Camera
Fujifilm X-T50 initial review: mid-range X-T goes steady
The Fujifilm X-T50 is a classically-styled mid-level APS-C mirrorless camera. It’s built around the 40MP X-Trans sensor used by the X-T5 and X-H2, and gains image stabilization.
It also gains the majority of the X-T5’s features in a smaller, less expensive body.
Key specifications
- 40MP X-Trans BSI CMOS sensor
- X-Processor 5 with majority of capabilities from X-T5
- Image stabilization rated at up to 7.0EV
- 20 Film Simulation modes, including Reala ACE
- Continuous shooting at up to 8fps (20 with E-shutter and crop)
- Subject recognition AF
- Tap to track AF in video mode
- Video capture up to 6.2K/30 in 10-bit up to 4:2:2
- Raw video out over HDMI
- 2.36M dot viewfinder with 0.62x magnification
- Tilting rear touchscreen with 3.0″ 1.62M dot LCD
- Battery life rated up to 390 shots per charge (eco mode)
- UHS-II card slot
The X-T50 will be available soon at a list price of $1399, representing a $500 increase over the X-T30 II and a $100 increase, relative to the 26MP, stabilized X-S20. It’s also available with the retractable 15-45mm power zoom for $1499 or with the new 16-50mm F2.8-4.8 for $1799.
Fujifilm highlights how many of the X-T5’s features it includes, for $300 less. The X-T50 will be available in Silver, Black or a darker silver color scheme called Charcoal.
Index:
What’s new:
Image stabilization
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| The X-T50 is still appreciably smaller than the X-T5 but finds room to add an image stabilization mechanism. This has the same rating (up to 7.0 stops of correction) as its more expensive big brother. |
The X-T50 gains image stabilization: a first for this line of cameras. Until now you’ve had to choose between the X-Sx0 cameras, which had stabilization and DSLR-style command dials or the unstabilized X-Tx0 models with a shutter speed dial, whereas now you can simply base your decision on which control system you prefer.
The system is rated as delivering up to 7.0EV of correction, using a combination of gyro data and live-view image analysis to assess and correct movement.
40MP Sensor and X-Processor 5
The X-T50 gains the 40MP X-Trans sensor and latest X-Processor from the X-T5. This combination brings not just the same image quality as the X-T5 but the bulk of that camera’s features, too. This includes the latest AF algorithms, as included in the X-T5’s f/w 2.0, along with all the subject recognition modes that camera offers.
The X-T50 also includes the Camera-to-Cloud function that lets it upload directly to the Frame.io sharing platform over a Wi-Fi network, along with features such as tap-to-track autofocus in video, recently added to the X-T5.
Film Simulation dial
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| To make the camera’s Film Simulation color modes as accessible as possible (and to remind you to experiment with them), there’s now a dedicated dial. You can choose which modes are accessed with the FS1, 2 and 3 positions. |
After the addition of image stabilization, the most significant update might be the addition of a Film Simulation dial on the camera’s left shoulder. This replaces the drive mode control that’s been present on previous X-Tx0 models.
It might seem like a small detail, given all Fujifilm models have a selection of Film Simulation color modes, but the addition of a direct control is a smart move for a camera such as this.
There’s a world of difference between knowing an option exists in a menu and having a constant reminder of its presence, every time you pick up the camera. A direct control point also significantly lowers the barrier to that feature’s use.
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| The X-T50 fits dedicated shutter speed and exposure comp dials onto its top plate, and even finds room for a customizable button. |
Every camera on the market has a series of color modes, some more attractive than others, but Fujifilm’s selection of generally subtle, attractive and memorable (thanks to their invocation of film stock names) help deliver some of the best JPEGs out there. The front-of-mind prominence and simplicity of selecting them will undoubtedly prompt more X-T50 photographers to make use of them.
