Canon is expanding its vlogging lineup in a big way with two new models, the R50 V mirrorless and PowerShot V1 compact, both designed to take on cameras in Sony's vlogging lineup. The PowerShot V1 has an interesting new 1.4-inch sensor that's considerably larger than the ones on most compact cameras. The R50 V, meanwhile, matches features from Sony's ZV-E10 II but at a considerably lower price.
PowerShot V1 compact camera
The PowerShot V1 was already announced and released in Japan, but it's now set to come to North America. It effectively competes with Sony's ZV-1 II 1-inch sensor compact but has a much larger 1.4-inch 22.3MP sensor that's roughly the same size as Micro Four Thirds, but with a horizontal aspect ratio better suited for video. That larger size, along with the 17-52mm (3.1x zoom) f/2.8-4.5 lens, should make it superior to its rival in low light while also offering shallower depth of field.
I've only had the PowerShot V1 for a day, but it's heavy for a compact camera at 426 grams (15 ounces) and fairly thick. There aren't many manual controls other than the top mode dial, a rear setting dial for burst, exposure compensation and other functions, a lens dial for aperture, a camera/video switch and a zoom dial, along with several buttons. It has a 3-inch, one-million-dot fully articulating rear display but no electronic viewfinder, just like the ZV-1 II.
Steve Dent for Engadget
It can shoot 4K 30 fps supersampled video using the full sensor width, 4K 60p video with a 1.4 times crop or 1080p at 240 fps. Also supported is Canon C-Log3 with 10-bit 4:2:2 capture to improve dynamic range and allow for easier grading. Optical along with digital enhanced stabilization are available and to allay overheating it comes with a built-in cooling fan that allows unlimited shooting times at all resolutions.
Like the ZV-1 II, the PowerShot V1 supports several shooting modes aimed at creators. Those include a "close-up demo mode" that's equivalent to Sony's "product showcase," allowing the camera to quickly focus on an object you hold in front of the camera. Another is "smooth skin mode" for beauty-style shooting, plus "movie IS mode" for vloggers that stabilizes any jolting movements like walking.
Steve Dent for Engadget
The PowerShot V1 uses Canon's Dual Pixel II autofocus system with subject detection and face/eye tracking and includes a "subject tracking IS" mode that automatically adjusts cropping to center the subject in the frame. You can use it as a 1080p webcam via the USB-C port, while connecting to your smartphone for live streaming. For photography, it sports a physical mechanical shutter and can shoot bursts at up to 30 fps with autofocus in electronic shutter mode. A welcome feature is a built-in ND filter (equivalent to three stops of light reduction) that will allow creators to add more bokeh on sunny days.
Other features include support for a smallish LP-E17 battery and a single UHS-II card slot along with microphone, headphone and microHDMI connectors. However, the PowerShot V1 isn't cheap at $900. It's set to arrive in April 2025.
EOS R50 V
Steve Dent for Engadget
The R50 V is Canon's first true mirrorless vlogging-specific camera and is clearly designed to go up against Sony's ZV-E10 II. It's slightly taller than the PowerShot V1 but has largely the same dimensions otherwise, and weighs just a bit more if you include the new 14-30mm (21-45mm full-frame equivalent) f/4-6.3 power zoom lens.
It has a nice array of manual controls including a primary control dial on top, a zoom rocker for supported lenses and an unusual mode dial that lets you select multiple custom video and vlogging modes including Movie Auto Slow Shutter, Slow/Fast Motion Recording and Movie IS Mode. For vloggers it has a fully-articulating 3-inch display but again, no electronic viewfinder.
Steve Dent for Engadget
The R50 V comes with a 24MP APS-C sensor like the EOS R50, while also including features from Canon's Cinema EOS system like C-Log3 capture and 10-bit 4:2:2 video. It can capture supersampled 4K 30 fps video using the full sensor width, 4K 60p video with a crop or 120 fps 1080p video. It's not a bad camera for photographers either, letting them shoot 12 fps bursts using the first-curtain shutter or 15 fps with the electronic shutter, all with continuous autofocus enabled.
Like the ZV-E10 II it lacks in-body stabilization but does offer optical stabilization with supported lenses, along with electronic stabilization. For situations that require extra shake reduction, the optical and electronic stabilization modes can be combined and there's an enhanced IS mode for abrupt movements like walking.
Steve Dent for Engadget
The R50 V has vlogging-friendly modes like a product showcase-type function along with focus breathing correction. You get Canon's latest Dual Pixel II autofocus system that includes face and eye detection as well as subject tracking for people, animals and vehicles (along with an auto mode). A dedicated button allows you to livestream instantly with four modes supported: UVC/UAC, HDMI, Camera Connect, and Live Switcher Mobile multi-camera. It comes with a single UHS-II card slot and an LP-E17 battery, along with microphone, headphone, microHDMI and USB-C ports.
The R50 V will cost $650 for the body only or $850 with the new RF-S14-30mm F4-6.3 IS STM PZ lens (sold separately for $330). Canon also announced the $1,700 RF 20mm f/1.4L VCM full-frame lens, the latest in its fast hybrid cinema-friendly series that includes the RF24mm f/1.4, RF 35mm f/1.4 and RF 50mm f/1.4 models. As mentioned, I've only had the R50 V and PowerShot V1 cameras for a short time but you can expect a full review of both models shortly.
This article originally appeared on Engadget at https://www.engadget.com/cameras/canon-goes-all-in-on-vlogging-with-the-powershot-v1-compact-and-r50-v-mirrorless-cameras-170047522.html?src=rss
If you’re a content creator or YouTuber, Sony, Canon and other camera companies want your business. There are more vlogging-specific models than ever, with several new models having arrived since our last guide, including Fujifilm’s XM-5.
Recent vlogging-specific models include Sony’s new ZV-E1 full-frame mirrorless that launched last year, DJI’s Osmo Pocket 3 and Canon’s compact PowerShot V10. Others in this guide, like the new Panasonic G9 II and Canon’s EOS R6 II are hybrid mirrorless cameras that offer vlogging as part of a larger toolset.
Many have certain things in common, like flip-around screens, face- and/or eye-detect autofocus and stabilization. Prices, features and quality can vary widely, though. To that end, we’ve updated our guide with all the latest vlogging cameras designed for novice to professional creators, in all price ranges. Engadget has tested all of these to give you the best possible recommendations.
If you’re just starting out in vlogging or need a small, rugged camera, an action cam might be your best bet. In general, they’re easy to use as you don’t have to worry about things like exposure or focus. Recent models also offer good electronic stabilization and sharp, colorful video at up to 4K and 60 fps. The downsides are a lack of control; image quality that’s not on par with larger cameras; and no zooming or option to change lenses.
The best compact vlogging cameras
Compact cameras are a step-up option from smartphones or action cameras, with larger sensors and much better image quality. At the same time, they’re not quite as versatile as mirrorless or DSLR cameras (and not necessarily cheaper) and they lack advanced options like 10-bit video. For folks who want the best possible quality without needing to think too much about their camera, however, it’s the best option.
The best mirrorless vlogging cameras
This is the class that has changed the most over the past couple of years, particularly in the more affordable price categories. Interchangeable lens cameras give you the most options for vlogging, offering larger sensors than compact cameras with better low-light sensitivity and shallower depth of field to isolate you or your subject. They also offer better control of your image with manual controls, log recording, 10-bit video and more. The drawbacks are extra weight compared to action or compact cameras, extra complexity and higher prices.
Upcoming cameras
If you’re not quite ready to buy, there are some interesting options on the horizon. Canon just teased a camera which could be the R50 V, likely to be a vlogging-focused update to the R50 I recommended. Canon may also announce the availability of the PowerShot V1, a compact camera with a Type 1.4 sensor that’s larger than the 1-inch sensors found on most compact cameras.
Meanwhile, Panasonic just announced the S1R II, a 45-megapixel hybrid camera. Though the high resolution would suggest it’s mainly for photography, the S1R II can shoot 8K video at up to 30 fps and capture 5.7K 30 RAW internally. It’s fairly expensive, but considerably cheaper than other options including the Nikon Z8 and Canon EOS R5 II. That model is now on pre-order and set to start shipping by the end of March — stay tuned for Engadget’s review.
What to look for in a vlogging camera
Vlogging cameras are designed for filmmakers who often work alone and either use a tripod, gimbal, vehicle mount or just their hands to hold a camera. It has to be good not just for filming yourself, but other “B-roll” footage that helps tell your story.
The number one requirement is a flip-around screen so you can see yourself while filming. Those can rotate up, down or to the side, but flipping out to the side is preferable so a tripod or microphone won’t block it.
Continuous autofocus (AF) for video with face and eye detection is also a must. It becomes your camera “assistant,” keeping things in focus while you concentrate on your content. Most cameras can do that nowadays, but some still do it better than others.
If you move around or walk a lot, you should look for a camera with built-in optical stabilization. Electronic stabilization is another option as long as you’re aware of the limitations. You’ll also need a camera with a fast sensor that limits rolling shutter, which can create a distracting jello “wobble” with quick camera movements.
Steve Dent/Engadget
4K recording is another key feature. All cameras nowadays can shoot 4K up to at least 24 fps, but if possible, it’s better to have 4K at 60 or even 120 fps. If you shoot sports or other things involving fast movement, look for a model with at least 1080p at 120 fps for slow-motion recording.
Video quality and color accuracy are other important considerations, especially for skin tones. Good light sensitivity helps for night shooting or concerts, and a log profile helps improve dynamic range in very bright or dark shooting conditions. If you want the best possible image quality and can afford it, get a camera that can record 4K with 10-bits (billions) of colors. That will give you more options when you go to edit.
