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

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

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

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

The DJI Osmo Pocket 3 has now been replaced by the DJI Osmo Action 4 and the more advanced 4P.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

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

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

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

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

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

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

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

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

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

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

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 £780 / €900 / AU$1,099 (international pricing to follow), while a removable, 90° tilting, 7.07-million-dot OLED viewfinder costs another £650 / €750 / 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 £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 £4,700 / €5,600 / AU$7,849 body-only, or £5,200 / €6,000 / 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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If you're a Nikon fan, check out the best Nikon cameras and the best Nikon Z lenses. Nikon’s first full-frame mirrorless camera makes an ideal upgrade for the budget-conscious photographer. Here’s why I still recommend the Nikon Z6 in 2026.

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

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

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

ABOVE: Watch the discussion that prompted by Nikon ZR temptation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sony FX5 specifications (rumored)

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

Should Canon be concerned?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Boblov W4: Specifications

Boblov W4: Price & Availability

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

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

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

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

Boblov W4: Build and handling

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

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

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

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

Boblov W4: Performance

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

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

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

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

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

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

Boblov W4: Overall Verdict

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

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

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

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

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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.

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

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

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

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

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

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

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

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

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

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

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

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

The GoPro MAX2 has dropped to its lowest-ever price of just $299, down from $499.99 and saving you an awesome $200.99 on GoPro’s latest 360-degree action camera.

For anyone who has always wanted to experiment with immersive video, this is a deal that immediately deserves attention. Rather than forcing you to choose a single viewpoint while recording, the Max 2 captures everything around you and allows you to select the best angles afterwards.

That freedom makes it particularly useful for travel, cycling, skiing, hiking, and action sports, where it can be difficult to predict exactly where the most exciting moment will happen. You can record first, reframe later, and create several different shots from the same piece of footage.

The GoPro Max 2 can capture detailed 8K 360-degree video, giving you greater flexibility when cropping and reframing your footage. GoPro’s stabilisation technology also helps keep everything looking smooth, even during fast-moving adventures.

Its rugged design and replaceable lenses make it a practical option for creators who plan to take their camera into demanding environments. It can also produce more traditional flat videos from its 360-degree footage, making it far more versatile than a conventional action camera.

At just $299, the GoPro Max 2 has become considerably easier to recommend. With a huge $200.99 saving and its lowest-ever price, this is one of the strongest 360-camera deals I have spotted and a brilliant opportunity to try immersive filmmaking without paying the original premium.

The truth is, the Pocket line always had potential - but it wasn’t until the DJI Osmo Pocket 3 that DJI finally cracked the code for everyday creators. The formula? A genuinely pocketable gimbal camera that feels as simple as a phone, yet looks like you brought a cinematographer on holiday - and it's now just £277 in the Amazon Prime Sale!

The jump to a 1-inch sensor, effortless stabilization, and that clever 2-inch rotatable touchscreen made it the first Pocket that didn’t just appeal to early adopters - it converted casual travellers, parents, and first-time vloggers en masse. Suddenly, “grab-and-go 4K” wasn’t a compromise. It was the point.

Specs alone don’t make culture, but the Pocket 3’s 4K/120 option, 10-bit profiles (D-Log M/HLG), and full-pixel PDAF meant creators could shoot fast and grade later without their footage falling apart. Pair that with DJI’s proven 3-axis gimbal and ActiveTrack updates, and you get footage that looks professional even when you’re sprinting for a train or chasing a toddler down the beach. It’s the rare camera that forgives real life.

Crucially, DJI fixed the friction. The screen flips between vertical and horizontal with a twist, menus are obvious, and the camera talks neatly to the Mimo app for control and updates. Even livestreaming to YouTube is baked in, which quietly turned this tiny stick into a one-hand studio for travel vloggers and city-break storytellers. You don’t need a rig. You don’t need a learning curve. You press record and get on with the day.

