On Tuesday, November 18th, from 12 p.m. to 3:00 p.m. Pacific Time, we'll join you in our forums to answer questions live and discuss the future of the community.

You just can’t trust what you hear.

Continue Reading

Category: AI and Humanoids, Technology

Tags: CSIRO, Deepfakes, Voice hacking

Not many bikemakers dare to depart too much from building motorcycles. Even less so for an electric motorcycle company, especially when you have “motorcycles” in your name.

Continue Reading

Category: Motorcycles, Transport

Tags: Zero Motorcycles, Electric Motorcycles, Electric Vehicles, Scooter, urban transport, EICMA 2025

When you use DPReview links to buy products, the site may earn a commission. Canon brought an FSI sensor to a partially Stacked party.

Last week, Canon announced the EOS R6 III, an update to its enthusiast-tier full-frame mirrorless camera. It gains a new sensor, much more capable video specs and upgrades to the autofocus system.

Our initial review goes in-depth on how the EOS R6 III compares to its predecessor, so we'll largely avoid re-treading that ground here. Instead, we'll discuss the three major competitors: the Nikon Z6III, Panasonic S1II, and Sony a7 IV.

Price

In the US, the EOS R6 III, Z6 III, and a7 IV are all priced similarly, with the S1 II standing out as substantially more expensive than the rest. It's less of an outlier globally, though, with it and the EOS R6 III sitting at a few hundred pounds higher than the other two models.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II MSRP (US / UK) $2800 / £2800 $2700 / £2500 $2700 / £2400 $3200 / £2900

The one thing we'll note about the EOS R6 II is that Canon is keeping it in its lineup for $2299. It's still an extremely capable camera, and those mainly shooting stills will likely want to consider how much it's worth to gain better resolution and upgrades to its (still competitive) autofocus system.

Resolution and readout speed

33MP can capture a lot of fine detail.

Canon EOS R6 III | Canon 85mm F1.4 L VCM | F7.1 | 1/40 sec | ISO 100

The EOS R6 III and a7 IV are higher resolution models that utilize more familiar sensor tech, featuring 33MP FSI and BSI sensors, respectively. Nikon and Panasonic, meanwhile, both use a 24MP 'partially Stacked' sensor, which uses more complex circuitry to dramatically improve readout speeds compared to more traditional designs.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Resolution 33MP 24MP 33MP 24MP Stills rolling shutter rate (ms) ∼13.5ms (12-bit) ∼14.6ms (14-bit) ∼67.6ms (14-bit) ∼14.6ms (14-bit)

Both the Canon and Sony offer an approximately 16% increase in linear resolution compared to the 24MP models, which isn't quite as large an improvement as you might expect just based on the numbers, but will still provide a benefit in capturing fine details.

While the EOS R6 III has the fastest readout speeds, it's worth noting that it achieves this by producing 12-bit Raws, compared to the 14-bit ones its competitors offer. This will limit its dynamic range and result in noise in the deepest shadows compared to its competitors, but it's worth noting that it will only be an issue when shooting in e-shutter mode (though that's also when rolling shutter rate is the biggest concern). While the Z6III also suffers from slightly noisier than typical shadows, that's instead due to its higher levels of read noise, an issue interestingly not shared by the S1II, at least in its mechanical shutter mode.

Rolling shutter rates are especially pertinent when it comes to the a7 IV, which has substantially slower readout speeds than its peers. These make it so you can't use its electronic shutter mode to capture most moving subjects without risking motion artifacts.

Autofocus

The EOS R6 III comes with an upgraded autofocus system, which Canon says uses the algorithms from its flagship EOS R1 and R5 II models. Like most of the other models, it's been trained to recognize several types of subjects, and has several options for selecting your autofocus point.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II AF subject detection - Human
- Animal (Dog / Cat / Bird / Horse)
- Vehicle (car, motorcycle, plane, train)
- Automatic - Human
- Dog/Cat
- Bird
- Plane
- Car
- Motorcycle / Bike
- Train
- Automatic - Human
- Animal
- Bird - Human
- Animal
- Plane
- Train
- Vehicles
Motorcycle/ Bike

While the S1II lacks an automatic subject detection mode, the bigger concern is performance. In our tests, we've found it to be less reliable at tracking than we've come to expect from Nikon, Canon and Sony and, unlike its competitors, it doesn't fall back to generic tracking in subject recognition mode, so you have to be more aware of your settings for some types of shooting. It does, however, have an "Urban Sports" recognition mode designed to recognize humans even when they're in odd body positions, such as when they're breakdancing or skateboarding.

The Sony a7 IV isn't as far behind as the table may imply, as its tracking system is still extremely capable. However, it doesn't have Sony's latest AF system, which relies on a coprocessor and supports more subject types and complex human recognition.

Continuous shooting and pre-capture

One of the EOS R6 III's notable upgrades is the fact that its pre-burst capture mode no longer requires going into the special Raw Burst mode, which didn't capture JPEGs and stored captured images in a new, not widely supported format until you exported them into a standard Raw after the fact. Now, it's simply an option you can activate when in the "H+" 40fps drive mode and using the electronic shutter.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Burst rate 12fps mech.
40fps e-shutter 14fps mech.
20fps e-shutter
60fps JPEG-only 6fps lossless compressed Raw
10fps lossy Raw 10fps mech.
70fps e-shutter Pre-burst capture Yes, up to 0.5 sec Yes (JPEG only) No Yes, up to 1.5 sec

The Canon, Nikon and Panasonic cameras all have some level of inflexibility when it comes to burst and pre-burst shooting. The Canon and Panasonic, for instance, don't let you adjust your framerates in each burst mode, though this is especially noticeable on the S1II, which has no options between the pedestrian 10fps and buffer-destroying 70fps. Nikon gives you more control in this regard, but its fastest burst rates and pre-burst options are JPEG-only, giving you less room for adjustments in post.

