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.

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'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.

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.

• 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.

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 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

• 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
• 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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I've been running the video production company Studio 44 for several years, and we were early adopters of the Sony FX3 – a small a lightweight professional video camera. We bought it straight away when it was first released way back in 2021 - initially to be a b-cam, something that would deliver on a gimbal for sports shoots, events and b-roll footage.

As soon as I used the FX3, however, I fell in love with its image quality; the combination of a 10.2MP full-frame sensor and dual base ISO that give supreme low light skills. Having the ability to shoot clean at ISO 12800, with an ND filter to balance exposure, provides an absolute powerhouse of a camera for run-and-gun flexibility.

The FX3 quickly became our go-to camera due to it’s quality, versatility and size. We have since used it in a wide variety of contexts, including underwater, off the back of trucks, on gimbals, plus the odd tripod-mounted shot for good measure.

The capabilities of this tiny camera have been lauded from corporate filmmakers to Hollywood cinematographers alike (see The Creator, almost entirely shot on the FX3).

Like all cameras, the FX3 isn't perfect, and I've built up a snag list over the years using it professionally. And when I caught rumors of a successor – which will presumably be called the Sony FX3 II – rumors that were made all the more plausible after a big price drop of the FX3 in January 2025, I've got thinking about what would make a future FX3 II worth upgrading for.

So, here are my top five hopes for a potential Sony FX3 II, as well as one thing I really hope not to see.

1. An open gate sensor and improved video resolution

While it is fair to say that most of the deliverables we send to clients are in 1080p, the benefits of additional resolution in post are essential. Shooting a scene and cropping in to either correct framing errors or provide more shot selection options to use in the edit is essential for us to truly deliver for a client.

We are almost always expected to deliver for multiple aspect ratios, even from the same frame, and higher resolution is incredibly helpful for that. To compete with others in the market for the next 4-5 years, we need to see something beefier from Sony here. Panasonic adopted open gate some time ago with cameras such as the Lumix S5 II, and I really hope Sony follows suit.

Increasing video resolution may well be necessary to introduce open gate video, and this could in turn have an adverse impact on low light sensitivity. None-the-less, my dream is that Sony can maintain the FX3's low light skills while introducing open gate recording – doing so will widen the capture possibilities for video production businesses like mine.

2. 16-bit Internal RAW

Bear with me as I set up my little soapbox; cameras are expensive enough already without the annoyance of requiring additional accessories to get the best image quality possible out of them. I'm talking about an external monitor, which is needed for many pro video cameras – not just by Sony – to increase the maximum possible bit depth.

It is infuriating to know that the image I am shooting is not giving me the widest dynamic range possible, nor as versatile from a color grading perspective, unless I am shed another $500 / £500 and more for a device to essentially unlock its potential. If you're reading this, Sony, please deliver 16-bit color depth internal raw video in the would-be FX3 II.

3. CFexpress Type B media

I would love to see Sony adopt the Type B variant of CFexpress cards rather than sticking with its unique Type A card. It would serious fallout for Sony to do this, and it's probably unlikely, but it would be a big one for everyone who has experienced the pain of purchasing pricey CFexpress Type A cards that are exclusive to the some of the best Sony cameras.

Purchasing another CFexpress Type A is a pill that's only harder to swallow when you see rival brands utilizing the cheaper, bigger and faster cards out there. Not only would the Type B variant provide fast read/write speeds allowing for one of my next points to become a reality, but it would give greater access to the maximum internal recording options that even the fastest v90 SD cards can struggle to continually write.

4. A more robust body

I really like the FX3's small form factor, and how even on this tiny body you have features like 4K 120fps video recording, a full-frame sensor with in-body image stabilization, plus dual base ISO. However, from my experience the camera could do with bulking up a bit.

For example, and to be fair to Sony this is partly on me but also I feel like it’s sort of a small print moment, I discovered that without the little plastic cover on the hotshoe, the body is not actually weather-sealed. This became a problem when filming on the Matterhorn in Swiss Alps with sideways snow and freezing temperatures, during which time I had some interesting error messages about accessories not working until the camera had thawed and dried out.

Alongside that hotshoe caveat, over time the monitor on the body has become quite loose and I can’t see how to tighten it. The size of this camera really does encourage you to take it anywhere with you, so it needs to hold up to the movement, temperatures and demands of sports/ commercial content when you’re using it for smaller set ups.

5. 32-bit float audio

Better in-camera audio is a big one for me, and I'd love to see the 32-bit float audio recording format directly available. Think of 32-bit float as wide dynamic range for audio – when using it, you have a higher ceiling for clipping and it really does enable almost a set-and-forget situation for recording audio, even if it requires editing in post.

The audio handle is a brilliant addition to the original FX3 camera giving it full size dual XRL inputs. Adding 32-bit float through XLR, which is something that Panasonic has already done with the Lumix GH7, would make a potential FX3 II a highly desirable camera for so many and remove the need for extra devices on set, which divide your attention and create unnecessary clutter.

Any feature that gives you one less thing to worry about on set is welcome in my book. Couple 32-bit float audio with CFexpress Type B card compatibility for higher write speeds and cheaper gigabyte per dollar ratio, and I think we’d be onto a winner.

What I pray won't happen

I really hope Sony doesn't remove the on-body mounting points. Possibly controversial, but I think that these haven’t really been utilized to their potential, yet. It would be great to see camera companies that offer cage and rigging solutions to get even more creative with the mounting points and provide some exciting options for flexible shooting and attaching other accessories. We're otherwise limited to third party cage makers, such as SmallRig.

Before I finish, one little bonus request – in-camera false color. For those times when you’re stripping things back or limited on space and can’t rig an external monitor, but you still need cinema camera-level referencing for exposure (the FX6 lacks it too, to be fair).

The Sony FX3 has dropped in price and will potentially turn up on my favorite secondhand websites, which tempts me to replace my own with one in better condition. However, I’m keeping my eye out for a potential FX3 II upgrade. Either way, I'll be enjoying a camera capable of the extraordinary.

How about you – what are the upgrades you'd like to see? Let us know in the comments below.

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• Best Sony camera 2025: the top choices for both stills and video

• Canon PowerShot V1 quietly announced on the Canon Japan website
• It features an all-new 22.3MP sensor that's effectively Micro Four Thirds size, and a 16-50mm F2.8-4.5 lens
• Its price converted from Japanese Yen is roughly $990 / £785 / AU$1,550

We've been following rumors of an exciting new Canon compact camera for some time, and that camera – the PowerShot V1 – has just been unveiled on the Canon Japan website.

Canon's latest PowerShot is primarily a vlogging compact camera, and on paper it looks like a Sony ZV-1 II-beating rival. It features a 16-50mm F2.8-4.5 lens and new stabilized 22.3MP sensor that's essentially the same size as Micro Four Thirds, save for its narrower 3:2 aspect ratio.

It offers 4K / 30p video and Canon's C-Log color profile, or 4K /60p with a heavy 1.4x crop – but that latter shouldn't be much of an issue considering the ultra-wide perspective of the 3.1x optical zoom lens.

There's also a built-in 3-stop ND filter, 5EV in-body image stabilization, mic and headphones ports, plus record times with a heat limit that starts at 25 minutes, but which can be extended to unlimited with the built-in cooling fan in action.

Photographers won't find features such as a viewfinder or built-in flash, but that doesn't mean they should ignore the PowerShot V1, because it has some incredibly powerful photo features. These include burst shooting at rates of up to 15fps with the mechanical shutter (that's incredibly fast – only a handful of cameras can go that fast using a mechanical shutter), or up to 30fps with the electronic shutter.

Overall, the PowerShot V1 has a solid feature-set squeezed into a compact body with comfortable-looking hand grip, and here's why I think it'll be a hit: it's likely list price. At the time of writing, we only have the 148,500 Japanese Yen price, which converts to around $990 / £785 / AU$1,550 – assuming that the actual prices are in that ballpark, that's pretty competitive considering the features on board.

Could the Canon Powershot V1 be the one compact camera to rule them all?

From the Sony ZV-1 II compact to the gimbal-stabilized DJI Osmo Pocket 3 and the Fujifilm XM-5 / Nikon Z30 mirrorless cameras, there's no shortage of sub-$1,000 vlogging cameras. And it's into this market that the Canon PowerShot V1 steps.

We haven't tested the feature-stacked PowerShot V1 yet – it's set for an April / May launch – but on paper it looks super impressive, and it's likely to enter the market at an enticing price point that I expect to make it very popular.

It's stabilized sensor is larger than the 1-inch type used by Sony and DJI rivals, while users still enjoy the convenience of a built-in lens that you don't get with mirrorless cameras such as the Nikon Z30.

And its image-making capabilities are supported by what looks like a complete user experience for video, with in-body image stabilization rated up to 5EV, a built-in ND filter, a cooling fan, mic and headphone ports, and a hotshoe for accessories such as external flashguns.

At 15oz / 426g with card and battery inserted, the PowerShot V1 is a little weightier than I expected, but it's the complete package idea for video-first users who also want a highly competent photography tool.

We'll be publishing our in-depth review as soon as possible after we get hold of the camera for testing, but even at this early stage the PowerShot V1 looks set to win a place in our best vlogging cameras guide.

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• Nikon announces Z-mount versions of the RED V-Raptor and RED Komodo
• The Nikkor Z 28-135mm F/4 PZ cine lens was launched simultaneously
• Since Nikon's RED takeover, we've seen permanent price drops for select RED cameras

Nikon's RED takeover is in full effect, following the launch of two RED cinema cameras with Nikon's Z-mount; the RED V-Raptor and RED Komodo. The Z-mount versions were launched alongside Nikon's own new cinema lens too, the Nikkor Z 28-135mm F/4 PZ.

Nikon instantly became a major player in cinema cameras when it acquired RED Digital Cameras in March 2024, and it's taken less than a year for us to see the fruit of the takeover, with Z-mount versions of two super popular RED cine cameras in the filmmaking industry.

It's a sucker punch to Canon – the RED Komodo 6K was previously only available with Canon's RF-mount, but its future is now firmly in camp Nikon. There will be various lens mount adaptors available, including Nikon Z to Nikon F and Nikon Z to PL, but RED's future is shifting away from Canon lenses.

What's more, the Nikon effect has extended to RED camera pricing, the cine camera maker's name, plus Nikon's own cameras are benefitting from RED tech. Let's take a look at what's been happening.

The Nikon effect is in full swing, and I expect more is to come

In and of itself, there's little that's new in the Z-mount versions of the RED V-Raptor and Komodo, besides the lens mount and what Nikon says is improved autofocus capabilities. The biggest impact is direct compatibility with Nikon Z-mount lenses, of which there are many, and which now includes the Nikkor Z 28-135mm F/4 PZ – a versatile and gimbal-friendly zoom with cine features that costs $2,596.95 /£2499 and has an April 2025 sales start date (Australia price and availability TBC).