It’s not perfect, in that it’s a twelve-position dial for a camera that has fourteen film simulations, on which one position passes control off to the camera’s command dials. But it’s easy enough to customize the three custom positions on the dial, with the option to specify a simulated color filter for the mono modes, once you remember this option is in the main IQ menu, not the setup section.
6.2K video
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| The X-T50 can shoot full-width (but sub-sampled) 4K, 6.2K video from a 1.23x cropped region, or ‘HQ’ 4K footage derived from this. |
The X-T50 offers essentially all the capabilities of the X-T5 on the video side of things, with the ability to shoot 6.2K video at up to 30p (or ‘HQ’ 4K video derived from it), from a 1.23x cropped region of the sensor. Alternatively it can capture sub-sampled 4K from the full width of its sensor at up to 30p, or up to 60p with a 1.14x crop. As with the X-T5, there’s a direct choice to be made between how much detail you wish to capture and how well controlled the rolling shutter is.
Tap-to-track autofocus in video (only added to the X-T5 in late April), F-Log2, a self-timer options, red frame outline when you’re recording and control of front and rear tally lamps are also present. The X-T50 can output a data stream over HDMI that can be encoded by Atomos or Blackmagic external recorders as ProRes RAW or Blackmagic Raw, respectively.
Just about the only X-T5 video feature not offered is the ability to attach an accessory fan unit to extend the camera’s recording duration.
How it compares
The X-T50 faces some impressive competition as a result of its price increase. Its price puts it directly in line with Sony’s very capable a6700 and much nearer to the cost of Canon’s image-stabilized EOS R7 than the less expensive R10 model. Nikon doesn’t really have a high-end APS-C camera in its lineup, so we’ve picked the Z fc, which doesn’t offer stabilization but comes closest to Fujifilm in terms of throw-back look and feel.
| Fujifilm X-T50 | Canon EOS R7 | Sony a6700 | Nikon Z fc | |
|---|---|---|---|---|
| MSRP | $1399 | $1499 | $1399 | $959 |
| Pixel count | 40MP | 33MP | 26MP | 20MP |
| Viewfinder (Res/Mag/Eye Point) |
2.36M dot 0.68x 17.5mm |
2.36M dot 0.72x 22mm |
2.36M dots 0.70x 22mm |
2.36M dots 0.68x 19.5mm |
| Rear Screen | 3.0″ 1.62M dot Tilting | 3.0″ 1.62M dot fully-articulated | 3.0″ 1.04M dots fully articulated | 3.0″ 1.04M fully articulated |
| Image stabilization | Up to 7.0EV | Up to 7.0EV | Up to 5.0EV | Lens only |
| Cont. shooting rate | 8fps mech 20fps elec (crop) |
15fps mech 30fps elec |
11fps mech 11fps elec |
11fps mech |
| Video resolution | 6.2K/30 4K/60p from 1.18x crop 4K/30p subsampled full-width or with 1.18x crop |
4K/30p full-width oversampled, 4K/60p subsampled full-width or with 1.81x crop |
4K/60p full-width oversampled 4K/120p with 1.58x crop |
4K/30p full-width |
| Video bit-depth | 10-bit with HLG and F-Log | 10-bit HDR and Log only | 10-bit with HLG and Log | 8-bit |
| Mic/Headphone sockets | Yes / Via USB adapter | Yes/Yes | Yes/Yes | Yes/No |
| Card slots | 1x UHS-II | 2x UHS-II | 1x UHS-II | 1x UHS-I |
| Built-in flash? | Yes | No | No | No |
| Battery life (CIPA) LCD / EVF | 305 / Not given | 660 / 380 | 570 / 550 | 400 / 360 |
| Weight | 438g (15.5oz) | 612g (21.6oz) | 493g (17.4 oz) | 445g (15.7oz) |
| Dimensions | 124 x 84 x 49mm | 132 x 90 x 92 mm | 122 x 69 x 64mm | 135 x 94 x 44mm |
On paper the Sony is the camera to beat in this company. With its excellent autofocus, its strong video capabilities and impressive battery life making it an easy choice. But there’s a lot to be said for the well-honed usability of the Canon, especially now Sigma and Tamron have been allowed to flesh-out the selection of lenses available. This makes life tougher for the Fujifilm, especially in light of its significant price hike. The main area that the Fujifilm stands out is resolution, both for stills and video, and its selection of interesting and attractive ‘Film Simulation’ color modes.
