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As another year draws to a close here are EOSHD’s official observations on the camera market for 2025, new vs used.

And which cameras for both stills and cinema stood out for value for money in 2025?

It’s making more and more sense to buy a used camera, and leave the new stuff on the shop shelf.

That said, 2025 has seen some exciting new releases. Canon have got their specs-act together with the EOS R6 Mark III, and Nikon has finally brought RED tech into the mirrorless camera world. How did Sony, Panasonic, Fuji and the rest fare? Read on to find out…

New vs used 2025 (overall winners)

New camera best buys for video

• Canon EOS R6 Mark III (new $2900) – 7K RAW and a feature set which builds and improves on the old EOS R5 flagship, little not to like but RF mount lens range is more limited than others
• Sony a7 V (new $2900) – 7K sensor readout, good quality oversampled 4K at up to 60fps, 4K/120p mode is 1.5x crop, much less rolling shutter than the predecessor cameras. Price is a little on high-side – sadly don’t expect used prices to come down for a while
• Nikon Zr (new $2200) – REDCode / N-RAW for cheap with a wide ranging video spec sheet, it’s the little camera that can
• Panasonic S1 II or S1R II (new $3200) – the S1 II is best in low light, the S1R II offers 8K open gate with a resolution advantage – excellent image quality but L-mount might put some off

New camera market image quality chart 2025

1. Canon EOS R6 Mark III (7K, overall best internal RAW camera)
2. Sony a1 II (best 8K image)
3. Panasonic S1R II (best value for money full frame 8K camera)
4. Panasonic S1 II (best low light camera)
5. Nikon Zr (REDcode and same sensor as Z6 III)
6. Nikon Z6 Mark III
7. Panasonic S1 IIe (best value open gate camera)
8. Sony a7v (capable, but slower sensor and worse rolling shutter)
9. Sony FX2 (excellent image, but no better than cheaper a7 IV or a7c II)
10. Leica SL3-S (value for money isn’t quite there)

Second hand used best-buys

• Fujifilm GFX 100 (used $2000+) – People really don’t understand this camera. There’s no need to splash out on Fuji medium format glass – put Minolta MD lenses on there and shoot the IMAX look in 4K 10bit. It’s also one of the best built and best designed cameras of all time – head and shoulders above the smaller GFX 100S ergonomically
• Sony a1 (used $3200) – The more the price of the 2021 flagship drops on the used market the more incredible it is. Here we are 5 years later and the image, performance and overall spec lacks for virtually nothing.
• Canon EOS R5 (used $1900) – Best spec mirrorless camera on paper, under $2k – 8K RAW for how much?! Also consider – EOS R5C for 8K/60p, active cooling and longer recording times, minus IBIS
• Panasonic S1H (used $1200) – Highly capable if you shoot Cinema 24fps – one of the only cameras with an anti-aliasing filter, one of the best 6K images you can get – the current used rate is a steal, and the ergonomics brilliant although heavy
• Nikon Z8 (used $2800) – The best overall paper-spec for the money, there’s really very little it can’t do, if you’re a Z-mount user this is the one to get
• Fuji X-H2 (used $1300) – The only camera remotely close to $1000 with 8K ProRes, and file-size shrinking variant ProRes LT is very welcome too, spectacular image quality
• Sony a7 IV (used $1300) – Sony’s 2021 “basic model” offers FX2 level image quality for cheap, with great AF and wide ranging feature set for hybrid users

Bargains:

• Panasonic S9 (used $900) – it’s practically an S1H, in a tiny small form factor, mega cheap – although some will miss the EVF and mechanical shutter of the S5 II, the image is excellent and real-time LUTs allow for some incredible colour science / colour processing in-camera
• Sony a9 (used $1200) – the cheapest stacked sensor full frame camera with excellent rec.709 4K (NO S-LOG!)
• Sony a7 III (used $900) – the best all-round full frame camera under $1k for most people
• Nikon Z6 (used $700) – the best value for money 4K full frame camera for 24/30p without a crop

Used camera tiers (pre-2025)

S tier

• Fujifilm GFX 100 ($2300) – 44x33mm sensor with no crop in 4K, excellent codec, colour science and image processing, stills quality beats all others
• Panasonic S1H ($1100) – best value for money Netflix approved open gate full frame camera and excellent in low light
• Fujifilm X-H2 ($1200) – best value for money 8K ProRes camera (APS-C)
• Sigma Fp-L ($1300) – an excellent left-field choice for cinematic visuals, thanks to full frame 60mp sensor, pixel binned 4K at full frame but oversampling at 1.3x crop, uncompressed Cinema DNG 4K, superior sensor to original Fp
• Canon EOS R5 ($2000) – excellent value for money, the video quality has not been significantly bettered by any of the 2025 cameras or EOS R5 II
• Nikon Z8 ($2500) – wants for nothing
• Sony FX3 ($3500) – used prices still high, a7s III with same sensor is a cheaper alternative
• Sony a7 IV ($1200) – if speed isn’t a priority (i.e 4K/60/120) and you don’t mind higher rolling shutter than the newer cameras, the overall video quality and image quality is excellent and the price is a bargain

