ProtoArc has been around for a while now, and they have a handful of items I have reviewed over the years, like their EC100 chair and a few keyboard / mice solutions. They have been impressive through and through with putting out quality gear for a shockingly low price every time.
This chair, the Flexer Pro, is no different. It had a quick and easy assembly that only took about 5 to 8 minutes to assemble, it has surpassingly breathable mesh on the backrest, featuring FlexWeave tech to cool you off on hot days or if you simply run warm like I do, and it has a great set or armrests. Right there, if those things are done well, the chair is already going to win people over. But, beyond that, this chair has some things I have never seen, such as the dual lumbar support. That’s something that even some of of my premium chairs don’t have.
Flexer Pro also excels in not being “too much” as a chair. Given it's only available in the US, and the dual lumbar support can take some time to adjust to, it's unlikely to make our round-up of the best office chairs. But it's simple and elegant in design, while still offering maximum comfort for up to 10 hours according to ProtoArc, and, in my testing, I can say that this chair surely lives up to the hype.
ProtoArc Flexer Pro: Price and availability
(Image credit: Collin Probst // Future )
At the time of review, the Flexer Pro is currently on sale for $312.55 (was $399.99) on ProtoArc’s website. It's also available on Amazon.com in both black or white variants, with the former being $299 and the latter priced at $315.86.
From what I can see, the chair's only available in the US right now.
One thing that I always pay attention to for chairs like this is the warranty. After all, an office chair is an investment, even at the low- to mid-range models like this one. So, I was pleased to see ProtoArc offering a 10-year limited warranty.
(Image credit: Collin Probst // Future )
ProtoArc Flexer Pro: Unboxing and First Impressions
The packaging was minimal and simple, yet enough to keep everything well-packaged, safe, and secure. As I mentioned above, this chair took a mere 5 minutes to assemble by myself. It was incredibly easy, no special tools necessary outside of what was sent with the chair, and no points of frustration.
After getting everything set up, I like how simple this chair is. A lot of chairs have a lot of things going on. The Flexer Pro keeps it simple. It’s a cushioned seat, a mesh back, good armrests. That’s the core. It’s clean, straightforward, and great for most.
ProtoArc Flexer Pro: Design & Build Quality
(Image credit: Collin Probst // Future )
The dual lumbar supports are the stand-out feature of this chair for me, it seems like such a small thing, but in practice and in use, it’s super helpful to be able to add that support in two slightly different, or one larger spot on some days. I do find that some days I will adjust this and have it be slightly different, but perhaps I’m alone in that. Regardless, having that functionality in a chair at this cost is still wild to me.
Further, the cushion and backrest make for a very breathable sitting experience. As someone who runs fairly warm, I really appreciate having a chair that can breathe with me and help keep me cool even on hot days or during long working sessions.
Another thing that I really appreciate is the lack of over-the-top branding on this chair. I have some chairs that will remain unnamed, but they blast their branding everywhere, loud and proud. That ruins the professional feel of a chair immediately, so having this chair minimally branded and that is all is fantastic.
The armrests, crank tilt-tension control, seat depth slider, and 130-degree recline are all fantastic features. Again, these are features I’d love seeing on chairs worth three times as much, so seeing this in a quality chair at a budget price is a spectacular surprise.
ProtoArc Flexer Pro: In use
(Image credit: Collin Probst // Future )
My team and I have rotated using this chair for the last 88 days at the time of writing. In that time, we have used it in my studio space, in some home offices and in both scenarios this chair has performed wonderfully. The chair is comfortable for even extended desk working sessions, it’s easy to kick back when we want to stand at our standing desks and if we maybe don’t get to stand that day and rather need to lay back, the 130-degree tilt makes it super comfortable and easy to grab a quick rest.
While most of our testing has been done during the harsh Midwest winter in the States, sometimes that means that with the heat on, your house is warmer than normal (depending on the person). For those days, or the harsh summer afternoons, having the mesh backrest is a wonderful two-thumbs-up for this chair. It means that I won’t stand up to find my back stuck to my shirt.
Another thing that is really nice is that since this chair doesn’t have a headrest and has a fairly compact frame, I can push this chair under my desk rather than just kicking it behind me if I am short on space or don’t want to get my chair too far away from my desk.
After three months' use, the felt still looks brand new, the mesh backrest has held up wonderfully, and the armrests still work well. No issues so far, and none in sight.
ProtoArc Flexer Pro: Final verdict
(Image credit: Collin Probst // Future )
Not everyone who is looking for a chair is looking to spend thousands, or even close to a thousand. Some want a simple chair that gets the job done. The ProtoArc Flexer Pro is an easy recommendation for those people, as it’s budget-priced yet adds features you usually only see in high-end flagship chairs.
The quick assembly time is a real bonus - ProtoArc estimated it's a 10-minute job, but I did it half that time. Airflow, comfortability, and support are all good. And I'm pleased how well the chair has held up after using it for three months.
That dual lumbar support, though, may not be to everyone's tastes. I can understand that. I would've also liked to see greater availability beyond North America.
But the chair's nicely designed overall, with all the adjustability mechanisms I'd expect to find one priced this low. A solid choice for working from home or in the office.
ProtoArc has been around for a while now, and they have a handful of items I have reviewed over the years, like their EC100 chair and a few keyboard / mice solutions. They have been impressive through and through with putting out quality gear for a shockingly low price every time.
This chair, the Flexer Pro, is no different. It had a quick and easy assembly that only took about 5 to 8 minutes to assemble, it has surpassingly breathable mesh on the backrest, featuring FlexWeave tech to cool you off on hot days or if you simply run warm like I do, and it has a great set or armrests. Right there, if those things are done well, the chair is already going to win people over. But, beyond that, this chair has some things I have never seen, such as the dual lumbar support. That’s something that even some of of my premium chairs don’t have.
Flexer Pro also excels in not being “too much” as a chair. Given it's only available in the US, and the dual lumbar support can take some time to adjust to, it's unlikely to make our round-up of the best office chairs. But it's simple and elegant in design, while still offering maximum comfort for up to 10 hours according to ProtoArc, and, in my testing, I can say that this chair surely lives up to the hype.
ProtoArc Flexer Pro: Price and availability
(Image credit: Collin Probst // Future )
At the time of review, the Flexer Pro is currently on sale for $312.55 (was $399.99) on ProtoArc’s website. It's also available on Amazon.com in both black or white variants, with the former being $299 and the latter priced at $315.86.
From what I can see, the chair's only available in the US right now.
One thing that I always pay attention to for chairs like this is the warranty. After all, an office chair is an investment, even at the low- to mid-range models like this one. So, I was pleased to see ProtoArc offering a 10-year limited warranty.
(Image credit: Collin Probst // Future )
ProtoArc Flexer Pro: Unboxing and First Impressions
The packaging was minimal and simple, yet enough to keep everything well-packaged, safe, and secure. As I mentioned above, this chair took a mere 5 minutes to assemble by myself. It was incredibly easy, no special tools necessary outside of what was sent with the chair, and no points of frustration.
After getting everything set up, I like how simple this chair is. A lot of chairs have a lot of things going on. The Flexer Pro keeps it simple. It’s a cushioned seat, a mesh back, good armrests. That’s the core. It’s clean, straightforward, and great for most.
ProtoArc Flexer Pro: Design & Build Quality
(Image credit: Collin Probst // Future )
The dual lumbar supports are the stand-out feature of this chair for me, it seems like such a small thing, but in practice and in use, it’s super helpful to be able to add that support in two slightly different, or one larger spot on some days. I do find that some days I will adjust this and have it be slightly different, but perhaps I’m alone in that. Regardless, having that functionality in a chair at this cost is still wild to me.
Further, the cushion and backrest make for a very breathable sitting experience. As someone who runs fairly warm, I really appreciate having a chair that can breathe with me and help keep me cool even on hot days or during long working sessions.
Another thing that I really appreciate is the lack of over-the-top branding on this chair. I have some chairs that will remain unnamed, but they blast their branding everywhere, loud and proud. That ruins the professional feel of a chair immediately, so having this chair minimally branded and that is all is fantastic.
The armrests, crank tilt-tension control, seat depth slider, and 130-degree recline are all fantastic features. Again, these are features I’d love seeing on chairs worth three times as much, so seeing this in a quality chair at a budget price is a spectacular surprise.
ProtoArc Flexer Pro: In use
(Image credit: Collin Probst // Future )
My team and I have rotated using this chair for the last 88 days at the time of writing. In that time, we have used it in my studio space, in some home offices and in both scenarios this chair has performed wonderfully. The chair is comfortable for even extended desk working sessions, it’s easy to kick back when we want to stand at our standing desks and if we maybe don’t get to stand that day and rather need to lay back, the 130-degree tilt makes it super comfortable and easy to grab a quick rest.
While most of our testing has been done during the harsh Midwest winter in the States, sometimes that means that with the heat on, your house is warmer than normal (depending on the person). For those days, or the harsh summer afternoons, having the mesh backrest is a wonderful two-thumbs-up for this chair. It means that I won’t stand up to find my back stuck to my shirt.
Another thing that is really nice is that since this chair doesn’t have a headrest and has a fairly compact frame, I can push this chair under my desk rather than just kicking it behind me if I am short on space or don’t want to get my chair too far away from my desk.
After three months' use, the felt still looks brand new, the mesh backrest has held up wonderfully, and the armrests still work well. No issues so far, and none in sight.
ProtoArc Flexer Pro: Final verdict
(Image credit: Collin Probst // Future )
Not everyone who is looking for a chair is looking to spend thousands, or even close to a thousand. Some want a simple chair that gets the job done. The ProtoArc Flexer Pro is an easy recommendation for those people, as it’s budget-priced yet adds features you usually only see in high-end flagship chairs.
