The heritage heart of the LUMIX GH line of cameras is catering to the filmmaking community. Back in 2009, as an early adopter of the GH1, I clearly remember how astonished I was to be able to (almost) fit such a powerful filming tool into my pocket. The specs and quality were remarkable for those early days of mirrorless cameras. Fast forward, and like me, who has aged and gained some weight, LUMIX’s latest camera model is also a bit bigger and bulkier. Many (myself included) feel it’s time for a major facelift to introduce the next generation of camera bodies in a more modern housing. However, looks aside, it’s proving extremely capable in terms of video specification and general usage.

Its predecessor, the GH6, was a fine camera that was let down by not being good enough when it came to autofocus performance (you can read the review here). If you’re a Panasonic user, you’re likely familiar with the frustration of seeing an AF “green square” indicating focus, only to find the camera’s focus is actually elsewhere. Well, those days are long gone. First, Panasonic’s full-frame cameras, the S5II and S5II X, showed that AF could be treated differently, and then came the LUMIX GH7. The “trick” was moving away from contrast-based AF and implementing PDAF (Phase Detect Auto Focus).

LUMIX GH7 strengths

Part of testing the usage of such a versatile camera was to put it through its paces and shoot a mini-documentary with it. To do so, I found myself in an amazingly small and quiet Japanese fishing resort. In all my visits to the country, I had never witnessed such a calm place. Maybe it was the season or just the karma of the sea. Whatever it was, if you are ever in Japan, I suggest you explore this area if you are into down-to-earth vacationing next to spending endless hours at the sea.

Takeno is the town, Hitotomaru is the refurbished guesthouse, and Keisuke-san and his lovely wife Nozomi-san were my hosts. The couple has been running this place for the last 8 years, ensuring all guests witness Japanese hospitality at its best.

This little town is very picturesque, and the light during the afternoon was a dream come true for anyone who is into photography and filmmaking. Like with many of my mini-documentaries, I was looking for a very simple and basic autofocus zoom lens to work with, one that many might carry with them anyway. After a short search, I opted for the Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4 MFT lens. This lens costs around $998 (now reduced to $798), but to enhance the overall picture aesthetic, I decided to use an anamorphic adapter on it – one that would still allow me to use the autofocus functionality of the camera. For that reason (and pure curiosity to see how it performs), I chose to work with BLAZAR’s NERO 1.5x anamorphic adapter.

LUMIX GH7 and lens setup in the field

LUMIX is great at giving us very capable filming tools. (Personally, I’m still wishing for a more simplified camera menu, one that is a bit more intuitive). When it comes to my lens choice for filming this mini-doc, the Panasonic Leica DG Vario-Elmarit 12-60mm was fine. On “normal days,” this focal length zoom range was great, but when attaching the NERO 1.5x anamorphic adapter to this lens, I could only use it from 25mm onward (otherwise, you would see the adapter image circle). Also, as this is not a constant aperture lens, when zooming in to around 25mm, the aperture closes to f/3.7, which, of course, makes it less ideal for indoor use under lower light conditions. I was aware of all of these obstacles before going out to film, but was willing to bear the consequences in favor of having a relatively small setup.

The NERO, a 1.5x anamorphic adapter, looks very stylish and is very lightweight (399g/0.87lbs only), but please take into consideration that it is not a “cheap” product. In fact, $999 (the cost of this adapter) can buy you an entry-level anamorphic lens…However, this product’s build quality and overall look, next to allowing a 1.5x squeeze ratio, ignited my imagination. In my mind, I was prepared to achieve a BLAZAR Remus-like aesthetic, highly regarded within its price range. Unfortunately, this did not happen. One should take into account that when using such a lens/adapter combination, the center of the image will be sharp, but the edges of the picture will suffer. I would recommend not using any black pro mist filter in front of this lens as it will make the picture even softer. In the above documentary, I cut around 16% of the image’s edges to make the softness less obvious.

Regardless of the lack of a strong “anamorphic caricaturist,” one of the advantages of working with such an adapter is getting nice widescreen footage without throwing out sensor information.

One can’t have it all

With Panasonic’s LUMIX cameras, one of the things that I never got along well with is their flat picture profile. I’m aware that many get great results when using V-Log, but for me, at times, things look too red(ish), especially when skin tones are involved. This is why I was extremely curious to see how the collaboration between Panasonic and ARRI can benefit users when using this camera. For those who are not aware of this cooperation, Panasonic licensed LogC3 (ARRI’s third Log generation) to be used with this camera (and LUMIX GH6, too). To activate LogC3 in your LUMIX camera, you must obtain the license key here. (Say goodbye to $199.95). After activating the ARRI software in the camera, you can use the LogC3 picture profile. Now, one of the ways to benefit from using that picture profile is by downloading and using ARRI’s library of LUTs. As of June 2024, there are 87 looks to choose from. For the above mini-documentary, I mostly worked with those LUTs, and to be honest, I was really satisfied!

Now, of course, I wanted to use ARRI’s picture profile at the best available resolution/codec/data rate, but when diving into the different camera recording modes, one thing became apparent. Think of the camera menu as a blanket – cover your head, and your feet get cold; pull it down, and your nose freezes. This is how I felt when trying to dial the best available settings in each parameter for internal recording. Below are a few examples: (External recording to Atomos or Blackmagic-supported devices might cover a greater “blanket range,” though).

• Want to record in ProRes RAW internally? The 4:3 open-gate mode is not available (from 17:9 only). The resolution will suffer a bit (5.7K instead of 5.8K), and the ARRI LogC3 picture profile can not be used (V-Log only).

• Want to use ARRI LogC3? The highest recording resolution is 5.7K, in ProRes 422HQ at 17:9 only. (No 4:3 open-gate)

• Changing to MOV? Now, one can shoot in 5.8K, but in 4:2:0 color space and Long GOP codec only. (All-I at C4K).

So, I’m sure you get where I’m heading with these samples. At the end of the day, on a paid gig, one must come prepared and know what you need to deliver. For example, if you are on set to film green screen, maybe using Long GOP 4:2:0 is not the best choice.

BUT, after ranting about some of the camera’s shortcomings, I want to look at the half of the full glass. If you have a bit of time, just head to our Camera Databases and check out what the GH7 can do in terms of dynamic range, rolling-shutter, and latitude. As my colleague Gunther, who is in charge of doing our lab test, describes it: “Panasonic did it again – the LUMIX GH7 is in a class of its own considering the Micro Four Thirds sensor size! Not only does it show good rolling shutter values, also the dynamic range results don’t disappoint. They are quite similar to the recently tested Sony A9 III or the Canon EOS R5 C, for example. As mentioned, it plays in the league of recent consumer full-frame cameras with those results (a bit on the lower end, though).

Done exploring our lab test? Check out the camera recording modes.

Let’s talk IBIS and autofocus

In a recent production for the Austrian national broadcaster, Nino, my colleague, was asked to DP and choose the filming equipment that made the most sense for such a gig. Filming took place in a condensed-spaced van, and it wasn’t possible to interfere during the recording. Nino and the production team needed a mirrorless camera that could reliably focus on the participants’ faces inside the van while also offering good stabilization performance to smooth out “light driving bumps.” After multiple tests, Nino decided to work with a blend of LUMIX cameras, all from their latest generation, as those proved to be head-and-shoulders above their predecessors regarding AF reliability.

Speaking of cameras with “In Body Image Stabilization” (IBIS), the smaller sensor allows Panasonic to exceed expectations here. In general, the performance is rock solid.

In conclusion

The Panasonic LUMIX GH7 camera is a great option for anyone who needs versatility. On top of that, if you are filming nature, take full advantage of the Micro Four Thirds sensor. Meaning that one can travel with smaller zoom lenses and achieve the same focal length on the tele side as going with larger sensors, cameras, and larger lenses. I only wish a special addition, LUMIX GH7, for nature lovers (bird watchers in particular), would someday find its way to the market. I’m seeing too many people schlepping around much heavier cameras and lenses from other brands, unaware of the advantages of working with a Micro Four Thirds sensor camera.