The a7 IV, meanwhile, hails from an era before pre-burst capture was standard in this class of cameras, and doesn't include any option for it. Its burst rates are also quite slow, as it has to rely on its mechanical shutter; its electronic shutter just isn't fast enough for continuous shooting.

Viewfinder and screen The EOS R6 III's EVF and screen aren't bad, but they're no longer state of the art.

The Canon EOS R6 III uses the same EVF and rear display as its predecessor, both of which feel perhaps a bit behind the times compared to the larger, higher-resolution ones found on the Nikon Z6III and Panasonic S1II.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Viewfinder res/
magnification/
eyepoint 3.69M dot
0.76x
23mm 5.76M dot
0.8x
21mm 3.69M dot
0.78x
23mm 5.76M dot
0.78x
21mm Rear screen 3.0"
1.62M dot
Fully-articulating 3.2"
2.1M dot
Fully-articulating 3.0"
1.03M dot
Fully-articulating 3.2"
1.84M dot
Tilt + Fully Artic.

What really sets the S1II apart, though, is its articulation mechanism. It lets you tilt it up or down in-axis with the camera's sensor, while also allowing you to fully articulate it for easier video shooting. The extra tilt mechanism also gives you more clearance if you have things plugged into the ports, such as headphones, microphones and HDMI. While the Z6III has a more standard full-articulating screen, the company says its viewfinder is the brightest out there, reaching up to 4000 nits.

The Canon, Nikon and Panasonic will emulate a blackout-free experience in some of their burst modes, but they operate by showing you the previous frame captured, rather than a live view of what you're shooting.

Video - resolution, framerates and workflow

The EOS R6 III's biggest upgrades come to its video recording capabilities. It catches up to the rest of the market, gaining internal Raw recording, tools like waveform and false color and, blessedly, the ability to set white balance live, without having to take a still first.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Video resolutions 7K DCI/60 (Raw)
7K/30 open-gate
4K/120 (full-width)
1080p/180 (full-width)

6K/60 (Raw)
5.4K/60 (full-width)
UHD 4K/60 (full-width)
UHD 4K/120 (1.5x crop)

UHD 4K/30 (full-width)
UHD 4K/60 (1.5x crop)

6K/30 3:2 (Raw / open gate)
5.7K/60 DCI (Raw)
5.9K/60 (16:9)
DCI 4K/120 w/ 1.17x crop

Uncompressed video C-Raw
Over HDMI N-Raw
ProRes Raw No ProRes Raw
Over HDMI Video assist tools False color overlay
Waveform
Log view assists Waveform
Log view assists
Shutter angle Log view assist Waveform
False color
Vectorscope
Anamorphic desqueeze
Shutter angle
Log view assists
Custom LUT recording

The EOS R6 III may be one of the best options for slow-motion shooters, as it offers not only oversampled, full-width 60p, but also full-width 120p. However, it presumably achieves this by sub-sampling the footage, which isn't necessarily the case with the cropped modes on the partially Stacked sensor cameras.

The S1II remains one of the most capable hybrid options on the market, offering pretty much every conceivable recording option and assistance tool. Perhaps its biggest leg up, though, is its internal fan, which helps push its recording times past what some of the other cameras on this list can handle. It's also the only hybrid mirrorless camera in this class to support 32-bit float audio recording, though you'll need an external XLR adapter to enable it (unlike Nikon's more video-focused ZR model, which can do it internally). It also has a Dynamic Range Boost mode that allows for greater dynamic range capture, at the cost of the rolling shutter rates jumping to above 30ms, making them not particularly practical for shooting most moving subjects.

Most cameras in this class excel at both stills and video

The Z6III is also very capable at shooting video, with the only real drawback compared to the EOS R6 III and S1II being its lack of an "open gate" mode, which provides more flexibility in post to reframe, or to take horizontal and vertical video from a single clip.

This option is also missing from the a7 IV, but it shows its age in other, more critical ways. Despite having a higher-resolution sensor, it tops out at 4K recording, though this is at least oversampled from 7K capture. It also doesn't offer internal Raw recording, and doesn't include many of the now-standard assistance tools.

Video - rolling shutter

The EOS R6 III has impressive rolling shutter performance for not having a partially Stacked sensor, even in its oversampled modes, which are derived from 7K capture.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Open-gate 17.9ms — — ∼14.8ms
∼33.7ms (DR Boost mode) UHD >4K capture 14.3ms (4K, oversampled) 9.5ms (6K) 27.4ms (4K oversampled) 11.7ms (5.9K 16:9) UHD 4K standard 7.2ms 9.5ms — 12.5ms

The Panasonic, Nikon and Canon cameras all feature more than usable rolling shutter rates in all of their modes, with the exception of the S1II's DR Boost setting. This means you don't really have to worry about whether your subject or camera will be moving too fast for your specific settings.

The Sony is a different story, as the only mode it has capable of capturing fast-moving subjects without too much distortion is its 4K/60 mode, which comes with a 1.5x crop, dramatically changing its field of view. It's possible to work around this limitation, but it's definitely worth considering if you plan on doing a lot of video work.

Ports and storage

This section has perhaps the least to discuss, as most of the brands have settled into a relatively standardized layout. The EOS R6III, Z6III and S1II all have a CFexpress Type B slot paired with a UHS-II SD card slot, headphone and microphone jacks and full-size HDMI.

The odd one out is Sony. While the a7 IV has the same selection of ports, it opts for CFexpress Type A instead. This is a dual-format slot that can also be used with standard SD cards, which could make dual-card shooting cheaper, depending on your needs, but with the camera limited to UHS-II speeds.

