PolarPro VND Filter Peter McKinnon Edition II: Two-minute review
The latest product of PolarPro’s ongoing collaboration with hugely popular videographer and YouTube creator Peter McKinnon, the VND Filter Peter McKinnon Edition II has become an interesting and valuable part of my camera setup over the past few weeks.
First, a quick explanation of what a ND filter does. One of the key principles of photography and videography is the so-called “exposure triangle” – the way that ISO, aperture and shutter speed interact to control the amount of light that hits an image sensor.
By adding a neutral-density (ND) filter – which reduces the amount of light coming in without affecting the color hue – to the equation, photographers gain one extra factor to influence how the camera behaves, and more control over shutter speed and aperture.
For photographers, the ability to reduce light means we can use longer shutter speeds than the lighting conditions would ordinarily allow. That means artfully blurred waterfalls, or night-time shots with streaking, laser-like car headlights. For videographers, control over shutter speed allows for motion blur and wide-open aperture shooting in brighter conditions.
The main selling point of the PolarPro VND Filter Peter McKinnon Edition II (also known as the PMVND II) is that it’s a variable ND filter. In other words, twisting the filter allows the photographer to select an ND value from anything between two and five stops, saving them the bother of having to add filters to and them filters from their lens. (PolarPro also sells a stronger 6-9 stop edition of the VND filter, plus mist-diffusion Black Mist versions of both).
(Image credit: Future | Sam Kieldsen)
Because my review sample sits at the weaker end of the range for ND filters, I found that it couldn’t stop enough light to get truly long exposures outdoors on a bright, sunny day. Even at its highest 5-stop setting, and with my camera at its lowest ISO setting, a shutter speed of anything longer than a second resulted in a blown-out, overexposed image. So, if you want to shoot multi-second daytime exposures on sunny days or in bright landscapes (like snowfields), you’ll want to have the 6-9 stop filter to hand. If you’re feeling flush, buying both filters provides a wide stopping range.
On more overcast days, at night or indoors, however, the two to five stop range feels very usable. Even during the day, it allowed me to set a wider aperture than I’d normally be able to use for video, resulting in a shallow depth of field with background bokeh while maintaining an ideal shutter speed (of roughly double my frame rate, as the rule of thumb suggests).
The filter glass is extremely clear and neutral, although it does appear to add a very slight warm color cast when compared to shots with no filter attached. I couldn’t spot a single incidence of ghosting or chromatic aberration, however – two issues that can plague cheaper filters. And it doesn’t seem to affect the sharpness of images at all, which is what I would expect of a filter in this price range.
I also encountered no vignetting when shooting with a wide-open aperture at my lens’ widest field of view (12mm on a Micro Four Thirds camera, equivalent to 24mm on a 35mm or full-frame camera). PolarPro claims the filter exhibits no vignetting right down to 16mm, but I wasn’t able to put that to the test myself.
I also noticed that a small amount of additional contrast could creep into shots as I moved up the ND stop range. That’s a side effect of the variable ND filter design, I think – VNDs require polarized glass to achieve their variable effect, and that will affect the final image slightly. If that’s a no-no for you, you’ll need to use regular, non-variable ND filters instead.
While performance is strong, build quality might be even better. I was sent a 67mm filter to review (it’s also available in 49mm, 77mm, 82mm and 95mm sizes), and used a step-up ring (also by PolarPro) to fit it to the 62mm thread on my Panasonic 12-60mm F2.8-4.0 lens. Both the filter and ring screwed on smoothly and securely, with no awkward threading.
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No filter attached (Image credit: Future | Sam Kieldsen)
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ND 2 (Image credit: Future | Sam Kieldsen)
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ND 3 (Image credit: Future | Sam Kieldsen)
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ND 4 (Image credit: Future | Sam Kieldsen)
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ND 5 (Image credit: Future | Sam Kieldsen)
The combined case and lens cap (known as the Defender 360) makes fitting even easier – and ensures greasy fingerprints stay well away from the filter glass. The cap features two parts, one metal (aluminum to be precise) and one rubber, with the rubber element gripping around the filter’s frame so that you can, with a twist, add or remove the filter from your lens. When not in use, the filter sits inside the rubber part while the metal screws back on over one side to keep it safe. It’s an ingenious piece of design.
The filter itself feels beautifully precision engineered. The machined ridges or knurls on the edge give your fingers plenty to grip onto, while the subtle 'click' expressed as each ND stop is reached is welcome (and useful) feedback. Of course, some users might prefer a completely smooth turn, particularly videographers who want to adjust the stopping value while rolling the camera. It’s something to note, but I personally found it a clever design touch.
And, while this is a subjective thing, I think the PMVND II looks really classy too, with its two-tone black and brass finish. It’s hydrophobic too, with water beading and running off the glass easily.
Overall, I’m hugely impressed by the quality of the PolarPro VND Filter Peter McKinnon Edition II. Yes, it’s expensive – but it’s also thoughtfully designed, impeccably constructed, and works exactly as a variable ND filter should. If you’re looking for an ND filter to expand your creative repertoire, this 4-in-1 champion should certainly be on your radar.
(Image credit: Future | Sam Kieldsen)
PolarPro VND Filter Peter McKinnon Edition II: Price and availability
The PolarPro VND Filter Peter McKinnon Edition II is available now worldwide, priced at around $150 / £150 / AU$260 for the 49mm size or around $250 / £240 / AU$450 for the 67mm, 77mm, 82mm and 92mm sizes.
The filter is available in two ND stop ranges: 2-5 (which I'm reviewing here) and 6-9, with both models additionally available in a Black Mist version designed to soften highlights for a different look.
