This is the Sony ZV-1F.
It's a $500 point-and-shoot camera that,
from the briefing I had on it,
Sony suggested it's basically stepping up your game
from your phone for content creators
that wanna make YouTube videos, product videos, TikToks,
other types of content,
they can step up from the phone to a real camera,
but now at a really affordable price of only $500.
So what we're gonna do today is we're gonna test this
against the popular, a couple popular flagship phones.
Patrick Tomasso here. Thanks for coming.
- Hello.
- He brought the iPhone 14 Pro,
Pixel, Google just sent over the Pixel 7 Pro
and I've been using the Pixel 6 Pro.
So we're comparing those to this to see if you have one of
these latest flagships.
Should you spend $500 on this camera
or should you spend the $500 somewhere else
and keep using your phone.
I already did a full review of the ZV-1,
which is almost identical
and I don't wanna re-review it here.
So please watch that video or watch somebody else's review
on the ZV-1 if you wanna know more about it.
And I'm just gonna build off of that.
This is $250 cheaper.
So I suppose the question would be,
where is the $250 in savings coming from?
And I'd say it's probably three things.
One, this does not have a built-in ND filter,
which the ZV-1 did have.
Two, it's now on a fixed lens,
so the ZV-1 had a full-frame equivalent
of a 24 to 70 or something like that.
This one is just a fixed like 20mm full frame prime lens.
And the shoe on this is not a multi-interface shoe,
it's literally just a cold shoe, you know,
glued onto the camera.
So if you do put a mic in it,
like one of these little mics here,
or even if you use one of Sony's interface mics,
you can't use the electronics.
You still have to connect a cord
to the three and a half mil input,
and all the rest of the ports are the same,
except for now it's USB-C instead of USB micro B
or whatever they're using on the other one.
- Which is a nice upgrade.
- It's a good upgrade, yeah.
You can charge it that way.
But as far as the rest of the ports,
it's micro HDMI, USB-C and a 3.5 millimeter mic input.
Other than that, it's a ZV-1.
- I would say,
cause the biggest complaint with the ZV-1 was
that focal length, it was just a little bit too tight.
- Cause it's a vlog camera.
- Yeah, but vlog camera shoot at 24 mil.
I just remember everybody that got it was like,
"Well I really like this camera",
but you're like really stretching the thing out.
Whereas, you know,
we've played with this for a little bit now
and you can have that bendy elbow.
- [Gerald] You can vlog
- [Patrick] With this now and it's a nice vlogging,
focal length a lot closer to what you typically,
as you'll see a lot closer, typically what we get
with a phone.
- It was similar to the phones, yeah.
It does have a zoom function,
but it's like a clear-image zoom.
- Yeah.
- So you're gonna lose like better autofocus
and that kind of thing.
But you can punch in a little bit for a static shot.
The thing to note though is that the reason why the,
it was so tight on the ZV-1 is
that you have your 24 mill equivalent,
but then the 4K applies a small crop
and then the active stabilization,
which you'd probably want for vlogging,
applies another crop.
So you're now you're at like 28, 32,
- 28, 29.
- That's too tight for vlogging.
This one still has those same crops.
The 4K has a crop and the active stabilization has a crop,
but it's still a reasonable field of view
once you have all those things applied.
Regarding the stabilization,
the difference is this lens does not have,
there's no stabilization in the lens
like optical stabilization, which the ZV-1 had.
So this one, when you turn on the stabilization, it just,
it's either off or it's active.
There's no standard stabilization,
which we've noticed did make a difference,
we think in how the overall sort of vlogging image appeared.
We'll show you some sample footage and talk about that.
There's also small little, actually it's not small.
It was, I think I said on the ZV-1 it was like one
of the reasons why I would not buy the camera was
that the quarter 20 mount on the bottom
on the ZV-1 was located right beside the battery door.
So when you opened it, it actually opened over top.
Meaning that if you wanted to change your battery
or your SD card, which are both located under here,
you'd have to take it off the tripod,
take it off the quick release plate, whatever it is,
which made no sense.
