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I was blown away by the zoom on the Panasonic HC-X1200 – it almost makes the case for a full camcorder comeback
4:00 pm | November 29, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: | Comments: Off

Panasonic HC-X1200: two-minute review

I’ve been testing camcorders for over five years, to which you might respond, "Aren’t camcorders a relic from a former era?" And in some ways you'd be right. But there's still plenty of life in the product category, and filmmakers who like the traditional handling and built-in zoom of a camcorder will find much to enjoy in Panasonic's HC-X1200.

Even for a seasoned reviewer like myself, though, the HC-X1200's appeal isn't immediately clear. This relatively new and lightweight Panasonic model targets the serious creator or event videographer who needs rock-solid reliability and modern specs without jumping into the $2,000 / £1,500 price bracket.

There are few real video 'features', apart from basic face tracking. And without mod cons like Wi-Fi, this isn't the tool for fast-paced content creators. I like a simple workflow, and the HC-X1200 is certainly easy to pick up and use in full auto mode, with the option to work in manual for more advanced users.

A core strength here is, thankfully, image quality. I was fairly impressed that the camcorder offers 4K recording at 60 frames per second (4K/60p) with 10-bit internal recording, especially since similarly-priced models max out at 4K 30p.

This combination smooths out action footage with enough color latitude for grading later on, although it's nothing like as fast as you'll get from a top-tier action camera.

The main draw of camcorders, as I say, is their built-in zoom range. Sure enough, the HC-X1200’s built-in 24x optical zoom is something you won't get from a mirrorless camera without spending a fortune on lenses that are likely very heavy, too.

It's also worth noting that the HC-X1200's rivals max out at 20x zoom. If you’re an event or documentary shooter, or a wildlife enthusiast as I am, this is the best video camera for zooming in exceedingly far with clarity, stability, and speed. In 35mm terms, it's the equivalent of having lenses ranging from a 25mm wide-angle all the way to a 600mm telephoto in your bag.

The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)

The HC-X1200's design also incorporates three steps of built-in ND filter, and the excellent 5-axis Hybrid OIS. is impressive for static handheld shots and walking scenes.

I didn't get the chance to shoot a wedding during my review loan period with the camcorder. Still, I think I’d be happy to use it for long events like weddings or conferences without worrying about the battery dying or the unit overheating, not least since the heat-dissipating design kept it totally cool while shooting long testing clips.

The HC-X1200 is a relatively affordable camcorder, and that’s because it makes some obvious compromises. Without a proper electronic viewfinder (EVF), it’s not always easy to see settings and frame up scenes in bright sunlight, especially since a lot of data on the screen is printed in tiny writing.

Good video requires good audio, but there are no professional XLR audio inputs. Instead, there’s one 3.5mm mic jack, which means relying on external recorders or less high-end microphones if you’re working on projects where audio is critical. If you're shooting primarily for home or family videos, though, the audio is just fine.

The HC-X1200 is a good-value portable camcorder. Whether you’re new to filmmaking and want something with a long zoom, or you like the traditional handling, the HC-X1200 is a reliable option for long-form capture. Just be prepared to manage audio externally, and work primarily in well-lit conditions.

The Panasonic HC-X1200 camcorder being taken out of the box

(Image credit: Future)

Panasonic HC-X1200: price and availability

  • Priced at $1,299.99 / £1,099 / AU$2,399
  • Lens hood included
  • Announced in January 2025

The Panasonic HC-X1200 was announced in January 2025 alongside two new 4K camcorders, the HC-X1600 and HC-X2100. It costs around $1,299.99 / £1,099 / AU$2,399.

The HC-X1200 is the entry-level model among these three Panasonic camcorders, without a viewfinder, handle unit, or XLR mic ports. It also lacks Wi-Fi, which feels like a misstep given that this comes as standard on cheaper rival camcorders and creator video cameras.

By my maths, the HC-X1200 is one of the most affordable camcorders for shooting 4K at 60 frames per second. The built-in ND filters also add a lot of flexibility for controlling exposure in bright light. Competing models priced near or below it (the Canon HF G70 or Sony AX43) are typically limited to 4K/30p, and both of those max out at 20x optical zoom power.

Panasonic HC-X1200 specs

Panasonic HC-X1200 specs

Sensor:

1/2.5-type (inch) MOS

Effective pixels:

8.29MP

Optical zoom:

24x

F Value:

f/1.8-f/4

Stabilization:

5-axis hybrid OIS

Memory card:

SDHC/SDXC (Up to 512GB)

Recording formats:

MP4, AVCHD

Maximum recording quality:

100 Mbps for 4K 59.94p/50p

Dimensions:

3.7 x 5.1 x 8.2 inches / 893 x 129 x 209mm (H x W x D)

Weight:

1.76lbs / 800g

Panasonic HC-X1200: Design

  • Light at just 800g, but not ultra-compact
  • Heat-dispersing design for continual recording
  • Two manual control rings

The Panasonic HC-X1200’s form resembles a classic camcorder. Made from matte black plastic, the body is long and barrel-shaped, and there’s an adjustable padded strap to aid stable handheld use (right-handed functionality only, though), with a pull-out, articulating LCD screen on the left of the body.

The HC-X1200 looks and feels similar to the Panasonic HC-X1500, which I’ve also tested, but comes in at a lighter weight of 1.76lbs / 800g. Some of the HC-X1500’s added weight comes from the viewfinder and eyecup, and the HC-X1200 is designed as a compact, body-only model, doing without the XLR-equipped handle unit found on its siblings (the HC-X1600 and X2100).

Panasonic calls it a “lightweight 4K 60p palm-style" camcorder, and while isn’t heavy, it might feel cumbersome to use at first if you’ve come from a vlogging-style camera. You’ll need a long padded bag to carry it, too. But the benefit of a camcorder like this is that everything is in the one unit, so you can forget carrying (and swapping out) extra lenses.

On the top is a chunky raised zoom rocker, which I found responsive, but not as naturally placed as on some camcorders. My index and middle fingers had to curve around slightly to reach it, but your mileage may vary.

The HC-X1200 is aimed at prosumers rather than total beginners, so there’s a good array of physical buttons on the camcorder body. There are no fewer than five customizable user buttons on the top, too, which can be set via the menu for controlling functions like face detection and enabling image stabilization.

Several of these are already preset, making them optional, but it’s a good thing to be able to customize the handling for your own preferences, especially since it’s harder to find these buttons in low light.

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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)
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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)

Before you even pull out the LCD screen, there are more buttons underneath on the left-hand side, including for the menu, iris, gain, shutter, and a toggle to switch between auto and manual exposure mode. The Menu button is the one you’ll likely use the most, and I would have liked to have felt it raised more than the others to make it easier to find without looking. Small things, though.

Fold out the LCD and there’s the on/off button (presumably positioned as such to stop you pressing it accidentally when the LCD is stowed away), a playback button, a toggle for displaying more or less info on the screen, and, as with most camcorders around this price point, dual memory card slots covered by a slide across a plastic window. A light illuminates to indicate which of the two SD cards is actively recording, which is a nice touch.

The 3.5-inch touch-sensitive LCD monitor is bright, detailed, and fully articulated, which means you can shoot pieces to camera or at low angles easily. As a more compact model, the Panasonic HC-X1200 notably skips an electronic viewfinder, but for this class of camera the generous touchscreen compensates.

My main complaint is the responsiveness of said screen and the layout of the menus, which at times felt slow, confusing, and outdated to a modern user. It’s a shame Panasonic couldn't spend time coming up with a more user-friendly experience, but it’s not a dealbreaker.

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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)
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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)
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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)

At the rear of the camcorder is the raised recording button (easy to find without looking), plus a full HDMI port, USB-C power port, and single 3.5mm stereo mini jack for external audio input. In some ways, it’s a shame that professional XLR inputs are reserved for the X1600/X2100 handle. However, for a camcorder of this size, it keeps the profile sleek. Underneath, there’s also a standard tripod thread, and it’s a great bonus to be able to check the battery’s capacity with a quick press of the “check button”.

The highlight for me when using the HC-X1200 were the dual manual rings on the lens barrel, which are both smooth and very tactile to use, thanks to the notched markings all the way around them. The ring closest to the lens controls focus, and the other zooms, meaning you can precisely pull focus through a shot, or just get up-close subjects really sharp.

I found it easy to make smooth and on-the-fly adjustments without taking my eye off the action, and the manual rings are also in a more natural place for your hands than the zoom rocker. Just behind the closest ring is a dedicated three-stage ND filter switch (Clear, 1/4, 1/16, 1/64) placed right where my fingers expected it, and I found this essential for managing exposure in bright outdoor settings, even though I’ve not really used this function on other camcorders.

Close-up of Panasonic HC-X1200 camcorder showing lens

(Image credit: Future)

A big lens hood is supplied with the camcorder, both to protect the lens and shelter it from bright, direct sunlight. There’s a physical toggle to open and close the lens hood, which mirrorless users might take a while to get used to. I do wonder if modern mirrorless users will, like I did a few times, even with years of testing, forget to close the opening once you’ve finished shooting.

The HC-X1200’s design doesn’t try anything new, but that’s okay. It took me a few days to really get to grips with everything – both metaphorically and literally, since the strap needs tightening often – but it balances portability with some core manual controls. It’s an effective, comfortable choice for filmmakers who don’t want to carry around a colossal camcorder.

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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)
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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)

Panasonic HC-X1200: Performance

  • Mediocre low-light performance from the small sensor
  • Impressively shake-free footage even at the full 24x zoom
  • Versatile f/1.8-f/4 iris opening allows some bokeh

The XC-H1200 is a good video all-rounder, without any of the fancy AI features or autofocus options often marketed at content creators to make filming 'easy'. If you’re looking for a fully automatic workflow, though, the XC-H1200 delivers generally well-exposed and balanced 4K footage.