If you are a full-time news cameraman or a solo documentary filmmaker, you will also learn to appreciate the 32-bit float XLR DMW-XLR2 audio module. Running and gunning with a camera that allows you a safety net in audio recording is a welcome thing. Last but not least. I hope future versions of the GH family of cameras will look more modern and stylish. Yes, we don’t make our purchasing decisions based entirely on looks, yet a nice-looking camera might feel nicer in our hands.

Recording modes for the above video: ProRes HQ, 5.7K, 5728×3024, 24p

What do you think about the LUMIX GH7? Do you have any experience working with it? What is your favorite feature, and, on the other hand, what would you like to see changed? Please share your thoughts with us in the comment section below.

Well, same procedure as every year. I am picking up the new DJI OSMO Action 5 Pro camera from the
CineD headquarters in Vienna in early September. DJI sent the adventure combo, which includes two additional batteries, and there is also a selfie stick I’ll take along on the trip.

Please have a look at the video first, and find below a summary of what is new/different. A bonus feature of the video is related to shooting with ND filters and the artifacts that can appear.

The camera body & battery

First observation of the camera body, which is the same size as last year’s OSMO Action 4 – the rear screen is bigger, now reaching almost to the edges:

Both the front and rear screens are now OLEDs. The feel of the Record button has vastly improved, and the diving capability is now better than previously – now 20m vs 18m without an additional case. When I insert the battery, I notice the bigger size – now 1950mAh- instead of the 1770mAh of the previous generation Action 4 camera.

OSMO Action 5 Pro Camera settings
Nino shares the instructions from DJI to install the special Mimo app for camera testers, and
using the app, I am downloading the latest and greatest firmware (01.00.06.09 as of today).

The next step is looking at the camera settings. Switching to Pro mode, using D-Log M 10bit gamma curve. Aha, there is a new +/- slider for “texture,” aka sharpness and “noise reduction” – very nice! In
previous generations, these were not accessible to the user. I keep both at “0” for now.

Next discovery: in 4:3 mode, using the full sensor height, you can now shoot up to 120 frames per
second in 4K mode! Very nice, as the Action 4 cam only allowed 60fps in 4:3 (it offered
120fps in 16:9 mode, though):

Also, I am setting the cam to “Rocksteady+” mode, which crops further into the image, thus reducing the resolution but offering superior stabilization, which will be needed riding on the rocky trails. While still debating with myself if a 128GB miniSD card will be sufficient for the trip, I discover the internal storage: 47.8GB of internal storage is available for shooting! That can be a very nice backup if you run out of card space.

Now, I am ready to head out into the Austrian Alps.

DJI OSMO ACTION 5 Pro Review – field observations

First, let’s talk about battery life: not only have the batteries gotten bigger, now the processor is using 4nm technology. Hence, I could shoot around 30 minutes of footage throughout the entire day and still have 60% of the battery remaining. This is a vast improvement!

Image quality: Second, it looks like the dynamic range of the 1/1.3″ sensor has improved. Never before was I able to pull shadows like this on an action cam (again, using the official DJI D-Log M to Rec709 LUT):

Also, the auto exposure in-camera manages to maintain a nice balance between shadows and highlights without clipping:

Unfortunately, the bitrate has dropped massively compared to the OSMO Action 4, which is rather surprising.:

• in 4K 4:3 30p mode the Action 5 Pro only shows ~60Mbit/s where the Action 4 shows 130Mbit/s
• in 4K 4:3 60p mode bitrate increases to 80Mbit /s (Action 4 stays at 130 Mbit/s)
• only in 4K 4:3 120p mode the bitrate reaches ~110 Mbit/s

This low bitrate is definitely not enough, as compression artifacts show up in darker sections of foliage and meadows or grassy areas. They become very muddy and lack any detail:

We reached out to DJI, and they were very responsive, but up until now, we haven’t gotten a factual reply on the bitrate other than their intention is to “optimize file sizes.” Hopefully, a future firmware update will resolve this, restoring the 130 Mbit/s bitrate of the previous generation Action 4!

The front and rear OLED screens are much easier to read in bright sunlight, and the Rocksteady mode on rough trails is really, really good.

Also, the sound quality has vastly improved. Previously, sound on action cameras was basically useless. You can hear yourself in the video, and I find the audio quality much improved, with less sensitivity to wind noise than before.

Additionally, you can now connect two DJI mics directly to the OSMO Action 5 Pro (without a receiver) and enable in-camera audio backup, which records an additional stereo track from the built-in camera mics.:

This feature is very handy for recording proper sound in an interview situation, for example. Well done, DJI!

Summary

All in all, I enjoyed riding my bike and shooting with the OSMO Action 5 Pro! There were no quirks, no hang-ups of any kind – the camera just felt solid and very reliable.

I do hope the low bitrate can be improved in a future firmware update because this is the only sore point I have with the camera.

Are you considering purchasing the OSMO Action 5 Pro? Let us know your thoughts in the comments below.

If you are short on time, let me summarize everything I’m about to write: Canon just dropped a little bomb! Take everything you liked from the EOS C70—like its lightweight and compact design—and combine it with everything you would want to have from the EOS C400 but maybe could not afford or justify, like a full frame 6K resolution sensor, triple ISO, and newer recording formats. And here you have it: The EOS C80—the ultimate cost-effective cinema camera Canon ever produced. 

Canon EOS C400 little (big) brother/sister

Basically, it takes many of the features found in the new EOS C400, such as: 

• Full frame backside illuminated sensor for providing a 6K (up to 30p) recording capability.

• Triple base 800/3200/12800 ISO (when filming in Canon C Log 2/3)
• A faster sensor readout for an improved rolling shutter performance. (In the mini-documentary, take a look at the shots where I’m filming Touyo on the train. Pay attention to the vertical lines outside).

• The two new updated video file formats are also available. XF-AVC S and XF-HEVC S allow the use of a professional long file naming structure next to metadata. 

Compared to the EOS C70

When compared to the EOS C70, the new EOS C80 can record internally in full frame, 12-bit Cinema RAW LT, up to 6K/30p. (Note: The EOS C70 now enjoys a hefty price drop of $1000 bringing it to $4,499)

• Looking for recording in Cinema RAW ST quality? Then switch to S35 crop mode.

• The 4K 422 10-bit recording is oversampled from 6K.

• Needless to say, this new camera’s lowlight capabilities and auto-focus performance are similar to those of the EOS C400. 

The Canon EOS C80 body design is very similar to its predecessor and retains almost the same dimensions and compactness as the EOS C70. Additionally, new features were added, such as: 

• 12G SDI out terminal. (It can output simultaneously from HDMI, too.)

• Ethernet terminal and internal Wi-Fi for remote camera operation. 

• Multi-function shoe terminal for using some third-party audio accessories. (Like the Tascam XLR Microphone Adapter, CA-XLR2d-C).

Other enhancements that I find extremely valuable are: 

• An improved LCD with a greater brightness.

• A new LCD panel lock mechanism.

• A 1/4-inch hole is added, too, to secure the tripod plate more firmly.

• Redesigned top handle that enables the multi-function shoe functionality. 

• Even the joystick has undergone a slight adjustment and is now positioned closer to the thumb for easier operation. 

Autofocus and recording media

When it comes to autofocus, the dual-pixel CMOS AF II continues to shine, this time with added animal and full-body detection. In fact, in the above video, I used autofocus 95% of the time and moved to manual focus only in “difficult” situations (flat surfaces like when filming a book, for example).

Interestingly, but not surprisingly, Canon decided to keep using SD media cards in this camera. If you are into internal RAW recording, the company recommends using V90 cards.

