DJI Osmo Pocket 4P: One-minute review

The Pocket 4P marks a big moment in DJI’s hugely popular series of compact vlogging cameras, being the first model with two lenses, even if Insta360 stole its thunder with the Luna Ultra, which it released in June.

I’ve already reviewed the single-lens Pocket 4, and it’s a brilliant handheld 4K camera. The ‘P’ version is largely identical but for its dual-lens array and a ‘refined’ 1-inch sensor that's equipped with LOFIC tech, plus a new D-Log 2 color profile.

For the most part, you can discover all you need to know about the Pocket 4P's design and performance in my Pocket 4 review. In this write-up, I'll focus on the new features of the bulkier model, and the real difference they make.

And I can say this right now: now that I’ve tried the Pocket 4P, it’ll be hard for me to return to single-lens models like the Pocket 4. That additional 3x telephoto lens unleashes a wide variety of shooting options to complement the highly capable ultra-wide main camera. On-the-go sequences with DJI's superb subject tracking in play, for example, can be particularly dynamic. It really is like having two cameras in one tiny device.

That being said, there is an inevitable design compromise: twin lenses make for a bulkier camera unit, with inexplicably no protective housing currently available, and a top-heavy design. If you already own a Pocket, and are wondering if the new Pocket 4P is worth it, or if it’s worth jumping ship from DJI to the Insta360 Luna Ultra, check out my Pocket 4 vs Luna Ultra article.

For me, the first-generation Luna Ultra is a compelling alternative with its 8K video and detachable module, but I can also tell that the Pocket 4P is a fourth-generation product — it feels more polished overall. It has neat accessories of its own, too, such as the magnetic fill light and remote module. As such, DJI's dual-lens Pocket 4P is now my top compact vlogging-camera pick.

DJI Osmo Pocket 4P: price and release date

• Announced on May 14 2026 at Cannes Film Festival, available from July 30
• Available in black or white versions, priced from £529 / AU$959. No US availability at launch
• Variety of bundles available, including a Vlog Combo kit for £605 / AU$1,099

Despite essentially having no competition in markets such as drones and, previously, gimbal vlogging cameras, DJI has always priced its products competitively. It usually undercuts rivals where actual alternatives exist, too, such as GoPro and Insta360 action cameras.

Insta360 outright said it wasn’t going to compete on price, but rather on features when speaking about its Luna Ultra, and that has turned out to be the case. Where the Luna Ultra starts at $770 / £650 / AU$1,230, the Pocket 4P comes in at £529 / AU$959 — though it's not available in the US at launch. Meanwhile, the single-lens Pocket 4 costs from £429 / AU$749.

Considering that the Pocket 4P has the extra camera with its own sensor, that price increase over the Pocket 4 feels completely justified, and in my book the Pocket 4P is excellent value, especially when you consider the quality of the 4K video footage it's able to produce.

The Pocket 4P is available in Black or White versions, and there are bundles available. The Vlog Combo, for example, includes the DJI Mic 2 Mini wireless mic, remote controller, fill light, tripod stand and tripod grip, and costs £605 / AU$1,099 — that's the bundle I'd go for.

• Price score: 5/5

DJI Osmo Pocket 4P: specs

DJI Osmo Pocket 4P: Design

• Dual 20mm f/2.0 and 60mm f/1.8 lenses
• Otherwise the same design as the Pocket 4, with rotating screen and gimbal-mounted camera
• USB-C charging and 107GB of internal storage in addition to micro SD

Save for the bulkier dual-camera system and a total weight of 8.1oz / 230g, the Pocket 4P’s design is identical to the Pocket 4; it’s extremely compact, features a 2-inch touchscreen which rotates 90 degrees between vertical and horizontal formats, and a customizable five-button array, with a joystick that controls gimbal movement or zoom.

The extra two buttons, revealed when the screen is rotated to horizontal, help speed up access to various settings. For example, the C button can be assigned for direct access to two custom profiles — handy if you regularly switch between, say, color settings such as D-Log and shooting modes such as slow motion.

It certainly pays dividends to spend time customizing the camera to suit how you use it, so that you’re not fussing with settings when you're out and about.

For me, the single-lens Pocket 4 feels perfectly balanced, and it’s notably smaller than Insta360’s Luna cameras. The 4P, however, somewhat sacrifices that advantage on the alter of dual-camera versatility — it’s a little top-heavy, and I found it more comfortable to use with a tripod grip and mini tripod attached. The Luna Ultra feels more balanced because its handle is bulkier (see the Pocket 4 / 4P / Luna Ultra comparison photos, below).

Gimbal movement still feels smooth, and the shots steady and smooth, despite the extra weight of the cameras.

At launch there's no hard-shell protective case for the Pocket 4P, as there is for the Pocket 3, nor a slimline gimbal protector, like you get with the Pocket 4. This means the bulkier camera module remains somewhat unprotected, which is something DJI needs to be rectify ASAP.

There are also no dedicated ND filter kits from DJI at launch, though I fully expect that situation to change very soon through third parties (it might even have done so by the time you read this).

As with the Pocket 4, there’s the fill-light accessory, which attaches magnetically to the gimbal’s arm and is powered by the camera, and which lets you choose between three brightness levels and three color temperatures.

The light won’t make much of a difference to your images in bright daylight, but in low light and for indoors, it’s game changing for vlogging. I found the warm setting at the medium brightness level was a sweet spot for the times I wanted to use the light.

Then there’s the tiny remote control, borrowed from the Osmo Mobile 8P. This easily connects to the Pocket 4P over Bluetooth, and can be used to remotely view and control the camera. It’s a neat answer to Insta360’s modular controller in its Luna cameras, though the DJI module doesn’t feature a built-in mic, as Insta360’s does.

For occasions when you're taking hands-free shots with the Pocket 4P rested on a surface or support, the remote controller is super-handy. The controls are slightly stripped back versus the camera’s control layout, but the key controls, such as touch subject-tracking, record, and gimbal movement / zoom are there.

• Design score: 4.5/5

DJI Osmo Pocket 4: Performance

• Improved subject tracking
• 107GB of built-in memory added
• Higher-capacity battery extends record times

A major feature in Pocket cameras is subject-tracking autofocus. You really don’t want to be messing around moving the gimbal manually with the joystick, which can be fiddly and jerky. Thankfully, subject tracking, the latest version of which DJI calls ‘ActiveTrack 7.0’, is super-reliable — you double-tap on the subject, and the camera does the rest. For me, it performs slightly better than Insta360 Luna’s tracking, even if it does at times feel like its ‘keeping up’ with fast-moving subjects rather than keeping them central.

Battery life is solid, though you will notice it drop quicker with certain modes, such as 4K 60fps video recording, hyperlapse, and slow-motion 240fps. The camera also gets pretty warm pretty quickly when using these modes, though I’ve not had it overheat and shut down during my testing.

With compact vlogging cameras such as the Pocket series, the battery is non-removable, so you are relying on that USB-C rechargeable internal unit. I found myself conscious of having to charge the camera on heavy use days — that’s life with a Pocket. There is, however, an optional battery grip available to extend shot life.

In addition to a microSD card slot, DJI includes a generous 107GB of built-in storage. That’s enough for a lot of 4K clips, even when utilizing the maximum 200Mbps bit rate.

Recording internally, you'll need to transfer files either over Wi-Fi or wired USB-C. Thankfully, there’s next-gen Wi-Fi 6 and USB 3.1 support on board, delivering fast transfer speeds and making for an efficient workflow on the move.

As with other Pockets, the 4P can get a little warm when you're using its more power-hungry features, such as 4K 60fps and hyperlapse. I've not had any overheating issues to the point where the camera shuts down, but I was aware of the camera warming up while holding it.

• Performance score: 5/5

DJI Osmo Pocket 4: Image and video quality

• 1-inch sensor ultra-wide camera, and a new 3x telephoto, up to 12x zoom
• D-Log2 profile with up 17EV dynamic range
• Low-light further boosts the improved 14 stops dynamic range

There is one minor difference between the Pocket 4P and Pocket 4’s ultra-wide 20mm f/2.0 camera: the ‘refined’ 1-inch sensor, which unleashes a new log color profile, D-Log 2.

DJI says the refined sensor features LOFIC tech — which in simple terms is like super HDR, only it works in real time, which differs to HDR. I first came across the term LOFIC when reviewing the Oppo Find X9 Ultra phone.

The fruit of LOFIC and D-Log 2 is an expanded 17 stops of dynamic range, while the regular Log profile has around 14 stops. D-Log 2 is only available with the ultra-wide camera because it’s linked to the sensor tech, whereas the new 3x telephoto camera uses a separate 1/1.28-inch sensor.

D-Log 2 also isn’t available in every shooting mode, such as Slow Motion 240fps, although like the Pocket 4, that 10x slo-mo is available in 4K, or up to 200fps when using the 3x telephoto camera.

I’ve shot the same clips in D-Log 2, D-Log and ‘Normal’ color profiles (all 10-bit) to make quality comparisons, especially regarding dynamic range, and to see how easy it is to grade the footage for a consistent look. I’ve also shot using some of the built-in color profiles, such as ‘NC film’ and ‘Movie’.

The level of detail that the Pocket 4P is able to hold, especially in D-Log 2, is majorly impressive, especially for such a small and affordable camera. For me, outright 4K image quality is where DJI has the edge over Insta360, and most leading smartphones.

Is D-Log2 enough reason to upgrade from the Pocket 4? Not for me, but there is a more compelling reason: the second camera. The 60mm f/1.8 telephoto optic is essentially a 3x portrait lens, with a pleasant shallow depth of field for upper-body vlogging and shooting closeup details. It’s limited to D-Log or Normal color profiles, but the overall quality is really, really nice, and the footage gives a totally different perspective to the ultra-wide camera's.

Where that 3x lens really shines is when it’s coupled with some of the Pocket 4P’s major features, such as active tracking. With the tighter perspective, creative camera movements tracking a subject on the move can look particularly dynamic, especially where there are other objects in the foreground.

The zoom capabilities are further extended — where the Pocket 4 was limited to a 2x lossless zoom and 4x digital zoom, the Pocket 4P again has the 2x lossless zoom with the ultra-wide lens, plus 6x lossless with the telephoto lens and up to a 12x digital zoom.

The quality of that 12x zoom is okay at a pinch, but if quality is your main concern, I wouldn’t go beyond the 6x setting.

I don’t like the way the heavier dual-camera setup impacts how the camera feels in the hand, but it’s a game-changing feature for this type of camera, and for me it now feels impossible to return to the single-lens format.

The Luna Ultra goes one step further for resolution, with 8K video recording. Personally, I’m happy with a camera that is limited to 4K recording, but whose quality at this resolution, especially regarding dynamic range and color, is more pleasing on the eye. That's the Pocket 4P.

• Image and video quality score: 5/5

DJI Osmo Pocket 4P: testing scorecard

Should I buy the DJI Osmo Pocket 4P?

Buy it if...

Don't buy it if...

DJI Osmo Pocket 4P: also consider

How I tested the DJI Osmo Pocket 4P

• DJI loaned me the Pocket 4P Vlog Combo kit for a couple of months ahead of the July 30 release
• I shot plenty of 4K footage with the various color profiles, and used the various accessories
• I compared it to the single-lens Pocket 4 and dual-lens Insta360 Luna Ultra

I used the DJI Pocket 4P for almost two months ahead of my review embargo, during which time I regularly shot 4K video using the 20mm and 60mm lenses, the various frame rates up to 240fps, and the range of color profiles, including the new D-Log2. I tried the various shooting modes too, such as hyperlapse, and took photos in the regular and SuperPhoto modes.

In the Vlog Combo kit was a DJI Mini 2 Mini, remote module and fill light, and I tested both those accessories. I generally recorded onto the camera's internal memory, transferred files through USB-C and checked transfer times, ran the camera battery down, and checked recharge times using the supplied USB-C cable.

During my review period I also had the Pocket 4, enabling me to assess the key differences between the single- and dual-lens models. I also had the rival Insta360 Luna Ultra, again allowing me to make direct comparisons.

• First reviewed: July 2026
• Read more about how we test

• New Sony FX5 is the successor to the FX3 compact cinema camera
• A raft of upgrades include a new sensor, processor, battery and open gate recording
• Pricing starts at £4,700 / AU$7,849 and availability is from August

The industry's most popular compact cinema camera, the Sony FX3 from 2021, just got a huge upgrade. And having shot multiple productions with this very camera, I can tell you now that its successor, the new FX5, is going to be a big hit.

Last year I drafted in a pro filmmaker who I've worked with on many shoots to share the 5 upgrades he most wanted to see in a FX3 mark II, a camera that we now know is actually called the FX5, and almost every one of his wishes has been granted — and there are other improvements too.

Sony has finally included open gate video recording for the first time, meaning users can take advantage of the full height and width of the all-new 16.6MP stacked full-frame sensor's 3:2 aspect ratio, rather than being restricted to 16:9 or narrower like before.

That new sensor brings a welcome resolution increase from the FX3's 12MP, and open gate bumps up video resolution from 4K to 5K. Frame rates have been upped to 120fps in 5K and up to 240fps in 4K, too, so slow-motion recording is well catered for.

There's now internal 16-bit RAW recording, meaning no external monitor is needed for this high-quality format, plus a triple-base ISO, and A7R VI-grade in-body image stabilization.

In fact, every major feature has been upgraded from the FX3. We also get the same Bionz XR2 twin processor and AI chip as the new Sony A7R VI, which delivers enhanced subject-tracking autofocus, and what Sony says is better low-light performance.

The FX5's form factor is largely similar to the FX3, and at 750g it's only 35g heavier. There are still multiple on-body mounting points and custom buttons, but there's now a chunkier handgrip which houses Sony's latest and higher-capacity NP-SA100 battery, which was introduced in the A7R VI and increases battery life by approximately 30% for approximately 170 minutes of 5K recording.

The FX5 also inherits the same video-only UI as Sony's high-end cinema cameras, the Venice, Burano and FX6, and gets several design tweaks, including a multi-function dial as on the Venice, as well as a multi selector (joystick) and a tally lamp.

False color, waveform, vector and focus map video monitoring tools have all been added — which is a first for a Sony camera at this level — in addition to the existing histogram, zebra, and peaking tools.

Sounds amazing, so what's the catch?

It's not all good news, mind you. The FX5's dual card slots are still designed to take SD and Sony's exclusive CFexpress Type A cards, rather than Type B. A word of warning here: if you don't already own some Type A cards, they cost a bomb.

And on the note of cost, prices for the video-only FX5 start at £4,700 / AU$7,849. That's the body-only price, while the bundle with the new top handle costs £5,200 / AU$8,849 (available separately for £780 / AU$1,099). I'll update this page with US pricing once I have it.

I expect most folks ready to splash the cash on the FX5 will opt for the handle bundle, withwhich they will gain 32-bit float audio recording.

There's also a new 7.07m-dot tilt OLED viewfinder, which looks particularly neat, even if it costs £650 / AU$999 and can't be used at the same time as the top handle, despite having its own port alongside the hotshoe.

The camera and accessories will be available from August, with the option to (irreversibly) disable in-body image stabilization ahead of purchase.

Not all of the aforementioned FX5 features will be ready to go, either. Sony says the following will only be available after a V2 firmware update: 4K240p, 5K120p, vertical UI, screen-grab function and Open Gate in XAVC codec. The timing of this firmware update is TBC.

Still, I expect the Sony FX5 to become a mainstay across low-budget productions. It delivers all of the upgrades that FX3 users wanted and more, and I can't wait to test it out on set.

• Report claims Sony FX3 cinema camera replacement is launching later this month
• FX5 will come with an all-new sensor offering a much-needed upgrade
• Optional EVF add-on set to arrive alongside the camera

It's been over five years since Sony launched the FX3, and in that time it's become one of the most beloved small cinema cameras around. But it's always had one gap that pro filmmakers have grumbled about: no open gate recording.

According to a new report from SonyAlphaRumors, that's about to change. A story on the site says Sony will officially announce the FX5 on July 22 at 3pm BST, and among the leaked specs is Open Gate 5K recording in a 3:2 aspect ratio.

If you're not familiar with the term, open gate simply means the camera records using the entire surface of the sensor, rather than cropping it down to the standard 16:9. That extra height in particular gives editors far more room to reframe, punch in or repurpose the same shot for square, vertical, or widescreen content in post. That can be a huge deal for anyone making videos for multiple platforms from a single shoot.

It's exactly what TechRadar's Pete Sheath asked for back in 2025, alongside an increase in resolution, when he wrote up his wish list for a next-generation FX3.

That resolution bump is also rumored to be arriving in the FX5, in the form of a new 16.6MP fully stacked sensor. On the surface, 16MP might look modest for a 2026 cinema camera. But for a camera built around motion rather than stills, a lower pixel count may work in the FX5's favor: it can mean better dynamic range, cleaner low-light performance, and space for punchier frame rate options (don't be shocked if 4K at 240fps ends up on the spec sheet).

The trade-off is that 8K recording seems to be off the table, which will likely disappoint anyone hoping the FX5 would leapfrog into that territory.

Room for a view

There's also good news for anyone who's missed having a viewfinder on Sony's FX-series cameras. The report points to a new external tilting EVF, which should make a real difference for shooters working outdoors in bright sun or in dim, light-sensitive spaces like concerts and theaters, where a glowing rear screen isn't always welcome. It sounds optional rather than built-in, which may be the best of both worlds: skip it and keep the FX5 almost as compact as the FX3, or clip it on when you need it.

Other rumored additions include the BIONZ XR2 processor with AI autofocus (borrowed from the Sony A7R VI), a triple base ISO system, false color exposure tools, and a Venice-style menu overhaul.

Nothing is official yet, and Sony hasn't confirmed a single spec. But if the leak proves to be accurate, the Sony FX5 looks set to answer several of the loudest requests from the FX3 faithful in one go. We should know for certain in a couple of weeks.

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The DJI Osmo Pocket 4P was fully revealed on the China page of DJI's website earlier this month, and I've already taken my test sample traveling, but tech journalists like me across the globe are in an awkward position, still being under embargo with our review content.

What I can tell you now, is that the Pocket 4P is available in black or white, has a new 60mm medium-telephoto lens with a large aperture, offers DLog2 support and up to 17-stops dynamic range. The rest is under wraps, or publicly available on the DJI site by selecting the China region (中国大陆).

I can, however, share some of the footage that I've shot with DJI's first dual-lens model in its hugely popular series of Pocket vlogging cameras. I'll say it now — I love its versatility and am really impressed with the videos I have been able to create with it.

Duel of the dual lens cameras

DJI must have been hoping for a dramatic reveal of its first dual-lens vlogging camera, only for Insta360 to somewhat steal its thunder by launching the Luna Ultra first. I've already tested the Luna Ultra and said it's a super impressive first generation product.

That's the competition the Pocket 4P is going up against, and I look forward to sharing my comparisons between the two models soon. Until then, you can enjoy my Pocket 4P sample reel, above.

Like I say, I can't reveal any specs related to the video, though at the least it should be pretty obvious which clips are shot with the ultra-wide lens, and which clips are shot with the new 60mm medium-telephoto lens.

We can get a rough ballpark on pricing, too. According the DJI site, the Pocket 4P Standard kit costs CNY 3,799 (about $562 / £420), and the Vlog kit is listed at CNY 4,299 (about $636 / £475).

The single-lens Pocket 4 starts at £429 / AU$749 for the Standard kit, or £549 / AU$959 for the Creator Combo, however, so I expect the Pocket 4P to cost more than those price conversions above.

Insta360's co-founder already told me it 'won't compete on price' — it's Luna Ultra starts at $769.99 / £649 / AU$1,229.99. My prediction, therefore, is that the Pocket 4P will sit roughly in the middle between the Pocket 4 and Luna Ultra, but don't expect US availability any time soon.

I'll be bringing you my full review when I'm permitted to.

In a product crossover nobody expected, the Philippines-based brand Goojodoq has launched a 2-in-1 DJI Pocket-style vlogging camera with a fan, which costs around $25 / £20.

It's a device that I seriously need right now, and I can thank filmmaker Philip Bloom for bringing it to my attention. Not for its camera skills, mind you, but for its cooling properties — it's super hot in the UK as I write. Like, scorching hot.

As a fan, the device looks decent enough; a 100-speed brushless motor, 2,500mAh battery for a run time between 2-10 hours, plus USB-C charging.

I can't seriously recommend the device as a camera, however. Details are sparse, but it looks like there's Full HD 30p video recording, micro SD storage, a gimbal with 180-degree rotation, plus a 1.3-inch display.

And you can only laugh at the idea of using both camera and fan at the same time. Can you imagine it? Lights... camera... hummmmm.

Still, it's not like it's a pricey product, with the Philippine Peso pricing conversion working out at around $25 / £20.

• Browse the full Amazon Prime Day sale

If you're looking for a proper compact vlogging camera, I recommend you check out the DJI Osmo Pocket 3. It has recently been updated with the Pocket 4, but the older model is equally good in many regards, and it now costs much less in the Prime Day sales. I've included the best Pocket 3 deals below.

And if you're on the lookout for a decent quality fan, we're covering the best ways to stay cool in our beat the heat live blog. For all other deals, check out our Amazon Prime Day coverage.

Today's best DJI Osmo Pocket 3 deal

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: sign up for a 30-day free trial
• Amazon Devices: Fire TV, Ring & Blink from £24.99
• Amazon Haul: up to 30% off
• Apple: AirPods Pro 3 for a record-low price
• Appliances: up to 45% off Ninja, Tefal & Sage
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from under £10
• Fashion: up to 50% off
• Headphones: up to 50% off
• Laptops: from £149.99
• Tablets: Samsung & Lenovo from £125
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Eufy & Roborock
• Wearables: Garmin & Huawei from £36.99

Insta360 Luna Ultra: One-minute review

Despite being Insta360’s first vlogging camera with multiple Insta360 firsts, the Luna Ultra, overall, feels like a polished and bold product. Its triple chipset ably supports powerful features — especially the gimbal-stabilized 8K 30p video with 10-bit color depth and 4K 120p slow motion video recording, Log color profile, autonomous subject tracking autofocus and 32-bit float audio.

With dual 20mm f/1.8 and 60mm f/2.0 lenses, each with its own sensor, you truly are getting two cameras in one. And having enjoyed the Luna's ultra-wide and impressive 3x telephoto versatility for a month, it will be hard for me to go back to a single-lens compact vlogging camera.

The detachable remote module — which features the two-inch OLED touchscreen, main camera controls and built-in microphone — has, understandably, won many admirers. It's such a clever and well-implemented design feature that truly enhances the user experience, especially for solo vlogging.

Initially I had a few minor niggles navigating various camera settings, and it certainly paid dividends to spend time customizing the Luna Ultra to the way I like to shoot. It's also notably bulkier than DJI's Pocket 4 vlogging cameras, and pricier than single-lens alternatives.

Despite its infancy in this space, Insta360 has to its credit already produced crucial supporting accessories — including tripod and battery grips, plus the Insta360 Mic Pro wireless mic for top quality audio — meaning you can stick within the Insta360 ecosystem and enjoying the best possible user experience and compatibility, including full Bluetooth support.

Yes, DJI has been in the compact vlogging camera space for much longer and has refined its Pocket series with every iteration, but the Luna Ultra enters with a bang and is an impressive alternative.

Insta360 Luna Ultra: price and release date

• Full release on June 12 2026
• Available in black or white with prices starting at $769.99 / £649 / AU$1,229.99
• Multiple bundles to choose from, including the Creator Bundle

"We're not going to compete on price" is what Insta360's co-founder Max Richter told me at a pre-launch event for the Luna Ultra, the company's first vlogging camera and DJI Osmo Pocket series rival.

And the Luna Ultra is much pricier than previous Pocket cameras. However, those were single-lens models and, like DJI's most recent Pockets, the single-lens Pocket 4 and dual-lens Pocket 4P, the Luna comes in two varieties: the single-lens Pro and the dual-lens Ultra.

Prices for the Ultra start at $769.99 / £649 / AU$1,229.99. That’s a fair whack more than the latest single-lens models, but you are truly getting two cameras in one device.

Insta360 sent me the Creator Bundle to review, which includes multiple extras such as the Mic Pro transmitter and battery grip and costs $969.99 / £829 / AU$1,549.99. I expect the dual-lens Osmo Pocket 4P to cost less than the Luna Ultra, but it won't be available in the US because of the DJI ban.

Both Luna models are available in black or white versions, and in a further variety of bundles that cater for various use cases; Standard, Essential, Endurance, VLOG, POV and Creator.

• Price score: 4/5

Insta360 Luna Ultra specs

Insta360 Luna Ultra: design

• First compact vlogging camera to land with dual lenses, ahead of the Pocket 4P
• Similar design cues to the DJI Pocket series (but a little larger), with stick-like form factor and camera supported by a three-axis gimbal
• Unique detachable controller which includes a two-inch OLED screen and built-in mic

The Luna Ultra’s form factor is familiar — it's a bit like the compact, stick-like design of DJI’s Pocket series. DJI isn’t happy about it, by the way; it has filed a lawsuit accusing Insta360 of patent violations (which Insta360 has responded to with a countersuit).

However, there are some key design differences. Lunas are slightly larger than Pocket models. Not majorly so, but the difference is clear when you hold them side by side as I did (albeit the dual-lens Ultra alongside the single-lens Pocket 4).

In practice, I didn’t really feel that the Luna’s extra weight and size negatively affected its handling — it’s easy in the hand for on-the-go vlogging. If you want the absolute smallest option, however, DJI is your best best. Even the dual-lens Pocket 4P is smaller.

There’s a good reason why the Luna cameras are bigger, and that’s for a super clever and unique feature: a detachable remote control, which is a module that packs the camera's main controls and rotatable two-inch OLED screen. Simply squeeze the red buttons on either side of the Luna, and the module pulls away from the body.

The module has a 20m transmission range and operates exactly the same way as if it’s on the camera, with the touch display offering a remote view, and the main camera controls on hand, including gimbal, zoom and record. Transmission range is impacted by the surroundings — I found the feed froze inside 15 meters when other people passed in front of me in a busy urban space — but I could see it happening on the screen in my hand and could rectify the situation.

