The new Instax mini 99, which was released this month, comes in black. It looks more like my X-T2 and other Fujifilm models than a Polaroid. From a distance, it looks like a pricey digital camera, although it costs only $200. When you get to handle it though, you might be a little disappointed by the plasticky build. Still, there are parts where Fuji has lavished the camera with machined elements, like a tripod stand converter and some of the controls.

With a matte finish, the Instax mini 99 looks more professional, even cooler, than most of its predecessors. While there are no hybrid digital camera features, it delivers far more versatility than pretty much any other instant camera.

Fujifilm Instax mini 99

$199 at Amazon

There are a lot of controls here for an instant camera, including three shooting options with different focal lengths. You twist the lens to switch between landscape, macro and standard settings, and each is (fortunately) labeled with a distance marker so you can best eyeball your shot. While there is a viewfinder, it won’t scale based on your shooting mode. Again, let’s not forget this is an instant camera. Having said that, with the mini 99 you do get access to filters and some basic exposure options.

Those filters attempt to strike those nostalgia chords. Normal is your typical shooting mode, and there’s faded green, soft magenta, light blue, warm tone and of course, sepia.

Light leak, meanwhile, sort of messes up your shots with LEDs built inside the camera, adding a burnout effect to your photos as they’re captured. What impressed me further were even more shooting modes, adding the ability to capture double-exposure shots, a manual vignette switch – which was nearly always on when I was shooting – and even fill-in flash, red-eye removal and automatic flash options. There’s also a sports mode that attempts to avoid blur when capturing moving subjects. Photos weren’t pin-sharp, but the mode seemed to capture things a little bit more crisply than in auto mode.

It’s an awful lot for an instant camera, and I found half the fun was in experimenting with modes and shooting effects. While I wouldn’t go so far as to call each shot a risk, it’s been so long since I’ve used film of any kind that each time I reached for the shutter button (of which there are two), I tried extra hard to nail framing and composition – probably more than I would with digital.

A lot of the shots I took (at a family birthday party with constantly moving babies and toddlers) were in ideal sunny outdoor lighting, but when I was indoors or areas with less light in general, I leaned heavily on the flash, which muddied a lot of the photos.

The learning curve is a bit steep if you haven’t owned an Instax over the last decade(or three). Each messed-up shot is roughly a dollar down the drain. But with each attempt, you begin to gauge lighting and focal distances better. An hour and ten photos later, I got nice shots of my nieces’ birthday party, even catching them looking at the camera on a few instances. Some photos I seemed to nail the correct focal distance, but that was the exception rather than the rule. Fortunately, half the appeal is off-focus moments, off-center framing and other happy accidents. I chose to apply a light leak effect – why would I complain if it’s not as pin-sharp as my iPhone 15 Pro?

There are a few things I’d love to see Fujifilm tackle if it attempts to make another premium Instax mini. First, add a small mirror for taking photos of yourself with the lens facing you. Many cameras offer a tiny mirrored surface so you can loosely tell you're pointing in the right direction. One selfie attempt with my niece cropped her almost entirely from the shot. Also, to recharge the Instax mini 99, you must take out the battery and put it into the included charger with a USB cable. That's too much of a hassle, and Fujifilm should offer a simpler method in future. Fortunately, I didn’t ever need to recharge the camera as I captured over 20 shots.

The Instax mini 99 uses the same smallish Instax film as other models, but with more controls, options and effects, it delivers on its attempt to be the premium instant camera. The film is still expensive, yes, and the device feels a little cheap for the price, but ultimately it delivers satisfying instant photo moments.

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With a 45-megapixel stacked sensor and the latest Expeed 7 image processor, the Z8 can do everything from sports to wildlife to scenic photography. It’s also a powerful video camera, offering 8K RAW internal capture at up to 60 fps.

The only other model that can really compare in terms of speed, resolution and video is the Sony A1, but it costs a whopping $2,200 more. To find out how the Z8 stacks up against that model and others, I rented a Z8 and shot with it around Vancouver, Canada with my photographer cousin.

Body and handling

Design-wise, you can think of the Z8 as the Z9 with the battery grip chopped off. It’s still a chunky camera at 910 grams (2 pounds), though, compared to 737 grams for the Sony A1. That might suit pros or those who like a larger camera body, but the size and weight aren’t ideal for travel. By the way, a $346 battery grip (the MB-N12) with secondary controls is available for the Z8, effectively transforming it into a Z9 for far less money.

The Z8 has a nice big grip and all the controls you’d expect, including a joystick, D-Pad style menu control, switch for camera/video settings and front and rear dials. Nikon users will enjoy the layout as it’s largely similar to past models, but everything is just different enough that it may feel awkward for users coming from other brands.

Unlike the A1, the Z8 features a display on top that shows key settings like shutter, aperture and battery life. Although it takes up space that could be used by buttons or dials, it’s a handy way to see everything at a glance and I miss it now on models that don’t have it. If you do have to dive into the menus, they take a bit of getting used to, but work well once you’re over the learning curve.

One of the key negative points is the lack of a fully articulating display. Instead, the rear 3.2-inch 2.36-million dot screen only tilts up and down and to the left or right. That’s too bad, because the Z8 could be a powerful vlogging camera and a flip-out display is must for that type of work (especially as it makes solo shooting easier).

The 3.69 million-dot electronic viewfinder is a bit low-res for a camera in this price range, especially compared to the 9.4 million-dot display on the Sony A1. Even Canon’s cheaper R5 has a 5.76 million dot display that makes it substantially easier to check focus.

Battery life is on the weak side at 420 shots (one to two hours of video shooting depending on resolution), compared to 490 shots for the Canon R5 and 530 for the A1, according to CIPA ratings. Again, though, you can nearly double that with the battery grip. Other notable features include UHS-II and CFexpress B memory card slots, a full-sized HDMI port for external capture, as well as two separate USB-C ports for power delivery and data.

Performance

With the fastest high-resolution stacked sensor out there, the Z8 is unbelievably quick for a 45-megapixel camera. You can shoot RAW photos at 20 fps, a bit slower than the A1’s 30 fps RAW capability, but the Z8 can shoot 30 fps in JPEG mode. It can handle 40 uncompressed RAW frames before the buffer fills, but can store more compressed images if you have a fast CFexpress card.

The hybrid phase-detect autofocus is Nikon’s best to date due to the upgraded image processor, stacked sensor and huge number of AF tracking points. It offers reliable subject tracking, and the face, eye and animal detection is fast and accurate as well. In fact, the company has said it’s nearly identical to the far more expensive Z9 as of the latest firmware.

That said, the Z8’s AF isn’t quite as dependable as Sony’s A1 when shooting at the highest speeds. It occasionally had trouble tracking subjects, in particular those moving toward the camera, resulting in some out-of-focus shots. The Z8 (and Z9) is quite sensitive to setup, so it’s best to fine-tune the AF settings until it works the way you want.

There’s no mechanical shutter, but the Z8’s sensor is fast enough that rolling shutter isn’t an issue, even on fast-moving objects like airplane propellers. The 5-axis in-body stabilization reduces shake by six stops, enough to get sharp photos down to a quarter second or so. That’s superior to the A1, but falls way short of the EOS R5’s 8 stops.

Image quality

The Z8 has the same excellent sensor as the Z9, so of course image quality is identical in all respects. With 45.7 megapixels on tap, it delivers sharp photos on par with the 50-megapixel A1 and second only to Sony’s 60 MP A7R V in the full-frame realm. Dynamic range is also outstanding, arguably a touch better than the A1.

JPEG images are bright and punchy straight out of the camera, with the best results in terms of colors from the Natural Light Auto white balance setting. Colors are accurate, though skin-tones aren’t quite as warm as Canon’s R3 or R5.

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Nikon Z8 sample image gallery

Nikon Z8 sample image gallery

Meanwhile, the 14-bit RAW images hold plenty of detail that can be teased out in Lightroom or ON1, particularly in the highlights. Like the Z9, the Z8 no longer has an “uncompressed” option, but now offers “lossless compression” and two high-efficiency lossy modes. I typically used the RAW setting with the highest compression, because it’s super efficient and frankly, I can’t see any difference between that and lossless compressed RAW.

