Open gate is the video buzzword nowadays, and despite the Nikon ZR boasting supreme image quality, internal 32-bit float audio, and a huge four-inch rear screen, I couldn’t help but be disappointed about the lack of open-gate recording. Well, not anymore! Kind of…

You see, Nikon’s big announcement yesterday was the development of a range of nine Z Cinema lenses, but it’s a firmware development announcement that’s really got me champing at the bit. Nikon has said that it’s developing firmware 2.00 for the Nikon ZR, and beyond that it’s developing several requested features, including open-gate recording and a de-squeeze display for anamorphic lenses. Nikon is aiming to roll these out at some point next year.

This is huge news for both existing and prospective Nikon ZR owners. Due to the ZR’s fanless design, I had assumed a lack of open gate was the compromise since it produces more heat, but clearly Nikon has found a workaround.

Nikon ZR: Firmware 2.00

What’s destined to arrive before then is firmware 2.00. This is currently scheduled for release before the end of the year and, according to Nikon, is set to feature…

• Support for Log3G10 and REDWideGamutRGB in H.265 video file type for a greater ability to stand up to color grading while keeping file sizes minimal
• A new [High ISO NR] option available with H.265 Log recording that enables imaging tailored to filming intent and the tone of the work
• Support for the focus peaking display with recording at an R3D NE1 video file type setting for more precise focus confirmation

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Check out the best Nikon cameras and the best Nikon Z lenses. Plus, here's the latest camera news.

Fujifilm’s cinema camera just got both a dedicated eyelevel viewfinder and support for controlling and monitoring the camera with an oversized iPad screen. On Tuesday, September 09, Fujifilm announced two key updates to the GFX Eterna 55: an upcoming viewfinder as well as a new mobile app for both iOS and iPadOS.

The two updates create additional workflow options for working with Fujifilm’s first dedicated cinema camera, the GFX Eterna 55. The launches bring both a distraction-free viewfinder option and the ability to control focus and zoom and monitor what the camera sees using a mobile app.

Eterna ProRemote brings monitoring and remote controls to iPhone and iPad

The app, Eterna ProRemote, is set to launch first, with an arrival slated for mid September 2026. While the cinema camera comes with a detachable 5-inch monitor that can be rigged to the camera’s box-style design from multiple attachment points, the app offers filmmakers another option for monitoring and control, even when the camera’s controls may be inaccessible, such as in certain crane and rigged setups.

The Externa ProRemote can connect in three different ways, depending on what the filmmaker needs to control. A simple Bluetooth connection allows for a quick connection and access to controls to start and stop the recording, control zoom, and save or copy settings, but doesn’t offer live view.

An advanced single-camera Bluetooth and Wi-Fi connection mode adds live view without requiring an access code, while an advanced Wi-Fi or Wired LAN connection requires an access code but supports live view for up to four cameras, as well as remote recording.

Fujifilm says that the app can also adjust the camera’s focus, iris, and zoom parameters. But the app also supports multiple advanced monitoring tools, including waveform, vectorscope, and histogram.

The app will also allow creators to save and load custom camera settings.

The Fujifilm VF-GFXC2 is a new viewfinder built for the Eterna 55

While the new app is expected to arrive by the end of the month, the Eterna 55’s new viewfinder, the VF-GFXC2, is expected to debut sometime before the end of 2026. The electronic viewfinder offers a 2048x1536 resolution in a native 4:3 aspect ratio, built for the cinema camera’s open-gate shooting.

Adding the viewfinder to the cinema camera supports enhanced visibility in bright scenes, where reflections may make the camera’s screen more challenging to read. An eyecup helps block light, while the viewfinder itself is designed with a cylindrical shape for gripping and the same machined aluminum exterior as the camera body itself.

Along with a diopter, the viewfinder also has several function buttons built in, giving filmmakers quick access to shortcuts like a 1.0x magnification mode to check focus.

Fujifilm has not yet announced a price or shipping date for the VF-GFXC2.

The simultaneous launch of both a dedicated viewfinder and a mobile app shows Fujifilm is continuing to expand on the GFX Eterna 55, the brand’s first dedicated cinema camera that boasts a 102MP medium format sensor.

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Take a look at the best cameras for filmmakers.

Even if you take a hidden camera detector with you on your travels, a study has shown that more than half the time you'll miss a hidden camera – but a new device might be the solution.

The University College of London study, by Akhil Polamarasetty, was presented last month, and showed that 59% of the time, the typical hidden camera detector was unsuccessful because they are "often difficult to operate and hard to interpret."

In fact the comparison is even worse when you compare the success in finding hidden cameras with a device against simple common sense – 66.7% of hidden surveillance devices were missed when participants in the study searched without a detector (so 33% were found), with that only improving by 7% to 58.8% missed when a detector was used.

How do these detectors work, you might ask? There are a number of methods covered in our best hidden camera detector guide, but the main technique is to shine light around the room, and it is up to the user to spot reflections from lenses.

The study also pointed out that these confusing detectors come with an emotional cost. If you're likely to be troubled by the idea of a concealed camera, a confusing device will leave a user troubled. As they put it, "missed surveillance devices can leave [users] at continued risk, while false positives may trigger unnecessary anxiety."

After all, many things can reflect light, so when something is flagged as suspicious even though it is not, "participants sometimes became trapped in anxiety spirals, repeatedly searching the same area without finding an explanation."

Others also look for the RF signals from Wi-Fi, but that can only detect an active camera, not one recording.

Dr Leonie Tanczer, Associate Professor in International Security and Emerging Technologies, suggested that "companies have a responsibility to think about how their products can be misused at the design stage rather than after the harms emerge."

The flip side of this discussion is that AI could be pressed into service to help minimise the mistakes, and a combination of an app and a device – SweepLED – is presenting itself as the solution.

Developed by KAIST, the Korean Institute for Science and Tech, Iand possible to construct for $7, the 'sweep' in question is a small array of LEDs that move the light while using a phone's camera. The result is that a short video is available for an AI-model to examine and, according to the study, 94% detection accuracy is achieved (because the shape of a camera means it responds differently to reflection).

Whether this model will be refined into a product remains to be seen, but the National University of Singapore and Singapore Management University were involved too, so it seems eminently possible.

The old Chinese curse that states “May you live in interesting times” seems particularly apt right now. The idea of a period of uncertainty, instability and chaos being a curse is still pretty spot-on.

The global uncertainty is certainly making for interesting times in the camera world. For a few reasons, supply chains are again disrupted – including the rapid increase in AI data centers creating a global shortage of memory chips.

The result has been a distinct slowing in the number of new cameras that have been launched this year, at least as far as the mainstream categories are concerned.

Yes, there have been a few significant arrivals such as the Panasonic Lumix L10, Canon’s EOS R6 V and the Sony A7R VI, but you’d have to say it’s been very quiet otherwise – no new Nikon, Fujifilm or OM System mirrorless bodies (the specialized OM-3 Astro aside) and no new photo-orientated Canon RF bodies.

Nikon’s last major new camera release was the ZR back in September 2025 and, like the EOS R6 V, it’s aimed at video shooters. And this looks to be a shiny new category of hybrid camera… with, of course, the potential for extra sales. Even better for the camera makers, there are various levels of video user.

Content creators working solo on output mostly for social media; more advanced operators producing for corporate presentations or perhaps a YouTube channel; professional or semi-professionals working at the standard of TV broadcasting or cinematic productions…

There’s plenty of crossover between these various breeds of video-first cameras. And even with the more purely hybrid models, such as Canon’s EOS R6 Mark III and Nikon’s Z6 III, targeting a specific group of potential buyers is obviously Marketing 101.

I have recently been testing the R6 V and the ZR – and what an informative and enlightening experience it turned out to be. Coming from a photography perspective, both were far more enjoyable to use than expected – but the Nikon ZR was a revelation with its rangefinder-style body and yet a very contemporary, monitor-based user interface.

Consequently, it’s quite similar in operation to Hasselblad’s X2D II 100C and it also has a big, high-brightness, high-contrast monitor screen which makes everything work quite efficiently and effortlessly.

Given Nikon’s tendency to stick with design conventions with its Z mount bodies so far, the ZR is out there but it’s brilliant. And, notwithstanding the absence of an EVF, it has the potential to be a great stills camera.

However, it’s as a compact cine camera that it obviously excels. And Nikon has packed so much into it – including superior audio recording – that it does the job without needing to be connected to numerous accessories in a cumbersome rig. What’s more, it’s ridiculously affordable given what it can do.

With its acquisition of US cine camera-maker Red, Nikon clearly sees this arena as an important part of its future business. So where does all this leave photographers? Is the video / cine business going to be more profitable in the future than building cameras that put photography first?

Video is now everywhere because it’s a powerful means of communication, but it’s also a very different discipline to photography if you want what’s on screen to look good.

Many professional photographers now shoot video, too, but there are commercial returns that make any investment in additional equipment and the time taken to learn new skills worth doing (including editing).

In reality, you can’t just ‘dabble’ in video. It must be a commitment – and there’s a lot to learn if you’re going to do it well. Understandably, putting all this effort into bettering your photography will often look like a better plan.

Unless you have the luxury of affording a photo-only Leica or Hasselblad, today’s hybrid mirrorless cameras enable us to still have state-of-the-art cameras for photography.

So even if you have absolutely no interest in video, be thankful that it’s driving a more diverse and constantly developing camera market that is actually good for all of us. And that clever video-first models like the Nikon ZR can inform future designs, which will benefit both video makers and photographers.

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Take a look at our full Nikon ZR review along with our pick of the best lenses for the Nikon ZR.

What do Arnold Schwarzenegger, Dwayne "The Rock" Johnson, Robert Downey Jr, Keanu Reeves, Sandra Bullock, Jet Li, Jack Nicholson, Barbra Stresiand, Sean Connery, Al Pacino, Nicolas Cage, Nicole Kidman, Pierce Brosnan, Michael Douglas, Steven Seagal and DMX have in common?

They've all had a camera pointed at them by Andrzej Bartkowiak, the award-winning director and cinematographer renowned for his visual flair.

The Polish filmmaker – whose credits span everything from Schwarzenegger vehicles like Twins to flims about exploding vehicles like Speed to videogame adaptations like Doom and Street Fighter: The Legend of Chun-Li – recently sat down with Panavision to share some stories from his sets.

"Action – it has to be executed that it looks real. [That] objects, people are in real jeopardy. They’re as truthful and as dangerous as possible."

He relates the case to 1994's Speed, which catapulted Keanu Reeves and Sandra Bullock to superstardom, noting that "there are big challenges, of course."

ABOVE: Watch the Andrzej Bartkowiak sitdown

He points out that the interior shots on the bus all look like natural lighting, but in fact the vehicle is rigged with about 10 HMI lights on the roof with giant 8x10ft cells to bounce the in illumination – because otherwise the exposure on set would blow out the buildings outside.

"If you look at [the] bus, it looks real to the eye, but for the film, we had to build it up, right? If you see the rigging… on the front of the bus for the frontal shot, we have five cameras on the bungee cords with what we call the Popemobile. We have to put a plexi around for the window to hit Keanu and Sandy."

Movie magic for the lighting aside, though, the verisimilitude is achieved by shooting practically; when the bus is whipping around, with the actors slamming into the sides, it's because the bus is whipping around and the actors are slamming into the sides.

"But that's what makes it good… To me, [there’s] no substitute for the real thing. You know it."

The coverage, though, very much depends on the production. On Speed, Bartkowiak only had thirteen cameras – a maximum of seven for first unit shooting. But on Dante's Peak, starring Pierce Brosnan and Rene Russo, it was a different story.

"We had full 27 camera crews, including focus pullers, second assistants. I mean, we could outvote any union meeting we wanted to on the set. [Because there] was more people on the set than in the union meetings!"

And of course, some directors are more efficient than others, such as frequent collaborator Sidney Lumet, who essentially only shot two takes: "The first take was the first take for Sidney. Second was just a backup for focus."

Efficiency was likewise a hallmark of John Huston. On Prizzi's Honor, starring Jack Nicholson, Bartkowiak only shot 180,000 feet of film for the entire movie. On Doom, starring The Rock, he shot 150,000 feet in a single day!

His affinity for Panavision goes back to the start of his career, when he was filming commercials for the likes of Coca-Cola, Pepsi, American Express, Chrysler and Toyota. He graduated from the old Mitchell cameras to the Panaflex Lightweight system.

"I started shooting with that camera. That's the camera that, in Hawaii, I dipped under the wave, brand new! Oh, we sent it back [and] it came back. That’s why Panavision [is] always incredible."

