This has led Panasonic to a more video-focused approach than the other companies, even lacking some of the still photo features that were taken for granted in other brands. But that has changed, and Panasonic now makes camears that are as good for photographers as videographer, but still they’re mostly designed for video.

The original Panasonic mirrorless cameras were in the Micro Four Thirds format, and many of them still use this smaller sensor. With the launch of the L-Mount Alliance, a lens standard adopted by several companies and which Panasonic helped create, Panasonic is going all-in on full-frame cameras.

Panasonic’s cameras feature unlimited recording, advanced video codecs, and professional video features that make their cameras perfect for video-first creators. I’ve been using a Panasonic S1 II as my YouTube studio camera, so if you’ve ever watched one of our videos, it was probably shot on Panasonic.

Our Picks at a Glance

Key Takeaways

Panasonic’s mirrorless cameras are built around strong video capabilities and reliable handling. The Lumix G100 II is aimed at vloggers who want Micro Four Thirds portability with good audio and stabilization. The Lumix S5 II strikes a balance between professional video and full-frame still performance, adding phase-detect autofocus to the series for the first time. The Lumix S5 IIx expands those capabilities with more advanced codecs and streaming options for creators who need a compact production camera. The Lumix GH6 remains a favorite among video shooters for its internal ProRes recording and flexible Micro Four Thirds lens options, while the Lumix S1H continues to serve as the most robust hybrid video camera in Panasonic’s lineup. Together, they form a system that covers everything from travel vlogging to commercial film production.

Panasonic Lumix S1 II

What We Think

The Panasonic Lumix S1 II is a full-frame mirrorless camera built around a 24.2-megapixel CMOS sensor and the latest Phase Hybrid autofocus system. It records 6K video up to 30 fps and 4K up to 120 fps, supports 5-axis in-body image stabilization rated up to 8 stops, and features a new Real Time LUT function for applying looks directly in-camera. The magnesium alloy body includes dual SD card slots, a 5.76-million-dot EVF, and an articulating 3.2-inch touchscreen.

Reasons to Buy

Dual card slots allow flexible workflows

5-axis IBIS makes handheld shooting practical

Phase-detect AF finally resolves past focus issues

Full-size HDMI and USB-C with power delivery

6K and high-frame-rate 4K options for hybrid use

Reasons to Avoid

Larger and heavier than the S5 series

No CFexpress option for faster data rates

Battery life shorter than DSLR standards

Menus and customization can overwhelm new users

Specifications

• Sensor: 24.1 MP partially‑stacked full‑frame CMOS
• Processor: Latest Panasonic S‑series engine
• Autofocus: Phase Hybrid Autofocus with 779 focus points
• Video: Open Gate 5.1K/60p, 4K up to 120p in some modes; internal ProRes RAW in supported modes
• Stabilization: 5-Axis IBIS up to 8 stops
• Storage: Dual SD UHS-II slots
• Screen: 3.2-inch articulating touchscreen
• Viewfinder: 5.76 M-dot OLED
• Weight: Approximately 740 grams (1.63 pounds

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This is currently my A-camera in the studio because it offers incredible image quality and best-in-class color rendition. It takes some time to dial in for studio setups, but once you have it set up, it produces amazing videos. The Dynamic Range Boost feature is extremely helpful for challenging lighting situations.

Panasonic’s flagship full-frame camera represents the pinnacle of its video-focused technology. It has excellent build quality and extensive video support, making it perfect for studio and location video work alike.

Panasonic S9

What We Think

The Lumix S9 is a compact full-frame mirrorless camera using the same 24.2-megapixel sensor as the S5 II but in a smaller, lighter body. It records 6K 30p and 4K 60p 10-bit video and includes Panasonic’s Real Time LUT feature for quick color grading in-camera. The S9 omits a viewfinder to keep the body slim and relies on a tilting rear touchscreen for composition. It shares the L-Mount system, making it compatible with Panasonic, Leica, and Sigma lenses.