The quick assembly time is a real bonus - ProtoArc estimated it's a 10-minute job, but I did it half that time. Airflow, comfortability, and support are all good. And I'm pleased how well the chair has held up after using it for three months.
That dual lumbar support, though, may not be to everyone's tastes. I can understand that. I would've also liked to see greater availability beyond North America.
But the chair's nicely designed overall, with all the adjustability mechanisms I'd expect to find one priced this low. A solid choice for working from home or in the office.
Fujifilm Instax Mini Evo Cinema: Two-minute review
The Fujifilm Instax Mini Evo Cinema takes instant cameras in a new direction, and let me tell you, it’s heaps of fun. It’s a 3-in-1 digital ‘hybrid’ instant camera; being a stills camera, an instant printer and the very first Instax that shoots video.
We know the instant photography part already: the Mini Evo Cinema packs much of the same lo-fi tech as the Mini Evo – 5MP digital photos through a 28mm f/2 lens, which are saved onto micro SD, that you can select in the camera’s gallery or through a companion app to print instantly onto Instax Mini paper. In this case, the printing process uses an analog-style lift and twist lever.
But it’s the camera's design where things get really interesting. This is a nostalgic, slimline Super 8 camera-style body – which is supposedly inspired by Fujifilm’s ‘Fujica Single-8‘ from 1965 – that easily sits in the hand with the shutter button at your trigger finger.
And for me, it’s the video features that drew me in rather than the traditional Instax photography experience, even if each of the three functions seamlessly blend together.
Then there's the main event – the Eras Dial, with a look for every decade spanning the last 100 years. Fujifilm says these looks ‘pay homage to the characteristics, media and playback devices that defined that time’.
Starting with 1930 and running up to 2020, there's a distinct look for each decade, each with a scale of 1-10 for various 'expressions' of each decade, adjusting either the strength or the look of each style. So yes, that makes 100 styles, all of which work for photos and videos.
Fujifilm is no stranger to introducing never-before seen controls in its recent cameras, from the Film Mode in the fun X half to the aspect ratio dial in the serious GFX100RF, it keeps delivering surprising new features, and the Eras Dial, being at one's fingertips, is more than just a novelty.
Tim ColemanWith the viewfinder addedTim ColemanThere's a fixed 28mm f/2 lens (with digital zoom lever) selfie mirror and flash light Tim ColemanThe viewfinder gives a clear view of the 1.5-inch LCD displayTim Coleman
Even videos can be shared through an Instax Mini print – the Mini Evo Cinema selects a frame from the video (or the user can manually select a frame) and prints it with a QR code for access to that clip through Fujifilm’s servers.
You can also check out and share photos and videos using the free Instax Mini Evo app, including making short video edits from your video clips (which are limited in length to 15 seconds each).
I've made my own video compilations using the Instax Mini Evo app, combining multiple clips into a 30 second montage (which is the maximum length), printed it with a QR code attached, which then seamlessly took me online to that reel. The editor is a little clunky, and the video length limitations are frustrating at times, but it's an OK experience overall.
Here's the camera alongside a print for every one of the 10 decades featured in the Eras Dial. It's no coincidence that a pack of Instax Mini film produces 10 prints. (Image credit: Tim Coleman)
Inside the box, you get the camera, viewfinder eye cup for the 1.5-inch 170k-dot LCD screen (see it in action, below), a grip extension and a strap.
The Mini Evo might look toy-like, but it is in fact a premium-feel product, everything from the grip to the dials, switches and buttons feel solid.
Performance, on the other hand, during my review was pretty sluggish. I've used the camera at a launch event and again during a two week review period, and with both units the Evo Cinema's wheel of death appeared almost every time I recorded a video or switched eras, taking a few seconds to be ready to use again. A little annoying, but arguably in the spirit of retro tech.
The Evo Cinema handles well, and is such a clever concept - packing Instax tech into a polished, Super 8-style body (Image credit: Tim Coleman)
I actually think the Mini Evo Cinema is the most intriguing Instax camera to date – it feels like the Instax camera that the digital generation has been waiting for.
Its Super 8-style body is a perfect form to host Instax Mini printing, and the multi-media output makes this feel like a camera that'll keep my interest for much longer than a simple instant photography Instax. This is a proper good times camera.
Technically speaking, this is a poor camera. However, it already feels like the one Instax that appeals to me the most in the many years that I've been testing Fujifilm products.
If I was to sum the Mini Evo up in a single word, it would be fun. Fujifilm is having a real go at making cameras fun again with a string of quirky products, and the Evo Cinema could just top the lot.
Fujifilm Instax Mini Evo Cinema: price and release date
Costs $419 / £329 / AU$599
There's viewfinder, grip extension and strap accessories included
Sales began on January 28, 2026
The Fujifilm Instax Mini Evo Cinema went on sale globally from January 28 2026, with a price of $419 / £329 / AU$599.
In the box you'll also find the viewfinder attachment, grip extender, strap and USB-C cable. A purpose-made leather case will be available too, for $40 / £35 (about AU$65).
Fujifilm Instax Mini Evo Cinema: specs
Video
1080 x 1440 x ('2020' setting only) 600 x 800 for all others
Photo
5MP, 1/5-inch sensor
Format
Instax Mini
Lens
28mm f/2
Autofocus
Yes
Screen
Fixed 1.5-inch, 170k dots
Viewfinder
A clip-on viewfinder is supplied for the screen
Dimensions
39.4 mm x 132.5 mm x 100.1 mm (excluding projecting parts)
Weight
270g (excluding film pack and recording media)
Fujifilm Instax Mini Evo Cinema: design
Fabulous Super 8-style body
A pack of Instax Mini film slots inside
Retro controls and a charming Eras Dial
Design is easily the strong side of the Evo Cinema – it's a charming, Super 8-style camera with versatile 3-in-1 skills; digital photos, video, and instant printing.
The body is particularly slimline and designed to be held vertically. With a pistol-like grip, your index finger naturally rests on the shutter button, like a trigger. You press it to take photos, or press and hold to shoot video, with a maximum clip length of 15 seconds. You can customize to a single press to record video too, but I preferred the authentic press and hold for video recording, not least of which to avoid accidental recordings.
Fujifilm provides a grip extension with the camera, but honestly I could take or leave it – because it hardly impacts the camera’s handling. What is a useful accessory, however, is the viewfinder eyecup, which comes included. It attaches magnetically and clicks into place over the tiny 1.5-inch LCD screen, which isn’t touch sensitive by the way, enabling a clear view in bright light, but again more for an authentic Super 8-like shooting experience.
There's the Eras Dial™. Also note the lift and twist lever for printing, cine / stills switch and another level which operates a digital zoomTim ColemanAnd here's the 1.5-inch LCD displayTim ColemanThe camera is really slimlineTim ColemanThe grip is possibly a little chunky. Nonetheless, I could hold it comfortablyTim Coleman
There are several buttons and controls around the camera worth mentioning, one of which is a lift and twist lever used for instant printing – it’s easy to forget that this slim camera can hold a pack of Instax Mini film inside for instant photo prints. A single pack of 10 prints will set you back around $9 dollars or £8 pounds.
Another control is the digital zoom lever – I rarely used this because the Mini Evo Cinema’s image quality is sketchy at best already, but more on this later.
The 28mm f/2 lens is a moderate wide angle optic, with a similar perspective to the main camera on your smartphone, and it has a ring around it which can scroll through color profiles. Above the lens is a selfie mirror which is barely helpful, plus a tiny LED flash light which is useful for indoor party portraits, even if it’s not very powerful.
The Eras Dial starts in the 1930s with a grainy monochrome, the 1990s is the old school handicam look, while 2020 is a crisp quality like today’s smartphones. Gimmicky? Maybe for some, but not for me – this is such a fun feature that I kept coming back to.
It might appear toy-like, but once you get to grips with the Mini Evo, you realise that it's a well-made, well-thought out camera. I really believe Fujifilm has faithfully brought a fabulous concept into life.
Fujifilm Instax Mini Evo Cinema: performance
100 color profiles inspired by decades past and present
Poor image quality and limited video clip length
Sluggish operation
On the flipside to design, performance is surely the Mini Evo Cinema's weakness – and in that sense it is fully committed to its retro roots!
Having used the Mini Evo previously, I expected poor image quality, especially since the basic sensor hardware is essentially the same as the original Mini Evo. Put simply, don’t expect excellent photo quality – the camera shoots lo-fi five megapixel JPEG photos through that 28mm lens, which are then saved onto micro SD.
From the camera’s gallery, you can then select which images you’d like to print instantly onto Instax Mini paper, using that analog-style lift and twist lever.
Video quality is equally lo-fi at just HD 720p, unless you have the high-resolution option active specifically for the 2020 Eras Dial setting alone, where video resolution can be doubled to 1440p. A frustrating, needless limitation on quality? Not so – it’s authentic.
I prefer the digital hybrid setup to a fully analog instant camera – where the camera prints immediately on capture, whether it’s a ‘good’ photo or not. With a Mini Evo you pick the shot you like for printing, meaning less wasted prints. Sure, it’s not one for analog purists, but I’d rather not waste my money on throwaway prints.
One frustrating experience using the Mini Evo Cinema is its slow operation. Every time you change a setting, or take a photo or video, a spinny wheel of doom pops up on screen as the camera makes those changes or processes images before it’s ready to operate again. The wait is even longer after recording video clips.
I’ve had two samples of the camera, and had the same issue with both. One time, the camera completely froze up, and the only solution was to leave it be until the battery fully drained. Once I charged it up and turned it back on, all seemed well again.
These issues could be bugs with the current firmware, that could be addressed in the future, but I’d be remiss not to mention them.
In one sense, using the Evo Cinema with all its performance-related issues is frustrating, but then I stop and think about the kind of camera that it is, and I can't help but embrace those flaws.
