70mai 360 Omni 4K Dash Cam: one-minute review

I remember reading the review of the original 70mai 360 Omni Dash Cam just over a year or so ago and thinking it was something of a curio. After all, it’s easy to ponder over the appeal of a camera that can rotate 360 degrees while attached to the windshield of a car. As it turns out though, the 70mai 360 Omni is ideally suited to anyone who wants to record a variety of angles using just one in-car camera. It is also perfect for anyone who vlogs from behind the wheel.

The new and improved version of the original is called the 70mai 360 Omni 4K Dash Cam and the not-so-secret is in the title; a new Sony Starvis 2 IMX678 sensor which delivers crisp and clear 4K video footage up to 60fps. Performance is therefore beefier than the earlier incarnation, but there are other highlights too, including AI Motion Detection 2.0, 70mai’s after dark tool called Lumi Vision, voice control and dual-channel HDR capability.

If you’ve never seen it before, the Omni is a quirky looking creation. The design hangs down from your windshield in a similar way to the smaller and less capable Nextbase Piqo. In fact, it’s a slightly odd thing to look at, far removed from the more conventional design lines of, say, the Viofo A229 Pro Dash Cam or indeed any of the other best dash cams out there for that matter. However, the design is perfect for the task in hand as it includes a revolving lower section that contains the lens assembly, which rotates as and when it’s needed.

Another addition this time around is the option for two-channel shooting, thanks to this particular bundle containing a secondary rear-facing camera, which captures video in 1080p. It’s more conventional to look at than the front-facing Omni and connects to the main unit via a lengthy piece of cable. Both cameras can be controlled using 70mai’s app, which has been reinvented in order to exploit the newer features and functions offered by the upgraded Omni unit. Voice activation is another bonus control option.

As you’d expect from an upgraded product, the 70mai 360 Omni 4K Dash Cam is more potent. In fact, 70mai’s own figures suggest a 68 percent improvement in sensor size compared to the original Starvis, a 90 percent improvement in light sensitivity and a 100 percent improvement in low light performance. In addition, there’s a larger rear screen, improved field of view, beefier Wi-Fi plus a supercapacitor/ button cell battery setup for increased efficiency. On paper, the 70mai 360 Omni 4K Dash Cam sounds like a drastic improvement over the older product.

70mai 360 Omni 4K Dash Cam: price and availability

The 70mai 360 Omni 4K Dash Cam will cost from $279.99 / £268 for the single model and $406 / £389 for the 4K Omni with the rear camera, 256GB microSD card and a hardwire kit. There will also be various bundle offers from 70mai offering variations on the theme, details of which can be found on their website or by searching for the 70mai 360 Omni 4K Dash Cam on Amazon.

70mai 360 Omni 4K Dash Cam: specs

70mai 360 Omni 4K Dash Cam: Design

On first impressions, the 70mai 360 Omni 4K Dash Cam looks remarkably similar to its lower specification predecessor. The bulbous body design has been retained and this both looks and feels like a quality component. However, as noted in the previous review, the body does need to be handled with care as the lower part contains the 360-degree rotating lens section, which if forcibly handled feels like it could affect performance. Aside from that, the overall design of the body feels rugged enough and is manufactured from quality plastic.

As before, the buttons on the side are brightly colored in red while on the other side of the unit, there now sits a microSD card slot. This also has a rubberized type of cover on it to keep dust, dirt and moisture out, even when the card is in situ. Meanwhile, there’s an angled joint that divides the sticky part of the windshield attachment with the rest of the body, so it’s quick and easy to get the camera positioned correctly, no matter what the angle of the screen is.

Around at the back of the main camera body is the 1.4-inch IPS screen, which is a step up from the 1.2-inches of the previous model. Again, the screen covering looks and feels rugged enough while the resolution of the various graphics is crisp and clear. Most of the management of the 70mai 360 Omni 4K Dash Cam is best done via the supplementary app, although there is also the added bonus of voice control, which is useful when you’re behind the wheel.

The same level of quality extends to the rear camera unit as well. This is a fairly standard barrel-type of design, with a rotating lens protruding at one end along with a short cable that needs to be press fitted to a longer one. This then feeds into the main camera unit via a small jack plug next to the power cable. Expect to spend some time pushing the associated cables behind trim panels, but there’s a small plastic tool included to help you do just that.

70mai 360 Omni 4K Dash Cam: Performance

As always with setting up a dashcam for the first time, some of this is best done before you get the camera into position. Equally, however, it does need to be on the windshield so the angle can be previewed, via the app ideally, and then adjusted for an optimal view of the road. The same goes for the rear-facing camera, which in some ways I found even trickier to position due to the angle of the rear glass and an obtrusive parcel shelf. Expect to take some time for this setup process.

I haven’t tried the original incarnation of the 70mai 360 Omni 4K Dash Cam, but the performance delivered by the new model seems like a step up, especially based on the specifications. The Sony Starvis sensor is beefier than before and there’s the 4K capability. After popping a microSD card in and running through the setup process, the camera was quick to get started. Registering an account was the most time-consuming part of the process because you get sent a code to your email, which then needs to be dialled in before a time limit runs out.

Nevertheless, once everything is up and running I found the cameras to be everything I expected from them. Front-facing 4K footage is just that, and of a very decent quality. Adjustments can be made to video settings if storage is an issue too, although 70mai does have a cloud option within the package if the microSD card isn’t going to be substantial enough, even though recordings are done in the usual loop fashion. The rear-facing footage is very acceptable too, with a good level of clarity that allows license plates to be read and recorded as and when needed.

I do like the way the 70mai 360 Omni 4K Dash Cam can be controlled using voice commands, which works particularly well for the vlogging environment. Anyone who needs to tell a tale while they’re at the wheel and doesn’t want to be distracted by fiddling with controls will find this feature a real boon. On command, the lens simply rotates around the cabin and focuses on the driver, and it works to good effect, although there is a slight fish-eye effect as it pans around.

The 70mai app is okay and comes with all of the features and functions I needed. However, alongside the rest of the kit setup, it did feel a little less impressive than alternatives from the likes of Nextbase, and is perhaps the weakest link in the chain. Everything works as expected, but I think it could do with a little tightening up on the functionality front. It’s not always quite as intuitive as I’d like either and I quite often found myself fiddling inside menus when I shouldn't really have had to. It’s not a deal breaker, just mildly irritating in places.

Should you buy the 70mai 360 Omni 4K Dash Cam?

Buy it if...

Don't buy it if...

How I tested the 70mai 360 Omni 4K Dash Cam

• I installed the dash cam into a test car for an initial period of two weeks
• I used it for several journeys during both day and night
• I connected it to my phone and downloaded recordings for comparison

70mai loaned me the Omni and supplied everything I needed to test it. This included a microSD memory card and a hard wire kit, which is an optional extra. I installed the camera in a test vehicle, which I was also reviewing at the time, which allowed me to try out all the features and functions. Testing also meant plumbing in all of the wiring around the car, which meant I was able to check that cable lengths were adequate even in large size vehicle.

