I’ve been using the Sony a6500 with a 35mm f/1.8 lens for the past six or seven years. There’s a certain level of comfort and familiarity that comes with using the same camera for that long. My workflow with it is automatic at this point.

That’s why it took some time for me to get comfortable with the Insta360 Luna Ultra.

I wasn’t familiar with using a gimbal camera. When I first started using the Luna Ultra, it felt awkward. I was also trying to figure out too many things at once.

But after several weeks of using it for different kinds of coverage, I’ve reached a point where I’m comfortable leaving my old reliable behind, especially when my priority is making Reels.

And it was my most recent overseas work trip to Shenzhen, China, where I finally realized that.

Finding my footing

I brought the Insta360 Luna Ultra to three events almost immediately: Samsung Vision AI, the TCL A400 Art Launch, and an ROG event.

That first week was really experimental. I was trying out multiple features of the device for this review. I tried shooting horizontally because it seemed like that’s what the Luna Ultra was made for.

But my work over the past few years has focused heavily on vertical short-form video, so that contributed to the awkward feeling.

I also defaulted to PureVideo after a while because I tend to shoot in really not-well-lit locations. The colors look good as is, anyway.

I experimented with I-LOG, too. That taught me that it should probably be reserved for actual experimental outputs, rather than anything tied to a deadline. Our workflow is built for speed with quality, and I-LOG adds another step that isn’t always necessary for the kind of news-oriented Reels we make.

The detachable controller, meanwhile, was a godsend when I’m shooting by myself and want the Luna Ultra to be at a distance. I still had the preview and controls nearby, and that was extremely helpful.

The biggest thing I learned during that first week was that I was trying to speed-run through all of the features instead of figuring out which ones actually made sense for the Reels I needed to make.

It was only when I decided what I actually needed for each coverage that the Luna Ultra really clicked with me.

@gadgetmatchThe best way to test a creator camera? Use it while creating. We brought the Insta360 Luna Ultra to multiple media events to see how it handles real-world coverage. From low-light venues to fast-paced launches. Here’s what we learned so far. Full review coming soon. #Insta360 #LunaUltra♬ original sound – GadgetMatch

Getting more comfortable

Most of the learning curve came down to overall usage and figuring out how I could maximize the camera.

There’s still plenty that I don’t know about the Luna Ultra. There are camera tricks and shots that can certainly elevate some of my footage. But I’ve decided to lock in on how it’s useful to me during fast-paced coverage and slowly unlock its capabilities as I spend more time with it.

Getting reps with a device is the best way to become familiar and comfortable with it.

For now, I can say I’ve found my preferred base settings that cover most of my needs. The next goal is to slowly level up, learn its capabilities more, and figure out how I can apply them to the Reels I make.

That process continued outside of traditional tech events.

Putting it to work

I brought the Insta360 Luna Ultra to a pottery session arranged by Shokz. It was a completely different kind of environment from the launches and media events I usually cover.

For the most part, I just set it up, pointed it at me, and let it roll.

My hands were busy, so I found myself wishing it had a way to automate certain capture features. Hands-free controls would be useful, for example. I’d also love an option to automatically record 30-second clips at a time for a set amount of time.

That would be useful when you’re shooting solo and doing an activity.

It was also around this time that I started figuring out some of the conditions necessary to get the bokeh effect I wanted.

@gadgetmatch Came for the pottery. Stayed for the vibes. 🏺 Featuring the Shokz OpenDots 2, because apparently good audio is required while discovering you have zero pottery skills. #PowerMacCenter @Power Mac Center @SHOKZ ♬ original sound – GadgetMatch

While unboxing the Shokz OpenDots 2 right before the pottery session, I got a sense of the distance needed when using 1x zoom to get that bokeh effect. Not long after, I also figured out the conditions necessary to get that effect with 3x zoom.

That was crucial for the mostly product-focused stuff that I shoot.

The more I used the Luna Ultra, the more I started understanding not just what it could do, but what I could realistically ask it to do during my work.

Then came the real test.

Shenzhen was the turning point

When I went to Shenzhen, China, to cover the launch of the HONOR Robot Phone, I didn’t have my old reliables as a crutch.

It was a make-it-or-break-it situation.

I needed to get as many product shots as possible. I had to show the design of the phone, its mechanical gimbal camera, and what it was like to shoot with it.

And the Luna Ultra was very capable.

The real issue was my unfamiliarity with it.

Once I figured out the settings I needed and narrowed down the shots I had to take, everything flowed rather smoothly.