What's even more exciting, especially to indie filmmakers, is Nikon slashing the prices of RED Komodo 6K bundles. In September 2024, we saw permanent price reductions of as much as $3,000 off – for example, the Komodo 6K Camera Production Pack now costs $11,995 (was $14,995). Still not cheap by any means, but more affordable for pros. Prices for the RED Komodo 6K with Z-mount start at $6,995 (around £5,600), while the RED V-Raptor 8K costs $29,995 (around £24,000 - converted from USD).

Nikon has also officially stripped back its subsidiary's name too, from RED Digital Cameras to simply RED, which is what most people call it anyway.

In the other direction, Nikon cameras are benefitting from RED tech. Back in September 2024, four RED LUTs color profiles were made available to Nikon's current mirrorless cameras, including the Nikon Z6 III, Nikon Z8, and Nikon Zf, and even certain DSLRs like the D780. Nikon's N-Log video footage can now be stylized into Rec.709 color using any one of RED’s Film Bias, Film Bias Bleach Bypass, Film Bias Offset, and Achromic – color profiles co-developed with cinema colorist Eric Weidt.

I don't expect the Nikon effect to stop here either. What do you think – what are the most exciting developments we can hope for from Nikon's RED takeover? Better video features in Nikon's mirrorless cameras? More Z-mount cine lenses? Let me know in the comments below.

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• Blackmagic Pyxis 6K review - a filmmaker’s workhorse with quality full-frame sensor

Blackmagic Pyxis 6K: two-minute review

The Blackmagic Pyxis is the company's first venture into box-style cameras, and at its core lies a proven full-frame sensor, delivering up to 6K resolution and 13 stops of dynamic range. The key benefit of this high resolution is that you can use the full width and height of the 3:2 surface area of the sensor, allowing for much greater flexibility when you need to produce content for multiple platforms.

The camera’s UI is generally a triumph, with large touch controls, clear navigation, and sensible menu structures. However, when you turn the camera to film vertically, the UI stays fixed; on the older Pocket 6K, the UI rotates to suit the new orientation, so it’s clear that Blackmagic had thought about this problem and had come up with a simple solution, and it’s odd that they’ve yet to implement it on the Pyxis, which lends itself even more to shooting in different orientations. That said, even during my brief time with the camera the company released significant updates to both the camera and the Blackmagic Camera App that delivered functionality and performance improvements, so I’m confident that it will address smaller issues like this in time.

In terms of hardware, the camera's standout feature is its machined aluminum construction, which offers professional-grade modularity and heat dissipation. However, the positioning of its cooling mechanism draws air from the base of the camera and forces it out through the top, and while it’s great for warming your hands on a chilly day, it does leave the camera feeling particularly exposed to inclement weather.

It features a multitude of mounting points on its bottom, top and side, where you’ll find its modular accessory plate, which can be used to install a rosette plate for a grip or an SSD holder for example. While the $2,995 / £2,645 / AU$4,899 (approx) starting price is competitive, buyers should factor in additional costs for essential accessories like an EVF, monitor, handle, and other rigging solutions, although many people buying this camera are likely to already have some compatible accessories.

The camera excels in its versatility with its comprehensive I/O (input / output) options, including BP-U battery compatibility, a nice common standard, as well as a 12G-SDI port and USB-C connectivity. The USB-C port on the front of the camera can transmit a video signal out to an HDMI source (without visual assist tools like false color), and the one on the rear can be used to tether the camera to a mobile device for remote wireless control, monitoring and synced recording across multiple connected Blackmagic cameras. Other professional features like timecode sync, Ethernet connectivity, SSD recording, and cloud workflow integration are also included.

The Pyxis delivers impressive image quality with Blackmagic's highly regarded color science, though it lacks some features that mirrorless shooters will be used to, like advanced autofocus and optical image stabilization. Some form of internal ND filter system would have been a big bonus, but nothing in this price range or class offers that, so expecting it would be unreasonable. While its few limitations are worth consideration, if you’re in the market for a true workhorse camera that can be adapted to a wide range of shooting scenarios the Blackmagic Pyxis makes a strong case for itself, especially when you consider that the purchase of a Blackmagic camera includes a full license for the DaVinci Resolve Studio editing suite, worth $295 / £235 / AU$440.

Blackmagic Pyxis 6K: price and release date

• Body-only price: $2,995 / £2,645 / AU$4,899 (approx)
• Available now in three lens mount versions; EF-mount, L-mount of PL-mount (the latter costs $100 / £100 / AU$180 extra
• You'll want additional accessories

The Blackmagic Pyxis 6K was announced at NAB Show Las Vegas in April 2024 and is available to order now. It can be picked up for a list price of $2,995 / £2,645 / AU$4,899 body-only in EF or L-mount, while the PL mount version costs $100 / £100 / AU$180 (approx) extra.

That price represents five star value given how the camera handles and what it is capable of for filmmaking. However, you will also need to factor in multiple accessories to improve the shooting experience, including an optional monitor, viewfinder, top handle and more.

• Price score: 4.5/5

Blackmagic Pyxis 6K: specs

Blackmagic Pyxis 6K: design and handling

• Excellent build quality with machined aluminum construction
• Modular design, requires accessories to maximize its potential
• UI doesn’t rotate as on the Pocket 6K

The Blackmagic Pyxis 6K is a relatively compact camera given what it's capable of, but it still weighs in at a hefty 3.3lbs / 1,500g, which is roughly the weight of two Lumix S5 IIX mirrorless cameras. Measuring 119 x 106 x 151mm (H x W x D), and with a fixed LCD display on its left side, the Pyxis feels like it needs an additional accessory for monitoring. If you want to stay on brand, your options include the Blackmagic URSA Cine EVF, the specially designed Blackmagic Pyxis Monitor, or a Blackmagic Video Assist. I had the chance to pair the camera with the Pyxis monitor, and it was ideal for run-and-gun-style shooting without being overly conspicuous, and its built-in pop-up hood is a nice touch. It’s a solid addition to the camera's accessory lineup, and provides full camera control via its touchscreen and the three customizable function buttons on its rear.

I also got to use the URSA Cine EVF, and it would be a great option for filming Electronic News Gathering (ENG) / documentary-style work, as it immerses you in the frame by blocking out off-camera distractions. The setup is highly flexible, with the EVF being easy to position. It comes with an extension arm, as well as USB-C to USB-C cables of various lengths, so that you can place the EVF in the most comfortable orientation possible for your style of shooting. A nice detail sees the EVF’s USB-C cables come with screw fixtures so that they can’t be easily pulled out, and I also like that the EVF has a tally light built into it.

Returning to the side of the camera, the Pyxis has physical controls for all key functions, and offers three customizable function buttons so that you can save your most commonly used tools – I set mine to focus assist, false color and LUT view. If you use the EVF, it also has physical buttons, three of which can be independently customized from the ones you’ve assigned on the body. I found that the buttons and control dial click and scroll responsively, and while I would have preferred an additional record button on the front or right side of the camera, the placement of the physical controls is generally logical, and will be swiftly committed to muscle memory with regular use.

People who are new to cinema-style box cameras may be in for a slight shock when they realize just how much additional kit they need to buy in order to make their camera functional – while its starting price seems competitive, the camera doesn’t even come with a battery in the box. So you will want to factor in additional costs, as they can stack up quite quickly. As well as power, the optional £165 / $199 (around AU$325) top handle feels like a necessity too, not least because it's critical for working with the EVF or Pyxis monitor. I’d most likely purchase the Pyxis monitor first, but the EVF is a nicely designed piece of kit; for me, as somebody who often shoots handheld outside, it definitely elevates the functionality of the camera.

The camera's layout is professional and purposeful, although the built-in screen’s position on the left side of the camera body forces you to touch it while holding it, quite a lot, which will undoubtedly jar some people. Helpfully, in the latest update (9.2) you’re able to lock the screen while still having full access to the camera’s physical controls, which is a welcome improvement in functionality. For audio, the camera offers a 3.5mm stereo input on the front, as well as a mini XLR input, which will give you phantom power. You can run the camera directly from mains power via its +12V 2-pin Lemo connector, which is handy for me, as someone who predominantly shoots in studios and controlled indoor environments. Its dual CF Express Type B card slots are protected by a rubber cover, and the locking USB-C ports add security for monitor connections. The overall build quality is excellent, especially given the camera’s competitive pricing, although the rubber media door could be more robust, and the lack of weather sealing is notable, albeit typical for this style of camera body.

• Design score: 4/5

Blackmagic Pyxis 6K: features and performance

• Internal 12-bit Raw video, but no ProRes
• Filmic quality to footage
• Versatile rigging options
• Professional I/O
• No in-body image stabilization
• No continuous AF

The Blackmagic Pyxis 6K offers impressive connectivity options, including 12G-SDI output, USB-C, and Ethernet. The dual native ISO provides flexibility in various lighting conditions, while the dual card slots offer redundancy and extended recording times. Its best-in-class menu system is intuitive for newbies and familiar to Blackmagic users, offering logical functionality and decent customization options.

Professional features include built-in timecode, streaming capabilities, and cloud workflow integration. It also comes with a range of exposure tools that will ensure you’re gathering as much usable Raw imaging data as possible while recording. Typically, I would rely on false color, which I assigned to one of the camera’s three customizable function buttons. But it was great to see the addition of the RGB traffic light indicator system, which has possibly been borrowed from RED’s Komodo cameras. When any one of the camera’s pixel channels are beginning to clip, that light will stay illuminated, indicating that you need to lower your exposure. It’s a great at-a-glance exposure tool that’s been seamlessly integrated into the general display UI. Although it doesn’t work for underexposure, there are plenty of other tools, like false color, histogram, and zebra patterns available to help here.

During my review window Blackmagic released a couple of relatively major updates, one for the Blackmagic Camera App (iOS v2.2) and the other for the Pyxis 6K. The improvements introduced with Firmware 9.2 included some handy connectivity features. If its running the latest firmware, the Pyxis can now use a compatible iPhone as a monitor when acting as a personal wireless hotspot and tethered via the rear USB-C port (the Pyxis itself has no Wi-Fi transmission module), and when functioning like this, you can use your iPhone to control multiple cameras and even initiate synchronized recording, which is a great solution for people who often rely on multi-camera setups. The new firmware also provided a significant boost to the camera’s power efficiency, adding roughly 30-40% more operating time in my experience. Of course, your mileage may vary, but before the update I was already able to get about 35 minutes out of a BP-U-30 (28Wh) battery, and after the update I was getting another 20-30 minutes or so extra. Battery life monitoring was also improved by the update, so the camera will now go all the way down to 1% before eventually shutting off.

