Tag Archives: Cameras & Photography

Fujifilm GFX 100 II: The king of medium-format mirrorless cameras

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You can's say Fujifilm is boring. It stuck to APS-C sensors instead of going full-frame like everyone else, while releasing cool and weird models like the X100 VI. That strategy has been refreshing in a conservative industry and undeniably successful.

It also went big by introducing its first medium-format camera seven years ago, the GFX50S. After eight models, they’ve proven to be popular among pro portrait and scenic photographers, a market Fujifilm never really had before. Each has become increasingly more sophisticated, with better image quality, faster shooting speeds and improved video.

Now that the company’s flagship $7,500 100-megapixel GFX 100 II, has been out for awhile and had several firmware updates, I was keen to test the new AF speeds and more. So I went to London to try it out alongside two pro photographer friends who are thinking of buying one.

Body

The original GFX 100 is a gigantic camera, weighing over three pounds with the viewfinder. The GFX 100 II is more manageable at 2.27 pounds, the same as Panasonic’s full-frame S1. Photographers are still likely to be carrying a heavy bag, though, as medium-format GFX lenses are generally bigger and heavier than full-frame glass.

The GFX 100 II also feels more like a full-frame camera than an old-school top-down viewfinder medium format model. It has an updated, modern control layout, with a pair of control dials, a mode dial, a joystick, 14 buttons and a movie/photo switch.

The rear display tilts up, down and to the side, but doesn’t flip out — not a huge deal, as this will never be a vlogging camera. It shines where it counts, though, with a high 2.36 million dot resolution and enough brightness to use in sunlight. The viewfinder, meanwhile, is one of the best on any camera, with an extremely sharp 9.36-million dot resolution and 100 percent magnification.

It’s easy to handle, thanks to the well-placed controls and large grip. The top display, which stays on even when the camera is switched off, shows all the main settings at a glance. I’m not a huge fan of Fujifilm’s overly complicated menu system, but it’s fine once you get used to it.

As with other recent high-end cameras, you get both an SD UHS II card slot and a much faster CFexpress B option. The latter is required for fast burst shooting, as I’ll discuss soon. Battery life is solid, with up to 540 shots on a charge, or about an hour of 8K or 4K 60p recording.

Fujifilm GFX 100 II medium-format camera review
Steve Dent for Engadget

The GFX 100 II is the fastest medium-format camera to date. You can fire bursts at up to 8 fps with the mechanical shutter enabled and capture about 300 lossless RAW frames before the buffer fills. That’s about 36GB of data, so it requires a fast CFexpress card.

Autofocus wasn’t a strong point on the GFX, but it’s a big step up on this model. The majority of shots in our burst testing were in focus, though it becomes less accurate when the subject is close to the camera. This isn’t a sports camera, obviously, but it still has the best AF I’ve seen on any medium format camera.

Face and eye detection have also improved, usually locking onto the eye and not, say the eyebrow as the older model did. Fujifilm also introduced AI subject detection from recent models, so it now has settings for animals, birds, automobiles, motorcycles, bikes, airplanes and trains.

Fujifilm GFX 100 II sample photos
Nathanael Charpentier for Engadget

The GFX 100 II has a new 5-axis stabilization system with up to eight stops of shake reduction, compared to 5.5 stops before. This is useful for portraits and scenics, letting you shoot down to a quarter second or slower and blur water or people, while keeping the background sharp.

Rolling shutter was pretty abysmal on the original model, and isn’t a lot better here. If you’re taking street photos and want to remain silent, it’s fine if the subject doesn’t move much. For anything else, use the mechanical shutter to avoid some bad skewing.

Image quality is this camera’s forte. Naturally, photos are pin sharp thanks to the 102-megapixel sensor. And with 16 bits of color depth in RAW mode, dynamic range is outstanding, right up there with Sony and Nikon. All of that makes it ideal for portraits and landscapes, on top of tasks that benefit from high-resolution, like art preservation.

The GFX 100 II now goes down to ISO 80 instead of 100 to further boost dynamic range. All of that allows photographers to get creative with RAW photos, or tease detail out of highlights and shadows.

It’s not bad at high ISOs either, thanks to the sensor’s backside illumination and dual-gain design. There’s very little noise visible at ISO 6400, and photos are usable up to ISO 12800 if exposure is correct.

The medium format sensor offers incredibly shallow depth of field if you need that for portrait shooting. Combined with a fast lens like the 80 mm f/1.7, it allows for incredible bokeh and subject separation.

For those who prefer to use JPEGs straight out of the camera, it delivers color-accurate images with the perfect amount of in-camera sharpening. That’s ideal for previews or for folks who want to use Fujifilm’s impressive film simulation modes. For the GFX 100 II, Fujifilm introduced a new one called Reala Ace that’s based directly on one of its old negative films. With a punchy, saturated and slightly nostalgic feel, it has become one of my new favorites.

There is one quality issue — the GFX 100 II drops from 16- to effectively less than 14-bits when shooting 8fps bursts in order to reduce throughput. That in itself isn’t a huge problem, but Fujifilm has been cagey about how it markets this, which has rubbed a lot of pro photographers the wrong way.