Reasons to Buy

• Ultra-compact design makes it the most portable full-frame camera available while maintaining professional video recording capabilities.
• Professional video features, including advanced codecs and color profiles, provide serious production capability in a remarkably small package.
• Phase-detection autofocus is much better than Panasonic’s previous contrast-detect models and provides reliable tracking performance.

Reasons to Avoid

• No electronic viewfinder limits usability in bright outdoor conditions and traditional photography applications.
• Single SD card slot provides no backup option, which may concern content creators shooting important sessions or commercial work.
• Limited physical controls due to compact design may frustrate users who prefer buttons over touchscreen interfaces.

Specifications

• Sensor: 24.2MP Full-Frame CMOS
• Processor: Venus Engine
• Video Resolution: 6K 30p, 4K 60p
• Continuous Shooting: 30 fps (electronic)

• Stabilization: 5-axis IBIS
• LCD: 3″ 1.84m-Dot vari-angle touchscreen
• Connectivity: Wi-Fi 6E, Bluetooth 5.0
• Battery Life: Approx. 470 shots (CIPA)

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This camera is the best choice in Panasonic’s lineup for users who want full-frame image quality in the most compact package possible. The lack of an electronic viewfinder is a significant trade-off. Still, for content creators who primarily use the rear LCD, it offers professional video features in a portable design that’s perfect for travel and mobile production.

Panasonic’s ultra-compact full-frame camera prioritizes portability but still has all the video resolutions and formats you could need, despite the small size.

Panasonic GH7

What We Think

The Lumix GH7 is a Micro Four Thirds camera designed for professional video production. It uses a 25.2-megapixel BSI CMOS sensor with Phase Hybrid AF, internal ProRes recording, and support for Apple ProRes RAW. The GH7 also introduces 32-bit float audio recording with the XLR adapter, 5-axis stabilization, and unlimited recording in 4K or 5.7K. It continues the GH series’ reputation for video-first functionality while improving autofocus and workflow speed.

Reasons to Buy

• Internal ProRes and ProRes RAW simplify post-production
• Phase-detect AF eliminates focus hunting from older GH bodies
• 32-bit float audio integration expands professional use
• Excellent thermal management for unlimited recording

Reasons to Avoid

• Smaller MFT sensor limits low-light performance
• Larger body than most MFT cameras
• High bitrate formats require expensive storage cards

Specifications

• Sensor: 25.2MP Micro Four Thirds Live MOS
• Processor: Venus‑variant engine
• Autofocus: 79 Points, Phase Hybrid Autofocus
• Video: 5.7K up to 60p; 4K 60p 4:2:2 10‑bit unlimited, ProRes RAW options

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This camera finally brought phase-detection autofocus to Panasonic’s popular GH series, and it’s a game-changer for video creators who previously had to rely on manual focus. In my studio tests, the ProRes recording capability gives the footage post-processing adjustment capabilities, so it’s great for studio work but also for weddings and other shoots with quickly changing lighting.

Panasonic’s flagship Micro Four Thirds camera delivers professional video features in the most compact form factor available, but with the tradeoff that the smaller sensor has worse low-light performance than APS-C or full-frame cameras.

Panasonic Lumix S5 II

What We Think

The Lumix S5 II is a full-frame hybrid camera combining 24.2-megapixel resolution with advanced Phase Hybrid autofocus and 6.5-stop image stabilization. It supports 6K 30p and 4K 60p 10-bit recording, with unlimited record times in most modes. The camera includes a built-in fan for thermal control, dual SD card slots, and an articulating touchscreen. It’s part of the L-Mount system and offers a strong balance of features for both stills and video work.

Reasons to Buy

• Fast and reliable phase-detect autofocus
• Excellent 6K 30p and 10-bit video options
•  IBIS for handheld shooting better than many compeitor cameras

Reasons to Avoid

• Shorter battery life for long video sessions
• Menus can be complex for beginners
• Lacks built-in cooling for extended 6K recording

Specifications

• Sensor: 24.2 MP full‑frame CMOS
• Processor: Panasonic video engine variant
• Autofocus : 779-Point Phase-Detection AF System
• Video: 6K up to 30p, 4K up to 120p depending on mode; 10‑bit recording internal

• Stabilization: 5-axis in-body image stabilization (up to 6.5 stops)
• Lens Mount: L-Mount

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This is my top recommendation for content creators who need unlimited recording and professional video features without breaking the bank. This was my studio camera before the S1 II was released. Having used it extensively for video production, I’ve never had it overheat. The new phase-detection autofocus finally brings Panasonic up to competitive levels for shooting.