Some may be disappointed to learn that the Pyxis 6K has no stabilization whatsoever, but it does record gyro data to offer reasonable stabilization in post. There’s also noticeable wobble caused by rolling shutter when you’re moving with the camera, particularly when shooting in 6K open gate mode; it’s not horrendous, but it would encourage me to shoot more static-style shots when using this camera in particular. The visible effects of rolling shutter diminish as you reduce the sensor area used for recording, and are barely noticeable when shooting at 4K/60p in 17:9 aspect ratio, so I’d say it’s worth being conscious of what your output may be. Shooting for your end output instead of belligerently spamming open gate may be the wiser choice – you can save open gate for shots with less camera movement that need the flexibility of the sensor’s full readout. It’s worth mentioning that Davinci Resolve is also able to use the camera’s gyro data to mitigate some of the warping that you may see when moving the camera around while recording.

Wrapping up my niggles, the autofocus system is basic and offers no continuous AF, but it does have some handy focusing tools, which can be adjusted to suit your preferences. You can also use the dedicated push-to-focus button at the top-left side of the camera, and there’s an Iris button above that, which can help you nail exposure in a pinch. The camera also works well with external focus solutions like the DJI Focus Pro, which would be a typical approach for working with a camera like this.

A final, positive operating observation is just how quickly the camera powers up. Within five seconds of switching it on, the camera is up and ready to record. If you’re not familiar with cinema cameras, this may seem like a long amount of time, but in this realm, the Pyxis is relatively speedy, and it’s refreshing.

• Features and performance score: 4/5

Blackmagic Pyxis 6K: image and video quality

• Excellent image quality in most conditions
• Better noise-handling than the Z50 at the same ISO
• 4K/60p video with a 1.5x crop

The Pyxis captures images that are typically attractive for Blackmagic cameras, if it’s a look you’re familiar with. By this, I mean that the footage looks detailed, without looking sharp, and highlights roll off softly, delivering a cinematic look that needs very little work to get it ready to publish. The quoted 13 stops of dynamic range provides good flexibility in post-production, especially if you expose for the highlights and utilize DaVinci Resolve’s highlight recovery in post, when needed. Color reproduction is excellent thanks to Generation 5 color science, and the OLPF effectively controls moiré, which is great for shooting buildings, or clothing like silk and denim.

Low-light performance is good within the camera’s limitations, though not class-leading. However, Resolve is armed with comprehensive tools for reducing the impact of sensor noise. If you have the time and the aptitude, Blackmagic RAW files are really easy to work with, and can be honed to deliver an attractive look in most situations. While it’s not a no-light camera, the Pyxis would be perfectly capable of delivering attractive video in bar/club lighting scenarios or other low-ambient-lighting scenarios. The ability to shoot up to 6K resolution with a full-frame sensor with frames for various aspect ratios provides excellent flexibility for different delivery formats.

• Image and video quality score: 4.5/5

Blackmagic Pyxis 6K: testing scorecard

Should I buy the Blackmagic Pyxis 6K?

Buy it if...

Don't buy it if...

Blackmagic Pyxis 6K: also consider

How I tested the Blackmagic Pyxis 6K

• I had a briefing and sneak peak of the camera before its unveiling at NAB in 2024
• I paired the camera with a variety of L-Mount lenses, and a IRIX T1.5 via a Viltrox PL-L adapter
• I connected the camera to the Blackmagic Camera app

I was sent the Blackmagic Pyxis for review to test for a couple of weeks, due to a firmware update being released during my review window. The kit that came with the camera included the Blackmagic URSA Cine Handle, the Blackmagic URSA Cine viewfinder, a 1TB Angel Bird memory card and reader, as well as a Sigma 24-70mm F2.8 lens.

The first thing I did after receiving the camera was to conduct my endurance tests, which include battery run-downs and heat management. I set the camera up on a tripod in an ambient temperature environment of 70F / 21C, and left it filming continuously while connected to mains power and on battery power alone.

I then took the camera out with me on some street walks, and to a couple of family and evening events. I performed sound-quality tests in a small studio environment.

First reviewed January 2025

• Fujifilm's first-ever dedicated filmmaking camera is called the GFX Eterna
• Release date planned for 2025
• It will feature the same 102MP medium-format sensor as the GFX100 II

Fujifilm has announced the development of its first-ever cinema camera, the Fujifilm GFX Eterna, which is slated for a 2025 release.

Fujifilm's official statement does not provide much information, but it does contain enough to give us a picture of what to expect and to get excited about. It even includes the very first images of the medium-format beast, which you can see below.

It'll use exactly the same 102MP medium-format CMOS II HS sensor and X-Processor 5 engine as the five-star-rated GFX100 II. This costly mirrorless camera leans more heavily toward video than the watered-down GFX100S II. However, the new GFX Eterna will go one further than the hybrid GFX100 II – which, in addition to 8K video skills, is also an excellent stills camera – as a fully-fledged filmmaking tool.

Its name, Eterna, is an obvious nod to one of Fujifilm's most popular Film Simulations, a color profile that Fujifilm describes as "Based on ETERNA, a film designed for motion pictures, this Film Simulation mode minimises saturation to ensure that none of the colors stand out. It provides an extremely soft tonal gradation in highlights and deep shadows to prevent clipping, to reproduce a cinematic look."

Alongside announcing the GFX Eterna, Fujifilm is developing a 32-90mm power-zoom cinema lens and a GF to PL mount adapter – the latter is an industry-standard lens mount. We don't know the GFX Eterna's list price yet, nor that of the lens, although to give you a rough ballpark, the GFX100 II was launched at $7,499 / £6,999 / AU$12,599.

A filmmaking industry shake-up?

Like Nikon with its RED camera takeover, Fujifilm is looking to disrupt the indie filmmaking market with an altogether different offering. Its larger medium-format sensor is a clear selling point over industry staples such as the RED Digital Camera Komodo and the Blackmagic Ursa-series. However, its infancy in the market could leave filmmaking stalwarts unconvinced.

On the other hand, Nikon is surely leveraging the RED name and the filmmaking tech it has owned since acquiring RED for its future video-focused cameras, including coveted color profiles developed by RED. Fujifilm is coming in new, utilizing its own sensor tech, which could be enough to tempt pros to give it a whirl. While its widely recognized Film Simulations could eventually win acclaim in this part of the industry that's historically closed off to newcomers.

To be one of the best video cameras in this professional realm, Fujifilm needs to develop the Eterna hardware wisely. It will, of course, need the inputs demanded by pros, including an XLR input for serious audio equipment and built-in ND filters, which are likely a must. There's also work to be done in creating cine lenses for the GF-mount, which are currently all photography-first lenses by design.

However, regarding the GFX Eterna, I'd have every confidence in Fujifilm making something pretty special at the first time of asking.

You might also like

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• The 6K Canon EOS C80 looks like its most powerful and versatile cinema camera yet for indie filmmakers

Canon has launched the EOS C80, a powerful follow-up to the EOS C70, its four-year-old RF-mount Super 35 4K cinema camera thats's popular with indie filmmakers. 

Identical in size to the EOS C70, the new EOS C80 marks a significant upgrade, packing the same (larger) full-frame backside illuminated stacked sensor with 6K video capabilities as the recently announced EOS C400. The EOS C80 also inherits the world-first triple base ISO of the EOS C400. 

Most of the leading cinema cameras, like the Blackmagic Cinema Camera 6K and Panasonic Lumix S5 II, offer a dual base ISO; two ISO settings to deliver the best possible signal-to-noise ratio, one for good light and one for low light. However, a triple base ISO is even more versatile; the EOS C80's ISO 800, ISO 3200 and ISO 12,800 settings will each give you the cleanest possible image the camera's sensor is able to produce – a true cinema camera innovation.

It may be a dedicated video camera, but the EOS C80 has the same RF-mount as Canon's photography-focused mirrorless cameras, a built-in grip and a 3.5-inch flip-out touchscreen, making it a familiar and more accessible package to those who've used a Canon mirrorless cameras, like the EOS R5 Mark II, than Canon's modular cinema cameras like the EOS C400.

The new camera's sensor, as used in the EOS C400, is capable of capturing 16 stops of dynamic range, 12-bit RAW video internally, with Canon's Cinema Raw Light color profile to keep file sizes down, and video resolution / frame rates of 6K 30fps, 4K 120fps and 2K 180fps. 

Canon's dual-pixel CMOS autofocus promises reliable focusing with autofocus points covering 100% of the frame, but the 5-axis stabilization is the less effective electronic type, which means ideally you'll want some method of stabilizing the camera for handheld use.

Where the video-dedicated EOS C80 differs from Canon's video-focused hybrid cameras like the EOS R5C is through its swathe of video tools, such as built-in ND filters (2, 4, 6, 8 and 10 stops) and robust connectivity that includes 12G SDI (pro broadcasts demand secure SDI over HDMI) and mini-XLR terminals to attach accessories such as mics and monitors. It can also be adapted to Canon EF and to PL-mount lenses, complete with metadata – the latter includes legendary cine optics such as those by Cooke. 

We can see the EOS C80 being Canon's most popular cinema camera with indie filmmakers especially, or as a more compact broadcast tool. It's priced at $5,499 / £5,339 / AU$8,899 for the body only, and available in November 2024 – preorders are open now in some markets. 

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I love Fujifilm. Anyone that has followed my work in recent years will have heard me raving about it as the ideal ecosystem for travel photographers. The compact size of cameras like the X100VI, stylized film simulations, the wonderful selection of small and sharp lenses: all of it is perfectly targeted at enthusiasts and global nomads looking to express their creativity and share the places they’ve seen. So why on earth did I sell all my Fujifilm gear and change systems?

For all of Fujifilm’s appealing aesthetics and features, there are a number of compromises that come with it, which can make things challenging for those of us who make our living with our cameras. First of all, the Fujifilm X-Series cameras are exclusively cropped sensors, which means less dynamic range, less subject separation (bokeh) and worse performance in low-light situations when compared to full-frame sensors. Although Fujifilm has done a lot to improve the autofocus in its cameras in the past two years, the phase-detect systems of other brands have proven to be notably faster and more reliable. 

One thing that no one else could compete with, however, was Fujifilm’s highly-customizable film simulations, allowing you to get beautifully stylized images straight out of camera. Nikon and Ricoh have had stabs at it, but no one could top Fujifilm on this…until now.

When Panasonic announced the new Lumix S5 II, hybrid shooters were once again thrilled to be given such a feature-rich camera for such a competitive price. Alongside open gate video (being able to record from the full width and height of the sensor) and all-new autofocus system, Panasonic snuck in a little feature which got very little attention: Real Time LUTs. 

A LUT (Look Up Table) is similar to a preset or filter which changes the colors and tones of an image. They are typically used in video editing to create the final look of the film, however Panasonic has allowed LUTs to be applied in real-time as you take photos or videos. 

