Why shoot 4K video at 60fps?
The standard playback for video is 29.7fps, so why would you want to shoot at 60fps? Essentially because it gives you more flexibility. Footage captured at 60fps gives you smoother playback at 29.7/30fps and it also gives you the option to produce slow motion footage.
At 60fps it’s only half speed, but the slow motion effects you can produce are still quite cool!
If you try slowing down your 4K video shot at 30fps you’ll notice that it looks less fluid, kind of staccato – to borrow a musical term – whereas slowed down footage captured at 60fps has more frames and looks smoother.
Think of it this way: if you record 1 second of 4K video at 60fps you are capturing double the number of frames as you would at 30fps. So when you slow your 4K 60fps video down to half speed, that 1 second stretches out to 2 seconds.
The best cameras for shooting 4K @ 60fps video
So which cameras shoot 4K video at 60fps? We’ve rounded up the best consumer cameras for 4K 60p footage to help with your filmmaking.
Videographers will be pleased to learn that there’s unlimited 4K video recording – most cameras can only record in bursts of up to 29minutes and 59 seconds. There’s also a choice between MOV, MP4, AVCHD Progressive and AVCHD formats at a variety of frame rates, the system frequency can be set to 59.94Hz, 50.00Hz or 24.00Hz.
With GH5 it’s possible to shoot 4096 x 2160 4K at 24p (or 3840 x 2160 4K at 60p, 50p, 30p, 25p, 24p with no cropping), 4:2:2 10-bit Full HD (1080p) recording and 4K 4:2:2 10-bit ALL-Intra MP4/MOV (apart from at 60/50p) and Full HD 4:2:2 10-bit ALL-Intra recording. The step-up from 8-bit to 10-bit recording vastly increases the range of colours that can be recorded.
In addition, there’s a Waveform Monitor and Vector Scope to meet the needs of professional videographers. This embeds SMPTE-compliant Time Code with Rec Run or Free Run counting to aid with multiple device synchronisation.
A firmware update has also added high-resolution Anamorphic Video Mode and Hybrid Log Gamma for 4K HDR Video (for playback on HDR compatible televisions).
It’s also possible to add V-LogL recording via an optional software key (DMW-SFU1), with LUT (Look Up Table) and V-LogL View Assist to help experienced videographers get the colour and contrast they want.
Further good news for video shooters is that the GH5 can output live to an external recorder and simultaneous internal (there are dual SD card ports) and external recording is possible. Plus there’s an optional adaptor (DMW-XLR1) to allow an XLR microphone to be used for sound recording.
- Read our Panasonic GH5 review
Panasonic GH5 Mark II
The Lumix GH5 II is the latest in the GH series of mirrorless Micro Four Thirds cameras from Panasonic, however, the company has announced that the GH6 is in development and that the GH line is splitting in two. Panasonic will pitch the GH6 towards serious filmmakers looking for a small camera while the GH5 II is designed for keen content creators, those who are serious about their photography and producing videos for YouTube, but that don’t need all the more advanced features of the GH6.
As its name suggests, the Panasonic GH5 II is an upgrade to the Panasonic GH5, which dates from January 2017 and has been incredible popular amongst videographers.
Inside the Panasonic GH5 II is the same 20.3Mp sensor as is inside the GH5 but it has new AR (Anti-Reflective) coating that reduces flare and ghosting. It’s also coupled with the Venus Engine 10 processing engine that’s in the Panasonic Lumix S1H – the company’s full-frame video-centric mirrorless camera.
This combination enables the GH5 II to capture 10-bit 4:2:0 C4K (4096 x 2160) video at up to 60fps and 200Mbps or 10-bit 4:2:2 C4K at up to 30fps and 400Mbps. If an external recorder is connected via HDMI, it’s also possible to record C4K 4:2:2 10-bit 60p video externally while simultaneously recording in 4:2:0 to the card in the camera. There’s also a selection of 4K and 6K anamorphic modes.
