Latest news with #Hasselblad
Hindustan Times
5 days ago
- Hindustan Times
OnePlus 13s vs OnePlus 13: Display, camera, processor, price, and more compared
OnePlus 13s, a compact flagship, is launching in less than 10 days in India. OnePlus is actively teasing the launch, revealing the smartphone's design, features, performance, and other details, creating hype for the new model. Now, as the launch nears, several details surrounding the OnePlus 13s are being circulated over the internet, giving us a sneak peek at what the company may reveal. However, if you are to buy the OnePlus 13s during launch, you must have an understanding of how the smartphone is different from its sibling, the OnePlus 13 model. Since both are flagship smartphones, it's crucial to examine how these two models differ and which will be the better option as per the user's requirements. Also read: Oppo K13x 5G key specs and features tipped online ahead of launch - All details The OnePlus 13s comes with a few design iterations in comparison to the OnePlus 13. Firstly, we can see the new square-shaped camera module on the left corner of the OnePlus 13s, housing two camera sensors. Whereas the OnePlus 13 features a circular camera module with a triple camera setup. The OnePlus 13s will come with a new Velvet glass finish, and the OnePlus 13 features a vegan leather rear panel. The OnePlus 13s is slimmer and lightweight, with 8.15mm in thickness, and it weighs 185g. On the other hand, the OnePlus 13 is 8.5 mm in thickness and weighs about 213g. One of the noticeable new additions to the OnePlus 13s will be the 'Plus key' in place of the alert slider. Lastly, both models are IP68 and IP69 rated for dust and water resistance. Also read: How to quietly limit someone on Instagram without blocking, unfollowing, or causing drama Since the OnePlus 13s is a compact smartphone, it has a smaller display that measures 6.32 inches. In terms of viewing experience, the smartphone is expected to offer 8T LTPO AMOLED technology, offering 1.5K resolution, 120Hz refresh rate, and up to 1600 nits peak brightness. On the other hand, the OnePlus 13 features a 6.82-inch LTPO 4.1 AMOLED display with a 120Hz refresh rate, Dolby Vision and HDR10+ support. It also offers up to 4500nits peak brightness. The OnePlus 13s has been teased with a dual camera setup that will likely include a 50MP Sony LYT700 main camera sensor and a 50MP Samsung JN5 telephoto lens with a 2x optical zoom. Whereas, the OnePlus 13 features a triple camera setup fine-tuned by Hasselblad. It consists of a 50MP main camera, a 50MP telephoto lens with 3x optical zoom and a 50MP ultrawide camera. For selfies, both models will likely offer a 32MP selfie camera. The OnePlus 13s and OnePlus 13 are both powered by the Snapdragon 8 Elite processor for flagship performance. The OnePlus 13s is also expected to offer LPDDR5x RAM and UFS 4.0, similar to the OnePlus 13 model, showcasing no compromise in performance. However, the OnePlus 13s could offer up to 16GB RAM, whereas, OnePlus 13 offers up to 24GB RAM. In terms of lasting performance, the OnePlus 13s is expected to be backed by a 6000mAh battery, similar to the OnePlus 13 models, despite being a compact smartphone. However, the charging capacity may differ, since the OnePlus 13 offers 100W charging and the OnePlus 13s could offer 80W charging support. The OnePlus 13 was launched at a starting price of Rs.69,999 in India. However, the OnePlus 13s is expected to be priced around Rs. Rs.45000. Reports also suggest that the pricing of the new compact model could fall between the price of the OnePlus 13R and the OnePlus 13 model. Therefore, we will have to wait until June 5 to confirm what the OnePlus 13 has in store for the users.