The difference between this and Fujifilm’s system though, is that you can apply any LUT you like, without being limited to just tweaking existing simulations in your camera. Once you’ve got them set up, you have all the joy of producing images and videos that are ready to post, but with all the added benefits of a full-frame sensor.

To some of you, this may not seem like a crucial feature, and that’s fine: we all use different tools to inspire us creatively and to produce the results our clients are looking for. In my work, Real Time LUTs allows me to load my signature styles into the camera and then see the final image come to life so I can decide exactly when to press the shutter. No trying to guess what it will look like after 30 mins in Photoshop.

Real Time LUTs also allows me to show photos to clients and talent during shoots, straight on my camera, and it never fails to make an impact when they see something that looks so cinematic coming together on the spot.

For those of you concerned about baking a look into your files, you can shoot RAW + JPEG (just like with Fuji) and keep an untouched RAW for you to edit separately if you decide to go a different way with it. In short, this Lumix-exclusive feature could help you develop your own signature style which will make your work unique and recognizable.

How to get started with Panasonic's Real Time LUTs

If you already own a Panasonic camera with Real Time LUTs, which includes the full-frame Lumix S5II, Lumix S5IIX and now the MFT Lumix G9 II, simply follow the steps below and you can start working with real-time LUTs as well.

Choose your LUTs 

Much like presets, there are a huge number of LUTs available online for each camera, some free and some paid. If you’ve got the budget for it, the Kinetic Pack by Gamut is absolutely fantastic, in fact, every photo in this article was taken using a LUT from this collection. 

Once you have downloaded your favorite choices, they will show on your computer as .cube or .vlt files (LUTs meant for other brands will require you convert them using LUTcalc). Copy them onto an SD card, then pop it into your camera.

Save it to your camera

Navigate to Image Quality settings, and you will see “LUT Library” appear as the second item on the list. Click into it, and you will see the standard Vlog_09 LUT that comes built into the cameras, followed by 10 empty slots for your own files. Select an empty slot and it will take you to the files on your SD card, where you can choose which LUT you want to load. Once selected, it will be saved to your camera, and you can switch SD Cards without it disappearing.

Shoot with it

In both photo and movie modes, you can access “Photo Style” in the menu, and toggle across until you reach “Real Time LUT” which will set the standard colors as V-Log and allow you to choose which LUT to use. From there on, it will be baked into your JPEGs and video files, just like Fujifilm. If you want to have even more control, you can go back to the “Photo Style” menu and scroll until you find “My Photo Style 1” where you can choose a LUT as well as control which base profile you have (ie. Vivid or Natural), which will open up a whole new variety of contrast and saturation levels for you.

There you have it. My full-frame Panasonic Lumix S5 II packed with hybrid shooting options, and the ability to produce stunning images and videos without a minute spent on editing. Fujifilm, I still love you, but I’m afraid it’s Lumix that takes this round. 

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Blackmagic Design quadruple-dropped product announcements at the world's leading broadcasting show, NAB 2024. First, a Sony and Panasonic-rivalling Pyxis 6K modular camera for indie filmmakers; the latest version of its popular video editing platform Davinci Resolve 19 – which we rate as the best free video editor; the superb Ursa Cine 12K for pros; and finally a headline-grabbing concept 17K pro camera with particularly large 65mm sensor – yes, 17K video. 

That's a lot of product to cover here and we're going to focus on the sub $3,000 / £3,000 Pyxis 6K, but first it's worth commenting on the 17K camera, which is a higher-resolution version of the Ursa Cine 12K. It isn't ready yet, but is set to rival the hire-only Arri Alexa 65, and is the kind of gear that only a select few people will get to use for real. 

That said, Blackmagic regularly prices aggressively – sub $15,000 for the new Ursa Cine 12K boasting 16-stops dynamic range (a first for Blackmagic) is testament to that – and Arri will be shuffling uncomfortably at the news of the upcoming Ursa Cine 17K. 

For the rest of us mere mortals, the Pyxis 6K looks like a tempting customizable alternative to the Blackmagic Cinema Camera 6K, which we have dubbed one of the best video cameras for the money. 

6K video chops to rival Sony and Panasonic

The new Blackmagic Pyxis 6K is a 'box' camera – a modular design previously seen in the rival full-frame Panasonic Lumix BS1H 6K (available for $2,699 / £2,699 at CVP ) that followed up the BS1H with micro four thirds sensor. The concept is to deck out the Pyxis 6K with compatible accessories to create your perfect setup. Before you do that, you select which lens mount version of the Pyxis 6K you'd like, from L-Mount, Canon EF mount, or PL mount options. The latter is a particularly popular mount for cine lenses. 

The lightweight and durable CNC machined aerospace aluminum body is decorated with numerous 1/4inch and 3/8inch mounting points and side plates to attach accessories such as mics, handles, external SSDs, screens and viewfinders. Plus, it can easily be rigged to a crane, gimbal or drone. 

For filmmakers who often find handling grievances and limitations with complete cameras like the Cinema Camera 6K (below), a customizable box camera makes a lot of sense because it's up to the user to configure the setup how they like. Being able to remove parts that you don't need for certain shoots can slim down and simplify your setup, too.

Hardware-wise, the Pyxis 6K's full-frame sensor has a native 6048 x 4032 pixel 'open gate' output up to 36fps, or 2.4:1 aspect 6K video up to 60fps, with up to 13 stops of dynamic range, plus dual native ISO for a clean image whether you're in bright or low light conditions. 

You can record video using the popular Blackmagic RAW color profile and simultaneously capture smaller proxy files for a speedier workflow – the latter is a feature that was recently added to the Panasonic Lumix S5 II / S5 IIX through a major firmware update. 

There's also a larger-than-normal 4-inch touchscreen with full HD resolution, which is almost as big as some popular external screens from the likes of Atomos. You might not need to opt for an additional screen here, like you do with mirrorless cameras which pack a smaller 3-inch LCD display.

The Pyxis 6K costs from $2,995 / £2,910 (Australia pricing TBC) and it's already available for preorder from CVP. It goes toe-to-toe with the Panasonic Lumix BS1H 6K and is a compelling Sony alternative, too. For more info, please check out the Blackmagic website. 

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Let's be clear from the start – the newly developed Octopus Cinema 16 cine camera is digital, not analog. You're not going to be putting a reel of Super 16 film through it, but you'll be capturing 4K video on its digital sensor purpose-built for video that's the same size as a frame of Super 16 film. 

It's no Kodak Super 8, but the Octopus 16 offers huge bang for buck and could be the go-to cine camera for low-budget movie productions, if you can get your hands on one. Blackmagic, makers of excellent cine cameras like the Blackmagic Cinema Camera 6K, should be worried – Octopus says its latest creation, in an often overlooked format, will cost less than $1,000 and offer the kind of performance you'd expect from a camera 10x the price. 

Headline features include internal 4K video capture in 12-bit raw onto CFexpress type B card, with up to 15-stops dynamic range. Octopus Cinema Founder Russell Newman unpacked the sensor tech to TechRadar, 

"The sensor features a dual gain readout architecture. This is similar to the popular dual native ISO feature found on many consumer cameras, but instead of choosing between two clean high and low ISOs, the sensor uses both simultaneously," said Newman. "It is basically exposure bracketing but within the same single frame capture and merged on the sensor chip itself - this results in a massive amount of dynamic range and tonal information."

Sounds impressive, right? Well Russell says that's because, "This approach is usually reserved for expensive production cameras such as the ARRI Alexa - but it is now possible to implement this in small sensors at a fraction of the cost."

The powerful video performance is encased in a tiny aluminum body that weighs under 0.88lb / 400g and measures 8 x 8 x 5cm, allowing you to position the camera in hard to reach spots, while the image is composed via a 2.8-inch LCD monitor. The camera also features an interchangeable lens mount whereby you can choose between MFT lenses (of which there are hundreds) and, drumroll, vintage Super 16 lenses.

Yes, you can indeed hark back to the good ol' days of film, at least in part, by pairing the Octopus Cinema 16 digital camera, built for twenty first century filmmakers, with vintage Super 16 lenses.

Elsewhere, by recording 12-bit raw 4K video, filmmakers choose what look to apply to the image post capture. There's no color profiles baked-in, vintage or otherwise.

Is the Octopus Cinema 16 camera too good to be true? 

Octopus garnered much praise for its Octopus Camera 8K LF, a pricier full-frame video camera for pros with global shutter. Now it's creating something to compete with the likes of the Blackmagic Pocket Cinema camera range for a fraction of the price, and it could be onto a winner. 

Super 16 sounds cool, but what does that actually mean in the digital realm? The camera's sensor size is probably 12.52mm x 7.41mm – that's pretty similar to the common 1-inch sensor found in the priciest smartphones and vlogging cameras like the Sony ZV-1. It's half the size and width of Super 35 (in photography terms Super 35 is also known as APS-C). 

That's a pretty small digital sensor then, and we wouldn't have high expectations regarding image quality based on that information alone. However, this is a purpose built sensor for video that maximizes potential detail.

Of course we're yet to use the newly developed camera so can't comment on its handling or quality or whether it will become one of the best video cameras available for the money. However, Octopus has shared demo reels via its YouTube (see above) and the footage looks incredible, especially the wide dynamic range. 

We'd normally expect to see highlights clipped in a scene like this, but the footage – that we assume to be 4K 12-bit raw – holds detail in the shadow and highlight areas outside the bus. Judging by some of the comments reacting to the video, plus the potential for using Super 16 vintage lenses, there will be plenty of people ready to fork out for an Octopus Cinema 16 camera when it's available. 

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There's a lesser-known string to DJI's bow besides its industry-leading drone-making: a unique all-in-one cinematography system called the DJI Ronin 4D.

We wrote about the Ronin 4D when 6K and 8K versions of the 4-axis stabilized cinema camera rig were first announced in 2021 (yes you read that right, 4-axis), and we got to try out the 6K version of the Ronin 4D for a day to see how compelling it is for professional run-and-gun filmmaking.

Co-developed with leading cinematographers, the Ronin 4D is a complete, one-of-a-kind dream camera for most filmmakers, lightening the oft heavy load of stabilizing equipment, and producing stunningly smooth video. It's not mainstream yet in the same way as cameras from Canon, Sony or even Red and Arri, but the Ronin 4D is one of the best video cameras for the money.

The 6K version has been available for some time now, while the pricier 8K version has been listed as 'reserve'. Now, those with their hearts set on the 8K version finally have their wish come true, with DJI announcing that the Ronin 4D-8K is ready for purchase.

An all-in-one cine camera package

We've seen cinema cameras, gimbals and Steadicams before, but nothing that combines all of their tricks into one package quite like DJI's trailblazer – and certainly not at this price – the 4D-8K Combo costs $12,838 / £11,038 / AU$18,899. 

While the DJI Ronin 4D-8K seems pricy – especially when compared to the 4D-6K version, which is around half the price – it's impressively affordable considering what it can do without any extra equipment.

