As more and more photographers look to add video to the toolkit they offer their clients, you may have been thinking it’s time to get you a camera that can do both — shoot beautiful stills and gorgeous video.
Many manufacturers have stepped up to fill this niche, not least among which is Canon, who have produced plenty of muscly DSLRs with serious stills and video capabilities. We’re going to be looking at two of those today to give you an idea of which one might be the better buy for your needs — the Canon EOS 5D Mark IV, latest iteration in the series that kickstarted DSLR video, and the Canon EOS-1D X Mark II, the firm’s flagship workhorse camera for the pro photographer.
Let’s get started…
Common features
The first thing we should deal with is that these are two pro-spec DSLRs from the same manufacturer, and as such they share in common many features that will benefit the videographer. So let’s tick these off.
Both the Canon EOS 5D Mark IV and the Canon EOS-1D X Mark II use a full-frame sensor, meaning you won’t run into any of the problems that plague small-sensor cameras, such as high noise or poor low-light performance. While the sensors’ resolutions aren’t the same (more on that in a moment), their sizes at least are identical.
Both the 5D IV and the 1D X II can shoot 4K video and super-slow motion 120fps video, though there are differences in their footage in both cases, which we’ll come on to. The cameras both carry dual card slots — useful both for long days shooting and for an extra layer of backup redundancy — and both have jacks for external microphones and headphones. You’ll also find external HDMI outs on both cameras.
Both cameras also have capable autofocus thanks to on-sensor phase detections, as well as touch-sensitive controls on their rear LCD screens.
Of course, there are a few things worth mentioning that both cameras lack as well. Neither option will give you in-body image stabilisation, nor a tiltable LCD screen.
Build and handling
Though the cameras share DSLR-style build and handling, they are significantly different in a number of ways, the most glaring of which is visually obvious at a glance. The 1D X II is significantly larger and heavier than the 5D IV, weighing 1530g compared to 830g, and measuring 168mm in height compared to 116mm. Both cameras are pretty heavy and bulky, but the 5D Mark IV has an edge in being significantly lighter.
Part of this heavier build of the larger camera is the fact that it can take an absolute kicking — the 1D X II is designed as a workhorse camera, able to be dropped, scuffed and used in bad weather without compromising its operability. The 5D Mark IV is fairly rugged too, but the 1D X II has the edge in toughness.
There’s more as well — if you want to stream your footage quickly, you’ll really need Wi-Fi connectivity, which the EOS 5D Mark IV has, but the EOS 1D X notably lacks. This can be corrected with an accessory, however.
Footage
This is all well and good, you might think, but what about the actual video? What do these things actually shoot.
Well, as we mentioned earlier, there are similarities and differences here. Both the 5D Mark IV and the 1D X Mark II shoot 4K video, however the 1D X II does so at a higher maximum frame rate of 60p, compared to 30p on the 5D IV. The 4K on the 1D X II is also captured at a more favourable crop factor of 1.3x, compared to a slightly painful 1.75x on the 5D IV. The 5D IV benefits, however, from a 30.4MP sensor, compared to 20.2MP on the 1D X Mark II, and the footage it produces is appropriately lovely.
As we mentioned earlier, both cameras can shoot super-slow motion video at 120fps, however, the 1D X Mark II can do this at 1080p Full HD resolution, while users of the 5D Mark IV have to make do with it at a slightly disappointing 720p.
However, before you go thinking the 1D X runs away with it, there’s one additional important difference to note about these two cameras, which may help you make up your mind either way. Canon offers a flat colour profile specifically optimised for shooting video called Canon Log Gamma, or more commonly C-Log. This is a profile designed to deliver as flat an image as possible in order to retain maximum dynamic range and provide the maximum options for colour grading in post-production. Currently, this option is only available as an optional upgrade for the EOS 5D Mark IV, and not the EOS-1D X Mark II. You can read more about C-Log in our close-up article to better assess whether or not this is a deal-breaker for you. https://www.fixationuk.com/close-up-c-log-on-the-eos-5d-mk-iv/
Conclusion
If you’re a run-and-gun photographer looking to add video into the mix, who isn’t likely to bother doing much grading of the footage in post-production, but might want full use of cool action-oriented features like super-slow motion, go with the Canon EOS 1D X Mark II. Lots of the advantages it confers for stills photographers transfer well to video, and it will perform just as reliably for your video work as it will for your stills.
If you need more control over your final video, if you’re going to take the time to grade it and thus need every bit of dynamic range you can get — if perhaps you’re going to spend more time in indoor environments, or in situations where the weight of your gear is an issue, go with the 5D Mark IV. It does what it does efficiently and well, and you’ll find its footage a pleasure to work with.
Want to use a mirrorless camera for filmmaking? We provide some advice and our top picks.
