Latest news with #Z6III
Engadget
a day ago
- Engadget
The Morning After: Did Panasonic make the best camera for creators?
Panasonic's S1 II is arguably the company's best creator camera, if not the best creator camera, period. That's according to our review from Steve Dent, who really liked a lot of things but especially the 6K RAW video and excellent stabilization. However, at $3,200, it's expensive compared to the competition. Nikon's Z6 III has nearly the same video capabilities, is a better camera for photography and costs at least $600 less. Then there's Panasonic's own $2,500 S1 IIe, which was announced at the same time as the S1 II. It has mostly the same features but uses a non-stacked sensor more prone to rolling. Make sure to check out the full review. — Mat Smith Get Engadget's newsletter delivered direct to your inbox. Subscribe right here! Meta's already got its low-key Ray-Ban-designed smart glasses. Now it's coming for our dads. Or me. Or people somewhere between our ages. These are the Oakley Meta HSTN, apparently pronounced: HOW-stuh. They're made for athletes but will probably be worn by that guy in Costco. (I love Costco, by the way.) Oakleys might seem a jump away from Ray-Ban, but Oakley is owned by EssilorLuxottica, which also owns Ray-Bans. Despite rumors that the Oakley glasses would have a camera embedded in the frame's bridge, these first models keep the lens on the side, with an ultra-wide 12MP camera that can capture footage in 3K, compared to the 1080p resolution of the Ray-Ban iterations. Also, the battery is rated for eight hours on a single charge (double that of the Meta Ray-Bans). Several variants are incoming in lens colorways a little more vivid than typical sunglasses, with red, black, deep-water (blue?) and even some transition lenses. However, the first limited-edition Oakley Meta HSTN has gold accents and black lenses. They cost $499 and go on pre-order July 11. Continue reading. Microsoft has been teasing this for years, but now it's happening. There needs to be some sort of error screen, so later this summer, Microsoft is transitioning to a Black Screen of Death instead. Slimming, but just as frustrating. Continue reading. Prime Day returns July 8 to July 11 this year, marking the first time the shopping event has been more than 48-hours long. Amazon typically has early Prime Day deals in the lead up to the event, and this year we're already seeing some solid discounts on gadgets we like, including AirPods Pro 2 and an array of Amazon hardware. Continue reading.
Engadget
2 days ago
- Engadget
Panasonic S1 II review: A near-perfect creator's camera if money is no object
After a six-year wait, Panasonic's S1 II is finally here and there's a lot to unpack. As you'd expect from this company, it's creator-centric with up to 5.8K ProRes RAW internal video recording. At the same time, it's Panasonic's fastest full-frame photo camera ever with 70 fps burst speeds and reduced rolling shutter distortion thanks to the new partially stacked 24-megapixel sensor. And with an AI-powered hybrid phase detect system, autofocus is no longer a weak point as it was with the original S1. There is one issue though, and a surprising one for Panasonic: the price. The $3,200 S1 II is similar to Nikon's Z6 III, right down to the partially stacked sensor and internal RAW video. However, the latter is some $700 cheaper and can often be found on sale for even less. Since Panasonic often undercuts rivals, that puts the S1 II in the unusual position of being overpriced next to the competition. After testing it for the last month, I've found that whether it's worth it depends on your priorities. The S1 II is Panasonic's best creator camera thanks to features like 6K RAW video and outstanding stabilization, but it's expensive compared to the competition. $3,200 at Amazon The S1 II shares its excellent body design with the higher-resolution S1R II and the cheaper, non-stacked S1 IIe. It's considerably lighter than the original S1 at 1.76 pounds and much smaller as well, both of which make it less burdensome. It's also easy to hold thanks to the big ridged grip. However, it's more angular and has a harder rubber skin than Canon's rival EOS R6 II, so it's not quite as comfortable over long shooting sessions. The excellent control layout makes the S1 II a breeze to use. It has all the buttons and dials you need and they're well located — particularly the joystick and control dials. There's a dedicated switch for photos, video and slow and