Action camera innovation has plateaued slightly in the last couple of years, at least when it comes to traditional GoPro-style models. There is a physical limit to how small optics and components can be without compromising the minimum focusing distance, and higher resolutions and frame rates will only get people so excited.

The new battleground among compact camera brands, seemingly, is vlogging gimbals. DJI had immense success with its Osmo Pocket series, so much so that it became the number one action camera brand in Japan in 2025. The DJI Osmo Pocket 4 added 107GB of internal storage and 4K/240fps slow motion to the already excellent camera.

It was only a matter of time before other brands decided to get in on the action, and while there are quite a few companies trying to launch their own take on the concept, the one rival everyone's been waiting for is Insta360. The 360º camera expert has teased its upcoming Osmo Pocket rival for quite a while, but now, it's finally here.

I’ve been testing the flagship Luna Ultra for almost a month, and I’m thoroughly impressed with it. The camera borrows a fair amount of its design from the big rival; as with action cams, there are ergonomic limitations to vlogging gimbals. However, it offers a ton of exciting new features, not to mention the excellent specs and camera performance.

Insta360 Luna Ultra review

Price and availability

The Luna Ultra was officially announced on 10 June 2026 and is available to buy now in Cosmic Black and Stellar White at Insta360, Amazon, Best Buy, and select retailers worldwide for $769.99 (~£575 / €667 / AU$1,098). The company says availability in Germany will follow at a later date.

At the time of writing, it's unclear how much the unit will cost in markets other than the US. The DJI Osmo Pocket 4 retails for £445 / €499 / AU$769, but it lacks the second camera, unlike the Osmo Pocket 4P, which is yet to be released and therefore isn't officially priced yet.

(Of course, DJI's vlogging camera isn't available in the US, so Insta360 has a big advantage over its imaging rival with the Luna Ultra.)

Design and build quality

One thing I noticed immediately as I lifted the gimbal out of its box is just how substantial it feels. At 233g, it's hardly heavy, but it's more than 20% heavier than the Osmo Pocket 4 and taller and wider, with a robust camera unit.

The latter is understandable, considering there are two lenses on the Luna Ultra. The dual Leica Summicron lenses offer up to 12x zoom and 6x lossless zoom. There are also 2x and 3x zoom options, which I assume are cropped versions of the second, 6x zoom lens.

The Luna Ultra uses a 1-inch sensor, which is quite large for such a small camera, allowing more detail to be captured and better low-light performance. For comparison, the GoPro Mission 1 Pro, DJI Osmo Action 6, and the Osmo Pocket 4 all have the same sensor size. Of course, physical sensor size is one thing, but it certainly doesn’t mean all of these cameras perform the same way.

In the case of the Luna Ultra, the unit adds a "triple AI chip" setup, which includes a 4nm chip and dual imaging chips, for better low-light performance. Historically, Insta360 cameras have been criticised for being too noisy in low-light scenarios, sacrificing colour accuracy for brightness. The Luna Ultra’s 1-inch sensor definitely helps with this.

The Insta360 X5 already has a triple-chip architecture, but it’s different from the Luna Ultra’s. For one, the 360-degree camera uses a 5nm AI processor, while the vlogging camera swaps it for a newer 4nm AI chip alongside dual imaging processors. To take low-light performance even further, the Luna Ultra also has the 4K60fps PureVideo mode, a dedicated setting to enhance clarity in low-light situations.

Back to the physical specs of the camera, the Luna Ultra has an “industry-first” detachable controller that lets you use the panel as a remote control. I’m not 100% sure it’s necessary to have on a camera with gesture control; how often would you need to control the gadget remotely?

I found myself not really using the controller off-camera, only when I shot 360 panos, but that’s such a niche use case that it doesn’t really justify the structural danger a detachable control panel poses.

It’s a moving part and, by default, more prone to damage. The gimbal head is already a liability, so it makes little sense to add even more risky components to the mix. The spring or plastic buttons that hold the controller in place can break, and it’s also more likely that you’ll lose the panel somewhere, rendering your Luna Ultra unusable.

The controls are also more laggy when the panel is detached (not terribly, but still), especially if you’re playing around with the zoom. This could be down to my using an early software version, but if you think about it, the remote is a sliver of a device, so it will have limited space for transmission components. There will be compromises.

On that note, Insta360 came up with a solution, not just to protect the remote but the gadget as a whole. The case is quite basic and makes the Luna Ultra bulkier, but it certainly does a decent job of easing your concerns about chucking the gimbal in your bag. Plus, it has accessory slots, such as for the wide-angle lens, that attach magnetically. Sweet.

The button layout on the Luna Ultra is slightly different from that of the Osmo Pocket 4. In addition to the joystick and record button, Insta360 included a zoom slider at the lower end of the handle. The two customisable buttons are located at the bottom of the rotating display, a better solution than DJI’s, which hides them under the display in vertical mode.

Performance

The Luna Ultra can shoot 8K video at up to 30 fps and 4K slow-motion video at up to 120 fps, while the low-light PureVideo mode is 4K@60fps. In addition to high-resolution videos, the Luna Ultra handles colours well and can shoot in Dolby Vision.

Dolby Vision is a high-dynamic-range (HDR) imaging technology that is said to enable “dynamic optimisation for every scene, or even every individual frame.” One of the main benefits of the technology is that it’s used by other companies and apps, enabling a more seamless post-production process.

One very cool thing about the Luna Ultra’s zoom capabilities is that it can do macro photos. The minimum focusing distance is 15 cm (~5.9 inches), but with the 12x zoom (equivalent of a 240mm telephoto lens!), you’ll get plenty close to your subject. 12x zoom isn’t lossless, but the camera retains a significant amount of detail.

There is only one issue with macro photography. As of now, there is no focus peaking on the Luna Ultra, so it’s pretty much impossible to tell where the focus is on the tiny display in broad daylight, or even in a decently lit room. I hope this will be added soon via a software update!

(The above video was shot on the Luna Ultra.)

On the question of 8K footage, there are very few platforms where you can showcase videos with such high resolution, so it’s best to treat the feature as what it is: a tool that enables you to crop into footage without sacrificing 4K resolution. Plus, it’s useful for things such as 12x zoom, which, again, looks pretty crisp considering it’s only digital magnification.

I was very pleased with the Luna Ultra's photographic performance. The images aren’t as sharp as a DSLR or a mirrorless, but the camera unit is a lot smaller, so what do you expect? The camera can shoot in RAW, with the maximum resolution in UltraPhoto mode being 37MP.

One of the many benefits of the Luna Ultra’s 3-axis mechanical stabilisation (it also has Electronic Image Stabilisation) is that even when you’re zoomed in, the footage isn’t shaky and photos aren’t blurry, either. Try holding a mirrorless with a 240 mm equivalent telephoto lens attached with one hand, and tell me the Luna Ultra compact form factor isn’t impressive.

Videos look balanced, and the camera provides plenty of settings to tailor the footage to your liking. In Basic mode, you can adjust exposure (I’d recommend going down to -0.3 or even -0.7 EV as default) and choose between the many colour profiles provided by the Luna Ultra.

You’ll find three Leica-branded options, as well as film-style filters I enjoyed using on the GO 3S Retro Bundle. Positive and negative film, CC (Colour Chrome or Colour Color-Positive) film, and vintage film look are just some of the options. You can also shoot in Dolby Vision and I-Log if you prefer to adjust colour in post.

I’ll be 100 per cent honest: I haven’t been playing around with the professional colour modes, purely because the footage coming out of the Luna looks good as it is, especially in good lighting conditions.

As for low-light performance, I couldn’t spot a significant difference between standard video and PureVideo modes in dimly lit scenarios (not full-on night). As long as there is some light, the triple AI chip and large sensor will do their magic without triggering any special modes. I’ll report back once I've tried the Luna Ultra in an after-dark setting.

Battery and charging

Battery life is one of the Luna Ultra's stronger points. The camera uses a 1,550mAh battery, with Insta360 claiming up to four hours of runtime. While I didn't manage to completely drain it in a single session, my testing suggests that figure isn't unrealistic under lighter workloads.

Using a USB-C PD charger, the Luna Ultra jumped from 18% to 60% in just nine minutes and reached 77% after 16 minutes. The camera hit full charge in roughly 20 minutes, closely matching Insta360's claim of reaching 80% in 23 minutes.

During charging, power draw initially hovered around 42W before gradually tapering off as the battery filled. The body became slightly warm but never uncomfortably hot, with charging speeds occasionally dropping to protect the battery from overheating.

One interesting quirk is that the detachable control panel isn't prioritised during charging. The main camera unit is replenished first, before power is redirected to the controller.

For battery testing, I recorded 4K/60fps video continuously for 22 minutes, followed by a short cooldown period and then 44 minutes of 8K/30fps footage. After a combined 66 minutes of recording, the battery still had 59% remaining.

The camera became warm during extended recording sessions but never excessively so, and there were no overheating warnings or unexpected shutdowns.

Based on these results, the Luna Ultra appears capable of comfortably handling a full day of casual shooting, while the rapid charging speeds make topping up between filming sessions refreshingly painless.

Verdict

The Luna Ultra is a compelling first entry into the vlogging camera category from Insta360. Rather than producing a straightforward Osmo Pocket clone, the company has added enough genuinely useful features to make the camera feel distinct. The dual Leica lens setup, up to 12x zoom, strong macro capabilities and surprisingly photography-focused feature set give it a character of its own.

Video quality is excellent, with crisp 8K footage, Dolby Vision support, effective low-light performance and stabilisation that remains impressively smooth even when shooting at longer focal lengths. Add in fast charging, strong battery life and expandable storage, and the Luna Ultra feels like a mature product rather than a first attempt.

Not everything is perfect. The detachable controller feels more like a solution looking for a problem, and its removability introduces another potential point of failure on a device that already carries a delicate gimbal mechanism. The lack of focus peaking is also frustrating, particularly given how much emphasis Insta360 places on macro photography and zoom shooting.

Those shortcomings feel more like software and design niggles than fundamental flaws. What impressed me most during testing was how versatile the Luna Ultra proved to be. It's an excellent video camera, a surprisingly capable stills camera and a genuinely creative tool that encourages experimentation. If Insta360 can continue refining the software experience, DJI's dominance of the pocket gimbal market might not look quite so secure anymore.

GoPro has been busy so far in 2026. Not because the company launched a flood of new products, but because it spent much of the year preparing for what might be its biggest release in years.

The Mission Series is the company’s most important product in years, not just because it uses a brand-new chip, but also because a lot is riding on its success. So, how good is it?

"It's not Hero 14. It's Mission 1."

Before we go any further, it’s important to note that the Mission cameras aren’t to replace the Hero series. GoPro says the Hero line has been pulling the company in two directions for years, with some consumers wanting smaller, lighter, simpler cameras, while professionals demanded better image quality, low-light performance and production features.

The Mission Series is designed for the latter group. If you want a do-it-all compact camera for POV videos, the GoPro Hero 13 Black is still your best option. However, if you prioritise low-light performance, image quality and battery life, the Mission Series appears to offer significant advantages over the Hero line.

GoPro says a huge amount of time has been devoted to optimising the Mission Series’ performance via the new one-inch sensor, larger pixels and GP3 processor; the company clearly sees low-light performance as one of the headline upgrades over Hero and rival action cameras.

Professionals will also appreciate features such as 10-bit colour, GP Log 2, timecode sync, 240 Mbps recording, HDMI output, 32-bit float audio, and the interchangeable-lens Mission One Pro ILS. The Mission cameras also allow filmmakers to record footage using the full sensor width and height (“open gate”), providing more flexibility in post-production.

"It's really a cinema camera."

I’ve been testing the Mission 1 Pro for a few days, and it’s an impressive piece of equipment. It has a distinctly GoPro feel, but the camera is much more versatile than the Hero ever was. I’m not a professional camera operator, even though I made money in the past as a photographer (mainly properties and weddings).

I mention this because my testing probably doesn't reflect exactly how GoPro intends the Mission 1 Pro to be used. In the last few days, I couldn’t help but treat the camera as a GoPro, looking for ways to capture action or POV footage. As mentioned above, the brand says the Hero is better for these purposes.

What should one use the camera for, then? I tried shooting portraits, but the lens is quite wide, meaning I had to get uncomfortably close to people to fill the frame. That's fine for landscapes or action, less so for human subjects.

I’m yet to test low-light performance, as there is plenty of light around at the moment, so I will have to create low-light scenes at home somehow to see how the Mission 1 Pro performs in lower lux levels.

Dynamic range is impressive. Backlit subjects, even when the light source is the midday sun, will have plenty of details left to work with in post. Not to mention, the bright blue sky remains recognisable with minimal loss of detail. So far, dynamic range has been one of the camera's strongest attributes.

"You just don't need to worry."

Battery life saw a massive boost, thanks to the new chip. GoPro claims the camera won’t overheat even in an unventilated room, which has historically been an Achilles' heel for the brand. I’ve been using it during the hottest bank holiday weekend in recent memory, and not once has the Mission 1 Pro maxed out from the heat.

It’s all the more impressive considering the actual camera body isn't much larger than the Hero 13 Black. The lens housing is noticeably larger to accommodate the bigger sensor, yet the camera still uses the same Enduro batteries as previous generations. You can use standard Enduro batteries, and they will work just fine in the Mission Series.

If it uses the same batteries as before, how can the Mission 1 Pro run for so much longer without overheating? It’s all down to the new GP3 chip, optimising tasks in the background. GoPro has clearly found a way to utilise AI effectively, rather than just giving you yet another AI assistant.

"We're never interested in generating any type of content."

GoPro's approach to AI is focused on machine learning rather than content generation. Instead, the brand positions AI as a behind-the-scenes assistant that helps optimise settings, colour and stabilisation rather than inventing pixels or creating content.

Even though the emphasis is on the pro users, the Mission 1 Pro has a ton of preloaded shooting modes, including Sport POV, dive, vlog, etc. The camera can also track subjects, a feature I thoroughly enjoyed using. Essentially, the Mission 1 Pro can ‘follow’ you around without moving (to a certain degree), creating more dynamic footage than standard action cams.

AI is also used to further enhance low-light performance. The new GP3 processor includes a dedicated Neural Processing Unit (NPU), which GoPro says is heavily involved in its low-light processing pipeline. The company claims it uses AI models for noise reduction, detail preservation, dynamic range optimisation and balancing image cleanliness against excessive processing.

“The ultimate versatile camera"

I’m a bit torn when it comes to evaluating the GoPro Mission 1 Pro. On the one hand, it is the most impressive camera GoPro has ever put out. The large sensor, new processor and improved battery life make it the most capable camera GoPro has produced to date.

On the other hand, the brand wants the Mission Series to transcend action cameras and to be treated as an alternative to larger cine cameras. GoPro isn’t trying to create a better Hero; instead, it wants the Mission Series to be used for Netflix movies and other professional productions.

It's impressive in practice, not just on paper, but I need more time with the camera before deciding if it truly delivers on GoPro's ambitions. So far, the signs are encouraging.

The Mission 1 Pro is available to pre-order now from GoPro UK, GoPro US, GoPro EU and GoPro AU, with prices from £600 / $700 / €700 / AU$1,100.

I love Insta360’s approach to making the most of its “old” tech instead of just churning out newer and newer products just to claim higher frame rates or more pixels than its competitors.

Last year’s Flash Print Bundle is a good example of this, adding a printer to the Insta360 Ace Pro 2 and effectively turning it into a high-resolution Polaroid rival. It was a clever accessory to an already handy product, extending its versatility beyond what was originally intended.

The brand’s latest launch doubles down on this mentality, but instead of using the flagship model, it focuses on another fan-favourite model, the dinky Insta360 GO 3S.

The pill-shaped camera has been popular with creators thanks to its compact form factor and 4K resolution, but the new bundle might make it equally sought after among those who care little about action cameras.

Pocket spy fantasy

The GO 3S Retro Bundle combines the GO 3S with the Retro Viewfinder accessory, creating a small camera akin to one James Bond might have used on a mission in the 70s. You know, the one he took out of his tuxedo pocket to snap some sneaky photos of documents.

As the name suggests, the accessory has a physical viewfinder, something even modern mirrorless cameras often lack. Granted, it’s a pretty simple setup and consists of a small angled mirror in the Retro Viewfinder’s body, but it does make a difference when you’re framing your shots.

The only caveat of the viewfinder is that it only really works when you look at the camera from above. Rotating it for vertical shots turns the viewfinder to the side, which means you have to shoot towards one of your sides if you want to see what’s going on in the viewfinder.

Tiny camera, surprisingly versatile

The GO 3S is still the same with its 39 weight and 4K video capability. You can use the camera without the Retro Viewfinder, opening up a whole host of creative use cases. As I mentioned in pretty much all my GO Series reviews (most recently in my Insta360 GO Ultra review), the only limit to its use is your own creativity, not hardware limitations.

Well, there is another one, namely battery life, but Insta360 thought of this, too, with the GO 3S Retro Bundle. The included Battery Pack extends recording time to up to 76 minutes and supports charging while recording. Neat.

Retro looks, modern workflow

App connection has always been an integral part of the Insta360 experience, and it’s the same with the GO 3S Retro Bundle. The camera can be operated without touching your smartphone, but the film filters – Negative Film, Positive Film, CC Film, NC Film, GR-F, Mono, and Vintage Vacation – can only be accessed via the app.

This created a funny situation where I often had the app open, cycling through the different filters while holding the camera with my other hand. A mix of retro and modern shooting, I say! Of course, you can just pick a filter before you set off and use that all day, which is probably the most hassle-free option.

Charm doesn’t always mean practicality

It’s probably just me being a fan of stills, but I mainly used the GO 3S Retro Bundle to shoot photos, even though it’s actually perfectly capable of recording 4K videos.

And despite my best efforts to time the shutter, I ended up with a bunch of odd photos with the camera half-rotated or in the process of being put away. The beep is quite loud, so I turned it off, but since there is no other feedback (e.g., tactile) when the camera is exposed, you can only guess whether you’ve taken the photo or not.

Another thing to note with the GO 3S is that, like most action cameras, it has a wide-angle lens, equivalent to a 16mm lens on a 35mm camera. So wide, in fact, that it’s easy to get your finger, the one pressing the button, to appear on the image. For the same reason, don’t expect the GO 3S to be amazing for portrait photography.

It’s not impossible to shoot good portraits, but you have to be very close to your subject, which makes it only suitable for photos of people who know you’re taking a photo of them. Again, there are a ton of creative uses I probably haven’t even thought about, let alone tried, but portrait or macro photography ain’t those.

One extra trick too many

The Bundle comes with an NFC Custom Skin, allowing you to tap the camera with your phone to access the Insta360 app. I found this feature somewhat redundant, since opening the app on the phone is hardly cumbersome. I appreciate that some people appreciate not having to look for the app on their phones, though.

Imperfect photos never looked so good

All that said, I love the vintage-y look of the photos coming out of the camera. The sensor is tiny, so it certainly isn’t worth pixel-peeping your images, but they have a cosy feel and a pleasing colour balance. The fact that you can choose between quite a few built-in (and handsome) filters is a real boon.

The Insta360 GO 3S Retro Bundle is available today from the Insta360 store in Canvas White and Classic Red. It includes the standalone camera, Retro Viewfinder, Battery Pack, NFC Custom Skin, a Strap, Magnet Pendant, Lens Guard (pre-installed) and a USB-C to A Cable.

Two storage options are available: 64GB and 128GB, priced at $300 / £260 / €300 / AU$470 and $320 / £240 / €280 / AU$500, respectively.

For those who already have a GO 3S, the Retro Viewfinder is also available on its own for $48 / £46 / €55 / AU$80.

GoPro could be heading toward one of the biggest shake-ups in its history after the company confirmed it is exploring a potential sale or merger following growing interest in its defence and aerospace ambitions.

The action camera giant revealed during its Q1 2026 earnings call that it has formally launched a strategic review process following multiple inquiries related to its recent expansion beyond the traditional creator and consumer camera markets.

GoPro founder and CEO Nicholas Woodman said the company believes there is “unrealised value” in its technology, intellectual property and manufacturing capabilities, adding that the board is now evaluating “strategic alternatives” to maximise shareholder value.

“We received several inbound inquiries related to M&A,” Woodman explained during the earnings call. “The range of interest led us to make the decision that we should run a process to evaluate what kind of value we could unlock on behalf of shareholders.”

The move follows GoPro’s April announcement that it was formally exploring opportunities in the defence and aerospace sectors with the help of consulting giant Oliver Wyman.

The company said its cameras are already used in “demanding defence, government, and aerospace applications” where durability, stabilisation and image quality are mission-critical.

From mountain bikes to space missions

GoPro’s growing aerospace ambitions already appear to be gaining traction.

During the call, Woodman revealed that modified GoPro cameras were recently used externally on NASA’s Artemis II Orion spacecraft, while off-the-shelf models were also deployed inside the spacecraft to capture footage for an upcoming National Geographic documentary.

“Everyone at GoPro is deeply honoured that our cameras played even a small role in the historic Artemis II mission,” Woodman said. “It’s incredibly meaningful to all of us.”

A very different kind of GoPro camera

The strategic announcement also arrives just weeks after the launch of the new MISSION 1 Series, which arguably represents GoPro’s most ambitious hardware push in years.

The lineup includes the MISSION 1, MISSION 1 PRO and MISSION 1 PRO ILS, the latter featuring an interchangeable lens system compatible with Micro Four Thirds lenses.

Woodman described the cameras as “the world’s most compact cinema camera line” and said the new models are designed to appeal to professional filmmakers, television producers and high-end creators in addition to existing GoPro users.

The new cameras also introduce a 50MP 1-inch sensor and GoPro’s next-generation GP3 processor, with the company heavily emphasising professional-grade video performance, thermal efficiency and reliability.

It’s a notable shift for a company that has spent years competing largely in the action camera category against rivals such as DJI and Insta360.

The financial backdrop paints a tougher picture

The strategic pivot comes amid a difficult financial period for the company.

GoPro reported Q1 revenue of $99 million, down 26% year over year, while camera sell-through fell 29%. Subscription revenue remained flat at $27 million, while subscriber numbers declined 8% to 2.26 million.

The company’s gross margin also dropped sharply from 32.1% to 4.3%, partly due to component purchase commitments and slow-moving inventory charges.

