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DJI Mini 5 Pro review: raises the bar for beginner drones, with a potential catch

3:00 pm | September 17, 2025

Author: admin | Category: Cameras Computers Drones Gadgets | Tags: DJI, RAW, RC | Comments: Off

DJI Mini 5 Pro: one-minute review

When I tracked the seemingly constant flow of DJI Mini 5 Pro rumors ahead of its official unveil, which included exciting speculation about its sensor and safety feature upgrades, I had one question in mind: 'will it still be under 250g?'

A weighty issue

The Mini 5 Pro is officially a restriction-free drone and available in most regions. However, US fans miss out again as the Mini 5 Pro is not available at launch, and the FAA is taking a firm stance on the drone's actual take off weight, which could exceed the sub 250g limit of the beginner category, and therefore come with restrictions. (Many online reviewers have shown the Mini 5 Pro tipping the scales at 253g.) Want to know more? We asked several drone regulators covering key regions for their stance on the Mini 5 Pro.

I've now had my hands-on the latest flagship mini drone and can happily say that DJI has done it, by a whisker. The 249.9g Mini 5 Pro is officially a C0 / UK1 category drone (both regions allow for a little margin, too) and it features a 1-inch sensor (much larger than the Mini 4 Pro's), versatile camera and class-leading safety features, now with LiDAR.

If anything, the Mini 5 Pro reads like a shrunk down DJI Air 3S. They both feature a main camera with 1-inch sensor, 4K video up to 120fps, DJI's D Log M color profiles and 14EV dynamic range.

They also both utilize omnidirectional object sensing and front-facing LiDAR for class-leading low-light flight safety features, including the superb return to home (RTH) function. Plus there's the neat 360° ActiveTrack, which keeps your subject in the center of the frame – DJI has refined this mode in the Mini 5 Pro and it performs really well.

The Mini 5 Pro's camera is super versatile, too – it sits on a 3-axis gimbal for smooth footage even in moderate wind and offers a 225 degree range of roll rotation; the upshot is that you can switch from horizontal to vertical recording at the push of a button.

DJI Mini 5 Pro in pilot's hand, grass background — Despite featuring a large 1-inch sensor and LiDAR sensing, the Mini 5 Pro still officially weighs less than 250g. (Image credit: Tim Coleman)

Honestly, it's hard to find fault with the Mini 5 Pro – no other drone close to this size and weight is even a remote match, DJI's own Mini 4 Pro runs the Mini 5 Pro closest but the latest model is a big upgrade.

I own the Mini 4K, DJI's cheaper entry-level drone. There are a few shared features but if you're a first time buyer, I think it's worth forking out extra for the Mini 5 Pro instead – it's a big upgrade – especially for object sensing which transforms how and where you fly.

There's also a case for the Mini 5 Pro over the Air 3S. Sure, the weightier all-rounder has dual cameras, longer flight times and higher wind resistance, but the Mini 5 Pro now shares a lot of the same tech.

That's enough comparing for now. For me it's already simple – the DJI Mini 5 Pro is the best sub-250g drone and has earned its place in my best drones and best beginner drones guides.

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DJI Mini 5 Pro's ND filter set, with battery charging hub in the background — The ND filter kit with its ND 8, ND 16 and ND 32 filters, and the charging hub and two batteries behind it, plus the RC 2 controller. (Image credit: Tim Coleman)

DJI Mini 5 Pro: price and release date

Standard bundle costs £679 / AU$1,119
Two Fly More Combo kits available: with screen or screen-less controller
No US pricing or availability at launch

Despite improved features including the larger 1-inch sensor and LiDAR, the Mini 5 Pro essentially costs the same as the Mini 4 Pro, which is two years old. Put simply, the latest model is excellent value.

The base DJI Mini 5 Pro package costs £689 / AU$1,1119. However, I would almost always go for the Fly More Combo instead (I'll explain later), which adds a charging hub and two additional batteries to the bundle.

There are two Fly More Combo bundles to choose from: one with the screen-less DJI RC-N3 controller for £869 / AU$1,419 (you'll need to connect and use your phone's display, loaded with DJI's app, for this controller), or one with the fancier DJI RC 2 controller for £979 / AU$1,699.

I've got bad news if you're in the US – there's no Mini 5 Pro pricing or availability at launch. I expect various independent retailers to get stock at some point, but pricing is an unknown.

Price score: 5/5

DJI Mini 5 Pro in flight with trees in the background — (Image credit: Tim Coleman)

DJI Mini 5 Pro: specs

DJI Mini 5 Pro specs
Camera:	50MP 1-inch CMOS sensor
Video resolution:	4K
Frame rates:	4K up to 120fps, Slow motion Full HD up to 240fps
Video transmission range:	04+ for 20km (FCC), 10km (CE/SRRC/MIC)
Flight modes:	Cine, Normal, Sport. 360° ActiveTrack. QuickShots (Dronie, Helix, Rocket, Circle and Boomerang)
Battery:	2,788mAh / up to 36 minutes flight time.
Charger type:	USB-C / Battery Charging Hub
Weight:	8.81oz / 249.9g
Dimensions:	157×95×68 mm (folded), 255×181×91 mm (unfolded)

DJI Mini 5 Pro: Design

Registered weight is 249.9g (but ±4g adds confusion)
Omnidirectional object sensing and front-facing LiDAR
3-axis gimbal with 225 degree roll rotation range

DJI has one non-negotiable with its mini series of drones – keep the body under 250g. This latest iteration has pushed this mission to the max: the Mini 5 Pro weighs 249.9g. Technically, the takeoff weight can vary ±4g (depending on the batch you get, says DJI), so yours could be 253g. However, the Mini 5 Pro is officially classed a C0 / UK1 (sub-250g) drone in Europe and the UK, so such discrepancies are a moot point. However, the FAA has taken a hard line, so any users there (able to get one) could need to get registered before using the Mini 5 Pro.

In addition to the larger 1-inch sensor, which I'll get onto in the next section, the Mini 5 Pro adds front-facing LiDAR to omnidirectional object sensing. The latter is already a class-leading safety feature, and one you won't find in cheaper models such as DJI's own Mini 4K.

Personally, I think paying extra for object sensing is worth it – it's a miracle that my own Mini 4K, which lacks this feature, is still functional after multiple collisions with tree branches and the like.

Now, with the addition of LiDAR, the Mini 5 Pro should sense better than the Mini 4 Pro in low light. That's not something I've specifically tested in this drone, yet, but the Air 3S has this feature and you feel you can push that drone harder than the Air 3 it replaced.

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Close up of the DJI Mini 5 Pro drone's camera — (Image credit: Tim Coleman)

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Close up of the DJI Mini 5 Pro drone's LiDAR and object sensing sensors — (Image credit: Tim Coleman)

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Close up of the DJI Mini 5 Pro's underside — (Image credit: Tim Coleman)

The camera unit impresses, too. As before, it sits on a 3-axis gimbal which smooths out your live view during flight and any recorded video. The gimbal has a versatile 225-degree range of roll rotation, enabling you to switch between horizontal and vertical capture.

I was testing the Mini 5 Pro Fly More Combo RC 2 kit, which includes the controller with a screen. On the underside of the controller is a button that switches the camera between horizontal orientation (typically for long-form content) and vertical (for quick social cuts like TikTok and YouTube Shorts) with a single click.

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DJI Mini 5 Pro drone rested on a wooden crate alongside the RC 2 controller — I had the luxury of the RC2 controller for my review. (Image credit: Tim Coleman)

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I also had the Mini 5 Pro with the dedicated set of three ND filters. Depending on the frame rates you choose, and the weather, you'll likely need to use one to balance exposure for video.

For example, if it's sunny and you're shooting 4K 30fps, you'll probably need an ND to avoid blowing out highlights. The practical downside is that the filters are set strengths, rather than variable (ND8, ND16 and ND32), so once you're in the air you've made your bed.

The need for filters is because lens aperture of the main camera is fixed to a bright f/1.8. A pricier drone such as the Mavic 4 Pro has a variable f/2-11 aperture, making less need for ND filters.

Other neat features that are new for the Mini 5 Pro include auto start up when you unfold the propellor arms, and that the propellor arms can be folded and unfolded in any order – both little details that speed up set up and packing away.

Design score: 4.5/5

DJI Mini 5 Pro: Features and performance

Effective 360° ActiveTrack subject tracking
2,788mAh battery for up to 36 minute flight time (less in reality)
Latest version of Return to Home

DJI says that its 360° ActiveTrack feature has been improved. I haven't tested the Mini 5 Pro against the Mini 4 Pro, so can't vouch for this, but I have used the feature for this test and it performs really well.

I threw on my running shoes and hit the trails in my local woodland, tracked by the Mini 5 Pro, and it was able to navigate overhanging branches with ease while keeping me in the center of the frame.

Return to home (RTH) is another essential drone feature and it performed flawlessly for my Mini 5 Pro flights. This included tricky tests such as retracing its flight path through tree cover over a small lake. It won't even need satellite signal to retrace the flight path, provided light is good.

The Mini 5 Pro is supplied with a 2,788mAh DJI Intelligent Flight Battery, which delivers flight times up to 36 minutes. The reality will almost always be less, especially when you factor in wind or the various battery-hungry features.

During moderately breezy conditions and shooting 4K 60fps video and making use of functions such as 360° ActiveTrack, I was getting more like 20 minutes in the air.

Such flight time limits are why I typically prefer the pricier Fly More Combo bundles – they are the most cost effective way to get a couple of extra batteries and effectively triple the fun.

DJI also sells an Intelligent Flight Battery Plus – the 4,680mAh unit extends flight times by around 30% versus the standard unit, but it's weightier and tips the Mini 5 Pro into the next weight category up, which comes with restrictions; legally, you need to get your region's equivalent of a competency certificate.

Top flight speeds and wind resistance are improved by about 10% versus the Mini 4 Pro – that's 18m/s to 16m/s in sport mode, and 12.7m/s to 10.6m/s wind resistance. Ascent speeds are much, much quicker with the Mini 5 Pro.

Performance score: 5/5

DJI Mini 5 Pro: Image and video quality

1-inch sensor delivers best-in-class image quality
50MP stills in RAW
Just a single camera, but with digital zoom up to 3x

The Mini 5 Pro shoots the best quality video I've seen in a sub-250g drone. It features a single camera which utilizes a 1-inch sensor for 4K 60fps video with 10-bit color depth, or slow motion recording up to 120fps, which can be upped to 240fps if you drop resolution to 1080p. For reference, the Mini 4 Pro maxes out at 100fps and 200fps respectively.

You can choose between various color profiles – a good-to-go standard look or DJI's D Log M, which needs grading. The latter gives you the most dynamic range to work with – DJI says up to 14EV – meaning you'll likely capture more tonal detail as a reward for your efforts in the editing suite.

When I compare video quality to that of the much cheaper Mini 4K drone, the 4K resolution is about where the comparison ends – the Mini 5 Pro's video quality is much better – you get the editing flexibility with D-Log M, and RAW photo capture. There's less of an image quality difference with the Mini 4 Pro, unless you are working in low light.

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DJI Mini 5 Pro sample photos: a woodland scene — Straight out of camera JPEG (Image credit: Tim Coleman)

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DJI Mini 5 Pro sample photos: an aerial view of a woodland — The main camera's complete view (Image credit: Tim Coleman)

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DJI Mini 5 Pro sample photos: an aerial view of a woodland with 3x digital zoom employed — The same scene with the 3x digital zoom employed (Image credit: Tim Coleman)

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DJI Mini 5 Pro sample images: male pilot in sunglasses, backlit — (Image credit: Tim Coleman)

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DJI Mini 5 Pro sample images: aerial view of a woodland at night — (Image credit: Tim Coleman)

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DJI Mini 5 Pro sample images: aerial view of an autumnal arboretum — (Image credit: Tim Coleman)

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As previously mentioned, the Mini 5 Pro can switch between vertical and horizontal format for photos and videos at the push of a button. In addition to the 4:3 apect photos above, I've included some vertical ones too, below.

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DJI Mini 5 Pro sample images: aerial view of a UK heathland as golden hour, walker on footpath — (Image credit: Tim Coleman)

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DJI Mini 5 Pro sample images: backlit pilot in heathland — (Image credit: Tim Coleman)

As usual, DJI's range of QuickShots are present and include Boomerang and Helix. These automated flight moves can make for super-dynamic clips when used smartly.

A level up from before, though, is a 225 degree roll. This 'MasterShots' move can also be performed automatically, although unlike other QuikShots moves, the drone doesn't return to its starting position once the rotation move is complete. I've included an array of those flight moves in the video, below.

One final point to make – the Mini 5 Pro includes 42GB of internal storage, whereas the Mini 4 Pro only includes 2GB. Could DJI add more? Sure, but 42GB is enough for more 4K video clips than you'd think.

Image and video quality score: 5/5

DJI Mini 5 Pro: testing scorecard

DJI Mini 5 Pro
Attributes	Notes	Rating
Price	Pricey for beginners, yes, but for the features on board, no other drone comes close. Not available in the US, though	5/5
Design	Decent upgrades over the Mini 4 Pro, but confusion over the actual take-off weight could be a dealbreaker	4.5/5
Performance	Superb all-round flight performance, safety features, return to home and auto tracking skills	5/5
Image and video quality	Sets the image quality bar for mini drones	5/5

Should I buy the DJI Mini 5 Pro?

Buy it if...

You want top safety features
No other mini drone has such complete object sensing, now complete with front-facing LiDAR sensing.

You want the best image quality from a mini drone
The 1-inch sensor delivers better overall image quality than the previous best sub-250g drone, the Mini 4 Pro

You want a versatile camera
With 225 degree roll rotation and instant switch between horizontal and vertical video recording, the Mini 5 Pro is a supremely versatile camera drone.

Don't buy it if...

You’d like multiple cameras
This is a single camera drone – the 3x zoom is digital from the main camera. If you want a proper telephoto lens, the Air 3S is the next model up to offer it.

You need to be sure of a sub 250g take-off weight
The Mini 5 Pro's take-off weight could be over 250g. Yes, it can be used as a restriction-free beginner drone in many regions, but the US has taken a hard line.