What’s really neat is that the module has a built-in microphone, so you can easily check your frame and present to the camera. It’s certainly better than using the on-camera mic, though a wireless mic such as Insta360’s own Mic Pro with its customizable E Ink display is an even better pick for audiophiles. The camera has direct Bluetooth support for this mic and Insta360’s Mic Air. The video below gives an idea of what the module is like to use remotely.

I really appreciated how much easier it was to frame my shots with the controller module in hand. There’s also smart subject tracking and autofocus (more on this in the performance section), meaning the camera can track you as you move around, within the gimbal’s range, keeping you or your subject centered in the frame. Controlling the Luna using the module and tracking is like having your own cameraperson filming you, provided you can find a secure surface to rest the camera on or a support to fix it to.

On that note, the Luna Ultra can stand freely on flat surfaces, while the battery grip, which extends battery life plus the physical height of the camera, features tiny flip-out tripod feet for extra stability.

The battery grip is larger than the regular tripod grip and extends the battery life of the camera, which was already impressive being rated at up to four hours of 1080p filming. Not bad for a 1,550mAh unit that can be recharged to 80% in just 23 minutes.

At first I had a few niggles with the handling of the Luna Ultra from how it comes straight from the box. Beyond finding it physically clunkier than the Pocket 4, I needed to change various settings to taste, such as its behavior when rotating the two-inch touchscreen.

Overall, however, I can't find much fault with the Luna Ultra's design, which is seriously impressive for a first generation product.

• Design score: 4.5/5

Insta360 Luna Ultra: Performance

• Triple chipset, with 4nm and AI chips ensures smooth operation
• Smart subject tracking and autofocus, but it's not perfect
• Can get a little warm when using the most powerful features

The Luna Ultra is equipped with a triple chipset, comprising powerful 4nm and AI chips. As such, I never really experienced any performance issues, even shooting a lot of 8K video (though never for more than 10 minutes at a time).

The camera does get a little warm when using power-hungry features such as 8K video, and I did see a lag when switching from the 12x zoom back to 1x using the stepped zoom control on the touchscreen. However, those were my only issues.

In addition to regular 8K video, the Luna Ultra has a range of shooting modes, including; Slow Motion up to 240fps (in Full HD), Timelapse, TimeShift and Barrel Roll. I've included some slow motion clips in a sample video below.

Both Luna cameras accept a micro SD card up to 1TB, and include 47GB internal storage — less than DJI’s Osmo Pocket 4 / 4P, which have more than double the capacity. I shot plenty of video clips and photos directly onto the internal memory, and still had plenty of space left over — the maximum 120Mbps bitrates of video files are fairly low and don't take up too much memory.

And there’s plenty more for audiophiles, namely a decent wind guard for the camera’s internal four-mic array, plus 32-bit float audio. This pro-level setting avoids clipping, and is ideal for unpredictable and noisy environments, but for simpler audio edits, the 24-bit setting is probably your best bet.

The quality of the detachable module's built-in mic impressed me, though for the clearest pickup it's pretty fussy about how close you hold it and the angle it's pointed in.

Subject tracking is impressively sticky, though I did find that it switches to a new subject a little more easily than the DJI Pocket 4. In one situation, I was walking with the camera tracking me when other people came between me and the camera and tracking stopped.

In another scenario as I held a product up to the camera for it to focus on, the camera focused back on my face in the background all too keenly when I came back into view. In such a scenario, I think DJI's tracking performs better.

• Performance score: 4.5/5

Insta360 Luna Ultra: Image and video quality

• Dual 20mm f/1.8 (1-inch sensor) and 60mm f/2.0 (1/1.3-inch sensor) cameras are effectively like having a decent zoom
• 8K 30p and 4K 120p video with color grading-friendly I-Log profile — a first for Insta360
• 9MP photos are decent enough, especially in RAW format, and can be upped to 37MP in UltraPhoto mode

The Luna Ultra ups the ante in this camera category with 8K video — double the resolution of the Osmo Pocket 4, which shoots in 4K. It’ll shoot 8K up to 30fps, complete with Dolby Vision (aka HDR) and I-Log color profile.

This is the first Insta360 camera with Log, a flat color profile that pros like to use to maximize the color grading potential and for the most dynamic range possible from their camera, which in this case is up to 14 stops.

DJI has billed the Pocket 4P as having 17 stops dynamic range with its new D-Log2 profile — I look forward to comparing the footage of both cameras to see which is better once I have my hands on the Pocket. 4P.

Insta360 thinks its night mode is superior to DJI, with its PureVideo mode boosting dynamic range in 4K 60p videos. That’s another comparison test I’m looking forward to conducting. From the shots I've taken at night in this mode, detail looks impressively sharp, though of course no match for the quality of daytime footage.

Insta360’s Leica partnership goes beyond the Luna’s Leica-branded lenses and into various Leica color profiles. If you like the simplicity of attractive color profiles with no need for color correction, then the Luna has some great alternatives to Log.

I was impressed with the 3x telephoto camera — provided the subject isn't too far away, it's possible to throw depth of field for punchy portraits. I'm talking upper body shots with notable shallow depth of field.

The zoom of that lens can be further extended with a 6x 'lossless' zoom, a term that suggests you shouldn't notice a drop in image quality — I certainly didn't. I can't say the same for the 12x digital zoom setting, which looks a little more pixelated on close inspection. Still, that 12x zoom is a handy addition should you really need to zoom closer.

Honestly, having enjoyed the variety of two lenses in such a small camera, and how impressive the quality of the telephoto camera is (the sensor is bigger than the main sensor in most smartphones), I know I'll struggle if I have to go back to a single-lens compact vlogging camera.

Video is, of course, the primary use for the Luna Ultra, but it shoots decent-quality 9MP photos too, in JPEG and RAW format, albeit with just eight-bit color depth. I've included a couple of scenarios below, taking JPEG and RAW (DNG format) photos simultaneously at night and in daylight, with the 1x and 3x lenses.

I haven't edited the RAWs so you can see the kind of processing that takes place for JPEGs. All the photos are 9MP, but there is also an UltraPhoto mode which quadruples resolution to 37MP.

Insta360 Luna Ultra photo gallery

• Image and video quality score: 5/5

Insta360 Luna Ultra: testing scorecard

Should I buy the Insta360 Luna Ultra?

Buy it if...

Don't buy it if...

Insta360 Luna Ultra: also consider

How I tested the Insta360 Luna Ultra

• Insta360 supplied me with the Luna Ultra Creator Bundle, which includes 2x grips, Mic Pro transmitter, soft carry case and more
• I tested the camera regularly for a month shooting day and night, mainly focusing on video content. I've tried the monitor in various configurations
• I was testing the DJI Osmo Pocket 4 simultaneously, and could draw comparisons

I had early access to the Luna Ultra Creator Bundle ahead of its launch, and tested the kit out over the following weeks before writing this review. During this review period, I also had the single-lens DJI Osmo Pocket 4, meaning I was able to make comparisons.

The camera shoots decent still photos with RAW format editing flexibility, but my main focus video performance. I've shot horizontal and vertical vlogging-style videos in the various resolutions and frame rates available in each format, and experimented with various color profiles.

I've made sure to try out all of the accessories supplied to me and the various configurations of the detachable monitor. I've checked the camera and detachable monitor's audio quality, and how easily and reliable it pairs with an Insta360 Mic Pro wireless mic.

• First reviewed: June 2026
• Read more about how we test

DJI officially revealed the Osmo Pocket 4P yesterday — and the dual-lens, gimbal-stabilized vlogging camera looks formidable, thanks to its 1-inch main sensor, 3x telephoto secondary lens, 17 stops of dynamic range and 10-bit log color.

Unfortunately, it's also — for the foreseeable future — not going to be officially available in the US, thanks to DJI's ongoing FCC ban. And that's where the new Xtra Muse 2 Pro comes in.

With impeccable timing, this remarkably similar gimbal camera from US-registered brand Xtra has just had a fresh teaser reel arrive on Instagram, and the spec sheet (shared over at The New Camera) will look strangely familiar to anyone who's been following the Osmo Pocket 4P with interest.

A 1-inch CMOS sensor? Check. A second 3x telephoto lens? Check. A 10-bit X-Log 3 color profile, 17 stops of dynamic range and 103GB of built-in storage? Check, check and check.

We've seen this kind of thing before, both from Xtra Technology and SkyRover, two companies that sell products that bear remarkable similarities to DJI cameras and drones, but — unlike those actual DJI products — are freely available to buy in the USA.

As you can see from the embedded teaser above, the Xtra's Muse 2 Pro footage showcases a range of scenarios, including night and low-light performance. There's smooth gimbal movement, with clean detail and well-controlled noise.

It's a smart choice of showcase, particularly when it comes to the low-light scenes: after dark is where small sensors get exposed (so to speak), and the results look very impressive.

What else we know — and what we're waiting on

Beyond the specs from the teaser, the Muse 2 Pro is expected to feature a 3-axis mechanical gimbal, a rotatable touchscreen and ActiveTrack 7.0.

The original Xtra Muse (a dead ringer from the DJI Osmo Pocket 3) has gained Bluetooth support for DJI's Mic Mini and Mic 2 via a firmware update earlier this year — a useful sweetener for anyone already invested in DJI's microphone lineup. So we can expect similar microphone compatibility from the Muse 2 Pro.

If the Muse 2 Pro's real-world image quality can back up those spec sheet numbers, it's going to slot into a very interesting position in the US market. The Insta360 Luna Ultra has just launched there as a dual-lens rival, starting at $769.99 — and having tried it we can attest to it being a serious camera. But competition is good, and with DJI's appeal of its FCC ban still working its way through the courts, US creators are going to need options.

The Muse 2 Pro is shaping up to be a very well-timed one, and it seems likely that Xtra will be pushing for it to arrive this summer, perhaps as early as mid-July.

• DJI's Pocket 4P has been revealed in full on the China page of DJI's website
• It shares the core features of the Pocket 4, but adds a 3x telephoto camera
• There's no official word on global availability or pricing yet

We knew it was coming after a soft reveal at Cannes Film Festival last month, but now DJI has fully revealed its first dual-lens compact vlogging camera, the Osmo Pocket 4P.

You'll have to dig for the details, mind you — the Pocket 4P has only been announced in China, and for now, the full specs and features can only be found on the China page of the DJI site. You'll need to select the China region (中国大陆) to learn about the camera's core features, or you can stick with me here for the highlights and how it compares to the Osmo Pocket 4 and the Insta360 Luna Ultra dual-lens rival.

There's no official word yet on global pricing and availability, but based on recent DJI launches, I would expect a two-week wait before there's wider availability. Let's see how the Pocket 4P compares to the Pocket 4 and Insta360 Luna Ultra. For now, DJI's confirmed a starting price of CNY 3,799 for the Pocket 4P, which is about $562 / £420.

1. Lenses

The Pocket 4P's core design is the same as the Pocket 4, but with one major difference: the lenses. Where the Pocket 4 has a single ultra-wide 20mm f/2.0 lens, the Pocket 4P adds a second 3x telephoto lens.

The 3x lens is a 60mm f/1.8 optic, and it records onto a separate 1/1.28-inch sensor to the ultra-wide's refined 1-inch sensor. This is truly a dual-camera device with two distinct perspectives, and it's a design approach we've seen in the recent Insta360 Luna Ultra, which I'm still testing in depth as I write this article.

At first glance, the Pocket 4P and Luna Ultra's lenses are designed differently; the Pocket 4P's twin-lens array is vertically arranged, the Luna Ultra's is horizontal. I'm not sure of the reasoning for that, or what practical advantages each array has over the other.

Both Pocket 4P and Luna Ultra offer a 'lossless' 6x zoom from their telephoto cameras, plus a 12x digital zoom. I'll compare the DJI Osmo Pocket 4P and Insta360 Luna Ultra in real-world tests soon, but the specs look pretty similar:

2. Dynamic range and color

Almost all of the Osmo Pocket 4 and Pocket 4P specs are identical, but there is one area where DJI is pushing the pricier dual-lens model: dynamic range and color profiles.

The Pocket 4's dynamic range is rated up to 14 stops, whereas the Pocket 4P is billed as having a ludicrous-sounding 17 stops, which would beat the performance of high-end professional cameras. I don't have details on how the dynamic range is achieved or whether you need a specific mode to get it, but we'll find out soon enough.

One way could be DJI's new D-Log 2 color profile, which it says is an upgrade from the D-Log profile used in the Pocket 4.

And as for the Luna Ultra, it supposedly has a 14-stop dynamic range and an I-Log color profile. I-Log is Insta360's first Log profile, whereas DJI has iterated log profiles over multiple versions.

As far as which camera delivers the best-looking footage, we'll have to wait and see, but the shots on the Pocket 4P product page look stunning!

3. Design

You can think of the Pocket 4P as a Pocket 4 but with an extra camera, because otherwise the design of the two cameras is pretty much the same; they both feature a compact design, a rotating 2-inch touchscreen, which reveals two additional buttons when positioned horizontally.

They both utilize a 3-axis gimbal camera unit, which features a magnetic arm and contact points to which a neat LED light snaps onto, and is powered by the camera. I like the new slimline gimbal protector in the Pocket 4 models — it's much more compact than the hard shell case that came with the Pocket 3.

Of course, there are more design differences between the Pocket 4P and the Luna Ultra. The Pocket 4P is the slimmer and the slicker of the two, and it has additional buttons and that gimbal feature.

The Luna Ultra comes in a larger hard shell case and is overall clunkier, but it has a clever and well-implemented detachable control with 20m transmission range, which has gained much praise and is being touted as a reason to choose Insta360 over DJI. The control features the rotating 2-inch OLED touchscreen, key camera controls and a built-in mic.

I'll be returning soon with my in-depth Luna Ultra review and, no doubt, comparisons with the Pocket 4P once I've got the two cameras side by side.

Having already used the Luna Ultra for about a month, I can safely say that I'd struggle to return to a single-lens vlogging camera like the Pocket 4; these dual-lens models are so much more versatile, so stay tuned for more.

4. Pricing

• Pocket 4P Standard kit costs CNY 3,799 (about $562 / £420)
• Pocket 4P Vlog kit costs CNY 4,299 (about $636 / £475)

If those price conversions are remotely accurate to the actual price, then the Pocket 4P will be much cheaper than the Insta360 Luna Ultra. I think the actual price will be higher.

But of course, DJI is banned in the US, and so the Pocket 4P won't be available there for the foreseeable future, and so those US prices are a moot point.

The luna Ultra costs; $769.99 / £649 / AU$1,229.99 for the Standard Kit, while a Creator Bundle costs $969.99 / £829 / AU$1,549.99. The Pocket 4 starts at £429 / AU$749 or £549 / AU$959 for the Creator Combo.

• Insta360 launched the Luna Ultra 8K vlogging camera on June 10
• DJI filed a lawsuit on the same day, claiming Luna had copied its DJI Pocket 3, only for Insta360 to file countersuits two days later
• Because of the ongoing DJI ban in the US, Insta360 could enjoy unrivaled availability there

No sooner has Insta360 unveiled its first vlogging cameras, the Luna Ultra and (upcoming) Luna Pro — which look set to enjoy unrivaled access to the US market because of the DJI ban — than DJI has filed an Insta360 lawsuit in the US, claiming they "blatantly copy" its Pocket 3.

For years, DJI has enjoyed near total dominance in the compact vlogging camera market with its hugely popular Osmo Pocket series, but now it faces two very real challenges: access to the US market, and the first serious-rival product.

DJI's latest and best vlogging camera, the Pocket 4, was launched in April this year, but the polished Pocket 3 successor is yet to make it to the US, given that DJI is on the FCC's 'Covered list', which currently affects any DJI products with a camera, not just its drones. So it's unlikely to hit US stores any time soon.

Meanwhile, Insta360 Luna cameras have made quite the impression. Despite being a first-generation product, the Luna Ultra is polished, and features a neat modular design that DJI Pocket cameras lack — check out my first impressions of the Luna Ultra, which I've been testing at length.

Now DJI is going straight for the jugular with its lawsuit, demanding that Luna cameras are banned. I've tested both cameras, and the user experience is very similar, but the crux of the situation is whether or not Luna cameras actually violate design and utility patents, as DJI claims in its lawsuit.

Insta360 has now filed two countersuits against DJI, related to "patents covering technology used in gimbal and 360-degree cameras". In a statement provided to TechRadar, Insta360 also defended its Luna cameras, saying "Luna Ultra is the result of years of independent R&D, not a response to any competitor's product."

The DJI / Insta360 rivalry just went up a notch

I spoke with Insta360 co-founder Max Richter at a pre-launch Luna event, and he told me the company was "not going to compete on price", but on premium and exclusive features. Specifically he was referring to the Luna's innovative removable remote, which features a 2-inch OLED screen, camera controls and built-in mic. Right now in the US, however, Insta360 doesn't need to rival DJI at all, because it has a clear field in that market.

But Insta360 faces a potential headache in the form of DJI's lawsuit. Petapixel reports that DJI has filed two patent lawsuits against Arashi Vision Inc. — which does business as Insta360 — covering two alleged violations of design patents and four utility patents.

The lawsuit claims that Luna cameras closely copy the design and features of the Osmo Pocket 3, claiming that “Insta360’s new Luna line of gimbal cameras, including but not limited to the Luna Ultra, supporting accessories, and the Insta360 mobile application (collectively, the “Accused Products”) blatantly copy DJI’s patented inventions wholesale.”

The suit adds: "From its silhouette to its feature set, the Accused Products mirror what DJI has spent the better part of a decade engineering and patenting for its innovative handheld gimbal camera systems.

"The visual similarity between the Accused Products and the DJI Osmo Pocket 3 design is striking. [As shown below,] the Accused Products share the same general proportions, the same gimbal-on-handle architecture, and the same component arrangement as DJI’s Osmo Pocket 3."

As for the four utility patents, DJI says that Insta360 Luna cameras and accessories "copy key features that make the DJI Osmo Pocket unique in the marketplace including DJI’s innovative subject-tracking technology, seamless gimbal-mode switching allowing the camera’s shooting direction to follow user movement of the handle, and a 'locked' mode to maintain a fixed shooting direction regardless of how the handle is moved."

DJI was clearly ready with this lawsuit, given that it was filed on the day the Insta360 Luna Ultra became officially available for purchase in leading US stores, including B&H Photo.

Many US-based vloggers will likely be watching the case with interest — they're already missing out on the excellent DJI Pocket 4, and they must be hoping that they won't also be denied the chance to buy Insta360's Luna cameras.

Now the rivalry has been raised another notch, with Insta360 filing its countersuit.

Insta360's response

In a statement provided to TechRadar, Insta360 founder and CEO JK Liu struck a defiant tone in his response to the DJI lawsuit and Insta360's countersuit, saying about the Luna cameras:

"Development began in 2020, with earlier Insta360 products including the ONE R, Link Series webcams, and Flow Series gimbals helping shape the technology and design direction behind Luna Ultra. DJI filing lawsuits on the same day we launched Luna Ultra speaks volumes — exposing their fear of competition from a highly competitive product."

Regarding the countersuit, the statements reads:

The company asserts that DJI infringed its patents relating to gimbal stabilization, gimbal directional control, camera smooth stabilization, telemetry overlay, and panoramic video stabilization. These technologies are incorporated into several major DJI products, including the Osmo Pocket series, Ronin/RS series, Osmo Mobile series, and Osmo 360.

Liu said, "We are fully committed to protecting our innovations and will take decisive action to defend our intellectual property from infringement."

• Insta360's Luna Ultra is a modular 8K compact vlogging camera
• It rivals the upcoming dual-lens DJI Pocket 4P
• The single-lens Luna Pro is yet to be fully unveiled

We now have the full picture of Insta360's first compact vlogging camera and DJI Pocket rival, after the Luna Ultra hit online stores yesterday (June 10), with prices starting at $769.99 / £649 / AU$1,229.99.

I've already shared my first impressions of the dual-lens 8K video camera, but Insta360 limited what could be shared ahead of its launch. Now all can be revealed — but you'll have to forgive the timing and nature of my coverage, because Insta360 hastily brought forward the launch from the previously-set embargo that I was working to.

I can now reveal that the Insta360 Luna Ultra packs two cameras which are stabilized by a 3-axis gimbal. The 1x main f/1.8 camera shoots 8K 30p video with Dolby Vision (HDR) and 4K 120fps slow motion, and features a 1-inch sensor (Insta360's largest yet, matching DJI) with 14 stops of dynamic range. (DJI has separately teased 17 stops dynamic for its upcoming Pocket 4P.)

The 3x telephoto f/2.0 camera works with a smaller but still decent-sized 1/1.3-inch sensor, and offers a 6x lossless zoom and up to a 12x digital zoom. I've tried both cameras extensively, and the telephoto camera is able to throw depth of field nicely for upper-body vlogging.

The Ultra is equipped with I-Log color profile — a feature pros demand for color grading flexibility, and another complete first for Insta360, plus Insta360's triple processing chips and latest AI subject tracking, which works pretty darn well.

I'll share more about the Luna Ultra's features in my upcoming in-depth review, but until then, let's look at how it handles compared to the Pocket 4.

Clearing up the Luna / Pocket 4 confusion

Insta360 is going hard with its first vlogging cameras, the single-lens Luna Pro and dual-lens Luna Ultra. The latter is available now, while the Pro's launch date is yet to be confirmed. Insta360 changed the Luna Ultra launch date several times due to a "rapidly changing competitive landscape," and it was eventually brought forward to a week earlier than the date I was working to. I've been testing the product for several weeks, and will publish my in-depth review as soon as I can.

DJI's latest single-lens vlogging camera was launched last month — check out my in-depth Pocket 4 review. It's no secret that the Pocket 4P is coming soon — DJI teased the dual-lens vlogging camera at Cannes Film Festival recently.

So, both brands will have single-lens and dual-lens vlogging cameras in their product lineups soon. But what we have right now is DJI's single-lens Pocket 4 and Insta 360's dual-lens Ultra, which makes direct comparisons tricky — it's like pitting a featherweight against a heavyweight in terms of versatility.

That being said, we know enough about the specs of all four cameras, and I've had enough time to get a feel for the design of the Luna Ultra and Pocket 4, to make some early impressions.

Luna Ultra versus Pocket 4

This isn't a fair comparison — the Luna Ultra is a pricier model with dual-lens versatility that will rival the upcoming Pocket 4P. But it's Insta360's first foray into a vlogging camera market, which has been dominated by the DJI Pocket series for several years. In that respect, the Luna Ultra feels surprisingly polished.

The Pocket 4 is the smaller of the two, and the Pocket 4P will be smaller than the Luna cameras too. It's not a big difference in size, and the extra bulk of the Luna Ultra hardly effects its handling, plus it's to facilitate a unique, game-changing feature — a detachable 2-inch OLED screen.

The screen is part of a module which also includes the camera's main controls. It has up to a 20m transmission range, and can be used to view and control the camera, and of course to initiate recording.

Given that the Luna Ultra features advanced subject tracking, you effectively have an autonomous camera that can track you while you move, within the limits of the gimbal's range. The module also features a built-in microphone, which is super handy too for vlogging, even if you still might want a wireless mic like Insta360's 5 star-rated Mic Pro for the best quality audio.

This modular functionality is a bit like the Insta360 Go 3S and its Action Dock / DJI Nano action cams, and clearly an advantage over the Pocket 4. The Pocket 4 has its own tricks mind you, such as its magnetic LED light which directly attaches to and is powered by the camera.

Both cameras are compatible with useful accessories, such as wireless mics. Yes, DJI has had skin in the game for longer, and boasts a solid ecosystem, but Insta360 is hardly lacking either.

As for the single-lens and dual-lens varieties, the latter are indeed like having two cameras, and will set the benchmark for compact vlogging camera quality, potentially persuading new users over using their smartphones. They're much pricier than the single-lens varieties, though — as we now we know, having seen how much the Luna Ultra costs.

How do the two cameras sounds to you? Is the dual-lens version overkill, or what the format needed? Let me know in the comments below, and make sure you vote in the poll above — and check back in for my in-depth coverage, coming soon.

Insta360 invited me to a hands-on event for its upcoming Luna Pro and Luna Ultra vlogging cameras, during which time I had the opportunity to test the dual-lens Ultra version and speak with the 360 camera manufacturer's co-founder, Max Richter.

I quizzed Max on everything from branching out into a new market dominated by DJI, to what Insta360's competitive advantages are and how a surprising number of Insta360 fans are using their action cams for photography.

There's still a lot we don't know about the Luna cameras ahead of their full unveil, and I'm restricted with what I can share because of a staggered embargo. Nonetheless, my conversation with Max shed a little light on where the innovative camera manufacturer is heading.

Rivalling DJI

Insta360 and DJI are launching new action cameras and compact video cameras at breakneck speed, seemingly leaving the likes of GoPro behind when it comes to innovation, even if GoPro recently announced its trio of Mission 1 cameras.

The 360 camera space is very much dominated by Insta360, who commands almost 70% market share, despite DJI announcing its own Osmo 360, and GoPro, its Max 2.

And the same can be said for DJI and compact vlogging cameras — its Pocket series has sold by the bucketload for years, the latest model being the Pocket 4, with no obvious competition. That was, until the Luna.

I expect the vlogging camera market to be a tough nut to crack for Insta360, but I believe it has the necessary software to give it a go, and now, finally, the hardware with the new Luna Pro and Luna Ultra.

"Luna is a new space for us, because it's going to be the first time and we actually have a real vlogging tool on the market," Max tells me.

"It's going to be seriously considered by prosumers or professional creators. This market category is quite big already, right? But we think there's space that we bring some new things to it. A little bit of competition to it.

"At the same time, though, what we're not going to do is to compete on the price. It's definitely gonna compete more on the on the product itself. It's a higher-end solution. It's not price competition, we really want to compete on the product."

And how will Insta360 compete on product? For one, the Luna seemingly matches the latest DJI Pocket cameras, at least where headline features are concerned.

The single-lens Luna Pro rivals the Pocket 4, while the dual-lens Luna Ultra, which I am testing, squares up to the upcoming Pocket 4P.

Like DJI, both Luna cameras utilize a 1-inch sensor and 10-bit video recording, while the Ultra features a second 3x camera, as the Pocket 4P will. All these cameras are supported with 3-axis gimbal stabilization, too.

And while Insta360 is coming into this space years after DJI, it now has its five-star Mic Pro wireless mic to rival the DJI Mic 3. So far, the Shenzen-based pair looks evenly matched.