The whole video is only short and is a treat for fans of cinematography, so is well worth a watch.

Nick Woodman, CEO of GoPro, has shared a letter with the world – and especially the company's customers – promising that the $285 million / £211 million / AU$396 million merger with Starman Optical will not be the end of the GoPro camera and other consumer products.

On September 01, the company entered into an agreement with the little-known, privately held US optical-photonics company. The deal clears GoPro's $92 million / £68 million / AU$128 million cash debt and pays shareholders $1.14 / 0.84 / AU$1.58 per share to acquire GoPro, but not much was known about Starman Optical in the camera community.

What was known is that the company concentrated on delivering equipment for military purposes (national security was mentioned in the GoPro statement), so understandably a lot of people started putting two and two together and concluded that the GoPro consumer brand might not be long for this world.

This despite the fact that Starman does bring US-based production facilities to the table, potentially enabling GoPro cameras to be produced despite the ever-tightening restrictions on foreign imports facing American consumers – restrictions that make it harder to choose the latest action cameras from brands like DJI, which is based in China.

Nick Woodman also confirmed that the Starman deal meant GoPro would "grow across consumer, commercial and defence markets," although the fact that consumer is only a third of that list was already chipped away at by his own addition that GoPro would "continue to fully support its existing consumer products and its subscription and cloud platform."

The use of the word 'existing' is the key warning sign for anyone; it suggests that GoPro might not be developing any new devices for the consumer / pro photographer market, which is never a good place to be with a brand.

The speculation fueled by that news, shared through GoPro's investor relations, no doubt explains Woodman's subsequent letter.

In it, he says, "Making amazing cameras for all of you is our core DNA and reason for being and that will never change!" He goes on to suggest that Starman shares the 'passion' for the GoPro brand, and the improved finances should boost innovation at the company.

He doesn't roll back on his previous statement, but does acknowledge consumers' concerns. "Our goal is to become a more diversified company which can make us stronger financially, enabling GoPro to become as awesome as we (and you) want us to be."

Signing off "with respect and admiration," GoPro's founder promises that following up on capturing life's moments is "what we were founded to do and it’s what we will always do."

Whether he has that power in the new corporate structure remains to be seen, but it seems unlikely that recent customers need be unduly concerned; support for the cloud services continues.

Arguably, replacing the cameras iteratively every year made little sense in the action camera space anyway. People don't even replace their phones each year, so GoPro was always going to face a limited market for a product that – for most – is used far less frequently than a phone.

Perhaps some smarter decisions are inbound and need not threaten the consumer division.

If you're interested in checking out the best action cameras, you'll see, by the way, that GoPro has some serious competition in any case.

Panasonic has introduced two new PTZ cameras, the AW-UE200 and AW-UER200, which are the world's first with a new global shutter MOS sensor, a sensor of 1.2-inches and capable of 5K oversampling.

Panasonic highlights that the global shutter (which captured the whole frame at once, rather than scanning it line by line) will make the new PTZ cameras especially well suited to sports and action broadcasting, as the image will not be subject to motion distortion.

Another benefit is the ability to use the cameras with LED walls, so video can be captured of gigs with constantly changing lighting with a much more natural-looking output, or the cameras can be used in adaptable studios with LED walls.

Both boast impressive specs, with 22x zoom, the full range of which can be delivered as quickly as half a second – or slowed to 180 seconds. (The equivalent range in 35mm is 22.5–500mm).

The AW-UE200 can also turn at a rate of 400 degrees per second, and a roll mechanism with a range of –200° to +200°.

It also features simultaneous 16:9 and 9:16 output so streaming can be delivered

Setup is assisted using one-touch levelling, which can be invoked using the remote controller, making the camera easier to set up quickly on robotic mounts, or in difficult locations where you face angled ceilings.

The new cameras also support both the open IP standard that is SMPTE ST 2110 and the Dante® system popularly used for low-latency audio over networks.

The low-latency system is being shown at the International Broadcasting Convention (IBC) show next week, but will not be available to buy until February 2027 (for the AW-UE200W/K variants) and Q2 2027 for the AW-UER200W/K roll models.

In both cases, the IP Protocol variants will gain an extra ten in the name (e.g. AW-UE210W/K), while W denotes White and K means black.

Check out our guide to the best PTZ cameras you can buy right now

After years of declining profits and increased debt, GoPro, the household name for action cameras, will merge with another US-based company in an effort to rescue the camera brand from bankruptcy. But what does the merger mean for action cameras?

On September 1, GoPro announced a planned merger with Starman Optical Inc, a US-based company that makes high-speed transceivers that are in high demand amid the AI data center boom.

Now, new internal emails between GoPro founder and CEO Nicholas Woodman and employees, as well as an email between the action camera brand and GoPro customers, are offering more hints as to what the merger means for the longstanding action camera brand.

The announcement has fueled a myriad of opinions over the merger, which has been agreed to by both parties but still faces regulatory approval. The concern stems, in part, from the announcement’s heavy reference to AI data centers, which is where much of the tech that Starman Optical builds is headed.

Even YouTuber Mark Plier, who became GoPro’s largest shareholder a few weeks before the merger announcement, says he is “not gonna be on board” if GoPro pivots away from cameras.

With the merger not yet finalized, emails originally marked as “confidential” but filed as part of stock market paperwork offer additional insight into what the merger could mean for GoPro.

GoPro’s action cameras aren’t going anywhere

Both the official merger announcement and the newly revealed internal emails stress that the merger doesn’t mean the end for GoPro’s cameras.

“Day to day, your GoPro experience does not change,” the email to customers and distributors reads. “We will continue to operate the business as usual. GoPro will remain a publicly listed company and will continue to fully support our existing products and our subscription and cloud service while developing a broader, diversified product roadmap. Products, services and support continue as they are. The current product lineup stays in production and remains available for purchase.”

While the announcement stressed a potential expansion into AI data centers, defense and aerospace markets, Woodman’s internal email to employees hints that the merger could help expand GoPro’s consumer products as well.

“Starman Optical has the resources to help us scale-expand our consumer product roadmap, grow our software and subscription business, and broaden the categories we compete to include commercial and defense markets,” Woodman wrote to employees.

The news of the merger comes on the heels of the GoPro Mission 1 series, which GoPro says is the camera that fans have been asking for since the Hero7 Black in 2018. The new series, with its larger one-inch sensors and the company’s first mirrorless camera, further hints that GoPro still wants to be known as a camera maker.

But, GoPro wants to expand beyond the action camera

The word “GoPro” is often interchangeable with the word “action camera.” While GoPro also has accessories and 360 cameras – and once launched a drone – the brand has always been known for largely one thing.

But, with the merger, GoPro wants to push into more categories – and while GoPro cameras may not be going anywhere, the word “GoPro” in the future may not necessarily mean a camera.

Woodman continues in the email by saying that Starman Optical “are very strategically positioned in the AI infrastructure industry as an up and coming U.S. manufacturer of optical transceivers that we believe will bring in meaningful high-margin revenue to help fund GoPro's growth initiatives into new markets – establishing GoPro over time as a diversified optics and imaging company across consumer, commercial and defense while creating significant value for shareholders.”

GoPro’s desire to push into more industries isn’t a secret. When Woodman announced the search for a potential buyer or merger earlier this year, the company said that GoPro had been receiving “unsolicited” inquiries after announcing that the company was looking into the defense and aerospace industries.

The merger could also push GoPro into AI infrastructure

The initial announcement for the search back in May, however, didn’t mention a push into AI data centers. Starman Optical builds optical transceivers, the hardware that moves data by using light.

In his official statement, Woodman said that the merger would help address “important areas of national security related to cameras, optics and AI infrastructure.”

GoPro wouldn’t be the first struggling consumer brand eyeing the AI boom. But a camera maker known for small, durable cameras may make sense in the AI space – or at least more sense than a shoe brand moving into AI – as cameras are increasingly built into more smart products.

Last year, GoPro announced an opt-in program that allows GoPro users to submit their footage for AI training, with GoPro subscribers earning up to 50 percent of the revenue from that AI licensing.

The merger could mean moving to US-based manufacturing

Another key phrase was mentioned across both GoPro’s official announcement and the internal emails: US onshore manufacturing. “The combined company also expects to invest in growth and onshore the manufacturing of products for strategic markets,” the email to customers reads.

That echoes the same phrase from the initial merger announcement: "We expect this merger to enable GoPro to grow across consumer, commercial and defense markets as a leading American imaging and optical solutions company, addressing important areas of national security related to cameras, optics and AI infrastructure,” Woodman said.

Charles Tebele, Chief Executive Officer of Starman Holding, echoed the sentiment on US manufacturing: "Advanced optics and imaging are essential to AI, national security, and the broader economy, yet much of the critical hardware supporting these technologies continues to be manufactured overseas. The combination of GoPro's world-class optical expertise and intellectual property with Starman's advanced transceiver capabilities and U.S. manufacturing platform creates a unique opportunity. Together, we intend to bring production of these critical components back to the United States."

Like drones, the Trump Administration has labeled the overseas manufacturing of semiconductors as a threat to national security, including the semiconductors integral to AI.

While GoPro is a US-based company, its action cameras are currently manufactured in Mexico and China.

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Take a look at the best GoPro cameras, or read up on the new GoPro Mission 1 Pro or the Mission 1 Pro ILS.

GoPro’s search for a potential buyer or merger has found a solution to the action camera maker's financial struggles. On Tuesday, September 1, GoPro announced that it has entered into a definitive agreement to merge with Starman Optical, Inc., a US-based optical photonics company.

The merger will keep GoPro’s existing presence in the consumer camera space, leaving the company's action cameras, 360 cameras, subscriptions, and software intact. But the merger aims to help push GoPro into AI data centers, government, defense, and aerospace industries while rescuing the action camera giant’s struggling finances and leaving GoPro largely debt-free.

While the GoPro name is well known, Starman Optical is less so. The US-based company builds high-speed optical transceivers and similar technologies. The company’s optical transceivers are used in AI infrastructure and data centers.

GoPro says that the company will continue in the consumer camera space, but the merger will also position the brand to expand into other areas, including the rise in demand for AI infrastructure.

"We expect this merger to enable GoPro to grow across consumer, commercial and defense markets as a leading American imaging and optical solutions company, addressing important areas of national security related to cameras, optics and AI infrastructure,” GoPro CEO and founder Nicholas Woodman said in the announcement. “We're excited to combine with the Starman team to capitalize on this opportunity and play an important role in America's future."

While GoPro is a publicly traded company, Starman Optical is privately held. The action camera brand will remain on the US stock market following the merger, with the current stockholders taking about a ten percent stake in ownership.

The exchange will also give shareholders a $285 million cash payment, or about $1.14 per share. After the announcement, the company's stock that had previously been sitting below the $1 mark and was at risk of becoming delisted, surged to $1.40 a share.

GoPro says that its current $92 million in debt will be largely repaid at closing, which would give the action camera maker a clean balance sheet.

The proposed merger has been approved by both companies’ boards, but is still subject to regulatory approvals. If everything goes as planned, the two companies will merge before the end of 2026.

GoPro has been struggling with sluggish sales recently, sharing a stock market warning that the company could face a potential bankruptcy if its finances did not turn around.

GoPro announced that it was looking for a potential buyer or merger in May. The proposed merger with Starman Optical will leave the action camera maker without debt moving forward.

The announcement of the merger agreement comes on the heels of GoPro's first mirrorless camera, the Mission 1 Pro ILS, which opened for pre-orders last week.

Take a look at the new GoPro Mission 1 Pro ILS mirrorless camera, or browse the best GoPro cameras.

The GoPro Mission 1 Pro, DJI Osmo Action 6 and Insta360 Ace Pro 2 are three action cameras that all go in a slightly different direction.

GoPro has gone all-in on raw resolution and frame rate, cramming a 1-inch sensor into a body that shoots 8K 60fps. DJI has gone the other way, prioritizing real-world image quality with an adjustable aperture and swappable lenses on a square sensor. Insta360 sits in-between, pairing an 8K sensor with Leica color-tuning and a flip-out screen built for vloggers.

At the same time, they also have a lot of common. Each camera is waterproof without a housing. Each shoots serious slow-motion. And each supports some kind of interchangeable optics, whether that's GoPro's identifying lens adaptors, DJI's screw-on FOV Boost and Macro lenses, or Insta360's more conventional fixed lens with software-driven crops.