You just want to try drones out
I still believe the Mini 5 Pro is best drone for beginners (and pros alike wanting a second lightweight drone). However, it costs a lot for something you might not even enjoy – the Mini 4K could be a better first drone.

DJI Mini 5 Pro: also consider

DJI Mini 4K

At the opposite end of DJI's Mini series is the Mini 4K, which costs significantly less than the Mini 5 Pro – around 1/3 the price. It too shoots 4K video, is equipped with QuickShots flight moves, has decent battery life and weighs much less than 250g. However, you lose out on the higher frame rates, DJI's Log color profiles, object sensing and active subject tracking. Still, its flight performance is largely the same.

See my DJI Mini 4K reviewView Deal

DJI Air 3S

If you're happy to level up from the DJI's Mini series of drones with the weightier Air 3S, for which restrictions apply, then you'll get an all-round better experience once airborne. The Air 3S has better battery life and wind resistance, plus a second telephoto camera. However, its main camera is the same as the Mini 5 Pro's, as is the 4K video skills with D Log M color profile and 14EV dynamic range. What's more, the Mini 5 Pro's camera has a greater range of roll rotation for creative shots. The Air 3S is also pricier, although not by a whole lot.

See our DJI Air 3S reviewView Deal

How I tested the DJI Mini 5 Pro

DJI loaned me the DJI Mini 5 Pro Fly More Combo (RC 2)
I had it for several weeks to complete an in-depth review
I've piloted the drone with the RC 2 controller in sunny conditions with moderate wind and tested its tracking capabilities, plus QuikShots moves

I had the DJI Mini 5 Pro for a few days before its unveiling, and consequently for several weeks to complete my in-depth test. The flight conditions were generally sunny or overcast, and with moderate wind, which provided a stern test for the Mini 5 Pro's stability.

I've controlled the drone with the RC 2 controller which features a screen. I've taken multiple 4K 60fps videos in vertical and horizontal aspects, flicked between the cine, normal and sport flight modes and tested the 360° ActiveTrack through woodland and more.

I've shot video using both standard color profiles and DJI's D Log M color profile and graded the footage. During bright conditions I've used the ND 8 filter to balance exposure. I've also taken still images in RAW and JPEG, plus utilized the 3x digital zoom.

First reviewed: September 2025
Read more about how we test

I tested OM System’s portable 50-200mm F2.8 zoom – and it’s instantly one of my favorite wildlife lenses

9:00 am | September 10, 2025

Author: admin | Category: Camera Lenses Cameras Computers Gadgets | Comments: Off

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: two-minute review

Having shot with the OM System 50-200mm F2.8 zoom, I'm now an even bigger fan of the Micro Four Thirds format for wildlife photography than I was previously. It's a fabulous lens in every regard, with superb build quality, excellent handling and top-drawer image quality.

Above all, its bright maximum f/2.8 aperture – which is a first for a 100-400mm equivalent lens – delivers super-fast shutter speeds and better light intake than cheaper alternatives, which levels up the kind of telephoto wildlife action it's possible to capture.

I tested the telephoto zoom with an OM System OM-1 II; together the IP53-rated weather-resistant pairing are impressively lightweight at just 59oz / 1,674g, and deliver incredible image stabilization and subject-detection autofocus performance, especially for birds – the lens's autofocus can continuously keep up with the camera's blazing 50fps burst shooting speeds.

I love how the lens balances with the camera, and I happily carried the pairing all day, rain or shine. Its internal zoom further protects against potential dust ingress over the long run, and I've no doubt it'll last for many years of heavy use.

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OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro lens attached to an OM-1 II, outdoors with long grass in the background — (Image credit: Tim Coleman)

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Detail is impressively sharp, even at f/2.8, which is the aperture I used the most. This setting also enables the use of the fast shutter speeds that are crucial for high-speed wildlife photography.

Bokeh at f/2.8 is smooth for the most part, though in some scenarios it appeared a little fussy. Close the aperture down and you lose the circular shaping, and get harder edges instead. Bokeh is fine overall, but this is probably the only real negative to mention regarding optical quality.

Close focusing impresses – just 0.78m at any focal length, for up to half-life-size macro capture.

I do have to get the small matter of the price out of the way at this point. At £3,000 (US and Australia pricing is TBC), the 50-200mm F2.8 IS Pro is less than half the price of OM System's other pro 'white' lens, the 150-400mm F4.5, but almost three times the price of the 40-150mm F2.8.

In fact, it's pricier than similar full-frame lenses – Nikon's 100-400mm f/4.5-5.6 VR S comes to mind. However, considering the features on board, the build and optical quality, and that maximum f2.8 aperture, it's still decent value, even if many will be priced out.

I can't fault the OM System 50-200mm F2.8 as an overall package. It's a superb telephoto zoom, and one that I can only dream will one day live in my gear bag. If you're a serious wildlife shooter, OM System has produced one of the best camera and lens pairing you can find.

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro specs

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro specs
Type:	Telephoto zoom
Mount:	Micro Four Thirds
Sensor:	Micro Four Thirds
Focal length:	50-200mm (100-400mm effective)
Max aperture:	f/2.8
Minimum focus:	0.78m
Filter size:	77mm
Dimensions:	91.4 x 225.8mm
Weight:	38oz / 1,075g (without collar)

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: Design

IP53-rated weather-resistant design, internal zoom
Relatively lightweight at 38oz / 1,075g
0.78m close focusing for 0.5x (equivalent) magnification

I can't find any fault in the 50-200mm F2.8's design. It's IP53-rated, and is weather-resistant and freeze-proof to -10C; its internal zoom – a feature you'll generally only find in high-end optics – is further evidence of its rugged credentials, as it's one less place for potential dust ingress.

Check out the images below, which show how the lens barrel remains unchanged as you zoom through the focal range.

Considering its features – particularly that focal length and maximum aperture combo – it's lightweight too, at 38oz / 1,075g (without the removable collar). Paired with an OM System camera like the OM-1 II, the total weight is only 59oz / 1,674g, making for a comfortable all-day carry.

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OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro lens's zoom ring — (Image credit: Tim Coleman)

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All the external controls you'd want in a telephoto zoom are here: optical stabilization, manual / autofocus switch, custom buttons, and a focus range limiter.

Focus range can be limited to 0.78-3m, which is handy for macro photography (for which the lens has that impressive minimum close-focusing distance 0.78m), or to 3m to infinity, which is the option I'd pick when shooting telephoto wildlife. A third option is the full focus distance range, which could increase the risk of focus hunting.

The lens is supplied with a tripod collar, and I tend to keep this attached even when shooting handheld, as it provides another point of contact or place to hold when shooting.

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Close up of the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro lens's controls — (Image credit: Tim Coleman)

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Collar of the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro lens — (Image credit: Tim Coleman)

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OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro lens with its collar removed — (Image credit: Tim Coleman)

There's no built-in teleconverter, which is a feature you'll sometimes find in high-end telephoto lenses, including OM System's own monster 150-400mm F4.5. However, I'd happily use OM System's 1.4x teleconverter with this lens – I've used it before, and I wouldn't expect to see any significant drop off in image quality.

Adding the 1.4x teleconverter extends the maximum reach of the lens at the cost of 1EV of light, effectively turning this into a 560mm f/4 lens. That's still seriously impressive, and a better reach for bird photography, where subjects tend to be small and tricky to get close to.

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: Performance

100-400mm effective focal length with maximum f/2.8 aperture
Optical and camera stabilization combine for up to 7.5EV stabilization
Sharp detail and, for the best part, smooth bokeh
Supports 50fps burst shooting with continuous autofocus

The OM System 50-200mm F2.8 is an impressive performer in every respect. Its autofocus speed and precision are top drawer; when paired with the OM-1 II, it quickly latched onto subjects such as birds, and was able to support 50fps burst shooting with continuous autofocus.

The lens's optical stabilization can also combine with the OM-1 II's in-body image stabilization to deliver up to 7.5EV of stabilization.

In real terms, OM System says you can shoot handheld at the maximum focal length, which is 400mm (effective), using shutter speeds as slow as 1/3 sec, and still get sharp results.

Of course, if the action is moving then 1/3 sec won't be of much use, unless you want to intentionally blur your subject, but static objects will indeed appear sharp based on my testing.

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OM System 50-200mm F2.8 sample gallery: goose in water at first light — I used the continuous high burst shooting to increase my chances of freezing the action at the right moment in these two scenarios. (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: goose in flight over water at first light — (Image credit: Tim Coleman)

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For me, what's even better to have than the superb stabilization performance is the bright maximum f/2.8 aperture. This enables fast shutter speeds to freeze action, which is personally what I'm looking for a lens like this to do – for wildlife, you can do so much more with a f/2.8 telephoto than, say, an f/5.6 one.

The 100-400mm effective focal length range easily covers a range of scenarios – it's my go-to range for grassroots sports like soccer, and for large wildlife. To give you an idea of the difference between 100mm and 400mm, I've taken pictures of the same scene at those extremes, and you can see some examples in the gallery below.

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OM System 50-200mm F2.8 sample gallery: black swan in a pond — 400mm (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: group of flamingos on a stone island — 400mm (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: flamingo standing on grass — 400mm (Image credit: Tim Coleman)

I also explored macro photography with the 50-200mm F2.8, and you can see some of those pictures below. The 0.25x maximum magnification (which is 0.5x full-frame effective) is half-life size and super-versatile – there's no such full-frame lens with such a feature set.

It was while using the lens to shoot macro, including a dew-covered backlit spider's web at first light, that I started paying particular attention to the bokeh – the quality of the out-of-focus orbs of light.

At f/2.8 it's smooth and rounded, but there are scenarios, such as the cobweb shots, where it becomes a little fussy rather than smooth – stopping the aperture down to f/7.1 to increase depth of field revealed polygonal-shaped bokeh. For less extreme scenarios, bokeh quality is pleasant, but I wouldn't buy this lens solely for that attribute.

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OM System 50-200mm F2.8 sample gallery: close up of a spider in its web — I took this photo at f/7.1 to increase depth of field, and you see that the bokeh has hard edges and polygonal shape, produced by the lens's nine aperture blades. (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: close up of ferns — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: hoverfly on a flower close up — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: bee on a flower close up — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: heather close up — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: moorhen in a pond with thick pondweeds covering the water — (Image credit: Tim Coleman)

Where this lens shines is in its wonderfully sharp detail, no matter the focal length or aperture (f/2.8 to f/11, at least). I've been really impressed by the quality of detail in my subjects, and I've been able to shoot images that simply wouldn't be possible with cheaper gear, or even with full-frame lenses with darker maximum apertures, like the Nikon 100-400mm.

If anything is holding this lens back, it's the limitations of the Micro Four Third's sensor format, which is half the size of full-frame. It's less clean in low light, and dynamic range is a little limited in high-contrast scenes, like the sunrise shot in the gallery below (scroll past those adorable guinea pigs).

The maximum f/2.8 aperture mostly makes up for any sensor format limitations, though, and in its own right the OM System 50-200mm F2.8 is a top-quality telephoto zoom, with no real drawbacks.

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OM System 50-200mm F2.8 sample gallery: three guinea pigs on a lawn — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: guinea pigs on a lawn — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: guinea pig on a lawn — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: seagull high up on a dead tree branch — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: geese in flight at first light — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: geese in water at first light — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: treeline and vivid sunrise — (Image credit: Tim Coleman)

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OM System 50-200mm F2.8 sample gallery: goose in water framed by rising sun — (Image credit: Tim Coleman)

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Should you buy the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro?

Buy it if...

You want a versatile wildlife and sports zoom

The 100-400mm focal length is ideal for sports and wildlife photography.

You want a lightweight pro telephoto zoom

Compared to full-frame alternatives, the 50-200mm F2.8 is a fraction of the weight and size. Its internal zoom is an added bonus.

You also shoot macro

Micro Four Thirds tends to deliver better close-focusing distances than full frame, and the 50-200mm is a case in point; 0.78m at any focal length delivers up to 0.5x magnification.

Don't buy it if...

You don't often zoom beyond 300mm

OM System's 40-150mm F2.8 (80-300mm equivalent) is less than half the price of the 50-200mm – if you don't usually zoom beyond 300mm, I'd save the cash and go for the older lens.

You're on a budget

Considering its quality and features, the 50-200mm F2.8 is decent value, but it still costs in the thousands.

You're unlikely to shoot fast-moving action or in low light

The f/2.8 aperture is a real selling point if you need fast shutter speeds when shooting action at the telephoto end, or for that extra latitude when shooting in low light. View Deal

How I tested the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro

Following an initial testing session with OM System, I used the 50-200mm extensively for an entire week
I paired it with the OM System OM-1 II
I took telephoto shots of wildlife, macro photos of spiders, and more

I first used the OM System 50-200mm F2.8 IS Pro at an event hosted by OM System at a wildlife trust in the UK, where I had some hands-on experience photographing exotic birds. I subsequently used the camera over a week-long loan period, paired with the OM System OM-1 II camera.

During my own time with the lens I've taken it out for sunrise shoots of birdlife on a common, been captivated by the macro world of insects including backlit spider's webs, and snapped my family's pet guinea pigs at last light.

I've made sure that all lens corrections are switched off in-camera, shot in both raw and JPEG format, used every key focal length and various apertures, then assessed image quality using Adobe Camera Raw, which has OM System profiles.

First reviewed September 2025

I tried the Nikon ZR – the smallest and lightest cinema camera around, with Sony and Canon-beating features

7:00 am |

Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: Australia, LCD | Comments: Off

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.

Nikon ZR camera with mic attached under low key magenta lighting — The Nikon ZR with new ME-D10 shotgun mic attached – the mic supports the camera's 32-bit float audio capture skills (Image credit: Tim Coleman)

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. Naturally, there's no viewfinder.

Rear of the Nikon ZR camera under low key magenta lighting — Nikon has put both its own and RED's branding on the ZR, together with Z Cinema Camera (Image credit: Tim Coleman)

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 (US and Australia pricing is TBC), 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. Should video lenses soon follow (most Z lenses are designed primarily for photography), along with a higher-end cinema camera with pro connectivity to sit above the ZR, then Nikon will truly find its footing in this space.