The Z8 performs reasonably well in low-light, too. Grain is well-controlled up to about ISO 6400, and shots are usable at ISO 12800. Beyond that, noise can become distracting. That lines up with Canon’s R5, but Sony’s A1 performs a bit better in dim lighting.

Video

The Z8’s video specs are pretty mind-blowing for a non-cinema camera and exceed the A1’s capabilities. You can shoot RAW video at up to 8K 60p in Nikon’s 12-bit N-RAW or 8K 30p with 12-bit ProRes RAW HQ internally, to CFexpress cards only, of course. It also captures 4K video oversampled from the full width of the sensor at up to 60p, and full-width 4K up to 120p — again, all in RAW.

It’s worth noting that Nikon recently purchased RED cameras, so it now owns the RED RAW video patent that stymied so many other companies, including Apple. It’ll be interesting to see if Nikon loosens up that enforcement, and if the acquisition impacts the tech in its own future models.

As with photos, video autofocus is fast and reliable, while doing a good job tracking subjects, faces and animals. It can handle challenging situations like subjects moving toward the camera, though again, not quite as well as the A1.

8K and 4K oversampled video is extremely sharp. Colors are accurate, but again, skin tones aren’t quite as pretty as on Canon’s latest models. Dynamic range is top-notch, particularly in the ISO 400-800 level in ProRes mode, making it easy to adjust shadows and highlights in post. If you love shooting ProRes footage, be sure to get some high-capacity CFexpress cards, because the files can get huge.

One area where the Z9 bests the Z8 in video is with thermal performance, as the Z9’s larger body allows for 125 minutes of 8K 60p recording compared to 90 for the Z8 before overheating. There are very few content creators that will need to continuously shoot 8K video for that long, however.

Wrap-up

Nikon’s Z8 is an extremely capable camera and shows that the company should offer as much speed and power as possible if it wants to catch up to Canon and Sony. For many hybrid shooters, the Z8 is a better option than Sony’s A1, particularly when it comes to video.

While it does out-spec the Sony in a number of areas, the Z8’s autofocus isn’t quite as good — and that’s arguably the most important feature on any camera. Shooters who require a mechanical shutter (for flash photography, etc.) will also need to look elsewhere. Another 8K-capable full-frame mirrorless model is Canon’s R5 that falls short of both models in many regards, but is cheaper at $3,200.

A decision to buy this camera might be based on what system and lenses you’re already into. However, if I was starting from scratch, I’d go for the Z8 over Sony’s A1, as you get the camera plus a very good lens for the same amount of money.

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Davinci Resolve 19

DaVinci Resolve has become a popular option for editors who don’t want to pay a monthly subscription for Adobe’s Premiere Pro, and is arguably more powerful in some ways. The latest version 19 takes a page from its rival, though, with a bunch of new AI-powered features for effects, color, editing, audio and more.

Starting with the Edit module, a new feature lets you edit clips using text instead of video. Transcribing clips opens a window showing text detected from multiple speakers, letting you remove sections, search through text and more. Other features include a new trim window, fixed play head (reducing zooming and scrolling), a window that makes changing audio attributes faster and more.

The Color tool introduces “Color Slice,” a way to adjust an image based on six vectors (red, green, blue, yellow, cyan and magenta) along with a special skin tone slider. For instance, you can adjust any of those specific colors, easily changing the levels of saturation and hues, while seeing and adjusting the underlying key. The dedicated skin slider will no doubt make it attractive for quick skin tone adjustments.

Another key feature in Color is the “IntelliTrack” powered by a neural engine AI that lets you quickly select points to track to create effects or stabilize an image. Blackmagic also added a new Lightroom-like AI-powered noise reduction system that quickly removes digital noise or film grain from images with no user tweaking required.

“Film Look Creator” is a new module that opens up color grading possibilities with over 60 filmic parameters. It looks fairly easy to use, as you can start with a preset (default 65mm, cinematic, bleach bypass, nostalgic) and then tweak parameters to taste. Another new trick is “Defocus Background,” letting users simulate a shallow depth of focus via masking in a realistic way (unlike smartphones), while Face Refinement tracks faces so editors tweak brightness, colors, detail and more.

The Fusion FX editor adds some new tools that ease 3D object manipulation and on the audio (Fairlight) side, BMD introduced the “Dialogue Separator FX” to separate dialogue, background or ambience. DaVinci Resolve 19 is now in open beta for everyone to try, with no word yet on a date for the full release. As usual, it costs $295 for the the Studio version and the main version is free.

Micro Color Panel

BMD’s DaVinci Resolve for iPad proved to be a popular option for editors on the go, and now the company has introduced a dedicated control surface with the new Micro Color Panel. It’ll offer editors control that goes well beyond the already decent Pencil and multitouch input, while keeping a relatively low profile at 7.18 x 14.33 inches.

A slot at the top front lets you slide in your iPad, and from there you can connect via Bluetooth or USB-C. The company promises a “professional” feel to the controls, which consist of three weighted trackballs, 12 control dials and 27 buttons. With those, you can perform editors, tweak parameters like shadows, hues and highlights, and even do wipes and other effects.

“The old DaVinci Resolve Micro Panel model has been popular with customers wanting a compact grading panel, but we wanted to design an even more portable and affordable solution,” said Blackmagic Design President Grant Petty. It’s now on pre-order for $509.

Pyxis 6K camera

Blackmagic Design is following rivals like RED, Sony and Panasonic with a new box-style camera, the Pyxis 6K full-frame camera. The idea is that you start with the basic brain (controls, display, CFexpress media, brain and sensor), then use side plates or mounting screws to attach accessories like handles, microphones and SSDs. It’s also available with Blackmagic’s URSA Cine EVF (electronic viewfinder) that adds $1,695 to the price.

Its specs are very similar to the Blackmagic Cinema Camera 6K I tested late last year. The native resolution is 24-megapixels (6K) on a full 36 x 24mm sensor that allows for up to 13 stops of dynamic range with dual native ISO up to 25,600. It can record 12-bit Blackmagic RAW (BRAW) directly to the CFexpress Type B cards or an SSD.

It also supports direct streaming to YouTube, Facebook, Twitch and others via RTMP and SRT either via Ethernet or using a cellular connection. Since the streaming is built into the camera, customers and csee stream status and data rate directly in the viewfinder or LCD. The Pyxis 6K arrives in June for $2,995 with three mounts (Canon EF, Leica L and Arri PL).

Blackmagic URSA Cine 12K and 17K

Along with the Pyxis, Blackmagic introduced a pair of cinema cameras, the URSA Cine 12K and 17K models. Yes, those numbers represent the resolution of those two cameras, with the first offering a full-frame sensor 36 x 24mm with 12K resolution (12,888 x 6,480 17:9) at up a fairly incredible 100 fps. The second features a 65mm (50.8 x 23.3 sensor) with 17,520 x 8,040 resolution offering up to 16 stops of dynamic range.

Both models will come with features like built-in ND filters, an optical low pass filter and BMD’s latest gen 5.0 color science. The URSA Cine 12K will come with 8TB of internal storage, or you can use your own CFexpress media. Other features include live streaming, a high-resolution EVF, V-battery support, wireless Bluetooth camera control and more. The URSA Cine 12K model is on pre-order for $14,995 or $16,495 with the URSA Cine EVF, with April availability. The URSA Cine 17K is under development, with no pricing or release yet announced.

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Sony A7C R

We’ll start with the A7C R, since it’s an all-new model. It features a softer, grippier material along with a deeper handle. It also comes with an add-on grip that extends the length, giving you a place to put your pinky finger — a nice addition that unfortunately also makes the camera less compact.

Still, those are key improvements that address ergonomic issues I’ve noticed on past Sony models — particularly when using them for a long day of shooting. Sony also added a front dial so you can more easily adjust aperture/shutter speed/exposure compensation, along with a dedicated video/photo/S&Q dial. And of course, the A7C R weighs just 515 grams (18.2 ounces) compared to the A7R V’s 723 grams (25.5 ounces) and is nearly half the size. That makes it a better choice for street photography and more.

It has a flip-out one-million dot display and 2.36-million dot OLED electronic viewfinder with slightly improved .70X magnification over the A7C II. It also offers full in-body stabilization with 7.0 stops of compensation (depending on the lens) — a nice feature in such a small camera. Other features include mic/headphone ports, USB-C 3.2, a micro HDMI connector a and single UHS-II card slot. The latter feature is a show-stopper for many pros, as there’s no backup for potentially priceless photos.