I used the 70mai Omni over an initial period of two weeks, although I have since continued to use it in test vehicles being used for review purposes. However, due to the temporary nature of test loans I have been unable to permanently fix the dash cam into a vehicle using the hard wire kit. Nevertheless, the test period did allow me to explore all of the core features and functions of the 70mai Omni 4K, aside from the additional parking options that come as a result of the hard wire installation. The dash cam was also used in a variety of winter conditions, which included plenty of low light and after dark scenarios, along with lots of variation in temperature.

• First reviewed March 2025

OM System OM-3: two-minute review

The OM System OM-3 is a stunning camera – just look at it – even if it still stings for Olympus fans that you're reading OM System on that viewfinder hump.

With its flush faux leather frontage and silver top plate adorned with exposure dials, the OM-3 is as good as retro gets in the camera world. Oh, and there's also a new color mode dial – that's so on-trend.

Contrary to what its old-school exterior might suggest, this isn't a camera that's stuck in the past, and under the hood the OM-3 packs serious power. Its stacked 20MP Micro Four Thirds sensor delivers blazing-fast burst-shooting performance, up to 50fps with continuous autofocus; intelligent subject-tracking autofocus that works a treat (most of the time); and an array of computational photography modes that make light work of difficult shooting techniques such as focus stacking, which would otherwise require time-consuming edits (even if some of the end results aren't perfect).

I'm a big fan of what OM System has done with the OM-3. This is its best camera since its acquisition of Olympus in January 2021. From mind-bogglingly impressive in-body image stabilization (I've shot sharp images handheld with seconds-long shutter speeds – that's smartphone night-shot-like skills), to computational photography modes that encourage creative techniques such as long exposures, highly effective autofocus, a wide choice of lenses and a lightweight build (particularly the lenses), I've had a blast shooting with the OM-3 over several weeks.

As an everyday camera, most of the fun and creative computational photography modes feel more relevant in the OM-3 than they do in the serious OM-1 II, an alternative that's the better pick for serious photography such as wildlife.

There's so much about the OM-3 that just feels right. That said, I wish it was a rangefinder by design, like the Pen-F. Don't get me wrong: the OM-3 is 2025's best-looking camera so far. I just think that as an everyday camera that's best used with small and lightweight lenses, the Pen-F's smaller rangefinder-style body would have been the better way to go. After all, we already have other OM System cameras with a similar form factor to the OM-3, such as the OM-5.

At $1,999 / £1,699 / AU$3,199 for the body only, the OM-3 is also a pricey camera, especially when you consider that the Fujifilm X-T5 with its 40MP APS-C sensor is around $100 / £100 less. The bottom line for me, however, is that the OM-3 is a camera that I want to shoot with more than most. Its compact and retro design, together with its super-fun shooting modes, have encouraged me to new levels of creativity, and I can’t really put a price on that.

OM System OM-3: price and release date

• The OM-3 costs $1,999 / £1,699 / AU$3,199 body-only
• It's available bundled with the excellent 12-45mm F4 Pro lens for $2,299 / £1,999 / AU$3,799
• Available to pre-order now, with stock expected late February

On the one hand, the OM-3 is excellent value. It's the cheapest camera available with a stacked sensor, and packs many of the same features as the pricier OM System OM-1 II flagship. It feels like even better value when bundled with the 12-45mm F4 Pro lens for $300 / £300 / AU$600 more – this is no ordinary kit lens, but a super-sharp and versatile zoom.

However, when you consider rival cameras that you can pick up for around the same money or less, such as the Fujifilm X-T5 with its larger APS-C sensor and 40MP stills, suddenly the OM-3 feels expensive. Its stacked sensor is a costly component and will limit potential price reductions, but I'd hope that the price of OM-3 will settle at around $300 / £250 / AU$500 less than the list price by the end of 2025.

• Price score: 3.5/5

OM System OM-3: specs

OM System OM-3: design and handling

• A thing of beauty, modelled on 1973’s Olympus OM-1 analog SLR
• Features a handy vari-angle touchscreen and dated 2.36m-dot EVF
• Useful dedicated dials for color modes and computational photography modes

For me, the OM-3 is almost the perfect embodiment of Micro Four Thirds photography; it’s compact and lightweight, highly rugged and attractive, and outright fun.

It’s the camera system that you want to slip into a jacket pocket for a day out or take away for a weekend break, and one that makes you obsessively creative – family and friends who've been with me during my review process have had to show extreme levels of patience while I've played around with the camera!

The OM-3 feels great in the hand with a small lens attached, and it’ll turns head too, if that seals the deal for you.

I say it’s almost perfect because for an everyday camera like this I think a rangefinder-style body would have been the better design choice – much like 2016’s Pen-F (which we’re told the OM-3 is the natural successor to).

After all, we already have a number of OM System cameras with a raised viewfinder hump, like the OM-5, so why not just squeeze the OM-3's modest 2.36m-dot EVF unit into the corner of a smaller rangefinder-style camera?

It's disappointing that we get a dated 2.36m-dot EVF, especially when the OM-1 II has a 5.76m-dot unit with clearer 0.82x magnification. I think the viewfinder placement and dated specs are my main design criticism of the OM-3; otherwise, it’s wider-than-average body allows space for controls to breathe, even if its grip-less body counts out easy handling with larger lenses.

If you like the OM-3’s looks, then you’ll also love how rugged and well built it is. OM System is one of the few camera brands to officially rate its cameras for weather-sealing, and the OM-3 is IP53-rated – that’s decently resistant to dust and water spray. So even though you won’t want to get this lovely-looking camera soaked in a rain shower, it can take it.

I also appreciate the new dedicated button and dials to directly access the OM-3’s color modes and computational photography modes, two creative options that are highly addictive and fun to play with.

You’re spoilt for choice for getting the look you like with four color mode settings, including a dedicated monochrome option, together with a practically infinite degree of customization.

Enthusiast filmmakers are well catered for too, with headphone and microphone ports and USB-C connectivity, although the micro HDMI port won't impress serious videographers, nor will the camera's single SD card slot.

Computational photography modes are the closest you get in a mirrorless camera to the smartphone photography experience and features like the Google Pixel's long-exposure mode.

For example, the Live ND Shooting option can reduce the amount of light the camera gathers, much like an ND lens filter, to enable long-exposure photography – and thanks to the camera’s highly impressive in-body image stabilization you can get this effect when shooting handheld too.

You don’t need a tripod and lens filters to get the long-exposure effect; you can simply take the camera out of your pocket, access one of the ND filter effects, with a max ND64 (6EV) strength, and start shooting. The ease with which you can get creative is what really makes the OM-3 such an addictive camera.

• Design score: 4.5/5

OM System OM-3: features and performance

• Stacked sensor delivers up to 50fps with continuous AF
• Very impressive 590-shot battery life
• Superb image stabilization performance
• Some computational modes take time to process

I have no complaints regarding the OM-3's features and performance – it's a surprisingly powerful little camera.

I have to start with its impressive stacked sensor, which delivers incredible speed; there are few cameras that can better its 50fps burst shooting with continuous autofocus, sustained for sequences of around 5-6 seconds before the camera starts to down.

I was able to squeeze slightly longer sequences out of the OM1-II, but the OM3's performance is more than enough considering the kinds of everyday photography people will likely use it for.