The 10 photos above cover each of the 10 settings in the Eras Dial, from 1930 to 2020. I kept the 'expressions' control to its auto setting rather than experiment with the 10 different looks available for each of the decades on the dial. Stills are recorded as JPEGs onto microSD, at 1920 x 2560 pixels.
I repeated the process for video, capturing each of the 10 Eras Dial looks. The lo-fi video quality is captured at 600 x 800 pixels for every setting except 2020, which is a higher quality 1080 x 1440 pixels.
Should I buy the Fujifilm Instax Mini Evo Cinema?
Buy it if...
You want a versatile retro camera With 3-in-1 skills and well-made Super 8-style body, the Mini Evo Cinema is the retro camera to getView Deal
You love the lo-fi look With poor quality stills and video but in a range of era-inspired styles, there are plenty of looks to sink your teeth intoView Deal
Don't buy it if...
You're looking for top quality and performance Images are lo-fi, operation can be slow – this is retro in every senseView Deal
You simply want video or photo If you're looking for an instant camera only, or on the flipside a video camera only, there are low cost alternativesView Deal
Fujifilm Instax Mini Evo Cinema: also consider
Fujifilm Instax Mini Evo
Think of the Mini Evo as the same photo-making and instant printing camera, only without the video skills or retro Super 8 design. Instead, you have a compact body, and for around half the price.
If the Mini Evo Cinema's video skills appeal and the instant printing less so, then check out the Camp Snap CS-8, another lo-fi Super 8-style digital camera. It focuses on video, plus it costs much less
I attend a pre-launch Evo Cinema event for an two hour session. Fujifilm consequently sent me the camera for a two week loan period
I used it with the viewfinder and grip accessories, and I tried all the Eras Dial settings for photo and video
I've printed Instax Mini prints and edited content through the app
I've spent two weeks with the Evo Cinema, which has given me plenty of time to get a feel for how it handles and performs.
At a two hour launch event, I recorded the same video in a studio of a model, using every one of the 10 Eras Dial settings, and repeated that process for photos, printing out each one.
I've since experimented with the various expressions of each decade, taken more photos and videos both indoors and outdoors, in good light and bad.
I've tried the Evo Cinema with and without its viewfinder and grip accessories. The optional case was not supplied to me for the review.
I also made video montages using the basic video editor in the free Mini Evo Cinema app, and printed the QR code for access to those clips.
I'm a big fan of movies where Ben Affleck and Matt Damon co-star. I've greatly enjoyed films in which just one of them appears, but there's no denying that projects they're both in – Good Will Hunting, Dogma, and Air to name three – have a certain magic about them.
Color me intrigued, then, when the first trailer for The RIP, the first movie in almost three years they share screentime in, dropped in late 2025. A crime thriller with a talented cast and seemingly twisty-turny plot, it bore the tell-tale signs of being Netflix's next hit movie.
Enjoyable as the ride is, though, The RIP is simply a serviceable film. While engaging up to a point, it lacks originality and the shock value storytelling necessary to stand out from the genre pack.
Are we the good guys?
Damon and Affleck lead The RIP's all-star cast (Image credit: Netflix)
Inspired by true events, The RIP introduces us to Lieutenant Dane Dumars (Damon) and Sergeant J.D. Byrne (Affleck), who spearhead a crime-busting taskforce known as the Tactical Narcotics Team – or T.N.T for short – in Miami, Florida.
When an anonymous stash house tip-off comes in one evening, Dane rounds up the troops – J.D, Mike Ro (Steven Yeun), Numa Baptiste (Teyana Taylor), and Lolo Salazar(Catalina Sandino Moreno) – to investigate. Arriving at a property where the skittish Desi (Sasha Calle) lives, the group soon discovers an eye-bulging $20 million haul hidden in the attic.
The suspicious nature displayed by each character is what'll keep you engaged
Considering the size of the stash, it's not long before trust and tempers start to fray over whether they should call it in or, for reasons that become clear later, pocket the money. And, when outside forces – the DEA, a local cartel, and another mysterious faction – become aware of what's been found, Dane, J.D., and co. must establish who they can rely on and if they'll even survive until morning.
Lolo and Numa aren't given much to do in Netflix's latest crime thriller (Image credit: Netflix)
So, The RIP is yet another examination of institutional corruption within the law enforcement service? In a nutshell, yes. As with any tale involving crooked cops, though, the suspicious nature displayed by each character is what'll keep you engaged throughout its near-two-hour runtime as you try to determine who'll betray whom.
The RIP's unexpected turn... will surprise some viewers, but I expected more from it
That said, The RIP would've better sustained the momentum of this particular brain-tickler if it weren't hell-bent on positioning Dane as the officer who appears to be behind the money-stealing suggestion.
Indeed, The RIP's trailers and its first act go to great lengths to install him as the prime suspect. Spoilers notwithstanding, things aren't as simple as they appear. Nonetheless, I would've been more invested in trying to solve the mystery before the third act's grand reveal if The RIP had actively explored the duplicitous nature and motives of other T.N.T. members much earlier, and in more depth, than it does.
Can Mike be trusted? You'll have to watch The RIP to find out (Image credit: Netflix)
Whether it's through characters' actions or serpentine narratives, similar genre fare like Prisoners, Memento, and Gone Girl – ironically, the last of that trio also stars Affleck – and classic whodunits keep you guessing from the get-go and/or right up to their climax.
Try though it might to elicit the same sort of jaw-dropping response when its big twist happens, The RIP hasn't built up the necessary tension to draw such a reaction when the time comes. It doesn't fall flat per se, and I'm sure the unexpected turn will surprise some viewers, but I expected more from a movie whose primary intention is to entertain via the unpredictability and apparent unreliability of someone within the T.N.T's ranks.
Acting on impulse
Affleck and Damon give typically great performances in The RIP (Image credit: Netflix)
So, The RIP is sorely lacking in the storytelling department, but what about the performance of its star-studded cast?
Damon and Affleck's on-screen chemistry shines as bright as ever
As if it were ever in doubt, Damon and Affleck's on-screen chemistry is as engrossing as ever. The effortlessly natural rapport they exhibit ensures that Dane and J.D's bond is as tight and magnetic as the actors' own relationship. The pair bounce off one another with ease throughout, as their testosterone-driven characters butt heads with their superiors – and each other – in spicy and dicey circumstances.
The RIP's leads are ably backed up by their fellow actors, with Yeun and Calle giving particularly compelling performances. However, other prominent supporting cast members, Moreno and 2026 Golden Globe winner Taylor, are underused, with their characters occasionally being sidelined by the direction of the plot.
Desi has more than a bit-part to play in one of 2026's new Netflix movies (Image credit: Netflix)
Additionally, I wish there had been more scope to develop the dynamics between the group's ensemble. Doing so would've gone a long way to explain each individual's actions, and further ratcheted up the tension and melodrama when accusations begin to fly as near-total mistrust sets in.
In fact, barring The RIP's examination of Dane and J.D's brotherhood, it's J.D and his FBI-employed brother Del's (Scott Adkins) topsy-turvy relationship that's arguably scrutinized in more detail than Dane and/or J.D's associations with their fellow T.N.T members. That might not matter to some, but it's an oversight I struggled to look past.
If it's action you want alongside – or instead of – your crime-based thrills, The RIP is a tad undercooked in that department. Indeed, the first of its slim gun-toting and vehicle chase sequences doesn't materialize until an hour has passed. Even then, while they're undeniably adrenaline-fuelled, the gunplay and rubber-burning set-pieces aren't as chaotic or seat-gripping as I'd hoped.
My verdict
No matter how you slice it, The RIP feels like a star-powered movie that was tailor-made for the Netflix generation. That being, a safe, not-so-memorable film that its so-called 'second screen-viewing' fanbase will enjoy for what it is before moving on to the next thing the Netflix algorithm suggests for them.
It's certainly not the worst film I've watched on the world's best streaming service – far from it, in fact. But, whether it was down to my heightened expectations for the latest Damon/Affleck venture, or myriad other reasons, it just didn't click for me – and that is a crime in and of itself.
The RIP launches worldwide on Netflix on Friday, January 16.
It’s no secret that the Nintendo Switch 2 is an expensive piece of kit, so if you recently got your hands on one, it’s crucial to keep it protected. So, in steps the Hori Adventure Pack for Nintendo Switch 2 – a sturdy cross-body case that’s licensed by Nintendo itself.
This model is a little different from others I’ve tested, due to its versatile design. It can be held like a typical case, thanks to a built-in handle, which adjusts automatically as you lift it up. But there’s also a strap that enables you to wear the Adventure Pack like a cross-body bag. You can change the tightness of the fit to suit you, and it works pretty well. Personally, I don’t think this looks all too stylish, but if you need free hands, the strap is a welcome option. When you don’t want to use said strap, it can easily slot into a mesh fabric pouch on the reverse side of the case, ensuring that it looks tidy at all times.
A big positive of the Hori Adventure Pack is its generous storage space. It’s a little too small to hold your console, dock, and all the wires – well, you could cram them all in, but it’s going to be a very tight squeeze. Still, there’s plenty of room for your console inside, and the case’s outer pocket is large enough to house some of the best Nintendo Switch 2 accessories.
(Image credit: Future)
There’s a specific pouch to hold your Nintendo Switch 2 console with the Joy-Con 2 controllers attached. It’s a touch narrow, so you’ll have to carefully place your system inside, but there is a velcro strap to keep it secure. You’ll also find six game cartridge slots inside the case – not the highest amount I’ve seen, but enough for a short trip away, for example.
Looks-wise, the Hori Adventure Pack is decent. It has a rubber-like handle and upper half, which looks fairly stylish, but is susceptible to picking up dust and marks. The rest of the case is made up of a scratch-resistant fabric and a net to conceal the carry strap. It comes in all black and isn’t anything flashy, but it will suit those who prefer an understated aesthetic.
