Panasonic has achieved something that some of the biggest names in imaging and technology have previously struggled to do: successfully challenge one of Red Digital Cinema’s hugely influential compressed RAW video patents.

A Japanese court has upheld the invalidation of key claims within Red’s Japanese “Video Camera” patent, finding that significant parts of the claimed invention lacked the necessary inventive step because they would have been obvious to someone skilled in the field and familiar with existing technology.

The ruling follows an earlier challenge brought by Panasonic and represents a significant moment for a patent family that has influenced the development of digital cinema cameras for almost two decades.

The case relates to Japanese Patent No. 5231529, which traces back to Red’s compressed RAW video technology and describes a high-resolution video camera capable of recording compressed RAW image data internally.

Panasonic challenged the patent through an invalidation proceeding, with the Japan Patent Office ruling in October 2024 that a number of its claims were invalid.

Nikon, having acquired Red Digital Cinema in 2024 and inherited its intellectual property, subsequently became involved in defending the patent, but Japan’s Intellectual Property High Court dismissed the challenge on June 30 2026 and upheld the invalidation.

That creates a particularly unusual situation for Nikon. Before acquiring Red, Nikon had itself been accused of infringing Red’s compressed RAW technology with its N-RAW video implementation and argued against the validity of Red’s patent claims during the dispute.

Nikon eventually solved that particular problem spectacularly by acquiring Red outright, bringing the cinema camera company, its technology and its intellectual property portfolio under the Nikon umbrella. It now finds itself attempting to defend technology that, only a few years earlier, it had been challenging.

The importance of Red’s compressed RAW patents goes far beyond Nikon. Similar intellectual property has played a major role in disputes involving companies including Sony and Apple, with the latter previously challenging Red patents relating to compressed RAW recording without success.

Red’s technology helped establish a powerful position around recording high-resolution compressed RAW video internally, something that became increasingly important as mirrorless and cinema cameras began offering ever more sophisticated video capabilities.

The landscape, however, looks very different today.

Canon, Panasonic, Sony, Nikon and Blackmagic Design are among the manufacturers now offering cameras capable of sophisticated internal RAW recording in one form or another, while Nikon has begun integrating Red technology more directly into its own video ecosystem following the acquisition.

Panasonic’s victory therefore arrives at an interesting moment, although it is important to stress that the judgment concerns the Japanese patent and does not automatically invalidate Red’s related patents or licensing arrangements elsewhere in the world.

Exactly what this means commercially remains much harder to determine. One potential consequence could involve licensing arrangements surrounding compressed RAW formats such as Apple ProRes RAW, although the details of Red’s licensing agreements have historically remained private and Nikon now owns the company and its patent portfolio.

What is clear is that Panasonic has managed to successfully overturn key claims in Japan where challenges from some considerably larger technology companies had previously failed elsewhere, and that alone makes this a fascinating development in the long-running story of compressed RAW video.

You might also like…

Take a look at the best Panasonic Lumix cameras, which might soon benefit from the outcome of this situation.

The new GoPro Mission 1 Pro has been described as "the best GoPro ever" – but the company’s latest financials hint the launch hasn’t yet been enough to bolster the struggling camera company. GoPro’s August 10 filings and financial updates indicate that the action camera giant’s “substantial doubt about the Company’s ability to continue…has not been alleviated.”

The update comes amid GoPro’s latest financial report, with a 38 percent drop in camera sales and a 31 percent drop in revenue compared to the same time last year.

GoPro is still posting a “going concern”

GoPro’s previous filings hint that the company could “be required to significantly reduce, restructure, cease operations, or seek protection under the Federal bankruptcy laws” if the action-camera maker's finances don’t turn around. In updated documentation shared on August 10, the company said that those concerns “have not been alleviated,” as the company posted another quarterly revenue decline even amid the launch of the GoPro Mission 1 series.

The insight comes from required Securities and Exchange Commission filings. While a company posting a going concern does not mean a bankruptcy or restructure is imminent – Kodak, for example, filed similar paperwork but has since then settled debts – the filing suggests that there is significant concern over the company’s finances, and the August 10 update says that “going concern” is still in play.

GoPro is in the “later stages” of looking for a potential buyer or merger

As the action camera maker faces declining sales and increased competition, the company shared earlier this year that it was looking for a potential sale, merger, or another “strategic event.” During the earnings call, CEO and founder Nickolas Woodman said that the process is now in the “later stages.”

“The inquiries we have received span the defense, consumer and financial sectors, and we are in the later stages of the process,” Woodman said. “As I’ve shared, this process has my full support.”

While Woodman’s update was brief, it also indicates that the company’s potential strategic move may be outside the consumer camera space – and potentially in the defense or financial space.

GoPro’s latest financials show a drop in camera sales, but a spike in subscriptions

The updated stock market filings come alongside the company’s second-quarter financial results. GoPro posted $105 million (£77.7 million / AU$148.8 million / CA$146.3 million) in quarterly revenue – a number that is 31 percent less than the company’s revenue from the same time period in 2025. The report also indicates that the company sold 291,000 cameras – which is a decrease of 38 percent from the same time last year.

While GoPro’s Q2 financials show that the action camera giant's struggles continue, GoPro did have a positive to report: Subscriptions have increased, leading to record revenue coming from the company’s service that offers cloud storage, camera replacement, and discounts on cameras and accessories.

GoPro says that its subscription revenue increased 11 percent compared to the same time last year, hitting $29 million (£21.5 million / AU$41.1 million / CA$40.1 million) and accounting for 28 percent of the company’s revenue.

That number does, however, also include $2 million (£1.4 million / AU$2.8 million / CA$2.7 million) for GoPro’s AI licensing program.

The next member of the Mission 1 series launches next month

GoPro has met its latest financial struggles with an expansion into an entirely new category. GoPro calls the new Mission 1 series a “compact cinema camera” rather than an action camera. That includes the Mission 1 Pro that has GoPro’s well-known HyperSmooth stabilization and waterproofing but incorporates a larger one-inch sensor with 8K30 open gate.

While the Mission 1 and Mission 1 Pro are already shipping in some parts of the world, GoPro will finish the three-camera series next month with the Mission 1 Pro ILS, the company’s first mirrorless camera, Woodman revealed during the meeting, narrowing down the company’s earlier “third quarter” estimate for the ILS arrival.

The ILS mixes the same sensor and high frame rates as the fixed-lens Mission 1 Pro, but uses a Micro Four Thirds lens mount instead of a fixed lens.

Woodman calls the Mission 1 series “the world’s most capable compact cinema cameras.”

“With the launch of our new MISSION 1 Series cameras, we’ve given creators more options and performance than ever before,” Woodman said during the earnings presentation. “From our tried-and-true cinematic- and adventure-lifestyle-proven Hero13 cameras, to the award-winning Max2 360-degree camera, to the all-new Mission 1 Series built for professionals and prosumers—GoPro’s camera offerings set the bar for adventure-fueled lifestyle and now, cinema-grade capture.”

You may also like

Take a look at the best GoPro cameras or the best vlogging cameras.

DJI did something rare with the Osmo Pocket series – created a new kind of camera. The company fused the lightweight gimbal technology used to keep cameras steady on its dominant range of drones with a simple 'wand' so it could be used handheld, essentially creating a compact camera that was akin to a serious professional Stedicam setup.

Almost inevitably, the world went crazy for what we've called the 'pocket gimbal camera', and DJI company kept refining their offering – the DJI Pocket 3 sold by the millions. The recently released Pocket 4 added a raft of refinements, but stuck to the single camera system and same sized image sensor. For those already equipped with a Pocket 3 there wasn't a "big thing" to upgrade for.

The Pocket 4P, though, is another matter. It brings all the refinements of the Pocket 4 and, crucially, a second camera. mimicking the multi-camera approach used by premium phones to improve telephoto range. Is it the "pocket cinema camera" that is suggested? How does it hold up against the new competitor in town (the Insta360 Luna Ultra)? I've been testing both and here is my verdict...

DJI Pocket 4P Value

When released globally on July 30 (except the USA because of legal issues), the Osmo Pocket 4P had a starting price of £529 (around $710), which represents solid value, considering that the Pocket 4 comes in at £445.

DJI Pocket 4P Specs

DJI Pocket 4P Build and handling

The DJI Pocket 4P feels a lot like its predecessors, which is to say that the handle is superbly well-built of tough plastics with a very convincing grip.

Atop it is a new feature for DJI – a dual camera system with a 20mm EFL camera boasting a 1-inch CMOS sensor with LOFIC (this is a system which adds capacitors to capture additional highlight detail, reducing the chance of over-exposure). The 60mm one is a more standard 1/1.28-inch.

The screen is on a rotating mechanism that also serves as the on-off switch, an elegant piece of design on the Pocket 3, which has been stepped up a level with the arrival of two customisable buttons that are revealed when the camera is active. The left of these is a 'zoom' button by default, quickly switching from the 20mm to the 60mm view (though with a half-second 'zoom' rather than an instant jump).

You can also turn the screen back to vertical and tap the screen before it powers off to easily switch to vertical shooting. This won't actually rotate the camera – but will give you a larger view (at the expense of hiding those two new buttons!)

Control is by those physical buttons, a '5D' thumb joystick, and that OLED touchscreen, the 1,000 nits of brightness serving well even in bright daylight.

The size of the screen is just big enough that it's possible to put a button in each corner and for them to be easy to press. In addition, swiping from the sides reveals features like playback (from the left), settings, resolutions, or the Pro options.

Described like this, it might sound overwhelming, but they are neatly categorised and relatively soon become second nature. For me there was one exception: the thumbstick is switched between operating the camera direction and the zoom level with an icon on the screen. A separate physical zoom slider (as seen on the Luna Ultra) would be a lot easier, ergonomically.

Much of the time, too, you can rely on the camera's ActiveTrack 8.0 feature to keep your subject in shot; it can recognise people and other objects and keep them in frame with the gimbal. This is the true appeal to a solo operator.

Using the same grip makes it compatible with most of the same accessories, but it does mean that it is notably 'top-heavy'. To be honest, I think this is fine, and since I found myself using the battery handle (an added accessory, but one I'd recommend) that is completely offset anyway.

A nice touch is that DJI has stuck to the handle dimensions of the Pocket 3, so if you have the battery handle accessory from that generation, it'll work. It won't deliver quite as much power as the new one, but it'll fit, and it'll work.

The battery life is a solid 210 minutes, about half an hour less than the Pocket 4 standard because of the heavier gimbal, though it will come down if you move around more.

DJI Pocket 4P Performance

Image quality from the Pocket 4P is striking, and I have no complaints about the mechanical stabilization.

The 4K video quality is excellent with natural colors, and I shot in D-Log, D-Log 2 (the new color profile which takes advantage of the LOFIC sensor) and the normal modes.

It was a little irksome that the camera's new D-Log 2 color profile is only available for some of the shooting modes, easily explained by the fact only the 1-inch sensor on the 20mm camera has the LOFIC tech, but less so by some of the other modes that won't play ball, like slo-mo.

Regardless the 60mm telephoto lens is perfect for achieving the background compression from real depth of field, not the horrible simulated alternative offered digitally by phones, and it looks great.

Paired with the camera's ability to act as a receiver for a DJI Mic (all part of the ecosystem), it takes seconds to set up an on-location piece to camera which is then recorded with synced sound.

Battery life is impressive, and the refinements to the newer battery handle are appreciated, That said, I did a lot of my testing in 4K60fps and it will plough through the power notable faster. Hyperlapse and slow-mo had similar issues.

On a long days shooting I found myself topping up the charge with my portable power station, but it wasn't an issue – it fast-charges to 80% in under 20 minutes. Copying files from the device is also pleasingly painless thanks to DJI's Wi-Fi 6 and USB 3.1 support so even 200kbps videos flow off very quickly.

DJI's default shooting modes produce very natural color, and significantly better image quality than a phone. The 60mm lens is f/1.8, so it's very much like a classic portrait lens, but it's also worth remembering that 2x is effectively lossless at 4K (as is 6x zoom). There is even 12x zoom and that does show signs of digital zoom but I was impressed that not only is it 'good enough' when needed, but the subject tracking was still easily able to cope at this distance.

While the D-Log and D-Log 2 confusion is an irritation, it isn't a tragic loss. The camera makes very sensible choices if you shoot in normal mode. If you are determined to use the best possible color science for each shot as you'll need to switch between them in the menus, and ideally a different LUT for each.

The other crucial factor, focus, is generally pretty reliable, too. The camera generally stays on the selected subject or main face in the shot which is crucial for a pocket gimbal camera as it isn't a control you'd want to be handling, given how much movement can be going on. I was genuinely surprised how rarely the camera focused on anything other than my choice of subject – meaning it'd probably make a great choice for product photographers too.

DJI Pocket 4P Overall Verdict

As soon as I knew there was a 4th generation of DJI's Pocket coming along, this was the camera I wanted. First came the Pocket 4, though, and I found myself complaining: "Where is the other lens, from all the rumors?" As someone who wants to be able to put the camera a little way away, trust the camera's subject tracking, and shoot pieces to camera while out alone, this was the upgrade I was waiting for.

So here it is and, honestly, there are very few frustrations. Admittedly, I'd prefer the new Log 2 mode to be available across the lenses, and I still find the 5D joystick somewhat fiddly (especially now I've used the Luna Ultra and know there is an alternative approach).

And I still don't fully understand why there isn't a tripod thread on the standard camera – just a USB-C socket in the base and a plug-in box/handle extension (I get that USB is also the means to connect to accessories, but why not use something like the pogo-pin contacts on the gimbal head, leaving room for a tripod thread?

This, though, was not an issue for the success of the previous generation and, to be honest, if your hands are the size of mine, leaving the handle extension on all the time (except when you have the battery handle) improves the ergonomics anyway.

Would I upgrade for the extra dynamic range and the Log-2? No. But that doesn't matter – the 60mm lens is reason enough.

Alternatives

How I test?

I've tested multiple generations of this camera and other gimbal cameras, and many drones and gimbals, so have built up years of expertise. I've found that the best thing to do is to use it in 'real life' circumstances, so, for the Pocket 4 series, that involved taking the device out into the world and shooting videos, some of which you can see cut into the video at the top of this piece.

I tested with a device DJI loaned me before the release, giving me something of a head start. In that time I was also able to I compare it to the Pocket 3, the Pocket 4 and the Insta360 Luna Ultra.

AeroTek isn't necessarily the most well-known brand, but this is a solid play for a spot in our best body cameras guide. That said, it does have two wearable security cameras that have drawn our attention primarily because of their reasonable specs and budget-friendly price tags.

The model I've been testing recently is the AeroTek T03 2K, which, you guessed it, shoots a 2K video resolution. Other features include a 40 MP photo resolution, a two-inch color display, a 3000 mAh battery, and infrared lights for better night vision.

The lack of 4K video, GPS tracking, and dashcam mounting will put more serious security professionals off, but for less than $100 you really do get an impressive set of specs. In fact, if you're new to this world and need an entry-level camera to get started, the T03 2K is well worth a look.

If you're more keen on a discreet wearable for capturing the moments of your life, then you'll be better served by one of the best action cameras or best POV cameras instead. These are compact, cute, and usually a lot better looking than the range of cameras that the T03 2K fits into.

AeroTek T03 2K: Specifications

AeroTek T03 2K: Price & Availability

The AeroTeK T03 2K Body Camera retails at $99.99. If you were interested in similarly specced and priced alternatives, then the BOBLOV KJ23PRO 2K, at $109, is your best bet.

The T03 package includes the camera, a USB charging cable, and a 64 GB MicroSD card. If you'd like more storage, then the slot supports up to a 512 GB MicroSD card, although you'll need to buy this separately.

If you like the camera but require 4K resolution, then AeroTek sells the T05 Mini 4K for $189. This model includes a higher resolution and GPS tracking. Or, if you're looking for a more lifestyle wearable camera, then the Boblov W4 that I reviewed recently is an attractive proposition.

AeroTek T03 2K: Build and handling

The first things that grabbed me when I unboxed the AeroTek T03 are the nice design accents located on the front face, which are usually absent from most brands of body cams, which look frankly quite utilitarian. AeroTek has opted for a red ring around the lens and a red block right at the bottom. These give the device some much-needed identity and character.

In terms of portability, the T03 is both compact and lightweight. As a result, it is effortless to carry around, either while shooting or transferring files to a computer. The lightweight construction is a positive for portability, but it does leave the unit susceptible to damage, especially when knocked either during a scuffle or when impacted against a solid surface. Rubber padding would help with this.

In terms of mounting, the device ships with a short clip and a longer alternative designed for shoulder mounting. Both supply sufficient grip on clothing, but I do have a couple of issues with their implementation. The first is that the short clip covers a portion of the display and therefore limits visibility. I'm not sure why AeroTek didn't design it so the clip sits slightly higher (although this flaw isn't unique to this brand).

The second issue is with the long shoulder clip, which can become obstructed by the main body of the camera and become stuck if you're not careful. Again, a small change in the limit of the rotation would solve this. The only additional note for mounting is that there's no dash cam attachment like there is with the AeroTek T05 Mini 4K, but that's no surprise at this price point.

The two-inch color display sits flush with the case around it, and despite no advertised specs on its resolution, it provides enough clarity to review footage on the device. Unfortunately, the lack of zoom capabilities while reviewing video or photos is a little restrictive and disappointing.

The T03 features an IP64 rating, which promises protection against dust and splashes. To test the claim, I sprayed water on all sides of the unit and, after a quick dry-off, found the device continued to perform with no problems at all. The rating is sufficient for any professional providing security at a pub or live music event where drinks might get spilt or thrown.

AeroTek T03 2K: Performance

Operating the device is simple and straightforward thanks to a series of easy-to-press buttons on the left- and right-hand sides as well as underneath the display. Unfortunately, I quickly ran into issues trying to remove the microSD card from the camera. More specifically, I was unable to remove the rubber slot using my fingernail and had to resort to using a single prong of a fork. This was far from ideal and resulted in me scratching the plastic around it.

Once I managed to get the microSD card out of the camera and into my laptop card reader, I downloaded the captured footage without any problems. The 2K footage is clear, vibrant, and relatively free from low-light noise. When the dynamic range of the shot is too wide, the sensor struggles to expose correctly across the entire image. Despite this, the camera generally picked the 'best' objects to expose for. Video footage is more than suitable for evidence capture.

The T03 is also capable of recording nighttime video courtesy of its seven infrared lights. These can be set to work automatically so that you don't have to remember to turn them on manually when the light levels drop. The camera manages to capture reasonable light levels, but the video is both blurry and grainy.

Photos are captured at an 8000 x 6000 px resolution, and even though this is a respectable image size, the sensor just can't handle delivering what's required when it comes to clarity and correct exposure. I took a photo of myself indoors with one side of my face brightly lit and found the output to be severely overexposed, with exposure issues creeping into the mid-tones.

In addition to video and photo, the T03 is able to capture sound clips, which it does admirably. Audio is recorded with clarity and detail, no matter whether the audio is coming from in front, behind, or even to the side of the device. Audio is recorded in the popular WAV format.

The T03 features a powerful 3000 mAh battery, which provides up to 12 hours of continuous recording. This is sufficient for most work shifts, although you'll have to carry out a full charge after every single one.

AeroTek T03 2K: Overall Verdict

The AeroTek T03 body camera offers a reasonable set of specs given the sub-$100 price tag. Its core function of capturing wide-angle video footage is respectable, especially if you're filming during good lighting conditions. It's also straightforward to operate and lightweight to carry.

But, despite doing a good job with video, AeroTek hasn't been able to deliver the same quality with photo capture. Unfortunately, results are blurry and lacking clarity. Issues continue with nighttime recording, so if you work a lot of night shifts, I wouldn't recommend buying the T03.