Fujifilm GFX 100 II medium-format camera review
Steve Dent for Engadget

I’m starting to sound like a broken record, but the X100 II is also Fuji’s best medium format camera for video. It has a host of new modes, most notably 8K. It also offers 6K, 4K/60p and 1080p at 240fps. All those formats can be captured in 12-bit ProRes, along with 10-bit H.265 formats. You also get access to Fujifilm’s excellent F-Log2 capture that boosts dynamic range.

There are some considerable compromises, though. 8K is captured with a 1.53 times crop, reducing the effective sensor size to less than full frame — which negates one of the main medium-format advantages: shallow depth of field. Other resolutions use the full sensor width, but pixel binning reduces sharpness.

Rolling shutter is also an issue at 8K, so be sure not to move the camera much at that resolution. It’s less bothersome at 4K resolutions, likely due to the pixel binning.

All that aside, video from the GFX100 II has a different quality than I’ve seen from most mirrorless cameras. The larger sensor makes it cinematic, especially with some of Fujifilm’s prime lenses. And the 8K video is extremely sharp when downsampled to 4K in DaVinci Resolve.

Realistically though, video is more of a nice-to-have feature for occasional use, as the majority of buyers will certainly be using it for photography.

Fujifilm GFX 100 II sample photos
Nathanael Charpentier for Engadget

The $7,500 GFX100 II is an impressive medium format camera with improvements in every area compared to the previous model. More importantly, what did my pro photographer friends think and will they buy one? “What’s most noticeable is the evolution of the autofocus compared to the GFX100,” said Nathanael Charpentier. “In our studio we usually work with Sony, and the GFX100 II autofocus is still far from Sony’s level, but it’s a big improvement.

“It’s not a sports camera, it doesn’t have super-fast burst speeds. It’s more for studio portrait work. For certain types of ‘reportage’ like candid wedding shoots, if we really need the extra dynamic range offered by a medium-format camera, I could see using it.” At this point, they’re not planning on buying one due to the high price (and the fact that they just laid down 6,000 euros for an A9 III), but it’s high on their list of future equipment purchases.

Its main competitor is the $8,200 Hasselblad X2D 100C, which has perhaps slightly better color science and image quality — while also bringing a certain prestige with the Hasselblad name. However, the GFX100 II is superior in most other ways, including speeds, autofocus and video. If you really need to nail autofocus in busy or difficult situations, though, full-frame is still best: Sony’s 45-megapixel $6,500 A1 or Nikon’s $3,800 Z8 or $5,500 Z9 (both 45MP as well) are better choices.

This article originally appeared on Engadget at https://www.engadget.com/fujifilm-gfx-100-ii-the-king-of-medium-format-mirrorless-cameras-143009929.html?src=rss

Canon R1 hands-on: Incredible speed but 24MP resolution may disappoint

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Canon has unveiled its most important camera in years — the EOS R1 mirrorless. Launched alongside the 45-megapixel R5 II, it’s the company's new flagship designed to replace the 1DX Mark III DSLR and help Canon maintain its leadership in the pro sports photography field.

The R1 is all about speed, with the stacked sensor allowing 40 fps RAW bursts with continuous autofocus. Other features are designed to help nail crucial shots, including pre-capture, eye-tracking AF and sports-specific settings. At the same time, it should be great for video, thanks to its support for 6K RAW capture.

One potential downside is the 24-megapixel resolution, which is lower than rivals like Sony’s A1 and the Nikon Z9. To see how that affected image quality and gather some impressions on performance and new features, I was able to get a short amount of hands-on time with the R1 in Phoenix, Arizona.

Though massive for a mirrorless camera, the R1 is lighter than it looks — it only weighs 2.12 pounds. The magnesium alloy body is dust- and water-resistant and the large, comfortable grip uses new rubber to reduce slippage. It’s a stable platform, even with telephoto lenses, and was clearly designed for working photographers.

Controls are laid out much like the EOS R3, with two control dials, a rear dial, joystick, mode switch and many customizable buttons. It has matching vertical controls, with the same layout in portrait and landscape modes.

Canon did add a touch-sensitive IR button called the smart controller, which offers three ways to adjust autofocus. Overall, the R1 handles like an F1 car — fast and reactive, but there's a steep learning curve.

The viewfinder is Canon’s best yet with 9.44 million dots, 0.9 times magnification and 3x brightness, all tops in the EOS series. The rear display fully articulates for high- and low-angle shooting.

Canon decided to ditch SD cards in favor of two CFexpress type B slots. That allows for maximum RAW burst speeds, as well as fast and reliable backups, but you'll end up throwing your SD card collection out the window. By contrast, Sony's R1 has dual card slots for both SD UHS II and CFexpress type A.

The R1 uses a variant of the battery from the EOS R3 that supports up to 650 shots and 70 minutes of 6K video on a charge. Connectivity is the best I’ve seen on any Canon camera, with Wi-Fi 6E, ethernet, USB-C PD and more.

The R1 is built for action and suffice to say, it’s fast. In blackout free electronic shutter mode, you can shoot JPEG and RAW frames at up to 40 fps for a long while before the massive buffer fills — with Canon promising "1,000 or more" shots when shooting uncompressed RAW and JPEG files. It hits 12 fps with the mechanical shutter, a feature missing on Nikon’s rival Z9.

