I'll tell you what wasn't on my Christmas list to Santa this year – unironically enjoying (nay, loving) a Netflix festive film. I've watched a lot of bad ones in this job, but My Secret Santa is undoubtedly the best of the sappy genre.
In a nutshell, it's Mrs. Doubtfire if Robin Williams decided to be a Santa drag king instead of a sassy Scottish pensioner. Instead of a man desperately trying to win his estranged wife back, single mom Taylor (Alexandra Breckenridge) needs fast cash to send her daughter to an elite snowboarding resort.
By being employed there, she'd get a staff discount, but the only opening is for a seasonal Father Christmas. Bing bang boom... she gets the job in a full Santa makeover.
Of course, romance is in the air too. Matthew (Ryan Eggold) recognizes former singer Taylor in a record store, and just so happens to be the new general manager at the resort – you can already guess how it's going to end just by reading this synopsis.
Whichever Netflix casting agent had the foresight to merge Virgin River and New Amsterdam's leading actors together deserves a massive festive bonus, in my eyes. Together Breckenridge and Eggold deliver a genuinely well-crafted tale that perfectly slots into the cozy sub-genre they've both whittled into shape over the years.
If anything, it almost makes up for the fact we're not gettingVirgin River season 7 this month (if you squint hard enough, I'm sure Eggold would look enough like Martin Henderson).
My Secret Santa cements Alexandra Breckenridge as the Queen of Netflix
If you suggest I'm solely writing this review as an excuse to write a love letter to Breckenridge's work and further my cause to try and interview her in 2026, I don't know what you're talking about.
She carries My Secret Santa squarely on her shoulders, and she completely pulls off what is, rationally speaking, a completely implausible story. This is the kind of tale she was born to tell, and the movie's happy-go-lucky vibes underpinned by more authentic real-world problems suits her warm and engaging personality incredibly well.
In essence, I don't actually care about Taylor's character arc or her capers while wearing the baggy pants of Father Christmas – I'm just always buying what Breckenridge is selling. It's impossible to not be entranced by her screentime, exuding natural charm in everything she does. You want to be her, you want to be best friends with her... even when she's pretending to be an old man.
As far as Christmas movies go, this one is pretty original
I don't think Alexandra Breckenridge has ever looked better. (Image credit: Netflix)
The biggest compliment I can give My Secret Santa is that it feels current without trying too hard. There are no shudder-worthy TikTok jokes, no trends being jumped on, and nobody trying too hard to fit into a mould that isn't inherently them. Yes, the ending is undoubtedly cringe, but it's in keeping with the spirit of Christmas movies.
Tia Mowry isn't a natural fit as a villain, and there's no huge stakes aside from Taylor's daughter not being able to snowboard. However, we're here to get invested into a romantic connection, not be plunged into terror. Obviously, it's all a bit naff (lacking in taste and style, for my non-Brits), but that comes with the territory.
I can't believe I'm writing this, but I'm already contemplating watching My Secret Santa again (which is essentially the equivalent of pigs flying). I got so much joy, warmth and feel-good vibes from Netflix's latest festive offering, and that's how you know it's a job done well.
If you’re after a touch of individuality in your wired, over-ear, closed-back headphones, the FiiO FT13 have you covered. These are big, relatively bulky headphones but that does mean that on the outside there’s plenty of room for a quantity of highly polished purpleheart wood, while on the inside you've got a pair of 60mm ‘W’-shaped dynamic drivers that offer a frequency response of 7Hz - 40kHz.
The standard of build and finish is excellent, and the combination of plenty of adjustability in the headband and some judicious clamping force means the FT13 are comfortable in situ. Mind you, the use of lambskin on the inside of the headband, and the choice of suede even more lambskin for the earpads, means vegetarians aren’t going to be comfortable in the slightest.
Inside the big, nicely tactile travel case there’s a choice of four cable terminations, along with a generous length of very credible Furukawa cable that connects to both earcups. These options mean you should be able to connect your FiiO to pretty much any source of sound available.
Once they’re connected, there’s plenty to enjoy. The sound is large and spacious, and thanks to good low-frequency control there’s lots of momentum and rhythmic confidence. The FT13 communicate readily through the midrange, too. If it weren’t for a slight tonal discrepancy at the top of the frequency range and a more obvious rolling off of the same area, they’d be even more obvious front-runners and part of the best wired headphones.
(Image credit: Future / Simon Lucas)
FiiO FT13 review: Price and release date
Released November 5, 2025
$329 / £269 / AU$499 (approx.)
The FiiO FT13 wired over-ear closed-back headphones are on sale now, and in the United States they sell for no more than $329. The going rate in the United Kingdom is £269, while in Australia you’re looking at something like AU$499, where sold.
The FT13 look, on paper, like a lot of headphones for the money, but with everyone from Austrian Audio to Sennheiser having broadly similar alternatives available, it’s not going to be plain sailing…
(Image credit: Future / Simon Lucas)
FiiO FT13 review: Features
60mm ‘W’-shaped dynamic drivers
7Hz - 40kHz frequency response
1.5m Furukawa silver-plated OFC cable
As we all know, FiiO never knowingly underspecifies any of its products. And that’s the case again here – wired headphones may not offer much scope for piling on the features, but the company has given it a proper go.
So, there’s a 1.5m length of Furukawa monocrystalline silver-plated oxygen-free copper cable in the package. This is terminated with two 3.5mm plugs at one end – each earcup must be wired – while at the other FiiO offers a choice. Thanks to a neat plug arrangement, the cable can be terminated with either 3.5mm unbalanced or 4.4mm balanced sockets; the 3.5mm version can accept a supplied 6.3mm adapter, and the 4.4mm version can accept a supplied four-pin XLR adapter. Good luck finding a piece of audio equipment with a headphone socket the FT13 can't connect to.
The cable feeds a pair of 60mm dynamic drivers. These are a ‘W’-shaped design, which makes the active area of an already oversized driver even larger than is the norm. The diaphragm is just 0.1mm thick and is made of a carbon-fiber and wood pulp that’s stiffened by wool fibers until it’s as light and rigid as possible.
The drivers are activated by a light, responsive CCAW (copper-clad aluminum wire) voice coil – it’s a high-efficiency design, says FiiO, and combines with the rest of the hardware to deliver a frequency response of 7Hz - 40kHz. Low impedance (32ohms) and high sensitivity (98dB) mean the FT13 are one of the more easy-to-drive options of their type around.
The headphones feature a long, slender, ‘U’-shaped damping tube above the back of the driver assembly inside the earcup. It’s intended to lower the resonant frequency inside the cavity in an effort to liberate greater low-frequency extension and control, and in combination with a standing wave chamber plus a quantity of resonance-absorbing cotton, FiiO suggests the FT13 offer more passive noise-isolation than any comparable design.
Features score: 5 / 5
(Image credit: Future / Simon Lucas)
FiiO FT13 review: Sound quality
Spacious, well-defined presentation
Driving, rhythmically positive sound
Lack a touch of high-frequency presence
Flawless sound is hard to come by no matter how much you’re spending on a pair of headphones, of course, and sure enough the FiiO FT13 are not flawless in the way they sound. In the context of the asking price, though, and balanced against all the ways in which their sound is deft and enjoyable, it doesn’t seem all that reasonable to get too bogged down in their deficiencies.
In any case, those deficiencies are fairly slight. The way they go about reproducing the top of the frequency range means treble sounds don’t have a whole lot in common, tonally speaking, with all the frequency information below here – and they roll off the top end quite pointedly. If it’s real high-frequency attack and drive you value in your headphones, the FT13 are going to be altogether too polite and mild-mannered for your tastes.
Otherwise, though, the news is all quite positive. With a nice fat 24bit/192kHz FLAC file of David Bowie’s Sound and Vision playing, the FT13 create a large, well-laid-out soundstage and keep every element of the recording secure in a little individual pocket of space. They do this, though, without sacrificing any sense of togetherness or performance – they just ensure everyone gets sufficient elbow room.
Low frequency presence is considerable, but bass reproduction here is no blunt instrument. There’s plenty of detail regarding tone and texture available, and this level of variation combines nicely with decent observance of the attack and decay of low-end information. The FiiO describe rhythms confidently as a result. The modulation into the midrange is smooth, and here there’s similarly impressive detail retrieval and tonal fidelity – the double tracking of the vocal in this recording is made obvious, and the small harmonic variations in the voice are identified without being overstated. The FT13 communicate vocal intentions and attitudes really well.
Dynamic headroom is considerable, as a listen to a 24bit/44.1kHz FLAC file of Holy Ghost by Young Fathers makes apparent. The open and spacious sound of the FiiO allows the shifts in volume and attack in this recording to be made plain, and the distance between the quiet/malevolent and loud/even more malevolent passages couldn’t really be any greater. It’s worth noting the FiiO are pretty agnostic in this regard – they are more than happy to dig in and kick off if a recording demands it, but are just as comfortable dealing with the small-scale and understated.
Sound quality score: 4 / 5
(Image credit: Future / Simon Lucas)
FiiO FT13 review: Design
356g (without cable)
Magnesium alloy headband and frame
South American purpleheart wood
Just as in the ‘features’ section, with the FT13 FiiO has taken what might, on the face of it, seem like an unpromising product type where ‘design’ is concerned and done its utmost. Unlike almost every price-comparable alternative, here it’s possible to discern that ‘design’, rather than simply ‘construction’, has happened.
The relatively large earcups are supplied with a choice of earpads. There’s suede (for a warmer sound, so the company says) or lambskin (for a cleaner presentation) and they’re easily swapped, but it should be noted that there’s no vegetarian option. On the outside of the earcups, meanwhile, the polished and lacquered purpleheart wood offers a genuine point of difference. The deep purple colour is entirely natural, the specifics of the grain are obviously unique to each pair of headphones, and its acoustic properties are long-established.
At 356g without the hefty cable attached, the FT13 are far from the lightest closed-back over-ear headphones around. But thanks to a light-yet-robust ‘U’-shaped magnesium alloy frame, some very carefully judged clamping force, and a ball-bearing adjustment mechanism with plenty of adjustability, it’s possible to get comfortable inside the FiiO and to stay that way for extended periods.
There’s a degree of articulation in the earcups, but the FT13 don’t come anywhere close to folding – the case in which they travel is necessarily bulky. It’s a reasonably good-looking case, at least, and the Yaoli linen from which it’s made is tactile, plus there are compartments inside for storing all your very many adapters and cable terminations.
Design score: 5 / 5
(Image credit: Future / Simon Lucas)
FiiO FT13 review: Usability and setup
Select your source of music...
Ensure you have the appropriate cable termination fitted...
And away you go
Something would be terribly wrong, wouldn’t it, if the setup and usability of a pair of hard-wired passive headphones was in any way complicated?
The FT13 are about as involved as it ever gets, really. The quartet of options for cable termination means it might take you a beat or two longer to plug into your source of sound than it otherwise would.
After that, ensure you have your favored earcup in place, get comfortable using the headband adjustment mechanism, and you’re in business.
Usability and setup score: 5 / 5
(Image credit: Future / Simon Lucas)
FiiO FT13 review: Value
Standard of build and finish superb
Lots of available connectivity options
Excellent sound quality for price
In terms of specification, materials, the standard of build and finish, and the available connectivity options, there’s really no arguing with the value the FT13 offer. In fact, if you consider the generous use of staunchly non-vegetarian materials in their construction, perhaps there’s too much going on here.
But when it comes to performance, the sound quality that’s available here is likeable in lots of ways – and if the balance FiiO has struck is your kind of thing, you’ll find the FT13 offer very acceptable value for money indeed.
Value score: 4.5 / 5
(Image credit: Future / Simon Lucas)
FiiO FT13 review: Should you buy them?
Attributes
Notes
Rating
Features
Dizzying array of connections; 60mm dynamic 'W-shaped' drivers; good passive noise-isolation.
5 / 5
Sound quality
Spacious and well-defined, with a driving, rhythmically positive sound; but slight lack of high-frequency presence.
4 / 5
Design
Purpleheart wood offers unique finish; highly adjustable headband finds the midpoint between 'design' and 'construction'.
5 / 5
Usability and setup
Select the termination you want for your music source, and you're away.
5 / 5
Value
No arguing with the standard of build, finish or connectivity terminations, but lack of vegetarian options.
4.5 / 5
(Image credit: Future / Simon Lucas)
Buy them if...
You like a bit of individuality How many pairs of headphones that feature lots of purple-ish wood can you think of? Exactly.
You have several sources of music The FT13 come with several different cable terminations.
You enjoy big and organized sound The FiiO sound every bit as large as they look, and they control their soundstage with real determination.
Don't buy them if...
You’re vegetarian Suede or lambskin are your options for earcups, and there’s more lambskin on the inside of the headband.
You’re on the small-headed side These are relatively large headphones with relatively large earcups, and they could swamp those with a smaller-than-average head.
You like a bit of bite and shine to your sounds The FT13 play it overtly safe where treble response is concerned, and they sound just slightly blunt at the top end as a result.
FiiO FT13 review: Also consider
Sennheiser HD 620S The Sennheiser HD 620S have none of the FT13’s visual drama, but they most certainly have plenty where it counts - their sound is poised and spacious. They’re not as comfortable as the FiiO, it’s true, but then they’re not as off-putting to vegetarians, either. Read our Sennheiser HD 620S review for more
FiiO FT13 review: How I tested
Tested for well over a week
Used as listening headphones, at home
Connected to numerous music sources using various different formats, file types and sizes
I connected the FiiO FT13 to the same brand’s M15S digital audio player using the balanced 4.4mm connection, to an Apple MacBook Pro using the 3.5mm jack and a Linn Majik DSM (5th Gen) using the 6.3mm connection. This way I got access to lots of different music, of numerous different formats, file types and file sizes, and I listened to the headphones for well over a week in several different rooms of my house.
The size and the purpleness of the headphones, along with the unwieldy nature of the cable, put me off using them outdoors, though.
Metroid Prime 4: Beyond's title screen is somewhat indicative of the game as a whole. The hypnotic, curvy eye motif and mysterious purple hue are backed by yet another belter of a title screen track; a series staple I'm glad is intact here. The presentation is immediately absorbing, and it's hard to suppress the goosebumps at the feeling that Metroid's 3D subseries is truly back. And then the whole aesthetic is ruined by a massive 'Nintendo Switch 2 Edition' logo slapped dead center of the display.