So, how to choose? Read on to learn more about where each camera pulls ahead of the other, and where and when the differences actually matter. Let's get into the GoPro Mission 1 Pro vs DJI Osmo Action 6 vs Insta360 Ace Pro 2 rumble…

GoPro Mission 1 Pro vs DJI Osmo Action 6 vs Insta360 Ace Pro 2: Specifications

GoPro Mission 1 Pro vs DJI Osmo Action 6 vs Insta360 Ace Pro 2: Photo and video quality

On paper, the GoPro Mission 1 Pro looks the most impressive when it comes to image and video quality.

It's the only one of the three that shoots 8K at 60fps, the only one with an open gate 4:3 mode at full 8K resolution, and its slow-motion ceiling of FullHD 480fps (with a 960fps burst mode) comfortably beats the Ace Pro 2's FullHD 240fps. Stills are equally strong, with a genuine 50MP mode pulled from the full sensor.

The Insta360 Ace Pro 2 isn't far behind on the spec sheet: it also shoots 8K, tops out at 50MP stills and adds Leica color science that gives footage a more graded, polished look straight out of the camera. Where it falls short is slow-motion, capping at FullHD 240fps against the GoPro's much higher ceiling, and it sticks to 8-bit color rather than the Mission 1 Pro's 10-bit GP-Log2.

The DJI Osmo Action 6 was the odd one out at launch, but a firmware update unlocked an 8K 30fps mode and pushed the photos to 38MP. This was possible because, despite launching as a 4K-limited camera, DJI's larger sensor and adjustable aperture give it a clear advantage in low light.

The square sensor also means footage can be reframed between portrait and landscape after recording, without sacrificing the sensor's low-light advantage. In real-world low-light terms, then, it's arguably the most capable imaging system of the three, even with the smallest numbers on the page.

🏆: DJI Osmo Action 6

GoPro Mission 1 Pro vs DJI Osmo Action 6 vs Insta360 Ace Pro 2: Design and handling

Each camera solves handling differently. The GoPro Mission 1 Pro sticks closest to the traditional action camera formula: a rugged block with a removable lens cover that accepts identifying adaptors, plus a new point-and-shoot grip accessory for anyone who wants to hold it more like a compact camera. It's also the heaviest of the three at 212g, and the only one without any built-in storage.

The DJI Osmo Action 6 introduces swappable lenses, including a FOV Boost lens for a wider field of view and a forthcoming macro option, both of which the camera automatically detects when fitted. Its adjustable aperture is unique among this trio and it's also the only one with 50GB of built-in storage – so it's usable even without a memory card. At 149g, it's comfortably the lightest and most compact.

The Insta360 Ace Pro 2 takes a different approach entirely with its 180° flip-up touchscreen, which makes it the most natural choice for vlogging or any shot where you need to see yourself in frame. It's the heaviest to hold in the hand relative to its size and the hinge is one more moving part to worry about – but the flexibility it offers for framing is something neither of the other two can match.

🏆: Draw

GoPro Mission 1 Pro vs DJI Osmo Action 6 vs Insta360 Ace Pro 2: Price

The GoPro Mission 1 Pro is comfortably the most expensive of the three at $699.99 / AU$1,099, dropping to $599.99 / AU$949.95 only if you already hold a GoPro subscription. The DJI Osmo Action 6 sits in the middle at around $433 / AU$669 for the standard combo or around $546 / AU$839 for the Adventure Combo bundle that includes a selfie stick and extra batteries.

The Insta360 Ace Pro 2 undercuts both, launching at $399 / AU$551 for a single battery bundle, and it's since become considerably cheaper still in some markets. At the time of writing, it's been discounted to as little as $367 at US retailers – its lowest price of the year. For buyers working to a budget, that makes the Ace Pro 2 hard to argue with on value alone.

🏆: Insta360 Ace Pro 2

GoPro Mission 1 Pro vs DJI Osmo Action 6 vs Insta360 Ace Pro 2: How to choose

There isn't a single winner here, because these three cameras are built around different priorities. If you want the highest resolution, the fastest slow-motion and the most rugged, no-nonsense action camera experience, the GoPro Mission 1 Pro leads on specs – but you'll pay the most for it.

If real-world image quality matters more than numbers on a spec sheet, the DJI Osmo Action 6's adjustable aperture, swappable lenses and square sensor make it the most genuinely versatile camera of the three, and the one I'd reach for most often day-to-day. It's still very rugged, too – it was the one chosen to go on the outside of the rocket in China's reusable rocket space shot, and survived, which tells you something.

If you're working to a budget, or you shoot a lot of vlogging and talking-to-camera content where a flip screen actually matters, the Insta360 Ace Pro 2 offers 8K, 50MP stills and Leica-tuned color for meaningfully less money than either rival.

There's no wrong answer, only the wrong camera for what you actually shoot.

Spider-Man: Brand New Day has already racked up over $2.2 billion (around £1.6 billion / AU$3.1 billion) in theaters. But behind the blockbuster is a character whose visual identity is very different to that of other superheroes – so choosing the cameras, lenses and LUTs to bring his latest outing to life were all crucial considerations.

While Batman verges on chiaroscuro, bathed in deep shadows and brooding blacks, the pop art palette of Spider-Man's suit meant that director of photography Brett Pawlak had to pay precise attention to how the character would be rendered on-screen.

"I found myself really inspired by a lot of the comics, particularly the way the Spider-Man suit was depicted on the Amazing Fantasy cover," he told Panavision.

"His suit has these incredibly saturated reds and blues, but the majority of the suit falls into almost complete black. As I started looking through more of the comics, I realized that was a common thread – how the artists depicted shadow as an inky black but still allowed the colors to stay vibrant.

"That idea of pairing rich, saturated color with deep blacks and shadow became one of the foundations of the look… Throughout camera testing, I worked closely with Tom Poole at [post production house] Company 3 to develop a show LUT that ultimately had a contemporary look with a classic film print curve, taking particular care to protect the reds and blues of the Spidey suit."

Getting the colors right was just the first step, though; choosing the lens outfit to capture the action meant a traditional trip to Panavision to see which optics fit the bill. However, Pawlak wasn't satisfied with an off-the-shelf solution and required customized lenses to achieve the look he wanted.

"I knew we would have to protect for 1.90 within our preferred aspect ratio of 2.39. I knew I was going to be shooting on the Alexa 265… I had an idea for what I loosely described as a ‘classic hybrid.’ I appreciate lenses that have character, falloff, and all the things that Panavision is great at giving its cinematographers, but instinctively I was looking for something cleaner.

"I knew the large-format 65mm sensor would give me that canvas, and I was after lenses that simply performed well. I didn't want to fight them when it came to flares or coatings."

Ultimately, Panavision's Special Optics team modified a set of Panaspeed lenses for the production – and the customizations it made for Brand New Day laid the foundation for the company's new Primo 65 optics.

"Panavision is so collaborative with lensing. I had a brief conversation with Dan [Sasaki, Panavision's senior vice president of optical engineering] one afternoon, and he asked me what I was looking for."

Pawlak explained that he wanted the classic Panavision look, and that he would shoot on Primos if he could, as he needed high-performance glass to maximize the capabilities of the Alexa 265.

"After a moment of Dan’s wheels turning, he suggested modifying the Panaspeeds for the 265 to give me that Primo look on a 65mm sensor. I had tested the Panaspeeds a number of times – they’re beautiful, sharp and relatively clean, with great contrast. The idea of pushing the glass to its limits on that sensor excited me.

"When I put them on the 265, I instinctively knew they were the right lenses. I was at Panavision London prepping when I got the first few. I was with [technical marketing director] Charlie Todman, and neither of us could quite put our finger on it, but we both agreed there was something special.

"They asked what I'd like to do to them, and I told them to leave them exactly as they were – they were perfect. The next few weeks of testing confirmed my choice in how well the lenses responded to the LUT Tom and I were developing. They really went hand in hand."

Panavion's full interview with Pawlak is a fantastic read and gives a great insight into the making of the movie, so I highly recommend checking it out. Spider-Man: Brand New Day is out in theaters now.

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Take a look at the best cameras for filmmaking and the best cinema cameras, along with the best cine lenses and best anamorphic lenses.

Pre-orders are now live for one of GoPro’s most interesting cameras yet, with the new GoPro Mission 1 Pro ILS available to reserve for $699.99 at both B&H Photo and Adorama in the US.

B&H currently lists the camera as a new release with an estimated shipping date of September 06, while Adorama is also accepting pre-orders at the same $699.99 price.

So, what exactly is the GoPro Mission 1 Pro ILS? While it might look like another compact GoPro at first glance, this is a very different proposition. The ILS stands for interchangeable lens system and, instead of relying on the permanently attached ultra-wide lens traditionally associated with GoPro cameras, this version features a native Micro Four Thirds lens mount.

That means you can fit a huge range of manual focus MFT lenses, opening the door to everything from wide-angle primes and zooms to telephoto, macro and even anamorphic glass.

At its heart is the same 50MP 1-inch sensor and GP3 processor found inside the Mission 1 Pro, giving the camera some seriously impressive video credentials for something this compact. It can shoot 8K video at up to 60fps, 4K at up to 240fps and even FullHD at an astonishing 960fps in its Burst Slo-Mo mode.

There is also 8K 30fps and 4K 120fps open gate video recording, using the taller 4:3 sensor area to give filmmakers considerably more freedom when reframing footage for horizontal, vertical or social media delivery.

GoPro has also packed in many of the features you would normally expect from a much larger camera for filmmaking. There is 10-bit color, GP-Log recording, HLG HDR, a bitrate of up to 240Mbps and 32-bit float audio through its four built-in microphones.

The camera also offers manual control over settings including ISO, shutter speed and white balance, along with 50MP 12-bit RAW stills for photographers who want to squeeze even more flexibility out of the sensor.

However, this is still very much a GoPro. HyperSmooth stabilization remains part of the package, and GoPro says the ILS version can provide in-camera stabilization when paired with compatible rectilinear prime lenses.

You also get the rugged, weatherproof construction that has become synonymous with the brand, meaning this could be used in places where taking a conventional cinema camera and lens combination would normally require a much more complicated rig.

That combination is what makes the Mission 1 Pro ILS so intriguing. GoPro has essentially taken the compact, mount-anywhere philosophy of an action camera and crossed it with the creative flexibility of an interchangeable-lens filmmaking system.

At $699.99, it is also considerably less expensive than many conventional cinema cameras capable of recording high-resolution, high-frame-rate footage. If that sounds like the filmmaking tool you have been waiting for, you can now pre-order the GoPro Mission 1 Pro ILS for $699.99 from B&H Photo or Adorama in the US.

The pocket gimbal camera has been a DJI category since the original Osmo Pocket, but the launch of the Insta360 Luna Ultra is the first time it's had real competition at the high end.

The latter landed within days of the DJI Osmo Pocket 4P. Both pair a 1-inch wide-angle lens with a second telephoto camera aAnd both target the same buyer: a creator who wants a pocketable, gimbal-stabilized camera capable of a proper piece to camera without a crew.

Beyond that, DJI has stuck close to the established Pocket formula by adding a second 60mm lens to a body that still handles much like the Pocket 3 and Pocket 4 before it.

Insta360 has gone further, building a detachable remote control with its own screen and microphone into the Luna Ultra, along with built-in fold-out tripod legs and an 8K video mode that DJI's camera can't match.

So which should you buy? That's the question we'll explore as I pit the DJI Osmo Pocket 4P vs the Insta360 Luna Ultra.

DJI Osmo Pocket 4P vs Insta360 Luna Ultra: Specifications

DJI Osmo Pocket 4P vs Insta360 Luna Ultra: Video and photo quality

The Insta360 Luna Ultra has the more impressive spec sheet here.

It shoots 8K at 30fps, while the DJI Osmo Pocket 4P caps out at 4K (albeit at up to 240fps for slow-motion). Insta360's I-Log 10-bit profile is also consistent across both the 20mm and 60mm lenses, and there's a 200MP stitched panorama mode alongside a more conventional 37MP UltraPhoto setting.

DJI, however, counters with LOFIC (Lateral Overflow Integration Capacity) tech on its 20mm sensor, a system that adds extra capacitors to capture more highlight detail and reduce the risk of blown-out skies.

The catch is that DJI's newer D-Log 2 color profile only works on the wide lens: switch to the 60mm telephoto and you're dropped back to standard D-Log, which makes matching footage between the lenses fiddly.

In practice, both cameras produce natural, filmic color with minimal grading required, and the difference in dynamic range between the two is small enough that it rarely matters day-to-day.