Canon EOS R1 hands-on
Steve Dent for Engadget

The latter isn’t usually necessary, though, as the stacked shutter largely eliminates rolling shutter distortion.

Canon is bringing numerous autofocus improvements as well. With regular single-point tracking, you can change the target with either the joystick or smart controller. In addition, the R1 has a new eye-tracking system called Eye AF II, a more sophisticated version of its Eye Control AF from the R3.

As with the R3, you must calibrate Eye AF II first. And it won’t necessarily function well for all eye types, but it worked great for me, as the tracking box followed my gaze with less drift than before. That didn’t always translate to sharp photos, but again, I was using a pre-production unit.

Of course the R1 offers face- and eye-detection for both humans and animals. But what happens if you’re trying to single out someone in a crowd of players?

Canon EOS R1 hands-on
Steve Dent for Engadget

First off, there are now AI modes for three specific sports, volleyball, basketball and soccer. The idea is that the system will track action around the ball to help you nail key shots. It’s also supposed to stay locked on a player even in traffic. Finally, you can register up to 10 faces to keep track of a whole team of athletes.

How well does this work? It’s hard to say in the short time I had the camera, but I didn’t notice a dramatic improvement with chaotic action or specific sports. But these features require time to master, so a full review will tell me more.

Another new feature to help pros avoid missing shots is pre-continuous shooting, something that's seen on many high-end cameras these days. The R1 starts taking photos when you half-press the shutter button, recording up to the last 20 frames once it’s fully pressed.

Canon has led the way in image stabilization since the R5, and the R1 offers a solid 8.5 stops of shake reduction with supported lenses. This isn’t necessarily a great benefit for action shooting, but it does help with landscapes or low-light shooting.

Canon likely anticipated complaints about the relatively low 24-megapixel resolution. In response, it unveiled a new feature called in-camera upscaling. It uses deep learning to quadruple image size to 96 megapixels in-camera after shooting, supposedly while maintaining apparent resolution.

This is different from Sony's pixel-shift scheme that takes multiple separate photos and merges them into one. However, it was hard to get a straight answer from Canon as to how exactly the upscaling works. Obviously, it can’t be a true resolution increase without actually capturing extra pixels.

Image quality is difficult to judge in pre-production cameras, and Canon specifically said that in-camera RAW processing was a work in progress. Nonetheless, JPEGs looked sharp out of the camera and had the company’s typically excellent skin tones.

Low-light image quality is a selling point of this camera, and it did appear to perform well at high ISOs, with decent image quality at ISO 12,800 and beyond. However, it’s no Sony A7S III at very high ISOs, so the max of ISO 102,400 is for emergency use only.

Canon EOS R1 sample images
Steve Dent for Engadget

Stacked sensor cameras tend to sacrifice some dynamic range in favor of speed, but there’s no sign of that with the R1. However, I'll need more time to get a full idea of RAW image quality, particularly at high ISOs.

Though mainly aimed at photographers, the R1 is potentially a monster video camera on its own. It lacks the R5 II’s 8K feature, but does offer 6K Canon RAW video at up to 60 fps, using the full width of the sensor.

You also get fully oversampled full-sensor 4K at up to 60fps, or 4K pixel-binned or cropped at 120 fps. Full HD can be recorded at up to 240 fps, either cropped or with pixel-binning. On top of Log 3, Canon’s Log 2 is now supported with 10-bit capture.

Canon has significantly reduced its previous overheating issues, though they're not completely eliminated. You can record more than 120 minutes of 6K 60p RAW with proxy recording, as well as 4K 60p, with no restriction for 4K 30p. The primary limitation is 15 minutes for 4K 120p, but that shouldn’t be an issue for most videographers or content creators.

As you’d expect, the oversampled 4K 60p and 6K 60p RAW video is sharp. Canon’s RAW video is very easy to work with in post and with the Log 2 setting delivers extra dynamic range and latitude in post.

Canon EOS R1 hands-on
Steve Dent for Engadget

It’ll be interesting to see how pro photographers react to Canon’s new flagship. They do gain an extra 10 fps in RAW shooting speeds over Sony’s A1 and the Nikon Z9, and the sensor is solid in low light. The downside, though, is the fact that it offers half the resolution of its rivals.

The Eye AF II is an interesting gimmick that may give Canon an edge. Other features like face-memorization, sports-specific AF and cross action seem good on paper, but I wasn’t able to get the most out of them in the short time I had the camera — so further testing is required. The EOS R1 is set to arrive in the fall of 2024 with an estimated price of $6,300. 

Canon paid for this contributor's travel and accommodation for the launch of its new cameras in Phoenix, Arizona. This article was produced independently for Engadget, with no oversight from Canon.

This article originally appeared on Engadget at https://www.engadget.com/canon-r1-hands-on-incredible-speed-but-24mp-resolution-may-disappoint-100044085.html?src=rss

Canon EOS R5 II hands-on: Nifty eye-tracking autofocus and reduced overheating problems

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As it teased earlier, Canon has launched the R5 II, a successor to the powerful but imperfect EOS R5. With a new 45-megapixel backside-illuminated (BSI) stacked sensor, it not only has superior specs for video, shooting speeds and more, but also adds advanced features like eye-controlled AF. The R5 II was launched alongside Canon's new flagship, the EOS R1, which I've covered in a separate post.