That Combo kit includes the Ronin 4D Main Body, the Zenmuse X9-8K Gimbal Camera, a DJI DL PZ 17-28mm T3.0 ASPH lens, a PROSSD 1TB and mount, hand grips, a top handle, monitor, a TB50 Intelligent Battery, a LiDAR Range Finder, a DJI Ronin 4D RAW License Key, and more. Basically, all a professional camera-op needs to easily record smooth 8K video footage on the fly. 

The Zenmuse X9-8K Gimbal Camera (with protective case) can be purchased separately for $3,599 / £2,599 / AU$4,699, and could be an option for those already using the 6K Combo version who are looking to get the 8K resolution.

Can the Ronin 4D break through?

The cinema industry is notoriously difficult for new brands to break into, with most cinematographers even at this low-budget level sticking with RED, Arri, Sony and Canon. But while DJI is instead associated with drones like the DJI Mavic 3 Pro, which won best drone and best camera device in the 2023 TechRadar Choice Awards, its Ronin 4D system should not be overlooked.

Whether it's a pro-level drone like the DJI Inspire 3, or the best vlogging camera of 2023 – the tiny Osmo Pocket 3 – stabilized video is the name of the game with DJI. The Ronin 4D-8K uses a 4-axis gimbal to correct for pan, roll and tilt, plus Z-axis correction that compensates for the up-and-down movement of walking. The incredible results are on a par with what you get from Hollywood Steadicam equipment.

No other cine camera alone can do what the Ronin 4D does: freeing up camera ops to move about freely while capturing smooth high-quality footage. Yet the Ronin 4D 8K Combo is also packed with pro filmmaking features, making it a single-stop package for handheld shooting. 

Video quality-wise, it combines a full-frame camera (the X9-8K) with an interchangeable lens mount that includes DJI's own DL mount and popular choices like the Sony E mount, and shoots 8K video up to 75fps, or 8K 60p / 4K 120p with no crop in Apple ProRes and ProRes Raw formats, with dual native 800 / 4000 ISO and up to 14.7 stops of dynamic range. Footage can be recorded directly onto a 1TB SSD (included), alongside a CFexpress Type-B card.

In use, the camera unit is part of a shoulder-mount rig that includes a 7-inch monitor for easy viewing. You get a built-in nine-stop ND filter (neutral density) ideal for changeable light, and DJI's next-gen LiDAR-based focusing, based on similar tech to the iPhone 13 Pro, that blasts out 43,200 ranging points as far away as 10 meters, regardless of the lighting conditions.

Whether those features, and the prospect of stabilized footage on the fly, are enough for cinematographers to look past the unusual ergonomics of the floating gimbal arm, we'll have to see, but having the 8K version of the Ronin 4D in the mix could help. It's a leap in price from the 6K version, but the Ronin 4D 8K deserves its place on set. 

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Update 25/10/23: We've now published our full DJI Pocket 3 review – and you can also read why the DJI Pocket 3 is now the best camera for shooting social media videos. Read on for our original rumors story.

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It wouldn't be a DJI launch without some massive leaks in the run-up to the official reveal, and that's proving to the case again for the DJI Pocket 3, a new video camera that has some surprisingly big upgrades.

In the past few days we've seen a full specs sheet, an unboxing video, and early video review of DJI's next compact, gimbal-stabilized camera appear online. Collectively, they hint at five main improvements over the current DJI Pocket 2, with the headline upgrade being a new 1-inch sensor.

According to a specs sheet and DJI marketing materials unearthed by the ever-reliable Quadro_News, the new sensor will also be capable of shooting 4K/120p video. If the leaked specs are correct, this means the DJI Pocket 3 should be both better in low light, and also for shooting slow-motion videos.

A slight caveat on that first claim is that the Pocket 3's 20mm lens will be slightly slower than its predecessor's (f/2.0 compared to f/1.8 on the Pocket 2). But overall, the significant jump from a 1/1.7-inch to a 1-inch sensor should more than compensate, while still offering a natural shallow depth of field when shooting wide open.

What isn't yet clear is the resolution the Pocket 3 will offer. The leaked specs suggest it could be around 9.4MP, according to the listed 1:1 resolution of 3072 x 3072 pixels, which also hints at open-gate recording for vertical videos. But we don't yet know if this also refers to photos, with the Pocket 2 offering 16MP or 64MP modes for stills.

Another potential compromise between the two video cameras (which we've compared below, based on the leaks) appears to be an increase in weight. The Pocket 3 will seemingly be 62g heavier than its predecessor at 179g, although that's still pretty light compared to 1-inch compact cameras like the Sony ZV-1 II (which weighs 292g).

But overall, the Pocket 3 is shaping up to be a significant upgrade on the three-year-old Pocket 2, with faster charging times, a lower base ISO, and a much bigger screen all hinted at in the leaked specs. Fortunately, we won't have to wait long to find out those last official specs and, crucially, the price.

When will the Pocket 3 launch?

The official date for DJI's next launch event, which is almost certainly for the Pocket 3, is October 25 at 6am PT / 9am ET / 2pm BST, which is 12am AEST on October 26 in Australia. 

It's an exciting launch for video shooters because not many compact cameras, and zero smartphones, have their camera mounted on a three-axis gimbal. This gimbal is great for both video stabilization (an area that phones have caught up in, with features like the iPhone's Action mode) and creative camera moves.

While phone gimbals like the DJI OM 6 can track you around a scene, they rely on your smartphone's camera. If the DJI Pocket 3 does have a 1-inch sensor, then it could potentially offer better image quality than an OM 6 setup – while also letting you hold onto phone while you're shooting.

With 10-bit video, fast-charging and that much-needed bigger screen all apparently coming with the Pocket 3, it could well fix most of its predecessor's weaknesses without too many compromises.

We'll bring you all of the official news as it happens on October 25. If the launch is indeed for the DJI Pocket 3, that would see the camera arrive almost exactly three years after the Pocket 2 (which was released on November 1, 2020).

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If you're in the market for a small video camera with phone-beating shooting skills, DJI has some good news – it released a new teaser and launch date for what will almost certainly be the long-awaited DJI Pocket 3.

The new teaser, titled "For Moving Moments", has appeared on DJI's site and social media channels, showing a gimbal-stabilized lens that looks very much like the one on the current DJI Pocket 2. 

The date for your diary is October 25 at 9am ET / 2pm BST, which works out as 12am AEST on October 26 for those in Australia. If the launch is indeed for the DJI Pocket 3, that would see the camera arrive almost exactly three years after the Pocket 2 (which was released on November 1, 2020).

As if to confirm that we'll be seeing the Pocket 3 – which could become one of the best vlogging cameras around – some fresh leaks have given us a closer look at the camera. The new images, shared by the reliable Quadro_News on X, reveal the Pocket 3's new larger screen, which can flip into landscape orientation, plus some of its accessories.

From the screen's user interface, it looks like the Pocket 3 will have portrait and landscape modes (like the DJI Mini 4 Pro), alongside the usual face-tracking powers and other modes like Follow (where the camera remains horizontal) and FPV mode (where it has a full range of movement).

The Pocket series' unique selling point is its three-axis gimbal, which is great for stabilization but also lets you pull off creative camera moves. That's naturally on board again, according to the leaked images, though we still don't know the camera's specs. Our money is on a similar lens to the Pocket 2 (20mm f/1.8) but with a larger sensor like the one on the DJI Osmo Action 4 (1/1.3-inch CMOS).

Below the Pocket 3's screen is a joystick and record button, plus what could potentially be a small speaker for audio previews. The leaked images also shed light on some of the many Pocket 3 accessories, including a battery handle, ND filters, and a wide-angle lens (which is marked as 15mm 0.75x). That appears to confirm that the camera will have a native 20mm focal length, which worked well on its predecessor.

Analysis: Fixing the Pocket 2's main weaknesses 

Despite its age, we still rate the DJI Pocket 2 highly for its pretty unique video talents – and it looks like the Pocket 3 could fix a few of its main flaws.

Our main gripes with the current Pocket are its small screen, poor low-light performance, weakness in high-contrast scenes, and tendency to get hot when shooting 4K. The Pocket 3 is likely to bring a larger sensor to help it cope in lower light, while its seemingly larger body should also deliver a bigger battery and improved heat management.

Alongside those unknown camera specs, the big question is how much all of these improvements are likely to cost. The Pocket 2 arrived for $349 / £339 / AU$599 back in 2020, but its successor will likely cost more than that. 

The recent Osmo Action 4, for example, has a $399 / £379 / AU$629 price tag, which was a 25% price increase from the Action 3. Still, if the Pocket 3 matches that mark and does bring all of its rumored improvements, that would still make it a relatively affordable video camera with some unique skills.

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The charming little DJI Pocket 2 video camera is now almost three years old, but some fresh leaks suggest that its long-awaited DJI Pocket 3 successor is nearing an official launch.

The source of several new Pocket 3 images, including close-ups of its camera module and larger screen, is @Quadro_News on X (formerly Twitter), an account that has reliably leaked almost every new DJI product this year.

Strangely, one of the leaked images shows the new Pocket mounted on a tripod. That's a slightly unusual setup considering the main appeal of the Pocket series is that they're gimbal-stabilized 4K cameras that are great for handheld shooting (which explains why the Pocket 2 is still among the best vlogging cameras around).

Still, the Pocket 2 is also an excellent camera for panoramas and timelapses, which might explain the image below – and two other interesting features in the Pocket 3 leak are what look like a larger, rotating screen and a slightly bigger camera module.

One of our main criticisms of the Pocket 2 was that its small touchscreen was fiddly to use, and not great for previewing your shots. These new leaks suggest DJI has fixed that with a new larger display that also rotates for portrait shots, which should mean that users no longer need to rely on DJI's companion app.

A separate image of the Pocket 3's camera module unfortunately doesn't confirm that it's definitely getting an imaging upgrade on the Pocket 2's smartphone-style 1/1.7-inch sensor with a 20mm f/1.8 lens. 

But the proportions of the camera and lens do look a little larger than the Pocket 2, so it seems likely that DJI's new version could get the same 1/1.3-inch sensor as the one seen in the DJI Osmo Action 4 and DJI Mini 4 Pro drone.

Analysis: the Pocket still has great potential

DJI might be best known for making most of the world's best drones, but the Pocket series has carved out a popular niche among video shooters, because it still does things that smartphones can't.

Video stabilization on smartphones like the iPhone 15 Pro Max has improved dramatically since the Pocket 2 launched, with Apple's new Action mode capable of some impressive results when combined with its new 5x telephoto lens (as shown recently by YouTuber Tyler Stalman).

But there are still unique advantages to having a gimbal-stabilized camera like the one on the Pocket 2 and upcoming Pocket 3. Because the camera can move independently of the camera body, it can use autofocus-tracking to follow solo videographers around a scene – or automatically shoot a smooth, clean timelapse.