Recording up to 6K/30 is on par with cinema cameras that cost much more than this camera. With a viewfinder and a hybrid-style body, it’s a great choice for both photo and video work.

The menu system can be confusing because there are so many features and options. I’ve had to Google how to set up the features several times.

Panasonic S5 IIX

Bottom Line

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The S5 IIX takes everything I liked about the S5 II and squeezes in even more video technology, if that’s possible. It’s essentially the same camera at its core—the same sensor, autofocus system, and stabilization—but it unlocks more advanced recording formats, like All-Intra and ProRes, and adds direct-to-SSD recording over USB-C. It also supports wired and wireless IP streaming, which makes it easier to use in YouTube and other social media studios. There’s no photography advantage over the S5 II, and if you don’t need the expanded codecs or connectivity, the standard model makes more sense. But if your workflow leans heavily toward video and you want fewer external recorders and adapters, the S5 IIX is the smarter long-term choice.

Panasonic G97

What We Think

The Lumix G97 is a Micro Four Thirds camera using a 25.2-megapixel sensor with Phase Hybrid autofocus and strong video capabilities. It records up to 5.8K 60p and 4K 120p, supports 10-bit recording, and includes 5-axis Dual I.S. 2 stabilization for up to 8 stops of correction. It features an articulating screen, dual card slots, and weather-sealed construction. This model continues Panasonic’s push for hybrid performance within the MFT format.

Reasons to Buy

• Excellent value that provides access to Panasonic’s video-focused features and extensive Micro Four Thirds lens ecosystem at budget-friendly pricing.
• Free-angle LCD screen allows for feedback during selfie-style shooting and content creation applications.
• Compact Micro Four Thirds design makes it highly portable for travel and documentary work where size constraints matter.

Reasons to Avoid

• Contrast-based autofocus system is slower than phase-detection alternatives and may struggle with fast-moving subjects and low-light conditions.
• Single SD card slot offers no backup option, which may concern photographers shooting important events or extended sessions.
• Limited weather sealing compared to higher-end models makes it more vulnerable to environmental challenges.

Specifications

• Sensor: 20.3MP Micro Four Thirds Live MOS
• Processor: Venus Engine
• Video Resolution: 4K 30p unlimited
• Continuous Shooting: 9 fps

• Stabilization: 5-stop 5-axis Dual IS 2
• Viewfinder: 2.36m-Dot OLED EVF
• LCD: 3″ 1.84m-Dot free-angle touchscreen
• Connectivity: Wi-Fi, Bluetooth

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This is a great entry-level point to Panasonic’s video-first camera systems. It’s based on the Micro Four Thirds sensor, which allows it to be compact without losing much performance. In our testing, it delivers reliable performance for both stills and video, though it is mostly video-centric. The compact lens ecosystem makes it a perfect choice for travel and documentary work where portability matters most.

Built around a 20.3MP sensor with comprehensive automatic modes, the G97 delivers excellent image quality for a Micro Four Thirds camera. Low light performance isn’t an issue in studios, so it’s a perfect entry-level YouTube or Twitch camera.

Comparison Chart

Frequently Asked Questions (FAQs)

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Panasonic today announced a new member to its unique “box-style” video camera line, the Panasonic Lumix BS1H. As you can probably guess from the model name, the new BS1H, is essentially a full-frame Lumix S1H mirrorless camera put into a small cube-like body. Like its Micro Four Thirds-based sibling, the BGH1, this new full-frame video-focused camera is purpose-built for several specialized video recording use cases, particularly live-streaming, remote and multi-camera video as well as cinema uses where a larger camera like the S1H might be impractical.