Top plate of the Nikon ZR camera under low-key magenta lighting — The compact body is the smallest in this class of cinema camera, with a fairly simple control layout (Image credit: Tim Coleman)

Nikon ZR: price and release date

Costs £2,199.99 (US and Australia pricing TBC)
There will be various accessory bundles, TBC
Sales start in October

The Nikon ZR costs £2,199 (US and Australia pricing is TBC, but that coverts to roughly $2,980 or AU$4,500). 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.

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. At the time of writing I don't have pricing for dedicated ZR accessories.

The Nikon ZR is due to go on sale in October 2025.

Nikon ZR camera under low key magenta lighting — The ZR is compact cinema camera for run-and-gun filmmaking – an ideal b-cam (Image credit: Tim Coleman)

Nikon ZR: specs

Video	6K up to 60fps, Raw internal
Photo	24MP full-frame
Lens mount	Nikon Z
Autofocus	Dual Pixel CMOS AF II
Screen	4-inch, 3.07m-dot, vari-angle
Viewfinder	N/A
Weight	19oz / 540g (body only)
Battery	EN-EL15 (same type as Nikon Z6 III / Z8)

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 TBC).

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Nikon ZR camera, no lens, under low key magenta lighting — (Image credit: Tim Coleman)

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Nikon ZR camera with its screen flipped out, under low key magenta lighting — (Image credit: Tim Coleman)

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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. Mind you, I've only used the ZR in a studio; a truer test will be the bright outdoors.

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.

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.

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Back of the Nikon ZR camera under low key magenta lighting — (Image credit: Tim Coleman)

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Nikon ZR camera with is connection port doors open — (Image credit: Tim Coleman)

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 haven't recorded clips any longer than a few minutes, but I'll be sure to run the camera for longer during my in-depth testing. However, Nikon says the camera's magnesium alloy body is a natural heat sink, and promises that long record times are possible, 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, and I look forward to properly testing them out.

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. I'll be expanding this first impressions review with more detail about its video and audio quality, once I've had an extended time with the ZR.

A male drummer in a dark studio, holding drums sticks with arms folded, neon lights in background — The ZR is a decent camera for photos too, with 24MP stills (Image credit: Tim Coleman)

Nikon ZR: also consider

Canon EOS C50

Canon announced the EOS C50 just a day before the Nikon ZR. It costs around 50% more, but comes with a top grip. In many ways the two cameras' video features are similar, including video resolution, maximum frame rates, internal RAW recording and autofocus. However, the Canon camera feels slightly more high-end with pro connectivity, while in the ZR's favor are its compact size, larger touch display and, impressively, its sensor-based stabilization.

See my Canon EOS C50 reviewView Deal

Blackmagic Cinema Camera 6K

The Blackmagic Cinema Camera 6K is pretty much the same price as the Nikon ZR, and in many respects has similar video features: a full-frame sensor with 6K video, 12-bit internal RAW recording and dual base ISO. It also packs a mammoth 5-inch display and has a solid choice of L-mount lenses. However, its slow-motion recording is more limited, while autofocus performance isn't a patch on Nikon's. It's also much bulkier and heavier.

See our Blackmagic Cinema Camera 6K reviewView Deal

Sony FX3

The Sony FX3 is an industry-favorite compact 4K cinema camera with superb low-light skills, thanks to its 12MP full-frame sensor. Like the ZR, it's designed to be rugged, with accessories such as its (bundled) top handle. It has the pro connectivity you'd hope for, excellent battery life, and a wide range of video lenses. However, its video recording feels somewhat dated compared to the ZR's 6K internal RAW, and it's practically twice the price. View Deal

Top of Nikon ZR camera under low key magenta lighting — (Image credit: Tim Coleman)

How I tested the Nikon ZR

I had just half a day with the ZR
I paired it with multiple Nikon Z lenses and tried out the new ME-D10 mic
No third-party accessories were available, so I used the camera handheld

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.

Nikon doesn't make its own rigs or cinema camera accessories, relying on third parties such as SmallRig instead. None of these accessories were available to me, so I shot with the ZR entirely handheld, without a grip or rig.

During my limited test time I made sure to shoot 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, so check back soon for my in-depth verdict after I've spent more time with the camera.

First reviewed: September 2025
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I’ve tried Canon’s smallest cinema camera, and it’s a Sony FX3-beating 7K powerhouse

4:00 pm | September 9, 2025

Author: admin | Category: Cameras Computers Gadgets Video Cameras | Tags: Australia, EOS | Comments: Off

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.

Canon EOS C50 with top handle, held by a filmmaker — The Canon EOS C50 with new RF 85mm F1.4L VCM lens attached, plus Canon's own top handle. (Image credit: Tim Coleman)

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.

Canon EOS C50 in filmmaker's hands — With a generous grip, the EOS C50 is still easy to hold without the top handle (Image credit: Tim Coleman)

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 on a wooden surface, no lens attached, top handle attached — What you get in the box: the EOS C50 and Canon's own top handle, plus an LP6P battery. (Image credit: Tim Coleman)

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

Video	7K up to 60fps, Raw internal
Photo	32MP full-frame
Lens mount	Canon RF
Autofocus	Dual Pixel CMOS AF II
Dimensions	142 x 88 x 95mm
Weight	23.6oz / 670g
Battery	LP6P

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.

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Canon EOS C50 on a wooden surface, no lens attached — (Image credit: Tim Coleman)

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Canon EOS C50 on a wooden surface, view of the rear — (Image credit: Tim Coleman)

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Canon EOS C50 on a wooden surface, view of the rear, screen flipped out — (Image credit: Tim Coleman)

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Top plate of the Canon EOS C50 — (Image credit: Tim Coleman)

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.

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Close up of the Canon EOS C50's connection ports — (Image credit: Tim Coleman)

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Close up of the Canon EOS C50's memory card door — (Image credit: Tim Coleman)

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Close up of the Canon EOS C50's battery — (Image credit: Tim Coleman)

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Canon EOS C50 on a wooden surface, side proflie, no lens attached — (Image credit: Tim Coleman)

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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

Sony FX3

A long-time industry favorite, the Sony FX3 is a 4K cinema camera with class-leading low-light video quality. Like the EOS C50, it can be rigged up with accessories and is supplied with a top handle for a comfortable hold and pro-level audio inputs. The FX3 has a 12MP full-frame sensor which limits it to 4K video resolution, but it excels at this level. The EOS C50 betters the FX3 for detail with 7K open gate video and internal RAW recording.

Canon EOS R5C

The EOS R5C was the follow-up to the 45MP hybrid EOS R5, produced specifically to address one issue: overheating while recording 8K video. It did this through a bulky active cooling design on the rear, and a similar approach is taken by the EOS C50. At the same price point, the EOS C50 is a proper cinema camera that can be rigged up, while the EOS R5C has its feet in both photo / video camps by including a viewfinder. If you're shooting video only, the EOS C50 is the better package.

Canon EOS C50 on a wooden surface, 85mm F1.4L VCM lens attached — (Image credit: Tim Coleman)

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
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The small and mighty DJI Mic 3 is a major improvement on its predecessor in almost every way

1:27 pm | August 28, 2025

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Tags: RX, US | Comments: Off

DJI Mic 3: one-minute review

The DJI Mic 3 is the latest premium release in the company’s popular wearable wireless microphone range, supplanting the DJI Mic 2. The Mic 2 was only released around 18 months ago, and has topped TechRadar’s best wireless microphone guide for some time, so I was a little skeptical about the need for a new model.

After receiving my review sample of the DJI Mic 3, though, it only took me a few seconds to see why people might want to upgrade from the Mic 2. The Mic 3’s transmitter component, or TX, is far more compact and lightweight than that of its predecessor, making it easier to wear on clothing.

And – praise be! – it’s now possible to fit not only two TX units and the receiver (RX) in the charging case, but accessories like clips, magnets, windscreens and even a 3.5mm-to-3.5mm cable. One of the irritations I’ve had with my own DJI Mic 2 over the past year is that the furry windscreens, which are all but mandatory when recording audio outside, don’t fit inside its charging case. To see that fixed here (as it was on the DJI Mic Mini) is wonderful.

Delving deeper over the course of testing the Mic 3, I found that DJI has made improvements elsewhere: there are now two levels of active noise cancellation rather than one; it’s possible to transmit lossless 24-bit audio from the TX to the RX; and there are three new voice presets to add instant color to vocal recording. All of these features are easy to use and add instant, tangible impact to recordings.

DJI Mic 3 alongside DJI Mic Mini and DJI Mic 2 wireless microphones on a red background — The DJI Mic 3 (center) alongside the DJI Mic Mini (left) and DJI Mic 2 (Image credit: Future | Sam Kieldsen)

Another new feature is the dual-mode Adaptive Gain Control, designed to deliver balanced audio in trickier recording conditions. The Automatic setting is used to prevent audio clipping during unexpected rises in volume (I found it worked well when recording in unpredictable outdoor environments, such as walking around town where traffic noise can jump up at any second), while Dynamic is more situational, being designed for two-person recordings using a single TX unit in a more controlled environment like a studio.

And, while I wasn’t able to personally test this (having just the standard setup of two TX units and one RX in my possession), DJI says the Mic 3 is able to capture clear voices from larger gatherings of people thanks to 4TX+8RX group recording. It also adds support for timecode, which wasn’t on the Mic 2. So, the Mic 3’s professional production credentials are definitely a bit more impressive than the Mic 2’s.

The wireless transmission range has been increased from 250m to 400m, and battery life also gets a major bump, up from 18 hours (with the charging case and two TXes) on the Mic 2 to 28 hours (although it can’t come close to the Mic Mini’s imperious 48 hours). Oh, and the on-board storage space on the TX units has been increased fourfold, from 8GB to 32GB.

DJI Mic 3 wireless microphone RX unit mounted on top of a Panasonic Lumix mirrorless camera — The RX unit now features a locking TRS output, but is otherwise little changed from the Mic 2's (Image credit: Future | Sam Kieldsen)

All of these are compelling reasons to make the upgrade from the Mic 2, and there’s very little missing feature-wise. The TX units no longer have a 3.5mm input for a separate lavalier mic, which might be an issue for users who want to hide it when filming, and the Safety Track recording mode has been dropped, but that’s about it.

In terms of general sound quality the Mic 3 is excellent, and similar to the Mic 2. With 32-bit float on board for those who need the extra level of safety and control, and 24-bit for everyday use, I think very few content creators will have issues with the audio side of things here.

With the Mic 3, DJI has managed to combine the best bits of its Mic 2 and Mic Mini into a single brilliant wireless mic – and one that, remarkably, is cheaper than the Mic 2 was at its launch. In fact, when compared to competitors’ pricing, it’s very hard to see how I couldn't recommend it to anyone on the hunt for a new premium wireless mic.

DJI Mic 3 wireless microphone — The charging case is a major improvement on the DJI Mic 2's, with much more efficient use of space (Image credit: Future | Sam Kieldsen)

DJI Mic 3: price and release date

Available to order now priced from £169 / AU$369
Components available individually or in bundles
No official US availability at the time of writing

The DJI Mic 3 is available to order from its launch date of August 28 2025, and the company is offering a range of bundles. For a complete package comprising two TX units, one RX, a charging case, cables, magnets and windscreens, the price is £259 / AU$569; for a simple one TX and one RX package, it’s £169 / AU$369. Buyers can also purchase individual components like the TX, RX, charging case, and new accessories available at launch include a Lightning adapter and alternate color windscreens.

I think the price is extremely reasonable given the Mic 3’s capabilities and specs, and I’m a big fan of the company selling individual components separately, as it gives consumers the opportunity to start small and upgrade over time.

DJI Mic 3 wireless microphone bundle on wooden table — The complete kit includes the charging case, two transmitters, one receiver and a USB-C connector for the receiver. There are also two clips, two magnets, four windshields, a 3.5mm to 3.5mm TRS cable and a USB-C charging cable in the box, plus a zip-up case to hold it all (Image credit: Future | Sam Kieldsen)

There’s bad news for US-based readers hoping to get their hands on a Mic 3, however. As with other recently announced DJI products, the company isn’t officially launching in the US, in an apparent response to uncertainty surrounding tariffs. A company spokesperson told me the following:

“DJI Mic 3 is not in stock in the US upon the global launch. DJI remains committed to the US market and making our products and services available to our US-based customers. However, we’ve recently had to adjust our market strategies for certain products in light of evolving market conditions. While we do not have a timeline for when we can introduce the product to the U.S. market, we are closely monitoring the situation and actively exploring every possible solution.”

US-based consumers may be able to obtain the Mic 3 through third-party stockists, however, so it may be worth checking camera stores such as B&H.

DJI Mic 3: specs

Dimensions	28.8 x 28.3 x 16.4mm (TX, with magnet)
Weight	16g (TX, with magnet)
Range	400m
Connectivity	Receiver: USB-C / Lightning, 3.5mm jack
Bluetooth	Yes
Battery	10 hours (TX), 8 hours (RX), up to 28 hours with fully charged case
Noise cancelling	Two-level active

DJI Mic 3: Design

TX unit weighs just 16g with magnet
RX has 1.1-inch AMOLED touchscreen
Charging case now accommodates more components

I’ve already mentioned the smaller, lighter build of the TX units, but there are other clever design touches worth noting too. When using the clips, for instance, you can now rotate the TX orientation to ensure that the mic grille is pointing towards the sound source. The TX units are also now magnetized themselves, allowing them to be attached securely to metal surfaces.

The design of the receiver (RX), meanwhile, seems fundamentally unchanged from the Mic 2’s. There’s a bright, crisp 1.1-inch AMOLED touchscreen on the front, plus a rotating and pressable dial to help select and change settings. The design allows for a USB-C adapter to be attached (or Lightning, but that’s an optional extra), and the 3.5mm output now supports a locking screw to keep it in place.

The charging case, despite being smaller than the Mic 2’s, is a lot better. As I mentioned in the section above, it makes much more efficient use of its space, and can now accommodate not only two TX and one RX but attached windscreens and clips, with room for magnets and the 3.5mm to 3.5mm TRS cable in the lid.