West Australian
24-05-2025
- West Australian
New DJI drone gets an amazing 100MP Hasselblad camera
Just when you thought drones couldn't get much better, DJI has launched a new game changer for serious content creators. The new DJI Mavic 4 Pro sports a new 100MP Hasselblad 4/3 sensor and dual tele cameras with large CMOS sensors housed in an infinity gimbal with 360 degree rotation. The advanced triple camera system has focal lengths of 28mm, 70mm and 168mm, enabling users to capture shots ranging from expansive wide-angle landscapes to detailed telephoto close-ups. The main 4/3 CMOS Hasselblad camera utilises a brand new 100MP sensor. It captures stunning images packed with detail and sharpness and offers unprecedented flexibility in post-processing. A versatile f/2.0 to f/11 aperture allows for clean low-light filming. The 70mm medium tele camera is equipped with a 48MP 1/1.3-inch sensor and f/2.8 aperture that delivers enhanced image quality due to a new image processing engine. The 70mm focal length can be used to create compressed perspectives which highlight subjects, ideal for dynamic portraits and footage with orbital camera movements. The 168mm tele camera is powered by a 50MP 1/1.5-inch sensor and a wide f/2.8 aperture. It uses a specifically optimised gimbal algorithm that is specifically tailored for its telephoto optics to deliver unparalleled image quality and stability in long-range aerial photography. Pro Grade Video All three cameras support 4K/60fps HDR video recording, but the Hasselblad main camera goes even further, offering 6K/60fps HDR video and an impressive dynamic range of up to around 16 stops. The medium tele and tele cameras offer dynamic ranges of 14 stops and 13 stops keep things steady, the Mavic 4 Pro gets an innovative new gimbal capable of full 360 degree rotation and 70 degree upward shots for unprecedented angles — allowing users to capture dramatic 'Dutch angles' straight from the camera and capture creative storytelling with fluid, gravity-defying movements. An advanced visual system ensures precise drone positioning and obstacle avoidance. The Mavic 4 Pro has six high-performance, low-light fisheye sensors and dual processors grant the drone high-resolution environmental awareness. It can achieve omnidirectional obstacle avoidance at speeds up to 18 m/s in low light. A new DJI RC Pro 2 remote controller has been created for a professional-grade aerial filmmaking experience. It has a powerful 7-inch high-bright Mini-LED display and a rotatable screen to instantly sync with the drone's gimbal for vertical shooting and a HDMI port. It has an up to four-hour battery life, 128gb built-in storage and high-quality audio can be recorded with the built-in mic or when paired with the DJI Mic series. DJI Mavic 4 Pro is available to order from and authorised retail partners, in the following configurations: A DJI Mavic 4 Pro with a DJI RC 2 remote controller which costs $3,099. A DJI Mavic 4 Pro Fly More Combo for the price of $4,039. This includes a built-in 64 GB storage module, the RC 2 remote controller, two additional Intelligent Flight batteries, a 100W USB-C Power Adapter, battery charging hub and a shoulder bag that contains it all. A DJI Mavic 4 Pro 512GB Creator Combo. This top of the line package will set you back $5,359 but it includes: built-in 512 GB high-speed storage, the new RC Pro 2 remote controller, 240W power adapter, USB-C to USB-C high-speed data cable, two additional Intelligent Flight batteries, parallel battery charging hub and a shoulder bag For more information on the Mavic 4 Pro and all the new features visit . Here are a few examples of images taken with the new Mavic 4 Pro.
