Fujifilm X-T4 review | TechRadar

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.

Fujifilm’s retro flagship evolves into a truly modern hybrid

Best in Class

(Image: © Future)

TechRadar Verdict

The Fujifilm X-T4 is the best APS-C mirrorless camera you can buy right now. There’s enough here to persuade both photographers and filmmakers over the X-T3, including the significantly improved battery life, in-body image stabilization, quieter shutter, and design tweaks that make a big difference to the handling. The X-T4’s design is both charming and intuitive, while its class-leading photo and video specs are backed up by powerful performance. This is truly two cameras in one, and very fine hybrid all-rounder.

TODAY’S BEST DEALS

Pros

• +

  Solid as a rock

• +

  Class-leading APS-C sensor

• +

  IBIS is a big bonus for video and stills

• +

  Good battery life

• +

  Sensible menu system

Why you can trust TechRadar
We spend hours testing every product or service we review, so you can be sure you’re buying the best. Find out more about how we test.

The Fujifilm X-T4 is a mirrorless camera with a split personality – on the outside it’s all retro dials and analogue chic, but inside it’s packed with more advanced features than we’ve seen from any Fujifilm X-T camera so far.

It’s a compelling combination. Like the Fujifilm X-T3 (which remains on sale), the X-T4 is for keen amateur photographers and pros who want the latest mirrorless power in a fun, desirable package. The difference this time is that the X-T4 has cranked its ‘all-rounder’ dial up to 11.

The headline news is the inclusion of in-body image stabilization (IBIS), making this only the second Fujifilm camera to have this feature, the other being the Fujifilm X-h2. Both video and stills shooters can benefit from IBIS, and its inclusion here brings the X-T4 up to speed with rivals like the Sony A6600. 

The rest of the X-T4’s new features read like a checklist of responses to requests from Fujifilm shutterbugs: a bigger battery (check), improved autofocus (check) and, naturally, a new Film Simulation effect (called Bleach Bypass).  

However, these exciting additions are teamed with the same sensor and processor combo as its predecessor. Which leaves us asking, could you just stick with the Fujifilm X-T3? And what of the video-centric X-h2?

To help clarify that, our review focuses a little more on the X-T4’s changes and the impact of those additions. For most other matters, our Fujifilm X-T3 review still applies.

What we will say now is that the Fujifilm X-T4 is one heck of a camera that possesses wonderful charm and immense power under the hood. It’s fully deserving of its place in our guide to the best cameras for photography, as well as its inclusion in our guide to the best video camera, and even the best YouTube cameras. Now, more than ever, we have a true photography-video hybrid from Fujifilm.  

(Image credit: Future)

• Fujifilm X-T4 at Adorama US for $1,549

Fujifilm X-T4 release date and price

• The Fujifilm X-T4 is available to buy right now in various bundles
• Prices start at $1,699 / £1,549  / AU$2,999

The Fujifilm X-T4 is available to buy right now in various bundles. If you just want a body-only X-T4, it costs $1,699 / £1,549 / AU$2,999 in either black or silver.

A bundle with the excellent XF18-55mm f/2.8-4 R LM OIS kit lens costs $2,099 / £1,899 / AU$3,298. Or, if you’d rather get the X-T4 with the new XF16-80mm f/4 R OIS WR lens, that will set you back $2,199 / £1,949 / AU$4,099.

If these prices are a bit too steep for you then it’s worth noting that the Fujifilm X-T3 will remain on sale for some time yet. That camera now costs $1,299 / £1,199 / AU$1,823, making it a more affordable alternative if you don’t need IBIS or any of the X-T4’s other new features.

Of course, the Fujifilm X-T4’s price means it’s now also up at the level of many full-frame cameras, including the Nikon Z6 and Sony A7 III; but while it has a smaller sensor than those cameras, it does also have some superior features, as we’ll discover.

Build and handling

• The Fujifilm X-T4 is slightly larger and heavier than the X-T3
• Built quality is very solid, though a chunkier handgrip would be nice
• Its magnesium alloy design is still weather-resistant

Fujifilm doesn’t often make dramatic departures from its retro blueprint, and the X-T4 is no different. Let’s just say that if you’ve picked up an X-T series camera before, you’ll feel right at home here.

We are fans of the premium Fujifilm X-T ethos. It centers around those bold analogue-style dials on the top plate. The dedicated dials are for ISO, shutter speed and exposure compensation.  

Paired with an aperture ring found in many of Fujfilm’s lenses, this provides you with all the key exposure controls at your fingertips. Not only are these dials no slower than using the modern generic control dials, they are arguably more methodical and hands-down more charming.  

If the design of a camera entices you to use it more, then the X-T4 could well be your constant companion. There is definitely an emotional connection for camera fans.

Image 1 of 3

(Image credit: Future)(Image credit: Future)(Image credit: Future)

Build quality is second-to-none. The X-T4’s full-metal body is weather-sealed and solid as a rock. With its new IBIS unit, the X-T4 is a fraction larger and heavier than the X-T3, but at 603g it’s still much lighter compared to an enthusiast-level DSLR.   

A slightly bigger handgrip houses a larger battery unit that boasts almost double the shot life of its predecessor, up to 600-shots in economy mode. It’s a significant step up, plus you have the option of on-the-go charging via the USB-C port. 

A change in size also means a new optional vertical grip. This holds up to three of those new batteries and features a dedicated headphone jack, which is missing on the X-T4 body. A USB-C-to-3.5mm dongle comes in the box to attach headphones, but you won’t therefore be able to charge the camera at the same time. 

For us, the larger handgrip is still simply not big enough. The X-T4 is already a DSLR-style camera, so why not offer an even deeper grip that is more comfortable to hold? That said, it does depend a little on what your favorite lenses are.

The switch under the shutter speed dial no longer controls metering, but moves between Still or Movie shooting. Removing the metering switch will irritate some dedicated photographers, but the change makes complete sense whether you are using the camera for photos or for video.   

Because of this change, new dedicated menu systems are opened up for both Still and Movie shooting. For example, in Still mode the Q menu (or ‘quick’ menu) and the in-camera menu system only contains photography options. Flick to video and the menus change to video options, plus the analogue dials become inactive.  

To make exposure changes when shooting video, you use the front and rear clicked control dials. These changes can be made during capture and in conjunction with the touchscreen. 

We love the logical separation between the two disciplines and the easy-to-navigate menus. What appears as a minor tweak to the design is indeed a bold move that emphasizes the X-T4’s status as a true hybrid camera. 

(Image credit: Future)

Now we come to the LCD touchscreen. The resolution of the 3-inch display is upped to 1.62-million-dots, and now the unit is fully articulated rather than a tilt type.  

With the LCD screen flipped out to the side, it can be rotated and viewed in ’selfie’ mode. A front-facing screen is particularly useful for filmmakers that work alone. The screen can also be safely folded away to reveal a lovely faux-leather finish. We have particularly enjoyed a screen-less experience and focusing on the EVF instead.  

Some say an articulated screen design is more fragile than the tilt-type when flipped out. It can get in the way of the ports on the side of the camera (Fujifilm has redesigned the port covering in the X-T4 as two pull-out rubber doors), plus you are viewing it off-centre and it may not be compatible with an L-Bracket support.  

In the context of the flagship X-T series, we’re on the fence with which screen design we prefer, but it’s no deal-breaker either way. The X-T4 screen slightly favors video, because it’s a little trickier than a flip screen when shooting from the hip.   

