The R6 III supports 4K 10-bit MP4 shooting at high data rates too if you’d rather save storage space or shoot on SD cards. You also get CLog 2 on top of CLog 3 capability for improved dynamic range. Oddly though, Canon made it a bit of a pain to switch to log modes compared to past models, forcing you to slog through a bunch of menus to do so. 

Video autofocus is excellent across all resolutions, with rapid subject acquisition and reliable tracking. Face and eye detection work very well, and I only occasionally noticed slight autofocus lag with fast-moving subjects, particularly when they were moving toward the camera. 

As for stabilization, I could smoothly shoot handheld with no crop, provided I didn’t move the camera too aggressively. Digital stabilization allowed even more movement and the enhanced setting let me shoot smoothly while walking (7K doesn’t work in the digital stabilization modes, though). Panasonic’s S5 II is still the best in this regard with slightly smoother stabilization, but the R6 III isn’t far behind.

Video on the EOS R6 III is extremely sharp in RAW and the HQ modes, particularly with supersampled 4K HQ. Other 4K modes are subsampled, but nearly as sharp. Rolling shutter is better managed than before, but you’ll still want to avoid things like whip pans, sudden jolts or rapid subjects like propellers or golf swings. 

In a variety of shooting scenarios in bright and dark conditions, Canon’s excellent color science delivered warm skin tones and accurate colors. Shooting RAW video allowed me to widely adjust shots in post, while the CLog 2 mode drastically improved dynamic range while I was shooting in contrasty conditions. For instance, I shot the famous Paris department store windows and was able to extract detail from the very bright and dark parts of the video.

Overheating has been an issue in the past on Canon’s R6 models, but the R6 III never shut down for me, even during a few tests of over 15 minutes. Overall, it reliably delivered outstanding video quality and I actually preferred it to the R5 II due to the smaller RAW file sizes. 

Canon EOS R6 III mirrorless camera
Canon EOS R6 III mirrorless camera
Steve Dent for Engadget

Canon’s EOS R6 III is now the best midrange camera for creators thanks to the RAW video, rapid and accurate autofocus and excellent handling. At the same time, it’s a solid camera for photography with high burst speeds, extra resolution and, again, reliable AF. If it’s mainly photography you’re interested in, though, Sony’s $2,900 A7 V is a better choice. It matches the R6 III’s resolution, price and autofocus but offers superior dynamic range and lower rolling shutter distortion.

Other video-centric options may be more attractive for other reasons — including budget. Nikon’s 24MP Z6 III offers similar capabilities, has a partially stacked sensor and retails for $2,400, but can often be found on sale for less. Panasonic’s S1 II is also a good pick due to its RAW video and creator-centric features, though it costs more at $3,200. 

Which one to buy, then, depends on your budget, usage (video or photography) and whether you already have lenses in one system or another. With that said, if it’s a Canon camera you’re after and you lean toward content creation, the EOS R6 III is your best choice. 


This article originally appeared on Engadget at https://www.engadget.com/cameras/canon-eos-r6-iii-review-a-video-powerhouse-thats-also-great-for-photography-153000494.html?src=rss

The best cameras for 2026

Cameras had an interesting year in 2025, with the launch of some long-delayed models like Sony’s 61MP RX1III, wholly original cameras (the Fujifilm X Half and Sigma BF) and much anticipated updates like the Sony A7 V and Canon R6 III. All told, there were 27 new cameras launched last year that joined the 20 new models on the market from 2024.

Those ranged from compacts to mirrorless to very high-end models, with every price range included. The question is, which one is right for the type of videography or photography you do? Whether you’re an aspiring action or wildlife photographer, an extreme sports junkie or a content creator, we’ll help you find the perfect camera to match your budget and requirements.

Mirrorless is the largest camera category in terms of models available, so it’s the best way to go if you’re looking for something with the most advanced features. Canon and Nikon recently announced they’re discontinuing development of new DSLRs, simply because most of the advantages of that category are gone, as I detailed in a video. The biggest selling feature of a mirrorless camera is the ability to change lenses depending on the type of shooting you want to do.

