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!

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 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

The Insta360 Ace Pro 2 Dual Battery Bundle has dropped to just £289 in the Amazon Prime sale, down from £345 and saving you a cool £56 on a powerful 8K action-camera package. However, you will need to be an Amazon Prime member to unlock this impressive price.

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. With 8K recording, two batteries, and a £56 saving, this is one of the most tempting action-camera deals in the Amazon Prime sale – just remember that the discounted price is exclusive to Prime members.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BOBLOV KJ23PRO 2K: Specifications

BOBLOV KJ23PRO 2K: Price & Availability

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

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

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

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

BOBLOV KJ23PRO 2K: Build and handling

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

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

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

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

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

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

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

BOBLOV KJ23PRO 2K: Performance

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

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

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

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

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

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

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

BOBLOV KJ23PRO 2K: Overall Verdict

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

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

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

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

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

You might also like...

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

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

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

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

And honestly, it is brilliant.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You might also like…

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

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

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

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

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

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

S1 QHD Infinite 2CH: Buy now at Amazon

S1 QHD Infinite 3CH: Buy now at Amazon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You might also like...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like

Browse the best medium format cameras.

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

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

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

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

Best for most people

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

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

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

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

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

Best for pro quality

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

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

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

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

See my full DJI Osmo Nano review for a sample video

Best for low weight

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

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

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

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

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

Best glasses

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

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

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

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

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

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

Cheap alternative

How we test POV cameras

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

See how we test cameras at Digital Camera World

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

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

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

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

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

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

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

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

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

You might also like...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GoPro Mission 1 Pro: Price

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

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

GoPro Mission 1 Pro: Specs

GoPro Mission 1 Pro: Build and handling

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

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

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

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

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

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

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

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

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

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

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

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

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

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

GoPro Mission 1 Pro: Performance

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

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

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

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

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

GoPro 12MP

Sony a7iii

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

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

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

GoPro Mission 1 Pro: Overall verdict

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

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

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

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

Alternatives

How I test

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

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.”

You may also like

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

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

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

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

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

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

What makes the Canon EOS R6 V "perfect"

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

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

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

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

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

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

However, it's not without a few caveats.

What makes the Canon EOS R6 V "imperfect"

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

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

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

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

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

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

Is the Canon EOS R6 V REALLY "perfect"?

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

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

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

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

You might also like…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like

Browse the best action cameras or the best compact cameras.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meet the ultimate "dad camera"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You might also like…

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

Launched back in 2022, the Canon XA60 is one the newest camcorders on the market – so we are really pleased to see it drop in price, to make this professional video camera more affordable to filmmakers. Today it can be bought for £1299 at Amazon, which is around £150 cheaper than you can find in most other places.

The XA60 offers a 20x optical zoom and records 4K footage to a 1/2.3in sensor - which ensures great video quality for the price. You get image stabilization to help you shoot wobble-free footage if shooting handheld, and there is a 3.5in flip-out touch-sensitive LCD panel, as well as an eyelevel electronic viewfinder.

A really useful feature of this model is that you can use it straight of the box for streaming - thanks to its UVC-compliant USB-C socket. This makes it a great option for YouTubers who need the option of a long telephoto lens - who can also take advantage of the face-tracking autofocus.

There is a top handle that not only helps for carrying the unit, but is also useful for low-level shooting. As well as the usual 3.5mm microphone socket, there are two professional XLR inputs for use with pro-grade mics.

Check out our full Canon XA65 review (this is the same as the XA60 but with the addition of an SDI socket, as an alternative to the HDMI socket that comes on the XA60). Additionally, see our full guide to the best camcorders.

See other camcorder deals

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You may also like

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

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

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

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

Apollo BP3EW-4G

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

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

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

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

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

Hero Series H3JE & H5JE

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

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

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

Hero Series H3JS & H5JS

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

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

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

Head to the Dahua WITHS website to learn more.

GoPro may be best known for action cameras, but if there’s one thing that’s almost just as synonymous with the GoPro name, it’s the accessories. The launch of the GoPro Mission series, then, unsurprisingly, came with several new camera accessories. But what’s most surprising? Most of them are backwards compatible with the Hero series.

The GoPro Mission series looks like a classic GoPro action camera, but the new series leans more towards high-end video with larger one-inch sensors capable of up to 8K open gate, along with the brand’s first mirrorless camera.

But another thing that GoPro cameras are known for is durability – I imagine NASA isn’t the only one still using an 11-year-old GoPro. Plus, the Mission 1 Pro ILS isn’t a replacement for the Hero13 Black, which will continue to remain available.

While some mods are exclusively designed for the Mission series, like the new point-and-shoot grip, ND filters, and Media Mod, these new GoPro accessories are backwards compatible with some Hero series cameras.

GoPro Wireless Mic System

With the Mission series, GoPro also announced its first mic – and it’s compatible with a number of cameras, including non-GoPro models. The wireless mic set has a USB-C receiver that allows it to work with a number of cameras and smartphones. GoPro Hero Black models and Mission series cameras have an easy pairing mode, GoPro says.

The mic offers 24-bit, 48kHz audio and works from up to 150 meters away. The kit includes two mics, a receiver, and a charging case, with a battery life of about 6.5 hours per mic.