That ease-of-use is why the Pocket 3 became the “must-have” travel companion. YouTubers loved the pro-leaning colour and slow-motion headroom; holidaymakers loved that it slips into a jeans pocket and charges fast; families loved that it nails faces and stays steady when little hands are waving at the lens. The Creator Combo sealed it - clean audio, better control, fewer excuses. It’s hard to overstate the impact a zero-fuss, pro-looking camera has when the alternative is juggling a phone, a gimbal, and a mic.

Timing helped. As phone video plateaued for many creators, the Pocket 3 arrived, offering a visible step-up without the bulk of a mirrorless body. Firmware support has kept it fresh, and long-term reviewers still rate its image quality and stabilisation in 2025 - proof that this wasn’t a hype cycle, but a genuine shift in how people capture travel and family life. The Pocket line always promised “cinema in your pocket”; the Pocket 3 finally delivered it in a way that stuck.

So yes, the Pocket range brought new faces into the fold - but it was the Osmo Pocket 3 that turned curiosity into a movement. By making “professional-looking” the default setting, it redefined what vacation videos, city vlogs, and family reels could look like—and who felt confident creating them. The big camera stayed home. The phone stayed as a backup. The Pocket 3 took the trip, and with a $300 discount at B&H, now is the time to take the plunge into amazing holiday videos with a super holiday savings!

If you love vlogging or are looking for the best vlogging camera to start your journey into YouTube then this little deal could be the deciding factor to take that dream and make it a reality.

The funky and convenient Canon PowerShot V10 has received its first-ever meaningful price cut of $100 in the Amazon Prime sale, meaning all you have to pay is $339.99 for this 4K vlogging and streaming companion.

The Canon Powershot V10 packs the versatility of a vlogging studio into a compact, pocket-sized design. Equipped with a 19mm wide-angle lens, high-quality stereo sound recording, and a built-in 30° stand, it’s designed for easy video capture and sharing on the go.

The camera also takes still photos and features the same 1" CMOS sensor found in Canon's popular PowerShot G series. It supports UHD 4K video recording at up to 29.97 fps and Full HD at 59.94 fps. With built-in Wi-Fi and compatibility with the Canon Camera Connect app, users can quickly share their creations or live stream in Full HD at 30 fps.

It offers an ISO range of 125-3200 for both UHD 4K and Full HD video, and up to ISO 12800 for still photos, making it adaptable to different lighting conditions. The camera allows up to one hour of recording and features a rolling shutter speed ranging from 1/4000 to 1/25 second for video and 1/2000 to 1/8 second for stills. The DIGIC X processor also enhances creative possibilities, offering 14 color filters and a Smooth Skin mode for flattering portraits.

.For vertical shooting, the camera automatically adjusts when placed on its side. It can also be used as a webcam via its UVC capability, streaming in Full HD without the need for additional software, and is compatible with popular services like YouTubeLive, FacebookLive, and various web conferencing platforms.

I recently installed a new Ring home security camera, which was a surprisingly fun experience – even hilarious at times. This is because it gave me a free 30-day trial of the Ring Pro plan with my purchase, and Ring Pro now features AI video descriptions for each camera you have installed.

These descriptions are usually just a sentence. It is invariably an American-sounding sentence, even for me, based in the UK. I was told "A person is walking on the sidewalk with a tumbler'. We call the sidewalk the 'pavement' here in Britain. How very quaint!

However, the AI description feature is useful, especially as it connects to phone and watch alerts, so I've been trying it.

It also, on occasion, gets the descriptions wrong. I noticed it happened especially on the camera by my front door, which has to identify action outside the house – perhaps because it tends to happen faster and be more varied?

All the Ring cameras are half-price on Amazon Prime Day

When I watched the clip of the person on the sidewalk, allegedly with the tumbler, they were in fact pushing a stroller. I zoomed in to see if they were holding a glass tumbler, but they were not.

Confused, I asked Google, 'can a stroller be called a tumbler in American English?' to be informed that, as I thought, a tumbler 'primarily refers to a drinking glass with a flat bottom and no handle or stem' - and that the only alternative noun referred to either a lock or a type of domestic pigeon. The person did not have a pigeon on their head, domestic or not. Indeed, I would imagine this could be an impediment to safely pushing a baby carriage.