As before, the X-T4 records onto an SD card and both slots are compatible with the ultra-fast UHS-II type that is needed for high-speed continuous shooting and high-resolution videos.   

(Image credit: Future)

Features and autofocus

• The Fujifilm X-T4 has five-axis in-body image stabilization
• This provides up to 6.5 stops of stabilization with certain lenses
• A new quieter shutter mechanism helps it shoot at up to 15fps

It might look remarkably similar to its X-T predecessors, but the Fujifilm X-T4 is the biggest leap forward for the series yet, thanks to three main new features: IBIS, a new battery, and a new shutter mechanism.

Otherwise, the X-T4’s headline features are virtually identical to the X-T3, a camera that is 18 months older. You get the same 26.1MP back illuminated APS-C sensor, which is class-leading in terms of detail and low light performance. If it ain’t broke, don’t fix it. 

Then there is a movie shooting spec that stands firm today too; Cinema 4K movies up to 60fps, 10-bit internal recording plus HDMI out, up to 400Mbps bit-rate and with F-Log and HLG profiles included as standard. Slow motion Full HD movies are possible up to 240fps, too. If you want great looking videos, the X-T4 will achieve that.  

The really big news, though, is that in-body image stabilization (IBIS). On paper, the sensor shift unit beats the one in the Fujifilm X-h2 by one stop, providing up to 6.5EV (or exposure value) of stabilization when used with one of Fujifilm’s stabilized lenses. This includes 18 out of Fujifilm’s total of 29 lenses and is particularly exciting if you own classic prime lenses like the XF35mm f/1.4 or XF56mm f/1.2.

Image stabilization is of particular interest to run-and-gun filmmakers who want steady handheld shots without relying on a gimbal. We’ll share our experience of it further down in the ‘Performance’ section.  

The shutter has benefitted from a few improvements – it’s more robust with a 300,000-shot life, it’s quieter than the one in the X-T3 by about 30%, and it’s faster with a new 15fps top speed.  

Of course, this speed isn’t particularly helpful if the autofocus can’t keep up with the action, and luckily Fujifilm has fine-tuned its AF system for the X-T4 too. Fuji claims that the X-T4’s tracking success rate is twice as good as the X-T3, which wasn’t exactly a slouch in this department, and the Face / Eye AF has also been improved. You can find our thoughts on this in the ‘Performance’ section below.

As before, the camera maxes out at 30fps when using the electronic shutter. You get a PreShot mode, interval timer, panorama, HDR, bracketing and a range of advanced filters. Again, Raw images can be edited in-camera and uploaded wirelessly using Fujifilm’s app with Bluetooth, Wi-Fi and NFC connectivity. 

In short, the X-T4 is the most capable hybrid APS-C camera around, bar none. 

(Image credit: Future)

Performance

• The X-T4 has Fujifilm’s best image stabilization system so far
• Face and Eye detection AF are very impressive for portraits
• 15fps burst shooting makes it a strong action performer too 

So what is the Fujifilm X-T4’s image stabilization actually like? We had the 16-80mm f/4 WR lens for our test, which is listed as obtaining up to 6EV  (or stops) of stabilization when both optical stabilization (OIS) and sensor shift stabilization (IBIS) are active.  

After multiple efforts with a steady hand, we experienced effective stabilization more like 4EV (or four stops). The same can be said of the 35mm f/1.4 lens. We’d be interested to try more lenses, but for photography, those 6.5EV claims might be a little generous. The Olympus OM-D E-M1 Mark III stabilization is much better.  

Still, the stabilization for photos is a minor improvement over the X-T3. And it is a game-changer for those using an X-T camera without an optically stabilized lens. 

As for video, the sensor shift stabilization is an improvement on no stabilization at all, obviously. Shake caused by vibrations from walking are reduced, but still evident. This is certainly not the best IBIS we have seen, but it is certainly a bonus over the X-T3.

Activate the digital stabilization in addition to OIS and IBIS and things improve a lot. Shake is almost virtually gone. The trade-off with digital stabilization is that a 1.1x crop factor is applied and somehow the feel of the footage isn’t quite the same.  

In short, the X-T4 IBIS does not completely replace the need for a gimbal, but it is very welcome and the performance is especially good when digital stabilization is added.

Image 1 of 4

Face and Eye detection is very reliable when it comes to acquiring sharp focus on the eyes. (Image credit: Future)In portrait shots the eyes are virtually always pin sharp, even with subjects turning their face in and out of view. (Image credit: Future)The continuous high drive setting of 15fps mechanical shutter increases your chances of capturing the precise moment. (Image credit: Future)The continuous Zone AF mode allows you to isolate an area of the frame for sharp focusing and is very reliable, even in action scenes. (Image credit: Future)

Autofocus is still the 425-point hybrid system that is quick and reliable across a variety of scenarios. However, the autofocus experience does vary depending on the lens in use. For example, we had the older 35mm f/1.4 lens which does not perform to the same standard as the 16-80mm f/4 lens.   

There was a time that AF performance was a weakness of the Fujifilm system. That’s certainly not the case with the X-T4, though you will need a more recent lens to make the most of its powers.  

Fujifilm claims that Face and Eye detection AF is improved. Certainly, we were very impressed with the reliability – in our portrait pictures the eyes are virtually always pin sharp, even in low contrast light and with subjects turning their face in and out of view.  

Tracking AF is linked to the wide AF area only. We actually found the Zone AF mode without tracking gave a higher hit ratio of sharp shots in action sequences.  

The X-T4 also offers an improved 15fps ‘continuous high’ mode when using the mechanical shutter. Recording at this speed onto a UHS-II card, we have been able to capture 37 Raw images in a burst, or 65 images in JPEG only.  

If you shoot JPEG only in 8fps ‘continuous low’ mode, the camera will keep shooting sequences well into the hundreds – there’s no real limit.   

In general, the buffer processes those ‘continuous high’ Raw files in around 20-25 seconds before the camera returns to full performance again, whereas for JPEG-only it’s more like five seconds.  

For action sequences, the X-T4 is truly a very capable performer, but it may not meet the demands of pro action photographers. You will probably want to shoot in 8fps JPEG-only for an uncompromised performance.  

Image quality

Our Fujifilm X-T3 review covers a lot of our thoughts on the X-T4’s image quality, but it’s worth doing a recap and also noting the positive impact of image stabilization and this camera’s enhanced shooting performance.

The X-T4 uses the same 26.1MP APS-C sensor as the X-T3, with the same native ISO 160 to ISO 12,800 range, video resolution and frame-rates.  

We would have no hesitation in using any sensitivity setting up to ISO 6400 because there is no visible sign of luminance noise in well-exposed images. Even the extended ISO 80 to ISO 51,200 range is usable – it’s not just there for the numbers.   

The bottom line is that no other camera in this class matches the X-T4 (and X-T3’s) low light performance or resolved detail (depending which lens you use). If you want excellent quality photos, the X-T4 will not disappoint. 