Canon and Sony have also equipped their cameras with digital hotshoes, which can be used not only for flash, but with other accessories, such as microphones or XLR adapters.

Battery The EOS R6 III uses Canon's latest battery, but it's clearly using a lot of power.

The one area where the EOS R6 III is noticeably worse than its predecessor is when it comes to battery life; the extra features come at a cost of it getting around 12-15% fewer shots per charge than the EOS R6 II.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Battery life EVF / LCD 270 / 510 360 / 390 520 / 580 360 / 320

As always, the CIPA ratings tend to under-represent the literal number of pictures you can capture with a single charge; it's not unusual to get double the rating in real-world use. However, it's clear that Canon and, to a lesser extent, Nikon and Panasonic have traded some longevity for their advanced features.

Sony, meanwhile, is the standout. While we might recommend bringing a spare battery or two for a weekend of heavy shooting with the EOS R6 III, Z6III or S1II, we'd be pretty confident leaving the house with only a single fully-charged battery for our a7 IV.

The extras Like the Nikon Z6III and Panasonic S1II, the EOS R6 III's ergonomics are well-honed.

There are things that don't fit easily into a spec sheet. For example, while the cameras in this roundup are in roughly the same class when it comes to size and weight (though the S1II is the heaviest of the bunch by a fair margin), we find that the a7 IV doesn't feel quite as comfortable to hold as the other models in this roundup.

There's also the matter of HDR output, which is becoming an increasingly interesting option as the industry settles on broadly compatible image formats, and as more and more devices boast screens that can properly display HDR content. While all the cameras can record HDR video, it's worth noting that the a7 IV's HLG HEIF function comes at the cost of Raw recording. The other cameras in this roundup can capture both Raw and HDR HEIF files simultaneously, but Sony makes you choose one or the other.

It's also worth noting that both Canon and Nikon exert more control over what lenses get made for their mounts and Sony or Panasonic do; both companies have shown a willingness to disallow third-party lenses they don't want made. Sony, however, isn't entirely blameless in this regard either; while companies like Sigma, Viltrox, 7artisans and more have produced a wide array of third-party E-mount lenses, they're all limited to 15fps shooting, a restriction not placed on the L-mount versions.

Summary

At this point, it should be clear that the EOS R6 III is a competitive entry in the enthusiast-tier full frame camera market, though it's not entirely dominant. Each model in this range has some trade-offs compared to the others; choosing the Panasonic nets you one of the best display designs and suite of video features, at the cost of less reliable autofocus, while Nikon has great autofocus, but doesn't include things like open-gate recording or Raw stills shooting in its fastest burst rates. And both have less resolution than the Canon, but have faster sensors.

As has been a running theme, the a7 IV is really the odd one out at this point. It's far older than the others, and that age shows in quite a few aspects of its design and capabilities for both stills and video. Still, the selection of lenses available for it is unassailable, and its autofocus is still at least in the conversation with Nikon and Canon, despite being a generation behind Sony's best.

When you use DPReview links to buy products, the site may earn a commission. Canon brought an FSI sensor to a partially Stacked party.

Last week, Canon announced the EOS R6 III, an update to its enthusiast-tier full-frame mirrorless camera. It gains a new sensor, much more capable video specs and upgrades to the autofocus system.

Our initial review goes in-depth on how the EOS R6 III compares to its predecessor, so we'll largely avoid re-treading that ground here. Instead, we'll discuss the three major competitors: the Nikon Z6III, Panasonic S1II, and Sony a7 IV.

Price

In the US, the EOS R6 III, Z6 III, and a7 IV are all priced similarly, with the S1 II standing out as substantially more expensive than the rest. It's less of an outlier globally, though, with it and the EOS R6 III sitting at a few hundred pounds higher than the other two models.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II MSRP (US / UK) $2800 / £2800 $2700 / £2500 $2700 / £2400 $3200 / £2900

The one thing we'll note about the EOS R6 II is that Canon is keeping it in its lineup for $2299. It's still an extremely capable camera, and those mainly shooting stills will likely want to consider how much it's worth to gain better resolution and upgrades to its (still competitive) autofocus system.

Resolution and readout speed

33MP can capture a lot of fine detail.

Canon EOS R6 III | Canon 85mm F1.4 L VCM | F7.1 | 1/40 sec | ISO 100

The EOS R6 III and a7 IV are higher resolution models that utilize more familiar sensor tech, featuring 33MP FSI and BSI sensors, respectively. Nikon and Panasonic, meanwhile, both use a 24MP 'partially Stacked' sensor, which uses more complex circuitry to dramatically improve readout speeds compared to more traditional designs.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Resolution 33MP 24MP 33MP 24MP Stills rolling shutter rate (ms) ∼13.5ms (12-bit) ∼14.6ms (14-bit) ∼67.6ms (14-bit) ∼14.6ms (14-bit)

Both the Canon and Sony offer an approximately 16% increase in linear resolution compared to the 24MP models, which isn't quite as large an improvement as you might expect just based on the numbers, but will still provide a benefit in capturing fine details.

While the EOS R6 III has the fastest readout speeds, it's worth noting that it achieves this by producing 12-bit Raws, compared to the 14-bit ones its competitors offer. This will limit its dynamic range and result in noise in the deepest shadows compared to its competitors, but it's worth noting that it will only be an issue when shooting in e-shutter mode (though that's also when rolling shutter rate is the biggest concern). While the Z6III also suffers from slightly noisier than typical shadows, that's instead due to its higher levels of read noise, an issue interestingly not shared by the S1II, at least in its mechanical shutter mode.

Rolling shutter rates are especially pertinent when it comes to the a7 IV, which has substantially slower readout speeds than its peers. These make it so you can't use its electronic shutter mode to capture most moving subjects without risking motion artifacts.