The inclusion of a full-frame sensor allows for improved image quality, especially in low-light, and offers “cinematic bokeh” for live-streaming video sitations compared to the MFT-based BGH1. It also offers improved dynamic range, and additional video resolutions the BGH1 doesn’t offer, such as 5.9K and 6K recording resolutions. The BS1H also includes HFR (High Frame Rate) video up to 120p and RAW video support for Blackmagic recorders.

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Physical design aside, when it comes to recording capabilities and the imaging pipeline, the BS1H is remarkmably similar to its standard Lumix S1H, as you might expect. The camera features the same 24.2-megapixel full-frame CMOS sensor with optical low-pass filter and Dual Native ISO, paired with Panasonic’s latest-generation Venus Engine processor. The camera has two base ISOs, a low base ISO of 100 and a high base ISO of 640 in normal shooting modes. The camera has a full native ISO range spanning 100 to ISO 51,200 — or fully expanded from low ISO 50 up to ISO 204,800. The ISO range, however, varies depended on the recording mode. For V-Log, the dual native ISOs shift to 640 and 4000. In the low range, the ISO spans 640-51,200, expandable only down to ISO 320, while in the high range, it’s 4000-51,200, with expandable down to ISO 2000. Similarly, HLG video mode spans ISO 400 to 51,200 and is only expandable upwards to ISO 204,800, while native ISO falls at ISO 400 and 2500. For Cinelike D2 and V2 footage, the standard range is ISO 200-51,200, with full expandable ISOs spanning 100-204,800, with native ISO at 200 and 1250.

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The primary feature difference in terms of image capturing capabilities is the BS1H’s lack of in-body image stabilization, much like the MFT BGH1 sibling model. As with other Panasonic Lumix cameras, the BS1H uses a DFD-based contrast-detect AF system.

Although the BS1H can capture still images (it’s in JPEGs only and only when shooting tethered to LUMIX Tether for Multicam software), the obvious focus for this device is video recording. And as you might expect from Panasonic, the video features, formats, resolutions and framerates offered are extensive. Like the “standard” Lumix S1H, this box-camera verison offers 3:2 aspect ratio video recording at both high-res 6K/24p and 5.4K/30p. It also records 5.9K/30p in 16:9 aspect ratio. There is also numerous 4K video recording options, as well as Full HD. The camera offers both Cinema 4K (4096 x 2160) and 4K UHD (3840 x 2160) up to 30p with 4:2:2 10-bit and in 60p with 4:2:2 10-bit*. There is also Anamorphic 4K up to 30p (or 50p for PAL), as well as Variable Frame Rate modes from 2fps to 60fps at 4K resolution and up to 180p in Full HD. High Frame Rate (HFR) video is available up to 120p with sound and autofocusing capabilities.

*C4K/4K 60p 10-bit HEVC video uses a Super35 sensor area (cropped), while 4K30p 4:2:2 10-bit is recordable in H.264 using the full sensor width.

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The BS1H also offers high-resolution video recording and RAW video capture via HDMI output. The camera records 4K 60p 4:2:2 10-bit out through HDMI as well as 5.9K, 4K and Anamorphic 4:3 3.5K in 12-bit RAW video over HDMI into an Atomos Ninja V (Apple ProRes) or a Blackmagic HDMI recorder in Blackmagic RAW.

As with the S1H, the BS1H inherits several features from Panasonic VariCam line of cinema cameras, including color science and dynamic range. The BS1H is said to offer 14+ stops of dynamic range when using V-Log; V-Log and V-Gamut provide a wide dynamic range and broad color capturing for enhannced control of the look of the footage in post-production. According to Panasonic, the BS1H’s color gamut, known as V-Gamut, is wider than the standard BT.2020 color gamut.

In terms of physical design, the BS1H is largely similar to the Micro Four Thirds variant, with nearly identical physical dimensions — though its weight is slightly heavier at 585g vs 545g. The camera uses a heat dissipating structure, and features an on-board cooling fan much like both the S1H and BGH1 cameras, allowing the compact cube camera to offer unlimited video recording capabilities even at high-resolution and high data-rate settings.