The 24x zoom range is quite incredible, and you can see in the sample clips how close I was able to get to a grey heron from the other side of a large pond. The zoom action is very smooth, and I like that it can be fine-tuned using the lens rings – great for up-close scenes, or if you want some creative pull-focus shots.

There aren’t any metering modes to choose from, though, and I often found that the exposure, while good overall, would overexpose very bright areas, such as the white feathers of a bird, at the mid-to-far end of the zoom. However, the camcorder’s built-in ND filters became exceptionally helpful on sunny days, as well as a creative tool if I wanted a darker look.

I found white balance to be very accurate on frosty mornings and sunny days, but in artificial light I ended up setting the tone manually. This is Panasonic's prosumer camcorder, so the fact that it lacks color grading isn’t a surprise, and there aren’t options to match colors with other cameras – a feature I’ve previously used with the Canon lineup.

Colors are well rendered, if a little on the dull side, but I found some leeway to boost the vibrancy in post-production without scenes looking artificial or losing detail. With 10-bit color depth set I didn’t notice any banding in bright skies either, as I have with cheaper camcorders and action cameras.

There are several video options to choose from, but only once you’ve stumbled upon the right place in the confusing, unintuitive menu. You can shoot in either UHD 4K or 1080p resolution, and two frequency modes (59.94 Hz for NTSC regions and 50.00 Hz for PAL regions) dictate the available frame rates, all at a maximum bitrate of 200Mbps.

Various encoding options will help those with more experience balance file size and quality, but if you’re new to moviemaking Panasonic doesn’t helpfully explain any of the options, so a bit of research might be needed in order to get the most from them.

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The menu screens on the Panasonic HC-X1200

(Image credit: Future)
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The menu screens on the Panasonic HC-X1200

(Image credit: Future)

Although it isn’t obvious, the HC-X1200 has the option for smooth slow-motion capture at up to 120fps, but only in HD (1920 x 1080). The idea is to help keep fast-moving subjects in focus, but while the results are definitely usable, the autofocus is the more limiting factor for ultra-fast and erratic subjects. In short, don’t buy this camera expecting to shoot a lot of crisp action.

The HC-X1200’s autofocus isn’t mind-blowing, and Panasonic doesn’t give a lot of detail regarding the mechanics of how it works. There’s nothing like the eye-detection precision of my Canon EOS R6 Mark II, but that’s to be expected at this price point.

Face tracking is easily turned on or off with a button on the body. It’s great for keeping you sharp during vlogging pieces to camera or documentary work, since the camcorder also adjusts the exposure automatically to keep the main face balanced in changing light. If you’re in shifting lighting conditions, this process takes a few seconds to recalibrate, but for interviews in a continuous or evenly lit room, it will cope well.

I was worried about low-light performance, due to the size of the camcorder’s sensor (1/2.5-inch) – usually a recipe for grainy, muddy footage. Out of the camera, the footage I shot at night was a little noisy, but far more usable than other camcorders I’ve tested with the same sensor size. The best results come from shooting at the camcorder’s highest bit rate, and then eking out the mileage with some creative grading.

If you work with dark footage rather than trying to brighten the shadows, the low-light footage is surprisingly usable. Setting the f/1.8 maximum aperture manually also helps. The HC-X1200 is also capable of capturing the invisible infrared spectrum for nighttime footage, but you need to buy an external infrared light source for this, so I didn’t test it.

With the dual SD card slots, you can set up two cards for relay recording (using one as an overflow when the first fills up), or simultaneous recording, so you have a backup. I only used one fast SD card when testing, but I often found the camera would be writing and processing footage for a long time after hitting the button to end recording. On a few random occasions, the camcorder froze, and I had to leave it alone for five minutes or so before, which isn’t ideal if you’ve got limited time with a subject or need to capture a particular moment.

On the plus side, it’s fully possible to record footage for as long as either your memory card(s) or the battery allows, since the heat-dissipating design genuinely delivers unlimited recording times, as Panasonic promises. I accidentally left the camcorder recording in my bag one day, and found I had several hours before the battery had run out.

Panasonic says you’ll get five hours of battery when recording 4K at 30p, and I got at least four and a half hours from one full charge, making this an excellent all-day companion if you have a few spare batteries in your arsenal.

Obviously, image quality is only half of the equation with video, and the HC-X1200’s audio quality falls somewhat short. If you’re a few steps from the camcorder, and ideally facing towards it in a wind or traffic-free zone, your voice is picked up clearly. Outside this ideal scenario – for example, if you’re walking and talking, or near a road – the built-in mic is less capable at picking out individual audio sources.

There are no clever AI algorithms working in the background to help suppress wind noise, as found on action cameras like the DJI Osmo Nano. So the onus is on you as the user to carefully choose the shooting location – in a sheltered spot away from the wind – or add an external mic with a furry wind shield using the 3.5mm jack input.

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The Panasonic HC-X1200 camcorder held by a female photographer against an orange autumnal backdrop

(Image credit: Future)

Should you buy the Panasonic HC-X1200?

Buy it if...

You mostly shoot in controlled or good lighting

The HC-X1200 isn't great at adapting to changing light in auto mode, and tends to get grainy in low light.

You don't need XLR inputs

There's a standard 3.5mm stereo mic input. You may need an external audio recorder for pro-grade quality.

Don't buy it if...

You want the flexibility of Wi-Fi

Without built-in Wi-Fi, you can't use a phone or tablet for remote control or livestreaming.

You like using an electronic viewfinder (EVF)

You've only got the LCD for changing settings and framing scenes. The screen is generous, but it can be hard to view in bright sunlight.

Also consider

The Canon EOS R10 camera sitting on a wooden bench
Canon EOS R10

Keen for a hybrid camera you can shoot stills on, too? Our favourite entry-level mirrorless also offers 4K/60p video, but it's heavily cropped. Low-light performance is better than the HC-X1200 thanks to a bigger sensor, and with the standard kit lens it's about the same price, but of course you don't get that mega camcorder zoom.

Read our Canon EOS R10 review

A female filmmaker holding the Canon XA65

Canon XA65

I've tested the Canon XA65 for our sister title Digital Camera World, and think it's a great filmmaking camcorder if you're willing to pay a little more. The 20x optical is smaller than the HC-X1200, but it's incredibly versatile. Prosumers should get good use of the detachable handle, which helps with low angles and lets you add two external microphones via the XLR ports.

A female photographer holding the Panasonic HC-X1200 in an autumnal scene

(Image credit: Future)

How I tested the Panasonic HC-X1200

  • I tested it for two weeks
  • I shot in full Manual and Auto mode
  • I used it for video, day and night

Panasonic loaned me the HC-X1200 for two weeks, and although it was raining almost the whole time (welcome to winter in the UK), I did take it with me on a few outdoor adventures, dog walks, and day trips, and I used it as an everyday companion for mainly handheld shooting.

I made direct comparisons with many other camcorders I've tested, as well as video on my now similarly-priced Canon EOS R6 DSLR and iPhone 15 Pro.

I shot videos using different iris settings and zoom lengths, in both fully automatic and manual modes, to compare the ease of use and quality of results from both.

  • First reviewed November 2025
I tried the Nikon ZR – the smallest and lightest cinema camera around, with Sony and Canon-beating features
7:00 am | September 10, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: , | Comments: Off

Nikon ZR: two-minute review

The new Nikon ZR is the first in a new line of Nikon / RED cinema cameras, and instantly makes Nikon a major new player in this space, capable of going to toe-to-toe with Sony, Canon, Blackmagic and Panasonic.

Nikon only acquired RED Digital Cameras 18 months ago, and it's made fast work of producing the surprisingly polished and capable ZR, adorned with Z Cinema Camera and Nikon / RED branding, and available for a tantalizing price that significantly undercuts rivals.

It packs a bunch of Nikon Z6 III tech, including the same 24MP partially stacked full-frame sensor, 5-axis image stabilization, subject-detection tracking autofocus and more, into an extremely compact, weather-sealed cinema camera body.

We get 6K 60fps video with internal RAW recording, with any one of nine industry-favorite RED color profiles baked in – that's the Nikon / RED amalgamation truly bearing fruit – plus 4K 120fps and Full HD 240fps slow-motion recording.

Handily, shutter angle can be set automatically to 180 degrees, so there's no need to mess around with manual exposure settings, plus the shutter angle can be set to any position between five and 360 degrees manually, should you wish.

Nikon ZR camera with mic attached under low key magenta lighting

The Nikon ZR with new ME-D10 shotgun mic attached – the mic supports the camera's 32-bit float audio capture skills (Image credit: Tim Coleman)

We don't get open gate video recording as in some rivals like the Canon EOS C50, but the ZR has another trick up its sleeve: hold the camera vertically, and its UI automatically rotates, with the vertical orientation embedded in the video files and automatically detected in Nikon's editing software, delivering full-resolution vertical video.

The ZR is the first camera of its kind with internal 32-bit float audio capture, plus what Nikon says is the best-quality internal mics yet – a triple mic combo with Ozo audio and a choice of five directional pickup patterns, including binaural.

Alongside the ZR, Nikon has launched the ME-D10 directional mic (you can see it slotted into the camera's hotshoe in the image above), which is compatible with the camera's 32-bit float capabilities.

This is also the smallest cinema camera I’ve used, yet it still squeezes in a large, brightest-in-class 4-inch vari-angle touchscreen. Naturally, there's no viewfinder.

Rear of the Nikon ZR camera under low key magenta lighting

Nikon has put both its own and RED's branding on the ZR, together with Z Cinema Camera (Image credit: Tim Coleman)

Given its tiny size, there are compromises. We don’t get some of the pro connectivity found in other pricier compact cinema cameras – for example there’s only a micro HDMI port, not a full-size one. However, if you still feel the need to use an external monitor even with the large 4-inch built-in display, all you'll need is a micro-to-full-size HMDI adaptor to get connected.