quick (S&Q) modes, and each has separate adjustments so you won't mix them up. It also has a dedicated autofocus switch, two video record buttons (top and front), 10 other programmable buttons and a tally light. I rarely needed to search for settings thanks to the logical color-coded tabs and easy-to-use quick menu, both accessible by touch or the joystick. Panasonic also made it simple to program buttons, dials and the quick menu to your personal preferences and it allows you to save them to a memory card as a backup. The S1 II's electronic viewfinder is bright and sharp, matching the Z6 III with a resolution of 5.76 million dots and 0.78x magnification. The rear display not only swivels out but also tilts up and down for overhead or hip-level photography. In comparison, Nikon's Z6 III screen doesn't tilt, so it's not as versatile. As with the S1R II, battery life isn't a strong point here, with only 360 shots on a charge or 320 when using the EVF. To be fair, that matches the Z6 III exactly (and Panasonic's non-stacked S1 II is only slightly better at 380 shots), but Canon's cheaper R6 II has more than twice the battery life at 760 shots. In order to capture RAW video, the S1 II has a CFexpress Type B card slot along with a slower SDXC UHS-II slot. Like the S5 IIx and GH7 (and several Fujifilm models), it also supports high-bandwidth RAW video capture to an SSD via the USB-C port. The S1 II comes with a full-sized HDMI port that supports Blackmagic and ProRes RAW capture. You also get mic and headphone ports, and you can capture 32-bit float audio via the optional XLR2 accessory to reduce the possibility of clipping. Finally, the S1 II has a carbon fiber curtain that comes down to protect the sensor like recent Canon and Sony models. The S1 II can fire bursts at a pedestrian 10 fps in mechanical shutter mode, but supports a superb 70 RAW images per second with the electronic shutter. And if you're worried about skewed images, don't fret. Distortion is minimal in electronic mode thanks to the partially-stacked sensor that has a rapid readout speed of around 12 milliseconds. That's fast enough for sports or wildlife photography, unless the subject moves very rapidly. Pre-burst capture, which starts when you half-press the shutter, is also available at the highest speeds. That lets you save up to 1.5 seconds of photos you might have otherwise missed once you fully press the shutter button. The buffer is a bit small, though, so you can only capture about three seconds (220 shots) at the 70 fps speed. The hybrid phase-detect autofocus is the best of any Panasonic camera I've tested to date. However, it's not yet up to Sony and Canon's standards for speed and accuracy, and falls a bit short of Nikon's Z6 III. If you're shooting a fast-moving subject at the maximum burst rate of 70 fps, you may see more than a few out-of-focus photos. The S1 II supports multiple AI modes — including animals, birds and vehicles — on top of human eye-tracking modes. I had mixed success with those as the camera had trouble locking onto the eyes of some birds and marine mammals I shot at the Vancouver Aquarium. However, it was better with more typical animal subjects like dogs, cats, horses and geese. Panasonic also introduced an AF mode called Urban Sports that improves tracking for breakdancing, skateboarding and parkour. I tested that mode with some skateboarders at the highest burst settings and saw a high percentage (90-plus) of in-focus shots. One area where Panasonic tops its rivals is stabilization. That's been boosted to eight stops (slightly short of the R6 II's eight and a half stops), which allowed me to shoot at shutter speeds down to a half second and still get sharp shots. And as I'll explain shortly, the S1 II is peerless when it comes to video stabilization. I've been impressed with Panasonic's color science of late, finding that it matches Nikon in delivering some of the most color-accurate images of any system. By comparison, Canon's images skew warmer, and I feel that Sony models like the A7 IV lack some accuracy, particularly with blue-green colors. The S1 II delivers pleasing JPEGs with a nice balance between sharpness and noise reduction, though the latter can get overly aggressive at high ISO levels. RAW images offer plenty of detail in light and dark areas of the image, letting you tweak and correct to a fine degree. Keep in mind that using the electronic shutter in burst modes reduces RAW bit depth from 14 to 12. The downside of any stacked