GoPro Vertical Mount Adapter

Social media is all about those vertical videos right now – but GoPro hasn’t launched its own vertical mount until now. The Vertical Mount Adapter makes shooting vertically with a GoPro faster, even on mounts that don’t have the ability to natively tilt the camera to its side. The L-shaped adapter gives the GoPro three attachment points instead of mounting exclusively from the bottom. The adapter is also magnetic, so it’s made for quick swaps from vertical to horizontal and back again.

The Vertical Mount Adapter, which is made with aluminum, is compatible with the Hero12 Black and Hero13 Black cameras as well as the new Mission series. It mounts on other GoPro accessories using the traditional finger mounts, magnetic mount, or a 1/4-20 mounting tripod thread.

GoPro Volta 2

I’ve used the original GoPro Volta to keep a GoPro running long enough to capture a time-lapse of the northern lights all night long. GoPro is refreshing this popular accessory, which is an external battery, mini tripod, and grip all in one.

The update offers an even higher capacity battery at 5800mAH, up from 4900mAH. That’s good for up to 9 hours of 4K30 video.

GoPro Light Mod 2

One of the biggest accessories that can improve video footage is having enough light. The GoPro Light Mod 2 is a constant LED light that’s 33 percent brighter than the earlier version at 200 lumens. The light has a cold shoe mount, so it’s compatible with any camera that has a cold shoe mount, so it works with earlier GoPros with a media mod and can also be mounted separately.

Enduro 2 Battery

New batteries are typically not compatible with older cameras because they are a different size, but the new GoPro Enduro 2 battery is compatible with both the Mission series and the Hero13 Black. The catch? The battery life isn’t as long on the Hero13 Black as it is on the Mission cameras. A new charger that charges two Enduro 2 batteries at once is also launching.

The new GoPro accessories won’t be available until May at the earliest, but the company is launching each one on a rolling basis, so others may not arrive until the third quarter of the year (along with the Mission 1 Pro ILS mirrorless).

Pricing details have not yet been announced.

You may also like

Browse the best GoPro accessories, or take a look at the best action cameras.

The launch of the GoPro Mission 1 series is arguably the action camera giant’s biggest launch in several years, marking a shift towards high-end video. But in a letter to investors, CEO Nicholas Woodman is already hinting at what’s next for the company, including “utility-focused products” planned for 2027 and beyond.

The Mission series marks a major shift from the action cameras that have almost exclusively carried the Hero name since the first-ever GoPro camera in 2004. The Mission series uses larger one-inch sensors with 8K 60p recording, and while the Mission 1 and Mission 1 Pro take on a familiar GoPro form factor, the Mission 1 Pro ILS puts the action camera maker into the mirrorless arena for the first time.

This shift comes at a perilous time for the American camera brand – the company’s stock is at risk of becoming delisted, but has shown signs of recovery with stock over $1 since the announcement of the Mission series. The company has announced a 23 percent reduction in staff following a 25 percent drop in the number of action cameras sold last year.

But now, in a letter to shareholders as part of the company’s annual report, Woodman highlights where he sees the company headed next. The longtime CEO and founder’s boldest statement? GoPro isn’t an everyday camera.

“If your imaging needs are everyday…then we’re not the brand for you,” Woodman wrote. “But if you’re pushing the boundaries of capture and require mission-critical imaging tools that enable content like the world has never seen…then GoPro is your camera company.”

In a way, Woodman’s statement makes some sense – the number of smartphones that are increasingly becoming waterproof is likely one of the causes behind the company’s dwindling sales numbers, along with increasing competition from brands like DJI and Insta360.

But while a growing number of smartphones are capable of everyday waterproof captures, there’s also a growing number of content creators, a category that fits somewhere between consumers and professionals, that would be a smart target for the action camera company.

The launch of the Mission series raises questions about whether or not fans will see the long-awaited GoPro Hero14 Black. When I asked GoPro about the Hero13 Black, the company assured me that the camera would remain available but – as every company does – declined to comment on future products.

Woodman also dropped a hint about 2027 products, listing the new GP3 processor cameras (the Mission series), a motorcycle helmet being built with AGV, and ”the new specialized, utility-focused products we have planned for 2027 and beyond.”

“Utility-focused” could mean a lot of different things, but the phrase could tie into a major theme in Woodman’s letter: that GoPros are “tools, not toys.”

“As we look to grow, we consider what opportunities we have to develop imaging tools that become indispensable – tools, not toys– for markets and end users that need them most,” Woodman wrote. “How can we increase GoPro’s utility and relevance to new and existing customers in a manner that in parallel drives brand, financial, and shareholder value creation. Again, more tool…less toy.”

The letter comes along with the information for shareholders ahead of a vote, including proposing adding additional shares to create reserve funds to “ attract, motivate, and retain qualified employees.”

The Mission series is likely a critical moment for the longstanding action camera company. The company needs to strike a balance between retaining existing GoPro fans and attracting new customers. The first two Mission cameras start shipping on May 28, with the Mission Pro ILS slated for sometime in the third quarter of 2026.

You may also like

Browse the best action cameras or the best vlogging cameras.

During a Q&A session for the launch of the Oppo Find X9 Ultra, Schofield Lu, Product Manager for the Oppo Find Series, confirmed that the company is exploring its own dedicated handheld gimbal camera that could rival DJI’s pocket-sized video powerhouse.