In terms of photo specs, it’s close to the A7R V with a few notable differences. You can shoot 61-megapixel RAW images at up to 8fps, compared to 10fps on the A7R V. The A7C R has a smaller buffer, though, and that single lower-speed SD UHS-II card slot (the A7R V has dual high-speed CFexpress Type A and SD UHS II slots), so you won’t be able to capture nearly as many photos in a burst. Like the A7R V, the A7C R has 693 autofocus points and 79 percent coverage. It uses the same processor, so should offer roughly the same AF performance in terms of burst shooting, AI tracking and more.

Most importantly, you can expect identical image quality to the A7R V. As I said in my review of the latter, with the very high resolution and the lack of an anti-aliasing filter, only Hasselblad and Fuji’s 100-megapixel medium format cameras offer greater detail. It also offers Sony’s Pixel Shift Multi-Shot that can quadruple resolution to 240.8 megapixels.

The A7C R can’t shoot 8K video like the A7R V, likely due to heating issues with the smaller body. However, it still offers 4K 60p full-frame video (with pixel binning) and 6.2K oversampled 1.5x cropped 4K 60p video. It comes with S-Log3, S-Cinetone and S-gamut3 Cine, records 10-bit 4:2:2 sampled video and can shoot at up to 120 fps in 1080p mode. Data rates top out at 600Mbps in XAVC S-I 4K mode, but you’ll need a (pricey) V90 SD card to shoot that.

That takes us to a very important consideration: the price. The A7C R costs $3,000, or a full $900 less than the A7R V — something that will give many buyers extreme pause. It arrives in fall of 2023.

Sony A7C II

As mentioned, the A7C II has the same 33-megapixel sensor and many of the same specs as the A7 IV. In terms of the body and handling, the form factor and weight are identical to the A7C R — so you get the same extra dial, updated grip, improved EVF and other previously-mentioned features. Unlike the A7C R, though, it doesn’t come with the add-on grip extension in the box.

Shooting speeds are a bit faster at 10 fps in mechanical or electronic shutter mode. By the way, neither the A7C II or A7C R have full mechanical shutters, but use electronic first curtain shutters. This can create bokeh issues when using lenses with very fast apertures, but otherwise isn’t noticeable.

What’s interesting about the A7C II is that autofocus is superior to the A7 IV because it has the same dedicated AI processing unit as the A7C R (and A7R V) that’s missing on the A7 IV. That means you can expect improved subject detection, tracking and other features compared to the A7 IV. When compared to the A7C, though, Sony promises a 40 percent improvement for animal and bird AF tracking, 60 percent for eye AF and 20 percent for auto exposure tracking.

Again, image quality should be the same as the A7 IV. That latter delivers sharper photos than the A7 III thanks to the extra resolution, but offers superior low-light capability despite the smaller pixels. A downside to the A7 IV is rolling shutter, so expect the same issue on the A7C II.

In terms of video, the A7C II is actually a better option than the A7C R. It offers sharp full-frame 4K 30p video with 7K oversampling, or 4K 60p with a 1.5x crop. You get 10-bit 4:2:2 color sampling with S-Log3 and S-Cinetone, with LUTs available in camera.

The Sony A7C II is available in silver and black, and arrives this fall for $2,200. That price is a significant $300 less than the A7 IV and it’s actually a better camera in some ways — provided the lack of a second card slot doesn’t bother you.

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Now, the company has released its successor, the Avata 2. The camera now uses the same 1/1.3-inch sensor as the Mini 4 Pro, so video quality is highly improved. The Goggles 3 have passthrough cameras to show the world around you and the Avata 2 can now maneuver more like a real FPV drone. Battery life has improved and it’s cheaper to boot.

DJI / Engadget94100

DJI Avata 2 review

Much better at a lower price.

The Avata 2 improves just about everything from the very popular original while shaving some dollars off the cost

ProsImproved video qualityBetter maneuverabilityCheaperLonger battery lifeConsGoggles 3 may lack comfort for some$999 at Amazon

It sounds great, but how is it in the real world? With my drone and FPV pilot friends, we tested it in a variety of scenarios and events. In general, it’s much improved from its predecessor, but there are a few things to know if you’re considering buying one, especially around the Goggles 3.

Body

The Avata 2 has been completely redesigned to improve flight characteristics. It’s more oblong, less top-heavy, comes with a bigger battery and weighs 30 grams less at just 377 grams. It also just looks less toy-like and more professional.

The updated propeller guards and extensive obstacle detection make it far more crash-resistant than other drones. Updated binocular fisheye sensors cover both the bottom and rear views to detect hazards while increasing flight stability. It also features a “turtle mode” that flips the drone back to a normal stance for takeoff if it hits something and flips over during flight.

The propellers have the same 3-inch size as before, but engine noise is reduced to 81dB, making it more suitable for events like weddings.

The camera unit and gimbal are larger and the protective covering is easier to install and remove. The USB-C and card slots, notoriously hard to access on the Avata, are much easier to get to here. Another welcome update is the generous 46GB of onboard storage, more than double the last model and considerably higher than most other drones.

The 18-minute battery life was a big issue with the Avata, but the new model now boasts 23 minutes max flight time, up 28 percent. The batteries can be charged quickly using the charging hub, too, from 0 to 100 percent in 45 minutes with a 60W charger — a bit faster than before, considering the higher capacity. The hub also supports DJI’s new power accumulation feature, letting you completely drain the two weakest batteries to transfer power to the strongest.

Transmission and controls

Like the Mini 4 Pro and Air 3, the Avata uses DJI’s latest O4 transmission system that boosts range to 13km in the US and 10km in Europe — impressive for an FPV drone. It streams a 1080p video feed at up to 100 fps, with latency as low as 24 milliseconds using the Googles 3.

Speaking of, the Goggles 3 have a built-in battery like the Goggles Integra while updating to O4 capability. Along with the improved transmission, they now come with higher-resolution 1080p MicroOLED displays and improved eye comfort compared to the Goggles 2 that shipped with the original Avata.

The big update, though, is the Real View pass-through cameras. With a double tap on the side of the headset or side button on the RC Motion 3 controller, you’ll instantly switch to a forward view outside the Goggles 3. The resolution isn’t very high, but at least you can see outside without removing them. A setting allows you to see the drone view as a picture-in-picture to boost situational awareness.

The Goggles 3 now allows you to capture up to 1080p video directly to a microSD card on the headset itself and you can even stream live to another Goggles 3 headset simultaneously. Video quality is still higher when capturing directly to the drone, of course, but it does provide a backup. You can also record a view showing the on-screen controls — handy for reviewing flights.

Another new feature is head tracking to control the aircraft and gimbal with head functions, allowing better control for experienced pilots.

There are a few downsides. It still doesn’t support glasses, so folks with astigmatism will need to purchase custom lenses. If you have the Goggles V2, which does support eyeglasses, it’s unfortunately not compatible with the Avata 2.

DJI hasn’t quite nailed the comfort part, either. The padding isn’t soft enough, so the edges pushed against the bridge of my nose, creating some discomfort. It was better after installing the additional (included) pad, but still not perfect.

The RC Motion 3 controller has been considerably revamped for the better. It’s smaller, lighter and has a more comfortable grip. Controls are also more precise, with a new sidelink wireless solution boosting the quality of the joystick’s signal. And for FPV enthusiasts who prefer a classic drone controller, the Avata 2 also works with the new FPV Remote Control 3.

Performance

Where the original Avata dumbed down FPV performance, the Avata 2 goes all in. It’s incredibly maneuverable, and unlike most FPV drones, highly crash-resistant.

Maximum speeds are the same as the Avata at around 60MPH in manual mode with obstacle detection turned off. That might be slower than purpose-built open-propeller FPVs, but it’s fast for a consumer product and won’t slice up bystanders like regular drones.

Though it’s not faster, it’s quicker and more precise than the Avatar thanks to the slimmed-down and better-balanced body. It turns on a dime around obstacles and climbs and descends with alacrity. At the same time, you can plow through small twigs or leaves and barely slow down.

