(Pocket-lint) – Looking for a great deal on a new camera? Amazon Prime Day is on this week between 13-14 October, with the online retailer slashing prices across its store – meaning you can snap up a compact, mirrorless, DSLR or lens deal over the two-day sale period.
We’ll be bringing you all the deals here when they’re live.
You can sign up for a free 30 day trial to Amazon Prime to take advantage of Prime Day deals. You can cancel anytime as there is no obligation to continue. Read more about the benefits here
Amazon Prime Day US camera deals
• Canon EOS M6 Mark II – save 27%, now $799. Canon turned a corner in its M series mirrorless line-up, with the second-gen M6 adding welcome changes that make for even greater ease-of-use, while the resolution reaches epic new heights.See the M6 II deal here
• Panasonic Lumix G7 kit – save 49%, now $597.99: This lightning deal bargain – with almost half off – is a great offer as the camera comes with the versatile 14-140mm lens. It probably won’t be around for long!Check out the Panasonic G7 lightning deal
• Canon PowerShot G7X Mark III – save 20%, now $599. Aimed at vloggers, Canon’s small-scale compact comes with a flip-around LCD screen, 4K video capture and even a microphone input. View the G7X 3 deal here
• GoPro Hero5 action camera – save 52%, now £119.98: It’s a couple of years old, but this video action camera from the best-in-the-business offers 4K capture. It’s small scale and so can go basically anywhere too.See the GoPro Hero5 deal
Amazon Prime Day UK camera deals
• Fujifilm X-A7 mirrorless with 15-45mm lens – save 36%, now £449: The entry-level model in Fuji’s range opens the door to a very versatile system camera. Check out the Fuji X-A7 deal
• Fujifilm X-T200 mirrorless with 15-45mm lens – save 27%, now £549: A vast improvement over its predecessor, this mirrorless model makes for a solid interchangeable lens camera thanks to improved autofocus and its big vari-angle touchscreen. Check out the Fuji X-T200 deal
• Sony A7 II full-frame mirrorless camera kit – save 49%, now £839: The first full-frame mirrorless camera from Sony is a few years older these days, but in its second-gen form it’s a bargain way into the world of full-frame quality. Check out the Sony A7 II deal
•Sony A7 R II full-frame mirrorless camera kit– save 50%, now £1199: The video-centric version, hence the R, is a dab hand at all things moving image. And at half price it’s a bit of a steal. See the Sony A7 R II deal
• Sony RX100 Mark III compact camera – save 56%, now £349: The best accessible high-end compact camera series is the RX100. This third-gen model pairs a 1-inch sensor size with pop-up viewfinder. And with £451 off it’s a bargain pocketable compact if you’re looking for better-than-phone photos. See the Sony RX100 III deal
• Sony RX100 Mark VI compact camera – save 36%, now £739: The sixth-gen edition to this high-end compact adds a longer zoom lens than the MkV, while retaining the small build quality that makes it such an appealing pocketable camera. The quality is great from its 1-inch sensor too. Check out the Sony RX100 VI deal
• Sony RX10 III superzoom camera – save 25%, now £829: Looking for something with a bit more reach? A superzoom will be the perfect suitor. This Sony is like an RX100 high-end compact but with a much longer lens, meaning it can shoot far-away subjects as if they’re closer. It’s not nearly as small, of course, but that’s all part of the package. View the Sony RX10 MkIII deal
Amazon Prime Day 2020 quick links
Below are quick links straight to deals pages for the top retailers, just in case you’re looking for something that we haven’t covered.
For many it’s this R6 that will actually make a lot more sense. Not only will you save a packet by comparison – even though it’s far from cheap – the specification is still often jaw-dropping for a full-frame camera.
The EOS R6 is, in many respects, representative of where Canon’s mirrorless series is also headed. This camera is reflective of the company’s DSLR line-up in terms of physical layout and (to some degree) operation, yet crams in better-still image quality and features, furthering the company’s commitment to its RF lens mount.
But with Nikon also hot on the heels and with its new cameras – the Z6 and Z5, which are each available for even less cash – has Canon got the balance right here?
When Canon launched its first RF mount camera, the EOS R, it was received with a mixed response. There was no doubt that the lens mount has heaps of potential – something that the R6 benefits from – but its layout was downright odd.
That latter point isn’t a concern for the EOS R6: picking up this camera feels like using an up-to-the-minute Canon DSLR, with an easy-to-use intuitive layout with everything to hand. It’s almost like a 7D II in that respect.