Weirdly, further down it did say 'a person is walking on the sidewalk with a baby stroller' but the clip was of a bored-looking man trudging past looking at his phone! So perhaps the captions were out of sync?

They were also a bit stilted-sounding. Instead of saying 'a person is walking up the stairs', the description said 'a person is ascending the steps in the house'. Not technically incorrect, but unnecessarily formal. I don't have enough friends, so want to feel that the robot is my friend!

The pièce de résistance when it came to hilarity took place when my gorgeous husband and I were in bed, erm, doing what newlyweds do. The AI was incredibly coy about this! The bluntest it got was 'Two people are kissing on the bed.' Needless to say, we were doing a LOT more than that! It also amused me that, during the action, it described us as 'A person moving near another person on the bed'. Near?! Pretty much as near as you can get...

I do wonder if, at some stage, the AI will move from saying 'a person' to identifying the person's gender, but I guess this could be a minefield. 'A person' is probably safest. It would also be interesting to know if it could estimate the age of a person, but I guess this is all much further down the line.

Ring Pro costs £15.99 a month or £159.99 a year. I currently have Ring Multi, the lower-priced tier for more than one device, which only costs half as much.

The descriptions were entertaining though, so I wouldn't rule out upgrading for good. Maybe when the AI can correctly identify expressions of love?

I recently installed a new Ring home security camera, which was a surprisingly fun experience – even hilarious at times. This is because it gave me a free 30-day trial of the Ring Pro plan with my purchase, and Ring Pro now features AI video descriptions for each camera you have installed.

These descriptions are usually just a sentence. It is invariably an American-sounding sentence, even for me, based in the UK. I was told "A person is walking on the sidewalk with a tumbler'. We call the sidewalk the 'pavement' here in Britain. How very quaint!

However, the AI description feature – is useful, especially as it connects to phone and watch alerts, so I've been trying it.

It also, on occasion, gets the descriptions wrong. I noticed it happened especially on the camera by my front door, which has to identify action outside the house – perhaps because it tends to happen faster and be more varied?

All the Ring cameras are half-price on Amazon Prime Day

When I watched the clip of the person on the sidewalk, allegedly with the tumbler, they were in fact pushing a stroller. I zoomed in to see if they were holding a glass tumbler, but they were not.

Confused, I asked Google, 'can a stroller be called a tumbler in American English?' to be informed that, as I thought, a tumbler 'primarily refers to a drinking glass with a flat bottom and no handle or stem' - and that the only alternative noun referred to either a lock or a type of domestic pigeon. The person did not have a pigeon on their head, domestic or not. Indeed, I would imagine this could be an impediment to safely pushing a baby carriage.

Weirdly, further down it did say 'a person is walking on the sidewalk with a baby stroller' but the clip was of a bored-looking man trudging past looking at his phone! So perhaps the captions were out of sync?

They were also a bit stilted-sounding. Instead of saying 'a person is walking up the stairs', the description said 'a person is ascending the steps in the house'. Not technically incorrect, but unnecessarily formal. I don't have enough friends, so want to feel that the robot is my friend!

The pièce de résistance when it came to hilarity took place when my gorgeous husband and I were in bed, erm, doing what newlyweds do. The AI was incredibly coy about this! The bluntest it got was 'Two people are kissing on the bed.' Needless to say, we were doing a LOT more than that! It also amused me that, during the action, it described us as 'A person moving near another person on the bed'. Near?! Pretty much as near as you can get...

I do wonder if, at some stage, the AI will move from saying 'a person' to identifying the person's gender, but I guess this could be a minefield. 'A person' is probably safest. It would also be interesting to know if it could estimate the age of a person, but I guess this is all much further down the line.

Ring Pro costs $15.99 a month or $159.99 a year. I currently have Ring Multi, the lower-priced tier for more than one device, which only costs half as much.

The descriptions were entertaining though, so I wouldn't rule out upgrading for good. Maybe when the AI can correctly identify expressions of love?

