![]() ![]() 100Mbit on the Sony cameras and continuous, with audio recording. These are at very high bitrates to maintain quality across so many frames. Only the Sony cameras and the Samsung NX1 output directly 120fps recordings. Although it may appear it, slow-mo isn’t baked into the file, you can return the clip to normal speed by speeding up the frame rate 5-fold, or conform to a slightly less slow frame rate like 30fps or 60fps in post. If your camera does this onboard then the good news is you don’t have to do it in the edit, but you usually lose the audio track. If you have a 120fps file, you can interpret the footage as 24p on your timeline to induce the 5x slow-mo effect. Although the camera can conform the slow-mo result in-camera, it’s better to do it in post as the bitrate of the continuous 120fps recordings is an impressive 100Mbit compared to just 16Mbit in S&Q mode.Ī long-time favourite of mine, the NX1 has done 1080/120fps continuous recording in HVEC H265 since 2014 without breaking into a sweat. Sony isn’t done yet… the A6300 and A6500 both shoot an identical standard of 1080/120fps and like the other Sony cameras it’s a continuous recording mode. The latter crops the sensor but only by a smidgeon more than 120fps. I won’t just stop at testing the continuous 1080/120fps recording, but also the 1080p 240fps cache record as well (250fps in PAL mode). The smaller sensor with a memory buffer stacked directly on the back of it results in a bit of a slow-mo specialist here. You can however use a Metabones Speed Booster to reduce the 2x crop to something resembling Super 35mm (1.5x). ![]() The A7S II does 1080/120fps but with a heavy 2x crop of the sensor. Until the Nikon D850 comes along the A99 II could be considered the absolute cutting edge of current sensor and image processor design. ![]() The faster processor is able to take an intelligently sub-sampled 1080p image off the 42MP full frame sensor at 120fps whereas the A7R II only managed a brutally line-skipped 720p. ![]() The A99 II may use a similar sensor to the A7R II but the slow-mo capabilities are far better because of the new front-end LSI. The 1D X Mark II also does 1080/120fps from the full frame sensor, with no crop, along with Dual Pixel AF. The Leica SL is one of just 3 full frame cameras to shoot 1080/120fps without a crop. Although this test focuses on 120fps or more, lovers of a milder slow-mo result from 60p will like the GH5 a lot – it’s the only camera on this list to shoot 4K 60p along with the 1D X Mark II. The lovely 10bit codec is not available in this mode. The VFR feature is full HD 1080p but quality varies depending on how fast you crank the sensor. This variable frame rate mode converts one frame rate to another in-camera, giving slow-mo files straight off the card with no effort in post required. The latest from Panasonic is a monster when it comes to slow-mo and the new VFR mode. It is incredible how much better the colour and dynamic range is on the GH5 in comparison to the old camera, not just in 10bit but in the 8bit 120fps slow-mo files as well. I also throw in at the end the good old Panasonic GH4 96fps for reference. Sony RX100 V and RX10 III (120fps continuous, 240fps cache).Panasonic GH5 (120fps to 180fps variable).This sequence is also a good test of the high ISO performance of the cameras. In the second half we have more challenging lighting, at ISO 1600 with the lens stopped down to F5.6 and the camera brought back further from the test scene so that fine details in the objects become even smaller and finer, thus more challenging for the cameras to capture. Pixel peep the video to see which image you prefer. In the first half of the video we have a relatively close-up shot at F2 and ISO 200 with soft lighting, which is relatively forgiving of any detail loss or aliasing. I recently decided to find out which of the current 1080/120fps capable cameras does it the best. ![]()
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