That said, we’ve not included the X-T5, one of our favorite APS-C cameras, in this table. Other than battery life, greater feeling of solidity and much nicer viewfinder, the X-T50 matches its specs in many regards. An extra axis of LCD tilt, compatibility with an external fan unit and the inclusion of a second card slot also set the more expensive camera apart though.
Body and handling
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| Part of the reason for the X-T50’s small viewfinder is that Fujifilm has left room for a small built-in flash. |
Although it maintains the same family appearance and the X-T30 II, the X-T50 is a completely new body. Rather than being essentially a rectangle with rounded corners, when viewed straight down in the plan view, the new cameras has completely curved ends and a forward-jutting extension at the top of the front grip.
It’s a wider camera than its predecessor but less deep, despite the addition of in-body stabilization. The revised grip not only helps the camera more closely resemble the X-T5, but also makes it easier to get a firm grip on.
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| The X-T50 has a mic socket but requires a USB-to-headphone adapter if you want to monitor audio. |
The camera’s AEL button has been moved around a little, with it now sitting at the top of three buttons running up the back of the camera, rather than sitting next to the rear command dial. The Q Menu button still sits out on the end of the rear thumb grip.
The X-T50 includes the same AF joystick as the X-T5, but placed a little further down the back of the body, which makes it a little more awkward to control. Its role is make a little less significant by the camera’s inclusion of subject recognition AF, though, as it means you don’t need to place the AF precisely over your chosen subject, if you want the camera to focus on it, if you’re trying to capture one of the subjects the camera can recognize.
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As with Fujifilm’s other cameras, the Face Detection and Subject Recognition modes are completely separate. This is positive in the sense that you can set a button to toggle Eye AF on and off, but means you’ll need to configure two buttons if you find yourself wanting to switch from subject mode to face detection and back (engaging one and then disengaging it puts you back in standard AF mode, not with whichever detection mode was previously active).
The viewfinder hump still features a pop-up flash but, as before, this limits the size of the viewinder panel and optics, meaning the X-T50 continues to offer one of the smallest finders in its class.
The X-T50 still uses a 2.36M dot [px] OLED viewfinder panel, which is competitive but not outstanding compared to its peers, but its 0.62x magnification marks it out as being unusually small.
The rear screen is also unchanged, with a tilt up/down read LCD that shares its 3.0″, 1.62M-dot [px] panel with the X-T30 II.
Battery
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The X-T50 uses the same NP-W126S battery as previous X-Tx0 models. This is Fujifilm’s smaller, 8.7Wh battery, which delivers up to 305 shots per charge.
These numbers tend to significantly under-represent how many photos you’ll actually be able to take (it’s not at all unusual to get twice the rated number of images or more) but they’re broadly comparable between cameras. A rating of 305 shots per charge (presumably using the rear screen: Fujifilm doesn’t specify), is low for this class, though.
Initial impressions
By Richard Butler
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| For a camera aimed at less seasoned photographers than the X-T5, the provision of quick and easy access to the camera’s Film Simulation modes strikes me as a smart move. |
From a hardware point of view, the X-T50 looks very promising. Just as the X-T30 included most of the X-T3’s capabilities in a smaller, less-expensive body, so too does the X-T50 with the bulk of the X-T5’s. If anything, the X-T50 includes more of its big brother’s feature set, with essentially all of its stills and video modes and features included.