The main drawback of the Pocket 2 has been its reliance on dated camera hardware. And while the Pocket 3 may not bring the 1-inch sensor that many fans have been calling for, a larger one like the 1/1.3-inch chip seen on DJI's most recent launches would certainly be a big improvement.

We don't yet have an exact Pocket 3 release date, but the increasingly frequency of these leaks suggest it isn't far off – and DJI could even decide to launch on the third anniversary of the Pocket 2's release, which would be October 20.

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Blackmagic is hugely popular name in the video industry and with good reason, as it makes some of the best video cameras for pros, at competitive prices. Now the new Blackmagic Cinema Camera 6K, marks two exciting firsts for the company; it uses a full-frame sensor and L-Mount lenses. 

Design-wise, the Cinema Camera 6K looks a lot like the existing Blackmagic Pocket Cinema Camera 6K and other Pocket models, most of which shoot onto a smaller Super35 sensor (APS-C). On the inside, however, is a different story. 

Ditching the Pocket name, the latest model packs a 6048 x 4032 pixel ‘open gate’ full-frame sensor for 6K video up to 36fps, with 400 and 3200 dual native ISO. Open gate means the camera can record from the full width and full height of the 3:2 aspect sensor, so you’re not throwing away detail.

And the inclusion of the L-Mount is an exciting choice, because there are loads of existing Leica, Panasonic and Sigma lenses in the L-Mount family to choose from, plus it’s an easy lens mount to adapt other lenses from, including popular lens mounts like Canon EF (that’s the mount that the 'Pocket' version uses), and full-frame Cooke anamorphic.

We don’t get in-body image stabilization or phase-detect autofocus like in the Sony FX3 or Panasonic Lumix S5 II, this is a Blackmagic camera after all. No, it is a camera to mount to a support or a gimbal to gain smooth footage, and focus pull for seamless manual focusing – this is what most video industry pros do. And if you’re a pro video shooter, there’s plenty more to the Cinema Camera 6K that elevates it above the likes of Sony and Panasonic.

Built specifically for video creatives

An increasing number of hybrid mirrorless cameras pack an impressive array of video resolution and frame rates options, together with internal ProRes raw recording to preserve the most possible detail. So what makes a dedicated video camera like the Blackmagic Cinema Camera 6K stand out? 

The rear tilt touchscreen is a healthy five inches, much bigger than the three inch units found in most mirrorless cameras. The display is so big that you might not even need an extra external monitor for clear viewing, though you can still attach one via the full size HDMI. It also has connection ports on the side that go beyond what hybrid models offer, including two XLR inputs. If you’re using a Sony rival, chances are you’ll need an expensive adaptor for those audio inputs. 

Add the seriously impressive looking specs for anamorphic video with 6:5 4838 x 4032 output, seamless workflow for Blackmagic raw video files to DaVinci Resolve Studio software (included), USB-C power and recording to external SSD, 12V DC Power, cooling vents, tally lamp, CFExpress memory, rudimentary 24MP still images, and the Blackmagic Cinema Camera 6K is an excellent option for video, at an excellent price, that has really stuck it to Sony and Panasonic. We'll be conducting an in-depth review soon. 

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The iPhone 15 Pro’s big video camera upgrades for pros wowed us at the smartphone’s launch this week, but Sony has gone and upstaged those video chops by announcing a new app that can turn compatible smartphones and tablets, including the iPhone 15 Pro, into a wireless video monitor for Sony cameras. 

Monitor & Control is available on the Google Play and Apple App stores, and effectively turns your smart device into a wireless video monitor with high-end exposure and focusing tools. That’s some seriously pro video control, and excellent news if you own a Sony camera together with a compatible smartphone or tablet. Take that, iPhone 15 Pro. 

The app’s functionality is a level up from what was previously possible with Sony Xperia high-end smartphones, which could be transformed into a second monitor for your Sony camera, but only via wired connection.

Displays on most smartphones – including the gloriously punchy 4K display in the flagship Sony Xperia 1 V – are much bigger than those on pro cameras, which are typically around three inches. Tablet displays (as in the setup pictured above) are even bigger, and a larger display provides a clearer view of the frame.

Video monitoring is particularly helpful for composing your run-and-gun shots, but also for critical monitoring of exposure levels and focus. And when it's wireless, the monitor doesn’t even need to be attached to the connected camera, although it can be positioned next to it via any compatible coldshoe adaptor. 

With Monitor & Control active, the camera operator or director could be positioned some distance away, observing what the camera sees on their smartphone, with precise exposure monitoring that includes Histogram, False Color and Waveform, plus intuitive focus controls. 

If those terms mean little to you, that’s because this is currently a pro-level app that's only compatible with the Sony FX30, Sony FX3 and Sony FX6 cine cameras (plus the shiny new Sony Burano CineAlta 8K camera, which is due to hit shelves next year with an eye-watering list price of $30,000 / £25,000+).

An ever-expanding Sony Creators’ Cloud suite

Monitor & Control is another addition to Sony Creators’ Cloud, which is rapidly turning Sony cameras into reliable and slick remotely controllable devices. 

In my in-depth review of the Sony A7C R, I was super-impressed by how much more reliable the Creators’ Cloud app is for remote control of a camera for photography and image upload, where in the past Sony apps for models in the Sony A7 series of mirrorless cameras have been notoriously frustrating to use, with unreliable setup and connection. 

We don’t know for sure if the new Monitor & Control app will be rolled out to other Sony cameras – many Sony Alpha users are already asking that question – although it seems a fair bet that it will. However, many of Sony’s hybrid mirrorless models don’t offer exposure monitoring controls like False Color anyway, so the app’s features would be limited to functions such as start / stop recording, and adjustments to color profile, white balance and more, which would still be handy.

Monitor & Control is a fantastic-looking app for pro video creatives, and can be downloaded for free on iOS and Android app stores. Well played, Sony. 

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In our full Sony ZV-E1 review, we described the flagship full-frame mirrorless model as ‘the most capable vlogging camera’ available and it’s in our best vlogging camera guide. Now, via a free upgrade, it just got even better. 

Sony has rolled out a significant upgrade – it’s not a firmware update but an upgrade license – that simply adds 4K/120p video (Long GOP compression), and 1080p /240fps video to the camera's S&Q (slow motion / quick motion) mode. 

The 1080p/240fps addition is a 10x slow motion video effect and will provide greater versatility in post for creative speed ramping effects, and slowing down fast-paced action where it's otherwise hard to take in the details. 

The ZV-E1 was already the most powerful vlogging camera available that is a trailblazer in how AI is transforming how our cameras work, with auto-tracking features that make life easier for modest film crews. 

It is also the cheapest way to get the stellar 4K sensor that is found in the significantly more expensive Sony A7S III. And now, thanks to this upgrade, the ZV-E1 matches the max 4K video frame rate of its pricier sibling.   

We knew the update was coming when the ZV-E1 was launched – Sony publicly said so – and now that day has come. We've shared below how you can upgrade your ZV-E1 with these new video record modes.

How do I update my ZV-E1?

The ZV-E1 license is obtained via Sony Creators’ Cloud for which you need an account, but there is no charge for the updated license. 

If you’d rather not create an account, you can upgrade your ZV-E1 without signing in through a three-step process that requires your camera's 7-digit serial number, and you’ll need a memory card to download the license file and transfer it to your camera. 

Once you've inserted the memory card containing the license file into your camera, on-screen instructions will guide you through the rest of the process. 

The DJI Osmo Pocket 3 has finally landed after weeks of leaks and rumors – and the little, gimbal-stabilized video camera is a strong contender for the title of best vlogging camera and, for those on a budget, best video camera, too.

If you aren't familiar with the Pocket series, they're a popular line of compact video cameras that have a three-axis gimbal for powerful stabilization and creative camera moves. Three years on from the launch of the DJI Pocket 2, we now have a modern version with a host of big upgrades that make it ideal for shooting social media videos.

The headline improvement is the move from a 1/1.7-inch sensor to 1-inch sensor, a change that our DJI Osmo Pocket 3 review calls a "game-changer" for the Pocket series. It results in better image quality and "greatly improved" low-light performance.

The Pocket 3 also brings a much larger 2-inch touchscreen for composing your shots, the ability to shoot 4K/120p slow-motion video, ActiveTrack 6.0 autofocus to help the camera follow you around a scene, a tripod mount, and a host of other improvements. Here's a full rundown of everything you need to know about the DJI Pocket 3.

DJI Pocket 3 price and release date

The DJI Pocket 3 is available to order right now in two different bundles. The standard Pocket 3 bundle costs $519 / £489 / AU$849, and includes the camera plus a few accessories including a wrist strap, USB-C charging cable and a handle with a standard 1/4-inch thread. That is quite a price increase on the Pocket 2, which cost $349 / £339 / AU$599 when it launched in 2020.

If you need a full vlogging setup, then the Pocket 3's Creator Combo is also available for $669 / £619 / AU$1,129. That extra outlay gets you everything in the standard bundle, plus a DJI Mic 2 transmitter, mic windscreen, a mic clip magnet, battery Handle, mini tripod, and a carry bag.

DJI Pocket 3 features and design

As you can see from the Pocket 3's specs below, DJI has brought some pretty big hardware upgrades to its little video camera – which is a physically a beefed up version of the Pocket 2 with a better screen.  

Alongside the new 1-inch sensor (now capable of shooting 4K/120p video) and larger 2-inch touchscreen, there's also now a larger battery (upgraded from 875mAh to 1300mAh) that gives you around two hours of 4K recording from a charge. It can also recharge very quickly, in only 32 minutes with a Power Delivery charger.

But there's also a range of new features that make the Pocket 3 an ideal camera for shooting social media or family videos. One is a new portrait mode, which lets you shoot TikTok-friendly vertical videos in up to 3K resolution.

There's also ActiveTrack 6.0 on board, which includes some pretty powerful face detection, and shooting modes like 'spin shot' to help you create some dynamic spin transitions for your videos. The inclusion of a livestreaming mode is another big bonus.

Perhaps the only slight disappointments, alongside the Pocket 3's larger footprint, are that the audio options are the same as on the Pocket 2 (a three-mic array). Still, if you get the Creator Combo, this gives includes an external wireless mic and a windshield, and the Pocket 3 is compatible with the new DJI Mic 2 transmitter.

Naturally, the Pocket 3's extra power has come with a few compromises. It's chunkier and heavier than the Pocket 2 (62g heavier, to be precise), though it does handle well and that heft isn't too bad when you consider than 1-inch compact cameras like the Sony ZV-1 II weigh in at 292g.

We've also been impressed with the Pocket 3's build quality, with the rotatable 2-inch screen not feeling at all flimsy, and there's also a handy tripod mount on the camera's base.

