My YouTube channel got a boost thanks to a momentary pleasing of the algorithm and Ironmouse somehow watched my video about her boss theGunrun on the ninth day of her now-legendary subathon. This encouraged me to go harder with this content creation gig. One of the first things I did to push forth with this personal initiative is what most people shouldn’t be doing — buy a new camera. However, since I’ve been ballin’ outta control, I went to JG Superstore and bought the recently-released second iteration of the Sony ZV-E10 mirrorless camera, the first of which I’ve already become a fan of.
The Sony ZV-E10 Mark 2 is basically the combination of the sensor and internal parts of the FX30 compact cinema camera with the cheaper plastic body of the ZV-E10 Mark 1 and the improved controls and I/O of the more recent Alpha series cameras. What you get is a feature-packed and video-focused mirrorless camera that can shoot both photos and video in a more affordable package. Although it still costs a good bit more than its predecessor, its various improvements and additions justify the jump up in price.
This can be your gateway to cinema cameras due to its ability to shoot log footage and record in 10-bit 4:2:2 video, which lets you enter the world of chroma and color grading. Whether you just buy a LUT pack or learn how to tweak curves and sliders, it’s a fun way to elevate your video capabilities. Of course, that alone can’t make up for proper cinematography and filmmaking principles. However, having a camera that can be easily picked up by hobbyists, yet also co-opted for professional use with the addition of a few accessories, is still a positive overall.
NOTE: This is a full camera review based on the reviewer’s preferences and needs for video. Your needs may be different and you may find this review to not have the information you need. Also, the reviewer is a video noob who’s only starting to learn more about this stuff. Reader discretion is advised.
Design
While making your vlogging camera bigger and heavier may not be ideal, it’s totally understandable with this camera and what it added and changed. It’s basically a plastic FX30 without IBIS and an internal cooling fan. If you have money to get an FX30, you might as well get an a7III instead, which is something I wish I went for instead because I was stupid enough to get a 35mm prime cine lens for my studio setup in progress.
Better Controls
The main reason why I’m finding myself using this new one more than my old one is how quickly I can turn it on and how easily I can get to important settings. While I could’ve stuck with the first one and not need anything else, there’s something about being able to turn the camera on and hit record with one hand that greatly appeals to me.
The Mark 1 has the power switch nearer to the middle, which means you have to turn it on with your other hand. You sometimes may have to look at it, although you won’t have to once you get used to it and remember that it’s the only switch there amid a gang of buttons. Meanwhile, the Mark 2 has it right next to the shutter button, so you can flip it with your index finger.
There’s also the mode selection, going between photo, video, and S&Q (Slow & Quick mode for slow-motion and time-lapse). In the Mark 1, it’s a button; in the Mark 2, it’s a selector switch. The change allows you to select the mode on the Mark 2 while it’s turned off so it can then be turned on to the mode you need to use right away, while you have to turn on the Mark 1 first, then press the button to change the mode.
All the other buttons and dials can then be customized, much like the Mark 1. The power switch and the mode selector switch are the only big changes to the controls, but they’re such significant quality-of-life improvements that they definitely have to be pointed out here.
Build Quality and Weight
While it’s mostly plastic, it feels balanced enough to not feel like a wet bar of soap in your hands. If the form factor still makes you nervous, you can add a cage with a handle that gives you more purchase, as well as a side strap or wrist strap for much better retention or a shoulder strap for carrying it around. The body itself provides enough slots and mounts for all of that.
While it’s slightly larger and heavier than its predecessor, it’s not by much. If you want to keep it light and compact, the Mark 1 is still plenty good while being one of the smallest and lightest APS-C mirrorless cameras in the market. The main reason you’d want to get this one is for its features, despite its slightly bulkier size. Add a cage to it, and you start feeling it in your arm. If they had added in-body image stabilization to it, then it’ll be even heavier.