Image 1 of 11

The Fujifilm X-T4 boasts class-leading low light performance, although we really pushed the camera here, underexposing at ISO 6400. (Image credit: Future)This two-minute long exposure was taken using the timed (T) setting on the shutter speed dial where exposure times up to 15 minutes are available. (Image credit: Future)The 26.1-million-pixel sensor is able to produce fine detail with the 16-80mm f/4 lens. (Image credit: Future)The 26.1-million-pixel sensor is able to produce fine detail with the 35mm f/1.4 lens. (Image credit: Future)Noise is well controlled in this flower picture taken at ISO 1600, f/5, 1/200sec. (Image credit: Future)The vari-angle screen assists awkward shooting angles and enabled clear viewing with the camera held over the water. (Image credit: Future)In this handheld shot at an equivalent focal length of 120mm and a shutter speed of 1/10sec, detail is sharp thanks to the combination of OIS and IBIS. (Image credit: Future)The standard (Provia) film simulation mode has a pleasing natural color rendition. (Image credit: Future)The new Eterna Bleach Bypass film simulation has a high-contrast and desaturated look well suited to gritty industrial scenes like this. (Image credit: Future)The evaluative metering is reliable in most situations, yet in this instance negative exposure compensation was quickly employed to ensure the highlight detail remained. (Image credit: Future)With a wide dynamic range, the X-T4 maintains plenty of shadow and highlight detail in high-contrast scene like this, plus a dynamic range boost is applied to all JPEGs. (Image credit: Future)

We’re big fans of the ‘color science’ behind Fujifilm’s unique sensor design. Each color profile (or ‘film simulation’) references Fujifilm’s film stock. The standard ‘Provia’ profile has a lovely natural look to it, while Eterna is a staff favorite too.  

Monochrome shooters are well catered for, too. Acros with Red filter makes the skies pop in landscapes decorated with blue skies and intermittent cloud.   

A new color profile called Eterna Bleach Bypass has been added, offering a high-contrast, desaturated look. It’s not our favorite, but we’ll leave it up to you what you think of the new profile. There are 12 color profiles in all now and these can be applied in-camera to Raw files. 

In video mode, you get Cinema 4K videos up to 60fps and up to 400Mpbs, depending on the frame-rate. There are F-Log and HLG color profiles included at any of those settings. We’ve shot some lovely looking video clips in the F-Log profile that only really needed a contrast and vibrancy tweak for a great looking grade.  

It’s worth knowing that ISO 640 is the lowest sensitivity setting available in F-Log profile, making an ND filter a mandatory extra if you want to shoot with the log profile.   

Overall, it’s fair to say that outright image quality is definitely a strength of the X-T4. 

(Image credit: Future)

Verdict

The Fujifilm X-T4 is now the best APS-C camera you can buy.

It’s an attractive, robust camera with analogue dials that both stand out from the crowd and work incredibly efficiently. This means it particularly appeals to those who love camera gear as much as taking pictures.

Not that it isn’t also great at doing the latter. Beyond its aesthetics, the X-T4 boasts unparalleled photo and video performance (at least among APS-C cameras), ticking all of the boxes that matter the most.

The X-T4 is also more than a X-T3 with IBIS. You get a much higher capacity battery, more robust shutter and some design changes that make complete sense for a hybrid camera.  

Yes, almost all of the changes improve video capacity. But photographers are not left behind, benefitting from that better battery life, improved stabilization for non-stabilized lenses, plus a menu system and controls that are clearly distinguished for photo or video use.   

We feel that there is enough in the X-T4 to merit the extra cost over the X-T3. Though it is still worth considering the latter and watching its price – if IBIS is the main feature you’re after, you could use the savings to buy an X-T3 with a gimbal. There are also no image quality improvements aside from the impact of the X-T4’s enhanced power. 

In its own right, the X-T4 claims the crown of the best mirrorless camera with an APS-C sensor you can buy. It’s two powerful cameras in one, both of which you’ll have great fun using for many years to come. 

The competition

Image 1 of 1

(Image credit: Future)

Sony A6600

Fujifilm and Sony use a very different approach for their flagship APS-C mirrorless cameras. The Sony A6600 is lighter and much more compact than the X-T4, consequently offering a comparatively modest built-in viewfinder and tilt LCD screen. The viewing experience is better in the chunkier X-T4, with an articulated LCD screen and larger viewfinder. Performance wise, the A6600 has a better battery life and arguably superior tracking AF, while image quality for photo and video is fractionally better in the X-T4 and you get dual UHS-II SD card slots. At this level, the X-T4 ethos makes more sense.

Read our in-depth Sony A6600 review  

• Check out our guide to the world’s best cameras for photography

• These are the best mirrorless cameras in the world

Fujifilm X-T4: Price Comparison

$1,999.99

$1,540

View

$1,699

View

$2,499.99

$1,949

View

No price information

Check Amazon

Show More Deals

powered by

Mark is TechRadar’s Senior news editor. Having worked in tech journalism for a ludicrous 17 years, Mark is now attempting to break the world record for the number of camera bags hoarded by one person. He was previously Cameras Editor at Trusted Reviews, Acting editor on Stuff.tv, as well as Features editor and Reviews editor on Stuff magazine. As a freelancer, he’s contributed to titles including The Sunday Times, FourFourTwo and Arena. And in a former life, he also won The Daily Telegraph’s Young Sportswriter of the Year. But that was before he discovered the strange joys of getting up at 4am for a photo shoot in London’s Square Mile. 

Nikon Z5 review | Digital Camera World

Digital Camera World Verdict

The Z5 is a very good entry-level full frame camera, but its relatively high launch price may just persuade some potential purchasers that it’s worth forking out the relatively little extra for the Z6. Compared to other brands, the Z5 is neither cheap nor expensive. The Canon EOS RP is much cheaper to buy, but lacks the Z5’s 4K video, while the Sony A7 III and Panasonic S1 are somewhat more advanced cameras and not exactly direct rivals. The Z5 is competent, attractive and affordable, but its price pitches it against a host of cameras which can boast exactly the same thing.

TODAY’S BEST DEALS

Pros

• +

  Solid, robust feeling build

• +

  Good EVF and tilting rear screen

• +

  Twin memory card slots

Cons

• –

  Only 4. 5fps continuous shooting

• –

  4K video is cropped

• –

  24-50mm kit lens is limiting

• –

  Nikon Z6 is better value

Why you can trust Digital Camera World
Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out how we test.

For what’s supposed to be an ‘entry level’ full-frame mirrorless camera, the Nikon Z5 is surprisingly well specced. It’s fully weather sealed, featuring five-stop in-body image stabilization, a 24.3Mp sensor that goes up to ISO51,200 in native settings, and a class-leading electronic viewfinder. It seemingly matches the more upmarket Nikon Z6 feature for feature in all the important places. 

Read more

Indeed, the control layout is almost exactly the same, offering a near identical handling experience, with a thumbstick, D-Pad and array of buttons to access vital controls at the back along with a touchscreen rear LCD, finger- and thumb-operated control dials in easy reach, and pair of well-positioned programmable Function buttons on the front.

• Nikon Z5 at Walmart for $1,309.95

For those making the move from a DSLR, though, the lack of direct access buttons can take some getting used to. While Nikon DSLRs typically allow you to change between single, continuous and self-timer shooting modes by turning a dial, or between AF-S, AF-C and Manual focus with a dedicated button, here you’ll need to select these options from on-screen menus. Likewise, there are no dedicated buttons for oft-used functions like metering, white balance or selecting between raw and JPEG image quality. 

See also: best lenses for Nikon Z5

The Nikon Z5 has a 24-megapixel full frame sensor, matching the resolution of the more expensive Z6. (Image credit: Rod Lawton/Digital Camera World)

But things aren’t quite the same as on the Nikon Z6 and Z7. There’s no top-plate display to give at-a-glance info on all the vital settings. Instead, the exposure mode dial has been shifted over into its place, and while this has the same Auto, P, A, S, M modes plus three user-definable presets, it’s no longer of the locking variety, meaning that modes can be changed without having to first press down a central button. A small omission perhaps, but this was useful for preventing the accidental changing of exposure mode, and a sign that this lower-cost camera has made savings in less important areas while still keeping the overall functionality and quality up.   