This is no longer a problem, as you can see,
it's over here and you got full access.
There still is a complaint though, that it's not center.
- [Patrick] Yeah, it's an off center.
- It's off center.
- [Patrick] Yeah, it's weird.
- As far as battery life,
I recorded for about an hour and a half,
4K for a rundown test.
No overheating, just when the battery died.
That's about fine, average performance
for a camera like this.
This one does have the new menu system though,
but it doesn't have all of the new stuff.
There's no S-Cinetone,
there's still no 10-bit, it's 8-bit 4:2:0,
it's still kind of a bare bone system here.
- Even though this is lacking a lot of features
that we love in cameras,
I think as someone who would just pick this up at Best Buy,
- Yeah
- It might be the perfect like turn on and just go.
They're not gonna dive into a lot of that stuff.
- I would say when it comes to like point-and-shoot
for video, it might be like the best point-and-shoot
for video, for the dollar.
- For the dollar. Yeah, exactly.
- But is that what you're looking for?
And in the days of phones, I find it hard
to recommend point-and-shoots these days when-
- [Patrick] Totally. No, I agree with you,
I completely agree.
- But anyway, let's get into an actual comparison
because I think the real question here is
I have a phone, who like everybody's got a phone
for the most part, - Yeah.
They've been good for a few years now.
- Yeah. Should I get this too?
I'm already noticing quite a few things going on.
- [Patrick] Quite a few things, yeah.
- [Gerald] So first off there's this like jittery
- [Patrick] Yeah.
- [Gerald] Jelloy thing going on
and I can't tell the stabilization is less,
so I don't know if it's like
a electronic wobble from the stabilization.
- [Patrick] Yeah.
- And that we're seeing worse
than we saw in the ZV-1.
This is supposed to be the same sensor from the ZV-1,
- But to me it looks very different.
- It looks different.
- It looks very different.
Like when we first looked at this footage,
the first thing that caught in my mind was
that wobble jello.
- Yeah, I'm looking at it right now.
- [Patrick] Yeah, exactly.
- [Gerald] It's obvious. - [Patrick] It's really bad.
- [Gerald] Yeah. - [Patrick] It's rough.
- [Gerald] So it shouldn't that, you see that?
- [Patrick] That to me has to be rolling shutter.
- That was rolling shutter.
- That was rolling shutter for sure.
- It is rolling shutter,
but there's also this thing where it's like,
it's almost like my hand shakes.
- It feels like your hand- Yeah, it comes up when
- You're doing corner there, corner tremors.
- [Patrick] It's just like, it's like really, really jittery
and to me that's like super distracting.
Pulls me out of what I'm watching.
Even someone who doesn't understand cameras will see that
and think that looks kind of weird.
So let's talk about that dynamic range or lack thereof.
- [Gerald] Yes. So look at that sky and it's important
cause when we switch to the phone,
you'll see the difference.
Now obviously the phone phone uses
some crazy HDR compositing.
- [Patrick] Yeah.
- But this is shot in standard
which is just picture profile off.
Which I think is important
because if the market for this is
somebody who's, they know a phone.
- Yep. - Let's get 'em
a little bit into cameras. - Yep.
- They're not gonna jump in and start shooting S-Log2,
- S-Log3,
- Yeah.
- Not that you even,
whatever shoot S-Log3 through with this, cause it's only-
- Yeah. They're gonna shoot standard.
- 100%. There is literally point and shoot,
pick up, point and shoot. Yeah.
- I mean we're getting plenty of detail.
- [Patrick] Yeah, no, it's crispy. The 4K looks nice.
It's definitely a sharp image.
- [Gerald] It's oversharp I would say.
- [Patrick] Oh for sure.
- [Gerald] But you can turn the detail down
if you do wanna do that.
It's not too hard to turn the detail down in this.
- [Patrick] Totally.
- [Gerald] So now we've got your iPhone 14 Pro.
- [Patrick] 14 Pro.
Front-facing camera.
Again that's another thing we should mention with all these
we thought that it was the best sort of like
point of a comparison with a camera like this is
that you would wanna see yourself while filming.