sensor is additional noise, and the S1 II is no exception. This is most apparent at higher ISO levels where the camera exhibits a bit more grain than Panasonic's S5, which has the same resolution but isn't stacked. That said, the S1 II has about the same low-light prowess as the Z6 III and beats most fully stacked cameras. The S1 II is Panasonic's best creator camera thanks to features like 6K RAW video and outstanding stabilization, but it's expensive compared to the competition. If the native 24MP resolution isn't enough, the S1 II offers a high-resolution mode that captures eight images with a slightly offset sensor position and composes them into a single 96-megapixel file (either RAW or JPEG). I was able to take sharp images in that mode without the use of a tripod thanks to the S1 II's excellent in-body stabilization system. The S1 II doesn't shoot 8K RAW like the 44MP S1R II due to its lower resolution. However, it does support 5.8K 30 fps ProRes RAW, open gate full sensor video and super slow-mo (4K 120p) — all with far less rolling shutter distortion. Because of that, I think this is a better camera overall for creators. Of course, the S1 II offers 10-bit video in both MP4 and Quicktime formats on top of RAW. Panasonic's V-Log is also on tap to boost dynamic range, and thanks to a recent firmware update, you can pay $200 to get ARRI LogC3 to match that company's pro digital cinema cameras. With that same firmware update, the S1 II now supports 17 frame aspect ratios (up from 10), and enables simultaneous display of up to three frames at once (unlike the LogC3 update, these are free). That will let you shoot open gate, for instance, while seeing how the image will look in both vertical and horizontal aspect ratios. Overall, video quality is outstanding with sharp oversampling, excellent color accuracy and decent dynamic range. The latter can be increased using Panasonic's dynamic range boost option, although that effectively doubles rolling shutter distortion. Without the setting enabled, skew from rolling shutter is only an issue with whip pans or very fast-moving subjects. Video AF is solid, keeping subjects in focus as long as they don't move too quickly. Face, eye, animal, urban sports and vehicle detection work well, though you'll see a bit more accuracy and speed on Canon and Sony's latest models. The S1 II offers better video stabilization than its rivals, though. Optical stabilization provides good results for handheld video, while electronic stabilization (EIS) provides gimbal-like smoothness at the cost of a significant crop. As with other recent Panasonic models, the S1 II also offers 'cropless' EIS that corrects corner distortion when using wide lenses, while also reducing rolling shutter. Thanks to a built-in fan, overheating is rarely an issue with the S1 II. The only time I ever saw a problem was with 5.8K at 60 fps and 5.1K open gate recording, when the camera shut down after 50 minutes and 40 minutes respectively. That's still excellent for a small mirrorless camera. Those limits are eliminated, by the way, if you record to an SSD via the USB-C port. Creators may wonder how the S1 II compares to Nikon's Z6 III. The latter offers more RAW options, with the choice of 5.8K Nikon RAW (N-RAW) at up to 60 fps rather than just 30 fps. Both offer similar video quality as they use the same sensor. The Z6 III has slightly better autofocus, but the S5 II has superior stabilization and handling. Finally, the S1 II has some nice pro features like timecode, waveform monitoring and pro audio. I'd say the S1 II is slightly better for video shooters, but the Z6 III is significantly cheaper. Panasonic's S1 II is a powerful hybrid camera, and if it wasn't so expensive, it would be a no-brainer for creators. However, Nikon's Z6 III has nearly the same video capabilities, is a better camera for photography and costs at least $600 less, so I'm inclined to recommend that model for most users. Another option at a lower price is Panasonic's new $2,500 S1 IIe, which was announced at the same time as the S1 II. It has the same body and mostly the same feature set, but uses the non-stacked sensor from the S5 II, so rolling shutter is more of an issue. If you favor photography, the higher-resolution S1R II is a better option and costs just $100 more. However, if you're a video pro who needs features like time code, ARRI LogC3 and advanced monitoring or audio features, the S1 II is a solid choice. Those folks might want to wait for a sale though.