Purely matching DJI while not competing on price is clearly not going to cut it, though, especially for an unproven first-generation product. That's where the Luna's neat modular screen gives it the hardware edge.

I've tested the unique feature, and it is truly brilliant. The rotating touchscreen is part of a removable component which also includes the main camera controls; the zoom lever, gimbal joystick, and record button.

You can use the screen to view and control the camera remotely, complete with subject tracking, giving the impression of having a cameraperson. What's more, the unit is fitted with a microphone, meaning you can view, record, track subjects, and present to camera.

That's what 'competing on product' looks like, and this game-changing feature alone could be enough to tempt first-timers and DJI fans to switch.

Powering the hardware

Insta360 is coming into the space fresh, but behind the scenes, it has long made cutting-edge software the foundation of its camera tech, which is crucial, especially in the 360 camera space.

“The new generation of content creators want convenience, ease of use, simple sharing on TikTok, Instagram, and so on, and that’s where Insta360 excels due to the software excellence,” says Max.

"Software is the key reason why you choose our products. Not everybody has the time to go into the mobile app and edit their videos, reframe the moment — that’s an extra step in the workflow that a lot of people are not willing to spend time on. We think AI will ultimately be a solution to that.

“The software or AI can choose the best moment or the best shot, or even be trained to know what is your preference in terms of editing. It’s getting better and better. I recently used it [Insta360's app] for diving videos when I didn’t have time to do a lot of reframing, but it perfectly got me the right frame on the sharks and turtles and on myself, that I couldn’t have done better in this short amount of time.

"On the hardware side, you’re not able to iterate so fast, but on the software side, I think we can play out our advantage; we can move very fast.

"To be honest, I see camera technology going in this direction. In the future, it will be hard to differentiate yourself on the hardware side; you also need to invest in the software, because the software can also balance out a lot of the hardware deficiencies."

I've personally used Insta360's app for videos shot with its 360 cameras, such as the X5, and can testify how much it simplifies the editing process. The same software is being used for the Luna vlogging cameras and might just take out pain points for editing vlogging content.

Max talked up Insta360's software credentials, but in a way, he's also doing the Luna a disservice — my first impressions of the camera itself are very positive, and it's great to see some competition for the DJI Pocket series.

What is currently unknown is pricing — just how uncompetitive will the Luna be? We'll find out soon enough.

It sucks to be a DJI fan in the US, what with the Chinese camera manufacturer's ban. There are currently no new DJI products hitting US soil at launch, including the recent DJI Osmo Pocket 4, which I rate as the best compact vlogging camera.

I have some good news, however, and that's a record-low price for its predecessor, the Osmo Pocket 3, which is a DJI product you actually can buy, now for just $419 at Adorama (was $499) during Memorial Day — the same deal is available at Amazon.

The Pocket 3 Creator Combo is also on sale for just $539 (was $629) at Adorama and Amazon, which also includes a wide-angle lens, DJI Mic 2, battery handle, mini tripod and carry case — both are stand out deals in the Memorial Day sales.

Yes, the Pocket 4 is a polished successor, but I described it as a modest upgrade where headline specs are concerned, so you might not be missing out on much by opting for the older and readily available Pocket 3 instead.

And just to give you an idea on how good the current Pocket 3 pricing is — one year ago it was hiked from $519 to $799 as uncertainty around DJI product availability grew. At the turn of the year, however, pricing returned and since then it has steadily dropped, now to a new record-low.

• View Amazon's full Memorial Day sale

Today's best DJI Osmo Pocket 3 Memorial Day deals

Should you still buy the Pocket 3 in 2026?

We don't know if the DJI Osmo Pocket 4 will be directly available in the US, nor the recently teased dual-lens Osmo Pocket 4P. The latter 'pro' model adds a 3x telephoto camera to the mix, a formula which is also found in the new Insta360 Luna Ultra, which I am testing ahead of its full unveil.

We don't know too much about the Pocket 4P and Luna cameras but they will cost much more than the Pocket 3.

I've shared my full review of the Pocket 4, and it is indeed a polished upgrade. For many users, however, the improvements such as built-in memory, better battery life, fill light accessory and 4K 240fps slow motion recording won't be worth the upgrade / spending more for. I've unpacked 7 noteworthy upgrades in my Pocket 4 vs Pocket 3 article.

So should you still consider the DJI Osmo Pocket 3 today? Absolutely! Besides it being your only DJI option that's currently available, the tiny vlogging camera still packs a 1-inch sensor and shoots crisp 4K video with 3-axis gimbal stabilization, and is supported with a swivel monitor for vertical or horizontal shooting and single push selfies.

Yes, it might be over two years old, but the Osmo Pocket 3 remains a top compact vlogging camera, available for much less than the Pocket 4 and almost certainly upcoming dual-lens models.

You'll get 4K video up to 60fps and up to 120fps slow motion, seamless connectivity with one of DJI's wireless mics for pro audio (remember the Mic 2 is included in the Creator Combo), that neat swivel touch monitor which cleverly switches between horizontal and vertical recording, plus a gimbal-mounted camera that switches from front to selfie recording at the push of a button.

So while the Pocket 3 has lost its top position to the Pocket 4 in my best vlogging cameras guide, I can still heartily recommend it in this Memorial Day deal.

More of today's best Memorial Day sales

• Amazon: 45% off TVs, AirPods, air fryers & vacuums
• Apple: iPads, AirPods & MacBooks from $99
• Best Buy: 60% off appliances, TVs, laptops & more
• Casper: up to 30% off mattresses
• Dell: laptop deals from $249.99
• DreamCloud: up to 60% off mattresses, 66% off bundles
• Home Depot: 40% off appliances, furniture, grills & tools
• Lowe's: $1,000 off appliances, patio & tools
• Nectar: up to 50% off mattresses, deals from $369
• Saatva: up to $550 off luxury mattresses
• Samsung: up to $1,600 off appliances
• Target: 30% off clothing, patio & furniture
• Walmart: furniture, cheap TVs & vacs from $69
• Wayfair: 50% off furniture, grills, rugs & more

Insta360 might be the dominant force in 360 cameras, but the brand just stepped out of its lane in a major way — and muscled into DJI territory — with its first vlogging camera, the Luna.

The Luna rivals DJI’s unique Pocket series of gimbal-stabilized 4K vlogging cameras. With no obvious competition, the DJI range has sold by the bucket-load for years. But with Insta360 adding its own unique features, could DJI see some proper competition at last?

I’ve been testing the Luna ahead of its official launch, and while I can’t share everything I know about the Luna yet, nor any sample footage I've taken, there are a few details I can reveal. First up, Luna comes in two varieties, the single-lens Luna Pro and the dual-lens Luna Ultra, which are clearly set to rival the DJI Osmo Pocket 4 and the recently teased / soon-to-be launched Pocket 4P respectively. Both Luna versions are available in black or white colorways, and the pricing is yet to be confirmed.

I’ve been using the dual-lens Ultra version which, like the Pro version, features a 1x main wide-angle f/1.8 lens and 1-inch sensor — that’s the largest sensor in an Insta360 yet, and matches DJI — but also adds a 3x telephoto camera.

Users can punch in with that telephoto camera for a 6x lossless zoom — meaning that there should be no obvious degradation in image quality — and up to 12x with a digital zoom, a total of five zoom steps.

We don’t have concrete details of the DJI Osmo Pocket 4P yet, but from the early teasers it seems as though DJI is taking the same dual-lens approach as the Luna Ultra, so the rivalry is about to get real. Who gets there first with a world-first dual-lens vlogging camera, we’ll have to wait and see.

Naturally, the Luna cameras are supported with 3-axis gimbal stabilization like the Pocket cameras. In another first for Insta360, they offer 10-bit color depth and an I-Log color profile, again matching the specs of the DJI Pocket (though which one has the better-looking footage is another matter).

All of the above suggests that Insta360 is ready to go toe-to-toe with DJI, but that’s not even the most exciting part about the Luna.

The feature that DJI wishes it had

The Luna has a modular design party trick that DJI wishes it had: a multi-function removable screen, and it’s brilliant. You simply press in buttons on either side of the screen to release it from the camera body, and then you can see what the camera is seeing remotely, complete with the record, zoom and joystick controls.

Here’s where things get really clever — the Luna’s removable screen features a built-in microphone, so you can use it to remotely view yourself, compose the shot, and present to camera.

What’s more, the Luna features subject tracking. With a double tap on the screen of your intended subject, the camera will then track them, keeping them centered in the frame as they move about.

Pair those features — a removable screen with microphone and subject tracking — and you truly can be a one-person show, gaining the impression of a cameraperson tracking you as you walk around the scene (though of course you will need to find a suitable surface to rest the camera body on or mount it to a support).

The removable screen is such a neat feature, especially for solo creators, but also when you’re traveling with friends or family and would like to take selfies.

What makes the Luna even more compelling as a DJI Pocket alternative is that Insta360 has recently launched new accessories, including the recent Mic Pro wireless mic (see above), which we awarded a maximum 5 out of 5 rating in our review. These excellent accessories mean that you don’t need to mix and match brands to get top quality video and audio — Insta360 now has its own complete ecosystem for vlogging.

Yes, DJI has been making vlogging cameras for longer than Insta360 and I expect it to continue dominating the space for some time — reports suggest the Pocket 4 took a huge 72.5% of total video camera sales in Japan last month, despite it being launched in the third week of the month — in the same way that DJI launched its own Osmo 360 to rival Insta360, but Insta360 still has almost 70% total market share. However, the Luna might just do things differently enough to persuade first timers or DJI fans to switch.

I’m excited to share more Luna details with you when the full embargo lifts. But what do you make of the features I have been able to share — game-changer or gimmick? How does the Luna look compared to the Pocket 4? Have your say in the comments below.

• We're getting closer to the launch of the DJI Osmo Pocket 4P
• Official images of the camera have been posted by DJI
• A lot of the key details about the device are still to be confirmed

Following the launch of the DJI Osmo Pocket 4 vlogging camera last month, we're getting closer and closer to the full unveiling of its premium sibling — and DJI has given us our best look yet at the Osmo Pocket 4P on social media.

Posts to X and Instagram reveal the design of the device in full, more or less. We can see the dual-lens camera setup, which is one of the key differences from the standard model, and there are hints towards 3x zoom and a 1-inch sensor.

The camera was shown off at an "exclusive preview" at the Cannes Film Festival yesterday, but we're still waiting on a lot of details. Some festival attendees have been showing off the camera, without revealing any specs or showing any footage captured by the device.

What we can say is that this is going to be a step up from the standard Pocket 4 in terms of video quality and price, and its tease at Cannes is a sign that DJI wants to promote this as a serious bit of equipment for movie-makers.

The waiting game

There is now an official press release, but again it's light on specific specs. We do hear the camera is capable of "professional-grade storytelling" and offers 10-bit D-Log2 color performance, which industry creatives will appreciate.

The press release also talks about better portrait, zoom, and low-light performance, so it sounds as though DJI has put everything it can into the DJI Osmo Pocket 4P. However, pricing and configurations "will be announced at a later date", DJI says.

This long build-up of hype hasn't sat well with some commenters on Reddit, who have dismissed the Cannes tease as "pure marketing fluff" with "zero real details". We'll have to wait and see if the camera ends up being worth the extended wait.

Meanwhile, Insta360 is busy getting ready to launch the Insta360 Luna Ultra, with its own dual-lens camera setup, 8K video recording, and a detachable, remote control dashboard, according to the latest leaks.

In case you didn’t know it, there’s an "explosive growth in video-first products". That’s according to Canon, which just unveiled another 'V' mirrorless camera, the EOS R6 V.

With this latest arrival, Canon now has 22 EOS R mirrorless cameras in its arsenal, and the range caters for every niche and need, even if its naming convention can get a little confusing.

It was telling that, during a video briefing ahead of the EOS R6 V's launch, Canon showed several slides explaining who its various cameras are for, yet one attendee was still compelled to ask “why did you call it the EOS R6 V?”

So let’s unpack what the new camera is, where it sits in Canon's range, and which type of user it's aimed at. Here are 5 things you need to know…

1. Who’s the EOS R6 V for?

Canon started its ‘V’ series of cameras with the EOS R50 V, with the ‘V’ denoting video. Or perhaps it’s vlogging; I’m actually not sure. Either way, photography is a secondary function of the range.

You see, Canon believes that video-first products are where the market is going, and now it's given the ‘V’ series the full-frame treatment with the EOS R6 V, which rivals the Sony ZV-E1 and Nikon Zr — cameras with serious video skills, but pared back design when compared to pro cinema cameras.

In Canon’s range, the EOS R6 V sits above the EOS R50 V which is a vlogging-style version of the EOS R50 with an APS-C sensor. Both omit a viewfinder in favor of a host of video-friendly features and design touches, including a tally lamp, vertical and horizontal tripod mounts, auto-rotating menus (for video), and long record times.

If the EOS R50 V is a starter camera for vlogging and video creators, then the EOS R6 V is a supercharged version for upgraders, or those with pro-level skills who are looking to dive straight in. But things get more complicated — the R6 V inherits a sensor found in two other Canon cameras; the EOS R6 III and EOS C50.

The EOS R6 III is a photography-first camera which can also shoot great video, while the EOS C50 is a cinema camera with pro-level connectivity that happens to take photos; the EOS R6 V is somewhere in the middle.

Those three cameras share many of the same features, but are designed differently, and the EOS R6 V targets the same market as the Sony ZV-E1 and Nikon Zr. That should hopefully clear some things up, but let’s dig a bit deeper…

2. Sensor

Logically, the main reason that the new camera is called the EOS R6 V is because it features the same sensor as the EOS R6 III (but not previous EOS R6 models). However, not even the Canon spokesperson could confirm the reasoning behind the naming when presenting the product. The EOS C50 cinema camera also has the same sensor — it’s a 32.5MP full-frame sensor rated for 7.5 stops of image stabilization.

Each of the three cameras are capable of recording 7K video up to 60fps, internal RAW recording with Canon’s C-Log color profiles, the option for open-gate recording (from the full height and width of the 3:2 aspect ratio sensor), oversampled 4K up to 60fps, 4K /120fps and 2K up to 180fps. By comparison, the cheaper and smaller EOS R50 V’s video skills are very limited.

The EOS R6 V can shoot superb stills too, like the EOS R6 III — that's 32.5MP stills up to 40fps, with pre-capture. Not bad at all. Where the cameras differ the most is in their design.

3. Design

The EOS R6 V is a much bigger camera than the EOS R50 V — you can see the differences between the various cameras in the images above. However, it's similarly styled, with a similar control layout and shape.

Neither camera has a viewfinder — a growing trend that we’ve seen in new cameras, and one that isn't going down well with TechRadar readers. You'll be composing images using the camera’s 3-inch 1.62m-dot vari-angle touchscreen (which pales in comparison to the Nikon Zr’s gorgeous 4-inch display).

The bulkier body of the EOS R6 V packs the larger sensor, and features cooling vents, adding to the camera’s depth but equipping it with what are effectively unlimited record times. Canon told me that with the fan enabled, record times at any resolution, including 7K, are over two hours. In reality, you’ll run out of battery or space on your memory cards before the camera needs a break.

The EOS R6 V is a highly customizable camera, too, with 12 buttons that can be assigned your choice of function. It offers live streaming through full-size HDMI, a vertical tripod mount, and a zoom lever which can be used for a digital zoom, but also with 'power zoom' lenses. Speaking of ‘PZ’ lenses…

4. A new ‘kit’ lens

Alongside the camera, Canon announced the RF 20-50mm F4L IS USM PZ lens, and the two are designed to work together. The ‘PZ’ stands for power zoom, which is a smooth zoom function via a control on the lens, plus the camera itself also has a zoom lever.

By contrast, standard RF lenses paired with the EOS R6 III and other photography-first mirrorless cameras are manual-zoom only, and that jerky motion is not particularly something you’ll want during recording, or to be evident in your videos.

The lens itself weighs 420g, and coupled with the EOS R6 V, which weighs 688g with battery and card (598g without), balances well on a gimbal. It's equipped with 24cm close focusing and a decent 0.33x maximum magnification. Given it’s an L-series lens, build and optical quality are top drawer, and it costs a fair whack. How much? Here are the prices for the camera and lens…

5. Pricing

The EOS R6 V costs £2,400 / AU$3,599 (I’m rounding up UK prices by a penny because all those 99s are tedious), and will be available from June 24. You’ll be able to buy the camera in a kit with the RF 20-50mm F4L IS USM PZ lens, and together they’ll set you back £3,550 / AU$5,399 — that’s a saving of almost £300 / AU$400 versus buying the two separately. The lens will be available separately for £1,440 / AU$2,199, but I don’t have details on the launch date of the lens on its own yet, which I believe will be later than that of the kit. I'll also update this article with US pricing as soon as I can.

That pricing means the EOS R6 V is the most cost-effective way to bag Canon’s 32.5MP sensor — it’s cheaper than the EOS R6 III, and much less than the EOS C50. It’s the same story with the Sony ZV-E1 — it packs the same 12MP full-frame sensor and 4K recording as other pricier Sony cameras, including the A7S III and FX3.

Say what you will about these vlogging-style cameras — they do cost less versus other designs. I’ve had some brief hands-on time with the EOS R6 V, but not nearly enough time to form any meaningful conclusions. Stay tuned for our full review further down the line.

DJI Osmo Pocket 4: One-minute review

I've been around the content creator's block enough times to say that the DJI Osmo Pocket 3 is easily the most popular vlogging camera for creators on the go. I've seen the tiny, gimbal-stabilized 4K camera in the hands of so many people, and with good reason — it's a fabulously discreet and powerful pocket video camera.

Ahead of what could be a stampede of new rivals, not least of which could be the rumored Insta360 Luna, DJI now looks to build on the success of its two-and-a-bit-year-old vlogging camera with a new and improved successor, the Osmo Pocket 4.

Considering the time between the two cameras, and how swift DJI has been in bringing genuine improvements to its camera gear in recent years, especially its drones such as the Mini 5 Pro, I expected a little more from the Pocket 4. That being said, there are a few notable upgrades worth knowing about — I've unpacked those in more detail in this Pocket 4 vs Pocket 3 article.

All the bits I appreciate about the Pocket 3 remain — the compact design, stellar video stabilization performance, crisp 4K video, the easy switch between vertical and horizontal video, and direct connection with wireless mics.

What DJI has done in the Pocket 4 is add some welcome polish. The new features might not leap out on a spec sheet, but in real use they combine for a slicker user experience.

Top upgrades include better slow-motion recording, now up to 240fps in 4K, better-quality 4K video with 10-bit color depth and wider dynamic range now up to 14 stops, slicker subject tracking which is available in more modes, better battery life, 107GB of internal memory, and refined controls, such as a new magnetic gimbal arm which accepts accessories such as a fill light (see the hero image).

It's not a big upgrade per se, but it's enough of an improvement that I would recommend Pocket 3 owners take a look, and it's an easy recommendation for first-time buyers looking for a powerful and small vlogging camera besides their smartphone.

DJI has tightened its stranglehold on this pocket video camera market, but for how long? When Insta360 enters the stage, it might just wrestle the spotlight away from this playing-it-safe Pocket 4 upgrade.

DJI Osmo Pocket 4: price and release date

• Announced on April 16 2026
• Available in Essential, Standard and Creator Combo kits
• Prices start at £429 / AU$749, with US availability and pricing TBC

The DJI Osmo Pocket 4 was unveiled on April 16 2026 in Essential, Standard and Creator Combo packages. The Essential Combo costs £429 / AU$749, the Standard Combo is £445 / AU$769 and comes with the gimbal clamp and tripod handle, while the Creator Combo, which adds Mic 3 transmitter, wide-angle lens, magnetic fill light, mini tripod, and carry bag accessories, costs £549 / AU$959, and is better value for DJI newcomers.

There's no US pricing or availability at launch through official DJI channels, given DJI's ongoing issues in the US. Like most DJI products, the Osmo Pocket 4 is excellent value considering what it's capable of, and it'll be a tough ask for future rivals to beat it.

• Price score: 4.5/5

DJI Osmo Pocket 4: specs

DJI Osmo Pocket 4: Design

• Similar pocket-size dimensions to the Pocket 3, with rotating screen and gimbal-mounted camera
• USB-C fast charging and a handy 107GB of internal storage in addition to micro SD
• New controls added, and smarter joystick response

The Pocket 4 has a familiar look about it, because it keeps a similar Pocket 3 form factor that has won many admirers, even if it is a tiny bit taller.

I can't stress enough how important its compact dimensions are for vlogging on the go. The Pocket 4 is even more discreet for video than a phone, and in my experience I've never had anyone take issue with me filming in public with an Osmo Pocket. Put simply, you can film freely with one of these.

At first glance you might think there's nothing new in this latest model, but there are in fact some helpful design tweaks. For instance, the speed of the gimbal's movement responds to how firmly you push the joystick, making quick or more precise adjustments possible — whereas before the movement was a single speed.

DJI has also added two new buttons under the screen, which are only visible when the display is flipped horizontal, but which provide shortcuts to useful regularly used controls, including the 2x lossless zoom.

The gimbal arm has been fitted with a magnetic surface and electronic contacts, which can be used to pair accessories, such as the new magnetic fill light included in the Creator Combo kit (see below).

On connection, the light automatically fires up because it's powered by the camera. Its output is minimal, and of no real help in bright daylight, but it's certainly useful in dimly lit spaces or at night.

Otherwise, the design is mostly as you were. The gimbal is supremely effective for smooth video on the move, the rear screen still rotates 90 degrees to switch between horizontal and vertical recording, and there's still a micro SD card slot (now with a protective cover) and USB-C charging.

There are other additions regarding memory and power, which I'll get onto next.

• Design score: 4.5/5

DJI Osmo Pocket 4: Performance

• Improved subject tracking
• 107GB of built-in memory added
• Higher-capacity battery extends record times

Despite it effectively being the same size as the Pocket 3 (just a fraction taller), there's a higher-capacity 1,545mAh battery squeezed into the Pocket 4 — that’s 20% more power compared to the older 1,300mAh unit.

This new battery provides up to four hours shooting time, but the small print stipulates that this for recording 1080p video at 24fps, and with wireless connections and the screen turned off. If you're recording 4K video, expect shooting times to be significantly less.

Still, that's quite the feat for such a tiny camera, plus charge times have been reduced, so you can be ready to shoot again quicker. From flat, the Pocket 4's battery can get to 100% charge in 32 minutes, or an 80% charge in just 18 minutes. Again, the small print says those numbers are for using DJI's 65W PD charger (sold separately, or included in the Creator Combo kit). I don't have the numbers for regular USB-C charging.

In addition to microSD card memory (compatible with cards up to 1TB), DJI has fitted the Pocket 4 with 107GB of built-in storage. which is sufficient for many hours of 4K video files, while the Pocket 3 has none. Both can record onto microSD.

There’s next-gen Wi-Fi 6 and USB 3.1 support in the Pocket 4 too, plus faster wired transfer speeds, making for a speedier workflow on the move.

Subject tracking has seen a boost in performance, with an upgrade to DJI's latest Active Track 7.0 (the Pocket 3 uses Active Track 6.0). A double tap on your subject in the frame initiates tracking, with the ability to track people, animals, vehicles and more.

DJI has let subject tracking loose in that it's available in more shooting modes. It's one of many instances where the Pocket 4 feels like a more polished all-rounder than the Pocket 3, which has many similar features but is hampered by what feel like unnecessary restrictions on which shooting modes you can use them in.

One drawback that does remain, however, is that the Pocket 4 can get a little warm when using its more power-hungry features. I've not had any overheating issues, but you're aware of the camera warming up when you're holding it.

• Performance score: 5/5

DJI Osmo Pocket 4: Image and video quality

• 1-inch sensor and single camera with 4K video up to 240fps
• New color profiles added, including D-Log and filmic looks
• Low-light further boosts the improved 14 stops dynamic range

For most people, the outright image quality of the Pocket 4, while impressive for pro vloggers, won't be enough reason to upgrade from the Pocket 3, which was already impressive in this regard. Both cameras are fitted with a 1-inch sensor, but DJI says the Pocket 4's 4K video output is optimized with 14 stops of dynamic range and 10-bit color depth.

One factor contributing to improved tones is the addition of a D Log color profile, which is available in the Pro setting. It's DJI's best flat color profile (also found in the pricey Mavic 4 Pro drone) which gives greater editing scope for color graders. The Pocket 3 offers D Log-M, which is a bit like a light version of D Log.

DJI says that the Low Light mode further boosts dynamic range and overall image quality from its previous Pocket. I haven't directly compared the two, but from the recordings I've made with the Pocket 4, detail in dark scenes looks a little cleaner than I remember.

There are also six new film tones to choose from for stylized baked-in looks, handy for users who would rather not mess around with Log and color grading. I've happily used a couple of these profiles regularly – 'Movie' is nice and punchy.

Slow-motion recording receives a boost, in that the Pocket 4 can shoot up to 240fps — that’s 8x slow-mo — in 4K and 1080p. The Pocket 3 is limited to 120fps for 4K, but can also shoot at 240fps in 1080p.

For stills photography, a SuperPhoto mode ups resolution from 9.4 megapixels to 37 megapixels, for more detailed snaps. That's for 1:1 aspect ratio pics, the resolution drops to 33 megapixels when switching to 16:9.

Even in stills mode, the Pocket 4 is clearly a video-focused camera, in that it doesn't offer 3:2 and 4:3 aspect ratio stills common among photographers.

The 2x lossless zoom is easily selected by pressing the left of the two new buttons under the Pocket 4's display, and again DJI has loosened previous restrictions for this feature — it can now be used in photo mode and when subject tracking is active.

Yes, image quality upgrades are minor in the Pocket 4, but for professional users there's just about enough to merit swapping out their Pocket 3.

• Image and video quality score: 4.5/5

DJI Osmo Pocket 4: testing scorecard

Should I buy the DJI Osmo Pocket 4?

Buy it if...

Don't buy it if...

DJI Osmo Pocket 4: also consider

How I tested the DJI Osmo Pocket 4

• DJI loaned me the Creator Combo kit a few weeks before the product's launch
• I regularly used the Pocket 4 and all of its accessories
• I've tested its new features, including 240fps slow-mo recording

DJI loaned me an Osmo Pocket 4 Creator Combo kit, which comprises the camera, gimbal guard, magnetic fill light, grip handle, battery handle, mini tripod and DJI Mic 3 transmitter. I used all of these accessories throughout my review period ahead of the product launch, which spanned the best part of a month.