Despite these issues alongside a lack of 4K video and GPS tracking, if it's a basic, budget-friendly body cam you're looking for, then the T03 should make anyone's shortlist.

You might also like...

It's well worth checking our guide to the best body cameras, though if your needs tend more toward video quality than long battery life, perhaps check the best action cameras. Don't forget you might even save on your car insurance with one of the best dash cams.

If you're a high-end creator or videographer, you've probably got one question on your mind: Sony FX3 vs FX5, which do I get?

Chances are, you've probably already got a Sony FX3. Launched back in 2021, it's been an absolutely monster success story for Sony and has been the go-to camera for creators, videographers and even filmmakers for the past half-decade.

But it's definitely a camera with room for improvement, which is why Sony finally pulled back the curtain on the Sony FX5.

While it's keen to stress that this isn't a replacement for the FX3, and isn't just an FX3 II by a different name, the FX5 offers a clear upgrade path for existing users – and a compelling proposition for those using other brands how might be considering a Sony system.

So, stick with the familiar face or drop the not insignificant extra bucks on the new kid in town? Here's my Sony FX3 vs Sony FX5 at-a-glance comparison.

Sony FX3 vs Sony FX5: At a glance

Sony FX3 vs Sony FX5: What's the ACTUAL difference?

I'll try to make this as straightforward as possible.

The Sony FX3 is a 4K 120p camera that doesn't shoot internal RAW, but can take photos (12.1MP). It has dual base ISO (800 and 12,800), good for 15 stops of dynamic range. It has 5.5 stops of in-body image stabilization and a last-gen autofocus system with human-only subject detection (with birds in stills mode). It has a 3-inch, 1.44 million-dot rear screen and no native viewfinder options. It tops out at 24-bit audio and uses dual SD cards.

The Sony FX5 is (or rather, will be) a 5K 120p / 4K 60p open gate camera that doesn't take photos but shoots internal RAW, including X-OCN. It has three-base ISO (800, 4,000 and 12,800), good for 15 stops of dynamic range (before using Dual Gain Shooting). It has "equivalent" 8.5 stops of stabilization and an integrated AI processor with human, animal and bird algorithms. It has a 3.5-inch, 2.76 million-dot screen with optional Sony EVF. It 32-bit float (with the right accessories) and has dual hybrid SD / CFexpress A slots.

But of course, there's a bit more to it than that.

Sony FX3 vs Sony FX5: Buyer beware

Crucially, the FX3 includes the XLR handle – and does so for an all-in price tag of $4,298 / £3,579 / AU$5,999. The FX5 does not include the handle, despite its higher $4,898 / £4,700 / AU$7,849 asking price – you'll need to shell out considerably more for the $5,498 / £5,200 / AU$8,849 bundle.

Neither camera comes with an EVF. Third-party options are available for the FX3, though they use the HDMI feed. Sony offers a first-party option for the FX5, with 7.07 million-dot resolution and 90° tilting, which will cost you an extra $698 / £650 / AU$999.

Note that you will not natively be able to use the XLR handle and the EVF simultaneously on the FX5, due to a conflict of space and outputs on the top plate. The Sony has hinted that a third-party solution may soon be available for those who need it.

Perhaps most importantly, a number of headline features – namely full open gate and RAW recording functionality – are not available on the FX5 at launch. On day one the camera will only be capable of 5K 60p open gate and 4K 120p capture; the full 5K 120p / 4K 60p open gate and 4K 240p shooting will only be available with firmware v2, which won't come until 2027.

It should also be pointed out that Sony does not provide an official CIPA rating for the stabilization in the FX5 "because it's a Cine Line product", but explained that its performance is "equivalent" to the Sony A7R VI (rated 8.5 stops at the center and 7 stops at the periphery).

Sony also offers an irreversible service to disable the stabilization unit completely on the FX5, if your work requires hard mounting or drone use where IBIS is unhelpful or even problematic. The camera will be labelled as such on the bottom plate, to make it clear that the IBIS system has been deactivated to prevent confusion (particularly, I assume, on the resale market).

Sony FX3 vs Sony FX5: Verdict

Obviously this isn't a verdict on the performance of both cameras; I think it's pretty clear that the FX5 outperforms the FX3 in every category, unless you want to take a photograph.

Ultimately, if you're reading this, you want to know whether the FX5 is worth the considerable extra expenditure – and there are obviously a whole bunch of provisos and asterisks to consider, both for the camera itself along with your work and the way you shoot it.

If money is no object, of course – go straight for the FX5, there's nothing to discuss. Otherwise, you need to ask yourself if you really need what it offers that the FX3 doesn't.

Do you really need 5K open gate? Does the resolution you get at 16:9 shooting genuinely limit your work and the way you deliver content? How often do you truly need to use the same shots for vertical and horizontal output, and would an L-bracket and an extra take be better value? Do you even have the storage and processing power in your workflow to handle open gate files?

Do you really need three more stops of stabilization or AI-powered autofocus? Or do you use your camera on a gimbal, with a focus puller or even manual-focus lenses?

I think, if most creators and video shooters answer honestly, the answer is no to most of those questions. Or at least, no to the $1,200 difference between the like-for-like cameras. In truth, I think the biggest and most important considerations aren't the headline attractions at all.

Okay, I'll grant you that three-base ISO is important if you're not able to control the lighting where you shoot. There's a gaping chasm between ISO800 and ISO12800, so splitting the difference with an ISO4000 option can be a pretty big deal depending on your typical shooting conditions.

But far more important to me are things like 32-bit float, which is guaranteed to save your audio ass at least once in your career (and might single-handedly justify the purchase). The dramatically improved battery life is another big bonus, boosting continuous recording by around 35 minutes.

I'd also argue that switching to CFexpress cards is a pretty huge upside, as we all know how fragile the SD format can be. And obviously, internal RAW recording is an enormous plus if that's what your content requires.

In all, if you've been bumping into its limitations and the FX3 has been actively impeding your work, upgrading to the Sony FX5 is a sensible option for serious, high-end videographers. Remember, this is a hybrid product that boasts features and interfaces from the Venice and Burano lines. Are you really that caliber of shooter?

Otherwise, despite its age, the Sony FX3 still offers fantastic features and powerhouse performance – and at a much lower price point. And hey, if all you want is the option to use a nice EVF, you can buy the Sony FX2 for less than both of these cameras.

From Elon Musk claiming that Grok AI will make a “historically accurate” Odyssey film to academic Emily Wilson saying she “would be ashamed to have written any part of this script,” it seems like Christopher Nolan’s latest epic, currently sitting at a triumphant 94% on Rotten Tomatoes, has divided opinion. But I’ve just caught a video from photographer and YouTuber Anthony Gugliotta, investigating why some viewers are saying The Odyssey looks blurry.

I haven’t seen the film in an IMAX cinema, but I have to say, I didn’t actively notice the presence of any softness. Then again, I’m not a fan of razor sharpness and to me, the ethereal look of the film really complemented the source material. I generally think the cinematography looked great.

But as to why The Odyssey might look a little soft in places, Anthony’s video gives two very plausible answers. Firstly, IMAX 70mm is a massive format, which makes shallow depths of field more obvious. Secondly, the production was using modified Panavision Primo 65 lenses, which contained anamorphic lens elements, further enhancing the shallow depth of field.

So here’s the thing, you’re working with very shallow depths of field to start with. You then have to use longer focal lengths to reach standard cinematic fields of view, because of the huge format. And finally, you might be shooting at wide apertures. All of this results in a sliver of a focal plane. This is a focus puller's nightmare for close-up scenes because very little movement from the actor in question will throw everything out of focus.

Ultimately though, I’ll take a slightly soft cinematic production over AI slop and CGI borefests any day of the week. Then again, what do I know? I watched 1988’s Bloodsport at the weekend and thoroughly enjoyed it…

You might also like...

How Christopher Nolan made a 300-pound IMAX camera disappear when making The Odyssey. Has color grading gone too far? This YouTube video hits on a subject I’ve pondered for years. Check out the best cinema cameras.

The GoPro name is almost as synonymous with accessories as it is with action cameras – and the new larger sensor Mission 1 Pro series isn’t any different. On July 29, GoPro rolled out the Mission 1 Series’ Media Mod, along with the updated Volta 2 battery tripod – the latter of which is also compatible with older Hero series cameras as well.

GoPro teased a long list of accessories at the Mission 1 Series launch, but now the Mission Media Mod and Volta 2 are finally rolling out, alongside bundled deals that include the new cinema-action camera with the accessories.

The accessories also come alongside new firmware for the Mission 1 series that includes accessory compatibility but also improves image quality with enhanced contrast and color accuracy.

And, the announcement even comes with insight that GoPro’s mirrorless Mission 1 Pro ILS is still on track to launch later this quarter. GoPro hasn’t shared a specific date yet, but the quarter ends on September 30.

The new accessories and Mission 1 Creator Kit combos will be GoPro.com exclusives at first before launching to retail stores in August.

The GoPro Volta 2

I’ve used GoPro’s original Volta to power all-night time lapses with my Hero12 camera. The Mission 1 Series offers better built-in battery life, but the GoPro Volta 2 expands that life to up to nine hours of 4K30p video, thanks to a higher-capacity 5800mAh battery.

The Volta 2 isn’t just an external battery pack though – it’s also a mini tripod and grip. Because the Volta 2 is specifically built for GoPro, the handle also incorporates camera controls, keeping key options within easy reach when using the Volta 2 as a grip.

The Volta 2 is also one of the new accessories that launched with the Mission 1 series but is still compatible with older Hero series cameras.

The Volta 2 is launching first as a GoPro.com exclusive before arriving on retail shelves in August. The battery tripod accessory retails for about $140 / £125 / AU$225 / CA$190, with discounts for subscribers who have been with GoPro for more than a year.

GoPro Media Mod for Mission 1 Series

GoPro is no stranger to Media Mods designed to give the action camera more ports and accessories, but the company says the Media Mod was redesigned from the ground up for the Mission 1 Series.

The new Media Mod has a built-in multi-pattern mic, but serious audophiles will find three different 3.5mm ports for an external microphone, a line-in for timecode sync, and a headphone port to monitor audio quality while recording. Both the integrated microphone and the mic port support 32-bit float audio.

The Media Mod also has a micro-HDMI port, which allows users to work with external monitors and live broadcasts with support for up to 4K60 video. A hot shoe slot for additional accessories, such as the GoPro LightMod 2, is also part of the setup.

GoPro says that the Mod is designed in a way that still allows for easy access to the battery and memory card slot, while supporting the traditional mounting fingers, magnetic mounts, and ¼-20 tripod mounts. The design is weather-resistant, but not submersible.

The Media Mod, which is compatible with all three Mission 1 models, will be a GoPro.com exclusive for the first few weeks before launching to retail stores in August. The accessory retails for $149 / £129 / AU$229 / CA$199.

GoPro Mission 1 firmware update

A firmware update for the Mission 1 Pro and Mission 1 gives the cameras support for those new accessories, but the firmware goes beyond adding in the accessories.

GoPro says the firmware update also comes with enhancements to image quality. In the cameras’ Dive Mode, contrast and tone tuning have improved. Color accuracy and cinematic motion blur tuning have also improved, the company says.

The firmware is available for download directly from GoPro.

The GoPro Mission 1 Pro ILS mirrorless camera is still on schedule for a 2026 release

Tucked in with the announcements, GoPro says that the company’s first mirrorless camera, the GoPro Mission 1 Pro ILS, is still on track to launch before the end of the third quarter.

That timeline isn’t any different than what GoPro shared at the initial Mission 1 Series announcement, but it reaffirms that the mirrorless camera hasn’t been pushed back amid the company’s financial struggles and increased scarcity for memory components.

Along with the new firmware, Media Mod, and Volta 2, GoPro also launched new Creator Combo bundles that pair the Mission 1 Pro with several accessories. The Mission 1 Pro Creator Edition includes the camera, Media Mod, Volta 2, and Wireless Mic kit for $1,099 / £950 / AU$1,700 / CA$1,499.

The Mission 1 Pro Ultimate Creator Edition swaps the Volta grip from the Creator Combo for the GoPro Fluid Pro AI gimbal and also includes the Light Mod 2 along with the Media Mod, Wireless Mic, and camera for $1,199 / £1,050 / AU$1,850 / CA$1,650.

The combos are available with the Mission 1 Pro directly from GoPro.com.

You may also like

Take a look at the best action cameras, the best vlogging cameras, or the best GoPro accessories.

The Sony FX5 was only available for 24 hours before demand exceeded supply in Japan, as the "handheld Hollywood" cinema camera is already achieving blockbuster success.

Announced last week, the Sony FX5 is due to launch on August 21. Pre-orders opened yesterday in Japan, but such is the appetite for the camera that some deliveries will be delayed until at least September.

This delay could be further impacted by the suspension of sensor production at Sony's Kumamoto factory, though there has been no official communication to this effect.

"We began accepting orders for the professional camcorder 'FX5' on Tuesday, July 28, 2026, and have received significantly more orders than we anticipated," announced Sony.

"As a result, there may be a delay in delivery.

According to the listing on Japan's official Sony Store website, fulfilment of new orders is currently expected to take place in September.

"We are currently working diligently to meet our customers' requests as much as possible, so please bear with us for a little while longer."

While technically a new product, the FX5 is one of Sony's most eagerly anticipated cameras. Customers have been awaiting a replacement for the five-year-old FX3, with camera rumors whipping up excitement for the body ahead of its official reveal.

A 5K 120p open gate camera with modular expansion and features inherited from the Burano and Venice lines, the Sony FX5 is widely expected to be as dominant for the next five years as the FX3 was in the previous.

And, if this early supply shortage in Japan is anything to go by, that dominance has already begun!

You might also like…

Take a look at the best cinema cameras along with the best cine lenses.

The company behind the original action camera is struggling with increased competition, heightened memory costs, and decreased sales – and now GoPro is at risk of being removed from the stock market.

For the second time in 2026, GoPro is at risk of being removed from the stock market as the action camera giant’s shares fall below the minimum requirement. The July 21 notification from Nasdaq is the company’s second this year, following a similar notification in March.

If a company is removed from the stock market, the company’s shares are no longer traded publicly. The warning comes as the struggling action camera giant is looking for a potential buyer or partner and has already filed “serious doubt” statements about potential bankruptcy if current conditions continue.

A delisting amid a potential bankruptcy would remove GoPro’s ability to recover value using publicly traded funding. GoPro now has 180 days – which would be January 17, 2027 – to bring shares back above $1 or more for at least 10 consecutive days.

GoPro received a similar warning in March, but after the company announced the GoPro Mission 1 series in April, shares climbed back above the $1 minimum, reaching a high of $1.73 in May before trending downward. Shares dipped below the $1 minimum again after the action camera giant filed warnings with “substantial doubt about the Company’s ability to continue” on June 01.

GoPro has already recovered from below the minimum once this year – the question remaining is whether or not the action camera giant can do it again. GoPro has one more Mission announcement up its sleeve. The mirrorless Mission 1 Pro ILS is expected to launch sometime in the third quarter of 2026, which means before September 30.

The Pro ILS carries much of the same specifications as the Mission 1 Pro, but adds a Micro Four Thirds mount for swappable lenses. The ability to switch lenses will drastically increase the camera's versatility over the usual fixed ultra-wide, but the mirrorless isn't submersible and is manual focus only.

GoPro is also actively looking for a potential buyer or merger, a move that founder and CEO Nicholas Woodman says he “fully supports.” Earlier this month, Woodman purchased $20 million in a stock loan to help keep the company afloat as the iconic action camera brand looks for a potential buyer or merger.

GoPro’s financials in recent years reflect increased competition and decreased sales, with the action camera giant’s last three fiscal years coming out as a net loss. But several major camera manufacturers are reporting steep increases in the cost of memory due to higher demand from AI this year. GoPro is no different and noted an 80% to 110% increase in memory hardware costs along with reduced supply last month.

GoPro is credited with launching the action camera category, launching a waterproof film camera in 2004 before introducing its first Hero series camera with video in 2006. The GoPro name quickly became synonymous with “action camera,” but the category has been increasingly competitive in recent years with players from DJI and Insta360, among others.

You may also like

Read the GoPro Mission 1 Pro review, or browse the best action cameras.

When the US government agencies first brought up security concerns over the world’s largest drone maker’s ties to China, the conversation centered on drones. But when the Federal Communications Commission added all foreign-made drones to its Covered List late last year, the group specifically called out DJI, effectively banning not just its future drones but its cameras and accessories as well.

One of the most popular vlogging cameras has gotten caught in the crossfire between DJI and the US government – and now even its lookalikes are getting held back. The new DJI Osmo Pocket 4 and 4P won’t be coming to the US, and now lookalikes Xtra Muse 2 and Muse 2 Pro have pulled pre-orders from the US.

The DJI Osmo Pocket series may look strange, but the camera’s gimbal-camera-in-one combo has proven successful for vloggers and content creators. After the Osmo Pocket 3 launched in 2023, the camera’s unusual design and features quickly went viral on social media, leading to a months-long waiting list to find one in stock.

The DJI Osmo Pocket 3 has now been replaced by the DJI Osmo Action 4 and the more advanced 4P. But the vlogging camera arrived after the FCC ban, and as such, the update to the popular vlogging camera isn’t coming to the States.

Now, even the popular Pocket camera’s copycats are becoming difficult to find in the US. After the FCC fined Xtra for failing to respond to inquiries, the agency is seeking public comment over potentially adding the company – as well as eight others selling suspected copies of tech from banned companies – to the Covered List.

Unlike DJI’s addition to the list, the FCC is considering a retroactive ban, which would revoke FCC approval for previously announced products, not just prevent future cameras from getting the necessary approval.

In the meantime, it appears that Xtra has started refunding US pre-orders for the new Xtra Muse 2 and Muse 2 Pro, along with removing the products from the website and halting pre-orders.

The Xtra Muse 2 is a key example of the drone ban’s effects beyond the cameras destined for the skies. The decision to add all “foreign-made drones” to the covered List is a move that effectively puts drone tech on pause in the US. While there are a handful of American drone companies, none of them make consumer drones for hobbyists, beginners, or pro photographers and videographers beyond multi-million dollar budget Hollywood films.

But, DJI is explicitly named on the Covered List. The “all foreign-made drones” addition would have effectively kept DJI’s future China-made drones out of the US, but specifically naming the company also prevents DJI’s non-aerial cameras from entering the US. (Previously existing DJI products are still legal to buy and use in the US; the FCC Covered List currently only prevents future products announced after the ban from receiving FCC approval).

As an American drone pilot, the foreign-made drone ban is a frustrating pause that will prevent me from accessing the latest drone technology until either a US company emerges or regulations change.

But perhaps the most frustrating aspect is that the DJI ban came without a security review – and encompasses far more than drones. The National Defense Authorization Act gave DJI a year to pass a security review or face an automatic ban, but the legislation failed to name what government agency would even be responsible – and then the review never actually happened.

DJI has already been placed on the FCC Covered List, but the turmoil over DJI-branded products (and lookalikes) in the US is far from over. The FCC is currently seeking public comments on the proposed ban for the companies selling products with similarities to those on the Covered List, including Xtra.

DJI’s fight isn’t over either – the drone-maker has filed a lawsuit against the FCC over banning the company without a security review. The lawsuit is ongoing.

You may also like

The DJI Pocket 3 is still available in the US – and the new Insta360 Luna is also available in the US.

Sony has officially unveiled the FX5, the latest in its line of compact full-frame Cinema Line cameras. And while it may look a lot like an FX3, Sony is very keen that you do not call it an FX3 II, with the FX5 designed to sit between the FX3 (which is staying in the lineup) and the FX6.