Tom's Guide
6 days ago
- Automotive
- Tom's Guide
I used to think Nikons were only for grandpas — but the Z5II just converted me
Listen, I'm not a Nikon hater. In fact, I own two vintage Nikon film cameras (only one of which now works). I know as well as anyone that Nikon makes some of the best cameras, which produce lovely images. As it happens, we also use two Nikon Z7IIs for our product photography here in the Tom's Guide U.K. review studio. And that's precisely because of the imaging excellence — the 45MP sensor gives plenty of space for cropping, and Nikkor glass is sharp enough to meet professional standards. However, I've just never really felt compelled to buy a modern Nikon. I know this is subjective, but they're just, well… boring. The Z f aside, today's Nikons don't have the charm of Fujifilm, or the cool 'content creator' factor of Sony. I genuinely don't ever remember seeing a young person with a Nikon. When I think of Nikon cameras, I see the Toyota Corolla. Well made, competent at its job, prime taxi fodder. But hardly a buttock-clenching drive. A grandad car. It's really difficult to fault the Nikon Z5II, especially on value for money. While it doesn't offer some of the elite features of its bigger brother, the Z6III, there's still plenty of pro features on offer here at a surprisingly low price tag. This week, though, I may have finally shaken my Nikon prejudice. I've spent the last few days testing the Nikon Z5II for my upcoming review, and I'm really struggling to think of reasons why you wouldn't buy this camera. Maybe it's that I'm older now than I ever have been. Or maybe it's because the Z5II offers simply unbeatable value for money. We loved the Nikon Z6III when we tested it last year. It's a true professional hybrid, jam-packed full of pro features for both stills and video. I'm talking subject detection AF, 120fps drive, 6K internal RAW internal. It's a damned powerhouse. The Z5II is not that. But neither is it far off. My personal camera — currently a Fujifilm X-T5 — is used for architecture photography (my hobby) and location product photography (my work). I don't need all the features of the Z6III, but I do need beautiful images, dual card slots, IBIS, strong subject detection AF and excellent handling when shooting at pace. Like the $2,499 Z6III, the Z5II delivers all of those things, only at a much, much lower price tag of $1,699. If you're an enthusiast, semi-professional or even a pro photographer, the Z5II offers a hell of a lot for the money, and ought to be top of your shortlist. The closest non-Nikon competitor is the $2,199 Canon EOS R6 Mark II, which is very similarly specced. The Canon's AF is in a different league, but that's not to say the Z5II's is poor. And I'm not sure the delta between the two is worth the $500 Canon premium. Of course, there's the higher-res Sony A7 IV, the 33MP king of the mid-market full frame domain. But with an MSRP of $2,499, the Z5II likewise has the A7IV undercut so heavily that it's difficult to justify spending that much more for 8.5 more megapixels. Two days into testing, I took the Z5II on a press trip to Frankfurt, photographing a new product at a busy event full of other journalists and content creators. It was a bit of a scramble getting to the product, and when I did, I was usually at an odd angle. In those situations, a camera must handle intuitively — you don't have time to be messing around finding settings. The Z5II was one of the easiest cameras I've used on shoot. The grip is comfortable, the layout sensible. Almost all of the rear is remappable, and instead of locating Fn buttons along the top plate, as you'll find on many of the best mirrorless cameras, there are two Fn buttons inside the grip, near the lens — just like the Fujifilm GFX100 II. In my opinion, this is the most intuitive place to host Fn buttons, removing the need to awkwardly bend a finger up onto and across the top plate. Despite its price, the Z5II handles like a professional camera. It was an excellent compadre for on-location photography, and I've no doubt it'll excel in a studio or wedding environment too. As I mentioned above, my primary camera is the Fujifilm X-T5. It's a competent performer for work, but also serves my personal needs very well. I shoot in black and white, so a driving factor in my personal camera choices is the quality of the mono profiles. I like to see my color profile applied through the EVF while shooting, to work with contrast and shadows as I frame and expose. This is a major reason for using Fujifilm, as I've not found anything (except maybe the Leica Monochrom) that fires up my inspiration quite like Acros — high contrast, sharp shadows; for shooting a monolithic slab of concrete on a bright sunny day, there's little better. That said, using Nikon's mono profiles on a blistering sunny day in Frankfurt proved a surprising treat. The Deep Mono profile in particular, is just marvelous for architecture, with plenty of contrast. It naturally lacks the filmic quality of Acros, but only complemented Frankfurt's sleek modernist and neo-futurist architecture. Tellingly, I had my Fujifilm with me that day, but dropped it back at the hotel after seeing the Z5II's output. I got my first Fujifilm 10 years ago, and I've owned five Fujis in total. I've experimented with other cameras, but in the last few years have rarely thought about switching brands permanently, least of all to Nikon. The Z5II has me really considering what I need long term, though. For light or semi-professional work, it's a phenomenal camera for the money. There isn't anywhere else you can get a new camera with this balance of full frame goodness and pro features for just $1,699. Poignantly, the camera world is currently in the midst of debating the Fujifilm X-E5, which costs $1,699 body only. As an X-E lover, that price tag has me sorely disappointed anyway, but especially so when considering how much camera you're getting for the same money with the Z5II. Counter to my age-related jibes earlier on, I actually think the Z5II is the ideal camera for young photographers, too. Straight out of a photography course, or upgrading to your first full frame mirrorless for commissions? What an incredible investment the Z5II would make to help your career blossom. Have I just become a Nikon shooter? I'm closer to 40 than 20 now, I guess, so it would make sense.