Even so, GoPro appears keen to frame the current moment as the start of a broader transformation rather than a retreat.

“We’ve just entered a new era of professional performance capability with the launch of our new MISSION 1 series of cameras,” Woodman said. “We’re excited for the impact they can have on our business.”

[via GoPro Investor Relations]

GoPro has finally revealed how much its new Mission 1 cameras will cost, and the numbers confirm what many suspected from the start.

The standard Mission 1 will retail for $599 / £529 / €599 / AU$950, while both the Mission 1 Pro and the upcoming Mission 1 Pro ILS are priced at $699 / £599 / €699 / AU$1,100.

In the case of the flagship Mission 1 Pro ILS, this price is for the body only, so the lens price will be added on top.

GoPro doesn't seem to be selling Micro Four Thirds (MFT) lenses on its website and relies on third-party products to kit out its new camera.

On a mission to move up

All three Mission cameras are built around the same core platform, built around a 1-inch, 50MP sensor and GoPro’s new GP3 processor.

The base model supports 8K at 30fps, while the Pro pushes to 8K at 60fps, alongside high-speed modes reaching 960fps at 1080p.

The inclusion of 10-bit GP-Log2 colour, up to 240 Mbps bitrate, and Open Gate recording further reinforces that the Mission 1 Series is designed with post-production in mind rather than quick social clips.

The cameras support 32-bit float recording via a four-mic array, a feature typically reserved for dedicated audio gear.

Why GoPro thinks it can charge more

GoPro is clearly trying to move away from the standard action camera market with the Mission 1 Series.

The company appears to be targeting creators who want a single, compact camera capable of both rugged shooting and high-end production workflows.

That’s reflected in features like log colour profiles, extended dynamic range (up to 14 stops), and improved thermal performance for longer recording sessions.

GoPro has spent years competing on stabilisation, durability and ease of use, but rivals like DJI and Insta360 have caught up, and, in some areas, overtaken it.

Moving upmarket allows GoPro to differentiate again, this time on image quality and professional-grade capabilities.

A different kind of GoPro

At $599–$699, the Mission 1 series is undeniably expensive compared to the rest of the action cam market.

But the larger sensor, high-bitrate 8K video, pro-level audio, and, in the case of the ILS, interchangeable lenses, make these cameras sit closer to compact cinema tools than helmet-mounted rugged units.

That, ultimately, is why GoPro believes it can get away with the premium pricing. Will they succeed? We'll find out soon enough.

Head over to GoPro for more information on its new cameras.

[via Yahoo Tech]

Insta360 has officially brought its upcoming Luna vlogging camera to NAB 2026, but you’d be forgiven for missing the details.

The company, best known for its 360º action cameras, is showcasing the device behind a frosted glass display that obscures most of the design, turning what should be a product reveal into something closer to a controlled tease.

Even through the haze, a few key details are now confirmed, including the names of the two models, Luna Ultra and Luna Pro, with the former sporting a dual-lens setup.

The dual-lens approach, if accurate, could address one of the biggest limitations of devices such as the DJI Osmo Pocket 4, which has only one optical unit with a 2x 'lossless' zoom option.

The Luna Ultra's second lens would open the door to optical zoom or multiple focal lengths, bringing the shooting experience closer to what creators expect from smartphones.

DJI is rumoured to launch a Pocket 4 model with two lenses, but nothing has been confirmed by the brand, which is busy working through its busy April release schedule.

No confirmation but plenty of clues

Insta360 hasn’t confirmed specifications yet, but the company has made one partnership very clear.

Leica branding is prominently displayed alongside Insta360 on the booth, reinforcing that the camera is co-engineered with the German optics specialist.

This mirrors the approach Insta360 took with the Ace Series and suggests the Luna will benefit from Leica-tuned colour profiles, imaging algorithms, and potentially lens-design input.

The partnership also puts Insta360 on a similar path to DJI, which has long worked with Hasselblad on its higher-end drones, such as the Mavic 4 Pro.

Similarly, the Ace Series was initially launched in two versions, Ace and Ace Pro, although the non-Pro version didn't make it to the second generation.

A calculated tease

The decision to hide the camera behind frosted glass looks deliberate, with trade shows often used to generate buzz ahead of a full launch

This approach allows Insta360 to confirm key features without giving away the full design or final specifications.

Two colour options, black and white, are also visible through the display, hinting at a more lifestyle-focused positioning alongside its technical ambitions.

Insta360 hasn’t shared a release date yet, but with Luna already on the show floor, a full reveal is likely not far off.

Rode has unveiled Sonaura, a new microphone platform, and while it’s being pitched as a major leap in audio engineering, the real story is what it could do for the gadgets you actually use.

Announced at this year’s NAB Show in Las Vegas, the same event where brands like GoPro, DJI and Insta360 are showing off their latest cameras, Sonaura is designed to bring high-end sound recording to devices that have always struggled with audio.

Most compact devices, such as drones (or drone controllers), wireless mics, and even smartwatches, rely on tiny microphones that prioritise size over quality.

That’s why even the best action cams can shoot stunning 4K footage but still sound thin, noisy or distant.

Sonaura, a new type of MEMS (micro-electromechanical systems) microphone, aims to change that.

It was developed in partnership with Infineon, measuring just 4mm by 5mm, and Rode claims it can deliver audio quality close to that of much larger, studio-grade microphones.

Traditional microphones, like Rode's NT1, are often hand-assembled, which can lead to small inconsistencies between units.

Sonaura, on the other hand, is built using semiconductor manufacturing, the same kind of process used to make chips, which allows for far greater precision and consistency at scale.

As a result, Rode says the mic has extremely low self-noise, meaning less background hiss, and can handle very loud sounds without distortion.

It’s also more resistant to interference and environmental factors like dust and moisture, thanks to a sealed dual-membrane design.

Because Sonaura is so small, the tech can be integrated into devices where high-quality audio was previously impossible.

For brands like GoPro and DJI, that could mean future cameras that no longer need external mics to sound good.

For creators, it could remove one of the last major compromises in portable setups.

Rode calls Sonaura the biggest leap in microphone design in over a century – a bold claim.

The reality will depend on how the tech performs once it starts appearing in real products.

The first device to use it will be a next-generation lavalier mic from Lectrosonics, with wider adoption expected across Rode’s own lineup and beyond.

Head over to Rode to learn more about the new technology.

I test a ton of camera gear at T3, so I hope it makes sense that, now and again, I will miss one. I remember when DJI’s Pocket 3 was launched. I was up to my neck in work, so I passed on the opportunity to test it, thinking it was just another gimbal camera. DJI must have had a drone coming out at the same time, so I decided to focus on that.

Little did I know how influential the Pocket 3 would become over the next couple of years. People absolutely gobbled it up, and it ended up disrupting the vlogging/creator community, thanks to its compact form factor, excellent video quality and ease of use. In fact, the camera was so successful that it made GoPro the best-selling action camera brand in Japan for the first time.

I was kicking myself for missing the chance to try the Pocket 3, so when rumours started circulating about its successor, I knew I had to seize the chance to try it. The Osmo Pocket 4 is here, and it’s no longer a vlogging camera: it’s an ultra-compact cine camera for prosumers and professional creators alike.

I’ve been testing Pocket 4 for the last couple of weeks and was thoroughly impressed with its performance, from subject tracking and battery life to low-light performance and beyond. Similar to the company’s Mini drone series, the Pocket 4 stops just short of being a professional piece of video-creation tool, all in a rather user-friendly package.

DJI Osmo Pocket 4 review

Price and availability

The standard Osmo Pocket 4 is priced at £445 / €499 / AU$769, with the Essential Combo at £429 / €479 / AU$749, and the Creator Combo at £549 / €619 / AU$959. It's available now at DJI.

That places it marginally under the Osmo Pocket 3’s original launch pricing of £489 (standard) and £619 (Creator Combo), suggesting DJI is keeping the entry point competitive despite the spec upgrades.

These days, DJI sells the Pocket 3 for less at £389 / £499 (Standard and Creator Combo, respectively), and there are often offers that push the price all the way down to £329. Overall, not a huge price increase (or, looking at the original selling price, a reduction), which puts the Pocket 4 spec and feature upgrades in a much better light.

As it is these days, sadly, DJI doesn’t officially sell the Pocket 4 in the US through its official website. You will likely be able to find it through third-party retailers. Availability in the UK, EU and AU looks pretty straightforward.

Design and build quality

The Osmo Pocket 4 retains DJI’s signature pocket-sized form factor, but the specs show a slightly more substantial body than before. It measures 144.2 × 44.4 × 33.5 mm (L×W×H) and weighs 190.5g, giving it a more solid, balanced feel in the hand while remaining compact enough for everyday carry.

The vertical design is unchanged, with the camera and gimbal housed at the top of the unit and the controls and display integrated into the slim handle.

At the front, the Pocket 4 features a 2-inch touchscreen with a resolution of 556 × 314 and a peak brightness of 1,000 nits, a big brightness bump over the predecessor.

The screen continues to act as both a monitor and a primary control interface. You can turn the camera on and off by twisting the display, which locks into place with a satisfying click.

The Pocket 4 retains a joystick-style controller, but this now offers more precise input, with gimbal speed increasing the further the stick is pushed.

Alongside this, DJI has introduced a clearer button layout, including a dedicated zoom control for quickly switching between focal lengths and a customisable function button that can be mapped to frequently used settings such as recentering the gimbal or switching shooting modes.

A small caveat of the new button layout is that the additional buttons are hidden under the rotating screen, so they aren’t visible or, in fact, usable when the Pocket 4 is in vertical mode.

The camera module is built around a 1-inch CMOS sensor, paired with a 20mm equivalent lens with an f/2.0 aperture and a focus range from 0.2 metres to infinity.

This sits on a three-axis mechanical gimbal, offering a wide range of motion across all axes, including tilt from -180° to 98° and roll from -220° to 63°. The system supports a maximum controllable speed of 180° per second.

Audio hardware is also integrated into the body, with three built-in microphones supporting spatial capture. Another big upgrade is the generous 107GB of built-in storage, which has transfer speeds of up to 800MB/s, along with microSD card support.

New features

The Osmo Pocket 4 builds on the foundation laid by its predecessor, focusing on expanding its capabilities. The camera system pairs a 1-inch CMOS sensor (same size as before) with support for 4K video at up to 240fps in slow motion, alongside an expanded 14-stop dynamic range and 10-bit D-Log recording.

These new additions alone push the Pocket 4 further into enthusiast and semi-professional territory, offering greater flexibility for colour grading and high-contrast scenes. The accompanying app hasn’t quite caught up with the professional processing idea (as far as I know) and only supports basic processing of 10-bit D-Log footage, which isn’t what most people would consider full colour grading.

A huge-huge upgrade is the introduction of 2x lossless zoom, giving you more control over composition without sacrificing image quality. The Pocket 4 also features the latest and most advanced subject-tracking system from DJI to date, with ActiveTrack 7.0, bringing improved stability, broader subject recognition, and support for tracking at higher zoom levels.

The Pocket 4 supports four-channel audio recording when paired with compatible DJI microphones, with the onboard system using three built-in microphones for spatial capture – good for group shots and interviews alike.

Camera performance

The Osmo Pocket 4 uses the aforementioned 1-inch CMOS sensor, paired with a 20mm equivalent f/2.0 lens. The focus range ranges from a fairly close 0.2 metres (well outside arm’s length) to infinity, making the camera versatile enough for everything from close-up vlogging to wider landscape shots.

I found the standard 1x zoom to produce quite a tight selfie composition, making it hard to cram more people into the frame, even with my long monkey arms, in vertical shooting mode. There is plenty of space for even three or four people if you’re shooting horizontally, though.

The camera supports 4K horizontal recording at up to 60 fps in standard mode, along with a full range of frame rates across 4K, 3K, and 1080p resolutions. Vertical video is also supported at up to 3K, which is plenty for TikTok and YouTube Shorts.

(In fact, both platforms will likely compress a 3K video into something closer to a 1080p resolution.) For slow-motion capture, the Pocket 4 can shoot 4K at up to 240fps, a massive increase from the Pocket 3’s 120 fps.

Image quality is backed up by a maximum photo resolution of 7,680 × 4,320 (approximately 37MP), with a wide ISO range of 50–12800 for stills. The electronic shutter spans from 1/8000s down to 4 seconds in photo mode. In video, shutter speeds adjust automatically or can be manually set within a more limited range, depending on the shooting mode.

The camera also supports a range of creative shooting modes, including timelapse, motionlapse and hyperlapse, with automated intervals and speed adjustments built in. Low-light performance is supported via a dedicated video mode up to 4K/30fps; however, it only works in landscape mode.

As well as the ‘lossless’ 2x zoom, the Pocket 4 also offers up to 4x zoom, although this is not available in certain modes such as low-light, slow motion and time-lapse.

Subject tracking and stabilisation

The Osmo Pocket 4 continues to rely on its three-axis mechanical gimbal, which, unlike purely electronic stabilisation systems, physically counteracts movement along the pan, tilt, and roll axes. Gimbal performance is smooth as butter, with the end footage looking shake-free even when you move the camera from side to side quite energetically.

Subject tracking has been upgraded to ActiveTrack 7.0, which supports tracking people, vehicles, pets, and other objects and can maintain focus even when subjects move unpredictably or briefly leave the frame. Tracking also works in conjunction with 2x zoom, making it easier to follow subjects at a distance without losing framing.

In my experience, the Pocket 4 locked onto subjects accurately. The camera will automatically highlight faces and objects, such as pets, in the frame; double-tapping them will activate tracking. The camera will continue to track objects even if they are temporarily obstructed until it reaches the extreme ends of the gimbal range. Tapping the screen again will immediately drop tracking.

Battery life and charging

The Osmo Pocket 4 is powered by a 1,545mAh lithium-ion battery (11.95Wh), which DJI says can support up to 240 minutes of operating time. By comparison, the Osmo Pocket 3 typically delivers around 160-166 minutes of runtime, meaning the newer model can run significantly longer before needing a recharge.

Charging speeds remain broadly similar. The Pocket 4 supports fast charging, reaching 80% in just 18 minutes and a full charge in approximately 32 minutes, closely mirroring the Pocket 3’s already quick top-up times. I can confirm that charge times are lightning-fast. I popped the Pocket 4 on the charge with 71% battery left, and 15 minutes later, it was already in the high 90s.

Verdict

As someone who’s a self-proclaimed expert on all things DJI but new to the Pocket series, I had a blast testing the fourth iteration of the camera. It’s an extremely capable recording device, and if you liked the previous version, you’ll love the Pocket 4. It’s better in almost every conceivable way and sells for less than the Pocket 3's original RRP.

That said, if you already own the Pocket 3, there’s little reason to rush out and upgrade unless you’re a professional creator or videographer. The older model isn’t just cheaper these days, it’s also every bit as capable as it was at launch.

If anything, recent high-profile shoots, including footage captured during the Artemis II mission, serve as a reminder that great photos and videos come down far more to how you use the gear than the gear itself.

Even though the upgrades are significant, the Pocket 4 doesn’t reinvent the vlogging camera formula, only improves it. The 2x zoom is nice, and so is the better subject tracking and slower slo-mo, but the Pocket 3 does have zoom, is very good at subject tracking and has 120 fps slo-mo.

All things considered, the DJI Osmo Pocket 4 is a brilliant evolution of its predecessor and offers all the features people love about the pocketable vlogging camera, and then some. If you’ve been thinking about getting a Pocket 3 but couldn’t quite convince yourself yet, the Pocket 4 might just be the nudge you’ve been waiting for.

GoPro has unveiled its highly anticipated Mission 1 Series a few days earlier than expected.

Even though we knew the brand was about to unveil new cameras at NAB this week, we didn't know just how far the GoPro was willing to go to change the narrative.

That said, based on the teasers the company has been putting out in recent weeks, we knew the new cameras would push the devices beyond traditional action cameras and into compact cinema territory.

“Anything you could do in Photoshop”

The range includes three models: Mission 1, Mission 1 Pro, and Mission 1 Pro ILS, built around a new 50MP 1-inch sensor (roughly 4× larger in surface area than the GoPro Hero 13 Black's 1/1.9" sensor) and the GP3 processor, with a focus on higher resolution, improved low-light performance, longer runtimes, and greater thermal efficiency.

Ahead of launch, GoPro’s Senior Manager of Image Processing, Alex Cashman, said that the goal was to bring advanced image processing directly into the camera.

“Anything you could do to an image in Photoshop is what my team trains the camera to do live while you’re recording,” he explained.

He said that with the Mission series, the team's aim was to deliver professional-level output without adding complexity for the user.

The Mission 1 Pro and Mission 1 Pro ILS support 8K video at up to 60 fps, 4K at up to 240 fps, and 1080p at up to 960 fps, as well as 50 MP stills and open-gate capture for flexible editing.

The standard Mission 1 offers 8K30 and 4K120 but retains the same sensor and processor.

GoPro is also pushing data rates higher, with bitrates reaching up to 240 Mbps, alongside 10-bit colour, HLG HDR, and the new GP-Log2 profile for more flexible grading.

While action cams have been pushing pixel count and low-light performance for years, the above specs are more often associated with far larger and more expensive camera systems.

Low light is no longer a weakness

Low-light performance has been a known limitation for GoPro, and it has been directly addressed here.

The combination of a larger sensor and updated image processing delivers up to 14 stops of dynamic range, improving detail in both shadows and highlights.

Cashman said the shift reflects how people now use GoPro cameras.

“We saw people using them more for vlogging and filming in cities at night. We wanted to make sure we did it right.”

Thermal performance and battery life have also been prioritised, with GoPro claiming more than five hours (!) of recording at 1080p30 and over three hours at 4K30 on a single charge, supported by the new Enduro 2 battery and GP3 efficiency gains.

“Unless you’re shooting in the most extreme mode, your camera’s going to run until it runs out of battery,” Cashman said.

A processor that actually changes things

The GP3 processor underpins most of these improvements, and, according to Cashman, it dynamically manages performance to balance power and efficiency.

“It knows when it doesn’t have to be working hard and when it does. It just runs much more efficiently across the board.”

The chip also enables AI-assisted image processing and scene optimisation.

GoPro is introducing 13 capture modes designed to handle specific scenarios, from vlogging and low-light shooting to underwater use.

These modes use scene detection and machine learning to automatically optimise settings, while manual controls remain available for more advanced users.

The Mission 1 Series uses a four-microphone setup with improved stereo recording and wind noise reduction, and supports 32-bit float audio to prevent clipping.

Bluetooth audio and external mic support via USB-C are also included.

The interchangeable lens twist no one expected

The new flagship Mission 1 Pro ILS is the most significant addition, as it creates a new class of ultra-compact mirrorless cinema camera.

It introduces a Micro Four Thirds mount, allowing you to attach interchangeable lenses.

Of all the upgrades, Micro Four Thirds support is the clearest sign of where GoPro is heading.

The Mission 1 Pro ILS is no longer limited to a fixed ultra-wide lens and can tap into a vast ecosystem of existing optics, from fast primes to telephoto zooms.

The Mission 1 Series as a whole also features a larger rear OLED display, redesigned buttons that are easier to use with gloves and a new lens system with a removable hood to reduce glare and improve durability.

The cameras are waterproof to 20 metres without a housing, with an optional case extending that further.

GoPro is aiming higher

Alongside the cameras, GoPro is launching a broader ecosystem, including a wireless mic system, an updated Media Mod, a new grip, ND filters, a higher-capacity battery, and creator-focused bundles with additional audio and stabilisation tools.

With the Mission 1 Series, GoPro is expanding beyond action cameras and targeting creators who might otherwise use mirrorless or compact cinema setups.

Cashman summarised the positioning clearly, saying that the goal is to deliver a professional-grade camera that retains GoPro’s durability and ease of use.

As he put it, “It’s everything a GoPro has ever been turned up to about a thousand.”

More information about the new cameras, including price and availability, is expected to be announced in the next couple of months.

Insta360 has released a new teaser for its upcoming compact camera, and it adds a key detail that shifts this from rumour to something much more tangible.

The device will be demoed at NAB 2026, and it looks ready to take on DJI’s Osmo Pocket line head-on.

Shared on Instagram, the teaser invites visitors to see the new product at the company’s booth in Las Vegas.

The image itself is deliberately blurred, but the camera appears to feature a dual-lens setup, something we haven’t seen in this category from DJI.

Even with heavy pixelation, the device looks like a compact, gimbal-mounted camera with two lenses sitting side by side.

That lines up with earlier hints from Insta360’s CEO, who appeared to reveal multiple unreleased cameras in a previous post.

Those earlier clues pointed to a project often referred to as “Luna”, described as a handheld creator camera designed to rival DJI’s Pocket series.

This new teaser doesn’t confirm the name, but it does reinforce the idea that Insta360 is about to enter this space in a serious way.

Two lenses could change how these cameras are used

A second lens opens up a range of possibilities that go beyond what current pocket cameras offer.

It could enable true optical switching between focal lengths or improve subject tracking by combining data from both sensors.

There’s also a strong chance Insta360 will lean into its software strengths.

The company already leads in areas like reframing and AI-assisted editing, so bringing that into a gimbal-style camera could give it a meaningful edge.

A timely challenge to DJI

The timing of the teaser feels deliberate, with NAB shaping up to be a major moment for creator gear, and DJI is widely expected to unveil the Osmo Pocket 4 around the same time.

GoPro is also said to reveal its new camera range, albeit aimed more at professional users.

Specs, pricing and release timing are still unknown, but the company has confirmed that attendees will be able to get hands-on with the camera at NAB between April 19 and 22.

That means we won’t have to wait long to see what this thing can actually do.

DJI has dropped a new teaser for the upcoming Osmo Pocket 4, and it doesn’t take much decoding.

In the short clip, the deliberately out-of-focus camera appears to “eat” a row of microSD cards before casually walking away.

It’s a playful way of suggesting that the next Pocket camera might not need them at all.

The brand even doubles down with the caption “More storage. More stories”, hinting that storage will be one of the headline upgrades when the camera launches on 16 April.

A not-so-subtle hint at internal storage

DJI Osmo Pocket 4 hasn’t been officially detailed yet, but leaks have been pointing in the same direction for a while.

Rumours suggest the camera could feature over 100GB of built-in storage, a significant jump from DJI’s usual reliance on removable microSD cards.