These are high prices for ND filters, but I think the quality and adaptability of the PMVND II makes it well worth the price to the right buyer.
Should I buy the PolarPro Peter McKinnon VND Edition II filter?
(Image credit: Future | Sam Kieldsen)
Buy it if...
You find swapping filters a drag As a VND, this is actually four ND filters in one. Rotating the filter enables the user to move from two to five stops of ND strength.
You value rugged, tactile design The PMVND II is built to superb standards, from its clean, smooth rotation to its innovative lens cap, which doubles as a protective case.
Don't buy it if...
Your budget is limited The PMVND II is unashamedly premium, and you can obtain a VND filter, or a set of ND filters, from other brands for a lot less.
You want full smooth rotation I like the filter's 'clicks' as it hits each ND stop setting, but videographers may prefer a click-free alternative for smoother transitions while filming.
How I tested the PolarPro Peter McKinnon VND Edition II filter
I used it for several weeks
I fitted it to a Panasonic Lumix GH6
I tested it for photo and video capture
I used a 67mm PMVND II on and off for several weeks in the late summer and early autumn on the English south coast, threading it to a 12-60mm zoom lens on my Panasonic Lumix GH6 via a 62mm-to-67mm step-up ring (also supplied by PolarPro). I recorded video and shot photos using all of the filter’s ND levels, and tested it in various weather and light conditions, from overcast drizzly evenings to blazingly sunlit mornings.
The GoPro Max 2 is GoPro's long-awaited return to the 360 camera arena, and it arrives with the rugged build quality and intuitive design philosophy that has made the brand synonymous with action cameras for over a decade.
It's a compact, square-bodied camera that takes clear design inspiration from its predecessor while incorporating lessons learned from rivals like the Insta360 X5 and DJI Osmo 360. The Max 2 is built tough – waterproof to 5m without additional housing and ready to handle the kind of punishment that extreme sports can dish out. What sets it apart from the competition is GoPro's decision to make the lenses fully user-replaceable without tools, a smart move given how vulnerable 360 camera lenses are to damage.
At $499.99 / £449.99 / AU$849.95, the Max 2 is priced between the DJI Osmo 360 and the premium Insta360 X5, offering a middle-ground option that should appeal to GoPro loyalists and newcomers alike.
The standout feature here is what GoPro calls “true 8K” recording; the Max 2 delivers genuine 8K capture with at least 3840 active pixels on each axis, and the results are undeniably sharp and vibrant in good lighting conditions.
(Image credit: Future | Sam Kieldsen)
Design-wise, there's plenty to appreciate too: a bright 1.82-inch touchscreen, GoPro's famously simple two-button control scheme, built-in GPS, and compatibility with three separate mounting systems: the classic GoPro fingers, standard tripod threads, and the newer magnetic latch system. The camera feels reassuringly solid and well-balanced, whether in your hand or mounted on some other part of your body.
Video tops out at 8K 30fps in 360 mode, with 5.6K 60fps and 4K 100fps options for slow-motion work. The Max 2 also captures 29MP 360-degree stills and supports 10-bit color recording plus GP-Log flat profile for post-production color grading.
Performance is strong in daylight, delivering the punchy, colorful footage GoPro is known for, with minimal distortion, effective automatic stitching and selfie stick removal. However, the camera struggles more noticeably in low-light conditions compared to rivals that offer dedicated night modes, and thermal management can be an issue during extended recording sessions.
(Image credit: Future | Sam Kieldsen)
The Max 2 pairs with GoPro's established Quik mobile app for quick editing and sharing, plus the updated GoPro Player desktop software for more comprehensive post-production work. Both offer solid 360 video editing tools, though at present neither quite matches the sophistication of Insta360's software suite.
Ultimately, while the Max 2 doesn't revolutionize the 360 camera market, it delivers exactly what I’d expect from GoPro. This is a well-built, user-friendly camera that produces excellent results in the right conditions, and it’s backed up by an ecosystem of accessories and editing tools that make the whole experience relatively painless. GoPro is well truly back in the 360 camera game.
Look out for my in-depth GoPro Max 2 vs Insta360 X5 comparison, based on real tests, coming soon
GoPro Max 2 specs
DJI Osmo 360 specs
Type:
360 camera
Waterproof depth:
5m / 16ft
Screen:
1.82-inch touchscreen
Storage:
microSD
Connectivity:
USB-C, Wi-Fi 6, Bluetooth
Dimensions:
64 x 69.7 x 48.7mm / 2.4 x 1.4 x 3.2 inches
Weight:
195g / 6.88oz
The Max 2 mounted on GoPro's selfie stick (Image credit: Future | Sam Kieldsen)
GoPro Max 2: Price and availability
Launched worldwide on 23 September 2025
Pre-orders shipping 30 September 2025
Priced at $499.99 / £449.99 / AU$849.95
GoPro officially launched the Max 2 on September 23 2025, and it’s available to pre-order right away, with orders shipping from September 30.
It’s priced at $499.99 / £449.99 / AU$849.95 in a bundle that includes the camera and a single battery. At the time of writing I’ve not been informed of any bundles including accessories such as selfie sticks, microSD cards or extra batteries, but this section will be updated if that becomes the case.
This list price, which sits between the pricier Insta360 X5 and more affordable DJI Osmo 360, feels just about right to me. The Max 2 is a quality product and while being any cheaper would be a surprise, it’s clearly priced to compete with its closest rivals.
