The PowerShot V1 ($1,029.99) may look like a point-and-shoot stills camera, but as part of Canon's V (for video) series, its feature set is more appropriate for content creators and vloggers. Its zoom lens starts at an ultra-wide angle and includes dual optical and digital stabilization for handheld recording. Moreover, the built-in mic captures clear audio, and a built-in fan prevents overheating during extended capture sessions. It's a competent camera for video, but not as impressive as lesser-priced alternatives. The Canon EOS R50 V ($949 with 14-30mm lens) mirrorless is more versatile for both stills and movies, and the DJI Osmo Pocket 3 ($799.99) beats the V1 for stabilization thanks to its integrated gimbal; both earn our Editors' Choice award for vlogging.

Design: A Wide-Angle Lens Makes Sense for Digitally Stabilized Video

The V1 looks like a boxy, slightly oversized point-and-shoot camera. At 2.7 by 4.7 by 2.1 inches (HWD) and 13.4 ounces, it fits in a jacket pocket but is too large to fit into a pants side pocket. The body is thicker than most stills-focused compacts because it makes room for an in-body fan, which keeps its sensor cool when recording long-form video clips. It's nearly as large as the interchangeable lens EOS R50 V (3.4 by 4.6 by 2.7 inches, 13.1 ounces without a lens), and dwarfs pocketable vlogging cameras like the Sony ZV-1 Mark II (2.4 by 4.2 by 1.8 inches, 10.3 ounces).

(Credit: Jim Fisher)

I like the form factor for capturing stills, but it's less comfortable to use for video, at least when handholding. It's too easy to jostle the camera when adjusting settings. I expect many content creators will pair the V1 with Canon's Tripod Grip HG-100TBR ($149.99), which serves as both a handheld grip and a tabletop tripod, and includes a removable Bluetooth remote control. I didn't get to try the Tripod Grip, but adding it to the V1 will no doubt make handheld video capture more comfortable. Still, it's not as elegantly executed as the DJI Osmo Pocket 3. DJI mounts a small camera onto a pistol-grip-style body and includes a set of tripod feet that snap onto the bottom. That form factor and its incredible gimbal stabilization have proven to be a smash hit, as the Pocket 3 is the preferred camera for many content creators.

Canon uses an uncommon sensor size for the V1, a Type 1.4 chip. It's about the same size as the Micro Four Thirds (MFT) chip inside the stills-oriented Leica D-Lux 8, but with a 3:2 aspect ratio instead of the 4:3 frame from which the MFT format takes its name. The V1 uses an 8.2-25.6mm F2.8-4.5 zoom lens, which captures about a 16-50mm full-frame equivalent angle of view, an ultra-wide to standard range. The ultra-wide starting point is a bit too extreme for most scenes, so for the most part, you'll be zooming in for snapshots. Moreover, it's a little short for portraits—there's a reason that a 24-70mm range is the de facto standard for everyday photography. At 16mm you'll either get too much in view, or have to get so close to a subject that you see perspective distortion.

(Credit: Jim Fisher)

The Sony ZV-1 Mark II captures a similar angle of view (18-50mm) but doesn't have optical image stabilization (IS), and instead relies entirely on digital IS to smooth out footage, a feature that crops into the frame in order to work. The V1's lens is optically stabilized, but for the best results, you'll want to enable its digital IS as well. It also crops into the frame and offers two levels of correction, with the more effective Enhanced mode cutting out more of the picture than the standard mode.

A representative from Canon declined to disclose quantitative figures for the crops, citing confidentiality, but to my eye, the standard IS is approximately 1.2x and the Enhanced is around 1.4x. Practically, this gives the lens a 20-22mm starting angle, allowing you to frame a head-and-shoulders shot at arm's length. The digital IS is available at 4K24 and 4K30, but not at 4K60. That's likely because the V1 crops in to use only a portion of its sensor for 4K60; the widest angle of view available at 4K60 is roughly 22mm, which is again an estimate on my part.

(Credit: Jim Fisher)

Vertical video is an important feature for social media platforms. The V1 adds metadata to vertical clips so they show up properly in your editing software (though it's turned off by default, and you need to find a deeply hidden menu setting to enable it), but it does not rotate the on-screen interface when you hold or mount the camera vertically. It also has only one tripod thread, located at the bottom, which is a disappointment because the Canon EOS R50 V features two tripod threads: one on its bottom plate for 16:9 video and one on its right side for vertical mounting for 9:16 capture.

Controls: Not Quite Ideal for Video

The V1's controls are typical for Canon—if you've used an advanced-level PowerShot camera or EOS SLR or mirrorless previously, you know the drill. The top plate includes a shutter release for stills, a lever to adjust the zoom lens, a Record button for movies, a Mode dial, a toggle switch to change between photo and video capture, and an On/Off button. They're all easy to access and adjust, with the exception of the On/Off button, which can be obscured by the included fuzzy windscreen.