Is this the most sturdy case I’ve tested? Well, perhaps not – it doesn’t have the tough exterior of the Nacon Protection Case XL for Nintendo Switch 2, say. But it’s still a pretty resilient model. It has a padded, robust feel to it, and when I dropped the case from waist height, there weren’t any signs of damage.
(Image credit: Future)
Let’s finish things off by talking about value. This case is typically priced at $34.99 / £26.99 / AU$54.95, which is reasonable given the amount of storage space on offer and the versatility of its design. I’ve also seen Hori's Adventure Pack go on sale in some territories, with its price dropping as low as £18.89 on My Nintendo Store in the UK.
Considering that the official Nintendo Switch 2 Carrying Case will set you back $39.99 / £20.99 / AU$39.95 – a stylish choice, but one that has a lot less storage space – I think you’re getting good bang for your buck from the Adventure Pack. All things considered, then, this is a strong case from Hori, and its combination of a unique design with a modest price tag ensures that it's well worth considering.
Hori Adventure Pack for Nintendo Switch 2 review: price & specs
Price
$34.99 / £26.99 / AU$54.95
Dimensions
12.6 x 5.7 x 3.9 inches / 320 x 146 x 100mm
Weight
0.7lbs / 300g
Number of game card slots
6
Compartments
4
Handle
Yes
Color
Black
(Image credit: Future)
Should you buy the Hori Adventure Pack for Nintendo Switch 2?
Attributes
Notes
Rating
Design
Versatile build, sturdy feel, solid look, but not the most flashy and can pick up marks.
4/5
Storage
Plenty for console and accessories, OK amount of game slots, not enough room to house dock.
4/5
Value
Comes at a modest price considering its robust build and generous storage.
4/5
Buy it if…
You want a bag-style case Perhaps the most enticing aspect of the Hori Adventure Pack is its ability to double up as a traditional case with a handle, while also serving as a cross-body bag. That versatility makes it incredibly practical when taking your Switch 2 on the go.
You want to store your accessories too Unlike the official Nintendo Switch 2 case, there’s plenty of room in the Hori Adventure Pack to store a few accessories, such as the Hori USB Camera for Nintendo Switch 2.
Don’t buy it if…
You need room for your Switch 2 dock Although you can pack a few accessories into this case, it’s not really ideal for housing your dock. I tried inserting mine, and although it just about fit inside, the fit was realistically too tight. If you want a case that does it all, your best option is the official Nintendo Switch 2 All-In-One Carrying Case.
You’re looking for something flashy This case isn’t the most eye-catching or premium-looking, although it’s certainly very practical. If you want something sleek and colorful, then I’d suggest checking out the Belkin Charging Case for Nintendo Switch 2.
Hori Adventure Pack for Nintendo Switch 2: also consider
Nintendo Switch 2 Carrying Case & Screen Protector This slim and stylish case is still one of my favorites, and my go-to if I’m not taking my dock on the go. It doesn’t have as much storage space as this Hori model, but it’s lightweight and sturdy, and even comes with a basic screen protector.
Nacon Protection Case XL for Nintendo Switch 2 This one’s not available in the US or Australia, but if you’re in the UK, it’s a top-tier option. With a sturdy build, enough room for your dock and system, and plenty of game card slots, it really is the full package. It’s very cheap for the amount of storage space available, which helped to earn it a stellar four-and-a-half-star review.
Hori Adventure Pack for Nintendo Switch 2 review: how I tested
(Image credit: Future)
Tested over the course of multiple days
Took it with me to the office and on walks
Trialled by a Nintendo Switch 2 owner and life-long gamer
I took my Switch 2 on the go inside the Hori Adventure Pack for multiple days in a row. During this time, I also packed in a couple of accessories and made sure to try out both the handle and strap carrying methods.
In order to get a measure of this case’s durability, I dropped it from various distances and also gave the exterior a good scratch. After this, I checked for any wear and tear to ensure the model was as sturdy as advertised. I also compared this case to rivals on aspects like storage space and looks.
More generally, I’m a day-one Nintendo Switch 2 owner, a lifelong gamer, and an experienced tech reviewer with a ton of experience with Switch 2 accessories. I’ve trialled a range of products, including cases, but also screen protectors like the DBrand Prism 2.0, and cameras, like the Hori Piranha Plant Camera for Nintendo Switch 2.
Sony FE 100mm f/2.8 Macro GM OSS: One-minute review
Sony launched its original FE 90mm f/2.8 Macro G OSS back in 2015, just two years after the company revealed its innovative A7 full-frame mirrorless camera to the world.
While the Sony FE 90mm f/2.8 Macro G OSS has been a reliable macro lens for Sony macro photographers, it’s been the only first-party Sony option for over a decade, so all eyes were on Sony when it announced its new Sony FE 100mm f/2.8 Macro GM OSS in September last year.
I was lucky enough to get my hands on a review sample, as well as a Sony A7R V with its large 61MP full-frame sensor, so I was able to zoom into its huge images to assess the new FE 100mm f/2.8 Macro's sharpness and image quality.
(Image credit: Dan Mold)
As a lover of macro photography who regularly shoots everything from close-ups of interesting textures to insects and mushrooms to pocket watches, I was particularly keen to see how the new Sony FE 100mm f/2.8 Macro GM OSS performed.
At $1,498 / £1,399 / AU$2,599 it's among the most expensive consumer full-frame macro lenses on the market, and 70% more expensive than its predecessor. So should owners of the now decade-old Sony FE 90mm f/2.8 Macro G OSS rush out to buy one?
Simply put, no. The older, more affordable version will suffice for the majority of casual shooters. However, for serious professionals shooting on Sony systems the Sony FE 100mm f/2.8 Macro GM OSS will be well worth the high asking price, delivering as it does incredible image quality, rock-steady stabilization, 1.4x magnification and teleconverter compatibility.
Simply put, it's the best Sony lens for macro photography fans, though you'll have to be prepared to put a sizable dent in your wallet to get one.
Sony FE 100mm f/2.8 Macro GM OSS: Price and availability
Priced at $1,499 / £1,399 / AU$2,599
ALC-SH173 lens hood and soft case included
Announced in September 2025
The Sony FE 100mm f/2.8 Macro GM OSS retails for $1,499 / £1,399 / AU$2,599, and is the successor to the now decade-old Sony FE 90mm f/2.8 Macro G OSS, which can be picked up now for around $1,050 / £819, though this price hasn’t changed all that much since it was released back in 2015. The Sony FE 100mm f/2.8 Macro GM OSS was always going to be a more expensive option with new tech, advanced features and more modern conveniences, and it works out 70% more expensive in the UK, or around 40% more expensive in the US.
Is it worth the extra money? For casual shooters probably not, but for serious working pros I think the extra upgrades, better stabilization and stunning image quality make it good value for money. It’s also a much stronger competitor to the Canon RF 100mm F2.8L Macro IS USM, which Canon users have been enjoying since April 2021, and a true competitor for which has been sorely missed in Sony’s range up until now.
For those on tighter budgets there is of course the original Sony FE 90mm f/2.8 Macro G OSS. There are also third-party options like the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD – while both of these lack optical image stabilization, they are considerably cheaper, and will be a better choice for those on stricter budgets looking to get into macro photography.
Sony FE 100mm f/2.8 Macro GM OSS: Specs
Sony FE 100mm f/2.8 Macro GM OSS specs
Type:
Macro lens
Mount:
Sony FE
Sensor:
Full-frame
Focal length:
100mm
Max aperture:
f/2.8
Minimum focus:
0.26m
Filter size:
67mm
Dimensions:
81.4 x 147.9mm
Weight:
22.7oz / 646g
Sony FE 100mm f/2.8 Macro GM OSS: Design
Focus ring has a clutch mechanism to switch between AF/MF and Full AF quickly
Switches on lens barrel for focus distance limiter, OSS, iris ring lock and declicking
Quite long for a 100mm macro lens, measuring 147.9mm
Built to be compatible with Sony's 1.4x and 2x teleconverters
The Sony FE 100mm f/2.8 Macro GM is very similar in terms of size and weight to the older FE 90mm f/2.8 Macro G OSS, although it has the benefit of being a little more zoomed in at 100mm, and offers a higher maximum magnification of 1.4x over the older optics’ standard 1:1 life-size reproduction ratio, so macro lovers will be able to get even closer. It’s about 7% heavier at 646g and is 2.4mm wider in diameter, and it’s about 17mm longer. So far, it’s bigger and better in every way.
I have no issues with the lens being a little larger; it feels really nice and secure in the hand, and the large focus ring, which is about 1.5 inches wide, is perfectly positioned for your thumb and forefinger to wrap around. Like the old model, the new macro lens uses a push/pull clutch, allowing you to push or pull the entire focus ring to quickly switch between AF/MF and Full MF.
There's also an AF/MF switch on the side of the lens barrel, which shouldn’t create quite as much motion. The manual-focus ring also has a focus distance scale on the lens barrel, which comes in handy when you want to specifically dial in a magnification such as 1:1 life-size, or go even closer.
(Image credit: Dan Mold)
Other switches on the side of the lens include a full-time DMF toggle to enable the Direct Manual Focus to override the autofocus when needed, which I found to be very useful. There’s also a focus limiter switch which can be set to Full, 0.26-0.7m or 0.5m to infinity to speed up autofocus operation when you know you’re working with subjects either very close or far away, as it prevents the camera from hunting outside the set range.
There’s also a dedicated switch for enabling OSS (Optical Steady Shot), Sony's optical image stabilization tech. It’s rated for 4-4.5 stops on the FE 100mm f/2.8 Macro, which is an improvement over the 3-4 stops you got with the older model. Even more stabilization can be achieved with Sony bodies that have sensor-based IBIS, though Sony doesn’t give an exact figure of how much stabilization can be achieved.