There are still major differences: heavier-duty build, twin card slots, a larger, higher-resolution viewfinder, larger battery, compatibility with the accessory fan unit and greater monitor flexibility. But on the flip-side, the X-T50 is more compact camera that comes in at a lower price and includes a built-in flash and fun touches like a dedicated Film Simulation mode that gives easy access to one of the features that helps the camera stand apart from the competition.
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| The slightly smaller, lighter and wider 16-50mm F2.8-4.8 R LM WR lens makes an impressively capable combination, but it comes at a price. |
But, although it’s less expensive than the X-T5, the X-T50 arrives at a much higher price than previous models in its line. This might leave more room for an X-T300 to sit below it, but also means it has to compete with some extremely capable cameras.
We found ourselves favoring the X-T5 over Canon’s EOS R7 when we conducted our review, but with Canon allowing third-parties to bolster its APS-C lens availability and the X-T50 coming in at only $100 less, it’s going to be a challenging comparison. Likewise Sony’s a6700, which is an impressively capable camera in just about every regard.
We feel the X-T50’s chances will, to a great extent, hinge on the performance of the new 16-50mm F2.8-4.8. In this new lens Fujifilm has replaced one of the best kit zooms on the market, and a key factor in us recommending its cameras. The new lens loses a little length and around half a stop of brightness at the long end, but it now extends to 24mm equiv, rather than 28mm equiv at the opposite extreme. Between this wideangle expansion and the promises of faster focus and improved optical performance, it’ll probably represent a net benefit overall for most uses. It loses optical stabilization just as the X-T50 gains in-body correction and promises weather sealing but it also adds yet another $100 over the cost of previous kits.
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| The new 16-50mm F2.8-4.8 R LM WR reaches wider and fractionally less far than its predecessor, it’s also a little slower at the long end and omits optical stabilization but it moves to an internal zoom design and Fujifilm says it’ll be faster to focus and sharper. |
Sigma’s 18-50mm F2.8 DC DN is a more expensive option, as there are no kit discounts to be had, but it offers over a-stop-and-half benefit at the long end and is smaller. It will soon be available for Canon and Sony, as well as Fujifilm’s mount, meaning it’s no longer just X-mount that offers an accessible premium zoom option.
Click here to see our Fujinon XF16-50mm F2.8-4.8 R LM WR sample gallery
Promises of improved AF performance over its predecessor and a much higher pixel count sensor than its peers mean it’s too early to be think about picking winners, but the price hike that’s come with the X-T50’s feature boost means it’ll have its work cut out for it.
Sample Gallery
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don’t abuse it.
| Photo: Mitchell Clark |
This year we attended Adobe Max in person, where we got to demo several of the new features in Photoshop, Lightroom, and Adobe Camera Raw. If you missed the announcement, you can read our coverage of it here, though we’ll be covering the hits here.
We documented the demos on our Instagram, but in case you missed it, we’re rounding them up here. We were also able to interview some folks at Adobe while at the show, so stay tuned for more on the future of Photoshop, Lightroom, and other Adobe projects like Content Credentials.
Adobe Camera Raw Adaptive profile
Adobe has added a new profile to Adobe Camera Raw, called Adaptive. It uses AI to analyze what’s in the scene, and adjust exposure, tones, saturation, and other parameters automatically, potentially giving you a better starting point for your own edits. It’s also designed to work with HDR images and produces both HDR and SDR profiles, making it even more useful for those who aren’t used to editing for HDR displays yet.
Since it’s substantially more opinionated than other profiles like Adobe Color or Adobe Landscape, there’s also an amount slider that lets you tone down or turn up the results.
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Photoshop automatic distraction removal
Perhaps one of the niftiest features Adobe added to Photoshop is the automatic distraction removal tool. It analyzes your photo for cables, wires, or people that may be in the way of your subject, then automatically fills in the areas they took up.
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Lightroom Quick Actions
Lightroom’s new Quick Actions, available on Mobile and Web, will automatically mask parts of your image like subjects, backgrounds, and skies, and let you make adjustments to them.