A tier

• Fujifilm X-T5 ($1100) – excellent codec and 6K, but more limited vs X-H2
• Olympus OM-1 ($900) – superb stabilisation, good 4K/60p and lovely handling
• Nikon Z6 ($700) – still one of the best all-round 8bit 4K/24p full frame cameras after 7 years
• Sony a7 III ($800) – image still holds up
• Fujifilm X-T4 ($800) – excellent value, with very good low light 26mp sensor and superior video feature-set vs more expensive X-Pro3
• Panasonic GH5S ($600) – the best Micro Four Thirds camera for low light shooting

B tier

• Fujifilm X-T3 ($600) – still great 4K/60p 10bit but aging, X-T4 has IBIS
• Panasonic GH5 ($500) – still a great image and feature-set, however lacks open gate / phase-detect AF and RealTime LUTs
• Olympus E-M1X ($600) – a real dark horse, similar sensor to GH5, however has phase-detect AF, great 4K OM-LOG and outstandling stabilisation. A real bargain
• Fuji X-H1 ($500) – outstanding value for money 4K camera with LOG and Fuji’s highly rated film simulations

C tier

• Samsung NX1 ($500) – image still stands up but only 8bit and lacking modern features like LOG, LUTs and IBIS
• 5D Mark III with Magic Lantern 3.5K RAW Video ($400) – with the hack, the Cinema DNG raw image is incredibly good, but it’s a very old DSLR
• Blackmagic Pocket Cinema Camera OG ($400) – one of the best 1080p cameras and cheap

The post The 2025 Hybrid Mirrorless Camera Rankings appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.

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This map reveals what scientists care about—and what armed forces don’t want to share

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The second episode in our live series from the Regent Street Cinema explores Louis Malle’s My Dinner with Andre (1981), in which two men discuss the meaning of theatre, capitalism, love, science, faith and freedom over a meal. David talks to playwright and screenwriter Lee Hall (Billy Elliot, Rocketman) about how a great film can be made out of a single conversation. Who was the real Andre? How scripted was the dialogue? Who won the argument? And why has this film had such an extraordinary afterlife?

Out tomorrow on PPF+: a bonus episode to accompany this series in which David and film historian Harrison Whitaker discuss the greatest Christmas film of ideas: Frank Capra’s It’s A Wonderful Life, which is much more than just a seasonal tearjerker. To get this and all our bonus episodes plus ad-free listening sign up to PPF+ now https://www.ppfideas.com/join-ppf-plus

If you are looking for last minute Christmas presents we have 6- and 12-month gift subscriptions to PPF+ giving access to all our bonus episodes, ad-free listening and automatic sign-up to our fortnightly newsletter – which can be delivered to the recipient of your choice on Christmas Day! ⁠https://ppf.supportingcast.fm/gifts⁠

Next time: Rosa Luxemburg w/Lea Ypi

Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Este é o primeiro episódio de férias do Pauta Pública, que durante quatro semanas irá relembrar os momentos mais marcantes da temporada de 2025. Neste episódio você confere as diferentes formações das milícias ao longo do tempo e entende  porque especialistas defendem que tecnologias de reconhecimento facial em redes de videomonitoramento, como o projeto Smart Sampa, reproduzem padrões racistas. Também vamos relembrar a operação policial nas comunidades da Penha e do Alemão ocorrida em 28 de outubro, que resultou numa chacina com dezenas de mortos. 

Para isso, o episódio reúne trechos das entrevistas realizadas com a jornalista Cecília Oliveira, durante o episódio Milícias: caneta na mão e bolso cheio; com o integrante da campanha Tire Meu Rosto da Sua Mira, Pedro Diogo Carvalho, durante o episódio o Reconhecimento Facial e Vigilância Racista; e das entrevistas com o sociólogo Daniel Hirata, no episódio Por que tanta gente apoia uma chacina? e com o cofundador do Instituto Raízes em Movimento, David Amen, no episódio A mobilização que desafia a violência, a favela pela favela.

Ouça agora e deixe sua opinião nos comentários.

Saiba que você pode ser aliado da Agência Pública e colaborar com esse trabalho. Saiba mais em apoie.apublica.org ou faça um pix de qualquer valor para contato@apublica.org.
Contamos com seu apoio!

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Este episódio do 451 MHz homenageia o poeta, tradutor e ensaísta Leonardo Fróes (1941–2025), morto em novembro, com duas conversas gravadas n'A Feira do Livro 2025. Ao longo do programa, Fróes reflete sobre o impulso da escrita, a poesia como uma fraqueza necessária, sua trajetória como tradutor e ensaísta e a decisão de deixar a vida urbana para morar em um sítio no interior do Rio de Janeiro. O episódio ainda percorre sua relação com a natureza, tema central da coletânea Natureza: A Arte De Plantar (Cepe, 2021), e revisita a obra e o pensamento de um dos grandes nomes da literatura brasileira contemporânea.