The most important features to look for in an action cam are image quality, stabilization and battery life. GoPro has easily been beating all rivals recently in all those areas, but DJI has taken a lot of its business with the Osmo Pocket 3 gimbal camera.

This category has fewer cameras than it did even a few years ago and many models are older, as manufacturers focus instead on mirrorless models. However, I’m still a big believer in compact cameras. They’re a noticeable step up from smartphones quality-wise, and a lot of people will take a compact traveling or to events when they’d never bother with the hassle of a DSLR or mirrorless camera.

Compacts largely have type 1-inch sensors, but a few offer larger options, particularly Fujifilm’s XF-100V. Another popular model, Sony’s XV-1, is primarily aimed at content creators looking to step up. In any case, desirable qualities include image quality, a fast lens, relatively long zoom, flip-out display, good battery life, a high quality EVF, decent video and good pocketability.

Smartphones might get better for video and photos every year, full cameras still have an edge in many ways. The larger sensors in mirrorless cameras let more light in, and you have a wide choice of lenses with far superior optics. Dedicated cameras are also faster for shooting things like sports or wildlife, offer superior video for content creators and create more professional results.

There are a few key things to consider to get the most out of a camera. The first is sensor size: in general, the larger the sensor, the better (and usually more expensive) the camera.

Full frame is the largest sensor size for mainstream cameras, and it’s available on models like the new Panasonic S9, the Nikon Z III and Canon EOS R5 II. At a size equivalent to 35mm film (36 x 24mm), it offers the best performance in terms of image quality, low-light capability and depth of field. But it’s also very expensive and finicky. While bokeh looks incredible at an aperture of f/1.4, the depth of field is so razor thin that your subject's eyebrow might be in focus but not their eye. This can also make shooting video difficult.

The next size category is APS-C (around 23.5 x 15.6mm for most models and 22.2 x 14.8mm for Canon), offered on Fujifilm's X Series lineup, the Canon R10, the Sony ZV-E10 II and the Nikon Z50. It's cheaper than full frame, both for the camera body and lenses, but still brings most of the advantages like decent bokeh, high ISOs for low-light shooting and relatively high resolution. With a sensor size the same as movie cameras, it's ideal for shooting video, and it’s easier to hold focus than with full-frame cameras.

Micro Four Thirds (17.3 x 13mm), a format shared by Panasonic and Olympus, is the next step down in sensor size. It offers less bokeh and light-gathering capability than APS-C and full frame, but allows for smaller and lighter cameras and lenses. For video, you can still get reasonably tight depth of field with good prime lenses, but focus is easier to control.

The other common sensor size is Type 1 (1 inch), which is actually smaller than one inch at 12.7 x 9.5mm. That's used mostly by compact models like Sony’s ZV-1 vlogging camera. Finally, action cameras like the GoPro Hero 11 and DJI’s Osmo 3 have even smaller sensors (1/1.9 and 1/1.7 inches, respectively).

For photographers, another key factor is autofocus (AF) speed and accuracy. Most modern mirrorless cameras have hybrid phase-detect AF systems that allow for rapid focus and fast burst speeds. The majority also offer AI features like eye-detect AF for people and animals, which locks in on the subject’s eyes, face or body to keep them in focus. However, some models are faster and more reactive than others.

The electronic viewfinder (EVF) and rear display are also crucial. The best models have the sharpest and brightest EVFs that help you judge a shot before taking it. For things like street photography, it’s best to have as bright and sharp a rear display as possible, so it’s easy to see your subject and check focus in all manner of lighting conditions. You may also want a screen that flips out rather than just tilting, too.

DSLRs and mirrorless cameras let you change lenses, but you're stuck with what's built into a compact camera. While that's great for portability, a single lens means you're going to sacrifice something along the way. The Fujifilm X100V, for instance, has a fast but fixed 35mm-equivalent f/2.0 lens and no zoom. The Sony RX100 V has a 24-70mm zoom, but it's slower at the telephoto end (f/2.8) and less sharp than a fixed focal (prime) lens.

When choosing a lens for a mirrorless camera, you’ll need to consider the focal or zoom length, along with the minimum aperture. Smaller numbers like f/1.4 for a prime lens or f/2.8 for a zoom are best, as they let you work in darker environments and maximize background blur to isolate your subject. However, those lenses are more complex and thus more expensive.