Cause that's one of the benefits
of having the flippy screen on this.
- Yeah.
- So if you're gonna use a camera like this for-
- However you're using this,
- [Both] you'd have to use the front facing camera.
- [Gerald] You have to evaluate how HDR-y
when it comes to the,
these things are not doing any kind of HDR,
but the phones are. So how strong is it?
- [Patrick] Yeah.
- [Gerald] And with the iPhone, something I've noticed
that is quite good is that I'm getting HDR benefits
of keeping the sky and-
- [Patrick] Keeping the shadow-
- [Gerald] Keeping the shadows nice but it's not so
- [Patrick] Extreme.
- Plastic looking, you know.
- The iPhone is okay to clip a window
or okay to clip the sky.
- Yeah, like this looks natural.
- [Patrick] It looks natural. Where sometimes I find,
and you'll see when it get to the Pixel,
is that if everything is completely exposed,
- [Gerald] Yeah, that's-
- [Patrick] You get this uncanny valley territory, right?
- Here's the only issue with phones.
- Yeah.
- Is that they are constantly updating, like,
- [Patrick] Settings and algorithms and changes.
- [Gerald] So now you get a shot like this where you go,
I don't like this as much.
- [Patrick] Totally. - [Gerald] Now this kid
looks worse. - [Patrick] Yeah, yeah.
- You could argue that with this it's more constant.
- It could be constantly bad or could be constantly good.
- Yeah, exactly.
So maybe you have something where you're like,
"Well, the sky's gone today. It's gone."
- It's gone. Yeah.
- But I know that as I go in and outta something,
- It's inconsistent.
- And perhaps you would keep immersion, I don't know,
Not because of the jello and everything else,
and this one, are you gonna,
are you gonna notice that and go,
"Oh the skin went weird all of a sudden."
- Yeah
- [Gerald] That looks great though.
- [Patrick] It looks great. Yeah, it's crispy and again,
that's the front-facing camera.
So it's doing a great job.
Stabilization is really good.
- [Gerald] Stabilization.
- [Patrick] No warping.
- [Gerald] Yep.
- [Patrick] No, I mean little bit of weird lens flares
here and there, but look like, think of that
look the sun right behind you
and you can still fully see your face,
but it doesn't feel that unnatural.
- [Patrick] Yeah, it looks great.
- [Gerald] It looks really good.
So now we got the Pixel 7 Pro.
So what I'm noticing here,
cause I'm so focused on the stabilization
and rolling shutter
and all that stuff, that's not a problem.
It's definitely smooth,
we're getting similar results in terms of
we get to keep the sky, we're keeping the face
and everything, but this okay.
- [Patrick] This is right here is what we're-
- [Gerald] This has been a problem.
- [Patrick] Yeah.
- There's a softness going on on the face it seems,
now I don't know if it's a like, a skin-
- It kinda feels like a skin smoothing feature,
but I can't figure out if it's that
or if it's just the HDR kicking in too hard
to try to keep everything.
- [Gerald] Yeah, it's like boosting-
- [Patrick] Yeah it's like boosting the shadows.
- And the noise reduction. - Exactly.
- Mushes it.
But we've gotten some mushy mushy face.
- Yeah.
- When we're outside.
- Like literally if you look at this frame,
why does it feel like the trees are perfectly sharp
and crispy?
- [Gerald] Yeah.
- [Patrick] And you're almost like foreground blur.
- Yeah, it's like back lit means
that the foreground is soft.
It's strange. - It's very strange.
- It wasn't like that as much on the Pixel 6 Pro.
- [Patrick] No. - [Gerald] However,
I will say that the coloring is nicer
on the Pixel 7 Pro.
- [Patrick] Oh, absolutely. - [Gerald] Yeah.
- [Patrick] This has got like
a washed out sickly kind of look to it.
- It does. The colors are not as nice here.
Now we did do some audio stuff.
I don't know how important this is to some people.
As we said, this one has sort
of a fancy internal mic capsule.
- [Patrick] Sounds good.