Although the GH5 II cannot shoot raw video, V-Log L is pre-installed which means that it’s possible capture very flat footage that’s well-suited to grading. Helpfully, there’s a Log Assist mode so you can assess the footage more easily when you’re shooting in V-Log L. It’s also possible to display a waveform or vector scope to guide exposure.
- Read our Panasonic GH5 Mark II review
GoPro Hero9 Black
The GoPro Hero9 Black introduces a new sensor that can record 5K video at up to 30p, along with 20-megapixel stills. However, the new GoPro camera can also record video in 4K at up to 60P. Slow motion movies can be recorded in 2.7K at 120fps.
In the Hero9 Black, 4K at 60fps is the setting that has really replaced 1080p at 60fps. The footage looks great, and there’s plenty of quality here.
Slowing the footage down to a more standard 30fps playback provides silky smooth motion, with some good scope for standard footage. You can also see the speed at which the GoPro is able to automatically adjust exposure.
When you compare 4K at 30fps up against 60fps, really it’s hard to see the difference in the quality. 30fps at 4K from the GoPro Hero9 Black is just superb, with plenty of detail, good balanced colour and ideal for anyone wanting to shoot a vlog, blog or anything of that type.
- Read our GoPro Hero9 Black review
Fujifilm took a big leap forward with video for the X-T3. The headline spec is 4K/60P 4:2:2 10bit recording to an HDMI device. However, there’s also 4K/60P 4:2:0 10bit internal recording to an SD card. It’s even possible to record both simultaneously.
What’s more, video can be recorded in H.264/MPEG-4 AVC or H.265/HEVC. The bit rate can be set to 200Mbps for 4K/60P 4:2:0 10bit recording. The compression can be set to All-Intra (4K/29.97P, 25P, 24P, 23.98P, and FHD/59.94P, 50P, 29.97P, 25P, 24P, 23.98P when H.265/HEVC is selected. Not compatible with H.264.)or Long GOP (4K/29.97P, 25P, 24P or 23.98P). And when ALL-Intra is used the bitrate can be set to 400Mbps.
F-Log recording is also possible and can be used when recording video internally or externally. Fujifilm has also reduced the minimum sensitivity for shooting footage in F-Log and with the Dynamic Range (DR) set to 400% to ISO640.
Fujifilm claims that a new noise reduction process along with 4K Interframe Noise Reduction reduces the level of noise visible at ISO 12800 by around 2EV.
- Read our Fujifilm X-T3 review
Like the X-T3, the X-T4 can shoot C4K (4096 x 2160) MOV video at up to 60p. However, it can also record in MP4 format.
In addition, its possible to record Full HD video at up to 240p (with continuous focusing), twice the rate possible with the X-T3. That’s great news for those who like to see action in slow-motion.
All this combined with Fujifilm’s image-quality knowhow makes the X-T4 the company’s best X-series camera to date, not to mention one of the best mirrorless cameras you can buy today.
- Read our Fujifilm X-T4 review
iPhone 11 Pro
The iPhone 11 Pro is capable of shooting 4K video at 60fps, with full access to all three lenses when shooting. It can also record 1080p HD video at 30 fps or 60 fps. What’s more, Apple has provided an extended dynamic range in what it is calling the highest-quality video in any smartphone.
What’s also impressive is the range of editing controls you can access directly from the phone. Meanwhile other options such as “Quick Take” allow you to quickly grab a video while shooting in stills mode and make things easier than ever before.
On the whole, video quality is just as good as image quality, with plenty of detail, good stabilisation and a strong uniformity of colour between the lenses.
- Read our full iPhone 11 Pro camera review
Canon EOS R5
From the moment that Canon began drip-feeding information about its flagship full-frame mirrorless camera, the EOS R5, it was clear that it is a game-changer.
The Canon EOS R5 features 8K video recording at 30fps, which is impressive of course, but you can also capture 4K video at up to 120fps. What’s more, footage filmed at 4K video at 60fps can be recorded internally or output over HDMI and it uses the full width of the sensor.
4K external recording is also available at up to 60fps.