(Image credit: Dan Mold)
To add context, both of Sony’s lenses are the only optically stabilized macro lenses for Sony FE mount – as mentioned, the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD don’t have optical stabilization, though they are considerably more affordable as a result.
Also on the outside of the lens barrel you’ll find an iris ring to control the aperture, which can be locked in the ‘A’ position if you prefer to set this via the camera body. The aperture click can also be enabled or disabled via a switch – helpful for videographers who prefer a smooth action when filming. We’re also treated to two customizable focus-hold buttons on the side of the lens barrel.
(Image credit: Dan Mold)
As one of Sony’s top-flight G Master lenses, the Sony FE 100mm f/2.8 Macro GM is of course weather sealed, and to that end there's a rubber seal around the metal lens mount.
In the box you’ll also find its ALC-SH173 lens hood, and a soft case to keep it protected when stored or in transit.
(Image credit: Dan Mold)
A rather odd feature that I’m glad to see included on the new Sony lens, and one I can’t recall seeing on other recent macro lenses, is the ability to use the Sony FE 100mm f/2.8 Macro GM with Sony’s SEL14TC and SEL20TC teleconverters to extend its macro capabilities even further.
While I don’t think this is essential, I do think some wildlife and nature photographers who already own these extenders for long telephoto lenses will benefit greatly and get extra use out of them. However, more casual shooters will probably still find better value in a set of extension tubes that usually cost around $100 compared to the SEL14TC and SEL20TC which both cost $598 / £479 / AU$799 and also allow you to get closer to your subject.
That said, as somebody who owns a 180mm f/2.8 macro lens, I can see the merit of using a 2x teleconverter as a cheaper and more convenient alternative to owning a telephoto macro lens as well as a 100mm one.
Sony FE 100mm f/2.8 Macro GM OSS: Performance
Excellent image quality but autofocus not the fastest
OSS makes it easier to shoot handheld close-up photos
1.4x magnification and teleconverter support make it easier to get closer
As one of Sony’s top-flight G Master lenses you’d expect the Sony FE 100mm f/2.8 Macro GM to deliver a solid performance, and I’m delighted to say that this is very much the case.
Considering that the lens has not one, but four of Sony’s XD Extreme Dynamic linear motors the autofocus wasn’t the snappiest I’ve ever seen from a mirrorless lens. Instead it took a little moment to smoothly transition the focus, although this will perhaps be preferred by videographers.
That said, Sony claims the autofocus is 1.9x faster than its predecessor so it's still a decent improvement, and the autofocus was accurate once it acquired the subject. I also found it invaluable to have the ability to pull the focus clutch ring to engage full-time manual focus at any time.
Image 1 of 7
(Image credit: Dan Mold)
Image 2 of 7
(Image credit: Dan Mold)
Image 3 of 7
(Image credit: Dan Mold)
Image 4 of 7
(Image credit: Dan Mold)
Image 5 of 7
(Image credit: Dan Mold)
Image 6 of 7
(Image credit: Dan Mold)
Image 7 of 7
(Image credit: Dan Mold)
Image quality is excellent, with the lens employing both flourine and Nano AR II coatings on the front element to make it oil and water-repellent, and to counter flare when shooting towards a light source. The lens features 17 elements arranged in 13 groups, two of which are XA (extreme aspherical) elements and two of which are ED (Extra-low Dispersion) elements.
Image 1 of 3
(Image credit: Dan Mold)
Image 2 of 3
(Image credit: Dan Mold)
Image 3 of 3
(Image credit: Dan Mold)
Of course, depth of field is limited when shooting close-up at f/2.8; however in-focus areas of images look very sharp, even when shooting wide open. Flare was controlled well, contrast was punchy, and images were free from chromatic aberration. The sharpness of the lens was able to meet the resolution of the 61MP Sony A7R IV I tested it with, producing beautifully clean images with virtually no distortion or vignetting.
In my tests shooting handheld I was able to take sharp shots at around 4-4.5 stops slower than would normally be required, though this was paired with a Sony A7R IV, which has sensor-based IBIS that also helps. This meant that where a shutter speed of 1/100 sec was required to take a sharp shot I was able to lower my ISO or close the aperture until my shutter speed was 1/5 sec and still get a usably sharp image when shooting handheld – impressive!
Image 1 of 4
This test shot of some snowdrops was taken with the Sony FE 100mm f/2.8 Macro GM OSS without the teleconverter attached (Image credit: Dan Mold)
Image 2 of 4
Shooting at the same distance from the snowdrops I attached the Sony 2x teleconverter which allowed me to get close-up macro results from a greater working distance, effectively turning the lens into a 200mm f/5.6 (Image credit: Dan Mold)
Image 3 of 4
A close-up shot a snowdrop taken with the Sony FE 100mm f/2.8 Macro GM OSS lens (Image credit: Dan Mold)
Image 4 of 4
A close-up shot a snowdrop taken with the Sony FE 100mm f/2.8 Macro GM OSS lens and Sony 2x Teleconverter (Image credit: Dan Mold)
Should you buy the Sony FE 100mm f/2.8 Macro GM OSS?
Buy it if...
You want to upgrade from the Sony FE 90mm f/2.8 Macro G OSS
The new Sony FE 100mm f/2.8 Macro GM OSS has plentiful upgrades that make it the ultimate macro lens for Sony shooters.
You're a working professional
As one of Sony's top-flight G Master lenses, the 100mm optic is expensive but can deliver for working pros shooting close-ups of still life setups, nature and product photography.
You need teleconverter compatibility
The Sony FE 100mm f/2.8 Macro GM OSS has been designed to work with Sony's 1.4x and 2x teleconverters, effectively turning the lens into a 140mm f/3.5 or 200mm f/5.6 respectively.
Don't buy it if...
You're on a budget
This is one of the most expensive macro lenses on the market, so Sony's older FE 90mm f/2.8 Macro G OSS or third-party options will be a better choice for those on stricter budgets.
You don't need the extra magnification
Sony's new macro lens can go to 1.4x magnification, but the old Sony FE 90mm macro can go to 1x magnification, which is still perfectly suitable for close life-size macro shots.
You need a portrait lens
If you're looking for a short telephoto lens for portraiture the Sony FE 100mm will do a decent job, but it's not your best bet. A lens such as an 85mm f/1.4, or 135mm f/1.8 will give you the faster apertures needed for artfully blurred backgrounds.View Deal
How I tested the Sony FE 100mm f/2.8 Macro GM OSS
I used the lens for a month, capturing close-up shots of nature as well as controlled still-life setups at home
I paired it with the 61MP Sony a7R IV full-frame body, zooming in on images to assess resolution and clarity
I took shots throughout the aperture range, focusing up close and further away, and used the lens with Sony's 2x teleconverter
I used the Sony FE 100mm f/2.8 Macro GM OSS with a Sony A7R IV for a month to give the lens a thorough testing over an extended period. Sony also kindly loaned me its SEL20TC 2x teleconverter, and I also took test shots with this sandwiched between the lens and camera body to see what difference it made.
The lens became my go-to for taking close-up shots over this time, and in particular when we had a cold snap in the UK, where I'm based – I loved heading out with it to capture stunning details of frost patterns and ice.
I took a range of pictures with in-camera lens corrections both enabled and disabled to see the difference. I also shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the range.
Audeze is known for enthusiast-level audiophile hardware. When that tech drips down to the Maxwell gaming line, reviewer and consumer alike have an important question to ask: Can we actually hear a difference versus the competition?
The answer in this case is a resounding, 90mm driver-powered ‘yes’ in the form of the new Audeze Maxwell 2 wireless gaming headset that rattles your eardrums and stupefies you into a kind of aural nirvana. In 15 years of reviewing audio equipment from gaming to studio product categories – and do excuse me while I do a little sick in my mouth at the pompousness of this statement – I’ve rarely heard such a well-rounded and emotive frequency response.
It’s important to keep that in mind, because although there is good reason to be critical of this headset as a consumer release, it really can’t be faulted in raw audio terms. If great sound is all you care about, money no object, then you’ve already read all you needed to in this review. Go and enjoy your new headset.
But gaming headsets have become an incredibly crowded vertical, and in the race to win our attention and money, manufacturers have really spoiled us with features lately. Broadcast-quality noise-cancelling mics, simultaneous 2.4GHz wireless and Bluetooth connections, and even active noise cancellation have started to feel like table stakes in the flagship model end of the market.
That places a lot of importance on the secondary features of this follow-up to the original Audeze Maxwell. After all, it follows a prior model (the 'Gen 1', if you will) that gobbled up acclaim and awards like a ravenous James Cameron on a nineties Oscars night. The Gen 1 Maxwells are available for around $100 / £100 less than the new 'Gen 2s', and sadly, there’s no single must-have feature about the newer incarnation that justifies spending more money.
The Gen 2s do feature the company’s SLAM Acoustic Management, a marketing buzzword for ‘better audio’ more or less, along with Bluetooth connectivity, a wider headband for better weight distribution, and redesigned physical controls that do indeed feel pleasant to locate and operate. But given that the newer model is 2.4oz / 70g heavier than its predecessor, elements like the headband design upgrade feel less like a win and more like a necessity.
So here I am in the very strange position of reviewing a stellar headset that I can’t fully recommend, because so much of what makes it stellar was also true of the outgoing model.
(Image credit: Future/Phil Iwaniuk)
Audeze Maxwell 2: price & availability
List price: $349.99 / £339.99 / around AU$520 (Xbox version)
Significantly more than the SteelSeries Arctis Nova Pro Wireless but less than the Nova Elite
Maxwell V1 is still available and cheaper
You’d expect a premium price from an Audeze headset. The company has made its name by delivering no-compromise sound from audiophile-grade equipment, and a lot of that tech has found its way into the Maxwell gaming line. You can hear and feel the quality difference compared to the vast majority of gaming headsets immediately, even versus some of our favourite options like the Razer BlackShark V3 Pro and the SteelSeries Arctis Nova Pro Wireless.