The OM-3's sensor is also stabilized – and OM System cameras, including predecessors bearing the Olympus name, offer exceptional image stabilization performance. With a steady hand you can shoot sharp images with shutter speeds that are several seconds long, depending on the lens you're using, and for video it's entirely possible to shoot smooth-looking clips when on the move.

It's the impressive stabilization that makes the computational photography modes particularly accessible. For example, employing the Live ND Shooting mode with up to 6EV ND filter effect for long-exposure effects wouldn't be the same if you had to mount the camera to a tripod. But here we are, able to achieve the effect handheld – see my street and ocean shots in the gallery below.

The same can be said for the High Res Shot mode, which increases resolution to 50MP (with a tripod mount option further increasing detail to 80MP). We also get the latest graduated ND filter effect to reduce the difference in brightness between land and sky by up to 3EV, plus HDR modes.

Some of these modes go some way to nullifying the perceived shortcomings of the OM-3's 20MP Micro Four Thirds sensor and its lesser dynamic range, while other modes are simply downright fun.

Then there's the autofocus performance. In some regards it's exceptional – for example when detecting certain subjects such as birds – and there are sophisticated options for people, such as eye priority that can be further narrowed down to left or right eye priority.

However, there are other scenarios where I found the OM-3's autofocus less reliable than rival cameras, such as in dim, low-contrast light. Overall though, autofocus performance is very good.

I must also commend the OM-3's battery life. A decent-sized unit is squeezed into the camera and this delivers a 590-shot capacity, which for a camera this size is pretty impressive.

• Features and performance score: 5/5

OM System OM-3: image and video quality

• Same image quality as the flagship OM-1 II
• 20MP stills, with a 80MP high-res shot mode
• 4K video up to 60fps, and no rolling shutter

Compared to the sensors in full-frame and APS-C cameras from the likes of Sony, Canon, Nikon and Fujifilm, the OM-3's Micro Four Thirds sensor is smaller, and comes with certain downsides in terms of image quality.

At 20MP, the OM-3 has less resolution than similarly priced rivals, a narrower dynamic range, and relatively modest low-light performance. However, I'm still very happy with the photos and videos that I've been able to capture, and for many scenarios the OM3's image stabilization and computational modes can turn the tables to deliver superb end results.

Not all of the computational modes can be relied upon for every scenario, however. For instance, focus stacking, which is used to increase depth of field and is especially useful for macro photography, exhibits a subtle but spottable ghosting effect in bright subjects, which I particularly noticed in a close-up image of a backlit mushroom.

Creative color

The new color mode dial is worth highlighting too. This offers four options, including monochrome settings, new creative looks with four customizable settings, the long-present Art Filters, plus a Picture mode for a purely customized color profile.

Many of the Art Filters feel a bit dated now, but I still like some of the effects. I think most people will find that one of the new creative looks suits their style, especially given that you can manually tweak the look of each one, with control over curves, shading, sharpness, contrast, and color temperature.

OM System OM-3 sample video

There's also OM System's Log color profile for video, HLG, plus a couple of Cinelike color profiles for pleasing straight-out-of-the-camera grades.

Video resolution tops out at 4K with frame rates up to 60fps. If you're happy to drop to Full HD, then slow-motion 240fps is possible, while a Slow & Quick mode can be utilized for timelapse effects in addition to slow motion.

The OM-3 is a photography-first camera, but it's entirely possible to get gorgeous-looking and smooth video clips if you know what you're doing.

Computational photography sample images

For the above long-exposure-effect photos, I set the OM-3 to the Live ND Shooting ND64 setting, which reduces the amount of light the camera takes in by 6EV. This is the maximum strength available, and is sufficient to slow the shutter speed down to seconds long on a gray day, as in the London street and UK coastal images above.

All the above images were captured handheld, and detail in still subjects such as the rock and the ground is perfectly sharp. As such, I've felt confident enough to leave my tripod at home for most of this review. Not needing a tripod or ND filters makes creating long-exposure effects a breeze, and I sometimes found myself getting carried away creating such images, much to the annoyance of the people with me at the time!

OM System OM-3 further sample images

• Image and video quality score: 4/5

OM System OM-3: testing scorecard

Should I buy the OM System OM-3?

Buy it if...

Don't buy it if...

OM System OM-3: also consider

How I tested the OM System OM-1 II

• OM System loaned me the OM-3 with the 12-45mm F4 Pro lens for several weeks
• I also used some of my own OM System gear with the camera – the 90mm F3.5 Macro lens and tiny 45mm F1.8 portrait lens
• I put the OM-3 through its paces in many and varied photo and video scenarios, and tried out the computational photography modes

I shot with the OM-3 for several weeks, together with the 12-45mm F4 Pro, 90mm F3.5 Macro, and 45mm F1.8 lenses. I was also using the OM-1 at the same time, which has enabled me to make comparisons between the handling of the two types of OM System designs.

The camera and lenses were with me come rain or shine, both day and night, during which time I tested the gear regularly, including the OM-3's photography modes, color profiles, and computational photography smarts.

I tested the High Res Shot and Long Exposure modes, both handheld and with the camera mounted to a tripod. I've also tested burst shooting performance, with standard cameras settings that we use for all of TechRadar's camera tests.

First reviewed February 2025

Panasonic Lumix S1R II: two-minute review

The Panasonic Lumix S1R II is the new flagship model for Panasonic’s Lumix S series of full-frame mirrorless cameras, replacing the original, 2019-released S1R.

Built first and foremost for capturing massive amounts of detail (the ‘R’ in its name presumably referring to ‘resolution’), the S1R II features a new full-frame 44.3MP CMOS sensor and can record 8K video at up to 30fps, not to mention 4K video at 120fps – a significant video resolution and frame rate improvement over its predecessor.

Panasonic trumpets meaningful advances in other areas too, most notably autofocus, continuous shooting speed and image stabilization, all while reducing the overall size and weight of the camera body in comparison to the Lumix S1R.

Having used the Lumix S1R II for over a week in a wide variety of photo and video shooting scenarios, I’m mightily impressed by what Panasonic has achieved here. The S1R II is surprisingly compact and lightweight for a full-frame flagship camera, immediately solving one of the S1R's biggest flaws.

The S1R II isn't perfect. Its battery life isn't the most impressive, and some of its more demanding hi-res video modes can cause the body to gradually overheat and require a shutdown and cooling-off period. It also requires that you own a pricy CFexpress Type B card to use some of its features.

None of these issues is a deal-breaker for me, though, especially when taking the camera's capabilities and strengths into account. There's the portability, which I've mentioned, but also much-improved autofocus talents in comparison to the S1R, thanks to the implementation of a fast, accurate phase hybrid system to replace the rather slow and spotty contrast detection system on the old camera.

Image stabilization is also more effective here, stills shooting speeds are higher (especially the new 40fps electronic shutter option) and there are far more resolution, bitrate and frame rate options for video shooters than on the S1R – including Apple ProRes HQ internal recording and the aforementioned 8K resolution.

The Panasonic Lumix S1R II feels like a big leap over its predecessor and just a brilliantly flexible all-rounder. Yes, it's expensive, but I can't think of many full-frame cameras I'd rather pick if I needed a device that can do it all.