Autofocus

The EOS R6 III comes with an upgraded autofocus system, which Canon says uses the algorithms from its flagship EOS R1 and R5 II models. Like most of the other models, it's been trained to recognize several types of subjects, and has several options for selecting your autofocus point.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II AF subject detection - Human
- Animal (Dog / Cat / Bird / Horse)
- Vehicle (car, motorcycle, plane, train)
- Automatic - Human
- Dog/Cat
- Bird
- Plane
- Car
- Motorcycle / Bike
- Train
- Automatic - Human
- Animal
- Bird - Human
- Animal
- Plane
- Train
- Vehicles
Motorcycle/ Bike

While the S1II lacks an automatic subject detection mode, the bigger concern is performance. In our tests, we've found it to be less reliable at tracking than we've come to expect from Nikon, Canon and Sony and, unlike its competitors, it doesn't fall back to generic tracking in subject recognition mode, so you have to be more aware of your settings for some types of shooting. It does, however, have an "Urban Sports" recognition mode designed to recognize humans even when they're in odd body positions, such as when they're breakdancing or skateboarding.

The Sony a7 IV isn't as far behind as the table may imply, as its tracking system is still extremely capable. However, it doesn't have Sony's latest AF system, which relies on a coprocessor and supports more subject types and complex human recognition.

Continuous shooting and pre-capture

One of the EOS R6 III's notable upgrades is the fact that its pre-burst capture mode no longer requires going into the special Raw Burst mode, which didn't capture JPEGs and stored captured images in a new, not widely supported format until you exported them into a standard Raw after the fact. Now, it's simply an option you can activate when in the "H+" 40fps drive mode and using the electronic shutter.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Burst rate 12fps mech.
40fps e-shutter 14fps mech.
20fps e-shutter
60fps JPEG-only 6fps lossless compressed Raw
10fps lossy Raw 10fps mech.
70fps e-shutter Pre-burst capture Yes, up to 0.5 sec Yes (JPEG only) No Yes, up to 1.5 sec

The Canon, Nikon and Panasonic cameras all have some level of inflexibility when it comes to burst and pre-burst shooting. The Canon and Panasonic, for instance, don't let you adjust your framerates in each burst mode, though this is especially noticeable on the S1II, which has no options between the pedestrian 10fps and buffer-destroying 70fps. Nikon gives you more control in this regard, but its fastest burst rates and pre-burst options are JPEG-only, giving you less room for adjustments in post.

The a7 IV, meanwhile, hails from an era before pre-burst capture was standard in this class of cameras, and doesn't include any option for it. Its burst rates are also quite slow, as it has to rely on its mechanical shutter; its electronic shutter just isn't fast enough for continuous shooting.

Viewfinder and screen The EOS R6 III's EVF and screen aren't bad, but they're no longer state of the art.

The Canon EOS R6 III uses the same EVF and rear display as its predecessor, both of which feel perhaps a bit behind the times compared to the larger, higher-resolution ones found on the Nikon Z6III and Panasonic S1II.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Viewfinder res/
magnification/
eyepoint 3.69M dot
0.76x
23mm 5.76M dot
0.8x
21mm 3.69M dot
0.78x
23mm 5.76M dot
0.78x
21mm Rear screen 3.0"
1.62M dot
Fully-articulating 3.2"
2.1M dot
Fully-articulating 3.0"
1.03M dot
Fully-articulating 3.2"
1.84M dot
Tilt + Fully Artic.

What really sets the S1II apart, though, is its articulation mechanism. It lets you tilt it up or down in-axis with the camera's sensor, while also allowing you to fully articulate it for easier video shooting. The extra tilt mechanism also gives you more clearance if you have things plugged into the ports, such as headphones, microphones and HDMI. While the Z6III has a more standard full-articulating screen, the company says its viewfinder is the brightest out there, reaching up to 4000 nits.

The Canon, Nikon and Panasonic will emulate a blackout-free experience in some of their burst modes, but they operate by showing you the previous frame captured, rather than a live view of what you're shooting.

Video - resolution, framerates and workflow

The EOS R6 III's biggest upgrades come to its video recording capabilities. It catches up to the rest of the market, gaining internal Raw recording, tools like waveform and false color and, blessedly, the ability to set white balance live, without having to take a still first.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Video resolutions 7K DCI/60 (Raw)
7K/30 open-gate
4K/120 (full-width)
1080p/180 (full-width)

6K/60 (Raw)
5.4K/60 (full-width)
UHD 4K/60 (full-width)
UHD 4K/120 (1.5x crop)

UHD 4K/30 (full-width)
UHD 4K/60 (1.5x crop)

6K/30 3:2 (Raw / open gate)
5.7K/60 DCI (Raw)
5.9K/60 (16:9)
DCI 4K/120 w/ 1.17x crop

Uncompressed video C-Raw
Over HDMI N-Raw
ProRes Raw Over HDMI ProRes Raw
Over HDMI Video assist tools False color overlay
Waveform
Log view assists Waveform
Log view assists
Shutter angle Log view assist Waveform
False color
Vectorscope
Anamorphic desqueeze
Shutter angle
Log view assists
Custom LUT recording

The EOS R6 III may be one of the best options for slow-motion shooters, as it offers not only oversampled, full-width 60p, but also full-width 120p. However, it presumably achieves this by sub-sampling the footage, which isn't necessarily the case with the cropped modes on the partially Stacked sensor cameras.

The S1II remains one of the most capable hybrid options on the market, offering pretty much every conceivable recording option and assistance tool. Perhaps its biggest leg up, though, is its internal fan, which helps push its recording times past what some of the other cameras on this list can handle. It's also the only hybrid mirrorless camera in this class to support 32-bit float audio recording, though you'll need an external XLR adapter to enable it (unlike Nikon's more video-focused ZR model, which can do it internally). It also has a Dynamic Range Boost mode that allows for greater dynamic range capture, at the cost of the rolling shutter rates jumping to above 30ms, making them not particularly practical for shooting most moving subjects.