Review info
Platform reviewed: Nintendo Switch 2 Available on: Nintendo Switch,Nintendo Switch 2 Release date: December 4, 2025
Nevertheless, Metroid Prime 4: Beyond absolutely holds up against the games that came before it. It's leagues ahead of Metroid Prime 3: Corruption and its Wii Remote waggling gimmicks and unsatisfying exploration. Beyond also returns to an atmospheric feel very much in line with the original Prime.
The usual biomes are all present here - dense jungle, arid desert, abandoned mines, motorcycle dealership, et al - but all feel richly developed with distinctly alien traces. Ancient ruins, industrial installations, and evidence of twisted experiments lend each major area a rich history long before the arrival of protagonist Samus Aran.
(Image credit: Nintendo)
Of course, this is helped by just how gorgeous of a game Metroid Prime 4: Beyond really is. Naturally you'll get the most out of it with the Nintendo Switch 2 Edition and its support for 4K resolution. Returning developer Retro Studios clearly put a ton of work into environmental design, and an impressive amount of detail helps most areas stand out as a real visual treat.
But I can't quite say Beyond stands shoulder-to-shoulder with the GameCube masterpieces that came two decades before it. The large open desert is the feature that Nintendo arguably made the most noise about in Beyond's marketing, but its enormous size and barren nature ultimately make it serve little outside of boring, needless padding.
Enemy variety is alarmingly lacking, too, with just a couple of actually threatening types across all areas. Bosses follow suit; they often share simlar types of attacks and don't make much use of the various power-ups you'll accrue throughout the game.
There's clearly some rustiness on display here, 18 years on from the last mainline Prime entry. But when Metroid Prime 4: Beyond is firing on all cylinders, it still delivers a deeply rewarding and satisfying first-person adventure.
Can't complain about the View(ros)
(Image credit: Nintendo)
If you're not caught up on the Metroid Prime games or the Metroid series in general, don't worry; like most games in the long-running franchise, Metroid Prime 4: Beyond is designed to be enjoyed as a largely standalone entry. There are callbacks, such as the presence of the Galactic Federation and returning antagonistic bounty hunter Sylux, but don't feel like you have to get up to speed in any sense.
Beyond begins, unsurprisingly, in the same way a lot of these games do. Samus Aran responds to a distress call to aid in pushing back against a Space Pirate invasion at a Galactic Federation base. Things go awry when a mysterious artifact being kept in the base is activated, teleporting Samus and swathes of the base's personnel to the planet Viewros.
Not much is known about Viewros. Like Metroid Prime 2: Echoes' Aether, its existence appears to be something of an anomaly, undiscoverable on any galactic chart. It's on Viewros that we uncover the plight of the Lamorn, a now-extinct alien race that may or may not have invited tragedy upon themselves. The goal, then, is to reactivate Viewros's master teleporter and return Samus and the displaced Gal Fed troopers' home.
(Image credit: Nintendo)
I really like Beyond's story. It's pretty unintrusive, and can largely be discovered through data logs and environmental details via Samus's scan visor. Uncovering the dark fate of extraterrestrial factions isn't anything new for Metroid, but the Lamorn are a particularly fascinating species in their aptitude for psychic abilities and technological prowess.
Much, too, has already been made of the Galactic Federation troopers, with fans worrying that their chatty nature might be at odds with the series' trademark feeling of isolation. I'm happy to say they're really not that bad, and a couple are even quite endearing.
Mackenzie is perhaps the worst offender, but not because of his socially awkward quipping. Rather, like a PlayStation Studios character, he has a habit of spelling out puzzle and progression answers to you before you've even properly had a chance to look around.
There's an element of hand-holding that just isn't welcome, especially when you're prompted to open the map to view an annoyingly unskippable animation showing you exactly where you need to go. That really becomes an issue towards the end of the game when you're just trying to do your 100% item and scan cleanup before the point of no return.
Third eye
(Image credit: Nintendo)
In typical series fashion, Samus loses the lion's share of her abilities after being transported to Viewros. The game doesn't really make a song and dance of it this time, which is just as well; it beats the rather contrived ways Samus has undergone her nerfs in the past.
Best bit
(Image credit: Nintendo)
Metroid Prime 4: Beyond's atmosphere is incredible. Paired with some headphones, the world of Viewros comes alive with wonderful audio design. Gorgeous visuals, lighting, and environmental design all really help ground Samus in this otherworldly setting.
Progression in Metroid Prime 4: Beyond, then, is as you'd expect if you're familiar with the series. You'll explore through a number of different areas, encountering roadblocks as you go that require you to discover power-ups elsewhere to progress.
On Viewros, Samus is able to inherit the psychic abilities of the Lamorn race. This lets her do things like open special doors, uncover hidden platforms, and make use of a psychic beam power-up that can be momentarily controlled to activate switches or hit multiple enemies.
Otherwise, power-ups are played safe in Metroid Prime 4: Beyond. Having the 'psychic' label doesn't stop morph ball bombs, the grapple beam, and various beam cannon types from acting the same than they used to. Even modifiers like fire and ice behave like you'd expect; dealing damage over time or freezing enemies solid respectively.
(Image credit: Nintendo)
My guess is that Retro Studios didn't feel the need to push the boat out too much in regards to Samus's abilities. It's a robust kit that plays to the series' strengths of combat and exploration.
This time, though, the ball has been dropped when it comes to the boss fights. In fact, there's not many bosses to speak of, at least when compared to other games in the Prime sub-series. Unfortunately, this lack of quantity has not translated to a higher level of quality.
Bosses all share a handful of similar attacks, such as generating a wave of energy that Samus must jump over, or rolling around the arena at high speeds. They rarely, if ever, require Samus to make use of her various beam types, and it's not until the truly exceptional final boss that Retro presents a challenging and memorable fight - one of the best in the series, actually.
(Image credit: Nintendo)
Level design and progression also isn't quite as ambitious or winding as we've seen in past games. Metroid Prime 4: Beyond definitely leans on the more linear side. That's not necessarily a bad thing; some of the series' best games, including Metroid Dreadand Fusion, are fairly straightforward entries.
Like those games, Beyond more than makes up for it in the atmopshere department. The dense wilderness of Fury Green, the derelict, harshly-lit laboratories of Ice Belt, and the impressive industral scale of Volt Forge all lend their own unique atmospheric flavor, and it's a joy to scour these environments for items and snippets of lore.
Some areas are more painfully linear than others. There are rather annoying combat gauntlets in Volt Forge and the Great Mines, for example, that require at least a couple trips through for both story progression and late-game item hunting. Mercifully, you're never required to hop between gimmicky visor types in this game like Prime 1 and 2, but they show an occasional lack of care and ambition in overall level design.
At least backtracking for items is a pretty painless and actually quite enjoyable affair here. Once you have a certain beam power-up, you can activate a droid in each biome that will reveal item locations on the map. This, paired with some really handy shortcuts in each level, make going for 100% completion doable and worthwhile on your first playthrough.
Deserted
(Image credit: Nintendo)
But this leads me onto easily the weakest element of Metroid Prime 4: Beyond, and it's the barren Sol Valley. This is a massive, arid expanse, in the corners of which sit the game's major locations. And good lord is it dull.
Designed for exploration with Samus's new VI-O-LA motorcycle - which she gets partway through an earlier area - Sol Valley just isn't very interesting. It's simply an enormous stretch of desert with very little in it. Presumably, this is stripped back so the original Nintendo Switch can handle while maintaining 60fps performance.
The motorcycle is fun to drive, at least. It's fast and performs turns and drifts in a satisfying manner. It's even equipped with weaponry to help shoot down a few rather pesky enemy types that periodically bother you while you're out and about.
Unfortunately, the mostly flat terrain of the desert doesn't really play to the bike's strengths. There are a few jumps, and chunks of Green Energy crystals that can be smashed and collected for a handful of optional power-ups, but the desert largely just serves as unenjoyable padding in an otherwise pretty short game.
The good stuff
(Image credit: Nintendo)
I've been pretty critical of many elements in Metroid Prime 4: Beyond, but I do want to leave this review on a few high notes; things the game does exceedingly well. Samus feels better than ever to control in 3D, with tightened-up movement and improvements to physics in her morph ball form.
When Samus has all her abilities late in the game, and you're uncovering the last few rooms in each major biome, the game really comes alive. Backtracking and 100% item collection is superbly paced, and it feels as satisfying as ever to tear through areas with a fully-kitted bounty hunter.
I also really didn't hate the Galactic Federation troopers Samus partners with at various points in her journey. Yes, it's really annoying when Mackenzie points out the obvious or forces you into an unskippable map animation, but there's good chemistry between each of the team members.
Samus isn't with them for overly long, just a handful of sections. One that really stands out is when she partners with a couple of them to take down a massive gunship. And seeing your base camp in Fury Green evolve over time as troopers file in is endearing; you can even catch dialogue between them if you visit at certain times.
But once again I really just have to gush about how gorgeous of a game Beyond is, in both the visuals and soundtrack department. It's easily the best-looking game on Switch 2 so far, and a 4K 60fps lock (or 1080p at 120fps in performance mode) shows a real technical wizardry on both Retro and Nintendo's part.
Multiple control options are also welcome, and all are a success. You have your standard twin-stick movement more in line with contemporary first-person shooters. Or you can make use of the Joy-Con 2 for gyro aiming. Mouse controls are also excellent, providing a level of accuracy that you can't get on other control types without locking onto enemies first.
Flaws and all, I still think Metroid Prime 4: Beyond is a brilliant entry in the series. If the desert was a touch smaller, and there were a few extra rooms to explore in each biome, it'd be on its way to sitting alongside the first two Prime games in quality. But, this is nonetheless a really welcome three-dimensional return for Samus, and I really hope it won't be her last.
Should you play Metroid Prime 4: Beyond?
(Image credit: Nintendo)
Play it if...
You want to see what the Switch 2 hardware can do Beyond is an utterly gorgeous game, to the point where I can't quite believe it's running on Nintendo hardware even with the Switch 2's improvements. Dense, atmosphere-rich environments are backed up by a wonderful soundtrack and audio design, too.
You love the Metroid Prime series Each game in the Prime series has its own unique set of issues, and Beyond is no different. However, this is still very much a satisfying adventure that holds up well compared to those that came before it.
Don't play it if...
You really don't like massive deserts Desert-like environments aren't the most inspiring biomes at the best of times, and Beyond's is a real slog to visit time and time again.
You're hoping for a long adventure At around 15 hours (or less if you're not going for 100%), Beyond is a pretty lean game that may be a bit too short for those looking at the full-fat price tag.
Accessibility
Metroid Prime 4: Beyond has some accessibility features worth highlighting, though unfortunately not much. You can enable a background for subtitles for increased legibility, and fully remap button profiles in all control settings. You can also adjust cursor, camera, and stick sensitivity to fine-tune a setup that's right for you.
How I reviewed Metroid Prime 4: Beyond
My playthrough of Metroid Prime 4: Beyond lasted just over 15 hours on Normal difficulty. This was a 100% completion run, with all items and scans collected. That may sound short, but is still very much in line with the length of most Metroid titles, including those within the Prime subseries.
I primarily played in the default control scheme on a Nintendo Switch 2 Pro Controller, mixing it up with the support for mouse controls later in the game during some boss fights and item hunts. I also switched occasionally between docked play on an LG CX OLED TV, and handheld play with the RIG R5 Spear Pro HS gaming headset for enhanced audio.
Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.
On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.
Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.
(Image credit: Future/ Peter Fenech)
If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.
These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.
Sony A7 V specs
Sony A7 V Specs:
Type:
Mirrorless camera
Sensor:
Full-frame (36x24mm) semi-stacked CMOS
LCD:
3.2-inch, multi-articulated, 2.095m dots
Memory:
2x SDXC, 1x CFexpress Type A
Resolution:
33-megapixels
Video:
Up to 4K60p (4K120p in 1.5x crop mode)
ISO range:
ISO 50-204,800
Mechanical Shutter speeds:
30-1/8000sec
Electronic Shutter speeds:
30-1/16000sec
Viewfinder:
3.686m dot, OLED EVF, 0.78x
Processor:
Bionz XR 2
Connectivity:
AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio
Weight:
659g
(Image credit: Future/ Peter Fenech)
Sony A7 V: Price and availability
Released December 2, 2025
Body only price of $2,899 / £2,799 (Australia TBC)
Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II
The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 (body only, Australia TBC), alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately (Australia TBC) and will be available separately from February 2026.
Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.
This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).
Price score: 4.5/5
Sony A7 V: Design
Larger 3.2-inch rear LCD
Versatile multi-pivot articulated monitor
Hybrid memory card slot
Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.
In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.
Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.
I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.
(Image credit: Future/ Peter Fenech)
Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.
With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.
Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.
(Image credit: Future/ Peter Fenech)
The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.
All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.
We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.
Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.
Design score:4.5/5
Sony A7 V: Performance
New Bionz XR 2 processor
No dedicated AI autofocus processing engine
Long 750-shot battery life
Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.
The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.
I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.
Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.
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Changing the AF subject recognition mode to Animals, the A7 V could easily keep track of this squirrel's eye (Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.
Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.
I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.
Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.
I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.
In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.
Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.
It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.
Performance score: 5/5
Sony A7 V: Image quality
Excellent Dynamic Range
Superior high-ISO performance
Ultra-effective IBIS system
One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.
I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.
Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.
The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.
Dynamic range might not quite manage 16-stops in every image, but matches lower resolution cameras from competing brands (Image credit: Future/ Peter Fenech)
I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.
Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.
Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.
One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.
It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
Image quality score: 4.5/5
Sony A7 V: testing scorecard
Sony A7 V
Attributes
Notes
Rating
Price
The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money
4.5/5
Design
There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?
4.5/5
Performance
The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.
5/5
Image quality
Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.
4.5/5
Should I buy the Sony A7 V?
Buy it if...
You want an affordable full-frame camera
It might not be the cheapest camera with a full-frame sensor on the market, but you get a lot of camera for your buck. The A7 V has everything an enthusiast photographer could hope for or need.View Deal
You shoot both stills and video
Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal
Don't buy it if...