Yahoo
27-05-2025
- Entertainment
- Yahoo
Accessory roundup: Sony's latest grip, a tiny flash and more
It's the weekend, so we're checking in to share some accessories announced this past week. It was a surprisingly busy week for accessories and camera equipment, with a long list of releases from brands like Polaroid, OWC, Laowa and more. First, though, the deals. Nikon's Z6III is an extremely well-rounded camera, ideal for a wide range of photographic genres, including sports, studio, wildlife and everything in between. It's also got solid video chops. Right now, you can grab the Z6III for $400 off the regular price. Buy now: Buy at Buy at AdoramaBuy at B&H PhotoBuy at MPB Buy at Adorama Buy at B&H Photo Buy at MPB If the Z6III isn't quite in your budget, the Nikon Z7II is a slightly more affordable option. Despite that, it is still plenty versatile and offers excellent image quality. It's less expensive than its peers when full-priced, but right now it is $500 off. Buy now: Buy at Buy at AdoramaBuy at B&H Photo Buy at Adorama Buy at B&H Photo Sony announced the Wireless Shooting Grip/Tripod (GP-VPT3) and the Wireless Remote Commander (RMT-VP2). Both devices work with Sony's Alpha and vlog camera systems via Bluetooth connectivity. The grip is designed to make it easier to hold your camera, and can support cameras up to 1.5kg (3.3lbs). It can be used handheld or as a small tripod, and offers control over key camera operations like zoom and focus. The detachable remote commander features a Movie button, Zoom/Focus button, and C1 (Custom) button, making it easier to control your camera with one hand from a distance. It offers a range of up to 10m (32.8'). Both will be available for purchase in June but are up for pre-order now. The grip, which comes with the remote, will cost $160. You will also be able to purchase the remote separately for $90. Grip pre-order at B&H Remote pre-order at B&H Grip pre-order at B&H Remote pre-order at B&H Polaroid and MoMA teamed up again to release a MoMA-themed Polaroid Now Generation 3 instant film camera along with limited edition film. The camera is the same as existing Now Gen 3 models, though with a bright blue body featuring a bold MoMA typeface on the front. It comes with three vibrantly colored wrist straps as well. You can purchase the collab version from the Polaroid or MoMA websites for $130. Buy at Polaroid Buy at Polaroid The limited-edition color film includes four frames with the MoMA logo and four frames with quotes from artists in MoMA's collection. It works with Polaroid I-2, Polaroid Flip, Polaroid Now, Polaroid Now+, Polaroid Lab, OneStep 2 and OneStep+ cameras. The film can be bought separately for $22. Buy at Polaroid Buy at Polaroid Laowa announced a new offering for dramatic macro shots. The Laowa 15mm F4.5 Wide Angle Macro lens offers 0.5x magnification, with the ability to focus as close as 12.9cm (5"). It features 16 elements in 11 groups, which includes 2 aspherical elements, 3 HR elements and 3 ED elements. It's a manual focus lens, but allows for auto aperture and Exif data on Sony E, Nikon Z and Canon EF mount cameras. The lens is also compatible on Nikon F, Canon RF and L mount cameras, though without auto aperture capabilities. It's available to purchase through Laowa's website or for pre-order through B&H for $400. Buy at Laowa Pre-order at B&H Buy at Laowa Pre-order at B&H Godox announced the iT30 Pro, its tiniest TTL flash yet. The pocket-sized device, which weighs just 120g (4.2oz), can work as a flash sender, receiver or trigger thanks to Godox's 2.4GHz X system. Despite its diminutive size, the flash packs a punch. It offers a guide number of 49.2 feet at ISO 100. Its power is adjustable from 1/1 to 1/128 and has flash compensation from -3 to +3 EV. It features a full-color 2.8-inch