Don’t neglect audio either; if the quality is bad, your audience will disengage. Look for a camera with a microphone port so you can plug in a shotgun or lapel mic for interviews, or at least one with a good-quality built-in microphone. It’s also nice to have a headphone port to monitor sound so you can avoid nasty surprises after you’ve finished shooting.
You’ll also want good battery life and, if possible, dual memory card slots for a backup. Finally, don’t forget about your camera’s size and weight. If you’re constantly carrying one while shooting, especially at the end of a gimbal or gorillapod, it might actually be the most important factor. That’s why tiny GoPro cameras are so popular for sports, despite offering lower image quality and fewer pro features.
This article originally appeared on Engadget at https://www.engadget.com/cameras/best-vlogging-camera-151603452.html?src=rss
Fujifilm has unveiled one of the wilder cameras I've seen in awhile, the 102MP medium-format GFX100RF compact camera. Yes, you read that right — this is a carrying-around street camera with a massive sensor and fixed 35mm f4 lens (28mm full-frame equivalent) that can shoot 11,648 x 8,736 photos. If that wasn't enough, it has features we've rarely seen on compact cameras, like a built-in ND filter and dedicated aspect ratio dial.
The GFX100RF uses the same 102MP CMOS II HS medium format sensor found on the GFX100 II mirrorless camera. As Fujifilm teased last week, it can be thought of as a higher-resolution version of its popular X100 VI APS-C compact. Though smaller than any other GFX camera, it's heavier than many full-frame mirrorless cameras at 1.62 pounds (735 grams). For a premium feel, the camera is "machined from a single block of aluminum and the lens ring, dials, bottom plate, and other details are all precision-machined from aluminum as well," Fujifilm wrote in a press release.
Fujifilm
Like the X100 VI, it's designed as a street camera with the shutter speed, exposure compensation and aperture settings quickly visible and adjustable. However, the GFX100RF has a new dial on the back that lets you choose from nine aspect ratios including 7:6, 1:1, 3:4, 16:9, 17:6 and the 65:24 "XPan" widescreen ratio found on other GFX models.
It also has a tele-converter selector/lever on the front of the camera to digitally change the focal length from the native 35mm to 45mm, 63mm and 80mm (35mm, 50mm and 65mm full-frame equivalent), with a corresponding loss of resolution. When using those modes, a new "Surround View" function can be selected that displays the area outside the image range as a semi-transparent frame.
Fujifilm says the all-important fixed lens can suppress spherical aberration and field curvature thanks to a 10-element, eight-group configuration that includes two aspherical lenses. It uses a newly developed "nano-GI" coating optimized to suppress internal reflections, even at the edges. Despite the large sensor size, it can focus as close as 7.9 inches, allowing for some interesting high-res macro possibilities.
Fujilfilm X100VI (top) and GFX100RF
Fujifilm
The shutter itself is a leaf instead of focal plane type to reduce size, and the GFX100RF is Fujifilm's first GFX model with a built-in four-stop ND filter. That's a handy feature on a medium format camera for bright light shooting, as it allows for slower shutter speeds to add motion blur or wider apertures for shallower depth of field.
The GFX100RF has a similar autofocus system to the GFX100 II including an AF prediction function and face/eye AF that can recognize subjects like animals, vehicles, birds, and airplanes. Burst speeds are a fairly decent 6 fps with the mechanical shutter at full resolution, a bit slower than the GFX100S II. It has a 5.76-million-dot offset electronic viewfinder like the one on the X100VI and a 3.1-inch 2-axis tilting 2.1-million-dot rear display.
Fujifilm
It can even shoot 4K 30fps 4:2:2 10-bit video (likely with some pixel binning), and Fujifilm says it'll deliver up to 13+ stops of dynamic range when using the FLog-2 setting. Other features include an SDXC UHS-II card slot, 20 built-in film simulations, SSD recording, mic and headphone ports and a microHDMI connector. One feature noticeably lacking compared to the X100VI is in-body stabilization.
The GFX100RF is likely to appeal highly to street and travel photographers considering its capabilities. It's not cheap at $4,900, but that price is less than its main competition, the $6,660 Leica Q3, while offering a larger sensor and 40 extra megapixels. It'll be available in black or silver when it arrives in late April 2025.
This article originally appeared on Engadget at https://www.engadget.com/cameras/fujifilms-gfx100rf-is-a-102mp-medium-format-compact-camera-110044609.html?src=rss
The Mac Studio is Apple’s ultimate performance computer, but this year’s model came with a twist: It’s equipped with either an M4 Max or an M3 Ultra processor. The latter might seem like a step backward, since nearly all Macs (except the Mac Pro) are now equipped with M4 chips. However, the M3 Ultra is indeed Apple’s best-performing processor, which makes the new Mac Studio its fastest computer ever.
While the M3 Ultra model appears highly capable for creative pros and engineers, it starts at $4,000 and goes way up from there. I’m intrigued by that model based on benchmarks I saw elsewhere, of course. However, the M4 Max model I received for this review is the one that most people will want, as the base configuration is half the price. For power users doing tasks like video editing or designing games, it’s the Mac of choice, and it’s even a decent deal by Apple’s standards.
Hardware
The Mac Studio’s design hasn’t changed since the original M1 Ultra version from 2022. That isn’t a bad thing since the aesthetic has aged well and it takes up very little desk space. It’s about the size of two old Mac minis (prior to the recent update that made them even smaller) stacked together and has the same polished aluminum case. Everything has a premium feel, even the environmentally friendly packaging and flexible power cable.
Up front, there’s an SDXC card slot that supports UHS-II speeds (300 MB/s), along with a pair of 10Gbps USB-C ports (they’re Thunderbolt 5 on the M3 Ultra version). Around back, you’ll find four Thunderbolt 5 ports that now offer up to 15 GB/s throughput (capital B), triple the speeds of the 2023 Mac Studio with Thunderbolt 4. You also get a 10Gbps ethernet port and two USB 3.1 (Type A) slots, along with an HDMI port and 3.5mm headphone jack. All of that is enough to connect plenty of disk drives, monitors and peripherals.
Inside, the M3 Ultra version is arguably overkill with up to a 32-core CPU, eight more than the Mac Studio M2 Ultra. The GPU comes with 80 cores, another record for Apple Silicon, along with a 32-core Neural Engine for on-device AI and machine learning. Unified memory starts at 96GB and goes up to a massive 512GB (with up to 819 GB/s of bandwidth) and 16TB of SSD storage. With all those items maxed out, the Mac Studio costs a hair-raising $14,099.
Steve Dent for Engadget
The M4 Max model is more modest but still impressive. The top-end configuration comes with a 16-core CPU and 40-core GPU, over 546 GB/s of unified memory bandwidth and up to 8TB of storage. These specs align pretty closely with the MacBook Pro M4 Max but at a lower price, by the way. At the $1,999 base price, you get a 14-core CPU, 32-core GPU and 16-core neural engine. All M4 Max models start with a decent 36GB of unified memory, though my test unit came with the maximum 128GB in a $3,699 configuration.
The processor, memory and storage aren’t upgradeable after purchase, so you’ll want to choose wisely when ordering. That’s a challenge in itself, as Apple isn’t very flexible with the system configurations. For example, the base $1,999 14-core M4 Max Mac Studio can only be configured with 36GB of RAM. If you want more, you need the 16-core version which automatically bumps memory up to 48GB and adds $500 to the price.
I’d say the latter option is the sweet spot at $2,499, netting you the faster processor and enough unified memory for most content creation. Engineers and others looking for even more performance may want the M3 Ultra version, as it allows for up to 512GB of RAM and puts two additional Thunderbolt 5 slots up front.
In-use: A rocketship for content creators
Mignon Alphonso for Engadget
The Mac Studio with M4 Max destroyed most synthetic benchmarks, showing the highest single-core Geekbench 6 CPU score for any PC we’ve tested. It falls just below the Mac Studio with M2 Ultra on the multicore Geekbench 6 test. It even beats the latest Mac Studio M3 Ultra in single-core performance, though it’s topped by that model in multicore tests. GPU scores are similarly impressive and the ATTO disk peak throughput is the best we’ve seen to date with write speeds up to 8 GB/s.
However, the best way to evaluate a machine like this is to feed it some content creation jobs and see how quickly it chews through them. Video editing is the sternest test for most machines, so I tried Premiere Pro and DaVinci Resolve with a mix of 4K, 6K and 8K video (RAW and MP4) to challenge it.
All of those files easily played through in their native formats with no hiccups on a 4K timeline, thanks to the M4 Max’s ability to decode RAW and 10-bit H.264 or H.265 files on the fly. It was still able to handle real-time playback of a single layer of 8K video with color correction added and only struggled when I tried to play two or more 8K video tracks at the same time. Overall, it provides a smooth and glitch-free editing experience that enables power users to get work done quickly.
Geekbench 6 CPU
Geekbench 6 GPU
Cinebench 2024
Mac Studio (M4 Max, 2025)
4,090/26,394
116,028
190/2066 | GPU 16,598
Mac Studio (M2 Ultra, 2023)
2,013/28,402
121,938
N/A
iMac (M4, 2024)
3,751/15,093
35,520
171/881 GPU 4,425
Apple MacBook Pro 16-inch (M4 Pro, 2024)
3,925/22,456
70,197
178/1,689 GPU 9,295
Apple MacBook Pro 16-inch (M4 Max, 2024)
4,054/25,913
114,112
181/2,042 GPU 16,490
Surface Laptop 7 (Snapdragon X Elite, 32GB)
2,797/14,400
19,963
123/969
Encoding is equally rapid. It took me one minute and 51 seconds to output a 3.5 minute timeline in 4K with the same mix of 4K, 6K and 8K footage using the GPU. For comparison’s sake, my MacBook Pro with an M3 Pro processor took over twice as long at four minutes and 10 seconds.