There’s a case to be made that if you want to see where the real innovation in photography is happening right now, you should look to mirrorless cameras, and the same can be argued for video shooting. In a relatively short space of time, mirrorless cameras have gone from cheap point-and-shoot junk to serious players threatening to overtake the DSLR heavy hitters.
Mirrorless cameras have a great deal going for them, as we shall see. They’re small, light, often come with great lens options and are increasingly packed with video-specific features and functionality. If you shoot video on a DSLR-sized rig, it may be time to start thinking about making the jump to mirrorless. However, there’s a lot to consider, and not all of it is positive — like anything, mirrorless cameras come with their advantages and disadvantages. In this blog, we’re going to sort through a few of those for you, before recommending some of our favourite mirrorless models for video shooters.
One thing worth mentioning, before we start, is that the term ‘mirrorless camera’ encompasses a huge number of makes and models, many of which are radically different from one another. We will also be predominantly comparing shooting video on mirrorless cameras with shooting video on DSLRs, as the two have broadly similar price points and tend to be used by similar kinds of productions.
Everything clear? Then let’s get started.
Mirrorless for video — Pros and Cons
Pro: Light and portable
This is one of the main advantages people talk about when they talk about mirrorless cameras versus DSLRs — the simple fact that mirrorless cameras and lenses tend to be a lot smaller and lighter. You can get 4K video out of tiny bodies like Panasonic’s smaller Lumix G cameras.
Con: Sensors often smaller
Worth mentioning again — this is a generalisation. Many mirrorless come with full-frame sensors, notably Sony’s Alpha 7 models, and some even larger, such as Fujifilm’s medium format GFX-50S. However, quite a few of the most lauded and video-friendly mirrorless cameras such as the Panasonic Lumix GH5 are part of the Micro Four Thirds system, and thus use MIcro Four Thirds and Four Thirds lenses. The mirrorless Fujifilm X cameras, while stunning in many ways, also use sensors no larger than APS-C. This means the cameras can struggle to perform in low-light, producing noisier images than their large-sensor counterparts.
Pro: Electronic viewfinders
DSLR cameras use optical viewfinders. While many stills photographers prefer these to their electronic counterparts, the fact that a DSLR needs to keep its mirror continuously locked up when shooting video knocks its optical viewfinder out of commission. The electronic viewfinders on mirrorless cameras suffer no such difficulties and can be freely used while shooting video.
Pro: Choice of model
The sheer weight of options when it comes to mirrorless cameras is truly staggering. Even if we take just one brand — Panasonic — as an example, we can see the difference between the rugged, filmmaker-focused GH5 and the diminutive, pocketable GX800, both of which are capable of shooting 4K video. You can pick up the low-light monster that is the Sony A7S, or the polished all-rounders made by Panasonic. A great deal of choice indeed!
Pro: Lens adaptability
The short flange-focal distance of mirrorless cameras compared to DSLRs means that it’s much easier to adapt lenses to fit to them. This means that mirrorless users not only have access to the huge mirrorless lens ranges such as Micro Four Thirds, but can also expand to borrow optics from elsewhere much more easily than DSLRs.
Con: Fewer accessories than DSLRs
There are plenty of accessories available that will fit mirrorless cameras, however, in general, many photographic accessories are designed for DSLRs and their counterpart lenses — especially battery grips, filters, etc. The situation is slowly changing, with more bespoke accessories arriving for the mirrorless scene, but for now, DSLRs have the edge in this department.
Con: Smaller can mean less rugged
One of the nice things about chunky DSLRs like the Nikon D850 is that they can take a decent pounding and are well-equipped to survive in difficult weather conditions. Mirrorless cameras tend to be a little more fragile, and depending on what model you pick up, you will likely have to be a little more careful with it than you might with a DSLR.
Which are the best mirrorless cameras for filmmakers?
If you think a mirrorless might be what your setup needs, then congratulations! You’re now onto the most difficult stage of the process — deciding what camera suits your needs. As we mentioned earlier, one of the best things about mirrorless is the sheer wealth of choice on offer, however, this can make things difficult and overwhelming when it comes to selecting a camera.
To help get you started, we’ve selected five of our favourite mirrorless cameras available for filmmakers right now. We’ve based our criteria on a number of factors, including price, so these aren’t necessarily the most powerful or highly specced, however, we think any and all of them will allow you to produce fantastic videos.
Panasonic Lumix GH5
Right now, the Panasonic Lumix GH5 makes a convincing case for itself as the best mirrorless camera for video that money can buy. It’s able to shoot 4K video at 60fps using the full width of the frame, can shoot in 10-bit colour with 4:2:2 chroma subsampling for rich colour information, and has a full-size HDMI socket, rather than the mini-HDMI that was on the GH4. It offers a flat V-log profile which Panasonic says should increase the dynamic range to 12 stops. Cutting through the technical jargon though, what you need to know is that this is an outstanding, dependable camera that will produce terrific footage in every situation.