Most cameras in this class excel at both stills and video

The Z6III is also very capable at shooting video, with the only real drawback compared to the EOS R6 III and S1II being its lack of an "open gate" mode, which provides more flexibility in post to reframe, or to take horizontal and vertical video from a single clip.

This option is also missing from the a7 IV, but it shows its age in other, more critical ways. Despite having a higher-resolution sensor, it tops out at 4K recording, though this is at least oversampled from 7K capture. It also doesn't offer internal Raw recording, and doesn't include many of the now-standard assistance tools.

Video - rolling shutter

The EOS R6 III has impressive rolling shutter performance for not having a partially Stacked sensor, even in its oversampled modes, which are derived from 7K capture.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II* Open-gate 17.9ms — — ∼14.8ms
∼33.7ms (DR Boost mode) UHD >4K capture 14.3ms (4K, oversampled) 9.5ms (6K) 27.4ms (4K oversampled) N/A UHD 4K standard 7.2ms 9.5ms — 12.5ms

The Panasonic, Nikon and Canon cameras all feature more than usable rolling shutter rates in all of their modes, with the exception of the S1II's DR Boost setting. This means you don't really have to worry about whether your subject or camera will be moving too fast for your specific settings.

The Sony is a different story, as the only mode it has capable of capturing fast-moving subjects without too much distortion is its 4K/60 mode, which comes with a 1.5x crop, dramatically changing its field of view. It's possible to work around this limitation, but it's definitely worth considering if you plan on doing a lot of video work.

* - Unlike most of the cameras we test, the S1II doesn't produce consistent results in our rolling shutter tests; here, we've gone with the fastest ones we've measured. [I don't think we should report that, yet. Just give an average number]

Ports and storage

This section has perhaps the least to discuss, as most of the brands have settled into a relatively standardized layout. The EOS R6III, Z6III and S1II all have a CFexpress Type B slot paired with a UHS-II SD card slot, headphone and microphone jacks and full-size HDMI.

The odd one out is Sony. While the a7 IV has the same selection of ports, it opts for CFexpress Type A instead. This is a dual-format slot that can also be used with standard SD cards, which could make dual-card shooting cheaper, depending on your needs, but with the camera limited to UHS-II speeds.

Canon and Sony have also equipped their cameras with digital hotshoes, which can be used not only for flash, but with other accessories, such as microphones or XLR adapters.

Battery The EOS R6 III uses Canon's latest battery, but it's clearly using a lot of power.

The one area where the EOS R6 III is noticeably worse than its predecessor is when it comes to battery life; the extra features come at a cost of it getting around 12-15% fewer shots per charge than the EOS R6 II.

Canon EOS R6 III Nikon Z6III Sony a7 IV Panasonic S1II Battery life EVF / LCD 270 / 510 360 / 390 520 / 580 360 / 320

As always, the CIPA ratings tend to under-represent the literal number of pictures you can capture with a single charge; it's not unusual to get double the rating in real-world use. However, it's clear that Canon and, to a lesser extent, Nikon and Panasonic have traded some longevity for their advanced features.

Sony, meanwhile, is the standout. While we might recommend bringing a spare battery or two for a weekend of heavy shooting with the EOS R6 III, Z6III or S1II, we'd be pretty confident leaving the house with only a single fully-charged battery for our a7 IV.

The extras Like the Nikon Z6III and Panasonic S1II, the EOS R6 III's ergonomics are well-honed.

There are things that don't fit easily into a spec sheet. For example, while the cameras in this roundup are in roughly the same class when it comes to size and weight (though the S1II is the heaviest of the bunch by a fair margin), we find that the a7 IV doesn't feel quite as comfortable to hold as the other models in this roundup.

There's also the matter of HDR output, which is becoming an increasingly interesting option as the industry settles on broadly compatible image formats, and as more and more devices boast screens that can properly display HDR content. While all the cameras can record HDR video, it's worth noting that the a7 IV's HLG HEIF function comes at the cost of Raw recording. The other cameras in this roundup can capture both Raw and HDR HEIF files simultaneously, but Sony makes you choose one or the other.

It's also worth noting that both Canon and Nikon exert more control over what lenses get made for their mounts and Sony or Panasonic do; both companies have shown a willingness to disallow third-party lenses they don't want made. Sony, however, isn't entirely blameless in this regard either; while companies like Sigma, Viltrox, 7artisans and more have produced a wide array of third-party E-mount lenses, they're all limited to 15fps shooting, a restriction not placed on the L-mount versions.

Summary

At this point, it should be clear that the EOS R6 III is a competitive entry in the enthusiast-tier full frame camera market, though it's not entirely dominant. Each model in this range has some trade-offs compared to the others; choosing the Panasonic nets you one of the best display designs and suite of video features, at the cost of less reliable autofocus, while Nikon has great autofocus, but doesn't include things like open-gate recording or Raw stills shooting in its fastest burst rates. And both have less resolution than the Canon, but have faster sensors.

As has been a running theme, the a7 IV is really the odd one out at this point. It's far older than the others, and that age shows in quite a few aspects of its design and capabilities for both stills and video. Still, the selection of lenses available for it is unassailable, and its autofocus is still at least in the conversation with Nikon and Canon, despite being a generation behind Sony's best.

How many times have we seen a bikemaker unveil an ambitious concept at EICMA, only to quietly abandon it later as if it never happened? Not Honda this time around.