The DJI Osmo Action 5 Pro – sometimes sold for MORE than the recommended price – has finally seen a discount. Amazon Prime day has brought a handy 15% off the RRP of this GoPro-beating 4K Action Camera. Personally, I'd rush out and pick one up (if I didn't already have one of these cameras in my house!)

Sure, this is no longer the newest model, which is probably why it is finally on sale for less than the asking price, but for a long time the relatively large imaging sensor (1/1.3-inch) set it apart from the others – even now it's a feature everyone is trying to copy.

That makes it good for underwater and caving, or indoors, or evenings – basically anything with imperfect light, while it's still well-built and great with HDR for water, snow, and sand, so you're not missing out!

The Action 5 Pro also introduced a pressure sensor – that records metadata to your video, and so records your altitude or depth. (It can also link wirelessly to a GPS device – like a phone or watch – to record your location data to the video too).

We see a lot of competition for action cameras, but with the Action 6 being the only new model DJI brought out since this (and GoPro having decided to create a new, more expensive tier called 'Mission'), this still makes sense for most people – especially at a discount.

When I wrote my full review, I gave the Action 5 Pro 4.5 of 5 stars and my main complaint was honestly that it looked a bit boring! You might say that is a plus point. It won't distract!

Plus it is robust and reliable, the 4K video is excellent (and you can have slow-mo up to 960fps). It's a lot cheaper than your phone, too, so you can feel a lot safer about throwing this thing around while still getting pretty stunning footage!

In general, I love an action camera, and DJI's quality is at the top of the tree (as our best action camera guide tends to reveal). I sometimes lament the lack of built-in GPS, but that is something you can solve with a phone link if you really want to add location & speed metadata at all.

The truth is, the Pocket line always had potential - but it wasn’t until the DJI Osmo Pocket 3 that DJI finally cracked the code for everyday creators. The formula? A genuinely pocketable gimbal camera that feels as simple as a phone, yet looks like you brought a cinematographer on holiday - and it's now just $378 in the Amazon Prime Sale!

The jump to a 1-inch sensor, effortless stabilization, and that clever 2-inch rotatable touchscreen made it the first Pocket that didn’t just appeal to early adopters - it converted casual travellers, parents, and first-time vloggers en masse. Suddenly, “grab-and-go 4K” wasn’t a compromise. It was the point.

Specs alone don’t make culture, but the Pocket 3’s 4K/120 option, 10-bit profiles (D-Log M/HLG), and full-pixel PDAF meant creators could shoot fast and grade later without their footage falling apart. Pair that with DJI’s proven 3-axis gimbal and ActiveTrack updates, and you get footage that looks professional even when you’re sprinting for a train or chasing a toddler down the beach. It’s the rare camera that forgives real life.

Crucially, DJI fixed the friction. The screen flips between vertical and horizontal with a twist, menus are obvious, and the camera talks neatly to the Mimo app for control and updates. Even livestreaming to YouTube is baked in, which quietly turned this tiny stick into a one-hand studio for travel vloggers and city-break storytellers. You don’t need a rig. You don’t need a learning curve. You press record and get on with the day.

That ease-of-use is why the Pocket 3 became the “must-have” travel companion. YouTubers loved the pro-leaning colour and slow-motion headroom; holidaymakers loved that it slips into a jeans pocket and charges fast; families loved that it nails faces and stays steady when little hands are waving at the lens. The Creator Combo sealed it - clean audio, better control, fewer excuses. It’s hard to overstate the impact a zero-fuss, pro-looking camera has when the alternative is juggling a phone, a gimbal, and a mic.

Timing helped. As phone video plateaued for many creators, the Pocket 3 arrived, offering a visible step-up without the bulk of a mirrorless body. Firmware support has kept it fresh, and long-term reviewers still rate its image quality and stabilisation in 2025 - proof that this wasn’t a hype cycle, but a genuine shift in how people capture travel and family life. The Pocket line always promised “cinema in your pocket”; the Pocket 3 finally delivered it in a way that stuck.