On my shooting day, I was using an Angelbird V60 card which held up admirably most of the time, BUT for continuous recording next to high frame rate filming, please use V90 cards for your peace of mind.

Overall handling

If you are used to working with the EOS C70, you will feel right at home. If you are used to working with Canon cameras in general, you will feel very comfortable, of course.

Nothing really interrupted me from successfully concluding the day-and-a-half shooting days I had with Tuoyo. Everything fell into place nicely. As a long advocate of working with an EVF, I had to get used to working with the LCD. Not so easy if you are wearing reading glasses, but as this camera is being categorized as a “cinema camera,” I tend to understand why Canon is not adding an EVF to it.

It is worth noting that, like the EOS C70, the new camera has only a digital stabilization function, but obviously, this cannot be used when filming in RAW recording mode. 

I also “chose” to work with the only RF lens we currently have at the office, the 24-105mm f2.8. It makes the package a bit larger but is very capable in terms of image quality. 

What I struggled with most was getting Adobe Premiere (latest edition) to recognize the C-Log 3 files correctly. When importing the RAW footage to Premiere, the default is always C-Log 2 (Why? A good question)…So, in order to change this setting to C-Log 3 on multiple clips, one needs to create and save a new “present.” Sounds easy, no? Bottom line, at least on my computer, using the save “C.Log 3 preset” did nothing and I needed to correct each clip in the above video manually.

Other possible applications

It’s worth mentioning that the new camera is also suited for VR content creation in addition to virtual, VFX, and live productions, but it is beyond the scope of this review to discuss all those enhancements. 

Pricing against the competition

I would like to compare the price of the EOS C80 to two cameras. One is Canon’s own EOS 400 as there is some overlap between them, while the EOS C80 will retail for $5,499 the EOS C400 will set you back for $7,999. So basically, one will have to decide if the added features in the EOS C400 justify the $2,500 price difference.

Another camera that got A LOT of attention after its recent price slash is the RED Komodo X. And again, those who were considering purchasing the Komodo X might recalculate their steps. Each camera has its strengths and weaknesses, but the $1496 cheaper price tag on the EOS C80 might make the decision for some a bit easier.

Conclusion

Canon did their homework, and it’s nice to see that they are keeping the same price policy that they started with the launch of the EOS C400, meaning, releasing modern, capable cameras at a very attractive price point. The EOS C80 is simply a great value-for-money camera by Canon, especially if you care about full-frame sensor size and 6K resolution.

Acknowledgments

I would like to thank the very talented and enthusiastic Tuoyu Song (宋拓宇) for being patient with me. We managed to nail this story in one and a half shooting days. More about her work can be found here.

The above short film was recorded in C log3, full fame 6K/25p, Cinema RAW LT, and graded with a LUT made with fylm.ai. (Try it here). Lens: Canon RF 24-105mm f/2.8 L IS USM Z. Mic: DJI Mic 2. Light: SIRUI C150X 150W Pocket Light.

I’m curious to hear your thoughts on the new Canon EOS C80. Would you consider getting it instead of the EOS C400 or RED Komodo X? Please share your thoughts with us in the comment section below.

In this article and video review, I want to leave aside the “pro features” of the DJI Osmo Pocket 3 camera. Even if only to make a point, I might come back to it in the future or produce a mini-documentary solely filmed with this camera. But this time, not a word about Pro Mode, D-Log, 10-bit recording, or anything else that comes close to putting this device in a situation that requires “control.” This is all about ease of use, mobility, functionality, fun, and out-of-the-box picture quality.

Let’s start with a bold statement: “I would like to thank DJI for saving my marriage.” Please don’t take me too seriously here, but if you are someone’s spouse and/or parent, you might recognize yourself in the following scenario and know exactly what I mean.

As a camera junkie and a person who has been committed to bringing “true to life camera reviews” for years, I have been shlepping DSLR and, later, mirrorless cameras with me wherever I go, including family vacations and trips. The box of excuses was always full. From “I have to meet a deadline for testing this camera” to “I have to capture those priceless family memories.” These are all true statements, but at what cost?

Whatever the scenario or excuse, one thing hasn’t changed: the little irritation that my wife and kids have while I point a camera at them or lag behind them searching for that “best vacation shot.”

So, how is this all connected to the DJI Osmo Pocket 3 camera? Well, here we go.

A family vacation is around the corner. What camera should I take?

As some of you might know, the amazing Japan is my second home, and as such, every year my family and I spend the summer months here. At the beginning of our stay, we dedicate a few days to having a family vacation, and there is ALWAYS a new camera to test (hint: a LUMIX GH7 review is currently in the making).

For this vacation, I wanted it to be seamless. I didn’t want the kids to pose or hear anyone complaining about me lagging behind. As a mirrorless camera advocate, the Osmo Pocket 3 was not really on my radar, but this time, I wanted to take a closer look at it, and let me tell you, since then, I’ve been hooked.

DJI Osmo Pocket 3 review – good morning sunshine

In all the years of testing cameras, I had never experienced a filming device that did not disturb but rather complemented and supported a vacation (yes, this also goes for comparing it with mobile phones). The overall handling and ease of use were something that I did not expect at all. Flip the screen, go through some basic settings like resolution and frame rates, choose what you want the gimbal to do, decide if it is a normal video or slow-motion, photos, timelapse, choose just what you are after, and that’s it.

Other advantages of this camera:

• Fast charging next to the possibility of having an additional “battery handle” if you purchase the “Combo Creator” package. This assures constant power for the entire day.

• Filming at up to 4K/60p is possible without cropping the image. Recording at a high frame rate (up to 4K/120p, no crop) is also possible for maximum family fun.

• DJI Mic 2 connectivity for superior 32-bit float audio (Creator Combo)

• Robustness: I was a bit afraid of having the Osmo Pockt 3 in my pocket…I was not so sure how the gimbal part of the camera would react, but I’m pleased to report that it withstands extensive walking and frequent pocketing, enduring countless times of being pulled out for filming without any issues.

Now, it is not that those specifications were unavailable before in other filming devices; it is more about how DJI delivered them.

DJI Osmo Pocket 3 review – handling

Cameras generally come in a horizontal shape, forcing you to mostly use two hands when filming. The same horizontal placement applies to pointing mobile phones if you are filming in a traditional 16×9 way. To allow “one-hand camera handling” and also support better fluid movement, many camera manufacturers are offering “tripod handles”, while third-party companies will take it a step further and try to sell you all sorts of gimbals. All that effort goes into achieving what the Osmo Pocket 3 is already doing in the first place without any additional accessories, namely, comfortable, vertical, single-hand handling supported by a built-in gimbal for smoother movement. As many of you already know, this concept simply works well. Now, back this functionality with a 1-inch sensor, and many close-up shots will get a desirable shallow depth of field.

Filming effortlessly

I don’t know about you guys, but back in the old days, I used to be a BIG director when it came to family vacations. Nowadays, I just want to save memories, and as we all know, in today’s fast-paced world, memories, as well as kids, do not stand still…

This is where the Osmo Pocket 3 shines. Take it out of the pocket, twist the LCD screen to power it on, and seamlessly integrate it into your movements! This thing is so small that it does not irritate anyone, and, at the same time, one does not have to be precise with framing. I mean, the lens is wide but not too wide, so it’s great not to worry too much about framing, especially in extremely bright outdoor conditions (by the way, a wider magnetic lens is included with the “Combo Creator Package”).

I was also surprised to see (actually hear) that the audio coming from the internal microphones is fine for ambient sound next to capturing the dialogue from people standing next to you. I’ll touch on the subject of audio a little bit further down the road.

What did I miss and hope to see in the future?

We all operate cameras differently and have different expectations, so maybe the ultimate filming device is still not here, yet I do believe that the Osmo Pocket 3 is a game changer (I can’t believe that I just used this word)… For even greater flexibility, I hope that the company will consider the following:

• Try to improve the gimbal even more. I want the “walking duck movement” to be a thing of the past.