Continue Reading

Category: Motorcycles, Transport

Tags: Honda, Honda Motorcycles, Eicma, EICMA 2025, electric supercharger, Supercharger, Turbo, Prototype

When it comes to fanfares, it doesn’t get much bigger than this. I’m in Tokyo for Fender Experience 2025, a three-day celebration of all things Fender.

Continue Reading

Category: Music, Consumer Tech, Technology

Tags: Fender, Fender Stratocaster, Fender Telecaster, Guitar, Bass guitar, Interviews

For a long time, archaeologists believed that large buildings required large bosses. The idea was simple: only societies with strong hierarchies (kings, priests, and planners) could organize massive construction projects.

Continue Reading

Category: History, Science

Tags: Archeology, Mexico

Nuclear waste and a hydrogen economy may seem poles apart, but a new study by the University of Sharjah claims that spent fuel from nuclear power plants could be used to increase the efficiency of converting water into hydrogen and oxygen.

Continue Reading

Category: Energy, Technology

Tags: Hydrogen, Nuclear

Dutch expedition camping module specialist Bliss Mobil has launched its smallest model to date. Rather than getting tied to the likes of a large heavy-duty Mercedes Zetros or MAN TGS cab, the new Bliss 8 is designed to ride aback smaller, nimbler 4x4 chassis like the Toyota Land Cruiser or Ford F-Series. With help from an electro-actuated hard-walled lift system, it still offers the precisely organized essentials and modern comforts on which Bliss stakes its reputation, including a wireless smart home suite with Sonos audio.

Continue Reading

Category: Expedition Trucks, Adventure Vehicles, Outdoors

Tags: Off-road, Camping, Bliss Mobil, Toyota, Ford, Truck, Off-grid

Laser engraving has become a new hobby of mine as of late. I've been tinkering around with blue diode lasers that can engrave, but seem to function better as organic material cutters. I also have an IR laser that's good for some metals. But after running UV for a while now, it's become pretty clear that UV is the king of etching. Glavo UV lasers are unmatched when it comes to sheer speed and fine detail. Not to mention less smoke, less soot, less warping, and less "Ahhh! It's on fire again!"

Continue Reading

Category: Consumer Tech, Technology

Tags: Laser Engraver, DIY, Craft, Laser, 3D Printing

Researchers at MIT have just developed a new lipid nanoparticle that super-enhances the effectiveness of the mRNA vaccine in mice to a hundred times its stand-alone effectiveness, thus offering massive savings by reducing required dosages while also reducing toxicity in the liver.

Continue Reading

Category: Medical Innovations, Body and Mind

Tags: mRNA vaccines, MIT, Nanoparticles

VW added a mild refresh to the Jetta to update its looks a bit, but has otherwise not messed with the car’s basic formula of getting you there on the cheap. Sadly, though, the manual transmission is only available on the sport-centric (and more expensive) GLI model.

Continue Reading

Category: Automotive, Transport

Tags: Reviews, Volkswagen, Sedan

The new Pocket Printer in the Flash Print Bundle turns the Ace Pro 2 into an instant camera.
Image: Insta360

Insta360 has unveiled four more accessory bundles for its Leica co-branded Ace Pro 2 action camera, along with updated firmware. The new print and videography kits, which include cinematic lenses, updated Leica color profiles, a screen hood, a portable printer and more, are aimed at helping users get more out of the tiny camera.

Perhaps the most interesting of the new accessories is in the Flash Print Bundle. The kit includes a pocket-sized printer that Insta360 says is the first portable printer made specifically for action cameras. Unlike many tiny instant printers, it doesn't use Instax Mini film. Instead, it creates three-inch, dye-sublimation prints from what Insta360 says is a "signature paper cartridge" with 10 sheets per pack.

Image: Insta360

Interestingly, the prints feature not just an Insta360 Ace Pro 2 logo on the edge, but also appear to list the camera's sensor size, aperture, and Leica-branded lens name. At the time of writing, you can only buy cartridge refills (for $10 per pack) through the Insta360 website, so it isn't clear how widespread or long-lasting support for the printer will be.

Beyond the printer, the Flash Print Bundle also includes a flip-up screen hood for the camera that promises to make it easier to see the screen even in bright light. It also comes with a leather case and the Xplorer Grip Pro kit (detailed below).

The Xplorer Pro Grip adds dedicated controls.
Image: Insta360

Insta360 also released an updated version of its Xplorer Bundle, which was released earlier this year. The new Xplorer Pro kit is an all-in-one grip that features a built-in battery and camera controls. It allows users to adjust digital zoom (the lens itself is fixed), filters, exposure and modes from the grip itself, no menu diving necessary. There's also a more prominent shutter button with a removable, threaded design, allowing for customization. Insta360 says the Xplorer Pro Bundle is exclusive to the US.

Finally, the company also unveiled two video-focused bundles. The Videography Bundle Limited Edition comes in a custom-designed box and includes the Xplorer Grip Pro Kit and 'Cinematic' Lens. The lens allows users to create 2.35:1 widescreen footage, and Insta360 says it "delivers a film-like look straight from the camera."

Both video bundles come with the Cinematic Lens.
Image: Insta360

The Ultimate Videography Bundle also takes advantage of the Xplorer Grip Pro Kit and Cinematic Lens. Additionally, it includes an ultra-wide lens and close-up lens, plus the flip-up screen hood.

In addition to hardware, Insta360 has released Firmware V2.0.3 for the Ace Pro 2. The new version adds two additional Leica color profiles: the Leica Eternal and Leica B&W High Contrast. Those join the existing Leica Natural and Leica Vivid options. There are also newly added in-camera film filters, such as Retro Neon and Vintage Vacation, that aim to provide a more polished look without color grading.