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 Although many of the video recording options are similar between the standard S1H camera and this new box-camera variant, the primary differences (apart from the obvious form factor) are the connectivity options the BS1H provides. On the exterior, the camera body offers an array of 1/4-20 sockets for attaching a number of accessories. The BS1H features a wide variety of ports and connection options not found on the S1H, including the popular motion picture and television 3G-SDI connector and built-in Ethernet (RJ-45) with support for PoE (power over ethernet). Additionally, there is a Type-A HDMI port and a USB3.1 Type-C port, though it does not offer USB Power Delivery like on the standard S1H.

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Audio can be recorded via a 3.5mm audio input, while the camera is also compatible with the DMW-XLR microphone accessory to support XLR microphone inputs. The BS1H features double SD card slots (UHS-II) for backup recording or relay recording.

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As the BS1H is likely to be used in various multi-camera setups, the design and features of the camera allow for easy syncronizing with multiple cameras as well as remote control operation. The BS1H features on-board Genlock IN and Timecode In/Out functions allowing multiple cameras to have their footage easily kept in-sync. The camera works with Panasonic’s LUMIX Tether for Mutlicam, allowing for the control of up to 12 individual BS1H cameras — a functionality also offered on the BGH1 but not on the standard Lumix S1H camera. The BS1H also supports wired LAN support for live streaming capabilties. The BS1H supports IP streaming (RTS/RTSP), with support for streaming video up to 4K 60p in H.265. Lastly, there is also on-board wireless connectivity, with 2.4Ghz Wi-Fi and Bluetooth v4.2 (BLE).

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Pricing and Availability

The Panasonic LUMIX BS1H is scheduled to hit stores in November with a retail price of $3,499.99.

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Meet the BGH1, Panasonic’s latest addition to its storied and ever-growing line of products for the video community. Released during a year when demand for video-centric streaming products has grown to a larger proportion than ever, the BGH1 looks to fulfill many different shooting needs across multiple market segments.

Panasonic’s consistent innovation in the video arena has spanned the cinema community, the Micro Four Thirds world, and lately the full-frame world as well, culminating in their flagship S1H model. The new BGH1 takes the low-light gobbling 10.2mp sensor housed in the GH5S and combines it with the amped horsepower of the same Venus Engine processor found in the S1H. The result is a camera with the most dynamic range (13 stops) offered in a 4/3rds camera model to date.

Meet the fully modular, box-style Panasonic BGH1 video camera

BGH1: What is it?

The Panasonic BGH1 is an MFT/ILC video camera with a 10.2mp 4/3rds sensor housed in a cube-like form factor. It sports similar menu aesthetics as Panasonic’s popular stills-shooting video cameras such as the GH5, GH5S and S-series models, and yet it doesn’t shoot stills. The camera is instead aimed at videographers interested in modularity, and it offers an amazing array of ports and options given its relatively small form factor.

Let’s take a look at some of the particulars:

• 10.2mp Live MOS sensor with Dual-Native ISO technology for lower noise as ISO rises
• 4:2:0 10-bit C4K/4K at 60p or 4:2:2 10-bit C4K/4K 30p internal recording
• 240fps in 1080p FHD
• Unlimited recording times in ALL framerate options
• V-log L with 13 stops dynamic range and HLG recording capability
• Dual SD UHS-II card slots
• 11 1/4″ tripod/mounting sockets (!)
• Advanced autofocus functionality such as people, bird and animal AF detectionÂ
• New advanced heat dispersion structure, vents and a fan to ensure consistent recording
• Ethernet (PoE+); HDMI Type A; USB 3.1 Type C; 3G-SDI; Genlock In; Timecode In/Out
• 3.5″ Headphone/Mic port; Tally lights front and rear; Remote control 2.5″ port
• Bluetooth/WiFi compatible; Supports anamorphic lenses (4:3)
• Remote camera control via Lumix Tether for Multicam app
• SDK (software development kit) capability coming soon

Heat vents, dual UHS-II SD card slots and multiple ports make the BGH1 ultra-professional

BGH1: What’s the catch?