Sadly, the ZR lacks mounting points for video accessories and, with no grip, you’ll definitely want to rig it up with a grip or a cage for a better hold. That means forking out for ZR-dedicated gear – Nikon outsources to leading accessory maker SmallRig.

However, at just £2,199 (US and Australia pricing is TBC), no other cinema camera comes close to the ZR for video features – and this aggressive pricing will soften the blow of any additional outlay on accessories.

I can see the Nikon ZR as a go-to b-cam for many pros, especially those already shooting with a RED camera, for whom the color profile matching will make for a seamless workflow. That said, this is a capable video camera in its own right too.

The Nikon ZR is an incredibly capable and polished compact cinema camera with world-first features, and an exciting first step into the filmmaking space for Nikon. Should video lenses soon follow (most Z lenses are designed primarily for photography), along with a higher-end cinema camera with pro connectivity to sit above the ZR, then Nikon will truly find its footing in this space.

Top plate of the Nikon ZR camera under low-key magenta lighting

The compact body is the smallest in this class of cinema camera, with a fairly simple control layout (Image credit: Tim Coleman)

Nikon ZR: price and release date

  • Costs £2,199.99 (US and Australia pricing TBC)
  • There will be various accessory bundles, TBC
  • Sales start in October

The Nikon ZR costs £2,199 (US and Australia pricing is TBC, but that coverts to roughly $2,980 or AU$4,500). At that price it significantly undercuts rivals – such a feature set is typically found in cameras that cost around 50% more, and more often in cameras closer to twice the price.

That said, there are no video accessories included, and you'll want to fork out for some in order to enjoy the ZR's handling and feature set to its full potential. These will likely include a grip and / or cage, plus Nikon's new ME-D10 directional mic, which is compatible with the camera's 32-bit float audio format.

Nikon doesn't make its own accessories such as grips or rigs, relying on third parties such as SmallRig to supply those. At the time of writing I don't have pricing for dedicated ZR accessories.

The Nikon ZR is due to go on sale in October 2025.

Nikon ZR camera under low key magenta lighting

The ZR is compact cinema camera for run-and-gun filmmaking – an ideal b-cam (Image credit: Tim Coleman)

Nikon ZR: specs

Video

6K up to 60fps, Raw internal

Photo

24MP full-frame

Lens mount

Nikon Z

Autofocus

Dual Pixel CMOS AF II

Screen

4-inch, 3.07m-dot, vari-angle

Viewfinder

N/A

Weight

19oz / 540g (body only)

Battery

EN-EL15 (same type as Nikon Z6 III / Z8)

Nikon ZR: Design

  • Smallest and lightest cinema camera of its kind; weather-resistant
  • Large 4-inch, 3.07m-dot touch LCD with brightest in-class display, no viewfinder
  • No mounting points for accessories
  • 3x internal mics, Ozo audio with five directional pickup patterns

As far as I know, the Nikon ZR is the smallest and lightest camera of its kind, weighing just 19oz / 540g (body-only). It's also weather-resistant, which is a rarity in the cinema camera world.

There are pros and cons resulting from the tiny dimensions. Drawbacks include enthusiast-level connectivity, like micro HMDI rather than full-size (though you only need an adaptor to remedy this), and the absence of a grip or mounting points for accessories. A camera like the Canon EOS C50 feels more high-end, given its pro-level connectivity.

It feels best to keep things simple with the ZR, making the most of its compact body and powerful features by minimizing the number of accessories in play. A grip is the one accessory I would absolutely look into buying, while if you want to rig up the ZR you'll need a cage, which will in turn allow you to attach accessories such as lights and mics – Nikon has partnered with SmallRig to create grips and cages for the ZR (pricing TBC).

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Nikon ZR camera, no lens, under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with its screen flipped out, under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with mic attached, under low key magenta lighting

(Image credit: Tim Coleman)

Despite its tiny body, the ZR packs a large 4-inch touch display. As such, I don't really see the need for attaching a bulky external 5-inch monitor. It certainly helps that the ZR's 3.07m-dot display is wonderful bright and vivid – the brightest in its class, says Nikon. Mind you, I've only used the ZR in a studio; a truer test will be the bright outdoors.

Other cinema cameras, like the Sony FX3 and Canon EOS C50, only have 3-inch displays, while the Blackmagic Cinema Camera 6K has a mega 5-inch unit. In the case of the Sony and Canon models, I'd absolutely want to add a monitor to my setup.

The camera's top plate is pretty simple: there's a photo / video switch (though sadly the UI remains the same whichever setting you're in, rather than there being dedicated menus for photo and video), record button with rocker, plus three buttons for accessing items such as display settings.

The rear is dominated by the large touch display, which when folded away reveals the Nikon / RED branding. Beside it are a joystick for controls such as autofocus point selection, a menu button (a quick press brings up the main menu and a long press brings up the quick menu, which is a nice touch) and a playback button.

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Back of the Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with mic attached, under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)
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Nikon ZR camera with is connection port doors open

(Image credit: Tim Coleman)

Battery life promises to be okay, given that the ZR uses the same EN-EL15 battery as the Nikon Z6 III and Nikon Z8. There are no vents or cooling fans, though, which would normally suggest that a camera of this type would be prone to overheating during long recording sessions.

I haven't recorded clips any longer than a few minutes, but I'll be sure to run the camera for longer during my in-depth testing. However, Nikon says the camera's magnesium alloy body is a natural heat sink, and promises that long record times are possible, and based on my experience with previous Nikon cameras I have no reason to doubt it.

There's exciting tech under the hood, too, namely a totally new Ozo audio setup, which comprises three mics. Together, these offer five directional pickup patterns, including front narrow (like a shotgun mic), front wide, rear and binaural 3D stereo.

Nikon says this Ozo system is the best internal mic setup of any camera, and it's supported by a world-first: in-camera 32-bit float audio capture. Nikon's new ME-D10 shotgun mic, released at the same time as the ZR, supports 32-bit float audio too.

Those are impressive audio features for any camera, let alone one at this price point, and I look forward to properly testing them out.

Nikon ZR: Performance

  • 6K up to 60fps, 4K up to 120fps, Full HD up to 240fps
  • Internal RAW recording and RED color profiles (up to nine in-camera at any time)
  • Subject-detection autofocus and 5-axis image stabilization
  • 24MP stills, partially stacked full-frame sensor

For the most part, the Nikon ZR has the same photo and video specs as the Z6 III (which we awarded five stars out of five in our in-depth review), which means a full-frame partially stacked 24MP sensor equipped with 5-axis image stabilization.

Add in decent subject-detection tracking autofocus and the ZR is a capable stills shooter, although while this is useful for on-set stills, the main focus of my testing is of course the ZR's video chops.

Nikon ZR camera under low key magenta lighting

There's the partially stacked 24MP full-frame sensor and Nikon Z mount (Image credit: Tim Coleman)

Like the Z6 III, the Nikon ZR shoots 6K up to 60fps, 4K up to 120fps and Full HD up to 240fps. There's the option for shooting internal RAW with a 12-bit color depth, or keeping things simple and baking in the look at capture with 10-bit recording.

Given the array of creative styles and color profiles on board, which includes space for up to nine RED color profiles at any one time, you might just feel happy to skip shooting RAW, with its large file sizes and grading demands, and use one of the many baked-in color profiles instead to save editing time and space on your hard drives.

I shot a variety of video clips during a half-day session with a drummer in action inside a studio, including 6K RAW, a few of the RED profiles baked in, and 240fps slow-motion – see my sample video, above.

In this setting, the ZR delivered some superb-looking video. I'll be expanding this first impressions review with more detail about its video and audio quality, once I've had an extended time with the ZR.

A male drummer in a dark studio, holding drums sticks with arms folded, neon lights in background

The ZR is a decent camera for photos too, with 24MP stills (Image credit: Tim Coleman)

Nikon ZR: also consider

Canon EOS C50

Canon announced the EOS C50 just a day before the Nikon ZR. It costs around 50% more, but comes with a top grip. In many ways the two cameras' video features are similar, including video resolution, maximum frame rates, internal RAW recording and autofocus. However, the Canon camera feels slightly more high-end with pro connectivity, while in the ZR's favor are its compact size, larger touch display and, impressively, its sensor-based stabilization.

See my Canon EOS C50 reviewView Deal

Blackmagic Cinema Camera 6K

The Blackmagic Cinema Camera 6K is pretty much the same price as the Nikon ZR, and in many respects has similar video features: a full-frame sensor with 6K video, 12-bit internal RAW recording and dual base ISO. It also packs a mammoth 5-inch display and has a solid choice of L-mount lenses. However, its slow-motion recording is more limited, while autofocus performance isn't a patch on Nikon's. It's also much bulkier and heavier.

See our Blackmagic Cinema Camera 6K reviewView Deal

Sony FX3

The Sony FX3 is an industry-favorite compact 4K cinema camera with superb low-light skills, thanks to its 12MP full-frame sensor. Like the ZR, it's designed to be rugged, with accessories such as its (bundled) top handle. It has the pro connectivity you'd hope for, excellent battery life, and a wide range of video lenses. However, its video recording feels somewhat dated compared to the ZR's 6K internal RAW, and it's practically twice the price. View Deal

Top of Nikon ZR camera under low key magenta lighting

(Image credit: Tim Coleman)

How I tested the Nikon ZR

  • I had just half a day with the ZR
  • I paired it with multiple Nikon Z lenses and tried out the new ME-D10 mic
  • No third-party accessories were available, so I used the camera handheld

I had the opportunity to shoot with the Nikon ZR for half a day ahead of its launch, using it for an indoor stage-lit shoot of a drummer in action.

Nikon supplied an array of Z-mount lenses for the shoot, of which I used a few primes and zooms. The new ME-D10 directional mic was also available on the day.