The Sony FX5 is being aimed at a more professional crowd than the more creator-friendly FX3, with the company suggesting that it will suit anyone looking for a compact B or C camera that can run more comfortably alongside models such as the Burano or Venice 2.

At the center of the FX5 is a newly developed 16.6MP full-frame Exmor RS back-illuminated fully stacked CMOS sensor, paired with Sony’s latest Bionz XR2 processor with its integrated AI unit (which we’ve seen in recent Alpha cameras including the Sony A7 V and A7R VI).

With this sensor-processor combo, Sony claims up to 15 stops of latitude, faster sensor readout, improved low-light autofocus and more advanced subject recognition, with the FX5 supporting all subjects including humans, animals, birds and vehicles.

However, the big headline feature is 5K 60p open gate video using the full 3:2 sensor area, and up to 120p via a future firmware update. 120p frame rate is monstrous and eclipses what has been seen before on cameras in its class. The Canon EOS C50 maxes out at 30p in open gate (although it is 7.1K), while the more consumer-focused Lumix S1II manages 60p in 5.1K open gate.

Open gate is a feature that not everyone needs, but for those who do it is invaluable – particularly useful for anamorphic shooting, vertical crops and reframing footage while maintaining more of the image area. Sony’s 5K resolution should offer a good balance between cropping flexibility and file sizes – although maybe not at 120p!

For super slow-motion. It can also record 16:9 4K with no crop up to 120p, or FHD 16:9 with no crop up to 240p. And with a future update, the FX5 will be able to shoot cropped (76.9%) 16:9 4K up to a whopping 240p.

The FX5 can also record 16-bit X-OCN RAW internally, something previously only possible with larger and more expensive Sony cinema cameras.

Alongside X-OCN LT, Sony has created more compressed C1 and C2 options intended to make RAW recording less punishing on storage (much appreciated, amid the current memory crisis), claiming that this doesn’t compromise footage and enables full grading flexibility.

However, there is a very important asterisk attached to some of these most exciting specifications: at launch, the FX5 will only record 5K open gate in X-OCN (RAW) at up to 60p. The promised headline features of 5K 120p open gate and cropped 4K 240p modes are due to arrive later, through a version 2 firmware update scheduled for August 2027.

This will also unlock open gate recording in XAVC up to 60p, although from what I have seen, there appears to be no open gate XAVC 120p in Sony’s plans.

Sony is hardly alone in selling cameras partly on future firmware, but it is still worth knowing which features will actually be inside the box on day one – and what the future holds. As well as whether it is worth waiting up to a year for promised functions. We will see a lot of rivals release new models between now and then.

In other specs, the FX5 offers three-base ISO (which, it is keen to clarify, is distinct from triple-base ISO) settings of 800, 4000 and 12800, as well as a dual-gain mode designed to reduce noise in darker areas. That dual-gain mode comes with several restrictions, though, including limits on resolution and frame rate.

Physically, the camera remains close to the FX3, weighing around 750g and measuring approximately 132.3 x 79 x 86.95mm. However, existing FX3 cages will not fit because the mounting points have moved, which accessory makers will no doubt consider excellent news.

There is also a larger 3.5-inch, 16:9, 4-axis display, Sony’s CineAlta-style interface with its renowned "Big 6" menu, and built-in monitoring tools including false color, waveform, vectorscope, focus map, histogram, zebras and peaking.

Dual CFexpress Type A slots also support SD cards, while the new NP-SA100 battery is rated for around 170 minutes of continuous 5K recording.

Sony is also launching a trio of new accessories, although completing the FX5 setup will not be cheap. The new XLR handle adds 96kHz, 32-bit float audio recording and costs $798 / £780 / AU$1,099, while a removable, 90° tilting, 7.07-million-dot OLED viewfinder costs another $698 / £650 / AU$999.

Crucially, you will not be able to mount the XLR handle and viewfinder at the same time, due to their positioning on the top plate, although Sony suggests that a third-party solution might be coming at IBC.

There is also a $98 / £90 / €100 / AU$129 timecode cable for synchronizing the FX5 with other cameras on multicamera productions. Together they make the camera considerably more flexible, but anyone planning to buy the body, handle and EVF should prepare for the starting price to skyrocket remarkably quickly.

The Sony FX5 alone will cost $4,898 / £4,700 / AU$7,849 body-only, or $5,498 / £5,200 / AU$8,849 if bought with the new XLR handle. Preorders are open now, with in-store availability scheduled for August 2026.

You might also like…

Take a look at the best open gate cameras, along with the best cinema cameras and the best cine lenses.

The Sony camera lineup will have a new member in just a matter of hours. Sony is launching its newest camera today, July 22, according to a teaser direct from the imaging giant.

Sony is preparing to announce a new camera at 7 AM PDT / 10 AM EST / 3 PM BST on July 22, according to a teaser shared via the brand’s email and social channels.

The teaser is fairly typical as teasers go, showing only the silhouette of the upcoming camera with few actual details. But there are a few key revelations in the teaser that reveal who the camera is for.

The teaser is clearly marked with “Cinema Line.” If that’s not enough of an indication, the vertical social teaser looks like a close-up of a camera, not a lens – though the horizontal YouTube teaser shows a view of that camera with a lens.

The silhouette clearly shows a top handle, a feature that also heavily hints towards the camera being built for video. That, with the hashtag #SonyCine, makes the teaser quite clear that what’s coming is part of Sony’s cinema series rather than the brand’s line of still cameras.

The teaser comes with the line “Lighting the way forward,” a line that could have many potential implications.

The silhouetted camera leaves much to the imagination. Along with the handle, the teaser does show red and green lights at the top of the camera. The back profile of the camera also appears to jut out a bit where the LCD screen would typically sit.

The comments on the newly posted teaser are already filling up with speculation over what’s next for the Sony Cinema series. Sony’s FX cinema series spans the more affordable Sony FX30 to the FX6, while the camera giant also has high-end options like the Sony Burano and Sony Venice 2 among its current cinema lineup.

A dedicated spot on YouTube invites camera fans to watch the announcement on July 22 at 7 AM PT / 10 AM EST / 15:00 BST.

You may also like

Refresh your camera gear knowledge ahead of the launch with the best cinema cameras or the best Sony cameras.

Nikon is doubling down on its commitment to video, according to Nikon President Yasuhiro Omura. The interview, published by Japanese news outlet Jiji Press and sourced via Digital Camera Info, sheds light on the camera giant’s proposed strategies for the near future.

Nikon’s imaging business is said to account for roughly 40% of consolidated sales. It’s not surprising, then, following the company’s high-profile RED acquisition in 2024, RED technology is seen as a way to boost Nikon’s video credentials and therefore camera division, given the increasing importance of video tech. Mr Omura was quoted as saying “Robustness is also important for video cameras. We want to cultivate a brand known as ‘Nikon for video’.”

The ‘Big N’ could also meet the predicted rising demand for semiconductor lithography equipment by investing heavily in its semiconductor business. According to Mr Omura, an investment of around 360 billion yen (approx $2.2 billion / £1.65 billion) could be allocated, largely to the business, through to the fiscal year 2030.

It’s not been a particularly positive year for Nikon, thus far, with the company publishing huge losses at the end of the fiscal year and no new camera releases to speak of (yet...). However, it’s far from doom and gloom for Nikon’s imaging business, because it wasn’t the main culprit. Most of its ‘losses’ can be attributed to an acquisition within its Digital Manufacturing Business.

In short, a metal additive manufacturing company that Nikon bought in 2023 hasn’t been as profitable as it predicted, causing the company to readjust its books. This highlights big losses, but in relation to projected targets, so money hasn’t actually changed hands. Nikon’s plan to boost profits in this part of its business, according to Mr Omura, is to focus it on “aerospace and defense sectors”.

If Nikon is able to follow through with its strategy and become a key player in the video sphere, all while making its 3D printing business profitable, it’ll certainly be in a good place. Here’s hoping the camera giant's rocky start to 2026 spawns a fruitful 2027 and beyond.

You might also like...

If you're a Nikon fan, check out the best Nikon cameras and the best Nikon Z lenses. Nikon’s first full-frame mirrorless camera makes an ideal upgrade for the budget-conscious photographer. Here’s why I still recommend the Nikon Z6 in 2026.

The Nikon ZR is trending on Google today, and just yesterday I was thinking about buying one and doing the unthinkable… using it exclusively as a stills camera! I know, I know: “What heresy doth the man speak?” But hear me out on this one.

I was answering a comment on the latest episode of the Digital Camera World Podcast, where James and I were talking about the Panasonic Lumix L10 compact camera, and in that video we compared it with the Panasonic Lumix S9.

The S9 is a full-frame interchangeable-lens camera with no viewfinder and you can find it for some exceptionally good prices.

ABOVE: Watch the discussion that prompted by Nikon ZR temptation

I was busy browsing various camera retailers, daydreaming about what color I’d have, and then I noticed something that’s always been a big turnoff for me: no rear dial where your thumb naturally rests.

I’m used to operating cameras with front and rear dials, exactly where your index finger and thumb naturally sit. It is without doubt the most comfortable control layout, for me at least. And if a camera doesn’t have this, I find it very hard to get on board with it. But then I saw something I couldn’t unsee – a Nikon ZR.

The ZR has a Red-infused, video-first design, but also shares quite a few similarities to the Lumix S9 in that it has no viewfinder and is essentially a rectangular box with a shallow grip.

The Nikon ZR is bigger, but accommodates two memory cards (CFexpress B and microSD) and also has a rather unusual ace up its sleeve in that it has a giant four-inch rear LCD screen. For a camera without a viewfinder, that’s definitely a boon.

Still, buying one of the best cinema cameras on the market for photography seemed like a bit of a stretch, so I turned to Reddit to find out if other users had thought the unthinkable – and I was surprised to find they had.

A post by amcreativca shared a photograph they took with their Nikon ZR and it turns out they’re certainly not the only one. To my surprise, somebody even said: “I'm also thinking about switching to the ZR, I currently have an S9.”

Don’t get me wrong, I’d still recommend the Nikon Z6 III as the ultimate stills option out of the two, given that it’s essentially the blueprint for the Nikon ZR and features a nice deep grip and a viewfinder.

But as somebody who already owns a stills-focused Nikon and is on the hunt for something a bit more portable, why not take photos on a Nikon ZR?

So long as you’re not a flash photographer, of course; the ZR has a flash sync speed of just 1/60 sec due to its electronic-only shutter. It’s a very capable device for everyday photography, though. You get the same excellent AF system as the Z6 III, burst speeds of 20fps (RAW) and 120fps (JPEG), as well as a full-frame partially-stacked 24.5MP sensor.

I guess the lesson to take away from this is that both marketers and, indeed, ourselves impose limitations on cameras – but in reality, any camera you’re comfortable with is fit for purpose.

Sure, the Nikon ZR is a video monster. But with its large rear LCD and relatively portable form factor, I see no reason not to use it as a stills camera. I’d be interested to know what you think. Absolutely crazy idea? Or do you think the people of Reddit and I are onto something?

You might also like...

Still not convinced? Take a look at the best lenses for the Nikon ZR and the best Nikon cameras across the range.

Arri has unveiled the Alexa 35 Live Xtreme, a new high-speed live production camera designed to bring cinematic slow motion into traditional broadcast workflows.

Built for live entertainment, sports, concerts, fashion shows, and major televised events, the new camera can deliver high frame rate output of up to 8x while still working through familiar SDI-based systems.

The Alexa 35 Live Xtreme works alongside Arri's Live Production System LPS-1, including the Fiber Camera Adapter and Fiber Base Station, and can be integrated with standard slow-motion playout servers such as SimplyLive or EVS. In practical terms, this means broadcasters can output up to 8x high frame rate in HD or 2x in UHD, with up to 4x HFR available through a single SDI connector and higher speeds split across both SDI outputs.

At the heart of the system is the Alexa 35 sensor, bringing ARRI’s well-known image quality, color science, and dynamic range into live slow-motion broadcasting. Frame rates up to 330fps use the camera’s full 17 stops of dynamic range, while a Sensor Overdrive mode pushes performance up to 480fps with 11 stops of dynamic range.

Crucially, the camera can also output a regular live broadcast feed at the same time as the high frame rate feed, allowing production teams to switch between live program coverage and slow-motion replay in real time.

For sports broadcasters, that could be a major creative step forward. Instead of relying on a separate high-speed camera that may not match the look of the main production cameras, the Alexa 35 Live Xtreme keeps everything within the same Arri visual language.

That means dramatic goals, decisive finishes, winter sports, indoor arenas, and emotional crowd moments can all be captured with the same cinematic feel as the main broadcast feed, making highlight reels feel more consistent and far more polished.

ARRI is also positioning the camera for live concerts, fashion events, and large-scale entertainment productions, where sensitivity, latitude, skin tones, and color accuracy matter just as much as speed. The Alexa 35 Live Xtreme is available to order now, joining the Alexa 35 Live in Arri’s broadcast lineup.

Alexa 35 Live cameras sold from 2026 onward can also be upgraded with High Speed and HFR SDI Licenses, while earlier models will require a hardware upgrade through Arri service centers.

GoPro is in financial trouble – but the action camera giant’s latest move under the threat of potential bankruptcy reflects the company’s founder and CEO’s outlook for the brand. Nicholas Woodman, founder and CEO, is expected to loan the company $20 million through the purchase of shares, the company announced on July 08.

Last month, GoPro filed “going concern” paperwork that informed investors that the lowered sales numbers and higher material costs could mean that the company “may be required to significantly reduce, restructure, cease operations, or seek protection under the Federal bankruptcy laws although no specific plans to file for bankruptcy protection have been initiated or considered.”

That potential bankruptcy news followed an announcement that GoPro is considering a potential sale or merger, a move that Woodman said that he “fully supports.”

The announcement for the $20 million loan from the company’s founder also comes with an update on the brand’s search for a potential merger or buyer, as Woodman says that the plan “continues to progress.”

"An independent committee of the board of directors evaluated a range of financing options and concluded this structure offered the most favorable terms for GoPro and our shareholders," Woodman wrote in a statement. "My financing reflects my enthusiasm for GoPro and its several go-forward opportunities. I continue to strongly support the board's evaluation of strategic alternatives, a process we announced on May 11, 2026, and which continues to progress."

The $20 million loan isn’t the first time Woodman has made a change to aid the company – Woodman declined his own salary for part of 2025.

Woodman’s loan is expected to be due in two years with a 6.5 percent interest, but the paperwork filed along with the announcement suggests that if GoPro is sold, the new buyer also takes on the agreement.

Woodman founded GoPro in 2002, launching the first camera in 2004, before bringing the company to public trading on the stock market in 2014. Woodman, now 51 years old, launched the company with a film camera in a waterproof case after a surfing trip left him frustrated that he couldn’t find a camera to capture photos of himself surfing.

In the last financial year, GoPro reported a US$93.5 million loss, selling around 20 percent fewer cameras than the year before. The increased competition in the action camera category, along with Increased material costs, including the higher cost of memory, plays into GoPro’s financial struggles.

GoPro has met the lowered sales with the launch of the Mission 1 series, bringing a one-inch sensor into the action-cinema camera Mission 1 Pro, alongside a fall 2026 launch of a mirrorless camera with the same sensor.

You may also like...

Dive into the best action cameras or the best waterproof cameras.

With reports rife that the Sony FX5 will be launching later this month, boasting features like open gate video and triple-base ISO, you have to wonder: should Canon be worried?

After all, the biggest camera company in the world has just spent a fortune bringing three versions of its FX3 killer to market (the Canon EOS R6V, R6 Mark III and EOS C50). And no sooner have those cameras hit shelves than Sony looks like it has one-upped them – at least, if the latest camera rumors are accurate.

Sony Alpha Rumors, has "confirmed" that the Sony FX5 is will be announced on July 22 – and it's an upgrade on the FX3 (and perhaps Canon's latest bodies) in almost every way.

The headline features, and the ones that potential buyers will be most concerned with, are 5K open gate, triple-base ISO, false color and the same AI autofocus unit found in cameras like the Sony A7R VI.

In addition, the FX5 will boast "a body that is only barely bigger than the FX3" and will also be at least somewhat modular in nature, with an external removable electronic viewfinder unit.

Sony FX5 specifications (rumored)

• 16.6MP fully stacked sensor
• Bionz XR 2 with AI AF
• 5K open gate (3:2)
• Triple-base ISO
• False color
• Venice menu style
• Modular tilting EVF unit
• 3.5-inch articulating screen

Should Canon be concerned?

It took Canon (and Nikon, in fairness, with the Nikon ZR) years to provide an alternative to the monstrously successful Sony FX3. And it did so with the R6 V / R6 III / C50 trifecta that offers every possible kind of FX3 customer every possible kind of photo / video performance combination.

Launched in 2021, the FX3 lacked obvious features like false color and internal RAW – let alone more modern features like open gate video. So Canon loaded its trio of FX3 killers with monstrous specs like 7K open gate, algorithmic subject detection and a far more pixel-rich 32.5MP sensor.

If these leaks are true, however, the FX5 now returns fire with some even more impressive specs. Triple-base ISO was introduced by Canon a few years ago, in the high-end Canon EOS C400, but its latest bodies only feature dual-base ISO.

It now records RAW internally in X-OCN (extended tonal range Original Camera Negative), Sony's 16-bit linear encoding profile. And while its 16.6MP sensor has more modest resolution, its stacked design is much faster and its 5K capture might be preferable to many users simply in terms of storage and workflow.

And of course, while the C50 and R6 V famously eschewed any kind of electronic viewfinder, the FX5 is also promising a modular EVF option for those who need it.

The proof in the pudding is obviously in the eating. Sony Alpha Rumors' report notes that testers "say that while this camera is a bit… expensive, it is also a far superior cine camera compared to the FX3." So cost will be a crucial factor.

For now, however, it seems that Sony has played a very smart chess match with its FX3 successor. Let's see what happens on July 22.

You might also like…

Check out our Canon EOS C50 vs Sony FX3 comparison to see how those bodies square up. And take a look at the best hybrid cameras along with the best cinema cameras to see what else is on the market.

Summer is the time for sunglasses, which also happens to be the time of the year that I loathe viewfinder-free cameras even more than I normally do. That’s why a recent Sony rumor caught my attention. If the latest rumor circling the Sony community has any truth to it, then color me jealous.

According to reports from Sony Rumors, the hotly anticipated Sony FX5 mirrorless cinema camera will have an optional tilting electronic viewfinder, along with a new, larger LCD screen.

If the rumors are indeed true, a tilting EVF wouldn’t exactly be surprising, as Sony’s more entry-level FX series camera, the FX2, has a tilting viewfinder built in. But the rumors are calling for the FX5’s tilting viewfinder to be an optional add-on attached to the camera’s hot shoe.

Summer always reminds me of why I hate cameras that don’t have a viewfinder. Harsh glare from the sun renders the LCD screen hard to see. Add in sunglasses – a personal must if I want to avoid a squint-induced headache – and sometimes the LCD screen is almost completely useless.

There are plenty of mirrorless cameras that still have a viewfinder, the design of which shields the problematic sun glare. But a viewfinder that tilts is rare.

As much as I prefer the viewfinder, I’ll use a tilting LCD screen to get unusually low or high angles. A tilting viewfinder may not be quite as versatile – you can’t, for example, see it from a distance like an LCD screen or use it for selfies – but I would love a bit more flexibility to get low-angle shots without giving up my viewfinder.

Rumors also point to the cinema camera getting a larger 3.5-inch tilting LCD screen compared to earlier options, expanding on earlier reports of a 16MP full stacked sensor with Open Gate.

Sony has yet to release any sort of teaser or verify any of the speculation, leaving plenty of room for doubt over those speculated features.