Panasonic Lumix S1R II: price and release date

• Lumix S1R II body only: $3,299 / £2,999 / AU$5,499
• UK-only Lumix S1R II with 24-105mm lens bundle: £3,799
• On sale March 2025

The Panasonic Lumix S1R II will be available from March 2025 priced at $3,299 / £2,999 / AU$5,499 body only. In the UK, it'll also be available in a kit with a 24-105mm f/4 standard zoom lens for £3,799. These prices aren't too different to what you'd have paid for the original Lumix S1R cost upon its launch in 2019, so it's hard to have too many complaints about the cost. Inflation hasn't had too much of an effect here.

Panasonic is also launching a battery grip accessory, the DMW-BG2, alongside the camera. This will be available from March 2025 also, priced at $349 / £299.

• Price score: 4.5/5

specs

Panasonic Lumix S1R II: design and handling

• Relatively compact and just 795g
• Large, detailed OLED viewfinder
• Front and rear tally lamps

The original Lumix S1R was a large, bulky camera, often annoying so – but I don’t feel the same way about the S1R II. It’s so much easier to live with, weighing only 795g including a battery and SD card. That’s over 200g lighter than the S1R, despite retaining its premium metal body and weather sealing.

Thanks to this lighter, more compact body, it feels much more like a camera you could take out with you on a daily basis, rather than one you’d reserve for special occasions. That does depend somewhat on the lens you choose, of course: the 16-35mm f/4 zoom Panasonic loaned to me for the purposes of review is a really chunky and weighty piece of glass, and makes the S1R II feel quite bulky, whereas the 85mm f/1.8 prime the company also lent me makes for a much more manageable, agile setup.

The S1R II’s classic DSLR-style shape is a joy to handle. There’s a large grip to wrap one’s right hand around, and with the camera’s relatively low weight this meant I could even use it one-handed at times. Build quality feels solid and premium, although I was a little disappointed to note that Panasonic has eschewed metal lug rings for attaching the neck strap. The fixed rings used here feel a little cheap for a flagship camera.

The camera’s physical controls are all nicely placed; my day-to-day camera is a Panasonic Lumix GH6 II, so the S1R II’s similar control setup felt immediately familiar. There’s a dial to flick quickly between photo, video and S&Q (slow and quick) shooting modes, front and top record buttons and more than enough dials to ensure any setting can be swiftly adjusted with a minimum of fuss. The original S1R's top plate LCD info panel has been removed here, which helps keep the size down in this its successor – but I concede some people might miss its ability to deliver a quick rundown of the current settings.

The on-screen UI, meanwhile, will be immediately familiar to anyone who has used a recent Lumix camera. The 3-inch screen itself is a pretty standard affair, able to tilt and swivel nicely in almost any direction, while the large, ultra-sharp OLED viewfinder is a highlight and a pleasure to hold your eye against.

Connectivity is solid. There’s a full-size HDMI plus USB-C, mic, headphone and wired remote sockets, now each with their own protective door. On the storage front, there’s a single SD card slot plus an additional slot for high-performance CFexpress Type B cards.

Finally, there are front and rear tally lamps to indicate when recording is active. That might seem like a basic feature and a must-have for a mirrorless camera with a big video focus, but so many cameras skimp on it that I’m pleased to see it here.

• Design and handling score: 5/5

Panasonic Lumix S1R II: features and performance

• Phase hybrid autofocus
• Dual I.S. 2 image stabilization
• 10fps / 40fps burst shooting

The S1R II comes with a number of performance improvements over its predecessor. First and possibly foremost is its phase hybrid autofocus system, which is faster, smoother and more accurate than the contrast-based system on the old model. It’s particularly great for video use, slickly keeping subjects in sharp focus without any of the hunting that was sometimes seen on older Lumix models. It can also identify and automatically track a variety of subjects, from humans to animals to motorcycles. I’ve tested it with humans and cats and it's never been less than effective and dependable.

The on-board image stabilization is Panasonic’s Dual I.S. 2 variety, combining sensor-shifting in-body and lens-based stabilization with user-configurable electronic stabilization tailored to specific shooting scenarios. Panasonic generally does stabilization particularly well and from my testing that seems to be the case here too, with vlogging and handheld video gaining an almost gimbal-like stability at the cost of a crop to the frame. Panasonic claims the system adds up to 8 stops of shutter speed compensation, as opposed to 5.5 stops on the original S1R. Numbers aside, I can say it's a very capable system that leaves the user more time to focus on the more important and enjoyable aspects of video or photo capture.

Shooting speed has likewise been given a boost. When using the mechanical shutter, it’s risen from 9fps to 10fps with AF-S and 6fps to 8fps with AF-C, while switching to electronic shutter now allows for 40fps bursts with AF-C. This speedy shooting works hand in glove with the new autofocus setup, allowing you to point and shoot at moving objects and rely on the camera to recognize, focus on and capture them in motion.

Bucking the trend for improvements, battery life is slightly worse than that of the S1R, but you can still expect around 350 images on a full charge – or over 1000 when using the Power Save LVF mode. From my own personal use, where I switched fairly often between photo and video capture, plus made frequent use of potentially power-sapping modes like high-speed stills shooting and high resolution, high frame rate video recording, I did notice the battery bars dropping pretty fast. I think it’s fair to say that power users may need to invest in a spare battery or two – although with in-camera charging and the ability to use the USB-C port as a power supply, there may be alternatives.

The S1R II appears to have some kind of active cooling system, with fan noise audible at times, but it will overheat when pushed to its performance limits during video capture. When left recording 8K footage at 30fps or 4K footage at 60fps, it overheated and shut itself down after about 20 minutes, requiring a few more minutes of downtime to cool off before it could begin again. Worth noting if you're somebody who needs to record long uninterrupted videos.

• Features and performance score: 4/5

Panasonic Lumix S1R II: image and video quality

• 44.3MP stills and 8K/30p video
• 177MP high-resolution mode
• 10-bit color depth and wide range of bitrates for various qualities / file sizes

The S1R II is the resolution king for Panasonic’s Lumix S range, and both photos and videos are extremely rich in detail and dynamic range.

Photos are captured at 44.3MP which, while marginally smaller than the 47.3MP images captured by the S1R, are more than sufficiently detailed for creating huge prints or heavy cropping. Pixel peepers have absolutely nothing to fear from the images here: I found them richly detailed even when zoomed right in, with smooth color gradation and superb dynamic range. I shot both in JPEG and RAW, processing the latter in Adobe Lightroom. The majority of the photos I've included in the gallery here were captured in RAW, but even JPEGs allow for a nice measure of post-production tweaking.

As you'd expect from a modern day full-frame camera, the S1R II is quite capable in low light situations, if perhaps not among the best performers in its class in that regard. Fit a fast prime on here and you could certainly use it as a discreet camera for nighttime street photography or similar.

As with the Lumix S1R, there's also the option to shoot a burst of images that the camera then combines into a single super high-resolution shot, which is here around 177MP. This can be even be achieved handheld, thanks to clever algorithms stitching the image together, and I found the results to be quite impressive. There's a lot more detail present when you zoom right into the images, and only the odd strange artefact (I noticed a seagull appearing multiple times) to signal that this isn't derived from a single exposure.