🏆: Insta360 Luna Ultra

DJI Osmo Pocket 4P vs Insta360 Luna Ultra: Design and handling

Both cameras use the wand-and-rotating-screen design pioneered by DJI's own Pocket 3. Neither is particularly rugged, as both rely on exposed gimbal mechanisms that aren't suited to sand or water.

The Luna Ultra comes with a detachable remote, which pulls away from the gimbal body complete with its own screen, physical controls and a built-in mic.

This means you can set the camera down, walk away, and frame and monitor a shot from a distance. That's something neither the Pocket 4P nor any previous pocket gimbal camera can do without a phone app – and phone apps are never as quick, simple or tactile.

It also boasts fold-out metal tripod legs, while you still need a separate screw-in tripod accessory for the Pocket 4P. Plus the separate physical zoom controller is easier to use by feel than DJI's default setup, which relies on a single 5D joystick that has to be switched between panning and zooming via an on-screen icon.

The Osmo Pocket 4P does has the advantage, though, of familiarity and backwards-compatibility. The existing Pocket 3 battery will fit it and its accessory ecosystem is well established. It has been built on, too, in the Pocket 4 generation with a new magnetic mount on the gimbal for a fill light.

🏆: Insta360 Luna Ultra

DJI Osmo Pocket 4P vs Insta360 Luna Ultra: Battery and accessories

Both cameras claim an identical battery life of up to four hours. In real-world use, though, the two diverged sharply. The DJI consistently delivered around 210 minutes in testing, while the Insta360 tended to run closer to 120 minutes (especially when shooting in its 8K mode) and ran out entirely mid-interview on one occasion.

In practice, it's also worth noting that both will overheat and power down sooner on a continuous shot at top specs (8K 30 for the Luna or 4K 60 for DJI) – though in Adam's tests it was the Luna Ultra that went first. But most of the time you won't want very long continuous shots, so this is only a concern in some scenarios.

DJI's fast charging is another strength, topping up to 80% in under 20 minutes thanks to USB 3.1 support, and the WiFi 6 connection makes offloading large video files quick. Insta360 charges over USB-C, too, and spare battery handles are available, but there's less margin for error if you're relying on the battery for a full day.

🏆: DJI Osmo Pocket 4P

DJI Osmo Pocket 4P vs Insta360 Luna Ultra: Price

The DJI Osmo Pocket 4P is the cheaper of the two at $710 / AU$959 for the Standard Combo. The Insta360 Luna Ultra starts higher at $769.99 / AU$1,099.99 for its Standard Bundle, with a pricier Creator Bundle available that adds a Mic Pro wireless microphone, a wide-angle lens and an extended battery.

🏆: DJI Osmo Pocket 4P

DJI Osmo Pocket 4P vs Insta360 Luna Ultra: How to choose

Overall, choosing between these cameras is a close call. The Insta360 Luna Ultra is the more ambitious camera: 8K video, a detachable remote that changes how you can shoot solo and built-in tripod legs that DJI still makes you buy separately.

If you're a content creator who values flexibility and composing shots from a distance, it's worth the extra money.

The DJI Osmo Pocket 4P is the safer, cheaper choice, with better real-world battery life, faster charging and a mature accessory ecosystem that rewards anyone already invested in DJI's Pocket line. Its 60mm lens alone is reason enough to upgrade from a single-camera Pocket.

If price and reliable battery life matter most to you, buy the DJI. If you want the most capable, most flexible pocket gimbal camera money can buy, buy the Insta360 Luna Ultra.

Looking to buy a GoPro? Then you should probably be looking at the Mission series, announced this April and launched in May. It's the biggest shake-up to GoPro's lineup in years, moving away from the Hero name and placing a significantly larger 1-inch sensor into a rugged, waterproof body for the first time.

There isn't just one fixed-lens Mission action camera, though; there is a Mission 1 and a Mission 1 Pro, which appear from the outside to be really similar. (To confuse things further, there is also a third option – the newer GoPro Mission 1 Pro ILS – but this offers interchangeable lenses and is aimed more at cinematographers.)

So how do you choose between the seemingly identical GoPro Mission 1 vs GoPro Mission 1 Pro? Well, they are pretty similar. Both cameras share the same 1-inch quad Bayer sensor, the same GP3 processor, the same Enduro 2 battery and the same waterproof-down-to-66ft / 20m body.

They shoot the same 50MP stills, use the same fixed-focus ultra-wide lens and support the same accessories, from the Media Mod to the new Grip Edition that turns either model into something closer to a point-and-shoot camera.

The main difference, then, comes down mainly to top-end video specs: frame rates, resolutions and slow-motion modes that most people won't use day-to-day. Read on to learn the full details of what separates these two models.

GoPro isn't ditching the Hero series cameras, either – these are a new cinematography-friendly tier, which makes sense. The GoPro Hero 13 Black still has some advantages – and not just price; the optics with a smaller sensor provide for a smaller camera with a deeper depth of field (handy for POV shots).

GoPro Mission 1 vs GoPro Mission 1 Pro: Specifications

GoPro Mission 1 vs GoPro Mission 1 Pro: Video

Video is the main differentiator here, although it's still not a big one.

Both cameras use the same sensor, processor and color science, so footage shot in any shared mode looks identical: same detail, same dynamic range (GoPro claims up to 14 stops), same natural, relatively unprocessed look in low light.

Where they diverge is right at the top of the spec sheet. The Mission 1 Pro shoots 8K at 60fps and adds an 8K 30fps open gate 4:3 mode for creators who want maximum cropping flexibility across aspect ratios. The standard Mission 1 tops out at 8K 30fps in 16:9 and doesn't offer open gate at that top resolution at all, though it does keep open gate for 4K modes (including 120fps slow-mo).

Slow-motion is the other gap. The Pro pushes to 4K 240fps and FullHD 480fps, with a 460fps (16x) mode and a 960fps burst option for extreme slow-mo. The standard Mission 1 caps out at 4K 120fps and FullHD 240fps, which is still a serious toolkit but noticeably short of the Pro's ceiling.

As for resolutions and frame rates, there's no difference whatsoever. Both support 10-bit color, the same Rec.709 and Rec.2020 HDR profiles, and the flat GP-Log2 look for grading. Both also manage around 2 hours of continuous 4K 60fps recording without overheating.

🏆: GoPro Mission 1 Pro

GoPro Mission 1 vs GoPro Mission 1 Pro: Photo

Photographers get an identical experience with both the Mission 1 and the Mission 1 Pro.

Both cameras use the full sensor for 50MP wide stills or drop to a combined 12MP mode for better low-light performance, and both lack any kind of zoom or variable aperture. Both use a fixed 15mm equivalent ultra-wide lens with fixed focus, so anything from about 60cm onwards is sharp.

Build quality, battery life and waterproofing are all identical. Both use the same Enduro 2 battery (and both accept the older Enduro 1 if you're upgrading from a Hero13 Black). Both are rated to 66ft / 20m without a housing. And both support the full range of Mission accessories, including the new point-and-shoot grip, the Media Mod and GoPro's first wireless mic kit.

🏆: Draw

GoPro Mission 1 vs GoPro Mission 1 Pro: Price & availability

The Mission 1 Pro costs $699.99 – or $599.99 direct from GoPro if you already hold a GoPro Subscription past its first renewal. The standard Mission 1 is $100 cheaper across the board at $599.99, which puts it level with what most people will actually pay for the Pro once the subscriber discount is applied.

There's also a distribution difference worth knowing about. The Mission 1 Pro is sold widely through retail and photo stores, and comes in several bundles including a Grip Edition, a Creator Edition and a forthcoming Ultimate Creator Edition. The standard Mission 1 is only available directly from GoPro, with no bundle options.

🏆: GoPro Mission 1 is cheaper; Pro has better bundles and deals

GoPro Mission 1 vs GoPro Mission 1 Pro: How to choose

Given how much these two cameras share, the GoPro Mission 1 vs GoPro Mission 1 Pro decision really comes down to a single question: do you need 8K 60fps, 8K 30fps open gate or frame rates above 4K 120fps and FullHD 240fps?

If the answer is yes, because you're delivering multiple aspect ratios or you regularly need extreme slow-motion for sports or action work, the Mission 1 Pro's extra headroom is worth the $100.

If it's no, the standard Mission 1 gives you the same sensor, the same processor, the same battery life, the same durability and the same image quality in every mode it supports, for significantly less money.

For most buyers, that makes the GoPro Mission 1 the smarter pick. The Pro is there for the few who'll actually use its top-end modes.

That said, this whole line is aimed at top-end users – and the bundles with GoPro's accessories reflect that. Of the two of us, Adam would definitely choose the Mission 1 Pro (the model he reviewed) every time.

The first successful launch of China's new self-landing reusable rocket, the Landspace Zhuque-3, was filmed by 12 DJI "consumer grade" cameras including the upcoming Osmo 360 II – making aerospace history, according to the company.

While consumer action cameras have flown to space before, the Osmo Action 6 was able to withstand the 932°F / 500°C conditions and return to Earth without any physical alterations. DJI has shared unedited footage of the nine-minute flight in which the rocket takes off, travels to space and lands – and as you can see, it's utterly captivating:

ABOVE: Watch the rocket launch, shot on DJI cameras

That's not to say the cameras were stuck on with off-the-shelf mounts, mind you. The team built mounts for the rockets that could withstand the high-frequency, high-intensity vibration as well as the extreme heat of space flight.

Inside the mount, the camera – an off-the-shelf, mass produced model – recorded the whole flight in 4K (including, of course, through the re-entry blackout zone where no direct communication is possible).

It brought back video that can be used to assess the journey by the engineers, who are hoping to repeat the flight again within six months as they strive to catch up with SpaceX and Blue Origin.

The Osmo Action 6's normal image stabilization algorithm handled it all. I should also add that, as a journalist, I've heard some other companies criticize the potential vulnerability of DJI's adjustable aperture mechanism (one they don't offer on their own action cameras), but it clearly survived a trip with significant G-force.

The camera also has a 1/1.1-inch sensor, which is evident in details picked up in other shots – includng the paddles that control the rocket's flight.

A lot of other DJI cameras were used to capture details of the launch, including the as-yet-unreleased Osmo 360 II, already teased by the company, the Mavic 4 Pro for aerials and the DJI Matrice 4TD for thermal shots, all of which give a new perspective on a space shot.

The 216ft / 66m high Zhuque-3 rocket is China's answer to the SpaceX Falcon 9, a reusable rocket that can lift satellites into low-earth orbit. It has a payload of 14.2 tonnes – less than the Falcon 9's 22.8 – but both aim to be workhorses.

This flight, on August 19, was the second attempt with the Zhuque-3 (the first, 8 months ago, fell back and exploded on the pad).

It is a big leap for China, though, because previous efforts at a reusable rocket required some kind of net or catching device. So, despite the smaller payload, the speed of development is impressive and the inclusion of off-the-shelf tech highlights the race to make space cheaper and more sustainable than the original space race.

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The DJI Osmo Action 6 is currently my choice for best action cameras, despite recent efforts from GoPro, and these videos go some way to showing why. Some of the drones used also appear in our guide to the best camera drones, including the spectacular Mavic 4 Pro, which I tested myself.

The GoPro Mission 1 Pro has only been available for a few months, but you can already secure the company’s flagship compact cinema camera for its lowest price yet.

GoPro has dropped the price to just $599.99, down from its regular $699.99 asking price, saving you a very welcome $100 in the camera’s first proper discount.

The GoPro Mission 1 Pro is far more than another rugged action camera. It marks a new premium direction for GoPro, combining the small, adventure-ready design the company is famous for with the sort of imaging performance and video tools you would normally expect from a much larger filmmaking setup.

At the center of the Mission 1 Pro is a substantial 50MP 1-inch sensor, powered by GoPro’s latest GP3 processor. Together, they allow the camera to record 8K video at up to 60fps, capture 8K Open Gate footage at 30fps, and shoot 4K slow motion at up to 240fps. That gives creators plenty of flexibility when it comes to cropping, reframing, stabilizing, or slowing footage down during editing.

That larger sensor also gives the Mission 1 Pro a significant advantage when shooting in more challenging conditions, with improved low-light performance and greater dynamic range compared with more traditional action cameras. It also supports 10-bit color, GP-Log2, HLG HDR recording, and manual control over settings including ISO, shutter speed, and white balance, making it much more appealing to serious filmmakers and professional content creators.

GoPro has not forgotten what made its cameras popular in the first place, either. The Mission 1 Pro remains built for adventure, with waterproofing down to 66ft / 20m without the need for an additional housing. HyperSmooth stabilization with 360-degree Horizon Lock helps keep footage steady, while the new Enduro 2 battery is designed to deliver longer recording times and better thermal performance during demanding shoots.