• Read more: Nikon Z5 vs Nikon Z6: what are the key differences?

The most obvious external difference between the Z5 and the other full frame Z cameras is that the top display panel has gone, and its position is taken up by the camera’s mode dial. (Image credit: Adam Waring/Mike Harris)

Specifications

Sensor: 24.3MP full frame CMOS sensor
Image processor: EXPEED 6
AF points: 273-point hybrid phase/contrast AF
ISO range: 100-52,200, exp 50-102,400
Metering modes: Matrix, center-weighted, spot, highlight-weighted
Video: 4K UHD, 30/25/24p
Viewfinder: EVF, 3,690k dots, 100% coverage, 0. 8x magnification
Memory card: 2x SD/SDHC/SDXC, UHS-II
LCD: 3.2-inch tilting touchscreen, 1,040k dots
Max burst: 4.5fps
Connectivity: Wi-Fi, Bluetooth
Size: 134 x 100.5 x 69.5mm
Weight: 675g (body only, including battery and memory card)

The tilting rear touchscreen is bright and clear, but has a lower resolution than those on the Nikon Z6 and Z7. (Image credit: Adam Waring/Mike Harris)

Key features

While its 24.3MP sensor is practically the same size as The Z6’s 24.5MP component, it’s not exactly the same. The 0.2MP difference translates to a 6016 x 4016 resolution on the Z 5 versus a 6048 x 4024 pixel-count on the Z6. This handful of pixels is certainly not enough to lose any sleep over, and images from either can be printed to the same resolution or cropped to the same degree without any noticeable difference – but it does indicate some differences in the sensor

The Z6 has a more expensive BSI (back-side illuminated) sensor while the Z5’s is based on more established (and therefore cheaper) CMOS technology. The chief distinction here is that BSI sensors put all the wiring at the back, while with CMOS this is at the front, sitting between the individual photodiodes, and potentially blocking some light from reaching them. In a nutshell, BSI sensors have better low-light performance. That said, both cameras have an ISO range of ISO100-51,200, but the Z6’s expanded range goes one stop better, topping out at ISO204,800 rather than ISO102,400. 

There is no top status panel on the Z5, and the space is taken up by the main mode dial. But it still has a magnesium alloy body and weather sealing. (Image credit: Rod Lawton/Digital Camera World)

Another physical difference is that the door that houses the memory card slots is deeper; this is due to the Z 5 housing two memory card slots, rather than the single slot of the cameras higher up the range. This initially might seem like this gives the Z 5 the upper hand, especially to those concerned about the potential for card failure, but there are important considerations to take into account.

When Nikon adopted the XQD memory card format for the Z6 and Z7 (and has since enabled compatibility with the even more superior CFexpress), it reasoned that this was due to it being the fastest, most reliable and future-proof format available. But this came at a price, with the proprietary Sony-owned format being eye-wateringly expensive compared to same-capacity SD cards. Even the fastest UHS-II SD cards are left in the dust compared to the read/write speeds of XQD/CFexpress, and while we’ve certainly had SD cards corrupt on us, XQD/CFexpress cards are often quoted as having a failure rate that’s “close to zero”. 

In addition to backing up your images on the fly, the Z5’s dual-card design also gives the option of recording raw files to one card and JPEGs to the other – useful for quickly sharing images from one card while having the full-fat files for those you might wish to work on more extensively on the other – or simply increasing the number of shots you can take without physically changing cards. The Z5 is actually a tad heavier (five grams) and 2mm deeper than the Z6 and Z7, no doubt as a result of accommodating the additional card slot.

One of the Nikon Z5’s key features is its new (and possibly controversial) 24-50mm retracting kit lens. (Image credit: Adam Waring/Mike Harris)

That 24-50mm kit lens

Every entry-level camera needs a kit lens, and the Z 24-50mm f/4-6.3 is the Z5’s. In fact, in some markets including the UK, the camera is available as a bundle with the lens, while in other territories, such as the USA, it can be bought body-only. 

The lens is pretty compact, though not quite as compact as the pancake design of the Z 16-50mm that accompanies the APS-C sensor Z50. Like many other Nikon Z zooms, it features a retractable design and so the lens is a fair bit longer when in use than in the stowed position. 

As our lab tests show, the lens proved to be very sharp through its albeit limited focal length range. Not quite as razor sharp as the S-line 24-70mm f/4 kit lens that accompanies the Z 6 and Z 7, but nevertheless very impressive for a kit lens that costs about half the price, while optical defects such as distortion and fringing are so minimal as to be a complete non-issue. The autofocus stepping motor locked silently and swiftly onto moving subjects, such as our skateboarders, enabling a high hit-rate of action shots. 

However, that focal length range really isn’t very big at all, stretching barely over 2x. While the 24mm wide length is pretty much what you’d expect, topping out at 50mm quite literally comes up short when it comes to telephoto reach (the Z50’s Z 16-50mm has a 3.1x zoom range by way of comparison, with a 24-75mm effective focal length). 

The aperture shrinks from f/4 at the wide end to f/6.3 when zoomed in – which is pretty slow, particularly considering the limited zoom range, and combined with this does limit shallow depth of field effects for portraits and the like. 

All things considered, the Z 24-50mm f/4-6.3’s image quality is very good indeed for an entry level kit lens, but we think many photographers will outgrow its limited range pretty quickly. 

Our biggest concern with the Z5 is its kit lens. It’s not so much the plastic rear mount that bothers us, but the limited 2x zoom range and slow f/4-6. 3 maximum aperture. (Image credit: Rod Lawton/Digital Camera World)

In addition to the zoom ring, there’s also a control ring, which is normally used for manual focusing but can be assigned other functions when autofocus is engaged, such as exposure compensation. And speaking of manual focus, one glaring omission is there’s no on-barrel switch to turn autofocus on and off. As there’s no manual AF/M switch on Z cameras either, this means delving into the menus to disable autofocus. There’s also no VR switch, as the lens relies on the in-body stabilization of the Z5 and does not have VR built in. 

Nikon has made compromises in both the zoom range and maximum aperture to produce such a compact kit lens, and for many that will be a compromise too far. We much prefer the Z 24-70mm f/4 lens that’s the kit lens option for the Z6 and Z7. Not only does it address both those concerns, but being a ‘S-line’ lens, that lens’s image quality is simply stellar. 

Interestingly, the Nikon Z5 swaps the single XQD/CFexpress card slot in the Z6 and Z7 for dual SD card slots. (Image credit: Adam Waring/Mike Harris)

Build and handling

The camera uses the same stunning electronic viewfinder as the Z6 and Z7, with a 3.69 million dot display, for a crystal-clear, near-lag-free image that is as close as you can get to a ‘proper’ optical viewfinder. Thanks to the use of top-quality Nikon optics in the display, it’s still one of the the best EVFs around. Once you get used to it, you may well find you prefer it to an optical viewfinder. Not only are exposure settings applied to the image for something close to a ‘what you see is what you get’ display, enabling you to actually see the subjects you’re shooting in near darkness, for example, but a head-up display can cycle through an on-screen histogram and camera level indicator with a press of the handily positioned Disp button; you’ll have no excuses for taking an off-kilter shot ever again! In addition, you can playback images through the viewfinder too, making reviewing shots in bright sunlight no longer an issue.  