On the video front, the camera can record 8K footage at up to 30fps, as well as a variety of ‘lesser’ resolutions at higher frame rates. It has an Open Gate recording option, which uses the entire surface of the sensor and results in up to 6.4K video now – and 8.1K or 7.2K options being promised via a future firmware update later in 2025.

It also offers an option to record video in Apple ProRes RAW and RAW HQ formats at up to 5.8K internally, provided you use a CFexpress Type B card. Panasonic claims videos can exhibit up to 14 stops of dynamic range too.

I was very impressed by the camera's video capabilities. Not only does it offer a wide range of options to suit creators of all stripes, but it performs in an unfussy and dependable manner. The above vlogging video was captured in Panasonic's flat V-log color profile and corrected and graded in post-production, but the process took very little time and effort on my part. The base video I was able to capture from the camera was a great place to work from, and left me very happy with the results in terms of color and contrast.

Factor in the S1R II's excellent stabilization and autofocus and it's a very, very strong package for video creators.

• Image and video quality score: 5/5

Panasonic Lumix S1R II: testing scorecard

Should I buy the Panasonic Lumix S1R II?

Buy it if...

Don't buy it if...

Panasonic Lumix S1R II: also consider

How I tested the Panasonic Lumix S1R II

• Pre-production model with latest firmware
• Paired with wireless mic gear
• Vlogging and photography in a range of scenarios

Panasonic loaned me a pre-production model of the Lumix S1R II running the latest firmware (the firmware that will be on the retail units on launch day), plus two L-Mount lenses: a 16-35 f/4 zoom and an 85mm f/1.8 prime.

I've used the camera for vlogging, both testing its internal mics and pairing it with a DJI Mic 2 wireless mic kit. I've also taken lots of photos in different scenarios, including a sunset walk along the East Kent coast and a day trip to Canterbury.

First reviewed February 2025

DJI RS 4 Mini: Two-Minute Review

Gimbals have gone from dedicated filmmaking accessories to must-have tools in the arsenal of every content creator. DJI is almost single-handedly responsible for that, bringing stabilized video to the masses with its range of accessible smartphone gimbals and camera gimbals. The RS 4 Mini is the latest addition to that line-up and – based on my experience – it’s the best DJI gimbal to date for YouTube and Instagram videographers.

One look at DJI’s description of the RS 4 Mini confirms that this is a gimbal targeted at content creators. Its spec sheet reads like an influencer’s wish list: it supports vertical shooting; it works with both cameras and smartphones (using the optional Mini Phone Holder); and the new Intelligent Tracking Module enables automatic face tracking to keep solo videographers in the frame.

Beyond those headline additions, you also get a raft of improvements that make it a much more complete gimbal than the RS 3 Mini. In physical terms, it borrows a number of premium features from DJI’s flagship RS4 gimbal. That includes automatic axis locks which unlock seamlessly when the gimbal powers on, as well as physical switches for gimbal and joystick modes, plus a fine-tuning knob for balancing the camera mounting plate.

All of these tweaks improve a hands-on experience which was already solid. You get the same 1.4-inch color touchscreen, which is as responsive to swipe inputs here as it was before. There’s also a comfortably positioned trigger and front scroll wheel, which can be used to control one of several functions on a connected camera. (Note that the multi-camera control cable bundled with the RS 4 Mini is a USB-C number. For certain models, including the Sony A7S III I shot with, a different cable is required.)

The RS 4 Mini matches the high production standard of any recent DJI product, with a robustness to the build that suggests it’ll be shooting with you for many years to come. That’s despite weighing just a smidge more than the RS 3 Mini at only 890g. It packs down just as tidily too, measuring 236 × 64 × 316mm in folded form (versus 195 x 98 x 323mm for the RS 3 Mini).

Setup still starts with balancing the axes, which is an unfortunate necessity with any gimbal. Instruction videos in the Ronin app do make this as painless as possible and the upgrade to Teflon interlayers means the RS 4 Mini’s arms slide more smoothly through the brackets. They can still be a bit grippy when trying to find the sweet spot with a heavier camera though.

This only really becomes frustrating when you want to switch from horizontal to vertical shooting, because you’ll need to rebalance the axes each time. Still, that switch has been made simpler with the RS 4 Mini: you no longer need to remove the camera from the mounting plate. Instead, you loosen and press a knob, allowing you to detach and remount the plate vertically with the camera still in place. Clearances are quite tight in this orientation, mind.

As above, the DJI RS 4 Mini can also be used to stabilize smartphones with the optional Mini Phone Holder. This simply slots into place on the mounting plate. Its performance capabilities mean the RS 4 Mini is overkill if you only shoot content on mobile, but the option adds welcome flexibility for those who work across multiple devices.

Other improvements also proved welcome in practise. The built-in battery still isn’t removable, but it is bigger at 3,100mAh. The claimed maximum of 13 hours (up from 10 hours) is based on the gimbal being stationary, which isn’t reflective of real-world usage for most users. In testing, we averaged around half of that, which is still better than the RS 3 Mini. Arguably more important is the fact that DJI has shaved an hour off the recharge time, bringing it down to 1.5 hours. That reduction means you can get back to shooting more quickly.

Despite its Mini moniker, the gimbal’s maximum payload is an enthusiast-friendly 2kg, which means it can handle a full-frame mirrorless camera body attached to a relatively weighty lens. Fully loaded, its shorter handle does offer less ergonomic support than the RS4 or RS4 Pro. In testing, I found the redesigned RS Briefcase Handle a help here: lighter and smaller than the previous version, it mounts to the side of the gimbal and adjusts to different angles, giving your supporting hand something to grip.

In performance terms, the RS 4 Mini has the chops to compete with pricier gimbals. It should come as no surprise that stabilization is simply superlative, thanks to DJI’s 4th-gen algorithm – the same one used by the RS4 and RS4 Pro. It effortlessly smooths out motion across all three axes, even when you’re walking along with your subject. Movements from carrying a camera by hand are almost entirely eliminated in the resulting footage.

Controlling a gimbal can be a bit of an art form, but the RS 4 Mini smoothes the learning curve. Its joystick makes panning and tilting a fluid experience, while a new ‘Responsive’ follow mode reacts more rapidly to hand movements when circling a subject. Fire up the Ronin app and you’ll also find the option to use your smartphone as a virtual joystick via Bluetooth, plus creative modes for shooting panoramas, timelapses and more. You’ll be hard-pushed to find a more intuitive gimbal.

Nowhere is that more evident than with the RS 4 Mini’s party trick: subject tracking. The key to this is the optional Intelligent Tracking Module, which attaches magnetically to the top of the mounting arm. Fronted by a small camera lens, it uses AI to detect faces and deploys the gimbal’s motors to track them.

The effectiveness of this tool can’t be overstated. For filmmakers, it allows you to move around a subject without having to manually pan and tilt to keep them centered in the frame. It’s also a boon for content creators working alone. With the RS 4 Mini stood on its tripod base, users can move around the camera and it will follow their face through a full 360-degree horizontal arc.

These dual uses are reflected in the ways you can enable ActiveTrack. The first is with a single press of the trigger (there needs to be a face in the frame for this to work, which it took me a while to figure out). The second is by using gesture controls: stand in front of the RS 4 Mini and you can throw up the relevant hand signal to start or stop tracking, as well as recording. When the mode is active, a ring light around the Module’s lens turns from red to green (this can be disabled if the situation demands subtlety).