Flying it is truly fun. The improved Goggles 3 with O4 give a clearer view, and the Motion 3 controller allows for precise and intuitive control. For events around people, you can fly in normal or beginner modes for safety, or elsewhere at 35 or 60 MPH in sport and manual modes.

The Motion 3 adds a new trigger setting that rotates the Avata 2 in place for easier maneuvers and it now includes a dedicated mode button for normal or sport flying. The joystick is larger and the controller more responsive and precise overall.

Head tracking is a common feature on FPV and Cinewoop drones, and it now works on the Avata 2. I found it helpful mainly for controlling the camera tilt, as it’s a natural way to adjust that parameter.

If you want to fly the Avata 2 at top speed in manual mode, you’ll need the FPV Remote Controller 3, which is sold separately for $199.

The Easy Acro mode is cool, but a bit cumbersome since you have to switch it on and off. Also, it’s so easy to implement with the RC Motion controller that it’s almost… boring. Tricks include slides, 180-degree drifts and flips, though you can’t record video in flip mode.

The Avata 2 is better than before in stiff winds, but can still get buffeted around and often has to lean against the breeze, causing choppy or unlevel footage. Keeping things smooth, particularly outdoors, requires more practice than with a drone like the Mini 4 Pro.

It doesn’t have forward-facing sensors, so its main protection is the prop guards and high durability. It does detect obstacles from the rear and below, and that kept me safe in some tight spots. I still crashed it at least four to five times though, luckily just in the grass or against small twigs and leaves — without leaving a scratch. This could make some pilots overconfident, though.

Battery life is noticeably better than the Avata and eliminates much of the range anxiety typical with FPV drones. However, you only get 18-20 minutes of realistic range. Most serious pilots will want to have at least three batteries with the Fly-More kit, and preferably more.

Video

The Avata 2 eliminates the Avata’s mediocre video quality via a much larger 1/1.3-inch sensor with 10-bit D-LogM capability borrowed from the Mini 4 Pro.

As before it offers normal, wide and ultra-wide shooting with up to a 155-degree field of view. It has two stabilization modes, RockSteady 3.0 and HorizonSteady. The latter is best if you want to keep things level, particularly in high winds — it does tend to lean into wind. RockSteady smooths footage more while allowing the camera to tilt, all the better to show off thrilling maneuvers.

It supports 4K video at up to 60 fps or 1080p and 2.7K at 120 fps. However, it can only capture 12-megapixel JPEG stills, so it’s not ideal for photography.

All that puts it leaps ahead of the Avata for video. Images are generally sharper and colors more accurate. The 10-bit D-LogM mode allows for higher dynamic range in bright or contrasty conditions. The one quality flaw I noticed was occasionally blockiness in video at 4K 60p when flying fast, likely artifacts due to the 130Mbps bit rate (beware of re-encoding for YouTube).

It’s much improved in low light for cityscapes or interiors as well thanks to the larger sensor. It’s not up to the level of a mirrorless camera, but as with the Mini 4 Pro, it’s fine for well lit night scenes in most cases. ISO levels are usable up to 12800 with noise reduction, with the 25600 max setting being for emergency use only.

Wrap-up

The Avata 2 is bound to be another hit for DJI. It eliminates nearly every flaw on the Avata, boosting picture quality, FPV maneuverability, battery life, range and more. Video quality, in particular, will make it even more desirable for content creators, event videographers and others (my pro friends, who already own the Avata, are planning to order one). At the same time, it’s a fantastic FPV drone for beginners — just super fun to use.

It’s also more affordable. The Avata 2 is priced at $1,000 with a single battery in the Fly-More kit with the Goggles 3 and Motion 3 controller, or $1,200 with three batteries, the two-way charging hub and a carrying case. You can also purchase it alone at $490.

That compares to original $630 price for the Avata. That model also cost $1,388 for the Avata with Goggles and Motion Controller, plus another $279 for the 2-battery/charger Fly-More kit (for $1,667 total) — so the Avata 2 is nearly $500 cheaper in that configuration. As mentioned, the FPV Remote Controller 3 is $199, while the ND Filters Set is $79.

The Avata 2 doesn’t have much competition, as regular FPV drones generally lack propeller guards and rivals like Autel don’t offer similar products. That doesn’t really matter, though, as DJI’s latest drone is both powerful and attractively priced — making it a highly desirable product for creators of all stripes.

The post DJI Avata 2 FPV drone review: A cheaper, more potent tool for creators appeared first on Best News.

Quick Overview

GoPro Hero10 Black Action Camera

$250$450Save $200See at Amazon

Nikon Z 30 with Wide-Angle Zoom Lens

$697See at Amazon

Sony Alpha A6600 Mirrorless Camera

$998$1,198Save $200See at Amazon

Canon EOS R3 Body

$4,999See at Amazon

Panasonic LUMIX S5 Full Frame Mirrorless Camera

$1,298$1,800Save $502See at Amazon

Nikon Z 5 Body

$1,097$1,297Save $200See at Amazon

Sony Alpha A6100 Mirrorless Camera with 16-50mm Zoom Lens

$698$850Save $152See at Amazon

Canon EOS R10 Content Creator Kit

$1,200$1,300Save $100See at Amazon

Panasonic Lumix GH6 25.2 MP Mirrorless Micro Four Thirds camera

$1,698$2,200Save $502See at AmazonSee 4 more

One notable deal is GoPro’s Hero10 Black Action camera, which is still among the best action cameras on the market, for just $250, saving $200. On the mirrorless camera side, Sony has some great deals across its lineup, marking the popular A6600 down to just $998, for a savings of $402 or 29 percent off. The A6100 with an 18-50mm kit lens is now just $698 ($152 off), while the newish A7 IV is back down to its July Prime Day price of $2,398, saving you $100. Not to be left out of the fun, Panasonic is selling its full-frame Lumix S5 camera for $1,298 (28 percent off) and the recent GH6 for $1,698 instead of $2,200, a $502 savings. We’re also seeing deals on Panasonic camera and lens bundles.

Nikon’s DX-format Z30 is available for $697 with a wide-angle zoom lens, while the full-frame Z5 is just $1,097, which is $303 (22 percent) off. Canon also has a stellar deal on its relatively recent R3 powerhouse camera, marking it down by a full $1,000 to $5,000, while its EOS R10 vlogging kit is $1,200 ($100 off). And it’s not just cameras — you’ll also find sales on memory cards, bags, and other accessories.

GoPro Hero 10 action camera

GoPro Hero10 Black Action Camera

$250$450Save $200See at Amazon

Though it’s been displaced by the Hero 11 and 12, GoPro’s Hero 10 is still the third-best action camera available. The GP2 processor enables features like HyperSmooth 4.0 (which stabilizes footage), tone mapping, noise reduction and a 5.3K maximum resolution at up to 60fps. It can also shoot in 4K at 120fps and 2.7K at 240fps. Like the previous model, the Hero 10 Black has a front screen to make it easier for you to shoot video of yourself, and it supports new horizon leveling options and faster navigation.

Nikon Z 30 with 16-50mm zoom lens

Nikon Z 30 with Wide-Angle Zoom Lens

$697See at Amazon

Nikon’s Z30 is a DX (APS-C) camera designed for vloggers and creators. It offers 4K using the full width of the sensor, 120fps slow-mo at 1080p, a flip-out display and AI powered hybrid phase-detect AF. It also offers outstanding image and video quality, with dynamic range on par with more expensive cameras. The drawbacks are the lack of an EVF and autofocus performance that’s not on par with Sony’s devices.

Sony A6600

Sony Alpha A6600 Mirrorless Camera

$998$1,198Save $200See at Amazon

As Sony’s former flagship APS-C camera (until the A6700 came along), the 24.2-megapixel A6600 still has a lot to offer. It comes with features like real-time AF tracking, a pop-up screen, in-body stabilization, solid battery life and generally excellent photo quality. It’s also a great travel camera thanks to its compact size. It is a bit old now, having come out in 2019, but it’s an attractive option at this relatively low price.

Canon EOS R3

Canon EOS R3 Body

$4,999See at Amazon

Canon’s EOS R3 can shoot bursts at up to 30 fps with autofocus enabled, so it’s ideal for sports and action. It’s a very solid option for video, offering 6K at up to 60 fps in Canon’s RAW LTE mode, or 4K at 120 fps. Canon’s Dual Pixel autofocus is excellent, and it offers eight stops of shake reduction, a flip-out display and even eye detection autofocus. However, the resolution is limited to 24 megapixels, so it’s not as great for wildlife or landscapes as Sony’s A1 or the R5. The other drawback is the $6,000 price, but Amazon’s sale makes it more palatable.