Sony a7S II
In the Sony Alpha stable, full of specialised cameras that excel at specific tasks, the a7S cameras are the low-light monsters. Its super-high maximum ISO level of 409,600 can quite literally turn night into day, and it also comes boasting S-Gamut3.Cine/S-Log3 colour profiles, a new Gamma Assist Display, enhanced slow-motion recording and more. Its 12.2MP sensor eschews high resolutions in favour of light-gathering, and works with the Bionz X processor to deliver 5-axis image stabilisation. Able to record 120 fps at 100 Mbps with full pixel readout, without pixel binning, the a7S II is a hugely versatile video producer.
Panasonic Lumix G7
If your budget doesn’t stretch to these multi-thousand behemoths, then the Panasonic Lumix G7 will suit you perfectly. This powerful machine is capable of shooting 4K video and has a tilt-and-swivel touchscreen for optimal operability. Rounding out the package is a handy electronic viewfinder and a well-built body with a solid ergonomic handgrip. For the price, this is a great mirrorless filmmaking camera, and is a solid starter choice.
Fujifilm X-T2 / X-T20
If you’d like to get into the lovely Fujifilm X system to shoot some video, the X-T2 is a solid buy. Fujifilm has created the F-Log gamma, a flat profile that marks out the X series as more serious video options than they have been in the past. The X-T2 also boasts a strong 12 stops of dynamic range and the absolutely outstanding image quality that users have come to expect from the series. If your budget doesn’t stretch to the X-T2, then it’s also worth looking at the X-T20, which is basically a miniature version of the X-T2, lacking a few features like some control dials and the option of a battery grip, but still able to produce fantastic footage.
Sony a6500
Sony’s speedy APS-C model is a great choice for videographers, able to shoot 4K for decent lengths of time, and also boasting 5-axis image stabilisation, S-Log, clean HDMI out and more. The a6500 handles well thanks to a comfortable grip, making it useful for handheld shooting, and its low-light performance is also impressive. The touchscreen LCD is another handy feature, making for smooth operability.
Through three generations of the X-Trans sensor, through many sophisticated viewfinders, and through a smorgasbord of retro-styled camera bodies, the Fujifilm X series has come a long way. Comprising a mix of compacts and CSCs, the series blends vintage cool with serious imaging power.
If you’re new to the series, it’s easy to get lost just finding a place to begin. Read on as we break down the different camera lines within the series, and let us help you find the right Fuji X model for you…
The X100 series
It all began in 2011. Photographers and journalists alike were caught off-guard by one particular announcement at Photokina – a new compact camera from Fujifilm, eschewing the clunky, DSLR-style handling of previous models in favour of a sleek, retro-inspired design that would become the series’ hallmark. That was the Fujifilm X100, then known as the FujifilmFinePix X100, an ungainly middle name that would swiftly be dropped.
Pairing a fixed 35mm lens with a 12.3MP APS-C CMOS sensor (the famous X-Trans sensor debuted a little later), the X100 uses a hybrid optical and electrical viewfinder, allowing the user to switch between the two modes at will.
The X100 was followed up in 2013 with the X100S, incorporating the second generation of the X-Trans CMOS sensor, with 16.3MP of resolution and no optical low-pass filter. The sensor allows for fast phase-detection autofocus with acquisition times as low as 0.08sec. Fujifilm also fine-tuned the controls, responding to some of the criticisms of the X100.
In 2014, Fujifilm updated the line with the X100T, which used the same sensor and lens combination as the X100S but added the option of an electronic shutter capable of shooting at up to 1/32,000sec, as well as built-in Wi-Fi, a more advanced viewfinder, face recognition and more.
Now, this is where it gets slightly confusing, but bear with us. In 2016 Fuji released the X70, which sounds as though it should belong with the X10, X20 and others of that nature, but doesn’t. Whereas those are small zoom compacts, the X70 sports a prime lens and is more like a mini-X100T. So, despite, the name, it really belongs with the rest of the X100 cameras.
The most recent model in the line is the X100F, which was announced in January 2017. The significant gap between models meant considerable improvements, among them the third generation 24.3MP X-Trans III CMOS sensor and the X-Processor Pro image engine. The X100F wowed reviewers and photographers with its fast and accurate 91-point autofocus system, and its large viewfinder with a 60fps refresh rate.