• Consider adding an internal memory with a capacity sufficient for recording an hour or so. With this camera, you’ll find yourself filming more frequently (whether that’s fun or not), and having an internal backup for when your card fills up would be greatly appreciated.

• This is more of a personal wish, but two tiny DeadCat windshields to stick on both internal microphones would be great to have. They wouldn’t get in the way when operating the camera and could improve the overall sound quality when filming outdoors.

• The red color recording indication currently displays on the left-hand side. On bright days, it is not so easy to see the LCD screen, so preferably, a red-colored frame to indicate recording would have been great to have.

• When touching the screen to change focus, the execution is fast. I wish there was a way to adjust the focus speed.

• Moiré is visible in fine lines. Hopefully, this can be improved.

Vlogging

As I gain trust working with the Osmo Pocket 3, I’m now experimenting with vlogging and find it to be extremely easy and intuitive. Touch the LCD screen to point the camera toward you, and it will recognize your face and start following it. The same can be done when the camera is pointing toward others. Actually, the kids had a good five minutes of trying to “escape from the camera” until they lost interest.

If you go with the “Combo Creator” package option, the simplicity of operation is maintained and even enhanced with the inclusion of the DJI Mic 2. Turn on the camera and transmitter, and they will locate each other easily. Use the camera menu settings to enable 32-bit float audio recording (happening on the transmitter itself). Also, formatting the 8GB internal memory of the mic is done throughout the camera menu settings, too. It is worth mentioning that after powering the DJI mic 2 once, there is no need to worry about the device recording audio. Every time you start filming, the mic will start recording automatically. My advice is to turn “Vibration ON” so you can easily confirm that audio recording is indeed taking place.

Last but not least, a second DJI mic 2 can be connected to the camera, too, if wanted/needed.

With so many superlatives, is this the only device needed for capturing videos and photos?

To maintain adequate video/picture quality, DJI limited the degree of digital zooming to 2.0x. While this was mostly OK for recording video, it felt a bit limiting for taking photos. I would recommend having another camera (or a mobile phone) with you if taking photos is your priority.

The MIMo App

I do recommend downloading DJI’s Mimo App. First, it will notify you and then allow you to download the latest camera firmware update. In addition, many of the basic camera controls can be executed via the app, which is helpful if you are a vlogger.

Conclusion

It has been a while since I have so thoroughly enjoyed using a camera that mostly works for me. Its compact size, 1-inch sensor, handling, and robustness all make a strong case for this powerful little camera. I simply cannot imagine a future family vacation without it!

Do you know what the hardest part of conducting this review was? Going back to filming on a mirrorless camera. Suddenly, it felt so limiting… The DJI Osmo Pocket 3 certainly exceeded my expectations. I wonder if the same concept can be applied to a device with a larger sensor, say APS-C (just out of curiosity). Would it make the camera so much larger to the point of defeating its purpose? Probably yes, yet those who are concerned about the current sensor size might be willing to explore such an optional device.

And to answer my question at the start of this review, is the DJI Osmo Pocket 3 the best camera for traveling, family, and vlogging out there? In my opinion, absolutely! All in all, well done, DJI!

Do you already have the DJI Osmo Pocket 3 camera? What is its main usage: documenting your family, vlogging, or doing something even more demanding with it? Please share your thoughts in the comments section below.

Back in February while traveling to Japan to cover CP+, I also had the opportunity to meet with two top FUJIFILM managers, Yuji Igarashi-san and Watanabe-san, for a conversation about the newly announced X100VI. If you missed this friendly talk about the camera, don’t hesitate to head here and learn more.

Fast forward to the present. We had the camera here at the office for a bit and took it for a spin. While I was concentrating on exploring the video capabilities of the X100VI, I asked my dear colleague Florian to dive into checking the following:

• How fast will the camera overheat (not so fast – just make sure your setting “temperature” is set to “high”)
• Occasional use for taking pictures by carrying it around

Together, we tried to understand why people became so hooked on this camera, as we had never seen such a tremendous wave of preorders before.

X100VI – provoking emotions

When holding the camera for the first time, there is no doubt that FUJIFILM managed to create a piece of equipment that stirs emotions. The feeling of holding something that is beautiful to look at and feels classic to the touch immediately uplifts your mood. Top this with relative ease of use, (meaning: fixed lens, compact size, lightweight 512g “point and shoot” camera) and you have a winner. In other words, mobile phones are great for taking photos and videos because they are always with us, but if you are looking for something that does not rely so much on computational image-building, has a much larger sensor (40.2MP APS-C in this case), fits into a (larger) pocket, and contains FUJIFILM’s famous film simulations, then this camera might be interesting for you to explore.

Great for learning composition?

I don’t know about you guys, but for me, there are times when “learning with the feet” is much better than “learning through the head”. In this regard, a fixed focal length camera is a great tool to practice getting your composition right. Zoom lenses are fantastic (of course!) but a fixed focal length lens can make one think harder about how to compose the shot instead of simply twisting the zoom barrel.

An anamorphic adapter on the fixed 23mm lens?

As I wrote earlier, we are a bit late to the party with this review and as such, I wanted to create something that looks a little bit different, and in my opinion, there is no better way to explore that possibility than by adding an anamorphic adapter to the lens to achieve a more pronounced look (and in all honesty, why make life easy when I can spit blood?)…

It starts with the fact that the lens has an inner thread you can attach any filter to. This means that a “special” ring adapter is required to attach an adapter or any filter to the lens. As the one we ordered from Amazon “got lost on the way”, Florian simply printed one at home on his 3D printer. The anamorphic adapter I chose to work with was an “ancient” one from SLR Magic. This Anamorphot-40 1.33x adapter is supposed to function when working in autofocus mode and also, as the X100VI records video on the 16×9 portion of the sensor, it was best suited for the job in coming up with a 2:35.1 frame aspect ratio.

I love working with soft diffusers in front of my lenses in order to “break” potential digital-looking footage, but this time I did not do so well. My choice to work with a 1/4 black Pro Mist in front of the anamorphic adapter proved to be “not so good”. Don’t ask me why I chose this overly strong strength, but after seeing the final results, I realize I should have used a 1/8 black Pro Mist instead.

The interview with Alp is a good example. I had to run it twice as the strength of the Pro-Mist filter really bothered me so much that I unscrewed it from the adapter at some point.

What to like

First, we have to take into consideration that this camera was never intended to be a “best-in-class mirrorless camera for video”. As such, I (we) have to align our expectations and treat it for what it can best offer. For me, it is its mobility and ease of use. Top this with 20 attractive film simulations including the new REALA ACE, and here you have a camera that you can always have with you, or if needed, serve as a backup device for filming.

Building on my previous comments about the stylish camera and its compact size, FUJIFILM has optimized it to be ideal for the occasional shooter. A 6.2K video (6240×3510) is nice to have, especially when dropped down on a 4K timeline (for additional sharpness and reframing if needed). Also, the 200Mbps is good enough for capturing good-looking videos. F-Log2 for maximum dynamic range and post-color correction are there, too. Like its predecessor, the built-in ND filter is a must, although it has only two fixed positions, “on” and “off”. As such, I occasionally found myself screwing in an additional ND filter to compensate for the strong outdoor light.

Unlike some cameras in its size, this one has a hybrid electronic/optical viewfinder.

What I would like to see improved

There is a list of things I would have loved to see done a bit better, but in all honesty, I can discard those concerns because I don’t see FUJIFILM implementing such enhancements in future XV100xx models. Simply put, a larger handgrip, a bigger capacity battery, and a fully articulated LCD screen (just to name a few) would affect the overall nature of this camera.