- And you've got a little, you know,
wind cover where the phones do more
of a computational wind reduction.
- I think it's worth mentioning
that there's no auto gain on this camera,
which I thought is kinda weird
- Not that I can find.
- [Patrick] Yeah
- It comes with like a default setting,
but there I didn't find a setting
where you could have it adjust
- [Both] on the fly.
- Exactly.
- Which I think is a little counterintuitive
for a camera like this cause you don't know
what sort of situations you're walking into.
- True.
It is cool that you have manual control.
If you ever tried to like really control your audio
on a phone, it can be pain in the butt.
- It's a real pain, yeah.
- So if you were using different microphones
and you have more control here,
but if you don't know anything about audio,
the phones are easier.
- And I think the phones all sounded really nice too.
Like they all have their own subjective EQ quality to them.
- We've got a screen brightness issue here,
which is if you shoot 4K on the ZV-1F,
you can't turn on sunny weather mode on the LCD screen,
you can only do that on HD.
So it keeps my skin when I get the highlights
on my skin, it keeps it in play.
Blue skies, nice color on the leaves, looks good.
But for me from the vlogging experience,
these are the front-facing cameras.
So I get to see the sky behind me as I'm doing this.
But when it comes to other mics,
- It's interesting, yeah.
- So we did some stuff.
We've got Patrick's got his lightning
to three and a half mil and over here we got USB-C
to three and a half mill.
So if you throw these in then you can use a TRRS,
so you got like a four pole,
and you plug the four pole into the phone side. Right?
- [Patrick] Yep.
- And then you got a couple different options.
So companies like RODE and Deity make these
like passively powered,
I don't know if they just like steal a tiny amount of juice
from the-
- Yeah.
- From the phone or whatever.
But you can use these little mics and they'll work
or you can get a bigger mic like say this RODE Video Mic NTG
and this one you charge it and then you turn it on
and this gives you way more gain.
So you can like really jack these up.
- And you will obviously get much like
when we say add a microphone to your camera,
it is a noticeable increase in quality.
- Yeah.
- When you switch to one-
- And directionality and like, and you can-
- But it's nice that it's fairly simple and easy.
All you need is, you know,
everyone got rid of headphones jacks on their phones.
So all you need is these dongles, your TRRS to TRS cable
and you're pretty smooth on that point.
- And then on this end you could go female to male.
- Yeah. - So then you could
like come in if you wanted you could boom the mic.
- Totally.
- And have the phone set the way you like it,
boom the mic in.
Get one of these like just outta frame here
and you'd get really good audio quality.
The only thing that I would say gives a point to the camera
is that there's a microphone port on the side
with a gain setting
and you can't monitor though.
- No headphone jack.
- There's no headphone jack.
- But monitoring with the phone is also a nightmare
unless you get a cool mic like this D4 mini,
which also has an output.
- Yeah.
- [Patrick] Headphones go, not a lot of mic would do that.
- [Gerald] Yeah.
Especially with the Pixel.
I found that-
- It was a little more cumbersome with the Pixel.
- Yeah gotta connect the mic and then you gotta wait
and then there's a prompt.
- Yeah.
- And we didn't know that cause on the iPhone it just kinda
- [Both] switches on automatically.
- Then you have to hit the prompt
and then tell you wanna use external mic.
- Yeah.
- So for a minute there we weren't sure
what mic we were actually using.
- And you're sitting there like blowing at it, tapping,
trying to figure out what-
- And there's no levels. You got no-
- Then you gotta keep unplugging the things,
you have no headphones to listen to it, yeah.
- Exactly.
- It's a bit of a pain.
- Without having audio meters is challenging too
cause you don't know what you're actually doing.
Where on the camera there's audio meters right
on the screen so you can,
microphones are easier to use on a camera.
- Absolutely.
- So we did some inside stuff.
Like this is like a standard,
if you wanna do a talking head for a YouTube video
or a reel or a TikTok and you had a light
or something like that or you step by your window.
- [Patrick] Yeah.
- [Gerald] This would be like that
talking head setup with the phone.