DJI Pocket 3 verdict

The DJI Pocket 3 fixes most of our criticisms of its predecessor, making it an excellent little camera for shooting social media videos or family moments.

Its 1-inch sensor boosts low-light image quality, while a range of handy shooting modes – from portrait shooting to timelapses – make it a versatile upgrade on filming videos on your smartphone.

Perhaps the only real disappointments are the lack of built-in storage and the considerable price bump from the Pocket 2. But it's still relatively affordable when compared to some of the best vlogging cameras, and we think its versatility and image quality make it worth the price of admission. To read more, check out our in-depth DJI Pocket 3 review.

The latest addition to Fujifilm’s range of Instax cameras has been leaked and it certainly packs the retro charm. The press release, shared by Fuji Rumors, reveals the Fujifilm Instax SQ40, a camera that takes its design cues from the Instax Mini 40 and combines that with the Instax square instant film format that the Instax SQ1 uses. 

Pictures reveal a faux-leather black texture with silver-effect accents on the lens and shutter button. We’re big fans of the Mini 40’s retro charm, while preferring the larger size of the Instax square film, and so the SQ40 delivers the best of both worlds. This could be one of the best instant cameras, even if it won’t be as pocketable as the Mini 40.

The new camera will feature automatic exposure for point-and-shoot simplicity, plus a retractable lens that works like the Fujifilm Instax Mini 12: two shooting modes; standard and closeup, and in the off position the lens is fully retracted.

Closeup mode reduces the minimum focal distance so you can squeeze more subjects into your selfies and closeups. For everything else, you can use the standard shooting mode.

Otherwise, details are sparse, but we’ll be sure to give a full picture once we’ve directly received official specifications.

Price and release date, and new “Sunset” Square film

The Fujifilm Instax SQ40 has a suggested list price of $149.99 (about £130 / AU$250) and is expected to be available at the end of June 2023.

Alongside the launch of the SQ40, Fujifilm will add a “Sunset” variety of its Square film that features soft color gradients that the company says are “reminiscent of a serene sunset”. 

A regular twin pack (2x10 sheets) of Square color film costs $24.99 / £16.99 / AU$34.95 and is also available with different colored borders including Rainbow, plus a Monochrome version of the film (prices vary).

Vlogging cameras have boomed in recent years, with Sony pushing the concept, and the likes of Panasonic and Nikon throwing their hats into the ring. Now Canon has entered the market with a totally different offering, the Canon Powershot V10.

It’s packing what is essentially the same 1-inch sensor as in the Canon Powershot G7 X III from 2019, with 4K/30p and Full HD 60p video recording, plus 20MP JPEG images. But that’s where the similarities end – as indeed do comparisons with most ‘regular’ cameras. What we have here is a unique design concept that will polarize opinion, but one that is unashamedly a vlogging camera. 

Having had some brief hands-on time with the Canon Powershot V10, I’ve found there’s a lot that makes sense in terms of how it operates. It’s a stripped-back and simple experience – this is a camera that’s meant to be ready at the push of a button to make vlog content. Let’s unpack the highlights of the cutesy V10.

Price and availability

The Canon Powershot V10 is available from June 2023, priced at $399 / £429 / AU$699 for the vlogging kit which includes a rubber lens cap made by SmallRig, and magnetic windshields for the stereo mics on the top of the camera. 

In Europe only there’s also an advanced vlogging kit, which additionally includes a SmallRig cage, priced at £459. We were told that this was the first time Canon had partnered with the accessories maker ahead of a product launch to produce suitable accessories.

A new concept

Sony dominates our best vlogging cameras guide, and recently it upped the ante with the full-frame Sony ZV-E1 – a camera that’s overkill for most people, but which inadvertently became the cheapest way to get Sony’s best full-frame sensor for 4K video. 

Most vlogging cameras in our buying guide pack the latest tech and feature the likes of a vari-angle screen, tally lamp and multi-directional built-in stereo mics to make life easier for vlogging, but also work as regular cameras too. The V10 does things a little differently, and goes all-in on vlogging. This is not a camera that’s designed to double up for stills photography, though it does shoot 20MP JPEG-only images. 

No, the concept here is small and pocketable. The V10 fits in the palm of your hand, and is quick to set up for hands-free video, with a built-in fold-out stand. No messing around with a tripod, or precariously balancing your camera to capture the spur of the moment. Recording is initialized using the big fat button.

The menus are stripped back; in fact, you wont need to delve into the menu because the 2-inch flip-up touchscreen includes a short cut for four video record modes that cover most situations, including stabilized video.

The ultra-wide fixed 18mm lens (19mm for photography) is a sensible focal length choice, because the V10 is made to be held at arm’s length, or placed beside you on its stand while you go about sharing your content. Ultra-wide also gives you the extra room in the frame, which is helpful given the small crop when digital image stabilization is employed for run-and-gun videos.

There are two large stereo omnidirectional mics, a 3.5mm stereo jack, and an auto wind filter. Wireless Live streaming to Youtube and Facebook is promised to be a relatively headache-free process via Canon’s app, or the BR-E1 remote.

We’re not talking groundbreaking tech in the V10, but it does tick a lot of the practical boxes.

Initial reaction

There’s no getting away from the fact that the tech in the Powershot V10 is dated, as in at least four years old, going back to the Powershot G7 X III; it even records to microSD card, with no internal memory. And it isn’t cheap considering that the tech inside has essentially been recycled. But there is something a little charming about the V10, plus I like how it’s purpose-built for the job, and easy to use. 

You can find out more about the V10 in our upcoming hands-on review.  

Panasonic Lumix S5 II: Two-minute review

At its launch, there’s no more capable full-frame camera under $2,000 / £2,000 for video and photo than the Panasonic Lumix S5 II. It succeeds the Lumix S5 – a camera that I rate highly, and which earned four-and-a-half stars in our Panasonic Lumix S5 review – and arrives with a comprehensive set of improvements, and is set to join its predecessor on our list of the best video cameras. 

After my review of the S5 II, the Panasonic Lumix S5 IIX was officially launched (see the cameras side by side, below), and after hands-on time with the S5 IIX and considering its new features, I believe it is the better option for more serious filmmakers, yet it only costs an extra 10%.

So what sort of bang do you get for your buck with the S5 II? Highlights include a new 24MP full-frame sensor and 6K / 30p video recording, with virtually all video options available in 10-bit. What’s more, the S5 II isn’t limited to 16:9 video aspect ratio (or wider) like most cameras, but can record from the full sensor area, which in the S5 II is 3:2 aspect ratio. You may have already heard this uncropped video referred to as ‘open gate’ or ‘full sensor’ recording. 

Uncropped video is nothing new – I own a Panasonic Lumix GH5 which does this from its 4:3 aspect ratio – but most other cameras, including the Canon EOS R3 and Nikon Z9, impose a 16:9 crop, which effectively discards the pixels from the top and bottom of the image. The S5 II can make full use of the entire sensor, which is a dream for those intending to shoot in narrower aspect ratios embraced by social media, like 4:3, 1:1 and 9:16.

Panasonic's image stabilization has impressed me again, and its effectiveness has been improved over the S5, especially for run-and-gun filmmaking. Whether it’s some casual vlogging or slow-shutter-speed landscape photos, the S5 II is a camera that can be used handheld in most scenarios and will still deliver sharp photos and smooth video clips. 

What makes the 24MP full-frame sensor ‘new’ is that it includes a 779-point phase detection autofocus system. This development in particular excites people like me who closely follow the latest camera technology, because Panasonic, unlike all other leading camera brands, has previously shunned this technology.  

The S5 II becomes the first mirrorless camera from Panasonic to use phase-detection AF for video, and contrast-detection AF for stills. All other Panasonic cameras rely solely on contrast-detection AF, which performs extremely well for photography but is more jittery than phase-detection AF for video, which can be particularly distracting in the resulting footage. Now, finally, we have the best of both worlds.

And it’s not just the sensor tech that impresses. From the off, in the hand, the S5 II feels like a camera that you can trust, and forge a solid working relationship with; it feels solid and reliable, and has an intuitive control layout that's managed to feel simple and comprehensive at the same time.

Then there are the design details that won't make headlines, but which do make daily life with this camera less pressured for creatives like me. Cooling vents prevent overheating and allow for unlimited video recording times, the full-size HDMI gives better connectivity to an external monitor, and a joystick enhances the handling for autofocus selection. 

Whether you're shooting stills or video, both the EVF and vari-angle touchscreen are up to the task, offering clear viewing and enabling you to compose images from any angle and in any environment.

I particularly appreciate the S5II paired with the 20-60mm lens that I used for this review, which is available as a kit with the camera for only a little extra outlay. Together, they're a well-made and compact combo that cover most stills and video scenarios, the wider-than-normal angle of view being particularly helpful for filmmaking. The full-frame ‘S’ lens range is coming together nicely, too.

Panasonic’s full-frame Lumix system unfairly goes under the radar, compared to alternatives from the likes of Sony and Canon; but if Panasonic wasn’t already being taken seriously, it should be now. Put simply, I can trust the Lumix S5 II as a reliable tool for creating high-quality videos and stills, and like my GH5, it represents excellent value for money.

Panasonic Lumix S5 II: Price and release date

• $1,999 / £1,999 / (approx) AU$2,989 body-only
• Raw video output costs an additional $200 / £200 / (approx) AU$300 
• Panasonic S5 IIX version available at $2,299 / £2,199 / (approx) AU$3,137 body-only

The Panasonic S5 II is available now, and quite frankly it's a steal at $1,999 / £1,999 / AU$2,989 body-only. Not many hybrid full-frame mirrorless cameras at this price or less can do what the S5 II does. It’s also available as a kit with the excellent 20-60mm f/3.5-5.6 lens for $2,299 / £2,299 / AU$3,220 – a versatile pairing especially for those who shoot both video and stills, and who regularly need that wide 20mm focal length.

Another version of the S5 II, the Lumix S5 IIX, was officially announced on May 9 and costs an additional $200 / £200 / AU$300. The S5 IIX brings raw video output and recording to an external SSD. Alternatively, raw video output can be added to the S5 II after purchase for the same additional cost via a paid DMW-SFU2 key and with firmware V2.0 installed on the camera. 

We think that the S5 IIX has surpassed the S5 II as the best video camera at this price point and indeed puts the Sony A7 IV in the shade. Check out our Panasonic S5 II vs Panasonic S5 IIX: key differences explained feature for more details.

You can also find more ways to save on this camera and many more by checking out all the latest Panasonic discount codes.

• Price score: 5/5

Panasonic Lumix S5 II: Specs

Panasonic Lumix S5 II: Design

• Reassuring and solid build quality
• Cooling vents give unlimited video recording
• Vari-angle touch screen impeded by accessory cables

As someone who thrashes their camera kit about, I appreciate the sturdy build quality of the S5 II. It’s a compact, DSLR-style mirrorless camera that's comfortable to hold for long periods, and I’m confident it would last me through years of heavy use. 