You are a beginner
There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal
You just bought an A7 IV
Let's be clear, the A7 V is a significant upgrade to its predecessor, but with a similar resolution, equal sensor size, and advanced features, the A7 IV is a great camera on its own merits. I wouldn't suggest there's enough difference between the two for an upgrade just yet.View Deal
Also consider
Canon EOS R6 Mark II
The EOS R6 Mark III builds on the 24MP Canon EOS R6 Mark II with improved resolution that matches the A7 V, now 33MP. Sony and Canon take different priorities; the A7 V has the partially stacked sensor and video recording up to 4K 60p, while the EOS R6 Mark III's sensor isn't stacked at all, but there's open gate 7K video recording. Both feature incredibly powerful IBIS and autofocus performance. This is a close call. Note, at the time of writing we're still working on our EOS R6 Mark III review.
Nikon Z6 III
Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the A7 V.
The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range
I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.
Some photographers, possibly even those working at Sony, see the A7 range of mirrorless cameras as the firm’s entry-level full-frame models. On paper alone, this may seem a reasonable suggestion when comparing the specifications to the most premium models. However, the Sony A7 IV, launched in October 2021, carries a 33-megapixel 36x24mm sensor, ISO50-204,800 sensitivity range, 5.5EV in-body image stabilization system, and a top continuous shooting rate of 10 frames per second. It’s by no means a slouch and this is all available for under $2500, so while it might be one of Sony’s more affordable E-mount bodies, it has been able to give pro-spec cameras a run for their money for several years.
On the face of it, the A7 V seems more of an iterative upgrade to its predecessor, rather than a revolution. However, once you dig deeper, there is a lot of exciting new technology to explore. Debuting the new partially-stacked sensor and new Bionz XR 2 processing engine, this camera represents a significant step forward for photography enthusiasts and semi-professionals. It’s more responsive than the A7 IV, both in focusing reaction time and accuracy, and delivers superior performance from the ground up.
Images are sharply detailed, and noise is well-controlled, especially for a model equipped with a 33MP resolution. It certainly matches or outperforms the current generation of competing cameras, such as the Canon EOS R6 Mark II or Panasonic Lumix S5 II, although I’ll be interested to see how low-light capabilities compare to the likes of the Canon EOS R6 Mark III when it inevitably comes to market, which is likely not too far in the future.
(Image credit: Future/ Peter Fenech)
If you’ve used other Sony Alpha cameras, you’ll fall right into step with the A7 V. Some might call Sony’s conservative approach to design unimaginative, but it means that you can allow muscle memory to play its part on shoots where speed matters most. A few useful practical refinements notwithstanding, the A7 V is very similar to models that came before it, and on picking it up, you get a feeling of coming home, a comforting sensation when other stressful elements of a photoshoot come into play.
These days, I’m more likely to be blown away by enthusiast-level products than flagships, which rarely offer many surprises, as pro technology trickles down the rankings to more affordable offerings. The niche this camera inhabits has the potential to provide unbeatable value to the greatest range of photographers, and happily, the A7 V fulfills this promise. It’s an impressive upgrade to an already outstanding camera, serving up great responsiveness, useful features and exceptional image quality. I still wouldn’t call it revolutionary, and there are some quirks that I’d like to see refined, but if you’re an aspiring wildlife, event, or travel photographer, I’m confident you’ll fall in love with it, and that it will trouble TechRadar's best cameras and best mirrorless camera guides.
Sony A7 V specs
Sony A7 V Specs:
Type:
Mirrorless camera
Sensor:
Full-frame (36x24mm) semi-stacked CMOS
LCD:
3.2-inch, multi-articulated, 2.095m dots
Memory:
2x SDXC, 1x CFexpress Type A
Resolution:
33-megapixels
Video:
Up to 4K60p (4K120p in 1.5x crop mode)
ISO range:
ISO 50-204,800
Mechanical Shutter speeds:
30-1/8000sec
Electronic Shutter speeds:
30-1/16000sec
Viewfinder:
3.686m dot, OLED EVF, 0.78x
Processor:
Bionz XR 2
Connectivity:
AX WiFi (WiFi 6), Bluetooth, 2x USB-C, audio
Weight:
659g
(Image credit: Future/ Peter Fenech)
Sony A7 V: Price and availability
Released December 2, 2025
Body only price of $2,899 / £2,799 (Australia TBC)
Kit options will be available, including with a new FE 28-70mm F3.5-5.6 OSS II
The Sony A7 V launched worldwide on December 2, 2025 priced $2,899 / £2,799 (body only, Australia TBC), alongside a new FE 28-70mm F3.5-5.6 OSS II kit lens. The lens costs $449.99 / £429 separately (Australia TBC) and will be available separately from February 2026.
Ahead of then, the FE 28-70mm F3.5-5.6 OSS II kit lens can be purchased as a kit with the A7 V for $3,099 (UK / Australia TBC). There will be other kits available, TBC.
This pricing is right on par with the Canon EOS R6 Mark III (and just $100 / £100 more than the Nikon Z6 III was at launch, but which is now available for much less).
Price score: 4.5/5
Sony A7 V: Design
Larger 3.2-inch rear LCD
Versatile multi-pivot articulated monitor
Hybrid memory card slot
Externally, I’d be very impressed if anyone could distinguish the A7 V from the A7 IV on looks alone. Apart from the name, discreetly emblazoned on the top plate, just to the left of the viewfinder, there isn’t much else to identify the latest iteration. However, a closer inspection reveals a redesigned handgrip. It’s very slight, with a tiny shift to the angle of the shutter button to account for the modest increase in weight from the Mark IV, but it makes a natural refinement to the ergonomics of the camera.
In terms of handling, the A7 V is supremely comfortable to hold, perhaps more so than most other Alpha bodies in the range. Logically, I know there is significant continuity between models, but something about the A7 V felt more balanced to me. I’ve always found Sony cameras to be too boxy for my tastes, especially when shooting for longer periods and when using larger lenses. The A7 V is unmistakably a Sony product, but it just fit my hands a lot better than I remember the A7 IV doing.
Shooting all day around London with the FE 24-50mm f/2.8 G lens, the setup was perfectly balanced, the center of gravity seemingly right where the optics meet the lens mount. This made shooting one-handed a breeze, even when holding the camera at arm's length over my head to shoot a street performer over the heads of a large crowd.
I appreciated that the playback and delete buttons are located on the same side of the camera body and immediately adjacent to each other on the back plate. This is a personal preference, of course, but I find this makes quickly making in-the-field quality control decisions quicker, rather than having to work two-handed and hunting for a control on the opposite side of the body to preview and delete obviously blurry shots.
(Image credit: Future/ Peter Fenech)
Another excellent feature that seems unique to Sony cameras is dual-function card slots that fit both SD and CFexpress. As someone with more high-performance SD cards than I’d like to think about, I love this. Although I am gradually filling out my stock of CFexpress, I still like to have the choice, and a camera that supports both, while still allowing dual card functionality with either format is hugely thoughtful.
With a Canon EOS R5 Mark II, for example, you need to take a supply of both card types if you want the benefits of in-the-field backups, while the Canon EOS R6 Mark II requires two SD cards only, delaying investment in CFexpress until a future upgrade (which will no doubt be an expensive ordeal). On Sony cameras, there are no such compromises.
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
It’s a shame the A7 V only has one of the two slots capable of accepting CFexpress Type A, but perhaps this is what you pay the extra money for when buying a camera like the Sony A7R V.
Another excellent design flourish is the extra control wheel above the Auto Exposure Lock button, which by default is set up to adjust exposure compensation in P, A or S modes. I enjoy not having to hold down another button to change this, and the additional dial allows you to amend the aperture and image brightness with single controls each. Naturally, each dial can be reassigned a custom function from within the A7 V’s Operation Customize menu, found under Setup.
(Image credit: Future/ Peter Fenech)
The build quality is of an exceptionally high standard. I didn’t have the opportunity to test the camera’s weather resistance – unusual for a British reviewer in November – but nevertheless, there are no obvious compromises in the integrity of the construction. Apart from the hollow battery and memory card bays, no other part of the body reverberates excessively when tapped, giving the sensation of it being milled from a single piece of metal.
All of the dials are beautifully knurled and easy to twist, but with enough resistance that it isn’t too easy to nudge them by accident.
We also can’t talk about the design of the camera without mentioning the versatile dual-hinged main LCD. Sony has gone back and forth with its approach to screen articulation over the years, and as far back as the A99 II DSLR camera, the multi-point design has allowed the user to both tilt and swivel the LCD. Some photographers prefer the vertical tilt format, while others like myself appreciate a full swivel function.
Users of the A7 V don’t have to choose – unlike with the A7 IV which is single-axis vari-angle only – which I found useful when shooting ground-level street photos of graffiti artists under Waterloo Station. It’s a clever strategy also found in recent Lumix cameras, and which I’d like to see more brands adopting.
Design score:4.5/5
Sony A7 V: Performance
New Bionz XR 2 processor
No dedicated AI autofocus processing engine
Long 750-shot battery life
Speaking of LCD screens, the model featured on the A7 V is both larger and more detailed than its predecessor. It measures 3.2 inches, up from 3 inches on the A7 IV, while resolution has doubled the 1,036,800 dots previously available. I found it to be very crisp, and colors look natural. This is a attribute of camera screens that isn’t talked about enough. Monitors might be super contrasty and saturated as standard, but this won’t always give the most useful preview of the images about to be captured.
The touch sensitivity is just right, and I found it to be more responsive than both the Mark IV and the A7R V, demonstrating the difference that three years can make. It’s not that those cameras were particularly unresponsive, but this latest monitor gave me no sense that it was standing between me and the settings I wanted to access.
I especially liked the reaction time for touch focus; with a single tap the camera activates the AF and immediately snaps to the object selected. I don’t always use touch focus features, but combined with the versatile LCD pivot points, I found myself using them frequently during my testing of the A7 V.
Autofocus itself is smooth and super-fast. Built around a new system of 759 Phase Detection AF points that cover 90% of the frame, the A7 V can focus in lighting as low as -4EV. Although the camera did slow down as ambient lighting dropped, with the rate of focus hunting increasing, it still did a sterling job of finding and tracking the subject. It’s also incredibly precise.
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Changing the AF subject recognition mode to Animals, the A7 V could easily keep track of this squirrel's eye (Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
Interestingly, the A7 V doesn’t feature a dedicated AI processor, as found on the Sony A1 II. This might surprise many industry observers, in an age where AI is king and excluding such features might seem a retrograde step. However, the new Bionz XR 2 moves all AF computations on-chip, instead of dividing the workload between two units.
Sony says the up-specced processor brings the same benefits of a separate AI engine, namely better AF target recognition, but with the added advantage of reduced heat emissions, superior speed, and improved battery life. After all, powering one chip is better than supplying two.
I didn’t have an A1 II body available to test the cameras side-by-side, but rarely did the A7 V struggle to locate my subject. There are plenty of options to customize subject recognition, and the camera coped well with human figures, cars, and airplanes, in the chaos of Central London and at Heathrow Airport.
Also new to the A7 V are the options to change AF responsiveness and to select an extra small or large AF point. While I didn’t find much need to alter these settings during my test, I could see where this might be of huge benefit. Turning down AF responsiveness if it’s likely that other objects will pass between the camera and the subject, like when shooting across a busy road or players on a football field, will help keep the focus sticky on your subject.
I can also vouch for the stated 750-shot battery capacity. After 300 frames, in the relative chill of a winter afternoon, I still had 75% charge, and by 650 shots, this sat around the 40% mark. This excellent, rival-beating performance included shooting both long still exposures and video.
In terms of shooting speed, the A7 V is one quick camera in operation. Startup is near instantaneous, and exposure assessment is now done at twice the number of calculations per second compared to the A7 IV.
Using the electronic shutter, it’s now possible to capture images at up to 30fps, up from 10fps on the previous camera. Pre-capture is also possible up to a user-selectable 30fps, meaning the camera is always ready and able to cover the action in the briefest of moments. Without wanting to sound like an advert for Sony (remember, this review is completely independent), there were times when I felt I was having to keep up with the camera. This isn’t something I encounter often, and it kept me on my toes.
It’s a very minor point, but I found the shutter release to be just a little too sensitive for my liking. There were a few occasions when I was simply trying out a composition and accidentally fired off a burst of shots – a bit of a laborious situation when the camera makes 30 frames every second! I’d definitely recommend re-assigning focussing to the AF-ON button to work around this.
Performance score: 5/5
Sony A7 V: Image quality
Excellent Dynamic Range
Superior high-ISO performance
Ultra-effective IBIS system
One of the headline features of the A7 V that is certain to get people talking is the new semi-stacked sensor. This CMOS design has developed somewhat of a bad rep because of its deployment in other cameras with limited success, such as the Nikon Z6 III. There is a risk of significant trade-offs in dynamic range for the additional readout speed a semi-stacked (or partially-stacked) sensor provides. Sony is confident enough, however, to claim a DR of up to 16-stops with the A7 V – that's an additional stop versus the A7 IV – so I couldn’t wait to see how the camera performed in the real world.
I’m not entirely convinced by the 16EV claim, as there were times when there was less highlight texture than I had anticipated, and clipped shadows where I hadn’t expected. However, the results were still impressive. In the majority of shots, there was recoverable detail across the range. From memory alone (and not having yet taken the A7 V into the lab for testing, that’s all I have to work on), I would place the dynamic range on an even footing with models like the 24MP Canon EOS R6 Mark II and Nikon Z6 III. Clearly, Sony deserves some applause for this, as it’s a clear indicator that the A7 V is a next-gen competitor.
Now let’s talk about color. Traditionally, this hasn’t been my favorite aspect of Sony cameras. I’ve always felt that, compared to Canon and Fujifilm models, Sony color science was a bit sterile. Accurate, maybe, but lacking warmth and ‘flavor’. These traits are present in the A7 V, as is to be expected, but I noticed colors seemed more organic than I’ve seen from its stablemates.
The auto White Balance system hardly ever missed a trick, even when shooting wall art comprising overlapping primary colors in mixed natural and artificial lighting: quite possibly a condition that cameras have nightmares about. The A7 V handled the situation beautifully. I could wax lyrical here for three more paragraphs, but I’ll summarize with this: if the camera could cope this well under these conditions, it could cope anywhere.