The Mac Studio showed the same prowess with Lightroom Classic and Photoshop, providing fast and fluid editing for even RAW photos that were 100MB or larger. Note that when doing GPU- or CPU-intensive tasks like video encoding, the fan will kick in and the chassis can get warm, but that didn’t happen often. In any case, the Mac Studio’s larger size and bigger fan provides better thermal performance than the Mac mini.
To test the machine’s AI capabilities, I ran a 75 minute podcast through Apple’s Whisper transcription tool and it took a minute and 32 seconds to convert it to text. The latest MacBook Pro with an M4 Pro processor took two minutes and 11 seconds for the same task, and my MacBook Pro M3 Pro did it in three minutes and thirty-seven seconds.
On top of content creation, I played Baldur’s Gate III, a game that puts moderate demands on a PC. The Mac Studio was up to the task, delivering smooth gameplay at high settings and 1440p resolution (though it was somewhat limited by the Studio Monitor’s anemic 60Hz refresh rate). I again noticed that the Mac Studio got fairly hot and the fans kicked in during gaming sessions. Still, GPU performance surpassed most PCs except those with high-end GPUs, based on a quick comparison to our recent tests and GeekBench’s database. To that end, the only thing limiting the Mac Studio as a gaming machine is the sparse choice of games for macOS.
Should you buy the Mac Studio?
Steve Dent for Engadget
Content creators may wonder if they need to splurge on the Mac Studio, or if a Mac mini will do the job. After all, you can get the Mac mini M4 Pro with 24GB of RAM for $1,399 instead of the Mac Studio M4 Max and give up just a single Thunderbolt 5 port and 12GB of unified memory, saving $600.
If you regularly edit 4K (or higher) videos or render 3D graphics (or play games), you’d be better off with the Mac Studio. For less demanding jobs, a Mac mini will likely suffice. The Mac Studio M3 Ultra is another animal altogether, with the extra cores and higher memory capacity aimed at engineers or AI developers. At $4,000, it's mostly overkill for everyone else. The Mac Pro also exists, but it’s so expensive that it’s really only for studios and big companies, meaning the Mac Studio is now the high-end Mac for most professionals.
This article originally appeared on Engadget at https://www.engadget.com/computing/apple-mac-studio-m4-max-review-a-creative-powerhouse-123000265.html?src=rss
Brazil has ordered Apple to allow users to bypass the App Store and sideload apps within 90 days, according a report in Valor Econômico seen by 9to5Mac. The new ruling follows similar orders issued in Europe and elsewhere that were referenced by the Brazilian court. "[Apple] has already complied with similar obligations in other countries, without demonstrating a significant impact or irreparable damage to its business model," wrote judge Pablo Zuniga.
Late last year, Brazil's antitrust regulator CADE ordered Apple to allow users to download apps and make purchases from outside its App Store, with a 20-day deadline and fines for not complying. However, Apple appealed that ruling on the grounds that the changes would be too difficult to implement within the time frame. The court agreed, calling the injunction "disproportionate and unnecessary," buying Apple more time but forcing it to face a public hearing in Brazil.
Following another appeal, this time by CADE, the court ordered Apple to allow sideloading and third-party app stores within the next three months or face fines.
The litigation was launched by the Latin American e-commerce firm Mercado Libre, which complained about developers being forced to pay hefty commissions through Apple's App Store. That was followed later by other developers including Match and Epic Games.
An Apple spokesperson told Valor Econômico that it “believes in vibrant and competitive markets," but said that the changes will "harm the privacy and security" of iOS users. Apple plans to appeal the decision.
This article originally appeared on Engadget at https://www.engadget.com/apps/apple-must-allow-app-sideloading-in-brazil-within-90-days-judge-orders-130037196.html?src=rss
If you’re into kite surfing, skiing, rock climbing or other adventure sports and want to film your activities, an action camera is the only way to go. In the past, GoPro was uniquely associated with this type of first-person action filming. But now, buyers now have more choice, with models also available from DJI and Insta360. Each company has its own strength, with Insta360 specializing in 360-degree video, DJI known for low-light video quality and GoPro making solid all-around cams with a wide choice of accessories.
That raises the question, which one has the best features for your personal exploits? Engadget has been testing action cameras for more than 16 years and with that experience, we can help you find the right model for your budget and needs.
What to consider before choosing an action camera
Action cameras have certain traits that separate them from regular cameras or smartphones. The most important is ruggedness that makes them resistant to water, dust and shocks. Most action cameras are now waterproof without the need for a separate enclosure. At the same time, you can purchase housing accessories to make them waterproof to even greater depths.
Video quality is also key. Every model we recommend goes to at least 4K 60fps, but some models like GoPro’s latest Hero 13 boost resolution up to 5.3K 60fps, or even 8K 30p with the Insta360 Ace Pro 2. That allows you to crop in on shots and capture vertical video at higher resolutions for social media. Another nice feature is log video that improves dynamic range when filming on sunny, contrasty days. And if you film in dim environments, you’ll want the largest sensor possible for the best low-light performance.
For activities with bumps and jolts like mountain biking, stabilization is incredibly important. You want your video to look smooth, but still need to convey the thrill and speed of the action. The Hero 13 is still the best in this regard, delivering jolt-free video that makes the viewer feel like they’re going down the bike trail or ski slope, with no annoying digital artifacts. DJI and Insta360’s products are good, but not quite at that level yet.
Some action cameras are easier to handle and use, so take that into account as well. You’ll want bright and colorful displays both front and back, buttons you won’t have to fumble to find and easy-to-use menus. Remote control is another factor that can ease operation. And you’ll want to check which software is available to improve stabilization, edit video, remove selfie sticks and more.
Then there's the area of accessories. Do you need helmet or chest mounts, waterproof housings or battery charger? GoPro has the largest number of those, but DJI makes handy wireless mics that connect directly with its cameras. And of course, battery life is critical for action shooting as it’s hard to change one when you’re out surfing.
This article originally appeared on Engadget at https://www.engadget.com/cameras/best-action-camera-130017459.html?src=rss
Apple just unveiled its latest Mac Studio desktop PC promising improved performance over the previous model thanks to the long awaited M3 Ultra, the company's highest performing processor to date. The new machine is primarily aimed at content creators, so on top of the faster chips, it offers the latest high-speed SSD storage, Thunderbolt 5 technology and an updated Neural Engine.
It's been a bit of a wait for a new Mac Studio as the last one came out at WWDC 2023, nearly two years ago. As before, you can think of it as like a “Mac mini Pro,” a bigger and significantly more powerful version of Apple’s budget desktop. Like the last two models, it comes in two configurations with either the M3 Ultra or M4 Max chips and physically looks the same as the previous M2 model.
Apple
The M4 Max version is aimed at "video editors, colorists, developers, engineers, photographers and creative pros," according to Apple. To that end, it comes with up to a 16-core CPU and 40-core GPU, from 36GB to 128GB of RAM, four Thunderbolt 5 ports with 15 GB/s throughput (triple the previous model's speed) and over 500 GB/s of unified memory bandwidth. It also includes Two USB-A ports (up to 5Gb/s), an HDMI port, 10Gb ethernet and a 3.5mm headphone jack.
All that makes it up to 3.5 times faster than the original Mac Studio M1 Max. Apple noted that with the M4 Max chip, the latest Mac Studio is the first with Apple's advanced graphics architecture that allows features like hardware-accelerated mesh rendering and a second-generation ray-tracing engine to boost content creation and gaming. For AI processing, it offers triple the speed of the M1 Max version.
The M3 Ultra model ups the ante considerably with a 32-core CPU with 24 performance cores, "50 percent more than any previous Ultra chip and the most CPU cores ever in a Mac," Apple said. Meanwhile, the GPU packs up to 80 cores, another record for Apple silicon, along with a 32-core Neural Engine for on-device AI and machine learning. It also supports from 96GB to a record 512GB of unified memory, plus up to 16TB of SSD storage.
Apple
You may be wondering why Apple is just now releasing the M3 Ultra chip when every other Mac (including the all-new MacBook Air) has some kind of M4 processor. The answer is that it's apparently not easy to design and build the Ultra processors because they're effectively two chips mated together using Apple's "Ultrafusion" bridge technology. Despite not having "M4" in the name, though, the M3 Ultra is still approximately twice as fast as the best M4 Max processor under taxing workloads and 2.5 times quicker than the Mac Ultra M1.
Considering its power, the Mac Studio with an M4 Max chip is reasonably priced starting at $1,999 with 32GB of memory and 512GB of storage. The Mac Studio with M3 Ultra is another story, though, doubling that to $3,999 base, with 96GB of unified memory (up from 64GB before) and 1TB of storage. Orders are now open with shipping set to start on March 12th.
This article originally appeared on Engadget at https://www.engadget.com/computing/apples-new-mac-studio-comes-with-the-long-awaited-m3-ultra-chip-140005216.html?src=rss
Alienware unveiled a widescreen 34-inch QD-OLED monitor a few years ago and it was hit from the get-go thanks to the HDR brightness, OLED color accuracy and smooth 175Hz refresh rate. Now, the company has launched an updated version that boosts the refresh rate to 240Hz — making it a tempting option for gamers who prize visuals and speed. Dell's gaming brand also revealed several inexpensive LCD gaming models, including a 25-inch, 320Hz model for just $250.