Apoio: Lei Rouanet - Incentivo a Projetos Culturais.

Assine a Quatro Cinco Um por R$ 10/mês: https://bit.ly/Assine451

Seja um Ouvinte Entusiasta e apoie o 451 MHz: https://bit.ly/Assine451

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If you’re wondering why the camera industry churns out so many homogeneous black cameras with the same specs and price, look no further than the reception the different ones get in the camera dweeb community.

We should all be encouraging the Japanese manufacturers to try different things and think outside the box.

Invariably these more ‘experimental’ cameras are more fun to shoot with.

Take for example the Fujifilm GFX 100, the original one. Yes the smaller and cheaper GFX 100S was more popular but the original broke the mould of what a medium format camera could do especially for cinema.

Take the Fujifilm X-Pro3 as well, another example of a special design that encourages a more creative approach to getting the shot.

Those weirdos who only own one camera probably wouldn’t brave it out with an GFX 100 and Leica M lens adapter. Manual focus isn’t for everyone, and the native GFX mount medium format lenses are slow, sterile and expensive. But the results I get with a cheap Minolta 50mm lens on the GFX 100 are 10x more artistic than the ‘default option’ of a high-end full frame mirrorless camera and brand new 24-70mm F2.8 that the average rich brat has just spent $6000+ on.

Granted the 3 cameras Chris and Jordan mention are not without issues. The Sigma Bf has an absolutely baffling UI when you first pick it up and some unsettlingly sharp edges. The Fuji X-Half has a rather soft JPEG-only output that you don’t want to pixel peep and a cheap lens that isn’t as fast (or even as sharp) as what you’d find on a smartphone costing the same price. But this camera is simply not about pixel peeping or specs.

The Sony FX2 meanwhile – I get it. It would have been nice if Sony had waited a year and put the newer sensor of the a7v in it. I know it’s neither an FX3 or an a7v and therefore appeals to nobody that are interested in the latter two, which is most people.

But the FX2 is criticised as if no camera has ever been followed-up by a faster one later. It’s completely normal, and the price of the FX2 reflects it as well.

You can quantify the specs all day long but with these cameras it’s the intangibles that matter. The X-Half is a pure creative tool to bring out the pleasure of shooting.

And that experience of walking the streets with it is made even more enjoyable by the fact it’s a trendy fashion item which brings out the pleasure of using it even more. I know it seems shallow to say, but you do look less like a dork with a camera that looks like a camera, rather than something that looks like a cross between a leaf blower and an office photocopier.

It’s the same with the Sigma Bf except that’s a full frame image quality powerhouse, one of the smallest full frame cameras, that in many ways is better than the $4800 Sony RX1R III but half the price and with the benefits of a choice of small primes rather than only one Zeiss 35mm F2 with dodgy AF that hasn’t been updated for 11 years.

And as for the Sony FX2, it doesn’t in fact have the same sensor as the a7 IV, but the newer a7c II and all the latest class leading AI and image processing that Sony is currently leading the market with, plus a pimped out video monitoring feature-set that the Sony Alpha cameras don’t have.

It’s cheaper than the FX3 yet has a proper EVF (it’s even articulating) which is rare for a cinema camera and unlike the Nikon Zr it has a proper mechanical shutter as well. That makes the FX2 completely unique and different to all the other hybrid cameras in that it’s a cinema-first design but doesn’t throw the baby out of the bathwater when it comes to key stills features like a lot of the other hybrid cinema cameras.

Yet the signals the average customer, and by extension the ultimate Canadian camera store salesmen are sending to Japan has me a bit worried.

The concept of a true stills-cinema hybrid camera has been rejected. The conclusion from the Sony FX2’s low sales is that nobody gives a damn about having a lovely EVF and mechanical shutter in a filmmaker focused camera. What a shame! For me, I really value that.

The idea of a film-compact shooting experience fairs far better with the general audience of camera buyers. The Fuji X-Half is not designed to replace your EOS R6 Mark III for sports and fucking bird photography. Worst camera of the year it is, then?

And the Sigma Bf is the affordable full frame alternative to a Contax T2, made in small quantities by a family owned business in Aizu, Japan.

I just don’t accept that you can throw so much shade so publicly at such creatively brave concepts as these.

Save the shade for the broadest shoulders, the boring mainstream cameras that you can’t tell one from another.

The post Chris and Jordan select Sigma Bf, Fuji X-Half and Sony FX2 as worst cameras of the year, just goes to show that some people don’t have a single creative brain cell appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.

Generation Z is becoming less invested in university and more interested in skilled trades

This week, Lily Herd heads for outer space in the company of a prodigious imagination; and Andrew Motion joins us with a wonderful new poem.

'Collected Stories' by Cixin Liu, translated by John Chu, Andy Dudak et al

'All that We See or Seem', by Ken Liu

'Snow', by Andrew Motion 

Produced by Charlotte Pardy

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