Oppo isn't sharing design, specifications, or even potential launch window yet, but even this early confirmation is enough to make the category a lot more interesting.

Right now, DJI more or less owns this space – and has just launched the new Osmo Pocket 4. The Osmo Pocket line has carved out a strong niche among vloggers, travel shooters, and content creators who want stabilized video in a device small enough to slip into a pocket. But that dominance may not go unchallenged for much longer, and Oppo is not the only brand circling the idea.

Smartphone makers are definitely taking an interest, and Oppo isn’t the only manufacturer starting to see handheld creator cameras as a natural extension of their phone camera tech.

We have already heard rumors that Vivo is exploring something similar, and Honor is also in the mix, having shown off its Robot gimbal concept device at MWC this year, which takes a slightly different tack, combining a gimbal camera directly into a phone, but the company has suggested it could eventually make it to market.

Although the most immediate competition is coming from DJI's chief rival, Insta360, which has already confirmed that it is working on at least one, or possibly two, dual-camera handheld gimbal cameras of its own, called the Luna and potentially Luna Pro, the former of which is already in the hands of some influencers.

Meanwhile, DJI is unlikely to give up ground without a fight. Almost as soon as the Pocket 4 was out of the door, rumors popped up around more advanced Osmo Pocket 4 Pro, with talk of a dual-camera setup that could push the format further.

For years, this has felt like a product category with plenty of promise but only one real major player. If Oppo follows through, and the other rumored devices also materialize, the next 12 months could see the handheld gimbal camera market suddenly becoming the next major camera battleground.

Check out our guide to the best pocket gimbal cameras you can buy today

GoPro is the brand that defines the action camera. Many people I know, to my frustration, still call all of the neat little actioncams devices "GoPros" even when they're made by DJI, Insta360, or one of the other rival manufacturers. That is the kind of brand success that belonged to tranformational devices such as Sony's Walkman or Apple's iPod.

Now, though, like those products before it, the GoPro is struggling. There is less need for it, and those competitors have gotten good.

How has GoPro sought to solve the problem? Well, the company's new range of Mission 1 cameras offers a new name and the option of a significantly more irritating camera mechanism.

"Irritating you say? Are you mad – this is the choice photographers have been crying out for!" you respond.

I know what I mean. But let me explain.

Well, GoPro never really used autofocus on its previous cameras, so the company might not think it's a big thing.

The GoPro Hero 13 Black, the top of the line before the Mission 1 Pro ILS came along, had fixed focus. Objects in the foreground and the background appeared in focus (the reason for this was that the image sensor was relatively small).

Didn't GoPro say the Hero13 had interchangeable lenses?

Well, not exactly, though the company certainly gave that impression. The Hero 13 had swappable lens modifiers (Lens Mods) and filters and what made them relatively unique was the arrival of GoPro's 'HB-Series' which delivered auto-detection.

What that meant to the user was that when you put a lens modifier or filter onto the camera's main lens (which never changed), you saw what looked a bit like a part you shouldn't see for a bit – and, when you had finished, the camera sensed the change and made the necessary software adjustments.

What didn't happen, unlike the new ILS, is that you couldn't actually see the image sensor and (if you wanted to for some crazy reason) reach inside and prod it.

I'm sure one of the lenses was focusable?

That's right. The Macro Lens Mod had a focusing ring so the focus could be adjusted – traditional variable manual focus. The Macro lens could focus down to 11cm, while the standard lens was limited to about 60cm (problematic for selfies).

So that's what is happening again. Manual focus or Fixed Focus?

Yes and no. Yes, the focus will be manual, so a bit like the Macro Lens Mod on the Hero 13, but the Mission 1 cameras boast larger image sensors of 1-inch across the diagonal. That should mean that users wouldn't be able to take advantage of 'most' of the focal range being 'close enough' to in focus without the assistance of AF.

So there will likely be a need to adjust the focus, especially if a subject is relatively near the camera and any one of hundreds of MFT lenses is being used – but that from a camera without the ability to do so (or much in the battery tank if it did have the ability).

Which makes me think something worse...

Which leads me to this alternate theory about the Mission 1 Pro ILS. GoPro doesn't care about it.

It's for attention.

After all, if you could get an interchangeable lens, how much do you really want one with a 3x crop factor?

The other cameras are actually slated to arrive within a reasonable timeframe – around six weeks from now – but there is no fixed date for the mirrorless.

The Mission 1 fixed-lens cameras are clearly a replacement for the Hero 14 – designed to take on the large image sensor and adjustable aperture of the DJI Osmo Action 6,

Call me a cynic, but after all the delays that faced the GoPro Max 2 (which did, admittedly, make it to market in the end), it is hard to be convinced by news of new cameras from GoPro that seem to have R&D difficulties and are yet to get a fixed date.

As my colleague Hillary – explained, even if it does work as described, it sounds problematic. Lenses are going to partially block the front LCD. Stabilization sounds like it might be tricky, depending on the additional crop.

Is this really going to be a camera, or is it a hack project to get a few looks at a trade show before what will amount to be a rebranding of 'Hero 14' as 'Mission 1' and 'Mission 1 Pro'?