(Credit: Jim Fisher)

The rear has four buttons (Exposure Lock (*), M-Fn, Play, and Menu) that surround a flat command dial. The dial spins freely and includes directional press functions (EV/Delete, Self-Timer/Drive, Info, AF/MF), and it also serves as a menu navigation tool. The Q/Set button is at its center; it launches the on-screen quick menu and works as an enter/OK for menus.

Finally, the ring around the lens defaults to setting aperture or shutter speed (depending on the capture mode). I opted to remap it to work as EV compensation, and doing so moves aperture/shutter control to the rear dial in most capture modes. The exception is Manual, in which the two rings are locked into aperture and shutter control, but are swappable (that is, you can set the lens ring to either shutter or aperture, while the rear dial takes on the other function). It's a little convoluted compared with cameras that have two dedicated exposure dials or a dedicated EV dial, but it gets the job done.

(Credit: Jim Fisher)

The on-screen interface works as a supplement to the physical controls. If you opt not to remap a dial for direct EV adjustment, you'll set it by tapping on the screen and adjusting it. The interface also lets you set aperture, shutter speed, and ISO in this manner. The Q menu acts in the same way—press the Q button or tap on its icon and you'll see columns of options at the left and right of the screen for common settings, including focus area, drive, and subject recognition, as well as metering, file format, picture style, and other sundries. The screen also supports a touch shutter mode, which you can disable if you prefer not to use it. I ended up turning it off because I took too many pictures by accidentally tapping on the screen. I'm somewhat disappointed that the V1 doesn't have a tap-to-focus option, as I often want to move the focus point by touch without immediately snapping a picture.

I have mixed feelings about the V1's control scheme. On one hand, it's familiar and well-suited for photography. But the V1 is a better camera for video than it is for stills, and it would have made sense for Canon to use a video-tuned button layout that's more similar to the EOS R50 V. It's easier to adjust color profiles with the R50 V: A Record button on its front plate, and a Lock button to prevent you from inadvertently changing settings with a stray button press or tap.

Display: A Good-Looking Screen With Articulation

The V1's 3-inch, 1.04-million-dot display is absolutely typical for a digital camera. It's bright, shows good detail, and includes a single hinge for articulation. It swings out to the side and twists all the way forward, up, or down, allowing you to monitor the frame when self-recording or using a tripod set below eye level. A red border pops up on the screen when video is rolling. The V1 doesn't include an EVF or work with an add-on, but neither is expected in a compact camera.

(Credit: Jim Fisher)

Power and Connectivity: Ready to Stream

The V1 uses a familiar Canon battery, the LP-E17. It's the same power pack used by interchangeable lens models like the EOS R50 V and EOS R10, so creative pros who use multiple cameras may already have a couple of spares lying around. It delivers good battery life, a CIPA-rated 340 photos per charge, or around 70 minutes of continuous video recording. The V1 doesn't come with a charging cradle. Instead, you'll top off the battery using a USB-C cable. Spare batteries cost $89.99, and a compatible external charger is available for $81.99.

(Credit: Jim Fisher)

The LP-E17 has been around for years, and numerous third-party batteries and chargers are available for less. I normally recommend third-party batteries without reservation, but Canon places more restrictions on them than other manufacturers, so you may encounter some compatibility issues.

In addition to USB-C, the V1 has a pair of 3.5mm connectors for headphones and a microphone, a micro HDMI out, and a multi-function hot shoe. The shoe is a newer style without pins for legacy and third-party flashes, so you'll need to add the AD-E1 adapter ($45.99) for legacy and third-party flashes. I tried the adapter along with a Godox iT3Pro, and it works as expected.

The V1 is suitable to use for live streaming. Its USB port supports the UVC/UAC protocol and can stream at 1080p30. The USB-C connection charges the camera while streaming, so it's capable of streaming for extended time periods without worrying about the battery running out. Wireless streaming is also supported; simply connect the V1 to your home network to set it up.

(Credit: Jim Fisher)

You can also connect the camera to your smartphone. It features built-in Bluetooth and Wi-Fi, and works with the Canon CameraConnect app, available for free download on Android and iOS. The app supports wireless file transfers to your phone, live streaming, firmware updates, and can even use your phone's GPS to add location data to photos.

Autofocus: Subject Recognition for People and Pets

Canon has one of the best autofocus systems today, and it's on display in the V1. The camera uses a Dual Pixel CMOS AF phase detection system, which splits photosites into two halves to determine focus, the same type that powers high-end cameras like the EOS R5 Mark II. The V1 doesn't have all of the advanced subject recognition, but it focuses quickly and supports face and eye detection for people and pets.

(Credit: Jim Fisher)

The lens features an integral leaf shutter that can fire and sync with an external flash as quickly as 1/2,000 of a second, and supports 1/16,000-second exposure with its fully electronic shutter. I clock its fastest dive speed as 14.6fps with the mechanical shutter and AI Servo (continuous) focus drive, while it can go up to 30fps with the fully electronic shutter. I managed 40 Raw+JPG shots with the latter, with a reasonable 4.5-second lag to write them all to a memory card. The V1 has a single UHS-II SDXC card slot, and I tested the camera with a Sony Tough with a maximum 299MBps speed rating.