On top of the boosted refresh rate, the new Alienware 34 Ultra-Wide QD-OLED Monitor (AW3425DW) offers improved connectivity with HDMI 2.1 FRL, while adding G-SYNC, AMD FreeSync Premium Pro and VESA AdaptiveSync certification. As before, it comes with WQHD 3,440 x 1,440 resolution and 1800R curve, providing a 21:9 gaming experience that while not as sharp as 4K, is still a huge leap ahead of 1080p. It goes on sale today for $800.
Along with that model, Alienware's 27-inch 280Hz QD-OLED Monitor (AW2725D) is also available at a reasonable $550 price point (arriving summer 2025). It combines QHD resolution with a high-speed 280Hz refresh rate, allowing sharp high-quality visuals along with a smooth gaming experience. Rounding out the QD-OLED models is the 27-inch 4K QD-OLED Monitor (AW2725Q) previously announced at CES, with a 240Hz refresh rate and highest pixel density of any OLED or QD-OLED monitor, the company claims. It's available starting today for $900.
Finally, Alienware unveiled four new LCD monitors, including 34- and 32-inch curved VA monitors with 180Hz refresh rates priced at $400 and $320, with both available starting March 6th. The most interesting, however, is a 25-inch 320Hz monitor available for just $250 (coming summer 2025), giving pro gamers on a budget a very high-speed option, if they don't mind a smallish screen.
This article originally appeared on Engadget at https://www.engadget.com/computing/accessories/alienware-boosts-its-34-inch-qd-oled-gaming-monitor-to-240hz-140015276.html?src=rss
Panasonic’s mirrorless cameras are best known for their video powers, but with its latest model, the company is finally getting serious about photography as well. The $3,300 full-frame Lumix S1R II is not only the company’s first camera capable of 8K video but can fire off 40 fps bursts of high-resolution (45 megapixel) RAW photos. It also offers a more advanced autofocus system, putting it squarely into the conversation with Sony, Canon and Nikon.
I’ve had a pre-production unit for several days now and so far, I’m impressed. The original S1R was a chunky 2.24 pound monster, but the S1R II is much lighter at 1.75 pounds and considerably smaller in size. That makes it less burdensome than before — though still a bit bigger than the Nikon Z8 and Canon R5 II. It also has one of the fattest grips I’ve ever seen that gave me a firm, secure hold on the camera.
Panasonic made other substantial changes to the body, removing the top display and shifting the mode dial from top left to top right. In the latter’s place a dedicated burst mode dial and photo/video/S&Q switch was introduced, while a new autofocus dial was placed at the back. Handling is now near the top among high-end full-frame cameras in my book, matching or even beating my favorite, the Sony A1 II.
Panasonic
The rear 1.8-million-dot display was also overhauled and not only flips out for content creators but also tilts up and down for photographers — putting it on par with the excellent screen on Sony’s A1 II. The electronic viewfinder has the same 5.76-million-dot resolution and 120Hz refresh rate as before, but now offers a more natural 100 percent magnification.
The S1R II supports both SD UHS II and fast CFexpress Type B cards (rather than XQD as before) with a slot for each, while also allowing SSD recording via the USB-C port like the S5 IIX and GH7. Other inputs include mic, headphone and a full-size HDMI slot, along with a 10Gbps USB-C port. The battery is the same as the one on the GH7 and G9 III but delivers just 350 shots max on a charge, unless you buy the optional DMW-BLK22 battery grip. The S1R II will also offer full-float 32-bit audio recording, but only with the optional DMW-XLR2 audio accessory.
Steve Dent for Engadget
Shooting performance is dramatically better with up to 40 fps (RAW 12-bit) burst speeds with continuous autofocus enabled, compared to a rather pitiful 6 fps on the previous model. It can also hit 10 fps speeds in mechanical mode or 9 fps with 14-bit RAW output. That matches the lower-resolution Canon R1 (though that model does it in 14-bit RAW mode) and is only below Sony’s A9 III that can hit a mind-boggling 120 fps burst speeds in RAW mode.
Panasonic also overhauled the phase-detect autofocus system to add more speed and AI smarts. It can now lock onto a subject’s face and eyes quicker and follow their movements more smoothly, but also detect and automatically switch between humans, animals, cars, motorcycles, bikes, trains and airplanes. From my observations so far, it’s not quite up to the speed and fluidity of Sony and Canon’s latest models, but Panasonic is nearly there.
Panasonic
When it comes to image quality, JPEG photos look natural with realistic colors, though I wasn't able to open RAW files on this pre-production camera. One big improvement is at high ISOs in low light thanks to the dual ISO sensor that keeps noise under control all the way up to about ISO 12800.
On the video side, the S1R II now supports internal ProRes RAW and 8K video capture, but not both at the same time. ProRes RAW captured to CFexpress or USB-C is limited to 5.8K but uses the full width of the sensor, so it’s a good solution for 4K productions. As with other Panasonic cameras, the S1R II can also shoot 6.4K open gate using the entire sensor. 8K, meanwhile, can only be captured in 4:2:0 10-bit LongGOP MP4 formats at 30 fps (4K tops out at 120 fps in Slow & Quick mode).
That compares to 60 fps max on the Canon EOS R5 II and Nikon Z8, and both of those cameras can do that format in RAW. Sony’s A1 II, by contrast, can also do 8K 30 fps video but doesn’t support RAW recording at all. And of course, the S1R II supports 10-bit V-Log recording and promises up to 14 stops of dynamic range, slightly less than the S1R. It'll also allow for external ProRes RAW recording at up to 8K to Atomos recorders via a firmware update coming after the initial launch.
Panasonic
Panasonic’s updated stabilization system promises up to 8 stops of shake reduction, but there are a few significant updates. It reduces edge distortion for video without cropping, though there’s a small amount of vignetting if you do that. As before, it supports e-stabilization at regular and high strengths, and now offers the high-strength mode for anamorphic lenses.
That raises the issue of rolling shutter, since the S1R II doesn’t use a stacked sensor like its main competitors, the Nikon Z8 and Canon R5 II. Distortion is definitely more prominent than on those models, but readout speeds are relatively quick so it’s not offensive except when doing whip pans or filming very fast moving subjects.
At $3,300, the S1R II is priced well below the $4,300 Canon R5 II but nearly on par with the Nikon Z8, which can currently be found at $3,400. It’s now on pre-order at B&H Photo and elsewhere, with shipping set to start at the end of March 2025.
This article originally appeared on Engadget at https://www.engadget.com/cameras/panasonic-takes-on-canon-with-the-full-frame-45-megapixel-s1r-ii-mirrorless-camera-140048286.html?src=rss
Educational tech company Chegg has sued Google in federal court claiming that its "AI Overviews" that appear ahead of search results have hurt its traffic and revenue. In order to be included in Google's search results, Chegg alleges, it must "supply content that Google republishes without permission in AI-generated answers that unfairly compete for the attention of users on the internet in violation of antitrust laws of the United States."
Previously, publishers like The New York Times have sued AI companies over copyright infringement, accusing them of training large language models (LLMs) on IP material without permission. However, Chegg is taking another approach, instead accusing Google of abusing its monopoly position to force companies to supply materials for its "AI Overviews" on its search page. Failing to do so, it says, means it could effectively be excluded from Google Search altogether.
Chegg included a screenshot of a Google AI Overview that takes details from Chegg's website without attribution, though the page in question appears lower down in the search results.
Google told CNBC that it would defend itself against the suit. "Every day, Google sends billions of clicks to sites across the web, and AI Overviews send traffic to a greater diversity of sites," a spokesperson said.
Google's use of its monopoly power in this way "amounts to a form of unlawful reciprocal dealing that harms competition in violation of the Sherman Act," Chegg claimed, while citing a federal judge's ruling from last year that Google is a monopolist in search. The tech-ed company said that it is particularly affected by these practices because the "breadth, depth, quality and volume of Chegg's educational content holds enormous value for artificial intelligence applications."
Chegg is the latest in a long list of companies suing Google over alleged misappropriation of IP content, though as mentioned, using the Sherman Act is a novel approach. As of January 2025, 38 copyright lawsuits related to AI have been filed in the US, according to a site keeping track of the claims — so far with mixed results.
This article originally appeared on Engadget at https://www.engadget.com/ai/educational-tech-company-chegg-sues-google-over-ai-overviews-133017759.html?src=rss
FILE - The Google logo is seen at the Vivatech show in Paris, France, June 15, 2022. Google is expanding an initiative that shows promise in fighting online misinformation. The tech company announced Monday that it will roll out a new “prebunking” campaign in Germany. Pre-bunking works like a viral inoculation by priming a person's critical thinking skills to make them more resistant to false claims. (AP Photo/Thibault Camus, File)
After creating a stir with the $200 Neo, DJI is back at it with another innovative drone, the Flip. It has a first-of-a-kind folding design and shrouded propellers to keep people safe. It also integrates 3D infrared obstacle detection to track subjects and has a long list of impressive features.
With a camera borrowed from the Mini 4 Pro, the Flip can take high-quality 4K 60p video indoors or out with little risk. It comes with vlogger-friendly features like Direction Track and Quickshots for social media. And it can be flown with either DJI’s controllers, a smartphone, voice control or the push of a button.
There’s no need for a permit to fly it, and best of all, it’s priced at $439 with an RC-N3 controller included — making it one of the more affordable drones available. To see how well it serves creators, I flew it inside a castle, a 500-year-old house and out in nature. It’s not perfect (hello, stiff winds and obstacles), and it has some stiff competition with the HoverAir X1 Pro, but it’s one of the most useful creator drones yet.