At its original $699.99 price, the Mission 1 Pro was undeniably a serious investment, especially when compared with more conventional action cameras. However, at $599.99, the proposition becomes much more attractive. For filmmakers, creators, and adventurers looking for 8K video, professional recording tools, and GoPro durability in an incredibly compact package, this $100 saving makes the Mission 1 Pro much easier to recommend. And considering this is the first major discount we have seen since launch, it may be worth acting sooner rather than later.

The EISA Awards are back, celebrating the year’s very best tech, and the Nikon ZR has picked up the Photo/Video Camera 2026-2027 award. EISA’s jury of experts praised the Nikon ZR’s “attractive features” and “reasonable price,” while acknowledging the camera’s RED color science and codecs.

They went as far as calling the camera a “unique tool,” and I couldn’t agree more. In a world where, for a better word, compact cinema cameras like the Sony FX5 and Canon EOS C50 rule the roost, the Nikon ZR does offer something different. Beyond the aforementioned RED tech, you also get that giant 4-inch rear screen, a still baffling fanless design, and access to the incredible Z-mount of optics.

EISA also highlights the “excellent audio,” presumably due to its internal 32-bit float recording, as well as praising the camera’s 7.5 stops of IBIS, and autofocus performance. The Expert Imaging and Sound Association (EISA) is a curated collective of experts from 51 magazines, websites and social media outlets from across 26 countries, delivering their verdict on the latest and greatest consumer technology.

I’ve been lucky enough to use the Nikon ZR, and I couldn’t agree more with EISA’s assessment. When Nikon surprised the world by acquiring RED in 2024, it wasn’t a major player in the video sphere, and many questioned how the two brands could maintain their very different identities while also complementing each other.

And I think the Nikon ZR is a huge step in the right direction. If this is what Nikon can turn out at the first time of asking, I couldn’t be more excited for what Nikon x RED collaboration we can expect in the future.

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Want more EISA news? Just released months ago, and already crowned as the compact camera of the year. EISA Awards 2026: no Sony clean sweep this year as Nikon snags "Lens of the Year" crown as photography winners announced. Plus, the latest camera news.

The Insta360 Luna Ultra is a bold step into a new category for Insta360, the pocket gimbal camera, which was a space established by DJI a few years ago. That is far from a surprise, though – Insta360 and its partner brand Antigravity are treading on a lot of toes at DJI – already competing for spots on the best action camera, best 360-degree camera, and best 360-degree drone.

How do you come in, guns blazing, against the established competition? With more features and innovation, and that is exactly what the Luna Ultra promises. Though it only preceded DJI's Pocket 4P by a few days, the Luna Ultra was the first dual-camera device of this type, for a start. And if that wasn't enough, it also brought other innovations, like a detachable remote control and microphone.

How, though, does it measure up where it matters, when it comes to use and results? Is this new device going to lead the charge from now on, or is it all talk? I've been out testing it for some weeks, starting with a pre-release version and updating it to the launch firmware, and this is my experience and my verdict.

Insta360 Luna Ultra: Price

Priced at $769.99 / £649.99 / AU$1,229.99 for the Standard Bundle at launch, this is undoubtedly a premium price compared to previous pocket gimbal cameras. The Creator Bundle is more, but includes a Mic Pro wireless mic, wide-angle lens, and extended battery.

The only truly relevant competition is actually the DJI Pocket 4P, which hasn't even been launched in the USA for legal reasons. It does come in at a rather cheaper £529 / AU$1,099 for the Standard Combo, however, so the key question in this review won't be "Is this device good?" (obviously that needs covering) "But is it worth the price premium over the DJI – assuming you can get it?"

Insta360 Luna Ultra: Specs

Insta360 Luna Ultra: Build and handling

The pocket gimbal camera has become an established form factor, and in many ways, especially at first glance, there isn't a lot new here. The buttons are below the screen, so the camera can be gripped like a wand in the hand, and the thumb used to reach the more tactile buttons.

Above is a touchscreen which rotates 90 degrees and serves as a switch, a design concept first seen on the DJI Osmo Pocket 3 but no less useful here. In fact slightly more useful as Insta360 has added a couple of physical buttons to the bottom of the rotating screen which are always accessible (an interesting contrast to DJI's approach on the Pocket 4).

Beyond the similarities, the Luna Ultra is innovative in a very obvious way – its detachable remote with built-in screen. Two little red clip releases on either side will release the controls and screen, which then come away in something a little like a hybrid of a TV remote and a broadcaster's microphone (and it does actually contain a mic).

I found this to be a brilliant design benefit. It was easy to use a tripod, or just a nearby resting place, to place the camera, then I could walk a few steps away and compose a shot using the remote for a piece to camera, which is infinitely better than doing the same thing and being dependent on the automated subject tracking.

It's not that Insta360's system for automated tracking isn't good, but as a creative, it's much nicer to have the choice. A choice which is also bolstered by a subtle improvement against the competition – controls designed to be used by feel. The separate zoom controller is much more like a video camera, and is separate from the thumbstick which can be used to pan and tilt. This is a lot more natural than DJI's default either/or process.

I personally found it difficult to go back to not having a remote when I was out and about (and it's all so much quicker and easier than a phone app!)

Insta360 has placed a USB-C socket on the base, and allow the connection of a small base or a larger battery extension – this is all very familiar if you've seen DJI's Pocket 3 or 4. The difference is that clever fold-out tripod legs, made from metal little thicker than a paper clip, are cunningly tucked in by default. DJI's alternative requires an additional screw in tripod base.

Some people have said that the device is a bit heavy, but that wasn't my experience – I felt that the extra couple of grams over DJI's Pocket 4P made for a device that felt much more balanced.

The Luna Ultra has a wind guard over the built-in microphones rather than just the drilled hole, which is a nice touch, even if for most talking pieces you'll likely be using an external mic.

Some bundles are supplied with a zippable protective case, and the camera comes with a plastic shield. When powered down, the gimbal also places the lenses into a position where they are protected by the arm itself. Nevertheless this isn't a camera for tough conditions. There are mechanisms in the gimbals which aren't likely to be sand or water friendly.

By default, one of the buttons below the screen opens the menu of built-in effects, including some styles designed with the help of the Leica team to replicate Leica film. These are a quick and easy way to get visual effects that do look good. I'd also note that it's a good idea to familiarize yourself with this menu, not least because the OS isn't good at explaining the effects on screen. (On one occasion I accidentally left this feature on and got photos that I couldn't really use, which was a shame.)

Pros will prefer to use the I-Log 10-bit for videos anyway, of course, and shoot with the raw mode.

Insta360 Luna Ultra: Performance

Overall, I was thoroughly impressed with the camera's performance on picture, subject tracking, and display.

Video might ever-so-slightly lack some of the dynamic range of the DJI Pocket 4P when shooting in Log, but there is more than enough range to achieve results that look essentially identical if you do shoot with Log, so I'm not certain it is the advantage some suggest.

In terms of telephoto, the optical zoom is great, and the digital zoom is good too – though I did see some problems with noise artefacts at 12x, so I'd think of that as a last resort.

The sample video I took of the eclipse – I simply left the camera running during the whole event at maximum zoom – is interesting because there is a detectable drop in resolution as the event reaches totality (ring of fire). That is presumably the camera auto-switching to an equivalent of "PureVideo," the low-light mode, which ordinarily only works in 4K anyway.

The battery life was not, in my experience, four hours, but nearer to two. That's in part because I tended to use the 8K mode, while staying in 4K will deliver more time. On one crucial occasion, the battery did run out while I was shooting an interview (with an Insta360 co-founder, ironically) and I was a little caught out by the fact it stopped recording but the screen stayed on reassuringly, so we just finished the interview and then found the problem. A loud beep in this scenario might be an idea in a software update!

Topping up the charge with USB-C is easy, however, and it is possible to buy spare battery handles. I should have planned better for that interview, but sometimes things just go wrong, and it was near the end of a busy day.

It's also worth noting that Insta360 has been quick to come up with innovative accessories – I've also already tested a neck strap that lets you wear the camera while it automatically follows your head movements with the gimbal and (once I'd got used to connecting it) I was impressed. It might not be to the taste of a photographer or creator used to composing each shot, but it's very practical.

Insta360 Luna Ultra: Overall verdict

Sometimes when a new company enters a market and makes significant changes to the genre, a reviewer (yes, like me) may end up using words like "ambitious." That's code for "I admire what you tried..." and is then usually followed with a "but here's why it didn't quite work."

Here, however, there is no evidence that Insta360's innovations have done anything but deliver more options to creatives, and they don't really seem to come with any compromise. Sure, there are contacts behind the removable remote, but gimbal cameras already have vulnerable elements, so there is a big gain and no loss.

It is not quite perfect. There are moments I found the operating system a little off. It has a lot to say on screen about the Leica image styles, but doesn't give me time to read them, for example. A few other usability tweaks for future software updates could definitely help. But that is par for the course.

On the other hand the I-Log is consistent across both lenses, whereas the DJI Pocket 4P frustratingly stops your workflow and requires you to switch down from D-Log 2 to D-Log if you want to use the telephoto. Now that's frustrating.

Ultimately, any high-end content creator – especially one looking for portability and flexibility – will find the Luna Ultra a near-peerless device. Some may question the price, but the relative ease and simplicity (compared to a phone app or remote) of the remote make this ideal, especially for solo creators, and comfortably pay for the difference.

Insta360 Luna Ultra: Alternatives

How I tested the Insta360 Luna Ultra

It's firmly my belief that the best way to review a camera is to experience it over as long a period as possible, so you can use it in everyday shooting situations – coping with the slightly unexpected all the time.

Insta360 provided me with a Luna Ultra camera before it's release, and I have added it into my bag and taken it with me to a number of locations. On many of those occasions I've also had the new DJI Pocket 4P with me, so I've had the chance to compare the two against each other.

The Technaxx TX-164 is a tough piece of kit. Dustproof, heavily splashproof and able to operate in temperatures ranging from -20°C up to more than 50°C, it’s the kind of time-lapse camera you could mount securely on a construction site in the windiest and rainiest of climates and not worry about leaving it there.

However, unlike some specialist time-lapse cameras, which can carry price tags brushing up towards four figures, the Technaxx TX-164 is also very affordable. If you’re looking to capture the kind of long-term imagery that a smartphone or mirrorless camera simply wouldn’t be suitable for, then it’s a cost-effective means of doing so – and it comes with a range of mounting accessories that allow you to tie it to a tree or pole, or even screw it into a wall.

But of course, none of this is much use if the imagery itself isn’t up to snuff. Unfortunately, I don’t currently have any multi-month construction projects on the go (maybe next year), so instead I took the Technaxx TX-164 out to create some short timelapses to get a better idea of what it can do.

Technaxx TX-164: Specifications

Technaxx TX-164: Price & availability

As mentioned, the Technaxx TX-164 is on the affordable end of the time-lapse camera scale. Its listed price from its (German) manufacturers is €179, and it can be found via third-party sellers like Amazon for around $256 in the US or £101 in the UK. This is cheaper than the entry-level Brinno BCC300, and a similar price to the tiny ATLI Eon.

However, one thing that is both essential and not included is a microSD card, meaning that if you don’t have one already, you’ll need to add the cost of one to that price tag.

Technaxx TX-164: Build & handling

A chunky black box of a thing, the Technaxx TX-164 is not about to win any camera beauty awards, but it earns points for functionality. All the various mounting accessories already mentioned give you enormous flexibility for how you want to set the camera up, and you can use the screws, clamp and rope to make sure it is extremely secure if you plan to leave it for a long period. For quicker, simpler mounting, the TX-164 also has two standard tripod screw threads – one on the base and one on the rear.

You get more than just the camera in the box – it comes with a range of mounting accessories, including a mounting rope, a clamp and a wall-mounting kit with screws and plugs. There are also twelve AA batteries included – a slightly odd choice, given that the camera takes eight. The makers claim that these batteries are enough to keep the camera going for as much as six months, making it a potential good choice for extremely long-term projects.

The camera opens up, lunchbox-style, revealing on one side the battery compartment, and on the other, the controls, screen, card slot and micro USB port. This port allows you to download your files directly rather than taking them off the card, and the makers have included a micro USB to USB cable – which is handy, because I’m not sure if I even own a micro USB cable anymore. Come on, lads – we’re firmly in our USB-C era.