Another great benefit of the EOS R5 is the option to oversample your 8K video for more detailed 4K footage in HQ (High Quality) mode, the results are stunning, just take a look at the video below:
- Read our hands-on Canon EOS R5 review
Canon EOS R6
Although it doesn’t have the class-leading video resolution of the Canon R5, the Canon EOS R6 is no slouch when it comes to video credentials.
It can record 4K (3840 x 2160) video at up to 59.94fps, however, there is a slight crop as only 94% of the horizontal area of the sensor is used. This 4K video is produced by oversampling from 5.1K for better quality. There’s also a 4K movie cropping mode available that uses 62% of the horizontal area, which means there’s much greater cropping.
If you want to add drama to action shots, Full HD footage can be shot at up to 119.88fps for slow-motion playback.
It’s possible to record the highest resolution video to an SD UHS-II card in 8-bit H.264 or 10-bit 4:2:2 H.265 and Canon Log is available for greater post-capture gradability.
Incredibly, Canon has enabled a zebra display for the first time in an EOS camera to help guide exposure.
Other niceties include an HDMI micro port (Type D) for connecting an external monitor, a microphone port and a headphone socket.
- Read our Canon EOS R6 review
Nikon Z7 II
Like the Z7, the Nikon Z7II can record 4K UHD (3840 x 2160) video. However, the maximum frame rate is boosted from 30P to 60P, which is great news for slow-motion fans. As before, it’s also possible to shoot Full HD video at up to 120p.
The full list of video frame rates includes 4K (3840 x 2160) 60/50/30/25/24p, Full-HD (1920 x 1080) 120/100/60/50/30/25/24p, Slow-motion mode 1920 x 1080 30p x4/25p x4/24p.
If you record to a memory card in the Z7II, the video is 8-Bit, but connecting an external storage device via the HDMI port enables the video quality to be increased to 10-bit 4:2:2 with (or without) N-Log.
N-Log is useful if you want to grade your footage post-capture, or if you need to match the footage to that from another camera. Handily, timecode is available to help with editing video from multiple cameras.
With a compatible Atomos recorder connected, the Z7II can record video as Apple ProRes Raw which means you get the full benefit of the camera’s data gathering potential.
Focus peaking and zebra display are also available to help with nailing the focus and exposure. The Z7II can also shoot timelapse movies.
- Read our Nikon Z7 II review
Nikon Z6 II
Like the Z6, the Nikon Z6 II can record 4K UHD (3840 × 2160) video at 30P, however, 60P will be added with a firmware update that expected to arrive in February 2021. It’s also possible to record Full HD footage at up to 120p for slow-motion playback.
The full list of video frame rates includes 4K (3840 x 2160) 30/25/24p (60P to come with free firmware update in Feb 2021), Full-HD (1920 x 1080) 120/100/60/50/30/25/24p, Slow-motion mode 1920 x 1080 30p x4/25p x4/24p x5.
Footage recorded internally is in 8bit colour. However, if you connect an external recorder via the HDMI connection, the Z6II can record 10bit 4:2:2 colour with N-Log for better grading and colour matching.
The Z6II also features Timecode, focus peaking and zebra display, plus the focusing speed and tracking sensitivity can be adjusted to suit the subject or the desired look of the movie.
The big news on the video-front is that the Z6 II has eye detection focusing for humans and animals. That’s going to make producing good-quality video a lot easier for many people.
- Read our Nikon Z6 II review
Huawei P40 Pro
The Huawei P40 Pro produces arguably the best image quality of any smartphone in the world, and for the first time a Huawei smartphone camera can shoot 4K video at 60fps.
In our tests, the Huawei P40 Pro shows it is capable of producing high-quality video, and the 4K results are a marked improvement upon the P30 Pro’s.
Like the P30 Pro, the Huawei P40 Pro has a four-camera system and again it’s produced in collaboration with Leica. For the P40 Pro, Huawei and Leica have created a Vario-Summilux-H 1:1.8-3.4/18-125 ASPH camera system. That means that there’s an effective focal length range of 18-125mm and a maximum aperture of f/1.8 at the widest point and f/3.4 at the telephoto point.