If you use a lens with a lot of glass and/or has a metal build, then it becomes a bit of a forearm workout, especially if you’re a vlogger who likes using a wide-angle lens. In my case, it’s the Yongnuo 11mm F1.8S ultra wide angle lens that has become my personal favorite.
With a sizable lens, a cage, and an audio solution, that bumps up the weight to 3 or more kilograms. If you need to use a gimbal, you have to get one with a significant payload, like the DJI Ronin RS 3 or RS 4. Perhaps you can use a Mark 1 as a B-cam if you have a smaller gimbal, but you’ll definitely need a bigger gimbal if you have to use this as an A-cam.
Change in Menu Interface
I also want to say something about the menu. On one hand, it’s pretty good since it seems to fit a lot more on the screen compared to the menu in the Mark 1. On the other hand, if you’re very much used to the old menu interface in both the Mark 1 and Alpha series cameras, then you’ll find this somewhat frustrating since a lot of the options are not where they usually are.
Maybe this is a hot take, but I prefer the old menu interface. It’s likely because I don’t own a ZV-E1, the full frame camera that was released before the ZV-E10 II. I found it to be a bit more intuitive than the new one. One of the most important settings for me is the picture profile setting. In the old interface, it’s either page 8 or 11 of the first menu tab. It’s different in the Mark 2, so veteran Sony camera users will have to transition to this new interface.
Functionality
The main reasons why you’d get this camera over the Mark 1 are the 10-bit video and its little improvements. That means you’d get this primarily because you’ve already used the Mark 1 and want to get something better. With the Mark 1 being a lot more affordable than this one, you may still want to get that one over this. Therefore, the reason for getting the Mark 2 rests upon its functionality, which only has one big thing over the Mark 1.
Image Quality
If you’ve seen the images taken by the Sony FX-30 or the Sony a6700, they should be virtually identical with that of the ZV-E10 II. The most important improvement with this product in image quality is the inclusion of 10-bit 4:2:2 video. By having that extra bit of color information in the video, you’re able to better color your footage in post. But you won’t even have to wait for post-production to see what end product you’ll get.
You can load lookup tables (LUTs) directly in the camera from the SD card to preview, embed, or even apply directly into your footage. That allows you to see right away what look you exactly want and not have to wait until you get your footage to the editor. This is also helpful for users who don’t have one of those newer field monitors that allow for LUTs as well. Being able to do it right on the camera gives you more control over your image.
If you don’t want to fool around with log footage and don’t care for color grading, then perhaps you’ll be satisfied with the S-Cinetone color mode. It’s actually pretty good for most use cases, so you can just go with that as your go-to color mode unless you’re either a serious filmmaker who wants to make short films inspired by Wong Kar-wai or Wes Anderson, or just looking to learn how to color grade.
Overheating and Lack of IBIS
Here’s the deal about these two major flaws of the ZV-E10 II — they can be mitigated. For instance, there are now a good number of cooling solutions for this camera and its predecessor. I own two of such coolers, and they’re pretty good at keeping the temperature down while the camera is operating.
Those coolers do need to be kept charged as well, but you can keep them going by plugging them into a power bank or NP-F battery during operation. They’re also fairly silent, so you can keep them on if you’re using a good enough external mic like a shotgun mic or wireless lav that can isolate any noise coming from the camera body.
As for the lack of in-body image stabilization, you’ll find out soon enough once you try a camera like the Sony a6600 or a6700, IBIS is actually not that big of a deal. It’s helpful if you don’t want to crop your footage to hell to use electronic image stabilization, but it’s actually not that helpful.
IBIS is an aid for photographers who don’t want to split hairs with shots made blurry by their shaky hands, especially during long, grueling shoots. Every videographer worth their salt (and have the resources) will have a Steadicam or gimbal ready for super smooth footage and not depend on IBIS for that purpose.
In a pinch, they may use Active SteadyShot, but the crop factor may be too much. You can use a wide angle lens to mitigate that, but it can only do so much to eliminate the shakes. In the end, no amount of SteadyShot, IBIS, and warp stabilization can take the place of proper camera handling and a good gimbal.