The BGH1 offers the modular ability to add virtually anything to your own self-designed video rig, growing it to your taste and shooting needs, but it’s not a standalone product in any way. It doesn’t have an LCD screen nor viewfinder, so you’re blind without adding something yourself. It doesn’t ship with a battery, although one can be added as a purchased option (instead, it ships with an AC adapter). And it doesn’t have the terrific IBIS found on their popular GH5 camera. And, as mentioned, it can’t shoot stills.

The optional battery is not overly appealing, yet it does deliver more than 8 hours run time!

But that’s not the point of the BGH1. It’s designed for modularity, to be grown not only into a one-camera setup but also a fully controllable multi-cam arrangement when combined with multiple cameras, complete with the software to drive the whole show. It’s built specifically for uses such as live-streaming, drone shooting and capturing live concerts from various angles. These may not be the standard wheelhouse of our average reader, but these days more and more of us are branching into the video arena, and we therefore felt that at least some of our readers would surely be intrigued by this unique offering.

If the BGH1 had more ports, it’d need to be registered with the Port Authority…

As I was pouring through the press release and images for the BGH1, a growing feeling kept telling me I’d seen something like this before, and then I remembered the Olympus Air 01. It’s basically a 4/3rds sensor amd processor inside a housing with a lens mount, to be used for things like concert footage from inaccessible locales, and that also comes equipped with SDK potential. It won our Most Unique award in our Camera of the Year awards for 2015 for good reason, and now the BGH1 takes a similar idea much further down the road.

The BGH1 is basically a GH5S in a box with no EVF/LCD and that doesn’t shoot stills

Indeed, as more and more budget-driven productions spring into existence around the world, more products like the BGH1 will spring forth to help us capture the moment, the magic, the show. We look very forward to trying out our new sample, and will bring you the full details once we do! (Music video, anyone?)

The Panasonic BGH1 will be available in December 2020 for $1999. We believe these units will sell quickly, so you may want to get your name in for pre-orders now!

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The optional battery is not overly appealing, yet it does deliver more than 8 hours run time!

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Here’s a little surprise from Sony. Literally! Though we are still awaiting the arrival of the A7S II successor, Sony has nevertheless surprised us with another high-powered video-centric camera, this time in a compact and pocketable RX100-like form-factor. Meet the new Sony ZV-1.

Though the model name is quite different, the new ZV-1 does indeed share quite a bit with its RX100 siblings, particularly the RX100 VII in terms of sensor and processor, and the earlier RX100 V with its 24-70mm eq. f/1.8-2.8 zoom lens. However, while these RX100-series cameras have always been geared more towards photographers, despite their healthy video features, the new ZV-1 is essentially the opposite. It’s a pocketable, premium compact camera tailored for video content creators, particularly run-and-gun video shooters, vloggers and YouTubers looking for a camera that’s capable, easy to use and lightweight.

Sporting the same imaging pipeline as the RX100 VII — a 20MP 1-inch-type stacked CMOS sensor with onboard DRAM and a fast BIONZ X image processor with front-end LSI — the ZV-1 offers an impressive array of video performance on paper (and stills-shooting capabilities, too, in case you’re curious). It can shoot unlimited 4K video, high-speed Full HD video, offers Real-Time Eye AF tracking in video, supports HLG/HDR video and has S-Log3/2 picture profiles. Going further, the ZV-1 offers new video recording features not offered elsewhere in Sony’s camera line, including an on-demand Background Defocus mode and a new Product Showcase focusing mode.

Beyond the internals, the physical design of the camera offers amenities that video shooters should find pleasing, especially compared to the RX100-series. There’s a rubberized handgrip, a front REC tally light and a side-ways flip-out touchscreen display. Gone are the pop-up EVF and pop-up flash, and in their places are a Multi-Interface shoe for external microphones (there’s also a 3.5mm mic jack) and a large, built-in 3-capsule microphone with detachable windscreen.

What’s more, while Sony’s RX100-series have long commanded fairly premium price points, especially with the latest-generation model, with MSRPs reaching the $1000 mark if not higher, the new Sony ZV-1 is debuting with a more palatable $799.99 price and should be hitting store shelves in early June.

For all the details on this new video-centric compact camera, head over to our Sony ZV-1 Preview!