Action cameras like the DJI Osmo Action 6 already include built-in memory (around 64GB) alongside a microSD slot, but the Osmo Pocket 4's memory could far surpass this.

Internal storage is typically faster and more reliable, reducing the risk of corrupted files or dropped frames when shooting high-bitrate video.

It also simplifies the experience, removing the need to juggle cards and manage storage formats.

For a device like the Pocket series, which is designed for quick, handheld shooting, that kind of frictionless workflow could be a big win.

The trade-off creators might not love

The flip side of having built-in memory only is that external cards are cheap, easy to swap, and effectively give you unlimited storage on long shoots.

If DJI kills the SD card slot in favour of, let's say, better weather proofing, the camera could introduce new limitations, especially for creators shooting extended footage or travelling without access to a laptop or backup drive.

Hopefully, the Pocket 4 will offer the best of both worlds: speed and convenience on one hand, flexibility on the other.

Visually, the teaser doesn’t point to a major redesign. The silhouette of the camera is almost identical to that of the current model, suggesting DJI is sticking with a proven form factor.

DJI will reveal the Osmo Pocket 4 later this week, on 16 April 2026 at 12 PM GMT (8 AM ET / 5 AM PT).

You can sign up for updates about the Osmo Pocket 4 at DJI.

GoPro has quietly dropped some of the most striking space images we’ve seen in years, and they didn’t come from a traditional space camera.

The Artemis II mission will go down in history for a number of reasons, one of which is the variety of cameras the crew used to capture stunning photos of the Earth and the Moon.

Some of the most iconic shots we've seen so far were captured with an iPhone, while others were shot with a 10-year-old DSLR (the very capable Nikon D5) to capture those stunning space shots.

And while all images are beautiful, the ones that really blew my mind are GoPro's, which shared five photos from the mission on its social media over the last few days.

These include everything from Earthset behind the Moon to a near-total solar eclipse seen from deep space.

One frame captures the Moon in shadow with a glowing halo of sunlight, while another shows the Orion spacecraft drifting past a sharply detailed lunar surface.

There’s even a shot featuring Saturn and Mars as tiny points of light, something you’d expect from a telescope, not an action camera.

According to the captions, the footage was captured using a GoPro mounted on the Orion spacecraft during the crew’s journey.

Crucially, GoPro hasn’t confirmed which camera was used, a not-so-subtle hint at what’s coming next.

The omission that feels deliberate

As previously reported, GoPro is expected to unveil a new generation of cameras at NAB 2026 next week, powered by its upcoming GP3 chip.

The company has already teased major improvements in low-light performance, and if the space photos were taken using the next-gen GoPros, they appear to back that up.

Capturing usable footage in space is no small feat: lighting conditions shift dramatically, contrast levels are extreme, and noise can easily ruin darker scenes.

Yet these images look clean, detailed, sharp and surprisingly well-exposed.

It's worth reiterating that even though GoPros were always famous for their image quality, the photos shared by the brand are next-level stuff.

If this is indeed early output from a GP3-powered camera, it suggests that GoPro is finally addressing one of its biggest weaknesses: low-light shooting.

That said, the gorgeous photos raise more questions than they answer.

Is the camera positioned inside or outside the craft? How big is it? Does it use interchangeable lenses? Is GoPro operating it remotely, or are NASA / the astronauts responsible for the images?

The mission behind the moment

The Artemis II mission marks a major milestone for NASA, sending astronauts on a crewed journey around the Moon for the first time in over 50 years.

The Orion spacecraft has been orbiting and documenting the lunar environment, with astronauts expected to return to Earth shortly after completing their planned trajectory around the Moon.

While the mission itself is historic, it’s also becoming an unexpected showcase for consumer camera tech operating in one of the harshest environments imaginable.

And if these images are anything to go by, GoPro’s next move could be its most important in years.

DJI has officially confirmed when its next pocket camera, the Osmo Pocket 4, will land.

In a short teaser shared across social media, the brand revealed a launch event titled “The World In My Pocket”, scheduled for 16 April 2026 at 12 PM GMT (8 AM ET / 5 AM PT).

The video itself is deliberately vague, showing little more than a silhouetted device and a close-up of a lens element.

DJI hasn’t revealed any specs yet, but the teaser suggests the same compact, gimbal-stabilised form factor returning once again.

That’s no surprise, given how well the formula has made the Osmo Pocket 3 one of the most popular compact cameras of 2024/2025.

A familiar idea, ready for an upgrade

The Osmo Pocket line has always been about portability first, offering a tiny stabilised camera that can slip into your jeans pocket.

The current generation already delivers solid video performance, with a 1-inch sensor, 4K/120fps recording and excellent three-axis stabilisation.

Rumours and early chatter suggest DJI might introduce a larger sensor, which would improve low-light performance and dynamic range.

There’s also talk of enhanced subject tracking, likely building on DJI’s increasingly reliable AI-powered tracking seen in its drones and gimbals.

A bigger or brighter display, better audio options, and more seamless wireless connectivity are also all on the card.

One thing the video doesn't show is a dual lens setup, which was one of the earlier rumours about the upcoming camera.

It's also possible that DJI wants to keep things under wraps for as long as possible.

Most of the brand's products have been leaked to death before launch, so it makes sense that DJI wants to keep some info hidden until launch.

Small camera, big expectations

The teaser’s tagline, “The World In My Pocket”, hints at a continued focus on portability, but expectations are higher this time around.

With rivals pushing image quality and features further, the pressure is on DJI to deliver more than just incremental updates.

Still, if the company can combine improved imaging with its class-leading stabilisation, the Osmo Pocket 4 could once again become one of the easiest ways to capture smooth, high-quality footage without fuss.

Whatever the upgrades may be, we won’t have to wait long to find out.

You can sign up for updates about the Osmo Pocket 4 at DJI.

Insta360 has unveiled one of its most unusual accessories to date, and it might quietly solve a problem most smartphone users have learned to live with.

The Snap Selfie Screen, which works with both iPhones and Android devices, is a compact, magnetic display that attaches to the back of your phone and mirrors its screen in real time.

The action camera brand says it can help you frame yourself better using the rear cameras, which are often significantly more capable than the typically lower-quality front camera.

It’s a concept that feels like a natural evolution of the tiny mirrors found on some phone cases, but taken several steps further.

With a live preview and touch controls, Snap removes the need to flip your phone back and forth just to check framing or tweak settings.

A smarter way to use your phone’s best camera

Most modern smartphones pack their most advanced sensors and lenses on the rear, yet selfies and vlogs are still largely captured with front-facing cameras for convenience.

Snap aims to change that by offering a real-time preview of your shot, even with ultra-wide rear lenses.

The mirrored display also supports touch input, so you can adjust settings, start recording, or fine-tune composition without reaching around the device.

The experience is plug-and-play via USB-C, with no pairing required and minimal lag, making it feel more like an extension of your phone than a separate gadget.

A creator tool with a slightly unexpected twist

There are two versions available: a standard model and one with a built-in rim light developed in collaboration with AMIRO, designed to provide adjustable brightness and colour for more flattering shots in tricky lighting conditions.

Both models are powered directly by the phone, meaning there’s no separate battery to charge, although it does mean you’ll be drawing from your handset’s power while shooting.

Physically, the Snap is slim and pocketable, with a protective cover that doubles as a screen guard when not in use.

It's also handy when the Snap is in use, preventing you from accidentally touching your smartphone's large front display.

The Snap is available at Insta360 now for a recommended price of $80 / $90 in the US, £73 / £88 in the UK, €86 / €96 in Europe and AU$140 / AU$155 in Australia.

GoPro has confirmed it will unveil a new generation of cameras at the NAB Show 2026, and these are likely to include models beyond just action cameras.

"Our customers have made it clear they want more of everything from GoPro—larger sensors, world-class low-light performance, higher resolutions and frame rates, next-level image quality, improved audio capabilities, longer runtimes and bulletproof reliability in high-heat conditions…everything, and more," said GoPro's founder and CEO, Nicholas Woodman.

"And that's exactly what we're giving them with our newest line of GP3-powered cameras, debuting at NAB this April."

The brand recently teased “next-generation” footage on social media that looked nothing like typical action camera output.

The clips featured shallow depth of field, macro detail and controlled low-light scenes, visuals that strongly suggest larger sensors and more advanced optics.

GoPro says it will debut multiple new cameras in Las Vegas between April 19 and 22, all powered by its new GP3 processor.

The GP3 chip is the turning point

Announced earlier this month, GP3 is GoPro’s most powerful imaging processor to date, built on a 5nm architecture with more than double the pixel-processing power of GP2.

It also introduces a dedicated AI neural processing unit, enabling real-time scene recognition, subject detection, and more advanced image processing, features typically reserved for higher-end cameras.

GoPro says the chip will deliver major gains in low-light performance, resolution, frame rates and thermal efficiency, while also unlocking longer runtimes.

The company has already confirmed it’s designed to power a wider range of devices, including vlogging cameras and even compact cinema-grade systems.

A shift the CEO has already hinted at

Speaking during the company’s latest earnings call, CEO Nicholas Woodman described GP3 as the most significant leap in GoPro’s imaging technology to date, with the potential to push the brand into entirely new categories.

That lines up with both the teaser footage and the wording in the chip announcement, which repeatedly points to a move upmarket.

The NAB announcement confirms GoPro will showcase several new cameras, not just one.

Combined with everything we’ve seen so far, that strongly suggests a broader portfolio push.

Action cameras will almost certainly remain part of the lineup, but they may no longer be the main event.

Between the cinematic teaser, the GP3’s capabilities and the company’s own messaging, GoPro appears to be targeting creators who want more control over image quality, depth and low-light performance.

There are still plenty of unknowns, including product names, pricing and exact form factors.

But taken together, the teasers, the chip launch and now the NAB confirmation point to GoPro is preparing its biggest reset in years, and this time, it’s aiming well beyond action cameras.

GoPro will exhibit at Central Hall, Booth C5519, at the Las Vegas Convention Centre.

[via PR Newswire]

GoPro has shared a new teaser on social media showing off what it calls footage captured on the “next generation of GoPro,” but the clips look nothing like what you’d expect from a traditional action camera.

The short montage features a series of striking shots, including a close-up of flames, detailed macro footage of foliage, a crisp view of the moon and an extreme close-up of a human eye.

Across each scene, a caption reads: “Captured on the next generation of GoPro.”

The simple teaser raises a bigger question: what exactly is GoPro preparing to launch?

This doesn’t look like action cam footage

GoPro cameras have long been defined by their ultra-wide field of view, deep focus and rugged versatility.

That’s what makes them ideal for capturing fast-moving action, but it also means they rarely produce the kind of shallow depth of field seen in this teaser.

The latest GoPro Hero 13 Black does feature a macro lens attachment, but I can confidently say the quality of the macro shots is nowhere near the ones showcased in the social post.

Several shots in the clip show pronounced background blur, precise subject isolation and a level of macro detail that would typically require a much larger sensor or dedicated optics.

The low-light scenes, particularly the fire and moon footage, also appear cleaner and more controlled than what we’ve historically seen from GoPro’s existing lineup.

The footage suggests this wasn’t captured on a conventional action camera, or at least not one that behaves like any GoPro we’ve used before.

GoPro has already hinted at a shift

GoPro has been laying the groundwork for a broader imaging strategy over the past year, most notably with the introduction of its next-generation GP3 processor.

The company says the new chip will power a wider range of devices beyond action cameras, including more advanced imaging products aimed at creators.

Improvements tied to GP3 include significantly better low-light performance, enhanced image processing and AI-assisted scene handling, all areas where GoPro has historically lagged behind larger camera systems.

More tellingly, GoPro has also referenced plans to move into higher-end categories, including ultra-premium compact cameras designed for more cinematic use cases.

A new category for GoPro?

GoPro has been busy building an empire beyond action cameras, a space increasingly saturated by up-and-coming brands and giants such as DJI and Insta360.

And even though the company has burned itself with projects like the Karma drone, the new approach feels much more on-brand and grounded in what GoPro is best known for: incredible camera performance and reliable hardware.

The teaser footage aligns closely with the brand's ambitions, shifting the tone to a new type of GoPro device.

Instead of competing purely with the best action cameras, the company may be positioning itself closer to creator-focused tools like handheld gimbal cameras or compact cinema rigs.

There’s also the possibility that GoPro is simply demonstrating what its next-generation processing can achieve across future products.

For now, GoPro hasn’t confirmed what hardware the footage was shot on or when these next-generation products will arrive.

But based on what we’ve seen and what the company has already said, it looks increasingly likely that GoPro is preparing to expand well beyond its action-camera roots.

GoPro has hinted that its next generation of cameras could expand far beyond traditional action cameras, as the company prepares to launch its new GP3 processor later this year.

Speaking during the company’s latest earnings call, GoPro founder and CEO Nicholas Woodman described the upcoming chip as a turning point for the brand’s imaging technology.

“Our new exclusive GP3 processor represents the most significant advancement in processing power and image quality in GoPro’s history,” Woodman said.

According to the company, the chip will power a new wave of GoPro cameras launching from Q2 2026 onwards.

While GoPro hasn’t revealed specific models yet, comments from executives suggest the processor could enable entirely new models alongside the company’s traditional action camera lineup.

A move beyond action cameras

One of the most telling remarks during the call concerned GoPro’s ambitions in low-light imaging.

Woodman acknowledged that the company’s previous GP2 processor, which powers current-gen cameras, including the Hero 13 Black and MAX 2, is limited in its performance in low-light conditions, which held the brand back in certain parts of the camera market.

“GP2’s low light constraint hampered GoPro’s ability to compete in the fast-growing premium low light-capable camera category,” Woodman said.

That category, he noted, represents a market of roughly 2 to 2.5 million units annually. With GP3, GoPro appears intent on targeting that segment more aggressively.

The new processor is built on a 5-nanometre architecture, compared to the 12-nanometre design used in GP2, and features more than double the pixel processing power of its predecessor.

It also introduces a dedicated AI neural processing unit (NPU) designed to improve image quality, particularly in challenging lighting conditions.

In internal testing, GoPro claims the chip delivers 40% to 90% longer camera runtimes than competing devices, alongside improved thermal performance and better image quality.

New professional product categories

Perhaps the most intriguing comment from the call was Woodman’s suggestion that the chip could help GoPro expand into new areas of the digital imaging market.

“GP3 will serve as a pivotal growth catalyst for GoPro, enabling us to lead in our existing core and gain meaningful share in new professional product categories.”

While the company hasn’t detailed what those categories might be, earlier hints from executives suggest GP3 could anchor cameras designed not just for action sports but also for vlogging, creator workflows and higher-end compact video formats.

If that proves accurate, the move would position GoPro closer to devices like creator-focused compact cameras and vlogging rigs, rather than competing solely with other action cam brands.

A broader ecosystem strategy

The company has already begun experimenting with partnerships outside its traditional product lineup.

Earlier this year, GoPro collaborated with ASUS on a GoPro-branded laptop, highlighting a willingness to extend its brand and technology beyond standalone cameras.

At the same time, the company is exploring new revenue streams tied to its software and cloud ecosystem.

GoPro revealed during the call that more than 500,000 hours of user-generated video have already been submitted to its AI training programme, which licenses footage to AI companies to help train computer-vision models.

Seemingly, the company appears to be positioning the new chip as the foundation for a broader push into new hardware categories and imaging workflows.

With the first GP3-powered cameras expected to arrive in the second quarter of 2026, the coming months should reveal exactly how far GoPro intends to expand beyond its action camera roots.

GoPro has just revealed its most advanced custom imaging processor yet, the new GP3 chip, setting the stage for its next generation of action cams, vlogging gear and even compact cinema-grade cameras.

The GP3 is a 5-nanometer System-on-a-Chip (SoC) designed entirely in-house and promises more than twice the pixel-processing power of GoPro’s existing GP2 chip.

The GP2 was launched in 2011, with the GoPro Hero 10 Black being the first camera to use the processor.

Since then, it's been utilised in every camera the brand has launched, including the flagship Hero 13 Black and the latest GoPro MAX 2.

A serious silicon upgrade

According to the brand, the new chip will deliver noticeably improved image quality, low-light performance, higher resolutions and faster frame rates, all while offering best-in-class energy efficiency and thermal management for longer runtimes.

The GP3 houses a dedicated AI Neural Processor Unit (NPU) and specialised cores for scene recognition and subject detection, enabling GoPro cameras to intelligently adapt settings in real time.

This kind of on-device AI has traditionally been found in flagship smartphones and high-end mirrorless cameras, and now it’s coming to GoPro’s compact systems.

GoPro says the GP3 will debut in “new GoPro cameras” launching in Q2 2026, though specific models haven’t been announced yet.

Rumours and early hints from company executives suggest the chip will anchor cameras not just for traditional action use but also for vlogging and ultra-premium compact cinema formats, broadening GoPro’s appeal beyond its core sports audience.

The company has been undergoing significant changes, investing heavily to diversify its product portfolio and respond to growing pressure from rivals such as DJI and Insta360.

This next-gen silicon could help GoPro better compete with both dedicated imaging rivals and high-end smartphone video features that have eaten into the action camera market in recent years.

How much can GoPro's new products, powered by the GP3 chip, change the current status quo? We'll find out later this year.

[via PR Newswire]

The company’s CEO has confirmed a new dual-camera handheld device is on the way.

The product was teased only three weeks ago, but now Insta360 has officially revealed that it’s working on a new pocket-sized camera designed to compete directly with DJI’s Osmo Pocket line.

The device, called Luna, was announced publicly by Insta360 CEO Liu Jingkang and is being positioned as a dual-camera handheld system that could challenge DJI’s dominance in the compact gimbal camera category.

It's a very strange way to announce a new product, especially from action camera giant Insta360, which usually launches products globally, but the new camera is in fact real, and it’s coming in 2026.

What’s been confirmed

At this stage, the company has confirmed only a handful of key details.

First, Luna will feature a dual-camera system, similar to the upcoming DJI Osmo Action 4 Pro, even though DJI has yet to confirm the model's existence.

While Osmo Pocket 3 uses a single 1-inch sensor with a rotating touchscreen for front- and rear-facing shooting, Luna is expected to incorporate two lenses into the body itself.

Insta360’s CEO has also made it clear that Luna is not based on DJI technology and is being developed independently.

The camera is expected to launch in the first half of 2026, though no exact date or pricing has been revealed.

Not another DJI Pocket rival?

DJI has effectively owned the pocket-gimbal market since the original Osmo Pocket launched in 2018.

The current Osmo Pocket 3 remains one of the best compact vlogging cameras available, thanks to its 1-inch sensor, 3-axis mechanical gimbal and strong low-light performance.

If Insta360 can genuinely bring something new to the category, it could create the first serious alternative in years.

That said, other companies, such as vivo, are also planning on launching their own take on the concept soon.

Insta360 already dominates in 360-degree cameras wth its X range, including the latest Insta360 X4 Air, and has built a strong reputation in action cameras with the Ace and Ace Pro series.

What to expect

Even though the “dual-camera” description is the biggest clue so far, there are a few likely directions Insta360 could take:

• A dedicated front-facing lens for vlogging and a rear lens for standard shooting
• A wide + ultra-wide combination
• A modular-style approach similar to previous Insta360 products

Given Insta360’s history of computational features, including AI reframing, horizon levelling, and advanced stabilisation, Luna could rely heavily on software alongside its hardware.

Without confirmed sensor sizes, resolution details or gimbal specifications, it’s too early to predict how it will compare to DJI’s Pocket 3 in image quality.

Can Insta360 realistically disrupt DJI here?

Right now, DJI’s Pocket line benefits from mature stabilisation, strong image processing and a well-established accessory ecosystem. Luna will need to match or exceed that, not just add a second lens.

Still, Insta360's public entry into this space is the first credible sign in years that DJI may finally face direct competition in the compact mechanical-gimbal category.

More details are expected in the coming months. Until then, Luna remains one of the more intriguing camera launches on the 2026 horizon.

DJI appears to be working on a successor to its 360º camera, after regulatory paperwork surfaced hinting at an upcoming refresh of the company’s camera lineup.

A recent FCC filing, with the grant date of 21 Dec 2025, references a device believed to be the DJI Osmo 360 II.

While the filing does not reveal detailed specifications or design changes, it does confirm one notable upgrade.

The upcoming action camera seems to have a larger battery capacity, suggesting DJI is looking to address one of the more common pain points in compact 360º cameras.

The DJI Osmo 360 II is listed with a 2,150 mAh battery, up from the original Osmo 360’s 1,950 mAh cell, a roughly 10% increase in capacity.

For context, the Osmo 360 II's predecessor's battery delivered over 100 minutes of continuous 8K/30 fps recording on a full charge in real-world tests.

The original DJI Osmo 360 launched in July last year and marked the drone giant’s first serious attempt at entering the 360º action camera market.

While it was widely seen as a competent debut, delivering solid image quality and DJI’s familiar software polish, it struggled to stand out against Insta360’s well-established X-series (see also: Insta360 X5 review), which continues to dominate the category.

GoPro has also raised the bar recently with the launch of its MAX 2, introducing removable lenses, a feature the current Osmo 360 lacks.

A small leak, but part of a bigger push

At this stage, there is no confirmed release date or pricing for the Osmo 360 II, but FCC approval typically suggests a product is moving closer to launch rather than sitting at an early prototype stage.

DJI has been particularly active across its camera ecosystem in recent months, most recently launching the RS 5 Ronin gimbal, aimed at professional and solo videographers.

Alongside that, rumours continue to swirl around the Osmo Pocket 4 Pro, widely expected to debut soon and possibly featuring a dual-camera setup.

For now, details remain scarce, but if DJI is serious about challenging Insta360’s dominance, battery life improvements alone are unlikely to be the final story.

More concrete information is expected to emerge as the presumed launch window draws closer.

[via FCC, Notebookcheck]

DJI’s next pocket-sized vlogging camera might have just revealed itself in the way too many gadgets get leaked these days - via someone “accidentally” snapping a photo of it in public.

A new image posted on Reddit by user u/gtm_ray shows what’s claimed to be the front of the DJI Osmo Pocket 4 Pro, spotted at an indoor ski resort in Shenzhen.

And while the Osmo Pocket line has always had a pretty recognisable shape, this leak has one detail that’s instantly grabbed attention - it appears to show dual cameras on the front.