This feature is a lot less gimmicky than it might sound. I can see influencers, content creators and would-be presenters using gesture activation to easily control the tracking feature from afar. Not least because the feature proved incredibly reliable in testing, never once missing a signal.

ActiveTrack proved no less consistent, locking on to faces with remarkable accuracy. That makes sense, given that DJI has been perfecting the system on its drones and pocket gimbals for years. Its application here is game-changing because it allows you to use the tracking tech with any camera or smartphone that can sit on the gimbal.

Add up the RS 4 Mini's features and you're looking at a compact gimbal which can keep you automatically framed in stabilized high-res video shot vertically on a full-frame camera. When you consider that it costs the same as the RS 3 Mini did at launch – and not too much more with the Intelligent Tracking Module factored in – that makes the RS 4 Mini a strong contender for the best-value camera gimbal you can buy right now.

DJI RS 4 Mini review: Price and Availability

• Released on February 20, 2025
• Standard DJI RS 4 Mini priced at $369 / £339 / AU$539
• Combo kit with Intelligent Tracking Module costs $459 / £419 / AU$659

DJI announced the RS 4 Mini on February 20, 2025. The gimbal is available to order now, priced at $369 / £339 / AU$539. That’s identical to what the RS 3 Mini cost when it went on sale in January 2023, which we think represents good value, given its upgrades and performance. The standard kit includes the following components:

• DJI RS 4 Mini gimbal
• Quick-release mounting plate
• RS 4 Mini tripod base
• Multi-camera control cable (USB-C)
• Charging cable (USB-C)
• Screw kit

The DJI RS 4 Mini is also available as a Combo kit, which additionally includes the RS Intelligent Tracking Module for AI-powered subject tracking, as well as the new RS 4 Mini Briefcase Handle, which serves as an adjustable second grip. The Combo kit costs $459 / £419 / AU$659.

It’s worth noting that the Intelligent Tracking Module is also available to buy separately, meaning users can upgrade their shooting setup down the line. It’s priced at $69 / £59 / AU$99. Given its impressive tracking capabilities, we think most users will want to equip their RS 4 Mini with the optional module.

Also available as a standalone accessory is the DJI RS 4 Mini Phone Holder, which allows users to attach a smartphone to the gimbal’s mount. While the DJI Osmo Mobile 7/7P is a more natural fit for content creators who only shoot with a smartphone, the holder gives owners of the RS 4 Mini the flexibility to use it with both a camera and a mobile device.

DJI RS 4 Mini review: specs

DJI RS 4 Mini review: Also Consider

Should I buy the DJI RS 4 Mini?

Buy it if...

Don't buy it if...

How I tested the DJI RS 4 Mini

• I tested the DJI RS 4 Mini gimbal for a fortnight
• I used it with a Sony A7S III, Nikon D7100 and iPhone 12
• I shot with it handheld and stood on its tripod base

DJI supplied me with a sample unit of the RS 4 Mini gimbal for this review, along with the Intelligent Tracking Module, the Mini Briefcase Handle and the Mini Phone Holder.

Over the course of a fortnight, I tested the gimbal and its full complement of accessories. I primarily shot with a Sony A7S III attached to the quick-release plate, paired with an FE 28-70mm F2 GM lens. That combination sat towards the upper end of the RS 4 Mini’s payload capacity, hitting the scales at close to 1.7kg.

To see how the RS 4 Mini performed as a smartphone gimbal, I used it with my iPhone 12 mounted in the Mini Phone Holder. That same phone was paired with the gimbal using a pre-release version of the Ronin app.

And because I had it to hand, I also mounted my Nikon D7100 to the gimbal with a 50mm prime lens, simply to see how well its subject tracking worked with a legacy DSLR model.

I spent several hours shooting handheld with the RS 4 Mini. I attached the optional Mini Briefcase Handle for some of this period, to understand how the grip improved handling with weightier cameras.

I also shot with the RS 4 Mini on its tripod base, primarily to test the effectiveness of its Intelligent Tracking Module for solo content creators. I used gesture controls to control the gimbal in my living room.

I test a lot of cameras and lenses for TechRadar, and I regularly write about DJI. I’ve also tested the DJI RSC 2 in the past, so I’m well-placed to review the RS 4 Mini.

First reviewed February 2025

Panasonic Lumix G97 two-minute review

The Panasonic Lumix G97 is effectively an updated refresh of the 2019 Lumix G95/90, with a higher-resolution rear screen, the video recording limit removed, and a new USB-C port for charging and power. Granted, that doesn’t sound like much of an update – but when you use the G97 you realize just how responsive, well-made and powerful this camera still is, even by todays’ standards.

It does have a 20MP Micro Four Thirds sensor, which is half the size of the sensors in its APS-C rivals, which also offer more resolution at 24-26MP+. This has some effect on the ultimate image quality, but perhaps not as much as you might expect, since the G97’s sensor has no anti-aliasing filter in order to maximize fine detail; and while there is more digital noise at higher sensitivities, you have to push the ISO quite a long way before it shows (and APS-C cameras also produce noise, of course).

And then there’s Panasonic’s somewhat controversial DFD contrast AF – the G97 does not employ Panasonic’s latest hybrid phase/contrast tech. Is it a problem? Not in stills photography, where the AF is extremely fast and responsive. You might notice the difference in video, though, where many users report the AF hunting or ‘pulsing’ as it keeps re-checking even stationary objects. It will depend on what you film, and how.

Let’s look at what this camera delivers elsewhere. You get an extremely effective in-body image stabilization system (the smaller sensor helps here), a good-quality EVF where most rivals at this price don’t have one at all, a 1.84m-dot vari-angle touchscreen, a twin-dial control system (three dials, if you count the one on the back) and, if you go for 12-60mm lens bundle, one of the best kit lenses out there, both for zoom range and for real-world image quality. Really, this is an enthusiast-level camera at a beginner-level price.

Panasonic Lumix G97: Release date and price

• $850 / £799 with Lumix G 12-60mm f/3.5-5.6
• £699 body only (UK)
• £899 with Lumix G 14-140mm f/3.5-5.6 II (UK)

At launch, the Lumix G97 is being offered only as a bundle with the Lumix G 12-60mm f/3.5-5.6 kit lens in the US, but in the UK you can buy it body-only or with the Lumix G 14-140mm f/3.5-5.6 10x zoom. They’re all great deals, but the 12-60mm bundle looks the best for new users.

It’s worth pointing out that this is a 24-120mm equivalent 5x zoom that goes well beyond the range of most kit zooms, and it’s also rather good.

At these prices, the Lumix G97 is just about the cheapest new mirrorless camera on the market, matched closely on price by the OM System OM-D E-M10 Mark IV. The Canon EOS R100 is cheaper still, but does not have IBIS, has weak 4K video features, and does not come with a lens to rival the Panasonic’s excellent kit lens.