I briefly compared how the Pocket 4 differs to the Pocket 3 by holding both products side by side, though I haven't shot like-for-like videos with the two cameras to compare quality.

I've shot video in all resolutions and frame rates — that's 4K and 1080p up to 240fps — utilized subject tracking, and shot comparison clips using the various color profiles, including D-Log and the six presets, and used the SuperPhoto and regular photo modes in RAW and JPEG format.

I've recorded onto the camera's internal memory, and run the camera battery down and checked recharge times using a standard USB-C cable.

• First reviewed: April 2026
• Read more about how we test

Following months of rumors, the DJI Osmo Pocket 4 has finally landed to succeed the best-selling Pocket 3 vlogging camera, and I expect it to be equally popular.

It’s not a huge upgrade; nonetheless, the Pocket 4 looks like a more polished vlogging camera that could be worth swapping out the Pocket 3 for. This article covers the 7 most notable improvements in the latest model.

And if you are on the hunt for your first vlogging camera, either model is well worth a look. I've shot plenty of content with the Pocket 4 ahead of its launch — look out for my in-depth review, coming soon — and consistently with its predecessor over the last two years, and they are excellent smartphone alternatives for video, combining an exceptionally discreet and tiny body with sharp, gimbal-stabilized 4K video, complete with the tools needed for clear vocals, especially using DJI's own wireless mics.

The Pocket 4 costs £429 / AU$749 for the Essential Combo, or £549 / AU$949 for the Creator Combo, which adds a battery handle, wireless mic, and a new magnetic fill light, among other extras. There’s no US pricing or availability at launch.

Without further ado, let's dive into the key differences between the DJI Osmo Pocket 4 and Pocket 3.

1. Video quality

The spec sheet suggests little change on the image quality front – like its predecessor, the Pocket 4 shoots 4K video and features a 1-inch sensor. However, DJI says the sensor is new, and its 4K video output is optimized with 14 stops of dynamic range which is further expands by 2 stops in the low light mode.

There's also 10-bit color depth and a revised D-Log color profile available in the Pro setting. Want a baked-in look? There are six new film tones to choose from. There are a bunch of new beauty filters, too, if that's your thing, found in the revised DJI Mimo app.

2. Slow motion

One of the headline-grabbing upgrades is 8x slo-mo recording in 4K – that’s 240fps, which is up from the Pocket 3's maximum 120fps. Most other cameras that offer such slow frame rates, including the Pocket 3 tend to do so just for 1080p, but DJI has expanded these frame rates from 1080p to 4K in the latest model. The 2x zoom function (scroll down for more details) doesn't work in this mode, mind you.

3. Subject tracking

DJI’s next-gen Active Track 7.0 features in the Pocket 4, for some of the stickiest subject tracking I’ve experienced. Simply double-tap your subject and the Pocket 4 will keep them in the centre of the frame, with support for people, vehicles, pets, and more.

Subject tracking works in photo mode, with the 2x lossless zoom and for the D-Log color profile, none of which is true of the Pocket 3's Active Track 6.0 feature.

4. Photo skills

Photo resolution has been increased from 9.4 megapixels in the Pocket 3 and up to 37 megapixels in the Pocket 4 for more detailed snaps, provided you select the SuperPhoto mode. You'll get the maximum resolution for 1:1 aspect stills, which drops to 33 megapixels in the 16:9 format. In the regular photo mode, the resolution is the same as before, being roughly equivalent to 4K.

Photos can be captured in JPEG or RAW format, or both simultaneously. The 2x lossless zoom can now be used in photo mode and when active track is in play, whereas this function is not available in the Pocket 3.

5. Controls

Less measurable on a spec sheet but of infinite help in actual use, the Pocket 4 has some welcome design tweaks.

The joystick, which controls the camera's gimbal, has been upgraded, and the speed of its movement responds to how firmly you push it. There are also two new buttons under the screen, which are visible when the display is horizontal, providing shortcuts to useful controls such as zoom.

The gimbal arm has been fitted with electronic contacts and a magnetic surface, which can be used to pair a new magnetic fill light accessory, which is part of the Creator Combo kit. The light is powered by the camera and its output is minimal, only being of real use in dimly lit spaces or at night, but it's certainly a useful extra.

6. Battery life

DJI has fitted a higher capacity 1,545mAh battery in the Pocket 4 – that’s 20% more juice compared to the Pocket 3’s 1,300mAh unit. With this new battery unit, the Pocket 4 has been tested for up to 4 hours run time, when recording 1080p video at 24fps and with wireless connections and screen turned off. 4K recording run time will be significantly less.

Charge time has been reduced, too. Using DJI's 65W PD charger (sold separately), the Pocket 4 can gain a 100% charge in 32 minutes, or an 80% charge in just 18 minutes. We don't have the numbers for regular USB-C charging.

7. Memory

The Pocket 4 features 107GB of built-in storage, which is sufficient for many hours of 4K video files, while the Pocket 3 has none. Both can record onto micro SD. Oh and praise be, DJI has added a protective door over the micro SD card slot, which is fully exposed in the Pocket 3.

There’s next-gen Wi-Fi 6 and USB 3.1 support in the Pocket 4 too, plus faster wired transfer speeds, making for a speedier workflow on the move.

There are a few more additional features in the Pocket 4, but those 7 are the big ones, and it feels like an all-around more polished vlogging cam.

What do you reckon, does the Pocket 4 sound like a vlogging camera worth upgrading for? Let me know in the comments below!

• Expect the DJI Osmo Pocket 4 on April 16
• The vlogging camera has been long rumored
• Insta360 is also launching the Luna soon

The build-up to the launch of the DJI Osmo Pocket 4 has been a long and busy one, but we now have an official date for the unveiling of the vlogging camera — while further leaks appear for a rival device from Insta360.

DJI has posted a teaser clip to social media that tells us the DJI Osmo Pocket 4 will launch on Thursday, April 16. The reveal begins at 12pm GMT, which works out as 4am PT / 7am ET / 9pm AEST in Australia, so get your calendars marked accordingly.

The camera isn't mentioned by name, but we do get a pretty good glimpse of it, with the tagline "the world in my pocket". In Japanese, the tagline translates as "the world expands", which may hint at expanded camera sensor capabilities.

As Notebookcheck points out, that hints at a wider native focal length on the new camera, together with support for the Open Gate standard, as offered by the iPhone 17 Pro — it means more of the sensor area can be used for filming.

DJI vs Insta360

The official announcement hasn't stopped the DJI Osmo Pocket 4 leaks from appearing. Regular tipster Igor Bogdanov (via Notebookcheck) has posted more renders of the camera ahead of time, showing its tweaked design—with two extra console buttons.

Among the other upgrades that have been tipped are improvements to the 1-inch sensor that allow in more light and improve photo and video quality, and an additional camera a potential possibility for a Pro version of the device.

However, DJI might immediately have some competition for its new camera. Again we're indebted to Igor Bogdanov for the leak, this time for the Insta360 Luna: it's described as a "more interesting" version of what DJI is about to unveil.

The Insta360 Luna is official, sort of, having already been announced — but we don't know exactly when it's going to go on sale, or any of the specs we can expect. For consumers though, more choice and more competition is most definitely welcome.

• Fresh images and video of the DJI Osmo Pocket 4 appear
• It looks as though the camera will launch on April 20
• Several upgrades are expected, including longer battery life

We've seen plenty of leaks around the DJI Osmo Pocket 4 in recent weeks, and a fresh batch of unverified images of the vlogging camera hit the web — as well as hints that the device is going to go on sale on Monday, April 20.

Colombian retailer DroneTech has posted pictures and video of the DJI Osmo Pocket 4 to its social media channels (via Notebookcheck), as well as hinting at that date. While we can't confirm the posts actually show the camera, it looks to be the real thing.

The descriptions along with the images and video (via Google Translate) mention high quality video, intelligent stabilization, and a Creator Combo — matching the name of one of the bundles that we got with the DJI Osmo Pocket 3.

Have a read through our DJI Osmo Pocket 3 review, and you'll see we were very impressed with the current model: we described it as a "class-leading 4K camera" that's able to deliver "amazing video quality and beautiful slow-motion scenes".

Lights, camera, action

We're hoping to see a global launch for the DJI Osmo Pocket 4: while new DJI products are now banned in the US, the indications are that this camera received regulatory approval early enough that it can still go on sale.

The upgrades we're expecting are a brighter screen, more battery life between charges, and a slight tweak to the design. Improvements in terms of video quality are expected too, though the details of these improvements aren't yet clear.

Thanks to previous leaks we've also seen some of the accessories that are going to come along with the DJI Osmo Pocket 4 — including an LED light that you can fit on top of the camera — and multiple bundle options will again be offered.

There has also been talk of a Pro version of the device that comes with an extra camera, and no doubt a more expensive price tag. We haven't heard any rumors on pricing, but the DJI Osmo Pocket originally launched for $519 / £489 / AU$849.

The DJI Osmo Pocket 3 is a huge success story, seemingly in the hands of most creators and vloggers worldwide. And with good reason; the gimbal-mounted camera shoots super-smooth stabilized 4K video and packs neat features for solo creators, such as a swivel monitor for vertical or horizontal shooting and one-push selfies.

Yes, it's almost three years old now, and there's potentially the rumored Pocket 4 on the horizon — as a steady stream of leaks suggests — but the Pocket 3 is still a top performer today — and it just fell to a low price for the Amazon Spring Deal Days (and beyond, until at March 23 at least). The Standard Combo costs £329 at Amazon (was £389), while the Creator Combo costs £405 at Amazon (was £499).

Should it land, there's every chance the Pocket 4 will be a meaty upgrade of the Pocket 3, but I also expect it will also cost much more. And with the Pocket 3, you're already getting smartphone-beating stabilized video and a large 1-inch sensor for crisp-quality 4K content up to 60fps. Direct compatibility with DJI's superb wireless mics makes pro audio a cinch — and the Creator Combo comes with a DJI Mic 2 transmitter, making the bundle a bargain.

The Pocket 3 first launched for £489 for the Standard bundle, and has since dropped to £389 and now £329 in this sale price. I expect a potential Pocket 4 to launch for a similar initial price of around £500, so the Pocket 3 is likely to be the value pick.

A previous Pocket 4 leak seemingly revealed the design of the next-gen model to be largely the same, besides a couple of additional mystery buttons and an LED light (likely optional, and which could work with the Pocket 3).

There are also rumors that there will be two upcoming models, the Pocket 4 and a twin-lens Pocket 4 Pro. The New Camera reports that a Pro model will feature wide and telephoto lenses, 6K video up to 60fps, 4K video up to 240fps and support gesture control.

We're also expecting a wave of rival pocket gimbal cameras, from the Insta360 Luna to the Honor Robot phone revealed at MWC 2026

So where does this leave the Pocket 3, and should you buy it? I think there will be enough of a price gap for it to remain available, and for many solo vloggers it will serve their needs perfectly, and for a much lower price than the latest models.

For now, the Pocket 3 remains in top spot of my best vlogging cameras guide, and I recomend it in this deal, especially the Creator Combo.

Today's best DJI Osmo Pocket 3 deal

Other DJI Deals

Other standout DJI deals include older Osmo Action models, specifically the Osmo Action 4 and Osmo Action 5 Pro.

More of today's best Amazon Spring Deal Days deals

• Amazon Devices: Fire TV, Blink & Echo from £13.99
• Apple: AirPods & Apple Watch from £139
• Appliances: up to 30% off Ninja & De'Longhi
• Clothing: up to 50% off Sketchers & Crocs
• Essentials: from £5
• Gaming: up to 50% off PS5 & Switch games
• Headphones: Sony & Shokz from £59
• Health & Beauty: up to 60% off Philips & Oral-B
• Laptops: from £149.99
• Smart home: up to 50% off cameras & doorbells
• Smartwatches: Apple, Samsung & Huawei from £99
• Tablets: Fire & Galaxy Tabs from £59.99
• Toys: up to 30% off Lego
• TVs: from £139.99
• Vacuums: up to 30% off Shark & Vax

• Yashica Journey is a budget 4K camcorder
• The so-called 'zombie brand' licenses the legendary Yashica name
• A crowdfunding page is active

If you're familiar with the name Yashica, then you'll do well to put aside any notions of legendary film cameras when you see the name in a string of recent compact cameras.

The original company has long gone, rather its name is licensed, in this case to JNC Datum Tech, a Hong Kong-based outfit which makes cheap cameras, the latest of which is the Journey.

There's an active crowdfunding page for the Yashica Journey, (which follows other campaigns such as night vision binoculars and the recent $100 'Tank' point-and-shoot) which is a low-cost camcorder equipped with 4K video, 8MP stills, and a 3x optical zoom (extended by a 4x digital zoom). These appear to be legitimate specs, unlike the inflated specs you might see with many super cheap, no-brand cameras, though that's no quality guarantee.

If you're surprised by the unveiling of a new camcorder in 2026, you should know that retro camera gear is enjoying a revival, with compact camera shipments up 30% year-on-year, as is an embrace of lo-fi photography to combat a wave of AI image generation.

Camcorders are another part of the market seeing an unlikely boost in popularity, so the Yashica Journey could, therefore, be landing at an opportune moment.

Yashica by name, budget by nature

Yashica sent me candid videos and photos shot with the Journey, and while predictably average in quality, they're not too bad. Sure, the 3x optical zoom range from the 16-50mm f/2-3.6 lens and 4K images from the small 1/1.28-inch sensor are underwhelming for a camcorder. However, this is a low-cost product available for $268 (about £200 / AU$374), with early backer deals on the crowdfunding page from $188 (about £140 / AU$262).

I think the problem for camera historians is one of association, and the Hong Kong outfit's marketing around honoring the prestige of the brand, when in reality it seemingly has no ties to the original Japanese film camera maker's history. The Journey carries the Yashica name, but not its legendary quality — today's 'Yashica' is all about low-cost products.

And for those who've never heard of Yashica before, no problem, so long as you're aware of the lo-fi quality of its products.

The Journey sits at the affordable end of camcorders, yet features 4K video up to 60fps, a 3.5mm mic port, autofocus, a 270 degree flip-out touchscreen, a compact and lightweight 5.9oz / 167g build, manual exposure control, and a micro SD card slot. Not a bad feature set for a product at this price point.

I've not used recent Yashica products, though our sister title Digital Camera World rates the City 100 Zoom well (less so other products, like the aforementioned night binoculars).

My advice is to get past the name and base your expectations on 'Yashica' for what it is today — a budget camera maker, though I'd still be inclined to wait for reviews to land before purchasing. And if you decide to back the project for a price cut on the crowdfunding page, just remember there's no guarantee of product delivery, even if Yashica has delivered before.

Compact cameras are trending in two distinct categories – pricey premium models and cheap point-and-shoots, with little in between. Naturally, it's the low-cost models selling big, but the likes of Amazon are flooded with models simply not worth your time. So which models do I recommend for retro digicam vibes?

The Kodak Charmera has sold by the bucket load, and I'm not surprised — it might be the worst quality camera I've used in years, but the 'blindbox' keychain camera is so bad and so retro that people love it!

Equally, the Chuzhao TLR-style digital camera is hamstrung by poor image quality, but maxes out on retro vibes with its waist-level screen and quirky video recording design.

If you want a tiny camera that your friends will love, the Instax Pal scores on charm, complete with an interactive app — it's as close to a Tamagotchi as cameras go. But if you'd like a few more features for your cheap camera, the Kodak PixPro C1 is a decent value pick, as is the screen-less Camp Snap CS Pro.

All these cameras fall under $100, some even way below $50. But if your budget stretches further, the ultimate retro digicam right now has to be the Fujifilm Instax Mini Evo Cinema — a 3-in-1 digital camera, video camera and instant camera with a super cool Super 8-style body and an Eras Dial for looks that span the last 100 years!

Whichever option you pick below, you can expect big vibes and retro quality, and a remedy for your ‘smartphone face’ fatigue.

7 of the best cheap toy cameras for a digicam vibe

• DJI officially teases a new drone launch, coming soon
• Based on the teaser video, it's likely to be the rumored DJI Avata 360
• A Pro version of the DJI Osmo Pocket 4 has leaked too

DJI has confirmed that another drone launch is imminent, and based on the video it's included in the launch teaser, it looks very much like it'll be the rumored DJI Avata 360 — while the leaks around DJI's next vlogging camera have taken another twist.

The drone teaser comes straight from the @DJIGlobal account on X, which means we're hopeful of a global launch for the upcoming drone. Despite new DJI products now being banned in the US, it's possible that DJI was able to get regulatory approval before the ban came into force in December.

And given the shots in the teaser video — including a classic 'tiny planet' shot — it's almost certain that this is a drone with 360-degree imaging skills, most likely the rumored DJI Avata 360, though it's not mentioned by name.

The 360-degree drone has leaked extensively over the last few weeks, and is rumored to be coming with a single-lens mode too, that should help it stand out from its main rival, the Antigravity A1.

Only a few days ago, Notebookcheck reported on hands-on footage of the DJI Avata 360 appearing online, so it seems a launch is now very close. DJI hasn't given us a date or a time, but we should get an official reveal any day now.

The Pocket goes Pro

In the meantime, there are yet more leaks around the DJI Osmo Pocket vlogging camera. Veteran tipster Igor Bogdanov has posted some new shots purportedly showing off the device — and they give us our first look at a potential Pro model.

Most previous leaks around this camera have shown off a device very much like the current DJI Osmo Pocket 3 in terms of its design, albeit with a couple of extra console buttons. However, this new Pro leak shows the addition of an extra camera on top, together with a protective hood.

While there had been talk of a dual-camera setup in earlier rumors, the most recent leaks just mentioned one standard model. It would seem that when this next generation of DJI's pocket vlogging camera does break cover, there'll be two models to choose between — with the Pro edition no doubt coming with a higher price tag.

Like the DJI Avata 360, it's plausible that the DJI Osmo Pocket 4 was registered just in time to avoid being banned in the US. As soon as DJI makes either of these products official, we will of course let you know.

• Insta360 CEO unveils Luna vlogging camera at its annual conference in China
• "Luna" has two lenses and apparent modular design
• It's tipped to launch in first half of 2026, priced between $499 and $699

Insta360 CEO Liu Jingkang dropped something of a bombshell at the company's annual conference this week by unveiling the Insta360 Luna, the company's first pocket gimbal camera. Liu emphasized that the device is "definitely not another pocket camera," which tells us exactly what Insta360 has in its crosshairs: DJI's hugely popular Osmo Pocket stabilized vlogging camera series.

Set to arrive in the first half of 2026, the Luna enters a market that DJI has dominated for years. But rather than simply aping the formula that made the Osmo Pocket 3 a hit, Insta360 appears to be taking a different tack – one centered around a dual-camera setup.

Two cams are better than one

Yes, the most obvious difference between the Luna and the DJI Osmo Pocket 3 is right there on the former's face: it sports two cameras instead of one. This dual-lens design opens up some intriguing performance possibilities. I say "intriguing" because, well, we don't know exactly how the two-camera setup will function.

Insta360 hasn't revealed full specifications yet, but if I'm speculating the dual-lens setup suggests potential for improved depth sensing, better subject tracking and creative shooting modes that simply aren't possible with a single camera. It's worth noting that rumored specs for the upcoming DJI Osmo Pocket 4 suggest it will launch with a single camera module, with a dual-camera "Pro" version potentially arriving later.

If the Luna arrives on the market first with dual cameras out of the box, that's a real head start in the features department – and one that could appeal to content creators looking for something beyond the standard vlogging camera formula.

Beyond the dual cameras, the Luna seems set to embrace a modular design philosophy that contrasts with DJI's more rigidly integrated approach. Earlier leaks at The New Camera suggest interchangeable components and batteries, which could make Luna more adaptable over time – though I'll need to see the final product to judge whether this adds genuine value or merely complexity. I'd also expect the wireless Insta360 Mic Air to be fully compatible with the Luna, in much the same way the DJI Mic series works with the Pocket series.

Can Insta360 compete with DJI's empire?

Insta360 is entering a market where DJI sits as the undisputed ruler. The Pocket series is beloved by vloggers and content creators for good reasons: refined stabilization, excellent image quality and a mature ecosystem of accessories.

Expected to land somewhere between $499 and $699 (£370 to £515), the Luna should be competitively priced against the Pocket 3 and rumored Pocket 4. But pricing alone won't win this battle; Insta360 will also need to deliver on stabilization performance, image quality and software polish – areas where DJI's years of refinement really tell.

That said, Insta360 isn't without advantages. The company has proven it can compete with DJI in similar markets (and it already sells excellent stabilized, gimbal-mounted cameras – they're just webcams rather than handheld) and DJI's ongoing regulatory challenges in the US have created uncertainty for some buyers. If the Luna delivers impactful dual-camera features and integrates smoothly into the Insta360 ecosystem, I think it could appeal to both first-time buyers and creators looking for an alternative to the DJI Pocket series.

Competition is healthy, and it cannot hurt consumers if Insta360 shakes up a category that's been relatively quiet since the arrival of the Pocket 3. Whether its dual cameras prove to be a gamechanger or merely a gimmick will depend on execution – something I'll only know once a review unit lands on my desk.

For now, vloggers and content creators have an interesting choice ahead: stick with the proven DJI Pocket formula, wait and see what the Pocket 4 brings, or take a chance on Insta360's two-eyed challenger.

The release of the excellent Canon EOS R6 Mark III in recent months has given Canon shooters a powerful hybrid body that can easily keep up with the likes of the Sony Alpha A7 V and Nikon Z6 III. It's so good, in fact, that it's somewhat overshadowing some of the brand's slightly older models, such as the Canon EOS C50.

The C50 and the R6 Mark III share the same excellent 33MP full-frame sensor and the vast majority of video specs, but the former comes in at a hefty $3,899 versus the R6 Mark III's relatively affordable $2,799.

As someone who reviewed the R6 Mark III, I can also attest to it being an excellent camera. However, I still think there's a very, very strong argument for the Canon EOS C50 if you're a serious videographer.

Yes, you'll have to spend a little more, but you get a much more well-rounded package. Not only do you get an XLR handle included, but the C50 also features internal fans for completely unrestricted video capture. The R6 Mark III, by comparison, features restrictions on 4K 60p footage and above.

Also, key R6 features like IBIS and a viewfinder are very likely to be redundant for more serious videographers. If you're someone who prefers to use a gimbal or an external display, then the C50 is definitely the natural choice with its various mounting points.

Canon EOS C50 available at Adorama

• See more: check out all of today's video camera deals at Adorama

The perfect option for indie filmmakers

I really think the C50 shines as a lightweight run-and-gun camera for indie productions, or perhaps more serious YouTube applications. At 670g, it's not a super lightweight body, but it's much more manageable than a beast like the higher-end C80.

I've only tested the R6 Mark III, but the C50's sensor is capable of fantastic footage, and with an internal fan, you won't encounter any issues with recording limits, even if you make full use of the 7K 60P internal RAW or 4K 120P recording.

For more details and sample footage, you can check out our hands-on Canon EOS C50 review. We only had a few hours with this particular model, but we were suitably impressed by its handling, autofocus, and stacked line-up of video features.

Fujifilm Instax Mini Evo Cinema: Two-minute review

The Fujifilm Instax Mini Evo Cinema takes instant cameras in a new direction, and let me tell you, it’s heaps of fun. It’s a 3-in-1 digital ‘hybrid’ instant camera; being a stills camera, an instant printer and the very first Instax that shoots video.

We know the instant photography part already: the Mini Evo Cinema packs much of the same lo-fi tech as the Mini Evo – 5MP digital photos through a 28mm f/2 lens, which are saved onto micro SD, that you can select in the camera’s gallery or through a companion app to print instantly onto Instax Mini paper. In this case, the printing process uses an analog-style lift and twist lever.

But it’s the camera's design where things get really interesting. This is a nostalgic, slimline Super 8 camera-style body – which is supposedly inspired by Fujifilm’s ‘Fujica Single-8‘ from 1965 – that easily sits in the hand with the shutter button at your trigger finger.

And for me, it’s the video features that drew me in rather than the traditional Instax photography experience, even if each of the three functions seamlessly blend together.

Then there's the main event – the Eras Dial, with a look for every decade spanning the last 100 years. Fujifilm says these looks ‘pay homage to the characteristics, media and playback devices that defined that time’.

Starting with 1930 and running up to 2020, there's a distinct look for each decade, each with a scale of 1-10 for various 'expressions' of each decade, adjusting either the strength or the look of each style. So yes, that makes 100 styles, all of which work for photos and videos.

Fujifilm is no stranger to introducing never-before seen controls in its recent cameras, from the Film Mode in the fun X half to the aspect ratio dial in the serious GFX100RF, it keeps delivering surprising new features, and the Eras Dial, being at one's fingertips, is more than just a novelty.

Even videos can be shared through an Instax Mini print – the Mini Evo Cinema selects a frame from the video (or the user can manually select a frame) and prints it with a QR code for access to that clip through Fujifilm’s servers.

You can also check out and share photos and videos using the free Instax Mini Evo app, including making short video edits from your video clips (which are limited in length to 15 seconds each).

I've made my own video compilations using the Instax Mini Evo app, combining multiple clips into a 30 second montage (which is the maximum length), printed it with a QR code attached, which then seamlessly took me online to that reel. The editor is a little clunky, and the video length limitations are frustrating at times, but it's an OK experience overall.

Inside the box, you get the camera, viewfinder eye cup for the 1.5-inch 170k-dot LCD screen (see it in action, below), a grip extension and a strap.

The Mini Evo might look toy-like, but it is in fact a premium-feel product, everything from the grip to the dials, switches and buttons feel solid.

Performance, on the other hand, during my review was pretty sluggish. I've used the camera at a launch event and again during a two week review period, and with both units the Evo Cinema's wheel of death appeared almost every time I recorded a video or switched eras, taking a few seconds to be ready to use again. A little annoying, but arguably in the spirit of retro tech.

I actually think the Mini Evo Cinema is the most intriguing Instax camera to date – it feels like the Instax camera that the digital generation has been waiting for.