So continuing along the line of “the camera has fixed hardware”, I can only ask for software enhancements. One of those changes will be the ability to switch between the EVF and LCD screen AFTER pressing the record button. Currently, the last position you choose will be locked, which is very inconvenient while filming. I also wish that the autofocus would be improved next to the IBIS performance. (As this is the first X100xx camera to have an IBIS, things can only get better from here).

Also taking the camera limitations into account when recording audio in the camera – for monitoring audio, you will have to be equipped with a USB-C to 3.5 female jack cable, and for connecting your mic, you will need a 3.5 to 2.5mm jack adapter. Not convenient at all, but I guess it falls under those hardware limitations that cannot be changed.

Last but not least, regardless of which recording resolution you choose, when filming in HQ mode the camera will crop the video by 1.23x. Then, the 23mm lens becomes almost a 30mm lens. Now, for me personally 23mm is not wide enough, so 30mm is even less attractive.

For those who are looking for “high data rate video recording”, please look elsewhere. As the camera uses a UHS-I SD card, the maximum data rate is restricted to 200Mbps. Thankfully, for many purposes, this still looks great, and what helps here is the ability to record in 10-bit color depth and 4:2:2 color sampling. (H.264/H.265 codec flavors only).

Final words

It was truly nice to play with this camera. Is it a “professional tool”? Well, in my opinion, anything you can work and make money with is a professional tool… Personally, the newly announced X-T50 is a more desirable option (review coming soon), BUT at the end of the day, who can argue with the fact that FUJIFILM has created the most wanted camera in their history?

Now, the key question is whether they can meet the demand within a reasonable timeframe!

A BIG thank you to Alp Ruben. More about his cooking and hosting initiatives can be found here.

What do you think about the X100VI? Did you pre-order one or do you have one already? If so, how do you like it? Please share your thoughts with us in the comment section below.

In the tech and camera world, there are a few things that arrived much later than when they were announced and at a much higher price. Remember RED’s original announcement of “3K for $3K” from 2008? The promise was a 3K resolution camera for 3000 dollars. We never saw that camera, especially not for that price. Or the Tesla Cybertruck? That pickup truck was delayed several times over years since its announcement and it only recently started shipping. The price of the Cybertruck is also 50% higher and it offers less range than initially promised.

DJI’s initial 8K promise

In 2021, DJI announced the Ronin 4D, which featured a 6K camera unit, the Zenmuse X9-6K. I reviewed it when it came out and was absolutely amazed by the amount of innovation that DJI packed into this unique camera.

While the Ronin 4D 6K started shipping shortly after its announcement, DJI also announced an 8K version of their camera module, the X9-8K, which was supposed to start “shipping soon”. Over two years have since passed, and of course people started making jokes that the 8K camera would never appear. 

Finally Introducing Ronin 4D 8K

Except for the two-year delay, DJI actually delivered at the end of 2023, and opposed to the other products I mentioned above, DJI are exceeding our expectations and keeping the price as promised: Here is the Ronin 4D 8K, featuring the Zenmuse X9-8K camera unit that can also be purchased separately for previous owners of the Ronin 4D 6K.

The obvious upgrade from the 6K version of the X9 is, that you can shoot full-frame 8K at up to 60 frames per second, uncropped, and 4K with a full-sensor readout at up to 120 frames per second with the X9-8K. It’s really rare to see an 8K sensor to be able to deliver such high frame-rates, and it opens up lots of possibilities for cropping in post.

Physical limitations and 8K 120p

The Ronin 4D is perfect for filming fast-paced sports scenes, but of course the gimbal unit has limitations on how long your lenses can be (physically and from a focal length perspective). The longest you can usually go with a prime that will physically fit is around 85mm, which is not very telephoto on a full-frame sensor. But let’s say you shoot at 8K and only finish in HD, then you’ll be able to crop into the image in post production up to 4 times, which makes it very usable again. 

Of course, shooting slow-motion in 4K using the full sensor at 120 frames per second is a great thing to have! It’s something that users of Sony FX3, FX6 or an a7S III have become used to over the last few years, albeit with a slight crop. It’s great to see that DJI Ronin 4D users can also enjoy this feature with full sensor readout.

Ronin 4D 8K Lab Test

We performed an extensive Lab Test for the Ronin 4D 6K when it was announced, testing Dynamic Range, rolling shutter and exposure latitude. I highly encourage you to read the Ronin 4D 6K Lab Test article, in case you missed it! The results for the 6K camera were already quite impressive. 

For the X9-8K camera, we also ran a preliminary Lab Test, and I say preliminary because we don’t have a production firmware for the 8K camera yet. For this reason, we didn’t do all of the tests yet, but we of course wanted to find out how the new 8K camera stacks up against the 6K version of the X9. 

Dynamic Range Expansion Mode

One thing to highlight is the dual native ISOs of the X9-8K, which are ISO 320 and 1600. This only changes when you enable a menu item called “Dynamic Range Expansion”. This new mode is only available for frame rates of up to 30 frames per second and the Ronin 4D 8K switches the signal processing from 12-bit to 14-bit. The dual native ISO also changes to 800 and 4000 ISO, which is more similar to the 6K camera, which is 800 and 5000 ISO.

It’s important to point out that a 14-bit sensor readout still seems to be quite a rarity in the camera world. Only the FUJIFILM X-H2S also offers 14-bit color depth in a consumer camera, which we have also performed a Lab Test for.

The preliminary Lab Test results for the X9-8K camera are impressive, to say the least. Switching on “Dynamic Range Expansion Mode” will result in up to one additional stop of dynamic range, depending on the recording mode. For example, at ISO 800, we measured 13.8 stops of dynamic range at a signal-to-noise-ratio of 1, and still 12.7 stops of dynamic range at a signal-to-noise-ratio of 2.

Switching from 8K to 4K with a full-sensor readout, the results became even more impressive. At ISO 800 in 4K, we measured 14.2 stops at SNR=1, and 13.1 stops at SNR=2.

We will run these tests again with production firmware installed, once it’s out. If confirmed, this would put the Ronin 4D 8K in 4K mode almost on par with the ARRI ALEXA Mini LF, one of the best performing cameras we ever tested.

How much and when?

DJI is selling the Ronin 4D-8K as a combo, including their 17-28mm T3 lens, a ProSSD 1TB and the ProSSD mount, and much more, for just below $13,000 US dollars.

If you already bought a Ronin 4D-6K, you can purchase the Zenmuse X9-8K gimbal camera separately for around $3,600 dollars. This is a very fair price for the incredible sensor performance you are getting with the new X9-8K.

Are you as excited about this new camera sensor as we are? Do you own a DJI Ronin 4D and are planning to also purchase the X9-8K for it? What kind of projects do you use the Ronin 4D for mostly? Let us know in the comment section below! We love to hear what you have to say!

Even in post-pandemic times, live streaming is here to stay and only destined to grow. Whether you’re holding a corporate meeting, covering a sports event, or teaching an online class, you might be looking for a simple solution that transcends the capabilities of your smartphone or laptop’s webcam.

OBSBOT is a Chinese company that focuses on developing camera tools aimed at facilitating your life when streaming content. Their new Tail Air PTZ 4K streaming camera recently landed on my desk and I was able to test it for a few days. Let’s take a look!

OBSBOT Tail Air – camera and image settings

The OBSBOT Tail Air essentially combines a tiny 4K UHD camera with a 2-axis non-removable gimbal that can be controlled remotely in many different ways. The device comes in a nice carrying case and, while it’s not the tiniest gimbal-mounted camera on the market, it’s still relatively light and portable. Indeed, the whole camera system weighs 350g and measures approximately 7×7.3×13.3cm.

The camera module packs a 1/1.8” 8.4MP CMOS sensor that is paired with a 23mm (equivalent) f/1.8 lens. A fixed lens with a fixed aperture equals two things: a) the “up to 4x” zooming function is performed digitally, and this has a strong impact on image quality; b) if you want to use the camera outdoors without compromising on your shutter speed, then you have to purchase OBSBOT’s optional ND filters, which I didn’t have for this review.

