The Buyers guide to...Best 4K cameras for shooting video

The headline video feature of the Sony a 7S III is that it can shoot 4K video at up to 120p and full HD footage at up to 240p, with full-sensor readout no pixel-binning and with the hybrid autofocus system in action.

There’s also 10-bit colour depth and 4:2:2 colour sampling available in all recording formats.

Sony has introduced new XAVC S-I 4K (All-Intra) and XAVC HS 4K (Long GOP) video formats and improved the XAVC S 4K (Long GOP) format for the A7S III.

Intra-frame recording is a compression procedure that captures more data but requires higher bit rates and therefore more uses storage capacity than Long GOP. It’s useful when you need the best quality 4K video recorded internally.

XAVC S-I 4K (All-I) can be used in normal recording at 50/25fps and 10bit 4:2:2 500Mbps and in S&Q (Slow and Quick) mode at 110/50/25/12/6/3/2/1fps at 25p (4x slow-mo)/50p and 10bit 4:2:2 250Mbps. It’s the S&Q options that make using a CFexpress card essential.

The bit rate in S&Q mode is 250Mbps which means the recorded bitrate/framerate is 10, much higher than in previous cameras. As a result, the in-camera slow and quick motion results should be much better than in the past.

After the 8K-capabilities of the Canon EOS R5, the Sony A7S III might seem a bit of an anti-climax. Some videographers were probably hoping for a big jump in resolution from the 12mp A7S II. However, Sony already has the 61Mp A7R IV and the 24Mp A7 III, so sticking with 12Mp means that the A7S III has even better low-light capability than its predecessor but with a much better autofocus system, a vari-angle screen and the highest-resolution viewfinder around. The A7S III is about more than grabbing the headlines for its resolution, it promises to make capturing 4K video easier than before and for that video quality to be the best 4K footage you can get from a Sony camera. It doesn’t disappoint as the quality of the footage is superb.

Read our Sony A7S III Review

Videographers will be pleased to learn that there’s unlimited 4K video recording – most cameras can only record in bursts of up to 29minutes and 59 seconds. There’s also a choice between MOV, MP4, AVCHD Progressive and AVCHD formats at a variety of frame rates, the system frequency can be set to 59.94Hz, 50.00Hz or 24.00Hz.

In addition, there’s a Waveform Monitor and Vector Scope to meet the needs of professional videographers. This embeds SMPTE-compliant Time Code with Rec Run or Free Run counting to aid with multiple device synchronisation.

It’s possible to shoot 4096 x 2160 4K at 24p (or 3840 x 2160 4K at 60p, 50p, 30p, 25p, 24p with no cropping), 4:2:2 10-bit Full HD (1080p) recording and 4K 4:2:2 10-bit ALL-Intra MP4/MOV (apart from at 60/50p) and Full HD 4:2:2 10-bit ALL-Intra recording. The step-up from 8-bit to 10-bit recording vastly increases the range of colours that can be recorded.

A firmware update has also added high-resolution Anamorphic Video Mode and Hybrid Log Gamma for 4K HDR Video (for playback on HDR compatible televisions).
It’s also possible to add V-LogL recording via an optional software key (DMW-SFU1), with LUT (Look Up Table) and V-LogL View Assist to help experienced videographers get the colour and contrast they want.

Further good news for video shooters is that the GH5 can output live to an external recorder and simultaneous internal (there are dual SD card ports) and external recording is possible. Plus there’s an optional adaptor (DMW-XLR1) to allow an XLR microphone to be used for sound recording.

Read our Panasonic GH5 review

The A7 III is capable of recording 4K (3840 x 2160) footage to a memory card at 30p/25p and 60Mbps or 100Mbsp. There’s also S-Log2 and S-Log3 available for recording flat footage ready for grading, and a Hybrid Log-Gamma (HLG) picture profile is provided for displaying video direct from the camera on HDR (HLG) compatible televisions.

When the camera is set to record 4K video it uses full pixel readout without pixel binning. This means it gathers around 2.4x as much data as is needed for 4K movies. It then oversamples the files to produce 4K footage with better depth and dynamic range.

There’s also a Zebra display, Gamma Display assist and proxy recording.

In addition, Full HD footage can be recorded at up to 120/100p (NTSC/PAL) for slow-motion playback.

Read our Sony A7 III Review

The headline video features of the X-H1 are its C4K (4096×2160) and 200Mbps shooting capability long with F-log recording that operates when the footage is saved to an SD-type memory card.

There’s also a new ‘Eterna‘ Film Simulation mode that is intended for use in movie mode. This calibrates the camera to output footage that resembles the appearance of cinematic film, reining-in the colour saturation and delivering rich shadows.

Footage is 8-bit and has 4:2:0 colour when recording to a memory card or 4:2:2 when recording to an external device.

Slow motion fans can shoot Full-HD footage at up to 120p.

The Dynamic Range setting for video can also be set to 400% and this is claimed to extend the range to 12EV.

An internal mic (24 bit/48 kHz) is provided but there’s a 3.5mm port to connect an external mic for sound recording. If you want to connect headphones, however, you’ll have to invest in the optional Vertical Power Boost grip VPB-XH1. This grip also extends the 4K video recording time to 30mins at a time.