Its Super 8-style body is a perfect form to host Instax Mini printing, and the multi-media output makes this feel like a camera that'll keep my interest for much longer than a simple instant photography Instax. This is a proper good times camera.

Technically speaking, this is a poor camera. However, it already feels like the one Instax that appeals to me the most in the many years that I've been testing Fujifilm products.

If I was to sum the Mini Evo up in a single word, it would be fun. Fujifilm is having a real go at making cameras fun again with a string of quirky products, and the Evo Cinema could just top the lot.

Fujifilm Instax Mini Evo Cinema: price and release date

• Costs $419 / £329 / AU$599
• There's viewfinder, grip extension and strap accessories included
• Sales began on January 28, 2026

The Fujifilm Instax Mini Evo Cinema went on sale globally from January 28 2026, with a price of $419 / £329 / AU$599.

In the box you'll also find the viewfinder attachment, grip extender, strap and USB-C cable. A purpose-made leather case will be available too, for $40 / £35 (about AU$65).

Fujifilm Instax Mini Evo Cinema: specs

Fujifilm Instax Mini Evo Cinema: design

• Fabulous Super 8-style body
• A pack of Instax Mini film slots inside
• Retro controls and a charming Eras Dial

Design is easily the strong side of the Evo Cinema – it's a charming, Super 8-style camera with versatile 3-in-1 skills; digital photos, video, and instant printing.

The body is particularly slimline and designed to be held vertically. With a pistol-like grip, your index finger naturally rests on the shutter button, like a trigger. You press it to take photos, or press and hold to shoot video, with a maximum clip length of 15 seconds. You can customize to a single press to record video too, but I preferred the authentic press and hold for video recording, not least of which to avoid accidental recordings.

Fujifilm provides a grip extension with the camera, but honestly I could take or leave it – because it hardly impacts the camera’s handling. What is a useful accessory, however, is the viewfinder eyecup, which comes included. It attaches magnetically and clicks into place over the tiny 1.5-inch LCD screen, which isn’t touch sensitive by the way, enabling a clear view in bright light, but again more for an authentic Super 8-like shooting experience.

There are several buttons and controls around the camera worth mentioning, one of which is a lift and twist lever used for instant printing – it’s easy to forget that this slim camera can hold a pack of Instax Mini film inside for instant photo prints. A single pack of 10 prints will set you back around $9 dollars or £8 pounds.

Another control is the digital zoom lever – I rarely used this because the Mini Evo Cinema’s image quality is sketchy at best already, but more on this later.

The 28mm f/2 lens is a moderate wide angle optic, with a similar perspective to the main camera on your smartphone, and it has a ring around it which can scroll through color profiles. Above the lens is a selfie mirror which is barely helpful, plus a tiny LED flash light which is useful for indoor party portraits, even if it’s not very powerful.

The Eras Dial starts in the 1930s with a grainy monochrome, the 1990s is the old school handicam look, while 2020 is a crisp quality like today’s smartphones. Gimmicky? Maybe for some, but not for me – this is such a fun feature that I kept coming back to.

It might appear toy-like, but once you get to grips with the Mini Evo, you realise that it's a well-made, well-thought out camera. I really believe Fujifilm has faithfully brought a fabulous concept into life.

Fujifilm Instax Mini Evo Cinema: performance

• 100 color profiles inspired by decades past and present
• Poor image quality and limited video clip length
• Sluggish operation

On the flipside to design, performance is surely the Mini Evo Cinema's weakness – and in that sense it is fully committed to its retro roots!

Having used the Mini Evo previously, I expected poor image quality, especially since the basic sensor hardware is essentially the same as the original Mini Evo. Put simply, don’t expect excellent photo quality – the camera shoots lo-fi five megapixel JPEG photos through that 28mm lens, which are then saved onto micro SD.

From the camera’s gallery, you can then select which images you’d like to print instantly onto Instax Mini paper, using that analog-style lift and twist lever.

Video quality is equally lo-fi at just HD 720p, unless you have the high-resolution option active specifically for the 2020 Eras Dial setting alone, where video resolution can be doubled to 1440p. A frustrating, needless limitation on quality? Not so – it’s authentic.

I prefer the digital hybrid setup to a fully analog instant camera – where the camera prints immediately on capture, whether it’s a ‘good’ photo or not. With a Mini Evo you pick the shot you like for printing, meaning less wasted prints. Sure, it’s not one for analog purists, but I’d rather not waste my money on throwaway prints.

One frustrating experience using the Mini Evo Cinema is its slow operation. Every time you change a setting, or take a photo or video, a spinny wheel of doom pops up on screen as the camera makes those changes or processes images before it’s ready to operate again. The wait is even longer after recording video clips.

I’ve had two samples of the camera, and had the same issue with both. One time, the camera completely froze up, and the only solution was to leave it be until the battery fully drained. Once I charged it up and turned it back on, all seemed well again.

These issues could be bugs with the current firmware, that could be addressed in the future, but I’d be remiss not to mention them.

In one sense, using the Evo Cinema with all its performance-related issues is frustrating, but then I stop and think about the kind of camera that it is, and I can't help but embrace those flaws.

Sample photos – 1930 through to 2020

The 10 photos above cover each of the 10 settings in the Eras Dial, from 1930 to 2020. I kept the 'expressions' control to its auto setting rather than experiment with the 10 different looks available for each of the decades on the dial. Stills are recorded as JPEGs onto microSD, at 1920 x 2560 pixels.

Sample video – 100 years in a minute

I repeated the process for video, capturing each of the 10 Eras Dial looks. The lo-fi video quality is captured at 600 x 800 pixels for every setting except 2020, which is a higher quality 1080 x 1440 pixels.

Should I buy the Fujifilm Instax Mini Evo Cinema?

Buy it if...

Don't buy it if...

Fujifilm Instax Mini Evo Cinema: also consider

How I tested the Fujifilm Instax Mini Evo Cinema

• I attend a pre-launch Evo Cinema event for an two hour session. Fujifilm consequently sent me the camera for a two week loan period
• I used it with the viewfinder and grip accessories, and I tried all the Eras Dial settings for photo and video
• I've printed Instax Mini prints and edited content through the app

I've spent two weeks with the Evo Cinema, which has given me plenty of time to get a feel for how it handles and performs.

At a two hour launch event, I recorded the same video in a studio of a model, using every one of the 10 Eras Dial settings, and repeated that process for photos, printing out each one.

I've since experimented with the various expressions of each decade, taken more photos and videos both indoors and outdoors, in good light and bad.

I've tried the Evo Cinema with and without its viewfinder and grip accessories. The optional case was not supplied to me for the review.

I also made video montages using the basic video editor in the free Mini Evo Cinema app, and printed the QR code for access to those clips.

• First reviewed: January 2026
• Read more about how we test

As Cameras Editor, I shoot a fair bit of social media content for TechRadar – mainly solo on-the-go vlogging as I try out new camera gear, capturing my first impressions for TechRadar's TikTok and YouTube.

For such tasks, I want a lightweight setup of the highest possible quality, fuss-free, to make my solo shooter life as fuss-free as possible. I have fine-tuned my gear selection over a couple of years with several top products that are fit for the task.

I'm not saying my selections are the best picks for everyone, which is why I have included additional options in my best vlogging cameras, best wireless mics, best camera bags, and best camera phone guides – you'll be sure to find your dream vlogging gear in one of those guides.

But which items are my personal essentials? Let’s take a look at each item one by one and why each item has made a home in my bag, starting with the bag itself!

What's in my bag

• Ulanzi 9L bag sling bag
• Xiaomi 15 Ultra camera phone
• Godox Cube-C wireless mic kit
• SmallRig Mini LED Video Light 25W (x2)
• Neewer neck holder
• Mini selfie stick-cum-tripod

Ulanzi 9L Sling Bag

• Rating 5/5

Small, lightweight, comfortable, rugged, protective, surprisingly spacious, and quick access to what’s inside, those are the attributes I look for in a bag for my content creation gear, and the Ulanzi 9L Camera Sling Bag ticks all of those boxes.

Slung over one shoulder and resting on my midriff, with a top zipper for the main compartment and a padded divider inside (which can be folded away inside the bag to create one single large compartment, I have quick access to all of the items listed above, right from where my hand can rest.

A full-size backpack, though it could fit a wide range of camera gear, is excessive for my needs, and most such bags are slow to access gear. No, I need the smallest possible bag with easy gear access, and Ulanzi's does the trick!

See my Ulanzi 9L Camera Sling Bag with Tripod Holder B122 review for more details.

Xiaomi 15 Ultra

• Rating: 5/5

You’d think my camera of choice would be a ‘proper’ one – a top vlogging camera like the DJI Osmo Pocket 3 (which I do indeed also use), or a video heavyweight mirrorless camera from the likes of Sony, Canon, or Panasonic. But alas, for vlogging content, I usually rely on a flagship smartphone, and all throughout 2025, my go-to has been the Xiaomi 15 Ultra.

I’m not going to split hairs about whether and why it is the best camera phone of them all, but it’s certainly up there, especially with its easy interface, Google connectivity (I use G Drive for collaborative projects), a high-quality 1-inch sensor main camera, and superb telephoto cameras.

For more details, read my Xiaomi 15 Ultra feature where I spent a month with it as my main camera for photography, and our in-depth 15 Ultra review.

Godox Cube-C wireless mic kit

• Rating 4.5/5

After a top-quality camera phone, I need pro-quality audio (arguably even more important), and for that, I’m not going to rely on a camera’s internal mics, good as they can be. No, I'm going to connect to a portable wireless mic instead.

I’ll be clear from the off – there are numerous wireless mics available, and I’ve tested a bunch of them, including the powerful DJI Mic 3, tiny Mic Mini, and budget-friendly Boya Mini – check out my best wireless mics guide. But I’d like to put the spotlight on the superb Godox Cube-C kit today.

I’ve been using the comprehensive Godox Cube-C kit for many months, and without wanting to sound like an ad, it has never let me down. The same can’t be said for several other kits that I have come and gone in my life because I couldn’t rely on them. And the best part? The Cube-C complete kit costs just $103 at Amazon / £94 at Amazon.

The Godox Cube-C kit comprises two mics (transmitters), a mobile receiver (plugged into the USB-C of my Xiaomi 15 Ultra), a receiver for cameras (which slots into a hotshoe and connects to the 3.5mm mic jack), a charging case, wind muffs, and various magnetic mounts to attach the mics to clothing in a choice of ways.

The mics are tiny and don’t tug on clothing, and the 24-bit output and noise reduction render fantastic audio quality.

I have two issues with the kit – the mics seem particularly sensitive to rustling noise from clothing. If you come across this issue as I have, it's in the back of your mind to position the mics with particular care and limit body movements to avoid it.

Also, I wished the key components would fit in the charging case, which only has space for the 2x mics and the camera receiver, not the mobile receiver or wind muffs. Because it doesn't, I've needed to carry it all in the bulky case if I want the gear protected properly. I don't usually want to carry all of the components, though, so I've tended to opt for a soft case to store just the bits I need for any given shoot.

SmallRig Mini LED Video Light 25W

• Rating: 5/5

If I can, I tend to use natural light for vlogging, because using artificial light is one more thing to think about (and potentially carry for a shot). However, I'll always pack a mini LED video light in my sling bag just in case I need it, especially for product b-roll.

My choice of lighting gear for solo vlogging is the lightweight SmallRig Mini LED Video Light 25W, which costs $59 at SmallRig or £59 at Amazon. I have two, and with dimensions of 4.4 x 2.9 x 1.1in / 112.5 x 74.0 x 29.2mm, I can easily fit one of those into my sling bag, both of them at a push.

I've been so impressed with SmallRig's video lights – they are powerful, versatile, and dependable.

Battery life has proved to be longer than other lights I've used, with up to 50 minutes at full power, and USB-C fast charging on the go, which is also possible while the lights are in use. I can't tell you how many times other lights have let me down with poor battery life.

SmallRig's full color spectrum Mini LED Video Light 25Ws lights come with a (magnetic) diffuser, and three settings: white/warm light (with a 2,500 to 10,000 kelvin range and CRI 96 color accuracy), RGB, or a range of 14 different effects, such as lightning and flame.

You navigate between the three settings using a button, and circle through the options in each one, color temperature or power output, using a control wheel – it's all super simple, which is what I want when solo vlogging.

It's possible to attach the lights to magnetic surfaces or to stands/selfie sticks using the tripod thread on the underside. The only cons to these lights are the relatively slow start-up time and slightly noisy fans (whatever output you have the lights set to).

Alternative: Ulanzi LED20 RBG video light for $40 at Amazon / £48 at Amazon

Neewer neck mount

• Rating 4/5

For those POV shots when I'm hands-on with the gear, I need both of my hands free, which means that I can't be holding the camera. My solution, although it's hardly the stylish look I want while filming, is a neck mount. Needs must!

I use the Neewer GP-16, which costs around $25 at Amazon / £25 at Amazon. Prices can vary ± $10 / £10 at any time, but I got mine for £23 at Amazon UK earlier this year.

The idea is that you wear the flexible neck strap and then attach your camera to the mount – the Neewer GP-16 package I bought includes options for mounting a phone magnetically, or a small action camera through a universal threaded mount.

Whether I'm hands-on with gear or simply want my POV at any given moment, this neck holder does the trick!

Insta360 2-in-1 Mini Tripod

• Rating: 4/5

For walking-and-talking clips, I need a selfie stick to maintain the proper distance between me and the camera to frame the shot correctly. Rather than a dedicated selfie stick, however, I find the Insta360 Mini 2-in-1 Mini Tripod is a versatile alternative, and it costs just $30 at Amazon / £27 at Insta360.

Firstly, the mini tripod can angle the phone, and secondly, it features built-in tripod legs, so I can set the camera on a convenient surface for hands-free filming where suitable.

For use with the Osmo Pocket 3 or an action camera, the mini tripod setup is easy. However, for a bulkier camera phone without a tripod mount, I've needed to pick up a cheap phone clamp that screws into the mini tripod, any generic clamp with tripod mount sub $5 / £5 will do.

I'd like a slightly larger and sturdier version for use with a phone, with a longer maximum height and greater stability – the Insta360 Selfie Stick + Throwpod has caught my eye – but if I'm only using one support, this is the one that slips inside my sling bag.

An alternative that I use occasionally, because I can attach it to the tripod holder of my sling bag, is the mini tripod that features within the Heipi 3-in-1 travel tripod. The included head in this tripod has a hidden phone clamp, making it ideal for vlogging.

• The DJI Osmo Pocket 4 has appeared in another leaked image
• A launch for the vlogging camera shouldn't be far off now
• It may well come with an optional wireless remote accessory

It looks as though we're not going to see the DJI Osmo Pocket 3 vlogging camera replaced before the end of 2025, but another image of its successor has sneaked out online, together with details of a brand new accessory that might accompany it.

Tipster @OsitaLV (via Notebookcheck) has posted a fresh picture of the DJI Osmo Pocket 4 (the camera furthest to the left in the image below), together with its predecessor (the middle camera) and an unidentified camera on the far right that we can't quite see.

The changes we've seen in previous leaks are again visible here: there's a larger camera housing, which we think is to fit in a dual lens setup, as well as additional physical buttons underneath the rotating viewfinder screen.

Might the camera on the far right be a single-lens version of the DJI Osmo Pocket 4? It's difficult to tell, and we haven't heard too many rumors about multiple variants of this camera – though it's definitely possible that standard and pro versions will be offered.

An accompanying accessory

We were expecting the DJI Osmo Pocket 4 to break cover before the end of the year, but that now looks unlikely to happen. The word from those in the know is that quality control issues have meant that the camera has been delayed into 2026.

Further complicating matters, new DJI products are now banned in the US, as of December 23. It looks as though the new camera won't be launching there at all, though previously purchased DJI kit should carry on working as normal.

We've also heard that the DJI Osmo Pocket 4 might come with a new accessory: New Camera (again via Notebookcheck) spotted something called the DJI Osmo FrameTap has been registered at the Federal Communications Commission (FCC) in the US.

Quite how that fits in with the US ban isn't clear – but the listing suggests it's a wireless remote that goes with the camera. Given the number of leaks we've seen so far, it shouldn't be too long before these devices are made official.

Nikon ZR: two-minute review

The new Nikon ZR is the first in a new line of Nikon / RED cinema cameras, and instantly makes Nikon a major new player in this space, capable of going to toe-to-toe with Sony, Canon, Blackmagic and Panasonic.

Nikon only acquired RED Digital Cameras 18 months ago, and it's made fast work of producing the surprisingly polished and capable ZR, adorned with Z Cinema Camera and Nikon / RED branding, and available for a tantalizing price that significantly undercuts rivals.

It packs a bunch of Nikon Z6 III tech, including the same 24MP partially stacked full-frame sensor, 5-axis image stabilization, subject-detection tracking autofocus and more, into an extremely compact, weather-sealed cinema camera body.

We get 6K 60fps video with internal RAW recording, with any one of nine industry-favorite RED color profiles baked in – that's the Nikon / RED amalgamation truly bearing fruit – plus 4K 120fps and Full HD 240fps slow-motion recording.

Handily, shutter angle can be set automatically to 180 degrees, so there's no need to mess around with manual exposure settings, plus the shutter angle can be set to any position between five and 360 degrees manually, should you wish.

We don't get open gate video recording as in some rivals like the Canon EOS C50, but the ZR has another trick up its sleeve: hold the camera vertically, and its UI automatically rotates, with the vertical orientation embedded in the video files and automatically detected in Nikon's editing software, delivering full-resolution vertical video.

The ZR is the first camera of its kind with internal 32-bit float audio capture, plus what Nikon says is the best-quality internal mics yet – a triple mic combo with Ozo audio and a choice of five directional pickup patterns, including binaural.

Alongside the ZR, Nikon has launched the ME-D10 directional mic (you can see it slotted into the camera's hotshoe in the image above), which is compatible with the camera's 32-bit float capabilities.

This is also the smallest cinema camera I’ve used, yet it still squeezes in a large, brightest-in-class 4-inch vari-angle touchscreen which could do away with the need for attaching a bulky external monitor – which is something I would do with other cameras that feature a smaller 3-inch display. Naturally, there's no viewfinder.

Given its tiny size, there are compromises. We don’t get some of the pro connectivity found in other pricier compact cinema cameras – for example there’s only a micro HDMI port, not a full-size one. However, if you still feel the need to use an external monitor even with the large 4-inch built-in display, all you'll need is a micro-to-full-size HMDI adaptor to get connected.

Sadly, the ZR lacks mounting points for video accessories and, with no grip, you’ll definitely want to rig it up with a grip or a cage for a better hold. That means forking out for ZR-dedicated gear – Nikon outsources to leading accessory maker SmallRig.

However, at just $2,199.95 / £2,199.99 / AU$3,499, no other cinema camera comes close to the ZR for video features – and this aggressive pricing will soften the blow of any additional outlay on accessories.

I can see the Nikon ZR as a go-to b-cam for many pros, especially those already shooting with a RED camera, for whom the color profile matching will make for a seamless workflow. That said, this is a capable video camera in its own right too.

The Nikon ZR is an incredibly capable and polished compact cinema camera with world-first features, and an exciting first step into the filmmaking space for Nikon. After the ZR launch, Nikon announced at IBC in Amsterdam that it's making video lenses (most Z lenses are designed primarily for photography), so it's clearly gunning to be taken seriously. If it were to launch a higher-end cinema camera with pro connectivity to sit above the ZR, then Nikon will truly find its footing in this space.

Nikon ZR: price and release date

• Costs $2,199.95 / £2,199.99 / AU$3,499
• There will be various accessory bundles, TBC
• Sales started in October

The Nikon ZR costs $2,199.95 / £2,199.99 / AU$3,499. At that price it significantly undercuts rivals – such a feature set is typically found in cameras that cost around 50% more, and more often in cameras closer to twice the price, even if design-wise it has more in common with the Sony ZV-E1 which is closer in cost.

That said, there are no video accessories included, and you'll want to fork out for some in order to enjoy the ZR's handling and feature set to its full potential. These will likely include a grip and / or cage, plus Nikon's new ME-D10 directional mic, which is compatible with the camera's 32-bit float audio format.

Nikon doesn't make its own accessories such as grips or rigs, relying on third parties such as SmallRig to supply those (see prices in the boxout above).

The Nikon ZR went on sale in October 2025.

Nikon ZR: specs

Nikon ZR: Design

• Smallest and lightest cinema camera of its kind; weather-resistant
• Large 4-inch, 3.07m-dot touch LCD with brightest in-class display, no viewfinder
• No mounting points for accessories
• 3x internal mics, Ozo audio with five directional pickup patterns

As far as I know, the Nikon ZR is the smallest and lightest camera of its kind, weighing just 19oz / 540g (body-only). It's also weather-resistant, which is a rarity in the cinema camera world.

There are pros and cons resulting from the tiny dimensions. Drawbacks include enthusiast-level connectivity, like micro HMDI rather than full-size (though you only need an adaptor to remedy this), and the absence of a grip or mounting points for accessories. A camera like the Canon EOS C50 feels more high-end, given its pro-level connectivity.

It feels best to keep things simple with the ZR, making the most of its compact body and powerful features by minimizing the number of accessories in play. A grip is the one accessory I would absolutely look into buying, while if you want to rig up the ZR you'll need a cage, which will in turn allow you to attach accessories such as lights and mics – Nikon has partnered with SmallRig to create grips and cages for the ZR (pricing above).

Despite its tiny body, the ZR packs a large 4-inch touch display. As such, I don't really see the need for attaching a bulky external 5-inch monitor. It certainly helps that the ZR's 3.07m-dot display is wonderful bright and vivid – the brightest in its class, says Nikon. I've used the ZR in a studio and outdoors, and have been seriously impressed.

Other cinema cameras, like the Sony FX3 and Canon EOS C50, only have 3-inch displays, while the Blackmagic Cinema Camera 6K has a mega 5-inch unit. In the case of the Sony and Canon models, I'd absolutely want to add a monitor to my setup.

As great as the screen is – a real standout feature – it's only a flip-out screen. You can't tilt the screen with it tucked up neatly into the camera body, only when it is flipped out. There are unique benefits to both types, but some filmmakers would probably rather a tilt screen instead. There are a few cameras with 4-axis (dual hinge) displays which offer both, such as the Panasonic Lumix S1 II and Sony A7 V.

The camera's top plate is pretty simple: there's a photo / video switch (though sadly the UI remains the same whichever setting you're in, rather than there being dedicated menus for photo and video), record button with rocker, plus three buttons for accessing items such as display settings.

The rear is dominated by the large touch display, which when folded away reveals the Nikon / RED branding. Beside it are a joystick for controls such as autofocus point selection, a menu button (a quick press brings up the main menu and a long press brings up the quick menu, which is a nice touch) and a playback button.

Battery life promises to be okay, given that the ZR uses the same EN-EL15 battery as the Nikon Z6 III and Nikon Z8. There are no vents or cooling fans, though, which would normally suggest that a camera of this type would be prone to overheating during long recording sessions.

I've recorded short and long clips during my in-depth testing, and haven't run into overheating issues, but I haven't really, really pushed the camera. However, Nikon says the camera's magnesium alloy body is a natural heat sink, and promises that long record times are possible – up to 125 minutes of 6K in one take – and based on my experience with previous Nikon cameras I have no reason to doubt it.

There's exciting tech under the hood, too, namely a totally new Ozo audio setup, which comprises three mics. Together, these offer five directional pickup patterns, including front narrow (like a shotgun mic), front wide, rear and binaural 3D stereo.

Nikon says this Ozo system is the best internal mic setup of any camera, and it's supported by a world-first: in-camera 32-bit float audio capture. Nikon's new ME-D10 shotgun mic, released at the same time as the ZR, supports 32-bit float audio too. Those are impressive audio features for any camera, let alone one at this price point.

Nikon ZR: Performance

• 6K up to 60fps, 4K up to 120fps, Full HD up to 240fps
• Internal RAW recording and RED color profiles (up to nine in-camera at any time)
• Subject-detection autofocus and 5-axis image stabilization
• 24MP stills, partially stacked full-frame sensor

For the most part, the Nikon ZR has the same photo and video specs as the Z6 III (which we awarded five stars out of five in our in-depth review), which means a full-frame partially stacked 24MP sensor equipped with 5-axis image stabilization.

Add in decent subject-detection tracking autofocus and the ZR is a capable stills shooter, although while this is useful for on-set stills, the main focus of my testing is of course the ZR's video chops.

Like the Z6 III, the Nikon ZR shoots 6K up to 60fps, 4K up to 120fps and Full HD up to 240fps. There's the option for shooting internal RAW with a 12-bit color depth, or keeping things simple and baking in the look at capture with 10-bit recording.

Given the array of creative styles and color profiles on board, which includes space for up to nine RED color profiles at any one time, you might just feel happy to skip shooting RAW, with its large file sizes and grading demands, and use one of the many baked-in color profiles instead to save editing time and space on your hard drives.

I shot a variety of video clips during a half-day session with a drummer in action inside a studio, including 6K RAW, a few of the RED profiles baked in, and 240fps slow-motion – see my sample video, above. In this setting, the ZR delivered some superb-looking video. Outside of the studio, the ZR continued to impress me.

Including image stabilization certainly bolsters the ZR's handheld use credentials, but I've shot with other cameras recently with better stabilization for video, such as the Lumix S1 II.

Nikon ZR: testing scorecard

Should I buy the Nikon ZR?

Buy it if...

Don't buy it if...

Nikon ZR: also consider

How I tested the Nikon ZR

• I had an initial half a day with the ZR in a studio, follwed by a Nikon-hosted event at the IBC show, and then for an extended loan period at my own leisure
• I paired the ZR with multiple Nikon Z lenses and tried out the new ME-D10 mic
• I've used the camera handheld without any accessories, but also in the dedicated SmallRig cage

I had the opportunity to shoot with the Nikon ZR for half a day ahead of its launch, using it for an indoor stage-lit shoot of a drummer in action. Nikon supplied an array of Z-mount lenses for the shoot, of which I used a few primes and zooms. The new ME-D10 directional mic was also available on the day.

There followed another shoot experience with Nikon at the IBC show, and consequently a long loan of several weeks. SmallRig supplied me with its Advanced Cage kit for that extended review period.

During my test time, I have shot in 6K RAW, 240fps slow motion, and to try out various color profiles, focusing on the RED looks.