Dynamic range might not quite manage 16-stops in every image, but matches lower resolution cameras from competing brands (Image credit: Future/ Peter Fenech)
I don’t always believe rumors, but in this case the suggestion that Composite RAW capability was to be included on the A7 V has turned out to be true. Previously seen on the Sony A9 III, this mode captures a sequence of RAW files that are then combined to produce a higher-resolution file with reduced noise. It works nicely and does what it says on the tin – if you shoot landscapes or in the studio, this is a great feature for squeezing every oodle of quality out of the sensor.
Of course, it works less well with moving subjects, even when shooting at a high frame rate, so I chose not to use it for street photography. If you can support the camera, it would also be beneficial for capturing poorly-lit interiors at higher sensitivities.
Even without Composite RAW active, the signal-to-noise ratio will put a smile on your face. I spent most of my shoot at ISO 6400 and above, and the camera delivered a commendable balance of sharpness and grain. I wasn’t blown away by the in-camera treatment of JPGs though, and as low as ISO 800, there was smudging of detail through quite aggressive noise reduction. Weirdly, this didn’t seem to get much worse up to ISO 3200.
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(Image credit: Future/ Peter Fenech)
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(Image credit: Future/ Peter Fenech)
Further proof that the dynamic range is noteworthy is highlight retention at the extended low ISO settings. At ISO 50, which is essentially an overexposed image with the exposure digitally reduced, there was still data present at the right side of the histogram.
One of my favorite features of the A7 V is the IBIS system. Compensating for up to 7.5EV of shake in the center of the frame and 6.5EV at the edges, up from 5.5-stops on the A7 IV, the stabilisation enables hand-held shots at ridiculously slow shutter speeds. I was able to capture usable images at exposures of around one second – unthinkable just a few years ago. This enabled me to capture the movement of objects within the frame while rendering static areas sharp. It’s one of my go-to street and urban photography techniques.
It doesn’t quite match the 8-stop hybrid IBIS-lens-based system seen in the Canon EOS R5 Mark II, Canon EOS R3, and Canon EOS R7 on paper, but it performs exceptionally well.
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(Image credit: Future/ Peter Fenech)
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Image quality score: 4.5/5
Sony A7 V: testing scorecard
Sony A7 V
Attributes
Notes
Rating
Price
The A7 V is another example of how pro features are becoming increasingly more affordable. It's not cheap, but you get a hell of a lot of camera for the money
4.5/5
Design
There are no surprises from Sony. You might call the similarities with other Alpha cameras unimaginative but why fix what isn't broken?
4.5/5
Performance
The IBIS is superb, allowing hand-held long exposures, while AF is responsive, customizable, and accurate.
5/5
Image quality
Low-light quality is superb, as is auto White Balance. Jpeg processing is heavy-handed, but overall, the camera sets a new standard for enthusiast products.
4.5/5
Should I buy the Sony A7 V?
Buy it if...
You want an affordable full-frame camera
It might not be the cheapest camera with a full-frame sensor on the market, but you get a lot of camera for your buck. The A7 V has everything an enthusiast photographer could hope for or need.View Deal
You shoot both stills and video
Like the A7 IV before it, the new camera delivers exceptional video features too, with 4K resolution, 60fps without a crop, and S-Log available for high-end grading.View Deal
Don't buy it if...
You are a beginner
There is a lot of camera here. Novices are unlikely to get the most from all of the features available, and the mammoth toolset might even be off-putting. View Deal
You just bought an A7 IV
Let's be clear, the A7 V is a significant upgrade to its predecessor, but with a similar resolution, equal sensor size, and advanced features, the A7 IV is a great camera on its own merits. I wouldn't suggest there's enough difference between the two for an upgrade just yet.View Deal
Also consider
Canon EOS R6 Mark II
The EOS R6 Mark III builds on the 24MP Canon EOS R6 Mark II with improved resolution that matches the A7 V, now 33MP. Sony and Canon take different priorities; the A7 V has the partially stacked sensor and video recording up to 4K 60p, while the EOS R6 Mark III's sensor isn't stacked at all, but there's open gate 7K video recording. Both feature incredibly powerful IBIS and autofocus performance. This is a close call. Note, at the time of writing we're still working on our EOS R6 Mark III review.
Nikon Z6 III
Nikon's all-rounder, the Z6 III also features a partially stacked sensor, but with a resolution of just 24MP. That said, video recording is up to 6K 60p, and the Z6 III is blazing fast, also being supported by powerful in-body image stabilization. Launched in July 2024, it has come down in price and can be had for much less than the A7 V.
The A7 V body was accompanied by the FE 20-50mm f/2.8 G and FE 70-200mm f/4 Macro G OSS II
Images were taken in a range of lighting conditions, using each ISO setting so noise levels could be compared throughout the range
I always like to push a camera to the edges of its capabilities and, to that end, I shot using the extremes of the ISO range. In bright light, I set the camera to the extended low ISO of 50, and then explored several low-light locations to test the camera all the way up to the expanded high setting of 204,800. I left the White Balance set to auto throughout the review to see how the camera responded to different lighting conditions. I also shot in RAW+JPG mode, so I had unprocessed files and compressed images for the sake of comparison.
I can only think of one time in my life where I've felt so sick watching something I've had to turn off my TV (Raw, the body horror movieby Julia Ducournau). Now, there's a second entry in that list – the new Starz show Spartacus: House of Ashur.
Think Gladiator if Ridley Scott didn't have to adhere to cinema age rating criteria. Blood is well and truly spilled in this version of Ancient Rome, and it's enough to make even the most hardened of horror fans turn green.
Having said that, the legacy sequel (Spartacus originally ran on the network from 2010-2013) is only a horror in how it's delivered. Starz has gone heavy on the spectacle here, and all the gory action distracts us from the fact there's not much that's noteworthy under the show's surface.
There are a few new breakout stars as our returning cast members (Nick E. Tarabay as Ashur, mainly) slip back into their roles like no time has passed. But is this enough to save a show that's reliant on tricks and showmanship?
In a word, no... or at least, not for me. I often found myself wanting to fast-forward through any scenes that didn't have a sword being plunged into somebody's stomach, and I cringed at the gratuitous sex and assault scenes that I knew a historical drama just couldn't resist including.
Shock-factor isn't always an indicator of something good, no matter how entertaining the moment itself is. In fact, I'd probably enjoy episodes more as bitesize bites on TikTok.
Lift the lid on Spartacus: House of Ashur and you'll start to see the problems
Even the above trailer has had to be heavily redacted so it can actually be posted on YouTube. The gore and guts are easily Spartacus: House of Ashur's big selling point, and this means returning fans will definitely not be disappointed.
There are certainly some astonishing and creative maiming, even if the VFX don't always make them look believable. Without giving anything away, my favorite (if that's the right thing to call it) is at the end of episode 2, where Achillia (Tenika Davis) finally gets her own back on the male gladiators who have been expectedly sexist.
Here's the first big dichotomy. The sequel introduces a female gladiator to its ranks as the big 'we have can diverse casting just as effective as Bridgerton's' moment. It's actually a historically accurate decision, but more importantly, it's effective.
Davis is easily the best part of Spartacus: House of Ashur, running literal rings around her co-stars. She's clearly put in a lot of hours of training, and Achillia's attitude to Ancient Rome isn't just refreshing, but a necessary palate cleanser. Claudia Black's Cossutia isn't too far behind, effortlessly swinging from wife to warrior.
As for the rest of the show's female characters, there's a lot left to be desired. It's almost a given that a historical drama will falter to showing degradation unnecessarily because, a) it actually happened and, b) it's an easy way to create on-screen tension.
But wouldn't it be a novel idea to be as forward-thinking narratively as shows are in their casting? Rewrite history for the right reasons, people!
As for the rest, it's all convoluted
Tenika Davis' Achillia is one to watch. (Image credit: Starz)
But let's move onto the meat of the show, as it very much were. Aside from Ashur and right-hand man Korris (Graham McTavish), our men are not as interesting once they've put down their spears and shields. A good 90% of their time is taken up with combat training, so anything else we see (e.g. emotional narrative) is incredibly heavy-handed.
Outside of the impactful fighting, nothing else really lands. There's no point in time that I'm concerned with finding out what happens next, or wondering whether the overall storyline is going to take me somewhere else. Instead, I'm wondering who will have blood gushing out of their legs next.
Still, there are small wins. Episode 1 kicks us off with a surprise Lucy Lawless cameo and Ashur keeps a firm hand on the tiller as the new Dominius. But as I've hammered home by now, we're essentially sitting ringside for a 10-episode long fight we can just about stomach.
Nuance, meaning and complexity? Not present here. Full-throttle entertainment, gore and fighting to the death? Amped up to the max. Whether that's a good or bad thing remains to be seen.
Not signed up to Starz yet and live in the US? Use the below deal to get you started:
Starz subscription:was $10.99 a month now $2.99 at Starz Want access to one of the best US network's originals and film library? Starz is offering a great discount that gets you 73% off the usual monthly price of $10.99 for your first three months to stream hit series like Outlander, American Gods, Now Apocalypse and more. This is a limited-time offer, but Starz hasn't said when it expires so make sure to be quick if you're interested. You can also get a more than half priced annual plan for just $11.99 right now, which works out to be just $1 a month. View Deal
The Beyerdynamic MMX 150 Wireless is a multi-platform gaming headset that will unlock quality immersive audio. It also offers wired USB-C and low-latency connectivity via a USB-C dongle and a removable mic. While it’s already out in the UK, the US release date is yet to be confirmed.
For a mid-market headset with a list price of £159 (around $210), the MMX 150 Wireless is impressively immersive. When I was stalking opponents on Counter-Strike 2, the soundstage always felt precise, enabling me to detect the direction of firefights or distinguish footsteps as people attempted to sneak up on me.
But I would say it’s in action games where the MMX 150 Wireless really shows off its strengths. While playing The Outer Worlds 2, the world around me felt deep and richly layered. Reverberant industrial sounds and the idle chatter of NPCs are always perfectly positioned, making you feel like you’re sitting at the dead centre of an expansive sphere of sound. And effects are exquisitely detailed – the distorted dialogue of in-game voice recordings always feels convincingly conveyed, like you’re actually interacting with aged comms equipment.
The presets provided in the Beyerdynamic app help polish the sound up even further, even if the overall effect lands more on the subtle side compared to some of the best wireless gaming headsets. Upping trebles and mids, the Shooter preset did a credible job of making gun shots and footsteps even more distinct for when you want to sniff out enemies, while Action mode adds more gravitas, boosting bass and treble to give the world around you more substance.
Mic performance is more of a mixed result, however. Testing it out in-game and by recording some audio, the quality of its audio felt decent, if unexceptional. Its noise filtering was genuinely pretty impressive, though, capturing none of the background noise I was making, from key taps to loud, bassy music. The MMX 150 Wireless’s equivalent of transparency mode was a bit disappointing, though – even though it made my voice sound a lot clearer, it introduced a level of hiss that I’ve never heard from any of the best wireless headphones I’ve tested.
(Image credit: Future)
Focusing more on its physical build now, the Beyerdynamic headset is seriously comfortable – I’ve had pillows that are less plush than these things. Thanks to the velour earpads, they’re super comfy, even during long gaming sessions, while the clamp force is just right for keeping them on your head without squishing your ears. Meanwhile, their height is easy to adjust to fit and offers a pretty expansive range, which is very helpful for my cumbersomely large cranium.
There are a few elements of the design I’m not a fan of, however. Aside from that cushy velour padding, the remaining materials of the MMX 150 Wireless feel a little flimsy – its plastic earcups echo every time you click the buttons, for example, slightly hampering the headset’s high-end feel. And while the white and black colorway I tested is a great match for the PS5, it’s ostentatiously gamer-y enough in its styling that I can’t really imagine myself using it for listening to music on the go.
When it comes to features, this Beyerdynamic’s app has a decent smattering. There’s the aforementioned sound presets, which cover gaming modes from Strategy to Racing and music modes from Bass to Smooth, as well as a custom five-band EQ. On top of this, it allows you to customize the functions behind button taps, switch Sidetone on and off, change the language of voice prompts, alter the auto shutdown time, and set the ringtone level.
Battery life is more than adequate for long gaming sessions. Despite Beyerdynamic listing it online as having a total life of 50 hours, its app actually gave the MMX 150 Wireless an estimated life of 68 hours. Having tested it by playing music over Bluetooth at 50% volume for a full day to see how rapidly its battery depleted, I found this estimate is actually pretty spot on, meaning the MMX 150 Wireless has a pretty generous battery life, especially for this price.
Ultimately, the Beyerdynamic MMX 150 Wireless is a strong performer for its mid-market price, offering detailed, immersive sound and a super comfy build. Sure, I’d generally like a slightly sturdier build from a headset of this price, and I’m not totally convinced by that noisy Sidetone mic mode. But if your biggest priorities are simply plunging yourself into your games and having spot-on situational awareness, you could do a lot worse.
Having launched on October 8, 2025, the Beyerdynamic MMX 150 Wireless is already in the UK. Unfortunately, there’s no official release date that’s been announced for the US at the time of writing, but we’ll update this review when we have more information.
The MMX 150 Wireless has a list price of £159 – while that translates to around $210, the still unfolding landscape around tariffs makes it hard to accurately predict what the actual retail price will be. There are currently two colorways available for the headset: black and the white version tested here.
(Image credit: Future)
Beyerdynamic MMX 150 Wireless review: specs
Price
£159 (around $210)
Weight
0.7 lbs / 336g
Compatibility
PC, Xbox Series X/S, PlayStation 5, Playstation 4, Nintendo Switch 2, Steam Deck
Five-band EQ, 10 sound presets, Sidetone mode, custom button settings, plug-in mic with noise reduction
Battery life
50 hours
Software
Beyerdynamic app
(Image credit: Future)
Beyerdynamic MMX 150 Wireless review: design / features
Comfortable and cosy
68-hour battery life
Some materials feel a little cheap
When I put the Beyerdynamic MMX 150 Wireless on, the first thing I noticed was how cosy it feels. Honestly, it’s a little like you’re slipping your head into a velour cocoon. While those earpads aren’t necessarily the most subtle look, I cannot argue that they’re not incredibly comfortable. My only concern here is whether they’ll get a little toasty when summer rolls around – I’m not sure they’ll be particularly breathable or sweat-wicking.