There’s a slight price difference between the PS5 and Xbox versions of this headset, both of which are also compatible with PC and mobile devices via Bluetooth. The PlayStation option is slightly cheaper at $329.99 / £339, while the Xbox version has a $349.99 / £369 list price. This makes it significantly cheaper than the other recent audiophile gaming headset of the time, the SteelSeries Arctis Nova Elite, which retails for a chonky $599.99 / £599.99.
It’s not just the sound that communicates where the money’s been spent. The build quality and presentation are also wonderful, like something you’d find waiting for you on an eye-wateringly expensive first-class plane seat. The only caveat, as you’ll read numerous times throughout this review, is that the outgoing model is currently going cheaper, and it’s fundamentally just as good.
(Image credit: Future/Phil Iwaniuk)
Audeze Maxwell 2: Specs
Audeze Maxwell 2
Price
$349.99 / £339.99 / around AU$520
Weight
17.2oz / 490g
Drivers
90mm Planar Magnetic
Compatibility
PC, Xbox Series X|S, PlayStation 5, Nintendo Switch|2, MacOS, iOS, Android
Connection type
Bluetooth, 2.4GHz wireless, wired 3.5mm/USB-C
Battery life
80 hours
Features
Detachable hypercardioid 16-bit/48KHz high bandwidth mic with FILTER AI noise removal, internal beamforming mics, 24-bit/96kHz high-resolution audio, patent-pending SLAM technology, Bluetooth support for Auracast, LE Audio, LDAC, and AAC
Software
Audeze App (PC and mobile)
Audeze Maxwell 2: Design & features
Chunky and imposing looks, but very heavy
Pro audio finish with impressive materials choices
Control layout takes some getting used to
One thing’s for certain: you’re extremely unlikely to misplace this headset. Weighing in at 17.2oz / 490g (Or around 16.2oz / 460g if you remove the magnetic earcup plates) and featuring deep, luxurious cushioning around formidably large cups housing 90mm drivers, this is a strikingly solid model that conveys quality and longevity as soon as you cast your eyes over it. Brushed gunmetal finish, soft memory foam cushioning, and a new inner headband suspension strap with breathable holes combine to create an aesthetic that communicates the Maxwell 2’s mission: audiophile-grade gear in the gaming market.
I love that look, personally. I’m especially impressed by little details like the pin-sharp Audeze logos on each earcup, beneath the magnetic covers. Remove the detachable mic, and this is definitely a pair of headphones you wouldn’t mind being seen in public wearing.
There’s a downside to that: it’s an especially heavy model. Weight doesn’t have a linear relationship with discomfort, of course, and manufacturers can do plenty to minimise the effect of 17.2oz / 490g sitting across your cranium. But if you are prone to discomfort when wearing bulkier cans, this particular attribute is worth keeping in mind.
Personally, I found the comfort levels high for two to three hours of use. I do feel the weight across the top of my head, and also in the increased clamping force of the earcups around my ears, but not to such a degree that I need a break. It’s January as I write this in the UK, so heat isn’t an issue, but I could imagine the pleather earcup cushions might be more of an issue in hotter climes, as with any headset that has a lot of clamping force.
Moving on to the layout of its physical controls, redesigned for this Gen 2 model, I’m impressed overall. I love to have a physical chat mix dial on the headset, and sure enough, there’s a nice notched scroller with beautiful actuation on the rear-left earcup, just below the volume scroll wheel. On the right-hand cup are the power button and mic mute toggle switch, the latter of which is recessed so much that it can be slightly fiddly to operate, but it feels like the switch itself is of a high-quality, durable standard. The only fiddly aspect of the layout is the pairing button on the front of the left earcup, the position of which takes a little while to commit to memory.
(Image credit: Future/Phil Iwaniuk)
Audeze Maxwell 2: Performance
Sound with a genuine wow factor
AI mic noise cancellation is hit or miss
App support for further tweaks
Now we’re into the section where the Maxwell 2 shines. It takes a lot of clever designers, engineers, and the right suppliers to achieve audio this good, and, particularly in the gaming vertical, most manufacturers have simply never taken the commercial risk of spending this much to reach this level of fidelity.
Audeze has the advantage of having honed its tech in the enthusiast space, giving the company a library of designs and parts to refer to when designing a gaming model. We saw the fruits of that labour in the original Maxwell, and now those same 90mm drivers with their frankly preposterous 10Hz-50KHz frequency response have been tuned further with Audeze’s SLAM technology.
The marketing materials say this technology allows for “heightened spatial immersion, precise and punchier bass response”, and I can’t argue with that. Apparently, it’s all down to the physical construction of the drivers, not a software-level boost, and that’s always firmer ground to establish audio fidelity on.
The overall fidelity standard has raised its game in gaming headsets lately, so the difference between contemporaries like the Razer BlackShark V3 Pro or SteelSeries Arctis Pro Nova Wireless and this model isn’t as night and day as might have been the case five years ago, when ‘gaming’ models were still artificially boosting their low end at the cost of clarity. Rather, it’s that every component part of the aural landscape is that bit clearer and more emotive.
(Image credit: Future/Phil Iwaniuk)
The bass response is huge, but tight. It doesn’t overwhelm the rest of the EQ spectrum, leaving room for sparkly high-end frequencies to chime. Human speech sounds true-to-life, indicating a well-tuned midrange response, while the stereo landscape feels impressively vast when you listen to the right sources. Try out some binaural recordings, and you’ll hear what I mean.
If audio reproduction is peerless – and it is – then audio output is a different story. The mic on this Gen 2 model features AI-assisted noise cancellation, and not to blame everything on Skynet’s malicious invasion of our lives, but it doesn’t work very well in my experience.
I’ve tested this headset using every connection type available, including digital and analog wired connections, but whenever I enable the AI noise cancellation, I get a muffled sound in Discord. That’s likely due to Discord and Audeze’s noise cancellation technologies working counterproductively over the top of each other, but whatever the cause, it’s a shame to have to turn off the noise cancellation.
After some tuning, the mic sounds much better. But at this price point, the expectation is for a mic with out-of-the-box quality. Similarly, there are some other chinks in the armor when you dig around in the connectivity options. Simultaneous Bluetooth connection is only possible with a digital or analog wired connection, rather than with the 2.4GHz wireless via the dongle – another feature you’d hope for at this price.
I can’t knock the 80-hour battery life, mind you. That’s an incredible figure, and charging is easy enough via a USB-C connection just below the mic.
(Image credit: Future/Phil Iwaniuk)
Should you buy the Audeze Maxwell 2?
Buy it if...
You’ll stop at nothing for incredible sound It was never in doubt – there’s no comparison to the fidelity, punchiness, and emotion generated by the 90mm drivers inside these earcups.
You’re all about that bass The bass response from these drivers is like sprinting into a brick wall - with a tailwind.
You want audiophile headset looks So long, RGB, and tribal designs. Hello to a grown-up aesthetic that you’d be happy to wear in the street.
Don't buy it if...
You can find a Gen 1 for sale instead It’s practically just as good, and it’s available for less. Sorry, Gen 2, but it just makes sense to buy the older model.
You need the utmost mic quality There are some issues with Discord’s noise cancellation and the AI-powered Audeze version.
Simultaneous Bluetooth and 2.4GHz wireless is a deal-breaker If this is a must-have for you, then you'll need to look elsewhere, though you can achieve simultaneous digital or analog wired with Bluetooth, though.
Also consider...
Does this Audeze model put you ill at ease? Consider these premium wireless alternatives.
Audeze Maxwell 2
Razer BlackShark V3 Pro
SteelSeries Arctis Nova Pro Wireless
Price
$349.99 / £339.99 / around AU$520
$249.99 / £249.99 / around AU$510
$349 (£329, AU$649)
Weight
17.2oz / 490g
12.9oz / 367g
11.85oz / 336g
Drivers
90mm Planar Magnetic
Razer TriForce Bio-Cellulose 50 mm Drivers Gen-2
40mm neodymium
Compatibility
PC, Xbox Series X|S, PlayStation 5, Nintendo Switch|2, MacOS, iOS, Android
PC, Xbox Series X (Xbox version only), PlayStation 5 (PlayStation version only), iOS, Android
Xbox Series X|S, Xbox One, PS5, PS4, Nintendo Switch, PC, Mac, Mobile
Connection type
Bluetooth, 2.4GHz wireless, wired 3.5mm/USB-C
Bluetooth, 2.4GHz wireless (Hyperspeed dongle), USB wired, 2.5mm wired
Wireless (2.4Ghz via dongle), Wired (USB-C), Bluetooth 5.3
Battery life
80 hours
70 hours
Up to 60 hours (2 x fully-charged batteries), Infinite Power System
Features
Detachable hypercardioid 16-bit/48KHz high bandwidth mic with FILTER AI noise removal, internal beamforming mics, 24-bit/96kHz high-resolution audio, patent-pending SLAM technology, Bluetooth support for Auracast, LE Audio, LDAC, and AAC
40mm Neodymium, ANC, magnetic drivers, 360-degree spatial audio, retractable ClearCast 2.X mic
Software
Audeze App (PC and mobile)
Razer Audio App, Razer Synapse
SteelSeries GG/Sonar (PC)
Razer Blackshark V3 Pro Quite simply, the best all-round gaming headset on the market today. The V3 Pro version features ANC, a great mic, and a comparable 70-hour battery life, bested only in raw audio fidelity by the Audeze Maxwell 2.