- Read our Huawei P40 Pro review
Samsung Galaxy S20 Ultra
In some ways, the Samsung Galaxy S20 Ultra is arguably the best smartphone for video. That the S20 Ultra adds 8K video recording at 30fps from its 108MP main camera made most of the headlines, but Samsung’s flagship smartphone camera also shoots 4K video at 60fps.
Galaxy S20 Ultra users can also now film in Pro Mode. This means you have all of the same controls that you would were you filming with a DSLR.
Another interesting feature for videographers is the S20 Ultra’s zoom-in mic. The Galaxy S20 Ultra’s microphone will effectively zoom in 6x to seek audio, and then follow that sound. This might be useful, for instance, if you were filming a live band or a speech at a wedding, and wanted to eliminate the background noise around you.
The Galaxy S20 Ultra’s quad camera array on the rear of the S20 Ultra comprises a 12-megapixel ultra-wide camera, 108-megapixel wide-angle camera, 48-megapixel telephoto camera and a depth vision camera.
- Read our Samsung Galaxy S20 Ultra review
Panasonic Lumix S1
Panasonic is aiming the Lumix S1 at creatives who want to be able to shoot both stills and video. On the video front, the headline feature is that the S1 can shoot 4K (3840×2160) at 60fps and 150Mbps. However, if you want to keep the full width of the sensor, the maximum frame rate for 4K video is 30fps.
There’s also an HEVC shooting option at 4:2:0 10-bit for internal recording. This option is missing from the Lumix S1R.
Helpfully, Panasonic’s Dual IS system is incorporated. This stabilises images and video.
In addition, Panasonic is going to introduce an optional (paid for) firmware update for the Lumix S1 to introduce full V-Log recording. This will also enable 4:2:2 10-bit 4K 24p/30p internal video recording and 4:2:2 10-bit 4K 60p HDMI output.
Using the V-Log recording option is said to enable an extra two stops of dynamic range compared with the V-Log from the Panasonic GH5 and GH5S.
- Read our full Panasonic S1 review
Panasonic Lumix S1R
While Panasonic created the Lumix S1 for creatives who want to shoot both stills and video, it’s aiming the S1R at professional stills photographers.
Nevertheless, the S1R can shoot 4K (3840×2160) at 60fps and 150Mbps. There’s a good range of other frame and bitrates available. However, the S1’s HEVC 4:2:0 10-bit internal recording option is absent from the Lumix S1R.
It’s also worth noting that the optional (paid for) firmware upgrade that will give the Lumix S1 V-Log recording is not coming to the Panasonic Lumix S1R.
However, like the S1, the S1R has both 3.5mm mic and headphone ports to enable audio motoring and ensure high quality.
Panasonic has given the Lumix S1R a 5-axis Dual IS system which offers a claimed 6EV of shutter speed compensation. This system combines two-axis lens-based stabilisation with 5-axis in-body image stabilisation (IBIS), and it works with both stills and video.
- Read our full Panasonic S1R review
Video is another area which has seen some dramatic upgrades from the previous generation – unsurprisingly given how much development has been made in this area since 2015.
The SL2 is capable of recording 5K/30fps in the MOV mode, or 4K/60fps when shooting MP4 files. Professional videographers will also be pleased to note that it can shoot 4K 30fps 4:2:2 directly in camera, or at 60fps via an external recorder.
A nice touch is that when shooting in Cine mode, all the terminology which appears on the camera changes to movie recording equivalents, so f stops become t stops, ISO becomes ASA, and shutter speed becomes shutter angle.
- Read our full Leica SL2 review
Blackmagic Pocket Cinema Camera 4K
Blackmagic’s Pocket Cinema Camera 4K features a 4/3 sensor that provides 13 stops of dynamic range and can capture 12-bit CinemaDNG RAW cinema 4K at 60fps and full HD video at up to 120fps, as well as 10-bit Apple ProRes 422. Oh, and it only costs £1,000/$1,000.