And it’s not just the earpads that feel plush and comfortable: this continues throughout the MMX 150 Wireless’s design. Not only is it lightweight – clocking in at 336g – but its clamp force is pitched just right, keeping them well positioned on your head without unpleasantly squishing your ear cartilage.
It's also easy to adjust to fit. Some brands overthink this – one of the few points I criticized the super-affordable Turtle Beach Atlas 200 on recently was how it was impossible to adjust its height while you were wearing it. Beyerdynamic seems to recognize that sometimes the simplest solution is the most elegant: the earcups here simply raise and lower on a notched band, making it trivially easy to tweak them to the perfect height for you.
Unfortunately, sometimes this no-nonsense approach to design is less effective. In contrast to the luxurious feeling of the headset’s padding, the harder materials feel a little bit cheap. This is most pronounced when using the Control Wheel on the left cup – it’s a shade too clicky, and I found the noise resonates through the plasticky casing. Using more substantial materials here could have definitely made the experience of using these controls feel a little more premium.
And while this may be more of a personal preference, I’m also not totally keen on the MMX 150 Wireless’s styling, with the headset leaning a little too far into the gamer aesthetic for my liking. Don’t get me wrong: there’s no flashing RGB lighting or Cybertruck-esque sharp angles here. But the orange highlights, exposed wires, and the white and black colorway of the model I tested make it pretty clear this is a gaming headset first and foremost – you’re not going to be able to use it to listen to tunes on the subway without drawing a glance or two.
Moving on to the MMX 150 Wireless’s features, it has a decent range of capabilities, even if it’s maybe not quite as talented as some premium headsets.
Its connectivity options are pretty great. You can connect it to any compatible device via Bluetooth 5.3, and for the odd gadget that doesn’t have wireless connectivity, you can hook it up via its USB-C to 3.5mm jack cable. Perhaps the best option for committed gamers though, is its included wireless low-latency dongle – although Beyerdynamic doesn’t get specific about how much latency we’re talking about here, it promises negligible lag between the visuals and audio, something competitive gamers will definitely appreciate.
On paper, the MMX 150 Wireless’s battery life sounds unexceptional for a wireless gaming headset, with many topping its billed 50-hour life. However, when I fired up the Beyerdynamic app, it actually gave me its estimated life on a full charge as being about 68 hours.
Wanting to put this to the test, I set the headset playing music over Bluetooth at half volume for most of the day to see how much it would drain. It took seven hours and five minutes for its charge to drop to 90%, putting its total battery life at something like 71 hours and 10 minutes. Even taking into account the fact that its battery likely doesn’t discharge evenly, that means it will likely deliver that 68-hour life, enabling it to keep up with more headsets on the market.
The Beyerdynamic app offers a decent array of features and sound profiles, enabling me to customize various functions on the MMX 150 Wireless. First off, it offers up access to the headset’s five-band EQ and array of sound presets – these cover a range of scenarios, whether that’s bassy music, spoken words, or game genres like shooters, racing games, or strategy.
The app also allowed me to set which tap patterns of the multi-function button I wanted to play or pause audio, skip tracks back or forward, and switch audio sources. On top of this, it offers options for switching Sidetone on and off – Beyerdynamic’s name for its mic-boosting transparency mode – switching language of voice prompts, setting the headset’s auto shutdown tim,e and dialing in ringtone level.
(Image credit: Future)
Beyerdynamic MMX 150 Wireless review: performance
Rich, immersive sound
Decent sound presets
Mic transparency mode a bit hissy
I’m always a bit wary when headsets throw around words like ‘immersive’ without details of specific spatial audio technologies. However, in the Beyerdynamic MMX 150 Wireless’ case, it’s hard to come up with an adjective that feels more apt – strapping it on really does plunge you into the middle of the games you’re playing.
Firing up The Outer Worlds 2, I was impressed with how alive the worlds around me sounded. Strolling around my ship, the crackle of electricity and whirring of machinery really made me feel like I was inhabiting an authentic, mechanical vessel. And the audio is detailed enough to feel visceral at times – carrying out stealth kills, the whoosh of the knife, and the pained gurgle of enemies was just unsettling enough to impress a scintilla of guilt on my jaded conscience.
This sense of immersion is very much supported by the precision of the MMX 150 Wireless’s soundstage, with its positioning of sounds always feeling spot on. During Counter-Strike 2 matches, I found it easier to pinpoint where enemies were than with cheaper headsets. Not only was locating the direction of gunfire much more straightforward, but I could easily tell by the sound of footsteps when someone was attempting to sneak up behind me, giving me a decent edge.
The low-latency dongle made this even more appreciable. Like I say, Beyerdynamic hasn’t explicitly laid out what kind of latency time the USB dongle is capable of, but at least subjectively, I noticed very little gap between the visuals on screen and the crack of shotguns or the thud of the R8 Revolver.
Sound presets were pretty effective, although I’d say their impact was subtle rather than transformative. When applying the Adventure preset during The Outer Worlds 2, it boosted the bass and treble slightly, giving those atmospheric sound effects a soupçon more impact and drama. Conversely, the Shooter preset upped the trebles and mids, emphasising the most useful frequencies for reacting to gunshots in Counter-Strike 2 – although this is perhaps less fun than the booming bass some headsets grant to the game’s rifle shots.
So the Beyerdynamic produces very decent sound for its price – but how well does it detect it? I’m pleased to say that the headset’s mic works well, capturing my voice with decent clarity. I was genuinely impressed with its noise filtering: it didn’t pick up the noise of me hammering away at my keyboard, and even my attempts to overwhelm it by playing pumping EDM in the background barely registered.
While I would have preferred a fold-to-mute mic design, its mute function still works well, cutting out instantly when you click in the Control Wheel. Annoyingly, I did find the action of the buttons and wheel does get picked up by the mic, though, appreciable at the other end as a definite echoey clunk.
The Sidetone mode mentioned above fulfills its brief reasonably well. It definitely made my voice less muted when speaking with the headset on, making it sound much more natural. I’ve clearly been a bit spoiled by the transparency mode of modern wireless headphones, though – Sidetone mode is a much blunter instrument by comparison, introducing a degree of background hiss that I absolutely wouldn’t tolerate from a pair of Bluetooth headphones.
All in all, the Beyerdynamic MMX 150 Wireless offers very decent performance. I enjoy being plunged into its sonic soundscapes, particularly in games with soundtracks that are suitably immersive enough to play to their strengths. It is a shame that the mic isn’t quite as polished, though: it’s the one area where I could definitely tell I was using a mid-range headset, rather than a more premium one.
(Image credit: Future)
Should I buy the Beyerdynamic MMX 150 Wireless?
Buy it if…
You want to be plunged right into your games With its excellent soundstage, the MMX 150 Wireless puts you right at the heart of the action, giving you an excellent sense of space and fully immersing you in the action.
You prioritize comfort Not only does this headset cosily cradle your ears with its velour earpads, but its clamp force is just right, keeping them in place without exerting excess pressure on your ears.
Don’t buy it if…
You’re after a sturdy, premium-feeling build Despite this comfort, though, the rest of the MMX 150 Wireless’s materials leave something to be desired, feeling a little lightweight and plasticky for this price.
You want an unimpeachable microphone Don’t get me wrong: the MMX 150 Wireless’s mic captures your voice well. But the clonky echo of its buttons on your audio stream and the hiss of its Sidetone mode slightly mar the experience of using it.
Beyerdynamic MMX 150 Wireless review: also consider
Beyerdynamic MMX 150 Wireless
HyperX Cloud Alpha Wireless
SteelSeries Arctis Nova 7P
Price
£159 (around $210)
$199.99 / £189.98
$199.99 / £174.99
Weight
0.7 lbs / 336g
0.7 lbs / 318g
0.7 lbs / 325g
Compatibility
PC, Xbox Series X/S, PlayStation 5, Playstation 4, Nintendo Switch 2, Steam Deck
PC
PC, PlayStation 5, Playstation 4, Nintendo Switch 2, Steam Deck
Five-band EQ, 10 sound presets, Sidetone mode, custom button settings, plug-in mic with noise reduction
DTS Headphone:X Spatial Audio, noise-cancelling mic with LED status indicator
EQ, 200+ sound presets, Sidetone mode, retractable mic with noise reduction
Battery life
50 hours
300 hours
38 hours
Software
Beyerdynamic app
HyperX Ngenuity
Arctis Companion App
HyperX Cloud Alpha Wireless Not only does the HyperX Cloud Alpha Wireless offer fantastic audio, but it makes the Beyerdynamic MMX 150 Wireless’s battery life look positively ephemeral, offering a truly absurd 300 hours. And while its list price was initially higher than the MMX 150’s, in the US it has spent much of the last year at under $150, making it a bit of a bargain.
SteelSeries Arctis Nova 7P If you want a headset that offers that more premium, substantial build but – crucially – don’t want to pay premium prices for the privilege, this might be the headset for you. It’s made from sturdy metal – it feels robust without sacrificing comfort, while offering true spatial audio and hefty bass. The drawback? It’s only compatible with PC and PlayStation, so Xbox or handheld gamers will want to look elsewhere.
I tested the Beyerdynamic MMX 150 Wireless over the course of several days. First off, I tried the headset out with a range of games, including newer and older titles such as The Outer Worlds 2, Counter-Strike 2, The Witcher 3: Wild Hunt - Complete Edition, and Two Point Museum. I also tried it on multiple platforms, including our Acer Predator Helios 300 gaming laptop, my Steam Deck, and my PlayStation 4.
To test out the headset’s features, I downloaded the Beyerdynamic app and played with its various settings. I also used it to test out the EQ and sound presets, comparing them to a neutral EQ for the recommended genres of game. Additionally, I tested out the microphone by recording myself talking while gaming, making sure to also test the mute function and how well it isolated my voice from background noise.
I have plenty of experience when it comes to gaming headsets. First off, I’ve been reviewing audio-related gadgets for well over five years and using them for much longer for both listening to audio and making music. Secondly, I’ve been an avid console and PC gamer for over a third of a century – which is a truly terrifying realization.
I’ve been testing camcorders for over five years, to which you might respond, "Aren’t camcorders a relic from a former era?" And in some ways you'd be right. But there's still plenty of life in the product category, and filmmakers who like the traditional handling and built-in zoom of a camcorder will find much to enjoy in Panasonic's HC-X1200.
Even for a seasoned reviewer like myself, though, the HC-X1200's appeal isn't immediately clear. This relatively new and lightweight Panasonic model targets the serious creator or event videographer who needs rock-solid reliability and modern specs without jumping into the $2,000 / £1,500 price bracket.
There are few real video 'features', apart from basic face tracking. And without mod cons like Wi-Fi, this isn't the tool for fast-paced content creators. I like a simple workflow, and the HC-X1200 is certainly easy to pick up and use in full auto mode, with the option to work in manual for more advanced users.
A core strength here is, thankfully, image quality. I was fairly impressed that the camcorder offers 4K recording at 60 frames per second (4K/60p) with 10-bit internal recording, especially since similarly-priced models max out at 4K 30p.
This combination smooths out action footage with enough color latitude for grading later on, although it's nothing like as fast as you'll get from a top-tier action camera.
The main draw of camcorders, as I say, is their built-in zoom range. Sure enough, the HC-X1200’s built-in 24x optical zoom is something you won't get from a mirrorless camera without spending a fortune on lenses that are likely very heavy, too.
It's also worth noting that the HC-X1200's rivals max out at 20x zoom. If you’re an event or documentary shooter, or a wildlife enthusiast as I am, this is the best video camera for zooming in exceedingly far with clarity, stability, and speed. In 35mm terms, it's the equivalent of having lenses ranging from a 25mm wide-angle all the way to a 600mm telephoto in your bag.
(Image credit: Future)
The HC-X1200's design also incorporates three steps of built-in ND filter, and the excellent 5-axis Hybrid OIS. is impressive for static handheld shots and walking scenes.
I didn't get the chance to shoot a wedding during my review loan period with the camcorder. Still, I think I’d be happy to use it for long events like weddings or conferences without worrying about the battery dying or the unit overheating, not least since the heat-dissipating design kept it totally cool while shooting long testing clips.
The HC-X1200 is a relatively affordable camcorder, and that’s because it makes some obvious compromises. Without a proper electronic viewfinder (EVF), it’s not always easy to see settings and frame up scenes in bright sunlight, especially since a lot of data on the screen is printed in tiny writing.
Good video requires good audio, but there are no professional XLR audio inputs. Instead, there’s one 3.5mm mic jack, which means relying on external recorders or less high-end microphones if you’re working on projects where audio is critical. If you're shooting primarily for home or family videos, though, the audio is just fine.
The HC-X1200 is a good-value portable camcorder. Whether you’re new to filmmaking and want something with a long zoom, or you like the traditional handling, the HC-X1200 is a reliable option for long-form capture. Just be prepared to manage audio externally, and work primarily in well-lit conditions.
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Panasonic HC-X1200: price and availability
Priced at $1,299.99 / £1,099 / AU$2,399
Lens hood included
Announced in January 2025
The Panasonic HC-X1200 was announced in January 2025 alongside two new 4K camcorders, the HC-X1600 and HC-X2100. It costs around $1,299.99 / £1,099 / AU$2,399.
The HC-X1200 is the entry-level model among these three Panasonic camcorders, without a viewfinder, handle unit, or XLR mic ports. It also lacks Wi-Fi, which feels like a misstep given that this comes as standard on cheaper rival camcorders and creator video cameras.
By my maths, the HC-X1200 is one of the most affordable camcorders for shooting 4K at 60 frames per second. The built-in ND filters also add a lot of flexibility for controlling exposure in bright light. Competing models priced near or below it (the Canon HF G70 or Sony AX43) are typically limited to 4K/30p, and both of those max out at 20x optical zoom power.