Nikon doesn't make its own rigs or cinema camera accessories, relying on third parties such as SmallRig instead. None of these accessories were available to me, so I shot with the ZR entirely handheld, without a grip or rig.

During my limited test time I made sure to shoot in 6K RAW, 240fps slow motion, and to try out various color profiles, focusing on the RED looks.

I have plenty of experience using rival cinema cameras such as the Sony FX3, so I'm well equipped to make an informed initial assessment of the ZR. That said, cinema cameras need to prove themselves as tools their users can rely on shoot after shoot, so check back soon for my in-depth verdict after I've spent more time with the camera.

I’ve tried Canon’s smallest cinema camera, and it’s a Sony FX3-beating 7K powerhouse
4:00 pm | September 9, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: , | Comments: Off

Canon EOS C50: two-minute review

Throughout its four years on the market Sony's FX3 has sat largely unchallenged in the compact cinema camera space, but that's changed with the arrival of the new Canon EOS C50.

For the money, you'll struggle to find a more complete cinema camera than the EOS C50. It boasts 7K open gate internal Raw video recording (and simultaneous proxy recording), dual base ISO for clean clips day or night, Super 35 and Super 16 crop modes, Canon Log color profiles with more than 15EV dynamic range, slow-motion recording, reliable autofocus… the list goes on, and I haven't even touched on the camera's photo capabilities or its video-first design.

For photographers, the 32MP full-frame sensor can shoot in RAW+JPEG with subject-tracking autofocus at burst speeds up to 40fps, with the option for pre-burst capture – not bad for a cinema camera. Handily, the EOS C50 features a dual menu system, making it quicker to navigate the menus than if photography and video were combined under a single menu.

Canon EOS C50 with top handle, held by a filmmaker

The Canon EOS C50 with new RF 85mm F1.4L VCM lens attached, plus Canon's own top handle. (Image credit: Tim Coleman)

The EOS C50 sits closest to the Canon EOS R5C, a version of the EOS R5 with active cooling for unlimited 8K record times where the latter overheated, but which still had a photo-centric design; in fact it's perhaps a little too close for that camera's comfort, because I see the new model easily being the more compelling choice of the two.

After all, it's very much designed for video, packing four 1/4-inch mounting points for accessories, three record buttons, and coming bundled with a top handle which features XLR inputs for pro-level 4-channel 24-bit audio recording.

It's also Canon's smallest and lightest cinema camera, weighing just 23.6oz / 670g. That means it sits below the bulkier EOS C70, in terms of price too, yet in many ways exceeds the capabilities of that camera, as it does those of the Sony FX3, all in a smaller and lighter package.

Canon EOS C50 in filmmaker's hands

With a generous grip, the EOS C50 is still easy to hold without the top handle (Image credit: Tim Coleman)

It also helps that Canon is busy releasing new hybrid lenses, meaning ones design for both photography and video users. In fact, it launched the RF 85mm F1.4L VCM on the same day as the EOS C50 (they're pictured together above) – it's the seventh in a range of VCM lenses with aperture ring, suppressed focus breathing and a quick and silent autofocus motor.

Canon is increasingly stepping into the low-budget video production space currently dominated by Sony, creating a complete system for run-and-gun filmmakers, and the EOS C50 is for me the most compelling camera in the range.

I'll be looking to get hold of the EOS C50 for a longer testing period to really see what it's made of. But, having used the FX3 for numerous video shoots down the years, I can already see the C50's potential – and it could well become the premium pick in our best video cameras guide.

Canon EOS C50 on a wooden surface, no lens attached, top handle attached

What you get in the box: the EOS C50 and Canon's own top handle, plus an LP6P battery. (Image credit: Tim Coleman)

Canon EOS C50: price and release date

  • Costs £3,299.99 (US and Australia pricing TBC)
  • It comes with the (pictured) top handle
  • Goes on sale in November

The Canon EOS C50's list price is effectively the same as the EOS R5C's – which means it undercuts the rival Sony FX3 and sits below the larger EOS C70.

The hop handle accessory (see below) is included – that type of accessory would typically cost around $500 / £400 / AU$750 separately. It also comes with an LP6P battery, which is interchangeable with the LP6 type used by the EOS R5 series of cameras.

We don't have an exact launch date yet, but Canon says it will go on sale at some point during of November this year.

Canon EOS C50 in filmmaker's hands

A compact cinema camera for run-and-gun filmmaking – an ideal b-cam. (Image credit: Tim Coleman)

Canon EOS C50: specs

Video

7K up to 60fps, Raw internal

Photo

32MP full-frame

Lens mount

Canon RF

Autofocus

Dual Pixel CMOS AF II

Dimensions

142 x 88 x 95mm

Weight

23.6oz / 670g

Battery

LP6P

Canon EOS C50: Design

  • The smallest and lightest EOS cinema camera
  • Comes with a top handle, no viewfinder
  • 14 assignable custom buttons
  • 3-inch vari-angle touchscreen

In terms of size and weight, the EOS C50 is similar to the EOS R5C; it's just 10g lighter at 670g. Unlike the EOS R5C, however, the EOS C50 is a proper cinema camera – that means it loses out on a viewfinder, but gains a mod-friendly design.

There are four 1/4-inch mounting points to rig the camera up or attach accessories, including Canon's top handle, which is bundled with the camera.

The top handle is useful for run-and-gun filmmaking, and especially for shooting comfortably from low angles – and for such scenarios it certainly helps that the LCD touchscreen is fully articulating and can flip out from the body.

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Canon EOS C50 on a wooden surface, no lens attached

(Image credit: Tim Coleman)
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Canon EOS C50 on a wooden surface, no lens attached

(Image credit: Tim Coleman)
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Canon EOS C50 on a wooden surface, view of the rear

(Image credit: Tim Coleman)
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Canon EOS C50 on a wooden surface, view of the rear, screen flipped out

(Image credit: Tim Coleman)
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Top plate of the Canon EOS C50

(Image credit: Tim Coleman)

Personally, I'd prefer the touchscreen to be a little larger. The modest 3-inch display will prompt many users to attach an external monitor for clear viewing instead, such as a 5-inch Atomos Ninja, and it feels a little counter-intuitive to bulk out such a compact design with accessories too much.

A 4-inch display, like you get with some Blackmagic cameras – and the Blackmagic Cinema Camera 6K has a 5-inch LCD – would avoid the need for an external monitor.

The EOS C50's body is adorned with 14 custom buttons, which combined can be assigned any one of 100 functions for quick access to regularly used settings.

You'll also notice a photo / video switch on the camera's top, and I'm a big fan of the dual menu system linked to this switch – you select photo for the photo-centered UI, or video for the video menu, which streamlines the process of making changes to settings.

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Close up of the Canon EOS C50's connection ports

(Image credit: Tim Coleman)
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Close up of the Canon EOS C50's memory card door

(Image credit: Tim Coleman)
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Close up of the Canon EOS C50's battery

(Image credit: Tim Coleman)
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Canon EOS C50 on a wooden surface, side proflie, no lens attached

(Image credit: Tim Coleman)
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Canon EOS C50 with top handle, held by a filmmaker

(Image credit: Tim Coleman)

You'll also notice from the top view of the camera that the active cooling design of the EOS C50 is a little bulky – the vented section where the LCD sits protrudes from the camera's rear. It's hardly attractive, but it does enable extended video record times without the risk of overheating.

There's also pro-level connectivity for video, including timecode terminal and full-size HDMI, plus features such as XC support and IP protocol for livestreaming capabilities.

The EOS C50 is powered by an LP6P battery that's interchangeable with the LP6 units used by all EOS R5 cameras. At the time of writing, Canon hasn't provided me with expected shoot times from a fully charged battery.

Canon EOS C50: Performance

  • 32MP stills at up to 40fps (using electronic shutter)
  • Canon's Dual Pixel CMOS AF II with subject-detection autofocus
  • 4K (oversampled from 7K) up to 120fps, 2K up to 180fps

I'll touch on the EOS C50's photo features before digging into video-making skills; after all, this is a capable camera for photography, even if it is designed for video first.

The first thing to note is the new 32MP full-frame sensor, which is the regular CMOS kind, not the speedier stacked type we've seen in recent pro models, such as Canon's own EOS R5 Mark II.

Another thing about the sensor – it isn't stabilized, which impacts the photography and video experience. You'll need to be conservative with shutter speeds for sharp photos, while you'll want a gimbal for smooth handheld video footage.

It's possible to shoot 32MP stills in RAW, JPEG and HEIF format at up to 40fps with the electronic shutter, with the option for pre-burst shooting, meaning the camera can get going from a half-press of the shutter before fully pressing it down to take pictures.

Canon's Dual Pixel CMOS AF II autofocus is on board, complete with subject-tracking autofocus for both photo and video. I rate Canon's autofocus as up there with the very best, and the same is true for the EOS C50.

Canon EOS C50 on a wooden surface, no lens attached

(Image credit: Tim Coleman)

As for video, there are too many features to list here, but the highlights are 7K Raw (internal) video recording, with up to 15EV dynamic range using Canon's Log-2 color profile. It's possible to shoot up to 60fps in 7K, or 4K up to 120fps and 2K up to 180fps.

There are a couple of crop modes too: Super 35 (APS-C) up to 5K 60fps, or Super 16 at 2.5K up to 150fps, both in RAW.

The EOS C50 is the first Canon camera with open gate video – which means you're shooting with the full height and width of the 3:2 aspect sensor, rather than being limited to the traditional 16:9 video crop.

When shooting in RAW format, the cleanest image quality can be achieved with the dual base ISO settings: 800 or 6400, covering daylight and lowlight scenarios, through which you'll get that maximum dynamic range and best grading potential.

Overall, it's a really impressive feature set for a cinema camera at this price point.