The R6 benefits from a solid construction, its magnesium top-plated polycarbonate body bringing dust- and splash-resistance for assurance, while negating too much weight as a result (it’s 680g – although far more with any RF lens attached).
Spec for spec the EOS R6 echoes the Nikon Z5 to a fair degree: the built-in OLED electronic viewfinder is the same in terms of size, resolution and refresh. That’s to say it’s a super experience – although that Nikon can deliver much the same here for a lot less cash is up for question.
Where the EOS R6 steps up a notch is by including a vari-angle mounted 3-inch high-resolution LCD touchscreen. Being able to move this to the side of the camera, then through a full 360-degree rotation as you please, is really useful for shooting dynamics – whether stills or moving images, handheld, on a rig, or from a tripod.
Dual Pixel CMOS AF II autofocus system
Image stabilisation system – to 8 stops
Face/eyes/animal detection & tracking
12fps burst (20fps electronic)
Adjustable AF point size
Wi-Fi & Bluetooth
There’s a whole lot going on under the hood of this Canon too. It’s among the first EOS cameras to receive Canon’s second-generation Dual Pixel CMOS AF system. In this new 2020 guise it’s quicker than ever before – as fast as 0.05s, Canon asserts – and also features eye/face/body tracking and animal detection.
Not that the EOS R6 is just for shooting your pets. The camera also has deep learning, so the more you shoot subjects, the more context the camera will have to understand your methods. Sure, dogs and cats are the dominant species it’s programmed to recognise, but there’s also birds – including birds in flight – which will be a huge deal for a large swathe of enthusiasts.
The latest Digic X processor being on board also means considerable speed: the R6 can clack away at 12fps using its mechanical shutter, or you can boost that to 20fps using the electronic only shutter. That’s a lot faster than the Nikon Z5, so we can easily see why you’d pay the extra pennies here to benefit from such a high-end feature.
That new autofocus system is generally impressive too. Unlike some of Canon’s simpler cameras, there’s an abundance of modes here: tracking; spot, 1-point, expand area, expand area around, zone, large zone, and large zone horizontal.
Pick any of the area options and the camera is super snappy to lock onto subjects – whether you’re using touchscreen to assist, using the rear joystick, or letting the camera sensibly select as it sees fit. There’s no lack of accuracy, either, with 1,053 available areas being used – and visibly showing on the screen in real-time – to lock onto your target subject.
The EOS R6 is also astute to low-light conditions. It can autofocus as low as -6.5EV, which is beyond moonlight conditions – more like candlelight really – and it does a good job in dim conditions. The bigger problem we’ve been having is when being too close to subjects for focus to be possible. But being able to easily shoot even heavily backlit subjects is great.
All of this is further benefitted by Canon’s built-in image stabilisation system, to eke out extra sharpness from each shot. That’s exactly what you want to have to hand when shooting with a large full-frame sensor, no doubt, and the system does a stellar job in assisting.
20-million pixel full-frame CMOS sensor
ISO 100 to 102,400 sensitivity (expands to 204,800)
Video capture: 4K at 60/50/30/25/24p (1.7x crop); Full HD (1080p) at 120/100/60/50/30/25/24p
The only real oddity – if you could call it that – is the EOS R6’s 20-megapixel resolution. While 20 million of anything is hardly ‘low’, that is lower than much of the competition is offering these days. And we know that Canon’s RF mount can handle much higher fidelity – which is part of the purpose of this system’s capabilities, and why the EOS R5 offers over twice the resolution (at 45MP).
That said, 20MP images are still relatively massive. And with the capacity to shoot bursts of shots, the resolution and speed do seem to go hand in hand. Still, a 24MP or 26MP sensor would have made more sense in our view – even just for the additional potential to crop into shots.
Nonetheless, this resolution brings its benefits: images from the EOS R6 are gloriously averse of image noise – to that point that even a five-figure ISO sensitivity won’t show any colour noise in a shot. Sure, there’s not quite the same degree of detail at ISO 10,000, but it’s staggering how good the overall quality is here. Shoot at the entry ISO settings and you can expect sublime image output up to ISO 800, with barely any difference in visible detail.
Quality isn’t just down to searching out image noise, but of course, with the EOS R6’s full-frame sensor allowing for glorious shallow depth-of-field possibilities. The sensor’s extra size just enhances that melty blurred background look and the degree of control over it.