That’s a big deal, because the Pocket series has traditionally been a single-lens, gimbal-stabilised vlog cam built around simple features like a tiny body, stabilisation that makes walking footage more watchable, and a rotating screen setup that made the Pocket 3 feel like a proper pro-level device.

A dual-lens Pocket?

The idea of a dual camera setup suggests DJI might be trying to do something a bit more ambitious than just a safe spec bump with its Osmo Pocket series this time around.

And while the photo itself doesn’t exactly tell us what those two cameras might actually do, it does line up with previous Osmo Pocket rumours that DJI is planning two versions of the Pocket 4 - a more classic single-lens model and a higher-end “Pro” variant.

In the Reddit thread, that’s basically the debate. Some people reckon the “Pro” name will mean a bigger sensor and better image quality, while others think DJI might be aiming for a more flexible, creator-first setup - the kind of thing that could offer different focal lengths or a dedicated zoom lens.

Either way, the fact this thing is being carried around in public (and photographed) makes it feel less like far-off concept chat and more like a product that’s already deep into testing and readying for launch.

Launch timing

Earlier leaks suggested DJI wouldn’t unveil the Pocket 4 Pro until April at the earliest, but “spotted in the wild” moments like this tend to happen when devices are getting close to release.

For now, though, DJI hasn’t confirmed anything,. And one leaked photo doesn’t always equal a launch. But if this really is the Osmo Pocket 4 Pro, that dual-camera design could be the biggest sign yet that DJI is about to take its most popular creator camera into a totally new direction.

DJI isn’t the only company rumoured to be switching up this category right now, either.

Just last week, I covered a separate leak suggesting Insta360 is gearing up to launch its own Osmo Pocket-style camera, after what looked like an accidental (or very deliberate) Weibo teaser from Insta360 CEO JK Liu.

In the post, the exec appeared to show a blurred “pocket” device in the background. If that product is real - and this Pocket 4 Pro leak is too - it suddenly feels like 2026 could be the year the “pocket gimbal” space gets properly competitive.

In recent years, DJI’s Osmo Pocket cameras have become a bit of a cheat code for creators. They’re small, easy to use and, in markets like Japan at least, they’ve helped make DJI become the main contender in the category.

So it’s not exactly shocking that rivals might want a slice of that pocket gimbal pie.

Well, fresh reports suggest Insta360 is about to make its move. As reported by thenewcamera, a Weibo post that appears to be a simple teaser shows Insta360 CEO and founder JK Liu accidentally revealing two upcoming cameras at once.

One is the obvious focus of the image, and the other is hiding in plain sight on the display, albeit heavily pixelated. If it really is an accident, it’s a pretty juicy one, and it gives us a decent hint at where the action camera brand is heading next.

So what's leaked exactly?

The first of the two devices is a white camera being held in the right hand. It’s not shaped like a typical action cam, and that's what’s getting people talking.

For one, there’s a big rear screen, with a cluster of physical buttons above it, including what look like dedicated toggles for switching between video and photo - a layout that feels more like a compact creator camera than something designed to be strapped to a helmet.

The on-screen UI also looks very Insta360-ish, with controls that resemble those on the Ace Pro series, suggesting this isn’t just a random prototype shell.

There’s also an f/1.8 marking visible, which has kicked off speculation that Insta360 could be exploring a fixed-lens compact camera category alongside its usual action and 360 kit.

Some corners of the internet have already started guessing sensor sizes (Micro Four Thirds, APS-C), but there’s nothing concrete on that front...yet.

The second device is the more "blink, and you’ll miss it" part of the leak. In the same image, a blurred, pixelated camera is visible on the screen, and leak-watchers reckon it is an upcoming Insta360 Osmo Pocket-style product.

The fact that it’s deliberately obscured makes it feel less like an accident and more like a controlled tease, especially as some reports suggest this Pocket camera could be closer to launch.

If Insta360 really is building a Pocket rival, the target is obviously DJI. Whether this turns into a serious challenge or just a bit of speculation will depend on what leaks next, but it’s a strong hint that Insta360 might be thinking beyond just action cams and 360 cameras.

Dreame, best known for high-powered robot vacuums and cordless cleaners, has just stepped wildly outside its comfort zone with the launch of a brand-new action camera line called Leaptic, debuting with the Leaptic Cube at the world’s biggest tech show, CES.

Rather than being another GoPro camera clone, the Cube is positioned as a tiny, thumb-sized action camera with big ambitions.

On paper, it promises 8K recording, AI-powered image optimisation and a compact, minimalist design that looks more than a little reminiscent of the pint-sized DJI Nano and Insta360's GO 3S, both of which are 'only' capable of 4K shooting.

Like the DJI, the Cube is designed to be worn, mounted or carried discreetly, appealing to vloggers, travellers and anyone who wants lightweight, always-ready video capture without a bulky system.

A pocket camera with very serious specs

Dreame says the Leaptic Cube uses a large 1/1.3-inch CMOS sensor, capable of shooting 8K at 30fps, 4K HDR at 60fps, and stills up to 50MP.

There’s also a 155-degree ultra-wide lens, designed to capture more of the scene without too much distortion.

Under the hood, the Cube runs on a powerful chipset designed to support on-device AI processing.

That enables features like scene recognition, colour optimisation, voice control and smarter auto-editing to make clips social-ready faster.

Battery life, durability ratings and full frame-rate breakdowns haven’t been exhaustively detailed yet, but Dreame is clearly pitching this as a premium compact camera rather than a budget experiment.

The move is fascinating because Dreame has built its reputation on smart home cleaning robots and cordless vacuums, not imaging tech.

Launching Leaptic suggests the company wants to broaden beyond domestic appliances and establish itself as a wider consumer technology brand, using AI as the bridge across categories.

It also puts Dreame in direct conversation with heavy hitters like DJI, GoPro and Insta360, brands that have spent years refining compact video hardware and creator ecosystems.

DJI has recently wandered into Dreame’s world with its Romo robovac, so the Leaptic Cube feels like Dreame stepping across the aisle in return.

If Leaptic can deliver stable 8K, solid stabilisation and dependable AI tools at a competitive price, it could genuinely disrupt the small-camera market. If not, it risks becoming another CES curiosity.

Dreame has indicated pricing in the region of around $439.99 (~£326 / €376 / AU$653) for the 64GB model and $459.99 (~£341 / €394 / AU$683) for the 128GB model

Rollout is expected to begin later this year, with pre-orders already being teased through Dreame’s official channels. More info can be found at Leaptic's website.

DJI has pushed out another meaningful software update to one of its best action cameras, and this time it’s the DJI Osmo Action 6 that’s getting the upgrade treatment.

Rolling out now via the DJI Mimo app, the new firmware introduces a mix of headline-grabbing specs and genuinely useful quality-of-life features that make the flagship cam feel more capable without changing the hardware at all.

Following the update, the Osmo Action 6 now supports recording at up to 8K/30fps in a 16:9 aspect ratio.

DJI says the higher resolution allows for richer detail and more flexibility when cropping or zooming in during edits, which will appeal to creators who want extra room to reframe footage without sacrificing sharpness.

Beyond raw resolution, the update also adds cloud upload functionality.

Files can now be uploaded directly from the camera to third-party cloud services through the DJI Mimo app, including OneDrive, Google Drive and NAS setups.

This could significantly speed up workflows for creators who want to back up footage or share clips without juggling memory cards and cables.

Photo mode now supports Film Tone, offering more stylised, ready-to-share colours straight out of the camera.

DJI positions this as a way to make the Osmo Action 6 more appealing for casual street photography and quick social posts, rather than something that always requires post-processing.

From this perspective, the update is similar to the most recent DJI Osmo 360 software refresh, which added "creative effects" to speed up the transport of footage from the camera to social media.

There’s also a more technical addition aimed at close-up shooting.

Focus peaking, the absence of which I mentioned in my review, is now available directly on the camera screen, helping you identify the sharpest areas of the frame when shooting macro or detail-heavy scenes.

The update is available via the DJI Mimo app.

DJI has pushed out a new firmware update for the Osmo 360, and while it’s being framed as a creative upgrade, it also subtly reshapes what the action camera is actually best at.

This isn't the first update since the camera launched. The company has already added pro-grade colour tools and dashboard training mode to the Osmo 360 back in August 2025.

The new update, now live, introduces a set of software tools that lean heavily into how people really use 360° cameras in 2025: fast social content, minimal editing, and footage that looks polished straight out of the app.

In practice, these “creative effects” address long-standing friction points in shooting, editing, and sharing 360° video.

Insta360 is well known for its creative editing options in its app, which have made the brand's cameras, including the flagship Insta360 X5 and the lightweight Insta360 X4 Air, so popular.

The square peg finally fits

One of the headline additions is Single-Lens 9:16 Vertical Boost Video, which allows the Osmo 360 to capture vertically in-camera, using a boosted wide-angle field of view designed specifically for social platforms.

This change removes the need for reframing or post-production gymnastics just to make footage Instagram- or TikTok-ready.

DJI is also adding single-lens live streaming via Wi-Fi through the DJI Mimo app.

The camera can stream remotely while recording internally simultaneously, and you can now switch between front and rear views mid-stream.

That makes DJI's GoPro Max 2 rival far more viable for casual live content, outdoor sports and creator-style broadcasts, rather than being locked into stitched, post-heavy workflows.

When software does the heavy lifting

Another notable addition is a new set of Film Tone looks. These presets, applied with a single tap, are designed to give 360° footage a more cinematic feel without manual grading.

DJI is clearly pushing the idea that colour and mood shouldn’t be an afterthought for action cameras, especially when creators expect footage to look “finished” straight out of the app.

Perhaps the most technically interesting update is software-based ND filter effects.

Rather than relying on physical filters, DJI Mimo and DJI Studio can now simulate ND behaviour in post, adding motion blur and refining exposure through algorithms.

It’s an unusual move for an action cam, but one that fits neatly with DJI’s growing emphasis on computational video.

The Osmo 360 is becoming less about showing off 360° novelty and more about reducing friction between shooting and sharing, especially for creators who want cinematic results without cinematic effort.

The update is rolling out now via the DJI Mimo app.

When the DJI Osmo Action 5 Pro launched in late 2024, it positioned itself as the best action camera from the brand yet, a compact, magnetic, creator-friendly device with a large 1/1.3-inch sensor, excellent stabilisation and reliable 4K performance. It became a go-to option for travellers, cyclists, vloggers and anyone who wanted premium image quality without carrying a full camera rig.

Fast-forward 14 months, and the company has unveiled the DJI Osmo Action 6, a noticeably more ambitious successor. The new model is the world’s first action camera with a variable aperture, and it has a larger 1/1.1-inch sensor with up to 13.5 stops of dynamic range, improved cold-weather endurance, smarter audio, faster charging, 50GB of internal storage and a brand-new 4K Custom Mode designed for multi-platform creators.

It also launches at a slightly higher price than the Action 5 Pro did at release. So, is the Action 6 a meaningful upgrade, or is the 5 Pro still worth hanging on to? Let’s break down every key change in DJI’s most advanced compact cameras to date.

DJI Osmo Action 6 vs Action 5 Pro

Price and value for money

At launch, the DJI Osmo Action 5 Pro entered the market as a premium but accessible flagship, priced at around £329 in the UK, €379 in Europe, $349 in the US and approximately AU$599 in Australia.

Fast-forward to now, and the Action 5 Pro is being sold for significantly less than its original RRP. In the UK, it regularly dips to £250–£270, marking a substantial saving over launch and reshaping the conversation around its value.

Equivalent discounts can be found in other regions, with EU prices falling well below the €300 mark, US pricing often landing around $299, and Australian stock coming in notably under AU$500 depending on retailer and availability.

The Osmo Action 6 arrives with more or less the same RRP. The Standard Combo is set at £329 in the UK, €379 in Europe, and expected to land around $379 in the US (if it ever launches there) and AU$649–699 in Australia. Its pricing keeps it in the upper mid-range of the action camera market.

When considered purely on price, the Action 5 Pro is undeniably cheaper and delivers remarkable value, especially at its current reduced street prices. But when factoring in the leap in capability, longevity, and creative flexibility, the Action 6 offers more per pound (per dollar, per euro) spent, particularly for those who care about image quality and future-proofing.

Both cameras are available via DJI's online store, as well as third-party retailers.

Winner: Tie. The Osmo Action 6 provides better long-term value thanks to its far broader feature upgrade, but for the reduced price, the Action 5 Pro is one of the best value-for-money action cameras right now.

Design and build quality

The DJI Osmo Action 5 Pro and Osmo Action 6 share a familiar design language. The Action 5 Pro has a compact, durable chassis weighing 146g, waterproofing to 20 metres without a case (and 60 metres with one), and dual HDR touchscreens with excellent brightness and colour accuracy.

Its front 1.46-inch display and larger 2.5-inch rear screen are both P3-wide-gamut panels capable of hitting up to 1,000 nits peak – no wonder the Action 6 uses the exact same screen setup. The physical quality of the Action 5 Pro feels premium, solid in hand and when mounted onto helmets or bikes.

On the other hand, the Osmo Action 6 is slightly heavier at 149 g but has roughly the same physical dimensions (72.8 × 47.2 × 33.1 mm), maintaining the compact footprint of its predecessor while packing in more capability.

DJI has given the new camera a more thermally efficient internal architecture, allowing it to sustain higher frame rates for longer without heat throttling, a subtle but important improvement for anyone shooting 4K or using slow-motion modes.

Waterproofing remains just as strong, with an IP68 rating enabling 20-metre dives without a case. However, the Action 6 adds smarter underwater capabilities thanks to its built-in colour-temperature sensor and dedicated dive data logging. This makes underwater footage look more natural straight out of the camera.

The cold-weather improvements are also significant, with the Action 6 rated for reliable operation down to –20°C, a noticeable step up from older models and a major advantage for skiers, mountaineers and winter trail riders.

The Action 6 has an updated magnetic mount, allowing you to switch directions without moving the mount itself. The newer model also benefits from accessory compatibility with new add-ons such as the FOV Boost Lens and Macro Lens, both designed to attach to the updated front plate.

Ultimately, both cameras are tough, dependable and well thought out. But the Osmo Action 6 builds on the 5 Pro’s foundation with improved thermal performance, cold-weather resilience, expanded accessory compatibility and smarter underwater imaging.

Winner: the Osmo Action 6 is a stronger, more refined and more adventure-ready evolution of the Action 5 Pro.

Features

The DJI Osmo Action 5 Pro arrived on the scene in 2024 with one of the strongest feature sets of any compact action camera. Its 1/1.3-inch CMOS sensor delivers detailed, dynamic footage, while its 155-degree ultrawide lens maintains impressive clarity.

The camera offers 4K recording at up to 120 fps in 4:3, strong low-light performance through SuperNight mode, and slow-motion performance that holds up even in demanding conditions. It includes Hyperlapse, Timelapse and Subject Tracking.

Importantly, the Action 5 Pro also features a colour-temperature sensor built into the front plate, enabling better underwater colour reproduction straight out of the camera. And crucially, it uses the same stabilisation algorithms later carried over into the Action 6: RockSteady 3.0, RockSteady 3.0+, HorizonBalancing and HorizonSteady.

The Osmo Action 6’s most notable upgrade is its variable aperture system, the first of its kind on an action camera, which lets you dynamically switch between f/2.0 and f/4.0. This enables stronger low-light performance and the option for creative shallow depth-of-field effects when using the Macro Lens accessory (although the minimal focusing distance is 20cm, so don’t expect miracles).

The new 1/1.1-inch square sensor expands dynamic range to a claimed 13.5 stops, improving highlight retention and shadow detail. DJI’s new 4K Custom Mode also debuts here, letting users shoot once and crop later into vertical, horizontal or square formats, a major workflow advantage for multi-platform creators.

While the Action 5 Pro already offered strong stabilisation, the Action 6 refines subject tracking behaviour and introduces gesture control (ala Insta360 Ace Pro 2), making hands-free operation far easier. The audio system is also expanded, with support for dual direct DJI mic transmitters without needing a receiver, perfect for interviews, two-person vlogs or capturing ambient sound alongside narration.

The Action 5 Pro remains one of the most capable action cameras of its generation, but the Action 6 brings several first-time features, superior sensor technology and a more advanced creator ecosystem.

Winner: Osmo Action 6, thanks to its variable aperture, upgraded sensor and multi-platform shooting flexibility.

Battery life and charging

The Action 5 Pro uses a 1,950 mAh battery rated for up to 240 minutes of recording in controlled conditions when shooting at 1080p/24 fps. In general use, especially in higher resolutions like 4K/60 or 4K/120, runtimes drop, but the camera remains reliable for extended sessions.

Charging the Action 5 Pro via USB-C is reasonably quick, though not particularly fast by current standards. Most users will typically carry one or two spare batteries to comfortably cover a day of mixed shooting.

The Osmo Action 6 retains a 1,950 mAh Extreme Battery, but its improved power efficiency, enhanced thermal management and updated processing pipeline allow it to stretch runtimes further.

DJI claims up to four hours of continuous shooting in 1080p/24, which matches the Action 5 Pro’s numbers on paper but feels more achievable in real-world use thanks to reduced overheating and better control of internal temperatures.

The biggest upgrade is charging speed: the Action 6 can fast-charge to 80% in around 22 minutes, which is a substantial improvement for creators who need to get back out the door quickly.

While the Action 5 Pro delivers solid longevity and dependable cold-weather behaviour, the Osmo Action 6’s faster charging, more efficient operation and superior thermal stability give it a noticeable advantage for demanding creators.

Winner: Tie. The Osmo Action 6 introduces some updates, most notably faster charging speeds, but overall, both cameras last more than long enough on a single charge.

Storage and connectivity

The Action 5 Pro includes 64GB of internal storage, with around 47GB usable, which is super practical for shooting when you forget a microSD card or need overflow space during longer sessions.

It supports microSD cards up to 1TB, and its combination of Wi-Fi 6 and Bluetooth 5.1 enables quick, reliable wireless transfers. Connectivity is otherwise straightforward: you have standard USB-C for data and charging, plus support for external microphones via compatible adapters.

The Osmo Action 6 has 50GB of internal storage, still enough for 4K recording when shooting without a card. Where the Action 6 clearly pulls ahead is audio and wireless integration: it supports direct connection to two DJI mic transmitters without a receiver, making it a stronger choice for interviews, moto vlogging, travel content and multi-person recordings.

Winner: Tie. The Action 6 introduces some improvements, but the Action 5 Pro is still more than capable enough in most use cases.

Verdict

The DJI Osmo Action 6 is a genuinely more capable camera in almost every meaningful area. The introduction of a variable aperture opens up creative possibilities that simply didn’t exist on any action camera before it.

The new 1/1.1-inch sensor delivers richer dynamic range, cleaner shadows and more natural highlight roll-off. Faster charging, more reliable cold-weather behaviour and direct dual-mic support all contribute to a camera that feels dramatically more versatile, more polished and more “pro-ready” than its predecessor.

However, the Osmo Action 5 Pro remains far from obsolete. Its price drop alone makes it one of the best value-for-money action cameras available today. Its image quality is still excellent, its stabilisation performance holds up against newer models, and its 47GB of usable internal storage is a rare convenience.

For most non-professional users, including travellers, commuters, cyclists and vloggers who want a dependable camera without stretching their budget, the Action 5 Pro remains an incredibly sensible buy. In day-to-day use, it still delivers the core DJI experience: reliable footage, flexible shooting modes, strong stabilisation and a compact, rugged build.

For creators who want the very best image quality, regularly shoot in mixed lighting, need a single clip to serve multiple platforms, or rely heavily on wireless audio, the Action 6 is unquestionably worth the upgrade. For everyone else, especially those buying their first DJI model, the Action 5 Pro at its current pricing is still an exceptional piece of kit.

Alternatively, beginner users should also consider the DJI Nano, or a compact action cam from one of the rivals, such as the Insta360 Go 3S or the latest GoPro Hero.

The dust hasn’t even settled on the DJI Neo 2 launch, but the brand is back with another huge release: the successor of the DJI Osmo Action 5 Pro, which was released in September 2024. Despite the comparatively short gap between the two, the Osmo Action 6 includes a ton of exciting updates, including variable aperture, a first in action cams.

I don’t want to get ahead of myself, but it’s safe to say that the Action 6 is one of the best action cameras right now. I really enjoyed using its predecessor, and the new model is better in almost every way (apart from the battery life, which was impressive to begin with).

DJI took a leaf out of GoPro’s design book and introduced two new lens attachments – Marco Lens and FOV Boost Lens – aiming the Action 6 squarely at professional creators. It can do so because the brand-new DJI Nano offers an option for beginners, allowing the company to move the Action Series up a notch in terms of performance and features.

The variable aperture is quite a technical feat, but don’t expect footage to look like it was shot on a Fujifilm camera. The wider f/2.0 aperture lets in lots of light, which makes night shots look less fuzzy, but the depth of field isn’t on par with larger cameras, purely because of the difference in sensor and optical unit size – just trying to manage expectations here.

The Osmo Action 6 is an impressive piece of technology, and there is a lot to unpack here, so let’s get right to it!

DJI Osmo Action 6 review

Price and availability

The DJI Osmo Action 6 launched on 18 November 2025 at £329 for the Standard Combo and £415 for the Adventure Combo, and both configurations are available immediately through DJI and general retail channels. This keeps the camera firmly in the mid-to-upper price bracket for action cameras, but still below the highest flagship pricing seen elsewhere.

At present, the Osmo Action 5 Pro tends to retail for around £265 in the UK for the Standard Combo, reflecting the typical price drop that follows a new-generation launch. This places the older model noticeably below the Osmo Action 6, making it a more affordable option for buyers who do not need the latest features (while stocks last, of course).

In comparison, the GoPro Hero 13 Black currently sells for roughly £270 in the UK, depending on retailer promotions. This makes GoPro’s latest model slightly cheaper than the Osmo Action 6 at its launch RRP. Meanwhile, the Insta360 Ace Pro 2 sits higher than both at around £300, keeping it positioned as one of the more premium-priced alternatives on the market.

Design and build quality

DJI has refined the Osmo Action 6 into a sturdier, more technically ambitious camera while keeping the footprint familiar. The new model measures 72.8 × 47.2 × 33.1 mm and weighs 149 g, making it slightly heavier than the Action 5 Pro’s 145 g.