Also included in the larger bundle are extra windshields (so two black and two grey in total), as well as a zip-up fabric bag for storing everything, including the charging cable.

DJI Mic 3: Performance

Two-level active noise cancelling and voice tone presets
Supports OsmoAudio direct connection
Omnidirectional audio and up to 400m range

The Mic 3 seems to be built on similar audio bones to the Mic 2. That’s no bad thing, as it means users get access to 32-bit float recording (large file sizes, but ideal for users who want to ensure their audio doesn’t clip) as well as standard 24-bit recording with adjustable gain. Having used it extensively indoors and outdoors in a variety of conditions, I've found the Mic 3 to be a highly reliable recording partner, no matter what it’s paired with.

And it can be paired with a lot. The RX can hook up to cameras, computers, tablets and smartphones via its USB or 3.5mm outputs (or the Lightning adapter, should you buy it), and it’s also possible to connect the TX directly to recording devices via Bluetooth.

The TX is also compatible with DJI’s OsmoAudio ecosystem products, supporting 24-bit audio and even 32-bit float (which will be recorded as a separate, second file stored directly on the TX’s memory). I used it with the DJI Osmo 360 and DJI Osmo Action 5 Pro, and was highly impressed with both the ease of use and audio quality; it’s possible to control gain and other settings through the cameras’ menu screens, and the Mic 3 represents a massive improvement on those cameras' built-in microphones.

Noise cancelling manages to be highly effective without distorting voice recordings too much. You can hear for yourself in the embedded video above, which also demonstrates the new built-in voice tone presets and general audio quality straight from the mic.

As with the Mic 2, the Mic 3's TX units can also record on their own, acting as a completely independent mic thanks to 32GB of internal storage space.

Should I buy the DJI Mic 3?

Buy it if…

You want the most versatile wireless mic

The Mic 3 can connect to a wide variety of products either through its RX unit or via direct wireless connection. The TX even works as a solo recorder with a massive 32GB of internal storage space.

You want a discreet but powerful mic

The DJI Mic 2 is a bit bulky; the Mic 3 is about half the size while delivering even better performance and features. I'm not sure how DJI has pulled this off.

You want flexible buying choice

As with its other microphones, DJI is selling the Mic 3 as a complete kit, a half kit, or as individual components, so you don't need to buy what you won't use.

Don’t buy it if…

You want a budget option

While good value for money, the Mic 3 is still a premium option. If you're just getting started with wireless mics, something like the DJI Mic Mini or Boya Mini is a better bet.

You only shoot with a phone

Smartphone-first creators should consider something with a smaller RX unit, as the Mic 3's can add a little too much bulk to your handset's profile.

DJI Mic 3: also consider

Saramonic Ultra

Previously our top pick for a cheaper but similarly professional-quality alternative to the Mic 2, the Saramonic Ultra offers 32-bit float and flexible connectivity. The Mic 3 comes in at a similar price, though – which makes the Ultra's main USP no longer so compelling.

Read our in-depth Saramonic Ultra review

DJI Mic Mini

Ultra-affordable and ultra-compact, the Mic Mini remains a great budget choice that offers excellent 24-bit audio and incredible battery life. A perfect budget-friendly alternative to the Mic 3.

Read our in-depth DJI Mic Mini review

How I tested the DJI Mic 3

I used it for several weeks
I paired it with cameras, computer and smartphone
Running firmware 01.01.02.10

DJI sent me a review sample of the Mic 3 a couple of months ahead of its launch date, giving me the chance to spend a few weeks testing it in a range of environments and conditions. I connected to a range of devices: my Panasonic Lumix GH6 mirrorless camera, the DJI Osmo Action 5 Pro and DJI Osmo 360 action cameras, my MacBook Air laptop and my iPhone 13 smartphone. This meant I was able to test both its direct connection and receiver connection methods.

The firmware was updated to the newest available version at the time (v01.01.02.10) prior to the writing of this review, but manufacturers often release updates to coincide with the public launch – so please note that DJI may have tweaked performance slightly since this review was published.

First reviewed: August 2025
Read more about how we test

I tested the minimalist Hasselblad X2D II 100C – it’s my dream portrait and landscape photography camera that sets the image quality bar

3:17 pm | August 26, 2025

Author: admin | Category: Cameras Computers Gadgets Mirrorless Cameras | Comments: Off

Hasselblad X2D II 100C: two-minute review

If you've read any of my articles about Hasselblad's 'medium-format' mirrorless cameras, you'll know I have a soft spot for the premium Swedish camera maker's X-series.

They're stunning minimalist cameras with quality craftsmanship that are simple to operate and a joy to use. Naturally, it also helps that the recent models can shoot the best-looking photos this side of $10,000.

The latest addition to the series is the X2D II 100C, which is an update of my dream camera; it's refined in all the right ways, and it costs much less than its three-year-old predecessor, pushing it closer to reality for photographers on the edge of splashing out.

If I were to pick one camera for landscape photography, this would be it. You can expect highly-detailed 100MP resolution, gorgeous natural colors that need little to no editing, and 16-bit files with rich HDR, along with probably the best image stabilization performance for this full-frame-dwarfing format.

Usually cameras in this 44 x 33mm sensor format are largely confined to the studio for still life and static subjects, but the X2D II is way more versatile than that, especially since it gets an all-new autofocus system, equipped with subject-tracking continuous autofocus and LiDAR.

For the first time with a Hasselblad I felt confident using its autofocus for shooting portraits, given its largely reliable people-detection skills. There's no obvious gap in autofocus performance between Hasselblad and a Fujifilm GFX model now.

I also felt comfortable shooting without a tripod, getting sharp shots handheld with shutter speeds in excess of one second.

Don't get me wrong – I still needed to be more involved in the process to get the results I wanted than when shooting with my full-frame Nikon, but the X2D II has strong automatic chops too.

Otherwise, for the most part the shooting experience felt largely the same as with the original X2D 100C, which is fine by me.

Hasselblad X2D II 100C camera in the hand, outdoors at first light — The X-E5 can be purchased in a bundle with this nifty, space-saving 23mm pancake lens. (Image credit: Tim Coleman)

The X2D II 100C has what for me is probably the best camera design bar none: a gloriously minimalist body with exotic curves, a high-quality build with a slight reduction in weight compared to its predecessor, a larger-than-average tilting touchscreen with gorgeous color and clarity, plus various refinements that include a new joystick for adjusting the autofocus point and more.

A built-in SSD provides 1TB of storage for those mammoth 200MB raw files, and a CFExpress Type B card slot offers another storage option.

Some downsides remain: it has middling battery life, there's still no video recording capabilities (which for some could be a plus, but for me would be a nice to have), while the quality of the 5.76m-dot viewfinder display feels only okay.

And while this is the best-performing Hasselblad yet, Fujifilm GFX rivals can shoot faster, while full-frame alternatives are faster still. The X2D II is a steady shooter, just not one for action.

But again, that's fine – a camera that can deliver such rich detail can't be expected to sustain high-speed burst sequences.

Improved autofocus performance was probably my top wish for a X2D 100C successor, and that wish has come true, alongside other design refinements which improve the overall user experience.

A pleasant additional surprise is the X2D II 100C's list price: $7,399 / £6,400 (AU$ pricing TBC). That's a good deal less than the X2D 100C, even if it's still a pricey premium snapper.

Hasselblad X2D II 100C: price and availability

Available now for $7,399 / £6,400 (Australia pricing TBC)
Costs less than the original X2D 100C
Launched alongside a new XCD 35-100mm f/2.8-4 zoom lens

Hasselblad products are pricey, and with good reason – the build quality is top-drawer, as is the medium-format sensor tech, plus there's a 1TB SSD built-in. Yet despite several refinements in this latest model, it actually costs much less than the original X2D 100C, which was launched in September 2022.

The price difference depends on the region, but in the UK the X2D II 100C costs £1,000 less than its predecessor. It's still pricey, as is the new 35-100mm zoom lens (28-80mm effective), which costs $4,599 / £4,100 (Australia pricing TBC), but this Hasselblad is edging closer to Fujifilm in terms of pricing.

Price score 4/5

Hasselblad X2D II 100C: specs

Sensor:	100MP 'medium-format' sized 43.8 × 32.9mm
Video:	None
Cont. shooting:	3.3fps (approx)
Viewfinder:	5.76m-dot OLED
LCD:	3.6-inch, 2.36m-dot tilting touchscreen
Battery (CIPA rating):	Up to 327 shots, extended to 466 shots with HDR off
Weight:	29.6oz / 840g (with battery)
Dimensions:	5.85 x 4.17 x 2.95 inches / 148.5 x 106 x 75mm

Hasselblad X2D II 100C: design and handling

Very similar design to its stunning, minimalist predecessor
Slightly lighter than before, new joystick added
Large tilting touchscreen with stunning display
1TB built-in SSD and CFExpress Type B card slot

Having tested the Hasselblad X2D 100C at length, the X2D II feels very familiar. At 840g with battery, the latest model is slightly lighter, but it retains the same form factor, with a wonderfully minimalist layout and an exaggerated grip. Given the sensor format, the X2D II is impressively compact.

The finish on the high-quality body is different, and I prefer the new version both in appearance and feel.

We have the same touchscreen as before, and it's delightful. At 3.6 inches it's larger than most, plus it's wonderfully bright, rich in color and contrast, and its touch response is spot on, which is something that can't be said for all cameras – touch response feels more smartphone-like than camera-like.

Initially, pulling out the tilt screen stills feels a little fiddler than it could be, and the tilt motion is stiff; but it feels durable, and the up and downward tilt range is handy, especially for shooting at low angles.

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Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Hasselblad X2D II 100C camera outdoors at first light, with 35-100mm lens attached — (Image credit: Tim Coleman)

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Rear screen of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Hasselblad X2D II 100C camera outdoors at first light, with its touchscreen tilted — (Image credit: Tim Coleman)

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Hasselblad X2D II 100C camera outdoors at first light, with its screen tilted up — (Image credit: Tim Coleman)

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That tilt range also means the screen clears the viewfinder, which sticks out from the body, for unimpeded viewing from low angles. The large 5.76m-dot viewfinder display is lovely too, although it's far from the absolute best viewfinder I've used.

Once again we get a 1TB built-in SSD for storing images – and you'll need it, with each raw file coming in at a whopping 200MB. There's also the option to use removable media in the form of CFXepress Type B, which is one of the fastest card types today – I made use of both options during my review period.

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Hasselblad X2D II 100C camera's new joystick control, outdoors at first light — (Image credit: Tim Coleman)

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Battery door of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Battery of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Grip of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Top plate of the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

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Memory card and connection port doors open on the Hasselblad X2D II 100C camera outdoors at first light — (Image credit: Tim Coleman)

One of the headline new features is an autofocus system that's totally new to Hasselblad, which I'll get onto in the next section, and in terms of the design this has prompted the addition of a joystick. This can be used to manually select the autofocus point – I find it a more intuitive method than the touchscreen. Despite the addition of the joystick, which is very welcome, the design still feels wonderfully minimal.

The same goes for the UI – menus are still super stripped-back and easily navigable, even with a new range of autofocus modes. The omission of video recording helps here, while there are no color profile options at all, and I really appreciate how quick and easy it is to make adjustments to settings.

I have only one niggle with design – the protective door for the USB-C port (the port which can be used to charge the camera), pops open all too easily, especially when using a camera strap.

Design and handling score 5/5

Hasselblad X2D II 100C: features and performance

5-axis sensor-shift IBIS with up to 10EV stabilization
New subject-detection autofocus recognizing humans, animals and vehicles
Continuous shooting up to 3.3fps

The original X2D's autofocus is poor by today's standards – I used it to shoot a wedding, and I quickly reverted to my old DSLR for moments when I needed autofocus with a quick response.

Hasselblad has sensibly focused its attention on various performance improvements for the X2D II, and chief among them is a completely new autofocus system. The X2D II's focusing is a different proposition altogether, almost matching Fujifilm GFX standards.

This is the first Hasselblad camera with continuous autofocus, plus the first with subject-detection autofocus, being able to recognize and track humans, animals and vehicles. It also utilizes LiDAR focusing, an improvement that comes courtesy of drone maker DJI (which bought Hasselblad some years ago, and which introduced the built-in SSD in previous models).

I tested the camera on all of the subject types it's able to recognize, and it performed well, but don't expect the same degree of autofocus sophistication you'll get from, say, recent Sony / Canon / Nikon models.

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Sample images taken with the Hasselblad X2D II 100C — I shot this self portrait remotely using Hasselblad's Phocus software, triggering the camera with my Apple iPad (Image credit: Tim Coleman)

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Still, given it was my first time shooting portraits on location with a Hasselblad, I felt confident that the focus was going to be pin-sharp on my subject's eyes, and that's a big deal. The AF was also able to track my children's pet guinea pigs and recognize birds and horses.

Hasselblad says image stabilization performance has also been improved, and it's now rated up to 10EV, which would be a world-first for any camera in any format.

I was using the X2D II with the new 35-100mm lens, and put stabilization to the test. Based on 10EV of stabilization, at the wide-angle end of the lens zoom range I would expect the camera to be able to shoot sharp handheld shots with shutter speeds of 15 seconds.

Not a chance – that simply isn't the case. I was getting sharp shots like I was before with the X2D, down to around three seconds, which is more like 7.5EV. Nonetheless, it's still an incredible performance for such a high-resolution camera.

Despite its improved autofocus performance, the X2D II, like its predecessor, is not a camera for action photography. Its burst shooting performance is limited to around 3fps, which by today's standards is very slow. No, this is a camera for single shots really, like landscapes and portraits.

Features and performance score: 4.5/5

Hasselblad X2D II 100C: image quality

Stabilized 100MP 'medium-format' 44 x 33mm sensor
16-bit raw files and 'end to end' HDR capture
No video recording whatsoever

Image quality for the most part is much the same as from the X2D, but Hasselblad didn't need to make any improvements here – the original model was already capable of taking the best-looking pictures I've ever made with a camera.