The GoPro Max 2 in the midst of its two main rivals, the DJI Osmo 360 and Insta360 X5 (Image credit: Future | Sam Kieldsen)
Price score: 4/5
GoPro Max 2: Design
Waterproof to 5m / 16ft plus replaceable lenses
Mountable via tripod, magnetic latch or mounting fingers
1.82-inch rear touchscreen
The GoPro Max 2 looks similar to the original Max, favoring a squat, square design over the narrower candybar shape used by some 360 cameras. Constructed from tough plastic, it’s pretty discreet and unassuming, with the bright blue flashes of the GoPro logo and “Max 2” the only deviation from all-business dark grey. It’s slightly smaller than its closest recent rivals, the Insta360 X5 and DJI Osmo 360, but not to what I’d consider a significant degree.
As you’d expect from a GoPro camera, the Max 2 feels rugged and ready for adventure. While there’s no specific IP rating, GoPro says it’s waterproof to a depth of 5m and able to operate in cold temperatures. While the waterproof depth isn’t quite as impressive as on some rival cameras, GoPro told me a dive housing accessory offering more robust underwater protection is currently in development.
(Image credit: Future | Sam Kieldsen)
Crucially, GoPro has also made its lenses fully user-replaceable – and without the need for a tool, either, in a move that beats even the Insta360 X5’s lens replacement system. With 360 cameras’ lenses protruding so far out of the body, they’re highly vulnerable to damage, so making them simple (and relatively cheap) to swap out if something goes wrong is a great move from GoPro.
That being said, I did notice some condensation inside the lens when I went from indoors to outdoors, and it affected image quality (you can see it in the cycling sections of the videos embedded below). This could be fixed by removing the lens and wiping it with a microfiber cloth, then replacing it, but I found it an annoying issue to deal with. It’s not something I’ve encountered on other 360 cameras, and I suspect it might be due to the removeable lens design.
The pop-out mounting fingers make attaching the Max 2 to hundreds of existing mounts very simple (Image credit: Future | Sam Kieldsen)
The Max 2 is small and lightweight enough for easy mounting on everything from helmets to bikes to selfie sticks, and GoPro has thoughtfully made it compatible with three mounting options. You have classic GoPro mounting fingers, a rock-solid way to fix the camera to a huge range of first- and third-party mounts, as well a standard tripod thread and the newer GoPro magnetic latch mount.
Controls are beautifully simple. There are two large rubber buttons – one for power and switching shooting modes, another for image capture – and a bright and sharp 1.82-inch touchscreen for everything else. The Max 2’s UI is extremely simple and easy to get to grips with, even for someone (like me) who doesn’t shoot on GoPro cameras particularly often, and I doubt anyone even slightly familiar with action camera menu screens will struggle to master it quickly.
Design score: 5/5
GoPro Max 2: Performance and features
Editing via Quik and GoPro Player apps
Built-in GPS
1,960mAh battery offers around an hour of 8K 30fps capture
With no built-in storage, footage and photos captured on the Max 2 are stored on microSD card, and can be quickly transferred wirelessly to a mobile device running the Quik app for editing and sharing.
I think Quik’s 360 video editor is pretty good, and I was able to swiftly reframe clips using manual keyframes or AI-assisted object tracking, plus tweak the image settings to achieve the look I wanted. Finished videos and photos can be saved to a phone’s camera roll, directly shared to social media or exported to other devices.
It’s also possible to edit on desktop, of course, and the updated GoPro Player app supports keyframe reframing but not, interestingly, AI-assisted tracking or image tweaking. GoPro says it’s getting a new denoise setting too, but this was greyed out and unavailable when I tested the app due to my M2-powered MacBook Air being not quite up to the task.
GoPro has informed me that both Adobe Premiere and DaVinci Resolve will be getting plug-ins allowing users to directly import the Max 2’s 360 files. Premiere support is due to be live by the end of 2025, with Resolve to follow later on.
One thing the Max 2 has that its DJI and Insta360 rivals don’t is built-in GPS, enabling users to embed location data in their footage and photos. Most other cameras either require an optional module or tethering to a smartphone for geotagging, so the Max 2, like the original Max, offers an edge there.
The battery, microSD slot and USB-C port are all located inside a single well-sealed compartment (Image credit: Future | Sam Kieldsen)
Despite the large vent on one side, the Max 2 does get warm during use. When I left it recording video, it turned itself off to avoid overheating with both 8K 30fps and 5.6K 30fps recording. With the 8K footage, it recorded just under 30 minutes of footage before shutting down; it lasted almost 58 minutes when recording 5.6K footage. This was indoors at room temperature, and I did find that setting it up outdoors on a chilly autumn day allowed it to record for longer, as would actual outdoor pursuits scenarios.
GoPro doesn’t specify battery life from the 1,960mAh battery, but I managed to get just over an hour of 8K 30fps footage recorded when leaving the camera running outdoors. I think this performance is quite good given the bit rate and resolution of the videos being recorded, but those planning a long day of 360 shooting might want to invest in one or two extra batteries.
The camera features six built-in microphones – more than either of its main rivals (Image credit: Future | Sam Kieldsen)
The Max 2, like the original Max, features six separate built-in mics, but here they offer directional audio capture. Neither the DJI Osmo 360 or Insta360 X5 offer six mics, but despite this I wouldn't necessarily say the Max 2 outright beats its rivals here: audio sounds absolutely fine in good conditions, but when the wind picks up the built-in wind reduction tech can't do much to suppress the noise.
GoPro says the Max 2 can be used with Apple AirPods and other Bluetooth earbuds for wireless mic input, and this may help avoid the wind issue, but bringing out a dedicated DJI Mic-style wireless mic may be the best solution the company could offer further down the line.