And this is the, I think the ZV-1 looks pretty good.
- [Patrick] It looks like a real-
- [Gerald] It looks like a real good camera.
- [Patrick] Yeah. I think it looks good.
- Quick interruption.
We'll get back to how the phones compare to the Sony
in that shot in a minute.
But first I wanted to set up a version of this,
my main shot with the ZV-1F
while taking full manual control of the camera
and using proper audio from my mic up here.
And I'd also like to use this test as an opportunity
to tell you about the sponsor of today's video
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Thanks for listening. On with the tests.
This is the iPhone 14 without cinematic mode on.
- [Patrick] No cinematic mode.
- Interestingly though, in an inside environment,
the iPhone 14 went from being my clear winner,
- Totally
- to the loser for me.
- Yeah. I mean I feel like the iPhone just went
for like a total washed out look.
- Yeah. Like no shadows.
- No shadows allowed at all.
- Yeah.
- Just faded grays and yeah. It's not a flattering looks.
- And we're getting that sort
of supreme HDR thing going on here.
- [Patrick] Yeah.
- [Gerald] And then this is cinematic mode. Immediately-
- [Patrick] Immediately the contrast kick in.
- [Gerald] Contrast is better. Better skin tone.
- [Patrick] Totally.
- [Gerald] It's still very warm.
- [Patrick] It is very warm.
- The iPhone seems to love warming things up.
- Yeah.
- And we have some sort of like color charts
to kind of prove this.
- Totally.
- But much better than just the previous shot.
- Yeah.
- [Gerald] You know, now that feels like the same,
- It's the same. Yeah.
And the cool thing with cinematic mode,
you can change that to the field.
My personal opinion, there's a sweet spot
of like F6 to F8,
where it starts to look just natural enough.
And you'll see in Gerald's hair, if you wanna,
- [Gerald] There's the hair, yeah?
- [Patrick] Like we are, right?
- [Gerald] You can see some of the,
and also my hair is kind of wacky for this.
- [Patrick] Totally.
- [Gerald] You know, add on.
- [Patrick] I have a video-
Yeah. I've done videos on my channel
where I've completely shot the whole video
in front facing cinematic mode
and I've had people ask me what my YouTube setup is.
- [Gerald] Yeah.
- [Patrick] And I'm like, "Oh by the way,
I just used my phone for that entire thing."
Right?
Cinematic mode on the 14 Pro now is all in 4K.
So you're not limited to HD, you can do 4K 24.
- That's important.
We can do 24 and 30 on this camera
and we can do 24 and 30.
- And 60.
- And 60 yeah.
- 60 not in cinematic mode, but 24 and 30 in cinematic mode.
- In cinematic mode.
And on the Pixel 6 you can only do 30,
now you can do 60 on the Pixel 7 Pro,
but no cinematic mode on the front-facing camera.
The only way you can get 24 frames per second
on the Pixel is you have to go in cinematic mode
- And you have to use the rear camera.
- Which is the rear camera and it's only in HD.
- Which is bizarre.
Well, let's take a look.
- [Gerald] So watch this.
This is, first of all, the edge detection is terrible.
It's dancing all around my head.
And then you have these moments
where it's just completely,
- [Patrick] It's completely gone.
- [Gerald] It's completely gone.
- [Patrick] You stop rendering as a human being.
- [Gerald] Yeah. It looks like a video game pop-in.
- [Patrick] Yeah.
- [Gerald] Like when like the draw distance wasn't good.
It's like, "Oh there we go."
- [Patrick] There you go. - [Gerald] And then all
that exposure stuff changing is me tapping,
trying to figure out what's going on.
- Desperately trying to,
definitely trying to keep him in focus.
Google has a lot of work to do with like their algorithm
for their cinematic mode.
It is not, in my opinion usable at all.
- [Gerald] So this is interesting.
I think at first we had different initial reactions.
- [Patrick] Yep.
- I have done a lot of color work in this studio.
This is the most accurate in this shot.
The colors in the background are right.
My skin tones are correct.