So yes, the Pocket range brought new faces into the fold - but it was the Osmo Pocket 3 that turned curiosity into a movement. By making “professional-looking” the default setting, it redefined what vacation videos, city vlogs, and family reels could look like—and who felt confident creating them. The big camera stayed home. The phone stayed as a backup. The Pocket 3 took the trip, and with a $300 discount at B&H, now is the time to take the plunge into amazing holiday videos with a super holiday savings!

Taxes and inflation might make almost everything feel more expensive, but there is something particularly satisfying about getting a newer product for the same price as the model it replaces.

That is exactly what has happened with the GoPro LIT HERO, which has dropped to just $179 – the same price the original HERO launched at in 2024.

The Lit Hero might not be the most powerful action camera straight out of the box, especially when compared with some of the more advanced models currently on the market. Its feature set is more streamlined, and serious filmmakers may still prefer one of GoPro’s flagship cameras, but that is not really the point of this model.

This is an action camera designed to be simple, affordable, and easy to carry. For holidays, family adventures, days at the beach, cycling, hiking, social media clips, and everyday recording, it offers plenty of GoPro appeal without forcing you to pay a premium price.

Its compact design also makes it the kind of camera you can throw into a pocket or small bag and take almost anywhere. Rather than worrying about complex settings or carrying a full filmmaking setup, you can simply switch it on and start capturing the moment.

There are certainly more powerful action cameras available, but many of them also cost considerably more. At $179, the Lit Hero becomes a far more approachable option for beginners, casual users, and anyone who wants a dependable everyday action camera without paying flagship money.

The fact that you can now buy the newer GoPro Lit Hero for the same price as the "original" Hero launched in 2024 makes this deal even sweeter. It might be cheap, but at $179, this is one seriously lit GoPro deal.

If you’ve been looking for a pocket-sized camera that delivers genuinely professional-looking video, the Amazon Prime Sale has produced a tempting Prime member-exclusive offer on the ever-popular Pocket 3 camera.

The DJI Osmo Pocket 3 Creator Comboahas dropped to just $512, down from its usual $629 price tag, giving you a $117 saving on one of the most capable compact video cameras currently available.

Be warned that the sale ends midnight ET, and the offer on the Pocket 3 on its own has already sold out - so don't dither if you are interested.

DJI designed the Osmo Pocket 3 specifically for creators who want high-quality footage without carrying around a full camera rig. Despite its tiny footprint, it packs serious imaging power thanks to a large 1-inch sensor and a built-in three-axis mechanical gimbal that keeps footage incredibly smooth even when you’re walking or shooting on the move.

What makes the Pocket 3 stand out from typical action cameras is its focus on video quality and usability. It can record detailed 4K footage at high frame rates and features intelligent subject tracking, making it ideal for vloggers, travel creators, and anyone filming solo content. The rotating 2-inch touchscreen also makes it easy to switch between horizontal and vertical shooting depending on where your footage will be shared.

In practice, the Osmo Pocket 3 feels like a tiny professional camera rather than a gadget. The stabilization is exceptional, the autofocus is quick and reliable, and the whole thing slips into a jacket pocket without a second thought. For travel shooters or creators documenting everyday life, that level of convenience is hard to beat.

Check out our guide to the best pocket gimbal cameras

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

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

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

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

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

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

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

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

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

Amazon’s gone all in this year, especially on security gear from Blink and Ring - brands it owns and has discounted heavily for Prime Day.

From smart doorbells to weatherproof outdoor cams and complete home setups, the offers are the best I’ve seen in a long time. Whether you need to keep an eye on deliveries, monitor your property remotely, or just want a little extra peace of mind, this is the moment to make it happen without breaking the bank.

• See all of today's best Amazon camera deal
• See all of today's best security camera deals

I’ve gone through all the noise to flag only the deals that are genuinely worth it - no filler, no fluff. But stock is already thinning out fast, and come midnight, it all ends. You won’t get another shot at prices like this for a while.

So if security is on your mind, don’t hang about. These are the best Prime Day security camera deals, but they won't be there for long! Check your basket, hit checkout, and lock in the savings while you still can.