GoPro has been keen to point out that the Max 2 is the only 360 camera that records what it calls “true 8K” resolution 360 video. The company claims rivals like Insta360 and DJI are essentially fudging the numbers in order to claim 8K capture – either by counting unused or overlapped pixels, or by upscaling output to 8K from lower resolution sources – whereas the Max 2’s 360 output is truly 8K with at least 3840 active pixels on each axis for both sensors.
Video can be shot at up to 10-bit quality and in either a standard color profile or the flat GP-Log mode for post-shoot grading, and the maximum video bit rate is 120Mbps, or 300Mbps for users of GoPro Labs. For the purposes of this review, I stuck with 120Mbps. I did try out GP-Log, but GoPro has yet to release a LUT at the time of writing and I found grading the footage more of a slog than I'd like. Once the LUT is out things should get a lot easier there.
Video quality is generally very strong, whether recording in 8K (which is capped at 30fps) or 5.6K (which can go up to 60fps, offering users the potential to use 2x slow-motion; a 4K 100fps option is also available for those who want even more slow-motion potential). GoPro has established itself as delivering colors that look good straight out of the camera, as well as minimal distortion and flare.
Mostly that’s the case here, although I found that some of my 360 videos looked a touch overexposed and washed out in bright skies – likely as a result of having to set exposure for a full 360º view rather than in a single direction. User intervention, by setting the exposure manually, could improve things here, but in general the results are strong.
Still photos are similarly good-looking, and while I tweaked the below example slightly using the Quik app, it’s basically fresh out of the camera.
(Image credit: Future | Sam Kieldsen)
At night, the Max 2 isn’t as impressive. Both the DJI Osmo 360 and Insta360 X5 have dedicated low light modes for 360 video, but with the Max 2 you’re left with the standard mode, and it’s noisy and smeary after dark. It’s possible that using GP-Log and some clever settings before editing in post could yield better results; I didn’t have time to delve into this, so I can’t say for sure – but what I can say is that both the Osmo 360 and X5 make capturing usable low light footage very easy, while the Max 2 doesn’t.
So, if low light footage is a priority for you, the Max 2 may not be the ideal 360 camera. If, however, you're capturing footage in daylight and want the very cleanest, sharpest 8K around, I think it's the best at doing it.
The camera includes a wide range of capture modes besides standard 360 videos and photos: time lapse modes, dedicated single-lens shooting modes and more. I've included a quick clip I captured using the Night Lapse mode in the sample video above.
Image quality score: 5/5
GoPro Max 2: testing scorecard
GoPro Max 2
Attributes
Notes
Rating
Price
Cheaper than the Insta360 X5, slightly pricier than the DJI Osmo 360.
4/5
Design
Great mounting options, rugged build and easily replaced lenses. Just watch for the condensation.
5/5
Performance
Good apps and battery life, but can overheat.
4/5
Image quality
Beats the X5 and Osmo 360 in broad daylight, but can't match either in challenging after-dark conditions.
5/5
(Image credit: Future | Sam Kieldsen)
Should I buy the GoPro Max 2?
Buy it if...
You're invested in the GoPro ecosystem Got boxes of GoPro mounts and a subscription? The Max 2 slots right into the GoPro range, so if you're already a fan you'll be at home immediately.
You're a risk-taker The Max 2 is small and rugged, making it ideal for extreme sports. Its lenses are also very easy to replace in the field – no tool required.
You like things simple The Max 2's minimal controls, simple app and great out-of-the-camera image quality make it one of the easiest 360 cameras to use.
Don't buy it if...
You shoot after dark or indoors While it shines in broad daylight, the low light performance of the Max 2 just can't match that of its DJI and Insta360 rivals.
You want built-in storage A small thing, but the Osmo 360's built-in storage means you don't need to fumble for microSD cards – with the Max 2, you do.
Also consider
Insta360 X5
The X5’s rugged build, replaceable lenses, low-light performance, ease of use and battery life have made it our top pick ahead of the Max 2's arrival. Its weight and profile aren't as wearable as the Max 2, however, and I think the Max 2's daylight image quality is slightly better.
A cheap and cheerful alternative to the GoPro Max 2, Akaso's first 360 camera is surprisingly capable. Like the Max 2, it's designed with outdoor daytime use in mind, but its overall image quality level is several notches below.
Tested camera running v01.09.71 firmware for four days
Camera mounted on invisible selfie stick, helmet, bike and chest harness
Recorded videos day and night on foot and cycling
GoPro sent me a review sample of the Max 2 a week ahead of the launch date, and it was updated to run v01.09.71 firmware. This meant full launch features, as far as I'm aware, enabling me to test all the shooting modes and image quality – which I did by taking the camera out in the field mounted to various things (bike, head, helmet, chest, selfie stick).
I tested it in various lighting and weather conditions, editing the resulting videos and photos using both GoPro apps: the Quik mobile app and the GoPro Player desktop app (the latter on my M2 MacBook Air, which sadly wasn't powerful enough to make use of the app's Denoise feature).
The DJI Osmo Nano is the latest in the brand's line of action cameras. Rather than building on a predecessor it's a whole new concept in its own right, although it shares the same-sized 1/1.3-inch CMOS sensor as the DJI Osmo Action 5 Pro, which landed at the end of 2024.
The range of best action cameras is more diverse today than it was even just a few years ago. The one-block shops of design like the GoPro Hero 13 Black are still popular, for sensible reasons like ruggedness and extended battery times, but modular designs like the Osmo Nano and the new Insta360 Go Ultra are becoming more common.
Why? We don't just want to hold our action cams or use a fiddly mount to attach them to our bike handlebars anymore. The content creation universe is continuing to grow, and so is the number and variety of places where we need our cameras to go.