And there’s really no doubting the RF lenses quality. The 24-70mm f/2.8 that we’ve been using is totally stunning. It is rather larger against the R6’s modest body though. But that size play-off is worth it for the sharpness and aperture control on offer.
Beyond still image capture there’s video capture up to 4K in a whole range of frame-rates. That’s generally good news, but Canon can’t go the long distance here – with overheating a known issue that can meddle in ability to record in this UHD resolution. Drop it to Full HD/1080p and there’s no such issue though. Something to consider, although the R5 is more the model with a video focus.
Although the EOS R6’s relatively low resolution – not that it’s properly low – might leave some scratching their heads as to why it’s not destined to pull greater fidelity from Canon’s RF mount, in practice the 20MP full-frame sensor delivers glorious images with little image noise of concern right up to five-figure ISO sensitivities.
Plus the on-board stabilisation, more advanced autofocus system, and heaps of speed when it comes to burst shooting, further add to the EOS R6’s overall appeal. The price doesn’t, mind, while the limitations to 4K video capture are also worth pointing out – thus we don’t see this Canon as a great threat to Sony or Panasonic.
So has Canon balanced out the EOS R6’s proposition? By and large, yes, it’s a highly capable mirrorless system camera with much more familiar DSLR-style layout and controls than the original EOS R. The asking price could be yet more competitive and the resolution a little higher though.
No, it’s not a Canon, so if your allegience and lens collection doesn’t match then it’ll be of no interest. But if you’re new to mirrorless and are looking for something almost equally as capable but for a little less cash then the Nikon is a blindingly good camera to consider.
Not content with launching just one major camera in one day, Canon has also added the EOS R6 to its line-up – which joins the even-higher-spec EOS R5.
While the latter camera sells itself on ultra-high resolution and 8K video, the EOS R6 is a camera with different attentions. Yes, it’s still part of the RF lens system. Yes, it’s still got a full-frame sensor – but it’s a 20-megapixel one, designed with action shooting in mind.
The R6’s sensor is also capable of shooting in conditions as low as -6.5EV, which means it can autofocus is conditions like moonlight or even candle light. It is, on the basis of that, a consumer camera with no rival when it comes to low-light shooting, which is quite the accolade.
The R6 is certainly no slouch, then, thanks to the latest Dual Pixel CMOS AF II autofocus system – which is capable of automatically detecting faces, eyes, and even animals in order to track them in real time.
Canon described the R6 to Pocket-lint as the mirrorless embodiment of the EOS 6D II (because of its full-frame sensor) and the EOS 7D II (for its fast shooting capabilities). The shutter can actuate at 12 frames per second (20fps in electronic shutter mode), making light work of fast-moving subjects.
Although the R6 doesn’t have the resolution to match the R5 when it comes to video capabilities (i.e. there’s no 8K here), it can shoot 4K at 60fps (oversampling from a 5.1K frame).
Elsewhere there’s a vari-angle touchscreen LCD, paired with a built-in 3.69m-dot electronic viewfinder (EVF) – ensuring versatile use whether you’re shooting from the eye or the waist.
As the body is polycarbonate – not magnesium alloy as is typical – it’s also ultra-light, plus it’s weather-sealed too.
The Canon EOS R6 will be available from 27 August, priced £2,499.99 for the body, or £2,849.99 with the 24-105mm STM kit lens included in the box. That might be just enough to lure you away from a traditional DSLR.
Now the full information has come to the fore: the EOS R5 is the top-tier camera in the company’s RF lens-mount mirrorless system, bringing a 45-megapixel full-frame sensor that’s even capable of 8K video capture.
Yes indeed, the EOS R5 is a beast when it comes to potential. Here are some other specification highlights, as there are so many potential places to start.
In-body stabilisation system, works with lens IS for up to 8-stops of stabilisation
12 frames per second mechanical shutter (20fps electronic shutter)
Dual Pixel CMOS AF II autofocus system introduced (0.05s)
There are some big take aways there, in particular that this full-frame sensor is a massive 45-megapixels when it comes to resolution. That’s not quite the highest Canon has ever produced (there’s the 5DS), but the company is claiming – due in part to the RF lens system, but also the low-pass filter design here – that it will deliver the best fidelity of any of its cameras. Like, ever.
It’s also the first camera to introduce the second-generation focus system, called Dual Pixel CMOS AF II, which not only claims the world’s fastest speeds (at just 0.05 seconds if the right lens is attached), but adds in animal detection – it’s able to lock onto the eyes of various species, including dogs, cats, and birds (including birds in flight).