That alone is worth the price tag, but there’s so much more inside this stellar camera that make it even more of a bargain. Let’s talk about its Dual Native ISO.
The Blackmagic Pocket Cinema Camera 4K boasts two gain circuits behind each photo site. Each of these is optimised for ISO 400 and 3200.
In a single ISO system, when you increase your ISO setting in low light you are effectively taking a stop from the bottom of your dynamic range and losing info from the shadows. In a dual system like the Pocket Cinema Camera 4K, the gain curve resets once you get to ISO 1250 and you’re then getting similar shadow performance as if you were shooting at ISO 100.
There’s also Blackmagic’s Extended Video Mode, which is sort of a halfway house between Film and Video modes. You don’t have to grade footage shot in Extended Video Mode, but it provides an increased dynamic range and pulls back some of the highlight clipping, particularly when shooting wider scenes.
- Read our Blackmagic Pocket Cinema Camera 4K review
Blackmagic Pocket Cinema Camera 6K
Building on the success of its Pocket Cinema Camera 4K, Blackmagic’s new 6K model offers a 6K HDR image sensor that records up to 50fps at 6144 x 3456 16:9 or 60fps at 6144 x 2560 2.4:1 and 60fps at 5744 x 3024 17:9. For higher frame rates they can window the sensor and shoot up to 120fps at 2.8K 2868 x 1512 17:9. Users can even work in true anamorphic 6:5 using anamorphic lenses in 3.7K 60 fps at 3728 x 3104.
As well as those staggering frame rates and resolutions, the Blackmagic Pocket Cinema Camera 6K provides 13 stops of dynamic range and an EF lens mount that accommodates glass from Canon, Zeiss, Sigma and Schneider.
Also on board is Blackmagic’s dual native ISO up to 25,600, which enables the camera to capture noise-free footage in low light. We saw this on the Pocket Cinema Camera 4K, and it was astounding.
The real unsung benefit here is that you can film in 6K, but in post-production you can zoom in and re-compose for better composition without sacrificing image quality.
FeiyuTech FeiyuPocket2, FeiyuPocket2S
Aimed at vloggers, travellers and action seekers, the FeiyuPocket2 and FeiyuPocket2S are capable of recording 4K video at 60fps and weigh just 127g.
The FeiyuTech gimbal cameras sit in a small, pocket-size body and use Feiyu’s Micro High-Torque Mechanical Anti-Shake technology to keep footage stable. On the body there is also a 1.3-inch touchscreen, a five-way joystick, built-in speakers and a port for an external microphone.
The camera itself boasts a large f/2.0 aperture, and the FeiyuPocket2 offers a 120-degree angle of view while the FeiyuPocket2S provides a 130-degree wide-angle lens.
Shooting odes include All-follow, Trail Time-Lapse, Slow Motion, Panoramic, Beauty, Anti-distortion, and AI Face Recognition.
Gudsen Moza Moin Camera
The Moza Moin Camera is the first pocket camera from the Chinese gimbal maker and looks set to challenge the ever-popular DJI Osmo Pocket 2. Inside the Moin Camera is a 1/2.3-inch 12-megapixel sensor that can record 4K video at 60fps. The Moza Moin can also shoot slow motion videos in HD at 240fps.
As for stills, the camera can shoot both JPEGs and DNG Raw in 12-megapixel resolution. The camera can also shoot stills at shutter speeds ranging from 1/8000sec up to 60secs.
When filming, the Moin Camera offers modes such as Face Tracking, First Person View, Panorama and Time-Lapse. You can also use its Intelligent Silent Transfer mode to speed up the transfer time when importing footage from the camera to your smart device.
One feature that sets the Moin Camera apart from competitors like the Osmo Pocket 2 or Snoppa VMate is its 2.45-inch articulating touchscreen. This should appeal to vloggers.
GoPro Hero6 Black (and the Hero7 Black, Hero8 Black)
With the Hero6 Black GoPro kept the resolution at the same maximum of 4K as in the Hero5, but pushed the frame rates to 60fps (from 30fps), and boosted 1080p to 240fps. GoPro basically doubled the headline frame rates of the previous generation of the Hero Black ation camera.