In a nutshell, the Osmo Nano is a light, wearable action camera. You can wear it around your neck, on your head, on a hat or helmet, plonk it on your car, bike, or even attach it to your dog. It's remarkably small, and at 52g it's a gram lighter than its main competitor, the Insta360 Go Ultra, released a month before it.
The product is modular in design and built as a two-piece system, with a tiny, standalone camera unit that pairs with the Multifunctional Vision Dock underneath. The dock acts as a remote, screen, and charging station, with a small but bright 1.9-inch display to help you compose shots and adjust settings.
(Image credit: Lauren Scott)
These two parts join together via two clips and a strong magnetic system, and it's this magnet that also allows the camera to snap onto DJI's various accessories, for a wide range of hands-free, wearable mounting options.
Although the camera is a fully IPX8-rated unit that's waterproof down to 10m, the dock is only IPX4-rated for splash resistance, which limits its use in heavy rain or near a body of water – a totally rugged design this is not.
Inside the camera is a 1/1.3-inch CMOS sensor, which captures a dynamic range of up to 13.5 stops according to DJI. I haven't done any calculations with my test images on this, but I did find great levels of detail and color in bright sky highlights as well as darker, shadowy areas like tunnels. I was genuinely impressed by the level of detail and tone the camera could capture, particularly for a sensor this small (in full-frame terms).
For me, DJI has always been a brand for what I'd call 'serious' creators, and that's something I'm pleased to see the brand has leaned into with the Osmo Nano. There aren't any 'fun' filters or gimmicks in the menus. Instead, the settings are pared back to sensible and helpful options; voice controls and gestures to start recording all work very well to make hands-free shooting that much easier.
A big draw for professionals is the color performance. I was surprised to discover that the Osmo Nano can record in 10-bit color with D-Log M and HLG profiles – a pro-level feature that gives you more leeway for color grading in post-production, if you want to edit manually rather than relying on the automatic outputs from the DJI Mimo app. In 10-bit, I found videos were punchy but still well-balanced.
(Image credit: Lauren Scott)
Performance-wise, the Osmo Nano delivers exceptionally well in some areas but underwhelms in others. The promise of rapid file transfer holds up, with the 128GB version clocking transfer speeds of up to 600MB/s over a USB 3.1 connection. This is a huge time-saver.
Battery life, however, is a clear limitation. While DJI claims up to 90 minutes from the camera and 200 minutes with the dock, I found that shooting at 4K/60fps got me closer to just 60 minutes of continuous recording. On the upside, the dock's ability to fast-charge the camera to 80% in about 20 minutes means you can be back to shooting in no time.
The RockSteady 3.0 and HorizonBalancing stabilization features work well for walking or light activity, and even when I tried recording star jumps and high-intensity workouts, the footage was stable in sports mode. Audio quality is good all-round too, and two built-in microphones capture immersive stereo sound, with decent but not brilliant wind reduction. Another plus for more advanced creators is the ability to pair the Nano with two mics separately, and you won't need receivers if they're from DJI.
While the image quality is good for a camera this small, it’s still bound by the limitations of its form factor. The fixed 143-degree ultra-wide field of view is great for first-person shots, but obviously lacks the versatility of a more zoomed-in lens. And while DJI's SuperNight mode for low-light shooting is better than ever, it's limited to 30fps and 8-bit color.
(Image credit: Lauren Scott)
The Osmo Nano is pricing is really aggressive, coming in much cheaper than the Insta360 Go Ultra and the GoPro Hero 13 Black – and that's with built-in storage too, meaning you can start shooting straight out of the box.
It's not necessarily the most charming camera I've tested, but it's thoroughly dependable and sensible, and for that reason I found it growing on me, while the low price sweetens the deal. The DJI Mimo app is less intuitive than Insta360's, and AI edits are a little less exciting, but it's smart and stable, and puts a clear live feed with access to settings at your fingertips on your smartphone.
DJI isn't marketing the Osmo Nano for family users, and it lacks some of the fun features of the Insta360 lineup, plus Toddler Titan mode for capturing kids. While charging is fairly speedy it doesn't charge as quickly as its main competitor, the Insta360 Go Ultra, either, but the camera does last longer.
If you need a fully rugged and all-in-one device for more extreme sports or environments, the GoPro Hero 13 Black or the DJI Action 5 Pro might be a better choice. But this is a well-thought-out, truly wearable action camera for creators who want to experiment with unique perspectives, and need a B-camera for places their main camera can't go, for a B-cam price.
(Image credit: Lauren Scott)
DJI Osmo Nano: specs
DJI Osmo Nano specs
Sensor
1/1.3-inch CMOS
Max Resolution
35MP (6880 x 5160) photos 4K, 60fps footage
Weight
Camera: 2.54oz / 53g Vision dock: 3.8oz / 72g
Dimensions
Camera: 57 x 29 x 28mm Vision Dock: 59 x 42 x 22mm
ISO Range
100–25600
Lens
FOV: 143 degrees Aperture: f/2.8 Focus: 0.35m to ∞
Operating Time
Camera: 90 mins* Camera + Multifunctional Vision Dock: 200 mins*
Connectivity
Bluetooth, Wi-Fi, USB-C 3.1
Storage
64GB/128GB built-in microSD card, up to 1TB
Waterproofing
Camera: 33ft (10m) Vision Dock: IPX4-Rated
DJI Osmo Nano: Price and availability
Launched worldwide on September 23 2025, except US
Osmo Nano Standard Combo (64GB) costs £239 / AU$529
Osmo Nano Standard Combo (128GB) costs £259 / AU$589
The DJI Osmo Nano was announced on August 23, 2025, and is now shipping from DJI’s online store and authorized retailers, including Amazon. It won't be available officially in the United States at launch. A DJI Spokesperson told TechRadar that "DJI remains dedicated to the US market and is optimizing our strategy to best serve our customers amidst evolving local conditions."