Then there’s the image stabilisation system, which is a first for Canon. There’s a gyro in the body, which works in tandem with the lens-based stabilisation (IS) to function as a two-part system, which Canon claims can stabilise for up to 8 stops. That’s a rather immense claim.
Elsewhere the R5 has an ultra-resolution electronic viewfinder, plus a 3-inch vari-angle LCD touchscreen.
Two card slots feature: an SD (UHS-II) and CompactFlash Express slot. The latter is an essential for one of the R5’s other major abilities: shooting 8K video. Yes, this camera can capture the 33-megapixel format at 30 frames per second. Or you can ‘downgrade’ to 4K and shott at 120fps, making for ultra high-definition slow-motion capture. Looks as though Canon is finally opening the gateway to its high-end video capabilities.
So how much do you need to buy such a system? It doesn’t come cheap, at £4,199.99 for the body only. The RF lenses are various prices and levels, including a batch of new optics also announced to show the company’s dedication to getting the R system well and truly off the ground.
Canon had been teasing that its EOS R5 mirrorless camera was coming – it was first made public in February 2020 – but it arrives alongside an EOS R6 too. That’s a bit of a surprise! Two cameras, but two very different prospects, so what’s the difference between the EOS R5 and R6?
EOS R5: Magnesium alloy body, 135.8 x 97.5 x 88mm, 738g
EOS R6: Polycarbonate body, 138.4 x 97.5 x 88.4mm, 680g
Both cameras: Full-frame sensor with EOS RF mount
Both cameras: Built-in image stabilisation (IBIS)
The EOS R5 as the ultra-high resolution solution with 8K video capability. Think of it as the mirrorless version of the EOS 5DS DSLR, ideal for landscapes and highly detailed work.
The EOS R6 doesn’t deliver the same resolution or video potential as the R5 – but it’s a very fast camera, with action and low-light in mind. Think of this more as the mirrorless version of the EOS 7D II (albeit with a larger sensor).
Both cameras feature Canon’s built-in image stabilisation system, which is a first for the brand. By using a combination of sensors in the cameras’ bodies in combination with lens-based stabilisation (where applicable) the Japanese company is claiming up to 8-stops of stabilisation can be delivered. That’s a huge helping hand.
While both cameras are also weather-sealed, the R5 is a magnesium alloy build, so it’s heavier, as the EOS R6 uses a polycarbonate body instead.
EOS R5: 45-megapixel full-frame CMOS sensor
ISO 100-51,200 (102,400 expanded)
EOS R6: 20.1-megapixel full-frame CMOS sensor
ISO 100-102,400 (204,800 expanded)
Here’s the biggest difference on paper. The EOS R5 has a 45 million pixel full-frame sensor. Canon says, thanks to it being part of the new system, it’s capable of resolving more detail than any Canon camera before it – and that includes higher-resolution DSLRs too – because of the optical potential of the RF lens mount.
The EOS R6 has a 20.1 million pixel full-frame sensor, so less than half the resolution. That’s still heaps of pixels though, more than many will need for most types of work. And having lower resolution can be a benefit when churning through dozens of files at a time.
EOS R5: -6EV low-light autofocus / EOS R6: -6.5EV
12fps mechanical shutter (20fps electronic)
Dual Pixel CMOS AF II autofocus
Digic X processor
In terms of performance both cameras offer a lot that’s the same. Their sensors are the same physical size. The stabilisation system equally effective.
Both also represent the first appearance of Canon’s second-generation Dual Pixel CMOS AF system. If you’ve used a Canon before you might have heard about this: it first appeared on the 70D DSLR, showing off what was possible on screen-based autofocus. In its 2020 guise, however, it’s quicker than ever before – as fast as 0.05s, Canon asserts – and also features eye/face/body tracking and animal detection.
Not that the EOS R5 and R6 are just for shooting your pets. Both cameras offer deep learning, so the more you shoot subjects, the more context the camera will have to understand your methods. Sure, dogs and cats are the dominant species it’s programmed to recognise, but also birds – including birds in flight – will be a huge deal for a large swathe of enthusiasts.
The latest Digic X processor also means considerable speed: both can clack away at 12fps (mechanical shutter) at full resolution. So, yes, the EOS R5 can capture 540 million pixels of data in a second in that regard (it’s actually more as a 20fps electronic shutter also runs at full resolution, meaning 900MP can be buffered within a second).