Canon EOS C50: also consider

Sony FX3

A long-time industry favorite, the Sony FX3 is a 4K cinema camera with class-leading low-light video quality. Like the EOS C50, it can be rigged up with accessories and is supplied with a top handle for a comfortable hold and pro-level audio inputs. The FX3 has a 12MP full-frame sensor which limits it to 4K video resolution, but it excels at this level. The EOS C50 betters the FX3 for detail with 7K open gate video and internal RAW recording.

Canon EOS R5C

The EOS R5C was the follow-up to the 45MP hybrid EOS R5, produced specifically to address one issue: overheating while recording 8K video. It did this through a bulky active cooling design on the rear, and a similar approach is taken by the EOS C50. At the same price point, the EOS C50 is a proper cinema camera that can be rigged up, while the EOS R5C has its feet in both photo / video camps by including a viewfinder. If you're shooting video only, the EOS C50 is the better package.

Canon EOS C50 on a wooden surface, 85mm F1.4L VCM lens attached

(Image credit: Tim Coleman)

How I tested the Canon EOS C50

  • I only had two hours with the EOS C50
  • I paired it with multiple Canon lenses, including the 85mm F1.4L VCM
  • I shot video portraits and landscapes outdoors on a cloudy day

This hands-on review is purely my first impressions of the EOS C50, which I only got to use for a couple of hours. I got a feel for how the camera handles during this time, and a glimpse of how it performs in short bursts for video recording and photography.

I paired the EOS C50 with a couple of Canon VCM hybrid lenses, and used it handheld with and without the top handle, but not a cage.

I've shot a few clips at various resolutions, but not in enough scenarios to draw any definitive conclusions regarding image quality.

I'm able to bring plenty of experience to this short hands-on, having used the Sony FX3 for multiple shoots, and having also shot with the Canon EOS C70. Being so familiar with portable cinema cameras means I can quickly form opinions about the EOS C50. That said, these are tools that users need to rely on, and so you'll want to wait for our full long-term review that.

I tested Camp Snap’s retro video camera – and it’s a cut-price portal to a simpler time
4:00 pm | August 9, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Comments: Off

Agfaphoto Realimove MC3X review: two-minute review

The CS-8 only records video while the trigger is held down. (Image credit: Future | Sam Kieldsen)

Released back in 2023, the original Camp Snap camera has quickly established itself as a minor cult classic. While I wouldn’t call it one of the best compact cameras around, this ultra-affordable, ultra-simple and ultra-pocketable screen-free snapper is a refreshing return to photography’s old-school principles: just point, shoot and look at the results at some point in the future.

Now, with the new Camp Snap CS-8, the company has brought that same ethos to video. Styled after the Super 8 film cameras of the 1960s, complete with vintage textured plastic, pistol-grip operation, knurled dials and analogue meters to show remaining battery life and storage space, the CS-8 is a retro camcorder for a generation bored of using smartphones for all their video needs.

The CS-8 is large and chunky, and felt reassuringly weighty in my hand. I’m not in love with the abundance of plastic here – despite the classic looks, there’s very little of the metal you’d find in a genuine original Super 8 camera – but I get it.

The camera's T and W buttons zoom in and out – but it's a digital zoom so image quality badly degrades as you edge toward full 8x magnification (Image credit: Future | Sam Kieldsen)

This is an ultra-affordable modern simulacrum of a vintage camera rather than the painstaking recreation provided by Kodak’s own 2024-released Super 8 (price tag: north of $5,000), and it’s awash with obvious fakery: there are imitation screws on the base of the handle, a dummy cold shoe on top and, despite the rubbery grip wrapped around its barrel, there’s no way to actually adjust the lens. I can live with all that, as I don’t expect it to be a “real” 8mm camera – just to look like one from a distance.

Distractions are minimal; with no screen and an electronic viewfinder designed only for shot composition, there’s no way to review (or even delete) your footage until you offload it to a computer. There are very few settings to fiddle with, either: one dial picks your preferred aspect ratio (4:3, 16:9, 1:1 or 9:16), one your film look (standard, B&W, analogue or one of two vintage filters) and… that’s it, basically.

When the CS-8 is powered on, the rubber-cupped viewfinder shows a live view, formatted to match the current aspect ratio, plus the amount of battery life remaining and the current film look. To record a video, you simply point the camera at a subject and squeeze the trigger – there’s no need to focus, although you can use the “W” and “T” buttons to zoom in and out. Just like on a real 8mm camera, you need to keep the trigger pulled the entire time you’re filming; releasing it stops the capture immediately.

The base of the pistol grip features two fake screws – and one genuine tripod mount (Image credit: Future | Sam Kieldsen)

While reviewing the CS-8, I realised that it makes filming a much more conscious act than when I’m using my phone, or even a compact camera. Because there’s no screen and no pressure to immediately check on the footage after it’s been recorded, I can concentrate on recording a clip, and then move on. There’s no need to fret about what I’ve recorded until I get home, or until the SD card is full (which takes a while, as there’s enough space here to hold about 30 minutes of video – and by loosening two screws and pulling off a panel, you can replace the supplied 4GB card with one up to 128GB in capacity, giving you room enough for around 16 hours of video).

The footage itself is quite high-resolution, but not high-quality. There’s no stabilization, using the digital zoom degrades detail quickly and sound is monoaural. This suits the camera perfectly, I think; in fact, my favorite look by far is the Super 8-mimicking Analogue, which reduces the frame rate to 20fps (it’s 30fps on all the other modes) and adds fake scratches and artefacts to the image. The resulting imperfect, jerky video is charmingly odd, while the other modes are a little flat and boring.

If I want pristine, stabilized video, I’ll use my iPhone or a mirrorless camera. What I want from the CS-8 is something different, weird and striking – and with the Analogue setting, at least, I’m getting just that. It’s not “good” video, no, but good video is not the point.

I also think the camera is ideal for kids, being incredibly simple to operate, robustly built and cheap enough that it doesn’t matter too much if it gets damaged. In my experience, youngsters weaned on smartphone photography expect to be able to look at what they’ve just filmed right away – and might find the idea of waiting hours or even days to see their footage utterly baffling. Maybe the CS-8 could be a perfect way to teach them a bit of good old-fashioned patience?

Camp Snap CS-8 video camera

The CS-8 is robustly built, despite being made almost entirely of plastic (Image credit: Future | Sam Kieldsen)

I don’t like everything about the camera, though. The microphone picks up the noise of the trigger being pulled in almost every shot, which is one bit of jankiness I found far less charming than the rest. The viewfinder is also a real pain to use if, like me, you wear glasses; even pressed right up against the cup I could only see about half of it, which I found annoying when trying to compose shots or even scope out remaining battery life.

Still, I view the Camp Snap CS-8 more as a fun alternative to a smartphone than a camcorder I’d use every day. It’s great for holidays, road trips, parties and the like – pass it round and let everyone have a turn filming, then edit all the clips together when you get home and share the results. As a piece of cheap, nostalgia-fuelled fun, it’s hard to beat.

Camp Snap CS-8: price and availability

At the time of writing, the CS-8 is currently available for pre-order, with shipments due to go out “by mid-September” 2025.

The camera is priced at $199 / £152, but those who do order ahead of the launch date can take advantage of 25% introductory discount, making the price a very reasonable $149 / £114.

In the box you get the camera itself, a pre-installed 4GB microSD card and a USB-C to USB-C cable for charging and data transfer. It would have been nice to include a strap or lanyard, but you either buy Camp Snap’s own wrist strap/USB-C cable or add any strap of your own.

Camp Snap CS-8 video camera

(Image credit: Future | Sam Kieldsen)

Agfaphoto Realimove MC3X review: specs

Video

Up to 2880 x 2144 30fps

Audio

Mono only

Aperture

f/2.0

Zoom

8x digital

Focus

0.3m-infinity

Storage

4GB microSD card (replaceable)

Stills

N/A

Connectivity

USB-C

Battery life

30 minutes (approx.)

Dimensions

200 x 58 x 203mm / 7.9 x 2.3 x 8in (approx.)

Weight

519g / 18.5oz

Should I buy the Camp Snap CS-8?

Buy it if...

You want an ultra-simple video camera
About as point-and-shoot as video gets, these days – and there’s no even a screen to distract you from the act of filming.

You’re a fiend for nostalgia
If you’re on your fourth binge-watch of Mad Men, the CS-8’s 1960s flair and its vintage video look might well appeal to your mid-century aesthetic sensibilities.

You want a kid-friendly camcorder
Cheap, sturdy and simple to use, the CS-8 is ideal for young kids. As long as they don't mind waiting to review their footage.

Don’t buy it if…

You’re expecting pristine audiovisual quality
With tinny sound and grainy video, the CS-8’s home movie clips are much more 1960s than 2020s. That’s kind of what you’re paying for, really – but inveterate pixel peepers need not apply.

You’re a spectacles wearer
If your glasses are, like mine, as thick as bottle bottoms, you might struggle with the CS-8’s restrictive viewfinder. It’s not a deal-breaker for me, but it is an annoying design quirk.

You want pocket-sized portability
The CS-8 is a very chunky camera by today's standards, and isn't fitting in anything but the largest of coat pockets.

Camp Snap CS-8 video camera

(Image credit: Future | Sam Kieldsen)

How I tested the Camp Snap CS-8

  • Three weeks of regular use
  • Filmed video using all settings and looks
  • Edited videos together using DaVinci Resolve

I was sent an early, pre-release review sample of the CS-8 from the initial batch of models off the production line, and had plenty of time to live with and test the camera in a variety of real-world scenarios: family get-togethers, coastal walks and inside my home, both day and night.

The camera is light on options, but I tested all the aspect ratios and looks (or filters), before exporting the video files to my laptop and editing them together into the sample video you see above using DaVinci Resolve. I didn’t color grade, correct or adjust any of the files, though – just used the editor to trim and stitch them together.