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Lightroom Frame.io integration
Frame.io is now built into Lightroom, letting you access images uploaded to the cloud service. Combine that with Frame.io’s Camera To Cloud feature, available on some Fujifilm, Panasonic, Nikon, Canon, and Leica cameras, and you can take pictures on your camera then watch them appear wirelessly in Lightroom.
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Content Credentials
Adobe’s Content Credentials system is part of a larger industry-wide initiative to help prove what content on the web is authentic, and to keep track of what edits have been made to it. While at Max, we got to take a look at the Chrome extension meant to surface the credentials attached to images on social media and other sites, as well as the closed beta site that lets you attach content credentials to your own images, and view what credentials are attached to existing images.
We got to sit down with one of the senior directors of the Content Authenticity Initiative at Adobe while at the conference, so expect a more thorough check-in of the technology to come.
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Generative Extend in Premiere Pro
Photoshop has had several generative AI features in beta for a while now, but now Adobe has introduced one for its Premiere video editing software. It lets you extend a clip by up to two seconds, helping you fill in gaps, transitions, or slightly flubbed takes with imagery generated by Adobe’s Firefly model.
According to Meagan Keane, Principal Product Marketing Manager for Adobe Pro Video, the idea came from asking customers what some of their biggest editing pain points were. The Pro Video team was then able to take that to the research team, and the result is Generative Extend.
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| Photo: DPReview staff |
As part of DPReview’s 25th anniversary celebration, we’re looking back at some of the more significant cameras to come along over the past 25 years, and today, we’re highlighting the camera that led the 4K revolution in consumer cameras: the Panasonic GH4. Officially announced in early 2014, we published our GH4 review on October 16, 2014 – ten years ago today.
We’ve all become so used to 4K video that it no longer registers as unique. It’s found on virtually every mirrorless camera made today, smartphones, action cameras, miniature gimbal cameras, webcams, security cameras, and even those wacky $100 ‘pro’ video cameras you see on Amazon and wonder who buys them.
But, of course, it wasn’t always that way, and we have the GH4 – the first mirrorless camera to capture 4K video internally – to thank for opening the metaphorical floodgates and ushering in the 4K era.
I had a personal interest in the GH4: as someone who had adopted the GH line early on for video projects, I was as curious as anyone to know how it stacked up. Although I was on staff at DPReview, I wasn’t involved in writing the GH4 review and probably read it with as much anticipation as anyone else.
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| Photo: DPReview staff |
It’s worth remembering that the GH4 was a hybrid camera designed to appeal to both stills and video shooters, and it had features to appeal to those who wanted to do both. Like the GH3, the camera was built around a 16MP sensor, but it supported 12fps burst shooting (7.5fps with focus tracking), a 1/8000 shutter speed and 1/250th flash sync. It even had a rather lovely 2.36M-dot OLED viewfinder.
But realistically, nobody was buying a GH4 just to shoot stills. You bought it because you wanted a solid video camera that could shoot stills when needed.
“Realistically, nobody was buying a GH4 just to shoot stills.”
The GH4 could capture 4K video at up to UHD 4K/30p (3840×2160) or DCI 4K/24p (4096×2160) internally and supported both Long GOP and All-I codecs at bit rates up to 200Mbps. Although we take bit rates like this for granted today, this was very high at the time. The camera also produced pleasing 1080p video, though as we called out in our review, its HD video wasn’t as good as the perfectly oversampled 1080p video from the Sony a7s.
Despite the impressive specs and beautiful video to match, we had some nitpicks. To start, 4K video captured internally only had 8-bit 4:2:0 color, providing less flexibility for color grading in post. (10-bit 4:2:2 color was supported, but only when recording externally.) Additionally, the GH4’s sensor was 4608 pixels wide, requiring the camera to use a smaller, native crop of the sensor when shooting 4K. This resulted in a 1.1x crop for DCI 4K and a 1.2x crop for UHD 4K.