I have plenty of experience using rival cinema cameras such as the Sony FX3, so I'm well equipped to make an informed initial assessment of the ZR. That said, cinema cameras need to prove themselves as tools their users can rely on shoot after shoot, which is not something anyone has had the luxury of yet with the camera being so new.

• First reviewed: September 2025
• Read more about how we test

• New leaks for the DJI Osmo Pocket 4 and DJI Avata 360 have appeared
• Both products could be launching before the end of 2025
• A ban in the US is looming for DJI, which would block new launches

Even as a US ban looms, DJI is still pushing out new products to try and get as much stock on shelves as possible – and it doesn't seem to be finished yet for 2025, according to fresh leaks of the DJI Osmo Pocket 4 vlogging camera and the DJI Avata 360 drone (rumored to be DJI's first 360-degree model).

First the DJI Osmo Pocket 4, and well-known tipster Igor Bogdanov has posted a brief clip showing the camera being tested, apparently out in the real world. We get a reasonably clear look at the new device, though the clip is rather brief.

This backs up previous leaks around the successor to the current model, which we described as "class-leading" in our DJI Osmo Pocket 3 review. The updated version is expected to have a second camera lens, a bigger battery life, and a rotatable display.

All of these improvements apparently mean the DJI Osmo Pocket 4 will be slightly taller and heavier than its predecessor, which seems to be the case in this leak too. We're still not sure exactly when we'll see the rumored vlogging camera, but given the frequency of the leaks lately, it's likely that a launch will be happening soon.

Full 360-degree coverage

On to the DJI Avata 360, and this is another DJI product that's already been extensively leaked, suggesting an imminent launch: previous rumors have predicted that the 360-degree drone is going to break cover before the end of the year, which only gives DJI two or three weeks to get this announced.

The latest leak comes from New Camera, which has done the work of digging through all the AI-generated fakes on the web to find an image which might actually, authentically, show the DJI Avata 360 retail box. This appears to be the Fly More Combo box that comes with three batteries inside.

A first-person view pair of goggles also appear to be bundled with the drone, and besides capturing photos and videos in 360-degrees, that wraparound first-person view will be one of the key benefits of the DJI Avata 360 – which is expected to offer 8K video capture, dual 1/1.1-inch CMOS sensors, obstacle avoidance, and a follow mode.

The previous reference point for this drone seems to be the DJI Avata 2, although the 360-degree model is being tipped to come with a larger battery for a longer flight time. Whatever the specs, the drone will be taking on the Antigravity A1 from Insta360, which has already impressed us.

The DJI Osmo Pocket 3 is a huge success story – it's a tiny, gimbal-mounted video camera that sits in the top spot of my best vlogging cameras guide and is seemingly in the hands of every content creator. Recently, however, its makers have had to navigate several US sales hurdles, namely tariffs and an outright US ban, which might actually kick in on December 23.

You can still buy the Pocket 3 for now, but a familiar-looking alternative has quietly appeared, and it costs much less today – the Xtra Muse is $419 at Amazon (was $699).

To put that into perspective, the Pocket 3 launched in 2023 for $519, but its full price has risen to $799 today. There are also Cyber Monday deals for the Pocket 3, see below, but it still costs 25% more than the Xtra Muse.

• Shop Amazon's full Cyber Monday sale

For more camera deals, check out my Cyber Monday Camera deals roundup and be sure to swing by TechRadar's live Cyber Monday coverage for other tech bargains.

Today's best Xtra Muse deal

To be clear, I haven't personally used the Xtra Muse, and DJI has neither confirmed nor denied that it's effectively a disguised version of the Pocket 3.

What we do have is a teardown of the Muse from The Verge, which compared it to DJI's vlogging camera. The Verge suggests that the cameras are essentially the same in every way and compatible with the same accessories.

There's the same 1-inch sensor, gimbal-stabilized 4K 120p video, swivel monitor, and single push switch to selfie mode. The Pocket 3 is a dream vlogging camera, and by extension, the Xtra Muse may be, too.

It's not the only Xtra product either – the Edge Pro bears a striking resemblance to the DJI Osmo Pocket 5 Pro, although those two cameras are basically the same price on Cyber Monday.

If you'd rather buy the genuine DJI Pocket 3, I've included the best price below.

Today's best DJI Osmo Pocket 3 deal

More Cyber Monday deals in the US

• Amazon: 45% off TVs, AirPods, air fryers & vacuums
• Apple: iPads, AirPods & MacBooks from $119
• Best Buy: $1,000 off TVs, laptops & headphones
• Dell: laptop deals from $249.99
• Home Depot: 40% off appliances, furniture, grills & tools
• Lenovo: 45% off laptops & tablets
• Lowe's: up to 30% off appliances, holiday decor & tools
• Samsung: up to $2,000 off appliances, TVs & phones
• Target: 40% off Christmas decor, clothing & furniture
• T-Mobile: up to $1,100 off latest iPhone 17
• Walmart: furniture, cheap TVs & vacs from $69
• Wayfair: 54% off Christmas, furniture & decor

• The DJI Osmo Pocket 4 has passed FCC approval
• A launch could now be imminent
• DJI is racing to get ahead of a ban next month

It looks as though we might soon be getting a successor to the DJI Osmo Pocket 3 – which we described as "class-leading" in our review – now that a new DJI vlogging camera has tipped up at the Federal Communications Commission (FCC) in the US.

Any gadget that wants to go on sale in the United States has to get FCC approval first, and as spotted by New Camera (via Notebookcheck), that has now happened. It means the DJI Osmo Pocket 4 could be going on sale pretty much any day now.

The FCC documentation doesn't tell us a whole lot that's exciting about the camera – it confirms that it'll support Wi-Fi 5, for example, like the DJI Osmo Pocket 3 – but there is apparently going to be a battery capacity upgrade: up from 1,300 mAh to 1,545 mAh.

We'll have to wait and see how much difference that makes to actual battery life when we get our hands on the DJI Osmo Pocket 4. Extra battery capacity is always welcome of course, but it's only one of the factors that contribute to battery life.

A ban in the US is looming

We have previously seen leaked images of the DJI Osmo Pocket 4, which show a substantial redesign. That redesign could include a second screen, apparently, which would also have an impact on the average time between battery charges.

As well as a second screen, the rumors are that the upcoming gimbal device is going to have a second camera too. That would theoretically lead to higher quality photos and videos, and a wider range of shooting options too.

This is all happening under the threat of a ban on new DJI products in the US, which looks increasingly likely to happen on Tuesday, December 23. A government agency security audit needs to happen before that date for DJI to escape a ban.

DJI will want to get the Osmo Pocket 4 launched before December 23 and the start of the ban – though at the moment it's unclear what powers the US government might have to retroactively ban products launched before that date.

Panasonic HC-X1200: two-minute review

I’ve been testing camcorders for over five years, to which you might respond, "Aren’t camcorders a relic from a former era?" And in some ways you'd be right. But there's still plenty of life in the product category, and filmmakers who like the traditional handling and built-in zoom of a camcorder will find much to enjoy in Panasonic's HC-X1200.

Even for a seasoned reviewer like myself, though, the HC-X1200's appeal isn't immediately clear. This relatively new and lightweight Panasonic model targets the serious creator or event videographer who needs rock-solid reliability and modern specs without jumping into the $2,000 / £1,500 price bracket.

There are few real video 'features', apart from basic face tracking. And without mod cons like Wi-Fi, this isn't the tool for fast-paced content creators. I like a simple workflow, and the HC-X1200 is certainly easy to pick up and use in full auto mode, with the option to work in manual for more advanced users.

A core strength here is, thankfully, image quality. I was fairly impressed that the camcorder offers 4K recording at 60 frames per second (4K/60p) with 10-bit internal recording, especially since similarly-priced models max out at 4K 30p.

This combination smooths out action footage with enough color latitude for grading later on, although it's nothing like as fast as you'll get from a top-tier action camera.

The main draw of camcorders, as I say, is their built-in zoom range. Sure enough, the HC-X1200’s built-in 24x optical zoom is something you won't get from a mirrorless camera without spending a fortune on lenses that are likely very heavy, too.

It's also worth noting that the HC-X1200's rivals max out at 20x zoom. If you’re an event or documentary shooter, or a wildlife enthusiast as I am, this is the best video camera for zooming in exceedingly far with clarity, stability, and speed. In 35mm terms, it's the equivalent of having lenses ranging from a 25mm wide-angle all the way to a 600mm telephoto in your bag.

The HC-X1200's design also incorporates three steps of built-in ND filter, and the excellent 5-axis Hybrid OIS. is impressive for static handheld shots and walking scenes.

I didn't get the chance to shoot a wedding during my review loan period with the camcorder. Still, I think I’d be happy to use it for long events like weddings or conferences without worrying about the battery dying or the unit overheating, not least since the heat-dissipating design kept it totally cool while shooting long testing clips.

The HC-X1200 is a relatively affordable camcorder, and that’s because it makes some obvious compromises. Without a proper electronic viewfinder (EVF), it’s not always easy to see settings and frame up scenes in bright sunlight, especially since a lot of data on the screen is printed in tiny writing.

Good video requires good audio, but there are no professional XLR audio inputs. Instead, there’s one 3.5mm mic jack, which means relying on external recorders or less high-end microphones if you’re working on projects where audio is critical. If you're shooting primarily for home or family videos, though, the audio is just fine.

The HC-X1200 is a good-value portable camcorder. Whether you’re new to filmmaking and want something with a long zoom, or you like the traditional handling, the HC-X1200 is a reliable option for long-form capture. Just be prepared to manage audio externally, and work primarily in well-lit conditions.

Panasonic HC-X1200: price and availability

• Priced at $1,299.99 / £1,099 / AU$2,399
• Lens hood included
• Announced in January 2025

The Panasonic HC-X1200 was announced in January 2025 alongside two new 4K camcorders, the HC-X1600 and HC-X2100. It costs around $1,299.99 / £1,099 / AU$2,399.

The HC-X1200 is the entry-level model among these three Panasonic camcorders, without a viewfinder, handle unit, or XLR mic ports. It also lacks Wi-Fi, which feels like a misstep given that this comes as standard on cheaper rival camcorders and creator video cameras.

By my maths, the HC-X1200 is one of the most affordable camcorders for shooting 4K at 60 frames per second. The built-in ND filters also add a lot of flexibility for controlling exposure in bright light. Competing models priced near or below it (the Canon HF G70 or Sony AX43) are typically limited to 4K/30p, and both of those max out at 20x optical zoom power.

Panasonic HC-X1200 specs

Panasonic HC-X1200: Design

• Light at just 800g, but not ultra-compact
• Heat-dispersing design for continual recording
• Two manual control rings

The Panasonic HC-X1200’s form resembles a classic camcorder. Made from matte black plastic, the body is long and barrel-shaped, and there’s an adjustable padded strap to aid stable handheld use (right-handed functionality only, though), with a pull-out, articulating LCD screen on the left of the body.

The HC-X1200 looks and feels similar to the Panasonic HC-X1500, which I’ve also tested, but comes in at a lighter weight of 1.76lbs / 800g. Some of the HC-X1500’s added weight comes from the viewfinder and eyecup, and the HC-X1200 is designed as a compact, body-only model, doing without the XLR-equipped handle unit found on its siblings (the HC-X1600 and X2100).

Panasonic calls it a “lightweight 4K 60p palm-style" camcorder, and while isn’t heavy, it might feel cumbersome to use at first if you’ve come from a vlogging-style camera. You’ll need a long padded bag to carry it, too. But the benefit of a camcorder like this is that everything is in the one unit, so you can forget carrying (and swapping out) extra lenses.

On the top is a chunky raised zoom rocker, which I found responsive, but not as naturally placed as on some camcorders. My index and middle fingers had to curve around slightly to reach it, but your mileage may vary.

The HC-X1200 is aimed at prosumers rather than total beginners, so there’s a good array of physical buttons on the camcorder body. There are no fewer than five customizable user buttons on the top, too, which can be set via the menu for controlling functions like face detection and enabling image stabilization.

Several of these are already preset, making them optional, but it’s a good thing to be able to customize the handling for your own preferences, especially since it’s harder to find these buttons in low light.

Before you even pull out the LCD screen, there are more buttons underneath on the left-hand side, including for the menu, iris, gain, shutter, and a toggle to switch between auto and manual exposure mode. The Menu button is the one you’ll likely use the most, and I would have liked to have felt it raised more than the others to make it easier to find without looking. Small things, though.

Fold out the LCD and there’s the on/off button (presumably positioned as such to stop you pressing it accidentally when the LCD is stowed away), a playback button, a toggle for displaying more or less info on the screen, and, as with most camcorders around this price point, dual memory card slots covered by a slide across a plastic window. A light illuminates to indicate which of the two SD cards is actively recording, which is a nice touch.

The 3.5-inch touch-sensitive LCD monitor is bright, detailed, and fully articulated, which means you can shoot pieces to camera or at low angles easily. As a more compact model, the Panasonic HC-X1200 notably skips an electronic viewfinder, but for this class of camera the generous touchscreen compensates.

My main complaint is the responsiveness of said screen and the layout of the menus, which at times felt slow, confusing, and outdated to a modern user. It’s a shame Panasonic couldn't spend time coming up with a more user-friendly experience, but it’s not a dealbreaker.

At the rear of the camcorder is the raised recording button (easy to find without looking), plus a full HDMI port, USB-C power port, and single 3.5mm stereo mini jack for external audio input. In some ways, it’s a shame that professional XLR inputs are reserved for the X1600/X2100 handle. However, for a camcorder of this size, it keeps the profile sleek. Underneath, there’s also a standard tripod thread, and it’s a great bonus to be able to check the battery’s capacity with a quick press of the Check button.

The highlight for me when using the HC-X1200 were the dual manual rings on the lens barrel, which are both smooth and very tactile to use, thanks to the notched markings all the way around them. The ring closest to the lens controls focus, and the other zooms, meaning you can precisely pull focus through a shot, or just get up-close subjects really sharp.

I found it easy to make smooth and on-the-fly adjustments without taking my eye off the action, and the manual rings are also in a more natural place for your hands than the zoom rocker. Just behind the closest ring is a dedicated three-stage ND filter switch (Clear, 1/4, 1/16, 1/64) placed right where my fingers expected it, and I found this essential for managing exposure in bright outdoor settings, even though I’ve not really used this function on other camcorders.

A big lens hood is supplied with the camcorder, both to protect the lens and shelter it from bright, direct sunlight. There’s a physical toggle to open and close the lens hood, which mirrorless users might take a while to get used to. I do wonder if modern mirrorless users will, like I did a few times, even with years of testing, forget to close the opening once you’ve finished shooting.

The HC-X1200’s design doesn’t try anything new, but that’s okay. It took me a few days to really get to grips with everything – both metaphorically and literally, since the strap needs tightening often – but it balances portability with some core manual controls. It’s an effective, comfortable choice for filmmakers who don’t want to carry around a colossal camcorder.

Panasonic HC-X1200: Performance

• Mediocre low-light performance from the small sensor
• Impressively shake-free footage even at the full 24x zoom
• Versatile f/1.8-f/4 iris opening allows some bokeh

The XC-H1200 is a good video all-rounder, without any of the fancy AI features or autofocus options often marketed at content creators to make filming 'easy'. If you’re looking for a fully automatic workflow, though, the XC-H1200 delivers generally well-exposed and balanced 4K footage.

The 24x zoom range is quite incredible, and you can see in the sample clips how close I was able to get to a grey heron from the other side of a large pond. The zoom action is very smooth, and I like that it can be fine-tuned using the lens rings – great for up-close scenes, or if you want some creative pull-focus shots.

There aren’t any metering modes to choose from, though, and I often found that the exposure, while good overall, would overexpose very bright areas, such as the white feathers of a bird, at the mid-to-far end of the zoom. However, the camcorder’s built-in ND filters became exceptionally helpful on sunny days, as well as a creative tool if I wanted a darker look.

I found white balance to be very accurate on frosty mornings and sunny days, but in artificial light I ended up setting the tone manually. This is Panasonic's prosumer camcorder, so the fact that it lacks color grading isn’t a surprise, and there aren’t options to match colors with other cameras – a feature I’ve previously used with the Canon lineup.

Colors are well rendered, if a little on the dull side, but I found some leeway to boost the vibrancy in post-production without scenes looking artificial or losing detail. With 10-bit color depth set I didn’t notice any banding in bright skies either, as I have with cheaper camcorders and action cameras.

There are several video options to choose from, but only once you’ve stumbled upon the right place in the confusing, unintuitive menu. You can shoot in either UHD 4K or 1080p resolution, and two frequency modes (59.94 Hz for NTSC regions and 50.00 Hz for PAL regions) dictate the available frame rates, all at a maximum bitrate of 200Mbps.

Various encoding options will help those with more experience balance file size and quality, but if you’re new to moviemaking Panasonic doesn’t helpfully explain any of the options, so a bit of research might be needed in order to get the most from them.

Although it isn’t obvious, the HC-X1200 has the option for smooth slow-motion capture at up to 120fps, but only in HD (1920 x 1080). The idea is to help keep fast-moving subjects in focus, but while the results are definitely usable, the autofocus is the more limiting factor for ultra-fast and erratic subjects. In short, don’t buy this camera expecting to shoot a lot of crisp action.

The HC-X1200’s autofocus isn’t mind-blowing, and Panasonic doesn’t give a lot of detail regarding the mechanics of how it works. There’s nothing like the eye-detection precision of my Canon EOS R6 Mark II, but that’s to be expected at this price point.

Face tracking is easily turned on or off with a button on the body. It’s great for keeping you sharp during vlogging pieces to camera or documentary work, since the camcorder also adjusts the exposure automatically to keep the main face balanced in changing light. If you’re in shifting lighting conditions, this process takes a few seconds to recalibrate, but for interviews in a continuous or evenly lit room, it will cope well.

I was worried about low-light performance, due to the size of the camcorder’s sensor (1/2.5-inch) – usually a recipe for grainy, muddy footage. Out of the camera, the footage I shot at night was a little noisy, but far more usable than other camcorders I’ve tested with the same sensor size. The best results come from shooting at the camcorder’s highest bit rate, and then eking out the mileage with some creative grading.

If you work with dark footage rather than trying to brighten the shadows, the low-light footage is surprisingly usable. Setting the f/1.8 maximum aperture manually also helps. The HC-X1200 is also capable of capturing the invisible infrared spectrum for nighttime footage, but you need to buy an external infrared light source for this, so I didn’t test it.

With the dual SD card slots, you can set up two cards for relay recording (using one as an overflow when the first fills up), or simultaneous recording, so you have a backup. I only used one fast SD card when testing, but I often found the camera would be writing and processing footage for a long time after hitting the button to end recording. On a few random occasions, the camcorder froze, and I had to leave it alone for five minutes or so before I was able to start shooting again, which isn’t ideal if you’ve got limited time with a subject or need to capture a particular moment.

On the plus side, it’s fully possible to record footage for as long as either your memory card(s) or the battery allows, since the heat-dissipating design genuinely delivers unlimited recording times, as Panasonic promises. I accidentally left the camcorder recording in my bag one day, and found that it had kept recording for several hours before the battery had run out.

Panasonic says you’ll get five hours of battery when recording 4K at 30p, and I got at least four and a half hours from one full charge, making this an excellent all-day companion if you have a few spare batteries in your arsenal.

Obviously, image quality is only half of the equation with video, and the HC-X1200’s audio quality falls somewhat short. If you’re a few steps from the camcorder, and ideally facing towards it in a wind or traffic-free zone, your voice is picked up clearly. Outside this ideal scenario – for example, if you’re walking and talking, or near a road – the built-in mic is less capable at picking out individual audio sources.

There are no clever AI algorithms working in the background to help suppress wind noise, as found on action cameras like the DJI Osmo Nano. So the onus is on you as the user to carefully choose the shooting location – in a sheltered spot away from the wind – or add an external mic with a furry wind shield using the 3.5mm jack input.

Should you buy the Panasonic HC-X1200?

Buy it if...

Don't buy it if...

Also consider

How I tested the Panasonic HC-X1200

• I tested it for two weeks
• I shot in full Manual and Auto mode
• I used it for video, day and night

Panasonic loaned me the HC-X1200 for two weeks, and although it was raining almost the whole time (welcome to winter in the UK), I did take it with me on a few outdoor adventures, dog walks, and day trips, and I used it as an everyday companion for mainly handheld shooting.

I made direct comparisons with many other camcorders I've tested, as well as video on my now similarly-priced Canon EOS R6 DSLR and iPhone 15 Pro.

I shot videos using different iris settings and zoom lengths, in both fully automatic and manual modes, to compare the ease of use and quality of results from both.

• First reviewed November 2025

DJI's first pocketable 360-degree camera launched just a few months ago, but it has already received its first major price cut – the Osmo 360 costs just £298 at Amazon (was £409). In the US, meanwhile, the Osmo 360 is on sale for $410 at Amazon (was $549.99) – that's the first price cut since the camera finally made it to US stores.

That's an amazing deal wherever you live, especially considering the Osmo 360 already beats the GoPro Max 2 and Insta360 X5 for value. DJI seems well and truly intent on pricing out its rivals (though GoPro is already discounting its new 360 camera too in the UK – the Max 2 is now just £349 at WEX).

You get a lot of camera for your money, as our Osmo 360 review points out: class-leading 1.1-inch sensors, 8K 360 video recording, versatile mount options and built-in storage. Want a complete package? You get a charging hub, two additional batteries, quick release adapter mount and a 1.2m selfie stick in the Osmo 360 Adventure Combo for £395 at Amazon (was £539.99) or the Osmo 360 Adventure Combo costs $524.99 at B&H Photo (was $699.99) – that's the package to get if you're starting out or regularly doing long video sessions.

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(Not in the US or UK? Check out the best DJI Osmo 360 deals below)

Today's best DJI Osmo 360 deal in the US

Today's best DJI Osmo 360 deal in the UK

Should you buy the DJI Osmo 360?

Despite recent DJI Osmo 360 and GoPro Max 2 arrivals, it is in fact the Insta360 X5 that remains my favorite 360 camera. To get the lowdown, check out our Osmo 360 vs X5 article, where Insta360's offering comes out on top overall.

That said, it was hardly a comprehensive victory for the X5. The Osmo 360 has plenty going for it, including class-leading 1.1-inch sensors for superb low light quality. It also serves audiophiles well with a seamless wireless connection to one of DJI's remote mics, such as the Mic Mini.

DJI probably wishes its Osmo 360 featured swappable lenses, given both the Max 2 and X5 allow for this cost effective fix should either lens get damaged. Overall though, the Osmo 360 isn't far behind the X5 or Max 2 at all.

It feels like rivals have the hardware edge in terms of ruggedness, but DJI clearly wins in the value department. The Osmo 360 already cost much less than its competitors, and now with this major price cut, it is clearly the value 360 camera to get. Similarly priced models such as the older Insta360 X4 can't compete, and the Osmo 360 in another league to the budget Akaso 360.

If you're starting out from scratch, the Osmo 360 feels like the best 360 camera deal to get, though I would opt for the pricier Adventure Combo mentioned above, because a selfie stick is pretty much an essential accessory. Still, that bundle with numerous accessories even costs less than the Insta360 accessory-less bundles. Top deal, DJI.

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If you've seen someone vlogging with a curious stick-like camera, chances are it's the best-selling DJI Osmo Pocket 3. After all, the tiny gimbal-mounted video camera shoots smooth 4K video supported by neat features, such as one-push selfies and a swivel monitor for vertical or horizontal shooting. And right now, it returns to a sensible low price after a big price hike months back – you can grab the DJI Osmo Pocket 3 at Amazon for $528 (was $799.99).

I could attribute this price reduction to rumors of the Osmo Pocket 4, which have ramped up and suggest the Pocket 3's successor is close to launch. However, it's not that simple, because there's every chance that the Pocket 4 won't even launch in the US.

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With that in mind, $528 for the Pocket 3 is an incredibly attractive price for a smartphone-beating vlogging camera with a large 1-inch sensor and direct compatibility with DJI's wireless mics – and others. I expect stock will sell out fast, so if DJI's vlogging camera appeals, this is a deal I would act fast on.

Not in the US? Check out the best DJI Osmo Pocket 3 deals below.

Today's best DJI Osmo Pocket 3 deal

The rumored Osmo Pocket 4 is tipped to feature twin cameras, meaning it could be possible to record both front- and behind-the-camera angles simultaneously, and a second screen could be added to display both of those angles.

The New Camera goes on to suggest DJI could surprise us with higher-resolution 6K video recording with 10-bit color depth, and that 4K video frame rates could be upped to an impressive 240fps. A December 18 release date is being suggested, too.

So where does this leave the Pocket 3? Well, the Pocket 4 sounds like a different kind of proposition for vloggers, meaning the simpler Pocket 3 could remain available. And we've every reason to believe that the Pocket 4 will not be available in the US at launch, if recent Neo 2 and Mini 5 Pro DJI announcements are anything to go by.

It might be two years old, but the Osmo Pocket 3 still delivers on almost every front. It shoots smooth 4K video up to 60fps or 120fps slow motion, pairs seamlessly with wireless mics (especially DJI's own Mic Mini and Mic 3) and I love the swivel touch monitor that cleverly switches between horizontal and vertical recording. The gimbal-mounted camera switches from front to selfie recording at the push of a button, too.

There's a reason the Pocket 3 remains top pick in my best vlogging cameras guide, so I'd advise picking one up while this affordable deal lasts.

Shop more of today's best US Black Friday sales

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• Apple: iPads, AirPods & MacBooks from $119
• Best Buy: $1,000 off TVs, laptops & headphones
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• Home Depot: 40% off appliances, furniture, grills & tools
• Lenovo: 45% off laptops & tablets
• Lowe's: up to 30% off appliances, holiday decor & tools
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• Another DJI Osmo Pocket 4 leak has appeared
• It shows the back of the vlogging camera in action
• An official launch shouldn't be too far off now

We're expecting to see quite a few new DJI products in the coming weeks, including the DJI Osmo Pocket 4 vlogging camera – and now a fresh image leak has shown the device in action out in the wild, ahead of an official unveiling.

This leak is from The New Camera (via Notebookcheck), and it looks as though it shows the upcoming camera right alongside the current model. It's possibly some kind of performance test or promotional shoot for the product.