All of the bundles are available to purchase today. The Insta360 Ace Pro 2 Flash Print Bundle is available for $580, and the Xplorer Pro Bundle is $520. The video-centric kits are more expensive, with the Videography Bundle Limited Edition coming in at $605 and the Ultimate Videography Bundle at $740. You can also buy each of the accessories separately if you already own the Ace Pro 2.

The new Pocket Printer in the Flash Print Bundle turns the Ace Pro 2 into an instant camera.
Image: Insta360

Insta360 has unveiled four more accessory bundles for its Leica co-branded Ace Pro 2 action camera, along with updated firmware. The new print and videography kits, which include cinematic lenses, updated Leica color profiles, a screen hood, a portable printer and more, are aimed at helping users get more out of the tiny camera.

Perhaps the most interesting of the new accessories is in the Flash Print Bundle. The kit includes a pocket-sized printer that Insta360 says is the first portable printer made specifically for action cameras. Unlike many tiny instant printers, it doesn't use Instax Mini film. Instead, it creates three-inch, dye-sublimation prints from what Insta360 says is a "signature paper cartridge" with 10 sheets per pack.

Image: Insta360

Interestingly, the prints feature not just an Insta360 Ace Pro 2 logo on the edge, but also appear to list the camera's sensor size, aperture, and Leica-branded lens name. At the time of writing, you can only buy cartridge refills (for $10 per pack) through the Insta360 website, so it isn't clear how widespread or long-lasting support for the printer will be.

Beyond the printer, the Flash Print Bundle also includes a flip-up screen hood for the camera that promises to make it easier to see the screen even in bright light. It also comes with a leather case and the Xplorer Grip Pro kit (detailed below).

The Xplorer Pro Grip adds dedicated controls.
Image: Insta360

Insta360 also released an updated version of its Xplorer Bundle, which was released earlier this year. The new Xplorer Pro kit is an all-in-one grip that features a built-in battery and camera controls. It allows users to adjust digital zoom (the lens itself is fixed), filters, exposure and modes from the grip itself, no menu diving necessary. There's also a more prominent shutter button with a removable, threaded design, allowing for customization. Insta360 says the Xplorer Pro Bundle is exclusive to the US.

Finally, the company also unveiled two video-focused bundles. The Videography Bundle Limited Edition comes in a custom-designed box and includes the Xplorer Grip Pro Kit and 'Cinematic' Lens. The lens allows users to create 2.35:1 widescreen footage, and Insta360 says it "delivers a film-like look straight from the camera."

Both video bundles come with the Cinematic Lens.
Image: Insta360

The Ultimate Videography Bundle also takes advantage of the Xplorer Grip Pro Kit and Cinematic Lens. Additionally, it includes an ultra-wide lens and close-up lens, plus the flip-up screen hood.

In addition to hardware, Insta360 has released Firmware V2.0.3 for the Ace Pro 2. The new version adds two additional Leica color profiles: the Leica Eternal and Leica B&W High Contrast. Those join the existing Leica Natural and Leica Vivid options. There are also newly added in-camera film filters, such as Retro Neon and Vintage Vacation, that aim to provide a more polished look without color grading.

All of the bundles are available to purchase today. The Insta360 Ace Pro 2 Flash Print Bundle is available for $580, and the Xplorer Pro Bundle is $520. The video-centric kits are more expensive, with the Videography Bundle Limited Edition coming in at $605 and the Ultimate Videography Bundle at $740. You can also buy each of the accessories separately if you already own the Ace Pro 2.

A climate report projects that the world's carbon emissions are on track to hit an all-time high this year, despite major advances in green tech and adoption of measures to curb pollution from the use of fossil fuels.

Continue Reading

Category: Environment, Science

Tags: Greenhouse emissions, Greenhouse Gas Emissions, Carbon Dioxide, Climate Crisis

A few years back, BMW teamed up with bike-maker Cube and mobility company SoFlow to prototype a funky leaning cargo e-trike as part of a mobility expo. Cube subsequently launched the concept as the Trike Hybrid in 2023, and has now added a flatbed variant to the range.

Continue Reading

Category: Urban Transport, Transport

Tags: Trike, Tricycle, cargo bike, ebikes, Pedal-assisted, Bosch, Cube

In The Matrix, human beings are a literal (and metaphorical) power source – specifically, they supply bio-electricity to our AI overlords. Fortunately, enslavement to robotic masters in a virtual-reality prison is completely unnecessary for biochemistry to power our machines. Instead, all we need is sugar and vitamins.

Continue Reading

Category: Energy, Technology

Tags: Battery, flow cell, Pacific Northwest National Laboratory, Argonne National Laboratory, Biomimicry

A VistaVision camera on the set of Bugonia.
Image: Variety / Focus Features

What are you willing to put up with to get the exact aesthetic you're looking for? For some Hollywood directors like Yorgos Lanthimos or Paul Thomas Anderson, the answer is a lot, at least according to The Wall Street Journal. The publication recently put out a story titled "The Biggest Diva in Hollywood Is a Camera," going over the on-set headaches brought on by using old VistaVision cameras on productions like Bugonia and One Battle After Another.

The issues are numerous: film jams and other "moody" behaviors that occasionally required some percusive maintenance to fix, and the racket that comes with running 35mm film horizontally, rather than vertically, through the camera. The article recounts ruined takes, on-set slowdowns and the need for insulated boxes and special software to keep the sounds of the camera from ruining dialogue. Overall, it turns out that using cameras whose heyday was in the 50s can be a bit of a pain.

Presumably, those issues didn't come as a surprise to the directors

Well... duh. I could've told you that, and I don't even have an IMDB page (yet). Presumably, those issues didn't come as a surprise to the directors and cinematographers who have chosen to work with them either. (Though the actors may be a different story.) So why did they choose to do it?