Imaging: A Fresh Image Sensor Delivers Solid Results

The V1 is the first camera to use Canon's Type 1.4 format 22MP CMOS image sensor, though I don't expect it to be the last—most companies use a sensor and image processing platform in more than one camera model. I'm impressed with the sensor, as it supports a wide ISO range (100-25600), and shows excellent detail, color reproduction, and noise suppression from ISO 100-1600. Picture quality takes a step back in the ISO 3200-6400 range—photos still look good on screens, but close examination shows a loss of contrast and smudged detail. Noise is more of a problem at the top end of the range (ISO 12800-25600), and noise reduction wipes away all fine detail in this range, giving pictures a waxy look. This is in line with sensors with a similar surface area and pixel count; I see very similar results with the 25MP Micro Four Thirds Panasonic Lumix G9 II.

(Credit: Jim Fisher)

The V1 supports several different image formats: 8-bit JPG for easy sharing, 10-bit HEIF for delivery to HDR displays, and 14-bit Raw (which reduces to 12-bit when using the electronic shutter) for the most editing flexibility. It includes a basic set of color profiles for photos—Standard, Landscape, Portrait, Fine Detail, Neutral, Faithful, and Monochrome—as well as an Auto mode and a few customizable slots that use any of the built-in options as a starting point. You can't use the stylized video color profiles (see the next section for details) for photos, though.

(Credit: Jim Fisher)

With JPGs and HEIF photos, you'll need to be careful to get your exposure right in the camera, while the Raw format gives you some room to adjust exposure and color, so you can save a picture that's over- or underexposed, or adjust shadow and highlight detail for scenes with mixed light levels. The flip side is that you'll need to use software to process and share Raw photos—I use Adobe Lightroom Classic to process images for PCMag reviews, but Apple Photos, Capture One, and Skylum Luminar Neo are also good options.

(Credit: Jim Fisher)

The lens delivers sharp results overall. Imatest results are in the excellent range (2,700-2,900 lines) when shot at f/2.8-5.6, and drop off slightly at f/8-11 (2,000-2,400 lines) due to optical diffraction. When zoomed in a bit, the lens delivers pretty consistent results from center to edge, but at 16mm, I see blurry results and heavy chromatic aberration (false color) in the corners when used wide open, so it's a good idea to use an f/5.6 aperture when taking wide landscape or cityscape scenes.

(Credit: Jim Fisher)

I see quite a bit of flare when taking images into the sun. If the sun hits the lens directly or from a steep angle, you'll see false color—most often a translucent green or purple orb—in photos and video. Canon doesn't make a lens hood for the V1, so it's worthwhile to shield the lens with your hand to block light coming in from a steep angle, or adjust your angle of approach to avoid the effect.

(Credit: Jim Fisher)

Video: 4K Recording With Stylized Color Profiles

The V1 is a video-first camera, and I'm pretty happy with the footage it captures. It records 16:9 or 9:16 aspect 4K30 using the full width of the image sensor and optical stabilization, and adds digital stabilization with a cropped-in view, resulting in handheld footage that's smooth without evidence of jittery shake, albeit with a reduced angle of view.

The crop could be a sticking point for some cameras, but since the lens starts at such a wide angle, it's not really a problem—as mentioned, I can easily frame a head-and-shoulders selfie with Enhanced Digital IS enabled. The camera also records at optically stabilized 4K60 with a similar crop effect. Digital stabilization is not available at 4K60. I see some back-and-forth sway when using just optical stabilization, which is nearly eliminated when using the Enhanced Digital IS. It's not as steady as you get with a tripod or powered gimbal. If you want to achieve the floating Steadicam look, consider pairing the V1 with a DJI RS 4 Mini, or opt for the DJI Osmo Pocket 3 instead. The Osmo's built-in gimbal uses brushless motors to keep the lens steady, and supports electronic pan and tilt movement.

Video is encoded with H.264 compression and 8-bit color sampling when using one of the ready-to-share color profiles. There are more than a dozen looks, including the Story Teal & Orange that I used for most of my test clips, as well as others with Amber, Green, Blue, Magenta, Cool, Warm, and Sepia looks. If you want to add a moody tone to your video, they're a good choice; alternatively, you can simply use a standard color look if you prefer.

(Credit: Jim Fisher)

Expert-level users may prefer the flat C-Log3 profile instead. It compresses video using 10-bit HEVC, giving it twice as much room for color correction and edits to exposure when compared with the other modes. You'll need to know what you're doing if you want to use C-Log3, though—the profile has low color saturation and contrast, which provides a neutral starting point for colorists to apply a creative look, but appears dull and lifeless without editing.

The built-in microphone is quite good. It has three capsules for audio pickup and records clear, rich sound. It is omnidirectional, however, so it picks up ambient sound from the environment, which can distract from the video if you're in a noisy location. If you want to isolate your voice for location shoots, you'll want to switch to a lavalier mic. The DJI Mic Mini is our top-rated option, and I recommend opting for a good studio mic if you're podcasting. I exclusively used the built-in mic with the included windscreen attached for this review.

(Credit: Jim Fisher)