So what does the image tell us about the successor to the DJI Osmo Pocket 3? Not too much that we don't already know from previous leaks, including that the new model is going to have a thinner, more refined design.

While the as-yet-unannounced camera looks taller than the model it's replacing in this shot, the angle the picture is taken at and the shooting rig being used probably means there's not too much difference here in terms of height.

Upgrades on the way

We've already seen leaked images of the DJI Osmo Pocket 4, pointing at two major upgrades in particular: a second camera sensor to improve photo and video capture, and an extra screen fitted to the front of the camera.

Those improvements to the current model, plus the heritage that DJI has built up, mean that this is likely to be an instant contender for our best vlogging camera list – and we're now expecting a launch sooner rather than later.

The leaked image we have here isn't of a particularly high quality, so we can't see too many details on the camera, but if we're seeing it being tested in the real world like this then an official unveiling can't be too far off.

What's more, it seems probable that we'll also see the DJI Osmo Action 6 as well within the next few weeks, plus a global rollout for the DJI Neo 2. With a US ban looming for DJI though, it's not clear if these devices will launch in that country.

It's a double win for Panasonic, as its incredibly versatile Lumix S1 II recently scooped TechRadar's Video Camera of the Year Award recently, and now it's just taken top spot in our best video cameras guide.

Both accolades are well deserved. I tested the camera for over a month, and for me it's the most complete video camera for the money from any brand, and that includes powerful rivals from Blackmagic, Sony, Canon and Nikon.

For the deep dive, check out my Lumix S1 II review. In this article, however, I'm going to cover what I believe sets the Lumix S1 II apart from its rivals, and why it was crowned our Video Camera of the Year.

Supreme quality in a fiercely contested space

Of all camera types, for me it was video cameras where the most dramatic improvements have been made in 2025, so further credit goes to the Lumix S1 II for being our top pick in what is an increasingly contested category.

Canon made its cinema line smaller and more affordable with the baby EOS C50, Nikon made huge strides following its RED acquisition, specifically with the recent ZR, while Blackmagic delivered the powerful Pyxis 6K. I'm also expecting Sony to get in on the action very soon.

I believe the Lumix S1 II is the best overall pick for most people who aren't specifically looking for a cinema camera, beating rivals such as the Nikon Z6 III (and new ZR). It shares what is likely the same partially stacked 24MP full-frame sensor as those Nikon models, enabling it to become Panasonic's fastest Lumix to date. However, there are some lesser-known features that give it the real-world edge over its rivals.

Besting Nikon, we get open gate 6K video recording, which is ably supported by an abundance of video codecs – taking up 11 pages in the camera's menu – plus dual-gain ISO for clean video quality day or night.

The dynamic range boost mode takes things to the next level for those wanting natural-looking 6K video with the most amount of detail in highlights and shadows – the quality straight out of camera is nothing short of professional.

I've always appreciated Panasonic's Real Time LUTs feature, too, enabling you to assign custom color profiles in-camera to give you the look you want for video and photos. I'm not the only one who would take Real Time LUTs over Fujifilm's film simulations.

We also get incredibly effective in-body image stabilization for video – I'm yet to experience a better full-frame alternative. Panasonic's autofocus now fares much better against rivals, too, which is one less reason to overlook Lumix cameras.

The S1 II's design doesn't particularly excite me, but there's no denying that it's a highly functional video camera, delivering the tools that filmmakers demand. I especially liked its dual-axis vari-angle screen, which is much like the design on the Sony A9 III / A1 II, and something Canon and Nikon miss. I'd like the screen to be bigger, but it sure is versatile.

Overall, there are specific areas where certain Sony, Nikon, Blackmagic and Canon rivals fare better, but it's the consistency across all areas that makes the Lumix S1 II top dog for me.

Is the Lumix S1 II the perfect package?

Well, not exactly. There are a few reasons that could potentially mean a rival video camera is better for you.

For one, battery life is mediocre, certainly compared to Sony alternatives. For a typical shoot day with the Lumix S1 II, I would want to pack two spare batteries and have the additional assurance of on-the-go USB-C charging, to be on the safe side.

Also, the rear 3-inch touch display feels a little on the small side now that I've used the Nikon ZR with its generous 4-inch screen, not to mention the Blackmagic Cinema Camera 6K's whopping 5-inch screen. Even the Nikon Z6 III has a 3.2-inch display.

Given the display size, if the Lumix S1 II were to become my daily workhorse – and it might – I would absolutely be attaching an external monitor, such as my (5-inch) Atomos Ninja.

To unleash the Lumix S1 II's 32-bit float audio recording, you'll need the optional Panasonic DMW-XLR2 microphone adapter. Granted, it's an impressive feature to have access to (even if the Nikon ZR offers these skills without an adapter), but that's another accessory to consider.

Additional batteries, an external monitor, that XLR adapter – those accessories add up, and the S1 II is uncharacteristically pricey for a Lumix, especially since Nikon upped its video game after acquiring RED, delivering excellent-value video cameras which today make it the best budget choice.

That said, the Lumix S1 II has the best in-body image stabilization performance of video of any camera I've tested, meaning it's the one camera I would most likely use handheld without needing a gimbal.

Overall, I believe the Lumix S1 II has the edge. It's the complete package in terms of handling and quality. Just keep in mind those potential additional outlays, plus the cost of some decent L-mount glass if you don't already have some lenses.

• We're getting a better idea of the specs of the rumored DJI Osmo Pocket 4
• The gimbal vlogging camera could be launching very soon
• Some big names are expected to launch rival products during 2026

The hectic DJI launch schedule we've seen so far in 2025 is showing no signs of slowing down: the DJI Osmo Pocket 4 vlogging camera could be the next gadget to break cover, and we've got some fresh rumors around its potential specs.

As per New Camera, rounding up several leaks from around the web and social media, multiple sources are now reporting that the camera will use a dual-lens setup – which could mean simultaneous rear recording for reaction videos and a broader range of format options.

That fits in with an earlier leak from last month, which offered some rather low-quality (and potentially AI-generated) images showing what seemed to be a second camera lens or depth sensor, alongside a second screen. The indications are that this'll be a significant upgrade over the DJI Osmo Pocket 3 (which is very impressive itself).

A new 50MP camera sensor from OmniVision could be an ideal candidate for that second lens inside the DJI Osmo Pocket 4, according to Notebookcheck. It offers a high level of performance, but crucially, it's also compact and easier to squeeze into the smaller space offered by a camera casing like this.

Here comes the competition

The New Camera team floats the idea that we might get several different variants of the vlogging camera this time around, perhaps a Pro model with a dual-lens camera and a standard model that sticks to a single lens.

Video quality up to 4K/240fps and 1080p/240fps is expected with the Pocket 4, up from a maximum of 4K/60fps on its immediate predecessor. In terms of scheduling, the rumors are pointing towards a launch before the end of the year.

This same source also notes that DJI is likely to face a lot of competition in this space as we head into 2026. Previous leaks have indicated that GoPro is working on a similar device, which could see the light of day soon, and Canon, Oppo, Vivo, and Xiaomi are all rumored to be getting involved in pocket gimbal cameras next year too.

That's good news for consumers of course, as it will mean there's more choice than ever when it comes to the best vlogging camera – but DJI is going to be keen to get ahead of its rivals with the Pocket 4. For reference, the DJI Osmo Pocket 3 launched two years ago, in October 2023.

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• Nikon announced at IBC that it is developing cinema lenses
• There's currently no timeline on when to expect the first models
• They will be designed for the Nikon Z Cinema Cameras, including the ZR

Nikon elevated its position in the cinema camera space when it bought industry favorite RED Digital Cameras in 2024, and has set about capitalizing on the partnership at a rate of knots.

Just 18 months down the line, there's already two RED cameras relaunched with Nikon’s Z-mount – the V-Raptor and the Komodo – a more affordable V-Raptor XE, plus the first model in a completely new line of Nikon Z Cinema Cameras, the Nikon ZR.

Branded Nikon RED, the ZR is a highly capable and polished Z-mount camera, with 6K 60fps video, in-camera 12-bit RAW, a new RED R3D 'NE' codec, 32-bit float audio capture and a rival-beating 4-inch touch display, all for a low price which puts the squeeze on Sony, Canon and even Panasonic.

The ZR is a first big step into a new world for Nikon and looks set to trouble our best video cameras guide, but by design it's an enthusiast level model, while the system is still in its infancy. RED being in the picture will move things along nicely, but still I'm curious to know what's next for Nikon.

During the IBC 2025 show in Amsterdam this week, I sat down with Nikon to discuss its Z Cinema Camera series, and got some surprisingly open answers about what we can expect next.

Cinema lenses will come

Nikon has long been a photographer's brand. Yes, its recent mirrorless models, such as the hybrid Z9 and Z6 III, shoot top-quality video, but Nikon's gear to this point is designed primarily for photography.

That changed with Nikon's first Z Cinema Camera, the truly compact ZR. However, there's still the matter of lenses. Canon and Sony already make hybrid lenses – ones with video features such as a de-clicked aperture ring. Nikon does not, but had some exciting news to share with me.

“We are developing Nikkor cinema lenses,” said Aihara Takashi, General Manager, UX Planning Department – Nikon Imaging Business Unit.

“It will take some time until launch, of course," continued Aihara, "but I hope you look forward to it – it’s [sic] going to be really great cinema lenses.”

Usually brands are tight-lipped on future gear, but Nikon is openly committing to making its own cinema lenses.

This is excellent news for those impressed by the ZR's capabilities and superb value, but who are unsure about adopting the Z-mount system for video, given how young the system is and the absence of dedicated video lenses, besides a hybrid Z 28-135mm f/4 PZ (power zoom).

The cinema camera upstart has also licensed its mount to Leica, which means the ludicrously pricey Leitz Hektor series is now available for the Z-mount. However, I suspect most people will be waiting to see which Nikkor cinema lenses are announced and when they will be available.

But what about more Nikon cinema cameras?

I imagine another model will join the Z Cinema Camera ranks – surely Nikon won't stop at the ZR?

The ZR is a video-first equivalent of the Z6 III, which is a midrange full-frame model. There would be symmetry, therefore, if Nikon was to announce a flagship Z9 equivalent in its cinema camera range – one with a larger body and space to fit pro-grade connectivity and design touches.

For example, the ZR features a micro HDMI, not full size; a pro model would upsize. Should a larger model land, I would also expect its memory cards to be accessed via a door on the side of the camera and not within the battery compartment like in the ZR. Battery doors are typically obstructed when a camera is mounted to a tripod, which makes memory card swapping with the ZR a fiddly process with a tripod in play.

Personally, I'd also love a dual-axis tilt / vari-angle screen. The ZR’s rival-beating display is bright and large, but it only pulls out to the side – the display can't be tilted up directly from the body. Sony's A1 II / A9 III and Panasonic’s Lumix S1 II, on the other hand, have such a screen.

I'd also expect additional pro features to the above, but there would still need to be some sort of distinction between a future pro-level Nikon Z Cinema Camera and RED’s own models like the V-Raptor and Komodo to avoid the risk of cannibalization.

Nikon didn't comment on any future camera gear, but it bodes well that cinema lenses are on the way. The way things are going, Nikon / RED will comfortably sit alongside Sony and Canon, Panasonic and Blackmagic in the cinema space in no time, and probably at a more affordable price point.

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• Fujifilm's first cinema camera packs a 44x33mm 102MP sensor
• It can shoot 8K video in a range of formats, including anamorphic
• The pro model costs $16,499 / £13,999 (Australia pricing TBC)

It's been a long time coming, but Fujifilm has finally fully unveiled its first-ever cinema camera, the GFX Eterna 55, following its soft announcement last year.

As its name suggests, the pricey professional cinema camera utilizes the same 'medium-format' sensor tech as Fujifilm's flagship stills-oriented camera, the five-star GFX100 II, but packages it into a high-end dedicated cine body.

We get the same second-gen 102MP 44x33mm sensor which is much larger than full-frame (coloquially known as 'medium-format', but not true medium-format as photographers know it), and which unleashes a wide range of cinematic formats and resolutions, including 8K anamorphic.

Make no mistake though, this is no hybrid model like Fujifilm's flagship, or compact cinema camera like the recent Canon EOS C50, but a beastly (and pricey) pro model – at $16,499.95 / £13,999 it's over twice the price of the GFX100 II (Australia pricing TBC).

Alongside the camera, Fujifilm unveiled new GF 32-90mm T3.5 PZ OIS WR lens ($5,999.95, UK and AU pricing TBC), a dedicated cine lens with 25-71mm full-frame equivalent focal length, which is designed to pair with the GFX Eterna 55.

With established players like RED, it's no easy task to break into the professional cinema camera space, but the GFX Eterna 55 looks like it has the tools – and lenses – to do just that. Let's run through the highlight features.

A new player in the pro cinema camera space

Many of the GFX Eterna 55 internals are the same as the GFX100 II – including that rival-beating 102MP 44x33 sensor, video recording up to 8K and Fujifilm's full range of film simulation color profiles.

Other similarities include the various video codecs, with internal Apple ProPres 422 HQ, proxy, and external 12-bit RAW through HDMI with a dual base ISO (800 & 3200) and dynamic range exceeding 14EV.

The cameras also use the same W235 battery and record onto CFExpress Type B and SD cards. Pair the GFX Eterna 55 with an autofocus-equipped GF lens, and it supports subject detection and tracking autofocus, too.

We've had a taste of the Eterna 55's video capabilities already through the GFX100 II. What's totally new, though, is the camera's design, shooting experience and dedicated video features.

Weighing 4.41lbs / 2kg and measuring up at 110.8 x 138.2 x 176.8mm, the GFX Eterna 55 isn't your handheld cinema camera, but one designed for a tripod or full-scale rig or gimbal, especially once a bulky cine lens, eyepiece and accessories are attached (see above).

You get twin displays; an on-board 3-inch 1.04m dot and a removable 5-inch 6.22m-dot type with 2,000nit brightness (hood supplied). There's also a built-in variable electronic ND filter, with a 2-7EV range that's changeable in half-stop increments, plus a selection of pro-grade connection ports.

Fujifilm is entering a notoriously tough market to break with the GFX Eterna 55. However, it has the specs to impress. It surely hopes that a short called Okay by director/writer Andrew Kightlinger and cinematographer Oren Soffer, which showcases the camera's skills, will help to do just that (see below).

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Canon EOS C50: two-minute review

Throughout its four years on the market Sony's FX3 has sat largely unchallenged in the compact cinema camera space, but that's changed with the arrival of the new Canon EOS C50.

For the money, you'll struggle to find a more complete cinema camera than the EOS C50. It boasts 7K open gate internal Raw video recording (and simultaneous proxy recording), dual base ISO for clean clips day or night, Super 35 and Super 16 crop modes, Canon Log color profiles with more than 15EV dynamic range, slow-motion recording, reliable autofocus… the list goes on, and I haven't even touched on the camera's photo capabilities or its video-first design.

For photographers, the 32MP full-frame sensor can shoot in RAW+JPEG with subject-tracking autofocus at burst speeds up to 40fps, with the option for pre-burst capture – not bad for a cinema camera. Handily, the EOS C50 features a dual menu system, making it quicker to navigate the menus than if photography and video were combined under a single menu.

The EOS C50 sits closest to the Canon EOS R5C, a version of the EOS R5 with active cooling for unlimited 8K record times where the latter overheated, but which still had a photo-centric design; in fact it's perhaps a little too close for that camera's comfort, because I see the new model easily being the more compelling choice of the two.

After all, it's very much designed for video, packing four 1/4-inch mounting points for accessories, three record buttons, and coming bundled with a top handle which features XLR inputs for pro-level 4-channel 24-bit audio recording.

It's also Canon's smallest and lightest cinema camera, weighing just 23.6oz / 670g. That means it sits below the bulkier EOS C70, in terms of price too, yet in many ways exceeds the capabilities of that camera, as it does those of the Sony FX3, all in a smaller and lighter package.

It also helps that Canon is busy releasing new hybrid lenses, meaning ones design for both photography and video users. In fact, it launched the RF 85mm F1.4L VCM on the same day as the EOS C50 (they're pictured together above) – it's the seventh in a range of VCM lenses with aperture ring, suppressed focus breathing and a quick and silent autofocus motor.

Canon is increasingly stepping into the low-budget video production space currently dominated by Sony, creating a complete system for run-and-gun filmmakers, and the EOS C50 is for me the most compelling camera in the range.

I'll be looking to get hold of the EOS C50 for a longer testing period to really see what it's made of. But, having used the FX3 for numerous video shoots down the years, I can already see the C50's potential – and it could well become the premium pick in our best video cameras guide.

Canon EOS C50: price and release date

• Costs £3,299.99 (US and Australia pricing TBC)
• It comes with the (pictured) top handle
• Goes on sale in November

The Canon EOS C50's list price is effectively the same as the EOS R5C's – which means it undercuts the rival Sony FX3 and sits below the larger EOS C70.

The hop handle accessory (see below) is included – that type of accessory would typically cost around $500 / £400 / AU$750 separately. It also comes with an LP6P battery, which is interchangeable with the LP6 type used by the EOS R5 series of cameras.

We don't have an exact launch date yet, but Canon says it will go on sale at some point during of November this year.

Canon EOS C50: specs

Canon EOS C50: Design

• The smallest and lightest EOS cinema camera
• Comes with a top handle, no viewfinder
• 14 assignable custom buttons
• 3-inch vari-angle touchscreen

In terms of size and weight, the EOS C50 is similar to the EOS R5C; it's just 10g lighter at 670g. Unlike the EOS R5C, however, the EOS C50 is a proper cinema camera – that means it loses out on a viewfinder, but gains a mod-friendly design.

There are four 1/4-inch mounting points to rig the camera up or attach accessories, including Canon's top handle, which is bundled with the camera.

The top handle is useful for run-and-gun filmmaking, and especially for shooting comfortably from low angles – and for such scenarios it certainly helps that the LCD touchscreen is fully articulating and can flip out from the body.

Personally, I'd prefer the touchscreen to be a little larger. The modest 3-inch display will prompt many users to attach an external monitor for clear viewing instead, such as a 5-inch Atomos Ninja, and it feels a little counter-intuitive to bulk out such a compact design with accessories too much.

A 4-inch display, like you get with some Blackmagic cameras – and the Blackmagic Cinema Camera 6K has a 5-inch LCD – would avoid the need for an external monitor.

The EOS C50's body is adorned with 14 custom buttons, which combined can be assigned any one of 100 functions for quick access to regularly used settings.

You'll also notice a photo / video switch on the camera's top, and I'm a big fan of the dual menu system linked to this switch – you select photo for the photo-centered UI, or video for the video menu, which streamlines the process of making changes to settings.

You'll also notice from the top view of the camera that the active cooling design of the EOS C50 is a little bulky – the vented section where the LCD sits protrudes from the camera's rear. It's hardly attractive, but it does enable extended video record times without the risk of overheating.

There's also pro-level connectivity for video, including timecode terminal and full-size HDMI, plus features such as XC support and IP protocol for livestreaming capabilities.

The EOS C50 is powered by an LP6P battery that's interchangeable with the LP6 units used by all EOS R5 cameras. At the time of writing, Canon hasn't provided me with expected shoot times from a fully charged battery.

Canon EOS C50: Performance

• 32MP stills at up to 40fps (using electronic shutter)
• Canon's Dual Pixel CMOS AF II with subject-detection autofocus
• 4K (oversampled from 7K) up to 120fps, 2K up to 180fps

I'll touch on the EOS C50's photo features before digging into video-making skills; after all, this is a capable camera for photography, even if it is designed for video first.

The first thing to note is the new 32MP full-frame sensor, which is the regular CMOS kind, not the speedier stacked type we've seen in recent pro models, such as Canon's own EOS R5 Mark II.

Another thing about the sensor – it isn't stabilized, which impacts the photography and video experience. You'll need to be conservative with shutter speeds for sharp photos, while you'll want a gimbal for smooth handheld video footage.

It's possible to shoot 32MP stills in RAW, JPEG and HEIF format at up to 40fps with the electronic shutter, with the option for pre-burst shooting, meaning the camera can get going from a half-press of the shutter before fully pressing it down to take pictures.

Canon's Dual Pixel CMOS AF II autofocus is on board, complete with subject-tracking autofocus for both photo and video. I rate Canon's autofocus as up there with the very best, and the same is true for the EOS C50.

As for video, there are too many features to list here, but the highlights are 7K Raw (internal) video recording, with up to 15EV dynamic range using Canon's Log-2 color profile. It's possible to shoot up to 60fps in 7K, or 4K up to 120fps and 2K up to 180fps.

There are a couple of crop modes too: Super 35 (APS-C) up to 5K 60fps, or Super 16 at 2.5K up to 150fps, both in RAW.

The EOS C50 is the first Canon camera with open gate video – which means you're shooting with the full height and width of the 3:2 aspect sensor, rather than being limited to the traditional 16:9 video crop.

When shooting in RAW format, the cleanest image quality can be achieved with the dual base ISO settings: 800 or 6400, covering daylight and lowlight scenarios, through which you'll get that maximum dynamic range and best grading potential.

Overall, it's a really impressive feature set for a cinema camera at this price point.

Canon EOS C50: also consider

How I tested the Canon EOS C50

• I only had two hours with the EOS C50
• I paired it with multiple Canon lenses, including the 85mm F1.4L VCM
• I shot video portraits and landscapes outdoors on a cloudy day

This hands-on review is purely my first impressions of the EOS C50, which I only got to use for a couple of hours. I got a feel for how the camera handles during this time, and a glimpse of how it performs in short bursts for video recording and photography.

I paired the EOS C50 with a couple of Canon VCM hybrid lenses, and used it handheld with and without the top handle, but not a cage.

I've shot a few clips at various resolutions, but not in enough scenarios to draw any definitive conclusions regarding image quality.

I'm able to bring plenty of experience to this short hands-on, having used the Sony FX3 for multiple shoots, and having also shot with the Canon EOS C70. Being so familiar with portable cinema cameras means I can quickly form opinions about the EOS C50. That said, these are tools that users need to rely on, and so you'll want to wait for our full long-term review that.

• First reviewed: September 2025
• Read more about how we test

• Canon teases launch event for September 9 2025 at 2pm BST / 11pm AEST
• Instagram teaser captioned "Open your world to what's next"
• Rumored to be Canon EOS C50, a direct rival to the Sony FX3

A new Canon camera is about to land, and the company just dropped a major hint about one of its features.

As we reported last week, Canon is launching something tomorrow – something that looks very much like a compact new Cinema EOS camera primed to take on the Sony FX3. Ahead of the launch (which you’ll be able to watch live on YouTube – scroll down to see the embedded video), the company has published an Instagram video captioned, “Open your world to what’s next. 9.9.25”.

The video shows a side-on silhouette of the new camera, which is interesting, but it’s the choice of words in that caption that excites us even more. The use of “open” seems a clear hint that this camera will support Open Gate video recording – using the whole surface of the image sensor.

Open Gate is prized by filmmakers and content creators because of its support for cropping video into any aspect ratio.

Despite rival Panasonic giving users Open Gate recording with several of its video cameras, such as the Lumix S1 II, the feature hasn’t been available on a Canon camera before, so its inclusion here would be big news.

Check back tomorrow

Make sure to check back tomorrow for full details of Canon’s new launch, which is rumored to be called the Canon EOS C50 and come with a 32MP full-frame sensor and weight of under 700g (without a lens or other attachments). You can watch the launch live using the embedded YouTube video below.

We’ll be publishing a story on whatever it is Canon is cooking up. If you’re a videographer, filmmaker or content creator excited about the rumored EOS C50, let us know in the comments what features and specs you’d like to see in Canon’s next Cinema EOS camera.

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• Canon teases launch event for September 9 2025 at 2pm BST / 11pm AEST
• Partially obscured image strongly hints at new cinema camera
• Rumored to be Canon EOS C50, a direct rival to the Sony FX3

Canon Europe has posted a teaser on its YouTube, hinting at a major new camera launch next week. Under the title “Something new is coming!”, the video is set to premiere at 2pm BST / 11pm AEST on September 9.

For now, all that can be seen on the preview screen is a partially lit camera body and lens, but Canon has left some big clues as to what we can expect – namely the large red shutter button and a lit red tally lamp. Both are characteristics associated with the brand’s Cinema cameras and this, taken alongside the body shape of the camera (boxy, with no viewfinder bulge) strongly suggests we’re getting our first look at a new Cinema EOS camera next week.

The online rumor mill has already been in overdrive over this new launch, claiming that the new camera will be the Canon EOS C50, a compact replacement for the current Canon EOS R5 C and a direct rival to the four-year-old Sony FX3. The suggestion of compact proportions, much smaller than the EOS C70, certainly tally with the teaser image.

Watch out, Sony FX3...

According to SonyAlphaRumors, the Canon EOS C50 will come with a 32MP full-frame sensor and be able to shoot Open Gate, using the whole surface of the sensor – both width and height – for recording. This is something we’ve previously seen on some of Panasonic’s Lumix cameras, Blackmagic Cinema Camera models and more, but not on Sony or Canon cameras.

The C50 will reportedly weigh under 700g (lens not included), making it extremely compact and lightweight for a cinema camera.

If the Canon EOS C50 arrives with the features and design mentioned above, it could prove a much more tempting prospect than the ageing Sony FX3. Sony has long been rumored to be working on a much-anticipated FX3 II, however – so we may have a new battle of the compact cinema cameras to look forward to.

If you'd like to keep tabs on the announcement, there's a notification button on Canon's YouTube page, link above. Until then, what would you like to see in Canon's next cinema camera? Let us know in the comments below.

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• The first DJI Osmo Pocket 4 leaks have appeared
• We could get an extra sensor and an additional screen
• It's not clear when DJI's next gimbal camera might launch

In our DJI Osmo Pocket 3 review, we gave the gimbal camera 4.5 stars out of 5, declaring it to be "class-leading". In fact, it still sits in top spot of our best vlogging cameras guide two years later, so expectations are high for the follow-up – and we've just spotted the first leaks for the DJI Osmo Pocket 4.

Seasoned tipster @Quadro_News has posted a picture of what is described as a "Pocket 4 prototype", and we also have a couple of different images of the camera from well-known leaker Fixed Focus Digital as well.