The rear LCD, on the other hand, has only around half the resolution, at 1.04 million dots rather than the 2.1 million of the cameras higher up the range. While you can just about see the difference when viewing the displays side by side, in isolation most users won’t notice the lower pixel count – though it does take an additional button press of the zoom button to see image detail at 100%. 

Like the Z6 and Z7, the screen tilts up and down for low and high-level shooting, though it doesn’t flip all the way around for selfies, unlike the APC-S sensor Z50. You can also tap the screen to simultaneously focus and take the shot, which can be much quicker than using the thumbstick to get the focus point on the desired area. 

The other differences are on the inside. First off, the maximum shooting rate is a relatively pedestrian 4.5 frames per second, as opposed to the Z6’s frankly insane machine gun-like 12fps. On the plus side, you can keep this shooting rate up until the memory card is full (as long as it’s a decently fast one), while the  6 can manage around three seconds of shooting before the buffer begins to clog up. The frame rate being so much slower surprised us, given that both cameras have an EXPEED 6 processor under the hood, but Nikon has told us this is down to the difference in image sensor design, and the slower speed at which information can be read from the Z5’s CMOS sensor. 

Performance

We tested the Nikon Z5 directly alongside a Z6, and most regular shooting circumstances, you’d be hard-pressed to tell the difference between shots taken on either camera. We took the camera on a field trip around the city of Bath to put it and its kit lens through their paces. We took as near identical shots as we could manage of the same scene on a tripod with both the Z5 and Z6, with the same settings and swapping the 24-50mm kit lens between them, and layered the aligned images in Photoshop so we could easily flip from one to the other. Viewed at a 100% pixel-peeping level, the Z6 shots showed perhaps a touch more contrast and depth in the shadows, but there really was very little in it.  

The Nikon Z5 is the first Nikon to feature Animal AF out of the box, but it works best if your furry subjects are relatively static. (Image credit: Adam Waring/Digital Camera World)

Using continuous focus and the Area AF mode, the Nikon Z5 had no trouble keeping up with these skateboarders. (Image credit: Adam Waring/Digital Camera World)

The widest available f/6.3 aperture when zoomed in limits the shallow depth of field, but colour reproduction is fabulous. (Image credit: Adam Waring/Digital Camera World)

So while this is a new sensor, it still packs the same number of 273 inbuilt AF points. Autofocus appears to be just as responsive as in the system employed in the Z6, and with points covering 90 percent of the frame arranged in a 21×13 array, it covers a far bigger area than the dedicated autofocus modules built into Nikon’s DSLRs, which are clustered around the central portion of the frame. But while it’s zippy, it doesn’t quite match the speed and accuracy of autofocus that Nikon’s most advanced DSLR systems are capable of.  

With so many AF points available, these are selected in a different way than DSLR users are used to. AF points can be individually selected in Single Point Mode, then Small and Large Wide Area modes that employ an increasingly larger number of AF points, while Auto-Area AF that uses all 273. On top of that, you get a Pin-AF mode with AF-S (Single Autofocus shooting), that enables you to select between the on-sensor points but takes longer to achieve focus, and Dynamic-Area AF mode when using AF-C (Continuous Autofocus) that strays beyond the selected point should your subject briefly move from it. 

We were able to shoot this wide angle scene handheld at just ¼ sec, the Nikon Z5’s IBIS system keeping our shot rock-steady. (Image credit: Adam Waring/Digital Camera World)

The 24-50mm range of the kit lens is great for landscapes, but not so handy for shooting portraits or other telephoto subjects. (Image credit: Adam Waring/Digital Camera World)

Auto Area AF can be further refined to prioritize human faces, or their eyes, or whatever’s closest to the camera, and it worked a treat in the skate park, keeping boarders sharp as we shot with continuous AF as they moved around the skate bowl. An addition to this mode is the ability to focus on animal faces/eyes, such as cats and dogs – it’s the first Nikon to come with this feature out of the box, though other mirrorless cameras can update to this via a firmware upgrade. 

We did find this worked far better on stationary animals than those moving at speed, where it struggled to keep up with the action. Here, you’re better sticking to Dynamic or Small Area AF modes, and keeping the selected focus points on your target. 

The 24-50mm kit lens produces sharp images, though you do have to get in quite close for portraits such as this.  (Image credit: Adam Waring/Digital Camera World)

The camera offers very decent dynamic range, being able to produce detail on the brickwork of the tunnel to the sunlit scene beyond.  (Image credit: Adam Waring/Digital Camera World)

Video

While the Z5 can shoot 4K video at 30fps, it is cropped by a factor of 1.7x, rather than using the full sensor width like the Z6. This means that shooting at the wide end of the 24-50mm kit lens would give an effective focal length of 41mm, so not really wide angle at all. On the other hand, the standard 50mm end becomes a moderate-telephoto 85mm. In short, it’s perfectly capable at shooting video, but your lenses don’t behave in the way you might expect. We also tried the video function shooting our skateboards, panning as we followed the action. The camera AF had no trouble keeping up, and the inbuilt stabilization dampened the camera movement so it was beautifully smooth on playback. 

Shooting in Full HD tops out at 60fps, while the Z6 can manage 120fps. Again, event though processing engine in the Z5 is identical to the one in the Z6, the severe crop and slower Full HD frame rate is down to the design of the Z5’s CMOS sensor,

One video benefit the Z 5 does have is that the camera can be powered by USB-C, rather than just charged by it – very useful for power-hungry movie shooting, or situations such as time-lapse photography, where your battery running out mid-shoot could be disastrous. That said, the battery life is rated at 470 shots – a very decent 25% improvement over the Z6’s 380 shots.  

Lab tests

We ran our regular set of lab tests on the Nikon Z5 and compared the results with those of three chief rivals: the Canon EOS RP, Sony A7 III and Panasonic Lumix S1.

(Image credit: Digital Camera World)

Resolution

The resolution of the Z5 proved slightly lower than that of its rivals, but by a small difference that won’t really be apparent in real-world shooting. We suspect the retracting 25-50mm kit lens might have something to do with this, as its rivals tend to come with a slightly higher grade of kit lens.

Resolution is measured in line widths/picture height, a standardised resolution measurement that’s independent of sensor size.

(Image credit: Digital Camera World)

Signal to noise ratio

The Z5’s signal to noise ratio proved worse than the rival cameras we selected at low ISO settings, where noise tends to be less apparent anyway, but about the same at high ISO settings.

The signal to noise ratio is quoted in decibels, and its the difference between actual image detail and random background noise. The higher the number, the better.

(Image credit: Digital Camera World)

Dynamic range

The Z5’s dynamic range is good at low to medium ISO settings but does drop away from the Sony A7 III and Panasonic S1 at higher ISOs. It does comfortably beat the much cheaper Canon EOS RP across the ISO range, though.

Dynamic range is a measure of the camera’s ability to hold detail in the brightest and darkest parts of the picture. It’s measured in EV (exposure values, or ‘stops’), and the higher the number, the better.

Verdict

With the Nikon Z5 having so much in common with the Nikon Z6, the next model up in the range, the other key differential – and an essential one for a camera targeted as an ‘entry level’ model – is price. In the UK, the Z 5 is only available with the 24-50mm kit lens, which might not be everyone’s choice, though it is available in the US in a body-only version. Of course, camera prices tumble over time, and at the time of writing, the Nikon Z6 can be picked up for just $300-400 more, depending on configuration. And this is the Z5’s biggest problem; for our money, after weighing up the options we’d splash out the extra on the superior camera – and with the far superior 24-70mm f/4 kit lens. 