With the new R5, Canon has mostly dealt with the original's primary problem: overheating while shooting video. To see what’s different and try out some of the new features, I spent some time with an R5 II pre-production camera in Phoenix, Arizona.

The R5 II’s body is largely the same as before, but there are a couple of key changes. First off, Canon has moved the power switch over to the top right, next to the mode dial. On the left, where the on/off switch used to be, the company added a dedicated video and photo switch. That should make it easier for hybrid shooters to switch modes and keep settings separate.

Other controls are mostly where they were. The original R5 was already a sweet-handling camera, with a comfortable grip and logical control layout, so Canon wisely left well enough alone.

Also unchanged is the flip-out rear touch display, but the R5 II does have a new OLED electronic viewfinder. It has the same sharp 5.76-million dot resolution — on par with other models in this price range — but is brighter than before. 

It supports both UHS-II SD cards and CFexpress Type B, with a slot for each. If you want to shoot 8K RAW or sustain long shooting bursts, you’ll need to use CFexpress cards, which are much faster but considerably more expensive.

Canon introduced three new battery grips for the R5 II, with one containing a cooling fan. That largely reduces heating issues, as I’ll discuss shortly. Another grip is designed to improve vertical operability, making the R5 II handle more like the R1. The third grip adds 2.5G base-T ethernet for studio shooters.

With the new stacked sensor, the EOS R5 II is faster than ever. You can shoot blackout-free bursts at up to 30 fps in electronic shutter mode, or 12 fps using the mechanical shutter. Rolling shutter is also substantially reduced. The R5 II has a large buffer as well, supporting up to 93 RAW and 20 compressed RAW shots before it fills in electronic shutter mode. 

Canon EOS R5 II hands-on
Steve Dent for Engadget

Autofocus is improved in nearly every way, too. Like the R1, the R5 II comes with Canon’s new EyeAF II eye-tracking autofocus that sets focus where you look. Canon touts it as the fastest way to to move the AF tracking point.

It needs to be calibrated, and won't work with all eye types, but in my brief experience it worked for me. It can be a bit twitchy and isn’t 100 percent reliable, but I didn’t have enough time to really shake it out — so stay tuned for a full review.

Canon also added sports-related features like an action priority mode, subject crossing and the ability to register multiple faces. Face- and eye-tracking is improved, and it supports animals, birds and vehicles, too. Of course, it has 5-axis in-body stabilization with 8.5 stops of shake reduction, up from 8 before.

Shooting in the basketball scenario Canon set up, I found the AF to be generally reliable. The new pre-continuous shooting feature is also a nice bonus, helping ensure you capture shots even before fully pressing the shutter. However, some new things like action crossing require practice to get used to and I didn’t have enough time with the camera to adapt.

It’s hard to evaluate image quality in pre-production cameras, and Canon warned us that it was still working on RAW processing. Still, the benefit of a 45-megapixel sensor is seriously sharp photos.

JPEG images appeared color accurate with pleasing skin tones, as you’d expect from Canon. Using the company’s software, I was able to process the 14-bit RAW images and found that they offer plenty of latitude for pushing and pulling in post.

Like the R1, the R5 also supports Canon's new in-camera upscaling, which quadruples resolution to around 179 megapixels. This uses deep learning to reduce noise, but Canon didn't explain precisely how it works.

A lot of my shooting was done in a gym with relatively low light, but the R5 II handled the high ISOs without generating excessive noise up to ISO 6400 or even beyond. It’s not in the same league as the R1, though, so you’ll need fast lenses if shooting action in dark spaces.

Canon EOS R5 II hands-on
Steve Dent for Engadget

The R5 II is a seriously powerful video camera, right up there with Nikon’s Z8 or Z9. You can shoot 8K DCI RAW video at up to 60 fps, or 4K RAW at 60 fps. It also offers 8K MP4 support at up to 30 fps, or 4K DCI at 120 fps with pixel binning.

4K profiles at up to 30 fps use the full sensor width in “fine” mode, or you can capture higher frame rates with pixel binning. Full HD can be recorded at 240 fps with pixel binning as well. Most 4K modes can also be captured cropped to an APS-C frame size.

The addition of RAW recording and C-Log2 boosts dynamic range, and all the oversampled video modes are very sharp. Canon’s RAW is also easy to work with in Premiere Pro or DaVinci Resolve.

That takes us to the most glaring issue: overheating. The original R5 certainly struggled in this respect, with temperature limiting recording times in some modes.

Canon EOS R5 II hands-on
Steve Dent for Engadget

With the new camera, the only modes affected are 8K 60p RAW, which is capped at 18 minutes, 8K 30p limited to 37 minutes and 4K 120p, which shuts down after 22 minutes. Adding the fan accessory removes most of those limitations and increases operating times at 8K 60p RAW and 4K 120P.

With incredible video and photos specs, Canon’s R5 II could retake its old crown as the best hybrid camera. The only model that can keep up with it for photos is the $6,500 Sony A1, but it's over $2,000 more expensive. Nikon’s $3,500 Z8 can match it video-wise with 8K RAW at up to 60P. However, it isn’t as good for photos as the R5 II, because speeds are limited to 20 fps and it lacks a mechanical shutter.