Panasonic Lumix S5

Panasonic LUMIX S5 Full Frame Mirrorless Camera

$1,298$1,800Save $502See at Amazon

With the arrival of the Lumix S5 II, Panasonic is offering some stellar deals on its predecessor, the S5. It’s smaller and costs less than the Lumix S1, but it actually delivers better video features. That includes a flip-out display, five-axis in-body stabilization and 10-bit 4K recording at up to 60 fps. The autofocus is faster and more accurate than the S1, but not as good as Sony and Canon’s systems for video. Still, at this price, it’s one of the best cameras currently available for content creators.

Nikon Z5

Nikon Z 5 Body

$1,097$1,297Save $200See at Amazon

The 24-megapixel full-frame Nikon Z5 is a stellar deal right now. It’s mostly aimed at photographers, with features like hybrid phase-detect autofocus and Nikon’s excellent color science. And for such a budget option, it has desirable features like five-axis in-body stabilization, dual fast UHS-II card slots, a 3.69-million dot OLED electronic viewfinder and a tilting touch display. Video isn’t a strong point, but it can handle 4K 30p with a crop and 1080p at 60fps.

Sony A6100

Sony Alpha A6100 Mirrorless Camera with 16-50mm Zoom Lens

$698$850Save $152See at Amazon

The A6100 is a few years old now, but its autofocus system is still among the best thanks to its intelligent face- and eye-tracking, along with 4K 30 fps video. The color science and low-light capabilities are excellent, so photos are sharp and color accurate, even in dimly-lit environments. The drawbacks are bad rolling shutter and a low-resolution EVF. Still, the A6100 is the best camera in its price range.

Canon EOS R10

Canon EOS R10 Content Creator Kit

$1,200$1,300Save $100See at Amazon

Canon’s 24-megapixel EOS R10 is the company’s second APS-C camera to launch in the EOS R mount ecosystem. It offers some nice features for its price range, like 4K 60p, 1080p 120p, a flip-out display, a built-in flash and very fast shooting speeds. The main drawback is excessive rolling shutter that can warp the image, but it’s ideal for casual users who are likely to buy it for vacations, kids sporting events and more thanks to the reliable AF. With features aimed at creators, you can grab it in a kit with a stereo microphone, tripod grip, wireless remote and an S18-45mm lens — saving you $100 in total.

Panasonic Lumix GH6

Panasonic Lumix GH6 25.2 MP Mirrorless Micro Four Thirds camera

$1,698$2,200Save $502See at Amazon

The Panasonic GH6 is aimed at content creators and largely does a good job of replacing the ultra-popular GH5. It has no-compromise video specs including ProRes support for 5.7K 30p video, 4K at up to 120 fps and full V-log support. With a new 25-megapixel sensor, the highest resolution yet on a Micro Four Thirds camera, it’s a better camera for photography. The GH6 still uses contrast detect only autofocus, though, and while improved, it lags behind rival Sony and Canon cameras.

Other notable camera and accessory Prime Day deals

Those products are just a smattering of what’s available, but there are others as well. Sony also has its ZV-1 vlogger camera on sale for $648 ($102 off), while the A7 III is marked down to $1,698 ($302 off). It’s also got deals on a large number of lenses — to see more, check out its Amazon camera store. Meanwhile, if you’re looking for the latest Panasonic cameras in a bundle, the company has a few solid deals, and Nikon has multiple bundles as well.

There are some notable deals on accessories, too. Lexar’s V60 II memory cards (250MB/s read and 120MB/s write) are up to 35 percent off, with a pair of the the 128GB models priced at just $57 and the 256GB model in a two-pack at $105. If you need faster V90 cards, PNY’s 128GB EliteX-Pro90 Class is marked down $20 to $75, while the 64GB cards are just $48 (20 percent off). MicroSD cards for drones or action cameras are also on sale, including SanDisk’s Extreme 512GB model for $32 (or 71 percent off). More camera deals could arrive later, so stay tuned.

Your October Prime Day Shopping Guide: See all of our Prime Day coverage. Shop the best Prime Day deals on Yahoo Life. Follow Engadget for Prime Day tech deals. Learn aboutPrime Day trends on In The Know. Hear from Autoblog’s experts on the best Fall Prime Day deals for your car, garage, and home, and find Prime Day sales to shop on AOL, handpicked just for you.

The post The Best Prime Day camera deals on GoPro, Nikon, Sony, Canon and more appeared first on Best News.

Quick Overview

DJI Osmo Pocket III (Creator Combo)

$669 at B&H PhotoMore options

GoPro HERO12 Black

$378 at Amazon$399 at Adorama$400 at TargetSee more optionsMore options

DJI Osmo Action 4

$299 at Adorama$299 at AmazonSee more optionsMore options

Insta360 X3

$400 at Amazon$450 at Adorama$450 at AppleSee more optionsMore options

Sony ZV-1 II

$898 at Amazon$898 at Abt Electronics$781 at Tech For LessSee more options

Canon G7 X Mark III

$749 at B&H Photo

Panasonic LUMIX G9 II

$1,898 at AmazonMore options

Sony Alpha ZV-E1

$2,198 at Amazon$2,198 at Abt Electronics$2,200 at Sony ElectronicsSee more optionsMore options

Sony Alpha ZV-E10

$798 at Adorama$798 at Amazon$798 at Macy’sSee more options

Fujifilm X-S20

$1,289 at AmazonMore options

Panasonic LUMIX G100

$540 at Amazon$548 at Adorama$748 at Focus CameraSee more options

Canon EOS R6 II

$2,499 at B&H Photo

Nikon Z fc

$957 at B&H PhotoSee 8 more

Factors to consider before buying a vlogging camera

Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It must be good for filming yourself as well as other “B-roll” footage that helps tell your story. The biggest requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.

Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some (notably Canon and Sony) do it better than others.

If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of its limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.

4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.

Video quality is another important consideration, especially for skin tones. Good light sensitivity helps for night shooting, concerts and so on, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when it’s time to edit the footage.

Don’t neglect audio either — if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.

You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.

The best action and portable cameras

If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.

Photo by Steve Dent / Engadget

DJI Osmo Pocket III (Creator Combo)

Late last year DJI unveiled the Osmo Pocket III and I called it “maybe the only vlogging camera you need.” It now has a big 1-inch sensor, the same size found on Sony’s ZV-1 II compact camera. That boosts image quality considerably, particularly in low light. It also has a new, large swiveling touchscreen that makes it easier to switch between horizontal and vertical video.

What really makes it great for vlogging are the follow modes combined with face tracking. If you’re working solo, you can simply set it up and it’ll rotate and tilt to follow you around. That also applies for walk-and-talk vlogging, so you don’t have to worry about focus or even pointing the camera at yourself. The main drawbacks are the reduced resolution (which means it’s not ideal for photos) and a price that’s considerably higher than the previous model.

$669 at B&H PhotoPhoto by James Trew / Engadget

GoPro HERO12 Black

The Hero 12 Black is a fairly small upgrade over the Hero 11, but is still the best action camera available. You can record videos at up to 5.3K at 60fps in 10-bit color with high data rates, and 8:7 capture that uses the entire sensor now works in all modes. The battery lasts around 10-15 percent longer than before, and it has a new quarter-inch tripod mount. Otherwise, the Hero 12 still has the best digital stabilization (aka Hypersmooth) of any action camera, a full-color front screen and the best image quality, overall, of any action camera – and it’s also reasonably priced.

$378 at AmazonExplore More Buying Options$399 at Adorama$400 at TargetDJI

DJI Osmo Action 4

DJI’s Action 4 is a step down from the GoPro 12 in terms of resolution and stabilization, but it does beat its rival in one key way. It now packs a large 1/1.3-inch sensor (the same one on the Mini 4 Pro and Air 3 drones), which, compared to the 1/1.9-inch sensor on the Hero 12, gives it better low-light image quality. Other key features include 4K 120p video capture (with 10-bit log), a nifty magnetic locking system, compatibility with GoPro accessories and 150 minutes of recording time, with just 18 minutes of charging to get the battery to 80 percent. The downside is the low 12-megapixel resolution and relatively high price.