There are two standard combos to choose between, broken down by the internal storage capacity: the Osmo Nano Standard Combo at 64GB (£239 / AU$529) or 128GB (£259 / AU$589).
Each combo comes with the same content, including the Osmo Nano Camera, Multifunctional Vision Dock, Magnetic Hat Clip, Magnetic Lanyard, a protective case, USB-C cable (USB 3.1), and a Dual-Direction Magnetic Ball-Joint Adapter Mount. The protective case is more just a plastic sheath rather than substantial padded protection.
That price puts it way below the Insta360 Go Ultra Standard Combo ($449.99 / £369 / AU$759), which is more impressive given that you get built-in storage too. It's also less than the GoPro Hero 13 Black (now available for around $359.99 / £315).
Price score 5/5
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(Image credit: Lauren Scott)
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(Image credit: Lauren Scott)
DJI Osmo Nano: Design
Standalone camera is waterproof, dock is splashproof
Magnetic base connects easily to mounts
The camera weighs 1.83oz / 52g
The DJI Osmo Nano camera is oblong-shaped, about half as wide as it is long. It sits comfortably between your thumb and forefinger in either portrait or landscape mode, but I didn't find it as pocketable as the Insta360 Go Ultra because of its extra depth.
Without the dock, the Osmo is a light, wearable action camera at just 52g. Adding the dock, by way of two secure mounting clips and a magnetic, adds another 72g and turns the camera into a more complete action companion. It's small, but I found the combo top-heavy on uneven surfaces, making low-level shots without a mount more difficult.
There's just one built-in OLED HD touchscreen on the dock, rather than a screen at the front and back, or a flippable design like the Insta360 Go Ultra. This means you have to detach and remount the camera every time you want to go from shooting your environment to talking to the camera (if you want to see yourself, that is). Unlike the Go Ultra, which simply plops back into place with strong magnets, flipping the Osmo Nano around is a bit fiddly.
The design is gray and plastic, which is familiar territory for both DJI and action cams in general. The body is subtly textured though, meaning it's easy to grab onto with cold, wet or sweaty hands. Ruggedness is key for an action camera, but only the wearable part of the Osmo Nano is waterproof. The camera is IPX8-rated for submersion up to 10 metres underwater.
The dock is only splash, rain and likely sweat resistant, and I wouldn't fancy its chances in a heavy rain shower. This is a shame, because it limits potential usage and introduces a little caution to creativity when shooting. It's also a far cry from DJI's Action 5 Pro, which is verified down to 20m / 65ft.
(Image credit: Lauren Scott)
While the dock isn't waterproof, you can use the whole product in temperatures of -20C to 45C (-4F to 113F), so you're good for everything from winter sports to desert treks. A lens cover screws over the main lens, so if you damage or scratch it a replacement costs a fraction of buying a whole new unit.
The Osmo Nano has just two physical controls: there's a big red record button on the top of the camera and another on one side of the dock. These also act as power switches, and they require some force to push down so that you're not likely to press them accidentally. That's it, other than a small flap that opens up on the other side of the dock to reveal the USB 3.1 port for charging and transferring files, plus the microSD slot, which takes up to a 1TB card.
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(Image credit: Lauren Scott)
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I didn't find the DJI Osmo Nano as enjoyable or easy to navigate as other action cameras I've tested. You swipe up to access video settings, down for the main menu, and left to change the shooting mode. To toggle Pro Mode on or off, you tap the slider icon on the right side of the screen.
It's not rocket science, but at 1.96 inches the small screen means you need to be extra precise with your touch gestures to bring up menus and dial in settings. My partner – who has bigger hands and fingers than I – sometimes had to tap the screen a few times to activate settings.
The menus are mainly black and white with yellow accents, and I found this less eye-catching than the GoPro or Insta360 ecosystems, although that may be more a matter of personal preference. Some settings are also overlaid on the live picture and can be difficult to read. The camera doesn't have the same detailed tutorials and guides that you get when you start using the Insta360 Go Ultra, although I'm sure DJI fans will have no trouble finding their way around.
Design score: 4/5
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(Image credit: Lauren Scott)
DJI Osmo Nano: Performance and features
Quick-edit videos on the DJI Osmo Mimo app
Standalone camera charges 80% in about 20 mins
In-built storage and takes microSD cards up to 2TB
The performance of the Osmo Nano is hard to pin down. In some areas I felt it delivered exceptionally well, but in others it was a bit underwhelming. The rapid file transfer ended up being surprisingly helpful, and in my tests with the 128GB version DJI's claim of up to 600 MB/s transfer speed over USB 3.1 holds up, and I found it a huge time-saver compared to sending lots of files wirelessly.
The camera's battery life is a limitation, though, particularly when shooting at higher resolutions like 4K/60fps. I got closer to 60 minutes of continuous recording here – rather than the 90 minutes that DJI claims at 1080p/24fps – which isn't bad for its size, but lags behind the multi-hour endurance of larger cameras like the Osmo Action 5 Pro. The dock can top up the battery on the go, and I was also impressed by its ability to charge to 80% in just 20 minutes, especially if you're as bad as I am at remembering to charge your gear before a shoot.
You then get up to 200 minutes of 1080p/24fps video from the dock, but in reality, I found this closer to two hours once the screen and Wi-Fi are on and you've powered the camera up and down a few times.
If you tend to record short clips throughout a longer day, it's nothing to worry about. If you're the type of shooter to record continuously, you may lament the fact that there aren't replaceable batteries to swap out when you run out of juice. I left the camera running for my battery tests during a particularly warm day, and although it felt hot to the touch during, it never overheated to the point of turning off.