Value
I got this camera for ₱57,000 — a price I was prepared to pay for a much better camera for my purposes. I was actually thinking of whether I should get an FX30 or a7S IV instead, but I settled for this one for its price-to-performance ratio. The only regret I really have is that I didn’t think of going full frame for a studio camera. Perhaps I can sell my first ZV-E10 and get either a ZV-E1 or a second-hand a7III.
Comparison with Other Brands
As far as I know, Canon is still known from the olden days for their color science; Panasonic Lumix is still a pretty good alternative if you happen to own Micro Four Thirds lenses and their autofocus is no longer ass; I used to covet Olympus (now known as OM System since Olympus the company became the Enron of Japan); Fujifilm seems to be the hipster favorite and more focused on photography; and Sony is the king of low-light performance.
I had a Nikon D5100 that lasted me a little while. All I learned from owning it was that DSLRs are heavy and cumbersome. I don’t know if I’ll ever use a Nikon camera again, but the Z30 does look like a viable alternative for the Sony ZV-E10. I used to want a Tokina 11-16mm f/2.8 back when I still rocked the D5100, and perhaps I can still somewhat fulfill that, although I’ll need a wide angle lens that’s faster than f/2.8
Then there’s the Canon M50 Mark II, which I need to research more on. Canon has been late to the game on both releasing mirrorless cameras and providing 4K video, so they lost their throne to Sony, Panasonic, and Fujifilm. It used to be a toss-up between Canon and Nikon, and both of them are now trying to catch up. I still want a Canon M2 for my C-mount lenses.
In YouTube and content creation at large, the Sony ZV-E10 earned a reputation as a good vlogging camera and webcam for streaming. While the Sony a7S IV is the king of YouTube videography due to its unparalleled low-light performance, the ZV-E10 is a more affordable alternative. With that in mind, that puts the ZV-E10 II in a weird spot — way more expensive, yet just a little bit better than its predecessor.
My Affinity for Sony Cameras
Sony became my go-to brand because of the consistency between camera models and the reputable low light performance of its sensors. My first mirrorless Sony camera was the Sony NEX-5N, which actually worked pretty well and was conveniently portable, but it had no USB charging. I like being able to plug a powerbank to my camera for vlogging, so using the NEX-5N got annoying over time. I personally don’t like buying and switching batteries.
I’d still use that camera to practice my photography if I can get it back from my friend, who I lent it to since it was just collecting dust.
I got my ZV-E10 Mark 1 secondhand back on 11 July 2023 (I label my things with their dates of acquisition), and it was a big jump in improvement over my previous cameras. I also have a Sony FDR-AX40 4K Handycam connected to an internal capture card that I use as my primary webcam. I then got a Sony FDR-X3000 action camera for vlogging and project logging, as well as preparation for a possible future in IRL streaming.
Suffice to say, I’ve become a Sony fanboy when it comes to cameras. Sony for gaming is a completely different matter.
Final Score
Don’t think of the Sony ZV-E10 II as a better ZV-E10 I, but as a cheaper Sony FX-30. It has the same sensor, recording formats, and functionality as the FX-30, but in a smaller, plastic body. As long as you’re careful in handling it, perhaps put a cage over it, and even use a cooling fan to prevent overheating during longer shooting sessions, it can feel like an FX-30. Its one glaring flaw is the absence of IBIS. Some may also find the lack of a mechanical shutter to be a deal breaker, if they happen to be a stickler for photography and video. It’s too expensive for a vlogging camera, but too basic for a filmmaking workhorse. However, for half-assed dweebs like me who fancy themselves as knowledgeable enough, but not (yet) professional enough, this is fairly close to perfect. Then again, if what we really wanted was an expensive vlogging camera that can do it all while also having IBIS and a mechanical shutter, as well as other features like weather sealing and an AI chip, you can add $400 more to get a Sony a6700, or add just a little bit and go full frame with a Sony a7III — an option I now regret not taking.
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