Tom's Guide
21-05-2025
- Tom's Guide
Fujifilm GFX100 II review: Everything Fuji has to offer
I love my job, in large part because of the immense range of products I get to test. But nothing excites me more than when a medium format camera lands (or more precisely, thuds) onto my desk. Medium format cameras represent the pinnacle of imaging. And this camera, the Fujifilm GFX100 II, is in turn the pinnacle of medium format. It's the best of the best. Just like its little sibling, the GFX100S II, the full fat GFX100 II features Fuji's 102MP GFX CMOS II HS medium format sensor and X-Processor 5, with the latter delivering the manufacturer's latest autofocus algorithms. Unlike the 'lite' model, the GFX100 II is built to remedy two of the usual pitfalls of medium format cameras: high speed performance and video capability. In short, the GFX100 II is one of the best mirrorless cameras, designed to make absolutely no compromises for hybrid shooters. But does it? Sorta, but not really. Find out more in my full Fujifilm GFX100 II review. Sensor 102MP Medium format Processor X-Processor 5 Stabilization 5-Axis, 8.0 stops AF System Intelligent Hybrid AF Viewfinder 0.64-inch OLED, 9.44m dots, removable Display 3.2-inch tillting LCD, 2.36m dots; 2.09-inch backlit LCD mono sub-monitor, 320x219 dots ISO range ISO40-102,400 (Extended); ISO80-51,200 (Native) Max video resolution 8K/30p Ports CFExpress Type-B; SD/SDHC/SDXC UHS-II; USB-C; mic; headphone; HDMI; flash sync; hot shoe; LAN Wireless connectivity Yes Max shooting speed 8fps Max shutter speed 1/32,000 sec Battery life (CIPA) 530 frames Size 5.9 x 4.6 x 3.9 inches Weight 2.2lbs Alright then, let's get the bitterest pill swallowed straight away, shall we? The Fujifilm GFX100 II costs $7,499 / £6,999. That's (almost) Hasselblad money — Hassy being the other major player in the medium format biz. The good news, though, is that you're getting more bang for less buck with the GFX100 II versus the Hasselblad X2D 100C ($8,199). The X2D is a luxury product, the supercar of the camera world, but can't shoot video and features outdated autofocus. The GFX100 II is better equipped for the requirements of modern hybrid professionals. Fuji's 'lite' model, the Fujifilm GFX100S II, features the same sensor and processor, delivering similar stills performance for a much lower (albeit still hefty) $4,999. Unless you need +4K/30p and faster/sustained continuous drive rates, that's where to put your money, banking some change for a lens. On that note: to resolve 100 megapixels, optics must be incredible. Budget $2-3K minimum for new lenses. You can expect to pay similarly, if not more, for Hasselblad lenses. It's par for the course with medium format systems. The Fujifilm GFX100 II is a behemoth, at 5.9 x 4.6 x 3.9 inches and weighing 2.2lbs when fully loaded with viewfinder, cards and a battery. And yes, I did say 'with viewfinder' — the GFX100 II's EVF is removable, allowing a tilting EVF adapter to be fitted for use at different angles, but removing it can also help save space in your camera bag. Despite its heft, the camera handles very nicely. The chunky, sculpted grip keeps it securely in hand, while a rear thumb rest provides support when shooting in portrait orientation. It isn't one to keep around the wrist or even neck, though. I use a longer strap and sling the camera across my shoulder, resting it on the opposing hip, which is far more comfortable. I carried the camera like this on a hike with no issues. I love how the GFX100 II's controls are laid out. Everything is sensibly positioned and within easy reach, making it a pleasure to shoot with in anger. I especially enjoyed the two Fn buttons inside the front cavity between grip and lens. There are also three more assignable buttons, four screen gestures and two assignable command dials. Alongside the hardcoded controls, there's enough space to customize the camera to your will, without having too much choice and forgetting where things are. Fuji's menu system is quirky but fine. Occasionally you'll notice something in a nonsensical place, but it gives you everything you need. The Hasselblad X2D 100C's menu system felt way too stripped back for such an expensive professional camera. The GFX100 II has three displays. There's the removable 9.44M-dot OLED EVF, which is just gorgeous. Its super high resolution does full justice to the 102MP sensor, and is an absolute necessity for detailed focus checking on the large 4:3 