As a photographer and not a videographer, I’d like to see a tilting EVF come to still cameras. Then again, such a design may increase the size of the camera in an era when the latest trends seem to suggest photographers want smaller, lighter gear – so a tilting viewfinder isn’t something I would expect to see anytime soon.

You may also like...

Sony may not have confirmed any FX5 rumors, but the camera giant says that a new RX10 super zoom is coming! Or, take a look at the best Sony cameras.

I love photographing the stars, but my favorite lazy photographer astrophotography hack is to start a time-lapse – and then go to sleep. The GoPro Mission 1 Pro seemed ripe for such a shot.

GoPro says that the battery life is the best yet, and the larger sensor improves low-light performance, so I abandoned the newest GoPro on a beach overnight.

The Mission 1 Pro isn’t the first GoPro that I’ve used to photograph the night sky. I’ve previously set up my GoPro Hero 12 Black on a time-lapse during northern lights activity so I could move around and snap a variety of different compositions with my mirrorless camera.

I was surprised at how well the action camera then managed to capture the night sky – but in the past I’ve always used the GoPro Volta battery tripod in order to record a complete time-lapse from darkness to sunset.

Curious to see just how much the camera’s new 1-inch sensor and larger battery make a difference, I set the new Mission 1 Pro on a tripod just after midnight and started recording.

I set the camera to create a 4K timelapse, as I wanted more detail than FullHD but didn’t want a lot of noise with the starlight conditions. That meant the still images were around 8MP.

I set the camera up to use a slower 20-second shutter speed, to let in the most light and blur the lake. I programmed the camera to take a photo every minute, shooting both an assembled video and JPEG images, and then went to sleep.

Under these settings – and a hot summer evening – the Mission 1 Pro managed to record from about 00:20 to 05:30. That was long enough that I had to cut the last second off my video, as the battery lasted long enough to run just past sunrise and overexpose the last few frames.

That’s an impressive length of time for such a small camera to keep shooting without plugging into an external battery pack.

The still photos that the GoPro stitched into a video are equally impressive, coming from such a small camera and as 8MP shots. The stars aren’t quite tack-sharp, and I did pull up the shadows a bit to see more detail from the lake shore, but, I thought the shots were very good coming from an action cam rather than a mirrorless camera.

Yes, I could get more resolution by using 8K or shooting 50MP RAW photos – but I wanted to balance low-light quality and battery life. Considering the GoPro still recorded past sunrise, now I’m eager to try an 8K timelapse next.

The GoPro Mission 1 Pro feels like a natural evolution for the popular action camera maker. The camera still looks, feels and operates like a GoPro, but that boosted sensor and battery are a welcome change.

You may also like...

I also tried out the GoPro Mission 1 Pro as a point-and-shoot camera. Read more about the best action cameras.

Byron Seven a tech maker, designer, and self-proclaimed everyday cary gear enthusiast, has created this pistol-grip accessory for the new Insta360 Luna series of cameras – but does it look a bit too like a gun?

Byron says "I put a lot of thought into how tools feel, function" but commentators have seen this new design and not all can see themselves using it.

@donalleniii, on Instagram, said "I think I have too much melanin in my skin in the United States to safely operate this camera" – alluding, perhaps, to the 3-times higher rate of shooting of minorities by police in the USA (see NIH data).

It is far from the only comment that suggests many will be sceptical for the same reason.

More light-hearted is @thegolden_gff, who notes "It’s All good until you film the president…"

Nevertheless, there are plenty of comments expressing enthusiasm, and others looking for variants for the DJI Osmo Pocket 3 and DJI Osmo Pocket 4 cameras already on the shelves.

The Insta360 Luna Ultra, seen here, is Insta360's first pocket gimbal-style camera, and in many ways instantly the best pocket gimbal camera. It brings new features like a detachable remote monitor and microphone and dual cameras.

Incidentally, if you're wondering, I've reviewed the cameras but not the grip. Both the Luna cameras, and the DJI cameras that seem to inspire them, can be used in the horizontal way that seems to inspire the gun-like grip, and it works especially well for some shots, like rotating views. They are normally held, though, vertically, so I'm not actually sure the grip is ideal in all situations.

The Luna is not the cheapest gimbal-style camera and many already have the popular DJI offering, which explains the demand for alternatives which is appearing already (amongst those prepared to risk holding the "gun").

Interstingly this is not the only experimental design seen on the Byron Seven site, and he has addressed DJI devices before – though not all his filmmaking and phone holder alternatives are quite so reminiscent of a Glock.

Indeed he claims he engineered a 'real camera' from a DJI Osmo Pocket with a rig design.

I've not had the chance to test that, either, but the attention to detail is impressive – I can't argue with @divyanshudn who said: "the amount of custom 3D prints for a single video ! Kudos to you"

The Boblov W4 is a wearable camera that looks to compete for a place amongst the best action cameras, or, more specifically, the best POV cameras. With the ability to mount the camera using either a 360-degree rotatable clip or an innovative magnetic clip, the W4 is designed to be worn on any type of clothing.

The lack of a display will be a problem for some, but if you're looking for a very simple and compact wearable camera without too many bells and whistles, then this is it. And, with prices starting at just $59.99, it doesn't get any more affordable than this, especially for 4K recording.

Serious security professionals (recognising the Boblov brand's heritage), who require superior durability and better video recording quality, will want one of the best body cameras instead. Or if it's a vehicle that you need to keep an eye on, then one of the best dash cams will offer a more targeted set of features.

Boblov W4: Specifications

Boblov W4: Price & Availability

The Boblov W4 features external TF card (MicroSD) storage, but it can be purchased with three different capacities of card. The smallest is 32GB, which costs $59.99; the second is 64GB, which costs $69.99 / £57.99; and finally, 128GB costs $79.99 / £79.99.

At these prices, this is an affordable solution for capturing memories either as you go about your day or while on vacation. The lack of a display is a little limiting, but its absence is required to keep the size of the device so small.

If you'd like a similar-sized POV action camera but with a display, the solution is a premium verison like the Insta360 Go 3S which comes with case that it connects to wirelessly and features a display. The downside is that it's around five times the price.

From a security perspective, a similar offering to the W4, is the Transcend DrivePro Body 30, which costs around $180 / £180 for the 64GB model.

Boblov W4: Build and handling

The BOBLOV W4 is a compact action camera with a simple design that focuses on getting the basics right. Constructed from sturdy plastic composite, the case is strong enough to withstand inevitable knocks and drops, which I can confirm firsthand, after accidentally dropping it several times onto a wooden floor.

The lens is, of course, located at the front, protruding from the case with a simple housing which causes it to sit proud by a few millimeters. Also on the front is the action power/record button and a status light. The button sits flush with the front face and cannot be pressed accidentally.

The TF card slot and USB port (for charging and data transfer) are located on the side, with a rubber cover providing the necessary protection from dust and water splashes. That said, the W4 doesn't boast a waterproof rating, so don't go subjecting it to too much water. Inserting and removing the TF card is a little fiddly, although not enough to make the process overly frustrating.

The W4 ships with two clothing attachments, namely a traditional 360-degree rotatable back clip and an adjustable-length magnetic lanyard. Both attachments are well made and solid enough to withstand regular use. I'm a big fan of the lanyard which attaches to the camera through clothing via a super-strong magnet, and I didn't experience any issues with it losing connection, even when exercising.

Boblov W4: Performance

After being so impressed with the design of the W4, I was excited to see if Boblov had managed to deliver equally impressive results in the area of video quality. The answer was yes and no, and considering the small sensor size, this was no surprise.

When filming outdoors or in a well-lit room, the W4 was able to deliver a reasonably exposed image. Mid-range levels were represented with vibrant color and a good amount of clarity. Unfortunately, it struggled with very bright white objects, which the camera overexposed and subjected to a hazing artefact.

Issues continued when filming in low light, with the sensor simply unable to capture sufficient detail in the dark areas of a shot. The result was a significant amount of noise and blotchiness which, at times, made the output almost unusable.

More positively, the 4K resolution ensured clarity across the entire image, even at the edges of the wide 120-degree field of view. As for the wide-angle, it's not as wide as the Boblov KJ23PRO, for example, but it's wide enough to deliver that classic action-cam picture.

Boblov's specs state that there is a JPG photo format, but I wasn't able to find out how to enter into this mode. The user manual only details how to use video mode, and so I wonder if this is, in fact, the only mode. If this is the case, that's a little disappointing.

Battery life is respectable for an action camera, but if you're looking to use it to capture body cam footage over an extended shift, then you'll run into problems. In reality, the 800mAh battery provides little more than 90 minutes when recording 4K or 180 minutes when you drop the resolution to 1080p.

Boblov W4: Overall Verdict

The Boblov W4 excels in the area of design. In fact, I was so impressed with the engineering and implementation that I had to double-check the price. The magnetic clip implementation in particular was a strength, providing a viable mounting option even through the thickest of shirts.

The compact form factor of the device means the sensor is very small. This didn't prove to be a problem in optimal lighting conditions, but as soon as I recorded in low-light settings, the technology just couldn't cope, resulting in an uncomfortable level of image noise.

The device features an 800 mAh battery which gives around 90 minutes of use when recording 4K or 180 minutes when the resolution is reduced to 1080p. This is reasonable for an action camera, but if you're needing to record footage throughout a work shift, then it's seriously lacking.

The W4 won't blow anyone away with its output, but for an affordable action camera, it exceeds expectations. If it's a first action camera that you're after or a device to capture memories without worrying too much about top-level quality, then the W4 won't let you down.

You might also like...

It's well worth checking our guide to the best body cameras, though if your needs tend more toward video quality than long battery life, perhaps check the best action cameras. Don't forget you might even save on your car insurance with one of the best dash cams.

I've held the new white version of the new flagship DJI OSMO Pocket 4P in one hand, and the black in the other, but I still can't tell you the release date or price!

DJI showed the Osmo Pocket 4P White Edition at a "Product Premiere," so now we're just waiting on the price and release date – and it's time to start putting the pieces together.

It is now a few weeks after the black model was put in my hands at the Cannes film festival hands-on. That suggests we're getting closer to a final on-sale date.

On the price side, there is evidence to suggest that it might be lower than its new arch-enemy (and competitor for top spot in the pocket gimbal camera guide): the newly-launched Insta360 Luna Ultra.

Finally, in China, DJI is accepting orders at CNY 3,799 (around $525) ffor the Pocket 4P already.

Not only does this suggest the moment is very nearly upon us worldwide, but even allowing for higher taxes and the costs DJI will face shipping from China – that's still likely to convert to a figure lower than the Luna Ultra, which went on sale at prices starting at $769.

That's a reasonably steep price, reflecting Insta360's confidence in the product, but that the pocket gimbal camera is a new contender and isn't without the odd hint of being a first-generation product.

DJI has got history in the field (hence the iterative number 4).

The key difference between the Pocket 4P and the recently released Pocket 4 is the addition of a second camera covering 60mm EFL. The Pocket 4 was an incremental update to the already impressive Pocket 3, and only had the 20mm camera with 1-inch sensor.

That sensor affords the camera a 17-stop dynamic range according to the company, and DJI has introduced a new D-Log 2 profile.

Something also worth noting is the effect that all this has had on the price of the Pocket 4's predecessor, especially as Amazon's Prime Day sale is still on today.

One of the other side effects isn't to say that there aren't good deals on the Osmo Pocket 3.

The DJI Osmo Action 7 could be less than 12 weeks away, according to this product history – but some people have suggested that there might be something even sooner than that.

Looking at the number of days that each of the Osmo Action cameras has spent in DJI's list as the flagship before being superseded by a new model, we can see that – at the moment – a life of somewhere between 322 and 425 days seems realistic. We are already at 216.

The first iteration, admittedly, had a very different 896 days. But that was an Action camera during the days of a global pandemic, so there was likely no hurry for a replacement – and there were some unavoidable delaying factors.

For several generations, DJI has comfortably sat at the top of my best action cameras guide thanks to the company's superior low-light capabilities and, frankly, better pricing than the iconic GoPro brand.

The latest GoPro Mission 1 Pro has upped the game for action cameras in several respects, at least for the American brand, by delivering 8K. DJI, however, was already offering most of this – for a lower price. So what can it do, on the technical side at least, to stay ahead of the game?

Bigger sensors have been part of DJI's path before, but there might be a sensible limit in action cameras. DJI has already included a variable aperture in the Action 6, a "feature" that GoPro resisted.

The other most obvious upgrade would be 8K 60fps video, since 8K has been a widely promoted feature not only of the GoPro but also the AcePro 2 from Insta360.

I would anticipate, too, iterative updates to what might be considered 'AI' software – electronic image stabilization, horizon steadying and face tracking.

The real difference for customers, though, will likely still be the lack of first-party support for the DJI camera in the US. DJI has not sold it directly in the US since the company was added to the covered list, though we know that it is still fighting this decision…

Insta360 has struck back against DJI with five patent claims covering gimbals and 360 degree-cameras – this in apparent retaliation for DJI's patent lawsuit launched the same day Insta360 launched the Luna Ultra gimbal camera.

What will this actually mean. First, of course, we'll get to hear a lot of posturing from the two companies. Insta360's founder JK Liu said "At Insta360, we prefer to let our products do the talking. But we are not afraid of a legal battle when challenged."

The patents that Insta360 has asserted as its own are, according to the company, being used by DJI in a number of its major product lines, including the Osmo Pocket series (the center of the storm, of course), the Ronin/RS series of camera gimbals, the Osmo Mobile series of phone gimbals, and the Osmo 360.

Other than the Ronins, these are all product categories that Insta360 now has at least one competing product in since the June 10 launch of the Luna.

That launch was strong, with the Luna Ultra ranking as the best-selling camcorder in Amazon USA in the 24 hours after launch.

Insta360 has been clear that the Luna Ultra is not a response to DJI's product (though the similarities are evident to me as a reviewer). JK added "Development began in 2020, with earlier Insta360 products including the ONE R, Link Series webcams, and Flow Series gimbals helping shape the technology and design direction behind Luna Ultra. DJI filing lawsuits on the same day we launched Luna Ultra speaks volumes—exposing their fear of competition from a highly competitive product."

Though it may not be related, and I'll leave you to draw your own conclusions, it is interesting that the date of launch on Insta360's side was something of a surprise for those of us covering the industry – coming a little sooner than first anticipated. At the time, I thought it was because some retailers accidentally leaked it.

Crucially, the product will not be disappearing from the shelves, and nor are we expecting to see any changes in the timeline of DJI's product launch.

In many cases, new DJI products have become available through different retailers in the USA – buying the Pocket 4 in the USA is possible – before appearing on DJI's own store anyway, and the Pocket 4 is one of those, so the Pocket 4P may be one of them too.

In these cases, the demand for the products of both companies, which appears global and present now, is likely to result in a behind-the-scenes settlement even should a court decide that a patent belongs to one or other company.

Such a decision, if contested, will be some years away, and neither company will suspect product sales in the meantime. The legal solution, should the court decide it is appropriate, will be one of restitution (in other words, paying the money that was lost).

In the meantime, check our guide to the best pocket gimbal camera.

The KJ23PRO 2K is produced by BOBLOV, a well-known independent Chinese brand that has built a solid reputation when it comes to the best body cameras. This latest offering is a heavily upgraded model in their KJ product line, acting as a successor to the popular BOBLOV KJ21.

Previous models were focused on uniform wear, but the KJ23PRO 2K adopts a dual-purpose design by including a car bracket and suction mount, allowing it to seamlessly shift from a traditional wearable device to a fully functioning dashcam.

This new hybrid purpose addresses the need for continuous monitoring, making the product ideal for law enforcement, private security professionals, and outdoor workers who require a smooth transition between in-the-field recording and vehicular monitoring. That said, if you want a dedicated camera for your car or van, then one of the best dash cams will offer superior results.

The model I tested is the 2K version, although a 4K alternative is available. The huge 4000mAh internal battery is capable of 15 hours of continuous recording, which is more than enough to cover long work shifts. The KJ23PRO 2K is ultimately a solid offering in a crowded market.

BOBLOV KJ23PRO 2K: Specifications

BOBLOV KJ23PRO 2K: Price & Availability

The 128 GB model of the KJ23PRO costs a very reasonable $109 US / £99.99 / $170 AUS. Other storage options include the 256 GB model for $130 US / £129.99 / $210 AUS and the 64 GB alternative for $100 US / £79.99 / $140 AUS.

The KJ23PRO offers excellent value for money, sitting comfortably between budget-friendly and higher-end alternatives. The fact that you get 2K video with a massive 4000mAh battery that delivers up to 15 hours of continuous recording makes the device very good value for money.

That said, the lack of Electronic Image Stabilization (EIS) or built-in GPS is disappointing. Alternatives to consider include the MIUFLY S2 Pro 2K which adds GPS and password protection but sacrifices video sharpness, as well as the Transcend DrivePro Body 40, which offers advanced features like Wi-Fi and superior build quality.

The bottom line is that the KJ23PRO undercuts higher-end options while offering better battery life and resolution than cheaper entry-level models.

BOBLOV KJ23PRO 2K: Build and handling

The KJ23PRO is a utilitarian, industrial-looking blocky body camera featuring an ultra-compact and lightweight footprint, making it ideal for front-line deployment. In the hand it's pretty hefty, but when mounted to clothing, its weight is hardly noticeable. At just 90 grams there won't be any sign of physical fatigue during long shifts.

The unit is constructed primarily from composite plastic and will clearly survive heavy daily wear and tear. I hit the case against my solid wooden desk, and it didn't even leave a mark. The case also features a matte, textured finish which diffuses light to reduce tactical visibility and provides a non-slip surface for reliable gripping in wet environments.

Speaking of water, the KJ23PRO boasts an IP66 weatherproofing rating, making the body highly resistant to water and dust ingress. The charging and data transfer USB-C port is also sealed to protect the inner workings of the device.

The layout of the lens, lights, buttons, and display lends itself to a straightforward user experience. The front houses the camera and is flanked by high-intensity infrared (IR) LED emitters arranged symmetrically.

On the back is an integrated 2-inch LCD screen that lacks high-end quality but is sufficient enough for reviewing footage. The display is protected by thick bezels, although it still sits flush with the case and is therefore at risk of being damaged when knocked.

All operational buttons are generously separated and provide tactile feedback so you know when they've been pressed. The record button is also colored red so it can be found quickly.

The case includes a robust, heavy-duty shoe-style mounting point that enables the body camera to be mounted to shirts, jackets, uniform pockets, and vehicle windshields or dashboards. All of these mounts are shipped with the camera. All in, it's a well-built and well-designed unit.

BOBLOV KJ23PRO 2K: Performance

Let's get straight into what matters most, the video quality. The camera tops out at 2560x1440 px, although this can be reduced if you'd like to save disk space. All resolutions record at 30 fps, so there are no slow-mo capabilities. Cycling through resolutions as well as all other settings is super straightforward thanks to the simple color menu interface.

I can only describe the quality of the video as reasonable. It's fairly clear, although quite grainy, and blacks are heavily crunched. The lens and sensor had no problems during predictable lighting conditions, although it struggled to expose faces correctly when the sky was bright.

More positively, the wide-angle lens maximises the chances of evidence being captured, and the quality of footage, even at the edges of the picture, is clear enough. The lack of image stabilization and GPS tracking is disappointing, although at this price point, their absence is unsurprising.

Unfortunately, the photo quality is almost unusable even at the highest 38 MP resolution. Photos are grainy, lacking clarity, and struggle with motion blur. The image quality is marginally better towards the centre of the picture, but even this still suffers from heavy grain.

The display is large enough and clear enough to review footage. It also works well in bright sunlight. The speaker is a little tinny, although dialog is recorded and played back with sufficient clarity.

One of the selling points of the KJ23PRO is its 15 hours of battery life (1080p resolution), which is more than enough to last an extended shift. Recharging the battery from empty to full takes four hours, which makes it possible to recharge in between shifts.