touchscreen, rotary dial and built-in diffuser. The flash is available in versions compatible with Canon, Nikon, Sony, Fujifilm, Olympus and Panasonic cameras. It's available for pre-order for $75. Pre-order at B&H Pre-order at B&H If you're tired of dealing with a slew of dongles and docks, this offering from OWC may be just what you need. The new Thunderbolt 5 Dock provides 11 ports through a single cable input, which OWC says is the highest bandwidth available. The front of the dock offers a Thunderbolt 5 port, a USB 3.2 port, a headphone jack, an SD card slot and a microSD card slot. On the back is the power input, a 2.5Gb Ethernet port, two USB 3.2 ports (one 10Gb/s and one 5Gb/s), and three Thunderbolt 5 ports. One of those rear Thunderbolt 5 ports can deliver 140W of power to keep your laptop charged. You can pre-order now for $330. Pre-order at OWC Pre-order at OWC Smartphone creatives have a new tool available courtesy of Sandmarc. Its Star Filter creates multi-point flares from direct light sources. The filter is adjustable, giving users more control over the final look. It can be attached to iPhones using Sandmarc's attachment system, or used as a clip-on attachment. You can pre-order the filter now for $80; shipping will begin mid-June. Pre-order at Sandmarc Pre-order at Sandmarc
Yahoo
13-02-2025
- Yahoo
Nikon's new 28-135mm f/4 PZ lens brings power zoom & pro video features
When you buy through links on our articles, Future and its syndication partners may earn a commission. Less than a year after acquiring RED Camera, Nikon is reinforcing its commitment to video with the launch of the Nikkor Z 28-135mm f/4 PZ, the company's first Power Zoom (PZ) lens for its FX-format mirrorless cameras. Designed for professional videographers, this all-in-one zoom lens is an ideal match for Nikon's Z9, Z8, and Z6 III, offering versatility, precision, and advanced control for solo shooters and small production teams. With a broad 28-135mm focal range, internal focusing, and a short minimum focusing distance, the lens is well-suited for documentary filmmaking, location work, and run-and-gun videography. Power Zoom functionality enables smooth, remote-controlled zooming, essential for professional video production. A stepping motor (STM) allows seamless focal length transitions, suppresses focus breathing, and offers eleven customizable zoom speeds, assignable to the zoom lever or one of two L-Fn buttons. The zoom ring angle and rotation direction can be customized, while remote zoom operation is supported via NX Tether software, SnapBridge, or NX Field apps—allowing control from a computer, smartphone, or tablet. Filmmakers can take advantage of Hi-Res Zoom when using the lens with the Nikon Z9, enabling 4K recording with a 270mm equivalent field of view at the telephoto end. A dedicated Synchro mode allows simultaneous optical zoom and Hi-Res Zoom via a single control. Weighing 2.66 lbs, the internally zooming design ensures a balanced setup—ideal for gimbal use. The lens is also compatible with matte boxes, follow-focus systems, and other professional accessories. Included is a rectangular lens hood with a filter adjustment window, allowing changes without removing the hood. Built with Nikon's premium coatings, the lens features Meso Amorphous coating to dramatically reduce ghosting and flare, while a fluorine coating repels dust, water, and debris. Its dust- and drip-resistant construction makes it a reliable choice for demanding environments. The lens also debuts a distinctive yellow video ring around the mount and cinema-style markings, reinforcing its place in Nikon's growing lineup of professional video tools. The Nikon Z 28-135mm f/4 Power Zoom Lens is priced at $2,596.95 / £2,499 / AU$3,399. US: Adorama at $2,596.95 B&H at $2,596.95 UK Jessops at £2,499
