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Reçu — 5 octobre 2026 ⏭ News: Digital Photography Review (dpreview.com)

The new SANDISK Extreme PRO® SDXC™ UHS-II V60 and V90 Cards now have higher capacities — here’s what that means for wedding videographers

✇News: Digital Photography Review (dpreview.com)
Par : bsmith0100
5 octobre 2026 à 15:03

The updated card lineup adds 2TB[1] capacity options and faster read and write speeds, addressing two pain points wedding shooters know well: running out of space mid-event and offloading footage before the next job.

hand popping in a Sandisk Extreme Pro Memory card into a cameraSANDISK

Sandisk has added 2TB1 capacities and faster read and write speeds to two of its flagship SD card lines. For wedding and event videographers juggling long shooting days and multi-camera setups, a single card that can potentially absorb an entire day of 4K, 6K or even 8K footage changes the math on how you pack and plan a job. The latest generation of the SANDISK Extreme PRO SDXC™ UHS-II V60 and SANDISK Extreme PRO SD UHS-II V90 cards are available now, with the V60 starting at $199.99 MSRP (64GB) and the V90 starting at $362.99 MSRP (128GB). Here’s what to know about this product line update.

V60: more capacity for 4K and 6K video2

The SANDISK Extreme PRO SDXC™ UHS-II V60 Card is rated for write speeds up to 250MB/s3 on 256GB through 2TB1 capacities and read speeds up to 300MB/s3. Its Video Speed Class 60 rating4 makes it well suited to 4K and 6K capture2, and the new 2TB1 option means shooters can go longer between offloads on demanding multi-camera productions. Wedding videographers and documentary crews shooting in high-bitrate formats will find the headroom particularly useful, since both can push sustained bitrates that fill cards quickly over a full shooting day.

SANDISK Extreme PRO SDXC™ UHS-II V60 Card - 2TBSANDISK

SANDISK Extreme PRO SDXC™ UHS-II V60 Card

Specs

Capacity[1] 64GB – 2TB
Interface UHS-II
Video speed class V60[4]

V90: targeting 8K2 and high-frame-rate work

The SANDISK Extreme PRO SD UHS-II V90 Card steps up to 305MB/s5 write speeds (on 512GB – 2TB cards1) and up to 310MB/s5 read speeds, and its V90 rating4 target cinema-level 8K2 recording and high-bitrate slow-motion work. The Video Speed Class 90 rating guarantees a minimum sustained write speed of 90MB/s, which is the threshold most camera manufacturers cite for reliable 8K recording. Cameras that support UHS-II V90 cards benefit most from those headroom speeds, especially when shooting high-frame-rate footage that spikes write demand above the class floor. The 2TB1 capacity on the SANDISK Extreme PRO SD UHS-II V90 Card is new to the lineup and gives cinema productions the option to shoot longer takes without swapping media mid-scene.

SANDISK-Extreme-PRO-SDXC-UHS-II-V90-Card-1x1-1Sandisk

SANDISK Extreme PRO SD UHS-II V90 Card

Specs

Capacity[1] 128GB – 2TB
Interface UHS-II
Video Speed Class V90[4]
Read speed Up to 310 MB/s[5]

Durability, warranty and compatibility

Both cards carry an IP68 rating6, survive drops up to six meters6, and include a lifetime limited warranty7. Sandisk also bundles a two-year RescuePROⓇ Deluxe file recovery subscription8 with each card — useful reassurance when the footage is irreplaceable. The cards work in any UHS-II compatible slot and fall back to UHS-I speeds in older bodies, though the performance gains only fully materialize in cameras and readers with UHS-II support.

SANDISK Extreme PRO Portable SSD: fast offloads on set

For wedding shooters managing heavy multi-stream workflows on location, Sandisk also refreshed the SANDISK Extreme PRO Portable SSD earlier this year. It offers transfer speeds up to 4,000MB/s9 — fast enough, according to Sandisk , to move 10 minutes of 12K footage in just under a minute10. That kind of throughput matters in the field, where a fast offload lets an assistant verify and back up footage on the go rather than waiting until the end of the day. The drive starts at $687.99 MSRP for 2TB1, carries an IP65 rating11 and 256-bit AES hardware encryption12 and is available now alongside the updated SD cards.

Sandisk-Extreme-Pro-Portable-SSD-V3-2TB-1x1-1Sandisk

SANDISK Extreme PRO® Portable SSD

Specs

Interface USB
Max read speed[1] Up to 4000MB/s
Capacity[9] 2TB, 4TB
Durability[11] IP65, up to 3m drop protection
Encryption[12] 256-bit AES

A complete field storage system

Taken together, the expanded capacity and faster write speeds make both cards a straightforward upgrade for professional videographers who shoot long-form events. Whether you land on the SANDISK Extreme PRO SDXC™ UHS-II V60 Card for 4K2 and 6K2 work or the SANDISK Extreme PRO SD UHS-II V90 Card for 8K2 and high-bitrate slow motion, the 2TB1 ceiling gives you considerably more buffer before you have to think about storage mid-shoot. Pair either card with the SANDISK Extreme PRO Portable SSD for fast on-site offloads, and Sandisk covers your capture-to-delivery pipeline — a strong argument for why it remains one of the most trusted names in professional storage.