Design
The Flip has a clever, user-friendly design. All four propellers fold down and stack below the body like some kind of Star Wars spacecraft. DJI chose this construction so that it could incorporate permanent (rather than detachable) shrouds that protect the props to limit damage or injury in case of a collision. The design also employs large propellers that aid performance and reduce noise. By comparison, DJI’s Neo has tiny, fast-spinning propellers that make a high-pitched shrieking noise.
DJI kept the takeoff weight including battery and microSD card under 250 grams by using carbon fiber and other lightweight materials. This means the Flip can be flown without special permits. It’s still rather bulky though, especially compared to the sleek HoverAir X1 Pro.
The Flip has far better battery life than its rival, however. DJI promises up to 34 minutes max flight time (about 27 minutes in real-world conditions), compared to just 16 minutes for the X1 Pro. The batteries can be charged up quickly as well, taking about 35 minutes each with the optional four-battery charger. You’ll need a memory card, though, as the Flip only has 2GB of internal storage.
The Flip is DJI’s first lightweight drone with a 3D infrared sensor for forward obstacle avoidance and it also has a downward vision sensor for landing spot detection and stability. However, unlike the Mini 4 Pro and other DJI drones, it has no side or rear obstacle sensors.
One small issue is that the Flip’s propellers don’t have much clearance, so they can snag even in short grass on takeoffs. Like the Neo, though, it’s designed more for takeoffs and landings from your hand. To that end, it has a button on the opposite side of the power switch to select a flight mode and takeoff automatically, just like the Neo. It can also be flown with the app, voice control or manually with a controller — either the DJI RC-N3 controller (which requires a smartphone) or the RC 2 controller with a built-in 5.5-inch display.
Features and performance
Steve Dent for Engadget
The Flip can hum along at up to 26 mph in sport mode, which isn’t bad for a light drone, but a good bit slower than the Mini 4 Pro (37 mph). However, the reduced weight and large surface area means it’s not the best in high winds. When it flew over the roof of a castle, for example, it got hit by a gust that pushed it nearly backwards.
However, the Flip can do things that you’d never attempt with a Mini 4 Pro. The full propeller protection, stability and relatively low noise make it well-suited for flying inside large rooms full of fragile objects and people. That, along with the excellent picture quality, means it’s a great choice for event professionals and content creators working in public spaces.
It’s also perfect for beginners, because like the Neo, you can launch the Flip off your hand at the push of a button. It will then fly a pre-programmed mode and land back where it started. One of those modes, Direction Track, allows the drone to fly backwards and follow you for vlogging. There’s also a follow mode for activities like running and hiking, along with social media-friendly flight modes like Dronie, Rocket, Circle, Helix and Boomerang. Note that video in these automatic modes is limited to 4K 30 fps.
At the same time, the Flip is easy to fly manually either with a smartphone or the supported controllers. Though not as maneuverable as the Mini 4 Pro, it’s easier for novices to fly and makes a stable camera platform. You do need to be careful in areas with untextured floors (painted concrete, for instance), as it can throw off the Flip’s sensors and make it unstable. When that happens, your best bet is to switch it into sport mode to disable the vision-based flight stability sensors (and then fly carefully because obstacle detection will also be disabled).
Steve Dent for Engadget
Oddly, the Flip doesn’t work with DJI’s Goggles N3 and Motion 3 controller, unlike the much cheaper Neo. That’s because DJI sees it predominantly as a camera drone rather than an acrobatic device.
If you’re hoping to use the Flip to track yourself or others, there’s a big issue: It lacks obstacle detection in any direction except forward or down. If you’re flying the drone backwards, for instance, you have to make sure there’s nothing behind it can crash into. And automatic obstacle avoidance doesn’t work at all when you use the Flip’s smart features like Direction Track or ActiveTrack, though the drone will stop 10 feet before hitting anything it detects. The lack of that feature is odd, since obstacle avoidance is an important part of subject tracking, and DJI didn’t say if it had plans to rectify that issue via a future update. None of this is an issue with the HoverAir X1 Pro, which can track forwards, backwards and even sideways with full obstacle detection enabled.
The Flip has excellent range for such a tiny drone at up to eight miles, thanks to DJI’s O4 transmission system. At the same time, it can send a high quality 1080p 60 fps video signal that can be recorded to the controller as a backup. However, if you’re flying using your smartphone with a Wi-Fi connection, range is limited to just 165 feet.
Camera
Samuel Dejours for Engadget
The cameras are the biggest difference between the Flip and the Neo. The Flip comes with a much larger 1/1.3-inch 48-megapixel sensor and a 24mm-equivalent wide angle F/1.7 lens. It’s the same as the one on the Mini 4 Pro and provides sharp, noise-free video in good light.
You can shoot 4K video at up to 60 fps (100 fps in slow-mo mode), rather than just 30 fps like the Neo. In addition, the Flip supports 10-bit D-LogM video that allows for improved dynamic range in bright lighting, like on ski slopes. You can also capture 12MP or 48MP RAW (DNG) photos.
Video quality is noticeably sharper than on the Neo and the Flip is a far better drone for night shoots or dimly lit indoor settings thanks to the lower noise levels. Though the DJI Air 3S and Mavic 4 offer higher quality due to the larger sensors, there isn’t a large difference in good light. Since the Flip has just a single camera, video is noticeably more noisy when using the 2x zoom. Note that when shooting in the automated modes (Direction Track, Dronie, etc.) there is no manual control of the camera to adjust exposure, shutter speed and ISO.
The HoverAir X1 Pro has the same-sized 1/1.3-inch sensor and offers very similar video quality (with a log mode as well), though I find DJI’s colors to be a touch more accurate. The HoverAir has slightly inferior 4K 60p video unless you spend an extra $200 for the Pro Max version to get 8K 30fps and 4K 120fps.
With a three-axis gimbal, the Flip shoots silky smooth video even if it’s being buffeted by winds. You can choose Follow mode to keep the camera level even when the drone banks, or FPV mode that allows the camera to tilt for a more exciting first-person perspective. Generally, video remains smooth even with sudden maneuvers, while footage from the HoverAir X1 Pro exhibits occasional jolts and janky movements.
The Flip’s camera doesn’t rotate 90 degrees like the one on the Mini 4 Pro, so maximum resolution for vertical video is 2.7K — a step backwards from the 4K 60 fps 9:16 vertical video on the Mini 4 Pro.
Wrap-up
Steve Dent for Engadget
The Flip represents a bold change in direction (and design) for DJI. Unlike open prop drones, it gives creators the ability to shoot indoors and around people with relatively high video quality. And it does this for just $439 — much less than the $759 Mini 4 Pro. However, the Flip isn’t perfect, with its main flaws being the reduced maneuverability, problems in wind and lack of obstacle avoidance when using smart modes like ActiveTrack.
As I mentioned, DJI also has some serious competition in this category, namely the $500 HoverAir X1 Pro. Both offer features like palm takeoff, intelligent flight modes and subject tracking and have similar quality, but the HoverAir X1 Pro offers rear-side active collision detection, a wider lens and more internal storage. It’s also about half the size of the Flip. For its part, the Flip has double the flight time and a much longer transmission range.
The choice then depends on what you want. If portability, subject tracking and obstacle avoidance are key, the HoverAir X1 Pro is a better option. Others who prioritize battery life, smoother video and a more established company should choose the Flip. In any case, DJI usually dominates all drone categories, so it’s nice to see multiple products facing off in this creator-centric space.
This article originally appeared on Engadget at https://www.engadget.com/cameras/dji-flip-review-a-unique-and-useful-creator-drone-with-a-few-flaws-181507462.html?src=rss
Shortly after introducing subject tracking with its latest smartphone gimbal, DJI has done the same with its new lightweight camera gimbal. The RS4 Mini is now available with DJI's RS Intelligent Tracking Module to keep a human subject in frame and also offers the latest features from its flagship RS4 gimbals like auto-axis locks and 4th-gen stabilization.
The RS4 Mini is a major redesign from the previous RS3 Mini and is slightly heavier (2 pounds compared to 1.8 pounds) to accommodate some of the new features. It boasts the same 4.4 pound payload as before, meaning it can carry nearly every mirrorless camera on the market and many lightweight cinema cameras to boot.
DJI
An important new feature for ease of use is the addition of automatic axis locks absent on the previous model. And in fact, the RS4 Mini is the first of DJI's gimbals to use 2nd-Gen axis lock tech that can unlock the gimbal in just one second. It also has DJI's 3rd-Gen Native Vertical Switch that that offers the fastest switch experience to date in the RS series. Another new addition is Teflon interlayers and a fine tuning knob that allows "more precise millimeter balancing" when installing a camera. DJI also introduced a new Responsive mode (alongside the regular Smooth mode) that allows the gimbal to react better to fast hand movements.
DJI
For solo vloggers, the coolest new feature is the DJI RS Intelligent Tracking Module (included in the RS 4 Mini Combo), that's much like the "Multifunctional Module" on the Osmo Mobile 7P gimbal, minus the fill light. When attached to the gimbal, the tiny device enables ActiveTrack on any phone or camera, keeping a human subject in frame within 33 feet. Tracking can be enabled with a pull of the trigger or an open palm visual command.
The RS 4 Mini also has DJI's latest 4th-Gen Stabilization that strikes a better balance between stabilization strength and tactile feel, promising an "enhanced user experience" and improved stability for vertical shooting. Other improvements include 30 percent better battery life (now up to 13 hours) and charging speeds, a next-gen RS Briefcase Handle and a quick-release magnetic mount. The RS4 Mini is now available for $369 by itself or $459 in the Combo package, which includes the RS Intelligent Tracking Module and RS Briefcase Handle.