images. The X2D 100C and Fuji GFX100S II offer 5.76M-dot EVFs — paltry by comparison, despite being higher res than most other mirrorless camera EVFs. The rear main display is a 2.36M-dot tilting LCD. It's fine, but when zooming deep into images to check focus, you'll want to use the EVF. There's also a backlit monochrome LCD sub-monitor on the top panel for quick readouts of key settings. This also shows what the three adjacent Fn buttons are assigned to, which helps you remember how you've set the camera up. The GFX100 II features a CFExpress Type-B slot, enabling much faster read/write speeds than SD cards. That means faster drive rates and longer sustained drives; more demanding video resolutions, recording formats and data capture rates; and rapid offloading of those 200MB RAW image files (we're talking a couple of minutes to transfer 40GB from our SanDisk CFExpress card). The GFX100S II is hamstrung by its SD slots. The GFX100 II's second port is a conventional SD/SDHC/SDXC slot. There's also a USB-C port, an HDMI Type-A port, microphone and headphone jacks, a flash sync port, a hotshoe and a LAN port — as comprehensive an array as you'll find. The Fujifilm GFX100 II features hybrid phase- and contrast-detection AF and the manufacturer's latest AF detection and tracking algorithms. There are detection modes for humans (eyes/faces), animals, birds, cars and motorcycles, planes and trains. It isn't mind-bending AF, like full frame cameras including the Sony A1 II ($6,499) and the Canon EOS R5 Mark II ($4,299). And I'd love to see Fuji come up with an automatic detection mode, as the time it takes to switch modes can cost you the moment. The AF works very well for humans and eyes. In the portrait below, the camera struggled a little with the glare of studio lights on the subject's glasses, but detected her eye before too long and nailed the focus. The camera was also able to detect animals and birds reliably, even at a distance. In the image of the bird below, it locked onto the eye; and in the photo of the sheep later on, it detected all three of the animals' faces from afar. It isn't perfect. Low contrast subjects proved tricky, and focusing generally felt a little sluggish versus smaller-sensored cameras. It had issues tracking fast-moving subjects, too. In the images of the ducks below (see high speed section) it detected the bird's eye but couldn't keep up as the animal moved. I had only two usable images from 250+ shots, and even in those, the focus is still off, with the bird's eye being soft. All that said, this is a medium format camera. In those terms, the AF is excellent, and blows Hasselblad's rudimentary system out of the water — the X2D 100C lacks even eye detection, regularly resulting in missed eye focus when shooting portraits. The Fujifilm GFX100 II features 5-axis in-body image stabilization (IBIS), worth up to 8-stops of stabilization, according to Fuji. In testing, I was able to shoot down to 1/8sec handheld with minimal blurring. In the 1/8sec image below, the legends on the scale's face are very sharp. At 1/5sec, the IBIS system started to have issues. I was able to get passable results around half the time. In the first image below at 1/5, the legends on the scale are only very slightly blurred. In the second image, also at 1/5, the legends are extremely blurred. This performance is on par with the results from our GFX100S II and Hasselblad X2D 100C IBIS testing, so average for medium format. As you can see in the handheld panning video above, the GFX100 II's stabilization does a fairly decent job of keeping footage relatively smooth, too, although I wouldn't call it particularly impressive. You'll find better stabilization in top-tier full frame hybrid cameras like the Canon EOS R5 Mark II. The images this camera takes are breathtaking. Fuji's GF lenses are super sharp, rendering extremely crisp images, and combining with the large sensor to create beautifully tight blur for strong subject isolation, even at f/5.6. I mainly shot with the GF 63mm F2 and GF 80mm with its frankly ridiculous f/1.7 maximum aperture — talk about razor thin depth of field. I fell utterly in love with that 80mm. Obviously, with 102MP on tap, you've got a lot of headroom for cropping. The first image in the gallery above is an extreme crop into the second, and there's still bags of detail. This image was shot in RAW. Even cropping into Fine (second-highest quality setting) JPEGs is no biggie. The first