Good news for multi-camera shooters is that the X-H1 has a Time Code option.

Read our Fujifilm X-H1 Review

Like the Z6, the Nikon Z6 II can record 4K UHD (3840 × 2160) video at 30P, and 60P will be added with a firmware update that expected to arrive in February 2021. However, disappointingly, this 60p capability will be subject to a 1.5x crop factor which means a focal length of 24mm, for example, will seem like 36mm.

It’s also possible to record Full HD footage at up to 120p for slow-motion playback.

Footage recorded internally is in 8bit colour. However, if you connect an external recorder via the HDMI connection, the Z6II can record 10bit 4:2:2 colour with N-Log for better grading and colour matching.

The Z6II also features Timecode, focus peaking and zebra display, plus the focusing speed and tracking sensitivity can be adjusted to suit the subject or the desired look of the movie.

The big news on the video-front is that the Z6II has eye detection focusing for humans and animals. That should make producing good-quality video easier for many people.

Read our Nikon Z6 II Review

Like the Z7, the Nikon Z7II can record 4K UHD (3840 x 2160) video. However, the maximum frame rate is boosted from 30P to 60P, which is great news for slow-motion fans.

As before, it’s also possible to shoot Full HD video at up to 120p.

If you record to a memory card in the Z7II, the video is 8-Bit, but connecting an external storage device via the HDMI port enables the video quality to be increased to 10-bit 4:2:2 with (or without) N-Log.

N-Log is useful if you want to grade your footage post-capture, or if you need to match the footage to that from another camera. Handily, timecode is available to help with editing video from multiple cameras.

With a compatible Atomos recorder connected, the Z7II can record video as Apple ProRes Raw which means you get the full benefit of the camera’s data gathering potential. However, this feature needs to be unlocked by a Nikon service centre at a cost of £179/$199.

Focus peaking and zebra display are also available to help with nailing the focus and exposure.

The Z7II can also shoot timelapse movies.

Read our Nikon Z7 II Review

Aiming to benefit from Nikon’s wide-angle lenses, the D850 is capable of producing 4K/UHD (3,840 x 2160) video at 30, 25 or 24p with no cropping. Alternatively, Full HD (1920 x 1080) video can be recorded at 60, 50, 30, 25 or 24p. In addition, there’s a 4x / 5x slow-motion Full HD movie option.

As well as recording video to a card in the camera, it’s possible to simultaneously record uncompressed 4:2:2 8-bit 4K files onto an external drive via an HDMI connection.

Video can be saved in MP4 or MOV format.

The inclusion of an intervalometer enables the creation of 4K time lapse movies in-camera. In addition, stills can be shot to create 8K time lapse movies but the video has to be created using a computer rather than in-camera.

Nikon has stuck with a contrast detection autofocus system for Live View and Video mode. In addition to Normal-area AF (single point), Wide-area, Pin-point, Face Detection and Subject tracking AF modes are available.

Read our Nikon D850 review

Olympus isn’t quite as synonymous with video as its Micro Four Thirds counterpart Panasonic, but it has quietly offered some awesome video options in the OM-D E-M1 Mark III that might appeal to mostly stills photographers looking to shoot more videography.

For starters, the Olympus OM-D E-M1 III can shoot C4K video at 25/30p in OM-Log400 mode. OM-Log400 was introduced with the E-M1X and it sets the camera to record very low contrast footage to capture greater shadow and highlight detail. It gives more flexibility manipulate the contrast and colour post-capture.

Helpfully, there’s also a View Assist function that previews the footage in Full HD standard BT.709 equivalent to make it easier to assess what is being captured in OM-Log400 mode.

It’s also possible to record Full HD video at a range of frame rates, topping out at 120fps, which is great for slow motion playback.

In addition, there’s a video-specific stabilisation mode that uses electronic stabilisation combined with in-body 5-axis stabilisation.

Further good news is that the E-M1 Mark III includes a feature that was surprisingly absent from the Mark II, the ability for the sensitivity (ISO) to be set automatically when shooting video. There’s also a port to connect an HDMI monitor and a mic port for better audio quality.

Read our Olympus OM-D E-M1 Mark III Review

Like the GH5, the GH5S can shoot Cinema 4K (4096 x 2160) footage. However, whereas the GH5 is limited to 24p at this resolution, the GH5S can shoot at 60p, 50p, 30p, 25p or 24p. Furthermore, if you opt for 30p, 25p or 24p, you can shoot that C4K footage in 4:2:2 10-bit for a greater range of colours and smoother tonal gradations.

If high bitrates are important, the GH5S can record 4:2:2 10-bit 400-Mbps All-Intra in 4K 30p, 25p or 24p and C4K 24p. While C4K and 4K footage can be recorded at up to 60fps, Full-HD (1920 x 1080) footage can be recorded at up to 240fps, giving 10x slow motion playback.

Panasonic made V-Log L available as an optional, paid-for download for the GH5, with the GH5S it comes pre-installed. In addition, there’s Hybrid Log Gamma (HLG) mode available in the Photo Style options for 4K HDR video compliance.