Only time will tell.

Sony is bringing expanded dynamic range and low light capabilites to its pro-grade 4K video cameras. Announced on April 16, the Sony R series is a set of five 4K studio and broadcast cameras equipped with three-chip 4K 2/3-inch sensors and global shutters.

Ahead of the NAB Show in Las Vegas, Sony unveiled the HDC-5500R, HDC-5500RV, HDC-3500R, HDC-3500RV, and HDC-3200R. All five cameras use Sony’s three-chip sensors, which separate red, green, and blue onto their own sensors. That’s paired with a global shutter to minimize rolling shutter distortion.

While broadcast cameras don't have as wide a user base as consumer cameras, it's interesting to see the tech inside the cameras working behind-the-scenes to broadcast news and sports.

While the entire Sony R series is new, the five cameras build on Sony’s earlier HDC cameras like the HDC-500 and HDC-3500, with expanded dynamic range and sensitivity. Sony says that the change helps the cameras excel in “more natural and three-dimensional video capture in outdoor stadiums with mixed sunlight and shadows, as well as in live music venues with challenging lighting.”

The upgraded R series is also designed for consistent color matching, including an optional LUT Processor Board for the HDC-3500R, HDC-3500RV, and HDC-3200R, which allows for more advanced adjustments using 3D LUTs. The RV models will also include a pre-installed variable ND filter.

While enhanced video in tricky lighting is a feature any videographer can appreciate, the five cameras are geared towards broadcast, with changes designed for a “more flexible system configuration.” Both the HDC-5500R and HDC-5500RV support two 1.5G SDI lines, while the HDC-3500R and HDC-3500RV have new support for HB+ transmission. The HDC-3200R, meanwhile, supports S-Gamut3/S-Gamut3.Cine colors as well as a 1GBps network trunk.

The entire R series is built to have similar operability, so videographers can easily move between the different models.

The new R series will be displayed at Sony’s booth at the NAB Show in Las Vegas, which opens on April 18.

You may also like

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

This summer, Canon will roll out several key firmware upgrades across several C or cinema series cameras. Announced ahead of NAB 2026, Canon has shared a list of new features coming across cameras like the Canon C400, C80, C50, C70 and R5 C, including the gimbal controls, exposure ramping compensation, and a refreshed level view.

Three of the cameras will soon be able to be controlled from the buttons, dials, and joysticks on compatible gimbals, thanks to an update in USB protocols. The Canon C400, C80, and C50 will gain support for DJI gimbals using USB-C, which will allow videographers to control camera settings using the controls built into the gimbal, rather than those built into the camera.

That means creators will be able to adjust factors like starting and stopping the recording and adjusting the iris, shutter speed, and ISO from the gimbal controls. The update helps put the camera controls within easier reach.

The Canon C400 will also gain an exposure ramping compensation feature, available only when using CineServe lenses. Exposure ramping refers to changes to exposure as a lens zooms in. The exposure ramping compensation will allow the camera to automatically compensate for those changes by adjusting ISO.

The Canon C400, C80, C50, and R5 C also get a refreshed level, which now turns green when the camera is level.

For livestreaming using the SRT Stream protocol, the C400, C80, and C50 can now try to automatically reconnect if the reconnection is lost during a livestreaming session.

The Canon C50 will also gain a handful of new updates to catch the camera up to earlier firmware updates across cinema models, including an HDMI View Assist feature in Media Mode, smoother zoom, updated Wi-Ci settings, and adjustments to CV and XC protocol.

While announced on April 15, the firmware updates won't be rolling out until June and August.

You may also like

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

When Canon went out to test its latest camera, it captured ships that were ten miles away – in the dark. The new Canon MS-510 may not be the sort of camera that photographers will add to their kit – as a high-end security camera – but the tech that enables imaging from extreme distances and in extreme darkness is intriguing for any camera nerd (like myself).

The Canon MS-510 uses what’s called a SPAD sensor – a Single Photo Avalanche Diode sensor. The typical CMOS sensors found inside mirrorless cameras and compact cameras record the amount of light that hits each pixel. But SPAD sensors actually count each individual photon, or light particle.

The result? SPAD sensors eliminate read noise for extreme low-light imaging.

The sensor inside the Canon MS-510 – which is more sensitive to infared light in night mode than the earlier MS-500 – allows the camera to see in the dark, but it’s Canon's new lens that helps the security camera monitor areas that are miles away.

Canon has also announced the CN30x40 IASJ, which will likely be better known by its street name: the Canon CineServo 40-1200mm. It’s a cinema lens in RF and PL Mounts, which means it's compatible with the new MS-510. That 1200mm reach, paired with a built-in 1.5x teleextender, gives the high-end security camera its long-distance imaging capabilities.

Like the MS-510, the new CineServo lens isn’t going to find its way into a lot of gear kits – it retails for $79,999 in the US (about £59,000 / AU$112,000 / CA$110,000) – but the launch offers some insight into what Canon is focusing on behind-the-scenes, and for the new cinema and broadcast lens, its size and versatility.

The new lens replaces the earlier CineServo 50-1000mm. Despite offering a wider zoom range on both the wide and telephoto ends, the new 40-1200mm comes in the same size and weight as the earlier lens – which is 14.6 pounds.