The R5 II will be more expensive than the Z8, however, at an estimated $4,300. It will arrive in stores sometime in August.

Canon paid for this contributor's travel and accommodation for the launch of its new cameras in Phoenix, Arizona. This article was produced independently for Engadget, with no oversight from Canon.

This article originally appeared on Engadget at https://www.engadget.com/canon-eos-r5-ii-hands-on-nifty-eye-tracking-autofocus-and-reduced-overheating-problems-100002588.html?src=rss

Insta360’s GO 3S is its new tiny wearable camera with 4K video

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If you're looking for a discreet action camera that can take Dolby Vision-ready 4K resolution videos, Insta360's latest model is a great candidate. The Insta360 GO 3S is an updated version of the GO 3 action camera the company released last year, and it comes with several upgrades in addition to its capability to capture 4K 30fps footage. It's equipped with a chip that has 50 percent more computing power than its predecessor's, and it has a new wide-angle lens that enables videos with less distortion and straighter edges. The model can also take smoother slow-motion footage with a 1080p resolution at 200fps or a 2.7K resolution at 100fps. 

Insta360's new action-camera is compatible with Apple's Find My network, which sounds incredibly useful for such a small device that could be easily misplaced. It also has native waterproofing for up to 33 feet, or twice that of the GO 3. If you want to switch from horizontal to vertical shooting, you can simply twist the camera. And if the device is out of reach, you can use its new hand gesture feature to start or to stop shooting, as well as to take photos. 

A person holding a phone with a tiny camera attached to it.
Insta360

For hands-free shooting, you can set a recording frequency and length if you want the camera to automatically record your day, thanks to its new Interval Video mode. Plus, you can use its app's new Auto Edit function to get an AI to combine several clips into one long video, with scoring, in case you'd rather not edit your footage manually. 

The model's Action Pod serves as its all-in-one housing, remote control and charger, and you can still preview your shots on its 2.2-inch touchscreen that you can flip up or down. Aside from the Action Pod, the Insta360 GO 3S standard bundle also comes with a magnet pendant and an easy clip that you can use to attach the camera to your cap, clothes, your pet's collar or anywhere else you want to. It also ships with a pivot stand and a lens guard. The standard bundle is now available for purchase around the world via the Insta360 website and retailers like Amazon. You can choose between the 64GB and the 128GB variant, which will set you back $400 and $430, respectively. 

This article originally appeared on Engadget at https://www.engadget.com/insta360s-go-3s-is-its-new-tiny-wearable-camera-with-4k-video-130044121.html?src=rss

Panasonic has revealed the followup to the popular Lumix GH6 vlogging camera

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Panasonic just announced the followup to its popular Lumix GH6 vlogging camera, the GH7. This Micro Four Thirds mirrorless camera comes just two years after the release of the GH6, which is pretty quick in the videography world. The GH5 was released five full years before the GH6.

The 25.2-megapixel BSI CMOS sensor is likely the same as the one on the photo-centric Lumix LG9 II announced earlier this year. It also offers improved autofocus performance, which has been a much-requested feature, thanks to phase detection auto-focus (PDAF). There’s also a newly added real-time auto-focus recognition algorithm for use on airplanes and trains.

The GH7 is designed for video, and it looks like it delivers in that regard. It now supports internal ProRes RAW recording at up to 5.7K 30p along with ProRes as before, and can shoot 5.8K 60p 10-bit H.265 video. It can handle 4K at up to 120fps or Full HD at 240fps. It's equipped with both SD UHS II and CFexpress card slots, with the latter required for ProRes and ProRes RAW recording.

On top of ProRes RAW for video, it supports 32-bit float audio recording. Panasonic says the float recording “eliminates the need to adjust sound recording levels during shooting,” though it does require a separate XLR adapter. The image stabilization technology has also gotten a boost, which includes perspective distortion correction for videos.

We don’t know how heavy it’ll be and the GH6 was certainly on the heftier side. The battery life of the previous model was also fairly short, maxing out at 400 still images and around an hour of continuous 4K shooting. This camera should be able to shoot for long periods of time, however, as Panasonic has added a cooling fan for heat dissipation. It’s also splash resistant, dust resistant and freeze resistant down to 14 degrees Fahrenheit.

A hand holding a camera.
Panasonic

The GH7 supports native Camera to Cloud integration via Adobe’s Frame.io, which automatically uploads images and videos to the cloud. Otherwise, many features from the GH6 have been retained, like the flip-out display, dedicated audio setting button, real-time LUTs, time code in/out, 3.68-million-dot OLED viewfinder (120Hz), external USB-C SSD support and more.

All in all, this looks like a worthy update to the line. Panasonic’s latest and greatest vlogging camera will be available in July for $2,200. Incidentally, this is the same price that the GH6 released at back in 2022.

This article originally appeared on Engadget at https://www.engadget.com/panasonic-has-revealed-the-followup-to-the-popular-lumix-gh6-vlogging-camera-210033083.html?src=rss

Acer launches a compact SpatialLabs camera for 3D photos and videos

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Acer has unveiled the new SpatialLabs Eyes Stereo Camera specifically for those who want to take 3D photos and videos. Users can not only use it to capture 3D content, but also to livestream in 3D on YouTube and other platforms, as well as to make 3D video calls on Teams, Zoom and Google Meet. The company describes the camera as "compact" and "pocket-sized," with dimensions measuring 4 x 2.6 x 0.9 inches.