– Sony ZV-1 Preview –

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While we typically cover stills cameras here at Imaging Resource, sometimes there is video technology so interesting we just have to talk about it. The latest such example is RED’s new WEAPON MONSTRO 8K VV, which costs nearly US$80,000.

What makes this 35.4-megapixel camera particularly special is its over 17-stop dynamic range. That is truly crazy dynamic range and puts the video camera in a class nearly all its own, rivaling the Sony Venice system, which was unveiled last month and also utilizes a full-frame sensor but is stated to over 15 stops of dynamic range, which is still very impressive.

The RED WEAPON MONSTRO 8K, as its name alludes to, captures 8K full format video and it does so at up to 60 frames per second. To help handle the immense amount of data, the camera has 300 MB/s data rates and allows for simultaneous 4K video recording in multiple formats.

You can learn more about the new MONSTRO 8K here and if you’ve got $80,000 burning a hole in your pocket, you can order it today and receive it in the first quarter of 2018.

(Via Mirrorless Rumors)

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Lensrentals.com has over 100,000 pieces of gear, which means they have the ability to test gear in unique ways. Their latest testing involved testing the battery life and recording times of their video cameras. They went through their entire stock and logged recording time (per gigabyte) and battery life for each camera. Their charts include information for the camera, battery, memory card and video codec and extensions used and show how much record time you can get (in minutes) per GB.

It appears that the Canon 1DX Mark II when recording 4096 x 2160 MOV MJPG video files at 59.94p to a CFast 2.0 / Compact Flash card results in 0.15 minutes per GB, which is the lowest of all the tested cameras. You would fill up a 64GB card in under 10 minutes with these recording settings. If you don’t need to record at 60fps, the Sony A7S II, A6500 and A6300 can record XAVC S 3840/30p video at a more impressive 1.17 minutes per GB rate, meaning that if you were recording to a 64GB SDXC card, you could record nearly 75 minutes of footage.

A screenshot sample of the data compiled by Lensrentals.com in their latest testing.

What about battery life? LensRentals has this information for many camcorders and recorders, but the full data is not yet available on their DSLR/mirrorless spreadsheet. Keep checking back to the links above as Lensrentals will be periodically updating their set of data.

(Via Fstoppers)

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Mario Arthur Peralta III, a 42-year old photographer in Jacksonville, Florida, has been arrested and is being held on a $50,000 bail after it was discovered he was filming female models as they were changing in the dressing room of his studio.

According to Peralta’s website, which is still up and functioning, he has been a photographer for 21 years, operating under the business Mario Peralta Photography. His arrest was made after a parent of a teen model complained to local authorities that Peralta had hidden a digital video camera in a dressing room, where the teen was filmed as she was undressing and dressing.

Police obtained search warrants and appropriately apprehended Peralta at his residence this past Monday. He is currently being held on a $50,000 bail. Local authorities have asked anyone with more information to call local detective M. Kulcsar at (904) 247-4030.

A screenshot of Peralta’s website as it currently stands.

It appears all of Mario Peralta’s social media accounts and photography-related pages are still online, including Twitter, Pinterest, Facebook and Instagram.

(via Jacksonville.com)

Update: A more thorough update from local Jacksonville news site, News 4 Jax, reports the father of the 16-year-old model who first turned in Mr. Peralta discovered a precariously placed digital clock on the wall of the changing room in Peralta’s studio. Upon investigating the clock, the father found an SD card inside. Police said the father took the SD card home to see what files were on the computer. In doing so, the father saw images of Peralta adjusting the camera, as well as nude and dressed image of his daughter, the model. The SD card was then turned over to authorities. Investigators confirmed there were six videos of Peralta adjusting the camera in addition to videos of him both touching himself and pointing a remote at the disguised camera. No further information as been given on the status of Peralta.

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We’ve now published our comprehensive Sony RX10 video page, detailing what you can expect from a camera that, it turns out, is also a surprisingly good movie-capture device. We’ve also updated our review with more info on the Sony RX10’s Wi-Fi capabilities.