$299 at AdoramaExplore More Buying Options$299 at AmazonInsta360

Insta360 X3

If it’s 360-degree video you need, with the option to easily convert to regular video, the Insta360 X3 has been a popular choice of late. It’s one of the easiest models to use, has a huge screen and shoots 360 video at 4K 60p, or regular video at 4K 30p. It also has a “Me” video mode that keeps you centered in the frame. The drawback is that its image quality isn’t on par with rivals.

$400 at AmazonExplore More Buying Options$450 at Adorama$450 at Apple

The best compact vlogging cameras

Compact cameras are a step up from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, they’re the best option.

Sony

Sony ZV-1 II

Sony’s latest compact vlogging camera came out last year to replace the popular ZV-1 and it offers a few key improvements. The ZV-1 II has the same 1-inch, 20.1-megapixel sensor as before, allowing for solid image quality, but now has an 18-50mm (full-frame equivalent) f/1.8-4 lens that’s much wider than the 24-70mm lens on the past model. That means it’s finally wide enough to vlog at arm’s length, particularly since the electronic stabilization crops in on the image.

As before, it offers a lightweight body, built-in high-quality microphone (plus a microphone port), flip-out display, best-in-class autofocus and excellent image quality. It also has vlogging specific features like “product showcase” and background blur. While the $750 ZV-1 can’t shoot 10-bit video, it comes with Sony’s S-Log picture profiles (including a new Cinematic Vlog setting) that give you increased dynamic range for shooting in challenging lighting conditions. If you’re a creator looking to step up from a smartphone, it does the job nearly perfectly.

$898 at AmazonExplore More Buying Options$898 at Abt Electronics$781 at Tech For LessCanon

Canon G7 X Mark III

Canon’s G7 X Mark III should also be front of mind for vloggers looking for a compact option. It also packs a 20-megapixel 1-inch sensor, but has a 24-100 mm f/1.8-2.8 35mm equivalent zoom — quite a bit longer than the ZV-1 at the telephoto range. It can shoot 4K at up to 30 fps, while offering optical image stabilization, a microphone input (though no headphone jack) and even the ability to livestream directly to YouTube. The downsides are contrast-detect only autofocus and a screen that tilts up but not to the side. For $679, it’s still a great option, though.

$749 at B&H Photo

The best mirrorless/DSLR vlogging cameras

This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, more complexity and higher prices.

Panasonic

Panasonic LUMIX G9 II

Panasonic’s G9 II is the company’s first Micro Four Thirds camera with phase-detect autofocus and is now the company’s best vlogging camera in that sensor category by far. Given its price, I think it’s the best vlogging camera overall as well. That’s down to the significantly improved autofocus that eliminates the wobble of past models, along with high-end video specs like 5.7K 60p or 4K 120p 10-bit V-log capture. The built-in stabilization reduces shake by up to 8 stops and is highly effective even when walking. Other features for vloggers include a flip-out display, direct SSD capture and more.

It’s also worth a look at the GH5 Mark II, which is not only cheaper but particularly well suited for live-streamers. It’s not a huge upgrade over the GH5, but does more than most rival cameras for the price, offering 4K 10-bit 60p video, a fully articulating display and excellent in-body stabilization. As with the GH6, the main drawback is the contrast-detect autofocus system.

$1,898 at AmazonSony

Sony Alpha ZV-E1

Sony has no less than five models in its content-creator ZV lineup, and the ZV-E1 is its latest and most capable by far. Based on the video-centric A7S III, it has an outstanding feature set for video including 10-bit 4K at up to 120p, and is a low-light champ to boot. It also offers cool AI features like auto-framing and dynamic stabilization that are very handy for vloggers. The main drawback is a lack of sharpness, but at a price $1,300 cheaper than the A7S III, it’s a highly recommended vlogging camera.

$2,198 at AmazonExplore More Buying Options$2,198 at Abt Electronics$2,200 at Sony ElectronicsSony

Sony Alpha ZV-E10

The best Sony APS-C camera for vlogging is now the ZV-E10. While using many of the same aging parts as the A6100, including the 24.2-megapixel sensor, it has a number of useful features for self-shooters. High on the list is Sony’s excellent autofocus, which includes the same background defocus and Product Showcase features found on the ZV-1 compact. It also offers electronic SteadyShot, a fully articulating display and more. The biggest drawback is rolling shutter that can get bad if you whip the camera around too much. If you can find one, it’s priced at $700 for the body or $800 in a bundle with Sony’s 16-50mm F/3.5-5.6 power zoom lens.

$798 at AdoramaExplore More Buying Options$798 at Amazon$798 at Macy’sFujifilm

Fujifilm X-S20

Much like the X-S10, Fujifilm’s 26-megapixel X-S20 is a solid APS-C hybrid camera that ticks nearly all the boxes for vloggers. Features include in-body stabilization (now upgraded to seven stops), 10-bit 4K external video with F-Log and F-Log 2 recording (at up to 60fps) along with 1080p at a stellar 240 fps, a screen that flips out to the side and easy-to-use controls. It also comes with a headphone jack and USB-C port that doubles as a headphone jack. The main downside is the limited touchscreen controls, but you get a lot of camera for the price.

$1,289 at AmazonPanasonic

Panasonic LUMIX G100

Panasonic’s G100 is purpose built for vlogging like the ZV-1, but also allows you to change lenses. It has a fully-articulating flip-out screen, 5-axis hybrid (optical/electronic) stabilization, 4K V-Log-L video at up to 30 fps (though sadly cropped at 1.47X for 4K video), 1080p at up to 60 fps, and contrast detect AF with face/eye detection. The coolest feature is the Nokia OZO system that can isolate audio to a specific person via face-detection tracking — something that can theoretically improve audio quality.

$540 at AmazonExplore More Buying Options$548 at Adorama$748 at Focus CameraPhoto by Steve Dent / Engadget

Canon EOS R6 II

Canon’s EOS R6 II is the company’s mainstream full-frame mirrorless camera, offering some nice features for content creators. Video specs are solid, with full sensor 4K supersampled from 6K at up to 60 fps. Autofocus is quick and more versatile than ever thanks to expanded subject detection. It’s still not quite up to Sony’s standards, though, and the micro HDMI and lack of a CFexpress slot isn’t ideal.

$2,499 at B&H PhotoNikon

Nikon Z fc

If you want to look great while vlogging, check out Nikon’s stylish Z fc. It’s largely identical to the Z50, with features like a 20.9-megapixel APS-C sensor, 4K at 30 fps and a reliable phase-detect autofocus system with face detection. However, the Z fc brings a vari-angle touchscreen to the party and has a beautiful vintage body covered with convenient manual controls. It doesn’t have built-in optical stabilization, but you can get that via a lens. The best feature, though, is the price – you can get one for around $1,100 with a 16-50mm lens.

$957 at B&H Photo

The post The best vlogging cameras for 2024 appeared first on Best News.

Quick Overview

Sony ZV-1F Vlog Camera for Content Creators and Vloggers White

$498$500Save $2See at Amazon

Canon EOS R100 mirrorless camera with RF-S18-45mm f/4.5-6.3 lens

$449$599Save $150See at B&H Photo Video

GoPro HERO11 Black – Waterproof Action Camera with 5.3K60 Ultra HD Video, 27MP Photos, 1/1.9″ Image Sensor, Live Streaming, Webcam, Stabilization

$300$350Save $50See at Amazon

Panasonic LUMIX S5 Full Frame Mirrorless Camera, 4K 60P Video Recording with Flip Screen & WiFi, L-Mount, 5-Axis Dual I.S., DC-S5BODY (Black)

$998$1,800Save $802See at Amazon

DJI Avata Pro-View Combo – FPV Drone UAV Quadcopter with 4K Stabilized Video, Includes New RC Motion 2 and Goggles 2

$1,279$1,428Save $149See at Amazon

Nikon Z 6II | Versatile full-frame mirrorless stills/video hybrid camera

$1,597$1,997Save $400See at Amazon

Fujifilm Instax Mini 11 Instant Camera – Lilac Purple

$60$77Save $17See at AmazonSee 2 moreSony

Sony ZV-1F Vlog Camera for Content Creators and Vloggers White

$498$500Save $2

Sony’s ZV-1F for budding content creators is 20 percent off for Black Friday.