Panasonic HC-X1200 specs
Panasonic HC-X1200 specs
Sensor:
1/2.5-type (inch) MOS
Effective pixels:
8.29MP
Optical zoom:
24x
F Value:
f/1.8-f/4
Stabilization:
5-axis hybrid OIS
Memory card:
SDHC/SDXC (Up to 512GB)
Recording formats:
MP4, AVCHD
Maximum recording quality:
100 Mbps for 4K 59.94p/50p
Dimensions:
3.7 x 5.1 x 8.2 inches / 893 x 129 x 209mm (H x W x D)
Weight:
1.76lbs / 800g
Panasonic HC-X1200: Design
Light at just 800g, but not ultra-compact
Heat-dispersing design for continual recording
Two manual control rings
The Panasonic HC-X1200’s form resembles a classic camcorder. Made from matte black plastic, the body is long and barrel-shaped, and there’s an adjustable padded strap to aid stable handheld use (right-handed functionality only, though), with a pull-out, articulating LCD screen on the left of the body.
The HC-X1200 looks and feels similar to the Panasonic HC-X1500, which I’ve also tested, but comes in at a lighter weight of 1.76lbs / 800g. Some of the HC-X1500’s added weight comes from the viewfinder and eyecup, and the HC-X1200 is designed as a compact, body-only model, doing without the XLR-equipped handle unit found on its siblings (the HC-X1600 and X2100).
Panasonic calls it a “lightweight 4K 60p palm-style" camcorder, and while isn’t heavy, it might feel cumbersome to use at first if you’ve come from a vlogging-style camera. You’ll need a long padded bag to carry it, too. But the benefit of a camcorder like this is that everything is in the one unit, so you can forget carrying (and swapping out) extra lenses.
On the top is a chunky raised zoom rocker, which I found responsive, but not as naturally placed as on some camcorders. My index and middle fingers had to curve around slightly to reach it, but your mileage may vary.
The HC-X1200 is aimed at prosumers rather than total beginners, so there’s a good array of physical buttons on the camcorder body. There are no fewer than five customizable user buttons on the top, too, which can be set via the menu for controlling functions like face detection and enabling image stabilization.
Several of these are already preset, making them optional, but it’s a good thing to be able to customize the handling for your own preferences, especially since it’s harder to find these buttons in low light.
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Before you even pull out the LCD screen, there are more buttons underneath on the left-hand side, including for the menu, iris, gain, shutter, and a toggle to switch between auto and manual exposure mode. The Menu button is the one you’ll likely use the most, and I would have liked to have felt it raised more than the others to make it easier to find without looking. Small things, though.
Fold out the LCD and there’s the on/off button (presumably positioned as such to stop you pressing it accidentally when the LCD is stowed away), a playback button, a toggle for displaying more or less info on the screen, and, as with most camcorders around this price point, dual memory card slots covered by a slide across a plastic window. A light illuminates to indicate which of the two SD cards is actively recording, which is a nice touch.
The 3.5-inch touch-sensitive LCD monitor is bright, detailed, and fully articulated, which means you can shoot pieces to camera or at low angles easily. As a more compact model, the Panasonic HC-X1200 notably skips an electronic viewfinder, but for this class of camera the generous touchscreen compensates.
My main complaint is the responsiveness of said screen and the layout of the menus, which at times felt slow, confusing, and outdated to a modern user. It’s a shame Panasonic couldn't spend time coming up with a more user-friendly experience, but it’s not a dealbreaker.
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At the rear of the camcorder is the raised recording button (easy to find without looking), plus a full HDMI port, USB-C power port, and single 3.5mm stereo mini jack for external audio input. In some ways, it’s a shame that professional XLR inputs are reserved for the X1600/X2100 handle. However, for a camcorder of this size, it keeps the profile sleek. Underneath, there’s also a standard tripod thread, and it’s a great bonus to be able to check the battery’s capacity with a quick press of the “check button”.
The highlight for me when using the HC-X1200 were the dual manual rings on the lens barrel, which are both smooth and very tactile to use, thanks to the notched markings all the way around them. The ring closest to the lens controls focus, and the other zooms, meaning you can precisely pull focus through a shot, or just get up-close subjects really sharp.
I found it easy to make smooth and on-the-fly adjustments without taking my eye off the action, and the manual rings are also in a more natural place for your hands than the zoom rocker. Just behind the closest ring is a dedicated three-stage ND filter switch (Clear, 1/4, 1/16, 1/64) placed right where my fingers expected it, and I found this essential for managing exposure in bright outdoor settings, even though I’ve not really used this function on other camcorders.
(Image credit: Future)
A big lens hood is supplied with the camcorder, both to protect the lens and shelter it from bright, direct sunlight. There’s a physical toggle to open and close the lens hood, which mirrorless users might take a while to get used to. I do wonder if modern mirrorless users will, like I did a few times, even with years of testing, forget to close the opening once you’ve finished shooting.
The HC-X1200’s design doesn’t try anything new, but that’s okay. It took me a few days to really get to grips with everything – both metaphorically and literally, since the strap needs tightening often – but it balances portability with some core manual controls. It’s an effective, comfortable choice for filmmakers who don’t want to carry around a colossal camcorder.
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Panasonic HC-X1200: Performance
Mediocre low-light performance from the small sensor
Impressively shake-free footage even at the full 24x zoom
Versatile f/1.8-f/4 iris opening allows some bokeh
The XC-H1200 is a good video all-rounder, without any of the fancy AI features or autofocus options often marketed at content creators to make filming 'easy'. If you’re looking for a fully automatic workflow, though, the XC-H1200 delivers generally well-exposed and balanced 4K footage.
The 24x zoom range is quite incredible, and you can see in the sample clips how close I was able to get to a grey heron from the other side of a large pond. The zoom action is very smooth, and I like that it can be fine-tuned using the lens rings – great for up-close scenes, or if you want some creative pull-focus shots.
There aren’t any metering modes to choose from, though, and I often found that the exposure, while good overall, would overexpose very bright areas, such as the white feathers of a bird, at the mid-to-far end of the zoom. However, the camcorder’s built-in ND filters became exceptionally helpful on sunny days, as well as a creative tool if I wanted a darker look.
I found white balance to be very accurate on frosty mornings and sunny days, but in artificial light I ended up setting the tone manually. This is Panasonic's prosumer camcorder, so the fact that it lacks color grading isn’t a surprise, and there aren’t options to match colors with other cameras – a feature I’ve previously used with the Canon lineup.
Colors are well rendered, if a little on the dull side, but I found some leeway to boost the vibrancy in post-production without scenes looking artificial or losing detail. With 10-bit color depth set I didn’t notice any banding in bright skies either, as I have with cheaper camcorders and action cameras.
There are several video options to choose from, but only once you’ve stumbled upon the right place in the confusing, unintuitive menu. You can shoot in either UHD 4K or 1080p resolution, and two frequency modes (59.94 Hz for NTSC regions and 50.00 Hz for PAL regions) dictate the available frame rates, all at a maximum bitrate of 200Mbps.
Various encoding options will help those with more experience balance file size and quality, but if you’re new to moviemaking Panasonic doesn’t helpfully explain any of the options, so a bit of research might be needed in order to get the most from them.
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Although it isn’t obvious, the HC-X1200 has the option for smooth slow-motion capture at up to 120fps, but only in HD (1920 x 1080). The idea is to help keep fast-moving subjects in focus, but while the results are definitely usable, the autofocus is the more limiting factor for ultra-fast and erratic subjects. In short, don’t buy this camera expecting to shoot a lot of crisp action.
The HC-X1200’s autofocus isn’t mind-blowing, and Panasonic doesn’t give a lot of detail regarding the mechanics of how it works. There’s nothing like the eye-detection precision of my Canon EOS R6 Mark II, but that’s to be expected at this price point.
Face tracking is easily turned on or off with a button on the body. It’s great for keeping you sharp during vlogging pieces to camera or documentary work, since the camcorder also adjusts the exposure automatically to keep the main face balanced in changing light. If you’re in shifting lighting conditions, this process takes a few seconds to recalibrate, but for interviews in a continuous or evenly lit room, it will cope well.
I was worried about low-light performance, due to the size of the camcorder’s sensor (1/2.5-inch) – usually a recipe for grainy, muddy footage. Out of the camera, the footage I shot at night was a little noisy, but far more usable than other camcorders I’ve tested with the same sensor size. The best results come from shooting at the camcorder’s highest bit rate, and then eking out the mileage with some creative grading.
If you work with dark footage rather than trying to brighten the shadows, the low-light footage is surprisingly usable. Setting the f/1.8 maximum aperture manually also helps. The HC-X1200 is also capable of capturing the invisible infrared spectrum for nighttime footage, but you need to buy an external infrared light source for this, so I didn’t test it.
With the dual SD card slots, you can set up two cards for relay recording (using one as an overflow when the first fills up), or simultaneous recording, so you have a backup. I only used one fast SD card when testing, but I often found the camera would be writing and processing footage for a long time after hitting the button to end recording. On a few random occasions, the camcorder froze, and I had to leave it alone for five minutes or so before, which isn’t ideal if you’ve got limited time with a subject or need to capture a particular moment.
On the plus side, it’s fully possible to record footage for as long as either your memory card(s) or the battery allows, since the heat-dissipating design genuinely delivers unlimited recording times, as Panasonic promises. I accidentally left the camcorder recording in my bag one day, and found I had several hours before the battery had run out.
Panasonic says you’ll get five hours of battery when recording 4K at 30p, and I got at least four and a half hours from one full charge, making this an excellent all-day companion if you have a few spare batteries in your arsenal.
Obviously, image quality is only half of the equation with video, and the HC-X1200’s audio quality falls somewhat short. If you’re a few steps from the camcorder, and ideally facing towards it in a wind or traffic-free zone, your voice is picked up clearly. Outside this ideal scenario – for example, if you’re walking and talking, or near a road – the built-in mic is less capable at picking out individual audio sources.
There are no clever AI algorithms working in the background to help suppress wind noise, as found on action cameras like the DJI Osmo Nano. So the onus is on you as the user to carefully choose the shooting location – in a sheltered spot away from the wind – or add an external mic with a furry wind shield using the 3.5mm jack input.
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Should you buy the Panasonic HC-X1200?
Buy it if...
You mostly shoot in controlled or good lighting
The HC-X1200 isn't great at adapting to changing light in auto mode, and tends to get grainy in low light.
You don't need XLR inputs
There's a standard 3.5mm stereo mic input. You may need an external audio recorder for pro-grade quality.
Don't buy it if...
You want the flexibility of Wi-Fi
Without built-in Wi-Fi, you can't use a phone or tablet for remote control or livestreaming.
You like using an electronic viewfinder (EVF)
You've only got the LCD for changing settings and framing scenes. The screen is generous, but it can be hard to view in bright sunlight.
Also consider
Canon EOS R10
Keen for a hybrid camera you can shoot stills on, too? Our favourite entry-level mirrorless also offers 4K/60p video, but it's heavily cropped. Low-light performance is better than the HC-X1200 thanks to a bigger sensor, and with the standard kit lens it's about the same price, but of course you don't get that mega camcorder zoom.
I've tested the Canon XA65 for our sister title Digital Camera World, and think it's a great filmmaking camcorder if you're willing to pay a little more. The 20x optical is smaller than the HC-X1200, but it's incredibly versatile. Prosumers should get good use of the detachable handle, which helps with low angles and lets you add two external microphones via the XLR ports.
(Image credit: Future)
How I tested the Panasonic HC-X1200
I tested it for two weeks
I shot in full Manual and Auto mode
I used it for video, day and night
Panasonic loaned me the HC-X1200 for two weeks, and although it was raining almost the whole time (welcome to winter in the UK), I did take it with me on a few outdoor adventures, dog walks, and day trips, and I used it as an everyday companion for mainly handheld shooting.
I made direct comparisons with many other camcorders I've tested, as well as video on my now similarly-priced Canon EOS R6 DSLR and iPhone 15 Pro.
I shot videos using different iris settings and zoom lengths, in both fully automatic and manual modes, to compare the ease of use and quality of results from both.
After several years of standing at the edge of the pool and occasionally dipping its toes in, British phone maker Nothing has finally decided to jump into the cold lido that is the premium smartphone market. Perhaps it took those “no running” signs too literally, because while the Nothing Phone 3 is one of the best Android phones I've tested recently, it hasn’t made enough of a splash to truly threaten its big-name rivals.
The Nothing Phone (3), as it’s officially called – excuse the odd bracketing, but if you're new to the brand, the company is a grammatical law unto itself – marks an ascension from the mid-range Phone 1 and Phone 2. It's now priced akin to the Samsung Galaxy S25 and iPhone 17, and shall be judged accordingly.
In many ways, this is a phone that meets or even exceeds any expectations that such comparisons may evoke. Its quartet of 50MP cameras gives the big-name phones some needed pointers in hardware, especially with its far-reaching periscope lens. The battery is bigger than what Apple or Samsung use in their similarly priced mobiles, and the Phone 3's charging speed likewise outstrips the competition (as long as you don't treat mid-range Android phones from non-Samsung companies as 'the competition', because you can spend less and get more from certain lesser-known devices).
I also like some of the software touches Nothing has brought to its fork of Android. The icons of apps you download will automatically be converted into Nothing's house style, which, on my sample, worked more often than it didn't and maintained a consistency to the Phone 3's design that's rare among smartphones these days.
What I'm about to write next will upset Nothing fans, but it's something that struck me repeatedly through weeks of testing the Phone 3: it's the most novel and ‘Nothing’ touches to the phone's software that might put people off.
Take, for example, the design. Nothing likes a unique, blocky design for its phones, but ‘unique’ isn't the same as ‘good’. The Phone 3 is also a fair bit heavier than the average handset and feels ungainly to hold.
The extra side button that Nothing has added to the edge of the mobile is useful in certain situations, as it lets you take a screenshot with one tap. However, it's poorly placed – I kept mistaking it for the power button – and doesn't do as much as I would've liked. I was longing for it to double as a camera app shutter button, like on the Sony Xperia 1 VII, but no cigar.
As I've already alluded to, I can also see many people finding the software as divisive as the phone’s design, although with Nothing OS, you get out as much as you put in (i.e, if you don’t like its look, you can change a lot about it), which can't be said for every Android fork.