Legal Disclaimers:
1. 1GB=1,000,000,000 bytes. 1TB=1,000,000,000,000 bytes. Actual user storage less. 
2. Compatible device required. 4K (4096×2160), 6K (6144×3160) and 8K (7680×4320) video support may vary based upon host device, file attributes, usage conditions and other factors. See www.sandisk.com/HD. 
3. [256GB-2TB] Up to 300MB/s read speed; up to 250MB/s write speed. [64GB-128GB] Up to 300MB/s read speed; up to 210MB/s write speed. Based on internal testing; performance may be lower depending upon host device, usage conditions, and other factors. Compatible device required capable of reaching such speeds. 1MB = 1,000,000 bytes. 
4. Video Speed Class 60 (V60), sustained video capture rate of 60MB/s, and Video Speed Class V90 (V90), sustained video capture rate of 90MB/s, designates a performance option designed to support real-time video recording with UHS enabled host devices. See www.sdcard.org/consumers/speed for additional details. 
5. [512GB-2TB] Up to 310MB/s read speed; up to 305MB/s write speed. 90MB/s minimum sustained write speed. [128GB-256GB] Up to 310MB/s read speed; up to 304MB/s write speed. 90MB/s minimum sustained write speed. Based on internal testing; performance may vary depending upon host device, usage conditions, and other factors. Compatible device required capable of reaching such speeds. 1MB = 1,000,000 bytes. 
6. Based on internal testing. Water- and dust-resistant, and was tested under controlled laboratory conditions with a rating of IP68 under IEC standard 60529; product must be clean and dry before use. 
7. 30-year warranty in Germany, Canada and regions not recognizing lifetime warranty. See www.sandisk.com/wug    
8. Registration required; terms and conditions apply. 
9. [2TB-4TB] Up to 4000 MB/s read speed; up to 3800MB/s write speed. 3100MB/s average sustained write speed. Based on internal testing; performance may be lower depending on host device, interface, usage conditions and other factors. 1MB=1,000,000 bytes. 
10. Based on internal testing on 12K (12288 x 6480) video at 23.98 fps with an average BRAW file size of 84.30GB; performance may be lower depending on host device, interface, usage conditions and other factors. 1MB=1,000,000 bytes. 
11. Based on internal testing. IEC 60529 IP65: Tested to withstand water flow (30 kPa) at 3 min.; limited dust contact does not interfere with operation. Must be clean and dry before use. 
12. Password protection requires download and installation of the SANDISK app. Password protection uses 256-bit AES encryption. Set up password protection within the app. See www.sandisk.com/passwordprotection for more details. 

Full-frame but not the whole picture: there isn’t a one-size fits all format

✇News: Digital Photography Review (dpreview.com)
Par : Richard Butler
5 octobre 2026 à 14:00

All formats are a compromise, and full-frame isn’t necessarily the Goldilocks format

Close-up of a Canon EOS camera sensor mount with exposed sensor and metal lens ring.Mitchell Clark

Full-frame has been the center of attention for the past few years, which can result in it overshadowing other formats. But, with the right support, different formats have their place, and we all lose out if those options are neglected.

Full-frame gets its name – and much of its level of manufacturer backing – from the fact that it allowed photographers to use their film-era lenses as originally designed. The economics of sensor manufacture pushed the likes of Canon, Nikon and Konica Minolta into the use of smaller sensors at the start of the digital era, but the large user-bases, including professional users with existing lens commitments, along with significant R&D investment having been spent on building up lens lineups, created powerful incentives to move to sensors that captured the “full frame” that those film-era lenses were designed to project.

That same push from users wanting to keep using their existing lenses, along with an audience now familiar with the image quality of digital full-frame, ensured that similar pressures came to bear as the industry moved across to mirrorless, such that the dimensions of “35mm” film still dominate the pro and enthusiast-focused products from Canon, Nikon and Sony.

And this concentration of development efforts means “full-frame” is the most extensively supported format on the market. Canon, Nikon and Sony all make APS-C cameras, but the bulk of their lens investment has been focused on full-frame, just reinforcing that format’s primacy in their lineups.

A three-quarter view of a black Nikon Z5IIC with a 26mm F2.8 pancake lens attached, against a gray background.
Nikon’s latest attempt to make an ‘accessible’ mirrorless camera for a younger, first-camera audience is built around a full-frame sensor, meaning very few of its lenses are as compact as this 26mm F2.8
Richard Butler / Mitchell Clark

But that doesn’t mean it’s the best format or even some kind of carefully considered optimum. Like all formats, it’s an arbitrary choice; in this instance, it dimensions came about because a German engineer decided to use silent-era cinema film the wrong way round, more than a century ago.