$498 at Amazon

Sony’s ZV-1F is its third and most affordable vlogging camera, designed for creators as a “step up” from smartphones. It does that job well thanks to a lightweight body, built-in high-quality microphone, flip-out display, best-in-class autofocus and excellent image quality. The 20mm fixed lens makes it better for vlogging than the ZV1 with a 24-70mm, but the lack of a zoom is its biggest drawback.

Canon

Canon EOS R100 mirrorless camera with RF-S18-45mm f/4.5-6.3 lens

$449$599Save $150

Canon’s EOS R100 mirrorless camera for beginners is on sale for $499 or $150 with an instant coupon at B&H

$449 at B&H Photo Video

Canon’s 24.2-megapixel R100 gives buyers the benefit of a mirrorless camera, namely the ability to change lenses. It also offers features like 4K 24p video, decently fast 6.5 fps shooting speeds with autofocus, excellent image quality and more. The main issue is the lack of a flip-out display, so it’s not an ideal vlogging camera. It normally costs $600 with a 16-50mm lens, but you can now pick one up for $450, making it the cheapest APS-C mirrorless camera by a good margin.

GoPro

GoPro HERO11 Black – Waterproof Action Camera with 5.3K60 Ultra HD Video, 27MP Photos, 1/1.9″ Image Sensor, Live Streaming, Webcam, Stabilization

$300$350Save $50

GoPro’s Hero 11 Black offers most of the features of the Hero 12, but it’s on sale for $50 off.

$300 at Amazon

we gave the Hero 11 Black a largely positive review when it launched in September. The camera is an iterative upgrade over the excellent Hero 10 Black, meaning it still allows for crisp video at up to 5.3K/60 Hz, 4K/120 Hz, or 2.7K/240 Hz (for extra slow-motion shots), excellent stabilization that keeps moving footage looking smooth, and a rugged, waterproof design that’s small enough to fit on a helmet, bike handle, surfboard, or most other tight spots.

Panasonic

Panasonic LUMIX S5 Full Frame Mirrorless Camera, 4K 60P Video Recording with Flip Screen & WiFi, L-Mount, 5-Axis Dual I.S., DC-S5BODY (Black)

$998$1,800Save $802

Panasonic’s Lumix S5 is a solid content creator camera and is currently 38 percent off the list price.

$998 at AmazonExplore More Buying Options$1,298 at B&H Photo$1,798 at Macy’s

With the arrival of the Lumix S5 II, Panasonic is offering some stellar deals on its predecessor, the S5. It’s smaller and costs less than the Lumix S1, but it actually delivers better video features. That includes a flip-out display, five-axis in-body stabilization and 10-bit 4K recording at up to 60 fps. The autofocus is faster and more accurate than the S1, but not as good as Sony and Canon’s systems for video. Still, at this price, it’s one of the best cameras currently available for content creators.

DJI

DJI Avata Pro-View Combo – FPV Drone UAV Quadcopter with 4K Stabilized Video, Includes New RC Motion 2 and Goggles 2

$1,279$1,428Save $149

DJI’s Avata drone offers incredible maneuverability and speed in tight places with high safety levels.

$1,279 at Amazon

The Avata is a solid little drone that produces decent-quality 4K 60p log footage. Its biggest advantage over other drones is the speed and maneuverability, along with the propeller guards that let you operate the drone around people. It does have some weird flaws and limitations — the Googles 2 aren’t ideal if you wear glasses, plus the motion controller isn’t ideal for precise FPV flying. Still, there aren’t many other ready-to-fly drones that can do what it does.

Nikon

Nikon Z 6II | Versatile full-frame mirrorless stills/video hybrid camera

$1,597$1,997Save $400

Nikon’s Z6 II is a versatile hybrid full-frame camera that’s great for both content creators and photographers.

$1,597 at AmazonExplore More Buying Options$1,597 at Macy’s$2,250 at HSN

Nikon’s Z6 II improves the original with faster speeds, improved eye-detect autofocus and more. You can shoot 4K at up to 60 fps, and grab photos at up to 14 fps. It also offers features like a flip screen, 3.69-million dot EVF and more. It’s normally $1,997, but you can save $400 with Amazon’s current deal.

Fujifilm

Fujifilm Instax Mini 11 Instant Camera – Lilac Purple

$60$77Save $17

Fujifilm’s ultra-popular Instax Mini 11 instant camera is 22 percent off for Black Friday (in Lilac and Sky Blue).

$60 at Amazon

Other notable camera and accessory Black Friday deals

Those products are just a smattering of what’s available, but there are others as well. Panasonic also has its brand new S5 II mirrorless camera — its first with phase-detect autofocus — on sale for $1,698 for a savings of $300 (15 percent).

Sony also has its new A7 IV camera on sale for $2,298, saving you $200 off the list price, while the A7 III is marked down to $1,498 ($502 off) — the best price we’ve ever seen on this model. It’s also got deals on a large number of lenses — to see more, check out its Amazon camera store. Meanwhile, if you’re looking for the latest Panasonic cameras in a bundle, the company has a few solid deals, and Nikon has multiple bundles as well.

There are some notable deals on accessories, too. Lexar’s V60 II memory cards (250MB/s read and 120MB/s write) are up to 35 percent off, with a pair of the the 128GB models priced at just $65 and the 256GB model in a two-pack at $105. If you need faster V90 cards, PNY’s 128GB EliteX-Pro90 Class is marked down $20 to $75, while the 64GB cards are just $48 (20 percent off). MicroSD cards for drones or action cameras are also on sale, including SanDisk’s Extreme 512GB model for $32 (or 71 percent off). More camera deals could arrive later, so stay tuned.

Your Black Friday Shopping Guide: See all of Yahoo’s Black Friday coverage, here. Follow Engadget for Black Friday tech deals. Learn about Black Friday trends on In The Know. Hear from Autoblog’s experts on the best Black Friday deals for your car, garage, and home, and find Black Friday sales to shop on AOL, handpicked just for you.

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Both cameras have far different price points, currently around $450 and $1,300, respectively. They’re still the company’s least expensive new full-frame and crop-sensor mirrorless cameras, though, and Canon markets them both as ideal for tourism and adventure — so I figured that this is a great way to test the capabilities of both.

Like any potential buyer, I wanted to see if they’re better than a smartphone for traveling — specifically if the larger sensors can counter a smartphone’s AI computational photography. I also looked at ease of use and automated operation, flexibility for sunny beaches or dark bars, vlogging and more. After trying them out at some of Gran Canaria’s most scenic spots, I found one of them to be a camera worth buying and one, not so much.

Smartphone computational photography

Before detailing my experience with these cameras, I want to talk about computational and AI photography. Most smartphones incorporate these tricks, like taking multiple photos in quick succession to get the best one or improve low-light shots. They often deliver better-exposed shots with superior white balance, too. There is a price to be paid though in terms of over-sharpening and other artifacts that can give photos an artificial look.

I tested this by taking a few shots with both a Pixel 7a and a camera in the auto settings, as many travel photographers do. As I suspected, at first glance the shots on the smartphone look better, but a closer look reveals superior photos from the camera in terms of detail, color accuracy, skin tones, true noise levels and more. I believe it’s important for buyers to understand this and have a basic idea of how to adjust images in post, or their new purchase could end up in a drawer.

Canon EOS R100

The 24-megapixel APS-C EOS R100 seems like it should offer a lot for travelers. It’s small and light at 356 grams, so with a compact lens, it’s not a huge burden compared to a smartphone. At the same time, the larger sensor potentially offers superior quality and the flexibility of interchangeable lenses.

The small size comes with big compromises, though. Handling is mediocre and the settings aren’t super intuitive. I’d love to tell you could just control it on the screen instead, but the display isn’t touch sensitive and is nearly useless for vlogging as it’s fixed in place too. The electronic viewfinder has low magnification and is relatively dim, so it’s hard to use in the sun — especially with glasses on — unfortunate if you’re on the beach, for example.

It has just a single UHS-I card slot, so storage is relatively cheap but you won’t have a backup if the card glitches. You get a microHDMI jack to output to a TV, along with a mic input, but no headphone jack. The USB-C 2.0 port can only transfer files, not charge the camera or let you use it as a webcam.