Further good news is that video recording is only limited by the battery life and memory card capacity.

In a new move for a Panasonic G-series camera, each pixel on the GH5S sensor has two analogue circuits and this enables two base sensitivities (ISO 400 and ISO 2500). This Dual Native ISO Technology and the lower pixel count of the GH5S are designed to improve dynamic range and help keep noise in check even in very low light when sensitivity (ISO) is high.

As the GH5S’s sensor is a little larger than a standard Four Thirds type sensor and has a multi-aspect ratio design, it’s possible to maintain a constant diagonal field of view while video or image aspect ratio is changed from 4:3, 17:9, 16:9 and 3:2.

Finally, while it’s primarily a video camera, the GH5S can shoot stills and can record 14-bit raw files for greater data capture and file flexibility.

Read our Panasonic Lumix GH5S Review

For video, the main headline for the Canon R5 is that it can shoot raw 8K 12-bit video at up to 29.97fps. It’s also possible to shoot in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265).

In lay terms, an 8K video frame is equivalent to a 35Mp image and shooting in 4:2:2 10-bit with Canon Log means there should be plenty of scope for adjusting/grading footage post-capture. It also means that the EOS R5 can be used alongside other cameras, including Canon’s cine range, and the footage can be made to match.

Alternatively, 4K video can be recorded at up to 119.88fps in 4:2:2 10-bit in Canon Log (H.265) or 4:2:2 10-bit HDR PQ (H.265) 4:2:2 10-bit in Canon Log or 4:2:2 10-bit HDR PQ. That should be great news for slow motion video fans.

If you prefer to record 4K video to an external storage device, there’s an HDMI connection that can cope with recording at up to 59.94fps.

The Canon R5 also has an HQ (high quality) mode that can be activated for 4K recording. This sets the camera to use the 8K technology and downsample the output to 4K.

Read our Canon EOS R5 Review

Although it doesn’t have the class-leading video resolution of the Canon R5, the Canon EOS R6 is no slouch when it comes to video credentials.

It can record 4K (3840 x 2160) video at up to 59.94fps, however, there is a slight crop (1.07x) as only 94% of the horizontal area of the sensor is used. This 4K video is produced by oversampling from 5.1K for better quality.

If you shoot 4K video at 60p, the crop gets a bit tighter at 1.52x.

There’s also a 4K movie cropping mode available that uses 62% of the horizontal area, which means there’s much greater cropping.

If you want to add drama to action shots, Full HD footage can be shot at up to 119.88fps for slow-motion playback.

It’s possible to record the highest resolution video to an SD UHS-II card in 8-bit H.264 or 10-bit 4:2:2 H.265 and Canon Log is available for greater post-capture gradability.

Incredibly, this is the first time that Canon has enabled a zebra display in an EOS camera. That’s a helpful guide for setting the exposure.

Other niceties include an HDMI micro port (Type D) for connecting an external monitor, a microphone port and a headphone socket.

Read our Canon EOS R6 Review

Canon’s 5D Mark III and Mark II cameras have played an important role in the evolution of video shooting and the Mark IV continues this development by adding 4K recording capability. Like the Canon 1DX Mark II, but unlike many other cameras, we’re talking ‘true’ 4K (4096 x 2160) video at 30fps and in 4:2:2 (8 bit) here.

However, this is for internal recording only. It’s also possible to shoot Full HD video at up to 60fps and 720p video at 120fps, widening the scope for slow motion playback. Full HD footage can be recorded externally via HDMI.

Disappointingly, there’s no video-specific Picture Style to produce flat footage that designed for grading.

Instead, users must choose between Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful or Monochrome. Alternatively, it’s possible to create three custom styles and there’s an HDR movie setting.

Read our Canon 5D Mark III review

Panasonic is pitching the S5 at people who have started out as photographers and content creators who want to create more video. Its headline video specification is that it can shoot 4K (3840×2160) footage in 4:2:2 and 10-bit LongGOP H.264 at 29.97/23.98p/25p. That’s when recording internally to an SD-type card.

It can shoot and that quality and resolution for up to 30minutes. Alternatively, if you’re happy to 4:2:0 8-bit 4K footage, you can shoot indefinitely until your memory cards are full.

If the Panasonic S5’s HMDI port is used to connect external storage, it’s possible to record 4K 4:2:2 10-bit footage at 60p. That means you can have high resolution 2x slow-motion video in 4K resolution.

There are also ports to connect an external microphone and headphones.

Panasonic is at pains to point out that its standard testing procedures ensure that it is possible to shoot 4K video at 40-degrees centigrade and that the S5 won’t overheat in regular, professional use. It doesn’t have a fan built-in like the S1H, but the S5 has a heat-dispersing design.

Further good news is that V-Log is pre-installed and there’s no extra charge to record more grade-ready video. There’s also a selection of other picture profiles including the natural-looking ‘Like 709’.

In addition, the Panasonic S5 can shoot anamorphic video (with APS-C crop) to create the popular cinematic look.

Read our Panasonic Lumix S5 Review