(Image credit: Lauren Scott)
The Osmo Nano is equipped with DJI's RockSteady 3.0 stabilization and HorizonBalancing. It handles a fair amount of shake, but it's not on the same level as a dedicated gimbal like the Osmo Pocket series. In footage of fast-paced, high-impact activities like running on trails you'll still see some micro-jitters, but for walking shots it's pretty impressive.
Using different mounts will dictate how stable your results are. Using the pendant seemed to cause me more wobbles than handholding the camera, for example, but the head mount gave me super-smooth footage when running. It's worth noting that there are different levels of stabilization, with daily, sport, or anti-motion blur options. You can also turn off image stabilization to save battery, or if you're using a secondary DJI product to keep things stable.
The DJI Osmo Nano performs really well in remote shooting scenarios without a phone. The voice commands, like 'start recording', work almost instantaneously in a quiet environment, but require you to shout when it's loud (not a great look in a city center). I found that gestures worked well too, and I liked being able to pat the camera when it was powered off to start recording, or nod my head when it was mounted on my head. Much more subtle.
(Image credit: Lauren Scott)
The Osmo Nano has two built-in microphones for stereo sound, and I found the audio straight out of the camera surprisingly immersive. It picks up sound from a variety of directions when you're shooting in a public place, but still hones in on your voice when you're speaking to the camera clearly.
Like all action cameras, the audio quality sounds muffled underwater, but the clarity returns more quickly than others I've tested when you pull the camera back out into fresh air. There are lower and stronger wind reduction modes, and both did a decent job of reducing disturbance when I captured some clips on a blustery countryside walk, without removing the noise entirely (see the clips below). My voice was clear and free from distortion, but it's not the perfect solution for clean audio; for that, you'll need a separate mic.
A major draw is the ability to connect the Osmo Nano directly to DJI's wireless microphones without needing a separate receiver. I haven't been able to try this yet, but I can see it being convenient for creators who want to capture high-quality audio, especially those already with DJI mics.
Performance score: 4/5
DJI Osmo Nano: Image quality
1/1.3-inch sensor
Video up to 4K/120fps and 35MP photos
10-bit D-Log M and HLG color profile options
The Osmo Nano has a 1/1.3-inch sensor, the same size as you'll find in the Osmo Action 5 Pro and just a fraction smaller than the one in the Insta360 Go Ultra. Video headlines include 4K at 60fps in 16:9 format, and 4K 120fps slow-mo footage, which expands to 1080p 240fps.
The specs are one thing, but the proof is in the pudding; or in this case, in the videos and shots you get from the camera. Overall, I think the image quality is good for an action camera of this size. As ever, it won’t completely replace a full-sized or full-frame camera, but that's not the expectation here. The fixed 143-degree ultra-wide field of view is perfect for first-person POV shots, and I could fit a whole wedding group in the frame (I don't have permission to include the sample shot in the review, sadly), but it's not easy to zoom in on the scene should you want to get closer in.
I tested the Osmo Nano in all weather and lighting scenarios. DJI touts the wide dynamic range of the Osmo Nano, but in direct sunshine I noticed some banding where the highlights had been clipped. You can see this in the video above, which was a test of the one-tap editing feature in the DJI Mimo app.
4K resolution is sharp and punchy, and even in 8-bit color mode the camera seems to capture vibrant blue skies and leafy greens, and handles quick changes in light (coming out of a dark tunnel, from indoors to outdoors) well; however, while I like a bit of lens flare, this is one area that could be handled better. It tended to keep my face exposed when I was talking to the camera, but this wasn't set up anywhere in the camera. If I were to generalize, I'd say footage comes out darker than Insta360's Go Ultra, possibly for greater leeway when editing, where the Insta option is designed for near-automatic use.
DJI's SuperNight mode does a decent job of reducing noise in low light, but it only works at up to 30fps and with 8-bit color, which might limit its utility for serious cinematographers. It’s the best night image quality in a wearable camera I’ve seen, but it’s still bound by the laws of physics – a smaller lens and sensor will always have certain limitations compared to a larger, more dedicated camera. There's some AI-smoothing being applied to reduce noise in low-light footage, but this is less obvious to the untrained eye, and less muddy than some night modes I've seen on earlier action cameras.
DJI's automatic horizon leveling (which can be calibrated) is pretty flawless, and the RockSteady image stabilization is most impressive in sports mode. To really test it out, I wore the camera on DJI's headband mount and recorded the first five minutes of a high-intensity workout. Throughout a gruelling round of burpies, star jumps and squats, the footage was stable and smooth (almost unnaturally so). Trail runs, dog walks, and cycle clips were all just as usable, but the handheld results are slightly more jittery than using a dedicated mount.
Photos from the camera have a medium-range megapixel count (the maximum resolution is 35MP and you can shoot in a 16:9 or 4:3 ratio), and as to their quality, I said the same thing about Insta360 Go Ultra's photo results: they're good enough to insert into videos, but I probably wouldn't use them for standalone social posts or prints as a creator. Consider them as an additive rather than a standalone feature, and you won't be disappointed.
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Impressively, the Osmo Nano gives you the option of recording footage with a flat color profile (DJI's D-Log M setting), designed to preserve the maximum color and brightness info in the video file, especially in lights and darks.
While the footage out of the camera is desaturated in this mode, I found you had far more wiggle room to adjust the colors, contrast, and saturation to achieve a specific, cinematic look without losing any of the detail captured in the original scene. This is also going to benefit creators shooting a project with the Osmo Nano alongside other cameras who want their edited work to look consistent.