Fujifilm X100F
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 8fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Fujifilm X70
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Lens: 18.5mm Fujinon lens (equivalent to 28mm on a 35mm format)
Burst speed: 8fps
ISO range: 200-6400 (expandable to 100-51,200)
Viewfinder: No
Fujifilm X100T
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Fujifilm X100S
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 6fps
ISO range: 200-6400
Viewfinder: 2.36-million-dot hybrid viewfinder
Fujifilm X100
Sensor: 12MP APS-C sensor
Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
Burst speed: 5fps
ISO range: 200-6400 (expandable to 100-12,800)
Viewfinder: 1.44-million-dot hybrid viewfinder
The X-Pro series
The Fujifilm X-Pro1 was the first indication that the X-series could be the real deal for pros, being the first X camera to take XF lenses. Launching in 2012, its sturdy, pro-quality build was an indicator of the quality within. It was the first camera to use the now-famous X-Trans sensor, and its resolutely dial-based control system won over legions of photographers who wanted a tactile handling experience. Reviews praised its high-ISO performance and its hybrid viewfinder, and the X-Pro1 was a deserved smash hit.
Photographers had to wait four long years for the difficult second album, but happily Fujifilm didn’t bottle the sequel. The X-Pro2 was an update with everything pro photographers wanted, delivering the latest X-Trans sensor to provide lossless compressed 14-bit Raw capture, as well as a wider ISO sensitivity range which could be used for both Raw and JPEG shooting (many previous X-series models would only shoot JPEGs) in the higher ISO bands.
Fujifilm X-Pro2
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-25,600)
Viewfinder: 3.69-million-dot hybrid viewfinder
Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps
Fujifilm X-Pro1
Sensor: 16MP X-Trans CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: 1.44-million-dot hybrid viewfinder
Max video resolution: Full HD at 324p
The X-H series
The Fujifilm X-series has unquestionably been an enormous success for photographers, revitalising the brand’s fortunes with a superb selection of stylish cameras. However, there’s generally not been a lot to tempt videographers away from reliable workhorses like Canon or exciting upstarts like Sony.
The Fujifilm X-H1 represents the first real attempt to change that. Announced in 2018, the X-H1 is capable of 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps, with an HDMI out and a new dedicated video menu. Full HD video can also be captured at the super slow rate of 120fps, while there’s also F-log video recording direct-to-card available. All of Fuji’s film simulation modes can be used on video footage, and there’s an external microphone socket as well as a headphone jack for monitoring audio.
The X-H1 is also the first in the X series to come packing in-body image stabilisation (IBIS), and it has an overhauled design with a larger grip and new leaf-spring shutter release button. The shutter sound is also the quietest in Fujifilm’s stable.
The X-H1 represents an exciting move forward for the X-series, and promises that Fujifilm isn’t done innovating just yet.
Fujifilm X-H1
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-25,600)
Viewfinder: 3.69-million-dot hybrid viewfinder
Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps
The X-E series
After the much-hyped announcement of the X-Pro1, enthusiast and amateur photographers were very interested to know when they could get hold of an interchangeable-lens X-series camera that wouldn’t cost them the earth. That came in the form of the X-E1, a slimmed down X-Pro1 that gave prospective X-system users a second body option. It used an EVF instead of the hybrid viewfinder of the X-Pro1.
This was followed up with the X-E2, boasting 60 improvements over its predecessor including the X-Trans II sensor, built-in Wi-Fi and an improved EVF. Fujifilm refreshed this camera with a minor update in 2016 — the X-E2S, which boasted a few tine-ups such as a higher ISO ceiling, improved autofocus and a new electronic shutter offering maximum shooting speeds of 1/32,000sec.
The following year, Fujifilm delivered the X-E3, a more comprehensive update with the latest in sensor technology. A larger shooting buffer, a faster autofocusing algorithm for improved tracking, 4K video recording and a redesigned ergonomic body were just some of the improvements that made the X-E3 as well-received as the cameras that came before.
Fujifilm X-E3
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps
Fujifilm X-E2S
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Burst speed: 7fps
ISO range: 200-6400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: Full HD at 60p
Fujifilm X-E2
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Following the success of the X-Pro1, Fujifilm set about bolstering its high-end offering with the release of the X-T1 in 2014. The 16.3MP X-Trans CMOS II sensor and X-Processor II are housed within a weather-resistant body designed for rugged, outdoor shooting, with 75 seals designed to keep out dust and water. Add on a beefed up LCD and viewfinder, an optional battery grip and improvements in burst shooting and AF speed (a lean 0.08 seconds), and you’ve got a camera with the imaging spec of contemporaries like the X-E2, but with the build, features and ergonomics required by pros.
Of course, not everyone can afford the pro price tag, and Fujifilm went about wooing those with a little less cash to flash by introducing a smaller counterpart to the X-T1 — the X-T10. Featuring the same imaging internals as its bigger brother, the X-T10 provides a compromise with a smaller viewfinder and LCD, as well as a generally smaller body that lacks weather sealing.