That’s not the full story of course. Those upgrading to mirrorless from their DSLRs are likely to have a ready stash of SD cards, while even the cheapest XQD or CFexpress memory card will add plenty to the initial investment. 

The Z5 and the retracting 24-50mm lens make a compact, portable pairing, but users may soon hanker for a better lens. (Image credit: Rod Lawton/Digital Camera World)

For most of us, the Z5 offers the key features of the Z6 at a lower price tag. With the same (near-as-dammit) resolution, the same top weather-sealed build quality, and most of the same desirable high-end features. And what it loses out on, most of us really won’t be /that/ bothered about: the missing top-plate LCD only duplicates info available in the viewfinder or on the rear display anyway; the CMOS sensor is still capable of stunning 24. 3Mp stills and matches the native ISO51,200 of the Z6’s BSI component; if you’re not an avid sports shooter, 4.5fps is plenty; and if you’re not a videographer, who cares about the 1.7x crop? And if SD cards are less reliable, stick in two of them… 

The real question is whether its lower price is low enough. The Z5 will, of course, fall in price over time itself, but in the meantime, it’s relatively high launch price may just persuade some potential purchasers that it’s worth forking out the relatively little extra for the Z6. 

Compared to other brands, the Z5 is neither cheap nor expensive. The Canon EOS RP is much cheaper to buy, but lacks the Z5’s 4K video, while the Sony A7 III and Panasonic S1 are somewhat more advanced cameras and not exactly direct rivals. The Z5 is competent, attractive and affordable, but its price pitches it against a host of cameras which can boast exactly the same thing.

Read more:

• Best mirrorless cameras
• Cheapest full frame cameras
• Best Nikon cameras
• Best Nikon Z lenses
• Nikon Z5 vs Z6
• Nikon Z50 review

Nikon Z5: Price Comparison

$996. 95

View

$1,409.95

$1,034.95

View

$1,296.95

View

$1,309.95

View

Show More Deals

powered by

Thank you for reading 5 articles this month* Join now for unlimited access

Enjoy your first month for just £1 / $1 / €1

Already have an account ? Sign in here

*Read 5 free articles per month without a subscription

Join now for unlimited access

Try first month for just £1 / $1 / €1

Already have an account ? Sign in here

Rod is an independent photography journalist and editor, and a long-standing Digital Camera World contributor, having previously worked as DCW’s Group Reviews editor. Before that he has been technique editor on N-Photo, Head of Testing for the photography division and Camera Channel editor on TechRadar, as well as contributing to many other publications. He has been writing about photography technique, photo editing and digital cameras since they first appeared, and before that began his career writing about film photography.  He has used and reviewed practically every interchangeable lens camera launched in the past 20 years, from entry-level DSLRs to medium format cameras, together with lenses, tripods, gimbals, light meters, camera bags and more. Rod has his own camera gear blog at fotovolo.com but also writes about photo-editing applications and techniques at lifeafterphotoshop.com

Best Mirrorless Video Cameras | Articles | Photo, video, optics

Twenty years ago, movies (and all sorts of small forms such as clips or advertisements) were filmed on a “big black camera” weighing 10 kilos and costing 10 million. Today, small but powerful mirrorless cameras are more often used for shooting video. Read about the best cameras for shooting video in this material.

Since cameras have been able to shoot decent video, they have been used to shoot commercial videos, commercials, TV series and movies. Due to the large matrix, they allow you to get a beautiful “cine” picture with a beautifully blurred background and low noise. At the same time, the camera is much cheaper than specialized film cameras.

Fuji X-T4 mirrorless camera with cine lens, compendium and external recorder / Photo: fujifilm-x.com

Mirrorless models with interchangeable lenses are the best choice for video shooting. There are universal models that shoot both photos and videos equally well, and there are specialized models that focus on video shooting.

In order to shoot video with high quality and without unnecessary problems, the camera must have a number of functions:

• 4K shooting. Today, the standard for video shooting is 4K resolution – that is, about 4000 pixels along the long side of the image. Shooting in 4K is also good because it allows you to have a technical margin in case the final video is used in FHD (Full HD,1920×1080). In this case, the video can be cropped and stabilized without loss of quality;
• microphone input. The microphone built into the camera is hardly enough for professional tasks. It is better to have a separate input, into which you can connect a directional microphone, a radio buttonhole receiver or even an on-camera mixer with 2 microphone inputs;
• headphone jack. If you were writing a two-hour interview, it would be sad to come home and find that there was no sound for half of the shooting, because the batteries in the microphone were dead. It is better to hear immediately when shooting that everything is in order with the sound, there are no interference, cod and wind noise. For filming where it is important to control the sound quality, it is better to choose a camera with a headphone output;
• stabilizer. Camera-shift stabilizer built into the camera allows you to shoot handheld and get a smooth image without shaking;
• extended dynamic range. In order to get well-developed details in both highlights and shadows in the final video, image profiles with extended dynamic range are used. This can be a flat profile (such as Nikon Flat), a logarithmic profile (such as Sony S-Log3), or HDR video in HLG format;

Logarithmic profile (left) preserves highlight and shadow detail but requires color grading later / Photo: sony. com

• easy-to-edit codecs. By default, almost any modern camera shoots video with the H.264 codec, 4:2:0 color sampling and 8 bits per channel color depth. This is great if you need to save space on a memory card and immediately put the footage on the Internet. But if the video is intended for editing and color correction, problems may arise. But just because of the compression, even a powerful computer will start to slow down if you put a video in the H.264 codec into the video editor and start working with it. This is due to the fact that you have to decompress the video back. Therefore, more suitable codecs are used for editing – for example, Apple ProRes.

You can, of course, convert everything captured on your computer, and only then get to work. But you can save time if the camera can immediately shoot in ProRes. In addition, for color correction it is important to preserve smooth color transitions without posterization. For this, it would be good to have at least 10 bits per channel and 4:2:2 color sampling (even better – 12 bits and 4:4:4).

The number of bits is responsible for the number of shades that the video can store and output during color correction. The same story as with RAW and JPEG for photos: RAW stores more information, which allows for more variable processing. So here. Color sampling is also responsible for the amount of hue that can be extracted from a video during color grading. The larger the last digit, the more color margin;

• focus peaking and zebra. On the small screen of a mirrorless camera, it’s hard to know if everything is in order with the exposure and where exactly the focus is. Therefore, a good camera will help you understand if everything is in order with your video. Focus peaking will highlight what is currently in focus with a bright color. And in order to avoid overexposure, it is worth turning on the “zebra”, and a hint in the form of hatching will appear in too bright areas;

The cameras in this section are specially designed for video recording. Usually, in such cameras, the photo capabilities are either severely curtailed or ordinary, but in this case the cost of the camera increases significantly.

Sony Alpha 7S III

The entire Sony 7S line of cameras is designed primarily for shooting video, and the Sony Alpha 7S III is the latest model in this line.

Small mirrorless camera with great potential / Photo: fotosklad.ru

Sony Alpha 7S III specifications:

• video format: 4K up to 120 fps, FHD up to 240 fps;
• stabilizer: yes;
• microphone input: 3.5 mm;
• headphone output: 3.5 mm;
• color profiles: S-Log2, S-Log3, HLG;
• codecs and color: can write 4:2:2 10bit to memory card, 16bit ProRes Raw to external recorder;
• shooting aids: focus peaking, focusing magnifier, zebra pattern.

The camera uses a full-frame sensor with a resolution of only 12 MP. For photography today, this is not enough. But the fewer pixels on the matrix, the larger each of them and the more light enters it. Thanks to this, the Sony Alpha 7S III can produce a decent picture with low noise even at high ISO values. The working range of the camera is ISO 80-102400, and can be extended up to ISO 409600.