For the full story on the camera that just won our Camera of the Year award in the Best Enthusiast Zoom category, read our Sony RX10 review. If you’re most interested in its video capabilities, read the Sony RX10 video page.

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We’re all used to receiving firmware updates for our digital cameras, but major changes to fundamental features of the camera are another matter entirely. For customers of Canon’s Cinema EOS C100 digital video camera, however, the second update announced in just a handful of weeks will see a huge change offered for the way in which the camera performs autofocus.

A few weeks ago, we reported on Canon’s upcoming firmware update for the EOS C100, which adds some handy features such as increased sensitivity and peripheral lens correction. That update is slated to arrive sometime this month, and now we hear that it will be followed by another update in the first quarter of 2014. Where this month’s update is user-applied, though, the following update requires that the camera be returned to the factory, and a US$500 service charge be paid.

Why would you want to go to the trouble of returning your camera and handing over $500? For many videographers who rely solely on manually-pulled focus, you wouldn’t. For those who do use autofocus, however, the update enables a feature hidden on the EOS C100’s sensor since launch: much the same Dual Pixel CMOS AF functionality first seen in the EOS 70D. In a nutshell, you can add on-chip phase detection autofocus functionality — or more accurately, enable that which until now has lain in wait, disabled on your EOS C100’s sensor.

Once upgraded, says Canon, the EOS C100 will become the first ever camcorder to feature on-chip phase detection. The AF area will comprise 20% of the frame height, and 25% of the frame width — or in other words, 5% of the total sensor area. Continuous autofocus will be possible with all Canon EF lenses except manual-focus only types (including EF Cinema lenses). An AF Lock function will allow you to prevent the camera changing autofocus, handy if panning between subjects at a similar distance to each other. One-shot AF will still be available, but it will benefit from the system too, with a doubling of autofocus performance in this mode.

Look for more news next Feburary on how to have the update applied. More details on Canon’s website.

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If you’ve been lusting after the 2.5K-capable Blackmagic Cinema Camera since it was announced last year, but couldn’t justify its pricetag, it may be time to double-check your bank balance. Blackmagic just slashed pricing of its interchangeable-lens, ultra high def video camera by a third, so the time for you to take the plunge may just have arrived.

Originally priced at US$3,000, the Cinema Camera — which accepts either Canon EF and Zeiss ZF lenses — is now selling for just US$2,000 or thereabouts. Okay, it’s not quite impulse-buy territory, but it hits a psychologically-important price point, and makes it much easier to justify shooting your next film at 2.5K resolution.

New firmware for the Pocket Cinema Camera allows autofocus using the Focus button.

Already placed an order before the price cut was announced? So long as your camera hasn’t shipped already, you won’t be out of pocket — your price will be adjusted to the new, lower one automatically. And development hasn’t ceased, either — new firmware is promised with improved demosaicing algorithms, for better image quality, as well as a number of new focus-related features.

Blackmagic has already provided these focusing features in updated firmware for its Pocket Cinema Camera, an even more affordable model that’s based around a Micro Four Thirds lens mount. The new firmware allows autofocus operation with a compatible lens, simply by pressing the rear-panel focus button, providing near-instant access. Double-pressing the button enables focus peaking, while a double-press of the OK button enables focus zoom.

The Production Camera 4K is currently delayed due to late delivery of image sensors.

Alongside this news, the company has also confirmed that its upcoming Production Camera 4K remains delayed, with delivery now expected in 3 to 4 weeks. The reason for the delay is quite understandable: the company has apparently only just received its first batch of image sensors. That leaves it in need of time both to complete software development, and to test that all is well.

In semi-related news, Switronix has just shipped a new 70wh 14.8v lithium-ion battery pack that, says the company, is approved by Blackmagic for use with the 2.5K and 4K cameras. It attaches via a short cable, and mounts on the camera’s tripod mount. While it adds significant bulk — 1.4 pounds and 6.25 x 1.8 x 3.3 inches — it is also said to greatly improve recording times. Switronix claims a near-quadrupling of the standard 90-minute runtimes. More details on the Switronix website.

Switronix says its external battery pack will nearly quadruple runtimes for the Blackmagic 2.5K and 4K cameras.

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