What this meant in real terms is that you could shoot slow motion footage that will stretch 1 second of film over a staggering 8 seconds.
The full list of resolutions and their partnered frames rates is impressive, but something else GoPro did is it quietly reduced the number of lower resolution options in the menu system. For instance, 480p is gone, all the additional 720p frame rates also disappeared, and 960p bit the dust as well.
This reduction of options makes sense. Best to keep it simple. That way when navigating the settings and options, the ones you want and use most often are quick and easy to select without wading through all the additional options you’re never going to use. One day we may even see a custom menu that enables you to select only the options you use the most.
Of course, the GoPro Hero8 Black and Hero7 Black can shoot 4K at 60fps, as well, but the Hero6 Black does it at a much lower price tag!
- Read our GoPro Hero6 Black review
Canon EOS-1D X Mark III
Before the EOS R5 was announced, the EOS-1D X Mark III was briefly Canon’s most advanced interchangeable lens video camera outside the Cinema EOS series. It can shoot 4K 12-bit video with raw internal recording at up to 60fps. It can even record raw and MP4 video simultaneously to two separate memory cards.
In addition, video can be recorded as 12-bit CRM files at 5.5K (5472×2886), for highly-detailed oversampled 4K footage.
Canon Log Gamma is available in 10-bit HEVC/H.265 file format and the MP4 container is available when speed is of the essence.
Movie Digital IS, as seen in the likes of the EOS C500 Mark II, has also been included to create 5-axis stabilisation.
- Read our Canon EOS-1D X Mark III review
Canon EOS-1DX Mark II
Many people forget, but the Canon 1DX Mark II can shoot real 4K (4,096 x 2,160 pixel) footage at speeds up to 60fps for high quality slow motion playback, but oddly, unlike Full HD footage it can’t be saved to an external drive. So if you wanted to connect to an external 4K recorder when filming longer events… well, you won’t be able to.
But with its wonderful AF system and other technical prowess, the Canon 1DX Mark II is a great camera to shoot video with.
- Read our Canon EOS-1DX Mark II review
DJI FPV drone
First things first: the DJI FPV drone is designed for racing, not for filming cinematic video. As we point out in our FJI FPV review, the drone’s blades often appear in your video footage. This is a drone that is designed to fly up to 87mph.
However, the DJI FPV can record 4K video footage at up to 60fps. What’s more, DJI has incorporated its RockSteady electronic image stabilisation into the drone to ensure stable, cinematic quality. The RockSteady stabilisation also eliminates the rolling shutter effect when filming fast action scenes. As we’ve seen in past DJI cameras, there’s advanced distortion correction to remove warping and the fisheye look from the footage.
As ever with DJI, there is a good selection of filming options with 4X slow motion filmed at 1080p 120fps. Footage can be filmed in either H.264 or H.264, making the most from the small SD card storage.
So the DJI FPV offers some pretty advanced video specs… but watch out for propellers in your footage.
The Snoppa Vmate, a new handheld video camera with a built-in gimbal with 3-axis stabilisation, is now available for purchase priced at $249.
The Vmate launched on Indiegogo at the end of last year and is very similar in designate the DJI Osmo Pocket. As well as an integrated 3-axis gimbal the Vmate features a camera that can record UHD 4K at up to 60fps and HD at up to 240fps for slow motion movies in both horizontal and vertical orientation.
The Snoppa Vmate also features two built-in microphones for live sound, or you can connect it to your smartphone via the app and record audio through your phone or a separate Bluetooth mic. What’s more, the Vmate will automatically sync this external audio to your videos.
Another interesting feature is that you can record video from the Vmate and your smartphone simultaneously. This might be useful for vloggers who want to deliver a piece to camera while sharing what they see.
To aid this, the Snoppa Vmate also offers a built-in clamp on which you can mount your smartphone.
The Snoppa Vmate price tag is $249, and is available for pre-order at retailers such as B&H Photo Video.