image below is a heavy, albeit not extreme, crop into the second. I'll admit, while the GFX100 II's images are beautiful, they lack the magic of Hasselblad stills, which just feel that little sharper, more refined and elegant. Part of that is to do with Hasselblad's glass, but also its vaunted color science, although Fuji isn't exactly a stranger to color since itself. For day to day use, I much prefer Fuji's film simulations over Hassy's single color profile. The image above was shot in the Velvia vivid profile, which is great for nature and wildlife, and for injecting some saturation into the diffused lighting of an overcast day. Astia is beautiful for softening and warming up tones in portraiture, as in the first gallery image above. You can get creative with the usual range of retro-esque profiles like Nostalgic Neg, Reala Ace, Classic Chrome, and more. Acros (my favorite) looks stunning in high contrast lighting like the architectural shot, second in the gallery above. Of course, there's the Provia standard color profile for a less stylized look, and I always shoot in RAW anyway to give myself flexibility later down the line. One of the GFX100 II's key selling points is its high speed performance. It'll shoot at 8fps using mechanical shutter — 1fps more than the GFX100S II — or 8.7fps using e-shutter with a crop to 35mm (full frame). The key, though, is sustained speed. Thanks to the CFExpress slot, Fuji claims a maximum of 55 frames, although I was able to shoot uncompressed RAW + Super Fine JPEG for 42 frames, or around 5.25 seconds of shooting. After that, buffers filled and I had to wait a minute or so to use the camera again. Mileage may vary based on the card used. Either way, it's very impressive performance for a 102MP medium format camera, and it makes this a viable tool for higher-speed work. For context, the GFX100S II managed just 21 frames after 3 seconds at 7fps. Drop to lossless compressed RAW + JPEG and you're looking at 75 frames, while I was able to shoot endlessly at 8fps in Super Fine JPEG only — I was cracking off 300 shots, only stopping after getting bored. With so much resolution, JPEGs still look epic, although you lose the editing flexibility of a RAW file. The only issue is that the AF can't really keep up, as I mentioned above. As you can see in the images above, taken in high speed burst, the camera (set to bird eye detection AF) was able to detect the bird, but was unable to keep hold of its eye as the bird moved, meaning the eye is soft. These were the only two remotely usable shots from 250+ shots. Thanks to its large medium format sensor, the GFX100 II's high ISO performance is excellent. The image gallery below shows JPEG exports of RAW files shot at ISO12,800, ISO25,600, ISO51,200 and ISO102,400 respectively. The only editing applied to these images was blurring personal details and compressing to JPEG for online upload. As you can see, noise starts to become noticeable at ISO12,800, but isn't destructive there or at ISO25,600. At ISO51,200, background noise is pretty distracting, but the photo isn't ruined. At ISO102,400, noise is pretty bad, but not totally ruinous, and come on… ISO102,400! The X-Processor 5 also does a cracking job at smoothing out the noise in straight-out-of-camera (SOOC) JPEGs, as you can see in the gallery below. These are the SOOC JPEG files of the same images, all shot with the base internal noise reduction applied. The only editing applied to these images was blurring personal details and resizing for online upload. There's just so much resolution to play with that the processor can smooth out the noise and still produce a sharp image. Above ISO12,800 you can still see where the background noise was, but even at ISO51,200 the image looks great, with plenty of fine detail retained in the fur around the dog's eyes. ISO102,400 is, again, a little too much even for the X-Processor 5, with a noticeable drop in sharpness thanks to smoothing, resulting in a watercolor effect. I've gotta say, though, I've seen a lot worse than this at much lower sensitivities on other cameras. The larger sensor also delivers a wide dynamic range. The GFX100 II boasts upwards of 14 stops of dynamic range, according to Fuji, and can shoot stills in 16-bit color for a huge color gamut of 28 billion individual hues. The gallery above shows a backlit photo of a lens, taken at the camera's lowest native sensitivity, ISO 80, using the default multi-metering (evaluative/matrix metering) to set the camera at EV-0. Normally on this test, the window in the background is simply whited out, but in the first gallery image you can make out individual shades and colors. The second gallery image shows the same image with the shadows and exposure boosted. Plenty of shadow detail has been retained, with the individual ridges of the lens control rings visible. Looking closely, there is some noise in the shadowy areas, but it's very fine and requires zooming in to see, again suggesting a wide dynamic range. The Fujifilm GFX100 II is designed to be a capable video tool. Thanks to that CFExpress slot, it'll shoot 8K/30p internally in Apple ProRes 422 HQ, 10-bit, at bitrates of up to 3.5Gbps. RAW output is also available at 8K/30p via HDMI in 12-bit Apple ProRes RAW to ATOMOS recorders, or Blackmagic RAW to Blackmagic recorders. Obviously, you also have Fuji's color profiles at hand if you don't feel like grading —Eterna and Eterna Bleach Bypass are my favorite for video. And for when you do grade, there's Fuji's F-Log 2 profile for wide dynamic range capture up to 14 stops. The GFX100 II is geared more towards cine use than hybrid shooters or content creators. With the right adapter, such as a PL to GF adapter, cine lenses can be fitted, including Fujinon's Premista PL-mount lenses. And there's a range of crop modes available to suit, including 8K anamorphic in 2.76:1 aspect, and a 5.8K cine aspect of 2.35:1. All of Fujinon's GF lenses are photography oriented, though. That means noisy focus motors across much of the range, plus notched focus rings negating smooth focus pulls. For non-cine video, I would recommend a manufacturer/lens mount with a more versatile range of native lenses — the Panasonic Lumic S5IIX ($2,199) would be my top pick. The GFX100 II uses Fujifilm's NP-W235 battery. It's a decent power cell, delivering over 700 shots in cameras like the Fujifilm X-S20 ($1,299). In the GFX100 II, Fujifilm rates the NP-W235 for 530 shots, which is the same as the GFX100S II. For video, you can expect up to 60 minutes at 8K, although overheating will be an issue — Fujifilm supplies a bolt-on fan for extended recording time. Mileage will vary based on the type of shooting you're doing, of course. In testing, I used the camera for a variety of single-shot, high speed drive bursts and video clips, and came away with over 1,400 photos. It isn't perfect, but it isn't far off either. Stunning stills with vast amounts of detail, strong low-light performance and bags of dynamic range make this any photographer's dream. With its 8fps drive and subject detection/tracking AF, Fuji has remedied the usual sluggishness of medium format cameras, at least as far as is practically possible at the moment. That said, the AF still has a hard time tracking fast-moving subjects and modern sports/wildlife full frame cameras are pushing 40fps drive rates, so this still isn't a proper high speed camera. Fuji has also remedied the lack of video capability in the mirrorless medium format market, packing the GFX100 II with powerful video specs — although the camera is much more geared towards cine work than hybrid shooters, thanks to the lack of video-centric GF lenses. All in all, Fujifilm put everything it had into GFX100 II, and it shows. This is the finest medium format camera you can buy today.
Tom's Guide
18-05-2025
- Tom's Guide
I just tested the new DJI RC Pro 2 drone controller — and it's a beast for content creation on the fly
As our in-house drones expert, I look after our best drones buying guide and I test the latest drones by pushing them to the limit. That includes analyzing every single feature, scrutinizing image/video quality, build quality, and checking if battery claims are correct. But what good is a drone without a controller? There are a few types of drone controllers: The last of these, the DJI RC Pro 2, is brand new, and it accompanied the launch of the DJI Mavic 4 Pro. It's the first drone I've ever given a 5-star rating too, and there are many reasons for it. 100MP Hasselblad stills, 6K/60fps video, next-gen obstacle avoidance, and the RC Pro 2. The DJI RC Pro 2 is made for professionals, and it's the brand's most advanced consumer controller yet. Its 7-inch mini LED touchscreen is highly responsive and sports a peak brightness of 2,000 nits (and a 1,600 nits sustained brightness). There's an HDMI port for streaming, built-in mics, rotatable display for instant vertical