• Price score 5/5

Panasonic Lumix G97: Specifications

Panasonic Lumix G97: Design and handling

• DSLR-style design with twin control dials
• 1.84m-dot vari-angle touchscreen
• 5-axis 5-stop IBIS

The Lumix G97 looks and handles like a small DSLR. It might seem unnecessarily large for a camera with a Micro Four Thirds sensor, but the fact is that there is a limit as to how small you can make a camera that still fits a human hand properly – especially one which takes interchangeable lenses.

Where you do see an advantage from the smaller sensor is in the smaller and lighter lenses this system uses. The 12-60mm (24-120mm equivalent) kit lens is a great example – it offers a 5x zoom range in a lens that’s little larger or heavier than a 3x kit zoom on a larger-format camera.

There’s a decent-sized grip on the right side of the body that provides a secure hold, leaving your other hand free to operate the lens or the flip-out touchscreen. If you prefer to use the EVF, that's bright and clear, and has an eye sensor to switch from the LCD to the viewfinder automatically.

The main mode dial is clearly labelled and has a firm, positive action. There are two control dials on the top, one around the shutter release and the other at the rear, right where your thumb lies. These do different things in different modes; in Manual mode, for example, the front dial adjusts the lens aperture and the rear dial changes the shutter speed. These dials are firm, positive and perfectly weighted. In between them is a prominent red Record button for video.

Round the back there’s a useful three-position focus mode lever with an AF-L/AE-L button in the center and a four-way controller with a rotary dial around the outside – though this does not have the same feel as the control dials on the top.

Overall, this feels an extremely well-made camera for the money, with all the controls right where you need them – there are buttons for white balance, ISO and EV compensation on the top, and a Q.MENU button on the back to bring up an on-screen display with more camera settings.

A focus-point joystick would have been nice to make setting the focus point easier, but you only get these on more advanced semi-pro cameras, so you can’t really complain – and you can always use the touchscreen to set the AF point.

• Design and handling score 4/5

Panasonic Lumix G97: Performance

• Excellent definition and contrast from 20MP sensor and great kit lens
• Very fast AF for single-shot stills photography
• Continuous AF less good, and occasionally some ‘pulsing’ with video

The Lumix G97 delivers first-rate detail rendition. The lack of a low-pass filter and a kit lens that delivers super-sharp detail right across its focal range makes for a combination that plenty of APS-C cameras can’t match. Higher ISOs do show noise quicker, it’s true, but not by much. Besides, today’s AI noise-reduction tools can make an ISO 6,400 image look practically like ISO 200.

The G97’s video looks good too, though with only 8-bit internal capture there’s a limit to how far you can push things if you want to grade your footage heavily later. It does come with Panasonic’s V-Log profile, a paid add-on for many Lumix models, but this really needs better-quality 10-bit 4:2:2 capture to work on, and you can only get that with the G97 via an external recorder. It’s fine for basic use and if you’re just starting out vlogging, but it’s not a serious filmmaking tool.

The autofocus is a mixed bag. For stills photography, it’s extremely fast and responsive. In burst mode, it’s a little less positive, though given that the G97 can only manage 6fps with continuous autofocus, it’s not really intended to be an action specialist.

The AF generally does a good job for video, refocusing smoothly as your subject distance changes or you reframe the shot. Its characteristic ‘pulsing’ effect is often hard to see, but if you’re filming a static subject and background it can be quite annoying. One solution is to switch to single-shot AF and simply tap the rear screen while filming to refocus – carefully!

The IBIS is excellent. It’s only rated at five stops, but this is actually a consistent and achievable figure, unlike the bigger numbers often quoted for larger-sensor cameras – which are often absolute best-case figures you can rarely approach.

• Performance score 4/5

Should I buy the Panasonic Lumix G97?

Buy it if...

Don't buy it if...

How I tested the Panasonic Lumix G97

• I spent two weeks photographing and filming a variety of subjects
• I tested the 5x zoom kit lens across its range of focal lengths
• I checked if the 5-stop IBIS lived up to its claims
• I tested autofocus performance for stills and video AF/tracking
• I assessed the image detail and quality against APS-C rivals

I tested the Lumix G97 and its 12-60mm kit lens on many different subjects including outdoor still images, action sequences (with a very excited dog), close-ups and indoor shots, and in a variety of lighting conditions.

Panasonic’s DFD autofocus has not always had the best reputation, so I particularly wanted to find out if and when it struggled, and what to look for.

I also wanted to check the definition of Panasonic’s 20MP MFT sensor, which has no low-pass filter, to see how it stacked up against larger-sensor APS-C rivals. The 12-60mm kit lens is particularly interesting because it offers a 5x zoom range compared to the 3x zoom of most kit lenses, and I did want to see how the image quality varied across the zoom range, and whether it declined at all at longer focal-length settings.

Lastly, the IBIS system in the G97 is only rated at five stops of compensation, so I wanted to find out just how achievable that was in real-world shooting.

One-minute review

It looks like a GoPro with its mounting case and front-facing screen, but the Akaso Brave 8 comes at a more modest price, with image quality that will meet the demands of most users. With 2x batteries, a dual charger, a remote control, and a range of mounts, it has everything you need out of the box.

During my review, the small front-facing screen made it easy to vlog adventures, whilst the rear touchscreen was responsive enough to touch to make changing settings easy. However, there are also negatives; the image stabilization in-camera is good, without being great, but the so-called SuperSmooth option, which requires processing in the accompanying camera app, isn't a patch on what GoPro offers; and the improvement over the Brave 8's in-camera stabilization is modest. The app is useable but clunky in places, and the sound recording could also be improved.

Overall, the Akaso Brave 8 is a solid little action camera with all you need to get started; the video quality is good, and the stabilization ok if you aren't hammering the camera on a bike, be it pedal or motorized. The problem is that older generation GoPro Hero cameras can still be purchased new in some places for around the same price, and more recent ones will solve many of the faults of the Akaso Hero 8. So, whilst it is cheaper than the GoPro Hero 13 Black, those thinking about the Akaso Hero 8 may want to step back a GoPro generation or two instead. For ideas of other options check out our best action cameras guide.

That said, Akaso is an emerging brand, and its products regularly seem to be discounted or have extras, such as memory cards, also offered as part of the package. So if the stabilization and audio issues won't affect you significantly, it may be worth keeping your eyes open for an offer.

Akaso Brave 8: price and release date

The Akaso Brave 8 is available via Amazon and, at the time of writing, is priced at $289.99, but there is the option of a promotional $50 money-off voucher. In the UK, the kit also includes at 64GB Micro SD card and is £244.99, not including a £40 off voucher promotion.

Keep an eye out for deals and limited-time offers on Amazon, particularly during sales periods when additional memory cards or money-off vouchers may be applied.

Akaso Brave 8 specs

Akaso Brave 8: design

The Akaso Brave 8 action camera adopts a familiar design: let's be honest, it is a GoPro clone in a market that is already flooded with GoPro competitors. However, even at a glance, you can tell that it is far from a cheap knock-off, with a rear touchscreen, front facing screen, all packaged in a body that is waterproof up to a depth of 33ft / 10m.