This article originally appeared on Engadget at https://www.engadget.com/cameras/djis-rs4-mini-stabilizer-can-now-track-subjects-automatically-134045771.html?src=rss
Chinese game publisher NetEase has laid off Marvel Rivals development team members including the game director, Kotaku reported. Some of those let go expressed surprise and dismay at the move considering that the team-based PVP shooter has consistently been in the top ten on Steam since its December debut. A large part of the Marvel Rivals development team is located in China, but only North American layoffs were reported. It's not clear yet how many people were let go.
"This is such a weird industry," wrote game director Thaddeus Sasser on LinkedIn. "My stellar, talented team just helped deliver an incredibly successful new franchise in Marvel Rivals for NetEase Games... and were just laid off."
“I don’t get it, man,” wrote game artist Del Walker on Bluesky. “You make one of the most successful LIVE service titles of the generation, despite the world telling you LIVE service is dead - and still get laid off? What are we even doing at this point."
Marvel Rivals currently sits at number six on Steam's top seller list and just had its first big content update for Season 1 that happened at nearly the same time as the layoffs. The game has received solid reviews for its Marvel lore and straightforward gameplay and has reportedly been very successful in its first month. It has been one of the rare good stories in terms of live service games, following announcements from Sony that some of its titles in development had been scrapped.
There are concerns that more layoffs may be coming from China-based studios in response to US tariffs. In a statement to VentureBeat, however, NetEase denied that it is eliminating its foreign investments and overseas gaming studios.
"For 2025, we have an extensive pipeline of titles in development, feature a variety of genres, including FragPunk, Ananta and more," NetEase said in the statement. "[However] as part of our investment strategy, we started scaling down two of our studios at the end of 2024. This decision was based purely on business evaluations and not influenced by other factors. And this represents only a small portion of our overseas studio portfolio."
This article originally appeared on Engadget at https://www.engadget.com/gaming/marvel-rivals-team-hit-with-layoffs-despite-huge-success-of-game-133002120.html?src=rss
DJI has unveiled two new smartphone gimbals, the Osmo Mobile 7 and 7P, with the latter offering native app tracking on both Android and iOS thanks to its "Multifunctional Module." That feature is clearly designed to rival Insta360's Flow 2 Pro, which until yesterday only offered native app tracking on iPhones via Apple's Dockkit.
The primary differences between the Osmo Mobile 7 and 7P is that the latter comes with the Multifunctional Module, while the Osmo Mobile 7 doesn't (though it can be purchased separately later if you change your mind). The Osmo Mobile 7P also has a built-in extension rod that's missing on the Osmo Mobile 7. With that said, the products look very similar and have the same folding design carried over from the Osmo Mobile 6. A key addition to both is that the tripod is now built in to the gimbal (just like on the Flow 2 Pro) so you no longer need to screw on an accessory like before.
Steve Dent for Engadget
DJI sent me the Osmo Mobile 7P to test, so I'll be referring to that product from now on. As with the Osmo Mobile 6, it's primarily designed as a three-axis gimbal to smooth out smartphone video better than your mobile device's built-in camera ever could, with the ability to shoot in both "Tilt Lock" and "FPV" modes for either steady or more dynamic footage. At the same time, you can control the gimbal's direction using the built-in joystick.
It also tracks subjects automatically, and that's where the Multifunctional Module comes in. On the Osmo Mobile 6, automatic subject tracking only worked with DJI's Mimo camera app. Now, with the new module connected to your smartphone, the Osmo Mobile 7P can track your subject automatically (with gesture control) in nearly any app on both Android devices and iPhones.
Here's how it works. The Multifunctional Module can be mounted either forward for the main camera or backward for the selfie camera. It's about the size of DJI's Mic 2, and has a built-in tracking camera along with an LED light. It also works as a receiver for DJI's Mic Mini wireless microphones.
Steve Dent for Engadget
With the module installed on the side of the gimbal and connected via a USB-C cable to your phone, just open your app of choice (I tried the native camera apps on an iPhone 16 and Pixel 7a, plus Zoom, Google Chat and Blackmagic Camera). Then, simply hold up your palm to the camera or have your subject do it and tracking will begin automatically, as indicated by a green light on the module — then hold up two fingers to start and stop recording. From there, you can move around while you vlog or conduct a video call, and the Mobile 7P will move to keep you in view. It works reliably with only minor lag provided you stay within the gimbal's range of motion.
Interestingly, Insta360 just released a similar module for its Flow 2 Pro gimbal called the AI Tracker that performs the same function. Up until now, native app tracking on the Flow 2 Pro only worked on iPhones via Apple's Dockkit function, so Android users were out of luck. Insta360's new module brings the same feature set to Android users, albeit at a cost of $40, or in a bundle with the Flow 2 Pro at $180.
That does beg the question as to whether DJI will introduce Dockkit support for the Osmo Mobile 7/7P, as it would allow iPhone users to get the tracking benefit of the module without having to pay for it. However, DJI is staying mum on that matter for now.
Steve Dent for Engadget
Other features on both gimbals include 10-hour battery life, and when the gimbal isn't in use, it works as a power bank to charge your phone. With the DJI Mimo app, tracking supports multiple people in a scene as well as pets, and you can easily switch subjects by tapping on the tracking box. The Mimo app also supports panoramic shooting, dynamic zoom and other intelligent functions, along with zoom/focus control via the side wheel, which also activates the fill light.
And of course, the Osmo Mobile 7P's Multifunctional Module works as a receiver for DJI's $59 Mic Mini transmitter, so if you have one of those, you'll get far better sound quality than you would from your phone alone — a big advantage over the Flow 2 Pro.
Given the rivalry with Insta360, the Osmo Mobile 7/7P is an interesting addition to DJI's lineup — particularly in light of the Flow 2 Pro's very similar new AI Module. The Osmo Mobile 7 ($89) and Osmo Mobile 7P ($149) are now available to order with shipping starting today. There's no word yet on pricing for OM 7 Series Tracking Kit when it's purchased separately.
This article originally appeared on Engadget at https://www.engadget.com/cameras/djis-osmo-mobile-7p-gimbal-can-track-you-around-on-any-android-or-ios-camera-app-130037243.html?src=rss
Chip designer Arm plans to unveil its own processor this year with Meta as the launch customer, The Financial Times reported. The chip would be a CPU designed for servers in data centers and would have the potential to be customized for clients. Manufacturing would be outsourced to a contract fab plant like TSMC (Taiwan Semiconductor Manufacturing Co.) and the first in-house chip could be revealed as early as this summer, according to the FT's sources.
Last month, Arm parent Softbank announced the Stargate project, a partnership with OpenAI to build up to $500 billion worth of AI infrastructure. Arm, along with Microsoft and NVIDIA, is a key technology partner for the project. Arm's chip could now play a role in that project, and also in Jony Ive's mysterious AI-powered personal device, reportedly being developed in collaboration with OpenAI's Sam Altman, according to the report.
Arm's designs power nearly every smartphone and mobile device in the world, along with Apple Mac and Qualcomm-powered Windows PCs. They generally use less power for the same level of compute as Intel and AMD chips, so they've become desirable for data farms that power AI applications as well.
The move would put Arm in direct competition with many of its own customers like NVIDIA, which manufacturers its own Arm-based server CPUs. To date, Arm has never made its own chips — instead, it licenses its technology and patents to major companies like Apple. Those companies then customize the designs for their own needs and use a contract manufacturer like TSMC or Samsung to build the chips.
UK-based Arm is currently embroiled in a testy legal battle with Qualcomm over licensing terms. Meanwhile, parent SoftBank is reportedly close to purchasing Ampere, a server chip designer. That deal will be "central to Arm's own chipmaking project," according to FT's inside sources.
This article originally appeared on Engadget at https://www.engadget.com/computing/arm-is-reportedly-developing-its-own-in-house-chip-130026316.html?src=rss
Microchip and Arm logo displayed on a screen are seen in this multiple exposure illustration photo taken in Krakow, Poland on September 14, 2023. (Photo by Jakub Porzycki/NurPhoto via Getty Images)
Sony just had its best holiday season ever in terms of PlayStation 5 console sales with 9.5 million sold over the last three months (2024 Q3), the company announced in its earnings release. That's 1.3 million more than it sold in the same quarter last year (its previous best holiday quarter) and raises all-time PS5 sales to 74.9 million. The launch of the PlayStation 5 Pro last fall likely provided a boost for the quarter, but Sony didn't break out numbers for that console specifically.
The record quarter means that the PS5 is just 1.5 million units behind where the PS4 was at the same time in its sales life cycle. It also propelled Sony to a higher-than-expected 469.3 billion yen ($3.05 billion) profit (all divisions included).
The company also saw a boost in game sales, up to 95.9 million units sold in Q3 2024 compared to 89.7 million the previous quarter, despite a hefty drop in first party sales. That boosted game software revenue to 784 billion yen ($5.1 billion), compared to 733 billion yen in Q3 2023. On its webcast, Sony shouted out the success of Astro Bot and Helldivers 2, affirming its intention to expand its family and live service game offerings (despite axing recent games in the latter category). Meanwhile, PlayStation Network (PSN) monthly active users rose from 123 to 129 million.
Looking ahead, Sony said it had "high expectations" game sales this year, including first-party titles Death Stranding 2 and Ghost of Yotei, both set to release in 2025. We'll also see some big third-party launches, particularly Grand Theft Auto 6 set to arrive in fall 2025.