The KJ23PRO can be mounted on clothing and as a dashcam. Switching between these is simple and effortless thanks to the robust and well-engineered mounts. Spring-loaded clips are solid and dependable.

BOBLOV KJ23PRO 2K: Overall Verdict

The KJ23PRO is a rugged, budget-friendly hybrid camera that excels when it comes to versatility. It confidently fulfils a dual-purpose role, equally able to mount to clothing as it is to a windshield.

The standout feature for me is the massive 4000mAh battery, which served up around 15 hours of continuous recording, more than enough to comfortably power through an extended work shift.

The build quality is high with a composite plastic casing that is tough enough to withstand knocks. I also appreciated the IP66 weatherproofing and the matte, textured finish for extra grip in the rain.

Video quality is reasonable enough and absolutely usable for providing clear evidence of events. Unfortunately the camera struggles to capture clear images, with photos subject to heavy grain.

Ultimately, if you only plan on capturing video and can live without high-end bells and whistles, its unmatched battery life and rugged durability make it a solid choice.

You might also like...

It's well worth checking our guide to the best body cameras, though if your needs tend more toward video quality than long battery life, perhaps check the best action cameras. Don't forget you might even save on your car insurance with one of the best dash cams.

The 2026 FIFA World Cup is already giving us something completely different and, for once, I am not talking about a new camera, a new lens or some clever broadcast trick hiding at the edge of the pitch. This time, the most exciting viewpoint in soccer is coming directly from the referee.

The tournament opened on Thursday, with referee body cameras being used across all 104 matches, giving fans a live or replay view from the official’s own perspective. The small headset-mounted “Referee Body Camera” captures the game from pitch level, offering a view that feels far more immediate than the usual high broadcast angles.

FIFA’s technology partner, Lenovo, has also applied AI-based real-time stabilization to reduce motion blur by up to 50%, with servers installed at the Dallas International Broadcast Center to support the system. FIFA has said the footage is not part of the standard feed supplied to media partners, but is instead being used as a separate broadcast tool.

And honestly, it is brilliant.

We have become so used to watching soccer from a safe distance. The main camera sits high in the stadium, giving us the tactical shape, the passing lanes, the defensive line and the bigger picture. That is essential, of course, but it is not how soccer feels when you are on the pitch.

The referee camera changes that. Suddenly, you are not simply watching the game; you are inside it. You see players closing down space, bodies moving across the frame, boots flashing past the ball, and the sheer speed of decision-making in a way that the traditional broadcast camera rarely captures.

That was always the promise of the system when it was tested at the 2025 FIFA Club World Cup, where fan reaction was strong enough for FIFA to develop it further and roll it out for the biggest tournament in world football.

As Pierluigi Collina, chairman of FIFA’s Referees Committee, put it: "We think that it is a good chance to offer the viewers a new experience, in terms of images taken from a perspective, from an angle of vision which was never offered before".

That is exactly why this works so well. It is not just a gimmick or a novelty angle thrown in for its own sake. It genuinely adds to the storytelling of the match.

A high broadcast camera can show you where a player is running, but a referee’s-eye view can show you how fast that player arrives. It can show the intensity of a challenge, the chaos inside the box, and the small details that disappear when viewed from several rows above the halfway line.

The South Korea equalizer in the first round of Group A games was a perfect example of why this technology feels so exciting.

Hwang In-beom’s goal against Czechia was already a superb World Cup moment, but the pitch-level perspective helped underline the speed and sharpness of the move in a way that the standard broadcast angle simply could not.

That is where referee cameras become more than just another viewpoint. They bring us closer to the game's rhythm and emotion, and for anyone who loves cameras that is a fascinating sight.

It also says something about the wider appeal of point-of-view footage. We are living in an age where viewers want to feel part of the action, not just observe it from a distance. That is why POV cameras have become so popular with cyclists, skiers, motorcyclists, vloggers, wildlife shooters and adventure filmmakers.

So, while most of us will not be running around the middle of a World Cup match with a referee headset on, anyone wanting to replicate that immersive first-person look should take a look at our best POV cameras guide.

What I like most about FIFA’s referee camera system is that it does not try to replace the main broadcast. It adds another layer. It gives us a view that feels more human, more frantic, and more connected to what is happening on the pitch.

For years, sports broadcasting has been about bigger cameras, longer lenses, drones, cable cams and ever more complex replay systems. But here, one of the most effective innovations is a tiny camera worn by the person trying not to become the story.

And that is why it works. The referee camera gives soccer a new visual language. It shows the game from the middle of the storm, and if the early footage from the 2026 World Cup is anything to go by, it might become one of the most exciting broadcast developments the sport has seen in years.

You might also like…

Take a look at the best cameras for sports photography and the best lenses for sports photography.

Vueroid has launched a new versatile dash cam available in 2- or 3-channel configurations. The S1 QHD Infinite consists of front and rear cameras, both operating at 2.5K/QHD resolution, plus there's the option to add a 1080p cabin camera.

Said to be an ideal combination of image quality, storage efficiency, affordability, and convenience, the S1 QHD Infinite is based around dual Sony Starvis 2 image sensors. Starvis 2 sensors have been designed especially for surveillance and dash cam use, where their HDR capability helps capture clearer highlight and shadow detail, whether you're driving in harsh sunlight or on unlit roads at night.

The S1 QHD Infinite also incorporates Vueroid's Infinite Plate Capture (IPC) technology. This is claimed to enhance license plate visibility in both daytime and night-time conditions, even when driving at high speeds or in challenging environments. And if IPC isn't quite enough to produce clear license plate definition, Vueroid also offers an AI-License Plate Restoration service. This helps recover and enhance the details of a blurred plate: simply select the area of the video frame in which the license plate appears, then upload the video clip to the Vueroid Cloud server for analysis via the Vueroid Hub App or PC Viewer. Alternatively, if you want to intentionally blur license plates in a video for privacy reasons, the AI tech can also do that.

The S1 QHD Infinite can be hard wired with an included hardwire kit to your vehicle to provide parking protection. As this uses you vehicle’s 12 volt battery to power the dash cam, recording efficiency is paramount to ensure the battery isn't drained. The dash cam therefore features an Extreme Low Power Mode, whereby the camera uses less than 1mA of power in standby, but can start recording in less than one second should it detect an impact or motion. In this mode, the camera can be operational for up to 6000 hours / 250 days. The system can also be customised to power off when your vehicle's battery reaches a pre-defined level of charge, so you can be confident the dash cam won't leave you with a flat battery. You can even set the parking mode to turn off automatically when the camera's built-in GPS location monitoring recognises that you're in up to three designated locations, such as home, work, or a secure garage. The radius of each safe zone is also customisable.

The S1 QHD includes everything needed for installation and parking monitoring: hardwire cable, CPL filter, and fuse tap adapters, so there's no need to purchase any optional extras. The S1 QHD Infinite 2-channel kit (front+rear cameras) is available now at Amazon, priced at $279.99. If you'd also like the 1080p cabin camera, the 3-channel set-up costs $309.99.

S1 QHD Infinite 2CH: Buy now at Amazon

S1 QHD Infinite 3CH: Buy now at Amazon

There’s a persistent idea floating around in filmmaking circles that Netflix sits behind a kind of technical velvet rope. On one side, Netflix-approved cameras – carefully tested, measure and sanctioned. On the other: everything else.

For many emerging filmmakers, that list stops feeling like guidance and starts looking like a gate. If your camera isn’t on it, you could be forgiven for thinking you’re already out of the running.

That perception isn’t entirely unfounded. Netflix does publish an approved camera list and enforces technical requirements on the productions it commissions. If you are making a Netflix Original under its control, you are expected to work within a tightly defined technical framework.

The reasoning is practical: consistency across global delivery, predictable post-production workflows and a standard that holds up across everything from mobile phones to large-format cinema screens.

But what gets lost in that conversation is that Netflix is not a single system. It operates as both commissioner and distributor and those roles do not always follow the same rules.

Take a step back and look at what actually ends up on the platform. Steven Soderbergh’s High Flying Bird (2019) was shot entirely on an iPhone 8 – the director’s second iPhone feature after Unsane – and later released globally by Netflix after it acquired distribution rights.

More recently, Left-Handed Girl (2025), directed by Shih-Ching Tsou, was also shot on iPhones and arrived on the service after its festival run.

Neither film fits the familiar image of a “Netflix-approved” production. Apple's phones are not on the approved camera list and they are not designed for the controlled, high-end workflows that Netflix typically requires on commissioned originals. And yet both films sit comfortably in the catalog.

The key point is that neither project began life inside Netflix’s production system. That distinction matters. When Netflix commissions a film or series from development onwards, it controls the process end-to-end.

In those cases, technical requirements are strict and the approved camera list becomes part of the production framework. It is designed to reduce risk on large, complex productions involving VFX, color pipelines, HDR mastering and global delivery standards.

However, when Netflix acquires or licenses a completed film, the situation shifts. It is no longer shaping how the film is made. It is evaluating what already exists. The question moves away from how the film was shot and towards whether the finished deliverable meets technical and quality standards. Process gives way to outcome.

That distinction does a lot of quiet work. It means the approved camera list is not a universal barrier, but a production rule tied to a specific type of engagement. It applies most rigidly to commissioned originals. Outside that, the system becomes more flexible than the headline rules suggest.

This is where comparisons with other platforms often come in. Different streaming services structure technical expectations in different ways, particularly when it comes to independent acquisitions. Rather than enforcing strict pre-production camera mandates, many focus primarily on final delivery specifications once a film is complete.

That difference shapes perception. Netflix can feel formalized and tightly controlled at the production stage, while other platforms appear more open at entry point. But both ultimately converge on the same question: does the finished film work on the platform?

What gets interesting is how these systems are interpreted from the outside. Technical guidelines can easily become shorthand for what “professional” filmmaking looks like. Camera lists, in particular, risk being read as gatekeeping devices rather than production tools. That interpretation can create anxiety, as though equipment alone determines access.

The irony is that some of the clearest counterexamples are not accidents or loopholes, but deliberate creative decisions.

Soderbergh chose the iPhone on High Flying Bird for speed and intimacy, working quickly in real environments and stripping away the weight of traditional production setups. The aesthetic emerges from the constraints and advantages of the tool rather than from imitation of high-end cinema cameras.

Left-Handed Girl follows a similar logic in a different context, using lightweight equipment to work within crowded real-world environments where larger rigs would be impractical. The choice of camera is driven by access and mobility rather than compliance with a technical standard.

Put together, these examples don’t break Netflix’s system. They clarify things.

The rules are strict where Netflix finances and manages production directly, but they do not define every film on the service. There is a second route in and it does not begin with an approved camera list. It begins with a finished film.

For filmmakers looking in from the outside, that distinction is crucial. The assumption is often that the system is closed unless you already have the “right” tools. The reality is more layered.

Tools matter significantly in production, especially under commissioned workflows, but they are not always the deciding factor in whether a film ultimately reaches the platform.

What matters just as much is how technical language becomes symbolic within filmmaking culture. Camera specifications can start to function as perceived borders, when in practise they are workflow standards designed for specific production environments.

Once that is understood, the structure looks less like a single gate and more like overlapping pathways.

Netflix’s standards remain real, particularly for its commissioned originals. But the catalog itself shows something else as well: those standards are not the only route to success.

You might also like...

To see a guide to the best cameras for filmmaking and the best cinema cameras, as well as the best camera phones, check our guides.

Insta360’s first gimbal camera has now officially launched - sooner than expected - and boasts 8K among other features that instantly put it ahead of the competition.

The Luna Ultra is a gimbal cameras and seems like a competitor for the pending DJI Osmo Pocket 4P. Both place two cameras on a gimbal for steadiness at the top of a handle – but it seems the new Luna Ultra has beaten DJI to market (though the single camera DJI Osmo Pocket 4 has been out since April).

The Insta360 Luna Ultra is not only a new category for Insta360, but boasts 'industry-first' features to the category as a whole – especially the detachable remote control.

The most distinctive feature is the detachable remote control – which is also home to the 2-inch OLED touchscreen display and a built-in microphone. The camera also features a tiny built-in mini-tripod and subject-tracking AI, so the device is a complete portable studio.

I was lucky enough to get an early look at the Insta360 Luna at a special hands-on event held at the "City of Optics" – otherwise known as Leica HQ, Wetzlar, Germany, but the final release date wasn't expected today, in part because CEO JK said a secret feature was causing a delay.

Why was that test on Leica's home turf? The companies have a long history together, and the Luna's lens – and some software features – are part of Insta360's cooperation with Leica.

Of the launch Leica's Marius Eschweiler, a Leica VP, said "It reflects the shared vision and long-term collaboration between Insta360 and Leica, combining optical heritage with a new generation of intelligent imaging technology."

At Leica-Park I was able to put the camera on nearby bollards, take off the remote (which includes the touchscreen, joystick to control the camera, and zoom controls), then stand where I thought was the right place to record a piece to camera. It was a simple job to line the shot up just as I wanted with the remote and check it on the screen (which still works remotely), then press record.

For even better sound quality, the device is also compatible with wireless mics. Indeed, Insta360 offer several bundles, one including their Mic Air. (This is, of course, a feature now to be expected in not just the pocket gimbal category – the DJI devices do it – but most action cameras too.)

Other key features include 8K30fps with Dolby Vision support, 47GB built-in storage, 10-bit video, a low-light mode, 37 megapixel "UltraPhotos" and 200 megapixel panoramas (created by automatically rotating the camera and stitching the result). Photos can use Leica color profiles Leica Natural, Leica Vivid, and Leica Chrome.

The Luna Ultra, the premium version featuring dual cameras, will sell for US$769.99, and is already available at B&H and Amazon (indeed it appeared a little earlier than the official launch). There are two colorways – Cosmic Black and Stellar White.

Will it make it to the top of our best pocket gimbal camera guide? My experience so far has been promising; I'd better get to work (but then I also happen to know another camera is coming soon from arch-rival DJI – I've also already tried the DJI Osmo Pocket 4P in Cannes!)

Sony is building a medium format sensor that’s 2.2 times that of a full-frame E-Mount sensor – and fans now finally have a glimpse of the upcoming oversized sensor technology.

Last week, Sony announced that it is developing a 65mm-format sensor for its modular Venice cinema system that will allow filmmakers to swap out the sensor on the modular camera for an oversized sensor rivaling the likes of medium format cinema options like the Fujifilm GFX Eterna, Blackmagic Ursa Cinema 17K 65, and the Arri Alexa 65.

That oversized sensor will be capable of 9.7K video and measures about 53.75mm wide and 35.83mm tall (the 65mm comes from the 64.60mm diagonal measurement).

But, as a development announcement not expected to arrive until the first half of 2027, the announcement came without any official images of the actual sensor. Sony, however, previewed the technology at the CineGear 2026 expo – and now the first images and footage of Sony’s overzies sensor are trickling in.

Sony had the new sensor display tech on display in a few different ways, including mounting the sensor block directly to the Venice 2, mounting with a cable setup, and displaying the sensor block itself.

As only a development announcement, there’s much that filmmakers don’t yet know about the Rialto 65, including the type of shutter that will be paired with the sensor. But the announcement is exciting in that it pushes Sony into the medium format market, albeit for cinema and not stills.

Videos and photos coming from visitors to the CineGear Expo 2026 offer Sony fans a glimpse at just how much larger the sensor is than the full-frame currently available for the Venice 2 system.

In a Reddit post, one user claiming to be from Sony says that the company has noted increased demand for 65mm with an uptick in launches for lenses for the format. Meanwhile, Reddit users responded with a mix of reactions, from asking for a medium-format stills camera to hoping for a global shutter to come with the Rialto 65.

The upcoming sensor will likely be out of many creators’ budgets – the full-frame Venice 2 with its two different resolution sensor blocks ranges from $49,000 to $58,000 / £41,000-61,000 / AU$ 76,200-96,800 / CA$55,000-80,000. But the announcement offers a rare official glimpse into what tech Sony is working on behind the scenes.

You may also like...

Take a. look at the best cinema cameras or the best Sony cameras.

Insta360 is gearing up to launch the new Luna and Luna Ultra cameras, but the date for the worldwide launch has been put back to sometime later in June. This delay was explained on Weibo, the Chinese micro-messaging platform, by the CEO Liu Jingkang, known as JK, as caused by a new feature he had requested – and he went on to describe it in some detail.

The feature in question is no less than a Luna first-person camera kit, which he says was initially a temporary experiment designed because he wanted to do two things at once.

JK also posted a video which appears to show the device being used, though it's difficult to see exactly what is going on, except for a few tantalizing reflections.

His explanation, though, is the key to what is going on – and what seems likely to be offered as an accessory to the camera when it comes to market.

"Last year, during the National Day holiday, when I was internally testing our camera, I encountered a street performance. I used a Luna demo unit to record it, but I was focused on the screen the entire time (afraid of going out of frame), rather than enjoying the performance itself," said JK, and I think that's an experience that a lot of us can relate to.

In his post, he continues: "Recording was out of fear of missing it, but the only opportunity I had to enjoy it was spent on the screen. This made me realize that enjoying the present moment and recording are equally important."

This explains why what he calls the "Luna first-person camera kit" was developed, and why the video on Weibo shows him testing it, walking out of the office to his car (a Tesla Cybertruck, since you ask).

While it can't definitely be connected to the settled launch date, he does mention the date June 18th for a reposting competition on the Weibo platform.

The Luna series is Insta360's entrance into the pocket gimbal camera market, until now dominated by the DJI Osmo Pocket series – notably the Pocket 3 and now Pocket 4.

The market is becoming increasingly competitive and it'll be interesting to see where the Luna lands on our guide to the best pocket gimbal cameras in a few weeks. I have already held both the Pocket 4P and the Luna Ultra in my hands, so I know they're only days away, and tried the Luna's remote control, but ultimately, the final versions will be what matters.

The DJI Osmo Pocket 4 has been released and the Pocket 4P has been shown to journalists (including me), but the cameras lack one feature that the big new competitor from arch-rival Insta360 will bring to the market: a detachable remote control. Not built-in as standard, at least.

The Insta360 Luna and Luna Ultra are also in that pre-release stage; I've seen them and had hands-on experiences, but the final on-sale date is still a little way in the future.

However, if you are looking for a camera from DJI that has a detachable touchscreen, I remembered this morning that you can actually already buy it.

If you want a camera set up with a detachable remote from DJI, you'll find that you actually already own the 'camera' element. That's because the device I'm talking about is the DJI Osmo Mobile 8P, which is a gimbal for your phone – and its major new feature was a magnetically-attached detachable touchscreen with remote control for the gimbal.

This was a spectacular update from the previous gimbals, able to share the screen from your phone to help compose shots remotely – as well as encasing the thumb-controlled joystick and the record button in an even smaller (albeit thicker) remote housing than the one for the Luna.

I find it interesting that this product could be developed by a product development team at DJI HQ for the Mobile 8P phone gimbal, without the idea making its way to the new DJI Osmo Pocket 4P gimbal cameras.

Was it a deliberate choice or do the teams not communicate?

Will it actually set the Pocket 4 and 4P back against its new competition? The DJI Osmo Pocket 4 (the single camera version) already has the advantage of being on sale already, but once all four devices are out – and in all the various colors we've seen (black and white variants) – could the remote make a big difference?

I think there is a lot of potential for the Luna to win because its detachable remote has one extra benefit: a built-in microphone. To be fair, both DJI and Insta's pocket gimbal cameras support wireless microphones – but a built-in detachable mic is a usability boost in some situations.

A gimbal means smooth video. Remote controls like the one on the Luna or the Mobile 8P are ideal for a piece to camera because you can use the device's built-in tripod to position the camera, then ensure your shot is perfect from a distance.