Make no mistake, though – despite its relatively small body and modest price tag, the S5 II lacks little. Every control an experienced photographer needs – and to an extent a pro filmmaker – is here. 

There are dedicated buttons for key exposure settings, control dials, plus an AF joystick for making quick adjustments to the AF area. You also get a big shiny red button to initiate video recording, in addition to the shutter button for stills. 

Behind two rigid port doors are a headphone jack, mic socket, and USB-C and a full-size HDMI connectors, and with these connections the S5 II is well equipped for professional video recording. When the ports are in play, I did find that cables seriously impeded the vari-angle screen when it’s flipped out to the side, although the HDMI cable for an external monitor is the main culprit, where I’m less likely to need the camera’s screen anyway. 

That screen is crisp and clear, and provides full touch control for navigating menus, selecting focus points and taking photos, while the viewfinder display is decent enough, with a 3.69m-dot resolution and solid refresh rate. 

Cooling vents are tucked neatly on either side of the viewfinder bump, and prevent the camera from overheating when maxing out the video recording features. As such, video recording times are only limited by card capacity or battery life. I recorded long video sequences (for the purpose of testing rather than actual creation) and the S5 II does the job with no fuss. 

I really like the screen display layout of video settings, which clearly includes the most useful info like live audio levels, shutter speed, FPS, aperture (iris), and color profile, with the option to adjust by a touch of the screen.

Overall, there’s not a lot to be excited about when it comes to the conventional boxy design of the S5 II – you can hardly call it sexy, but it’s a highly competent and comprehensive tool that does everything you need it to do. 

• Design score: 5/5

Panasonic Lumix S5 II: Features & performance

• Superb image stabilization for handheld work
• Phase detection autofocus – finally
• A good all-rounder for photography 

There was a time when Olympus (now OM System) ruled the image-stabilization roost, but Panasonic has worked its share of magic, too. The 5-axis in-body image stabilization employed by the S5 II makes light work of slow shutter speeds and moderate handshake to deliver sharp detail and smooth videos respectively. 

For one test, I set the 20-60mm lens to its widest 20mm setting, at which I would expect a sharp handheld image with a steady hand at 1/30 sec with no stabilization employed. I then continually cranked the shutter speed slower until I found the camera’s breaking point – and impressively it was only at a 2.5 secs that softness crept in, and at 3 secs that blur was evident from camera shake. That works out at around six stops of effective stabilization. The reality of such tech is the ability to shoot the likes of light trails at night, handheld.

Active IS has been introduced in the S5 II, which Panasonic informed me kicks in automatically when user motion is detected, and which is claimed to be 200% more effective than the image stabilization in the S5. I can’t quantify that in the same way that Panasonic does, but I did take the S5 II for several brisk walks and shot handheld vlog clips, and I've been majorly impressed – you can get some seriously smooth run-and-gun video. And I couldn’t see a crop of the image area, which is a major bonus. 

For video, the historic thorn in Panasonic’s side has been its insistence to shun phase detection autofocus; that is, until now. The Lumix S5 II has hybrid contrast-detection AF for photos, and an all-new phase-detection system for video. Judging from its implementation here, I'm fully expecting to see this hybrid AF system in future Panasonic mirrorless cameras, certainly those for advanced users. 

Contrast-detection AF continues to be extremely quick for photos, with a huge array of choices to suit your shooting scenario, but its speed and any jitteriness is less desirable for video. Thankfully phase-detection AF, once set up to your taste, is dreamy-smooth for video. For example, in the ‘AF Custom Setting’ the AF speed and sensitivity (on a detected subject) can be manually adjusted – set the speed to slow, and shifts in focus are buttery – hallelujah!

Where Panasonic could develop the AF system further is by embracing a wider range of subjects for tracking AF. Currently, the S5 II is limited to human, face/eye or human+animal. 

Elsewhere, action shooters can enjoy 7fps (or 9fps single AF) with the mechanical shutter or 30fps using the electronic shutter, with continuous AF. It’s a rudimentary all-rounder’s performance, with bursts lasting in the region of 300 frames and 130 frames respectively (recording JPEG fine to a UHS-II card). It’s possible that performance could be improved by recording to a faster memory card like CFexpress, but the S5 II only accepts twin SD cards with UHS-II support. 

• Features and performance score: 4.5/5

Panasonic Lumix S5 II: Image and video quality

• Uncropped 6K video ideal for shooting in multiple aspect ratios
• Lovely colors
• Can import your own LUT profiles

Camera brands take very different approaches when it comes to video quality – take a rival to the S5 II like the Sony A7 IV. In the S5 II, Panasonic has opted for higher-resolution 6K / 30p video – uncropped at 5952 x 3968 pixels or cropped to 16:9 (5952 x 3136 pixels) – with 10-bit recording in almost all of the resolution and frame rate options in MOV format. However, Sony’s 4K video has a superior bitrate and compression (therefore in theory better quality), with a maximum 600Mbps bitrate to the S5 II’s 200Mbps, plus you can shoot in ALL-I as well as LONG GOP (the S5 II is restricted to LONG GOP). Both cameras impose a Super 35 crop when shooting 4K /60p video.

Excessively large video files are the bane of independent video creators, regularly chewing up the minutes and hours of record time; so on a practical level, the S5 II’s much smaller video files are more manageable, and I wouldn’t hesitate to shoot 6K video even if my output is 4K. That way I have the extra cropping potential for 4K-or-lower output. 

Certainly, I think the video quality of the S5 II is excellent, with a noticeably wide dynamic range and lovely rich colors that can easily be matched to profiles from other camera brands in post. Panasonic introduces Real Time LUT for the first time, meaning you can import your own LUT color profile for internal video recording, in addition to V-Log, Rec 709L and many ‘Cinelike’ profiles. There’s little wanting here.  

Stills quality is great too. The 24MP resolution is standard fare in 2023 for an all-rounder full-frame camera, and the S5 II has excellent noise control and dynamic range. I like to shoot low key in bright weather to maintain highlights, and brightening those images in post reveals clean detail in dark shadows. You’ll get more detail from a higher-resolution camera like the Sony A7 IV, but few other cameras at this price range can better the S5 II. 

• Image and video quality score: 4.5/5 

Should you buy the Panasonic Lumix S5 II?

Buy it if...

Don't buy it if...

Panasonic Lumix S5 II: Also consider

If our Panasonic Lumix S5 II review has you considering other options, here are three more cameras to consider...  

How I tested the Panasonic Lumix S5 II

With the Panasonic Lumix S5 II being a hybrid camera, I took equal interest in its stills and video functions. It was by my side for several weeks, during which time I shot all kinds of photos – portraits, landscape, street reportage and low light – and recorded numerous videos, including run-and-gun vlogging. 

I've attached all manner of video accessories to the camera – external monitor, microphone and headphones; tested the effectiveness of the image stabilization, including the new active IS mode; and got a good feel for the new phase-detection autofocus system. 

I’ve been pushing the S5 II hard, especially with long video recording times and continuous photo bursts, in order to test if the camera overheats and the battery’s longevity. All in all, the S5 II has passed these tests with great competence. 

Read more about how we test

First reviewed April 2023

The Sony ZV-1 remains one of the best vlogging cameras you can buy, despite arriving back in 2020 – but that may not be the case for long if new rumors about a sequel are correct.

The reliable Sony Alpha Rumors claims that a "trusted source" has revealed that a new Sony ZV-1 successor will launch by "the end of May". If you're looking to buy one of the best cheap cameras for vlogging, then, it might be wise to hold off for the next few weeks.

Unfortunately, those are all of the details we have about the Sony ZV-1 Mark II (which may or may not be its official name) right now, with the expected specs only likely to arrive in the run-up to the launch.

But the arrival of the Sony ZV-1F last year, and our own experiences with the ZV-1, have given us a good idea of the kind of things we'd like to see in the ZV-1's successor. So here's our wishlist of five features and changes that could make it the best cheap vlogging camera for fledgling YouTubers.

5 things we'd like to see in a Sony ZV-1 Mark II

1. A wider main lens

One of the biggest restrictions of the Sony ZV-1 was that its lens was just slightly too tight for handheld vlogging, particularly when you factored in a crop while using Active SteadyShot stabilization.

The Sony ZV-1F improved on this with a fixed 20mm f/2 lens. We'd like to see this lens on the ZV-1 or an even wider zoom equivalent, given the current model's 24-70mm f/1.8-2.8 lens does give you some compositional flexibility. 

Given that no previous camera in Sony's RX100 series (which the ZV compacts are based on) had a lens that was wider than 24mm, we'd say the 20mm fixed prime is the most likely, but something even wider would be ideal. 

2. New touchscreen menus

Another improvement that we enjoyed on the ZV-1F was that it has Sony's latest menu system, which includes some smartphone-style touchscreen tricks. You can swipe up from the bottom of the screen to use frequently-used settings or tap the screen's control icons to change aperture.

We'd like to see Sony lean even harder into this, giving the ZV-1 Mark II a true smartphone-style feel that has the speed and responsiveness of a smartphone like the Sony Xperia 1 Mark IV. That would be a boon for both beginners and more advanced shooters, particularly as the ZV-1 lacked touchscreen menus.

3. Better webcam powers

The Sony ZV-1 ultimately managed to get webcam powers with a firmware update, but its quality was hampered by a disappointing 720p maximum resolution.

We'd like to see this bumped up to at least 1080p on a ZV-1 Mark II, given that resolution comes as standard on the best webcams. If Sony adds some of its latest face-tracking autofocus – perhaps even some of the AI-powered tricks seen on the Sony A7R V – that could help make it the best vlogging-webcam combo around.  

4. Less rolling shutter

One of the video quality weaknesses of the Sony ZV-1 and ZV-1F is some noticeable 'rolling shutter', which can make straight lines in your scene (like signposts and buildings) look wonky if you pan the camera quickly from side to side.

This could be fixed by pairing a sensor with faster read-out speeds with a newer Bionz XR processor, which is what we'd like to see in a ZV-1 Mark II. Could Sony even go bigger than the 1-inch sensor in the ZV-1? That would also be welcome, though it would be a break with tradition for this size of Sony camera.

5. 10-bit color depth

Now that even the GoPro Hero 11 Black offers 10-bit color depth, it seems reasonable to expect it on a modern Sony vlogging camera. That wasn't the case on the ZV-1 or even the Sony ZV-E10, but we'd expect Sony to offer the feature on a ZV-1 Mark II.

The benefit of 10-bit color is that it gives you a far wider range of shades to edit with when doing color grading – so while it's a relatively advanced feature, it would give the ZV-1 Mark II a wider appeal than the more beginner-friendly ZV-1F.