shooting, and more. The RC Pro 2 is the brand's most powerful consumer controller yet, and it doesn't come cheap. Currently not available in the U.S. (as DJI continues to assess its market strategy in line with the local conditions), it retails for £879 in the U.K. But for those who want to elevate their flying experience, it's well worth the premium — let me show you why. Unlike the DJI RC-N3, the DJI RC-2 and so on, the DJI RC Pro 2 features a flip-up screen and pulling it up reveals the collapsible joysticks and buttons. This also wakes up the controller (and puts it to sleep when you push the screen down), so you don't need to press a specific button to power up anymore. It takes a step out of the prep process so you can get to flying almost instantly. There's no sugarcoating it: the DJI Mavic 4 Pro is an expensive drone, retailing for £1,879 in the U.K. for the drone and the RC-2 controller. If you want the RC Pro 2, you can get the Creator Combo which also adds 512GB of internal storage to the drone, for £3,209. Good news is that the RC Pro 2 is compatible with other drones that support vertical shooting — like the Air 3S, Air 3 and Mini 4 Pro. What's even better is that the RC Pro 2 syncs with the drone's gimbal, so rotating it vertically puts the drone into vertical shooting mode, negating the need to manually toggle the orientation. I think this is a very underrated feature. I constantly swapped between horizontal and vertical shooting, and the RC Pro 2's screen's rotation feels as smooth as butter. The RC Pro 2 is also the brightest consumer controller. It has a peak brightness of 2,000 nits and a sustained brightness of 1,600 nits (the maximum brightness that a display can maintain for an extended period of time without overheating). For context, the RC-2 has a max brightness of 700 nits. This is why I could view the screen even on an extremely sunny day. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. It also accurately displays 10-bit D-Log/D-Log M colors just as the drone records them — and what you'd see when editing the footage in Adobe Premiere Pro or DaVinci Resolve. Overall, the RC Pro 2 makes for a fantastic viewing experience that's unlike any other. There's a solid reason why the DJI RC Pro 2 is part of the DJI Mavic 4 Pro Creator Combo: it's a beast for videography and content creation. First of all, it features Dynamic Home Point Support. For example, if you're controlling your drone from a moving vehicle, the RC Pro 2 will constantly update the home point in real-time so when you need to land it, it'll land close to where your vehicle has stopped. You also get an HDMI port which you can use to livestream what your drone is seeing (or your recorded footage) on to a larger screen, like one of the best TVs. There's 128GB of internal storage too as well as a slot for a microSD card. And what I really like is that the RC Pro 2 has a built-in mic so you can record audio while flying. The controller's compatible with the DJI mic series, such as the DJI Mic 2 and DJI Mic Mini, but if you don't have access to these, at least you can record directly to the controller. To top it all, for the first time, the RC Pro 2 has third-party app support which makes it work like a regular tablet. You can download video editing apps onto the controller and edit footage for quick sharing to social media. This also means that you don't have to wait until going back to your laptop to start the post-production process. Since the controller uses a custom Android OS, you can install APKs via the built-in browser or a microSD card. I tested this out by downloading Adobe Lightroom Classic for photo editing and it worked like a charm. The screen shows 10-bit colors which means it can show 1.07 billion individual hues, and it's extremely responsive too, which makes editing a cinch. I even downloaded Qobuz so that I could listen to music while editing! So, should you buy or skip the DJI RC Pro 2? It depends on a few things. If you're in the U.S., you're out of luck (for now) but I hope that changes soon. If you're in the U.K. and want a controller that makes content creation easier and flying more intuitive, then yes, it's worth the money. The fact that you can use third-party apps to quickly edit content, listen to music while doing so, or even watch some YouTube videos in between editing sprees, makes the RC Pro 2 a force to be reckoned with. I'm already looking forward to using it more over the weekend.