Not convinced? Check out this Hasselblad X2D vs Nikon Z6 II feature I wrote.

The X2D II utilizes the same 44 x 33mm sensor with 5-axis stabilization as before, shooting 100MP stills with 14-bit or 16-bit color-depth options. What is new, however, is what Hasselblad calls 'end to end' high dynamic range (HDR) capture – you simply check the box in image quality section of the menu to activate it.

HDR, as the name suggests, increases the range of tones in an image. Without it, the X2D II already has a wide dynamic range given the large sensor format and pixel density, but with it we get over 15EV of dynamic range. Check out some HDR landscape photos in the gallery, below.

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I took photos with and without HDR active (in raw and JPEG simultaneously), and really I could take or leave HDR – the raw files are stunning either way. Yes, you get more visible detail in shadow and highlight areas, but you also lose some of the punch of the raw files as a result.

And there's plenty of latitude to brighten shadows and darken highlights of raw files for HDR-like results using editing software. Perhaps the main benefit to in-camera HDR is that you can skip the editing process for the times when you want more detail in the tonal extremes. It could also mean that shooting in JPEG-only format is a more realistic option. I still think HDR capture is an excellent feature.

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If you're a camera owner who's used to a choice of in-camera color profiles, like you get with virtually all other cameras, such as Fujifilm's film simulations, then you'll quickly notice the absence of those here. There's not even a black-and-white mode.

It's another example of Hasselblad's minimalist approach which I appreciate, especially when the natural colors look this good – they're somehow vivid and natural at the same time – so unless you like to dial the saturation slider up to unnatural levels, stylize your images, or go monochrome, you really don't need to spend time tweaking colors in post. All the images in the gallery above are completely unedited.

The impressive image stabilization on board and improved autofocus performance really help too, meaning you can get sharp handheld shots more easily.

Hasselblad has left out video recording once again – the X2D II is purely for photographers. That will no doubt delight photography purists, but I can't see any harm in adding video recording, besides perhaps clogging up the menus.

One thing to note about all of the images included in my galleries – they are original unedited files. With 100MP to play with, there's plenty of cropping potential to focus in on certain details, like the distant person sat on a hillside, framed by the setting sun.

There's also various aspect ratios available in camera, such as Hasselblad's legendary X-Pan panoramic format.

Image and video quality score: 5/5

Hasselblad X2D II 100C: Test scorecard

Hasselblad X2D II 100C
Attributes	Notes	Rating
Price	A premium camera for a premium price, but it's surprisingly and significantly cheaper than it's predecessor	4 / 5
Design	Simply one of the best camera designs of all time	5 / 5
Feature and performance	Much improved autofocus, built-in SSD storage, but slow burst shooting speeds	4.5 / 5
Image quality	The best looking photos you can get, for the price. No video recording though.	5 / 5

Should I buy the Hasselblad X2D II 100C?

Buy it if...

You want natural-looking images from the off
Hasselblad's 100MP, 16-bit Raw files are packed with detail and the stunning colors look right from the off

You appreciate camera design
I dig Hasselblad's minimalist design philosophy – the X2D II not only looks the part, but it feels great in the hand and comes with a refreshingly simply UI.

You're a pro portrait and landscape photographer
If you want the absolute best image quality for portrait and landscape photography and don't often shoot action, then the X2D II sets the bar.

Don't buy it if...

You shoot video
An obvious one, but the X2D II has no video capabilities – it's purely for photographers.

You shoot any kind of action photography
Yes, the X2D II has subject tracking autofocus which makes it more reliable, but it's no match for industry-leading systems, while continuous burst shooting is a slow 3fps approx.

You want supreme battery life
Up to 330 shots is a pretty poor battery life for such a camera. That said, it's a photography-only camera with slow continuous shooting performance, so you're unlikely to rinse the battery quickly.

Hasselblad X2D II 100C: Also consider

Like the sound of the Hasselblad X2D II 100C but keen to know what else is out there? Here are a couple of solid alternatives…

Fujifilm GFX100 II
Fujifilm's flagship camera with the same 44x33mm sensor format is the GFX100 II. It also has a 100MP sensor, but it has superb video recording capabilities too. It's a little pricier than the X2D II.

Read our in-depth Fujifilm GFX100 II review

Sony A7R V
The best full-frame alternative to the X2D II is the high-resolution Sony A7R V. It has the same pixel density – 61MP on a stabilized full-frame sensor, together with a wide dynamic range and impressive autofocus skills. It costs around 40% less than the X2D II too.

Read our in-depth Sony A7R V review

How I tested the Hasselblad X2D II 100C

Hasselblad loaned me the X2D II 100C for three weeks ahead of its launch
I had the new XCD 35-100mm f/2.8-4 lens to test it with
I've taken camera and lens pairing on several outdoor photography shoots

I've had plenty of chances to use the X2D II with the new XCD 35-100mm f/2.8-4 lens ahead of their launches, taking the pairing on a few landscape photography trips, plus for candid portraits of humans and animals.

I've shot during daylight and nighttime, outdoors and in, and paired the camera with the latest (beta test) version of Hasselblad's Phocus app for remote control of the camera and image uploading.

My testing took place over the course of about one month.

First reviewed August 2025

I finally found an action camera that captures life from my POV – the new Insta360 GO Ultra goes where my iPhone can’t, and the results are brilliant

4:00 pm | August 21, 2025

Author: admin | Category: Action Cameras Cameras Computers Gadgets | Tags: AI, Apple Watch | Comments: Off

Insta360 GO Ultra: two-minute review

Get drawn in by the fun magnetic system and tiny size, and be genuinely impressed by the quality of the 4K footage. That’s what happened when I tested the Insta360 GO Ultra, a product that takes the advancements made with Insta360's Ace Pro 2 and GO 3S and turns them into another (really) compact, pocket-sized camera system for adventurous creators.

I've been into action cameras since the first GoPros came out (terrifyingly, almost 20 years ago). But until recently, I've always found their bulky housings less than ideal in adventure-type scenarios (running up a mountain peak, or learning to surf, for example). The whole point of the GO Ultra is to unlock more creative opportunities without sacrificing portability.

Insta360 might be best known for its innovative 360-degree cameras, but it's a brand that’s becoming synonymous with challenging the norms of action cams, too. The GO Ultra is a frankly tiny, pocketable camera (at 1.9 oz / 53g), about the same size as an Apple Watch. It's a natural successor to the GO 3S (released in 2024), but not a replacement. At the time of writing, Insta360 told me that both cameras will remain on sale.

The Insta360 GO Ultra camera held by a female photographer against a green wooded backdrop — (Image credit: Lauren Scott)

Like its predecessor, the magic of the Go Ultra is its modular design that combines a standalone camera and an Action Pod, giving you unique ways to shoot, charge and play. On the surface, the camera simply looks like a square version of the GO Ultra 3S, and powerful magnets on its base mount to the Action Pod (where the screen and buttons are) or numerous accessories and attachments. I even mounted the camera to our car, but that’s a story for another day.

However, inside its dark gray exterior are some notable improvements. The sensor is 221% bigger for better low-light capture, and a new 5nm AI chip delivers benefits to video quality using algorithms. The GO Ultra can shoot 4K60fps video, where the GO 3S was limited to 4K 30fps. And I found the PureVideo mode – that uses said AI algorithms to cut down on noise in low light – delivered good results at sundown, where my previous action cams struggled. The maximum wide 156-degree POV is great for group shots and selfies, vlogs and immersive action alike, and the view can be tailored to avoid a warped perspective.

This is a content companion for people with an active lifestyle rather than professional athletes. I found myself shooting more with the camera overall, simply because in one snap, I could have hands-free recording.

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Like the GO 3S, the standalone camera is more rugged than the Action Pod. You can use it in freezing conditions and depths of 33 feet (10 meters) underwater, while the pod is only splashproof, which is a shame. Other rugged points for the camera include a replacement lens cap (helpful if you scratch it during activities) and a push-up cover to keep the memory card slot inside dry.

I love the simplicity of the GO Ultra’s design. Like the Insta360 Ace Pro 2, the flip-up touchscreen on the action pod is an alternative to the front-and-back solution on GoPro, and I found it more intuitive for vlogging. Handling is a three-button operation, with intuitive swipes for key menus on the touchscreen, and the magnetic mounting system is always satisfying and feels secure.

A female photographer in a stripy top wearing the Insta360 GO Ultra using the magnet pendant underneath — (Image credit: Lauren Scott)

The GO Ultra's battery life was a sore point for me, and not as impressive as all-in-one rivals. I got around an hour of 1080p video recording from the standalone camera, but more than double when combined with the Action Pod. USB-C charging takes you from 0 - 80% in around 12 minutes, though, making up for the fact that the battery doesn’t last as long as Insta360 suggests based on their lab tests.

There's no built-in storage for content like the GO 3S has, but microSD cards up to 2TB are compatible, and it's so quick and easy to get footage off the camera using the Insta360 app on a smartphone. I don't think this is a problem (just an extra cost to bear in mind).

Check out our Insta360 Go Ultra vs Insta360 Go 3S write up to see how the tiny action cams compare

Image quality is better than the GO 3S, with photos capped at 50MP instead of 9MP. And you get HDR video mode, too, with the option to apply 'Dolby Vision' to shot footage to give it more contrast and color. The usual video modes like Timelapse and Slow Motion work as expected, while new Toddler Titan mode adds fresh, immersive POVs. There are several new features aimed at families, including AI Family Moments to pull content of loved ones into a virtual album.

The camera's audio quality was surprisingly crisp in most scenarios, and voice-specific modes picked up my rambling very clearly, while a wind-reduction mode helped while running in a breeze. Although I haven't tested them, GO Ultra is also compatible with several external microphones designed for high-quality sound, including Insta360's Mic Air, and third-party Bluetooth mics like the DJI Mic Mini and AirPods Pro 2.

The Insta360 GO Ultra is hugely versatile, and I filmed in so many places, with so many perspectives, that wouldn't have been safe or possible with my iPhone alone. If you're a family wanting more creative holiday snaps, a creator feeling stuck with what you can shoot with a smartphone, or just someone with an active lifestyle, the GO Ultra feels like the ultimate lightweight and fun solution.

Insta360 GO Ultra: specs

Insta360 GO Ultra specs
Sensor	1/1.28-inch
Max Resolution	50MP (8192x6144) photos 4K, 60fps
Weight	1.87oz / 53g (camera) 3.8oz / 109g (action pod)
Dimensions	1.8x 1.8 x 0.7 inches / 46 x 46 x18mm (camera) 2.8 x 1.9 x 1.3 inches / 70 x 49 x 33mm (Action Pod)
Gyroscope	6-axis
ISO Range	100–6400
Aperture	f/2.85
Connectivity	Bluetooth, Wi-Fi, USB-C 2.0
Storage	microSD card, up to 2TB
Waterproofing	33ft (10m)

The box contents of the Insta360 GO Ultra including a USB-C and lens protector on a wooden floor — (Image credit: Lauren Scott)

Insta360 GO Ultra: Price and availability

Launched worldwide on August 21 2025
Standard bundle costs $449.99 / £369 / AU$759
Creator bundle costs $499.99 / £409 / AU$839

The Insta360 GO Ultra was announced on August 21 2025 (after being teased on August 18) and is available to order now from DJI’s online store and major retailers like Amazon.

It comes with two different bundle options. The Standard Combo includes the camera, quick-release cord, magnet pendant, magnetic clip and a USB-C charging cable. It costs $449.99 / £369 / AU$759.

The Creator Combo bags you all of the above, plus a Mini 2-in-1 Tripod 2.0, Quick Release Mount and Pivot Stand. It costs $499.99 / £409 / AU$839. Although a lens cap is provided, you'll need to buy a separate pouch or case, as neither bundle includes one – and this feels a bit mean.

The pricing puts the GO Ultra at just a fraction more than the Іnѕtа360 X3 in the US and UK (when it's not on offer), which is now three years old, but that does offer 5.7K 360-degree capture over the GO Ultra's 4K. It's roughly the same price as the Insta360 Go 3S, but you get double the frame rate with 60fps video capabilities.

I think the GO Ultra is fairly priced. The GoPro Hero 13 Black is a strong competitor at around $359.99/£305, particularly if you want a traditional action camera and don't mind a bulkier design. There's no built-in storage, so factor in the cost of buying a microSD card before you can start filming.

Price score: 4.5/5

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The Insta360 GO Ultra camera — (Image credit: Lauren Scott)

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A close-up showing the magnetic mount on Insta360 GO Ultra camera — (Image credit: Lauren Scott)

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A close-up of the microSD card slot on the Insta360 GO Ultra — (Image credit: Lauren Scott)

Insta360 GO Ultra: Design

Standalone camera is waterproof, operates down to -20C / -4F
Strong magnetic base connects to Action Pod and range of handy mounts
The camera weighs 1.87oz / 53g and is similar in size to Apple Watch

The Insta360 GO Ultra resembles a square version of its former self, the GO 3S (its only real rival). Where its predecessor was pill-shaped and about the size of a thumb, the GO Ultra is square and more than half as deep as it is wide, sitting neatly between your forefinger and thumb for quick handheld shots. That’s only half of the product, though. Without the Action Pod, the GO Ultra is one of the lightest action cameras you can buy at 1.87oz / 53g (14g heavier than the GO 3S). Using the Action Pod turns the GO Ultra into more of a traditional GoPro-style action camera.

The main difference is that there’s one flip-up LCD touchscreen, rather than a screen at the front and back. As an owner of the GoPro Hero 12 Black, this flip-up screen was a revelation to me, and I found it so helpful when filming walking shots and talking to the camera, or to see how a shot was framed when shooting with the standalone camera remotely.

No doubt it contributes to the Action Pod’s lack of waterproofing, though. The IPX8-rated camera can be fully submerged underwater, but the Pod is only resistant to splashes, limiting where you can take it. On this, I was always careful to dry the camera before popping it back into the Pod.