None of these pictures are of a particularly high quality, but they do give us some idea of how the design of the device might change this time around. It appears we might get a second camera sensor to improve photo and video capture, and potentially to expand the types of shots that can be captured.

What's more, it looks as though there could be displays on both the front and the back of the camera, though it's not clear exactly how they might be used. Two screens might also bump the price up from $519 / £489 / AU$849 – if it ever hits US stores – but we'll have to wait and see.

Improving an already great pocketable vlogging camera

The DJI Osmo Pocket 3, which launched in October 2023, is a relatively expensive bit of kit – but it does enough in terms of features and video quality to justify the price. It was also quite a significant upgrade over the Pocket 2 that came before it.

As these are the first leaks we've seen around the DJI Osmo Pocket 4, we don't know too much about what to expect from upgrades this time around, though further improvements in camera sensors and photo and video resolutions are likely.

More internal storage would certainly be welcome, while the two screens would be an intriguing upgrade – possibly enabling more shooting modes or features (and maybe making selfies easier). It's plausible that we'll see upgrades in other areas as well, including tracking capabilities and audio capture.

There was a three-year gap between the Pocket 2 and the Pocket 3, so we might have to wait until 2026 for the Pocket 4 – unless DJI decides to push it out before the end of the year. We've already seen DJI launch its first 360 camera earlier in 2025, the DJI Osmo 360.

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Camp Snap CS-8 review: two-minute review

Released back in 2023, the original Camp Snap camera has quickly established itself as a minor cult classic. While I wouldn’t call it one of the best compact cameras around, this ultra-affordable, ultra-simple and ultra-pocketable screen-free snapper is a refreshing return to photography’s old-school principles: just point, shoot and look at the results at some point in the future.

Now, with the new Camp Snap CS-8, the company has brought that same ethos to video. Styled after the Super 8 film cameras of the 1960s, complete with vintage textured plastic, pistol-grip operation, knurled dials and analogue meters to show remaining battery life and storage space, the CS-8 is a retro camcorder for a generation bored of using smartphones for all their video needs.

The CS-8 is large and chunky, and felt reassuringly weighty in my hand. I’m not in love with the abundance of plastic here – despite the classic looks, there’s very little of the metal you’d find in a genuine original Super 8 camera – but I get it.

This is an ultra-affordable modern simulacrum of a vintage camera rather than the painstaking recreation provided by Kodak’s own 2024-released Super 8 (price tag: north of $5,000), and it’s awash with obvious fakery: there are imitation screws on the base of the handle, a dummy cold shoe on top and, despite the rubbery grip wrapped around its barrel, there’s no way to actually adjust the lens. I can live with all that, as I don’t expect it to be a “real” 8mm camera – just to look like one from a distance.

Distractions are minimal; with no screen and an electronic viewfinder designed only for shot composition, there’s no way to review (or even delete) your footage until you offload it to a computer. There are very few settings to fiddle with, either: one dial picks your preferred aspect ratio (4:3, 16:9, 1:1 or 9:16), one your film look (standard, B&W, analogue or one of two vintage filters) and… that’s it, basically.

When the CS-8 is powered on, the rubber-cupped viewfinder shows a live view, formatted to match the current aspect ratio, plus the amount of battery life remaining and the current film look. To record a video, you simply point the camera at a subject and squeeze the trigger – there’s no need to focus, although you can use the “W” and “T” buttons to zoom in and out. Just like on a real 8mm camera, you need to keep the trigger pulled the entire time you’re filming; releasing it stops the capture immediately.

While reviewing the CS-8, I realised that it makes filming a much more conscious act than when I’m using my phone, or even a compact camera. Because there’s no screen and no pressure to immediately check on the footage after it’s been recorded, I can concentrate on recording a clip, and then move on. There’s no need to fret about what I’ve recorded until I get home, or until the SD card is full (which takes a while, as there’s enough space here to hold about 30 minutes of video – and by loosening two screws and pulling off a panel, you can replace the supplied 4GB card with one up to 128GB in capacity, giving you room enough for around 16 hours of video).

The footage itself is quite high-resolution, but not high-quality. There’s no stabilization, using the digital zoom degrades detail quickly and sound is monoaural. This suits the camera perfectly, I think; in fact, my favorite look by far is the Super 8-mimicking Analogue, which reduces the frame rate to 20fps (it’s 30fps on all the other modes) and adds fake scratches and artefacts to the image. The resulting imperfect, jerky video is charmingly odd, while the other modes are a little flat and boring.

If I want pristine, stabilized video, I’ll use my iPhone or a mirrorless camera. What I want from the CS-8 is something different, weird and striking – and with the Analogue setting, at least, I’m getting just that. It’s not “good” video, no, but good video is not the point.

I also think the camera is ideal for kids, being incredibly simple to operate, robustly built and cheap enough that it doesn’t matter too much if it gets damaged. In my experience, youngsters weaned on smartphone photography expect to be able to look at what they’ve just filmed right away – and might find the idea of waiting hours or even days to see their footage utterly baffling. Maybe the CS-8 could be a perfect way to teach them a bit of good old-fashioned patience?

I don’t like everything about the camera, though. The microphone picks up the noise of the trigger being pulled in almost every shot, which is one bit of jankiness I found far less charming than the rest. The viewfinder is also a real pain to use if, like me, you wear glasses; even pressed right up against the cup I could only see about half of it, which I found annoying when trying to compose shots or even scope out remaining battery life.

Still, I view the Camp Snap CS-8 more as a fun alternative to a smartphone than a camcorder I’d use every day. It’s great for holidays, road trips, parties and the like – pass it round and let everyone have a turn filming, then edit all the clips together when you get home and share the results. As a piece of cheap, nostalgia-fuelled fun, it’s hard to beat.

Camp Snap CS-8: price and availability

At the time of writing, the CS-8 is currently available for pre-order, with shipments due to go out “by mid-September” 2025.

The camera is priced at $199 / £152, but those who do order ahead of the launch date can take advantage of 25% introductory discount, making the price a very reasonable $149 / £114.

In the box you get the camera itself, a pre-installed 4GB microSD card and a USB-C to USB-C cable for charging and data transfer. It would have been nice to include a strap or lanyard, but you either buy Camp Snap’s own wrist strap/USB-C cable or add any strap of your own.

Camp Snap CS-8 review: specs

Should I buy the Camp Snap CS-8?

Buy it if...

Don’t buy it if…

How I tested the Camp Snap CS-8

• Three weeks of regular use
• Filmed video using all settings and looks
• Edited videos together using DaVinci Resolve

I was sent an early, pre-release review sample of the CS-8 from the initial batch of models off the production line, and had plenty of time to live with and test the camera in a variety of real-world scenarios: family get-togethers, coastal walks and inside my home, both day and night.

The camera is light on options, but I tested all the aspect ratios and looks (or filters), before exporting the video files to my laptop and editing them together into the sample video you see above using DaVinci Resolve. I didn’t color grade, correct or adjust any of the files, though – just used the editor to trim and stitch them together.

• Screen-free pistol-grip digital camcorder with analog controls
• Four vintage-inspired filters and choice of aspect ratios
• Available for pre-order at the end of July

Call me a sucker for nostalgia, but I’ve long wanted to get my hands on the stunning 21^st-century version of the Kodak Super 8. Now I’ve found something that scratches that itch without also requiring that I re-mortgage my house: the Camp Snap CS-8.

Kodak revived the Super 8 last year, and it’s truly something special. Supplied in a custom-made, foam-lined Pelican Case complete with a 6mm detachable lens and pack of 8mm film, the 2024 take on the iconic 1960s home movie camera can shoot both analog and digital video and is built to unimpeachable standards. The eye-watering asking price reflects that: it’s $5,495 (about £4,350 / AU$8,450).

For those seeking a shot of nostalgia at a cost that’s slightly more palatable, there’s always the option to pick up a good-quality original Super 8 camera on the used market. Or you could just go cheap, modern and digital. Step forward the Camp Snap CS-8, launching very soon.

If the name rings a bell, it’s because the Redondo Beach, California-based company Camp Snap is responsible for the tiny, distinctive and vibrant screen-free point-and-shoot digital camera of the same moniker. Oozing retro appeal and available in a wide array of color finishes, this stripped-back 8MP snapper is yours for a mere $69.95 / £53 / $110 (and it resides in our best cameras for kids guide).

Clearly, the Camp Snap doesn’t perform like a Fujifilm X100IV – and in fact it’s kind of missing the point to even compare it to what most of us might class as a “real” digital camera. But I think its simplicity and “in the moment” unobtrusiveness makes it perfect for documenting weekend trips or handing to kids who want to take their first steps into photography. The basicness is the point.

Pull that trigger

The Camp Snap CS-8 brings that very same low-tech, high-charm approach to a digital camcorder. Just like the film-based Super 8s of the past, it sports a pistol grip design – recording when the user holds down the trigger, stopping when it’s released. A small electronic viewfinder is used, but only for live composition – there are no menus to browse through and no options to play back recordings in-camera. Recording are instead stored on SD card (a 4GB card comes in the box) and can be off-loaded to your computer via USB-C (also used to recharge the battery).

The CS-8 comes with a selection of digital filters and the option to flip between four aspect ratios (1:1, 9:16, 4:3 or 16:9) on the fly, allowing users to record social media-ready clips without the need for any off-camera editing. All of these are selected by twisting old-fashioned dials, while remaining battery life and storage can be tracked by glancing at the needle’s position on an analog meter. The only other control you need to worry about are the buttons that zoom in and out.

The price for all this retro gorgeousness? A mere $199 (which currently converts to around £147 / AU$302), with pre-orders starting on 31 July. That's just 3.64% the price of Kodak's new Super 8.

Camp Snap has sent us a CS-8 to test, so look out for a full, in-depth review here very soon. Do let us know in the comments if there’s anything in particular you’d like us to focus on when we take this old-timer camcorder for a test drive.

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• Launch confirms tiltable EVF and 33MP full-frame sensor
• 4K 60fps video requires a crop to Super 35 format
• $2,700 / £2,700 / AU$5,299 body only price tag

Update: May 28, 2025

It's official: Sony has announced the FX2 as the latest addition to its Cinema Line range of mirrorless moviemaking cameras.

It comes with a 33MP back-illuminated full-frame CMOS sensor capable of delivering over 15 stops of dynamic range with the S-Log3 color profile. It can record 4K 30fps using the entire width of the sensor, or 4K 60fps when cropping to the Super 35 format, and has dual base ISO of 800 and 4000 with S-Log3.

The camera body is compact (129.7 x 77.8 x 103.7mm) and relatively lightweight (679g before lenses or other additions). Internal cooling components enable up to 13 hours of continuous 4K 60fps recording, but perhaps the most interesting piece of physical design here is the all-new tilting EVF.

This 3.68-million dot viewfinder comes with a deep eye piece and ability to tilt up to 90 degrees upwards, allowing users to achieve what Sony describes as "deep immersion" during use.

The 3-inch vari-angle LCD touchscreen, meanwhile, has a customizable "BIG6" homescreen able to show at-a-glance parameters like FPS, ISO, shutter speed, white balance, iris and more.

The Sony FX2 will be available from July 2025 priced at $2,700 / £2,700 / AU$5,299 body only or $3,100 / £3,150 / AU$5,999 in a bundle with the Sony XLR-H1 handle, which comes with two XLR/TRS terminals and 3.5mm microphone jack supporting 4-channel, 24-bit digital audio input. There had been rumors that the FX2 would support 32-bit float audio recording, but that does not appear to be the case.

Original article follows:

Sony is launching a new Cinema Line mirrorless camera later today – but a set of leaked photographs appears to have spilled the beans and spoiled the surprise a few hours early.

Posted over at Sony Alpha Rumors, the four images show the purported Sony FX2, a full-frame video-focussed E-mount camera. Three of the photos are promotional lifestyle shots showing the camera in action, while the fourth and most interesting is packed with top-line information about features and specs.

As rumored already, the Sony FX2 looks set to sport the same 33MP full-frame Exmor R CMOS sensor as previously seen in the company’s A7 IV and A7C II cameras. It will apparently support dual native ISO (800 and 4000) and video capture up to 4K 60fps in 10-bit 4:2:2 quality with over 15 stops of dynamic range.

Although that 4K 60fps recording will only be supported in Super 35 format, meaning it’ll be forcibly cropped rather than utilizing the entire surface of that huge sensor. That’s likely to disappoint some videographers.

What about 32-bit float recording?

The image also appears to confirm the previously mentioned tiltable electronic viewfinder (EVF); it’s shown in one of the lifestyle shots too.

The FX2 will also support 16-bit RAW output via its HDMI, have an active cooling system to combat overheating issues and a Venice user interface that’s pitched towards videography rather than still photos. There’s no mention of 32-bit float audio recording here, which is another feature we’ve heard will be included.

So, while the cropped 4K 60fps isn’t what many users would have been hoping for, the FX2 is shaping up to be a very well-equipped camera for content creators and YouTubers. Much will depend on the price, of course. $3,500 is the rumored RRP (which converts to around £2,600 / AU$5400), which seems quite steep for a cinema camera that tops out at 4K.

For now, all of the above remains unconfirmed by Sony, but there isn’t long to wait for the official launch. It’s happening later on today, May 28 2025, at 3pm BST / 4pm CET. You can watch the unveiling live on YouTube (above).

We’ll report back on the Sony FX2 once it’s all official and we have the full details on spec, features and pricing.

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• Rumor suggests new FX2 Cinema Line camera incoming with 33MP full-frame sensor
• Large, tilting EVF and 32-bit float audio recording toted as features
• $3,500 price tag and May 28 launch date suggested

Last week we reported on a rumor claiming Sony would be launching a new camera on May 28. We may now know what that camera is: a premium, full-frame video-centric mirrorless model called the Sony FX2 – and it might be coming with advanced cinema-focused features like 32-bit float audio recording.

Of course, this all comes courtesy of another unconfirmed rumor, albeit from the relatively reliable Canon Rumors news site. Still, please take everything below as speculation rather than fact; until we hear the official word from Sony, nothing is definite.

With that said, Canon Rumors’ story is packed with interesting information. Firstly, it states that the FX2 will have a large tilting electronic viewfinder (EVF), which ties in with last week’s claim from Sony Alpha Rumors. It also says that the camera will use the same 33MP BSI full-frame sensor as found on Sony’s existing A7 IV and A7C II models.

Floating some interesting new feature ideas...

Other potential Sony FX2 specifications and features include a dedicated AI chip, AI-assisted autofocus, a mechanical shutter (by no means a given in a video-focused camera these days), an active cooling system to reduce overheating issues, 32-bit float audio – which would be a first for Sony, albeit present in recent Lumix cameras like the Panasonic Lumix GH7 – and a 4K 60fps Super 35 video recording mode.

The story also says the FX2 will feature the same physical connectivity and storage options as the current Sony FX3 model (which means it’ll have XLR audio inputs as well as two CFexpress Type A/ SD card slots).

As for the price, Canon Rumors states that the FX2 will cost $3,500 (around £2,670 or AU$5,430 if directly converted), putting this camera very much in premium territory in the Sony FX line-up, which also includes the FX3, FX30 and FX6.

There's some confusion among Sony fans, though, surrounding the 33MP sensor being touted for the FX2. It is a high resolution sensor typically associated with Sony's hybrid cameras and not its video focused FX models like the FX3, which typically feature less pixels for better low light performance and handling of rolling shutter distortion.

That sensor feels like a strange choice for Sony's FX Cinema Line but, again, the aformentioned features are based purely on rumors and could be inaccurate. Stay tuned for more news on Sony’s upcoming camera launch, which multiple sources have said will be happening on May 28 2025.

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Canon EOS R50 V: two-minute review

The Canon EOS R50 V is the company’s latest mirrorless camera. Put simply, it’s an affordable video-centric model aimed at content creators and vloggers, offering 4K video recording at up to 30fps, four-channel 24-bit audio from its built-in microphone and decent wired and wireless connectivity.

I’ve reviewed a lot of vlogger-focussed cameras recently, including Canon’s own PowerShot V1, a fixed-lens compact that launched alongside the EOS R50 V and costs a similar amount, so I was interested to see how this interchangeable lens camera performed in comparison. In some ways, the PowerShot V1 has more appeal: it’s more compact and its lens is faster and wider than the 14-30mm kit lens that can be purchased bundled with the EOS R50 V. It comes with a built-in ND filter too.

What the R50 V has on its side is future versatility, thanks to an RF lens mount. With the ability to use other lenses in the RF system, upgrading image quality or gaining a new field of view is easily achievable here. With the PowerShot V1, you’ve only got that one lens.

The EOS R50 V’s 24.2MP APS-C sensor is also physically bigger than the 1.4-inch sensor on the PowerShot V1. Not by much, mind you – and image quality isn’t too different on the two cameras.

The EOS R50 V can capture video at 4K at up to 30fps, or a cropped 4K at up to 60fps. The latter isn’t really ideal for vlogging, as it greatly reduces the field of view and I found it difficult to get myself comfortably in frame while holding the camera. The uncropped 4K delivers a much more expansive field of view, albeit at the expense of frame rate – but I don’t think many will require 60fps for vlogging. The other resolution on offer is 1080p, which can capture at up to 120fps – ideal for slow-motion playback.

Videos and JPEGs look great straight out of the camera, as I’ve come to expect from the best Canon cameras and their color science. For those who want to edit or grade in post, however, RAW photos and a flat C Log color profile are also available.

There’s a lot to like about the EOS R50 V’s all-round performance. Its autofocus system is fast and accurate, and able to recognize and track human, animal and vehicle subjects. Its optical image stabilization is decent (if unremarkable, thanks to no in-body IS) and its on-board microphones perform well indoors in quiet conditions. Testing outside on a blustery day, I found the wind reduction mode to be almost completely ineffective, so a decent external mic is required; the PowerShot V1 includes a fluffy windshield that works quite well, and it’s odd Canon didn’t supply one here.

Connectivity is what you’d expect from a video-centric camera, while the LP-E17 battery supplies around 480 photos according to Canon. I did find it drains quite quickly while shooting 4K video, as you might expect – but thankfully the USB-C port can be used for on-the-go recharging or even constant power supply.

I’m quite impressed with the EOS R50 V. There’s nothing particularly fancy about it, and in many ways its sister camera the PowerShot V1 is a much more interesting device – being more of an all-in-one vlogging machine. But the R50 V’s lens mount means it might be a better choice for vloggers who plan on gradually upgrading their setup over the years.

Canon EOS R50 V: Price and availability

• $649 / £729 / AU$1,169 body only
• $849 / £959 / AU$1,499 with Canon 14-30mm lens

The EOS R50 V is available to order, priced at around $649 / £729 / AU$1,169 body only or $849 / £959 / AU$1,499 in a kit with Canon’s new 14-30mm f4-6.3 IS STM PZ power zoom lens.

That strikes me as a competitive and affordable price, particularly with the lens – and especially for US-based consumers. I think the kit is the one to go for, unless you already own a few RF lenses, of course – but do bear in mind that you may need to buy an external microphone too.

• Price score: 4/5

Canon EOS R50 V: specs

Canon EOS R50 V: Design and handling

• 3-inch, 1.04m-dot vari-angle LCD touchscreen
• Front tally lamp and record button
• Camera weighs just 370g without a lens

The EOS R50 V is a small and mostly plastic-bodied camera designed primarily for video. There’s no built-in flash and no viewfinder like you get with the EOS R50, which photographers might miss. For video users, the vari-angle screen handles composition more than adequately and the 21-pin multi-function hot shoe and extra, side-mounted tripod thread are very useful additions.

I found the control layout to be user-friendly, particularly the second video recording button on the front. There’s also a front-facing tally lamp, to let you know when you’re recording video. On the back and up top you’ll find the usual well-labelled dials and buttons, and with the help of the touchscreen I never struggled to change a setting or switch between shooting modes.

The camera isn’t weatherproofed, and the plastic body feels lightweight. In fact, at just 370g without a lens, it’s one of the lightest mirrorless cameras I’ve used in a long time. Adding the 14-30mm kit lens doesn’t tip the scales by much either: it’s just 181g, keeping the complete weight for camera and lens well under 600g.

• Design score: 4/5

Canon EOS R50 V: Performance and features

• No in-body image stabilization
• 12fps continuous shooting with mechanical shutter
• 24-bit or 16-bit stereo audio via internal mic

Image stabilization is very important for a vlogging camera, but with no in-body stabilization here, it all has to come from the lens. The kit lens, for example, comes with optical stabilization and I think that’s just about enough for vloggers who want to walk around with the camera. You can see some real-world examples of the stabilization in action in my sample video in the next section of this review. Just be aware that you won’t get assistance if you fit a non-stabilized lens.

The Dual Pixel CMOS AF II autofocus system is excellent: fast, accurate and able to recognize and track humans (eyes, face, head or body), animals (dogs, cats, birds and horses) or vehicles (cars, motorcycles, trains and aircraft). I encountered no problems with it at all during my time using the camera, during which I was mostly filming myself in a mock vlog style. It kept me in focus no matter how I moved around the frame.

Despite the EOS R50 V’s video-first design, it does have a mechanical shutter. It’s a pretty adept stills camera, actually, thanks both to the aforementioned autofocus setup and its ability to shoot at a respectable continuous speed of 12fps (with mechanical shutter) and 15fps (with electronic shutter).

Connectivity-wise, I wasn’t disappointed. There are dedicated 3.5mm jacks for a mic and headphones, a micro HDMI output (while I’d prefer full-size, the compact body always made this unlikely) and a USB-C 3.2 port that works for data transfer, battery charging and power supply. It’ll also support live streaming when connected to a computer and allows users to set up the EOS R50 V as a webcam. There’s Wi-Fi and Bluetooth too, supporting wireless image transfer, printing and upload to Canon’s cloud services.

The built-in microphone can record in four-channel 24-bit or two-channel 16-bit modes, and comes with a wind noise reduction mode that is supposed to kick in automatically if needed. I tested in indoors and found it excellent quality, but outside on a windy day the noise reduction feature was next to useless. I’d have liked at least a furry windshield included to help mitigate interference, but I think vloggers using the EOS R50 V outside in anything but the calmest of conditions will need an external microphone of some kind.

• Performance and features: 4.5/5

Canon EOS R50 V: Image and video quality

• APS-C sensor delivers 4K video and 24.2MP photos
• Full HD slow-motion capture at 100fps or 120fps
• Canon Log 3 color mode supported

Canon’s much lauded color science makes the EOS R50 V almost too easy to use. Whatever you point it at, it’ll produce great-looking JPEGs and videos right out of the camera, with no need for intervention on your part. I’ve made some very minor tweaks to the photos you see below in Adobe Lightroom to draw a bit more detail out of shadows, but overall I could have left them be and been more than happy to use them.

The kit lens is pretty poor in terms of brightness, having only a maximum f/4 aperture. Coupled with the smallish APS-C sensor, it makes this camera quite unsuited to low light photography out of the box. Slap a faster lens on here and you might get good results, however.

For the 4K sample video (I apologize for the lack of camera audio on the outdoor shots – but the wind noise was just too intrusive to keep it in), I made no adjustments at all. All these clips are presented here exactly how they came out of the camera.

I recorded these at 4K 24fps quality, to make the most of the full sensor size. You can also capture cropped 4K video at up to 60fps, but for vlogging I felt that crop was a bridge too far, reducing the frame too much to comfortably get my head in. It’d be fine for capturing b-roll, however. I’ve not included any here, but the camera can also shoot in Full HD, and in up to 120fps for some smooth slow-motion playback if desired.

The EOS R50 V shoots RAW photos and can capture video in Canon’s flat C Log 3 color profile, should you want to perform more editing and grading yourself. So, there’s plenty of support here for imaging enthusiasts who want to achieve their own look.

• Image quality score: 4/5

Canon EOS R50 V: testing scorecard

Should I buy the Canon EOS R50 V?

Buy it if...

Don't buy it if...

Canon EOS R50 V: Also consider

How I tested the Canon EOS R50 V

• Tested a full production model for three days
• Shot clips handheld and on vlogging handle
• Used a range of video resolutions and frame rates

Owing to a short loan time, I didn't have as long as I would have liked to review the EOS R50 V – just a few days. Even so, I was able to get outside multiple times to test its photo and video capabilities in real-world conditions, which I did in generally favorable weather conditions (wind aside). I mounted the camera on a Joby GorillaPod for vlogging purposes.

• First reviewed May 2025

• Nikon Rumors says mirrorless Nikon Zr is coming later in 2025
• Nikon acquired RED in April 2024
• Since takeover, RED has released Z-mount versions of two of its cameras

Nikon could be working on a video-oriented mirrorless camera incorporating technology from RED – at least that's according to a new rumor.

Nikon Rumors posted a story claiming the next camera to be released by Nikon will be a Z-mount model bristling with cinema-focused RED features and tech. The story suggests it could even be called the Nikon Zr or Nikon ZR – the ‘R’ in the name possibly a nod to the RED tech on board.

Other claims in the story are that the camera will have a ‘brick-shaped’ design, without a pentaprism or an electronic viewfinder, and will look something like a cross between the Sony FX3, Nikon Z30 and the blocky look of existing RED cameras like the Komodo or V-Raptor.

It also states that the camera will have the same sensor as the excellent Nikon Z6 III (a 24.5MP partially-stacked full-frame sensor, then) and a ‘very large’ LCD screen. Most mirrorless cameras have 3-inch screens, so we think this suggests a 4-inch or even 5-inch screen is in the offing.

Nikon is now firmly in the RED

RED, originally founded in the USA in 2007 as RED Digital Cinema, was acquired by Nikon in April 2024 for $85 million. Since then, it has released versions of the Komodo and V-Raptor with the Nikon Z-mount, but it’s long been expected that closer collaborations would emerge from the partnership.

In the wake of the RED purchase, Nikon president Muneaki Tokunari told Nippon.com, “Nikon Corp. aims to expand its market share for cameras by utilizing the video technologies of a U.S. movie camera company acquired in spring.” The rumored Nikon Zr could be the first all-new camera to come with those technologies.

Nikon Rumors believes the camera will be officially announced later in 2025, most likely in the third or fourth quarter. We’ll be keeping our eyes peeled for more hints of what this rumored Nikon Zr might bring to the table.

Filmmakers and cinematographers, what would you like to see from RED-influenced Nikon Z camera? Let us know your dream features in the comments below.

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