Steelseries Arctis Nova Pro Wireless Featuring SteelSeries’ unique dual-battery charging solution, premium looks, plus ANC implementation, the Nova Pro Wireless is a premium headset option with few faults.
Put through its paces in gaming, movies, music and work calls
When a headset with audio fidelity chops as formidable as this arrives, there’s only one thing for it: you play lossless classical music, as loud as your ears can withstand, until entering a stupor. That’s stage one of testing this headset.
Given that there are several connection options and multi-device compatibility, I checked each option off to ensure functionality and fidelity. I also updated the firmware via the Audeze software before poking around in the app options.
Given that the higher weight looked like it might be an issue, I wore the Maxwell 2 all day during my workday for a week straight, which included using it for work calls. That also gave me a chance to take feedback on the mic quality using different chat clients, which is where I identified that the Discord issue isn’t a universal noise-cancelling problem.
Oh, and in case you’re wondering, Baby Steps sounds fantastic through these things.
There's been a murder – and I'm not just talking about the plot of Agatha Christie's Seven Dials. In fact, I'm talking about the Netflix adaptation itself. The infamous crime author has sold between 2-4 billion copies of her work, but somehow, the TV version of The Seven Dials Mystery feels absolutely criminal.
Not to brag, but I'm ordaining myself as an expert here. Back in the 2000s, UK TV channel ITV had the monopoly on Poirot and Miss Marple adaptations, and I've grown up watching them. Add in movie classics like Peter Ustinov's Death on the Nile and devouring her books from the age of 14, and I'm an application away from joining the Agatha Christie fan club.
If we're comparing Agatha Christie's Seven Dials to everything I listed above (and it would be pretty hard not to), its must-miss energy is down to two things: the original novel and the changes made to the streamer's adaptation.
But before we dig deeper into that, don't let my instant negativity put you off too much. With a star-studded cast and a three-episode runtime, there is some merit to binging it... perhaps when you're trying to do some last-minute ironing on a Sunday afternoon.
The only person who will likely be breathing a sigh of relief is Kenneth Branagh, whose trilogy of Poirot movies received a widespread panning from critics and audiences alike. Personally, I only thought A Haunting in Venice was an out-and-out disaster, but he definitely won't be a crime-themed punching bag after this.
The Seven Dials Mystery is the wrong Agatha Christie story to adapt for Netflix
I would confidently bet £10 (or $10 / AU$10 for my US and Australian friends) that you've never heard of The Seven Dials Mystery before. Not only was it not a big hitter like And Then There Were None or Murder on the Orient Express, but the novel it takes characters from, The Secret of Chimneys, was a much bigger success. The Seven Dials Mystery released to mostly bad reviews from critics, and all three of these points together aren't the best groundings for an adaptation.
Is the original book really one of Christie's best? I don't think so. It's definitely got a more light-hearted tone, but that only really comes across if you were actually from the 1920s. The overarching mystery doesn't really stick, and it's all a bit too complicated for its own good.
None of these things are Agatha Christie's Seven Dials' fault, more what it's got to contend with. There were a million better stories for the biggest streaming service in the world to choose for its own original content, particularly if it wants to build up a visual back catalog of Christie's work.
Sparkling Cyanide, Crooked House or Cards on the Table might have made for shrewd choices, especially given as their narrative structures are all a lot more sound. But here's when we begin to run into our other problem.
If you've seen any of the latest TV Agatha Christie adaptations over the last decade – which have either been for the BBC or direct to Britbox – you'll have noticed a subtle downward spiral of quality. From Kim Cattrall's Witness for the Prosecution to Anjelica Huston in Towards Zero, no new series has seemed to garner favor with anyone watching.
So, are the glory days of adapting Agatha Christie for the small screen over? It certainly feels that way for the standalone novels. I think a streaming service like Netflix could score some points with a Miss Marple reboot, but even that's a big ask.
The changes Agatha Christie's Seven Dials make to the original book don't work either
Martin Freeman lives his best detective life and I'm genuinely pleased for him. (Image credit: Netflix)
WARNING: spoilers for Agatha Christie's Seven Dials ahead.
When Murder, She Wrote and Columbo used to air in the 1980s, viewers quickly caught on that whoever was the biggest star in an episode was also the murderer – so much so that creators then had to change their casting tactics. Clearly, we don't learn anything from history, as the biggest stars in Agatha Christie's Seven Dials are the ones who give the game away.
Without giving the ultimate whodunnit away (although you could just read the book if you want an answer), Lord Caterham has been changed to Lady Caterham in this adaptation, and that's a huge problem. Frankly, casting executives could and should do anything to have Helena Bonham Carter in their production, and she's as dazzling and zany as you'd expect in the limited screentime she has.
However, she also gives away the secrets of the Seven Dials in a way that wouldn't have happened had our lady still been a lord. It's an incredibly silly blunder that knocks the central pins of storytelling to a ground, and I can't believe the decision came from the same man who made Broadchurch.
If you want to keep some mystery until the end, I'd almost recommend skipping episode 2 entirely. You can work out all the connections and logistics at play by the halfway point – something the Queen of Crime would never have let happen on her watch, even if it was one of her weaker stories.
So, what am I really getting from this streaming experience? A feeling of being let down and not seeing enough of Bonham Carter. Shoutout to Martin Freeman though, who's clearly having the time of his life playing make believe in a game of Netflix Cluedo.
It took me a while to get my hands on the Kodak Charmera – such is the viral popularity of this $30, 30g keychain digital camera, that it sold out on its release day late last year (with what felt like minimal advertising), and it only came back in stock as I publish this review a month later. Who knows, it might be out of stock again by the time you read these words.
And I can see the appeal – the Charmera is cheap, tiny, retro, it’ll easily fix to your keyring, and it’s an actual working camera with a screen.
What's more, there are six 1980s-inspired colorways, plus a limited edition see-through version, and you don’t know which version you’ll get since it comes in a 'blind box'. That’s got gift idea written all over it.
When I unboxed mine, cue disappointment – the black version with rainbow frontage – the one pictured on the box that appealed to me the least. Still, inside the box, a nice poster, a collector card, and a small charging cable.
I charged the Charmera up and slotted the thumb-sized camera into my pocket where it would live for the following weeks.
The Charmera shoots tiny 1.6 megapixel JPEG photos and HD video (1400 x 1080p at 30fps) through a fixed 35mm f/2.4 lens, has seven photo filters and four animated borders to choose from, stores onto micro SD (which needs to be purchased separately), and has a (predictably) tiny internal battery that is recharged through USB-C.
There’s a tiny 16:9 LCD screen with live view that in practice is even smaller given that images are captured in 4:3, a miniscule LED light that illuminates closeup subjects, and possibly the smallest viewfinder I've ever used, which is novel and in a way works.
Honestly, that’s about all the features and design aspects worth knowing about, but what is the Charmera actually like to use?
Image 1 of 7
(Image credit: Future / Tim Coleman)
Image 2 of 7
(Image credit: Future / Tim Coleman)
Image 3 of 7
(Image credit: Future / Tim Coleman)
Image 4 of 7
(Image credit: Future / Tim Coleman)
Image 5 of 7
(Image credit: Future / Tim Coleman)
Image 6 of 7
(Image credit: Future / Tim Coleman)
Image 7 of 7
(Image credit: Future / Tim Coleman)
Menus are simple enough to navigate; turn the camera on, and you select either photo, video, or set date using the three buttons on the rear, with the playback button doubling as select.
The power button doubles up as a back button, and then there's the shutter button to shoot photos and video. It takes barely a minute to figure this all out.
Everything about the Charmera is tiny: a tiny thumb-sized body, tiny screen, tiny images. And it's actually kind of fun to shoot with...in the moment. I was certainly charmed by the Charmera, and I think many others will be too.
It's when you plug the camera into a computer or hook up the memory card to view any images taken with the Charmera that the warm fuzzy feeling quickly vanishes.
Image 1 of 12
(Image credit: Tim Coleman)
Image 2 of 12
(Image credit: Tim Coleman)
Image 3 of 12
(Image credit: Tim Coleman)
Image 4 of 12
(Image credit: Tim Coleman)
Image 5 of 12
(Image credit: Tim Coleman)
Image 6 of 12
(Image credit: Tim Coleman)
Image 7 of 12
(Image credit: Tim Coleman)
Image 8 of 12
(Image credit: Tim Coleman)
Image 9 of 12
(Image credit: Tim Coleman)
Image 10 of 12
(Image credit: Tim Coleman)
Image 11 of 12
(Image credit: Tim Coleman)
Image 12 of 12
(Image credit: Tim Coleman)
The Charmera's photo quality is about the worst I've seen from a digital camera in my lifetime – and I've been shooting digital since consumers could, when 16MB memory cards existed (yes, megabytes).
With a resolution being a truly retro 1.6MP and a barely existent dynamic range, photos are more impressions than anything else. A collection of pixels, pieced together.
And that's me commenting on the regular color profile. Use any one of the monotone filters, and things get super abstract.
Photos are like one of the novel, abstract filters you get with a decent digital camera. I guess such dated quality could charm some. For me, it screams short-lived novelty; for others, it could be the camera they always have with them.
My own gripes aside, I also think that the Charmera is so small and so distinct, that I'll keep it on me every day for the months to come.
It's a conversation starter. A whimsical capturer of moments (assuming it's tiny battery isn't flat when you pull it out of the pocket – that'll happen).
The Kodak Charmera certainly ain't good quality. But that's hardly the point, is it? This is a cheap, charming retro gift for the photography lover in your life, that should get more use than a foot spa or marmite-scented deodrant (the UK's most unwanted Christmas gift for 2025). That's the hope from me as someone who hates waste.
The Charmera is far from being one of the best compact cameras, even the best cheap compact cameras, but I don't expect that to slow down its sales.
