You will definitely know that choosing a quality Vlogging cam 2018 is not such a simple thing because many models bloom in the market with technological innovations more or less effective. That’s why, you must choose the camera that fits your needs and according to certain specific criteria. and you can share the video on youtube or facebook.
The most important criterion to consider is the quality of the image and optics. This is what the user is looking for especially at the price of action cameras. We must therefore be attentive to the number of pixels and the resolution offered by the camera for photos and videos. All action cameras now shoot at least Full HD (1920 x 1080 px), but not necessarily at 60 fps. All products in our ranking offer excellent image quality.
Best Cameras For Vlogging 2018
Inspired by the Sony RX100, the Canon PowerShot G7X marks the return of Canon in the credible competition of expert compacts. Equipped with the sensor 1 inch that equips all RX100, it is equipped with a very bright optics, a 24-100 mm f / 1.8-2.8. Its zoom extension gives it an edge over the RX100 Mark III, but its features are fewer and it does not have a built-in viewfinder.
We can tap on Canon when it is necessary, but it is a point on which the Japanese manufacturer never skimped: the quality of manufacture. All of metal coated, the G7X is a construction model. 100% made in Japan, each piece (buttons, wheels, etc.) exudes quality for a general look and a tougher touch than Sony models. A brand that generally favors compactness and lightness. The “clicks” of the dials and the optical control ring further reinforce this “mechanical” feeling, so pleasing in this digital age. The other side of the coin: in video, the slightest parameter change during capture is about the recording. Side grip, ergonomics suffers a little lack of grip on the front, which makes the device slippery.
This defect, the G7X shares with the RX100, but Sony offers a rubber accessory that does the job well. The Canon engineers we met last month assured us that they were studying the possibility of a grip and / or a type of case. Another complaint is that it is a matter of taste: the exposure wheel is hard enough to handle and its position (under the wheel of the modes and above the thumb rest) is not ideal. But at least that avoids unwanted expo changes like on the first Fujifilm X100.
Canon PowerShot G7 X Mark II
The aesthetic evolutions of the G7 X Mark II are light. A small raised handle makes its appearance to improve the grip of the device and the textured effect on the front provides better grip. As well finished as its predecessor, this new model presents two red rims, the brand’s favorite color.
The engineers seem to have corrected the problem of notching the lens ring too loud we had stressed during the test of the previous model. It is now disengageable and allows a perfectly smooth and silent rotation. A very good point, especially for use in video.
The controls located on the cover remain unchanged: it contains the power button, the shutter release button, the zoom trigger, the PASM mode dial and the exposure compensation wheel. Ditto for the rear interface, which remains the same. However, a difficult course for Canon seems to have finally been crossed: the micro-USB socket on the right side of the device changes to micro-B – and no longer mini-B -, a more universal and common format to most smartphones. To complete, the box contains a charger, a small strap, but still no USB cable or real belt.
“Sony went crazy, every RX100 is more expensive than the previous one!” If the madness of Sony is a value judgment, we can be factual about the rest. The first RX100 (2012) was launched at $650, the RX100 II (2013) at $750, the RX100 III (2014) at $850, the RX100 IV (2015) at $1150 and, therefore, the RX100 V ( 2016) at $1200. Few products, especially photographic products, can boast of having almost doubled their price in five years.
Except that, in fact, each new RX100 has never replaced its predecessor (s), the latter remaining in the catalog – and seeing their tariff knowing a logical erosion. Thus, each new generation pulls the range a little more upward and completes the family without ejecting any member. It’s important to keep this in mind when judging this RX100 Mark V, its 20.1MP BSI Type 1 “BSI sensor with back-welded DRAM, its Bionz-X processor preceded by an LSI front-end inherited the Alpha 99 II and its autofocus competition that allow Sony to offer in a pocket (literally) the pinnacle of its technological know-how.
Writing that the Sony RX100 V is a carbon copy of the RX100 IV would be somewhat reductive. Indeed, compared to the 2015 model, the RX100 vintage 2016 sees its front panel slightly redesigned – but if, look good, the border is slightly less hollow and now shiny – and its screen whose definition now goes to 1228 888 points, against 1,196,000 points previously. For the rest, nothing has changed, nothing, the RX100 V definitely comes out of the same mold as all its predecessors. Which, somewhere, is rather a good thing.
Indeed, this allows Sony to offer a waterproof box 40 meters called MPK-URX100A, billed $360, announced at the same time as the RX100 V but backward compatible with all older RX100. Perfect for dive enthusiasts with a Mark I or Mark II and who would later consider switching to a Mark III, IV or V – since, we reviewed in the introduction, Sony has the good taste to simultaneously keep its five generations in the catalog.
After a (too?) Wise 60D, it was necessary for Canon to shake the fleas. Taking part of the frame of his grandfather – format and touch screen – it brings a lot of novelties, including a sensor with a new technology supposed to give a boost to the video.
Canon is, with Fujifilm and Sigma, one of the few players in the photo not to use Sony to provide sensors in its SLR. The 20.2 Mpix APS-C that equips the 70D is thus exclusive. A sensor that offers good results up to ISO 1600 and remains fully usable up to ISO 3200. Beyond this limit, the noise is very noticeable which places the 70D below the Nikon D7100 and Pentax K-3, comfortable up to ISO 6400 in RAW – not to mention an X-Pro 1 which delivers clichés Jpeg impeccable at this level of sensibilities!
In the 100-3200 ISO slice the picture quality is good, with well preserved colors and a good level of detail, even if we are not at the level of sensors without anti-aliasing filter.