I shot video with the affordable Canon EOS R50 V vlogging camera, and it is a solid option for aspiring content creators
2:30 pm | May 17, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Comments: Off

Canon EOS R50 V: two-minute review

The Canon EOS R50 V is the company’s latest mirrorless camera. Put simply, it’s an affordable video-centric model aimed at content creators and vloggers, offering 4K video recording at up to 30fps, four-channel 24-bit audio from its built-in microphone and decent wired and wireless connectivity.

I’ve reviewed a lot of vlogger-focussed cameras recently, including Canon’s own PowerShot V1, a fixed-lens compact that launched alongside the EOS R50 V and costs a similar amount, so I was interested to see how this interchangeable lens camera performed in comparison. In some ways, the PowerShot V1 has more appeal: it’s more compact and its lens is faster and wider than the 14-30mm kit lens that can be purchased bundled with the EOS R50 V. It comes with a built-in ND filter too.

What the R50 V has on its side is future versatility, thanks to an RF lens mount. With the ability to use other lenses in the RF system, upgrading image quality or gaining a new field of view is easily achievable here. With the PowerShot V1, you’ve only got that one lens.

The EOS R50 V’s 24.2MP APS-C sensor is also physically bigger than the 1.4-inch sensor on the PowerShot V1. Not by much, mind you – and image quality isn’t too different on the two cameras.

The EOS R50 V can capture video at 4K at up to 30fps, or a cropped 4K at up to 60fps. The latter isn’t really ideal for vlogging, as it greatly reduces the field of view and I found it difficult to get myself comfortably in frame while holding the camera. The uncropped 4K delivers a much more expansive field of view, albeit at the expense of frame rate – but I don’t think many will require 60fps for vlogging. The other resolution on offer is 1080p, which can capture at up to 120fps – ideal for slow-motion playback.

Canon EOS R50 V camera

(Image credit: Future | Sam Kieldsen)

Videos and JPEGs look great straight out of the camera, as I’ve come to expect from the best Canon cameras and their color science. For those who want to edit or grade in post, however, RAW photos and a flat C Log color profile are also available.

There’s a lot to like about the EOS R50 V’s all-round performance. Its autofocus system is fast and accurate, and able to recognize and track human, animal and vehicle subjects. Its optical image stabilization is decent (if unremarkable, thanks to no in-body IS) and its on-board microphones perform well indoors in quiet conditions. Testing outside on a blustery day, I found the wind reduction mode to be almost completely ineffective, so a decent external mic is required; the PowerShot V1 includes a fluffy windshield that works quite well, and it’s odd Canon didn’t supply one here.

Connectivity is what you’d expect from a video-centric camera, while the LP-E17 battery supplies around 480 photos according to Canon. I did find it drains quite quickly while shooting 4K video, as you might expect – but thankfully the USB-C port can be used for on-the-go recharging or even constant power supply.

I’m quite impressed with the EOS R50 V. There’s nothing particularly fancy about it, and in many ways its sister camera the PowerShot V1 is a much more interesting device – being more of an all-in-one vlogging machine. But the R50 V’s lens mount means it might be a better choice for vloggers who plan on gradually upgrading their setup over the years.

Canon EOS R50 V on a wooden table, alongside the EOS R50

The EOS R50 V (left) alongside the EOS R50 (right). They share much of the same tech, but the R50 V id designed more specifically for video. (Image credit: Tim Coleman)

Canon EOS R50 V: Price and availability

  • $649 / £729 / AU$1,169 body only
  • $849 / £959 / AU$1,499 with Canon 14-30mm lens

The EOS R50 V is available to order, priced at around $649 / £729 / AU$1,169 body only or $849 / £959 / AU$1,499 in a kit with Canon’s new 14-30mm f4-6.3 IS STM PZ power zoom lens.

That strikes me as a competitive and affordable price, particularly with the lens – and especially for US-based consumers. I think the kit is the one to go for, unless you already own a few RF lenses, of course – but do bear in mind that you may need to buy an external microphone too.

  • Price score: 4/5

Canon EOS R50 V camera

(Image credit: Future | Sam Kieldsen)

Canon EOS R50 V: specs

Quick Specs

Camera type:

Mirrorless

Lens mount:

Canon RF

Sensor:

APS-C, 24.2MP

Video:

4K 30fps / Cropped 4K 60fps / 4:2:2 10-bit

Battery (CIPA rating):

480 shots (LCD)

Dimensions:

119.3 x 73.7 x 45.2 (body only)

Weight:

370g (body only)

Canon EOS R50 V: Design and handling

  • 3-inch, 1.04m-dot vari-angle LCD touchscreen
  • Front tally lamp and record button
  • Camera weighs just 370g without a lens

The EOS R50 V is a small and mostly plastic-bodied camera designed primarily for video. There’s no built-in flash and no viewfinder like you get with the EOS R50, which photographers might miss. For video users, the vari-angle screen handles composition more than adequately and the 21-pin multi-function hot shoe and extra, side-mounted tripod thread are very useful additions.

Canon EOS R50 V camera

The side mounting point is ideal for recording 9:16 portrait ratio videos. (Image credit: Future | Sam Kieldsen)

I found the control layout to be user-friendly, particularly the second video recording button on the front. There’s also a front-facing tally lamp, to let you know when you’re recording video. On the back and up top you’ll find the usual well-labelled dials and buttons, and with the help of the touchscreen I never struggled to change a setting or switch between shooting modes.

The camera isn’t weatherproofed, and the plastic body feels lightweight. In fact, at just 370g without a lens, it’s one of the lightest mirrorless cameras I’ve used in a long time. Adding the 14-30mm kit lens doesn’t tip the scales by much either: it’s just 181g, keeping the complete weight for camera and lens well under 600g.

  • Design score: 4/5

Canon EOS R50 V camera

(Image credit: Future | Sam Kieldsen)

Canon EOS R50 V: Performance and features

  • No in-body image stabilization
  • 12fps continuous shooting with mechanical shutter
  • 24-bit or 16-bit stereo audio via internal mic

Image stabilization is very important for a vlogging camera, but with no in-body stabilization here, it all has to come from the lens. The kit lens, for example, comes with optical stabilization and I think that’s just about enough for vloggers who want to walk around with the camera. You can see some real-world examples of the stabilization in action in my sample video in the next section of this review. Just be aware that you won’t get assistance if you fit a non-stabilized lens.

The Dual Pixel CMOS AF II autofocus system is excellent: fast, accurate and able to recognize and track humans (eyes, face, head or body), animals (dogs, cats, birds and horses) or vehicles (cars, motorcycles, trains and aircraft). I encountered no problems with it at all during my time using the camera, during which I was mostly filming myself in a mock vlog style. It kept me in focus no matter how I moved around the frame.

Canon EOS R50 V camera

(Image credit: Future | Sam Kieldsen)

Despite the EOS R50 V’s video-first design, it does have a mechanical shutter. It’s a pretty adept stills camera, actually, thanks both to the aforementioned autofocus setup and its ability to shoot at a respectable continuous speed of 12fps (with mechanical shutter) and 15fps (with electronic shutter).

Connectivity-wise, I wasn’t disappointed. There are dedicated 3.5mm jacks for a mic and headphones, a micro HDMI output (while I’d prefer full-size, the compact body always made this unlikely) and a USB-C 3.2 port that works for data transfer, battery charging and power supply. It’ll also support live streaming when connected to a computer and allows users to set up the EOS R50 V as a webcam. There’s Wi-Fi and Bluetooth too, supporting wireless image transfer, printing and upload to Canon’s cloud services.

The built-in microphone can record in four-channel 24-bit or two-channel 16-bit modes, and comes with a wind noise reduction mode that is supposed to kick in automatically if needed. I tested in indoors and found it excellent quality, but outside on a windy day the noise reduction feature was next to useless. I’d have liked at least a furry windshield included to help mitigate interference, but I think vloggers using the EOS R50 V outside in anything but the calmest of conditions will need an external microphone of some kind.

  • Performance and features: 4.5/5

Canon EOS R50 V on a wooden table alongside the 14-30mm PZ lens

The 14-30mm kit lens is compact, but its maximum f/4 aperture is quite limiting especially in low light. (Image credit: Tim Coleman)

Canon EOS R50 V: Image and video quality

  • APS-C sensor delivers 4K video and 24.2MP photos
  • Full HD slow-motion capture at 100fps or 120fps
  • Canon Log 3 color mode supported

Canon’s much lauded color science makes the EOS R50 V almost too easy to use. Whatever you point it at, it’ll produce great-looking JPEGs and videos right out of the camera, with no need for intervention on your part. I’ve made some very minor tweaks to the photos you see below in Adobe Lightroom to draw a bit more detail out of shadows, but overall I could have left them be and been more than happy to use them.

The kit lens is pretty poor in terms of brightness, having only a maximum f/4 aperture. Coupled with the smallish APS-C sensor, it makes this camera quite unsuited to low light photography out of the box. Slap a faster lens on here and you might get good results, however.

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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)
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Canon EOS R50 V sample photograph

(Image credit: Future | Sam Kieldsen)

For the 4K sample video (I apologize for the lack of camera audio on the outdoor shots – but the wind noise was just too intrusive to keep it in), I made no adjustments at all. All these clips are presented here exactly how they came out of the camera.

I recorded these at 4K 24fps quality, to make the most of the full sensor size. You can also capture cropped 4K video at up to 60fps, but for vlogging I felt that crop was a bridge too far, reducing the frame too much to comfortably get my head in. It’d be fine for capturing b-roll, however. I’ve not included any here, but the camera can also shoot in Full HD, and in up to 120fps for some smooth slow-motion playback if desired.