This article originally appeared on Engadget at https://www.engadget.com/gaming/playstation/sony-has-sold-749-million-playstation-5s-130021792.html?src=rss
How do you follow up a product that has reigned as the king of mirrorless cameras for the last four years? For Sony, the answer with the A1 was simple: just improve everything. The result is the $6,500 A1 II, a powerful pro-level hybrid mirrorless camera that’s Sony’s best to date.
The A1 II is equipped with a 50-megapixel stacked sensor, not a global sensor like the A9 III, so it’s not quite as fast. However, its blend of speed and resolution makes it the most versatile camera in Sony’s lineup. It also impresses on the video side with 8K 30 fps 10-bit capture, along with 4K slo-mo at up to 120 fps.
I expect a lot out of a Sony flagship camera, though, and while the A1 II has lots of small improvements, there’s nothing terribly innovative. It’s also up against impressive (and cheaper) competition like the $4,300 Canon EOS R5 II and $4,000 Nikon Z8. Plus, there’s the similarly priced pro-level Canon R1 and Nikon Z9. So despite its strengths, I found Sony’s new flagship to be slightly disappointing.
Body and handling
The A1 II is Sony’s best-handling camera to date. In terms of design and control placement, it’s nearly identical to the company’s high-end A9 III. At 743 grams (1.64 pounds), it’s heavier than the 617-gram (1.36 pound) A1, but still a featherweight compared to other professional models like the three-pound Z9. The new grip has slightly softer materials and more rounded contours, so it’s more comfortable and secure to hold than the hard-edged A1. That’s a big help to working pros with heavy lenses.
If you like manual controls, the A1 II is a dream. It has three primary dials, compared to just two on rival flagships. There’s a mode selector ring to choose photo, video and so-called Slow & Quick modes, along with a dual-control wheel for both shooting and autofocus. Around back, there’s yet another dial, plus a joystick and numerous customizable buttons.
The A1 II’s menu system has been refreshed to match the A9 III. It now offers a “home” setting for your most-used features, and everything is neatly organized into sub-menus. Sony also added an easy-to-use section for customizing buttons, dials, the quick menu and more.
Steve Dent for Engadget
Despite the price difference, it’s natural to compare the A1 II’s design and setup with the Canon R5 II as both are high-performance, high-resolution cameras. The R5 II does feel a bit nicer thanks to the more rounded shape and softer materials. But the A1 II has a larger array of controls, so it’s easier and faster to shoot with it once you get used to them. Sony also has a more intuitive menu system that makes it easier to find key settings.
Then there’s the A1 II’s sublime electronic viewfinder (EVF). Though it has the same resolution as the A1 at 9.44 million dots, it no longer drops in resolution at its default 120 fps frame rate. With that, it’s so sharp and bright that it blows away any argument for an optical viewfinder. Sony even provides two eyepiece cups, including what it calls a “squishy” option that molds around your eye to block out light, giving me a fully immersive experience. With all of that, this is easily the best EVF I’ve ever used.
Vloggers complained about the lack of a fully articulating display on the A1. Sony addressed that by outfitting the A1 II with a bright, 3-inch, 2.1-million-dot screen that not only tilts up and down but also fully swivels — ideal for both photographers and content creators.
As before, the A1 II has a dual card slot system with support for both SD UHS II and (sigh) Sony’s CFexpress Type A cards that no one else uses. Those are faster than SD, but not as fast as the CFexpress Type B slots found on the R5 II, Z8 and others.
Steve Dent for Engadget
The Z-type battery delivers a decent 520 shots on a charge, which is just slightly less than the 530 on the A1. It comes with a nice array of ports, including full-sized HDMI and high-speed USB-C 3.2 Gen 2 that allows rapid 10Gbps file transfers. You also get mic and headphone ports, a 2.5 Gbps ethernet connection and a flash sync port. Even the Wi-Fi was upgraded with 2x2 MIMO support that allows 2.5Gbps transfer speeds instead of 1Gbps as before.
Performance
The A1 II is the fastest high-resolution camera available, letting you hit burst speeds up to 30 fps when shooting RAW with continuous autofocus enabled in electronic mode, or 10 fps with the mechanical shutter. Those speeds match or beat its main rivals, but aren’t an improvement over the four-year-old A1. That’s a bit of a surprise, given that the A1 II has a much faster Bionz XR image processor borrowed from the A9 III.
The autofocus is a big improvement, though. It locks onto subjects quicker than before, so I saw fewer out-of-focus shots when firing off bursts. The A1 II also has Sony’s latest algorithms and AI features from the A9 III that make subject-recognition faster and more user-friendly. It can now recognize human bodies, faces and eyes, along with animals, birds, insects and several types of vehicles. On top of that, the A1 II is Sony’s first camera to automatically identify those subjects so you don’t have to tediously select them yourself. In other words, if you’re photographing birds and happen to see a bear, you won’t waste valuable time switching modes.
Sony is a bit late to the game with this auto subject selection, as Canon and other brands have had it for a while. However, the A1 II has the best implementation I’ve seen to date, as it chooses and locks onto subjects more quickly. Like other cameras, it can get tripped up in situations with multiple subjects, occasionally selecting the wrong one. With human subjects, Canon has an edge thanks to its face-memorization feature on the R1 and R5 that will always try to lock onto a specific person.
Steve Dent for Engadget
While the A1 II has both a mechanical and electronic shutter, the stacked sensor’s fast readout speeds mean you can use the latter almost exclusively. Even in sports like golf with high speed movements, skewing and distortion is rarely an issue when using the electronic shutter, and you can shoot photos silently without disturbing participants.
Pre-capture is a key new feature, letting you keep up to 70 frames when half-pressing the shutter button, before fully pressing it. That reduces the odds of missing a decisive moment in a scene.
When it comes to stabilization, the A1 II also represents a first for the company. It offers 8.5 stops, beating the A9 III by a half-stop and matching the EOS R5 II and R1. Thanks to that, I was able to nail sharp photos even at ridiculously slow shutter speeds, like a full second. That’s ideal when you need to shoot in low light or deliberately blur moving subjects without using a tripod.
While the A1 II is quick, it didn’t bring the generational leap I expected compared to a four-year-old camera. My professional photographer friends (who already own A1s) felt the same way and won’t be upgrading.
Image quality
The A1 II is not just fast, but also delivers high resolution, and that combination is why you pay the big bucks. Images are sharper than just about any full-frame camera, with the exception of Sony’s own A7R V. Dynamic range is excellent and colors are accurate when shooting JPEGs, though I prefer Canon’s warmer images straight out of the camera.
The new model has the same sensor as the A1, but Sony managed to boost dynamic range very slightly at higher ISOs. As a result, you get minimal noise up to around ISO 6,400 and images are very usable at ISO 12,800. This is outstanding for a 50MP camera, and better than Canon’s EOS R5 II. Beyond that, and up to the camera’s maximum ISO 32,000, noise starts to become distracting.
RAW files give photographers ample room to dial down blown out highlights or boost detail in shadow areas. If you need the maximum amount of dynamic range, you’ll want to shoot using the lossless compressed RAW format, as lossy compressed RAW files are noticeably worse in highly detailed images. The downside to the latter is that shooting them limits burst speeds to 20 fps and fills your memory card much faster.
While image quality is outstanding, it’s not much of an improvement over the A1. For studio and landscape photographers who value image quality above all and already own an A1, the A1 II likely isn’t worth the investment.
Video
On paper, the A1 II is a powerhouse for video, offering up to 8K 30 fps recording and 4K 60 fps(up to 4K 120 fps with no sound), with 10-bit log shooting available. It comes with a new feature that lets you load custom LUTs when shooting in log (S-Log3) mode, so you can better judge your exposure. It also has a setting that lets you better match footage with Sony’s professional cinema cameras. That’s on top of the other improvements I already mentioned, like the fully articulating display and upgraded stabilization, that are also beneficial when recording video.
Frame of 8K video from the Sony A1 II
Steve Dent for Engadget
Autofocus is much improved with more reliable tracking of moving subjects, as I found when shooting a fast-moving soccer event. It also supports the same subject tracking modes available when capturing photos (eyes, faces, bodies, birds, animals and vehicles).
Looking closer, though, the video capabilities are slightly disappointing. Unlike the much cheaper Nikon Z8 and Canon EOS R5 II cameras, the A1 II doesn’t offer internal RAW recording, possibly because the CFexpress Type A slots can’t handle the required bandwidth. That can make a big difference with video quality and the ability to adjust colors and levels when editing.
Still, when recording 8K or 4K 10-bit log video at the highest data rates, image quality and dynamic range are solid. The S-Log3 and 10-bit features give content creators a lot of room to tweak footage shot in dim interiors or a bright sunny day.
The in-body stabilization may be the best I’ve seen on any camera to date. The optical mode does a great job removing any hand jitters if you don’t move around too much. And for walking or running, the electronic stabilization (not available in 8K) provides near GoPro-like smoothing, with none of the sudden jolts seen on other models. If you do need to move the camera quickly, rolling shutter is usually a non-issue. I only saw any distortion when shooting 8K video, and even then, it was minimal.
Wrap-up
Steve Dent for Engadget
The A1 II is an awesome camera and near the top of the food chain in terms of speed and power. Nearly every aspect has been improved over the A1, including the stabilization, body design and autofocus.
However, the innovation that Sony is known for is lacking here, and on top of that, the A1 II is very expensive. With that taken into account, I think it falls short. The A1 II is only a mild upgrade over the A1 and when it comes to video, it’s lagging behind the Nikon Z8 and Z9 as well as the Sony R5 II.
If you already have the A1, I don’t think the A1 II offers enough extra to justify a new investment. And anyone who is more serious about video should consider either the Canon R5 II or Nikon Z8, as both offer higher-quality RAW video at up to 8K 60p for less money. However, for pros or serious amateurs going into the A1 lineup for the first time, who focus on photos and have no qualms about the $6,500 price, the Sony A1 II is a great pick.