@gadgetmatch HONOR Robot Phone 🤖📱 ✅ 4DoF mechanical gimbal ✅ 200MP Agile Gimbal Main Camera ✅ 200MP periscope telephoto camera ✅10-bit ARRI LogC3 recording ✅ 50MP ultra-wide camera ✅ Snapdragon 8 Elite Gen 5 Mobile Platform ✅ 7,060mAh silicon-carbon battery #HONORRobotPhone @honorglobal ♬ original sound – GadgetMatch

Some of it still felt unnatural because I’m used to using my camera for both photo and video. This time, I focused on shooting video with the Luna Ultra and used a flagship smartphone for the photos.

That whole setup still needs refinement, but I feel like I found a workflow I can lean on.

Most importantly, I got all the shots I needed.

Any challenges I faced were mostly due to the shooting environment and my own general familiarity with the Luna Ultra. As for the tool itself, it was fantastic.

The moment that really solidified this for me was when I started reviewing the footage and saw that many of the shots came out better than I expected.

That’s when I realized I could actually use this as my coverage camera.

 

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A different kind of coverage camera

My usual event workflow is pretty straightforward. I secure the device, then get as much footage of it as possible from different angles, show different use cases, and capture its features as quickly as I can.

The Luna Ultra fit into that workflow better than I expected.

For one, I can include myself in the frame while still being able to preview what I’m shooting. That’s something I couldn’t easily do with my old reliable setup.

It’s also much lighter and thinner, making it easy to position in ways I couldn’t with my old setup.

I think the video quality is overall better than the smartphones I use, too. The bokeh I get is also natural.

That doesn’t mean my Sony a6500 is suddenly obsolete.

I think dedicated mirrorless cameras, paired with the right lenses, just have a certain look to them that I generally prefer. I’d definitely still reach for the a6500 for photos and shoots where I have a team with me.

But for solo coverage, my go-to video gear will now be the Luna Ultra.

That’s the biggest change for me.

The Luna Ultra didn’t necessarily change what I consider worth shooting at an event. That’s still a case-by-case thing.

Instead, it enabled me to shoot better even when I’m on my own, which honestly isn’t always the case.

There’s still room to grow

I don’t think I’ve come close to unlocking everything the Luna Ultra can do.

I-LOG is one obvious example. But that feels like something for a different type of project rather than the generally news-type Reels we do.

Our workflow is built for speed with quality, and the Luna Ultra, even when using its basic settings, fulfills that.

I definitely want to try more experimental shots, more shots with movement, and the like. I just haven’t found the right opportunity for them yet.

There are also some things I’d like to see improved.

As mentioned earlier, hands-free and preset shooting automations could help, especially for solo creators. That could make it easier to capture activities without having to comb through too much footage with enormous file sizes.

I also wish it had some form of open-gate recording. That would give the footage more versatility and make it easier to use the same footage for multiple aspect ratios.

And while the Luna Ultra is now my preferred tool for solo video coverage, I’d still choose the a6500 for photography or when I have another team member shooting with me.

Is the Insta630 Luna Ultra your GadgetMatch?

For anyone looking for a dedicated video-taking tool.

Content creation focused on video has skyrocketed. If you’re part of that movement, the Insta360 Luna Ultra is certainly a good investment to add a little extra to your videos.

It’s fairly easy to use, but it also supports deeper features that can elevate your footage and your content.

I think you should consider the Luna Ultra if you want to upgrade from shooting primarily with a smartphone, or if you want a video-shooting device that’s much easier and lighter to carry around than most traditional mirrorless cameras.

For me, the answer is a little more specific.

It’ll be my go-to now, especially for solo coverage trips.

If you asked me to leave just one camera at home tomorrow, though? Oof. Just one?

Maybe still the a6500. It’s hard to break a habit.

But the Luna Ultra is a very close second.

Still discovering what’s possible

After using the Luna Ultra for all of this, I think it’s opened up new possibilities for the way I personally handle solo shoots.

It’s unlocked certain shots for me, and I haven’t even used it to its full potential.

That’s what excites me most.

I already found a workflow that suits the way I cover events. I already know I can leave my old reliable behind when the priority is video.

Now I want to see what happens when I actually learn everything else the Luna Ultra can do.

Pricing and availability

The Creator Bundle comes with the Insta360 Mic Pro which is great but I haven’t had the chance to use all that much because I am not a yapper on video.

The Insta360 Luna Ultra starts at US$799 (₱46,790) for the Standard Bundle, while the Creator Bundle retails for US$999 (₱59,490). It is available now through Insta360’s official channels and authorized retailers.

Not too long ago, I had my hands on the DJI Osmo Pocket 4, and I’ve taken to calling it a solo creator’s very own production crew. Rumors about a two-lensed Osmo Pocket had circulated for months. I’m not one to revel in hot goss, so I waited. And waited.

And while waiting, turning 30 crept up on me. The DJI Osmo Pocket 4P arrived like a small, well-machined reminder of a life I didn’t end up living.