It has a resolution of 8 megapixels per eye and a built-in selfie mirror encased in a weather-proof shell. The more casual users can take advantage of its Electronic Image Stabilization (EIS) feature, along with its auto and touch focus capabilities. But experienced photographers can customize their output as much as they want to in manual mode, which will allow them to adjust the camera's ISO, white balance and shutter speed settings. 

The camera's 3D livestreaming feature will be enabled by version 3.0 of Acer's SpatialLabs Player, while high-resolution 3D video conferencing will be made possible through the company's SpatialLabs video call widget. It will, of course, be compatible with Acer's range of SpatialLabs devices, including laptops with glasses-free 3D screens. But you can view 3D content captured by the device even on other companies' AR or VR headsets and 3D projectors. 

The Acer SpatialLabs Eyes Stereo Camera will be available in the third quarter of the year with prices starting at $549 or €549 in the US and in Europe, respectively.

A person livestreaming with a camera in the foreground.
Acer

This article originally appeared on Engadget at https://www.engadget.com/acer-launches-a-compact-spatiallabs-camera-for-3d-photos-and-videos-060035723.html?src=rss

Acer launches a compact SpatialLabs camera for 3D photos and videos

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Acer has unveiled the new SpatialLabs Eyes Stereo Camera specifically for those who want to take 3D photos and videos. Users can not only use it to capture 3D content, but also to livestream in 3D on YouTube and other platforms, as well as to make 3D video calls on Teams, Zoom and Google Meet. The company describes the camera as "compact" and "pocket-sized," with dimensions measuring 4 x 2.6 x 0.9 inches.

It has a resolution of 8 megapixels per eye and a built-in selfie mirror encased in a weather-proof shell. The more casual users can take advantage of its Electronic Image Stabilization (EIS) feature, along with its auto and touch focus capabilities. But experienced photographers can customize their output as much as they want to in manual mode, which will allow them to adjust the camera's ISO, white balance and shutter speed settings. 

The camera's 3D livestreaming feature will be enabled by version 3.0 of Acer's SpatialLabs Player, while high-resolution 3D video conferencing will be made possible through the company's SpatialLabs video call widget. It will, of course, be compatible with Acer's range of SpatialLabs devices, including laptops with glasses-free 3D screens. But you can view 3D content captured by the device even on other companies' AR or VR headsets and 3D projectors. 

The Acer SpatialLabs Eyes Stereo Camera will be available in the third quarter of the year with prices starting at $549 or €549 in the US and in Europe, respectively.

A person livestreaming with a camera in the foreground.
Acer

This article originally appeared on Engadget at https://www.engadget.com/acer-launches-a-compact-spatiallabs-camera-for-3d-photos-and-videos-060035723.html?src=rss

Leica takes on Fujifilm with the compact D-Lux 8

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With small and stylish compact cameras like Fujifilm's X100 VI all the rage for influencers, Leica has decided to jump back into the game. The German brand just unveiled the $1,595 D-Lux 8, a followup to the D-Lux 7 released way back in 2018. While substantially restyled compared to the last model, it carries the same 17-megapixel Micro Four Thirds sensor and 24-75mm (35mm equivalent) f/1.7-2.8 lens as before. 

The original was effectively a rebadge of Panasonic's LX100 II, but it's not clear if the D-Lux 8 is using exactly the same sensor or an updated version. Other features, like video, autofocus and more have yet to be revealed.

From the images released, we can see some substantial differences from the previous model. It has an all-black finish and leather-style wrap, much like Leica's full-frame Q3 compact. The interface has also been simplified, with only a "play," "menu" and d-pad type control on the rear, along with two unlabeled buttons. On top, there's a power switch in place of the "4K" button. All of this is inspired by the Q lineup, the company said.

Leica takes on Fujifilm with the compact D-Lux 8
Leica

The new camera supports RAW file capture, which is a first for the D-lux lineup. Leica also unveiled new accessories including carrying straps, leather protectors, a flash and a hand grip. It also showed off a new app, without saying exactly what it does.

It would be a bit disappointing if the D-Lux 8 is just a spruced up version of the D-Lux 7, launched to take advantage of compact camera craze created by Fujifilm's X100 series. The old model was a solid camera for its time, but offers contrast-detect instead of phase-detect autofocus, along with tame photo and video specs by today's standards. 

It certainly does look good, though, and that's been a key element in the compact camera renaissance —and the accessories may also tempt style-conscious shooters. For those attracted to the Leica's storied history and that iconic red dot, $1,595 is as low a price as you'll ever see for a new camera from the brand.

This article originally appeared on Engadget at https://www.engadget.com/leica-takes-on-fujifilm-with-the-compact-d-lux-8-143210473.html?src=rss

Panasonic S9 hands-on: A powerful creator camera with a patented LUT simulation button

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Panasonic’s mirrorless cameras have always been popular with pro video shooters, but to date the company hasn’t directly tackled a key segment: influencers. Today, it’s finally jumping in with the S9, a small and stylish full-frame camera with similar capabilities to Sony’s ZV-E1. The S9’s key feature is a dedicated LUT button and app that let you quickly select custom and preset video looks, much like you can with Fujifilm’s simulations.