When it came time to update the X-T1, Fujifilm delivered the superb X-T2, outfitted with the latest-generation sensor and an overhauled AF system, as well as a viewfinder offering twice the brightness of the X-T1’s. The X-T2 was also the first member of the X series to offer 4K video recording, shooting a bit rate of 100Mbps and at a maximum resolution of 30p.
In a move that surprised nobody, Fujifilm also brought out a miniature version of the X-T2, the X-T20. It followed the format of the X-T10, using the same sensor as its bigger brother, but skipping a few features such as a second card slot and a fully articulating screen in order to deliver a smaller camera, for a lower price.
Fujifilm X-T20
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: 4K at 30p
Fujifilm X-T2
Sensor: 24.3MP X-Trans CMOS III APS-C sensor
Burst speed: 14fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: 4K at 30p
Fujifilm X-T10
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Burst speed: 8fps
ISO range: 200-6,400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: Full HD at 60p
Fujifilm X-T1
Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
Burst speed: 8fps
ISO range: 200-6,400 (expandable to 100-51,200)
Viewfinder: 2.36-million-dot hybrid viewfinder
Max video resolution: Full HD at 60p
The XQ series
A selection of dinky, pocketable compacts, the Fujifilm XQ cameras are ideal for enthusiasts who need something light. Despite its size, the XQ1 manages to pack in some advanced features such as Raw shooting, while its successor the XQ2 adds the Classic Chrome film simulation mode and a retro black finish.
Fujifilm XQ2
Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
Lens: 6.4-25.6mm Fujinon lens (equivalent to 25-100mm on a 35mm format)
Burst speed: 12fps
ISO range: 100-3200 (expandable to 12,800)
Viewfinder: No
Fujifilm XQ1
Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
Lens: 6.4-25.6mm Fujinon lens (equivalent to 25-100mm on a 35mm format)
Burst speed: 12fps
ISO range: 100-3200 (expandable to 12,800)
Viewfinder: No
The X-A series
The X-A compact system cameras are the cheapest interchangeable lens cameras in the Fuji line-up, designed with the entry-level user in mind. The range has gone through a fair few models: first the X-A1 in 2013, which offered a small and light body to use X lenses on, without the X-Trans sensor. This was followed by the X-A2, which was billed as a selfie camera thanks to its about-facing LCD screen and variety of selfie-modes. Fujifilm next bulked out the line with a more advanced offering, the X-A3, and a new slimmed-down entry-level model, the X-A10. Finally, in 2018 came the X-A5, which brought in phase-detect AF tracking and limited 4K functionality.
Fujifilm X-A5
Sensor: 24.2MP CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-12,800 (expandable to 100-51,200)
Viewfinder: No
Max video resolution: 4K at 15p (max 5 minutes)
Fujifilm X-A10
Sensor: 16.3MP CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 30p
Fujifilm X-A3
Sensor: 24.2MP CMOS APS-C sensor
Burst speed: 6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 60p
Fujifilm X-A2
Sensor: 16MP CMOS APS-C sensor
Burst speed: 5.6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 30p
Fujifilm X-A1
Sensor: 16MP CMOS APS-C sensor
Burst speed: 5.6fps
ISO range: 200-6400 (expandable to 100-25,600)
Viewfinder: No
Max video resolution: Full HD at 30p
The X_0 series
The X_0 cameras are another compact range, smaller and less prestigious than the X100 series, with zoom lenses rather than primes. With more affordable price tags, they are ideal for the beginning photographer or light traveller, and have actually been around more or less since the series’ inception, with the FinePixX10 debuting shortly after the X100 in 2011, sporting a smaller 2/3-inch sensor and a 28-112mm equivalent lens. This was replaced in 2013 by the X20, which sported a new 2/3-inch X-Trans CMOS II sensor and a new viewfinder, and then the X30 the following year, which ditched the optical viewfinder in favour of an electronic model.
Fujifilm X30
Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
Lens: 7.1-28.4mm Fujinon lens (equivalent to 28-112mm on a 35mm format)
Sony’s Alpha stable has been going from strength to strength since the introduction of the first Alpha 7 cameras in 2013, with a generous stable of models in both the full-frame and APS-C ranges. It can be a little daunting to sort through all the models available to suss out which one is for you. Fortunately, we’ve got a comprehensive guide to every camera in the system for you right here.
Read on to see which is the Sony Alpha camera for you…
Full-frame
Sony α7 III
This is the most recent camera to join the Sony alpha family. It’s the third iteration in the a7 series that started it all, boasting a 24.2MP sensor just like the two that came before it. New to this sensor, however, is a backside-illuminated architecture that improves its ability to handle noise, making for better low-light performance and a higher extendable maximum ISO of 204,800.