The camera offers both automatic and manual exposure modes, and you can manually adjust your settings using the OBSBOT Start mobile app (available for both iOS and Android), even while recording/streaming – which is nice. Tunable parameters include essential settings such as shutter speed, ISO (100-6400), EV, and white balance. You can also customize your picture style, although I think it’s just better to leave it on Standard.

Additionally, you can toggle between manual (MF) or autofocus (AF-S or AF-C) modes. Focus distance can be adjusted manually using a virtual control wheel inside the app if needed, but I have to say that continuous AF works reasonably well in most situations, although it sometimes struggles a bit in dimly lit environments. The camera can also focus on pretty close objects, as you can tell from the picture below.

Gimbal, power options, and build quality

The camera gimbal can pan ±150° and tilt ±90°. Unfortunately, 360° horizontal range of motion is not natively supported, although it can be achieved using an optional 360° Rotation Charging Base.

Talking about power, the back of the unit has a USB-C power port that can be used to connect the camera to mains power or a portable battery. On top of that, the Tail Air has a built-in 1500mAh Li-Po battery. According to OBSBOT, the battery takes about 90 minutes to fully charge and can keep the camera running for about 2.5 hours when shooting in 1080p30. I found these figures to be pretty accurate in my own tests.

This means that you can stream from pretty much any location on Earth, as long as you have access to the internet and… well, your event is shorter than 2.5 hours. As a workaround, you could use the optional 360° Rotation Charging Base, which is claimed to extend battery life to around 7 hours.

The camera is decently built and has a 1/4”-20 threaded hole at the bottom that makes the Tail Air easy to mount on a small tripod or a light stand. Moreover, its front-facing LED status indicator proved to be extremely useful, especially when I was trying to film myself using AI-based tracking and gesture control (continue reading for more details).

Recording and streaming content

Although the Tail Air is mainly designed to be a live-streaming device, it can actually behave as a traditional, standalone camera, if needed. Indeed, it can shoot 4K UHD videos at up to 30fps or 1080p up to 60fps using the H.264/H.265 codecs (up to 80Mbps) and store them internally on a Micro SD card (up to 512GB in size). One note: these recording settings are slightly hidden inside the menu system of the app, and I wish they were more immediately accessible from the main UI.

On top of that, the camera also has a robust set of connectivity features that allow you to include it in many different types of live-streaming workflows. For example, you can:

• use the Micro HDMI port on the back of the camera to connect it to an encoder or live production switcher;

• connect the camera to a laptop using the USB-C port on the back of the body – which supports the UVC (USB Video Class) protocol – to connect the Tail Air to a switcher, or use it as an external, remotely controllable webcam;

• stream content directly to YouTube, Facebook, Twitch, and other popular platforms via the OBSBOT Start App;

• use the optional USB-C to Ethernet Adapter to incorporate the camera in an NDI-based environment.

While this is quite a lot for a consumer camera, I soon found out that you can only use one of these modes at a time. So, for example, enabling UVC over USB-C will disable NDI and the HDMI output, and vice versa.

Controlling the PTZ camera

When it comes to remotely controlling the Tail Air PTZ camera, you have two main options. The first method is pairing the camera to the OBSBOT Start smartphone app via Wi-Fi or Bluetooth. I found the app to be well-made, stable, and pretty straightforward to connect and use.

From within the app, you can monitor the live image feed, manually adjust camera settings, playback clips and save them to your phone’s gallery, manually control the gimbal using a virtual joystick, or enable/disable the AI tracking and framing features (more on this later).

The second method for controlling the camera is by using a dedicated remote controller. However, connecting the two devices requires you to follow a very specific pairing process outlined exclusively in the user manual. Once that’s out of the way, you can remotely control the gimbal via the controller’s physical joystick, use its side zoom rocker to digitally zoom in/out, trigger record, activate auto tracking on humans and pets, or turn the camera on/off. The remote charges via USB-C, works in the Bluetooth range, integrates a laser pointer for presentations, and can be used to control up to 3 Tail Air units.

AI-powered tools – Auto Tracking, Director Grids, and Gesture Control 2.0

Ok, it’s finally time to talk about the most interesting features of the OBSBOT Tail Air, which are also the ones that impressed me the most: its AI-driven tools. At first, I was afraid that the brand relied on Artificial Intelligence as a buzzword to steal their audience’s attention. But after playing around with the camera for a while, I was really surprised by the performance and utility, especially for a solo shooter.

• Auto Tracking: The camera can automatically detect and track humans and pets, but you can also manually select an object by drawing a box on the screen. Unfortunately, my dogs weren’t very collaborative, so I ended up being the only test subject. At first, I wasn’t really happy with the results I was getting – especially in terms of image composition – but then I found out I could adjust tracking speed (slow/standard/fast) and even tell the camera where I wanted to be positioned inside the frame.
  
  After making these changes, things got much better. Especially, since the maximum controllable speed of the gimbal is 120°/s, I was impressed by how quickly I could move in space. However, this also revealed the other side of the coin, which is a pretty bad rolling shutter.
  
  There are still situations in which the tracking system can get a bit confused. That happens, for example, when a large obstacle gets in the way, or your shot includes multiple human subjects. Still, the performance of a product in this price range is quite remarkable and should provide satisfying results for most users, even in dimly lit rooms.

• Directors Grid: Using AI, the camera automatically creates multiple angles of your subject. These can be monitored from a dedicated tab within the app, and you can quickly select which angle goes “on air”. Essentially, it’s like having a virtual live switcher at your fingertips.
  
  The biggest limitation of this tool is that some of the angles are so cropped that they become pretty much useless unless you’re OK with low image quality. Sometimes “content is king”, as they say.

• Gesture Control 2.0: Now, this is where things get interesting. Do you remember I said there are two ways of controlling the gimbal – app or remote? Well, “good things come in threes” and, in truth, you can also control the gimbal remotely using only… your hands.
  
  Hence, by performing specific gestures in front of the camera, you can start/stop recording, engage Auto Tracking (this can also be done by double-tapping on your subject in the app), or zoom in/out on yourself. Depending on the command, the front LED indicator changes color and the camera emits a specific sound.
  
  This worked very well in my experience, and it can be very useful for streamers and presenters who need to shoot content on their own, but don’t want to have a smartphone or remote controller on them.

USB-C to Ethernet Adapter for NDI workflows

The NDI protocol allows you to share video sources over a local area network (LAN) via Wi-Fi or Ethernet, and the OBSBOT Tail Air is fully ready to support it. However, this comes at a price. Indeed, you will need a paid activation key to enable NDI on your device. Additionally, if you want to rely on a more secure wired Ethernet connection, you also need to purchase the optional USB-C to Ethernet Adapter.

Once you’re all set, you can share a clean, low-latency 4K video feed over your network – the 4K image looks pretty crisp. As usual, activating NDI mode will disable the HDMI output. The NDI video source can then be detected by live streaming software like OBS Studio, for example. This type of workflow is particularly useful if you’re planning on including the Tail Air in a multi-camera live streaming production with other NDI sources.

Although I don’t often rely on NDI technology for my productions, connecting the camera to my LAN using the adapter was fairly easy.

Audio recording

The OBSBOT Tail Air can record audio out of the box thanks to its dual built-in microphone. Nonetheless, I found this solution to be barely usable, since the internal mic also picks up a lot of undesired sounds generated by the camera and gimbal. This is particularly true when tracking subjects.

Luckily, you can easily work around this by connecting an external microphone to the camera via its 3.5mm jack input. For my tests, I used a SYNCO G2 (A2) wireless microphone system and I achieved much cleaner results. I think this is the way to go if you want your live streams to sound professional.

Audio levels can be easily adjusted via the app, and there’s also an option to apply noise reduction to the signal. This can come in handy to improve the sound coming from your internal mics, but in any case, I wouldn’t set it beyond 1 on the 3-step noise reduction range.