The EOS R50 V shoots RAW photos and can capture video in Canon’s flat C Log 3 color profile, should you want to perform more editing and grading yourself. So, there’s plenty of support here for imaging enthusiasts who want to achieve their own look.

  • Image quality score: 4/5

Canon EOS R50 V: testing scorecard

Canon EOS R50 V

Attributes

Notes

Rating

Price

Decent price, especially in the US.

4/5

Design

Compact and video focused by design.

4/5

Performance and features

Shame not to have in-body IS, but that's understandable given the price.

4/5

Image and video quality

Canon knows how to do gorgeous colors, but the EOS R50V's kit lens is so-so.

4.5/5

Should I buy the Canon EOS R50 V?

Buy it if...

You want an expandable cheap video camera
The RF mount and connectivity make the R50 V a great starting point for a content creator. You can always add more lenses to widen your creative capabilities as you gain popularity.

You love Canon’s color science
It’s hard to fault the look of the images and videos that come straight out of the R50 V. Canon knows how to produce punchy, pleasing pictures with minimal user effort.

Don't buy it if...

You want an all-in-one vlogging camera
You’ll still need a decent external mic if you plan on vlogging outdoors with the R50 V, as wind noise is an issue.

You’re a stills photographer first
With no flash and no viewfinder, photographers get a bit of a raw deal here. That’s fine – it’s a video camera first – but it’s something to be aware of.

Canon EOS R50 V camera

(Image credit: Future | Sam Kieldsen)

Canon EOS R50 V: Also consider

Canon PowerShot V1

With similar performance and color science, plus a superb, bright built-in lens, this sister camera to the EOS R50 V makes for a great one-stop-shop video compact camera. True, you can’t upgrade the lens, but it’s a great pick if you want a single small camera to handle all your video needs.

Read our in-depth Canon PowerShot V1 review

DJI Osmo Pocket 3

With its 1-inch sensor, a gimbal-stablized 4K camera, a pocketable and compact stick-like form factor, the Pocket 3 is brilliant focused vlog camera. It’s cheap too. While the R50 V has the bigger sensor and interchangeable lenses, if you’re looking for a great affordable vlogging option, don’t discount this.

Read our in-depth DJI Osmo Pocket 3 review

How I tested the Canon EOS R50 V

  • Tested a full production model for three days
  • Shot clips handheld and on vlogging handle
  • Used a range of video resolutions and frame rates

Owing to a short loan time, I didn't have as long as I would have liked to review the EOS R50 V – just a few days. Even so, I was able to get outside multiple times to test its photo and video capabilities in real-world conditions, which I did in generally favorable weather conditions (wind aside). I mounted the camera on a Joby GorillaPod for vlogging purposes.

  • First reviewed May 2025
Blackmagic Pyxis 6K review – a filmmaker’s workhorse with quality full-frame sensor
3:20 pm | January 24, 2025
Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: , , , | Comments: Off

Blackmagic Pyxis 6K: two-minute review

The Blackmagic Pyxis is the company's first venture into box-style cameras, and at its core lies a proven full-frame sensor, delivering up to 6K resolution and 13 stops of dynamic range. The key benefit of this high resolution is that you can use the full width and height of the 3:2 surface area of the sensor, allowing for much greater flexibility when you need to produce content for multiple platforms.

The camera’s UI is generally a triumph, with large touch controls, clear navigation, and sensible menu structures. However, when you turn the camera to film vertically, the UI stays fixed; on the older Pocket 6K, the UI rotates to suit the new orientation, so it’s clear that Blackmagic had thought about this problem and had come up with a simple solution, and it’s odd that they’ve yet to implement it on the Pyxis, which lends itself even more to shooting in different orientations. That said, even during my brief time with the camera the company released significant updates to both the camera and the Blackmagic Camera App that delivered functionality and performance improvements, so I’m confident that it will address smaller issues like this in time.

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

In terms of hardware, the camera's standout feature is its machined aluminum construction, which offers professional-grade modularity and heat dissipation. However, the positioning of its cooling mechanism draws air from the base of the camera and forces it out through the top, and while it’s great for warming your hands on a chilly day, it does leave the camera feeling particularly exposed to inclement weather.

It features a multitude of mounting points on its bottom, top and side, where you’ll find its modular accessory plate, which can be used to install a rosette plate for a grip or an SSD holder for example. While the $2,995 / £2,645 / AU$4,899 (approx) starting price is competitive, buyers should factor in additional costs for essential accessories like an EVF, monitor, handle, and other rigging solutions, although many people buying this camera are likely to already have some compatible accessories.

Blackmagic Pyxis 6K camera on set, with optional monitor

(Image credit: Jon Devo)

The camera excels in its versatility with its comprehensive I/O (input / output) options, including BP-U battery compatibility, a nice common standard, as well as a 12G-SDI port and USB-C connectivity. The USB-C port on the front of the camera can transmit a video signal out to an HDMI source (without visual assist tools like false color), and the one on the rear can be used to tether the camera to a mobile device for remote wireless control, monitoring and synced recording across multiple connected Blackmagic cameras. Other professional features like timecode sync, Ethernet connectivity, SSD recording, and cloud workflow integration are also included.

The Pyxis delivers impressive image quality with Blackmagic's highly regarded color science, though it lacks some features that mirrorless shooters will be used to, like advanced autofocus and optical image stabilization. Some form of internal ND filter system would have been a big bonus, but nothing in this price range or class offers that, so expecting it would be unreasonable. While its few limitations are worth consideration, if you’re in the market for a true workhorse camera that can be adapted to a wide range of shooting scenarios the Blackmagic Pyxis makes a strong case for itself, especially when you consider that the purchase of a Blackmagic camera includes a full license for the DaVinci Resolve Studio editing suite, worth $295 / £235 / AU$440.

Blackmagic Pyxis 6K: price and release date

  • Body-only price: $2,995 / £2,645 / AU$4,899 (approx)
  • Available now in three lens mount versions; EF-mount, L-mount of PL-mount (the latter costs $100 / £100 / AU$180 extra
  • You'll want additional accessories

The Blackmagic Pyxis 6K was announced at NAB Show Las Vegas in April 2024 and is available to order now. It can be picked up for a list price of $2,995 / £2,645 / AU$4,899 body-only in EF or L-mount, while the PL mount version costs $100 / £100 / AU$180 (approx) extra.

That price represents five star value given how the camera handles and what it is capable of for filmmaking. However, you will also need to factor in multiple accessories to improve the shooting experience, including an optional monitor, viewfinder, top handle and more.

  • Price score: 4.5/5

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

Blackmagic Pyxis 6K: specs

Blackmagic Pyxis 6K: design and handling

  • Excellent build quality with machined aluminum construction
  • Modular design, requires accessories to maximize its potential
  • UI doesn’t rotate as on the Pocket 6K

The Blackmagic Pyxis 6K is a relatively compact camera given what it's capable of, but it still weighs in at a hefty 3.3lbs / 1,500g, which is roughly the weight of two Lumix S5 IIX mirrorless cameras. Measuring 119 x 106 x 151mm (H x W x D), and with a fixed LCD display on its left side, the Pyxis feels like it needs an additional accessory for monitoring. If you want to stay on brand, your options include the Blackmagic URSA Cine EVF, the specially designed Blackmagic Pyxis Monitor, or a Blackmagic Video Assist. I had the chance to pair the camera with the Pyxis monitor, and it was ideal for run-and-gun-style shooting without being overly conspicuous, and its built-in pop-up hood is a nice touch. It’s a solid addition to the camera's accessory lineup, and provides full camera control via its touchscreen and the three customizable function buttons on its rear.

I also got to use the URSA Cine EVF, and it would be a great option for filming Electronic News Gathering (ENG) / documentary-style work, as it immerses you in the frame by blocking out off-camera distractions. The setup is highly flexible, with the EVF being easy to position. It comes with an extension arm, as well as USB-C to USB-C cables of various lengths, so that you can place the EVF in the most comfortable orientation possible for your style of shooting. A nice detail sees the EVF’s USB-C cables come with screw fixtures so that they can’t be easily pulled out, and I also like that the EVF has a tally light built into it.

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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
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The Blackmagic Pyxis 6K camera's top handle, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
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Closeup of the Blackmagic Pyxis 6K camera's I/O options, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

Returning to the side of the camera, the Pyxis has physical controls for all key functions, and offers three customizable function buttons so that you can save your most commonly used tools – I set mine to focus assist, false color and LUT view. If you use the EVF, it also has physical buttons, three of which can be independently customized from the ones you’ve assigned on the body. I found that the buttons and control dial click and scroll responsively, and while I would have preferred an additional record button on the front or right side of the camera, the placement of the physical controls is generally logical, and will be swiftly committed to muscle memory with regular use.

People who are new to cinema-style box cameras may be in for a slight shock when they realize just how much additional kit they need to buy in order to make their camera functional – while its starting price seems competitive, the camera doesn’t even come with a battery in the box. So you will want to factor in additional costs, as they can stack up quite quickly. As well as power, the optional £165 / $199 (around AU$325) top handle feels like a necessity too, not least because it's critical for working with the EVF or Pyxis monitor. I’d most likely purchase the Pyxis monitor first, but the EVF is a nicely designed piece of kit; for me, as somebody who often shoots handheld outside, it definitely elevates the functionality of the camera.