The screen makes the camera completely self-sufficient, with no mucking around with apps required. It provides a real-time image preview for composing your shot, and the buttons below allow for navigating the menus and selecting your shooting mode. It takes a little getting used to – I’d advise spending some time reading the manual and familiarising yourself before you head to your location – but I felt I was up to speed pretty quickly. I recall the menus on the Brinno BCC300 being much more of a headache.

On the front is the lens, which sports a 110° field of view, and above it is an LED to provide a burst of illumination for night-time capture.

Technaxx TX-164: Performance

The shooting options provided by the Technaxx TX-164 are pretty basic. You can capture your timelapse as a video, converted in-camera to an AVI file, in a maximum resolution of Full HD. Or, if you prefer, you can retain the content as a sequence of photos, with a maximum resolution of 2MP.

Recording can be scheduled for set times and days; alternatively, you can simply activate ‘Endless’ mode and the camera will keep recording images at your chosen intervals – if the microSD card fills up, it will simply overwrite the oldest files and keep going. Interval-wise, you can choose from a minimum of 3 seconds to a maximum of 24 hours. There’s not a lot of control you can exercise over the actual look of your images, save for an exposure-compensation function that allows you to dial in +/-3EV, in case it’s needed.

I set the Technaxx TX-164 up next to my local river. With a minimum interval of 3 seconds – other specialist time-lapse cameras will go as fast as 0.5 sec, which is more useful for shorter-term projects – it was going to take some time to capture a video long enough for testing. So, I parked myself next to it and sat by the river reading a book and drinking a Coke Zero while the camera did its thing (reviewing’s a tough gig sometimes). Once sufficient time had elapsed, I retrieved the TX-164 and hit the button to stop recording – only to be confronted with a dead screen and an unresponsive camera. Hmm.

Naturally my first thought was that the video would have failed to capture, and this would necessitate another peaceful forty to fifty minutes sitting by the river (clearly something to avoid at all costs). Fortunately, checking the card revealed that the video had indeed been successfully captured, and removing and reinserting all the batteries was enough to get the camera working again. Still, not ideal – and I can only imagine that kind of heart attack I would have experienced if I’d been retrieving the camera after a six-month project.

As for the video itself: it’s okay. The image quality is about what you’d expect from a small 1/2.7-inch sensor – there’s a decent amount of details with near and far subjects legible, but the dynamic range is poor, with bright skies easily blown out. The final video file that the camera creates also lacks a polished feel, due to the fact that it outputs at just 5fps. There’s none of the smoothness you get from Brinno or ATLI timelapse cameras, which produce video at much higher frame rates. Granted, you could always save the sequence as individual photos and stitch them together yourself in editing software – but part of the point of a time-lapse camera is that it does this leg-work for you.

Technaxx TX-164: Sample video

The sample video was captured over a period of just under an hour, with the TX-164 capturing at 3-second intervals. It was converted to video in-camera.

Technaxx TX-164: Verdict

The Technaxx TX-164 is a cheap time-lapse camera that I would describe as functional. I appreciate its sturdy build and the raft of mounting accessories included in the box, but with video quality that’s adequate at best, the content it creates is serviceable rather than awe-inspiring.

Still, it’s more affordable than many of its competitor time-lapse cameras, and if you are looking for a long-term solution for capturing something like a construction project, it’s a cost-effective choice. It offers robust scheduling functionality, but very limited scope for tweaking the actual image – and the 5fps output of the in-camera converted output makes for a juddery viewing experience.

Alternatives

The ATLi Eon is all about making time-lapse photography easy. A small, simple, app-controlled camera, its operation is about as close to point-and-shoot as a time-lapse camera gets, so if you’re a novice looking for a time-lapse camera, it’s the kind of option that will likely capture your attention.

Some time-lapse cameras are hardy things, designed to be screwed into walls and left for months on end for seriously long-term projects like documenting building construction. That isn’t really the ATLi Eon’s bag – it’s a small, non-weatherproof device that’s about the size of an action camera, better suited for indoor timelapses like houseplant monitoring or brief outdoor sojourns.

Still, with a manual-focus lens, tripod mount and full manual settings control via the app, the ATLi Eon offers a surprising depth of control for such a lightweight and affordable time-lapse camera. Could it be the ideal entry point for time-lapse enthusiasts? Let’s find out.

ATLI Eon: Specifications

ATLI Eon: Price & availability

The ATLi Eon is one of the cheaper dedicated time-lapse cameras on the market. Its price fluctuates regularly; at time of writing, it can be bought for around $179 / £127, either directly from ATLi or via third-party retailers like Amazon. I bought mine a few weeks ago for £97, so don’t be surprised if you see the price move significantly in either direction. Other entry-level time-lapse cameras tend to be more expensive – the Brinno BCC300 costs $249 / £269 standalone without any accessories.

ATLI Eon: Build & handling

Upon unboxing the ATLi Eon, I was quite charmed. In form, shape and size it essentially resembles a GoPro with a big round lens stuck on the front, smaller and lighter than many other time-lapse cameras. There are minimal physical controls – just the power button on top – and no screen, meaning that you’re going to need to use the app to operate the camera.

With that said, there is one piece of manual control that I found rather delightful – the manual focus lens. The f/2.8 optic on the front turns with a smooth, well-regulated action, allowing you to bring your chosen subject sharply into focus, with a range spanning from 7cm to infinity. Not everyone will like this piece of physical admin, but for me, it made the ATLi Eon feel much more like a real camera than other webcam-style time-lapse cameras do. Plus, that 7cm minimum range opens up some interesting potential for macro shooting.

This focus range makes the ATLi Eon suitable for a broad range of time-lapse applications, from tracking the growth of a houseplant to capturing the changing view outside of your bedroom window. The ATLi Eon also has a tripod screw thread on its base to make it easier to set up in a secure, consistent position – ideal for long-term projects.

However, as we’ve discussed already, there is one aspect of the camera’s design that majorly restricts the time-lapse functions it can be used for: it isn’t waterproof. The ATLi Eon is not designed to be used in rain, unlike many other time-lapse cameras which can be left for months in the worst of the elements and still capture usable footage. Previous versions were apparently sold with a weatherproof silicon casing, but mine was not.

If you’re looking for a time-lapse camera to leave outdoors for long periods, I’d go with the Brinno BCC300 (as long as you get the waterproof housing).

ATLI Eon: Performance

As a rule I’m not a huge fan of cameras that are dependent on an app to function, but I suppose it makes a reasonable amount of sense for a timelapse camera, and the ATLi app is a good one. The shooting interface is simple and well-designed, making it easy to set up, shoot or schedule a time-lapse, or switch to photo and straight video capture modes. The photo mode isn’t bad – it’s difficult to imagine getting much use out of it, not least because you have to awkwardly juggle the camera and your phone, but it captures acceptable-looking images.

You can output your timelapse as a Full HD video, a photo sequence to stitch together yourself (which will give you the higher 2.7K quality of the camera’s photo mode), or both. Delve into the settings on the app and you’ll find a wealth of options for customising the look of your content, including exposure and white balance controls. There are profiles for different conditions such as ‘Sun’ and ‘Cloudy’, or you can take complete manual control over your shutter speed, aperture and white balance – useful once you’ve got the hang of the basics.

Still, no matter how many settings you tweak, you are ultimately still at the mercy of quite a small sensor, and the resultant narrow dynamic range can be a problem. During my time testing the ATLi Eon, the UK was experiencing extremely hot and sunny weather, and those scorchingly bright skies blew out very easily. The conditions also presented challenges for the lens – I found that harsh directional sunlight could easily cause an unsightly lens flare, and there’s no means of attaching a hood.

In less harsh light, though, it acquits itself well, producing bright and vivid imagery with a decent amount of detail.

I’d call the image quality sufficient. It’s no great shakes, and your smartphone is almost certainly capable of producing better-looking video without even trying, but you’re not going to leave your smartphone in front of a houseplant for two weeks – and there’s a lot to be said for the straightforward time-lapse functionality of the ATLi Eon. Once you’ve set it up, you can simply close the app, leave it to its own devices, and then come back to pick up your completed time-lapse.

ATLI Eon: Sample video

The following video was captured over a short period of 20 to 30 minutes, with the camera shooting at 0.5-sec intervals. It was converted to an MP4 video in-camera.

ATLI Eon: Verdict

The ATLi Eon isn’t going to produce the kinds of stunning, Einaudi-soundtracked, Icelandic starscape time-lapses you’ve seen on YouTube and Vimeo – those are made using proper mirrorless cameras with expensive lenses. However, what it will do is produce a decent-looking timelapse in most conditions, even when operated by someone who has little familiarity with cameras.

This ease of use, combined with the temptingly low price tag, makes the ATLi Eon a solid choice for anyone looking to dip their toes in the world of time-lapse. And once you’ve got a handle on the basics, its range of settings controls provide a solid platform for improving the quality of your footage – before, perhaps, you upgrade to something more sophisticated.

Alternatives

If you have been waiting for the right moment to pick up one of the best action cameras around, this could be it.

The Insta360 Ace Pro 2 8K has just dropped to £279 at Wex, down from its usual £329 price, saving you a cool £50. Better still, that makes this the lowest price Wex has offered it for this year.

I already thought the Ace Pro 2 offered a pretty compelling alternative to the usual GoPro and DJI options, but at £279 it becomes considerably harder to ignore. This is a proper flagship action camera, co-engineered with Leica, with a large 1/1.3-inch sensor capable of recording 8K video at up to 30fps and capturing 50MP still images.

One of my favourite things about the Ace Pro 2 is that it feels like it has been designed for far more than simply strapping to a helmet and throwing yourself down a mountain. Its 2.5-inch flip touchscreen makes it particularly useful for vlogging and content creation, while the Leica colour profiles, Active HDR and PureVideo modes give you plenty of options when you want footage that looks a little more polished straight out of the camera.

It is still every bit an action camera, though. FlowState stabilisation and 360-degree Horizon Lock are designed to keep footage smooth when things get chaotic, while the body itself is waterproof down to 12 metres without needing an additional housing. There is also a removable wind guard to help improve audio when shooting outdoors, which is another small touch that makes the Ace Pro 2 feel particularly creator-friendly.

What really makes this deal stand out for me is the price. At £329, the Ace Pro 2 already sits in competitive territory, but knocking another £50 off and bringing it below that psychologically important £300 mark makes it feel like considerably more camera for the money. Wex is also currently showing limited stock and describing the camera as “selling fast”, so I would not necessarily hang around if you have been considering one.

At just £279, this is the lowest price the Insta360 Ace Pro 2 has hit at Wex this year, and I think it is easily one of the more tempting action-camera deals around right now. You are getting 8K recording, Leica-backed imaging, excellent stabilisation, a flip screen and a rugged waterproof body for £50 less than usual – and that is a deal well worth paying attention to.

Action camera brand GoPro has pulled off a pivot, branching off the longstanding Hero line to launch the Mission 1 series of cinema-action cameras, complete with the first mirrorless GoPro. But if GoPro has anything to say about it, it’s this: GoPro isn’t done yet.

The shift to the Mission 1 series couldn’t have come at a better time for GoPro, which is facing serious financial struggles and looking for a potential buyer amid a downturn in sales. Yet, amid the company’s struggles and the biggest GoPro launch in years, the company is still looking towards what’s next.

“We’re going to continue to build from there,” GoPro’s senior vice president of product management Pablo Lema told me. “We've got exciting new products coming in different categories that are not even Mission. We're excited to put the same power that we put into Mission One into those new products when they come out and see how the world takes them. I think they're gonna want them.”

While GoPro couldn’t talk specifics about what’s next, Lema’s comments hint that GoPro is still working behind the scenes on what’s next, even amid a financial downturn and the company’s biggest launch in years.

The Mission 1 series is, Lema said, the GoPro that fans have been asking for since the Hero7 Black. The move to Mission jumps to a larger one-inch sensor, along with specs like 8K and slow-mo down to 960fps.

Among the series is perhaps the most unusual GoPro yet: the Mission 1 Pro ILS mirrorless camera. While GoPro’s first mirrorless was teased alongside the Mission 1 and Mission 1 Pro, the ILS isn’t set to make its debut until September.

The ILS carries much of the same specs as the Mission 1 Pro, including the same sensor, resolution, and frame rates, but slices off GoPro’s usual ultra-wide for a Micro Four Thirds mount.

GoPro fans have been asking for a camera with a larger sensor for years, and the Mission 1 series marks that much-requested shift – though Lema says there’s still space for "Hero-like” cameras in GoPro’s line.

“What we do best at GoPro is to be authentic listeners of the core user base that uses these products and what they need,” Lema said. “We have the best relationships with some of the best videographers in the world. And from them, we can get all the input on what we need to go next. If there's a next Mission, if there's a Mission after that.”