As to which you choose, what matters now is your intended workflow. Whether you want to shoot video straight to your phone or to a dedicated camera, the choice is between these brands (and how much you spend).

Insta360's price point is that of an 8K camera for "a new generation of content creators" (as Max Richter, joint CEO of Insta360, put it). The Mobile 8P, on the other hand, is a premium camera gimbal, and arguably the best smartphone phone gimbal, but that's a much lower outlay.

It's also worth adding that all the cameras in question can be remotely controlled by phone apps, too, but phone apps aren't the same and don't have physical joysticks.

Sony is building a 65mm format sensor. On June 3, the imaging giant announced that it is developing a 65mm sensor for its Venice 2 cinema camera system, dubbed the Rialto 65.

The 65mm format is technically part of the medium format family, which covers sensors that are larger than 36mm but smaller than 100x130mm large format film. But, the Sony Rialto 65mm sensor is a 3:2 sensor built for cinema, making it wider but shorter than many typical stills-oriented 4:3 medium format cameras that tend to sit around 53.4x40mm.

Sony says the upcoming Rialto 65 will be one of the largest commercially available cinema sensors – it measures 64.60mm diagonally and comes with a 3:2 aspect ratio, making the sensor about 53.75mm wide and 35.83mm tall.

If everything goes according to plan, the Rialto 65 is currently expected to arrive sometime in the first half of 2027.

But, rather than launching a new camera to go with the larger sensor, Sony is building a sensor block that can be used to modify the Sony Venice 2 bodies, allowing filmmakers to swap out the current camera’s full-frame sensor for a larger one. The modular design, Sony says, will help filmmakers adapt quickly.

The 65mm format has around 2.2 times the area of the full-frame sensor on the existing Venice 2 bodies. That helps the camera both gather more light and create an even shallower depth of field. That larger size will power the ability to shoot 9.6K open gate recording, which uses the full 3:2 sensor for greater cropping flexibility in post.

But, the larger image sensor requires larger lenses – Sony says the upcoming sensor block will be compatible with “various 65mm format lenses.” The company says that multiple readout modes will help the sensor support compatibility with more lenses.

The upcoming sensor joins a limited but growing list of medium format shooters designed specifically for cinema, alongside options like the Fujifilm GFX Eterna, the Blackmagic Ursa Cine 17K 65, and the Arri Alexa 65.

While medium format cinema cameras sit at a price accessible only to studios with large production budgets, Sony is one of the largest manufacturers of camera sensors, so the shift is an interesting move even for creators who will never get to hold such a large sensor.

You may also like

Browse the best medium format cameras.

Wearable and not much bigger than your thumb, the POV camera is a new sub-category of action camera that is exciting for vloggers and anyone who wants to capture their lifestyle with as little interruption as possible.

If the traditional boxy GoPro-style action camera is too big, then wearable POV cameras are the solution. Some are small enough to be known as pill cameras (but not for medical reasons). Most designs now include the very practical magnetic clip – so much so that "magnetic camera" is another term for them. They are worn as easily as modern wireless microphones, and sport a range of different solutions to control.

Like the traditional action cameras, these cameras compete on their compact nature and low weight, their ability to capture high-resolution (and store it), and the ability to get stable video despite being worn on clothing. Desirable features also include waterproofing, a good battery life, and some form of remote control – via case, app, or both.

Image stabilization takes processing power, but there is no way that you can wear a camera on a hat, your chest, or handlebars without it picking up some movement. I've already picked all the best action cameras; here I've looked closely at the best tiny POV cameras and put them to the test myself.

Best for most people

Coming with a battery housing (”Action Pod”) that boasts a folding 2.5-inch touchscreen, from which the detachable 4K 60fps camera pops out, even without the ‘tiny camera’ option, this would be a compelling action camera with the vlogger’s favorite benefit of a good-sized fold-up display. A nice touch is that a MicroSD card can be added to the Action Pod to increase storage options, though video is initially recorded to the camera’s internal memory.

The camera has a 1/1.28-inch image sensor, making it ever so slightly bigger than any of the competition. The result is a camera that has very little in the way of compromise, and even has an acceptable low-light mode.

As camera-only, it can be worn in two main ways – clipped onto a hat or, thanks to the magnet, worn on a pendant. Typically, you'd hang the chain around your neck and the other side of the magnet behind your clothes, so you can pop the camera on and off very discreetly. Cleverly Insta360 has also designed the pendant to be twisted to set the camera angle up or down – a very useful touch.

Insta360’s image stabilization does seem to have the edge, and includes a horizion balancing mode which many find useful. There is also support for Insta360's microphones for vloggers.

Read my full review of the Insta360 Go Ultra and see sample video

Best for pro quality

Offering creatives the benefit of a The 1.9-inch display isn’t the biggest in this list, but it is a crisp OLED touchscreen which I found great to use (it's responsive) and it’s worth remembering that it is easily detached from the camera so you can keep it nearby if you are worried about the size. The design also means you can point the camera away from or toward the 'screen side' when it is attached to the "Multifunctional Vision Dock" as DJI call it.

The camera’s other big plus point is the 4K120fps slow motion (though this comes at the cost of the stabilization, but 4K60 can be captured with DJI's impressive digital stabilization – which, like Insta360's, can balance the horizon if you want). Another nice touch is pre-roll (hit record after the moment!), though this feature is never quite as good as I hope – because you do need the lens pointing the right way!

The key advantage, though, to this camera is the 10-bit recording in DJI's D-Log M, which allows a lot of flexibility for those who like to preserve color and brightness information until the edit.

DJI has also built in a receiver for the company’s own microphones, as well as cramming stereo mics into the frame. Included with the camera 9either 64GB or 128GB versions) you'll find a hat clip and a magnetic lanyard, as well as a protective case and a ball joint mount with a suction cup (to, perhaps, sticck the camera on a dashboard?)

See my full DJI Osmo Nano review for a sample video

Best cheap

This is a super-cheap camera without a screen, small in design so it looks a lot like the Insta360 Go 3, or 3S, cameras. It it also worn with a magnetic lanyard so it appears to float on the fabric of what you are wearing but is held in place firmly enough for activity.

Unlike that camera, though, there is no separate wireless controller. There is a TF card slot (compatible with a MicroSD card) in the camera, and it records 4K video directly to this. Simple operation is via a start-and-stop button. It is incredibly compact and remarkably robust, constructed from a sturdy plastic composite that easily survives accidental drops. It also skips a display entirely to keep its footprint as small as possible, making it a very simple, no-nonsense point-of-view shooter.

In low light the camera will look a bit less than ideal – the noise or grain is a factor – but the 120-degree field of view has decent (if not perfect) clarity across the whole image.

The camera offers respectable battery life for an action cam, providing around 90 minutes of 4K recording or up to three hours if you drop the resolution down to 1080P (fine for action, not ideal for the kind of people who might have bought one of Boblov's body cams). Ultimately, for a starter camera or an affordable way to capture memories on vacation without worrying about premium low-light performance, it exceeds expectations at its bargain price.

See our full Boblov W4 review for sample videos

Best for low weight

The Insta360 Go 3S was the first 4K camera in this form factor (though the even cheaper Go 3 came before it if you're happy with 2.7K). It's light enough to clip nearly anywhere and go unnoticed, yet it retains the benefit of the magnetic pendant that many of the other cameras on this list offer.

Insta360 has not left this camera alone since launch, either. Retro chic fans will love the unique 3S Retro Bundle with old-style housing, with prism-and mirror framing device much like an old 110 camera.

In lower light, a camera this small will inevitably experience some "noise" (look a bit grainy), and the battery life is only 30 minutes when you're not inside the 'Action Pod' housing, but the housing can top it up fast. The housing also boasts a flip-up display which, again, makes this a handy vlogging tool.

The camera also has good image stabilization – including horizon balancing, and a 'kids mode' that enables you to let the kids wear the camera while you control it remotely (and they don't press anything that'll ruin your POV capturing of their future memories).

Read my full review of the Insta360 Go 3S with samples

Best glasses

An alternative to a clip-on or body-worn camera is a pair of sunglasses with a built-in camera – controlled from your phone. That is what Meta, the owners of FaceBook, created jointly with Ray-Ban (a brand you just might have heard of). The result is a very convenient in a lot of POV shooting situations.

Smart camera glasses work by connecting to your phone wirelessly, and you can command them from the touchpad on the arm, the app on your phone, or using the built-in microphone with an instruction beginning "Hey Meta...". For example "take a picture," but the AI can also take advantage of the camera to see from your POV, so you could also ask, "What does that sign mean?"

There are hidden speakers over your ears in the arms, which you can use to listen to music and take calls – though the sound is audible to anyone very near you.

Incidentally, here is a cost-saving option: The Gen 2 model that I have chosen here is the better quality option for photo/video with 3K recording but I'll freely admit to being the camera nerd. Just as good (as it uses exactly the same camera system and software) are the Oakley Meta smart glasses.

If you're looking for a cheaper way to capture the fun from your POV, and the specs don't matter the original RayBan Meta smart glasses are still Ray-Bans, so you still look cool, but will have enough left over for a nice holiday drink or ten too.

Read our full review of the Ray-Ban Meta (Gen 2)

Cheap alternative

How we test POV cameras

Like everything, the best way to get to know something is to try it out in the real world, so this list includes products that we at Digital Camera World have hands-on personal experience with. That also means that if you want to know even more, you can tap through to a full detailed review.

See how we test cameras at Digital Camera World

Action camera giant GoPro is in financial trouble. On June 01, GoPro shared updated stock market filings warning of “substantial doubt about the Company’s ability to continue” as the action camera giant faces declining sales and the increasing cost of memory.

The Securities and Exchange Commission filing comes after GoPro has already shared that it is considering a potential sale, news that followed a a $93.5 million net loss for 2025 and $432.3 million in 2024.

The latest filing indicates further struggles for the action camera manufacturer, including both an 80% to 110% increase in memory hardware costs and reduced supply from its suppliers amid the AI data crisis. The report also indicates “further softness in sales” for April and May 2026.

The 8-K form that GoPro has filed with the SEC indicates that the company could struggle to pay its debts over the next 12 months. The form re-files the company's 2025 financial results with an auditor's report.

“Without obtaining additional sources of financing or consummating a strategic transaction,” the filing reads, “the Company’s ability to continue as a going concern would be materially and adversely impacted, and the Company may be required to significantly reduce, restructure, cease operations, or seek protection under the Federal bankruptcy laws although no specific plans to file for bankruptcy protection have been initiated or considered.”

While the filing indicates serious financial strain, the paperwork on its own doesn’t necessarily mean that bankruptcy is imminent – and the filings also state that no specific plans for bankruptcy have been considered. For example, Kodak filed a similar statement last year, but resolved its debts using a pension fund and ended the year in growth.

GoPro has already implemented some changes, including a 23% reduction in staff. The company also shared earlier this year that it is considering potential offers for a sale. However, concerns over the company’s ability to repay debt remain.

While the filings indicate lower-than-expected sales in April and May, the report does not mention the new GoPro Mission 1 series of cameras, which began shipping just days ago. The new series evolves GoPro’s offerings with a 1-inch, 8K-capable sensor (see more in our GoPro Mission 1 Pro review).

GoPro has not yet responded to Digital Camera World’s request for a comment.

You might also like...

Take a look at the best action cameras, the best GoPro cameras and the best GoPro alternatives.

By using their POV cameras – from the Insta360 Go series – shared their toddler's perspective of the world and turned her into an unexpected star.

Rather than pointing cameras at their child, they found that the POV cameras were small and light enough to easily be worn on the young girl's baseball cap, clipped on with the lens facing her to record her expression as she explored her world.

The cameras offers a wide angle – both the models (the Insta360 Go 3S and Insta360 Go Ultra) appear in our guide to the best action cameras. The Go 3S has a 16mm EFL, and the Go Ultra 14.3mm – this means the camera can be this near the face and still allow the viewer to perceive the environment around as she explores locations like sandpits, puddles, and flower gardens.

By placing the camera at her height – just 2ft8 – and just in front of her she appears to be running toward it. The viewer sees her world – adults are giants,

Her parents said they would keep going while their daughter had that childish perspective "before she starts seeing it from an adult perspective, where everything has to make sense. Until that time, I'll keep recording, preserving these moments of innocence and joy."

Insta360 has shared some tips on using the Go 3S and the clip (which is included) to get the right angle – in essence make sure the camera is angled down.

The company has also added a Kids Mode to the camera which turns off the indicator lights and beeps, and, significantly, disables the record button on the small camera itself, giving parents remote control. That prevents little ones from stopping a recording.

The camera is also Apple Find My compatible, and shoots in 4K – the full review covers it in more detail. Insta360 is clearly steering into the popularity of the POV camera design this summer – it also has seasonal re-release of the mini camera with special retro compact camera styling called the Go 3S Retro Bundle.

The result is videos which have ranked amongst Instagram's most-liked posts of all time.

Pleased by the success achieved with its cameras, Insta360 has made a YouTube about the girl's break out startdom.

If you're interested in achieving the same, why not check our guide to the best body camerras.

GoPro is the name almost everyone associates with action cameras, but for those in the know, there is a bit more to it than that.

GoPro as a company has several product lines, and the traditional ‘GoPro’ – the action camera everyone thinks of under that name – is a sub-brand known as the Hero Black, now in its thirteenth generation.

The company has been very open about the demands that success has placed on the Hero Black camera; it still needs to be rugged, but filmmakers are starting to demand features like high resolution,

That’s where the Mission 1 series came along; a new ‘premium’ tier concentrating on the specs that people like me – photographers and video makers – are obsessed about.

The Mission 1 Pro, the camera I am testing, is the higher-spec of the first two cameras with built-in lenses (but a clever adaptor system). The third, which will come a little later, is a slightly different proposition – with a fully interchangeable lens system.

The key question – has GoPro done the right thing by, well, listening to requests from folk like me, and is it worth the investment?

GoPro Mission 1 Pro: Price

The Mission 1 Pro is $699.99 MSRP and $599.99 at GoPro.com for existing GoPro subscribers – that’s $100 more than the non-Pro version of the Mission 1, and notably more expensive than the Hero 13 Black, which will remain on sale, but is arguably the most compelling in terms of features.

GoPro are also creating a number of bundles – a Grip Edition ($779.99), Creator Edition ($1,099.99), and, coming later, an Ultimate Creator Edition $1,199.99.

GoPro Mission 1 Pro: Specs

GoPro Mission 1 Pro: Build and handling

If you’ve held one of the recent GoPro Hero Black cameras, the Mission 1 and Mission 1 Pro will not hold too many surprises for you. The essentials are very similar; a robust camera that gives an immediate feeling of confidence, with a waterproof door at one end.

That door is home to the battery, the USB-C port, and the MicroSD card slot (there is no additional onboard memory, unlike some competitors).

The battery supplied is a new 2150mAh “Enduro 2,” which is 13% more capacity than the Hero Black battery; however, the Enduro 1 battery will fit into the same slot, simply delivering slightly less life – good news for those who already own a GoPro.

The Enduro 2 batteries also boast a fast-charging tech which flies along, topping up about 80% in 20mins in my test.

Much like the tried-and-tested Hero Black, the camera design features a touchscreen at the back and an additional screen at the front next to the lens so selfies can be composed.

It isn't always easy to see this screen behind the lens protector, but it's only really a composition tool.

The lens itself is bigger, allowing for the 1-inch sensor that exists beneath it, and is cupped with a large rubber surround providing drop protection. This can be removed and pushed back into place reasonably easily. Moreover, the glass element that covers the lens can also be removed by twisting the mount, much like the Hero 12 Black and later, though of course it’s a different fitting.

This means it’s possible to easily replace a damaged cover, or fit lens adaptors, and these will identify themselves to the GoPro so it adjusts its settings accordingly – making it very easy to get the best possible results from attachments. From a user perspective, this is a little like the way a serious camera communicates with interchangeable lenses, though in fact it is one way; there is no focusing or adjustment taking place in the removable attachments.

It is especially ironic, though, given that the ILS version of the camera in this range (due in Q3 this year) has no means of identifying the lens attached, so focus adjustments will have to be entirely manual. That camera, though, is really more likely to be used for some specialist applications.

At the base of all these cameras is GoPro’s hinged doors, again as seen on previous Hero models. These have effective magnetic clips, which I certainly trust, for example, on the top of my cycle helmet. They fold out of the camera body, though, to replicate the traditional GoPro clip and which can survive even more extreme environments. The combined design remains excellent, and copes with the weight.

GoPro has added a new processor chip, the GP3, which offers more power than its predecessor. That is evident throughout the user experience, which just feels a lot less laggy than older GoPro cameras.

It has also been put to use with features like Subject Tracking, a video tuning mode for Dive that color-corrects automatically, and some processing in low-light images. Sport POV and Vlog are among others.

Stills photographers will appreciate the arrival of a grip (a little like the Insta360 one), and this is bolstered by the 50MP stills option as well as the standard 12, but it is in wide only because it uses the whole sensor. More usefully it's possible to take control of all the key exposure settings if you feel so inclined – though it's worth noting that there is no adjustable aperture, unlike the DJI Osmo Action 6.

The need for it on a camera this side is a matter for debate, of course, but in any case it is one less moving part!

GoPro Mission 1 Pro: Performance

When they handed the device to me to begin my early testing, the GoPro team explained that their imaging philosophy was not about creating excessive processing, even though there is now the capability of neural processing on board.

I think that is well evidenced in the very naturalistic-looking footage the camera produced in its default settings, though it wasn't always able to make perhaps the choice I'd have preferred about exposing for me in selfie / vlogging situations.

It was great to have the option of 10-Bit color, which is recorded with the new GP-Log2

Stills were genuinely impressive and I can see myself using this as a rugged compact camera, though it is a shame that the zoom has to be adjusted on the touchscreen.

As the adjustable visualizer below shows, the camera's built-in software has a great handle of very difficult light – better, arguably, than my Sony a7iii. The GoPro is wider than the 28mm option (as far as the kit lens on my Sony would offer), so took in even more bright and dark areas, yet

GoPro 12MP

Sony a7iii

The GoPro also offers a 50MP image which it described as 'W' (presumably 'wide') yet didn't seem to offer me any alternatives, I'm guessing because it was using every available pixel. Again, though, at default settings while the image is even wider than the standard photo mode, it handles the color in a way which feels more or less spot on despite the very harsh light.

The upshot is that the footage from the camera looks natural and can reasonably be intercut with other cameras.

To my eye, that is especially true of the low light mode, which is slightly less aggressive than some alternatives from DJI and Insta360. This might be a matter of personal preference – the more cinematic choice, perhaps? – but I think many will appreciate this approach. Moreover it's nice to finally have a GoPro that can compete in the low light territory at all.

GoPro Mission 1 Pro: Overall verdict

The camera produced some of the best footage I've ever seen from an action camera, and, for a company that has been languishing a little behind DJI and Insta360 in terms of the specification race, reaching that point seems like a significant achievement.

I genuinely feel like I've been experiencing a camera built with a philosophy much closer to mine, and that's a joy. I'd rather spend a little bit more to have the option of amazing frame-rate slow motion or really convincingly sharp 8K than spend nearly as much for something that cuts corners. Perhaps that's because I don't want to do the action in question too many times – and because I see these cameras taking over a lot of other jobs.

Catering for filmakers it is not without issues, of course. The camera is physically bigger, but that is addressed by GoPro's other smaller and lighter cameras (or perhaps some of the competition!) I would also argue that I still don't love a business model that seems to make subscription unavoidable, but at least there is a significant discount on the camera.

Some will wait, no doubt, for the micro 4/3rds swappable lens, but that won't be waterproof. This camera seems to me, for now, to be the cinematic best that cameras this rugged can actually be, and I love it.