This article originally appeared on Engadget at https://www.engadget.com/cameras/sony-a1-ii-review-a-powerhouse-camera-that-falls-short-of-its-own-high-standards-150053430.html?src=rss
Qualcomm is bringing AI to its mid-range mobile chip lineup with the Snapdragon 6 Gen 4 Mobile Platform, the company announced. The new chips also promise improved CPU and GPU performance, lower power requirements and faster Wi-Fi and mobile connectivity compared to the previous chip.
The new AI features are made possible with support for Qualcom's on-device Gen AI support, allowing voice-activated assistants, background noise reduction during calls and more. It's also the first 6-series Snapdragon processor with support for INT4 that allows generative AI to run more efficiently on small devices.
Qualcomm
Qualcomm is also promising 11 percent improved CPU performance via its latest Kryo CPU and a 29 percent boost in GPU performance. Neither of those gains will stress your battery, thanks to a 12 percent savings in power. Qualcomm is also debuted its 5G Modem-RF systems that promises to improve 5G speeds and compatibility, while introducing Wi-Fi 6E connectivity via its FastConnect system. Other. new features include lossless audio and a triple ISP that will allow phones to take photos and record videos simultaneously.
All of that means that Android users won't need to break the bank on flagship devices to get the latest AI features and decent speed. The Snapdragon 6 Gen 4 Mobile Platform will soon appear on Oppo, Honor and other devices, the company said.
This article originally appeared on Engadget at https://www.engadget.com/mobile/qualcomms-snapdragon-6-gen-4-is-its-first-mid-range-chip-with-ai-support-140005612.html?src=rss
T-Mobile's Starlink satellite texting feature is now available in beta for anyone with a compatible iPhone or Android device to try out, the company announced in a Super Bowl ad. The new feature provides mobile 4G or 5G coverage in areas not covered by regular cell phone towers, and you can sign up for it even if you're on another carrier like Verizon or AT&T.
The service will be available for free until July to approved beta testers, though limited spots are available. After that, customers of T-Mobile's high-end offerings like the $180 Go5G Next plan will receive the feature at no cost. Other T-Mobile customers can add the service for $15 per month, or $10 per month if they sign up before the end of February. Users of other carriers will be charged $20 per month starting in July (T-Mobile didn't explain exactly how that would work).
In August last year, T-Mobile and Elon Musk's SpaceX announced a collaboration that would allow the carrier's subscribers to connect to Starlink's second-gen satellites for coverage even from the most remote locations. The service works with standard mobile phones, but only recent, compatible models including the Apple iPhone 14 series and later, all Google Pixel 9 models, the Samsung Galaxy S21 and later, Galaxy Flip3 and Fold3 or later and others.
If you have such a device, are enrolled in the T-Mobile Starlink beta and find yourself in an area of the US without regular cell phone coverage, you should be able to connect to a satellite and send someone a simple text message. Starlink support for voice calls and data is coming later, T-Mobile said.
T-Mobile and Starlink sent and received the first text messages using satellites back in January 2024. In the months that followed, the FCC had given them permission to enable satellite texting in certain locations so that people could stay connected in hurricane-hit areas. Now, anyone can try it, but it would be best to apply soon given the limited spots.
This article originally appeared on Engadget at https://www.engadget.com/mobile/t-mobile-is-offering-its-starlink-satellite-texting-feature-for-free-until-july-130044054.html?src=rss
Camera launches have been plentiful as of late, with Canon, Nikon, Sony and other major brands releasing important new models recently. In 2024, we saw some notable improvements in areas like autofocus and video, along with some new trends in creating interesting looks for videos and photos in-camera.
All told, there were over 20 new cameras launched last year which joined the many outstanding models on the market from years prior. The question is, which one is right for the type of videography or photography you do? Whether you’re an aspiring action or wildlife photographer, an extreme sports junkie or a content creator, we’ll help you find the perfect camera to match your budget and requirements.
What to consider before choosing a camera
Though smartphones get better for video and photos every year, full cameras still have an edge in many ways. The larger sensors in mirrorless cameras let more light in, and you have a wide choice of lenses with far superior optics. Dedicated cameras are also faster for shooting things like sports or wildlife, offer superior video for content creators and create more professional results.
Sensor size
There are a few key things to consider to get the most out of a camera. The first is sensor size: in general, the larger the sensor, the better (and usually more expensive) the camera.
Full frame is the largest sensor size for mainstream cameras, and it’s available on models like the new Panasonic S9, the Nikon Z III and Canon EOS R5 II. At a size equivalent to 35mm film (36 x 24mm), it offers the best performance in terms of image quality, low-light capability and depth of field. But it’s also very expensive and finicky. While bokeh looks incredible at an aperture of f/1.4, the depth of field is so razor thin that your subject's eyebrow might be in focus but not their eye. This can also make shooting video difficult.
The next size category is APS-C (around 23.5 x 15.6mm for most models and 22.2 x 14.8mm for Canon), offered on Fujifilm's X Series lineup, the Canon R10, the Sony ZV-E10 II and the Nikon Z50. It's cheaper than full frame, both for the camera body and lenses, but still brings most of the advantages like decent bokeh, high ISOs for low-light shooting and relatively high resolution. With a sensor size the same as movie cameras, it's ideal for shooting video, and it’s easier to hold focus than with full-frame cameras.
Micro Four Thirds (17.3 x 13mm), a format shared by Panasonic and Olympus, is the next step down in sensor size. It offers less bokeh and light-gathering capability than APS-C and full frame, but allows for smaller and lighter cameras and lenses. For video, you can still get reasonably tight depth of field with good prime lenses, but focus is easier to control.
The other common sensor size is Type 1 (1 inch), which is actually smaller than one inch at 12.7 x 9.5mm. That's used mostly by compact models like Sony’s ZV-1 vlogging camera. Finally, action cameras like the GoPro Hero 11 and DJI’s Osmo 3 have even smaller sensors (1/1.9 and 1/1.7 inches, respectively).
Autofocus
For photographers, another key factor is autofocus (AF) speed and accuracy. Most modern mirrorless cameras have hybrid phase-detect AF systems that allow for rapid focus and fast burst speeds. The majority also offer AI features like eye-detect AF for people and animals, which locks in on the subject’s eyes, face or body to keep them in focus. However, some models are faster and more reactive than others.
Displays
The electronic viewfinder (EVF) and rear display are also crucial. The best models have the sharpest and brightest EVFs that help you judge a shot before taking it. For things like street photography, it’s best to have as bright and sharp a rear display as possible, so it’s easy to see your subject and check focus in all manner of lighting conditions. You may also want a screen that flips out rather than just tilting, too.
Lenses
DSLRs and mirrorless cameras let you change lenses, but you're stuck with what's built into a compact camera. While that's great for portability, a single lens means you're going to sacrifice something along the way. The Fujifilm X100V, for instance, has a fast but fixed 35mm-equivalent f/2.0 lens and no zoom. The Sony RX100 V has a 24-70mm zoom, but it's slower at the telephoto end (f/2.8) and less sharp than a fixed focal (prime) lens.
When choosing a lens for a mirrorless camera, you’ll need to consider the focal or zoom length, along with the minimum aperture. Smaller numbers like f/1.4 for a prime lens or f/2.8 for a zoom are best, as they let you work in darker environments and maximize background blur to isolate your subject. However, those lenses are more complex and thus more expensive.
Video recording
When it comes to video, there are other factors to consider. Some cameras combine or skip over pixels (line skipping or pixel binning) for video recording, which is not ideal because it can reduce sharpness. Better cameras tend to read out the entire sensor and then “downsample” to improve video sharpness (camera manufacturers don’t often say if video is pixel binned, but will say if it’s downsampled). Another important factor is sensor speed, as slower sensors tend to have more rolling shutter that can create a “jello” effect that skews video.
In addition, how’s the battery life? How do you like the handling and feel? How long can you shoot before the camera heats up or stops? Does it support 10-bit HDR video? Is there a microphone and/or a headphone jack? (If you record a lot of interviews, it's preferable to have both.) How's the video autofocus? All of these things play a part in your decision.
Best cameras
Best mirrorless cameras
Mirrorless is the largest camera category in terms of models available, so it’s the best way to go if you’re looking for something with the most advanced features. Canon and Nikon recently announced they’re discontinuing development of new DSLRs, simply because most of the advantages of that category are gone, as I detailed in a video. The biggest selling feature of a mirrorless camera is the ability to change lenses depending on the type of shooting you want to do.
Best action camera or gimbal camera
The most important features to look for in an action cam are image quality, stabilization and battery life. GoPro has easily been beating all rivals recently in all those areas, but DJI has taken a lot of its business with the Osmo Pocket 3 gimbal camera.
Best compact camera
This category has fewer cameras than it did even a few years ago and many models are older, as manufacturers focus instead on mirrorless models. However, I’m still a big believer in compact cameras. They’re a noticeable step up from smartphones quality-wise, and a lot of people will take a compact traveling or to events when they’d never bother with the hassle of a DSLR or mirrorless camera.
Compacts largely have type 1-inch sensors, but a few offer larger options, particularly Fujifilm’s XF-100V. Another popular model, Sony’s XV-1, is primarily aimed at content creators looking to step up. In any case, desirable qualities include image quality, a fast lens, relatively long zoom, flip-out display, good battery life, a high quality EVF, decent video and good pocketability.
This article originally appeared on Engadget at https://www.engadget.com/cameras/best-cameras-151524327.html?src=rss