The sensor’s upgraded architecture also improves its readout speed, making for all-around faster performance assisted by Sony’s Bionz X processor. This means up to 10fps shooting with autofocus, and a generous buffer of 189 JPEGs, 82 compressed Raws or 40 uncompressed Raws in a single burst. Elsewhere you’ve got sophisticated 5-axis optical image stabilisation, an autofocus system with 693 points, and sophisticated monitoring options thanks to the 2.3-million-dot EVF and tilting touch LCD screen.
The a7 series may be the most straightforward of Sony’s full-frame mirrorless range, but as the a7 III demonstrates, there’s nothing basic about it.
Key features
Sensor: 24.2MP full-frame CMOS sensor with back-illuminated design
ISO range: 100-51,200 (expandable to 50-204,800)
Burst speed: 10fps
Max video resolution: 4K 30p (HDR video available)
Sony α7 II
Though the a7 II used the same sensor as its predecessor the a7, it brought a number of ergonomic and internal improvements to the table. It was the first of Sony’s full-frame mirrorless range to feature in-body image stabilisation, the 5-axis SteadyShot system that allows for significantly slower shutter speeds to be used handheld. The body of the camera also got a redesign, with a more pronounced grip to evoke DSLR-style handling without compromising on the small and light build that makes the mirrorless range so attractive.
Key features
Sensor: 24.3MP full-frame Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 50)
Burst speed: 5fps
Max video resolution: Full HD 60p
Sony α7
It all began back in 2013 with a pair of true game-changers. This was one — the original Sony a7, a full-frame camera packing the power of a DSLR into the body of a CSC. A 24.3MP full-frame sensor working with the powerful Bionz X processor to ensure fast and high-quality shooting, the Sony a7 was an amazing camera for 2013, and to be honest it holds up pretty well today. It lacks the fancy features that would arrive on subsequent cameras, such as a touchscreen and the ability to shoot 4K video, but it was and is a superb step forward for mirrorless photography.
Key features
Sensor: 24.3MP full-frame Exmor CMOS Sensor
ISO range: 100-25,600 (expandable to 50)
Burst speed: 5fps
Max video resolution: Full HD 60p
Sony α7R III
The a7R cameras are the resolution beasts of the Sony stable, boasting massive megapixel counts on their full-frame sensors. They have earned the adulation and loyalty of plenty of landscape shooters ever since the first a7R.
The third iteration of this series keeps things mega-high-quality, with a 42MP full-frame Exmor R BSI CMOS sensor powered by the Bionz X processor. For a sensor like this you want the best-in-class in terms of monitoring, which the a7R III readily supplies in the form of a 3.69-million-dot Tru-Finder OLED electronic viewfinder, and a 3-inch 1.44-million-dot tilting touchscreen LCD. It inherits a few features from Sony’s speedster, the a9 (more on which anon), such as its dual card slots, its fast silent shooting (up to 10fps with nary a whisper) and its tough mechanical shutter. Built to last, the a7R III won’t let you down.
Key features
Sensor: 42MP full-frame Exmor R BSI CMOS sensor
ISO range: 100-32,000 (expandable to 50-102,400)
Burst speed: 10fps
Max video resolution: 4K 30p
Sony α7R II
This was the camera that bumped the a7R line up from 36MP to 42MP, with a backside-illuminated sensor that promised peerless image quality in another impressively small body. The a7R II also offered improved readout speed thanks to a worked-over sensor architecture, which used copper wiring instead of aluminium. This made for improved autofocus speed, as well as generally better performance in other areas.
Key features
Sensor: 42MP full-frame Exmor R BSI CMOS sensor
ISO range: 100-25,600 (expandable to 50–102,400)
Burst speed: 5fps
Max video resolution: 4K 30p
Sony α7R
This was the other of the first Alpha 7 releases, debuting alongside the original Sony a7 in 2013. The key difference between the two was in the sensor, which on the a7R carried a resolution of 36.4MP, with no anti-aliasing filter in order to squeeze the maximum potential out of it. Other bonuses included a 2.4-million-dot EVF and an external microphone socket for video shooters, while trade-offs from the lower-resolution a7 included a less sophisticated autofocus system and slower burst shooting.
Key features
Sensor: 36.4MP full-frame Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 50)
Burst speed: 4fps
Max video resolution: Full HD 60p
Sony α7S II
The pro video world fell head over heels for the first a7S camera on its release back in 2014, and the a7S II builds on that success with a raft of improvements, as well as keeping what worked about the original.