Camera fans like myself can expect more gear news to arrive in the coming days – as the NAB Show opens on Saturday, April 20, and often brings with it some new tech, particularly for video.

You may also like

You probably won't buy the new Canon security camera – but these top Canon cameras are a different story.

ARRI is entering a new chapter after Thomas Riedel, founder and owner of Riedel Communications and the wider Riedel Group, acquired the Munich-based camera and lighting specialist in what is said to be the largest acquisition of his career to date.

Chosen through a competitive international process, Riedel’s vision for a new home for Arri signals a major moment not only for the company itself, but also for the wider motion picture and live production industries.

The deal brings together two highly respected German businesses with deep roots in professional production technology. While Arri has long been regarded as one of the most influential names in film equipment, Riedel Group has built its global reputation around advanced audio, video, and data infrastructure for some of the world’s biggest broadcast, live event, and sports productions. Together, the move creates a far broader technology offering that stretches across the production chain, from camera optics and image capture through to signal distribution.

Founded in 1917 and family-owned ever since, Arri remains one of the most decorated names in professional film technology, with 20 scientific and technical awards from the Academy of Motion Picture Arts and Sciences to its name. “For more than a century, Arri has stood for engineering excellence, innovation, and the highest quality. This success story will now continue and remain in German ownership,” said Dr. Walter Stahl, Managing Director of Arri GmbH and member of the founding family.

The strategic logic behind the acquisition is clear. Arri’s established ecosystem of camera, lighting, and systems technology sits naturally alongside Riedel’s strengths in live production infrastructure, opening the door to new technological and commercial opportunities for both sides. In particular, the partnership is expected to unlock growth in the live entertainment and sports sectors, where the two companies believe their combined expertise can create integrated solutions with new creative and technical possibilities for customers.

That collaboration will get an early public outing at one of the world’s most high-profile live events. Arri will debut its camera technology at the Eurovision Song Contest, where Riedel is serving as the technology provider, and NEP is overseeing production. It is a fitting stage for two companies looking to show how cinema-grade imaging and live broadcast infrastructure can work more closely together.

Despite the acquisition, Arri will continue to operate independently from its Munich headquarters, with its current management team staying in place to guide the company through its next phase. “Thomas Riedel has built a first-generation family business and stands for entrepreneurial continuity and long-term thinking,” said Chris Richter, Managing Director of Arri.

“We look forward to working with a successful entrepreneur and to the resulting market opportunities and access — both in existing and new markets.” “The Riedel Group brings highly complementary technologies and extensive expertise in live production to this partnership,” added David Bermbach, Managing Director of Arri. “This strengthens our strategic direction as a ‘Trusted Technology Leader for the Next Generation of Media & Entertainment.’”

For Thomas Riedel, the acquisition is clearly a deeply personal as well as strategic move.

“My entrepreneurial path has been closely tied to Arri for years, This acquisition represents the most significant personal milestone of my career so far. I have great respect for this exceptional brand, its outstanding products, and its strong team. At the same time, I see tremendous potential and am confident that, together, we can position Arri for longterm stability and future success.”

With Arri set to retain its identity while gaining access to broader infrastructure expertise, this looks less like a simple takeover and more like a serious attempt to shape the future of media and entertainment production from both ends of the workflow.

GoPro has just announced a new camera – the GoPro Mission 1 – in three distinct variants. The first two are both tiny 8K cinema cameras, but simply tweak the specifications between each other. The third goes all out and allows interchangeable lenses.

"GoPro is entering the premium end of the digital imaging market in a significant way" says the company's Senior VP Pablo Lema, and he isn't wrong about the step up from the GoPro Hero13 Black. That camera was slipping down the best action cameras league to newer competition from the likes of DJI, but the new Mission 1 boasts a 1-inch 50MP image sensor, which, GoPro tells us, offers up to 14-stops of dynamic range.

Backed up with the new image processing chip, the GP3, the company has previously shown, the Mission 1 Pro / Pro ILS cameras can even record 8K at 2x slow mo, through 4K at 8x slow mo (which, for the avoidance of doubt, means 240fps) right up to 960fps for 1080p (for up to 10 seconds). (The Mission 1 not pro is 8K30 at its limit and correspondingly less capable at slow motion too).

The improved GoPro specs don't stop at frame rates either. Data can be stored at 240Mbps, enabling HLG-HDR, 10-bit color and GoPro's GP-Log2, as well as support for Timecode sync.

There is an open gate sensor, which might help with image stabilization (the whole sensor's image is captured, not just the 16:9 that is being used). Sound recording is via four built-in microphones that pull in 32-bit float, as well as support for Bluetooth 5.3 mics.

On the other hand, is the design really that different from its predecessor (in so far as it has one) the GoPro Hero 13 Black?

To be honest, I'm not sure the bodies are as different as you might imagine if GoPro tells you the camera has a new name. The pictures tell you a fair bit there, but another clue for this journalist was the number of comparisons GoPro themselves made to the Hero series. To me, that implies this is seen as a successor, but one intended to make a splash (and it is waterproof to 20m / 66ft – except the ILS).

Now 'Mission' might seem a very topical name at this point in NASA's Artemis cycle, or if you happen to live in central San Francisco, but otherwise it's just a new name we'll have to get used to.