Equally as crucial as its video specs, the GH4 illustrated Panasonic’s commitment to supporting a professional video workflow.
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The camera included several now-common tools to improve the video shooting experience, including focus peaking, two zebra settings, control over Master Pedestal (black level) and luminance scale, and a ‘cinema-like’ gamma preset. It also allowed users to set the shutter speed and ISO as shutter angle and gain and could generate color bars for calibration. It was also possible to switch between capture frequencies, meaning the camera could support NTSC, PAL, and true 24fps cinema standards.
“Equally as crucial as its video specs, the GH4 illustrated Panasonic’s commitment to supporting a professional video workflow.”
Alongside the camera, Panasonic released the optional DMW-YAGH interface unit. This $1999 accessory unit added two XLR inputs for audio, an SDI input for timecode, four 3D-SDI connectors capable of outputting 4:2:2 10-bit video and a 12V DC power socket. The unit attached to the bottom of the GH4 and felt oversized relative to the camera. Beginning with the GH5, the interface unit was phased out in favor of the DMW-XLR1, a much more affordable option in the style of the hotshoe-mounted XLR adapter we’ve become accustomed to today.
The GH4 was also the camera Panasonic used to debut its newest autofocus technology: Depth-from-Defocus, or DFD. DFD attempted to build a depth map of a scene by making tiny focus adjustments and analyzing changes in the image. With an understanding of the out-of-focus characteristics of a particular lens, the camera could build a depth map of the scene.
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| The optional DMW-YAGH ‘Interface Unit’ provided a more extensive selection of video industry connectors for using the GH4 as part of a high-end video rig. | |
However promising the technology may have been, DFD never quite met expectations. Panasonic really wanted to make it work, and it’s possible that, given fast enough sampling and processing, it might have continued to improve. Unfortunately for Panasonic, cameras using phase-detect autofocus consistently provided a better AF experience, particularly when shooting video, and the company eventually made the jump to phase-detection with the Lumix S5II in 2023, finally arriving in the GH series on the GH7 in 2024.
In our review of the GH4, we found a lot to like and a few frustrations. For example, despite having an autoexposure compensation dial, the camera didn’t allow you to use it when using Auto ISO in manual exposure mode, and there was no Auto ISO option when shooting video in M mode. Overall, though, we were mighty impressed and saved our biggest praise for the camera’s video capabilities:
“The GH4 was also the camera Panasonic used to debut its newest autofocus technology: Depth-from-Defocus, or DFD.”
“It’s in terms of video that the GH4 really stands out. It produces some of the best video we’ve yet seen – losing out only to the Sony a7S’s moiré-free 1080 output. The ability to capture good quality 4K, whether for use at full resolution, downsampling to 1080 or cropping to 1080, adds real flexibility to the camera. Low light performance is solid if not exceptional,” we concluded.
The GH4 landed in the retail market at a price of $1699, or about $2260 today adjusted for inflation, which isn’t far off the $2199 price of the GH7. It’s amazing to think about how expectations for video have changed over the years. However, the GH7 has its work cut out for it: rather than being an obvious standout in the crowd, it has to compete in a marketplace of cameras brimming with video features. Maybe in another ten years, we’ll look back to see how it held up.
| Photo: DJI |
DJI has announced the Air 3S, an update to its existing dual-camera Air 3 model that upgrades the primary camera to a larger Type 1 sensor and adds features that promise to make the drone easier to operate at night. DJI is positioning the Air 3S as “perfect for travel photography.”
The main camera on the Air 3S gains a 50MP Type 1 (13.2 x 8.8mm) CMOS sensor and features a 24mm equiv. F1.8 lens. That’s an upgrade from its predecessor, which utilized a smaller Type 1/1.3 (4.8 x 3.6mm) CMOS sensor with a marginally faster F1.7 lens. The telephoto camera remains unchanged between the two models, using a 48MP Type 1/1.3 sensor and featuring a 70mm equiv. F2.8 lens.