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An angled view of the Insta360 GO Ultra camera — (Image credit: Lauren Scott)

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The underneath view of the Insta360 GO Ultra camera — (Image credit: Lauren Scott)

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The top view of the Insta360 GO Ultra camera — (Image credit: Lauren Scott)

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A side view of the Insta360 GO Ultra camera — (Image credit: Lauren Scott)

As far as durability goes, the camera is also freeze-proof down to -4 degrees °F (-20°C), so it’s ripe for snowsports. And a screw-on lens protector added peace of mind for me against lens scratches, given that a replacement is around $20/£20. I’ve known so many action cameras in the past to fog up when filming underwater or changing temperatures quickly, but the lens guard has an anti-fog coating that avoided this particular pain point well.

I found the operation of the camera simple, which is a great thing because it lets you focus on the fun part of creating. The Action Pod has just three buttons: red up top for recording, a power button and a Q button to quickly switch modes on the right. There’s a raised button to release the standalone camera from its magnetic mount on the left (above a USB-C charging point), and I never found myself pressing this accidentally.

You really have to tug the standalone camera to release it from the Pod's magnets, which avoids unwanted drops. Underneath the Action Pod, there are two holes to fit the GO Ultra’s specific Quick Release Mount (sold separately, but very solid), for a secure fit to accessories like the brand’s Pet Harness. Attaching the camera to a pet harness was decidedly old school, with an action mount and screw system. But this kept it firmly in place, even after a lot of doggo rolling.

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The Insta360 GO Ultra camera mounted on a pet harness on a black dog — (Image credit: Lauren Scott)

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Navigating the camera’s menus is easy, too. When you first turn on the GO Ultra, you get a walkthrough of what gestures bring up which settings. It took me a few hours to remember which did which (old dogs), but it soon became second nature. A right swipe brings up playback for footage, and a right swipe lets you dial in more settings and switch between Auto and Manual Mode.

The touchscreen is bright, colorful and responsive, which makes changing settings – even with wet or cold fingers – straightforward. You can buy the Insta360 GO Ultra in either Midnight Black (model tested here) or Arctic White, but either way, the construction is from a rigid, matte plastic that seems scratch-resistant, and like it could take a few knocks and drops. It’s sensible action camera fodder.

Design score: 4.5/5

Insta360 GO Ultra: Performance and features

Quick AI-edited videos via the Insta360 app
Standalone camera charges 80% in 12 mins
Compatible with microSD cards up to 2TB

The GO Ultra is designed to work alongside the free Insta360 app, which pairs to the camera via its own WiFi network for remote operation. From here, you can also download, preview and edit videos on your smartphone. Other than installing some new firmware (released just before the camera), I was paired and ready to shoot from the app in under 10 minutes.

The standalone camera and Action Pod pair via Bluetooth when they're apart. I found the connection seamless, with no lag when changing settings or in the real-time view on the screen. Range can be an issue, though, both from the camera to the phone and from the camera to the pod. More than about five meters away, or underwater, the connection would dip out, and the camera would stop recording. It's not a dealbreaker, but it might limit more complex setups, especially if you're shooting somewhere wet.

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Close-up of the menu screens on the LCD of the Insta360 GO Ultra — (Image credit: Lauren Scott)

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The GO Ultra has a 6-axis gyroscope to measure the camera's movement and rotation, and through an algorithm, makes the video more stable and gives you a more even horizon. Image stabilization isn’t bad, but I found fast-moving objects needed a bit of extra help. When trail running, I got my best results by activating the Jitter Blur Reduction mode, plus Tilt Fix, which corrects uneven mounting by up to 10 degrees. It took me a while to discover both of these, and my first clips with the camera clipped to a hat (including this swimming clip below) were fairly wonky. Once activated, though, the results evened out nicely, and even clips of my dog lolloping at full speed looked stable.

The camera has a built-in microphone, and four modes for picking up sound – Stereo, Voice Enhancement, strong and weak wind reduction. I found the audio quality really impressive while walking in good conditions. My voice was picked up clearly when talking to the camera, and even in a busy city, the camera was able to isolate the sounds nearby rather than heavy traffic noises. If you use the camera in water, the audio will drop out, and the camera will need to dry enough before the clarity returns.

Like most action camera mics, there's an issue with wind noise disrupting the clarity (especially when running in breezy conditions), but the wind reduction setting did noticeably reduce this. It's a big advantage for serious creators to be able to boost the sound quality with an external mic like the Insta360 Mic Air, DJI Mic 2 and AirPods 4. Although without testing, it's hard to comment on the performance this would bring specifically.

I found all the camera's shooting modes and presets easy to get good footage with, partly because the camera does such a good job of explaining what each one does, without the advice feeling intrusive on the screen. It was also easy to control the camera with voice commands, "turn the camera off", "mark that" and hand gestures like making a peace sign to trigger a photo. I found that the standalone camera gets very hot after filming. Even after low-resolution clips, I felt it burning a hole in my shorts pocket, but this didn't cause any interruption in recording, so I don't think it's a major issue.

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The Insta360 camera app on an iPhone held by a female photographer against a green wooded backdrop — (Image credit: Lauren Scott)

Once my clips were captured, I was ready to start editing my videos. Much like GoPro and DJI's accompanying editing apps, Insta360's version also features AI-assisted editing tools to pick out clip highlights. There are tonnes of presets to choose from – with funky names like Vibe City and Tunes and Travel – which do a fair job of creating quick, shareable clips by adding transitions and music.

There are helpful default export settings for platforms like WhatsApp, YouTube, Instagram, and TikTok, although you can customize export parameters. I enjoy editing manually, but the Insta360 app is so intuitive that I can see even total beginners getting creative right away. Some of these end up being a bit cheesy, but you can tailor the music and effects to suit your tastes. I've included an example of an AI-edited video below, with clips of my dog wearing the pet harness on walkies.

The GO Ultra's biggest downfall – and something we struggled with while testing the GO 3S – is battery life. The standalone camera has a 500mAh capacity, and the action pod 1,450mAh capacity – noticeably smaller than the 2,400mAh capacity on the Insta360 X5, but an improvement on the GO 3S' 310mAh and its 38-minute life. Also, unlike action cams with replaceable batteries, when you run out of juice, that means content creating is on hold until you can find a way to recharge.

Insta360 says you can get 70 minutes of footage out of the standalone camera. Adding the Action Pod gives you 200 minutes. But that's with Endurance Mode on, the LCD and Wi-Fi off, and for 1080 24fps video – conditions I don't think most normal shooters are going to replicate. When I tried shooting a video in 1080 30fps from full power, without all the caveats on the specs sheet, I got around 150 minutes with the pod and 45 minutes without. I don't think that's dreadful for a camera this small, and it's worth noting that a 10-minute charge took me from about 0-75% so I was ready to shoot again. But it's something to consider if you're away from power for long periods, or looking to shoot continuous cycles, runs and hikes for longer.

Performance score: 4/5

Insta360 GO Ultra: Image quality

New 1/1.28-inch sensor with AI chip
Captures 4K video up to 50fps and 50MP photos
Low-light video mode with PureView

Insta360 has given the GO Ultra a bigger 1/1.28-inch sensor than the GO 3S, the idea being that this is capable of capturing more detail in low light. The GO Ultra also supports video capture up to 4K 60fps and 1080 240fps for slow-motion, plus new HDR that can be applied to clips and stills. Unsurprisingly (because this is a super user-friendly camera), there's no option to shoot in a flat profile for more color grading scope during post-production. But that's no problem, as I think most users will stick to editing in the Insta360 app anyway. Beyond the specs, what do the results look like in real life?

Going into testing the GO Ultra, I think my expectations were too low for a camera of this size. I found video quality to be brilliant in all 10 modes, but footage was sharpest and most vibrant in abundant sunshine. In the camera's Standard color preset (there are 8 in total, including Vibrant and Urban) videos were still colorful and had decent detail in the shadow and highlight areas, although the contrast ratio wasn't good enough to expose a very bright sky like a sunset, and a dark foreground, in one shot.

It's easy to switch the GO Ultra to Manual exposure mode, where you can take control of the shutter speed, ISO (100–6400) and white balance yourself. I found this most helpful for stationary shots, but wouldn't recommend it to beginners. In short – and unlike my mirrorelss camera – Auto mode saw me through all shooting scenarios, and I rarely felt the urge to take over. The joy of this camera is in its simple opration.

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A view of the Insta360 GO Ultra camera LCD screen — (Image credit: Lauren Scott)

The camera adapts quickly to rapid changes in light, such as coming out of a shady forest into an open field. And I found that useful when I was running in the countryside, moving quickly, where i didn't want the picture to be shrouded in darkness for a few seconds. Being summer, I did a lot of shooting in direct and dappled sun, and found that lens flare was handled well, too.

Big talking points of the GO Ultra’s video capabilities are the new additions of Active HDR and PureVideo. Like SuperNight on the DJI Osmo 360, it's designed to enhance the quality and sensitivity of low-light shooting. It's somewhat limited to automatic settings and 4K 30fps, but you can shift the exposure up and down in increments. Walking around a city at night, I was able to pick up plenty of detail in the buildings, street lights and the sky, although I think there's some aggressive denoising AI going on inside the camera, as the footage did look a bit muddy at times.

Photos from the camera have a seemingly high megapixel count (the maximum resolution is 50MP or 37MP with a 16:9 aspect ratio), which is a big bump up from the GO 3S' 12MP in 4:3 (9MP in 16:9). In practice, I'd say that's more than adequate for slotting into videos, or uploading to social platforms, but I wouldn't want to make big prints from them. At the camera's widest field of view, you get a 14.27mm equivalent in 35mm terms – expansive enough to get groups in the frame, or to shoot yourself while walking. If you're not a fan of the warped action camera look, a Linear POV does a great job at giving you a more natural wide-angle, good for vloggers.

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Sample shots from the Insta360 GO Ultra camera — (Image credit: Lauren Scott)

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Test shots from the Insta360 GO Ultra camera — (Image credit: Lauren Scott)

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Overall, I'm impressed by the quality of GO Ultra's footage. It's in line with an action cam that's this portable, and the addition of HDR to video as well as photos (with Dolby Vision for an extra boost) delivers polished videos you can safely deliver to friends, family and your social channels.

If I were a professional creator, I wouldn't rely on this camera to cover all my video needs. But it excels at what it's designed for – being small, getting places other cams can't, and remaining user-friendly for beginners. The battery life is lacking for extended shooting durations, and night footage is still overcooked with PureVideo mode. But GO Ultra's video is good in most areas, and does appear to be an improvement over the 3S in low light (I haven't tested them side by side, so can't say for sure). With its kid and pet-friendly design, I think Insta360 has found the right balance for casual creators with an active lifestyle.

Image quality score: 4/5

Insta360 GO Ultra: testing scorecard

Insta360 GO Ultra
Attributes	Notes	Rating
Price	Similar cost to the Insta360 Ace Pro 2 and Insta360 Go 3S, but the quality of the package is worth it.	4.5/5
Design	A nearly seamless experience with the Action Pod, plus waterproofing and a protective lens on the standalone camera.	4.5/5
Performance & features	Gets hot, and the battery drains quickly. The Insta360 app makes light work of image transfers and AI edits and there are plenty of tricks and modes.	4/5
Image quality	HDR is a great addition, but it's still not a class-leader in low light. You sacrifice some quality for portability.	4/5

Should I buy the Insta360 GO Ultra?

Buy it if...

You want to balance performance with portability
Video quality is high, but not the best of all action cameras out there. But the GO Ultra can also go places other action cameras can't, at least without tonnes of extra mounts.

You don't mind shorter battery life
I spent time shooting shorter clips on the GO Ultra, and recharging it little and often. If you plan to capture all-day events or sustained activities like rides or hikes, the battery life might be a limiting factor.

Don't buy it if...

You want the smallest action camera
The Insta360 Go Ultra is small, but not quite as tiny as the GO 3S. At almost 15g less, the Go 3S might unlock even more possibilities.

You want a fully waterproof solution
The Action Pod is only splashproof, a fact that made me uncomfortable while shooting. If you shoot a lot of wet content, I'd go for a fully waterproofed model.

Also consider

Insta360 Ace Pro 2 action camera

Insta360 Ace Pro 2

The Insta360 Ace Pro 2 is co-engineered with Leica and gives pros something more advanced. A dedicated Leica color profile, bigger sensor with better low-light performance and image quality, and up to 8K resolution make it better for advanced videography and content creation. You still get a vlogger-friendly screen.

Read our full Insta360 Ace Pro 2 review

DJI Osmo Action 5 Pro on a white background

DJI Osmo Action 5 Pro

Cheaper than the GO Ultra, the DJI Osmo Action 5 offers excellent features. It doesn't have the advantage of a tiny standalone camera, but the all-in-one design provides better battery life, waterproofing (to 20 meters), and 47GB of internal storage. The maximum frame rate maxes out higher, too, at 4K/120p.

Read our full DJI Osmo Action 5 Pro review

How I tested the Insta360 GO Ultra

I tested a full production model for three weeks
I mounted the camera on my hat, handlebars, and even my dog
I recorded videos during the day, sunset and after dark

Insta360 sent me a review sample of the GO Ultra Standard Bundle about three weeks before the official release date. This gave me enough time to test all the camera's modes and mounting options, including those with and without the Action Pod, as well as with the magnetic clip on my hat and the magnetic pendant on hikes in the countryside.

Insta360 also supplied a large version of their pet harness, and I attached the camera to my dog out on walkies to see what footage looked like from the POV of a bouncy Flatcoated Retriever.

I used the GO Ultra wild swimming in a local river to test the waterproofing, tried it running, and even attached it to our car as we drove along a country lane. I shot in bright sunshine, at sunset and night – essentially, in all the lighting conditions I could think of for creators. I edited content straight from the camera to the Insta360 mobile app on my iPhone 15 Pro, as well as manually taking footage from the built-in SD card and editing it on my iMac.

First reviewed August 2025

I reviewed this tiny thermal camera and I’m shocked by what it can see

9:47 am | August 17, 2025

Author: admin | Category: Cameras Computers Gadgets | Tags: PC | Comments: Off

Thermal Master P3: 30-second review

Thermal imaging has come a long way from bulky, industrial-grade gear to sleek, smartphone-powered tools. The Thermal Master P3 is a prime example of that evolution. Building on the success of its predecessors, particularly the ultra-compact P2 Pro, the P3 refines the formula with sharper resolution, manual focus, and a more tactile, professional-grade build. It’s a device that doesn’t just fit in your pocket; it earns its place in your toolkit.