Much of this is due to the re-engineered lens housing, which now supports a variable aperture mechanism and a new family of interchangeable front lenses. The camera’s optical assembly has been redesigned from the ground up to accommodate these features, resulting in a denser, more robust front section than its predecessor.

The interchangeable lens system represents one of the biggest physical changes to the Action series to date. DJI now offers a Macro Lens that reduces the minimum focus distance to around 20 centimetres.

The Macro Lens has a manual focus ring, which is a nice touch. However, there is no focus peaking on the Action 6 (yet), making it tricky to tell where the focus is using the action cam's small displays. The GoPro Hero 13 Black offers this feature, and I’m sure DJI will introduce it later via a software update. For now, though, you just have to hope that the focus is where you want it to be.

The other new add-on is the FOV Boost Lens, which expands the native field of view from 155° to 182°. Just like the Macro Lens, it can be switched without a tool. For comparison, the Hero 13 Black with the Max Lens Mod 2.0 delivers a maximum FOV of 177°, while Insta360’s Ace Pro 2 offers a maximum FOV of 157° with its standard lens.

The reinforced optical mount allows the variable aperture to operate reliably while maintaining airtight sealing for underwater use. This is especially important given the camera’s ability to withstand depths of up to 20 metres without a case.

The main body retains DJI’s familiar rectangular profile, but it feels more solid and better sealed. The waterproofing is supported by improved internal pressure-gauge integration for more accurate underwater depth and duration data.

The Action 6 is also cold-resistant down to –20°C (–4°F), and the strengthened chassis helps protect the new square 1/1.1-inch sensor inside, offering up to 13.5 stops of dynamic range. The dual touchscreens remain, but the rear display isn't flippable like the Insta360 Ace Pro 2.

A significant physical improvement comes from the updated magnetic mounting system. The Action 5 Pro could only be attached to DJI’s quick-release mount in a single orientation, limiting how quickly you could reposition the camera.

The Action 6 now supports both forward and rearward installation, allowing you to flip the camera’s direction without changing mounts. This small mechanical change has a big impact on practical shooting, especially for activities like cycling and skiing, where rapid repositioning matters.

Features and video performance

The Osmo Action 6 represents DJI’s most ambitious leap in image performance, driven primarily by the introduction of a variable aperture, which fundamentally changes how an action camera behaves in challenging lighting. This new system allows the camera to switch between f/2.0 and f/4.0 depending on the scene, giving it far greater control over light intake and depth of field.

At its widest setting, f/2.0 doubles the incoming light compared with the Action 5 Pro, which immediately boosts low-light capability, reduces noise and allows the shutter to remain steady enough to maintain stabilisation.

The DJI Osmo 360 has exceptional low-light capabilities, and the Osmo Action 6 inherited the ‘Supernight’ mode, which essentially turns night scenes into daylight. This works even better with the wider aperture, which lets in a ton of light.

The aperture also adapts dynamically. For vlog-style recording, the camera can tighten the aperture (up to f4.0) to keep the subject in focus at close range, further enhanced by the redesigned optical assembly that reduces the minimum focus distance to 20 centimetres at the aperture.

It’s hard not to talk a little bit about physics to understand what the different focal lengths mean. DJI says that in the case of its previous-generation action camera, which has a 1/1.3-inch sensor and an f/2.28 aperture, the design had already reached the physical limits of what was possible while maintaining an all-purpose depth-of-field control.

To achieve a larger aperture and maintain the relatively short focusing distance, the brand had to increase sensor size – otherwise, with the larger aperture, the focusing distance would have gone through the roof.

Dynamic switching allows the Action 6 to be the best of both worlds: let in more light in low-light conditions while retaining the relatively short minimum focusing distance in selfie mode, which is increasingly important in the age of social media and vlogging.

When switched to f/4.0, the camera can produce a ‘starburst’ effect around point light sources, thanks to the aperture blades. It’s not quite the smooth bokeh you get when you use a mirrorless camera or a DSLR, but it opens up more creative avenues, especially in low-light scenarios.

The larger square sensor enables 4K-by-4K recording, letting you shoot once and extract both landscape and portrait videos without sacrificing sharpness or field of view. The format also reduces cropping when using HorizonSteady and other stabilisation features, making high-motion footage look cleaner and more cinematic.

Slow-motion performance has also improved. The camera supports 4K/120fps recording and can generate extremely smooth 1080p super slow motion by intelligently interpolating frames. Additional features such as subject tracking, 2x lossless zoom, and natural-wide FOV processing round out the camera’s creative toolkit.

Battery life and charging

Despite introducing a variable-aperture system, a larger 1/1.1-inch square sensor, and a redesigned optical assembly, DJI has maintained battery endurance that rivals or exceeds that of competing models. Officially, the Osmo Action 6 achieves up to four hours of runtime under controlled conditions (1080p@24fps (16:9) video with RockSteady on).

The camera uses the same battery platform as the Action series, which keeps things simple for existing DJI users who already own multiple batteries. Retaining cross-compatibility here is a strategic benefit, especially for creators who rely on a collection of spares for long shooting sessions.

The new model’s runtime is particularly impressive considering the larger sensor and new processing demands; low-light performance improvements, 4K-by-4K recording and advanced stabilisation typically draw more power, yet DJI has managed to keep the battery endurance stable through the efficiency gains of its internal architecture.

The Action 6 can reach approximately 80 per cent charge in around 22 minutes using fast charging, which makes topping up between sessions far easier. The fast-charge rate means the camera can be revived quickly during transitions, allowing you to continue recording without worrying about long recharge times.

The Multifunctional Battery Case is included with the Adventure Combo and can further speed up charging. Like before, this accessory allows users to charge multiple batteries simultaneously and safely store them in cold environments where battery performance often suffers.

Verdict

The Osmo Action 6 feels like the moment DJI’s action-camera ambitions finally click into place. The variable aperture is the headline feature, and while it doesn’t magically turn an action camera into a mirrorless rig, it delivers genuinely useful gains in low-light performance and creative flexibility. Paired with the new square sensor, 4K-by-4K recording and improved minimum focusing distance, the Action 6 produces footage that looks cleaner and more adaptable than anything the series has offered so far.

The addition of interchangeable front lenses pushes the camera closer to a professional tool, and the redesigned mounting system and reinforced housing give the whole unit a more robust, polished feel. Battery life remains strong despite the increased processing demands, and fast charging makes it easy to keep the camera rolling during busy shoot days.

It’s not perfect. The lack of focus peaking holds back the Macro Lens accessory, and some creators may still lean toward GoPro for its mature accessory ecosystem. But as a complete package, the Osmo Action 6 is an outstanding step forward. DJI has built a camera that’s not just incrementally better than the Action 5 Pro, but meaningfully more capable, versatile and fun to use. This is one of the best action cameras you can buy right now.

Insta360 is expanding its creator ecosystem with four (!) new videography bundles for its Leica-co-engineered model, and one accessory in particular is turning heads.

The new Pocket Printer, part of the Flash Print Bundle, is said to be the world’s first portable printer designed specifically for an action camera, giving the rugged Insta360 an unexpected Polaroid-style twist.

According to the company, the Pocket Printer connects directly to the Insta360 Ace Pro 2 or the Xplorer Grip Pro Kit, letting users print their favourite moments instantly, complete with Leica-branded watermarks.

It’s a playful, nostalgia-driven feature that taps into the instant-film revival while pushing the creative limits of what an action camera can do.

Polaroid nostalgia meets Leica precision

“With help from Leica, we’ve redefined the action camera,” said Insta360 co-founder and VP of Marketing Max Richter. “It’s no longer just for capturing thrilling action sports – it has become a creative tool for serious photography.”

The printer headlines a wider refresh of the Ace Pro 2 ecosystem.

The brand also introduced the Xplorer Grip Pro Kit, adding tactile zoom, exposure controls, and extended battery life.

There’s a new trio of Cinematic, Ultra Wide, and Close-Up lenses, offering more creative flexibility across shooting styles.

Two fresh Leica colour profiles (Eternal and B&W High Contrast) join the existing Natural and Vivid options.

The update also brings new film-style filters, including Retro Neon and Vintage Vacation.

All these extras are available with firmware update V2.0.3, free for every Ace Pro 2 user.

Four creator bundles, one clear direction

The Flash Print Bundle ($579.99) includes the Ace Pro 2, Xplorer Grip Pro Kit, Pocket Printer, Flip Screen Hood, and Classic Leather Case.

Other options include the Xplorer Pro Bundle ($519.99), Videography Bundle Limited Edition ($604.99), and Ultimate Videography Bundle ($739.99), each tailored for different creator workflows.

By blending Leica’s colour science with instant-print creativity, Insta360’s latest drop positions the Ace Pro 2 as a storytelling tool built for spontaneity and style.

All four bundles launch on 12 November 2025, with the Xplorer Pro Bundle available now via Insta360’s official site.

Insta360 just dropped a cryptic teaser for an Ace Pro 2 accessory that appears to turn the action cam into an instant printer.

The short video titled We’re Redefining the Action Camera shows an Insta360 Ace Pro 2 docked to a slot-loading base that spits out a small print seconds after the shutter is pressed.

The mounting looks identical to the slot-in system used on the company’s Xplorer Grip Kit, only this time the add-on seems to pack a thermal or instant-film printer.

The teaser ends with a date (November 12, 8 am EST) and a single word: Now.

The instant hit effect

Instant photography isn’t just a nostalgia kick – it’s selling. Fujifilm says cumulative sales of its Instax cameras have surpassed 100 million units, with the Consumer Imaging division reporting ¥65.2 billion in revenue last fiscal year, up 9.3% year-on-year, thanks to strong Instax demand.

Analysts peg the global instant/instant-print camera market at roughly $1.6 billion in 2023, projecting steady growth to around $2.5 billion by 2031 at a ~5–6% CAGR, which tracks with multiple market reads.

There’s cultural momentum, too. Fujifilm’s retro-leaning photo products have seen surging demand among younger creators, and the category keeps expanding with hybrid instant launches like the Instax Wide Evo.

All signs point to a healthy ecosystem for instant prints and fertile ground for a wild new form factor.

The clip suggests a grip-style base with a paper/film bay, physical shutter, and the Ace Pro 2 feeding it high-res stills.

If it’s thermal, expect clean, monochrome-friendly stickers. If it’s true instant film, think Instax-sized colour prints with that classic border.

Either way, pairing on-camera stabilisation and Leica-branded optics (and filters) with instant output would be a first for mainstream action cams.

Instant prints also unlock new workflows: shoot stabilised stills on the trail, hand friends a print at the trailhead, and still have the RAW/JPEG in your library for edits later.

With instant cameras trending up and hybrid models broadening the audience, Insta360’s “printable action cam” pitch lands in a hot moment.

Insta360’s teaser promises more on November 12 at 8am EST (1pm UK). For more info, head over to Insta360.

Best drone manufacturer DJI has unveiled the Osmo Mobile 8, a new smartphone gimbal designed to give creators more freedom.

It features a 360-degree horizontal pan rotation, a new ultra-comfortable grip for low-angle shots, and improved AI subject tracking that can now follow pets as well as people.

The gimbal runs on DJI’s seventh-generation, three-axis stabilisation system, keeping shots steady even during fast movement.

It weighs 370 grams, offers up to ten hours of operating time, and can even charge your phone while filming.

Smarter tracking and stronger audio

The Osmo Mobile 8’s headline update is its new Multifunctional Module, which magnetically clips onto the gimbal.

It adds a microphone receiver compatible with DJI Mic 3, Mic 2 and Mic Mini transmitters, as well as an adjustable fill light with eight brightness and colour-temperature levels.

Hand-gesture controls let you start or stop recording, switch subjects, or take photos without touching the phone.

The gimbal supports three advanced tracking systems. The first is Apple DockKit integration, allowing iPhone users to access tracking directly in the native Camera app or hundreds of compatible iOS apps.

The second uses the new Multifunctional Module to recognise and follow pets such as cats and dogs, which is a first for the Osmo Mobile line.

The third is DJI’s own ActiveTrack 7.0.1 system, accessed through the DJI Mimo app, which combines a phone’s wide and telephoto lenses to keep subjects locked in frame even in busy scenes.

A warm welcome (with caveats)

Early reviews have praised the OM8 for refining what mobile filmmakers already love about DJI’s gimbals.

Our sister site, Tom’s Guide, called it “a significant step forward” with “refined stabilisation, intelligent AI tracking, and ergonomic design,” adding that the new module “removes the need for extra accessories.”

The Verge described it as “a meaningful upgrade for smartphone filmmakers,” pointing out that its ability to track pets and deliver full 360-degree rotation “sets a new benchmark for mobile content creation.”

The overall consensus is that DJI hasn’t reinvented the smartphone gimbal, but it has made it smarter, smoother and more creator-friendly.

The DJI Osmo Mobile 8 is available now from DJI and authorised retailers.

It’s priced at £135 in the UK and from €159 in Europe, with accessories including the OM Magnetic Quick-Release Mount, DJI Mic Mini and OM 8 Tracking Kit sold separately. US and AU price and availability TBC.

GoPro’s third-quarter earnings call might have been light on profit, but it was heavy on promise.

Founder and CEO Nicholas Woodman described 2026 as “the year of GP3,” the long-awaited successor to GoPro’s GP2 chip (which came out in 2021), signalling what could be the brand’s most important technology leap in half a decade.

Speaking to investors, Woodman confirmed the new GP3 processor will debut next year across several new action cameras, marking “the debut of our line of GP3-based processors that’ll take GoPro and the industry to the next level of performance.”

CFO and COO Brian McGee called it a “market-leading” system-on-chip that will underpin GoPro’s next generation of imaging products, hinting at improved computational photography and on-device AI features.

“What we’re able to do with that from an imaging and innovation perspective is another area where we’re leading,” he said.

A strategic pause before the storm

If 2025 felt quiet, that was by design. GoPro didn’t release a new flagship HERO camera this year, a deliberate move that Woodman called “strategic in preparation for 2026 launches.”

The CEO explained that patience now would deliver “a significant upside in 2026,” describing the decision as a necessary breather before a wave of product diversification hits next year.

“We’ve got something special planned,” he told investors. “We appreciate market patience, and we think that this decision is going to significantly help us grow units, revenue, and profits in the first half of 2026. Pleasure delayed.”

More cameras, not fewer

The company is preparing to expand its range beyond a single “do-it-all” camera. “Traditionally, the Hero [see also: GoPro HERO 13 Black review] camera was a bit of a Swiss Army knife that did it all for everybody,” Woodman said.

“That was terrific for a time, but as consumer and professional demands have grown, we’ve seen the end customer want multiple tools, multiple cameras that help them achieve more specific capture scenarios.”

That shift will shape GoPro’s 2026 roadmap. The brand plans to introduce several new models across distinct categories, from next-gen flagships to 360 and lifestyle cameras, with new launches “steadily throughout the year,” rather than clustered around the holiday season.

McGee added that the company expects to grow revenue and units every quarter in 2026, forecasting adjusted EBITDA above $40 million as tariffs and costs stabilise.

A glimpse beyond action cameras

GoPro’s diversification push also extends outside the camera category. Its collaboration with AGV on tech-enabled motorcycle helmets remains underway, with Woodman describing it as part of the company’s “next wave of TAM expansion.”

Combined with the launch of the GoPro MAX 2, LIT HERO, and Fluid Pro AI Gimbal, this marks a significant broadening of GoPro’s hardware ambitions.

At the same time, its AI content-licensing initiative is gaining traction, with subscribers uploading over 270,000 hours of footage to train GoPro’s video models.

“We’re in discussion with several AI data licensees to address their demand for authentic real-world video content,” Woodman said, describing the program as a “meaningful opportunity over time for both our subscribers and GoPro.”

A comeback narrative in the making

For a company that’s spent the past few years shrinking to survive, the message from Woodman and McGee was clear: 2026 is the comeback year.

“We expect to build on this momentum in 2026 with the launch of several new, innovative, and differentiated products and services that we believe will lead to consistent quarterly camera unit and revenue growth,” Woodman said. “2026 will be the year of GP3.”

If it all goes to plan, next year could see GoPro shift from retrenchment to reinvention, finally giving its long-time fans a reason to upgrade again.

DJI has dropped a new teaser for an upcoming product launch, and it’s already setting the rumour mill spinning.

The short video shows a close-up of a lens aperture narrowing and widening, a clear nod to variable-aperture technology, something never before seen on DJI's action cameras – or any action cam, for that matter.

That single clip has fans convinced this is the long-rumoured successor to the DJI Osmo Action 5 Pro.

Reports circulating online for weeks suggested DJI’s next-generation action cam would debut with a raft of upgrades, including a 1/1.1-inch CMOS sensor, a variable-aperture lens (f/2.0–f/4.0), and 8K 30 fps video support.

A glimpse through the iris

If true, that would represent a serious leap forward for creators and adventurers alike.

A larger sensor paired with a variable aperture could mean vastly improved low-light performance and finer control over depth of field, something previously limited to mirrorless cameras.

Other leaks hint at dual OLED screens, a 1,950 mAh battery, and DJI’s next-generation RockSteady stabilisation, all packed into the familiar rugged body style of the Osmo Action series.

Pricing is rumoured to start around $329 (~£269/ €305/ AU$515), which would position the Action 6 aggressively against the GoPro Hero 13 Black and Insta360 Ace Pro 2.

DJI hasn’t confirmed any of these details, of course. But the company has a history of teasing its products with visual clues, and the unmistakable iris movement seen in this teaser suggests the leaks may be accurate.

With its recent focus on camera-centric innovation, such as the DJI Osmo Pocket 3, it’s clear the brand is pushing to dominate both the aerial and handheld content-creation spaces.

All will be revealed in mid-November, but if this teaser is anything to go by, DJI’s next launch could once again redefine what an action camera can do.

Insta360’s latest 8K cameras prove how far 360 video has come. The X4 Air and X5 share the same creative DNA, capturing immersive 8K 360 footage you can later reframe for cinematic or social clips, but they cater to different types of creators.

The newer Insta360 X4 Air is the lighter, smaller, more affordable model aimed at adventurers who want an easy pocket-sized action camera.

The Insta360 X5 is the flagship: heavier, tougher and equipped with larger sensors for sharper image quality and better low-light performance.

Both shoot 8K at 30fps and use the same intuitive Insta360 app for reframing, horizon levelling and editing. However, the differences in weight, build, and image sensors shift their personalities entirely. Here's how they compare.

Insta360 X4 Air vs Insta360 X5

Price and availability

There’s a noticeable gap in price between these two. The X4 Air retails for around £359 in the UK, $399 in the US, €419 in Europe and roughly AU$649 in Australia, positioning it as the accessible entry point into 8K 360 capture.

The X5 doubles down on performance and price, coming in at around £519 / $549 / €589 / AU$849 depending on the market. That extra spend buys you larger sensors, more advanced processing and a tougher, modular build.

Both are widely available through Insta360’s store and retail partners, with similar bundle configurations. While the X5’s premium reflects its pro credentials, the X4 Air’s lower cost makes it an easier recommendation for anyone wanting flagship performance without flagship pricing.

If your goal is versatility and value, the X4 Air delivers far more than its price suggests. But for serious creators who see their camera as a long-term investment, the X5’s higher ceiling will pay dividends.

Winner: Insta360 X4 Air – the whole point of the camera is to offer 8K, 360-degree video capability for less money.

Design and build quality

The Insta360 X4 Air puts usability first. At 165 g, it’s the lightest 8K 360 camera Insta360 has ever made, and it feels it, thanks to its compact, curved and easy-to-grip edges even without accessories.

The 2" touchscreen sits flush against the vertical body and is bright, sharp and responsive, making it easy to frame or switch shooting modes on the fly. A single record button and a streamlined two-button layout keep operation simple, while the textured finish improves grip for handheld use.

The replaceable lens covers ensure the X4 Air isn't rendered unusable if the cover cracks. You need the X4 Air Replacement Lens Kit to remove the lens, though.

The dual microphones are positioned to reduce wind noise and capture immersive spatial audio, while still allowing the use of external mics for creators who want professional sound. Everything about the design encourages everyday use: minimal fuss, maximum function.

The X5 feels more like a precision instrument without disrupting the classic Insta360. It’s heavier at 200 g, with a more angular, reinforced chassis that communicates durability. The 2.5" touchscreen is larger and higher resolution, offering more real estate for settings and playback.

Button placement is similarly intuitive, with two buttons under the screen instead of one, allowing more customisation for pros. Its modular lens housings can be swapped quickly if scratched or replaced with specialised covers, extending the camera’s lifespan and versatility.

Similarly to the X4 Air, you need the specialised X5 Replacement Lens Kit to swap out broken/used lenses.

Four microphones ring the body to create a richer soundstage, especially useful when recording ambient or dialogue-heavy content.

Both share Insta360’s elegant vertical form and excellent build quality, but the experience diverges sharply. The X4 Air feels like a companion you can toss into a pocket, while the X5 feels like substantial, confident equipment, designed for long-term creative work.

Winner: Insta360 X5 – better screen, sturdier chassis, and a more professional control layout.

Features

Both the Insta360 X4 Air and X5 offer creative shooting options, but they’re designed for different types of creators. The X4 Air focuses on simplicity and speed; the X5 leans into flexibility, higher frame rates and pro-level customisation.

Resolution and frame rates

The X4 Air records 360° footage in 8K (7680 × 3840) at 30, 25 or 24 fps, with extra modes for 6K @ 30 fps and 5.7K @ 60 fps. In single-lens mode, it shoots 4K @ 60 fps or 3K @ 100 fps for smooth slow motion. For most users, that’s a superb balance of resolution and flexibility, especially considering its smaller form factor.

The X5 matches that 8K headline spec but adds more creative headroom with 5.7K+ @ 60 fps, 4K @ 120 fps, and higher-bitrate recording for superior clarity during fast motion.

The added power comes from Insta360’s new Triple AI Chip architecture, which handles real-time image analysis, stabilisation and colour processing with more precision than previous generations. It’s what enables the X5’s sharper HDR, faster tracking and better motion handling across all frame rates.

Shooting modes and customisation

Both cameras include all of Insta360’s staple modes, including 360 capture, single-lens mode, Me Mode (for self-facing shots with the invisible selfie stick effect), HDR video, timelapse, TimeShift hyperlapse, and Bullet Time for ultra-slow 360 panoramas.