🇺🇸 Best security camera deals in US

🇬🇧 Best security camera deals in UK

Check out our guides to the best outdoor security cameras and the best lightbulb security cameras

If you’ve been looking for a pocket-sized camera that delivers genuinely professional-looking video, the Amazon Prime Sale has produced a tempting Prime member-exclusive offer.

The DJI Osmo Pocket 3 has dropped to just £289, down from its usual £389 price tag, giving you a tidy £100 saving on one of the most capable compact video cameras currently available.

DJI designed the Osmo Pocket 3 specifically for creators who want high-quality footage without carrying around a full camera rig. Despite its tiny footprint, it packs serious imaging power thanks to a large 1-inch sensor and a built-in three-axis mechanical gimbal that keeps footage incredibly smooth even when you’re walking or shooting on the move.

What makes the Pocket 3 stand out from typical action cameras is its focus on video quality and usability. It can record detailed 4K footage at high frame rates and features intelligent subject tracking, making it ideal for vloggers, travel creators, and anyone filming solo content. The rotating 2-inch touchscreen also makes it easy to switch between horizontal and vertical shooting depending on where your footage will be shared.

In practice, the Osmo Pocket 3 feels like a tiny professional camera rather than a gadget. The stabilisation is exceptional, the autofocus is quick and reliable, and the whole thing slips into a jacket pocket without a second thought. For travel shooters or creators documenting everyday life, that level of convenience is hard to beat.

At its normal price the Pocket 3 already represents good value for what it offers, but seeing it fall to £289 (or £384 for the comoc deal) during the Amazon Prime Sale makes it a particularly attractive buy. Deals on DJI’s newer creator tools don’t appear all that often, so when they do, they tend to attract plenty of attention.

If you’re looking for a lightweight vlogging camera that delivers stabilised 4K footage with almost zero setup time, this Amazon Spring deal on the DJI Osmo Pocket 3 is easily one of the most compelling creator bargains of the sale.

The DJI Osmo Action 4 Essential Combo has just dropped to only $169, down from $199, delivering a sweet $30 saving on one of the most capable action cameras in its class - while being at its lowest-ever price!

Price tracker

Feb 2025 to June 2026

Price change ($)

month

DJI Osmo Action 4 Essential Combo

Price change Data

Timestamp (month)	DJI Osmo Action 4 Essential Combo ($)
1	289
2	209
3	219
4	289
5	249
6	289
7	289
8	239
9	289
10	289
11	219
12	199
13	229
14	229
15	229
16	256
17	229
18	169

For anyone looking to capture high-quality footage without stretching the budget, this is a deal that immediately demands attention. Action cameras can quickly become expensive, especially once you start adding accessories, but this bundle keeps things simple, affordable, and ready to shoot straight out of the box.

What makes the Osmo Action 4 stand out is its ability to deliver consistent, reliable performance in a wide range of conditions. Built around a larger 1/1.3-inch sensor than many rivals, it is particularly strong in low light while still producing crisp, detailed 4K video when the action speeds up.

Whether you are shooting fast-paced outdoor adventures, family holidays, biking clips, travel content, or everyday vlogs, this is a camera that feels ready for almost anything. Its strong stabilization, rugged body, and easy-to-use controls make it just as useful for casual creators as it is for anyone wanting to take their action footage more seriously.

The Essential Combo adds even more value to the package, bundling in the key accessories you need to get started without immediately hunting around for extras. That is a big part of the appeal here, because it removes the friction and lets you focus on filming rather than building out a setup piece by piece.

At $169, the DJI Osmo Action 4 Essential Combo becomes a seriously tempting entry point into high-quality action filmmaking. With a $30 saving on the table, this is one of those deals that feels easy to recommend, especially if you have been waiting for the right moment to pick up a powerful, compact, adventure-ready camera.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BOBLOV KJ23PRO 2K: Specifications

BOBLOV KJ23PRO 2K: Price & Availability

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

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

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

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

BOBLOV KJ23PRO 2K: Build and handling

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

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

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

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

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

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

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

BOBLOV KJ23PRO 2K: Performance

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

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

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

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

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

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

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

BOBLOV KJ23PRO 2K: Overall Verdict

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

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

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

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

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

You might also like...