At its core, the P3 is a plug-in thermal camera designed for Android and iOS devices, offering a native 256×192 infrared resolution that can be digitally enhanced to 512×384 using the brand’s X³ IR software. That’s a notable leap from the P2 Pro’s fixed-focus setup, which, while impressively portable, lacked the precision needed for close-up diagnostics. The addition of manual focus and a macro lens transforms the P3 into a serious contender for professionals who need more than just a thermal snapshot.

The build quality also marks a shift in tone. Where the P2 Pro leaned into minimalism with its featherweight plastic shell, the P3 opts for an aerospace alloy body that feels solid and premium without sacrificing portability. It’s still light enough to carry anywhere, but now rugged enough to survive the kind of environments where thermal imaging is most useful.

So who’s this for? The P3 is ideal for engineers, HVAC technicians, electricians, and anyone working in diagnostics or maintenance. It’s particularly well-suited to electronics professionals who need to spot micro-heating anomalies on PCBs, thanks to its macro lens and manual focus. It’s also a smart pick for field inspectors who want a reliable thermal tool without the bulk or battery anxiety of standalone imagers.

In short, the Thermal Master P3 isn’t just an upgrade — it’s an evolutionary step. It takes the portability of the P2 Pro and adds the kind of precision and build quality that professionals demand. If you’ve been waiting for a thermal camera that’s as serious about detail as you are, the P3 might be the one to beat.

Thermal Master P3: price and availability

How much does it cost? $299/£299/€299
When is it out? It is available now
Where can you get it? You can get it in most regions from an online reseller and directly from Thermal Master.

Thermal Master P3 offers one of the best balances of resolution, manual focus, and build quality at the $299 mark. It's available direct from the Thermal Master official site here.

At that price, it is comfortably below flagship models like the FLIR One Pro, yet offers superior thermal resolution and control. While it lacks a visible light overlay and requires sideloading on Android, these trade-offs are minor compared to the imaging clarity and build quality it provides.

It can be bought on Amazon.com, but the price there is the MSRP of $349.

The Thermal Master P2 Pro is cheaper and more portable, but the lack of manual focus makes it less suitable for detailed inspections.

I'd position the P3 as a mid-range powerhouse that punches above its weight in precision and build quality, especially for professionals in electronics and HVAC.

Value score: 4/5

Thermal Master P3: Specs

Feature	Specification
Model	Thermal Master P3
Infrared Sensor	RazorX? IQ+
IR Resolution	256×192 (native), 512×384 (via X³ IR? upscaling)
Temperature Range	-20°C to 600°C
Accuracy	±2°C or ±2% (whichever is greater)
NETD (Sensitivity)	Estimated <50mK
Focal Length	4.3 mm
Focus Type	Manual focus + macro lens
Digital Zoom	Up to 15×
Frame Rate	<9Hz (standard for consumer thermal imagers)
Image Enhancement	X³ IR™ software upscaling
Colour Palettes	12 options (e.g. whitehot, ironred, red hot)
Compatibility	Android (USB-C), iOS (Lightning/USB-C), Windows PC
App Availability	iOS App Store; Android via sideload
Body Material	Aerospace alloy
Dimensions	59 × 27 × 17.2 mm
Weight	26.3g
Power Consumption	Low (powered via phone connection)
Use Cases	PCB inspection, HVAC, automotive, pipelines

Thermal Master P3: Design

Tiny camera
PC and phone
50mK NETD

If cuteness played a part in this evaluation, then the P3 would score highly.

This tiny camera measures just 59mm across, is 27mm high, and only 17.2mm thick, with most of that thickness being the length of the lens.

There is only a single control on it, that being the twisting lens to focus, everything else is done from the phone or PC app.

What’s less endearing is that the thermal sensor is exposed, as Thermal Master didn’t include a lens cap for this device. What you do get is a soft carry case that includes a short 27mm adapter to use it with an Apple Lightning connector.

Included in the box is a longer, 45cm cable that connects the P3 to a PC using either USB-C or USB-A. Disappointingly, those at Thermal Master responsible for creating the soft carry case weren’t informed about this cable, and it won’t fit with the camera in the case.

That’s annoying, and another consideration is that using it with a Laptop or desktop PC means there’s no tripod or other way to position it without holding the camera.

If you are using this device to analyse a motherboard for hot spots, you’ll need to rig something temporary up, or print your own mounting system with a 3D printer.

Those using it with a phone might also have issues, since the USB-C blade on the camera is deeper than some phone ports, causing a gap between the two. Obviously, since it’s USB-C, it is possible to put the camera in either facing the user or away, but as it’s necessary to see the screen, away is the most useful.

When it’s inserted, the P3 draws power from the phone or PC, which might reduce battery life if the exercise is a prolonged one.

In terms of the thermal technology in this camera, the P3 uses the same RazorX IQ+ sensor that Thermal Master used in the P2 Pro. Its native resolution is 256×192, but on this device, Thermal Master has implemented X³ IR upscaling to deliver 512×384 by combining the data from multiple passes.

That’s much better than the 160×200 offered by the FLIR Lepton 3.5 sensor, and the sensitivity is similar. These sensors are rated by NETD, defined as the smallest temperature difference a thermal sensor can detect before the signal becomes indistinguishable from noise. Typically, it’s measured in millikelvin (mK), and the RazorX IQ+ is rated as better than 50mK. The best devices are <25mK, good are <50mK, and some less desirable choices can only register 70mK.

The other vital specification for this sensor is its temperature range, which is -20°C to 600°C, with an accuracy of plus or minus 2°C. That probably makes it unsuitable for those forging metals that have high melting points, but it’s fine for heating systems and vehicle repairs.

Design score: 4/5

Thermal Master P3: User experience

Android and iOS
Good quality captures
Limited PC connection

While it does work with a PC, the P3 was made with smartphone users in mind.
For those using an Apple phone, on the iPhone 15 and newer models, a Lightning Port or USB-C is required. The P3 includes a USB-C to Lightning adapter for older models. The device should run on iOS version 13 or higher to ensure app compatibility and feature support. Additionally, the device should be an iPhone 7 or newer, as older models may struggle with resolution upscaling and frame rate.

For Android users, ensuring compatibility with the P3 app and stable performance, a device must have a USB-C port for direct connection and OTG (On-The-Go) support enabled. The device should run on Android version 8.0 or higher. A Snapdragon 660 or equivalent processor and above is recommended for smooth image rendering and upscaling. Additionally, the device should have at least 3GB of RAM to handle high-resolution thermal data and ensure app responsiveness.

I’ll talk about performance later, but the first significant irritation of this platform is that for Android users, the app must be downloaded and then sideloaded. Why it isn’t on the Google Play Store is a mystery, since the iOS version is on Apple’s store.

This isn’t a straightforward exercise for an average Android user, as it involves configuring the phone to accept sideloaded apps, and then finding the right version on the Thermal Master website. The file actually comes via Dropbox, and for some inexplicable reason “.1” was added to the file extension, meaning that Android phones won’t identify this as an app.

To install the app, it needs to be renamed to the “.apk” extension.

Did anyone at Thermal Master test this? It’s just a magnet for support calls in its current form.

Once installed, the app correctly identified the P3, but confusingly, the app is called the Thermal Master P2 app. I presume this is because this app was written for the P2 Pro, and the developers assumed it would never be used with any other hardware.

That said, it did enable the X³ IR upscaling on the P3, a feature missing from the P2 Pro.

This multi-pass mode generates better resolution images, but it significantly reduces the framerate, regardless of the phone’s power. That makes it harder to use, unfortunately.

I suspect that the real issue here is that USB-C ports on Android devices are normally USB 2.0, and the amount of data that needs to flow back probably hits the transfer speed limits.

But whatever the reason, if high-quality images are required, then it’s something you may be forced to work around. For thermal images, the results are good, better than the Thor002 I recently reviewed.

However, there is a missing piece to this puzzle that phones with inbuilt sensors can do, but this system doesn’t offer. Phones with a thermal camera in their sensor often have a mode that captures a conventional light image with a thermal one. These are either stored alongside each other or combined to form a hybrid image.

The P3 software doesn’t offer the hybrid option to use the phone camera to show the location in conventional light, but it does have a picture-in-picture option. In this mode, it captures a smaller version of the rear camera image and floats it above the thermal image. The problem here is that the zoom levels between the two images are massively different, and while you can zoom the P3 sensor, there is no control over the normal light camera.

It also doesn’t work if you have the P3 inserted to look forward, and it doesn’t save both images individually when you snap a shot.

Images are saved at 1440 x 1080, which is at least a proper ratio of the natural 256 x 192 sensor. They both have a 1.33 ratio, which is an improvement over the Thor002 captures, which were stretched by arbitrary numbers.

For those wondering, the capture resolution appears to be unrelated to the screen of the capture phone, since in my tests I used the Oukitel WP210, and that has the curious resolution of 1080 x 2412.

Overall, this is an excellent thermal camera. My only reservation about it is that to use the X³ IR upscaling seems to require an inordinate amount of processing power, slowing updates markedly. That’s even on a relatively powerful phone.

I suspect that GPU acceleration in many SoCs could make its use less demanding if Thermal Master recoded the application to make better use of those chips.

A word of warning. If you get one of these and use it with a phone, don’t forget to remove it after use, as the power consumption of the camera will drain the battery if you leave it connected.

The PC application is exclusively on Windows, and it defaults to Chinese on installation, so you will need to alter that to English if, like me, you don’t speak that language.

Interestingly, the PC tool is a cut-down version of the phone application, missing some of the more exotic features. There is no X³ IR upscaling toggle, as it appears to be active all the time, and supporting that assertion, the output of captured files is 512 x 384 resolution.

The big issue I encountered with the PC software is that the camera is on the USB cable, so it needs to be held by the user all the time. After a very short time, this becomes exceedingly frustrating, since manually focusing something you are holding is a fraught exercise. On the PC, this hardware so badly needs a tripod or at least something that enables the camera to be mounted.

That there is no Apple Mac OS or Linux tool is disappointing for those who use those platforms. There also isn’t a ChromeOS app, but it might be possible to use the Android software in that context.

Overall, the software could be better, but it works.

Thermal Master PC App — (Image credit: Mark Pickavance)

User experience score: 3.5/5

Thermal Master P3 Camera samples

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Thermal Master P3 Example images — (Image credit: Mark Pickavance)

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Thermal Master P3: Final verdict

This product is tantalisingly close to being brilliant, but it needs a stand/tripod/mount, and the software needs refinement. Undoubtedly, the part that Thermal Master nailed was the hardware of the camera, which could only be bettered with software-controllable focus.

Overall, the P3 is a significant improvement over the P2, and the best add-on thermal solution I’ve seen so far.

If Thermal Master could come up with a tripod, it would stand head and shoulders above the competitor offerings.

Should I buy a Thermal Master P3?

Thermal Master P3 Score Card
Attributes	Notes	Rating
Value	High quality at a reasonable price	4/5
Design	Highly engineered and portable	4/5
User experience	Needs a tripod and improved software	3.5/5
Overall	Excellent quality and easy to carry	4/5

Buy it if...

Thermal imaging is often needed
Much better than a phone with FLIR sensors, and easier to get the best from, this might be the only thermal camera you need.

You need to track changes over time
One of the standout features of this camera is the ability to track changes over time, either using time-lapse or with a thermal alarm. For those tracking a plumbing issue or damaged power cabling, these features could be invaluable.

Don't buy it if...

You have a secure phone
Android app requires sideloading, which may deter less technical users or raise security concerns — especially in enterprise environments where official app store access is preferred.

You have a medical requirement
Thermal cameras aren’t a substitute for a medical device to measure body temperature, even if its quoted accuracy is 2 °C plus or minus. We would strongly advise that if you want to identify someone with a fever, there are better and more reliable ways than this.

Also Consider

InfiRay Xinfrared P2 Pro
A small add-on that can be used with the majority of Android and iOS phones to enable thermal image capture. Plugging into the USB-C port, this tiny device can achieve a resolution of 256 x 192 and has a magnetically attached macro lens.

While this sounds ideal for the very occasional user, it isn't any cheaper than the P3 and has a lower resolution sensor.

Read our InfiRay Xinfrared P2 Pro review

I’ve just found a couple of travel tripods that surprise and excite me in equal measure, while the video version is truly something special

1:00 pm | August 10, 2025

Author: admin | Category: Camera Accessories Cameras Computers Gadgets | Comments: Off

Ulanzi GlideGo Travel Tripods: two-minute review

When you think of the humble tripod and all of the variations available, it’s difficult to imagine that a slightly different take on the classic three-legged design is possible. But Ulanzi has done just that with the Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod.

Before getting into specifics, these two tripods are exactly the same, except for the head, with both being built around the same legs and basic ball head design; it’s the video model’s fluid pan and tilt movements alongside the handle that differentiate.

Oh yeah, and there's even a craftily hidden tool kit in the handle for adjusting the tripod. This head makes the video model slightly taller and heavier than the standard model, but the movements it allows for are impressive.

Both tripods also feature an articulating center column, which is rare for travel tripods, and this provides the opportunity for you to position the camera at many different angles. Further to this, the video version can achieve gimbal-like movements thanks to this feature, alongside 360-degree pan mechanisms on both the centre column and the head.

I love this feature and the creative camera angles and movements it allows for, which is something I’ve not seen with a tripod before, especially a video travel tripod. The head on this tripod features a fluid pan and tilt design that provides smooth movements without judder, which is essential for video.

One video tripod feature that is missing, however, is a levelling base; these are used to level the tripod head without the need to level the legs.

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Ulanzi GlideGo Travel Tripod ball head — (Image credit: James Abbott)

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Ulanzi GlideGo Travel Tripod video ball head — (Image credit: James Abbott)

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Ulanzi GlideGo Travel Tripod ball head clip — (Image credit: James Abbott)

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Ulanzi GlideGo Travel Tripod plate — (Image credit: James Abbott)

The way around this simply comes down to the fact that the video features of the head are built onto a ball head with the pan mechanism above the ball joint. This cleverly and effectively mimics the effect of a levelling base, while also providing fast set-up in a lightweight and highly portable travel tripod. Then there are some 1/4in and Arri mounting threads for attaching accessories.