Every sensor format represents a trade-off between size, price and image quality. Larger sensors (or film formats) have an inherent image quality advantage because they have more light-capturing surface, but the lenses needed to provide any given field-of-view have longer focal lengths, making them bigger, heavier and more expensive. You can hunt around for exceptions: a particularly large or small body, or one especially small prime lens, but for the system as a whole, the overall trade-off remains true.

Full-frame digital can offer spectacular image quality, but even with the move to mirrorless, its cameras and lenses are larger than their film-era counterparts were. If the 35mm film format was a Goldilocks balance of quality vs portability and cost, then digital full-frame isn’t, because it offers a completely different balance. Better image quality, but with both a size and financial cost (and these differences are worth considering before you decide to point out that 35mm film could be called ‘small format’).

If you’re after something closer to the balance of size, price and image quality that 35mm film offered, you might find it in APS-C instead. Its smaller sensor means it doesn’t match the depth-of-field that 35mm film offered, but in terms of IQ, camera and lens size, it’s much closer to being a match. Just compare the size of the Nikon FE, Fujifilm’s X-T5 and Nikon’s Zf, paired with appropriate lenses, to confirm this for yourself.

nikon zf sitting next to fm2
Even with the mirror removed, full-frame digital cameras struggle to match the size of their film forebears. The Nikon FM2 and its contemporary lenses are arguably closer in size (and image quality) to digital APS-C.
Richard Butler

Likewise, for travel and wildlife in particular, the smaller Four Thirds format lets you further downsize the whole setup, giving lenses with longer reach or compact prime-lens combinations that let you travel light. Yes, you pay an image quality cost for moving to a smaller format, but you might end up with a shot that you simply wouldn’t get if your kit becomes too unwieldy to carry with you. 

The same is true in the other direction: 44 x 33mm Medium Format offers around a two-thirds-of-a-stop advantage over full-frame, at the same exposure, if you want better image quality. But those same downsides of larger, more expensive lenses are inescapable.

All formats are arbitrary size/price/image quality trade-offs. They may be popular or well-supported, but none is inherently best, because each has an innate compromise at its heart. And what makes sense for you, isn’t necessarily ideal for everyone.

Those other options, and that ability to choose a format that suits your kind of shooting, will only exist if those formats continue to be supported by manufacturers and by photographers. We lose that choice if we decide that some formats are lesser, or just stepping stones to another, rather than treating each as an entity in its own right.

About the Author: Richard graduated as a scientist but had a lot more fun writing and shooting for his university magazine. A number of years spent variously as a reporter, writer and editor on science and engineering titles combined his knowledge of science with his interest in images and words. But it was spotting the connections between emission spectra, white balance and all the nonsense he’d taught himself playing around in Photoshop that helped kindle an interest in digital photography. Searching for a camera led to him discovering DPReview and Richard was recruited by Phil Askey in 2007. He’s been combining his love of photography, communication and attention to detail (pedantry?) ever since. He has unusually strong opinions about lenses for the APS-C format.

Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.

The DJI Osmo 360 II and the state of 360 cameras in 2026

✇News: Digital Photography Review (dpreview.com)
Par : Mitchell Clark
5 octobre 2026 à 13:00

DJI, Insta360 and GoPro have stayed in the market, but why?

Black 360-degree action camera held in a hand, with a live selfie preview on its screen.Mitchell Clark

Last week, we had the opportunity to spend some time with DJI’s latest 360 camera, the Osmo 360 II. It features replaceable lenses, dual Type-1/1.1 (92mm²) sensors (which, when recording 360, are combined to roughly the area of a Type-1 (128mm²) sensor) and can record 360 video at up to 8K/60p, or flat video at up to 4K/120p*.

I thought it’d be a good opportunity to check in with the state of the 360 camera market, having been an early adopter of them in the mid-2010s, when it seemed like the future of content consumption may involve a cardboard headset with a phone in it.

Spoiler alert: it didn’t. In the video, I go through how people are using 360 cameras these days, if not to create 360 content, and take a look at some of the pros and cons of cameras that capture the entire world around them. You’ll also get to see a lot of footage shot on a 360 camera, as we filmed it almost entirely using the Osmo 360 II (giving me a new appreciation for how DJI’s cameras can automatically sync with the wireless microphones I typically use.)

If you want a higher-level overview of the camera, you can also check out our unboxing below.

*- You can also choose to sacrifice some resolution to go even slower with the camera’s “4K” (3840×1920) 240p mode.

About the Author: Mitchell started taking pictures at 10 and hasn’t stopped since. It’s been a wide-ranging adventure, spanning a wide variety of genres and locales, and occasionally dipping into fascinations with video and filmmaking. They honed their technical knowledge doing documentation, programing and QA, writing for The Verge, and just generally messing around on the computer to see what breaks.

Want to stay up to date on the latest product news and releases? Add DPReview as a preferred source to ensure our independent journalism makes it to the top of your Google search results.

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