“And that's where we're cranking on, so we're excited to get those out when it comes,” Lema continued. “But first, we'll get ILS in the hands of folks and start to build out that powerline. And then we'll see what goes from there. We continue to work as hard as ever on our products.”

The Mission 1 launch comes as GoPro faces a downturn in sales. The company’s stock market filings suggest that the company could “be required to significantly reduce, restructure, cease operations, or seek protection under the Federal bankruptcy laws” if the company doesn’t manage to turn things around.

The Mission 1 cameras – and the unnamed future products Lema alludes to – aren’t the only solution that GoPro is working on. CEO Nicholas Woodman says that he fully supports GoPro’s search for a potential buyer or merger.

This is part four of a four-part series on the GoPro Mission 1 series and what’s next for GoPro. Read more about GoPro’s first mirrorless camera, the future of the Hero line, and why the Mission 1 is the biggest launch in years.

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Take a look at the best GoPro camera or the best action cameras.

The GoPro name is synonymous with the action camera, but the brand’s latest launch sits somewhere between action and cinema camera territory. The move, however, was a long time coming: GoPro says that the Mission 1 series is the biggest leap since the introduction of HyperSmooth.

I met with GoPro’s senior vice president of product management, Pablo Lema, after the launch of the Mission 1 and Mission 1 Pro and ahead of the launch of the company’s first mirrorless camera.

Lema, who has worked with the action camera brand since 2014, says that the series is the GoPro that fans have been asking for since the Hero7 Black in 2018.

“Mission 1 has been a long time coming for us,” Lema said. “I don't say this lightly when I say it to other folks: it was the most important camera we've launched since Hero7 Black. The step up in performance is real, and it's valued by the user reception of it. And we're gonna continue to build from there.”

The Hero7 Black introduced GoPro’s HyperSmooth, a stabilization algorithm that made a significant difference in capturing steady footage from the variety of mounting scenarios that GoPro is meant for.

HyperSmooth continues in the Mission 1 – and in fact, the combination of HyperSmooth with interchangeable lenses is one of the reasons that Lema is most excited for the company’s first mirrorless camera.

But, while DIYers have been hacking GoPros to use different lenses since the Hero4, what GoPro fans have been asking for for several years is a larger sensor. The Mission 1 series delivers that with an 8K-capable 1-inch sensor

GoPro users started getting particularly loud about demanding a larger sensor as competitors like DJI and Insta360 began introducing 1/1.3-inch and 1-inch sensors on competing action cameras.

“The Mission 1 series is probably the GoPro that everyone was asking us for since Hero7 Black,” Lema said. “Myself and the teams, we were pumped to be able to finally get it out to the world. And what's good is that it gave us insights and motivations as to what to build next, which we're already working on.”

While GoPro couldn’t share data on just how many Mission 1 and Mission 1 Pro cameras the company has sold so far, Lema said the series has been “the best reviewed and best-received camera we’ve had at a product level since Hero7 Black.”

But, with the move to a larger sensor comes an entirely new category. GoPro isn’t calling the Mission 1 and Mission 1 Pro an action camera, but refers to the series as a “compact cinema camera” instead.

“We saw that the types of creators that would extract the most out of a 1-inch type sensor with big dynamic range, massive fps, much better low light capabilities as a result of the imaging package were, what we considered to be, well, for lack of a better word, compact cinema creators,” Lema said.

“The high-creativity folks that are on Instagram and YouTube are the ones that we extract the most out of a package like this.”

While GoPro isn’t calling the Mission 1 an “action camera,” the company’s love for accessories remains with the new series. Lema said that the new point-and-shoot grip and wireless microphone – a GoPro first – have been particularly well received, along with bundles that pair the Mission 1 Pro with the Fluid Pro gimbal.

GoPro’s most-asked-for camera couldn’t have come at a better time. The launch of the Mission series comes as the action camera giant faces significant financial struggles.

The company’s latest financial reports indicate a 38% drop in camera sales. Stock market paperwork filings indicate that the company could “be required to significantly reduce, restructure, cease operations, or seek protection under the Federal bankruptcy laws” if the Mission 1 doesn’t help to turn its finances around.

The action camera company is also in the “later stages” of looking for a potential buyer or merger.

The GoPro Mission 1 and Mission 1 Pro have already begun shipping, but GoPro CEO Nicholas Woodman says the ILS will be arriving next month.

This is part of a four-part series with an exclusive interview on the GoPro Mission 1 series. Read part one on the Mission 1 Pro ILS here, or read what GoPro says about the Hero series in the Mission era here.

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

The rise of the camera phone was met with a near-instantaneous plummet in the traditional camera industry. Now, more than a decade later, the industry is starting to show signs of a recovery – but can video cameras say the same thing?

The Ministry of Economy, Trade and Industry in Japan – where several key camera brands are located, including Canon, Sony, Fujifilm, Nikon, Panasonic, Ricoh and OM System – recently shared statistics suggesting that camera production is showing signs of recovery after both the growth of the smartphone and the COVID-19 pandemic.

The report echoes what the Camera and Imaging Products Association (CIPA) has already shared, but the chart that tracks the rise of the smartphone with the crash of the camera industry highlights another interesting trend: while the camera industry is recovering, video cameras are not.

Video, which is represented in blue while stills cameras are orange, drops off the chart entirely in 2021 – and, despite signs of recovery for still cameras, does not reappear in subsequent years.

Social media algorithms are far more video-heavy than ever before, so why aren’t cameras for video more popular than before? I believe there’s a very simple technological shift that highlights why video cameras have not recovered despite the popularity of the format on social media: the hybrid camera.

Dedicated camcorders are becoming fewer and farther between, as the industry shifts towards a hybrid approach. The transition towards hybrids started slowly with the rise of the mirrorless camera. While DSLRs could shoot video (albeit without the optical viewfinder), the transition to mirrorless brought smoother, smarter autofocus performance and in-body stabilization.

While camcorders are more scarce, “video cameras” are not – they’ve just taken on a new format. Video-focused mirrorless cameras have risen along with the social media video trend. Nearly every major manufacturer now offers at the very least a hybrid camera, but most now have entire series of mirrorless cameras that are video-first, photo-second.

Sony has the FX cinema camera line that includes models like the FX3 and dedicated cameras for vlogging like the ZV-E10 series. Canon has models designed with V for video, like the Canon EOS R50 V, and C for cinema, like the Canon EOS R5 C.

Nikon went and bought cinema-maker Red and launched the Nikon ZR. The Panasonic Lumix S1H even earned the Netflix stamp of approval, a first for mirrorless, with bodies like the Lumix S5IIX being a staple for content creators.

While the chart looks worrying for video cameras, it all comes down to how cameras are categorized. Cameras like the Sony FX3 are technically a mirrorless camera, but are far more geared towards video than still photography.

As the technology has shifted, cameras are becoming increasingly versatile – and harder to fit in just one single category.

And while camera makers have been selling more in the past couple of years than in the early 2020s, CIPA is predicting a slight slowdown for mirrorless cameras in 2026…

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Take a look at the best hybrid cameras, or dive into the best cameras for video.

Sony’s latest cinema camera, the FX5, was announced back in July to enormous fanfare, huge excitement and massive sales. However, those who put their pre-orders down are going to have to wait – as the previous warnings of shipping delays until September have now turned into an indefinite postponement, with no official release date.

In a statement on its Japanese website, Sony announced that the release of the FX5 and its related accessories – an OLED viewfinder, an XLR handle unit and a timecode adapter cable – will be postponed due to unspecified "production issues".

The announcement comes pretty close to the last-minute, shortly before the camera’s stated release of August 21. And Sony has been unable to specify a new release date, meaning it could be a while before filmmakers can get their hands on the new camera.

The FX5 is billed as a lightweight cinema camera for professionals, slotting into the range between the Sony FX3 and FX6. Its headline feature is its capacity to shoot 5K 60p open gate video that uses the full 3:2 sensor area – though many features like 5K 120p open gate and cropped 4K 240p modes have been confirmed as coming along later, via firmware, and won't be present on the camera as released.

Billed as 'handheld Hollywood', the FX5 proved much more popular than Sony anticipated, with pre-orders flying in immediately after the camera was announced on July 28. It’s unclear whether the delay is related to the huge volumes of pre-orders, or some other unanticipated issue – Sony is remaining pretty tight-lipped about the specifics.

The Sony FX5 costs $4,898 / £4,700 / AU$7,849 body-only, or $5,498 / £5,200 / AU$8,849 in a bundle with the XLR handle. Pre-orders are still open – but I’d say it might be worth holding off for the time being. There are plenty of other excellent Sony cinema cameras you can get your hands on instead…

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Check out our roundups of the best Sony cameras and the best cinema cameras for some options that you CAN get your hands on.

GoPro’s Hero series is so old that the first one was a 35mm film camera launched in 2004. But now, more than 20 years later, for the first time GoPro’s flagship camera doesn’t carry the Hero name.

The launch of the GoPro Mission 1 Pro brings a number of key questions, but chief among fans of the action camera giant brand is this one: What does the Mission series mean for the GoPro Hero line?

I recently sat down with Pablo Lema, GoPro’s senior vice president of product management, to chat about GoPro’s Mission era. While GoPro declined to talk specifics about future products, Lema did offer a hint of hope for fans of GoPro’s Hero series.

“There's a spot for Mission 1 in the lineup, and there's a spot for Hero-like products,” Lema said, explaining that options like the GoPro Lit Hero, the Hero13 Black and the Mission 1 Pro are all targeted towards a different type of user.

While options like the Lit Hero are targeted towards the most budget-conscious users and the Mission 1 series has become the company’s new flagship, Lema says that the GoPro Hero13 is still “the ultimate POV camera.”

So with the Mission 1’s larger sensor and 8K 30p open gate video, why does GoPro still consider the Hero13 Black the king of POV? The Hero13 Black has a 12mm equivalent ultra-wide view, where the widest look on the Mission 1 Pro is a 15mm equivalent.

But the Hero13 Black’s reign for POV is about more than the lens – the dimensions of the sensor play a role, too, along with the Hero13’s support for lens mods. The Hero13 Black uses a nearly square sensor with an 8:7 aspect ratio for more versatile horizontal-to-vertical crops, where the Mission 1 Pro is 4:3.

“We couldn't make Mission 1 with an 8:7 sensor, like we had on Hero13,” Lema explained. “That doesn't exist; 1-inch type, 8:7 sensors aren't there yet.

“As a result, if you are a pure POV shooter, if you mountain bike or ski, if immersion is where you're really seeking, then Hero13, with a wide lens mod, is the king. That is the king of maximum POV, maximum balance of fps and aspect ratio. That's what you're gonna use.”

Lema says that the Mission 1 Pro can be used as a POV camera, but it’s meant to slot in above the Hero13 for creators who are filming more than POV shots.

“Hero is sort of the meat of that POV action market,” Lema said. “We still love Hero13 Black; we still think the Hero13 Black is the ultimate POV camera in the world… And then Mission, as we discussed, is sort of a more high-end kit above it, with really incredible performance. They each have their place in the line-up.”

This story is part of a four-part series on GoPro’s next era with an exclusive interview. Read part one here.

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GoPro's mirrorless camera is coming in September. Or, read about the best GoPro cameras.

The DJI Osmo Pocket 3 went viral for its vlogging capabilities and unusual gimbal-focused design – but thanks to FCC restrictions, the new DJI Osmo Pocket 4 and Osmo Pocket 4P won’t be arriving in the US from DJI’s official list of authorized resellers.

However, not only is the earlier DJI Osmo Pocket 3 is still available in the US – it's also more affordable than before, as the Creator Combo drops to a new lowest-ever price and the camera-only bundle sits just above the lowest-ever price.

In December, the Federal Communications Commission added DJI to the “Covered List” that prevents the manufacturer from getting the necessary approval to sell in the US.

That means that both the newly launched Pocket 4 and Pocket 4P aren’t available through official channels in the US – though a handful of sellers that aren’t on DJI’s list of authorized resellers do list the Osmo Pocket 4.

While the popular Osmo Pocket 4 and 4P have been caught in the crossfire of the US’ foreign drone security concerns, despite its inability to fly, the Pocket 3 is readily available in the US.

That means the DJI Osmo Pocket 3 is readily available – and thanks to the launch of the new model, the price on the 2023 gimbal camera has dropped. The Creator Combo – which bundles the camera with the $235 DJI Mic 2 – has never been lower at $499.

The camera-only without the mic sits at $399 – just a little higher than the lowest-ever price of $379.