If I’d pursued filmmaking the way I once wanted to, this is the camera I would’ve dreamed up for myself. After all, the Osmo Pocket 4P is a creative director’s fantasy, built at the scale of a passport.

The unit landed on my desk just days before launch, with barely enough runway to put it through its paces properly.

Luckily, it arrived right as July began, which happens to be the month I always disappear on a long vacation. It’s my birth month, and I treat it accordingly. There’s no better way to test a device built for cinematic shooting than to hand it a full month of actual life.

The filmmaker I almost was

I always dreamed of directing sweeping cinematic films. As a broke teenager with big ambitions, I strategically pivoted into advertising instead.

I convinced myself it was a clever way to stay close to film sets while guaranteeing a steady paycheck. That creative pull never really vanished. It resurfaced in my early twenties during an extended phase of chasing beaches and climbing mountains.

I spent those trips half-watching travel vloggers and wondering why they were living my dream life instead of me. The Osmo Pocket 4P dug up an ambition I thought I had buried under sensible career choices.

I once wanted to be a National Geographic Explorer, mapping gorgeous terrain for a living. Instead, I became a competitive trail runner who works as a creative director, which brings its own chaotic terrain.

Life did not give me the exact script I wrote as a teenager, but this camera gave me a way to direct my story anyway on my own terms.

Earning its keep

To celebrate my birth month properly, I took the camera to Cagayan de Oro City, sprinted across the wild landscapes of Bukidnon, and boarded a flight to London for a dose of summer style and city architecture.

Both trips are honest reflections of who I am: a person pulled toward nature, and a person who will always, at heart, be a city boy. London doubled as work, too. I was there to cover Samsung’s Galaxy Unpacked.

Across both continents, the dual lenses earned their keep. I captured crisp architectural details from miles away using the 240mm 12x zoom.

 

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However, I spent most of my time using the 60mm 3x medium telephoto lens. It delivered a natural background blur that made mundane street moments look like movie stills.

In Cagayan de Oro, I checked into a Marrakesh-inspired boutique hotel filled with intricate design details. I relied mostly on the 20mm 1x and 60mm 3x range for the entire stay.

Knowing I had 6x and 12x zoom in reserve gave me a sense of security, like carrying a luxury safety net in my handbag.

A sensor built for the way light actually behaves

The new 1-inch CMOS sensor is what changes the equation for cinematic travel footage. Light does most of the emotional work in a shot, and this is the first Pocket that seems to understand that instinctively.

With the new sensor, I didn’t have to fight to keep a face lit while the background held its own exposure. It also preserved highlight and shadow detail cleanly, even in scenes with harsh contrast, the kind that used to flatten out or blow up on older pocket cameras.

 

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That said, auto exposure wasn’t flawless. On a handful of occasions, it leaned toward overcorrecting and blowing everything out a touch too bright. Switching to manual, or Pro Mode, put me back in control and kept the shots true to what I was actually seeing.

 

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What I appreciated most was shooting solo for a Samsung campaign and having nearly every take be usable footage for my editor. Fewer discarded clips means less footage lost to the compromises of shooting alone.

 

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That’s mostly thanks to ActiveTrack, which now extends to the Med-Tele lens. Shooting portraits at 3x zoom, it delivers precise face recognition and tracking, holding exposure steady and skin tones consistent even while the subject is moving.

Shooting solo is genuinely difficult. With ActiveTrack, especially in portrait framing, it made the footage look more considered than the reality behind it… which was one person, alone, trying to land a single good shot without a crew to call it.

 

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Built-in polish, without the retouching pass

This is the section that matters most if you’re the kind of traveler who shoots, stars in, and edits your own content, because you don’t have the luxury of a color grade session or a retouch pass before something goes up. The Osmo Pocket 4P seems to understand that, and builds the polish in at the point of capture instead of leaving it for later.

Glamour and Film Tones work as an in-camera pass on skin, handling softening, brightening, and color temperature so a face still reads clean and true even lit by a random hotel lamp or the wrong side of a sunset.

Paired with that are stylized film filters that lean into an instant Fuji aesthetic. They give that warm, slightly desaturated look that used to take a preset and a few minutes in an app. Here, it’s baked into the file before you’ve even opened your phone.

That instant polish is the difference between going to sleep after a long day of travel and staying up until midnight editing clips. I’d land at a hotel after a full day, pull the footage straight off the camera, and post it with barely any correction. There was nothing to hide, and nothing left to fix.

Fill Light does the same job on the physical side of things. It adds soft, flattering light in night and backlit scenes. It balances uneven indoor lighting that usually ruins a vlog, and gives selfies and portraits a lift without a ring light or a second person holding one.