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

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

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

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

And honestly, it is brilliant.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

S1 QHD Infinite 2CH: Buy now at Amazon

S1 QHD Infinite 3CH: Buy now at Amazon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You might also like...

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

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

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

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

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

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

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

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

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

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

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

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

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

The DJI Osmo Pocket 4 didn't come straight to the DJI store in the USA when it launched worldwide, but that doesn't mean you can't get hold of it.

The Pocket 4 has been on sale since April, sold in two versions – the camera alone, and the Creator Combo. Both of these bundles can be found in the USA.

The Pocket 4 is a stunning device, and it's easy to see why it is causing such a stir. It boasts all the same high-end features as the Pocket 3, like a 1-inch image sensor, though with 14-stops of dynamic range and 240fps slow motion it is further improved. DJI staple technologies like the AI tracking system 'ActiveTrack' have also sen refinement.

One of the reasons I kept recommending the Pocket 3 as an alternative, though, was the difficulties in finding the Pocket 4 on US soil.

For example, a quick search on Amazon now up a version of the Osmo Pocket 4 Creator Combo – but with some bonus extras. The retailer, selling through Amazon so you get all the security of an Amazon purchase, is also bundling a 128GB memory card.

It's worth remembering that there is 107GB of storage on the device itself, however, so you may not need it. I've covered the comparisons between it and its predecessor, in my Pocket 3 v Pocket 4 guide, but the crux is that – all things being equal – the Pocket 4 is the one you'd pick unless you were trying to save cash.

So that's two ways to buy the camera that DJI didn't put on its own store because – import restrictions might not stop too many creatives!

See more price options below…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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There’s a growing trend in cameras built specifically for creators, and right now, one of the most compelling options just got even more tempting.

The Canon EOS R50 V has dropped to just $569 at B&H Photo, down from $719, saving you a clean $150 on a camera that’s designed from the ground up for modern content creation.

For anyone stepping into video or upgrading their hybrid setup, this feels like a smart move at the right time.

At its heart, the EOS R50 V is Canon fully embracing the creator market. It pairs a 24.2MP APS-C sensor with the DIGIC X processor to deliver sharp stills and clean, detailed 4K video. This is very much a video-first camera, with features like oversampled 4K, Canon Log 3, and dependable autofocus that tracks people, animals, and movement with ease. It’s less about simply taking photos and more about giving you the tools to create polished, engaging content.

What makes it stand out is how thoughtfully it’s been designed for the way people actually shoot today. A vertical tripod mount, a front-facing record button, and a fully articulating screen all make a real difference when you’re filming yourself. It feels like Canon has genuinely paid attention to what creators need, resulting in a camera that’s straightforward and comfortable to use, whether you’re shooting for YouTube, TikTok, or anything in between.

Even with its compact build, there’s plenty of power here. You get useful video features like slow and fast shooting modes, solid connectivity for live streaming, and access to Canon’s RF lens system, which opens up a lot of creative options. It’s also light enough to carry all day without thinking twice, which is exactly what you want from a camera you’ll be using regularly.

At a new low price of $569, it lands in a really appealing spot for anyone looking to step up their video without spending at a professional level. The $150 saving might not be record-breaking, but it’s a dependable discount on a camera that consistently delivers more than you’d expect for the price. If you’ve been considering it, this feels like a good time to make the move.

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

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

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

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

Best for most people

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

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

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

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

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

Best for pro quality

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

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

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

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

See my full DJI Osmo Nano review for a sample video

Best cheap

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

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

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

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

See our full Boblov W4 review for sample videos

Best for low weight

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

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

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

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

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

Best glasses

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

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

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

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

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

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

Cheap alternative

How we test POV cameras

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

See how we test cameras at Digital Camera World

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This week I’ve been out recording a few quick pieces to camera using the DJI Osmo Pocket 4. It’s a really handy tool if, like me, you sometimes want to quickly add a talking head style shot to clarify things in a web story and you can’t afford to spend a lot of time on it. Why?