Alternatives

How I test

I think the best way to get to know a camera is to take it out and use it, and that applies to action cameras especially. The Mission 1 Pro arrived in an especially sunny time and I've mostly been doing walks, so I imagine I'll be adding some additional thoughts when it cools enough for me to feel safe on my bike.

Insta360 has just launched a new bundle that turns the 3S into a ultra compact retro camera evoking design classics you'll remember your grandparents owning, but retaining the 4K video features too.

Targeting those who want to enjoy the tactile feel of shooting with a retro viewfinder, the GO 3S Retro Bundle includes a unique new housing for the 3S, as well as two new retro looks for the camera: Canvas White and Classic Red.

As well as an optical viewfinder, if you turn the device around there is a built-in selfie mirror effect.

The external design isn't the end of matters though. The Go 3S Retro bundle brings the style into the app with three exclusive film-style filters: Negative Film, Positive Film, and Sticker Filter.

The eleven color profiles also include five new film-inspired ones – NC, CC, GR-F, Mono and Vintage Vacation. The profiles can be applied in camera, so the experience is more analog than post-processing.

The Go 3S's original strengths are still accessible, as per my original Insta360 Go 3S review. It is a waterproof action camera, able to go up to 33ft (10m) underwater without a housing.

It features Insta360's "FlowState" image stabilization, and FreeFrame Video, which allows video to be exported in any aspect ration (so you can capture the best social and landscape clip at once).

There is also compatibility in the app with data from Apple Watch, Garmin and other devices to create overlays in export videos.

The camera pops out of the retro housing magnetically, and the Magnetic Pendant is included in the bundle. This is worn around the neck, typically beneath clothing so you can put the camera on top and wear it with minimal impact and capture first person perspectives.

The camera itself is just 39g and has built in memory (two options are available) and can record around 30 minutes of video, or up to 76 with the battery attachement (which can also clip into the back of the retro viewfinder, if desired).

The Insta360 GO 3S Retro Bundle is available now at the Insta360 store for 64GB and 128GB, priced at $249.99 / AU$469.99 and $269.99 / AU$499.99, respectively.

GoPro’s ability to stream POV feed to a smartphone and adjust the settings has been part of a patent dispute for over a decade, but a ruling from a federal judge on May 14 may have freed the action camera giant from an $8.2 million payment.

Last week, California District Judge William Orrick granted a post-trial motion that cleared the action camera giant from a $8.2 million patent infringement suit posed by lower courts in a case between GoPro and Contour IP Holdings LLC. (That converts to about £6.1 million / AU$11.6 million / CA$11.3 million.)

Orrick also turned down Contour’s request for a new trial that sought even more damages of $172 million (about £128.4 million / AU$247.7 million / $CA236.8 million).

The court case dates back to 2015 when Countour, a holdings company that owns and manages patents, and iON Worldwide filed a lawsuit against GoPro, claiming that several Hero action cameras infringed on a patent for the tech that allows the action cameras to have wireless real-time viewing and control through a mobile app. iON, a former maker of cylindrical-shaped action cameras, declared bankruptcy in 2016 and was later dropped from the lawsuit.

The lawsuit alleges that GoPro infringed on Contour’s patent that generates two video streams – one high quality to save to the memory card and a secondary lower quality stream. That lower-quality stream can be sent wirelessly, enabling live view of the camera feed from a mobile app as well as remote controls.

The patent infringement case doesn’t include more recent cameras from the action camera giant but included the GoPro Hero7 Black, Hero7 Silver, Hero7 White, and Hero8 Black, as well as the original Max. There was some deliberation on whether the Hero9 Black should be included in that infringement, but newer models since 2020 were not part of the case.

The claims have been in and out of the court system for more than a decade. In 2022, a judge ruled that the technology couldn’t be patented because it was “an abstract idea executed in a generic environment.” But when Contour appealed, a Federal Circuit reversed that decision in 2024.

In a trial in September 2025, a jury found that GoPro did not infringe on most of Contour’s patent claims, but did side with Contour on one “Live Preview” tech infringement, leaving GoPro with a $8.2 million payment.

However, the judge’s decision last week wiped out that debt, saying that the claim was invalid.

Contour could potentially file for an appeal, but, for now, GoPro has told investors that it has “no liability arising from the case.”

You may also like

Take a look at GoPro's new high-end cameras, the Mission 1 series. Or, browse the best action cameras.

You can't escape the superlatives surrounding the Canon EOS R6 V. Wherever you look, it feels like everyone and their dog is singing the praises of this camera.

"It might be the best camera Canon has made for creators,” said Think Media.

"Canon’s best-value video camera ever?” posits Anthony Gugliotta.

And of course, his royal highness Peter McKinnon: “I’m gonna go out on a limb and say the R6 V is everything I’ve ever wanted in a Canon camera. It’s all in one, for the first time, truly. For me, it might be the perfect camera."

Calling the Canon EOS R6 V "perfect" is a big claim – but it's perfect for McKinnon. And, apparently, just about every YouTuber and creator. The question is, is it perfect for you?

What makes the Canon EOS R6 V "perfect"

Hyperbole aside, there is a whole lot to love about this camera. Just look at the specs, with no commentary:

• 7K 60p video
• 7K 30p open gate
• 4K 60p live streaming
• 32.5MP stills
• 40fps burst shooting
• 7.5 stops in-body image stabilization
• Active cooling system
• Weather sealing
• Dual Pixel CMOS Autofocus II
• Registered People Priority AF
• Shutter angle
• Vertical tripod mount
• Horizontal / vertical user interface

I could go on, but you get the point. The Canon EOS R6 V is the very definition of a hybrid powerhouse.

You want open gate video for ultimate flexibility in post production? You got it. You want high-resolution, rapid-fire stills for photography? You got it. Crazy-long recording times, all-weather performance, best AF in the business, vertical shooting flexibility, image stabilization… got it.

If I was buying a high-end content creation camera today, the Canon EOS R6 V is the one I would go for – hands-down. Forget the Sony FX3, forget the Nikon ZR, this is where it's at.

More specifically, this sensor is where it's at. I've used it for photographing wildlife, for live streaming, for shooting long-form open gate video – it's an absolute monster for everything.

However, it's not without a few caveats.

What makes the Canon EOS R6 V "imperfect"

Let's start with the obvious ones. First of all, the Canon EOS R6 V has no electronic viewfinder. And for its intended audience, and for 60-90% of what most people will use it for, this is absolutely fine.

This is, after all, a video camera first and foremost. On top of that, I dare say that most people interested in this camera will have been weaned on shooting via the rear screen – they don't want or need a viewfinder. But for this to be "the perfect camera", it absolutely needs an EVF – or at least, the option to add one.

Along similar lines, no mechanical shutter. Again this will only bug photographers, who may experience rolling shutter when shooting fast action at high burst rates. The again, at some point even video-first creators might bump into banding when shooting a thumbnail on location under artifical lighting.

There are some video-related caveats, too, though.

The first one is a miscommunication issue; some people have heard "7K 60p" and "7K open gate" and conflated them to understand that the Canon EOS R6 V can shoot open gate in 7K 60p, for semi slow-motion. But it can only shoot open gate in 7K 30p, which is a deal-breaker for a couple of videographers I've spoken to.

There's no timecode, either, nor support for anamorphic lenses. That's really cinema territory, so it feels unfair to criticize this camera for those omissions when the sister Canon EOS C50 exists for that purpose. Nonetheless, even if we just consider a "perfect camera" for a videographer like Peter McKinnon, this does feel important.

Is the Canon EOS R6 V REALLY "perfect"?

Again, calling any camera "perfect" is an impossible claim. I know; I called the OM System OM-3 the perfect camera for me. So just to be clear, no camera is perfect for everyone.

But you know what? The Canon EOS R6 V comes pretty close. Yes, I'd absolutely prefer this camera to have a viewfinder accessory – but I used it to photograph wildlife and I managed to get some shots. Birds in flight might be a different story, but certainly for casual photography it's more than up to the task.

And when it comes to video, there's almost nothing lacking here. I don't shoot anamorphic and I don't miss timecode; zebras and shutter angle are far more important to me, as is effortless vertical shooting and one-button access to live streaming.

So… perfect? For everything, not quite. For video, specifically? Pretty much, yeah.

You might also like…

See how the Canon EOS R6 V stacks up against the best Canon cameras across all categories, and check out the best Canon RF lenses with which to use it.

Until now, almost all dash cams with a parking mode have required a more involved installation than simply being stuck to the windshield and connected to a power socket. These modes, which wake the dash cam up when a collision is detected while your car is parked and switched off, usually draw power from your vehicle’s fuse box or, more recently, from the OBDII port. Either way, that requires running a cable and, in the case of the former, often a professional installation.

This dash cam hopes to change all that with the simple addition of a solar panel. It’s called the Baseus PrimeTrip VD1 Pro, and it has a parking mode that works just like any other – but, crucially, it doesn’t require power from the fuse box or OBDII port.

It isn’t entirely solar-powered, despite Baseus misleadingly describing it as featuring a “solar panel for cable-free use,” since it still connects to your vehicle’s 12-volt socket or compatible USB port in the normal way. But what it does offer is parking protection without the faff. It also boasts 4K video, a compact design, Wi-Fi 6 with 5GHz video transfer speeds, a rear camera recording at 1080p, and strong night vision thanks to its Sony Starvis sensor.

It sounds great on paper, but does it work in the real world? I’ve had the VD1 installed in my car for a couple of months now, so read on to find out.

Baseus PrimeTrip VD1 Pro: Specifications

Baseus PrimeTrip VD1 Pro: Price

At the time of writing, the VD1 is available from Baseus’ US website for $109.99, which is a percent reduction from the usual price of $179.99. It is currently unavailable from Amazon in the UK, but can be bought elsewhere, such as AliExpress - but prices fluctuate significantly from around £90 to £190. European pricing is from €169.99.

Unusually these days - but very welcome - is how the VD1 comes with a microSD card in the box. The sample reviewed here came with a 64GB card, while a 32GB card is included from Baseus’ US website.

Baseus PrimeTrip VD1 Pro: Design & Handling

The VD1 is impressively compact and, unlike most other dash cams, almost cuboid in shape. Excluding the windshield mount, the main unit is a cube measuring approximately 50mm across every surface; it attaches to the windscreen with an adhesive pad attached to the top-mounted solar panel housing. This then pivots to allow for vertical adjustment, and rotates by 15 degrees in each direction to adjust the camera’s view left and right.

Even in my small car (and its even smaller windshield), I found the VD1 to be one of the less invasive dash cams I’ve tested. It practically disappears from your peripheral view while driving.

There are buttons for navigating through the simple menu system, plus a pair underneath the unit for power/resetting and controlling the Wi-Fi connection; that’s used in conjunction with the Baseus smartphone app, and is how recordings are transferred from the dash cam to your phone. Alternatively, you can take out the microSF card to transfer videos manually, or plug it into your computer with a USB-C cable.

My review kit included a rear camera that connects to the side of the main unit with a long cable, and this also fires into life when a collision is detected while parked. Baseus includes a sheet of static cling film in the box, which makes it easier to fix and remove the VD1 from your car or switch it between multiple vehicles.

Overall, it feels like a high-quality piece of hardware that is pleasantly compact and nicely designed.

Baseus PrimeTrip VD1 Pro: Performance

Although the VD1’s Sony Starvis imaging sensor doesn’t technically record natively 4K, since it’s a 5MP sensor and not 8.3MP – a marketing sleight of hand played by a lot of dash cam companies – the footage is upscaled to 4K resolution and looks very good indeed.

As you can see from my sample recordings below, footage captured during daylight is particularly sharp. There’s plenty of detail, like road markings and license plates of other vehicles, while exposure levels are handled very well. It’s also relatively smooth – as far as dash cam footage needs to be, at least – and the 140-degree lens, while not the widest, does a perfectly decent job of capturing a good view of the road ahead.

Quality takes a dip after sunset, but that’s to be expected from any camera, let alone a dash cam. While license plate details are mostly lost, the VD1 continues to impress with practically zero grain, and road signs remain legible. Visibility fell during nighttime rainfall, and when driving on unlit roads after dark, but that’s to be expected. The fact remains that, had I been in an accident, evidence would have been captured in adequate detail.

The rear camera, while small and with unlimited vertical adjustability, isn’t as good as it should be. It only records at 1080p (Full HD), which is towards the lower end of what’s expected from dash cams in 2026.

Now, to the solar-powered parking mode. Is this a dash cam game changer? It would have been a couple of years ago, before models from Nextbase, BlackVue, Thinkware and Viofo started drawing power from the OBDII socket, even while parked. Baseus still deserves credit for its solar-powered approach, since this enables parking protection from a dash cam powered from the 12-volt socket in a more conventional way – and side-steps the hassle, and extra installation costs, or tapping into the fuse box.

Make no mistake – the solar panel is about the size of those found on pocket calculators, and can’t actually power the dash cam during normal use. Instead, it acts as a trickle charger, topping up the integrated lithium battery with enough juice so it can fire up and record some video when a collision is detected.

Baseus says the VD1 can record up to 20 incidents (producing 40 video clips if the rear camera is also connected), each 30 seconds long. It also says the dash cam can stay in a sleep state for up to 14 days at a time before the battery is fully depleted. In my testing, I found it woke up quickly from this sleep state and began recording in just a couple of seconds – so if someone hit your parked car, it’d likely capture footage from right after the collision was detected.

This is all exactly like the parking mode of other dash cams, but here the VD1 is using its own battery – topped up a little by the solar panel – instead of drawing power from your car’s battery via the fuse box or OBDII port.

Naturally, the solar panel is of no use if you park in a garage or shaded area, and will likely work less well during cloudy and overcast weather. While driving, the VD1’s battery is charged from its connection to your car’s 12-volt socket.

Lastly, the Baseus smartphone app is fine but nothing to write home about. Despite boasting Wi-Fi 6, video transfer speeds are unremarkable, with a three-minute clip (measuring 600MB) taking about the same amount of time to land on my iPhone. The app is handy for adjusting settings – and, bizarrely, parking protection is switched off by default – but ultimately it’s an app that your phone will automatically delete due to lack of use.

Baseus PrimeTrip VD1 Pro: Video

Above: some sample video clips shot using the Baseus dash cam during the day and night

Baseus PrimeTrip VD1 Pro: Verdict

The Baseus VD1 isn’t quite the groundbreaking new dash cam I thought it might have been. But don’t let that put you off, because even if the solar panel is a bit of a gimmick – and other dash cams neatly get around the power issue via the OBDII port – it still performs well. Footage from the front-facing camera is especially good during both day and night, thanks to that Sony Starvis sensor, and the VD1 is pleasingly compact. I wish the rear camera recorded at 2K instead of just 1080p, but at least it’s included as standard and takes up very little space. Despite the eye-catching solar panel, the biggest feature here is the VD1’s battery. Very few dash cams have an internal power source, but here is an example that proves precisely why they should. It unlocks parking protection with zero effort, meaning you’re more likely to have a recording of the aftermath of any incident.

Alternatives

Also check out our guide the best front and rear dashcams

Action camera giant GoPro is considering a potential sale of the company or another “strategic event” – and it’s a move that founder and CEO, Nicholas Woodman, says he “fully supports.”

Earlier this week, GoPro announced that it would find a financial advisor to help review potential strategies, which “could include a sale of the company or merger.”

Just two days later, the company announced that it had retained Houlidhan Lokey, Inc, a global investment bank with experience in both the defense and consumer sectors, to aid in that investigation.

While the news does not mean that a sale is certain, the announcement makes it clear that the action camera goliath is seriously considering a potential sale or merger.

The announcement actually stems from “several unsolicited inbound strategic inquiries” that GoPro received after it announced that it was looking into expanding into the defense and aerospace industries.

Woodman, who declined part of his salary after laying off 15% of the GoPro workforce, says that the potential change has his backing.

"I fully support the effort to review a potential sale of the company to maximize shareholder value, and this process has the full support of GoPro's Board of Directors and management team.”

At this point in the process, it’s unclear if the move will result in a sale, merger or another change – and GoPro notes that it has not set a timeline for reviewing the process, either.

While the announcement doesn’t come with a certain sale, one thing seems certain: GoPro is at least considering a potential sale.

The move comes as the action camera specialist has struggled amid rising competition in the market. In the first quarter of 2026, GoPro posted a 26% revenue loss year-over-year, stemming from a 29& drop in action camera sales.

The move, however, comes shortly after GoPro announced the new Mission 1 series, a more cinema-oriented line with larger 1-inch sensors. The Mission 1 line launches at the end of May with two fixed-lens models, with a mirrorless body expected to follow later this year.

GoPro’s recent expansion beyond action cameras – with both the defense industry and the launch of the cinema series – may be key to the offers the California-based company considers.

Woodman says that GoPro “has substantial unrecognized value,” hinting that the action camera giant’s reputation for durable, portable cameras could be integrated into other industries, much like the announcement to look into the defense sector and the Mission 1 cinema series.

For GoPro fans and users of the longstanding lineup of action cameras, the potential sale or merger could bring significant changes. Just how significant it will likely depend on what companies are in the running.

A sale to a company in the defense market, for example, could mean a significant shift compared to a sale to a consumer electronics or camera company.

The investment advisor that GoPro has selected has “strong ties” with both defense and consumer sectors, GoPro says.

You may also like

Browse the best action cameras or the best compact cameras.

DJI has just put out a teaser for what can only be the dual camera version of the – Osmo Pocket 4P if the naming scheme remains the same.

The idea of a dual-camera variant of DJI's gimbal-based camera has been rumored for nearly two years, since the Pocket 3 arrived and sold over expectations. Massively so, in fact – reportedly over 10 million units (KR Asia report). The Pocket 3's market dominance was occasionally associated with supply troubles, such was its popularity.

It had an 11-month run as the top video camera in Japan according to BCN data, and, inevitably, many expected its sequel to bring a raft of major upgrades.

When it did arrive, the Pocket 4 turned out to be more of a refinement, as I covered in Pocket 3 v Pocket 4. Now, though, we can see from this teaser that DJI had the anticipated premium dual-camera model up its sleeve all along.

DJI's teaser doesn't reveal the full feature set, but we can be reasonably confident that it'll beat the Pocket 4 in every category.

It's also possible to see, in the picture, the lens specs. Given that, we should expect:

• Main camera sensor to match Pocket 4 with 1-inch sensor
• 3x optical zoom
• 240fps 4K maximum
• 10-bit D-Log
• Rotating touch-screen – possibly larger than 2-inches, though any significant change would mean a larger device and bigger accessories, which feels implausible to me.
• Wi-Fi 6 and USB 3.1 connectivity
• Impossible to see from the image, but perhaps a bigger battery grip built-in? The detachable handle may be too little for 'Pro' use?
• Built-in beauty / glamour AI tools for vloggers

I am less convinced than some commentators that we'll see much of a change in size, but one big feature that DJI has had success with in its drone range is adding an axis to the gimbal to rotate the camera. At the moment even the Pocket 4 has a 3-megapixel crop for its portrait mode.

It's entirely my speculation, but there is clearly potential for premium vloggers here. Adding this exact feature distinguishes the Mini Pto drone range – currently DJI Mini 5 Pro – and makes it premium. Why not here?

Either way, we now know that this is definitely coming, and can expect to find out more soon – "Stay Tuned" is all we're told.

My life just changed, in the biggest possible way – and with it, so has the kind of camera I need.

I was overjoyed to welcome my baby daughter into the world last month. She's absolutely brilliant and she does a million cute things every day – all of which need a photo or video to document them. And, in trying to take all those photos and videos, I realized that my current cameras aren't up to the task.

I'm fortunate enough to shoot with three systems. I have my Micro Four Thirds cameras (small and lightweight daily drivers), my Canon full-frame cameras (for full-fat stills and video) and my Hasselblad medium format cameras (for prestige photography).