Conclusion

So, should you buy the OBSBOT Tail Air? As usual, the answer depends on your specific needs. If you often need to shoot yourself walking around your space during live presentations, and you don’t have high expectations of image quality, then I think the AI Auto Tracking and Gesture Control features can help you tremendously in your job.

Overall, the system can be a valid option if you’re just starting out with live streaming and you’re looking for an end-to-end solution that doesn’t require too much effort to set up and use. The camera produces a nice 4K image (you can see a comparison with the built-in FaceTime HD camera of my MacBook Pro M1 Max – 2021 version – below), although image quality rapidly degrades when you zoom in. Also, by using an external microphone, you can still deliver professional audio.

However, if top-tier image quality is a concern and you often need to zoom in/out on your subjects or stream from a low-light environment, then I’d probably look somewhere else.

Price and availability

The OBSBOT Tail Air is now officially available to order for $499. Pricing for the accessories and NDI activation key is as follows:

• Smart Remote Controller –
• 360° Rotation Charging Base –
• ND Filters –
• NDI Activation Key –

For more information, please visit OBSBOT’s website here.

Do you often produce live-streaming content? Do you think the AI tools of the OBSBOT Tail Air can facilitate your work? Let us know your thoughts in the comment section below!

We already covered the GFX100 II extensively by conducting an exclusive interview with the leaders of the product planning team, and a full camera review was published as well. In my review, I highlighted the diverse recording formats, resolutions, and the ability to record to an external SSD, next to a completely new feature that allows 2x anamorphic recording. (Not only de-squeezing in preview as other cameras do). Well, specifications aside, how does it feel to run & gun with the camera?

Missing in my review

What’s missing in order to complete the task of “knowing the camera” better is a lab test (coming up very soon), engaging footage using a 2x anamorphic lens (to explore the 2x anamorphic recording), and last but not least, a “normal” mini-documentary like we usually do to really “feel the camera” and observe how it behaves in the field.

Back in summer, I met with Yokoe-san who was kind enough to allow me to spend a few hours together with him. Yokoe-san’s goal is to “bring Japanese nature to your living room” by creating small and beautiful terrariums. (More details about his company can be found here).

My idea was to deploy the new FUJIFILM GFX100 II in its most minimalistic way, meaning, mostly handheld (I used a tripod only for the main interview). I set the camera on its highest recording quality (WITHOUT cropping the image) to “Cine 5.8K”, which, in a way, is my favorite because of its given 2.35:1 aspect ratio. My main lens for this shoot was the FUJIFILM GF 35-70mm lens. It’s not a fast one by any means, yet it’s a relatively compact, good all-rounder lens that also happens to be modestly priced.

GFX100 II summary

As I delved deeply into various filming modes, resolutions, and more in my review, I also highlighted the camera’s ergonomics. This aspect is extremely important for me when running & gunning. If I have to summarize it all, I have to say: I truly like what comes out of this camera! That being said, I wish that the internal noise reduction could have been further controlled beyond the available “-3”. Noise in the footage is not necessarily always a bad thing as it can greatly contribute to the picture aesthetic most of us are after. In this regard, I sometimes find the camera to be “too smooth”. In terms of handling, operators with large hands will enjoy using this camera.

All in all, FUJIFILM did a remarkable job in creating a “Swiss Army Knife” camera, one that can be used in so many kinds of productions. (The versatility of this camera is really outstanding). Next, I would love to see FUJIFILM opening up to third-party lens manufacturers by allowing them to license the FG mount protocol. In doing so, they could offer the GFX line of camera users a much broader lens selection, essential for the success of the camera format.

Before closing this article, I would like to thank Ayumi Shimaura-san for connecting me to Yokoe-san and assisting me with translation. I would also like to thank our editor, Jay Choma for doing a marvelous job in editing a small, lovely story from the ordinary footage I shared with her.

Tech info: Filmed with FUJIFILM GFX100 II, 5.8K/24p, ProRes HQ, F-Log 2. LUT by fylm.ai

What do you think about the FUJIFILM GFX100 II? Did you ever consider using a large format camera in your productions? Please share with us your comments in the section below.

This new Micro Four Third camera is much anticipated by MFT format lovers, and I’m certain that this new model will satisfy the needs of many. 

Built on the success of its predecessor, the G9II kept its relatively small size and comfortable hand grip, but other than that, it is safe to say that this is a completely new camera! 

So what can you expect from such a flagship model equipped with a newly designed 25-megapixel sensor and the same processor that can be found in the LUMIX S5II? 

Before I continue, I would like to highlight two things: 

– My brief experience and initial impression of the LUMIX G9II is based on a pre-production model and as such, not everything went smoothly. I have no doubt that Panasonic will continue to refine this product and enhance its performance up until it sees the light of day in October.  

– The G9II is Panasonic’s MFT sensor size flagship camera used primarily for taking photos. Panasonic has another MFT sensor-size flagship camera, the GH6, for more demanding video work. (For example, an internal fan and a CFexpress card slot might be valuable for those who are using the GH6 professionally).

Nevertheless, the video capabilities of this new camera have not been neglected, and in fact, depending on your professional needs or type of hobby, perhaps this new LUMIX G9II might be the camera you have been waiting for! 

The original Panasonic G9 was released more than five and a half years ago and proved to be extremely beloved and popular.

Now, here comes the new camera, not only with a fresher look, but you can tell Panasonic was very ambitious to make it even better!

I already mentioned the new sensor and Venus processor. What else? 

For the first time, both photographers and filmmakers will appreciate having a Phase Detection Autofocus System with subject recognition in an MFT camera.

The OLED EVF is also new and larger than the previous version, with a 120fps refresh rate. 

The same goes for the 3-inch, 1.86 million dots LCD screen. 

Filmmakers will appreciate the large HDMI output connector and even more importantly, the ability to record ProRs HQ in up to 5.7K externally to an SSD. 

Personally, I would like to recommend a slightly different solution for external recording. Instead of recording to an SSD, I successfully used a small CFexpress reader made by PAN’S SCHEME (review here) together with CFexpress cards from Angelbird or Nextorage (review here).

However, there is a downside to recording ProRes externally – I’m talking about the camera battery, which runs out faster this way. I couldn’t measure by minutes, but knowing how well Panasonic’s batteries usually hold up, I was surprised to see how relatively fast they drain. 

So to summarize: For recording with the LUMIX G9II in the highest possible resolution and best available codec, one can set the camera to 5.7K in up to 30p in ProRes HQ externally. When it comes to internal recording, 10-bit, 4:2:2, All Intra in up to C4K 60p Is available.  

If you are not so picky about color sampling, 5.8K in up to 30p in 10-bit Long GOP 4.2:0 is also available. 

4K at 120fps can be found too, but I haven’t personally tested it. If you are still seeking the highest possible HD recording quality, internal ProRes is available as a solution.

Other unique features include a completely new LEICA Monochrome preset setting, next to “real-time LUT” recording, which allows importing your favorite look into the camera. By the way, this exact feature is borrowed from the LUMIX S5II. Needless to say, the V-Log option is there for creative work as well. 

As with Panasonic cameras in general, the G9II stabilization works very well, although I advise you to carefully watch the focal length you are using when working with it. Wide shots tend to wobble a bit at the edges. 

One thing that bothers many of us when filming is how well, or not, a camera can handle overheating. Well, I did not face any issues, but further experimentation is definitely warranted.

OK, let me touch on one of the biggest, if not the biggest new feature in the Panasonic LUMIX G9II: I’m talking about the Phase Detection Autofocus. It is the first time that Panasonic has implemented this feature in an MFT camera, and I’m sure you are curious to know how well it works. 

In all honesty, with the pre-production camera that I had, I got mixed results. Let’s say that 90% of the time the continued autofocus worked well, and for the rest, it was a bit of a hit-and-miss up to the point where I had to switch focus to manual mode. 