There are five main reasons. It shoots in 4K, it uses subject-tracking tech to keep me in the centre of the shot, it is light and portable (with a simple tripod adapter), it charges from USB-C and even has a battery handle so is easy to charge and power anywhere. Finally, but significantly, it has a built-in reciever for wireless microphones (like the DJI Mic Mini) for better sound.

The thing is, all of these things are true of the DJI Osmo Pocket 3 too, which goes a long way to explaining why it has sold many millions and put DJI at the top of so many video camera sales charts, like Japan’s best-selling cameras.

All of which begs the question, “Why should I splash out on the new model when the 3 suits my needs?” And honestly I'm finding that difficult to answer, especially because there are some good deal prices

In my case I am reviewing the tech, and I have also been trusted with an early version of the Pocket 4P – a sibling for the new model which, when it goes on sale, will boast a dual camera system that allows for longer zoom shots (much like an arrangement of multiple cameras on the back of most premium phones).

Ultimately, that will be the point – there are refinements in the Pocket 4 that will matter to a few people, but now we know about the 4P it seems like that will be the star of the show. When pricing is announced for that, it's a fair bet it'll be even more, too, with that extra camera.

I take a more detailed look at the Pocket 3 v Pocket 4 differences here, but the crux of it is the Pocket 4 has 107GB of built-in storage; if you have a MicroSD card you're probably OK with the older one!

So, if you're looking for value in a gimbal camera, the Pocket 3 feels very appealing right now.

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

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

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

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

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

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

GoPro Mission 1 Pro: Price

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

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

GoPro Mission 1 Pro: Specs

GoPro Mission 1 Pro: Build and handling

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GoPro Mission 1 Pro: Performance

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

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

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

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

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

GoPro 12MP

Sony a7iii

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

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

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

GoPro Mission 1 Pro: Overall verdict

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

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

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

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

Alternatives

How I test

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

Road Angel is offering a handy discount on its Halo Play front+rear dash cam. It can now be had for £199.99 when purchased directly from the Road Angel website, down from its previous price of £249.99.

Read more: the best dash cams in 2026

The Halo Play features a 4K front camera that records at 30fps, plus a 1080p, 25fps rear camera. The front cam uses a Sony IMX335 image sensor, teamed with a HiSilicon Hi3516C processor which Road Angel says enables smooth, efficient recording, along with excellent image clarity. Low light recording is boosted by Halo HD Night Vision, as well as a large f/1.8 lens aperture. One particularly neat feature is the exclusive Halo Winter Mode, which incorporates a heating element into the camera to ensure the lens won't fog up in very cold temperatures.

As with many dash cams at this level, the Halo Play has a parking mode that's able to detect motion or impacts when you're away from your vehicle, with smart battery monitoring helping to prevent battery drain. An optional hardwire kit is required to enable parking monitoring.

The Halo Play's front camera sports a large 3.2-inch screen to display recorded footage, plus it should make light work of settings adjustment. There's also USB-C connectivity for easy video clip downloading to a smart device, or alternatively footage can be viewed and saved via the camera's Wi-Fi and Bluetooth connectivity, which works in conjunction with the Halo Playback app. The app also allows you to share clips through WhatsApp, email or social media platforms, and you can even trim and edit selected videos directly within the app.

Additional features include Advanced Driver Assistance Systems (ADAS), which provides functionality like customisable Lane Departure Warnings, Collision Alerts and Road Safety Suggestions. Hands-free voice control further enhances ease of use and safety. Built-in GPS can continuously log speed and location data, while the integrated G-Sensor automatically detects sudden movement or impacts and securely saves important recordings for later review.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What makes the Canon EOS R6 V "perfect"

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

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

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

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

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

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

However, it's not without a few caveats.

What makes the Canon EOS R6 V "imperfect"

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

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

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

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

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

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

Is the Canon EOS R6 V REALLY "perfect"?

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

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

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

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

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