The white balance is perfect.
- So like you're saying like as an out of the box,
if I just turned the camera and you're like,
"Whoa, that like nailed it".
- [Gerald] But it wasn't as good outside.
- It wasn't as good outside.
- But in controlled lighting, it's like, yeah.
Controlled lighting on the Pixel,
it nails the white balance in the color.
This is the iPhone.
Really sharp image. Nice and clear, warm.
- [Patrick] Yeah.
- When you see it on its own,
it's hard for you to tell.
But these grays are rosy a little bit, you know,
and if we jump over and look at the Pixel,
this is actually perfectly neutral.
- [Patrick] Yeah, exactly.
- [Gerald] It's hard to tell again
cause in comparison you might think this looks cool.
- [Patrick] Yeah. - [Gerald] But what we can do
is we can look at the RGB values
of any kind of one of these spots here.
And if I put it anywhere, it's almost bang,
R, G and the B are all the same potency.
- [Patrick] Yeah.
- Which means the balance is perfect.
Right? - Yeah.
- So again, good job Google on this kind of shot.
When you have a static, well lit shot,
it just nails the color.
- Yeah.
- And then here we have the ZV-1F,
which also did a pretty good job.
So, you know, not too much in the way of complaints.
If we look at the actual vectorscope
to see sort of the color accurate situation,
this is what we got for the iPhone.
Now for those that don't know anything about this,
these little boxes around here are your different hues.
So this one's your red, this one's your yellow, your green.
The ideas that you want to have this chip sort of
like hit inside the box.
So you can see, for instance, the cyan,
it's pretty close.
- [Patrick] Yeah.
- [Gerald] The blue is close,
but a little bit oversaturated.
Magenta's pretty spot on.
The red's a little bit unsaturated.
- [Patrick] Yeah.
- [Gerald] Now if we compare this to the Pixel seven Pro,
we actually get a little bit less of a saturated image,
which I think is true for iPhone,
likes to be a bit saturated
- [Patrick] Yep. - [Gerald] at times, right?
And we're getting really good green,
pretty darn good yellow.
I would say that the way Google's processing is just more
by the book. - [Patrick] Totally.
- And less with a flavor on it.
And then here's the Sony. This is Sony in standard.
Generally I'd recommend if you pick up this camera,
standard's okay, standard's punchy and it's bold.
- Yeah. - But you can go on,
you can switch to neutral and you can get better color.
- Yeah.
- And it takes a bit of the edge off too.
And then we also ran through dynamic range tests
for the Sony ZV-1F.
We messed around, Patrick took his iPhone too.
- And I actually, I shot it in ProRes too,
just to try and get the best quality we could
out of it, but,
- So this is what like the Xyla21 looks like.
It's a bunch of increasingly darker chips,
lit so that you can see how it handles shadows.
So we shot with the iPhone one of that. It was crazy.
- [Patrick] It was crazy. Yeah.
- [Gerald] You can't control it enough to know how to like,
so it's like, I'm gonna blow these out
and do these and put noise there.
- [Patrick] I probably could have got
the furthest chip exposed if I wanted to.
- Yes. Exactly.
For the ZV-1F, we did the standard,
we did S-Log2 and we did S-Log3.
S-Log3 is probably ill advised,
but I wanted to see what the maximum that we could kind
of get out of this camera would be basically
the very top number here in a slope-based DR
that shows us how many stops the camera can see.
So it can detect 14 stops,
which normally that means like the camera manufacturer,
when they advertise something,
they advertise that number max.
- Yeah.
- But there's gonna be noise,
and other things that corrupt
the lower end of that image there.
How usable are the shadows?
So this medium one here is
with a signal-to-noise ratio of two,
which generally means usable shadows.
And you can see we're getting just almost exactly 10 stops.
So a usable 10 stops from a total of 14.
When we shot an S-Log2,
we were able to bump that up to 11 usable stops.
And then S-Log3 actually puts you back at a disadvantage.
Which is why you never should really bother with S-Log3
on these cameras. You're not getting anything out of it.