The key to the a7S range lies in their sensors, which eschew the generous megapixel counts of the likes of the a7R for a resolution of just 12MP. This allows for much-improved low-light performance, and the a7S II is able to shoot at a whopping maximum ISO level of 409,600, and offers a wide dynamic range. Whereas the original a7S needed an external recorder to record 4K video, the a7S II does it internally, recording with full pixel readout without pixel binning, at a bit rate of up to 100Mbps. Advanced movie features such as the S-Log3 colour profile and 120fps Full HD recording make for a seriously comprehensive video package.
That’s not to say that stills shooters are forgotten about — as well as the aforementioned low-light prowess, the A7S II also provides a sophisticated, intelligent autofocus system with 169 points.
Key features
Sensor: 12.2MP full-frame Exmor CMOS sensor
ISO range: 100-102,400 (expandable to ISO 50-409,600)
Burst speed: 5fps
Max video resolution: 4K 30p
Sony α7S
The original a7S, arriving a little after the a7 and the A7R. Using the same 12.2MP sensor as the camera that would follow it, the a7S wowed photographers and videographers alike with its incredible low-light capabilities, and began a small video revolution. It was the camera that caused video shooters to start jumping to Sony in earnest, and it still performs well four years down the line.
Key features
Sensor: 12.2 MP full-frame Exmor CMOS sensor
ISO range: 100-102,400 (expandable to ISO 50-409,600)
Burst speed: 5fps
Max video resolution: 4K 30p (with external recorder)
Sony α9
Speed is the name of the game when it comes to Sony’s a9, which debuted in 2017. Its ability to shoot at up to 20fps with no viewfinder blackout is complemented by a 693-point AF system, which you can read more about in our autofocus guide [link]. Elsewhere, users can make use of the a9’s two SD card slots to ensure they don’t run out of space for all the files they’re creating, while the silent electronic shutter expands the a9’s usability for wedding work.
Using the electronic viewfinder, photographers can shoot at maximum shutter speeds of 1/32,000sec, while 5-axis SteadyShot image stabilisation and a maximum expandable ISO of 204,800 ensure that the a9 has serious low-light chops. Speedy and versatile, the a9 deserves the serious consideration of any pro photographer.
The APS-C flagship of the Sony stable, the a6500 is a sophisticated camera that should certainly not be dismissed just because of its smaller sensor. It’s an action powerhouse, offering a 425-point 4D focus system and an 11fps burst rate with a generous buffer able to capture 307 full-size JPEGs or 107 Raws, which represents a considerable improvement over its predecessor the a6300, which would manage 44 JPEGs or 22 Raws.
The a6500 is also the first of Sony’s APS-C range to gain in-body image stabilisation, while new algorithms improve noise reduction. When you add on 4K video and slow-motion video at 120fps, the a6500 really does start to look like a complete package. Definitely not one to count out.
Key features
Sensor: 24.2MP APS-C Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 51,200)
Burst speed: 11fps
Max video resolution: 4K 30p
Sony α6300
The a6300 preceded the a6500 by only half a year, so there’s a lot of similarity, making for a potential bargain if you’re unfussed about some of the a6500’s flashier features. You still get that lightning-fast and sophisticated autofocus system, as well as 4K video and the generous ISO sensitivity range. The a6300 is still a very good buy.
Key features
Sensor: 24.2MP APS-C Exmor CMOS sensor
ISO range: 100-25,600 (expandable to 51,200)
Burst speed: 11fps
Max video resolution: 4K 30p
Sony α6000
The Sony a6000 was sold with the tagline “quicker autofocus than a DSLR”, though really its key USP was quicker everything. Thanks to the inclusion of the Bionz X processor, the Sony a6000 not only focuses fast, it also shoots fast and starts up fast. Its hybrid AF system of contrast- and phase-detection points isn’t much on its successors, but still works at an impressive clip.
Key features
Sensor: 24.3MP APS-C Exmor CMOS sensor
ISO range: 100-25,600
Burst speed: 11fps
Max video resolution: Full HD 60p
Sony α5100
The a5100 debuted to nestle comfortably between the a5000 and a6000 in the APS-C lineup, borrowing the sensor and hybrid AF system from the latter. While it lacks a viewfinder, the tilting touchscreen is a useful addition for monitoring, and five customisable buttons on the rear allow the a5100’s controls to be tuned to taste.
Key features
Sensor: 24.3MP APS-C Exmor CMOS sensor
ISO range: 100-25,600
Burst speed: 6fps
Max video resolution: Full HD 60p
Sony α5000
The a5000 refreshed the stale CSCs of the former NEX line, setting the stage for the sleek, compact-esque look of the APS-C models that would continue through to the a6500. It also added now-standard features such as Wi-Fi connectivity.