Sony mirrorless can record 4K video at up to 120 frames per second, which means that during editing these frames can be slowed down by 4-5 times. Native Sony microphones can be connected directly to the multifunctional hot shoe with an additional digital interface, while third-party microphones have a standard 3.5 mm jack.

CFexpress Type A memory cards can record video at 10-bit color depth and 4:2:2 color sampling, and if you connect an external recorder, you can record 16-bit RAW video.

Very comfortable zebra pattern with adjustable sensitivity. It is important that the lightest areas are not overexposed – set the sensitivity to 95%. Is it important that human faces are properly exposed? Reduce the sensitivity of the “zebra” to 70-75%.

Need to get a frame without overexposure? Reduce exposure until the streaks disappear / Photo: johnmeephotography.com

Panasonic Lumix DC-S1H

Panasonic’s full-frame mirrorless camera. Similar to its fellow Lumix DC-S1 and DC-S1R, but with more video capabilities.

An additional video recording button (large red) is visible on the front of the camera / Photo: www.panasonic.com , FHD up to 120 fps;

stabilizer: yes;

microphone input: 3.5 mm;

headphone output: 3.5 mm;

color profiles: V-Log, HLG;

codecs and color: can write 4:2:2 10bit to memory card when shooting 4K, 4:2:0 when shooting 6K;

shooting aids: focus peaking, focusing magnifier, zebra pattern, vectorscope.

Mirrorless can write 6K video directly to a memory card, and uses the more common and less expensive SD format. For normal operation, it is better to take cards with a fast UHS-II interface. Prolonged video work causes the camera to become very hot, and to avoid overheating (which can increase noise in the video and even cause the camera to turn off), the Lumix DC-S1H has a built-in fan for forced cooling.

Despite the presence of ventilation holes, the camera remains protected from dust and splashes. If you need to shoot 50 or 60 fps, the camera will only use the central part of the sensor, and the field of view will become narrower.

There is a full size HDMI connector. You can connect an external recorder to it, and write 12-bit RAW video to it. The USB type-C port allows you to power the camera while working from a power bank or compatible charger.

Panasonic Lumix GH6

Another Panasonic mirrorless camera, this time with a Micro 4/3 sensor.

The GH series has long been loved by videographers for its wide video capabilities / Photo: panasonic.com

Panasonic Lumix GH6 specifications:

• video format: 5.7K up to 30 fps, 4K up to 120 fps, FHD up to 300 fps With;
• stabilizer: yes;
• microphone input: 3.5 mm;
• headphone output: 3.5 mm;
• color profiles: V-Log, HLG;
• codecs and color: ProRes HQ 4:2:2 in 5.7K and 4K, Apple ProRes RAW 12bit to external recorder.

The camera is very similar to the previous one, Lumix DC-S1H – there is also a built-in fan to cool the camera, there is also an additional video recording button on the front panel. The camera features a Micro 4/3 format matrix and wider video capabilities compared to the full-frame model.

New tilt-and-turn screen design allows you to rotate the camera screen without hitting connected cables / Photo: photojoseph.com

The Panasonic Lumix GH6 mirrorless camera lets you record 5.7K and 4K video directly to your memory card using Apple’s professional ProRes codec. The video bitrate can reach 800 Mb/s. To handle this amount of information, the camera uses CFexpress Type B cards.

You can also use external media – you can connect an external recorder to the HDMI connector, and an external SSD drive to the USB type C port.

Producers also took into account the fashion for vertical video. Now you do not need to rotate the video in the editor if you shoot stories on a mirrorless camera. Metadata records information about the position of the camera, and the video will immediately display correctly.

Micro 4/3 open standard mount makes the camera available with a variety of Panasonic and third-party lenses.

The cameras in this section are equally well suited for photography and video content production. They may not be able to shoot video for hours without a break or write 6K, but if you work with both photos and video, it makes sense to take a closer look at the cameras from this section.

Nikon Z 6 II

Nikon’s 24-megapixel mirrorless camera is capable of recording 4K and Full HD video, as befits a modern mirrorless camera.

Nikon Z6 II mirrorless camera with external recorder / Photo: broadcastbeat.com

Nikon Z 6 II specifications:

• video format: 4K up to 60 fps, FHD up to 120 fps;
• stabilizer: yes;
• microphone input: 3.5 mm;
• headphone output: 3.5 mm;
• color profiles: N-Log, HLG, Flat;
• codecs and color: Apple ProRes RAW 12 bit to external recorder.

Video Nikon Z6 II writes decent, but can not boast of outstanding capabilities. When recording 4K from the entire width of the matrix, the frame rate is limited to 30 fps. If you need 60 fps, the camera uses only the central part of the matrix, turning into a cropped one.

Only 8-bit 4:2:0 video can be recorded on the memory card, and only Flat is available from color profiles. Advanced features – log profile, 4:2:2 video recording and HDR video in HLG format are only possible when using an external recorder.

And for this, you will have to take the camera to a service center for a firmware update for an additional fee.

Fujifilm X-T3

For fans of retro design and film colors, there are Fuji cameras.

See the little mirrorless? And it is there / Photo: www.eoshd.com

Features Fujifilm X-T3:

• video format: 4K up to 60 fps, FHD up to 120 fps;
• stabilizer: no;
• microphone input: 3.5 mm;
• headphone output: 3.5 mm;
• color profiles: F-Log, Eterna;
• codecs and color: 10 bits per external recorder.

Fuji cameras are loved for their interesting color profiles that mimic the colors of actual Fujifilm film. You can also use them when shooting video (including the specially designed Eterna profile with reduced contrast for video shooting).

Fujifilm X-T3 can shoot 4K video up to 30 fps without crop and up to 60 fps with a small crop of 1.18 and can write 10-bit 4:2:0 video to a memory card. And in addition to the standard photo lenses for the Fuji X mount, there is also a special series of cinema lenses.

Fujifilm is one of the world’s leading manufacturers of cine optics / Photo: fujifilm.com

Unfortunately, there is no stabilizer in the camera. So if you want to shoot handheld, use a lens with built-in IS

If your budget is tight and you want to shoot right now, take a look at the cameras in this section. They may not have sophisticated features and a weatherproof metal case, but they still make good video.

Olympus OM-D E-M10 Mark III

The small Olympus OM-D E-M10 Mark III mirrorless camera is one of the most affordable options recommended for beginner video content creators.

One of the smallest 4K mirrorless cameras / Photo: trustedreviews.com

Specifications OM-D E-M10 Mark III:

• Video format: 4K up to 30 fps, FHD up to 60 fps;
• stabilizer: yes;
• microphone input: no;
• headphone output: no;
• color profiles: no specific video profiles;
• codecs and color: standard H.264 8 bit 4:2:0 only.

The camera does not boast rich features: there are neither logarithmic profiles nor a headphone output. And if you need to record sound, you will have to buy an external recorder – there is no microphone input in the camera either. But at the same time, the camera shoots pretty decent 4K video, and the Micro 4/3 mount allows you to use both native lenses and inexpensive manual ones from China. And you can buy an adapter and put the secular “Helios” or “Jupiter” on the mirrorless mirror.

An in-camera stabilizer will work with any of the lenses, and focus peaking will help you focus even without autofocus.

Panasonic LUMIX DMC-G7

Another Micro 4/3 sensor camera. Slightly more advanced than the previous Olympus, the Lumix G7 has a microphone jack, and a right-hand protrusion makes it easier to hold the camera.