In addition to stills, both cameras can capture up to 4K/120p or 4K/60p when shooting HDR. All video can be captured in 10-bit, even in regular color mode, and D-Log M and HLG modes are available. The maximum ISO has been raised to 12,800 (3200 when shooting D-Log M). However, DJI says the Air 3S includes a new, more advanced video encoding algorithm that reduces video file size by over 30% without compromising image quality.
DJI claims both cameras can capture up to 14 stops of dynamic range and says the new main camera should capture even more detail than the camera on its more expensive Mavic 3 Pro model.
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The DJI Air 3S is similar to its predecessor, the Air 3, but it gains a larger Type 1 (13.2 x 8.8mm) CMOS sensor on its main camera.
Image: DJI |
Beyond the cameras, DJI has added several appealing features to the Air 3S:
A new Free Panorama mode enables users to create panoramic shots by stitching together images across a manually selected subject area. This works with either camera, but DJI suggests the best results will come from using the telephoto camera, which reduces distortion.
The Air 3S also includes features designed to make it easier and safer to fly at night, including Nightscape Obstacle Sensing, with the Air 3S becoming the first DJI drone to feature forward-facing LiDAR. Additionally, the drone includes downward-facing infrared sensors and six vision sensors (two each at the front, rear and bottom). According to DJI, this combination of sensors provides the Air 3S with “nightscape omnidirectional obstacle sensing,” which should allow the drone to automatically identify and navigate around obstacles for safer nighttime photography.
This technology also enables DJI’s next-gen Smart RTH (return-to-home) feature, intended to allow the drone to return safely to its takeoff location, even at night.
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The Air 3S is available with either DJI’s RC-N3 controller, which requires a smartphone to monitor the camera feed and aircraft status, or the RC 2 controller (above), which includes a built-in 700-nit 5.5″ 1080 screen.
Image: DJI |
The Air 3S also includes real-time vision positioning and map construction technology, designed to allow the drone to memorize a flight path and to return safely when adequate light is available, even in areas without satellite coverage.
The new model also features DJI’s ActiveTrack 360 subject tracking but introduces a new subject focusing feature designed to keep a subject in sharp focus, even during manual flight or when a subject moves off-center. This should allow a pilot to focus on creative decisions like composition or camera movement while ActiveTrack keeps the subject in focus.
There are a few hardware specs worth noting as well. The Air 3S weighs 724g (1.6 lbs), just 4g more than its predecessor, and is rated for 45 minutes of flight time. It includes DJI’s O4 video transmission system that transmits 10-bit video at up to 1080/60p and 42GB of built-in storage. A new Off-state Quick Transfer feature allows files to be transferred from the drone to a smartphone or a computer even when powered off.
Finally, for the privacy-conscious, a new Local Data mode completely disconnects the drone from the internet, ensuring that all data stays only on the device. DJI likens this mode to airplane mode on a smartphone.
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The Air 3S is available in several packages. The Fly More combo shown above includes the RC 2 controller, ND filter set, two additional batteries (for a total of three), a charging hub, extra props and a shoulder bag, will retail for $1599.
Image: DJI |
The charging hub that ships with the Air 3S supports PD fast charging and features a power accumulation function. It allows users to transfer the remaining power from several depleted batteries into the battery with the most remaining power – something anyone who has had to use drones in remote locations without a charging station is likely to appreciate.
Price and availability
The DJI Air 3S is available for purchase in several configurations: the drone with the RC-N3 controller, which requires a smartphone to monitor the camera feed and flight status, will retail for $1099. A Fly More combo with the RC-N3 controller, ND filter set, two additional batteries, a battery charging hub and shoulder back will retail for $1399. Finally, a Fly More combo with DJI’s RC 2 controller, which includes a built-in 700-nit 5.5″ 1080p screen, ND filter set, two additional batteries, charging hub and shoulder pack, will retail for $1599.
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