Where the two diverge is in control depth. The X4 Air keeps things streamlined with intuitive menus and quick toggles for automatic exposure, colour and stabilisation. It’s a true “point-and-create” device.

The X5, however, opens the door for professionals to fine-tune ISO, shutter, white balance and exposure value. You can also shoot in H-Log, which lets you play around with the footage later in post-production.

Accessory compatibility

Both cameras work with Insta360’s modular accessories and a broad range of third-party gadgets, including external Bluetooth microphones, headphones and professional audio gear.

Winner: Insta360 X5 – it delivers more control, faster frame rates and better accessory integration while keeping all the creative modes that make Insta360 cameras fun to use.

Video and photo performance

The X5 is the stronger all-round performer, especially when conditions get tricky. Its larger 1/1.28-inch sensors deliver visibly cleaner footage with deeper contrast and smoother gradients, particularly in low light or mixed lighting.

Shadows retain detail, highlights don’t blow out as easily, and stabilisation stays rock-solid even during aggressive panning or fast movement.

In footage comparisons, colours from the X5 appear more cinematic and refined, with a slightly warmer tone that gives 8K clips more depth.

The extra processing power translates into better texture handling: tree leaves, hair and water movement all look more natural, even after reframing.

The X4 Air punches well above its weight for such a compact camera. Its dual 1/1.8-inch sensors and bright f/1.95 lens produce crisp, well-balanced 8K footage in daylight, with Insta360’s trademark FlowState stabilisation keeping everything smooth even during running or cycling shots.

The built-in wind guard and improved audio processing make a noticeable difference in real-world use, especially when shooting outdoors.

While it can’t quite match the X5 for dynamic range or low-light clarity, it still delivers vibrant, detailed footage that’s perfect for social and travel content, especially when you want to capture something quickly without fussing over settings.

Photo performance follows a similar pattern. Both cameras produce roughly 29MP stills, but the X5 retains more subtle highlight and shadow detail, making it better suited for HDR landscapes or complex lighting.

If you often shoot in changing light or care about colour-grading flexibility, the X5’s larger sensor and processing power pay off. But if you value ease, portability and sharp daytime footage, the X4 Air is the more effortless companion.

Winner: Insta360 X5

Battery life and charging

Battery performance is often the make-or-break factor for action and 360 cameras, and here the difference between the Insta360 X4 Air and X5 is clear on paper and in practice.

The Insta360 X4 Air uses a 2,010 mAh lithium-ion battery, smaller than the X5’s pack but still capable of powering around 88 minutes of continuous recording at 8K 30fps. It charges quickly via USB-C and supports PD fast charging, making it easy to top up between shoots.

The compact battery is integrated into the lightweight body to save space and maintain the X4 Air’s slim 165 g profile. That design keeps things simple, but it also means slightly shorter endurance for long sessions or multi-hour shoots.

The Insta360 X5, meanwhile, comes with a 2,400 mAh removable battery that delivers roughly 100 minutes at 8K 30fps or up to three hours in 5.7K Endurance Mode.

It’s a larger, swappable unit designed for professional workflows where you might carry spares and change batteries mid-shoot. The higher capacity and better cooling help sustain longer high-bitrate recording sessions without throttling or overheating.

In real-world terms, the X5 lasts longer overall and offers far more flexibility thanks to its removable design. The X4 Air still performs impressively for its size, and with fast PD charging you can easily bring it back to full power in under an hour, but it can’t quite match the staying power of the flagship.

Winner: Insta360 X5 – higher capacity, removable design, and longer endurance make it the more reliable choice for extended shoots.

Verdict

The Insta360 X5 and X4 Air share the same creative DNA but serve very different users. The X5 is the flagship, with larger sensors, deeper control, a bigger battery and that advanced processing platform make it the camera for professionals and serious creators who want cinematic results and long-form reliability.

It’s built to handle demanding shoots, with better dynamic range, richer colour, stronger low-light performance and a body that feels purpose-built for work.

The X4 Air, however, is a more approachable evolution of Insta360’s 8K formula. It borrows many of the X5’s best traits, such as 8K capture, replaceable lenses, wind reduction and solid stabilisation, but wraps them in a lighter, smaller body that’s easier to carry and quicker to use.

It’s the kind of camera you’ll actually take everywhere, and the results are good enough that you won’t feel like you’re compromising much by leaving the flagship at home.

If you’re a filmmaker, agency shooter or pro content creator, the X5 is the obvious choice. For travel, everyday storytelling or social-first creators, the X4 Air is arguably the smarter buy.

Overall winner: Insta360 X5 (the Insta360 X4 Air is better value, though)

Insta360 is synonymous with 360 action cams. The company has been refining 360-degree cameras for nearly a decade – since the Insta360 ONE debuted in 2017 – and it’s fair to say the formula is now close to perfection.

That said, the brand’s flagship cameras have never been cheap. The Insta360 X5 retails for a whopping $550/£520/AU$930, which might be hard for some creators to afford. If only there were a way to get that quality without emptying your wallet…

Well, now there is! The Insta360 X4 Air is not only the latest addition to the company’s ever-growing rugged camera portfolio, but also the lightest-ever 8K 360 camera at just 165g.

It has dual 1/1.8-inch sensors and many of the features of the brand's best action cameras. With the launch of the X4 Air, Insta360 is making it clear that, as with the GoPro HERO 13 Black, the flagship model is for professional and serious users.

In contrast, the new model is for enthusiasts who like high-resolution, crisp footage but don’t need a larger sensor, a Triple AI Chip architecture, or advanced imaging performance tailored for cinematic production and pro creators.

Insta360 X4 Air review

Why Insta360 X4 Air?

When the brand first sent over the press materials about the new camera, my first question was, “Why isn’t it called Insta360 X5 Air”? The company answered that the X4 Air isn’t a stripped-down version of the flagship at all, but an evolution of the Insta360 X4.

The brand claims the X4 Air was born from user feedback asking for something lighter and more travel-friendly, yet still capable of shooting stunning 8K footage.

It brings over some of the X5’s headline features, like replaceable lenses and a built-in wind guard, while focusing on portability and everyday usability.

And that ‘Air’ suffix? While it might sound like a nod to Apple, it actually harks back to one of Insta360’s earliest models, the 2016 Insta360 Air for Android phones.

Price and availability

The X4 Air was launched on 28 October 2025 and is available now in Graphite Black and Arctic White from Insta360, Amazon, and select retailers, with US and Canada availability coming soon. Both the Standard Bundle and the Starter Bundle include a complimentary one-year Insta360+ subscription for a limited time. Prices in different regions are as follows.

Design and build quality

The X4 Air looks a lot like an Insta360 camera with its sleek, bar-like shape (albeit a shrunken-down version). The camera is about the same width and thickness, but it’s shorter than both the Insta360 X4 and X5 (W46×H113.8×D37mm). The optical unit is smaller, and so is the display. Everything looks in proportion, though.

A big upgrade over the X4 is that the X4 Air features replaceable lenses with an “ultra-hard” optical coating that doubles drop resistance compared to the X4. It’s waterproof to 49 feet (15 meters), too. The brand says the larger 1/1.8-inch sensors deliver crisper 8K footage with a 134% increase in pixel area per frame compared to the X4.

One new design element I like is that there is now only one button underneath the screen. On previous cameras, there are two buttons, one to start and stop recording and the other to toggle between photo and video modes. Having just one large button makes it easier to operate the camera while you’re doing something, which is often the case with action cameras.

The X4 Air has a similar microphone setup to the X5, with a larger unit beneath the front lens and smaller units on the sides of the camera. The built-in wind guard was borrowed from the X5, too. If you’ve ever used an Insta360 camera, you’ll know where to look for battery openings and card slots.

Features

The Insta360 X4 Air doesn’t introduce any software improvements, but carries over many of the flagship’s standout features. These include Active HDR, which now supports up to 8K30fps; Adaptive Tone, which balances light from both lenses for natural skies and shadows; Portrait Mode; Enhanced low-light performance; and more.

The camera features the latest FlowState Stabilisation and 360° Horizon Lock, as well as InstaFrame Mode, which records a reframed flat video and a full 360° version simultaneously. The X4 Air supports up to 4K60fps POV footage and the Invisible Selfie Stick feature.

There’s also voice, gesture and twist-to-shoot control, so you can stay hands-free when the action heats up. The X4 Air supports a range of Bluetooth headphones and microphones, including the brand’s own Mic Air, various AirPods, Galaxy Buds, RØDE’s wireless models, the DJI Mic and Mic 2, etc.

As far as I can tell, you get all the shooting modes available on the brand’s other 360 action cameras, which include my favourite, Me Mode, one of the Single Lens modes. This frames the footage so the bottom of the (invisible) selfie stick is in the centre, which is how most people record videos with 360 cameras.

I used that a lot during testing with the Foldable 2-in-1 Selfie Stick, one of the more affordable Insta360 accessories (RRP £34.99/ $34.99) that pairs perfectly with the X4 Air. The only niggle is a tiny visible seam where the folding stick joins, but that’s a trade-off I’ll happily take.

Video quality

Insta360 has been refining its camera setup and stitching algorithm for years, and at this point, it’s pretty reliable. Colours pop without looking over-processed, and manual controls are there if you like to tinker.

Since I tested the GoPro MAX 2, I've realised how great it is to be able to rotate footage in real time on the X4 Air’s display. Of course, it doesn’t matter when the camera records everything around it, but I like the ability to rotate the footage on the camera, rather than downloading it to my phone and seeing it there.

Footage quality is as crisp and well-stitched as we’ve come to expect from Insta360. 360 cameras, due to their double-fisheye lens setup, will distort the footage, even when the camera tries to correct for it. That said, I was really happy with the videos from the X4 Air and would recommend it to anyone who doesn’t need a professional camera.

Battery and charging

The X4 Air has the smallest battery (2010 mAh) in Insta360’s 360 camera lineup, but surprisingly, it doesn’t affect performance or charging speed. I ran a test indoors with a small draft blowing across the camera (8K@30fps), and the battery went from 100% to 35% in an hour, at which point the memory card filled up.

Officially, the X4 Air can shoot 8K@30fps videos continuously for 88 minutes and 6K@24fps for up to 100 mins, which is impressive and on par with the X5 and the X4.

Charging speeds are solid, too. The camera charges from 0% to 100% in just under an hour (the official time is 57 minutes), and it can go from 0% to 80% in just over half an hour (36 minutes).

Verdict

Is the X4 Air the Insta360 action camera we’ve been waiting for? It kind of is. It’s a mix of the X4 and the X5, borrowing from and learning from both and offering a well-rounded experience for 360° action camera enthusiasts.

The 8K resolution, as I mentioned many times before in my action camera reviews, is still somewhat redundant, as most platforms can’t really handle it (TikTok’s recommended settings are 1080 × 1920 pixels @ 30fps). However, shooting footage at a higher resolution lets you zoom in and play around with the videos, which is precisely what you need.

The Insta360 X4 Air is easy to recommend to anyone who wants a 360-degree action cam but didn’t get one before because of the high asking price. You get all the essential features and a high-spec setup for a lot less. What you miss out on is only really important to pros or those taking content creation very seriously.

The recent launch of the MAX 2 marked a long-awaited return to form for GoPro in the 360° space.

After years of rivals catching up, the GoPro MAX 2 came out swinging with true 8K 360° video capture, improved stabilisation, and that signature GoPro durability.

I praised its image quality and design refinement in my GoPro MAX 2 review, calling it an action camera that pushes you out of your comfort zone by pushing itself to its limits.

Now, GoPro has doubled down on the ecosystem with a new lineup of accessories designed for the MAX 2 and other GoPro 360 cameras, such as the refreshed MAX.

The fresh range includes everything from a Lens Replacement Kit to carbon-fibre extension poles, a ski-pole mount, a USB pass-through door, and the latest Enduro battery and dual-charger bundle.

Built for creators who break things

For years, GoPro users have been asking for a way to replace the MAX’s delicate front lenses without sending the whole camera in for repair.

The new Lens Replacement Kit finally delivers that fix. It’s simple to install, requires no recalibration, and uses durable optical glass with a water-repellent coating.

It’s the update MAX owners have wanted since day one, and one that instantly makes the camera more practical for creators who push their gear to the limit.

The return of the GoPro ecosystem

Other highlights include the 32-inch floating extension pole and 40-inch carbon-fibre extension pole, perfect for creative aerial or underwater 360° shots.

The ski-pole mount nods to GoPro’s winter-sports roots, giving users a fresh way to capture immersive POV angles on the slopes, while the USB pass-through door means you can charge or transfer footage mid-shoot without unmounting the camera.

The Enduro battery and dual-battery charger help tackle one of the MAX 2’s few pain points: endurance during long recording sessions.

By broadening the accessory ecosystem, GoPro is reinforcing its reputation as a brand that supports creators with the tools they actually need.

The MAX 2 was already one of the most capable 360° action cams on the market, and with these add-ons, it’s become far more versatile.

The MAX 2 was a strong return for GoPro’s 360 lineup, and this new wave of accessories makes it even better.

The Lens Replacement Kit alone fixes one of the MAX’s biggest headaches, while the new mounts, poles and chargers round out an ecosystem built for serious adventure filming.

Most of the new accessories are available now from GoPro, with prices starting at around £29.99 / $29.99 for mounts and up to £99.99 / $99.99 for the Lens Replacement Kit and premium extension poles.

Looking for a new 360° action camera? Amazon's got you sorted. The online mega-retailer just dropped the prices of many of the best action cameras from top brands, including GoPro, DJI and Insta360. And yes, most of the deals apply to the brands' latest models!

Two out of three major brands also have sales promotions running on their websites. DJI's a bit of a sneaky one, and only shows you the discounts when you click into the listing. (It has some red-hot drone deals, too.) Insta360 is a bit more forthcoming about its offers, advertising them on its storefront.

The most exciting deal is on the recently launched DJI OSMO 360. Its dual 1-inch sensors capture vivid, immersive footage with excellent stabilisation and near-seamless stitching. The app ecosystem is intuitive, editing capabilities are strong, and the form factor is durable if not pocket-friendly. For content creators who value creative flexibility and all-angle storytelling, the Osmo 360 is a premium, powerful tool that pushes 360° visuals into exciting new territory.

The Insta360 X5 has dual 1/1.28-inch sensors that deliver sharper, cleaner footage; its PureVideo mode elevates night shooting. The option for replaceable lenses boosts durability and longevity. The new InstaFrame and AI tools simplify reframing and reduce postwork. Battery life is decent (around 88 min at 8K).

Although the latest GoPro Max 2 isn't on offer yet, the 2025 refresh of the GoPro Max brings meaningful refinements while retaining its 5.6K 360° capture. Standout features include the Enduro battery for better performance, a ¼-20 tripod thread under its folding mount, and powerful AI-driven editing tools in the updated Quik app. It trades speed and smart software for a major image upgrade, suitable for existing GoPro fans.

The Osmo Pocket 3 only launched in late 2023, but leaks over the past few weeks suggest its successor could bring major changes, not just an iterative bump.

One of the most surprising launches from DJI last year – and possibly the reason why the Chinese company overtook GoPro as the most popular action camera brand in Japan – has been a runaway success, with people rushing to secure one, even after the price increase in the US earlier this year.

Despite the high demand, DJI seems to be working hard on the successor to the Pocket 3, and if the rumours are true, the new version is far from a cosmetic update. Here’s what’s being whispered about the Osmo Pocket 4, based on rumours, leaks and a few speculative reports.

Dual-camera twist

The most eye-catching claim comes from DroneXL, which reports that the Pocket 4 could ditch its single-lens design in favour of a dual-camera setup.

DJI's best drones have been sporting a multi-camera setup for years (see also the DJI Air 3 launch from two years ago), so it makes sense that the tech is affordable enough to apply to a handheld device.

The Pocket 4 is said to come with a larger primary sensor, while the second could add zoom or depth-sensing capability.

TechEBlog even points to spy shots suggesting extra glass on the front, fuelling speculation about telephoto tricks or better subject tracking.

Bigger sensors, faster video

Some reports suggest a 1-inch sensor, which wouldn't be a huge upgrade, as the Pocket 3 already has a 1-inch CMOS sensor on board. However, the Pocket 4 might come with Hasselblad colour tuning, which would be interesting.

Other companies also used established camera brands to market some products in the past. The Insta360 Ace Pro 2 features optics co-engineered by Leica, along with filters that reproduce classic Leica colours.

The 1-inch sensor isn't set in stone, though. NotebookCheck links the Pocket 4 to OmniVision’s new OV50R40, a 50MP, 1/1.3-inch chip capable of 8K capture and clever in-sensor zoom.

Pair that with leaked video modes like 4K at 240fps and 10-bit HDR/D-Log M recording, and you’re looking at specs that are closer to those of pro-grade cameras than to a pocket gimbal.

Dual screens and smarter tracking

According to TechEBlog, the Pocket 4 might sport screens on both sides, with a main 2.5-inch panel bright enough (800 nits or more) for daylight shooting, and a front display for vloggers.

LoyaltyDrones suggests that ActiveTrack 7.0 could debut here, using depth data to keep a lock on subjects even when they duck behind obstacles.

With all this extra hardware, reports hint at a small weight bump to ~190 grams (6.7oz) – still pretty lightweight for what the camera has to offer. For comparison, the DJI Osmo Action 5 weighs 146g, but this does not include the weight of any handles.

Price is less certain, but TechEBlog expects it to start around $599–$699, placing it above the Pocket 3’s launch price. Let's hope it's closer to the lower threshold, though.

Release timing is murkier still: LoyaltyDrones tips late 2025, while Digital Camera World thinks DJI may wait until 2026 or even 2027.

A compact camera in flux

Of course, none of this is confirmed. DJI hasn’t filed any public FCC documents, and leaks often paint a picture more ambitious than the final product.

Still, the rumoured combination of a dual-camera system, brighter displays, and more advanced sensors hints at a Pocket that’s growing into something much more than a pocket gimbal.

For now, all we can do is wait, but if these rumours are true, the Osmo Pocket 4 could be DJI’s most surprising launch in years.

I was lucky enough to get my hands on the new GoPro MAX 2, the brand's updated 360-degree camera, ahead of the launch. The MAX 2 is a competent camera, and GoPro claims it's the most 8K action camera of all 8K cams out there.

That said, it retails for quite a hefty price, which I suppose makes sense, given the amount of tech the company packed into the small body of the MAX 2.

After all, it's the first 8K camera from GoPro, and seemingly, the brand was keen on putting its best foot forward with it by including every feature the design and creative teams could think of.

I was pumped to try the MAX 2. I'm a big fan of Insta360's cameras, as they allow for some very creative content creation. Plus, you can shoot one video and edit it into 16:9 and 9:16 videos, saving a ton of resources in the process.

During the briefing, the brand representatives casually mentioned that, in addition to the MAX 2, GoPro will also launch two new products: the Fluid Pro AI gimbal and the successor to last year's GoPro Hero.

When lights steal the show

Called Lit Hero, the little action cam introduces a feature that I believe will be a game-changer for many content creators: forward-facing LED lights. Not only that, but the light also features three intensity settings that you can control via a conveniently placed physical button.

Why would a light be more important than, let's say, resolution? Because content creation in 2025 is increasingly about the person, not their surroundings.

Sure, extreme sports will always look cool on the MAX 2 or the GoPro HERO 13 Black, but most creators will vlog instead of riding down a mountain in their underwear on a pair of skies.

The Lit Hero can not only record videos in 4K @ 60fps – more than enough for social media – but it can also quite literally fit in your pocket, making it a lot less intimidating than its larger siblings.

Back to the noughties

Better still, the LED light lends a sort of naughties vibe to the footage, which is very popular right now. The light is sharp, creating somewhat overexposed videos and photos, which people love.

And let's not forget that the price is a lot friendlier than most flagship cameras, lowering the barrier for creators to join in on the fun. If I were a budding videographer keen on creating videos for social media, the Lit Hero's price would be something I could seriously consider, as opposed to splashing the cash on the HERO 13 Black (although there are some good deals available).

With Black Friday/ Christmas season just upon us, it will be interesting to see how Lit Hero sales will perform. I'm sure everyone will be busy hunting for MAX 2 deals, but I'll be keeping an eye out for the dinky GoPro instead.

The Lit Hero is available to pre-order now at GoPro US, GoPro UK and GoPro AU for the recommended retail price of $269.99/ £239.99/ AU$419.95.

GoPro hasn’t slowed down in 2025. The brand relaunched its MAX action camera earlier this year, gave the HERO 13 Black a colourful refresh, and kept fans guessing about what might land in September (its usual launch window).

Among the rumours swirling was the MAX 2, teased heavily across GoPro’s own channels, complete with talk of replaceable lens covers and design tweaks.

When the chance came to test the GoPro MAX 2 ahead of launch, I jumped at it. After a week of shooting, swapping lenses, and even pushing the battery to its limits, I can say this: it’s not the revolutionary 360 action camera some expected, but it is a seriously refined one – and in some ways, GoPro’s most ambitious camera yet.

Unicorns and heavy crowns

The GoPro MAX 2 resembles the lovechild of the original MAX and the GoPro Hero, the “nugget-sized” model the company introduced last year. The MAX 2 has a stocky shape, compared to the Insta360 X5. According to Pablo Lema, GoPro’s Senior VP of Product (whom I interviewed last year), they designed the MAX 2 to be less tubular to avoid people “looking like a unicorn” when worn on the head.

As he puts it, “As 360 cameras get into more athletes’ hands, being low-profile and out of the way becomes increasingly important.” Interestingly, the camera has become heavier since the last time (195g vs 158.9g) and thicker (48.7mm vs 39.7mm), likely due to the larger battery (1,960mAh vs 1,600mAh) and other factors.

I really don’t have a massive preference regarding 360 action camera shape. The longer/slimmer variety makes sense for selfie sticks, but equally, the MAX 2 weighs pretty much exactly the same as the X5, so the shape of the camera doesn’t make much of a difference.

Twist, mount, repeat

The same goes for the shape and orientation of the display: the MAX 2’s horizontal screen works just as fine as the X5’s vertical approach. As long as the shape doesn’t affect stitching, I couldn’t care less.

One thing that has also increased in size is the touchscreen display, which has expanded from 1.69" to 1.82" and now occupies more than half of the rear of the MAX 2. I would say it makes it easier to frame yourself, but you really don’t have to frame anything with a 360 camera, as it captures everything around it, allowing you to reframe footage in post.