My theory is that GoPro weren't super excited by the idea of reducing the price of the previous 'Hero' model, so it thought that the upgraded model should have a new name. Then there is no need for GoPro to sideline its predecessor to obviously – and the company's cycle of reducing prices on the older model could break.

That doesn't explain the other new camera though – the Mission 1 Pro ILS, which boasts an interchangeable lens. That is a new feature for these compact cameras.

More than that, the swappable lens uses the MFT (Micro Four-Thirds) system, on a one-inch sensor, meaning that it's a bigger lens than the sensor. Presumably, this is essential because MFT is an established size, and GoPro is not in a position to establish a new lens size. DJI used MFT for the Inspire 2 drone, and users like me took advantage of the existing lens system when working.

Perhaps oddly, though, the GoPro cameras won't be capable of adjusting the focus on this system, presumably because the extra parts add size and weight. (It shouldn't be forgotten, though, that the camera system that the DJI Inspire 2 drone carried around supported MFT lenses with powered focus and zoom.)

Is ditching AF really a good idea?

Is getting rid of a feature like AF – key to the usability of cameras for many – really a brilliant idea?

To be fair to GoPro, the company is only really offering it as a way to help a niche gain access to interchangeable lenses. So it's a 'this or nothing' kind of choice, and most people would take the chance to choose themselves over simply not having access to the choice.

I suspect, though, that for many active sports fans the 13 capture modes in the cameras will be more than enough by way of settings, while those using the interchangeable lenses are less likely to be in a rough-and-tumble scenario, so won't mind stopping to check their focus.

Lest we forget, there are also other action cameras that have addressed some of the issues (like low light) that GoPro is finally taking on here. Check the very impressive DJI Osmo Action 6 or the Insta360 AcePro 2, the latter of which even has an equivalent to the point-and-shoot grip that GoPro has also just announced.

Check out our full guide to the best action cameras that are on sale now

After the massive success of Meta's Ray-Bans, Apple leaker Mark Gurman has reported that Apple is working on four frame designs for its own Smart Glasses and says that his sources expect Apple to offer more than Meta when it comes to the tech.

When Apple first started looking at body-worn tech, it hadn't considered the concept pioneered by Meta's Ray-Bans – that is camera-equipped sunglasses that do not have their own display. They have, nonetheless, made our best camera glasses list.

Instead, Apple, which already had the Watch division, began a 'Vision Products Group' (according to Gurman's source), and it was concentrating on what became the Vision Pro, a mixed-reality AR device with a wireless controller and iPhone connection, and standalone glasses.

Only relatively recently has the 'N50' concept, as glasses with a built-in voice-assistant (or at least access to a voice assistant) been added to that list, meanwhile the device tethered to the iPhone was scrapped (perhaps another way of looking at it is that it has simply been replaced?)

That's because this new product will be tightly integrated with the iPhone as a means of outdoing Meta. Apple generally likes to enter a market with a distinct advantage, and here Apple won't be buying a frame brand from EssilorLuxottica SA (who own Ray-Ban and Oakley) or Warby Parker.

Apple will, if experience is anything to go by, want its designs to be recognizable, just as the iPhone and the Apple Watch stand out against competitors, even across generations. The four styles Apple is currently working on are, reportedly:

• Large rectangular frames presumably not so very far away from the Ray-Ban Wayfarers concept
• Slimmer rectangles that Gruman suggests might be along the lines of the 'Tim Cook Look'
• Large circular or oval frames
• Smaller circular or oval frames

Other big subjects of discussion in Apple-land at the moment are the possibility of delays to the foldable iPhone – which took 5% of the company's share price when it was rumored in Asia, but turned out not to have much basis.

Those who have not enjoyed Apple's recent efforts at AI will likely be pleased to hear that John Giannandrea's time at the company overseeing AI should be ending this week, too. He was hired from the outside (by Tim Cook, from Google).

Check out the best camera glasses you can buy today, and the best iPhones

Sony's launched a new image sensor, and while it may not be some 1-inch flagship phone sensor or a new stacked full-frame CMOS chip, it'll almost certainly become the mainstay of one particular camera sector for the next few years.

Called IMX908, it measures a relatively modest 1/2.8-inches in size and has an 8.4-megapixel resolution. But this isn't a sensor designed for capturing high-res stills. Rather, this marks the first sensor in Sony's brand new STARVIS 3 range of image sensors designed for security cameras and dash cams.

Right now, STARVIS 2 sensors can be found in almost every current mid- to high-end dash cam on the market. Their focus on high dynamic range makes them ideal for coping with the huge and unpredictable contrast variation encountered during driving.

The STARVIS 3 IMX908 sensor is a back-illuminated design with a deep photodiode layer. This is said to provide high performance in low light conditions, as well as high sensitivity to the near-infrared spectrum - both important attributes for security and dash cam implementations.

The key to its performance are newly-developed LOFIC pixels. LOFIC - Lateral OverFlow Integration Capacitor - is Sony's proprietary pixel technology developed for security cameras. Sony claims the tech can deliver nearly 20x the amount of saturated charge when compared to a first-gen STARVIS sensor, resulting in approximately 27% better low-light performance and a dynamic range of up to 96dB in a single-shot exposure. This is achieved without the use of multiple exposures - a more typical means of producing an HDR image - making the sensor better suited to capturing the kind of fast-moving subjects encountered in dash cam applications.