I'm sure part of it had to do with the experience. As with shooting stills, there's a texture to shooting movies with film that would take a lot of work and discipline to replicate with digital. To paraphrase Reed Morano in Side By Side*, people may take things a bit more seriously when they hear the money running through the camera, kind of like how photographers are more considered with their compositions when they only have 36 exposures.

Being shot in a novel format is also sometimes used in the movie's marketing.

Of course, you can get that experience using more modern film cameras that won't have so many issues. The WSJ goes a bit into why the artists chose VistaVision specifically, and cites a variety of reasons, with the foremost being the look. Shooting a movie on what is essentially a stills photography format gets you more detail than you'd typically be able to achieve with a 35mm movie camera, while still having the look of film.

The result is an aesthetic that's somewhat familiar, but grandiose, a callback to tentpole films like North by Northwest and The Searchers. Sure, there are modern digital cameras from Red and Panavision with similarly large sensors, but do they have the heritage?

Cinematographer Robbie Ryan hasn't been shy about discussing some of the downsides of shooting with VistaVision cameras.

Maybe not, though I am left wondering whether the audience will truly notice the difference. Certainly, those watching the movie on their phones during their commute or their uncalibrated TVs sitting right in front of a window won't, but there's also the argument to be made that we shouldn't make art for the lowest common denominator viewing experience. And realistically, if you want that specific aesthetic, you either have to go with old film cameras, spend a lot of time in post, bending digital footage to make it look like film, or shoot Imax. And the latter has a lot of the same problems unless, of course, you're Christopher Nolan and can just get Imax to make you an updated camera**.

The Wall Street Journal article is well worth a read, even though most people who have touched a camera before will likely be unsurprised by the initial premise. It's still an interesting look at the lengths some artists will go to fully realize their vision, and the eccentricities of the movie business and old tech.

I'd be interested in hearing from you, though. Do you often find yourself putting up with an annoying camera purely because of the look it produces? Do you find the look of VistaVision or other large film formats compelling enough that you totally get it? Are you happy to have left film behind forever? Let us know over on our forums.

* A documentary hosted by Keanu Reeves interviewing a who's who of cinematographers and directors about digital cinematography, which you should definitely watch if you've made it this far into this article.

** And if you are Christopher Nolan: Hi. Big fan. Don't listen to the haters, I thought Tenet was pretty good.

A VistaVision camera on the set of Bugonia.
Image: Variety / Focus Features

What are you willing to put up with to get the exact aesthetic you're looking for? For some Hollywood directors like Yorgos Lanthimos or Paul Thomas Anderson, the answer is a lot, at least according to The Wall Street Journal. The publication recently put out a story titled "The Biggest Diva in Hollywood Is a Camera," going over the on-set headaches brought on by using old VistaVision cameras on productions like Bugonia and One Battle After Another.

The issues are numerous: film jams and other "moody" behaviors that occasionally required some percusive maintenance to fix, and the racket that comes with running 35mm film horizontally, rather than vertically, through the camera. The article recounts ruined takes, on-set slowdowns and the need for insulated boxes and special software to keep the sounds of the camera from ruining dialogue. Overall, it turns out that using cameras whose heyday was in the 50s can be a bit of a pain.

Presumably, those issues didn't come as a surprise to the directors

Well... duh. I could've told you that, and I don't even have an IMDB page (yet). Presumably, those issues didn't come as a surprise to the directors and cinematographers who have chosen to work with them either. (Though the actors may be a different story.) So why did they choose to do it?

I'm sure part of it had to do with the experience. As with shooting stills, there's a texture to shooting movies with film that would take a lot of work and discipline to replicate with digital. To paraphrase Reed Morano in Side By Side*, people may take things a bit more seriously when they hear the money running through the camera, kind of like how photographers are more considered with their compositions when they only have 36 exposures.

Being shot in a novel format is also sometimes used in the movie's marketing.

Of course, you can get that experience using more modern film cameras that won't have so many issues. The WSJ goes a bit into why the artists chose VistaVision specifically, and cites a variety of reasons, with the foremost being the look. Shooting a movie on what is essentially a stills photography format gets you more detail than you'd typically be able to achieve with a 35mm movie camera, while still having the look of film.

The result is an aesthetic that's somewhat familiar, but grandiose, a callback to tentpole films like North by Northwest and The Searchers. Sure, there are modern digital cameras from Red and Panavision with similarly large sensors, but do they have the heritage?

Cinematographer Robbie Ryan hasn't been shy about discussing some of the downsides of shooting with VistaVision cameras.

Maybe not, though I am left wondering whether the audience will truly notice the difference. Certainly, those watching the movie on their phones during their commute or their uncalibrated TVs sitting right in front of a window won't, but there's also the argument to be made that we shouldn't make art for the lowest common denominator viewing experience. And realistically, if you want that specific aesthetic, you either have to go with old film cameras, spend a lot of time in post, bending digital footage to make it look like film, or shoot Imax. And the latter has a lot of the same problems unless, of course, you're Christopher Nolan and can just get Imax to make you an updated camera**.

The Wall Street Journal article is well worth a read, even though most people who have touched a camera before will likely be unsurprised by the initial premise. It's still an interesting look at the lengths some artists will go to fully realize their vision, and the eccentricities of the movie business and old tech.

I'd be interested in hearing from you, though. Do you often find yourself putting up with an annoying camera purely because of the look it produces? Do you find the look of VistaVision or other large film formats compelling enough that you totally get it? Are you happy to have left film behind forever? Let us know over on our forums.

* A documentary hosted by Keanu Reeves interviewing a who's who of cinematographers and directors about digital cinematography, which you should definitely watch if you've made it this far into this article.

** And if you are Christopher Nolan: Hi. Big fan. Don't listen to the haters, I thought Tenet was pretty good.