These are tripods where the head itself is an integral part of the overall package and can’t be changed. It’s essential to be aware of this because the head becomes an even more important part of the purchasing decision than a tripod where the head can be changed. That said, the two head options do work extremely well and avoid camera slippage thanks to the clip lock that secures the ball joint perfectly.

I’ve not seen this design on a ball head before, and it’s more effective than low-end and mid-range ball heads that use the traditional locking knob/dial. The GlideGo tripods use Ulanzi Uka and F38 tripod plates rather than Arca Swiss, so you can’t use L-brackets with the heads unless the L-bracket has a 1/4in screw thread. There is, as with most ball heads, a notch allowing you to position the camera in portrait format, so you can shoot vertically.

The tripod plate uses a locking system where you push it into the head to engage the lock, push the button to the side to lock the button and then slide and push the button to release. This is admittedly much quicker and easier to use than a knob-style lock, although I can’t say whether it’s better or worse – it’s simply another approach that works and is a pretty neat way of locking and releasing.

The overall build quality of the two tripods is excellent, with four carbon fiber leg sections that provide an impressive level of rigidity and support, especially considering the narrow diameter of the thinnest bottom section. Legs are secured by clips rather than twist locks, and I found them to be fast, reliable and positive in use when working with both tripods.

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Ulanzi GlideGo Travel Tripod panning for video capture — (Image credit: James Abbott)

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Ulanzi GlideGo Travel Tripod leg lock being adjusted — (Image credit: James Abbott)

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Ulanzi GlideGo Travel Tripod articulating center column — (Image credit: James Abbott)

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Ulanzi GlideGo Travel Tripod clip locks on legs — (Image credit: James Abbott)

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Ulanzi GlideGo Travel Tripod carry bag — (Image credit: James Abbott)

The standard ball head version offers a height range of 16.1x72.4in / 41-184cm and weighs 3.44lbs / 1.56kg. The video version provides a height range of 17.3x73.6in / 44-187cm and weighs 3.88lbs / 1.76kg. Let’s just forget the numbers for a second and put it into context. This means that you can position your camera at over six feet with these tripods, which is high for compact travel tripods.

Both tripods have a max payload of 39.68lbs / 18kg, which is slightly misleading because this figure refers to the legs, while the head has a maximum payload of 11lbs / 5kg. This is still a commendable payload that can comfortably support the vast majority of camera and lens combinations, but a far cry from the headline figure.

Moving back to the articulating centre column, which is one of the defining features of the tripods, this also offers a telescopic function. This is where the articulating section is hidden within a vertical section until lifted out, and the outer section can then be left in position or raised to increase the height of the tripod.

There’s a useful hook at the bottom of the outer section of the tripod to add weight and stability when required, alongside a smaller hook on the inner column to add counterbalance if and when required.

While this is all great when finding angles, viewpoints and increasing the height of the tripods, it does mean that you can’t splay the legs to articulate the centre column at a low angle. Instead, you can keep the legs at their ‘standard’ angle and articulate the inner section of the centre column downwards. This means the camera is upside down, but you can shoot at low angles. It’s strange, but to be fair, it works.

Ulanzi GlideGo Travel Tripods: key specs

	JJ05	JJ06 (video)
Head	360-degree pan, 90-degree vertical switch	360 degree pan, 90 degree vertical switch -50 to -60 degrees tilt
Leg sections	4	4
Height	16.1-72.4in / 41-184cm	17.3-73.6in / 44-187cm
Weight	3.44lbs / 1.56kg	3.88lbs / 1.76kg
Max Payload	39.68lbs / 18kg	39.68lbs / 18kg
Material	Carbon fiber	Carbon fiber

Ulanzi GlideGo Travel Tripods: Price and availability

The Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod were announced on 28 July 2025 and can be ordered directly from Amazon, the Ulanzi website and online photographic retailers, so they’re easy to get hold of.

Ulanzi is a photo accessory company you’ve probably come across, since there are many Ulanzi products available on Amazon. The company is well-known for its low-cost accessories that are manufactured to a high standard, and although the GlideGo tripods are priced similarly to bigger brands, they are still fairly and reasonably priced based on features and quality.

The JJ05 GlideGo Travel Tripod costs $269 / UK£300 /AU$359, while the JJ06 GlideGo Video Tripod is slightly more expensive at $299 / £320 / AU$389. The tripods come with carry cases, and the video tripod even has a handy toolkit hidden away in the tripod handle.

Ulanzi GlideGo Travel Tripods: Also consider

Heipi 3-in-1 Travel Tripod

The Heipi 3-in-1 Travel Tripod is a small and lightweight travel tripod you may not have heard of. But with a lower cost than its Peak Design rival and innovative design, this is a tripod that can support multiple camera types, including phones. Plus, it incorporates a mini tripod into the overall design, so as the name suggests, this is an impressive 3-in-1 option.

Read our Heipi 3-in-1 Travel Tripod review

Peak Design Pro Tripod

The Peak Design Pro Tripod is available in three variants and is considered an exceptional tripod with a similarly high price to match. Their leg design allows them to be folded down to an impressively small size, plus their optional ‘mods’ allow you to increase the video functionality as well as some spiked feet if you need a little extra grip on location.

Read our Peak Design Pro Tripod review

Should I buy a Ulanzi GlideGo Travel Tripod?

Ulanzi GlideGo Travel Tripods side by side on grass — (Image credit: James Abbott)

Buy it if...

You need a high-quality travel tripod

With excellent build quality, an innovative design and excellent features, this is a pair of tripods that can deliver something new.

You need a lightweight video tripod

If you’d like a lightweight video tripod with unique movements that mimic gimbal shots, the video version is the tripod for you.

Don't buy it if...

You need a larger and heavier tripod

Sometimes larger and heavier tripods are the best option for maximum stability, so if you don’t need a travel tripod, a full-size tripod might be more suitable.

You want to use multiple heads

Some photographers have different tripod heads for different jobs, and the heads on this tripod are fixed, so you can only use the included head.

How I tested the Ulanzi GlideGo Travel Tripods

Tested for several weeks
Handling, stiffness and rigidity tested
Ball head operation and features

The Ulanzi GlideGo Travel Tripod and GlideGo Video Tripod were tested over several weeks for stills photography and videography to test the specific features and functionality of each.

This was with several different camera and lens combinations, shooting subjects including landscape, cityscape and for video, the focus was on B-roll capture to test the movements possible with the GlideGo Video Tripod.

With nearly 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras, lenses and accessories from a photographer’s point of view.

First reviewed August 2025

I tested Camp Snap’s retro video camera – and it’s a cut-price portal to a simpler time

4:00 pm | August 9, 2025

Author: admin | Category: Cameras Computers Gadgets Video Cameras | Comments: Off

Agfaphoto Realimove MC3X review: two-minute review

Camp Snap CS-8 video camera — The CS-8 only records video while the trigger is held down. (Image credit: Future | Sam Kieldsen)

Released back in 2023, the original Camp Snap camera has quickly established itself as a minor cult classic. While I wouldn’t call it one of the best compact cameras around, this ultra-affordable, ultra-simple and ultra-pocketable screen-free snapper is a refreshing return to photography’s old-school principles: just point, shoot and look at the results at some point in the future.

Now, with the new Camp Snap CS-8, the company has brought that same ethos to video. Styled after the Super 8 film cameras of the 1960s, complete with vintage textured plastic, pistol-grip operation, knurled dials and analogue meters to show remaining battery life and storage space, the CS-8 is a retro camcorder for a generation bored of using smartphones for all their video needs.

The CS-8 is large and chunky, and felt reassuringly weighty in my hand. I’m not in love with the abundance of plastic here – despite the classic looks, there’s very little of the metal you’d find in a genuine original Super 8 camera – but I get it.

This is an ultra-affordable modern simulacrum of a vintage camera rather than the painstaking recreation provided by Kodak’s own 2024-released Super 8 (price tag: north of $5,000), and it’s awash with obvious fakery: there are imitation screws on the base of the handle, a dummy cold shoe on top and, despite the rubbery grip wrapped around its barrel, there’s no way to actually adjust the lens. I can live with all that, as I don’t expect it to be a “real” 8mm camera – just to look like one from a distance.

Distractions are minimal; with no screen and an electronic viewfinder designed only for shot composition, there’s no way to review (or even delete) your footage until you offload it to a computer. There are very few settings to fiddle with, either: one dial picks your preferred aspect ratio (4:3, 16:9, 1:1 or 9:16), one your film look (standard, B&W, analogue or one of two vintage filters) and… that’s it, basically.

When the CS-8 is powered on, the rubber-cupped viewfinder shows a live view, formatted to match the current aspect ratio, plus the amount of battery life remaining and the current film look. To record a video, you simply point the camera at a subject and squeeze the trigger – there’s no need to focus, although you can use the “W” and “T” buttons to zoom in and out. Just like on a real 8mm camera, you need to keep the trigger pulled the entire time you’re filming; releasing it stops the capture immediately.

While reviewing the CS-8, I realised that it makes filming a much more conscious act than when I’m using my phone, or even a compact camera. Because there’s no screen and no pressure to immediately check on the footage after it’s been recorded, I can concentrate on recording a clip, and then move on. There’s no need to fret about what I’ve recorded until I get home, or until the SD card is full (which takes a while, as there’s enough space here to hold about 30 minutes of video – and by loosening two screws and pulling off a panel, you can replace the supplied 4GB card with one up to 128GB in capacity, giving you room enough for around 16 hours of video).

The footage itself is quite high-resolution, but not high-quality. There’s no stabilization, using the digital zoom degrades detail quickly and sound is monoaural. This suits the camera perfectly, I think; in fact, my favorite look by far is the Super 8-mimicking Analogue, which reduces the frame rate to 20fps (it’s 30fps on all the other modes) and adds fake scratches and artefacts to the image. The resulting imperfect, jerky video is charmingly odd, while the other modes are a little flat and boring.

If I want pristine, stabilized video, I’ll use my iPhone or a mirrorless camera. What I want from the CS-8 is something different, weird and striking – and with the Analogue setting, at least, I’m getting just that. It’s not “good” video, no, but good video is not the point.

I also think the camera is ideal for kids, being incredibly simple to operate, robustly built and cheap enough that it doesn’t matter too much if it gets damaged. In my experience, youngsters weaned on smartphone photography expect to be able to look at what they’ve just filmed right away – and might find the idea of waiting hours or even days to see their footage utterly baffling. Maybe the CS-8 could be a perfect way to teach them a bit of good old-fashioned patience?

I don’t like everything about the camera, though. The microphone picks up the noise of the trigger being pulled in almost every shot, which is one bit of jankiness I found far less charming than the rest. The viewfinder is also a real pain to use if, like me, you wear glasses; even pressed right up against the cup I could only see about half of it, which I found annoying when trying to compose shots or even scope out remaining battery life.

Still, I view the Camp Snap CS-8 more as a fun alternative to a smartphone than a camcorder I’d use every day. It’s great for holidays, road trips, parties and the like – pass it round and let everyone have a turn filming, then edit all the clips together when you get home and share the results. As a piece of cheap, nostalgia-fuelled fun, it’s hard to beat.

Camp Snap CS-8: price and availability

At the time of writing, the CS-8 is currently available for pre-order, with shipments due to go out “by mid-September” 2025.

The camera is priced at $199 / £152, but those who do order ahead of the launch date can take advantage of 25% introductory discount, making the price a very reasonable $149 / £114.

In the box you get the camera itself, a pre-installed 4GB microSD card and a USB-C to USB-C cable for charging and data transfer. It would have been nice to include a strap or lanyard, but you either buy Camp Snap’s own wrist strap/USB-C cable or add any strap of your own.

Agfaphoto Realimove MC3X review: specs

Video	Up to 2880 x 2144 30fps
Audio	Mono only
Aperture	f/2.0
Zoom	8x digital
Focus	0.3m-infinity
Storage	4GB microSD card (replaceable)
Stills	N/A
Connectivity	USB-C
Battery life	30 minutes (approx.)
Dimensions	200 x 58 x 203mm / 7.9 x 2.3 x 8in (approx.)
Weight	519g / 18.5oz

Should I buy the Camp Snap CS-8?

Buy it if...

You want an ultra-simple video camera
About as point-and-shoot as video gets, these days – and there’s no even a screen to distract you from the act of filming.

You’re a fiend for nostalgia
If you’re on your fourth binge-watch of Mad Men, the CS-8’s 1960s flair and its vintage video look might well appeal to your mid-century aesthetic sensibilities.

You want a kid-friendly camcorder
Cheap, sturdy and simple to use, the CS-8 is ideal for young kids. As long as they don't mind waiting to review their footage.

Don’t buy it if…

You’re expecting pristine audiovisual quality
With tinny sound and grainy video, the CS-8’s home movie clips are much more 1960s than 2020s. That’s kind of what you’re paying for, really – but inveterate pixel peepers need not apply.

You’re a spectacles wearer
If your glasses are, like mine, as thick as bottle bottoms, you might struggle with the CS-8’s restrictive viewfinder. It’s not a deal-breaker for me, but it is an annoying design quirk.

You want pocket-sized portability
The CS-8 is a very chunky camera by today's standards, and isn't fitting in anything but the largest of coat pockets.

How I tested the Camp Snap CS-8

Three weeks of regular use
Filmed video using all settings and looks
Edited videos together using DaVinci Resolve

I was sent an early, pre-release review sample of the CS-8 from the initial batch of models off the production line, and had plenty of time to live with and test the camera in a variety of real-world scenarios: family get-togethers, coastal walks and inside my home, both day and night.

The camera is light on options, but I tested all the aspect ratios and looks (or filters), before exporting the video files to my laptop and editing them together into the sample video you see above using DaVinci Resolve. I didn’t color grade, correct or adjust any of the files, though – just used the editor to trim and stitch them together.

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