With the same 24-megapixel sensor as Panasonic’s S5 II, the S9 supports up to 6.2K 30p video and comes with Panasonic’s latest phase-detect and AI-tracking autofocus. It also has advanced in-body stabilization that promises gimbal-like smoothness.

There are a few things missing, though, like a viewfinder and mechanical shutter. Finally, there’s the $1,500 price, which isn’t much less than the more-capable S5 II. So does Panasonic’s first camera for influencers deliver? I tested a pre-production version of the S9 in Japan to find out.

At 486 grams (17.1 ounces), the S9 is light for a full-frame camera and just three grams heavier than the ZV-E1. I’ll discuss Panasonic’s new 26mm f/8 lens soon, but with that, the whole system is small enough to slip into a bag and is actually a bit lighter than Fujifilm’s X100 VI.

The S9’s design is cute, but the polycarbonate body doesn’t feel nearly as premium as, say, Fuji’s X100 VI. It comes in a choice of red, blue, green and black in a faux leather covering. It’s not as pretty as Fujifilm’s offerings, but is more stylish than most Lumix cameras.

With that smooth design and no handle, though, it’s a bit hard to grip. This isn’t a problem when using lightweight lenses, but with larger ones like the Lumix 24-70mm f/2.8, the S9 could slip right out of your hand. Panasonic did give us a dedicated SmallRig grip that helps a lot, but that’s not included in the price.

The S9 has stripped-down controls compared to most Panasonic cameras. With no top rear dial or joystick, it's trickier to change settings than on larger models like the S5 II.

What it does have that we’ve never seen is a LUT button that Panasonic actually patented. Those letters stand for look-up table, and pressing the button brings up a choice of built-in or custom simulations.

Panasonic S9 mirrorless camera hands-on
Steve Dent for Engadget

The flip-around screen is great for vlogging, but the S9 lacks an electronic viewfinder, much like Sony’s ZV-E1. It has just a cold shoe on top, so it can't power flashes, microphones, a viewfinder or other accessories.

It’s also missing a headphone port, which is unfortunate for a camera dedicated to video. And while the Fujifilm X-T30 supports a headphone via the USB-C port, the S9 doesn’t have that option, nor does it support wireless sound. As for storage, the single SD card slot enables UHS-II speeds, but is located inconveniently next to the battery compartment

For a hybrid camera aimed at videographers, the S9 isn’t bad for stills. You can shoot at 9 RAW frames per second, and the buffer will hold up to 55 shots. The S9 doesn’t have a mechanical shutter, though, and distortion can be problematic with fast-moving subjects.

Continuous autofocus for photos works well, though it’s still behind Canon and Sony. The AI is good at locking onto human faces, bodies and eyes, and also works with animals, cars and motorcycles. It’s not a sports or wildlife camera by any means, but the majority of my photos were in focus.

Like the S5 II, the S9 shoots 14-bit RAW images in single-shot mode but drops to 12-bit RAW for burst shooting. As this was a pre-production camera without the final firmware, I was unable to test RAW quality, but I’d expect it to be in line with the Panasonic S5 II.

Photo quality otherwise is good from what I've seen so far, with realistic colors and skin tones. In low light, I wouldn’t go past about ISO 6400 as noise can get bad compared to cameras with similar sensors, like Nikon’s Z6 II.

Panasonic S9 mirrorless camera sample images
Steve Dent for Engadget

I liked the S9 as a street photography camera, as it’s discreet, silent and lightweight. However, the new $200 pancake lens that helps make it so light is manual focus only and has just one f/8 aperture setting which may turn off buyers. On top of that, with no electronics in the lens, the zoom window doesn’t pop up to aid focus. As such, you need to rely on the focus peaking assist.

As a video camera, the S9 is generally excellent, but has some pluses and minuses compared to the ZV-E1. On the positive side, the higher-resolution sensor allows for up to 6.2K 30p or supersampled 4K 30p video using the entire sensor width. It also supports full readout 3:2 capture that makes vertical video easier to shoot.

4K 60p requires an APS-C crop, and to get 120 fps video you need to drop down to 1080p. Like the S5 II, it supports a number of anamorphic formats with supported lenses.

Panasonic S9 mirrorless camera hands-on
Steve Dent for Engadget

The ZV-E1 has half the resolution, so video isn’t quite as sharp, but Sony’s camera can shoot 4K at up to 120 fps and rolling shutter isn’t nearly as bad.

One potential issue with this camera for creators is the limited continuous recording time, which is capped at just 10 minutes at 6.2K and 15 minutes at 4K. That’s due to the small size and lack of a fan, but you can start recording again immediately after it stops — so this would mainly affect event shooters needing to do long takes. We'll see if these recording times remain in the final firmware.

The S9 has excellent in-body stabilization, with up to 6.5 stops using supported lenses. Like the S5 II, it offers a boost mode that’s best for handheld shooting with limited movement, and an electronic mode with a 1.4x crop in the “high” setting.