Tom's Guide
17-05-2025
- Tom's Guide
I just tested this new DJI drone that combines aerial and mirrorless camera prowess — and I can't get enough of it
It shouldn't come as a surprise that, right now, DJI is dominating the consumer drones market. The Chinese tech giant has put out one hit product after another with the likes of the DJI Air 3S, the DJI Neo, and the DJI Flip. As the in-house drones expert, I've covered these products extensively, often raving about how the Air 3S brings me unbridled joy, and that I can't stop thinking about flying the Neo. And just when I thought it couldn't get better, the DJI Mavic 4 Pro took flight. On average, I review four or five products a week, and it isn't often that a product blows me away. The DJI Mavic 4 Pro improves on its predecessor by introducing 6K/60fps video, 100MP stills powered by a Hasselblad camera, and a brand new RC Pro 2 controller that makes flying a breeze. With a long flight time and 5-star performance across the board, it's the ideal drone for commercial and personal use — as long as you don't mind the weight restrictions. A 5-star rating isn't a common occurrence at Tom's Guide, but the Mavic 4 Pro earned the rare rating from me for a number of reasons, like its 100MP Hasselblad camera, 6K/60fps video capabilities, and ease of use, and we need to talk about that new RC Pro 2 controller, and we will in this feature. The Mavic 4 Pro is nothing short of a flying Hasselblad — let me show you why. Before I get into why I've fallen head over heels for the DJI Mavic 4 Pro, I want to talk about the new DJI RC Pro 2 controller. You can get the drone with the RC-2 controller (which you can see in my DJI Air 3S review) which is great in its own right, but you can always opt for the Creator Combo which adds 512GB of internal storage to the drone and comes with the RC Pro 2 — and I believe it's worth the extra spend. The RC Pro 2 improves on its predecessor by introducing a flip-up screen which hides the joysticks. The 7-inch mini LED touchscreen is large and its ability to flip out makes for better viewing. It's also extremely bright at 2000 nits. For context, the first-gen RC Pro is rated at 1000 nits while the RC-2 is rated at 700. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. DJI has designed the RC Pro 2 to display colors and footage as accurately and true to life as possible, and if you're shooting in D-Log/D-Log M, the screen will show exactly what the RAW footage looks like. Another design choice I really like that makes flying intuitive is that the drone's gimbal rotates if the screen is rotated at a 90° angle for vertical viewing. The Mavic 4 Pro supports 4K vertical recording, and you don't need to manually change the shooting setting from horizontal to vertical — just flip the screen. That is cool. There's also an HDMI port for streaming and built-in mics, and there's enough to talk about that I could dedicate a whole article just to the controller (and I will). We all know the name Hasselblad. My editor described the Hasselblad X2D 100C as "the Koenigsegg of cameras" — and he isn't wrong. The brand oozes luxury, and its cameras don't come cheap. You may also know that DJI owns Hasselblad (and if you didn't, you do now). And I fully believe that the DJI Mavic 4 Pro is the cheapest way of getting a (flying) Hasselblad. The drone has three cameras, and one of them is the main Hasselblad cam. The Mavic 4 Pro is fitted with a 4/3-inch Micro Four Thirds 100MP Hasselblad CMOS sensor. This is the most advanced camera on a consumer drone (yet), and it takes stunning photos with lots and lots of detail and (very) faithful color reproduction. A picture paints a thousand words, they say, so I'll let the gallery above do the talking. These are some of the best photos I've taken with a drone (or camera, even) so far. The compilation of footage above was shot in 4K/60fps with the main Hasselblad camera, and I don't think I've seen smoother footage from a drone before. You can also shoot in 6K/60fps and 4K/120fps slow motion. What's even better is that the Hasselblad camera captures 10-bit 4:2:2 video, which means it's capable of capturing 1.07 billion individual hues. I should, however, point out that the Mavic 4 Pro isn't currently available to buy in the U.S. DJI confirmed that it has had to "adjust [its] market strategy as local conditions and the industry environment have evolved." So while pilots in the rainy British isles, Europe, Australia and most other parts of the world can enjoy all the goodies the Mavic 4 Pro has to offer, Americans can't. And that's a real shame. I sincerely hope that changes. The Mavic 4 Pro is the ultimate drone and it's a game-changer in the field of aerial photography. I would hate for anyone to miss out on this drone. No other piece of tech has given me such an adrenaline rush as the Mavic 4 Pro has — and I can't wait to take off again.