The problem is, none of them fulfill all the requirements of my newfound papa-razzi.

Changing lenses is cumbersome with a baby in hand. Fiddling with settings means missing a magic moment. Recording video means messing with a microphone. Shooting outdoors means faffing with ND filters. They're all too big when you need to carry a baby bag everywhere. And my wife has no idea how any of them work.

A camera phone is a decent solution, but the quality isn't as good as a proper camera – and the images all have that "smartphone look" to them.

What I need is a proper "dad camera" – small enough to live in my pocket or baby bag, with better image quality than my phone, equally adept at stills and video, with an integrated zoom, that's easy enough for the missus to use… and, amazingly, I've found it!

Meet the ultimate "dad camera"

The Canon PowerShot V1 checks all these boxes and more – and it's become an everyday essential as a dad who wants to capture every step (literally) of my baby's journey.

I've been a fan of the V1 ever since I first used it. But I had no idea that all its strengths for its intended purpose (as a camera for vlogging and content creation) also make it perfect for parents with a newborn.

First of all, as a compact camera, it's very small. Small enough to slip into my pocket, which means it can replace my phone in the "always with me" stakes. But it is so much better than a phone!

It's got a 1.4-inch sensor – about the same size as a Micro Four Thirds (MFT) sensor, making it much bigger than you find in phones and compacts.

For stills it gives you 22.3MP photos at bursts of up to 30fps, along with 10-bit 4:2:2 video at up to 4K 60p (with a 1.5x crop or oversampled 4K 30p with no crop). And it's all powered by Canon's Dual Pixel AF technology, giving you fiercely accurate autofocus.

The built-in lens is an equivalent 16-50mm f/2.8-4.5, giving you amazing everyday versatility for parent purposes.

At the wide end you can shoot great photos and videos that fit the entire scene in the frame – even when baby gets right up close or if you want to film yourself having a cute moment together.

At the long end you get a more flattering field of view for portrait-style pictures or zooming in when you spot your little one doing something cute in the crib or while looking adorable in grandma's arms.

Tech specs are all well and good, but it's the handling and physical properties that truly make the V1 a great dad camera.

For starters, there's a zoom rocker surrounding the shutter button – so you can easily and smoothly zoom the lens in or out for stills or video with one hand.

There's also a rocker switch just above the thumb rest that enables you to quickly flick between photo and video shooting – which means you never miss a moment when you go from "Oh that's a cute photo" to "Oh my god she's taking her first step!"

On a similar note, this little camera turns on fast. Too many cameras these days are so advanced that it's essentially like booting up a computer, so you risk missing those miraculous moment while waiting for the camera to wake up.

The camera has a built-in three-stop ND filter, which can be used for both stills and video, enabling you to keep shooting at sensible shutter speeds even outdoors or in bright light.

And while the internal microphones on most cameras are diabolically bad, the V1 has an extra-large and extra-good integrated mic that delivers very good audio quality.

Better yet, there's an included muffler so you can shoot outdoors without the wind ruining your sound! You can also use an external microphone via the mic jack or Multi Function Shoe if you prefer.

There are connections for headphones, micro HDMI and USB-C as well. On top of that, the camera works great with Canon's Camera Connect app – making remote shooting a breeze and enabling easy file transfer to your phone.

I could go on. Built-in fan for unlimited video recording, Canon Log for flexible video grading, auto horizon-leveling so your shots stay straight, mechanical shutter to avoid banding under artificial lights, flippy screen for versatile framing, tally light so you know when you're filming…

But you can read about all that in my full Canon PowerShot V1 review. What I can tell you is, as a dad camera, this capable little compact is absolutely brilliant.

It gives you the immediacy of a phone with the power of a proper camera – and while it offers advanced features and controls, you can whack it in auto and still get amazing results when you need to pass it off to a family member.

You'll never need to worry about missing a moment because you didn't have a camera with you, nor put up with subpar quality because all you had was a phone. If you're looking for the ideal camera companion as your little one grows up, I can absolutely vouch for the V1.

You might also like…

See how the PowerShot V1 compares to the best Canon cameras across the entire range. Looking for an all-weather or tough camera for rough-and tumble outings with your kids? Check out the best waterproof cameras.

The new GoPro Mission 1 cameras are the company's first action cams with a 1-inch sensors, and fans of the brand are understandably excited by the prospect of a camera that combines the dependable rugged design with long-awaited features.

The thing is, those features are "long-awaited" for a reason. Other brands already had them. Not least Insta360, which had GoPro's Hero series comfortably beaten to 8K video with the Ace Pro and updated Ace Pro 2 cameras.

So when I saw that GoPro Mission 1 camera accessory list included a point-and-shoot grip I couldn't help but notice that it looked a lot look like the existing Xplorer Grip kit released over a year ago for both of those cameras.

And, in fact, that is only one of the options available to Insta360 customers, as last year we also reported on the possibility of a teased printer attachment for the Ace Pro. Well, now that's a real thing and you can get it.

Printers bolted to the camera might not be necessary, but they do look pretty cool, and given the price comparison versus the elusive GoPro Mission 1 it has another advantage.

So, the Ace Pro wins on attachments. And, crucially for many, with the lovely weather already here, it wins on availability. The Insta360 Ace Pro 2 is also proven in serious reviews (including my Ace Pro 2 test); so all we have seen of the Mission 1 is samples released by GoPro and speculation.

The Ace Pro also carries the Leica branding which, lets face it, is pretty cool for a compact camera. More so, I might be tempted to argue, than 'GoPro' is amongst serious photographers.

More practically than the iconic red is that the Ace Pro has a flip-up screen, which makes it a much more flexible (literally) and practical device than GoPro's Mission 1, which still just has a body similar to the GoPro Hero 13 Black – a touchscreen flat to the back.

Think about it. If you were buying a new point-and-shoot camera, or the best camera for vlogging, you would likely expect a hinged screen.

You likely already have a more than decent camera with a flat touchscreen in the form of a phone. Why settle for less when the big argument for the Mission 1 GoPro cameras is the cinematography aspect?

I'd imagine that, if you're looking for a grip, you're thinking about using the camera at other angles. I know when I tried it I found it useful, but still rugged.

The Ace Pro 2 also shoots video in 8K and stills at up to 8192 × 6144 (50MP), which is exactly the same resolution that GoPro is promising. The difference is the Ace Pro 2 is on sale today – for rather less cash than GoPro plan to sell the Mission 1 series.

Even the version with the printer is cheaper than GoPro's as-yet-untested camera, and you can buy that today and be taking pictures by the time the battery is charged.

The one point-and-shoot category that has weathered the storm of smartphone photography (pun intended) better than most is the waterproof compact camera. I’ve been writing about cameras for more than ten years, and one of the cameras that I’ve seen requested repeatedly is a waterproof compact with a larger sensor.

But with the launch of GoPro’s Mission series with one-inch sensors, I have to wonder, are photographers finally getting that wish, just in an unexpected form?

Don’t get me wrong, the GoPro Mission 1 and Mission 1 Pro are not point-and-shoot cameras, or at least, not in their native form. The two new fixed-lens cameras look quite similar to GoPro’s flagship Hero cameras.

However, the launch comes with a point-and-shoot grip that converts those cameras into something that feels more like a classic compact camera, including a grip and a larger lever at the top that presses the camera’s shutter button.

GoPro isn’t the first to do this – Insta360 also has a grip option for the Ace 2, while third-party brands like SmallRig also offer add-on grips for action cameras. But, the grip combined with the one-inch sensor has me wondering just how well the Mission 1 could work as a waterproof compact camera.

While GoPro is calling the Mission series cinema cameras, the list of features hints at cameras that seem more than capable of taking still photos. The Mission 1 cameras use a one-inch Quad Bayer sensor. The Quad Bayer design means the camera can take 50MP photos, or combine four pixels together for a 12MP photo mode for less noise in low light.

And, like the Heroes before it, the Mission 1 and Mission 1 Pro are still waterproof – down to 66 feet / 20m without extra housing.

The one feature that doesn’t quite feel like a classic point-and-shoot is the lens. The Mission 1 and Mission 1 Pro use a lens that’s roughly equivalent to a 15mm lens on a full-frame camera. Like most action cameras, the lens uses fixed focus, which is fantastic for fast action, but limits shots like macro.

Using the Mission 1 (or the Mission 1 Pro) as a compact camera, then, it won’t have the zoom or the macro mode of popular waterproof compact cameras like the OM System Tough TG-7. But, the trade-off for that fixed lens is the larger sensor with a higher 50MP maximum resolution.

What’s perhaps most enticing is that the Mission 1 actually slides in at a competitive cost compared to popular waterproof compacts like the TG-7, which retails for $649 / £499 / AU$699 / CA$649.

In comparison, the most affordable Mission 1 camera – which doesn’t have 8K open gate but should have identical photo capabilities – will retail for $599 / £529 / CA$819 AU$949. That’s less than the TG-7 in the US, but slightly more in other regions.

Of course, adding the grip will typically add to the cost – though GoPro is including the point-and-shoot grip as a free add-on with pre-orders at the moment.

The GoPro Mission 1 series has only just been announced – it’s a bit too early to tell if the GoPro Mission 1 will, in fact, work as a modular sort of replacement for a waterproof compact camera. GoPro hasn’t even shared full specs yet.

But, based on what we know so far ahead of the camera’s official shipping date, I think it could be a distinct possibility that the GoPro Mission 1 could potentially be that larger sensor waterproof compact camera that photographers have been asking for – just in an unexpected form factor.

Pre-orders for the Mission Series are open directly from GoPro's online store.

You may also like

Need a waterproof camera for the summer? These are the top waterproof cameras available right now.

Leitz Cine has expanded the creative possibilities of its Hektor mirrorless prime lens range with the introduction of a new interchangeable Fujifilm G mount, bringing the German manufacturer’s distinctive cinema optics to Fujifilm’s larger-format camera system.

The move opens the door for filmmakers and photographers working with Fujifilm’s G mount cameras, including the GFX Eterna 55 extra-large format cine camera and the GFX100 series of mirrorless digital cameras, to pair their systems with Leitz Cine’s increasingly popular Hektor lenses. For those already invested in the range, the new mount offers a welcome level of flexibility, allowing the lenses to move more easily between camera ecosystems.

Customers will be able to purchase Hektor lenses directly with the Fujifilm G mount fitted, or buy the G mount separately and change it themselves. Leitz Cine says the mount change is relatively quick and simple, requiring only a few tools, making the system particularly appealing to creators who regularly work across different camera platforms. The Hektor line is also available in Sony E, Leica L, Canon RF, and Nikon Z mounts.

“As formats and camera systems continue to evolve, we are happy to be working with so many manufacturers to ensure that the creatives using their cameras have access to some of the most exciting new lenses like the Leitz Hektor series,” said Rainer Hercher, Managing Director of Leitz Cine.

Although the Hektor lenses were originally designed for full-frame coverage, they produce a much larger image circle, making them a natural fit for the expanding world of larger-format image capture. While not every focal length can be used in full-sensor open gate mode on Fujifilm GFX systems, the lenses are said to support traditional cinema aspect ratios, with only minimal edge cropping required on the widest focal lengths.

DJI has dropped a new teaser for a release on May 7, and the photography community is already in full detective mode.

The short clip has the tagline "Wonders in your Palm," a tantalizing silhouetted clip. The photography community has immediately begun examining the clip for details and comparing it to previous DJI releases to get an idea what to expect.

What are we looking at in the clip posted to DJI's social feeds?

It could be anything, from a new version of the DJI Motion Controller seen with DJI's best FPV drones, like the Avata 360.

Many DJI devices, after all, feature an apparently simple arrangement of control buttons like this, including the DJI Pocket 3 and Pocket 4. Or gimbals that do similar jobs; just look at the DJI Osmo Mobile 7P. All, of course, tuck more control options elsewhere, and we might be missing something in the dark.

Certainly, I've read some weird and wonderful suggestions from a broad range of sources. Some of my favorite, I admit, don't seem that likely. One commentator on the official DJI YouTube account suggests that it might be a mini shaver, and @alexkarl1967 sarcastically jokes, "Oh wonderful, an MP3 player with radio, thank you DJI."

On Instagram, boyanoo suggested it might be a DJI tamagotchi!

Several viewers identify the device seen in the hand as a remote, and – watching as an experienced tech expert – it's hard to dispute that.

It looks a lot like the Osmo Action GPS Bluetooth Remote Controller – the remote controller for DJI's existing action cameras (like the Osmo Action 6). In this case, though, at the beginning of the animation, we see something that looks like a handle...

That would make the most popular online guess – some kind of Osmo Mobile variant (8 Pro?) the most logical.

If we're looking at a handle with a remote, this would likely be a new or revised product. Handles exist on a lot of DJI devices, of course, which don't have remotes.

A remote wouldn't make sense on a drone controller (that's a remote device already), but on nearly anything else it does. There are some hopeful guesses looking for a Ronin RS 5 Pro – but check the recent RS 5 review – it is quite 'Pro' already.

In the meantime, do check our guide to the best phone gimbals and the best camera gimbals.

GoPro has used the Hero name since 2004, but the action camera giant is ushering a new era of cinema cameras with the Mission 1 series – and the upcoming 8K, 50MP cameras are already taking home awards.

GoPro announced the Mission 1 series ahead of the NAB Show and, rather than calling the tiny cameras “action cameras,” GoPro is calling the Mission 1, Mission 1 Pro, and Mission 1 Pro ILS “cinema cameras.” That’s due to the series's larger one-inch sensors and 8K capabilities, which, excluding the more affordable Mission 1, are also in open gate.

GoPro – who recently announced layoffs for 23 percent of its staff – needs the Mission 1 series to be well-received. The cameras don’t ship until May 28, but, recent awards suggest that the upcoming cameras have been well received.

During the NAB Show, the first time that the cameras were on display, the series took home three show awards, including the Best In Show award from RedShark News for the full series, while GoPro’s first mirrorless camera, the Mission 1 Pro ILS, won the CineD Best of Show award for the camera category and was one of ten to receive the ProductionHUB Awards of Excellence.

GoPro wasn’t among the awards given out by the NAB Show, where the Overall Project award went to BlackMagic DaVinci Resolve 21, which now supports photos as well as videos, and awards in the camera category went to Zenith Cameras, the Fujifilm GFX Eterna 55, Sony PXW-Z300 Camcorder, and the PortalCam spatial Camera for virtual production.

The GoPro Mission series was one of the key announcements during the National Association of Broadcasters Show held last week in Las Vegas, Nevada, and the awards hint at the cameras being well-received, alongside GoPro opening pre-orders early due to “enthusiasm from the community.”

All three of the newly announced Mission 1 cameras use the same one-inch Quad Bayer sensor with video up to 8K and photos up to 50MP. The GoPro Mission 1 and Mission 1 Pro look more like a classic GoPro with a fixed 15mm equivalent lens. The key difference between those two is that the model without the Pro in the name tops out at 8K30, and Open Gate is only available at 4K and lower resolutions. That differentiation means the GoPro Mission 1 retails for $599 / £529 / CA$819 / AU$949 while the Mission 1 Pro retails for $699 / £599 / CA$949 / AU$1099.

The third camera in the lineup is perhaps the most unusual: The GoPro Mission 1 Pro ILS is the action camera giant’s first mirrorless camera. The ILS launches later than the other two models, expected sometime in the third quarter of 2026.

Without the ultra-wide fixed lens that allows GoPros to use a fixed focus in design that keeps everything a certain distance from the lens in focus, the Mission 1 Pro ILS is a manual focus-only camera. The ILS uses a Micro Four Thirds mount on a one-inch sensor, which means a 3x crop factor. The ILS will list for the same price as the Mission 1 Pro.

Pre-orders for the Mission 1 and Mission 1 Pro are already open from GoPro’s online store.

You may also like

Take a deep dive into the best action cameras or the best cinema cameras.

Security is vital for any business, but it doesn’t need to be a hassle. Dahua Technology’s WITHS brand stands at the forefront of surveillance solutions, thanks to its philosophy of simple, smart, and secure. It allows small and medium-sized businesses to easily install intelligent watchful eyes to help protect their property, employees and customers.

A lot of security cameras have complex installations requiring structural work to install cabling. Dahua Technology’s innovative Wi-Fi Solar Security System changes the game in this respect. Powered by the sun, it requires no external power source. Simply mount it anywhere for instant protection. Reliable Wi-Fi keeps you connected in real-time, while smart AI alerts you to potential security risks.

Dahua WITHS is now taking another leap forward with three innovative new products, the Apollo BP3EW-4G and the upcoming Hero Series H3JE & H5JE and the Hero Series H3JS & H5JS. Let’s dive in and take a look at what makes them different.

Apollo BP3EW-4G

At the heart of the lineup is the Apollo BP3EW-4G. With a robust 10,000mAh battery, 8W solar panel and Wi-Fi connectivity, it doesn’t need a power cord or an Ethernet cable. It’s easy to install and provides continuous operation with minimal maintenance.

You’re probably thinking, what if it’s cloudy? The solar panel can actually sustain all-day operation with just two hours of sunlight, so it won’t let you down on short winter days. The panel is waterproof and dustproof (IP66), ensuring reliable performance in even the most challenging weather conditions.

Finding the perfect vantage point for full coverage can be a challenge. The Apollo BP3EW-4G solves this with a wide field of view and 360° pan-and-tilt capability, effectively eliminating blind spots. There’s no need to check signs of activity manually – its intelligent AI detection distinguishes between humans and vehicles, sending you real-time alerts only when it matters.

In Always-On Video mode, the camera will detect movement up to 30 meters away. Upon detection, it will send you an alert via the DMSS app, and it will start recording at a higher frame rate to capture more detail of what’s happening. WizColor technology captures vivid colour, giving you a much clearer picture when it comes to playback.

During periods of inactivity, the camera shifts back to lower frame rates to save power while you get on with running your business.

Hero Series H3JE & H5JE

Complementing the Apollo BP3EW-4G are the Hero Series H3JE & H5JE and H3JS & H5JS models. These next-gen cameras use faster Wi-Fi 6 connectivity for smoother live video streaming and feature advanced AI capabilities, providing smarter, more proactive oversight for your business.

The H3JE and H5JE have a high-powered speaker combined with AI-driven noise reduction to allow clear two-way communication even if your business setting is a noisy environment like a gym or a factory. They also have Smart Dual-Light Night Vision to produce vivid full-color footage even in low-light.

The costs of SD cards to store security camera footage can often mount up, but WITHS's Ultra-Low Storage Mode uses All-day Optimized Recording (AOR) to dynamically adjust the recording frame rate based on activity. This can reduce storage requirements by up to 80% while still providing optimum video quality when it matters.

Hero Series H3JS & H5JS

The Hero Series H3JS and H5JS also boast the power and convenience of dual-band Wi-Fi 6, Ultra-Low Storage Mode, and Smart Dual-Light. Featuring an advanced AI-ISP chip – comparable to those in premium smartphones – the series enables real-time intelligent processing to restore lifelike colors in extreme low-light conditions, ensuring optimum visibility around the clock.

These cameras also have new AI capabilities. AI-Labs with Advanced On-Device Intelligence provide face and gesture recognition to allow instant feedback regarding who’s on camera. The camera can even detect a baby’s cry, providing users with greater peace of mind in specific scenarios such as hospitals and maternity centers. This data is all processed locally, which makes processing fast while also protecting privacy.

The Dahua WITHS system is simple, smart and secure, and it’s highly scalable, designed to suit a wide range of small and medium-sized businesses. Whether you’re in retail, hospitality, leisure or personal care, this innovative form of reliable, intelligent surveillance will give you the peace of mind to let you focus on growing your business.

Head to the Dahua WITHS website to learn more.