It supports Canon’s smaller LP-E17 battery, but is rated for a decent 430 shots on a charge and many more in real life. One big benefit is a built-in flash with exposure compensation to dim it down – though settings are limited in the fully automatic mode most beginners will use.

EOS R100 performance and video

The R100 has anemic performance, to put it mildly. It shoots and focuses at just 3.5 fps max, the slowest in its category. It feels sluggish when shooting RAW photos, even in single shot mode. Luckily, it’s much more reactive when shooting JPEGs.

The sensor has some of the worst rolling shutter I’ve seen in silent mode. Luckily, it does have a first-curtain mechanical shutter that eliminates that, and the silent mode setting is hidden away where many folks will never find it.

There’s eye-detection AF for people only, and it works well if your subject is close to the camera. That’s OK for family photos and the like, but not ideal for candid or street shots on your trip. The autofocus isn’t great in low light either, but is otherwise fairly reliable.

The R100 is OK for grabbing the odd travel video, but not suitable for content creators. Max resolution is 4K 24p, but that comes with a 1.5 times crop, or 2.2 times with electronic stabilization, killing the bokeh advantage of a large sensor. And there’s no option for log, 10-bit, or any other high-end video features. That said, 4K video is relatively sharp and colors are nice and accurate.

EOS R100 image quality

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Canon EOS R100 sample images

Canon EOS R100 sample images

The bright spot of the EOS R100 is photo quality. As you’d expect from Canon, image quality is excellent with warm skin tones and accurate colors straight out of the camera. It can also handle low-light shooting well thanks to the large sensor, with little noise up to ISO 6400. All that will help you take great shots of mountains, the beach, nightlife and other typical vacation scenarios. The ability to shoot RAW, along with the mechanical shutter, is another good reason to get this model over most smartphones. And finally, the built-in flash is there to help you get nice looking images even in dark environments.

EOS 100 wrap-up

So would I recommend the EOS R100 for travel, particularly over a smartphone? Sorry Canon, but no. It’s too stripped down to replace a good smartphone, and while it does deliver better image quality, it’s too complicated. Instead, I’d suggest Canon’s older EOS M50 Mark II ($729), as it offers the same image quality but has a touchscreen, is smaller, and still offers good lens options. Sony’s A6100 ($848) has better autofocus and video options, and if you can afford a little more, Canon’s own R50 ($800) is the same size but far more capable.

EOS R8

Like the EOS R100, Canon’s R8 is the company’s most stripped-down and cheapest new full-frame camera. It gives you the same sensor and image quality as the $2,000 EOS R6 II for $700 less, but takes away some of the speed, video features and more.

The main thing lacking in the R8 is in-body stabilization, so it relies on lens and electronic shake reduction – but that actually worked pretty well for me. It’s also missing a full mechanical shutter, but does have a front-curtain shutter that eliminates rolling shutter. The EVF is far more basic, with lower resolution and magnification.

On the plus side, it has the same flip-out display as the R6 II, meaning it can serve as a capable vlogging and selfie camera. It also has a decent range of manual controls, with dual dials for the main settings, a full range of manual and auto settings and a dedicated photo and video switch. It’s also smaller and considerably lighter than the R6 II, so it’s a better travel option.

It has both mic and headphone jacks, along with a microHDMI port. It captures photos at high speeds to a UHS-II card, but there’s only one slot. The biggest compromise is a battery that’s the same as the one in the R100. Given the extra power demands of the larger sensor, it delivers only 290 shots on a charge, max and under an hour of video shooting.

EOS R8 performance and video

For a budget camera, the R8 is fast. It supports only 6 fps with the electronic curtain shutter, but can handle 40 fps bursts in electronic mode. There’s significant rolling shutter, though, so keep that in mind for action shots.

The R8 uses Canon’s latest AI subjection recognition tech, meaning it can track both animals and humans accurately. It also comes with an auto setting that lets the camera determine the subject and follow it accordingly.

I think autofocus is one of the most important features for travel photography, and the R8 delivers. It can locate and lock onto various subjects and track them rapidly around the frame. That makes it more capable than other recent models like the Sony’s A7 IV and the Nikon Z6 II. Focus can be selected via the touchscreen with your eye to the EVF, which works well, but be sure to enable the “touch and drag” setting in the menu.

It’s also a good video and content creation camera, with a few caveats. You can shoot uncropped video at up to 4K 60p, and it supports Canon’s C-Log 3 with 10-bit capture, along with HDR PQ. 120 fps ultra slow mo is available at 1080p. That said, 4K 60p has some pixel binning, so it’s less sharp than the 30p mode. The lack of in-body stabilization also makes it less useful for vlogging, because electronic stabilization adds a 1.25 times crop..

EOS R8 image quality

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Canon EOS R8 sample images

Canon EOS R8 sample images

Image quality is a strong point with the R8 too, especially for tourists who want far more than a smartphone can offer. It’s a great people and scenery-shooting camera, with rich skin hues and accurate colors. At the same time, the full-frame 24-megapixel sensor is great in low light, delivers plenty of detail and offers beautiful background bokeh. Serious photographers can grab RAW photos and get the same level of detail found on more expensive cameras.

EOS R8 wrap-up

Canon’s entry-level full-frame R8 is definitely worth taking on your voyages. It offers impressive image quality and is great for content creators, too. The main drawback is the lack of stabilization and a small battery, but you’ll be fine if you carry an extra battery or two. Rival options include Nikon’s Z5 ($1,299), which has image quality on par but inferior autofocus and video, and if you’re more into vlogging, the Panasonic S5 ($2,099) is a better option for less money. If you’re looking for the best affordable hybrid full-frame camera, the Canon R8 is a great choice.

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The company has completed its OM System branding change, as there’s no trace of the Olympus logo as seen on the OM-1. That said, the cameras are much the same inside. As before, it comes with a 20-megapixel (MP) stacked Micro Four Thirds sensor and TruePix X processor that allows for very fast burst shooting up to 50fps with continuous autofocus.

Those speeds haven’t changed, but OM System boosted the camera’s onboard RAM, allowing for some new features. The autofocus can now has a “Human detection” option that goes beyond just faces and eyes as before. The company says AF is also faster and more accurate (with and without subject detection), making it better for sports, wildlife and more.

It also features a deeper buffer, meaning you can shoot 256 RAW frames at 50fps before it fills, around double the OM-1 — ideal for action shooting. And while the previous model allowed for blackout-free shooting at the highest frame rates, it now works at slower speeds as well (12.5fps and 16fps) for photographers who prefer to work that way.

The company has also used updated algorithms to boost in-body image stabilization up to 8.5 stops with supported lenses, better than any other camera on the market (Canon’s latest models boast 8 stops of stabilization). And it now supports 14-bit RAW for multishot high-res mode, both in the 80MP tripod and the 50MP handheld modes, to improve dynamic range.

One new function is called Graduated Neutral Density (GND) that builds on the previous model’s Live ND (LND) mode. The latter isn’t a true ND filter, but blends multiple short shots to simulate one. The graduated version lets you shoot a gradient exposure at any angle, while also controlling the mid-point and whether it has a soft, medium or hard edge.

The body and control layout is much the same as before, but OM System has rubberized the command dials so they have a more tactile feel and work better when using gloves. That should be helpful, since the OM-1 is popular for bird and wildlife photography in all kinds of weather conditions.

Beyond that, specs and features are largely the same. You still shoot 4K video at up to 60 fps, in either 8-bit or 10-bit modes (1080p at 240 fps). And the OM-1 can output 12-bit Apple ProRes RAW video at up to 60 fps to an Atomos Ninja V or Ninja V+ external recorder without any pixel binning.

It comes with a 5.76-million dot 120Hz OLED viewfinder as before, along with a fully articulating display. There are dual SD UHS II card slots, but no CFexpress option. The battery delivers a solid 500 shots per charge, but that jumps to 1010 in “Quick Sleep” mode. Finally, you still get a small FL LM3 flash, designed mostly for fill or use with external flash units.

The OM-1 Mark II is arriving in late February for $2,400 (body only) and $3,000 in a kit with the OM System M.Zuiko Digital ED 12-40mm f/2.8 zoom lens (24-80mm full-frame equivalent).

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