Panasonic S9 hands-on: A powerful creator camera with a patented LUT simulation button
Steve Dent for Engadget

The latter can smooth out footsteps and other jolts well enough to replace a gimbal in a pinch. It does a better job than the ZV-E1 with abrupt movements, but the latter crops in slightly less at 1.3x.

Autofocus mostly keeps subjects sharp, but it can occasionally lag. The AI-powered face-tracking stays locked on a subject’s eyes and face, though sometimes the autofocus itself doesn’t keep up. However, these could be pre-production issues. 

With the same sensor as the S5 II, quality is very similar. Video is sharp and colors are realistic, with pleasing skin tones. It’s not quite as good in low light as other 24MP cameras like the Canon R6 II, with noise starting to become noticeable at ISO 6400. The ZV-E1, in comparison, can shoot clean video at ISO 12800 and even beyond.

Panasonic S9 mirrorless camera hands-on
Steve Dent for Engadget

I enjoy shooting Panasonic V-log video as it’s easy to adjust in post and offers excellent dynamic range. It’s one big reason Panasonic cameras are so popular with professional videographers, so it’s nice to see this on a less expensive model.

So what about the new LUT feature? To get the most out of it, you have to go into the new Lumix Lab app. Panasonic has a handful of presets to get you started, or you can load custom LUTs from a variety of creators. You can also make your own in an editing program like DaVinci Resolve.

Panasonic S9 mirrorless camera hands-on
Steve Dent for Engadget

Applying the LUT bakes the look into the video, which makes it hard to adjust it later on. However, you can shoot standard or V-Log footage and use the LUT as a preview, then apply that same look in post without being locked in.

The LUT button is a clever idea, as it allows creators to create cool shots without the need to futz around in post. However, many may not even be familiar with the term “LUT,” so Panasonic has an uphill battle selling the benefits. By comparison, many influencers understand the advantages of Fujifilm’s simulations.

Panasonic S9 mirrorless camera hands-on
Steve Dent for Engadget

With the S9, Panasonic is trying to attract influencers with a small, stylish camera that makes it easy to create interesting video looks quickly. At the same time, it has nearly all the capabilities of higher-end models like the S5 II.

It does have some flaws that make it a hard sell for photographers. And I’m concerned about the $1,500 price tag, as that’s just a bit less than the S5 II, which has an EVF, mechanical shutter, extra card slot, better ergonomics and more.

So far, it comes out well against the ZV-E1, though. I like the extra resolution and sharpness, and it has superior stabilization. It’s also cheaper, but only by about $300 at the moment. It looks like a good first try and I have a few quibbles, but I’ll know more once I’m able to test the production version.

This article originally appeared on Engadget at https://www.engadget.com/panasonic-s9-hands-on-a-powerful-creator-camera-with-a-patented-lut-simulation-button-140046910.html?src=rss

Sony’s new smartphone could entice shutterbugs away from Apple and Google

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Sony used to be a fairly major player in the smartphone space, but its offerings never quite made a splash in the US. Despite that, the company has been pumping out yearly refreshes of its Xperia line of smartphones and the just-announced Xperia 1 VI looks like the perfect device for both amateur and professional photographers. Sony, after all, is no slouch when it comes to cameras.

The sixth-generation of the company’s flagship smartphone is filled with so many camera-centric features that it could actually lure people away from rival iPhone and Pixel devices. There’s a true optical zoom, AI-assisted autofocus and a telephoto camera for snapping macro shots.

This breaks down to three cameras on the back, in the form of a 24mm main camera with a 48-megapixel Sony Exmor T sensor, a 16mm ultrawide and the aforementioned 85-170mm variable zoom telephoto camera. That last one provides 3.5x to 7.1x magnification when compared to the main camera. The ladybug in your yard is begging for its closeup.

As for that AI-assisted autofocus, Sony touts a technology called “human pose estimation” that can recognize a person’s body and head position to provide the perfect focus. The camera system also supports filming video in 4K HDR at 120fps. All of these features work together within Sony’s new unified camera app, so people don’t have to constantly jump between different software to get the job done.

Of course, this is a smartphone and not just a bunch of cameras attached to a rectangle. The Xperia 1 VI boasts the latest Snapdragon 8 Gen 3 chipset, 12GB of RAM and a choice between 256GB and 512GB of storage. Sony says the integrated 5,000mAh battery should allow for up to two days of use before requiring a charge. To that end, the device supports both 15W wireless charging and wireless battery sharing to other devices.

There is an OLED display which is nice, but it’s 2220 x 1080 and the Xperia V shipped with a 4K screen. The aspect ratio gets a hit here too, downsizing from 21:9 to 19.5:9. This display does now offer a variable refresh rate between 1Hz to 120Hz, however, and it can achieve a 50 percent higher peak brightness when compared to last year’s model. Also, 4K resolution on a phone screen is kind of unnecessary and this thing can shoot in 4K, which is what really matters.

The Sony Xperia 1 VI is available for preorders now in the UK, starting at the jaw-dropping asking price of $1,640 in US dollars. There’s some more bad news for US consumers. Unlike previous versions, the company has no current plans to bring this phone stateside.

This article originally appeared on Engadget at https://www.engadget.com/sonys-new-smartphone-could-entice-shutterbugs-away-from-apple-and-google-180755649.html?src=rss