The MAX 2 now features interchangeable lenses that can be easily replaced without the need for any tools. While the Insta360 X5 also has this feature, it’s quite challenging to remove its lenses without tools; the rubber rings around MAX 2’s lenses make it easy to grab and twist them.

Plus, a small icon on the side of the ring helps you determine if the lens is fully locked in or not – small details like this make GoPros so popular. The only slight caveat I found is that fully tightening the lens requires some squeezing, but it’s still a hundred times easier than anything I experienced before. Not to mention, the low-light champion DJI OSMO 360 doesn’t have this feature at all, so there is that.

Another physical update is the mounting. GoPro applied the same triple-mount approach they rolled out last year, allowing you to use the MAX 2 with a variety of accessories. The threaded mount is great for selfie-stick action, but if you prefer to have the camera affixed to your helmet, you can also use the finger or magnetic mounts.

Pixels and promises

The front of the MAX 2 features the same ridged design as last year’s Hero to enhance heat dissipation. Finally, the MAX 2’s sound performance has been greatly improved, thanks to the six-microphone setup. Better still, the camera can not only capture sound all around it, but it also has better directional focus in certain modes (e.g. POV).

We expected the MAX 2 to improve image quality over its predecessor, and it’s exactly what happened. The MAX 2 can shoot 360-degree footage in 8K, and the brand claims its 8K resolution is superior to that of other companies. GoPro produced a white paper to explain this, saying that other brands take non-useable pixels into account when calculating resolution.

In practice, this doesn’t really make a difference on a day-to-day basis. Sure, the MAX 2 probably has the most usable pixels, but 360 action cams are not the pros’s top choice, and therefore, I don’t think many will care enough about the extra pixels. That said, GoPro claims the MAX 2 has 16-21% more resolution than the competition, which is quite a significant upgrade.

There is one area where this is obvious, which is when you freeze the frame in the Quik app. In my experience, it felt like I could grab any frame from a 30 fps video and use it as a photo. The frames feel less gimmicky, and the colours and lines more defined – one of the best things about using a GoPro.

Colour and motion

The brand also added 10-bit colour (the MAX could “only” do 8 bits), which increases the colour palette and provides smoother gradients. The MAX 2 is also capable of GP-Log encoding with GoPro LUTs, allowing you to seamlessly integrate the footage into your professional workflow.

The bitrate has increased to 100 Mbps (from 78 Mbps) or 300 Mbps using GoPro Labs. A higher bitrate means finer detail, texture, and motion information, although it increases file size. Combined with the deeper colours and larger resolution, it’s easy to see why the MAX 2 produces such sharp videos.

Another feature people love about GoPros is slow motion, and the MAX 2 delivers on this front, too. You can achieve up to 3x slow motion (100 fps played back at 30 or 25 fps) while maintaining 4K resolution across the full 360° sphere, or 2x slow motion in 5.6K resolution. I haven't tested this feature yet, but it sounds promising!

The MAX 2 offers two modes that make it easier to shoot specific types of content. In POV mode, you get a front-facing 180° POV angle, with the best stabilisation settings. Playback is ready to export as a traditional flat video, with minimal or no video editing necessary. Selfie mode is best used for those classic selfie stick shots. Both modes capture the full 360 scene.

As mentioned above, the MAX 2 has a much larger battery than the MAX, which it needs as 8K videos eat battery for breakfast. An approx. 50-minute timelapse video in 8k resolution essentially halved the battery (with GPS on). Shooting shorter bursts of footage – even in 8K – prevents the MAX 2 from overheating, significantly improving battery life. Although there is no fast charging function, the battery is removable, allowing you to swap it out if necessary and continue shooting.

Themes with limits

All footage is edited in the Quik app, which I must say isn’t quite as user-friendly as Insta360’s when it comes to 360-degree footage, but it’s decent. There are multiple ways to review and edit your videos, including using keyframes and pointing your smartphone in the direction you want your video to face (also known as MotionFrame).

There is, of course, “Themes” that lets you edit footage automatically, but some of the functionality is paywalled behind the Premium and Premium+ subscriptions. Additionally, the themes in Themes are somewhat random, unlike Insta360’s version, where you generally know what to expect (perhaps it’s just a communication issue).

The price of ambition

The more I looked into the GoPro MAX 2, the more I liked it. It’s not a revolutionary action camera, but it’s a great 360 action cam. Where it really shines is image quality: those 8K videos with 10-bit colour and 100 Mbps bitrate look crisp and well-balanced. I expected nothing less from the brand, but it’s nice to see the MAX 2 delivers.

As for the price, the MAX 2 sells for slightly less than the Insta360 X6 and significantly more than the DJI OSMO 360. $499.99 is a flagship price and a whopping $100 more than the recommended price of the HERO 13 Black – that’s quite a statement from GoPro. It’s clear the brand is targeting Insta360 with the price.

Too ambitious? Maybe, but GoPro also like to drop the price of cameras not long after they were launched, so that it might be a strategy here, too. One thing is sure: the MAX 2 is an action camera that pushes you out of your comfort zone by pushing itself to its limits. And I’m totally here for it.

The MAX 2 is now available for preorder from GoPro at the recommended retail price of $499.99. It'll start shipping on 20 September 2025.

It’s been a busy ol' time for action cams. We’ve had leaks left, right and centre from DJI in recent weeks before the brand officially unveiled its tiny, wearable Osmo Nano earlier today. Then, a mere hour later, GoPro pipes up with a fresh camera of its own.

That announcement comes in the form of the all-new Lit Hero - an entry-level model with 4K at 60fps recording as well as some fresh features, one of which we've not seen on a GoPro before.

Light it up

The Lit Hero's headline feature is a built-in LED. Yep, this is the first GoPro with an integrated front-facing light, which alone is something to be excited about.

According to GoPro, it's not just a gimmick, as it means users can lift their face out of murky shadows for vlogs, Zooms on the go, or as a B-cam pointing back at you while the main camera grabs the action.

GoPro’s even moved the record button to the front, which makes sense if the lens is often pointed your way. There’s no front display, though, so framing yourself won’t be as easy as on pricier models. Still, if you’ve ever wrestled with a faffy clip-on light, having one built in will make all the difference.

At first glance, it seems the Lit Hero is made for creators who film themselves as much as their surroundings.

Entry Hero brains, grown-up video

Compared to the standard entry-level Hero, the Lit Hero doubles the top resolution frame rate to 4K/60 (up from 4K/30), so you get cleaner motion or a touch of slow-mo without dropping quality.

GoPro’s 4:3 capture is also featured, which is especially handy for shooting once and cropping for vertical later. It’ll also spit out 12MP 4:3 photos if you need socials done fast.

As you’d expect, the body is waterproof to 5m (16ft) and built to take a knock. Power comes from GoPro’s Enduro battery, with the company quoting over 100 minutes of 4K/60 recording per charge - though that will most likely dip if you’re blasting the light.

So, what's the damage?

The GoPro Lit Hero is available to pre-order now for $270 / £239.99 on GoPro's official store, with shipping set for 21 October.

If you don’t need the absolute latest bells and whistles from the Hero 13, but you want sharper 4K/60 and a tidy light baked in for to-camera pieces, this looks a sensible, wallet-friendly pick.

Oakley has teamed up with Meta to launch the Meta Vanguard Performance AI glasses, a pair of smart eyewear designed for athletes who want to capture their workouts without the faff of mounts or chest rigs.

At $499, they’re priced in line with the best action cameras, offering the promise of hands-free filming, fitness integrations, and a sleek, visor-style Oakley build.

The big question: Can a pair of glasses really challenge GoPro, DJI, and Insta360 in the action camera market?

A visor with ambition

The Vanguard glasses pack a 12-megapixel ultrawide camera with a 122° field of view, capable of 3K/30fps video, plus 1080p at 60fps or 30fps, and even 720p/120fps slow-motion.

You get adjustable electronic image stabilisation (plus your head naturally stabilising the footage), IP67 dust- and water-resistance, around nine hours of mixed battery life, and 32GB of onboard storage.

The visor build weighs just 66g and comes with Oakley’s PRIZM lenses, making them genuinely wearable for cycling, trail running or even skiing.

On paper, that looks competitive, though not quite the bleeding edge of action-cam specs.

Point of view, redefined

The obvious win is perspective. Because the camera sits on your face, you capture exactly what you see, no mounts or rigs required.

For athletes, that’s a big draw: you can ride, run or ski without fiddling with buttons.

The glasses integrate with platforms like Strava, automatically capturing milestones and even overlaying performance stats.

The five-mic array and louder speakers also mean you can take calls or hear updates mid-ride without yanking out a phone.

In short, they’re convenient, lightweight, and social-media ready.

Of course, some brands, such as Insta360, already offer small cameras that can be mounted pretty much anywhere.

The Insta360 Go Series is a good example: the Insta360 Go 3S can shoot in 4K @ 30fps and weighs only 39.1g.

You'll need to affix it to your head somehow (e.g., by clipping it to your hat), which is admittedly more cumbersome than putting on your sunglasses.

Where pixels meet reality

Stacked against the latest 'big-boy' GoPro Hero, DJI Osmo or Insta360 X-series, though, the gaps start to show.

Action cameras now push 5K (e.g. GoPro HERO 13 Black) and even 8K (e.g. Insta360 X5) resolutions, with buttery-smooth horizon-levelling stabilisation and frame rates up to 240fps (see also: DJI Osmo Action 5 review).

They also allow for swappable batteries, accessory mounts, and pro-level controls like log profiles and external mic support.

The Vanguard’s 3K/30fps cap is just about okay for Instagram or TikTok, but won’t cut it for cinematic edits or extreme sports where stabilisation and durability are critical.

On a trail run or cycle ride, the Oakleys shine: light, hands-free and integrated into your workout flow.

For skiing, they could make for an immersive POV with minimal bulk.

However, for vloggers, professional YouTubers, or filmmakers, traditional action cameras still prevail, thanks to higher image fidelity, longer continuous recording, and the flexibility to shoot from multiple angles.

A glimpse of tomorrow

The Vanguard feels like version one of a bigger idea. Smart glasses could eventually match action cams with higher resolutions, optical stabilisation, or even modular add-ons like clip-on 360° lenses.

Pair that with AI-driven auto-editing, and you can imagine a future where glasses replace action cams for all but the most pro workflows.

Right now, though, they’re best seen as a complement rather than a replacement.

Oakley’s Meta Vanguard smart glasses won’t kill GoPro, DJI or Insta360 just yet, but they might nibble at their audience.

For everyday athletes who want to capture rides, runs or gym sessions without extra gear, they’re a genuinely exciting new option.

For anyone chasing professional-grade footage, though, the traditional action camera still rules.

Don’t ditch your GoPro just yet, but don’t be surprised if your next pair of sunglasses can shoot your next reel.

Pre-orders for the Oakley Meta Vanguard AI glasses are open now via Oakley. Prices start at £499/ $499 (~AU$751.17). Shipping begins on October 21, 2025.

GoPro may have just lost the action camera crown in Japan (for now, anyway), but a new patent suggests the brand isn’t going down quietly.

Instead, it’s gearing up to fight back, and not with a new HERO camera, but with something entirely different.

According to a patent published by the US Patent and Trademark Office, action camera giant GoPro is working on a modular, handheld camera system strikingly similar to DJI’s Osmo Pocket 3.

It features a rotating camera head, a detachable grip, hybrid stabilisation and the kind of flexibility that would make it just as at home in the hands of a YouTuber as it would mounted on a drone.

It might be the first glimpse of a GoPro resurgence, one that CEO Nicholas Woodman has been hinting at for months.

And with DJI raising US prices due to trade tariffs and growing anti-China sentiment fuelling demand for American-made tech, GoPro’s pivot couldn’t be better timed.

GoPro goes full Osmo

The GoPro patent outlines a two-part modular camera: an “image capture module” that contains both the imager and a mechanical stabilisation mechanism, and a “handheld module” that houses the battery, display, controls and ergonomic grip.

The modules are designed to detach and reconnect within seconds, allowing for flexible use across grips, mounts and possibly even drones.

It’s a radical departure from the GoPro Hero 13 Black (bar the modularity), the latest iteration of the HERO Series, and in many ways, it’s a spiritual successor to the Karma Grip concept, but vastly more refined.

The patent even hints at voice control, quick-swap batteries, software-assisted framing and deep integration with GoPro’s cloud editing platform.

From a hardware perspective, it looks like GoPro is taking on DJI’s Osmo Pocket 3 directly, the same compact vlogging camera that helped the Chinese brand overtake GoPro as the top action camera seller in Japan earlier this year.

Strategic timing (and a US-made advantage)

The timing of this patent is no accident. In his appearance at the Oppenheimer Tech Conference earlier this month, Nick Woodman confirmed GoPro will enter the “high-end low-light prosumer” category in 2026, and teased that some of the company’s upcoming products haven’t been publicly revealed yet.

That’s a strong indication that this modular camera could arrive sooner than expected, possibly even as GoPro’s big Q4 launch for 2025.

It would be a smart move. DJI's Osmo Pocket 3 is still widely regarded as one of the best compact cameras for vloggers and content creators, but it’s facing headwinds in the US.

Since the latest round of tariffs came into effect, DJI has quietly raised prices across its lineup.

The Pocket 3 now costs significantly more than when it launched, a shift that’s made many creators reconsider alternatives.

(That said, it's flying off the shelves in the US, even with $280/ 54% price hike.)

Combine that with mounting political pressure on Chinese tech brands in the US, and GoPro has a unique opportunity to launch a US-made, modular, creator-friendly camera that undercuts DJI on price, avoids trade friction, and delivers tight software integration via its subscription platform.

It’s a compelling pitch.

From “action cam” to “capture anything”

Zoom out, and this patent also reflects a broader shift in GoPro’s strategy.

Woodman repeatedly emphasised during the Oppenheimer session that GoPro is no longer just building cameras for sport and adventure.

In other words, the company is building tools, not toys: cameras with real utility, adaptable across industries, creators, and professionals.

A modular system like this makes sense in that context.

A lightweight gimbal-cam for vloggers. A drone-ready head for FPV pilots. A construction-ready imaging unit for site inspections.

All tied back into GoPro’s cloud platform and growing software subscription model.

For a brand that once revolutionised action cameras but then struggled to break out of its own category, this could be the start of a new chapter.

If GoPro can pull this off, delivering a compact, stabilised, modular camera with the right features at the right price, it could reclaim ground not just in Japan, but in every market where creators are hunting for smarter gear.

And given the shape of the market right now (see also the escalating drone wars), this may be GoPro’s best chance yet to hit DJI where it hurts.

The Insta360 GO Ultra is here, and while it may look like another small step in the GO series, it's actually a giant leap in performance.

With a bigger sensor, crisper 4K60 video, longer battery life, and a host of AI-powered tricks, the GO Ultra feels like a creative tool built for serious content makers.

But how does it stack up against the Insta360 GO 3S, which only launched a year ago and is still one of the most compact, fun-to-use action cameras around?

If you're torn between the two, or wondering if it's worth upgrading, you're in the right place. I’ve reviewed both models and lived with them in the real world. Here's how the GO Ultra and GO 3S compare across specs, shooting performance, battery life, and overall usability.

Insta360 GO Ultra vs GO 3S

Price and availability

The Insta360 GO Ultra launched in August 2025, priced at $449.99 / £389 / €429 for the Standard Bundle. It includes the camera, Action Pod, Magnet Pendant, Easy Clip, Safety Cord, USB-C cable, and a Lens Guard. The Creator Bundle ups the ante with a Mini Tripod 2.0, Quick Release Mount, and Pivot Stand for $499.99 / £429 / €479.

In comparison, the GO 3S debuted a year earlier in June 2024 at $400 / £350 (64GB version), and has since dropped to around $320 / £280. That makes it significantly more affordable, especially for newcomers to action cameras or those who don’t need the Ultra’s extra muscle.

Both are available at the Insta360 Store.

Winner: Insta360 GO 3S, which is the better deal for budget-conscious users – more than enough camera for most casual creators.

Design and durability

At a glance, the GO Ultra and GO 3S follow the same familiar format: a tiny camera that slots into a modular Action Pod with a flip-up screen. But look closer and you’ll spot some big changes to both the layout and the feel of the hardware.

The GO Ultra’s camera unit ditches the GO 3S’s pill-like design in favour of a squarer, flatter body. It’s noticeably heavier, weighing in at 53g compared to the GO 3S’s 39g, but that added bulk comes with serious internal upgrades, including a larger sensor, a new ambient light sensor, and removable microSD storage.

There are two orientation LEDs on the Go Ultra – one on the front and one on the top – to help you quickly figure out how it’s positioned. However, it would’ve been helpful if Insta360 had added more explicit visual cues or printed indicators for vertical or horizontal shooting.

The Action Pod has also grown, both in size and screen real estate. It now features a 2.5-inch flip-up touchscreen, a welcome upgrade from the 2.2-inch display on the GO 3S, and the overall layout has been tweaked.

The record button, power button, and mic port have all been shifted slightly to make room for a DSLR-style grip on the right-hand side, which gives the pod a more substantial, camcorder-like feel in the hand.

Another key change is the mounting system: where the GO 3S clipped in from the sides, the GO Ultra locks in from the bottom, so older mounts aren’t compatible.

Even the accessories have had a rethink. The included pendant now supports an adjustable tilt, which makes POV footage easier to frame, especially if you're wearing it around your neck. The Flexi Strap and Easy Clip Headband have also been updated to stay more secure during high-movement activities.

Winner: Insta360 GO Ultra. It’s heavier and a little chunkier, but the GO Ultra is a clear step up in build quality, ergonomics, and usability.

Image quality

The GO Ultra marks a real step up in visual fidelity, thanks in large part to its new 1/1.28-inch sensor, a noticeable jump from the 1/2.3-inch sensor found in the GO 3S. That extra sensor size makes a difference. Footage looks crisper, dynamic range is better, and low-light performance is a huge improvement, particularly in PureVideo mode, which uses AI to reduce noise and boost clarity in darker environments.

Still photos also have had a big glow-up. The GO Ultra can now shoot up to 50MP stills, compared to the GO 3S’s 9MP or 12.5MP options. That means more flexibility for cropping, better detail in landscapes, and a noticeable difference when viewing on larger screens. Active HDR has also been refined, improving contrast and colour in tricky lighting conditions, ideal for sunset vlogs, shaded trails, or bright city scenes.

Another major upgrade is frame rate. The GO Ultra can record 4K at 60fps, making motion smoother and more immersive, while the GO 3S tops out at 4K30. For fast action, it’s a difference you can feel. There’s also 2x 4K clarity zoom on the Ultra, letting you punch in without destroying image quality, a feature the GO 3S doesn’t offer.

Winner: Insta360 GO Ultra. With a larger sensor, higher frame rates, PureVideo and HDR upgrades, and 50MP stills, the GO Ultra is in a different class to its predecessor.

Features and modes

Insta360’s GO cameras have always punched above their weight when it comes to creative features, and the GO Ultra continues that trend with an even broader toolkit aimed squarely at content creators.

The GO 3S is no slouch, either. It offers all the Insta360 classics like FreeFrame video (which lets you reframe footage after shooting), TimeShift, Timelapse, Slow Motion, and HDR Photo modes. It’s more than enough for everyday use, especially for quick vlogs, short-form content, and first-person footage.

The GO Ultra builds on the foundations laid by its predecessor with more refined and more powerful tools. Most notably, it introduces PureVideo, an AI-enhanced low-light video mode that dramatically improves clarity and brightness in dark settings.

It also supports 4K Active HDR, which has been reworked to handle harsh lighting transitions and high-contrast scenes with less clipping and more detail. Portrait filters and smart skin-tone enhancements, borrowed from Insta360’s Ace Pro series, make it easier to get polished footage straight out of the camera.

There's also a noticeable push toward family-focused and creator-centric features. Toddler Titan Mode, for example, is designed for capturing close-up expressions with a micro lens and hat clip, while the new Family Moments feature in the app uses AI to automatically compile highlights of your week.

The GO Ultra also supports external Bluetooth microphones like DJI Mic 2 and even Apple AirPods Pro 2, and includes Apple Find My integration and a new anti-loss safety cord, features not found on the GO 3S.

Winner: Insta360 GO Ultra. Both cameras are packed with features, but the GO Ultra unlocks a new tier of creative control and flexibility.

Battery life and charging

Battery life has always been a sticking point for GO users, especially for those trying to film more than just short bursts of content. With the GO Ultra, Insta360 finally addresses that in a big way, and the difference is night and day.

The standalone GO Ultra camera lasts up to 70 minutes on a full charge, compared to the GO 3S’s 38 minutes. When paired with the Action Pod, the GO Ultra stretches that to a hefty 200 minutes, while the GO 3S tops out at 140 minutes.

Better still, the GO Ultra can reach 80% in just 12 minutes when charging the camera on its own, and about 18 minutes with the Action Pod. In contrast, the GO 3S needs 23 minutes for the camera and a much longer 47 minutes when charging with the pod.

There are still some caveats. Like most action cams, the GO Ultra runs warm when recording long clips in high resolutions (4K60, for example), and heat can affect overall battery performance in those conditions. Still, even with occasional warmth, the improvements in runtime and charge speed are hard to ignore.

Winner: Insta360 GO Ultra. Double the runtime, half the charging time. It’s a clear win for the Ultra.

Verdict

The GO 3S is still a fantastic little camera. It’s lightweight, relatively affordable, and packed with enough features to satisfy casual creators and everyday adventurers. If you already own one and use it for short POV clips or quick edits, there’s not a huge reason to upgrade; it still does the job, and does it well.

But the GO Ultra is a different beast. It’s heavier and more expensive, yes, but it earns that price tag with genuine upgrades across the board: longer battery life, faster charging, a better screen, swappable storage, more refined video modes, and noticeably improved image quality.

It feels like Insta360 is finally positioning the GO series as a serious creative tool: not just a quirky wearable cam, but a modular rig you can build into your content workflow.

Insta360 has a habit of releasing cameras quickly, and the GO Ultra might feel like it’s arriving hot on the heels of the GO 3S, but unlike some rapid-fire updates, this one brings meaningful changes that push the category forward.

Overall winner: Insta360 GO Ultra. This is the most capable, creator-focused GO camera Insta360 has made. Period.