We'll still have to wait for STARVIS 3 sensors to show up in consumer products, but with intense competition in the dash cam sector, we probably won't have to wait long.

Read more: The best dash cams on sale today

The DJI Pocket 4 announcement is now confirmed for April 16, with DJI releasing a teaser for the long-awaited pocket gimbal camera. The brief video clip appears to show one fewer camera than most rumors had anticipated, however...

Many people have speculated that an upcoming DJI Osmo Pocket 4 would, like some of DJI's higher-end drones – the Air 3S or the Mavic 4 being current examples – add multiple cameras to the gimbal. The idea would be exactly the same as it is in premium camera phones; the option to get optical telephoto shots without any of the extra size and weight that physical zoom components bring.

Instead, however, the device we see under DJI's "The world in my pocket" starts with a close-up too dark to show us anything before – lit only around the rim – but it then rotates the 'camera' before seeming to reveal an image sensor beneath that emerges right from the center of the 'gimbal'.

Now I can't say anything for sure about this, but the most logical interpretation is that a single image sensor is in the middle of the gimbal in this design – though presumably there is something good about it which is why DJI focus on it in the clip.

In recent teasers from DJI, like the "New Dimension" one, which appeared before the DJI Avata 360, the company wasn't shy about including 360-degree footage, but stopped short of showing us the craft for a few more days.

This time, there is only a week before we expect to see the Pocket 4 and learn answers to these questions.

One possibility that we have discussed is whether there might be more than one Osmo Pocket 4 model in DJI's roadmap to come – something that was suggested by leaker Camera Beta.

At the same time, we know Luna – a handheld gimbal-based camera – has been announced as 'coming' from Insta360, but unlike the Pocket 4, it doesn't have a date.

All we can say until next week is that the Osmo Pocket 3, a camera which has become a creator's favourite since launch in Late 2023, will have a sibling of some kind very soon. Keep watching these pages to see if the Osmo Pocket 4 can replace the unique contender for best vlogging camera.

GoPro is poised to launch new high-end cameras this month, but the brand’s push beyond the action camera comes at a rocky time within the US-based company. On Tuesday, April 7, GoPro announced a restructuring plan that includes a global reduction in workforce of about 23 percent of the company’s staff, which means around 145 employees.

The news comes from 8-K paperwork filed with the SEC, which is required documentation that informs stockholders of major changes. According to the announcement, the reduction in workforce will happen in the second quarter of 2026 and will be largely completed by the end of the calendar year.

The company estimates that the restructuring will carry a cost between $11.5 million to $15 million, which includes one-time termination benefits and healthcare. The restructure, GoPro says, is designed to “reduce operating costs and drive stronger operating leverage.”

GoPro currently has around 631 employees, so a 145-person reduction will put the company’s staff at under 500 employees.

The restructuring isn’t the first sign of trouble for GoPro – last year, CEO Nicholas Woodman declined his own salary. In the last fiscal year, GoPro reported US$93.5 million in losses and around 20 percent fewer action camera sales than in 2024.

But, the news comes as, later this month, the company plans to announce new cameras – and the teasers hint the launch goes beyond action cameras. When GoPro announced the new GP3 processor in March, it said the tech would be used inside “vlogging cameras, and ultra-premium compact cinema-grade cameras.”

Another potentially major change? GoPro has hinted that this new processor will also power cameras with larger sensors.

Last year was also the first time in a decade that GoPro didn’t launch a new flagship action camera at its fall event, announcing the Max 2 and Lit Hero instead of the expected successor to the GoPro Hero13 Black.

The restructuring plan, coupled with the company’s move into vlogging cameras and cinema cameras, suggests GoPro could look very different at the end of 2026 than it did at the start of the year. Beyond the change in staff, if the teasers are any indication, GoPro’s catalog of cameras may be about to look quite different.

GoPro said that the new cameras will be announced during the NAB Show in Las Vegas, which is scheduled for April 19-22.

You may also like

Dive into the list of the best GoPros or the best vlogging cameras.

You can pick up the Nikon ZR at London Camera Exchange for £1,999 (body only) or £2,529 with a kit lensin the form of the Nikon Z 24-70mm f/4 S. In both instances, this is the lowest Nikon’s video-centric mirrorless camera has ever been in the UK, that’s a tidy saving of £200 on both.

Sure, these aren’t eye-watering discounts, but when you consider the fact that the Nikon ZR was only released at the tail end of last year, and has proven popular with videographers and hybrid shooters, anything off the RRP is a good deal at the this point in the camera’s lifespan.

The Nikon ZR is Nikon’s first full-frame mirrorless camera to boast a video-centric design. No viewfinder and a blocky body with a shallow grip make it effortlessly 'riggable' and its huge 4-inch monitor mitigates the need for an external monitor.

Best of all, the Nikon ZR is a collaboration between Nikon and RED, featuring its own specialist R3D NE codec, based on RED’s coveted R3D RAW. You also get dual-base ISO, IBIS, and up to 6K / 60p internal video recording.