Going into this review, with knowledge of the price in mind, I imagined that the Phone 3 would be a Samsung Galaxy S25 and iPhone 17 rival that would pale in comparison to two of the most popular devices out there. And having used the handset for four weeks, I don’t imagine it’ll challenge those heavyweights in terms of sales.
But at the same time, I do understand the appeal of the Nothing Phone 3. It’s slick, but unafraid of its rough edges; not attempting to be the ‘everyone phone’ but trying to do something different. And you've got to respect that.
Nothing Phone 3 review: price and availability
(Image credit: Future)
Released in July 2025
12GB / 256GB: $799 / £799 / AU$1,509
16GB / 512GB: $899 / £899 / AU$1,689
The Nothing Phone 3 was released in July 2025 in two variations. You can pick up the Phone 3 with 12GB RAM and 256GB storage, and that’ll cost you $799 / £799 / AU$1,509, or there’s a model with 16GB RAM and 512GB storage, and that sells for $899 / £899 / AU$1,689.
That’s a fairly premium price, and a marked step up from the $599 / £579 / AU$1,049 asking price of the Nothing Phone 2, but the brand is pushing this as its first "true flagship", and so the bump makes sense.
For context, the 256GB model of the iPhone 17 costs $799 / £799 / AU$1,399, and the Samsung Galaxy S25’s lowest-storage variant starts at the same price everywhere except Australia (where it isn’t on sale). Admittedly, for the latter, that’s a 128GB model, but you get the picture – this is the ‘premium’ price to aim for.
If that price increase is too much for you to stomach, you should consider all of the Phone 3's budget siblings, which are already out: there's the Phone 3a, Phone 3a Pro, and Phone 3a Lite.
Nothing Phone 3 review: specs
Nothing Phone 3 specs
Dimensions:
160.6 x 75.6 x 9mm
Weight:
218g
Screen:
6.67-inch FHD (1260 x 2800) 120Hz AMOLED
Chipset:
Snapdragon 8s Gen 4
RAM:
12/16GB
Storage:
256/512GB
OS:
Android 15, Nothing OS 4
Primary camera:
50MP, f/1.7
Ultra-wide camera:
50MP f/2.2 114-degree
Periscope camera:
50MP, f/2.7, 3x zoom
Front camera:
50MP, f/2.2
Audio:
Stereo speakers
Battery:
5,150mAh
Charging:
65W wired, 15W wireless, 7.5W reverse
Colors:
White, black
Nothing Phone 3 review: design
(Image credit: Future)
Chunky (9mm) and heavy (218g)
Unique twists: Glyph Matrix and Essential Key
Blocky design
It’s been a while since I’ve used a phone that felt quite as chunky as the Nothing Phone 3. Partly, this is down to the 218g heft, putting it in a weight class above many of its premium rivals (it matches the Samsung Galaxy S25 Ultra, despite being smaller in most regards), but partly it’s the sheer blocky design of the thing.
I’m no thin-phone evangelist, but at 9mm thick, the Phone 3 is at the other end of the spectrum from the likes of the iPhone Air. It’s 160.6mm tall and 75.6mm wide, so it’s big, but it’s not Ultra or Pro Max big. But in some ineffable way, it still feels chunkier than its bigger rivals. This is clearly a phone that’s been designed meticulously, yet in a lot of ways it feels poorly thought-out.
Like its predecessors, the Nothing Phone 3 has a robot-like, mechanical-looking back, which is ostensibly see-through so you can see some screws, but not any of the real internals. The two horizontal camera lenses stick out quite far, though the higher, periscope one doesn’t; the orderly part of me hated how slightly offset this camera was. I see the whole aesthetic of the Phone 3 being quite divisive, but if you know enough about the brand to be reading this review, you’ve already decided whether you like it or not.
A new feature for the Phone 3 is the Glyph Matrix, which is an upgrade on the Glyph interface that past Nothing phones had (which were basically just light strips). The Matrix lets you display information like a stopwatch or the battery level, and there are a few games too, like Spin the Bottle and Rock, Paper, Scissors. You can scroll through the options or select them by pressing or holding the white circle midway down the body below it. Many of the Matrix functions that Nothing touts on its website, like photo previews or a torch mode, were not readily available on the phone I tested (at least via the Glyph menu, or anywhere else I checked).
So, the Glyph Matrix is an interesting feature with a few neat use cases, but there weren’t enough useful features to make it a core part of my user experience, and due to the nature of pressing the touch button, I found it easier just to flip over my phone to see the time or battery percentage.
Another feature worth flagging is the Essential Key button, which Nothing has spitefully put exactly where a power button would be on any other handset. Due to this placement, I was constantly accidentally pressing it when I wanted the phone to power up or down; hopefully, experience would eventually teach me not to do this, but it was endlessly frustrating.
The button’s actual function is fine: press it for a screenshot or hold it for a video, both of which you can caption with a written or voice memo, before they’re sent over to the Essential Space. More on that later.
Above the Essential Key is the power button, with the two positioned close enough to each other that, at first glance, you could think they were both part of the volume rocker. The latter is on the left edge of the phone, positioned high enough that I couldn’t reach volume up with my fingers, but could get to volume down.
Due to it being 2025, there’s no 3.5mm headphone jack, so the USB-C port on the bottom edge serves instead. The other important thing to note is the phone's IP68 protection, meaning it’s sealed up from dust and water resistant up to depths of 1.5 meters for up to half an hour.
Design score: 3.5 / 5
Nothing Phone 3 review: display
(Image credit: Future)
6.67 inches, 2800 x 1260 resolution
120Hz refresh rate, 4500 nits max brightness
Protected with Gorilla Glass 7i
Nothing’s apparently still not decided on the perfect screen size. After bumping up the inch count from Phone 1 to 2, it’s now dropped it ever so slightly on the 3; you’re now looking at a 6.67-inch panel, though one with a higher pixel count. That’s 1260 x 2800, for an FHD display.
The screen supports a billion colors with a 10-bit color depth, and it’s noticeable when you’re watching supported content on streaming services or online.
Some more specs: like many premium phones, the refresh rate is 120Hz, with a lower touch sampling rate than previous models at 1,000Hz, but that’s not a spec most people notice. The peak brightness is a glorious 4500 nits, and if the sun had come out once during my testing period, I’m sure I would’ve reaped the benefits of this particular spec.
The screen’s made from Corning Gorilla Glass 7I, which is designed to offer mid-range and budget phones added toughness. Bearing in mind the aforementioned IP68 rating, the handset seems very hardy.
Display score: 4 / 5
Nothing Phone 3 review: software
Here are the apps pre-installed on the Edge 70 (although I can excuse Ecosia, since that's the one I picked as my browser on load-up). (Image credit: Future)
Android 15 with Nothing OS 4 atop
Five guaranteed updates; one already here
Unique look and many bespoke features
When the Nothing Phone 3 launched, it ran Android 15, but by the time I tested it, the rollout to Android 16 had commenced. That's the first of the five major software updates promised to the phone, taking it to Android 20 if Google keeps its numbering system consistent.
Of course, you've seen pictures of the phone, so you know it doesn't run stock Android. Layered atop Google’s software is the company's fork: Nothing OS 4. This is quite a dramatic change versus Android proper, bringing a new look and extra features.
Design-wise, there's obviously the retro-inspired blocky look, which isn't mandatory but which I opted for. I was impressed by how the system converted app icons for all my downloads into the house style, which kept a consistency across the board that I haven't seen before in forks like this. Admittedly, it stumbled a few times – the NYT Puzzles app lost basically its entire logo, and several of Nothing’s own apps have near-identical logos to one another – but it shows admirable commitment to a look.
There are also a few novel features that are unique to Nothing OS, or are at least rare among other brands. Essential Space is a repository of your screenshots, notes, and memos, with organization tools to create collections. The Recorder app has extra features to focus on voices or environmental sounds, and the Essential Key has a shortcut to quickly begin recording. And, of course, there’s the Glyph Matrix and everything that comes with it.
Nothing OS has some AI tools, like integration with ChatGPT and a wallpaper generation tool, but thankfully, these are optional and turned off by default.
There’s some degree of customization in Nothing OS, as you can change the color scheme, add widgets, and create shortcuts, but you’re not getting as much versatility as in most other Android forks. You can change the icon shapes between Nothing’s versions and the standard Android model, and there’s also a storefront to buy alternatives, although, for the most part, these cost money.
Software score: 4 / 5
Nothing Phone 3 review: cameras
(Image credit: Future)
50MP main, 50MP ultra-wide and 50MP periscope lenses
50MP front-facing
Testing is a work in progress; more samples to come
Nothing has decked the Phone 3 out with a camera array that's easy to remember: 50MP, 50MP, and 50MP. One of those is the main snapper, another has an ultra-wide lens with a 114-degree field of view, and the other has a periscope lens for 3x optical zoom.
I'm particularly glad to see the periscope camera, as lenses like this add a certain 'oomph' to a camera array. Not only is it useful for long-range shots, but it also improves the natural bokeh of Portrait photos and the close-up detail of Macro mode.
The selfie camera is – you guessed it – another 50MP snapper, f/2.2. That marks a megapixel increase over the Phone 2, although both use pixel-binning. I found selfies a little washed-out, and in Portrait mode, the artificial bokeh kept fuzzing out parts of my hair.
(Image credit: Future)
My initial impressions of the Nothing Phone 3's camera are rather positive. Its trio of cameras gives you versatility in your shooting, and the Night Mode detail was great. Autofocus was quick, and some of the extra tweaks, like modifiable bokeh, added nice touches.
Nothing's focus seems to be on fine-tuning the standard camera modes rather than adding brand-new ones, though, which seems at odds with its mode of operations in other areas of the device. But I don't mind if I have access to a periscope camera.
You can see some initial camera samples from my time with the Nothing Phone 3 below, but I'm still playing around with it. In the coming days, I'll add more camera samples as well as some fleshed-out thoughts on the phone's photographic performance. I just need to get around to using the three cameras that aren't the zoom one...
Camera score: 4 / 5
Nothing Phone 3 camera samples
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Nothing Phone 3 review: performance and audio
(Image credit: Future)
Top-end Snapdragon 8s Gen 4 chipset
12GB or 16GB RAM and 256GB or 512GB Storage
Stereo speakers or Bluetooth 6.0
Nothing hasn’t given the Phone 3 the very best chipset available, but one so close that you’d only know the difference by looking at its specs sheet. This is the Snapdragon 8s Gen 4 from Qualcomm, with that little ‘s’ denoting that this is a step behind the top option (which was the Snapdragon 8 Elite at the time of release, though the Snapdragon Elite Gen 5 has since debuted in newer Android phones like the OnePlus 15).
At the top end of chipsets, though, the performance differences are so minuscule that this really doesn’t matter. When I put the Phone 3 through the Geekbench 6 benchmark tests, the average multi-core score was 6847, and as of the 2025 generation of flagships, any score around 6,500 is the realm of the giants.
I tested the phone on a number of popular mobile titles, and I could always crank the game’s graphics to the max and still enjoy a cracking time. At certain times, including during benchmarking and in certain games, I did notice the phone heat up a fair amount, so be warned if you’re planning on gaming all day.
Depending on which phone you opt for, you’ll get 12GB or 16GB RAM, and I tested a model with the latter. For most people, 12GB is enough, though power users or people buying phones for specific high-intensity use cases might prefer 16GB. The same goes for the storage capacity, which is 256GB or 512GB – I know the former would be enough for me, but if you’re using the handset for work or photography, maybe you’ll want to stretch.
Audio-wise, Nothing has never released a phone with a headphone jack to my knowledge. Instead, you can use a USB-C adaptor, connect headphones through Bluetooth 6.0 or, if you’re home alone and not bothering anyone by using them, the stereo loudspeakers which sound just the same as on every other smartphone.
Performance score: 4.5 / 5
Nothing Phone 3 review: battery life
(Image credit: Future)
5,150mAh battery
65W wired charging
15W wireless powering, 7.5W reverse
The Nothing Phone 3 has a 5,150mAh battery – I’m told the Indian model has an extra 350mAh on top of that, but the rest of us get slightly less – which is slightly smaller than many of its contemporary flagships but does beat Samsung and Apple’s price-for-price alternatives.
That’s a solid battery capacity, and it facilitates full-day phone use; I don’t imagine many people will need to charge the Phone 3 mid-way through the working day.
I wouldn’t rely on the phone for a second day of use, though, with the big screen, powerful processor, and Glyph lights all demanding juice.
You’ve got the full hat-trick of charging options here. There’s 65W wired, 15W wireless, and 7.5W reverse wireless (that’s when you use your phone as a wireless charging mat for other devices). None of those speeds is the best in the biz, but – in what’s becoming a refrain for this section – they trump the respective charging speeds of the Galaxy 25 and iPhone 17.
Battery score: 3.5 / 5
Nothing Phone 3 review: value
(Image credit: Future)
The problem with Nothing’s jump into the big leagues is that the brand’s existing fans, who know the company for mid-range mobiles, might feel a little left in the lurch.
Specifically, fans who are used to the usual Nothing value proposition might not feel that the increased price demanded by the Phone 3 is matched by its spec improvements. Case in point, you can get faster charging, a more premium design, and a bigger battery on much cheaper Android phones.
In short, you’re getting what you pay for, but that’s not the Nothing way – you usually get a little more.
Value score: 3.5 / 5
Should you buy the Nothing Phone 3?
Nothing Phone 3 score card
Attributes
Notes
Rating
Value
Fans of the brand will be disappointed, but you're getting what you pay for.
3.5 / 5
Design
It'll be divisive in the same way that past Nothing phones have been, but there are some unique touches.
3.5 / 5
Display
It's a good-looking panel that's well-protected and very bright.
4 / 5
Software
Whether you love or hate the look, you've got to admit Nothing has created the most consistent piece of phone software since stock Android.
4 / 5
Camera
Solid hardware with a focus on refining the basics of the smartphone camera experience.
4 / 5
Performance
A powerful chipset is accompanied by lots of RAM and storage.
4 / 5
Battery
It's a decently-sized battery, with a fine charging speed, but there's nothing to write home about.
3.5 / 5
Buy it if...
You like the Nothing aesthetic If the design of the Phone 3 and its software speaks to you, then you should pick it up right away. Outside of other Nothing phones, no other handsets compare, visually speaking.