Again, I know that Panasonic is very dedicated and working hard to improve the new Phase Detection Autofocus in this camera. 

There’s another aspect related to focusing with this camera that I’d like to mention, and that’s the “joystick.” I find that one of the easiest methods of changing focus between objects while running and gunning is to simply use this knob.

The thing is that it is extremely sensitive, and the pace of moving the focusing box between objects cannot be controlled easily, which can result in a few missed focus points. 

While working with the camera, I also had the chance to combine it with the Panasonic Leica 100-400mm lens. At the time of testing both products, the camera and lens did not communicate well, so handheld filming was not possible. But the potential for run-and-gun wildlife photography and filming is absolutely there. 

By the way, if you are a hybrid shooter, make sure to store and assign your favorite settings to a “C” option as unfortunately, the camera will not remember separate settings like picture profiles when changing between video and photo modes. 

So, who is this new camera actually for? From a video perspective, I can easily see small news agencies using it next to independent creators who shoot all kinds of different content but are mostly out in nature. In so many ways, the MFT sensor size is the golden ticket for high resolution, magnification, and camera size. Top this with a zoom, such as the 100-400mm lens, and the “eye of the lion” couldn’t have gotten any closer. 

But here comes the pricing question. The Panasonic LUMIX G9II will set you back 1899 Euro (VAT included), or $1,897.99, and in this price range, it looks as if it was made to compete directly with the OM-1. 

The question remains as to whether this camera is enough to successfully compete against other APS-C sensor cameras that have become smaller and even comparably cheaper over the past years. (The FUJIFILM X-T5 and X-S20 are good examples). 

In the end, I’ll let you guys decide, and I’m very curious to hear your thoughts about the new G9II. Is this the LUMIX flagship camera you have been waiting for? Go ahead and share your comments with us in the section below. 

So, a new day, a new camera, or are we witnessing something special here?

Well, in all honesty, my hat is off to FUJIFILM for emphasizing and enhancing the video capabilities of this new camera. 

True, this is still a hybrid device, which led to certain compromises such as the lack of an articulated LCD screen, but all in all, FUJIFILM did a great job here and I’m extremely curious to see how the market will react in adopting it. 

GFX100 II – what’s new

So let’s start by saying that the GFX100 II has an entirely new sensor, although it kept the same 102 megapixel count as its predecessor. 

Where there is a sensor, there is a processor, and the one found in the GFX100 II is the same X-Processor 5 that drives all the other latest cameras from FUJIFILM.

So let’s start by saying that this camera has a huge selection of formats in up to 8K resolution, with different image circle coverage and recording codecs. 

Out of the box Best Settings

If you are looking for the best internal recording codec, simply use ProRes HQ. Uncompressed 12-bit external recording output via the large HDMI connector is supported as well, of course, but for the first time ever in a FUJIFILM camera, ProRes can also be recorded externally via USB-C to an external SSD drive. 

If you are looking for the fastest sensor readout to minimize the rolling shutter effect, choose 4K/60p, which is thankfully NOT cropped. 

If resolution is your top priority, then choose the 5.8K recording option. Horizontally, the camera will use the full sensor width and will crop vertically a bit so the end result will look like a 2:35:1 CINE aspect ratio. 

Now, if absolute resolution is the thing you are after, you can of course use the 8K resolution that this camera offers, but take into account that the image will be cropped by 1.24x. 

From my experience, the image still looks nice and crispy even with this method of cropping into the sensor. 

By the way, if you take a close look at the menu, you will find a 3×2 recording option, but mind you that this is NOT a true “open gate”, but rather another recording format choice. 

With this camera, FUJIFILM created a new menu option to choose between four filming formats: GF, Premista, 35mm (which is equivalent to full frame), and anamorphic. Depending on the format you choose, the camera will adapt itself to automatically adjust to the sensor portion that can be recorded. 

Speaking of which, it is the first time FUJIFILM has taken anamorphic filmmaking seriously and enabled two crucial features.

The first is simply to de-squeeze the image for viewing purposes like many other cameras do. 

The second is truly a breakthrough, as the camera will allow recording in 8K (cropped) with 2x anamorphic lens, and de-squeeze the image while filming! After checking with FUJIFILM, I can confirm that this option will give the best anamorphic recording quality, and I’m looking forward to trying it out in the near future. 

If different squeeze factors are required, it will have to be manipulated on your favorite NLE. 

OK, let’s tackle other features. Let me start with the new “Autofocus Wide Tracking”, which I find extremely useful for documentary work. Simply place the focus square on the object you want to track and the camera will do the rest, most of the time successfully. 

Another improvement is the ability to connect the FUJIFILM fan to the camera in order to combat the possibility of overheating. Personally, I did not encounter any issues, but for those who are working professionally, I recommend considering this device. 

I also find the camera works very well in low light conditions, so using higher ISO values is not an issue. 

For those who are filming in F-Log-2, please be advised that the minimum ISO can be set to 800. By the way, in the menu, there is one very interesting feature – “F-Log 2 D Range Priority”. Apparently, it is supposed to improve the camera’s Dynamic Range, but at the expense of a greater rolling shutter. This option won’t be available in all recording formats and frame rates. 

We will, of course, test this option in our lab test when we get the camera with the final firmware installed. 

The EVF is large and clear, but what FUJIFILM wisely added is the possibility to control the magnification ratio and reduce it to a manageable size so that the entire frame is visible at once. 

For control freaks, the SUB menu is now very customizable between the photo and video modes. I really appreciate the level of choosing functions for viewing that FUJIFILM allows here. 

If you haven’t noticed, the new GFX100 II is much smaller than the original GFX100 camera as FUJIFILM managed to shave off the built-in battery grip. Not only that but there is no need to buy an additional transmission grip for sending material to the cloud as FUJIFILM managed to squeeze it all into the body, keeping the camera size and weight as low as possible. 

All those high-resolution formats deserve a more advanced recording media, so now one recording slot is dedicated to accommodate CFexpress Type B cards. 

For those who a seeking a Timecode solution, jam sync via ULTRASYNC Blue can be obtained.

Last but not least, a new film simulation setting was added, the REALA ACE. At the time of writing this review, I was not able to test it.

So, no camera is perfect and maybe the two main concerns I have are the following: 

I’ll start with the camera grip. For people with a small hand like mine, the camera is a little uncomfortable to hold. The grip is simply too big. 

But more importantly, I would like to mention the image quality. It is really beautiful, BUT, in my opinion, it is “too clean”. It seems as if the noise reduction is working hard to “smooth things”. True, you can dial down the noise reduction to minus 3, but I wish that the results could be more visible. 

Not all types of noise are harmful, and in my opinion, a bit more “picture texture” is missing. 

In addition to that, regarding future GFX offerings, I hope FUJIFILM will consider the following:

• Implementing a higher frame rate in 4K resolution, as currently it is limited to up to 120 frames per second in full HD 

• Having a fully articulated LCD screen 

• And unlike the modestly priced X-S20, in this camera, subject detection cannot be set to “Auto”. In my opinion, this option is sorely missed

• The in-body stabilization system is generally fine, although I wish it could be even more prominent. 

But maybe the biggest request that I have is to take the inner bit of this camera with all of its functionality and try and implement it in a dedicated cinema camera body. 

I’m sure that FUJIFILM can only gain from finally having an “A camera” on the market. 

Last but not least, the new GFX100 II will set you back $7,499/€6,789 which is way less than the original GFX100 and $1500 USD more than the GFX100S, but at the end of the day, it is a different beast altogether with much higher and more refined video capabilities. 

Now, I’ll be interested to hear what you guys are thinking about the new GFX100 II. Is medium format something that you’ve been considering in the past, and is this new camera piquing your curiosity to finally try one? Please share your thoughts in the comment section below.