More importantly, shooting alone at night in an unfamiliar city is usually where a solo creator’s footage falls apart. Here, it held up.

Between the two, the camera is doing a version of the job a beauty producer and a gaffer would normally split between them, in real time, for a crew of one.

Room to actually direct

Beyond the automated conveniences, the Osmo Pocket 4P gives you real creative range if you want to reach for it.

D-Log and the newer D-Log 2 color profiles hold onto far more dynamic range than a standard picture profile, which matters if you’re planning to grade footage later rather than post it straight off the card.

Slow motion goes up to 4K at 240fps, which is enough headroom to pull dramatic, controlled slow-motion out of moments that happen far too fast to shoot deliberately.

Slow-shutter video is the underrated feature here, but it’s the one that can give you the most cinematic frames: light trails pulling through a night street, clouds smearing gently over a skyline. They’re mostly shots that usually needs a tripod and a plan, but done handheld and on instinct.

Made to disappear into a trip

None of this matters if the camera can’t survive the actual mechanics of travel. This is where the Osmo Pocket 4P does the most work. At 230 grams, it’s compact and portable enough to live in a jacket pocket.

The physical joystick and quick shortcuts save the day when you are shooting one-handed on the go.

The 4K Live Photo feature captures a short burst of motion around a photo, which turned out to be the most authentic way to remember my race finishes. Meanwhile, the 37-megapixel stills were crisp enough to capture fine architectural textures across London.

Storage rounds it out sensibly: 103GB built in, with transfer speeds up to 800MB/s. Between a race in Bukidnon and a flight to London, the last thing I wanted to manage was a memory card. This let me not think about it at all.

Is the DJI Osmo Pocket 4P your GadgetMatch?

I didn’t become the National Geographic Explorer I once imagined for myself. I became something adjacent to it instead, a trail runner with a day job in creative direction, chasing landscapes on weekends and screens on weekdays.

The DJI Osmo Pocket 4P didn’t hand me back the life I once mapped out as a teenager. It just made the life I actually have look, for a month at least, exactly as cinematic as I’d always wanted it to be.

Swipe right if you’re the kind of traveler who shoots alone and needs a camera doing the work of a small crew, handling color, light, and tracking without anyone else in the room.

It rewards creators who jump between wide landscapes and close portraits with zero lens changes. And if you’ve ever landed somewhere with a dying memory card and no laptop in sight, the built-in storage and fast transfer solve a problem you’ll actually recognize.

Swipe left if your bag already has a mirrorless body and a gimbal in it, since the Pocket 4P will mostly repeat what you’re already carrying.

It’s also not the camera for someone who shoots static, tripod-locked setups and wants manual control as the default. And if the price sits well above what you’d normally spend on a pocket camera, it’s worth being honest with yourself about how often you’d actually reach for this over your phone.

For a solo creator who travels for both work and the version of themselves that only comes out on a trail or in a new city, the DJI Osmo Pocket 4P earns its spot in the bag. It’s not trying to replace a full production; it’s trying to be one. And for that, it deserves the GadgetMatch Seal of Approval.

Nothing will ever stop us from desiring everything Pokémon-related. Now, the world’s most popular series of critters and creatures is lending its adorable appeal to the world of Polaroids. To celebrate Pokémon’s 30th anniversary, Polaroid is releasing a trio of cameras themed after the catchable monsters.

Let’s start with the smaller two. Making two-thirds of the trio, a couple of Polaroid Go Generation 3 cameras will don two iconic Pokémon: Pikachu and Sylveon. Though both models are technically identical to their non-themed siblings, their stylings are well worth the price. The Pikachu Edition, for one, has a yellow body and a strap shaped to look like the Pokémon’s tail. Meanwhile, the Sylveon Edition’s strap looks just like the Pokémon’s ribbons.

If you want a bigger one, Polaroid is also selling a Polaroid Now Camera Generation 3 – Pokémon Edition. Rather than focusing on a single character, the edition comes with the iconic red, white, and black of the franchise. The shutter button looks like a Poké Ball too. Specs-wise, the Now has a bigger lens (and a two-lens autofocus system) compared to the Go models.

Now, a Polaroid kit is incomplete without a set of film. Alongside the themed cameras, Polaroid is releasing a series of themed frames. The two Go models will have custom frames stylized after the two Pokémon. Meanwhile, the Now Camera will get more options. All of which will have numbered dark slides so you can, like the game, catch ‘em all.

Coming out on October 5, the two Go cameras will sell for US$ 100, and the Now Camera will sell for US$ 140. A double pack of the Go Color Film will go for US$ 25, and a single pack of Color i-Type Film goes for US$ 23.

SEE ALSO: Pokémon at 30: Massive slate of events, pop-up store, more to highlight anniversary