When it comes to video, there are other factors to consider. Some cameras combine or skip over pixels (line skipping or pixel binning) for video recording, which is not ideal because it can reduce sharpness. Better cameras tend to read out the entire sensor and then “downsample” to improve video sharpness (camera manufacturers don’t often say if video is pixel binned, but will say if it’s downsampled). Another important factor is sensor speed, as slower sensors tend to have more rolling shutter that can create a “jello” effect that skews video.

In addition, how’s the battery life? How do you like the handling and feel? How long can you shoot before the camera heats up or stops? Does it support 10-bit HDR video? Is there a microphone and/or a headphone jack? (If you record a lot of interviews, it's preferable to have both.) How's the video autofocus? All of these things play a part in your decision.

This article originally appeared on Engadget at https://www.engadget.com/cameras/best-cameras-151524327.html?src=rss

Nikon ZR review: A highly capable cinema camera at a reasonable price

Video used to be an afterthought for Nikon, but since the company purchased RED last year, content creators are now high on its priority list. A perfect example of that is Nikon’s new $2,200 ZR: a full-frame mirrorless model that stands up against dedicated cinema cameras for a fraction of the price.

It’s the first consumer camera to capture video using RED’s 12-bit RAW format, but unlike RED’s Hollywood cameras, it has a fast and accurate autofocus system. It also comes with a huge display, pro video monitoring tools, in-body stabilization and 32-bit float internal audio recording. After shooting a short film that tested its capabilities, I can confirm that the Nikon ZR offers incredible video quality at this price.

While a bit lighter than Nikon’s Z6 III, the 1.19-pound (540-gram) ZR feels solid. It has a boxy design like Sony’s FX2 but a much smaller grip because it’s designed to be rigged up for cinema shooting with cages and handles. However, unlike the FX2 which has multiple 1/4-inch mounting threads to do such rigging, the ZR unfortunately has only one of those on the bottom.

The ZR also lacks an electronic viewfinder like the FX2, but it more than makes up for that with its huge 4-inch display — the largest I’ve ever seen on a mirrorless camera. At 1,000 nits, it’s bright enough to shoot on sunny days, extremely sharp (3.07 million dots) and flips out for vloggers. All of that makes it a perfect primary display for checking the image and controlling the camera.

Nikon has nailed the ZR’s handling, too. While it’s not covered with buttons and dials like some models, it does have two shooting dials to control exposure and a joystick for autofocus. There’s also a camera/video switch, two record buttons, a power switch and five customizable buttons. Many of Nikon’s lenses come with control rings as well, so extra manual control is available.

The menu button is unusual: you press once for the quick menu and hold to see the full menu. Given the large number of settings, I would advise anyone buying this camera to learn all the important adjustments, then customize the controls to avoid wading through dense menus while shooting.

Another unique feature is in the battery compartment. There’s a single fast CFexpress slot to handle RAW video, plus a microSD slot for proxies. The lack of a second CFexpress slot or fast SD card slot for backup isn’t ideal for a professional camera, though.

Finally, the ZR runs on the same N‑EL15c batteries as other Nikon mirrorless cameras. They allow 90 minutes of HD shooting on a charge, or 390 photos per CIPA standards. That’s mediocre, so if you’re planning long shoots, stock up on batteries.

Nikon ZR review: A highly capable cinema camera at a bargain price
Steve Dent for Engadget

The Nikon ZR has the largest selection of RAW video settings I’ve seen. The centerpiece is RED’s RAW R3D NE light codec (designed by RED for Nikon) with RED’s Log3G10 log format. It also supports Nikon’s N-RAW, ProRes/ProRes RAW and H.265 with resolution that ranges from 6K at up to 60 fps to 4K 120 fps and 1080p at 240 fps. Despite the smallish body, it can capture 6K RAW video continuously for 125 minutes without overheating.

The 24MP sensor uses a dual ISO system with native 800 and 6,400 ISOs, providing a nice range for indoor and outdoor shooting. The company claims 15+ stops of dynamic range, which is more than just about any other mirrorless camera. Other key video features include five-axis in-body stabilization with seven stops of shake reduction, waveform and vectorscope monitoring and a false color display for manual focus.