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Memory card in the Blackmagic Pyxis 6K camera's card port

(Image credit: Jon Devo)
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Rear of the Blackmagic Pyxis 6K camera, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Top view of the Blackmagic Pyxis 6K camera, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Closeup of the Blackmagic Pyxis 6K camera's controls, in the studio with a vibrant magenta background

(Image credit: Jon Devo)
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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)
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Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

The camera's layout is professional and purposeful, although the built-in screen’s position on the left side of the camera body forces you to touch it while holding it, quite a lot, which will undoubtedly jar some people. Helpfully, in the latest update (9.2) you’re able to lock the screen while still having full access to the camera’s physical controls, which is a welcome improvement in functionality. For audio, the camera offers a 3.5mm stereo input on the front, as well as a mini XLR input, which will give you phantom power. You can run the camera directly from mains power via its +12V 2-pin Lemo connector, which is handy for me, as someone who predominantly shoots in studios and controlled indoor environments. Its dual CF Express Type B card slots are protected by a rubber cover, and the locking USB-C ports add security for monitor connections. The overall build quality is excellent, especially given the camera’s competitive pricing, although the rubber media door could be more robust, and the lack of weather sealing is notable, albeit typical for this style of camera body.

  • Design score: 4/5

Blackmagic Pyxis 6K: features and performance

  • Internal 12-bit Raw video, but no ProRes
  • Filmic quality to footage
  • Versatile rigging options
  • Professional I/O
  • No in-body image stabilization
  • No continuous AF

The Blackmagic Pyxis 6K offers impressive connectivity options, including 12G-SDI output, USB-C, and Ethernet. The dual native ISO provides flexibility in various lighting conditions, while the dual card slots offer redundancy and extended recording times. Its best-in-class menu system is intuitive for newbies and familiar to Blackmagic users, offering logical functionality and decent customization options.

Professional features include built-in timecode, streaming capabilities, and cloud workflow integration. It also comes with a range of exposure tools that will ensure you’re gathering as much usable Raw imaging data as possible while recording. Typically, I would rely on false color, which I assigned to one of the camera’s three customizable function buttons. But it was great to see the addition of the RGB traffic light indicator system, which has possibly been borrowed from RED’s Komodo cameras. When any one of the camera’s pixel channels are beginning to clip, that light will stay illuminated, indicating that you need to lower your exposure. It’s a great at-a-glance exposure tool that’s been seamlessly integrated into the general display UI. Although it doesn’t work for underexposure, there are plenty of other tools, like false color, histogram, and zebra patterns available to help here.

Closeup of the Blackmagic Pyxis 6K camera's monitor, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

During my review window Blackmagic released a couple of relatively major updates, one for the Blackmagic Camera App (iOS v2.2) and the other for the Pyxis 6K. The improvements introduced with Firmware 9.2 included some handy connectivity features. If its running the latest firmware, the Pyxis can now use a compatible iPhone as a monitor when acting as a personal wireless hotspot and tethered via the rear USB-C port (the Pyxis itself has no Wi-Fi transmission module), and when functioning like this, you can use your iPhone to control multiple cameras and even initiate synchronized recording, which is a great solution for people who often rely on multi-camera setups. The new firmware also provided a significant boost to the camera’s power efficiency, adding roughly 30-40% more operating time in my experience. Of course, your mileage may vary, but before the update I was already able to get about 35 minutes out of a BP-U-30 (28Wh) battery, and after the update I was getting another 20-30 minutes or so extra. Battery life monitoring was also improved by the update, so the camera will now go all the way down to 1% before eventually shutting off.

Some may be disappointed to learn that the Pyxis 6K has no stabilization whatsoever, but it does record gyro data to offer reasonable stabilization in post. There’s also noticeable wobble caused by rolling shutter when you’re moving with the camera, particularly when shooting in 6K open gate mode; it’s not horrendous, but it would encourage me to shoot more static-style shots when using this camera in particular. The visible effects of rolling shutter diminish as you reduce the sensor area used for recording, and are barely noticeable when shooting at 4K/60p in 17:9 aspect ratio, so I’d say it’s worth being conscious of what your output may be. Shooting for your end output instead of belligerently spamming open gate may be the wiser choice – you can save open gate for shots with less camera movement that need the flexibility of the sensor’s full readout. It’s worth mentioning that Davinci Resolve is also able to use the camera’s gyro data to mitigate some of the warping that you may see when moving the camera around while recording.

Closeup of the Blackmagic Pyxis 6K camera's LCD monitor, in the studio with a vibrant magenta background

(Image credit: Jon Devo)

Wrapping up my niggles, the autofocus system is basic and offers no continuous AF, but it does have some handy focusing tools, which can be adjusted to suit your preferences. You can also use the dedicated push-to-focus button at the top-left side of the camera, and there’s an Iris button above that, which can help you nail exposure in a pinch. The camera also works well with external focus solutions like the DJI Focus Pro, which would be a typical approach for working with a camera like this.

A final, positive operating observation is just how quickly the camera powers up. Within five seconds of switching it on, the camera is up and ready to record. If you’re not familiar with cinema cameras, this may seem like a long amount of time, but in this realm, the Pyxis is relatively speedy, and it’s refreshing.

  • Features and performance score: 4/5

Blackmagic Pyxis 6K: image and video quality

  • Excellent image quality in most conditions
  • Better noise-handling than the Z50 at the same ISO
  • 4K/60p video with a 1.5x crop

The Pyxis captures images that are typically attractive for Blackmagic cameras, if it’s a look you’re familiar with. By this, I mean that the footage looks detailed, without looking sharp, and highlights roll off softly, delivering a cinematic look that needs very little work to get it ready to publish. The quoted 13 stops of dynamic range provides good flexibility in post-production, especially if you expose for the highlights and utilize DaVinci Resolve’s highlight recovery in post, when needed. Color reproduction is excellent thanks to Generation 5 color science, and the OLPF effectively controls moiré, which is great for shooting buildings, or clothing like silk and denim.

Low-light performance is good within the camera’s limitations, though not class-leading. However, Resolve is armed with comprehensive tools for reducing the impact of sensor noise. If you have the time and the aptitude, Blackmagic RAW files are really easy to work with, and can be honed to deliver an attractive look in most situations. While it’s not a no-light camera, the Pyxis would be perfectly capable of delivering attractive video in bar/club lighting scenarios or other low-ambient-lighting scenarios. The ability to shoot up to 6K resolution with a full-frame sensor with frames for various aspect ratios provides excellent flexibility for different delivery formats.

  • Image and video quality score: 4.5/5

Blackmagic Pyxis 6K: testing scorecard

Blackmagic Pyxis 6K camera in the studio, mounted to video tripod, with a vibrant magenta background

(Image credit: Jon Devo)

Should I buy the Blackmagic Pyxis 6K?

Buy it if...

You’re a solo filmmaker or a small production unit that needs a professional solution
The Blackmagic Pyxis 6K is clearly built with pro work in mind, and is incredibly versatile.

You value image quality and want RAW video
Blackmagic RAW is one of the easiest pro video formats to work with, and even at its lowest bitrate settings the Pyxis delivers sumptuous video when exposed well.

You have a higher-end cinema camera and need a B-cam
The combination of the Pyxis 6K’s sensor and Blackmagic’s color science provide an excellent starting point for delivering cinematic video. However, the camera produces an image that is robust and flexible. If you or your colorist has a basic understanding of grading, matching your clips with footage from another high-end camera should be straightforward enough.

Don't buy it if...

You need a compact all-in-one solution
The Pyxis is designed to be rigged up and utilized in a wide variety of ways. For this reason, it’s relatively stripped back, but provides users with plenty of options for customizing its form and functionality to suit their needs.

You don’t need RAW video
If color grading your footage is not something your work (or pleasure) typically requires, there’s no need to pick up a camera that offers no compressed recording formats. You’ll be adding an unnecessary step to your workflow, which will cost you time and may cost you enthusiasm.

You need high-frame-rate, high-resolution video
The Pyxis 6K can shoot 6K at up to 50/60fps in the 17:9 and 2:4:1 aspect ratio respectively. It also shoots 2K at up to 100fps. However, if high-frame-rate video is a must for you, there are other cameras to consider that are more specialized for this type of filmmaking

Blackmagic Pyxis 6K: also consider

Canon EOS C70

Canon's smallest cinema camera, the EOS C70 can be had for a similar price seccondhand to the Pyxis 6K. It's a Super 35 format camera (a smaller crop-sensor) with 4K video up to 120fps in 10-bit 4:2:2 plus 12-bit RAW recording. It boasts up to 16 stops dynamic range and utilizes Canon's RF-mount and features autofocus, while it features most of the I/O options demanded by serious filmmakers. Both the Pyxis 6K and EOS C70 put forward unique strengths.

Z CAM E2-F6 Mark II

Another cinema camera with modular box design iz Z CAM'S E2-F6 Mark II. Like the Pyxis 6K, it features a full-frame sensor and is able to record 6K video, but up to 60fps, plus it supports ProRes RAW and 10-bit color, with 15 stops dynamic range. There's SDI and full-size HDMI ports, plus a BNC timecode port and genlock. There's also the E2-S6 Mark II version which is largely the same, only it has a smaller Super 35 sensor. At $3,499, Z CAM's box camera is pricier than the Pyxis 6K

How I tested the Blackmagic Pyxis 6K

Blackmagic Pyxis 6K camera on set, with optional monitor

(Image credit: Jon Devo)
  • I had a briefing and sneak peak of the camera before its unveiling at NAB in 2024
  • I paired the camera with a variety of L-Mount lenses, and a IRIX T1.5 via a Viltrox PL-L adapter
  • I connected the camera to the Blackmagic Camera app

I was sent the Blackmagic Pyxis for review to test for a couple of weeks, due to a firmware update being released during my review window. The kit that came with the camera included the Blackmagic URSA Cine Handle, the Blackmagic URSA Cine viewfinder, a 1TB Angel Bird memory card and reader, as well as a Sigma 24-70mm F2.8 lens.

The first thing I did after receiving the camera was to conduct my endurance tests, which include battery run-downs and heat management. I set the camera up on a tripod in an ambient temperature environment of 70F / 21C, and left it filming continuously while connected to mains power and on battery power alone.

I then took the camera out with me on some street walks, and to a couple of family and evening events. I performed sound-quality tests in a small studio environment.

First reviewed January 2025