Size-wise the Akaso Brave 8 measures 63x45x36.5mm which overall makes it slightly smaller than the GoPro Hero 13 Black, which measures 71.8 x 50.8 x 33.6mm

Behind the 16mm f/2.5 lens sits a 1/2 inch size sensor. As a comparison, the GoPro Hero 13 uses a 1/1.9inch sensor, which means the two sensor sizes are comparable. The sensor can capture images at up to a 48MP resolution, and video can be captured at up to 4K 60fps. If you want to shoot timelapse videos, then these can be captured at 8K resolution, whilst moving timelapses (hyperlapses) can be captured at 4K 30fps.

If slow motion is more your thing, then 2.7k footage can be captured at up to 120fps and Full HD can go to an impressive 200fps.

All of that footage is saved on to Micro SD cards, and the Brave 8 can accept cards with a capacity of up to 512GB. In terms of speed, my review sample of the Akaso Brave 8 was supplied with an Akaso-branded 64GB Micro SD XC UHS I card with U3 rating, meaning the card had a minimum write speed of 30MB/s - which is the same as a V30 card.

The layout of the camera is straightforward; there is a rear touch-sensitive screen, as well as a smaller square front screen that sits alongside the lens. There are just three buttons on the camera with the power/display button on top and a Recording start/stop button. On the side is the Mode button.

The Micro SD card socket and a USB-C socket are located on the side of the camera, behind a well-sealed waterproof door. The USB-C socket can be used to power the camera or charge the battery.

On the bottom of the camera is an equally well-sealed battery compartment. Akaso supply two batteries, each with a capacity of 1,550mAh, which is a little less than the 1,900mAh batteries of the GoPro Hero 13 Black. However, credit to Akaso for supplying two batteries so that you can always been filming and charging, which, as I found out, is needed with this camera.

The extra battery is just one of a whole host of supplied accessories, including a tiny USB-C dual battery charger, so you can charge both batteries at the same time. A remote control is also included, as well as a camera mounting frame/case, a GoPro style mount, a helmet mount, a handlebar mount, an adhesive pad, a zip tie, a strap, and a lens cloth. It is a very solid set of accessories.

Akaso Brave 8: performance

Overall, the Akaso Brave 8 performed very well, especially considering its price. However, it wasn't without its quirks, and we will discuss those shortly.

Of course, the main thing is the video quality. I did most of my shooting in the 4K / 30fps setting, which produced quite nice footage that is on par with what you would expect for an action with a sensor of this size.

Key to a lot of action cameras is, of course, stabilization performance, and there are three different modes to choose from. The first is no stabilization. Then, there is a Normal, an in-camera stabilization mode with a six-axis gyroscope that applies the EIS 4.0 algorithm to stabilize the footage electronically. Finally, there is a Super Smooth option. This mode records all of the gyroscopic information but doesn't apply any of it in the camera; instead, you upload your clip to the app, where the gyroscopic data is read, and then stabilization is applied.

I found that the difference between the Normal stabilization and the Super Smooth stabilization wasn't as dramatic as I thought it would be. In most circumstances, I believe that users are probably better off just sticking to the Normal option, which softens rather than completely smoothing out any bumps or shakes. The extra step of uploading and applying Super Smooth in the app seems like a significant additional effort for a very little extra reward. Here, the camera falls way behind the stabilization that the latest GoPro cameras offer.

A decent amount of settings allow control of the video image. You can change the exposure metering to any one of several modes, and there is exposure compensation should you wish to make adjustments, which I did.

Generally, the camera produced images with a good exposure. I did tweak it a few times in extreme conditions. For example, filming in a forest could be pretty dark, with the bright light coming through the trees, causing the image to be dark, and then at other times, with no sky in the shot, it lightened the image quite a lot. I found myself making +/-0.3EV changes to the image to balance this out. What it was good at was getting the exposure correct when a face was in the scene, which is great for vlogging and filming your adventures. I advise experimenting with the different metering settings and seeing what suits your needs best.

In addition to exposure compensation, you can also change the ISO sensitivity, sharpness, plus there are two color settings - Normal or Vivid. It may not be the most comprehensive in terms of all the color settings or image styles. Still, it is good enough for the basics, particularly if your goal is capturing memories rather than producing cinematic experiences.

Some lasting memories I captured included filming my children running in and out of the sea on holiday. I put the Brave 8 on a selfie stick and shot low-angle shots of them running and jumping over the waves. The waves sometimes smashed over the camera, completely submerging it in salty Atlantic water. After a few months, the camera still works perfectly fine, with no adverse effects from the sand or saltwater.

The in-camera microphone recorded voices clearly enough, but it should be noted that wind noise was picked up quite significantly, even when it wasn't obviously windy. I wouldn't think of using the audio if I was on a motor or pedal bike. Additional microphones can be attached via USB-C, but sadly, the camera has no mounting points.

The touchscreen worked well and was responsive, with onscreen buttons and navigation presenting no problem. I found it was easy to change settings and navigate the menu.

As well as the included remote control, there is also the option to control the camera via voice commands. Again, I tried this - it is especially useful when you have the camera mounted to a helmet. The real trick is remembering the exact commands that you have to say to start and stop recording and to make sure that you say them clearly.

I didn't take many images with the camera as the video aspect is more appealing to people, but the photos look okay. There are problems with exposure, which is largely due to the sensor's small size. There didn't seem to be much HDR processing going on in terms of lightening shadow areas or pulling back highlights like you would get with a smartphone these days.

Given it is a wide-angle lens, you probably want to stick to the 48MP resolution just in case you do want to crop in a little bit more as images are very very wide on the camera.

As you would expect, there are further record modes, such as being able to shoot a time-lapse video or a time-lapse photo, that I'll be honest I didn't delve too much into, however, I did have a quick play around with them, and there seems to be quite a long interval between the images taken to create a time-lapse video, so I wouldn't use it for any activities such as mountain biking or running or skiing or anything like that. If you want to create a little clip of a ride, you're better off using the Hyperlapse setting for that, while the timelapse mode is better for things you would traditionally use a timelapse for, such as clouds passing over city scenes.

Overall, I am pretty impressed with the image quality and features that the Akaso Brave 8 offers. However, it lacks the finesse and quality you expect from a GoPro, DJI, or Insta360 action camera. Sadly, the image stabilization will be a letdown for those wanting super steady footage. Similarly, the microphone and audio processing need some tweaking to bring it up to scratch.

However, Akaso will be a budget action camera brand to keep an eye on as they have a solid foundation on which to build, particularly as some of the issues can be updated via firmware or more power processing in a future camera.

Should I buy the Akaso Brave 8?

Buy it if...

Don't buy it if...

How I tested the Akaso Brave 8

• I used the camera for a couple of months in a variety of situations
• I filmed a hike I did in British Columbia
• I tested the waterproof properties by filming on the beach and in the sea

I used the Akaso Brave 8 for several months as a compact camera to film family events and vacations. I even used it a few times to film my kids playing in the sea, which allowed me to test the camera's waterproof qualities.

On a trip to British Columbia, Canada, I turned the camera on myself, using a selfie stick to film myself while hiking and mounting it on a small tripod while swimming in a glacial lake.

Finally, I used one of the included mounts to attach the camera to my bike helmet. With my iPhone mounted to the bike, I could monitor what was being filmed using the Akaso app.

At various points during the camera's use, I connected it to my smartphone to check footage and add stabilization to specific videos. I also used the voice control options and the physical remote control.

First reviewed January 2025