Kodak is killing it right now with multiple best-selling cheap cameras – like the recent Ektar H35N half-frame film camera, and the PixPro C1 – and the Charmera could just be the pick of the pack in terms of concept (not quality). It's a marketing masterstroke. Who knew a keychain camera could be so popular?
Kodak Charmera: price and availability
Announced in November 2025 and sold out in a day
Priced at $30 / £30 / AU$54.95
The Kodak Charmera costs $30 / £30 / AU$54.95 for a single 'blind box', or you can buy the whole set of 6 for $180 / £180 to guarantee getting each colorway. There's a 1 in 48 chance of scoring the limited edition transparent version.
Scalpers have been selling the Charmera for extortionate prices, and some retailers have bumped the price a little, but you should be able to pick up the Charmera for its fair, original price through one of the links below.
Kodak Charmera: specs
Kodak Charmera Specs
Sensor
1/4-inch
Resolution
1.6MP
Video
1440 x 1080p at 30fps, AVI format
Lens
35mm f/2.4
Screen
Really, really small
Viewfinder
Even tinier
Dimensions
58 x 24.5 x 20 mm
Weight
30g
Battery life
200mAh, rechargeable
Memory
Micro SD (1GB to 128GB)
Should I buy the Kodak Charmera?
(Image credit: Future / Tim Coleman)
Buy it if...
You're looking for a cheap gift for the photography lover in your life I can personally think of multiple people in my life who would love to receive a Charmera.
You'd appreciate a cheap, always with you camera that isn't your phone It weighs 30g, is about the size of your thumb, shoots bad photos that could appeal to anti-tech heads and it costs $30 / £30. The Charmera is an easy sell.
Don't buy it if...
You want decent photo quality It's no exaggeration to say the Charmera produces the worst quality photos I've seen for quite some time – they're awful from a technical standpoint.
You need a reliable camera For me, the Charmera would be a whole lot more useful as an every day carry if its battery life wasn't so bad.
Also consider
Camp Snap Camera
Another perfectly executed cheap camera is the original Camp Snap, available for around twice the price of a Charmera. Think of it as a digital version of the single-use camera – a larger, screen-less 4MP shooter with retro design. I'm a fan.
I got the Charmera last year and it's mine to keep
I've used it sporadically over a couple of months
I've tried the various color filters and animated borders
I'm not going to dig into technicals of how I've tested this novel point-and-shoot camera. In short, I've rattled off hundreds of photos in good light and bad, played with the various color filters and shot short video clips. Image quality is predictably bad, but short battery life is particularly unfortunate.
The Microsoft-owned Clipchamp is distinct from most video editors, since the main draw here is that you can edit videos in your browser (provided that browser is either Chrome or Edge).
There’s an obvious advantage to that - as long as you’re logged in to your account, you can work from any computer. There's no need to check you have top-end computer specs and you don’t need to install any additional software.
Now, this isn't going to compete with Premiere Pro, Final Cut, or any of the other best video editing software I've used. As the name suggests, it's a lot more basic than those apps, and a lot of its use depends on adding content to pre-built templates.
I took a look at how easy it is to use the tool, and whether Clipchamp has a place in the creative workflow.
Being able to edit online is one thing, being restricted to only a couple of browsers is another. I’m not a fan of being forced to work with a specific browser. Personally, I like Firefox and Safari, but Clipchamp is only compatible with Microsoft Edge and Google Chrome. If you already use these browsers, great, but if you don’t, you’ll have to decide from the outset if that restriction will put you off using this video editor.
As for the price, Clipchamp comes in two flavours: ‘Free’ and ‘Premium'.
‘Free’ is surprisingly generous, letting you work on projects up to 1080p, have access to what they call ‘AI editing tools’ for audio and video, grant you the ability to record your computer’s screen, webcam, and audio, and all without any watermark anywhere, which is pretty cool.
As for ‘Premium’, its projects can be up to 4K, and you gain access to premium stock assets, filters and effects (‘Free’ only has a basic assortment of those).
Unfortunately, though, you can't get a Premium subscription as a standalone. Instead, Clipchamp is bundled with Microsoft Office 365, so if you’re not one for subscribing to business software, you’ll have to decide if Clipchamp Premium is worth getting for between $100 and $130 a year - which is quite hefty for an online video editor - or whether a tool like Canva Video might be the better pick. On the bright side, if you already subscribe to Office, then you can have fun with Premium right now.
Clipchamp: Getting started
(Image credit: Microsoft // Future)
You absolutely need a Microsoft login for personal accounts
You can choose to use your email address, or log in through your Google or Microsoft account… except if you choose to work on personal projects, Clipchamp will then inform you only Microsoft accounts are able to do that.
And that’s after giving your email address, created a password, and clicked on many, many emails and buttons,
Making it clear what the state of play is from the get-go would’ve saved me a lot of time. It doesn’t really endear you to the service you’re about to explore.
However, I decided to put that little hiccup - something that could easily be fixed with a few lines of text at the login page - to the side, and set off exploring the online service.
Clipchamp: Interface & experience
(Image credit: Microsoft // Future)
Impressive considering it's browser-based
Good interface with easy to use tools
Experience marred by tiny preview section and lots of buffering
The home page looks fine. You’ve got a sidebar on the left to gain access to your settings and ready-made templates, among others, while the bulk of the page is devoted to tips and tricks to encourage you to try new features (I was offered recording from a webcam, and using digital voices to turn your text into speech). You’ll also see a few featured templates, a button to edit by yourself, and another with the help of AI, and at the bottom, all your previous projects.
Nothing new here really in terms of design and layout, but it’s simple and clear, which helps you get to where you wish to go.
I thought I’d try out the manual editing first, as that’s my usual bread and butter… And I must say, it works really well. To the left is a sidebar containing all available tools. From there, you have access to any media you uploaded to the service, a library of stock assets, text tools and transitions, templates (again), and a section dedicated to recording media. This includes webcam, a connected camera, your desktop, or a microphone (all of which worked really well). This is also another place where the ‘text to speech’ option can be accessed.
All well and good.
When it comes to editing, it’s all about dragging. Drag a clip from your library to the timeline to add it to your project. Repeat the process, to build up your edit. Drag a clip’s edges to resize it, drag an entire clip to move it around; select an item in the timeline for its changeable parameters to appear in a sidebar to the right. It’s all pretty intuitive and standard fare.
The one thing that annoyed me is how small the preview section is. This is generally the part of the interface that needs to be as big as possible, so you can see what you’re working on. Here, it’s tiny.
Worse still, dragging the playhead along the timeline doesn’t update what you see in that preview section, so you can’t quickly scroll to another part of your edit and carry on working: you have to wait for the buffering to end.
That’s an obvious downside to working online, but it’s also a frustrating one if you’re used to working fast. If you’re a casual editor, you might be fine with that though.
Clipchamp: Recording
(Image credit: Microsoft)
All options work well
Choose your text-to-speech narrator wisely
You get four recording options in Clipchamp: Camera, Screen, Camera & Screen, and text-to-speech. These work exactly as you’d expect - grant the app access to your mic and webcam, select which window, tab, or desktop to record, hit Share.
It’s not a bad shout if you need a no-fuss one of the best free screen recorders for no-fuss, no-hassle set-up and use. It's also useful for recording piece-to-camera videos and webinars.
The built-in text-to-speech software is slightly different. It’s like a robot narrator. Input content into the text field, choose a language and voice that fits your video, then tinker with the pitch and speed to create something that passes for human speech.
The variety across the board here is excellent. However, some voices were much more natural than others, closer to ‘realistic’ smart speaker voices than the usual stilted robots found in Microsoft apps. Save the sound clip and you can drag it onto your timeline like any other media.
Clipchamp: AI editing
(Image credit: Microsoft // Future)
Not truly AI
Automatic algorithms, and not very clever ones at that
Now, might AI overcome some of the buffering I experienced? After all, if the algorithms do the work for you, it should be a much easier affair.
To be honest, this was one of the most disappointing aspects of Clipchamp. I can live with a bit of buffering. But the claims of AI editing are laughable.
First things first, I uploaded some footage - and that process is absolutely fine. Then I had to like or dislike a bunch of themes, or select the option ‘choose for me’.
When it comes to orientation, it’s either landscape or portrait (the more numerous options I found when editing manually weren't present this time round). There is an option to choose from a handful of songs and fonts, or just accept the default selection that’s been presented, and then export.
As the algorithm does its thing, I was offered various ways to save the project: save to the desktop, upload it to an online storage service such as OneDrive, Google Drive or Dropbox, or to social media sites such as YouTube, TikTok or LinkedIn.
Then came the big reveal.
I have to say, I wasn’t impressed with the output. Sure everything was edited for me, but the choices were anaemic.
I uploaded widescreen shots and requested a vertical video suitable for social media. The algorithm didn’t crop my footage. It just presented it with massive black bars top and bottom. This was not what I was expecting.
The editing was also unimpressive. Oh and the preview section during export could also be bigger (what is it with Clipchamp and tiny preview sections?)
I tried multiple times, and noticed the edit seems to follow the order the clips were in, and it didn’t even edit to the beat of its chosen song. I mean, really, that should be a basic feature for an AI tool.
If, like me, you’re not happy with the results, you can always ‘Keep Editing’, i.e., take the work already done by the machine, and refine it to your liking in the manual editing section. That could definitely save some time. Frankly, I’d bin the whole thing and start properly from scratch. But maybe that’s just me.
Should I buy Clipchamp?
(Image credit: Microsoft // Future)
Buy it if…
You’re looking for an way to edit online, with some simple tools that are well implemented, and best of all, the free tier doesn’t watermark your output!
Don’t buy it if…
You’re not a fan of having to wait for the interface to catch up with you, you’d appreciate a bigger preview section, and are far from impressed by the lamentable AI feature.