Image quality score: 4/5
DJI Osmo Nano: testing scorecard
DJI Osmo Nano
Attributes
Notes
Rating
Price
Much cheaper than the Insta360 Go Ultra, and that includes helpful built-in storage.
5/5
Design
Unexciting but functional, and it's a shame the dock is only splash-proof. The lens replacement adds ruggedness.
4/5
Performance & features
Fewer filters and modes than the Insta360 Go Ultra, but you get the option of manual controls. The DJI Osmo app makes quick, clever edits.
4/5
Image quality
In daylight, colors are vivid and dynamic range is good. Stabilization is excellent, and low light footage is fine. Slow-mo could be crisper.
4/5
Should I buy the DJI Osmo Nano?
Buy it if...
You want a camera that 'disappears' The Osmo Nano is small enough to be worn on a pendant, hat, or headband, thanks to its small size and weight. The magnetic mount allows for quirky mounting solutions like lamp posts, cars, and even washing machines.
You already own DJI products To boost the sound quality, you can connect the Nano directly to two DJI microphone transmitters without needing a receiver. If you've already got a DJI mic, gimbal or camera, sticking with the brand also means greater familiarity with the app.
Don't buy it if...
You like a roomy LCD screen At less than two inches, I found the Osmo Nano's LCD touchscreen a little small for composing shots and reviewing footage. You can use your phone for a larger live view, but this isn't always convenient.
You want a fully waterproof solution The Nano's Vision Dock is only splashproof, and this made me uncomfortable while shooting in the rain or near water. If you're a real action lover, I'd recommend a camera with a more rugged build.
Also consider
Insta360 Go Ultra
The Insta360 Go Ultra has a similar form factor, with a separate camera and action pod. The flip-up screen is more vlog-friendly and bigger at 2.5 inches, while the camera weighs the same as the Osmo Nano but is more square and shallow (which I found easier to mount). Pricing and image quality are similar, but it's a slightly more fun action camera that's great for the whole family.
The GoPro Hero 13 Black is still the flagship of action cams and one I'd recommend for serious filmmakers. It's chunkier than the Osmo, but it also has magnetic mounting. GoPro also has the widest range of mount accessories to open up creative shooting opportunities, and it's possible to squeeze 1.5 hours of 5.3K video from the battery, for recording with fewer interruptions.
I wore it on walks and runs, and mounted it for drives
I recorded videos at all settings and in all modes
DJI sent me a full-production Osmo Nano for review around two weeks before its release date, and I used it at least once a day – often much more – during this period. I always like a camera to become a natural part of my workflow, rather than carrying out one intense period of testing, so that I uncover the nuances for a more informed and helpful review.
I tried all the camera's modes, used it with and without the dock, and mounted it on the magnetic pendant and headband. I mainly used the DJI Mimo app to edit footage right from my iPhone 15 Pro.
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.
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.
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.
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
(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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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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I had the luxury of the RC2 controller for my review. (Image credit: Tim Coleman)
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And the set of ND filters, which feels like a must-have accessory. (Image credit: Tim Coleman)
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
(Image credit: Tim Coleman)
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.
The camera unit is special: a 1-inch sensor, 3-axis gimbal with versatile range which covers vertical shooting (Image credit: Tim Coleman)
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.
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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Straight out of camera JPEG (Image credit: Tim Coleman)
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The main camera's complete view (Image credit: Tim Coleman)
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The same scene with the 3x digital zoom employed (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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(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.
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.
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.
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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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
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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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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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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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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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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400mm (Image credit: Tim Coleman)
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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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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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Here I've opened up the aperture and bokeh is rounder, but detail in the spider is softer because of the shallow depth of field. (Image credit: Tim Coleman)
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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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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
(Image credit: Tim Coleman)
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.
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.
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.
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.
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.
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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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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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.
There's the partially stacked 24MP full-frame sensor and Nikon Z mount (Image credit: Tim Coleman)
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.
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.
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.
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
(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.
Throughout its four years on the market Sony's FX3 has sat largely unchallenged in the compact cinema camera space, but that's changed with the arrival of the new Canon EOS C50.
For the money, you'll struggle to find a more complete cinema camera than the EOS C50. It boasts 7K open gate internal Raw video recording (and simultaneous proxy recording), dual base ISO for clean clips day or night, Super 35 and Super 16 crop modes, Canon Log color profiles with more than 15EV dynamic range, slow-motion recording, reliable autofocus… the list goes on, and I haven't even touched on the camera's photo capabilities or its video-first design.
For photographers, the 32MP full-frame sensor can shoot in RAW+JPEG with subject-tracking autofocus at burst speeds up to 40fps, with the option for pre-burst capture – not bad for a cinema camera. Handily, the EOS C50 features a dual menu system, making it quicker to navigate the menus than if photography and video were combined under a single menu.
The 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.
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.
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.
A compact cinema camera for run-and-gun filmmaking – an ideal b-cam. (Image credit: Tim Coleman)
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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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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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.
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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.
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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.
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.
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.
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.
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.
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 Mic 3's transmitter (or TX) units are almost as small and lightweight as those of the Mic Mini, but offer far more flexibility for mounting thanks to an integrated magnet (Image credit: Future | Sam Kieldsen)
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.
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.
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.
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.
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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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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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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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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Animal subject detection picked up this bird for sharp focusing, no problem (Image credit: Tim Coleman)
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.
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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.
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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(Image credit: Tim Coleman)
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
(Image credit: Tim Coleman)
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?
(Image credit: Tim Coleman)
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
(Image credit: Tim Coleman)
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.
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.
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.
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.
(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.
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.
(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).
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)
(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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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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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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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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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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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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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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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
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.
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.
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.