Panasonic Lumix G7 looks pretty solid, you can already go to commercial shooting with it / Photo: gadgetreview.com

LUMIX DMC-G7 specifications:

• video format: 4K up to 30 fps, FHD up to 60 fps 3 color profiles: no special profiles for video recording
• codecs and color: only standard H.264 8 bit 4:2:0

In other respects, the camera does not reach the older brothers from the GH-series, but it also costs noticeably cheaper than them.

Five of the best mirrorless cameras for video under $75,000

Mirrorless cameras are taking the market by storm and have become popular not only among amateurs but also among professionals all over the world. Films, weddings, clips, advertisements, documentary films and many other interesting things are shot on mirrorless cameras. The main advantage of mirrorless cameras is their affordable price and compact size.

Today we have a list of the top 5 mirrorless cameras under $1200 (65000 R depending on the exchange rate). So let’s go.

Sony A6400

Sony A6400 mirrorless camera

Perhaps any novice cameraman had it at home. It is a fact. The camera is compact, not really ergonomic, but in general it gives a good image.

Sony A6400 highlights

• 24.2MP APS-C Exmor CMOS sensor
• Latest generation BIONZ X image processor
• World’s fastest 0.02 second autofocus acquisition speed 900 14
• 425 phase and contrast detection
• AF points , occupying approximately 84% of the image area
• Advanced real-time eye AF
• New real-time tracking for subject tracking
• 180-degree fully tiltable LCD touch screen for vlogging
• High-speed continuous shooting up to 11 fps mechanical shutter
• 8 frames per second silent shooting with continuous tracking AF / AE
• 4K / 30p movie with full pixel readout and no pixel binning, and improved AF speed and stability
• S-log2 & S-Log3 Gamma
• Super Slow Motion 1080p/120fps
• Built-in Wi-Fi with NFC
• Interval Recording for time-lapse videos
• Price $898 (US).

Panasonic G9

mirrorless camera Lumix DC G9

The younger “brother” of the GH series of cameras, the performance is not much worse, but an order of magnitude smaller. Some idolize this camera, and for good reason. In general, the camera is more than good for constant filming – weddings, reports, clips.

Specifications

• 20.3 MP Four thirds (5184 x 3888) MOS sensor
• Venus Engine Image Processor
• UHD 4K/60p video, 4K 30p/25p 4:2:2 10-bit, 4K 60p/50p 4: 2:2 10-bit HDMI output
• V-Log L (via paid license upgrade)
• 80MP high resolution shooting mode
• 5-Axis Sensor Stabilization; Dual I.S. 2
• 0.83 x 3.68 m-dot OLED viewfinder
• 3.0 » 1.04 m-dot free angle touchscreen
• Upper LCD status; rear joystick
• Advanced DFD AF;
• 6K PHOTO
• ISO 25600 and 60 fps continuous shooting
• 2 x UHS-II SD slots
• Wi-Fi & Bluetooth
• price $1197

9000 4 Canon EOS M50

Camera Canon EOS M50

It is difficult to say something about her, no one writes about her much, we don’t know who has them in Russia, but the characteristics are interesting.

• 24.1 MP APS-C CMOS sensor
• DIGIC 8 image processor
• 4K / 24p UHD video (1.6 x crop)
• 1080 / 60p and 720/120p HD video
• 2.36 M-Dot OLED electronic viewfinder

900 13 3.0″ variable angle LCD display

• 7.4 FPS burst in AF-C (10 fps in AF-S)
• 4K Timelapse Capture
• 4K captures a frame from video
• Built-in Wi-Fi with NFC, Bluetooth
• Dual Pixel CMOS AF 900 14
• ISO 100 -25600, extended ISO 51200
• Combined 5-Axis Image Stabilizer
• price $579

Fujifilm X-T30

Fujifilm X T30 camera

Literally the “hit” of the last two years. Fujifilm makes very interesting solutions, though they are not often written about either. The camera fell in love with photographers who love to shoot video and operators who love photos) The image is very good, I have not heard a single bad review about it.

• 6.1MP APS-C “X-Trans” BSI CMOS sensor
• X-processor 4 quad-core
• 425-point Phase AF
• 4K DCI and UHD Video8bit 4:2:0 internal:
• 4096 x 2160p at 23. 98/24/25/29 .97 fps
• 3840 x 2160p at 23.98/24/25/29.97 fps
• 1080 / 120 fps slow motion
• F-Log Gamma & ETERNA Film Simulation + more
• HDMI-10bit 4:2:2 output
• 1 x SD card slot 9001 4
• No headphone output
• 2.36 M-Dot OLED electronic viewfinder
• 30fps dimming free shooting
• Monochrome Adjustment
• Advanced SR Auto
• 3.0″ 1.04 M-Dot tilting LCD touch screen
• Advanced ISO 80-51200
• Bluetooth and Wi-Fi
• Weighs only 383g
• Price 899

Canon EOS RP

Canon EOS RP

Mirrorless Camera Being the only full frame camera on the list, the EOS RP is, in fact, one of the cheapest full frame mirrorless cameras you can get right now. It has a 26.2-megapixel full-frame CMOS sensor supported by DIGIC 8 image processor and capable of shooting 4K (UHD) video up to 30 fps.

Features:

• 6.2 megapixel full frame CMOS sensor
• DIGIC 8 image processor
• Dual Pixel CMOS AF (Full HD only, not 4K!!!)
• 4K (3840 x 2160) on 25, 23. 98 fps intra frame
• 4K Time-lapse (16:9) 3840 x 2160 @ 29.97, 25 fps All-I
• 1920 x 1080 (59.94, 50, 29.97, 25 fps) intra frame & Intra frame lite (29.97, 25 fps)
• 1280 x 720 (59.94, 29.97, 50, 25 fps) in-frame
• 2.36 M-Dot OLED electronic viewfinder
• Full-articulating LCD touch screen
• Mic Input & Headphone Outside
• WiFi and Bluetooth
• Records on 1 x SD-card
• Power of the battery through 1 x LP-E17 Battery
• included EF/EF-S to the RF lens adapter
• Price-999 dollars

Which camera to choose which camera ? The question is complex and the answer to it will never be unambiguous. All 5 cameras have different mounts, as a result, different lenses at different prices. MFT lenses are light and compact, but fast lenses cost a lot of money. Tasks are different and you need to start by limiting the range of needs and what you plan to shoot. The first camera should not be the last, after a while you will definitely move on to something else. Also, don’t forget the extra. accessories, cages, remotes, etc.

In certain cases, it makes sense to take used cameras, for example, the same blackmagic ie. these are movie cameras with all the consequences. If you do not plan to remove the dock. cinema, but more advertising, clips, then you will want to “color” the material. Various RAWs are great for painting and it is highly desirable that your camera has this capability. Also, in some cases it makes sense to take a smartphone for shooting and not a lot of body kit (read the link about shooting on a smartphone)

Did you like the article? Now you can support us like this

You can also become the author of our popular resource. We read here.

In our store you can buy a POV helmet, teleprompters, camera cranes and other equipment on order.

Related Articles:

NEW SONY A7RIV MIRRORLESS CAMERA

NEW WIDE FORMAT MIRRORLESS CAMERA – FUJIFILM GFX100”

COMPACT MIRRORLESS CAMERA MEASURE WITH 8K VIDEO FROM SHARP

COOL HDR VIDEO FROM CANON

NEW SONY A6400 C CAMERA APS-C SENSOR.