The EOS R6, on account of its larger ‘pixels’ on that sensor, is also more astute to low-light conditions. It can autofocus as low as -6.5EV, which is beyond moonlight conditions – more like candlelight really. The R5 isn’t far behind, though, at -6EV, making it half a stop less capable there.
Screen & Viewfinder
LCD: 3.2-inch, 2.1m-dot, vari-angle mount
EVF: 0.5in, 5.76m-dot 120fps refresh rate
LCD: 3-inch, 1.62m-dot, vari-angle mount
EVF: 0.5in, 3.69m-dot, 120fps refresh
In sync with its ultra-high resolution, the EOS R5 also offers the higher resolution viewfinder, offering a massive 5.76 million dots. That makes it 1.92m pixels (1600 x 1200; as each dot describes one of the red, green and blue channels used to create one white pixel). Still, there’s nothing more resolute out there in the consumer market.
By comparison the EOS R6 has a lower resolution offering, but it’s still massively resolute at 3.69m-dots (1.23m pixels). Both offer 120 frames per second refresh rate too, for the most accurate to-eye view, so you don’t miss a moment.
Both cameras feature vari-angle LCD screens for creative composition. The R5’s is a little larger and more packed with pixels.
EOS R5: Maximum capture – 8K at 30/25/24fps
EOS R6: Maximum capture – 4K at 60/50/30/25/24fps
EOS R5: Dual cards (1x CF Express, 1x SD (UHS-II))
EOS R6: Dual cards (2x SD (UHS-II))
The headline feature of the EOS R5 is its ability to capture 8K video (DCI 17:9, UHD 16:9 using H.265 compression and 4:2:2 10-bit onto card). This is with a slight crop – Canon tells us the camera captures at 35MP per frame – at up to 30 frames per second.
The EOS R6 maxes out at 4K60p, but that’s still impressive. The EOS R5 also offers this – but with 4K120 as an option to make quarter-time slow-mo editing a breeze.
Both cameras also offer Full HD at 120fps, Canon Log for grading, and clean HDMI out to 4K60 maximum (potentially due to the HDMI standard).
EOS R5: £4,199.99, sales from 30 July 2020
EOS R6: £2,499.99, sales from 27 August 2020
So there you have it, two big deal pro-spec cameras with a different target user in each case.
Want the ultra-high resolution and/or 8K capture? The R5 will set you back £4,200 in the UK, arriving late July. Add an RF lens and you’ll need deep pockets.
The R6 is £2,500 and will arrive later in the year, from late August. Hardly small change, but this looks like an all-round EOS R that, with the right lens attached, will become Canon’s 2020 focus.
Traditional camera makers are shooting to become king for an expanding market sector: vlogging cameras. Where YouTube is king, more makers are looking for better ways to capture themselves and their surroundings in better quality.
Panasonic Lumix G100: 115.6 x 82.5 x 54.2mm; 412g (with 12-42mm lens)
Sony Vlog Camera ZV-1: 105.5 x 60 x 43.5mm; 294g
Canon PowerShot G7 X M3: 105.5 x 60.9 x 41.4mm; 304g
Small is sometimes mightiest. While all three of these cameras are small, it’s the Sony that will most likely feel lightest and most portable. There’s not a huge amount in it.
Sensor Size & Lens
Panasonic Lumix G100
Sensor: 20MP Micro Four Thirds
Lens: Interchangeable lens mount
12-32mm kit lens (24-64mm equivalent)
Sony Vlog Camera ZV-1
Sensor: 20MP 1.0-inch Exmor RS CMOS
Lens: 24-70mm f/1.8-2.8 equivalent
Canon PowerShot G7 X M3
Sensor: 20.1MP 1.0-inch stacked CMOS
Lens: 24-100mm f/1.8-2.8 equivalent
However, there’s a big reason for the variance in size: sensor size and each lens’ focal length.
Both Sony and Canon models have fixed-in-place zoom lenses, while Panasonic’s G100 is a system camera with interchangeable Micro Four Thirds lenses – which makes it potentially much more versatile (and a bit larger and heavier by comparison).
All three of these cameras house sensors that are larger than an entry-level compact, which bodes well for quality. The Sony and Canon both use stacked 1-inch size CMOS sensors. The Panasonic has the larger scale sensor, however, which ought to mean greater potential when it comes to background blur and overall quality.
The kit Panasonic G100 comes with a 12-32mm pancake zoom – which delivers a 24-64mm equivalent zoom. That’s the same on the wide-angle as the 24-70mm of the Sony ZV-1 and the 24-100mm of the Canon G7 X III. Note that the Canon can zoom the furthest – i.e. make farther away subjects look closer-up in the frame.