Offering a better performance than its predecessor the 60D, the new EOS 70D gives a bit of a boost to Canon’s image in the high-end consumer DSL segment. Inaugurating the Dual Pixel technology, it gives pride to the video and is as pleasant to use as powerful. A safe bet that stumbles on some video deficiencies – no 30p and 60p mode or headphone jack – and strong competition from Nikon and Pentax.
Sony a7R II
The A7R Mark II is the second-generation photographic flagship of Sony’s full-format hybrids. Between the A7 Mark II which offers the stabilization of the moderately priced sensor and the A7S Mark II which plays the low-light card and the pro video, this version “R” pushes back, it, the limits of the definition of picture.
With its 42 Mpix is, after the Canon EOS 5Ds, the most full-format sensor camera with the most pixels in the world “mainstream”; to go beyond, you have to invest in medium format devices that cost at least triple the price. Cheaper than a medium format, but at 3500 euros, is the bill justified?
The case of the A7R Mark II is, pretty much, the same as his brother the A7 Mark II. More robust and more serious than the Mark I versions released two years ago, the A7R Mark II is not at the level of a good SLR as to the feeling of solidity but it is already very satisfactory.
The high density of the A7R Mark II’s sensor and its burst at 5 fps force us to compare it to a Canon EOS 5Ds R, Nikon did not launch its replica to the race to the pixels (the D800 / D810 does not have “only” 36 Mpix). And so it’s about counting points.
In its favor, the Canon EOS 5DS R offers a picture definition a bit higher than the A7R Mark II. It enjoys a better autonomy and an optical sight which has its advantages. Well, if you wanted us to read the areas in which the Canon case dominates the Sony champion, you have them.
Because in all other areas the latter literally drives the Canon reflex. The A7R Mark II features 4K video, professional XAVCS video encoding, a more sustained burst of time, a better rise in ISO highs, a quiet shutter, an adjustable screen, a 5-axis stabilization that can be combined with the stabilization of the optics (which are equipped) and an electronic viewfinder which also has its advantages.
Apart from a richer optical park, the Canon can not claim to clearly take the lead in terms of image quality. And if the first firmware of the A7R Mark II only offered a 12-bit compressed RAW mode, the latest update finally offers a true 14-bit color coding mode. All that’s missing is a lossless compressed mode, but in any case, both cameras are equal in terms of image quality. This is to say if Sony has progressed in this area.
Unveiled earlier this year, the Yi 4K + was a bombshell in the world of action-cams, since it is the first capable of shooting in 4K / UHD at 60 fps. In addition to its attractive definition, it adopts a new processor and offers live streaming, but also the ability to save photos in RAW format. The complete data sheet is finally available on the manufacturer’s website, and here is what it teaches us.
Ergonomically, the Yi 4K + seems to keep a particularly minimalist and compact design. Only a physical touch is present. As on the Yi 4K, the rear integrated screen of 2.2 “(≈5.6 cm) is tactile.Finally, the arrival of a USB Type-C to recharge or connect its camera to his computer makes his This new standard is becoming more and more popular on the mobility side and seems finally to be gaining popularity in the world of photography and video, and a voice command is also planned for the next firmware update ( This is useful for triggering without using his hands, especially when the camera is inaccessible or attached to an accessory.
Small disappointment on the battery side, unchanged, 1400 mAh that does not support recording times as long as we would like: about 120 minutes in 4K / UHD 30p.
The Live Streaming (which will also be available during the next firmware update) will rely on Wi-Fi through which we can connect to the dedicated application to control his camera, transfer or share his video.
The camera is available for pre-order on the site of Yi Technology at a price of $339.98, for a delivery in May according to our simulation.
GoPro HERO 6
Thanks to its new in-house processor, the new GoPro Hero 6 Black is finally able to shoot in 4K at 60 fps or in Full HD at 240 fps. It also incorporates a very efficient electronic stabilization.
In appearance, absolutely nothing distinguishes the new GoPro Hero6 Black from its ancestor the Hero5 Black: same case, same materials, same layout, same positioning of physical controls, same size and definition of screen, even optical, etc. the list of physical similarities is long. Clearly, a single element allows to differentiate: the mention “Hero5” or “Hero6” on the optics, next to the USB-C / HDMI door.
Since the Hero5 generation, GoPro cameras are now watertight to 10 m without box and the Hero6 obviously benefits from this resistance. Wi-Fi and Bluetooth are always part of the same as the GPS, a GPS whose data embedded in the files (photo as video) allow Quick, the free editing software of GoPro (or any other compatible software), to recreate superimposed plots, speed, etc.
On the performance side, the first obvious element is obviously the arrival of 4K mode at 60 frames per second. A mode highly anticipated by those who wish to make more fluid sequences than those made by the Hero5, limited to 30 frames per second maximum. In addition to being able to produce slow motion x2, it is especially the opportunity to give a softer rendering to action scenes or drone passages, the slightest acceleration to 30p giving a fuzzy effect – here, the sharpness is more long preserved.
Successful bet for the Hero6: the fundamentals are good, and the new GP1 processor brings a better quality of image and especially of the fast-moving features that come as essential as the 4K with 60 fps or the electronic stabilization of quality. This action-cam is, without a doubt, the best of the moment on the market. And by far. But if the GP1 probably has the power to sell, the fact remains that the small sensor is the last handicap of GoPro to advance its image quality, especially in low light. A 1 inch sensor for the Hero7?