Nikon’s joint first full-frame mirrorless camera is the most serious assault on the video market to date while the z7 remains an excellent choice for still shooter users looking to capture video alongside their images. The z6 is arguably better for the videographer as it can capture over-sampled 4k footage without a crop which the z7 can’t do perhaps most crucially.
The presence of both sensors based and electronic VR means that the camera does a great job to keep things stable whatever the lens you’re using while 293 sensor based phase detect AF points that are available during video recording.
Do very well to keep everything focused and transitions nice and smooth the 10 bit and log shooting option which is also absent from the D850 gives you a better starting point for grading footage. We’d like to have seen a 4k 60p option and a little rolling shutter remains but we were otherwise very impressed by the way Nikon has launched its new system.
Olympus OM-D E-M1 Mark III
Olympus OM-D E-M1 Mark III picking up where its predecessor left off. The OM-D E-M1 Mark III is an outstanding all-round package and that’s as much the case for shooting video as is for stills on paper. The Mark III’s video specifications is solid enough to cater for both casual recorders and more serious videographers.
It can shoot in a 4k at 24 frames per second 237 megabytes per second and full HD add up to 120 frames per second with an OM log 400 color profile. That’s a little short of lovely and it all comes in good action powerful image stabilization keeps footage smooth and sharp while capable continuous autofocus with face and eye detection proves impressively effective headphone and external mic ports are a welcome.
Presence for those looking to upgrade their setup too if there’s one thing we’d like to see it’s the availability of the live ND mode which simulates the effect of a real neutral density filter. While shooting video but such is the depth of what the OM-D E-M1 Mark III can do when you dig into the options it’s hard to pick any real faults.
It might be the junior of the two launch models in Panasonic’s fledging s system but the S1 is arguably the better option for videographers. For starters it captures 4k UHD footage using the whole width of its full-frame sensor and offers full pixel readout at up to 30p it can also record 10-bit 4×2 by zero footage.
Internally, using the hevc h.265 codec with an update due later this year set to unlock even higher specs videos can be shot in 4k at up to 60p with a 30-minute time limit and there are several gamma curve profiles on board including hybrid law gamma.
In the real world that all translates into very high quality video its body might be heavy but sensor based image stabilization helps keep handful footage smooth. While rolling shutter is only an issue if the S1 is jerky suddenly the onboard microphone is surprisingly capable too even if the external mic and headphone ports will prove more popular arguably the biggest issue is the autofocus performance.
Sony Alpha A7S II
While the Sony Alpha A7S II is now imminent we still think it’s a compelling option for the videographer at current prices. One of its major selling points at launch internal recording of 4k footage has since been matched by many others but it’s the modest pixel count of its sensor that splits it from its rivals.
We found its dynamic range to be very high and consistently better than rivals at higher sensitivities while noise was also shown to be lower than cameras with more popular chips. It also has the advantage of using the whole sensor width for recording video and being able to record to the memory card while outputting four by two by two footages to an HDMI recorder.
However, it proves itself to be capable for still shooting too autofocus is generally fast and built-in image stabilization is a huge bonus while the body is sturdier than its predecessor too. Overall while it might not be the newest model its sensor and video specs give it a handful of advantages over its rivals. Hopefully, the imminent a7s3 will be even stronger with its video credentials.
Panasonic Lumix G9
This isn’t Panasonic’s most video centric camera. The Panasonic GH5S and GH5 above but the Lumix G9 is a fantastic all-rounder for stills and video particularly. Thanks to a recent firmware update in November 2019.
This added pro friendly treats like 10 bit 4 by 2 by 2 video captured to some already tasty video credentials which include the ability to shoot cinema 4k video at a smooth 60 frames per second frame rate. The G9 also boasts superb in-body image stabilization that equates to 6.5 extra stops of exposure as well as two UHS two SD card slots.
It’s also weatherproof great to handle and boasts a wealth of still focused features including a burst mode that shoots at 20 frames per second with autofocus and an astounding 60 frames per second. Overall, we think it’s Panasonic’s best all-round mirrorless camera especially given its recent price drop to below one thousand dollars.