Audio, Mic Input
Panasonic Lumix G100: OZO Audio by Nokia (audio tracking / positioning), 3.5mm mic input, micro HDMI out
Sony Vlog Camera ZV-1: 3.5mm mic input, micro HDMI out, deadcat wind-shield included
Canon PowerShot G7 X M3: 3.5mm mic input, micro HDMI out
A big reason to buy a dedicated camera for video is for its audio abilities. All three of these cameras offer a 3.5mm microphone input, so you can connect an accessory microphone as you please – whether that’s a directional shotgun mic, a wireless mounted mic, or any other number of possibilities.
However, you won’t necessarily always want to use a microphone. It’s here that Sony comes up trumps by including what’s called a deadcat in the box – a fluffy microphone cover that sits up top and stops wind noise from creating those ‘tearing’ sounds.
The most advanced of the lot, however, is Panasonic’s Lumix G100. For the first time in a camera this includes OZO Audio by Nokia, which utilises the three onboard microphones to record in a directional format – you can define whether you want behind, in front, or subject tracked to be sound isolated. That’s the real big winner: the system’s autofocus includes face detection which can be audio synched, so as the subject moves through the frame the OZO tech will use the right proportion of microphones to channel that audio isolation. Very clever.
Sony Vlog Camera ZV-1: 3-inch 921k-dot vari-angle touchscreen LCD; no EVF
Canon PowerShot G7 X M3: 3-inch 1,040k-dot vertical tilt-angle touchscreen LCD; no EVF
Traditional cameras aren’t great for vlogging on account of their fixed screens. All three of these cameras, however, offer mounted LCD screens that can be repositioned: the Canon’s flips forward vertically; the Sony’s and Panasonic’s are side-mounted and therefore offer even more versatile position potential.
In terms of screen resolution the Panasonic is far and away the most resolute – although at arm’s length we doubt you’ll notice a huge difference in this, and actually more dots on screen is just more of a battery drain.
Of the three cameras only the Panasonic has a built-in electronic viewfinder (EVF). This is more for shooting still images or shielding from sunlight to better judge exposure and composition – so certainly has its use cases.
All models: Up to 4K at 30fps
Panasonic: Up to 9mins 59secs
Sony: Up to 5mins due to avoid overheating
Canon: Up to 9mins 59secs
Panasonic Lumix G100: 1080p at 60fps (29m 59s maximum)
Sony Vlog Camera ZV-1: 1080p at 120fps (29m 59s maximum)
Canon PowerShot G7 X M3: 1080p at 120fps (29m 59s maximum)
Being vlogging targeted, all three cameras cater for 4K resolution at 30fps maximum (and with 100Mbps in all cases, ensuring there’s enough data for optimum quality). However, the Sony can only record for half the time compared to the other two to avoid overheating – and even then the Canon and Panasonic max out at 10 minutes at this resolution.
If you’re looking for Full HD recording to up your recording time, save on bandwidth, storage space, and editing processing pressures then all three cameras can cater for that too.
Slow-motion is best handled by the Sony, with Full HD at 240fps/480fps/960fps available. The Canon offers 120fps slow-motion. The Panasonic’s spec sheet says 120fps sensor output is possible too – but that in-camera capture is 60fps.
Panasonic Lumix G100: 5-axis hybrid stabilisation (4-axis for 4K video)
Sony Vlog Camera ZV-1: Steadyshot for Movie hybrid stabilisation
Canon PowerShot G7 X M3: 5-axis Advanced Dynamic IS & Auto Level
Stabilisation is important when it comes to video. Although you may wish to buy a handheld gimbal for extra stabilisation for those ultra-smooth video results.
All three cameras offer hybrid stabilisation systems – that’s to say there’s optical lens-shift working in tandem with electronic stabilisation (using a portion of the sensor as a buffer to counter motion). We’ve not tested these three side by side so can’t say which is best of the bunch.
The big question: which one to choose? Well, if price comes into the equation then the Sony is the priciest of the lot. That might be a bit of a surprise when the Panasonic offers a more advanced audio isolation system, has a larger sensor size, and interchangeable lenses.
If size is your biggest concern then the Sony is the lightest of the bunch, which helps in terms of portability. It’s also got the most muscle when it comes to slow-motion options – although its 4K capture is more time-limited than the other two.