You need lots of processing power The combination of the Qualcomm chipset and loads of RAM makes the Phone 3 a surprisingly capable gaming phone.
You take frequent screenshots If you're always snapping your phone screen and sharing it with people, the Essential Key is going to prove incredibly handy.
Don't buy it if...
You want a slender smartphone The Nothing Phone 3 is not a light phone. You really feel it when it's in your hand.
You don't want to spend too much As the most expensive phone from the brand, this isn't the Nothing phone for people who don't want to spend too much.
Nothing Phone 3 review: Also consider
I keep comparing the Nothing Phone 3 to two particular rivals, so let's take a proper look at them as well as the Phone 3's predecessor.
Nothing Phone 2 The Phone 2 has some scaled-back specs versus the Phone 3, and it misses a few of its unique features. But it's cheaper.
Samsung Galaxy S25 This handset starts for the same price, but that gets you less storage. Samsung's premium mobile may be a bit boring, but it's powerful and has decent cameras.
iPhone 17 Another same-priced phone, this is the option for people who want to use iOS. It's a powerful and long-lasting handset, but with no zoom camera.
I used the Nothing Phone 3 for four weeks before writing this review, and continued additional testing during the writing process.
During said process, I used the Nothing Phone 3 as my main smartphone. This meant it was my tool for taking photos, scrolling social media, gaming, and working. Before and after this testing, I also conducted benchmarks, as well as standardized battery and charging tests.
I've been testing smartphones for TechRadar for nearly seven years now, so I have copious amounts of experience in experimenting with gadgets and assessing whether they're right for the general consumer.
The Echo Show 8 (2025) is the fourth-generation model of Amazon’s second-smallest smart display, offering a great canvas for hallways, living rooms, offices and beyond. Announced in September 2025 alongside the Echo Dot Max, Echo Studio (2nd-generation) and the Echo Show 11.
Adopting a similar design language to the Echo Show 10 (2020), the Echo Show 8’s speaker is now the base for a floating, thin display, rather than the slightly clunky wedge shape design of previous generations. It’s a lovely change that makes the speaker feel far less utilitarian in the home like many of the best smart displays it's competing against, but there’s a casualty; there’s now no physical camera shutter. You can still mute and blind the Echo Show 8 with a button on the device, or fully switch off the camera in the app (or, of course, cover it with a sticker), but it’s an unfortunate loss for those who want that extra layer of built-in privacy and peace of mind.
(Image credit: Lance Ulanoff / Future)
The new 8.7-inch screen is wonderful to use with minimal lag,and the speakers are pretty accomplished. Everything, from reading recipes to Alexa queries, is zippy thanks to the new AZ3 Pro chip, topped by a great streaming experience. There’s also a great array of smart home features, including the Omnisense technology as well as Thread, Matter, and Zigbee support.
Overall, it's a powerful boost for Amazon's second-smallest smart display, and if you can get past the lack of a physical privacy shutter and the slightly cluttered interface, it's a real crowd-pleaser, and easily one of the best Alexa speakers available today.
(Image credit: Future)
Echo Show 8: Specs
Echo Show 8 (4th-gen, 2025)
Size
21 cm x 15 cm x 13 cm (W x H x D)
Display
8.7-inch HD touchscreen with 1340 x 800 resolution
Camera
13 MP with auto framing
Audio
1x 2.8-inch woofer and 2x full-range drivers
Connectivity
Zigbee, Matter & Thread Border Router, Wi-Fi 6E, Bluetooth
Processor
AZ3 Pro with AI Accelerator
Sensors
Ambient Temperature Sensor, Presence Detection, Camera
Privacy features
Microphone & camera enable/disable button, dedicated physical and in-app camera controls, voice recording management – but no physical camera shutter.
Echo Show 8: Design
Fresh redesign akin to the Echo Show 10 (2020)
Bright and beautiful floating display
No physical camera shutter
The Echo Show 8 gets a fresh new look, modeled after the Echo Show 10 (2020) with a round, pill-shaped speaker base and a floating thin screen. It’s a much more sophisticated look than the Echo Shows of yore, and doing away with the chunky wedge shape is drastically improves the smart display’s appeal. It does, however, make the whole thing a little more space-consuming at 21 cm x 15 cm x 13 cm (W x H x D).
Its speaker base is clad in a mesh fabric, following the suit of other newer smart speakers and similar to the materials used in Apple’s HomePod and Google’s new Home Hub speakers. Inside are housed two full-range, front-facing drivers for spatial sound and a 2.8-inch woofer.
The screen is an all-around upgrade; it measures 8.7 inches (versus the previous generation’s 8 inches) with a resolution of 1,340 by 800 pixels, (versus 1,280-by-800). It’s fully attached to the base, meaning you can’t adjust the height or the orientation; a slight missed opportunity, but the price jump doesn’t quite cover such engineering, perhaps. It's a shame, though, as the Echo Show 10 offered this function, but neither the new Show 8 nor 11 could fit it in.
(Image credit: Future)
Centered at the top of the screen is the 13 MP camera with auto framing; of note is that there’s no more physical privacy shutter, presumably to allow for that lovely thin screen, but that does mark a downgrade for the privacy-conscious. While settings in-app and the on-device mute button do cancel the camera feed, you can just as easily grab an affordable stick-on shutter or use a bit of tape.
On the right side of the screen are the mute buttons and volume rocker, and the rest of the controls are touch-based on the screen.
You win some, you lose some in the world of tech, and the victims of a lovely, more sophisticated design are unfortunately handy screen-adjusting mechanisms and a physical camera shutter. For a lot of customers, neither will be missed, but both are nice to have in a pinch.
Design: 4.5/5
Design: 4/5
Echo Dot Max next to an Echo Dot (5th-gen) (Image credit: Future)
Echo Show 8: Performance
Zippy and responsive touch screen, decent audio
Sensors are accurate and genuinely useful
User interface a little cluttered
In performance, the Echo Show 8 is broadly the same as the Echo Show 11, owing to the components being the same; however, the screen experience differs somewhat.
Starting there, the display is vibrant, clear and plenty bright, making it easily visible from a few meters away unless you need to make out detailed text. The smaller screen real estate means it suffers a little more under the weight of Amazon’s suggested content (i.e. the recipes, TV shows and products it wants you to engage with) than its 11-inch sibling, but I found setting up a photo album for the Echo Show to shuffle through reduced the amount of advertising and recommendations.
Otherwise, the user interface (UI) was easily operated, responding quickly to touch controls. Widgets do feel a little squashed in places, and some buttons within apps can be awkwardly small, but it’s nowhere as bad as trying to do anything more than adjusting volume and brightness on the Echo Show 5.
Every now and then, there’s a slight stutter to an animation, with some customers reporting mild to moderate issues with input delay. I did find that to be the case with the Echo Show 11 I tested, but the Show 8 was very reliable for me on test. You can swipe down the control center to quickly toggle settings and access various hubs, and swipe left on the screen for your customizable widgets. Just be mindful that the screen is an absolute fingerprint magnet when you’re liberally swiping around.
(Image credit: Future)
The speaker on the Echo Show 8 is the same as the Echo Show 11, but I ran the same tests in case the larger screen impacted the sound quality. As long-time Amazon speaker users will know, audio quality is never the main selling point for Echo devices; the performance is often admirable for the size and price, but not one for the audiophiles (though the Echo Studio and Echo Dot Max buck that trend somewhat).
I streamed lossless tracks from Spotify to test the audio quality, starting with Luafey’s Falling Behind. Her jazzy vocals came through warmly with great clarity, underpinned by the lively but slightly dulled staccato of an acoustic guitar. Older tracks began to show the cracks, however. Fleetwood Mac’s The Chain was muddy, with the vocals sinking further into the track than usual; however, the bass was still nice and punchy.
That drive isn’t consistent, though, and some tracks suffer more from the muddiness. Portishead’s Glory Box was flat all around, losing that breathy quality to the vocals and flattening the usually well-rounded bass, and Jeff Buckley’s rich, haunting vocals are thoroughly buried in the higher layers of Last Goodbye. Still, at this price and size, it’s a pretty accomplished speaker, and Amazon has done well to create a truly room-filling sound out of this smart display.
(Image credit: Future)
Inside the Echo Show 8 are a range of sensors that can be used to set up Routines with Alexa and help you monitor your home. There’san auto-framing 13MP camera centered at the top of the screen, just like in the last generation, and the onboard microphones are great for clear audio on video calls or drop-ins.Also housed in the Echo Show 8 are temperature, motion and brightness detectors, all of which worked well in my testing, as did the facial recognition and personalization features that underpin the seamless Alexa experience.
Alexa and VegaOS generally run well, and the Echo Show 8 is fantastically responsive thanks to the AZ3 Pro chip. Queries are rapidly responded to (sometimes prematurely), with Alexa delivering suggested recipes, playing music and summoning your favorite TV shows and movies in double time. I had a few hiccups trying to watch shows on Netflix and YouTube on the Echo Show 11; but the Echo Show 8 worked perfectly out of the box, and Alexa has come on leaps and bounds when it comes to searching and playing your requested media.
We don’t yet have Alexa+ access in the UK, but we’ve got a full Alexa+ review coming soon that will give the full low-down about its performance on a range of Echo devices.
Performance: 4/5
(Image credit: Future)
Echo Show 8: Price and availability
List price: $179.99 / £179.99 / AU$349
Announced September 2025, released November 2025
Announced in September 2025, the Echo Show 8 costs $179.99 / £179.99 / AU$349 and is available in black and white. Of note, this marks a $30 / £30 / AU$100 price increase versus the last generation, which sold for $149.99 / £149.99 / AU$249.
Broadly, this cost increase is due to the design overhaul, which greatly modernizes Amazon’s second-smallest smart display. It’s not a huge jump in price, and it feels somewhat justified given the improvements to the performance and display. There’s also an optional (and stylish) stand, which will set you back $39.99 / £34.99 / AU$69.95.
Still, it's worth highlighting the value of the device depends in part on whether or not you're bothered by Alexa+. Right now, its early access programme is exclusively available in the US, and this device automatically enlists you for that service, but elsewhere in the world we're effectively losing a selling point for the same price for the foreseeable future.
Value: 4/5
Should I buy the Echo Show 8?
Buy it if...
You’re upgrading from older Echo Shows
Especially if you want Alexa+ to work at peak performance, the Echo Show 8 is a must-have; but the refreshed design, zippy AZ3 chip and lovely display also mark significant improvements.
You make good use of smart home features
From its omnisense technology to its smart home connectivity, the Echo Show 8 is fully equipped with clever features to make your home work for you.
Don't buy it if...
You want a physical camera privacy shutter
Sure, you can mod this yourself or disconnect the feed in the app, but some people will just want absolute privacy out of the box.
You’re on a budget
With its new price point, the Echo Show 8 isn’t affordability-first anymore; it’s by no means premium, either, but you could buy a very capable older smart display for less.
Amazon Echo Show 8: also consider
Scorecard
Value
4/5
Price increase versus older models, but in line with redesign and feature additions.
Design
4/5
Big design upgrade versus the Echo Show 8 (3rd gen)
Performance
4/5
Sound is decent enough, especially for the size of room this display is best-suited for
If you're not sure the Amazon Echo Show 11 is the right Alexa smart speaker for you, here are further options to consider from Amazon:
Echo Show 8 (4th-gen, 2025)
Amazon Echo Show 15 (2nd gen)
Echo Show 5
Price
$179.99 / £179.99 / AU$349
$299 / £299.99
$89.99 / £79.99 / AU$129
Size
21 cm x 15 cm x 13 cm (W x H x D)
410 x 260 x 36mm (W x H x D)
147 x 91 x 82 mm (W x H x D)
Display
8.7-inch HD touchscreen with 1340 x 800 resolution
15.6-inch HD touchscreen, 1920 x 1080 resolution
5.5-inch touchscreen, 960 x 480 resolution
Camera
13 MP with auto framing
13MP wide angle camera with shutter
2 MP
Audio
1x 2.8-inch woofer and 2x full-range drivers
2x 2-inch woofers & 2x 0.6-inch tweeters
1x 1.7-inch driver
Connectivity
Zigbee, Matter & Thread Border Router, Wi-Fi 6E, Bluetooth
Zigbee, Matter & Thread Border Router, Wi-Fi 6E, Bluetooth
Matter, Wi-Fi 6E, Bluetooth
Processor
AZ3 Pro with AI Accelerator
AZ2 neural engine
MediaTek's 8169 B chip
Sensors
Ambient Temperature Sensor, Presence Detection, Camera
Camera, presence detection, ALS RGB, Accelerometer
Camera, presence detection
Privacy features
Microphone & camera enable/disable button, dedicated physical and in-app camera controls, voice recording management – but no physical camera shutter.
Microphone and camera enable/disable button, dedicated physical and in-app camera controls, voice recording management, physical camera shutter.
Microphone and camera enable/disable button, dedicated physical and in-app camera controls, voice recording management, physical camera shutter.
Echo Show 15
If you’d rather have a wall-mounted solution and the added benefit of a Fire TV remote, the latest Echo Show 15 is an excellent option. It has fewer sensors but functions more as a small TV or household management display than it does an entertainment center.
For a smaller option that just covers the basics, the 3rd-generation Echo Show 5 offers a lot of the core functions from the Echo Show product line, but it’s less technically advanced and feature-filled.
How I tested the Echo Show 8 (4th gen, 2025)
I used it pretty much non-stop for a week
I tested its smart home features and sensing
I performed our standard audio and movie streaming tests
To put the new Echo Show 8 through its paces, I used all of the advertised features over a week of testing. I tried setting up automations that use its various sensors and connectivity options to ensure everything worked seamlessly, and used Alexa for my everyday household tasks.
I also tested the speakers using a variety of tracks in different genres to see how well the speakers can replicate music for a wide range of customers, and used streaming services like Netflix and YouTube, as well as Amazon Prime Video both to assess the display’s performance and the general user experience.
I’ve been testing smart speakers for four years, and use an Alexa-based smart home setup every day. I’m well-acquainted with the system and its features, but I’ve also spent a lot of time in other ecosystems to learn the pros and cons of each.