The Nikon ZR was also the first camera to debut 32-bit float with both built-in and external microphones, and despite having no on-board cooling system, it’s exceedingly good at dissipating heat, enabling 125 minutes of uninterrupted R3D NE 6K / 60p video.

If you’re looking for an alternative to the Sony FX3 and Canon EOS C50, or are a Nikon content creator looking to improve your video setup, the Nikon ZR could be just the ticket. And right now (at the time of writing), you won’t find it cheaper anywhere in the UK.

As I write this, the only wholly new camera release in 2026 has been the Fujifilm Instax Mini Evo Cinema. Though it can capture and output stills to removable microSD media, it’s primarily a ‘video first’ camera, recording social media-friendly 15-second clips that ape the look of filmmaking styles going all the way back to the 1930s.

It’s currently sold out most places, which seems to be a sign of the times (and not just symptomatic of Fuji’s continued inability to predict how popular its products are).

Increasingly, our traditional camera manufacturers are favoring video over stills.

And it’s easy to see why, when image-sharing platforms like Instagram are themselves transparent about choosing to prioritise video over photography. Adding further grist to the mill, there’s the recent revelation that more people in the UK now watch and upload to content creator mecca YouTube than watch the BBC.

Don’t get me wrong. I love the democratization that YouTube has delivered and the fact that anyone can now potentially be a ‘broadcaster’. It’s also a place, like the wider internet, where seemingly every niche interest is catered to.

But on a platform curated by algorithms, there’s also a lot of folks babbling on nonsensically, with massive self-regard and a lack of self-awareness.

It’s these ‘twits with camera kits’ I worry the manufacturers are keenest to pander to. Again, there are a lot of them, so it makes sound business sense. But will these translate into loyal and engaged customers who will stick with the relevant brand long into the future? Perhaps if only a fraction of them do, that will be enough.

Plus, one could argue that we have already reached peak performance when it comes to digital stills cameras and, in terms of technology, not just the audience, there is little more to presently achieve – at least for the time being.

So why not, as a photo manufacturer, pivot and throw most, or all, of your R&D might behind video capture instead?

If asked, the traditional camera companies will tell us that photographers remain a priority.

Increasingly, though, I don’t believe they’re any longer the priority.

GoPro broke tradition when it didn’t launch the Hero14 Black last fall – but the update to the popular action camera series isn’t the GoPro that I’m most excited for as a camera expert. A new generation of GoPros is coming later this month – and as a camera expert, I’ve never been more excited for a new GoPro.

GoPro will launch “next generation” cameras later this month with a new processor capable of powering larger sensors – and no, that’s not an April Fools prank. GoPro has already confirmed that it’s launching next-generation cameras at the end of April. Official company teasers and press releases indicate that the company is working on a vlogging camera and a compact cinema camera, along with a confirmed launch date for the end of April.

GoPro has been steadily dropping hints as to what’s launching next month since announcing its latest processor, the GP3. The company has hinted that the processor will power cameras – yes, cameras plural – with larger sensors and CEO Nicholas Woodman has been saying that GoPro will be entering more advanced camera categories beyond action cameras since 2025.

GoPro’s teasers have not explicitly named the Hero14. But, it would be a terrible move for the action camera giant to not launch the expected Hero14 Black, so along with the teasers for entering into an advanced camera category, I’m expecting the Hero14 will come along as well.

As a professional photographer and GoPro user, I’m hoping the mysterious next-generation GoPros blend everything that GoPro is known for with the benefits of an advanced camera with a larger sensor. Specifically, my wishlist includes:

• GoPro-level stabilization: Shaky video is a pet peeve of mine, but stabilization is something that GoPro does well. If GoPro is targeting the vlogging market that’s in between novices and pro filmmakers, I think good stabilization is a must.
• GoPro-level durability: The teasers have already shown underwater footage, as well as shots in dusty locations. If GoPro’s advanced camera doesn’t at least withstand rain, I’m going to be majorly disappointed.
• New flexibility: One of the things that I don’t love about the action camera category is that it’s really just designed for POV and action shots. One of the teasers shows a close-up of the moon and some macro shots through, so I’m hoping the next-gen GoPro will have far more versatility.
• At least a Micro Four Thirds sensor (for the advanced camera): While GoPro’s official statements confirm that the GP3 processor will be able to handle larger sensors, “larger” isn’t very specific. I’m hoping for at least a Micro Four Thirds sensor for the more advanced vlogging camera, though at the right size and price, I would be okay with a one-inch sensor. That's for the "advanced" vlogging camera that's coming though, I'm expecting a smaller bump in sensor size – if at all – for the Hero14.

One of the biggest challenges that I think GoPro will face with these next-gen cameras is autofocus. GoPros use fixed focus; it’s a type that works well for action cameras when everything should be in focus. But a fixed focus won’t work on a larger sensor. GoPro is going up against camera brands that have a lot of experience building fantastic autofocus systems, so I think autofocus performance will be a key factor in just how well the upcoming camera(s) do.

I’ve never been more excited for a GoPro launch. But, I won’t have to wait long. GoPro says the next-gen cameras will be unveiled during the NAB show in Las Vegas, which is scheduled for April 19-22.

You may also like

Based on the teasers, this is what we know so far about the next GoPro. Or, browse the best action cameras or the best vlogging cameras available now.