I often cover the brand, but there is a very GOod reason for this coverage, as Insta360 just announced the latest iteration of its GO Series, the GO Ultra. The successor of the 4K-capable Insta360 GO 3S, the new model introduces heaps of updates, from a larger sensor and longer battery life to smoother footage and better low-light performance.

The camera is squarely aimed at content creators who are happy to pay the premium for better image quality and would like to use the GO Ultra for more than just basic action cam stuff. Of course (and as expected), the new Insta360 does a tremendous job at making editing of its footage more accessible to everyone, not just pros.

Is the Insta360 GO Ultra the best action camera for content creators? Depends. I know a lot of runfluencers who use GO cameras, but it’s not without caveats, especially if you want to record longer footage in higher resolutions/frame rates.

Plus, there is also an argument that for most people, the GO 3S provides more than enough functionality, making the GO Ultra a niche offering from the brand. There is no denying that, much like the company’s other products, the new camera is a lot of fun to use and experiment with, though!

Insta360 GO Ultra review

Price and availability

The GO Ultra was announced in August 2025 and is available to buy now directly from Insta360 for a recommended price of $449.99/ £389/ €429. This is for the standard Bundle, which includes the Insta360 GO Ultra, a Quick Release Safety Cord, one Magnet Pendant, one Magnetic Easy Clip, a USB-C cable, and a Lens Guard.

You’ll have to shell out a little bit more for the Creator Bundle, which sells for $499.99/ £429/ €479. This includes, on top of all the stuff included in the Standard Bundle, a Mini 2-in-1 Tripod 2.0, a Quick Release Mount and a Pivot Stand.

For comparison, the Insta360 GO 3S had an RRP of $400/ £350/ AU$720 (Standard Bundle, 64GB version) when it was launched last year. These days, you can get one for cheaper. Currently, it’s selling for around $320/ £280.

Specifications

• Photo resolution: Up to 50MP (8192×6144, 4:3)
• Video resolution: Up to 4K60fps (16:9)
• Sensor size: 1/1.28"
• Aperture: f/2.85
• Max field of view: 156°
• Weight (Camera unit only): 53g
• Overall weight (GO Ultra + Pod): 161g
• Dimensions: 46 × 45.7 × 18.3 mm
• Run time: 70 mins (Standalone Camera), 200 mins (with Action Pod)
• Charging: 0–80% in 12 minutes (camera only), 18 minutes with Action Pod
• Display: 2.5" flip touchscreen on Action Pod

Design and build quality

Insta360 figured out its design language for its action cameras at this point, and as a result, the GO Ultra is distinctively GO-looking. It has a larger camera unit, and the dimensions aren’t exactly the same, but you can tell straight away it’s a GO camera by looking at it.

Action Pod

The black Action Pod looks remarkably similar to the GO 3S, with a large record button on the top and the two buttons – on/off Quick Action – and on its side. The camera release button has been moved slightly, and so has the microphone, which is now located on the same side as the camera release button.

The Action Pod is larger and heavier than before (108g vs 96g) and houses a larger, 2.5” flip display. The hinge has also changed, but the mechanism feels the same. Given the size difference, the GO Ultra uses different mounts than its predecessor.

For example, the optional quick-release mount clips into the bottom of the pod instead of the edges like on the GO 3S. The pendant accessory, which is included in the box, has also been updated and now supports an adjustable tilt, allowing users to fine-tune the camera’s angle for a more flattering POV.

Another notable difference between the GO 3S and the GO Ultra’s Action Pod is that the latter has a DSLR-like grip on the right. The leather-esque material certainly helps hold the camera in hand more easily, and it also looks great.

Camera unit

The GO Ultra – the camera unit itself – underwent profound changes. It’s larger and heavier than before (53g vs 39g) and has a more square form factor as opposed to the GO 3S’s pill shape approach.

It’s thinner, though, and despite the weight and size increase, it feels quite dinky still. It has two LEDs, one at the front and one at the top edge of the camera, which is supposed to help identify the orientation of the GO Ultra.

If the (edge) light is facing up, the camera is shooting in horizontal mode. If the light is on the side, it’s in vertical shooting mode. It is straightforward, but I wish Insta360 made it even easier to identify which mode the camera is shooting in by printing the words ‘vertical’ and ‘horizontal’ on the edges, so when I look at the GO Ultra, I can immediately tell where I’m at.

(Battery life has also increased, but I’ll take about that separately below.)

The sensor size has increased to 1/1.28" (from 1/1.23"), and the aperture is somewhat wider at 156° (vs 150°). Aperture stayed at f/2.85, but thanks to the larger sensor and the inclusion of the PureVideo Mode (more on this later), low light performance has increased.

A big-big update is that the GO Ultra now supports external (MicroSD) memory cards. This can be swapped on the GO, which reduces downtime when shooting. It’s a bit fiddly to install the card, especially for those with big hands like me – I had to press hard with my nail for the card to clip into place. Once you get used to the princess, it’s fine, though.

Features

Insta360 cameras are as feature-rich as it gets, and the GO Ultra sports most of the shooting modes you expect to see on the brand’s devices, including standard video (up to 4K @ 60 fps, 2.7K @ 120 fps and 1080p @ 240 fps), FreeFrame Video (shoot-first, reframe-later), Timeshift, Timelapse (and Starlapse), Loop recording (a.k.a. dashcam mode), Slow Motion and Burst and Interval Photo modes.

On top of this, and thanks to the larger sensor, the GO Ultra can deliver 50MP stills (8192×6144, 4:3), a big upgrade from the GO 3S’s 4,000 x 2,250 pixels. Video frame rate has also been increased from 4K @ 30 fps to 4K @ 60 fps, as mentioned above.

Active HDR Mode has been improved, and the GO Ultra is said to capture a wider dynamic range, balancing highlights and shadows in challenging lighting conditions. You will need to drop the frame rate down to 30 fps in 4K to apply this mode, but it helps reduce data loss in dark/bright areas of the frame.

Low light mode has been given a big boost thanks to the inclusion of PureShot Mode, borrowed from the Insta360 X5 (via the Insta360 Ace Pro 2). PureVideo is a dedicated low-light video mode powered by AI, designed to deliver brighter, clearer, and less noisy footage. Frame rate is capped at 4K @ 30 fps here, too.

Another feature borrowed from the Ace Series is the different filters and portrait enhancements. This includes "Glow" and "Selfie" filters tailored for skin tones and ambient colour boost, as well as smart in-camera portrait features to improve skin tone and facial detail without needing retouching.

Performance

The only real limit is how far your creativity can stretch when using the GO Ultra. It is small, IPX8 (up to 10m/ 33ft) waterproof, has a large sensor, an AI-enhanced chip, tons of shooting modes, and more – if you can think of a scene, you’ll likely be able to record it with the camera.

I took the GO Ultra swimming, exploring and even did workouts with it. As long as you have the appropriate accessories, the world really is your oyster. Footage is crisp and vivid, and thanks to the increased frame rate and larger sensor, you can watch back your videos on a 60” smart TV and it will still look GOod.

The only downsides of the GO Ultra are the same as the issues that arise while using any action camera. The bright, wide-angle lens doesn’t lend itself to anything but POV footage and landscape videos. Anything from three feet away looks quite dull and flat, due to the lack of depth of field and the algorithmic adjustments.

The GO Ultra is best used to capture unusual angles, like dropping it in a glass of water or the toaster. The classic, high-octane action shots (e.g. mountain biking, etc.) would also look perfect on it, but you don’t need to use a GO camera for that – any action camera, like a GoPro, can do that.

I used the pendant and the optional Easy Clip Headband, as well as any magnetic surface I could find, to record most of my footage. Because of the wide FOV and location of the headband, most of the videos I shot from that angle make me look like I’m a giant (I’m 6’1”).

The pendant provides a better angle, but you can’t do vigorous activities with it; otherwise, the footage will be shaky as the camera bounces up and down on your chest. For walking and general pottering around, that’s the best option, though.

One thing I would have loved to see is an option to shoot vertical videos with the GO Ultra inside the Action Pod. With a square camera body, all you would need to do is rotate it 90 degrees in the Pod, and voila! Now, you have to rotate the whole camera – and potentially get an external mount – if you want to shoot vertical videos with the GO Ultra in the Action Pod.

Battery life

Battery life was one of the biggest complaints with previous GO models, and Insta360 clearly took that feedback to heart. The GO Ultra delivers a significant boost in runtime and charging speed compared to the GO 3S.

The standalone camera now lasts up to 70 minutes on a full charge, nearly double the 38-minute battery life of the GO 3S. Pair it with the Action Pod, and you’re looking at an impressive 200 minutes of shooting time before needing to top up.

Charging’s had a major glow-up, too. Thanks to a next-gen stacked-polymer battery design, the GO Ultra can hit 80% in just 12 minutes (camera only), or 18 minutes with the Action Pod, which is around twice as fast as the GO 3S, which needed 23 minutes (camera) or a hefty 47 minutes (with pod) to hit the same mark.

During testing, around 10 minutes of 4k @ 60 fps video recording ate up approximately 20% of the battery (GO Ultra outside the Action Pod). Heat also plays a role in battery life – the warmer the camera, the quicker the battery depletes.

It might be beneficial for Insta360 to look at the surface of the also compact GoPro Hero, which has a more textured, ridged exterior, designed to improve heat dissipation. A similar approach on the GO might improve overheating in higher framerates and resolutions.

Verdict

It’s both extremely easy and quite challenging to recommend the GO Ultra. It’s a brilliant little action camera that’s hardly any more expensive than its predecessor (at full price), yet offers a ton of improved functionality, longer battery life, and crisper, higher definition videos and photos.

On the other hand, the GO 3S only launched a year ago, and plenty of people were still happily using their GO 2; many hadn’t even made the jump to the GO 3, let alone the 3S. I do appreciate that Insta360 makes sure each new version is a genuine upgrade, not just a cosmetic touch-up, but the release pace is wild.

Of course, we must consider that the brand has a way to GO to establish itself as the go-to action camera brand as opposed to just being everyone’s fave 360-degree camera brand. DJI seems to be Japan’s top action cam brand (although that might be boosted by the incredible success of the Osmo Pocket 3), and GoPro still dominates the US.

One way innovative Chinese companies, such as Insta360, tackle this issue is through market saturation. DJI does this with its drones, and Insta360 is on track with its many products to do the same with action cams. It’s already dominating 360° cameras with its X Series, and the Ace Pro 2 is a true GoPro Hero rival.

The GO Series has been popular with creators, and with the GO Ultra, Insta360 is upping the game once again. It might be Going after a supposedly niche market – semi-professional/serious amateur content creators – but truth be told, there are more and more of those out there these days.

Do you need the Insta360 GO Ultra? If you feel restrained by the limitations of using your smartphone for content creation, you’ll love it. It’s much cheaper than a new iPhone, and although you can’t use it for calls, it will certainly help unlock your creativity in high resolution.

GoPro, the brand that made action cameras cool, has been going through a bit of a rough patch, but it seems like the company has a plan to move beyond its current woes.

Speaking at the Oppenheimer 28th Annual Technology, Internet & Communications Conference, GoPro CEO Nicholas Woodman and CFO Brian McGee revealed the brand’s bold plans to expand into new product categories, introduce new software subscriptions, and even help users monetise their footage for AI model training.

The big picture? GoPro wants to shift from building "toys" to making "tools", high-utility, subscription-connected devices for everyone from weekend adventurers to professional creators.

Beyond the action cam

GoPro's CEO says the company currently leads the U.S. action camera market with around 3 million units sold globally per year.

But that’s just a slice of what Woodman sees as a 7-million-unit opportunity that also includes 360 cameras and low-light prosumer gear, the latter being a completely new category for GoPro, launching in 2026.

Meanwhile, the company is re-entering the 360 cam space with Max 2, due later this year, following a successful MAX reboot that is said to have reclaimed 10% market share.

But perhaps the most unexpected move? GoPro is working with high-end helmet brand AGV to create tech-enabled motorcycle helmets with built-in imaging and communication tools.

Why? It's supposedly a $3 billion global market that GoPro sees as ripe for disruption.

Your footage could be worth money

GoPro also confirmed it’s launching a program that lets subscribers opt in to license their cloud-stored footage for AI training models.

Big tech firms came knocking, and GoPro’s 13 million hours of video content are in demand.

Users who join the scheme will earn 50% of the licensing revenue, a novel monetisation play for action cam footage.

GoPro’s strategy is now built around the trio of hardware, software, and subscription.

Its $50/year GoPro Premium subscription includes unlimited cloud backup (for GoPro footage), editing tools, and app features, and, according to Woodman, it's performing well.

The company has boosted attach rates (i.e., camera buyers who also purchase a GoPro subscription) from the low 40s to 56%, and retention sits at ~80% by year four.

Starting in 2026, GoPro will also launch software subscriptions decoupled from hardware, potentially appealing to current camera owners and professionals in industries like real estate and construction.

Less hype, more depth

As flashy as its cameras might be, GoPro’s real power now lies in diversification and ecosystem stickiness.

With new categories, software tools, and monetisation options on the way, the brand is betting on long-term relevance well beyond its Hero cameras.

The takeaway? If you thought GoPro peaked with extreme sports videos, you might want to look again: the brand’s next chapter could be its most profitable yet.

Most brands would be happy with a product launch video and a few glossy studio shots. Not Insta360.

To introduce the new Satin White Limited Edition of its flagship action camera, the brand teamed up with Sent Into Space to send it 23.6 miles (38 km) above the Earth, into the stratosphere.

GoPros have hitched rides to the edge of space before, usually courtesy of NASA, YouTubers, or school science projects.

Insta360 itself has sent previous models sky-high in collaboration with Sent Into Space.

However, this marks the first time an action cam brand has launched a limited-edition product into the stratosphere as part of a formal release, not just to survive space, but to sell it.

In near-vacuum conditions, at temperatures as low as -68°F (-56°C) and under 30% stronger sunlight than we experience at sea level, the camera recorded the entire journey – and survived!

Designed to turn heads, engineered to take hits

Underneath the ridiculously slick-looking satin white finish is the same creative powerhouse we raved about in our Insta360 X5 review.

We're talking about 8K @ 30 fps video, excellent low-light performance, 88 minutes of battery life, and new AI-powered InstaFrame and auto-edits.

As for the colourway, Insta360 must have been inspired by GoPro, which has been releasing limited-edition colourways of its top-of-the-range model, the GoPro Hero 13 Black, to great success.

Just recently, Insta360 launched new accessories and updated the X5's features to make it more appealing.

It is likely related to the recent release of the DJI OSMO 360 and the imminent GoPro Max 2 launch.

Top of the list is a new set of ND filters. These clip-on filters (ND16/32/64) reduce glare and allow for longer exposures and cinematic motion blur.

The camera also gained what's called AdaptiveTone, a clever exposure system that records light data independently from each of the X5’s dual lenses.

Plus, Insta360’s low-light technology, PureVideo, is also now available in Single-Lens Mode, having previously been limited to 360° video.

The Insta360 X5 Satin White Limited Edition is available now from Insta360.

DJI isn’t slowing down after the launch of the Osmo 360, the company's first 360-degree rugged cam, which was released last week.

The DJI OSMO 360 uses a square sensor to fully utilise the 1‑inch sensor area, without wasted corners, delivering a whopping 13.5 stops of dynamic range, making it a formidable rival of the best 360-degree action camera, the Insta360 X5.

The brand has just rolled out a major update to the DJI Mimo app (v2.3.2), bringing with it a host of new creative tools and sport-focused features designed to supercharge the experience for creators and athletes alike.

The update adds full support for the new action camera along with fresh video editing tools, improved sharing options, and a brand-new sports dashboard feature.

On the creative front, DJI has introduced new Pro Colour Grading themes, including Swift Shadows, Chasing Light, and Shaping Realms, allowing users to stylise regular Osmo 360 footage with professional polish.

You’ll also now be able to tweak the watermark position, flip footage horizontally for more natural portrait video, and choose from five aspect ratios for optimised posting across different social media platforms.

If you’re using the Osmo 360 to capture runs or rides, DJI has added new training-friendly functionality too.

A sports training dashboard now lets you record sports data directly from your mobile and monitor it with a single tap, while a new cadence sticker enhances the visual data for runners looking to up their performance.

This app update follows closely behind the Osmo 360's firmware upgrade, as reported by Notebookcheck, which improved connectivity, low-light performance, and UI responsiveness.

With these enhancements, the Osmo 360 is shaping up to be a genuinely competitive 360 camera, not just for creators, but also for fitness enthusiasts looking to track and share their sessions in style.

GoPro still hasn't confirmed the release date of its upcoming 360° action camera, the Max 2, but the brand is continuously teasing the upcoming model on social media.

In its latest Instagram post, we see what looks like the Max 2 on the ground with its lens broken. Then, a person picks up the camera and replaces the lens with a fresh set.

The lack of repairability of 360-degree action camera lenses has long been an issue for fans of this type of recording device.

360° cams feature two camera units located on each side, with the lens 'bulging out' of the case for broader recording angles.

These protruding units are more susceptible to damage, especially in extreme use cases, like when used on a motorbike or mountain bike.

Historically, if the lens got scratched/damaged, you had to replace the whole camera. Not anymore!

The GoPro Max 2 isn't the first camera to roll out this feature. The Insta360 X5 not only has replaceable lenses, but the brand has also recently announced ND filters for its flagship 360° camera.

8K video + better stabilisation

We don't know much about the upcoming GoPro Max 2 – at least officially.

Early leaks suggest a likely 8K resolution – or possibly up to 9.3K video – leveraging sensors from the Hero Black 13.

We also wouldn't be surprised to see improved frame rates over the original Max’s 5.6K/30 fps.

Plus, enhanced in-camera stabilisation and AI-based reframing/object tracking are almost a given, similar to features in the Quik app.

Coming to a dirt track near you soon

All eyes are on GoPro, as both Insta360 and now DJI have their own 360-degree cameras.

The latter just launched the DJI OSMO 360, the company's first 360° cam, with enhanced low-light performance and built-in storage.

Funnily enough, a common criticism about the OSMO 360 is the lack of a replaceable lens.

We're expecting to see the Max 2 to be revealed in late August/ early September, alongside the latest iteration of the brand's flagship model, the HERO Black14.

DJI has officially unseated GoPro as the top-selling action camera brand in Japan, according to newly released data from market research firm BCN.

In the first half of 2025, DJI captured a 35.3% share of the action cam market, beating out GoPro for the first time in the region’s prestigious sales leaderboard.

It’s a big deal, and not just because GoPro has traditionally dominated Japan, but because the country’s tech-savvy consumers often provide an early signal for global trends.

In 2024, GoPro still led Japan’s full-year rankings, but DJI was hot on its heels. Now, six months into 2025, DJI has officially pulled ahead.

That shift reflects broader momentum for DJI, which has rapidly grown its market share across categories.

In Japan’s overall digital video camera segment, the brand now commands over 37% of sales, thanks in large part to hits like the Osmo Pocket 3 and the Osmo Action 4.

DJI is also rumoured to be prepping a new Osmo 360, which could shake up the growing 360-degree camera space currently dominated by Insta360.

GoPro fights back

GoPro isn’t backing down, though. The company has quietly teased its long-awaited Max 2, its first major 360 camera update since 2019.

Expected to land later this year, the new model is said to bring improved object tracking and streamlined editing tools via the Quik app.

Still, the baton may already be mid-air. In Japan, DJI’s appeal has widened beyond drone enthusiasts and gimbal nerds to everyday adventurers, vloggers and content creators.

The company’s minimalist design language, aggressive pricing, and tight hardware-software integration are clearly resonating.

Meanwhile, Insta360 continues to lead in the modular and 360 camera space globally, but didn’t crack the top three in Japan’s action cam sales rankings, suggesting its audience remains more niche than GoPro and DJI’s broader appeal.

It’s worth noting that GoPro still holds a strong position globally, especially in North America and Europe, where it remains a go-to for extreme sports, cycling, and travel.

But with DJI’s ascent in one of Asia’s most influential consumer markets, the global balance may be tilting.

If DJI can keep the pressure on and deliver the rumoured Osmo 360 before GoPro drops its Max 2, it might not be long before this becomes more than just a regional win.

[Source: BCN via Digital Camera World]

Insta360 has fired the opening shot in what’s shaping up to be a summer of 360° camera wars.

With rumours swirling around about the new DJI Osmo 360 and a week after GoPro officially teased its upcoming Max 2 camera, Insta360 has dropped a powerful Summer Update for its most powerful rugged cam.

It adds new features, smarter software, and hardware upgrades designed to keep the brand and its flagship action camera, the Insta360 X5, ahead of the curve.

The biggest upgrade is AdaptiveTone, a clever exposure system that records light data independently from each of the X5’s dual lenses.

This allows the camera to automatically balance highlights and shadows across scenes with dramatic contrast (like doorways or sun-drenched trails) without resorting to aggressive post-processing.

The result is natural-looking 360-degree footage in all scenarios, making the camera better suited for more than just action shots.

AdaptiveTone is available in 8K30fps and 5.7K30fps 360 Video and PureVideo modes.

Speaking of PureVideo, Insta360’s low-light technology is also now available in Single-Lens Mode, having previously been limited to 360° video.

It unlocks crisper, cleaner footage in darker conditions across both immersive and traditional video styles.

Battery boost

Battery life has also seen a major boost. Existing X5 owners benefit immediately from a firmware update that improves Endurance Mode.

Recording at 5.7K24fps now stretches to a whopping 208 minutes, up from 185 minutes, and Endurance Mode is now unlocked for 8K30fps recording, offering just under two hours of continuous high-res capture.

For those who need even more juice, Insta360 has launched a new 2,800mAh Ultra Battery that delivers up to 235 minutes (!) of runtime in 5.7K mode, which is about 17% longer than the standard battery.

ND filters!

The X5 already introduced interchangeable lenses, and Insta360 is making the most of the new feature by adding the first ND filters ever designed for a 360 camera.

The X5 ND Filters Set includes three options (ND16, ND32, ND64), reminiscent of the lens options available for the GoPro Hero 13 Black.

Water-related updates are also rolling out to the X5. AquaVision 3.0 applies colour adjustment options that best match your underwater shot.

The upcoming Invisible Dive Case Pro is said to improve underwater image quality through advanced optical design

With GoPro and DJI waiting in the wings, it’s clear Insta360 isn’t giving up its pole position without a fight.