Key features
Sensor: 20.1MP Exmor APS-C CMOS sensor
ISO range: 100-16,000
Burst speed: 3.5fps
Max video resolution: Full HD 60i
Sony α3000
The first camera to arrive bearing the Alpha branding, the a3000 sticks out from the rest of the range thanks to its SLR-esque styling, which is more visually reminiscent of A-mount cameras like the A99.
More and more professional photographers are diversifying their skillsets, adding video production to the list of services they can offer their clients. Camera technology is changing accordingly, with video on new models no longer thought of as an optional afterthought, but an essential headline feature.
Few camera lines better exemplify this than Canon’s EOS 5D series, the revolutionary progenitor of DSLR filmmaking. Canon’s EOS 5D DSLRs offer both superb stills performance and exceptional video capabilities, none more so than the latest in the series, the EOS 5D Mark IV.
The ears of every filmmaker pricked up last year when Canon announced that it would be bringing something special to the EOS 5D Mark IV – its Canon Log colour profile from the Cinema EOS range, more commonly known as C-Log.
So what is C-Log, and why does it get filmmakers so interested? Let’s take a closer look.
What is C-Log?
As mentioned above, Canon Log Gamma was first introduced on the Cinema EOS range of pro video-oriented cameras. It’s been around for years, but the Canon EOS 5D Mark IV represents its first appearance in the DSLR range.
Put simply, it’s a colour profile for shooting video. It’s a logarithmic tone curve, delivering an image with 12 stops of dynamic range at ISO 400 or higher, preserving the maximum amount of detail possible in shadows and highlights.
If you were to look at footage shot in C-Log straight out of camera, you might wonder what all the fuss is about, as it’ll look flat, dull and really rather grey. This, however, is precisely the point. C-Log is designed to provide maximum flexibility in video post-production. Those preserved colour details and low-noise shadows mean you can tailor the look of shots exactly as you want it, giving you complete control over the final product.
Another useful aspect of the fact that C-Log has been ported from the Cinema EOS line to the EOS 5D Mark IV is that it ensures continuity between cameras – you can take footage shot on your EOS C300 Mark II and your EOS 5D Mark IV and grade it all to give it a consistent look. This means that if you decide to step up your video production and invest in the Cinema EOS line, your 5D Mark IV will still be useful as a B-camera.
Using C-Log on the 5D Mark IV
Once C-Log is installed on your EOS 5D Mark IV, there are a few tips and tricks that are well worth being aware of in order to use it effectively.
One useful function the camera offers is View Assist. Remember, your footage shot in C-Log is going to look pretty flat and uninteresting on the view screen, as the colour comes out in the grade. This can make it difficult to get a feel for the quality of what you’re shooting. View Assist solves this problem by giving the shot a pre-made LUT (a basic colour grade) in the view screen, making it look more like the final product for the shooter while still capturing that lovely flat Log profile for the grade. It’s also possible to tune your Log image in the settings menu of the 5D Mark IV, turning up the contrast or saturation if you’re after a specific look.
Canon has ensured that some of the EOS 5D Mark IV’s key features are compatible with C-Log shooting. The powerful Dual Pixel CMOS autofocus system can be used when shooting C-Log, allowing for fast and accurate focusing, though it is worth being aware that C-Log may cause the AF system to struggle a little more than usual in low-light or low-contrast situations. Shooters can also film Full HD at up to 120fps, as well as 4K at 25fps.
It’s worth knowing that there are a few modes that are not compatible with C-Log shooting – these are: Picture Style, Auto Lighting Optimiser, Highlight Tone Priority, Time-lapse Movies and HDR movies.
Watch out for banding
While the vast majority of the time your C-Log footage should come out beautifully, Canon notes that there are a few situations and settings that could cause some horizontal noise patterns when using the profile. Canon says, “The colour gradation of the sky or white walls may not be reproduced correctly. Irregular colours, irregular exposure or noise may appear.”
As stated by Canon, the presence or absence of banding in C-Log footage will depend on a number of factors – the lighting, the nature of subject, the movement of the subject or camera, and just in general the environment you’re shooting in. This is why you always want to do some test shots before you start filming in earnest.
If you do encounter some banding, there are a number of ways to remedy it. Shooting at a lower ISO is a good option if possible (Canon generally recommends an ISO setting of 400 as being optimal for shooting in C-Log), and you can also correct the problem the old-fashioned way by simply adding some more light if you have it. Another potential solution is to delve into the menus and disable peripheral illumination correction, though of course, you always have the option of handling correction in post.
Getting C-Log on the 5D Mark IV
So, you’ve got your 5D Mark IV and now you need C-Log? Well, it’s a little different from a normal firmware in that you can’t simply download and install the update yourself – you need to get it done by professionals.
The good news though is that your friendly Fixation techs can get the update installed for you, for the same price as the official Canon team – just £69.25 plus VAT! Head to our Canon repair page and we’ll get you all set to go.
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