To test the camera’s features and video quality, I shot a short film in a mix of indoor low light, outdoor daytime and a mix between the two. I also shot handheld (including running with it) to test the stabilization. I primarily captured in R3D RAW, as well as Nikon’s N-RAW at the native 800 and 6,400 ISOs to maximize dynamic range. (You can take 24MP photos with this camera, but I’m focusing on video as it’s mainly designed for that.)

In order to not see a flat log profile when shooting, you’ll need to apply a look-up table (LUT) designed for RED cameras, like "Achromic," "Bleach" or "Caustic." Those are only for in-camera previews and not baked into the video, but you can apply those LUTs later in Adobe Premiere or DaVinci Resolve to get the same look.

Nikon ZR review: A highly capable cinema camera at a bargain price
Steve Dent for Engadget

With such a high native ISO, I was able to shoot inside with a single studio light. Video quality was outstanding with little noise in shadow regions, even after boosting black levels in post. Meanwhile, the RED R3D codec and Log3G10 gave me extra latitude to reveal shadow detail and dial down highlights when I shot the subject against a bright window.

When you use the R3D codec, exposure is strictly manual with no ability to set auto shutter speed (shutter angle) or f-stop. So, for a scene with varying light, I used Nikon’s N-RAW to see if it would give me the correct exposure at the beginning and end of the scene. It did a good job, with no noticeable jumps during the shot.

Video in sunlight at ISO 800 was also sharp with accurate colors after downscaling to 4K from 6K in DaVinci Resolve. ISO 800 is a relatively high native setting, though, and the ZR doesn’t have a built-in ND filter to reduce exposure. That means you’ll need to buy ND filters for outside shooting or the high shutter speeds will result in choppy video.

Cinema cameras from Blackmagic Design, Arri or RED are manual-focus only. But the ZR is a Nikon camera, and it has the best AF system I’ve seen on any of the company’s models, consistently nailing focus even with moving subjects. You can also automatically track vehicles, birds and other animals. At the same time, the ZR handles manual focus well. That’s thanks to a built-in display that’s big enough to check focus accurately and Nikon’s focus peaking setting with three levels of sensitivity.

Nikon ZR review: A highly capable cinema camera at a bargain price
Steve Dent for Engadget

In-body stabilization on the ZR wasn’t up to par with Panasonic’s S1 II, however. Video was smooth for handheld shooting if I panned the camera gently, but all my running and walking shots showed noticeable camera shake. That said, the ZR at least has in-body stabilization, unlike most cinema cameras, and most filmmakers will use a gimbal for running shots, regardless of which camera they use. (Note that the rattling you hear when the ZR is turned off is the sensor, which floats by design.)

Finally, I was able to capture good audio quality via an external microphone without any clipping worries thanks to the Nikon ZR’s 32-bit float internal audio capture. The company also touts directional capture using its built-in mics, but as with any such system, audio quality isn’t high enough for production use.

With the ZR, Nikon has shown that it’s finally catching up to and even surpassing its rivals for content creation. Whether you’re doing social media, YouTube, documentaries or even film production, this camera is versatile and powerful with few compromises. Video quality and ease of use even beats models that are double or triple the price.

The ZR’s primary competition is in the low-end cinema cameras, particularly Sony’s $2,998 FX2 and the $3,899 Canon R5C. While more expensive, both come with an electronic viewfinder that the ZR lacks, and the R5C can shoot up to 8K video. Another option is Blackmagic Design’s Pyxis 6K camera, but it only offers basic autofocus capabilities and lacks in-body stabilization.

Compared to those options, Nikon’s ZR delivers better dynamic range thanks to the inclusion of RED’s R3D RAW codec. It also comes with an excellent autofocus system and decent in-body stabilization. If you’re a creator looking to get the best video quality for the money without losing those niceties, I’d highly recommend the ZR.

This article originally appeared on Engadget at https://www.engadget.com/cameras/nikon-zr-review-a-highly-capable-cinema-camera-at-a-reasonable-price-152634311.html?src=rss