- No. - Yeah, you can see
your 14 stops again,
but now you're only getting 10.7
and you gotta finesse them so much.
They're gonna be so noisy.
- Yeah.
- Your skin's gonna be weird.
It's gonna be a disaster.
So then regarding that noise,
we did a couple tests just over in the corner
with less light to see how these cameras
just handled not getting as much light to see
what they looked like.
So this is the Pixel and I mean there's a lot of noise.
Interestingly, it's not affecting the skin
as much as it did outside.
It doesn't make any sense.
- The algorithm that Google's doing with their HDR
and what they decide to be sharp and not sharp
in terms of noise reduction is very bizarre to me.
- In this case, they're letting more noise through,
which means that you're preserving details
in the the face. - [Patrick] Totally.
- [Gerald] But you can really see a dance in the grays
in the background. - [Patrick] Absolutely.
- [Gerald] Now if you go to the iPhone,
I think if you just watched it on the phone itself,
it might not look so bad, but what Apple is doing-
- [Patrick] Oh, did you see that?
- [Gerald] I saw that.
- [Patrick] The noise was like.
- [Gerald] So what Apple does here is instead of trying
to increase sharpness and all this kind of stuff,
what it's doing is just cranking the noise reduction to max.
So the entire image becomes software.
It almost feels like the Pixel is isolating your face
in a weird way to be sharp still.
And then boosting all the shadows up to be noisy, right?
- [Patrick] What the iPhone is not doing well here is
when there's movement in the frame.
- [Gerald] Yeah, you see-
- [Patrick] And that noise reduction, it's like it smears.
- [Gerald] It just smears all over the place.
So what this can do is jack up the ISO.
- [Patrick] Absolutely.
- [Gerald] So I remember looking at the back of this camera
and it was up to like 3,200, sometimes hitting 4,000.
- [Patrick] Yes.
- [Gerald] This is so much better than the other.
- [Patrick] Oh, absolutely.
- [Gerald] So when it comes to,
if you wanna shoot in your dark corner,
- Yeah.
- Then again, this means,
and it's funny in this kind of like low dynamic range shot
- Yeah.
- But also low light, most of the weaknesses
aren't really relevant.
- [Patrick] No, it's not really showing up.
- [Gerald] It's interesting.
- Which is funny because then, you know,
it kind of leads us into maybe some final thoughts.
But the thought being that,
do you want to spend the money on this
or do you just need a nice key light for that iPhone? Right?
- Correct. If you're walking around outside,
the iPhone 14 Pro looks great,
- [Patrick] Look amazing.
- That is a great sunny vlogger.
- Sunny vlogging camera, travel camera, whatever.
- Travel camera, you can take photos,
you got it all, right? - Yeah.
- Yeah. There's some weirdness with like certain things,
but think of the budget.
Think of what can you do for $500 now?
Well, when you're outside,
get one of those apps that you can-
- Yeah. Buy an app that you can change the exposure,
you just clip on ND filters.
- ND filters. Get some riggity stuff for it to, you know,
optimize how you use it when you're inside.
Get some lights, get a tripod, get a bounce card,
get reflector, get a...
- All the nine yards, yeah.
- Keep using your apps,
keep your own stuff and all that stuff,
I think is gonna cost you less than 500 bucks.
- Easily.
- And that stuff then if say this was your,
your gateway camera.
- Yeah.
- Yes. You don't necessarily have,
you might learn something by using the apps
that give you shutter speed.
- For sure.
- Yes. You're not learning the camera part of it,
but then when you go and you buy your full-frame camera,
you might still have lights and a tripod.
- You've got good fundamentals.
- You've got stuff you can still use.
So it's an interesting product.
- [Patrick] Very interesting.
- And it was fun to test,
and I appreciate what they're trying to do.
And if the use cases we did describe are good for you,
then it's a $500 4K camera.
- Yeah.
- So have at it.
- Sony color science, great auto focus.
- But if you're trying to do a one device covers you
for your images, photo, video of logging, whatever,
I think you're better off with your phone.
- 100%.
I think that's it.
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