While those in the US can’t find the newest version from authorized resellers, the Pocket 3 and Pocket 4 series both still share the same size one-inch sensor. The latest version adds more dynamic range, faster 240 fps frame rates, 37MP still photos, along with improved battery life and tracking.

But while the Pocket 4 has several improvements, the Pocket 3 still carries the key features that have given the series its viral success. The one-inch sensor boosts low-light performance over action cameras and compact cameras with the more typical smaller sensors, and the built-in gimbal powers rock-steady video and tracking without the bulk and complexity of a separate gimbal.

At $399, I’m tempted to add one to my collection for shooting social videos when I don’t want to bring along a tripod. That price is all the more tempting considering that, in the peak of the Pocket 3’s popularity, the camera was going for $799. Now, the latest discount puts the camera only at half that, and the Creator Combo with a mic at the lowest price that I’ve seen yet.

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Browse the best vlogging cameras or the best compact cameras.

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.

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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.”

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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.

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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 GoPro Mission 1 Pro has only been available for a few months, but you can already secure the company’s flagship compact cinema camera for its lowest price yet.

GoPro has dropped the price to just $599.99, down from its regular $699.99 asking price, saving you a very welcome $100 in the camera’s first proper discount.

This is not simply another traditional GoPro action camera. The Mission 1 Pro represents a new premium tier for the company, combining the rugged and compact construction we expect from GoPro with the imaging capabilities normally associated with much larger filmmaking cameras.

At its heart is a sizeable 50MP 1-inch sensor paired with GoPro’s new GP3 processor. This combination enables 8K video recording at up to 60fps, 8K Open Gate capture at 30fps and 4K slow-motion footage at an impressive 240fps, giving filmmakers plenty of freedom when cropping, reframing or slowing down their footage in post-production.

The larger sensor should also deliver stronger low-light performance and improved dynamic range compared with previous GoPro cameras. You also get 10-bit color, GP-Log2 encoding, HLG HDR recording and manual control over settings such as ISO, shutter speed and white balance, making this a genuinely capable tool for professional creators rather than something designed purely for capturing holiday adventures.

Despite those cinema-focused credentials, the Mission 1 Pro remains every bit as tough as you would expect from the GoPro name. It is waterproof to 66ft / 20m without an additional housing, includes HyperSmooth stabilization with 360-degree Horizon Lock, and uses the new Enduro 2 battery, which promises substantially improved recording times and thermal performance.

The original $699.99 price made the Mission 1 Pro a serious investment, particularly when compared with more conventional action cameras. However, at $599.99, it suddenly becomes a far more tempting proposition for filmmakers, content creators and adventurers who want 8K recording and professional video features in a camera small enough to go virtually anywhere. As this is the first $100 price drop we have seen since its launch, there is no guarantee it will remain available for long.

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.

The DJI Osmo Pocket 4P is now officially available, bringing a dual-camera system to DJI’s pocket gimbal camera range for the first time. Where you can actually buy, however, one depends heavily on where you live, with UK and European shoppers receiving considerably better access than customers in the United States.

In the UK, the DJI Osmo Pocket 4P is available to buy directly from DJI and selected authorized retail partners. The Standard Combo costs £529, while the more comprehensive Vlog Combo is priced at £605.

Both versions are available in black or pearl white, although stock levels may vary between colors and retailers.

Where to buy the DJI Osmo Pocket 4P?

UK Retailers

The Standard Combo is the most affordable way to get started and includes the Osmo Pocket 4P, a fill light, a carrying pouch and a handle with a quarter-inch tripod thread.

It should provide everything that most casual filmmakers, travellers and content creators need to begin shooting straight away, particularly if they already own a compatible wireless microphone or small tripod.

For anyone planning to use the Pocket 4P regularly for vlogging or professional content, the £605 Vlog Combo is likely to offer better overall value.

Alongside the camera, it includes the FrameTap remote controller, DJI Mic Mini 2 transmitter, compact tripod, larger carrying case and additional accessories. The remote screen is particularly useful when filming alone, as it enables the camera and gimbal to be controlled from a distance.

The situation is very different in the United States. At the time of writing, no authorized US retailer currently has official DJI Osmo Pocket 4P stock – and DJI has not announced a formal US launch. This means you will not find an officially supplied US model at the major camera retailers where DJI products would ordinarily be sold.

Third-party and imported listings may occasionally appear through online marketplaces, but these should not be confused with an official US release. Anyone considering an imported model should check the seller carefully and confirm the warranty, returns policy, regional compatibility and possible import charges before placing an order.

We have seen DJI products that were initially unavailable in the United States appear through US retailers at a later date, so the situation may still change. Should the DJI Osmo Pocket 4P officially reach the US market, or become available through a recognized US retailer, we will update this page with the latest prices and buying options.

The Osmo Pocket 4P is more than a modest update to the standard Pocket 4. Its main camera combines a 20mm equivalent f/2 lens with a 1-inch CMOS sensor, while a second 60mm equivalent f/1.8 camera introduces a genuine 3x telephoto perspective.

This gives filmmakers far greater control over composition and makes the camera particularly attractive for portraits, interviews, product videos and more cinematic-looking footage.

DJI has also introduced 10-bit D-Log 2 recording and claims up to 17 stops of dynamic range from the main camera. Video can be captured at up to 4K 60p during normal recording, while the wide-angle camera offers 4K slow-motion at up to 240fps.

A 3-axis mechanical stabilization system, ActiveTrack 8.0 and the rotating 2-inch screen complete what is easily the most ambitious Osmo Pocket camera DJI has produced so far.

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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…

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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.

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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!

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The Sony FX5 has officially joined the company’s Cinema Line, and preorders are now open on both sides of the Atlantic. Positioned between the compact Sony FX3 and the more production-focused FX6, the new camera brings some seriously impressive filmmaking features into a comparatively portable body. The body-only model is priced at $4,899.99 in the US and £4,699 in the UK, with the first cameras expected to begin shipping during August 2026.

In the US, B&H Photo currently has the Sony FX5 body available to preorder for $4,898, making it marginally cheaper than Sony’s official list price. B&H lists an estimated shipping date of August 18 and also offers a separate version bundled with the new XLR-H2 handle unit for $5,498. The body-only package is the one to choose if you already have an external audio setup or simply want to keep your FX5 rig as compact as possible.

Where to buy the Sony FX5?

Adorama is matching B&H’s body-only price of $4,898 and is also accepting preorders. There is very little separating the two retailers on price, so your decision will probably come down to delivery estimates, reward points, financing, or whether you already have an account with one of them. Amazon is also taking preorders at $4,899.99, matching Sony’s official US retail price almost exactly.

UK filmmakers can preorder the Sony FX5 from Wex Photo Video for £4,699, with the retailer expecting its first stock in mid-August. Wex does not take payment until the camera is in stock and ready to be dispatched, which could be useful if you want to secure a place in the queue without paying the full price immediately. Its FX5 package with the XLR handle is also available for £5,199.

London Camera Exchange is also accepting preorders for the body-only FX5 at £4,699, while Sony UK is selling the camera directly for the same price. Sony currently states that direct orders will begin shipping from August 28, although delivery dates may change depending on initial demand. Buying directly from Sony also gives customers access to its current bundle offer, which provides £200 off selected G Master lenses when purchased with the FX5 before September 30, 2026.

Whichever retailer you choose, it is important to remember that these prices are for the camera body without a lens or XLR handle. The FX5 uses Sony’s E mount, so it is compatible with a huge selection of native Sony and third-party lenses, but anyone needing professional XLR audio will have to purchase the handle separately or choose one of the more expensive bundles. Sony has also introduced an optional OLED viewfinder, giving filmmakers more freedom to build the camera around their particular style of production.

At the heart of the Sony FX5 is a newly developed 16.6MP full-frame stacked Exmor RS sensor, designed specifically with high-end video production in mind. It supports 5K recording at up to 60p using the full sensor area, while Open Gate capture gives filmmakers much more freedom when reframing footage for traditional widescreen delivery, vertical social media content, or alternative aspect ratios. The stacked design should also help reduce rolling shutter, which is particularly important when filming fast movement, handheld sequences or rapid camera pans.

The FX5 can record 16-bit X-OCN RAW internally, bringing one of Sony’s more advanced cinema formats into a smaller and more accessible camera body. It also supports 4K recording at up to 120p for detailed slow-motion footage, while its three base ISO settings of 800, 4000 and 12800 should make it particularly adaptable when moving between controlled studio lighting, documentary work and demanding low-light environments. Sony has also confirmed that a future firmware update, currently planned for August 2027 or later, will add 5K recording at up to 120p and cropped 4K capture at up to 240p.

What makes the FX5 particularly interesting is how much of Sony’s higher-end Cinema Line technology it places into a body aimed at independent filmmakers, owner-operators and smaller production companies. It offers the flexibility of Sony’s E-mount lens system, professional recording formats and a modular design that can be adapted with an optional XLR handle, OLED viewfinder and external accessories.

At $4,898 in the US or £4,699 in the UK, it is certainly not an impulse purchase, but it could become one of the most appealing cinema cameras for filmmakers who want more than the FX3 offers without committing to the size, complexity or expense of Sony’s larger production cameras.

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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.

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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.

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The Insta360 Ace Pro 2 Dual Battery Bundle has dropped to just £289 at Park Cameras, down from £345 and saving you a cool £56 on a powerful 8K action-camera double-power package.

For anyone looking to capture high-quality footage while travelling, cycling, skiing, hiking, or simply recording everyday adventures, this is a deal that deserves attention. The Ace Pro 2 combines a compact and rugged design with detailed 8K video, strong image stabilisation, and the flexibility required for fast-moving action.

Low-light performance is another major strength. Action cameras have traditionally struggled once the light begins to fade, but the Ace Pro 2 is designed to produce cleaner, more detailed footage across a broader range of conditions, making it a versatile option for both daytime adventures and evening shoots.

Its flip-up screen also makes framing considerably easier, particularly when filming yourself or creating content for social media. Combined with intelligent shooting modes and straightforward controls, it offers a polished experience without forcing you to spend hours working through complicated settings.

This particular bundle includes a second battery, giving you more time to keep recording before needing to recharge. That is particularly useful for longer days outdoors, holidays, events, and any occasion where access to a power socket may be limited.

At just £289, the Insta360 Ace Pro 2 Dual Battery Bundle offers a great deal of action-camera performance for the money. You can get the camera with one battery for £279, but we strongly advise you to get the bundle for another tenner – as it is by far the best deal.

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.

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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.

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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.

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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?

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The Canon EOS C70 is now just $3,499 at B&H, down from its usual $4,799 price, saving you a massive $1,300 on one of Canon’s most capable compact cinema cameras

. That is a serious discount on a camera designed for professional filmmakers, production companies, documentary shooters, and content creators who want cinema-quality results without stepping up to a much larger and more expensive camera system.

At the heart of the Canon EOS C70 is a Super 35mm Dual Gain Output sensor, which is designed to capture impressive dynamic range while retaining detail in both bright highlights and deep shadows. It delivers the rich color, natural skin tones, and cinematic image quality that Canon’s Cinema EOS cameras are known for, making it a strong choice for everything from commercial productions and interviews to documentaries, weddings, and independent films.

The C70 can record 4K video at up to 120 frames per second, giving filmmakers plenty of flexibility when capturing fast action or producing smooth slow-motion footage. It also supports Canon Log 2 and Canon Log 3, along with professional recording formats and Cinema RAW Light, giving experienced editors far more control over color grading and the final look of their footage.

Unlike many cinema cameras, the C70 manages to fit a comprehensive collection of professional features into a relatively compact and portable body. Built-in ND filters make it easier to control exposure while maintaining your chosen aperture and shutter speed, while its RF lens mount provides access to Canon’s growing selection of modern RF lenses. EF lenses can also be used with the appropriate adapter, making this a practical upgrade for filmmakers who already own Canon glass.

Canon’s Dual Pixel CMOS autofocus system is another major advantage, providing smooth and dependable subject tracking when working without a dedicated focus puller. The camera also includes professional audio connections, dual SD card slots, a fully articulating touchscreen, and a generous collection of customizable controls, helping it feel equally at home on a tripod, shoulder rig, gimbal, or handheld setup.

At its normal $4,799 price, the Canon EOS C70 is already a compelling professional cinema camera, but at just $3,499, it becomes considerably easier to recommend. Saving $1,300 gives you enough money left over to invest in a lens, microphone, lighting, storage, or a complete rig, making this one of the strongest Canon cinema camera deals currently available at B&H.

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.

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