DJI Osmo 360 Camera Review: Impressive Hardware, but There’s a Catch


Pros

  • Huge image sensors
  • Great image quality
  • Great low-light performance

Cons

  • No replaceable lenses
  • Compatibility and availability concerns

The DJI Osmo 360 is an impressive 360 camera that’s capable of 8K video at 50fps, 120-megapixel images (15,520×7,760) and thanks to its large, square 1/1.1 image sensors, it can record in low light. These headline specs are as good, if not better, than Insta360’s flagship camera, the X5

In practice, the Osmo 360 performs similarly to the X5 and, in many situations, better than GoPro’s Max 2. The main issue with the camera isn’t technically the camera itself; it’s DJI, and its relationship with Google and the US Government. The DJI Mimo app isn’t available on the Play Store, and the FCC has made recent rulings about drones that affect DJI’s camera sales in the US. You can still get the Osmo 360; it was approved before the ban, but this adds a certain level of uncertainty that GoPro and Insta360 products don’t have.

So overall, the Osmo 360 is a great camera, with picture quality similar to Insta360’s X5, but for Android users and anyone who isn’t invested in the DJI ecosystem, the X5 is the easier choice.

DJI Osmo 360

Photo resolution 120 megapixel (15,520×7,760)
Video resolution 8K50
Sensor size 1/1.1-inch (x2)
Lens f/1.9
Screen type 2-inch OLED touchscreen
Storage Internal (128 gigabytes), microSD
Weight 183g (6.5oz)
App iOS/Mac/Windows/Android (sort of)

The Osmo 360 has some impressive specs. It meets or beats what is available in Insta360’s X5, GoPro’s Max 2 and even Kandao’s QooCam 3 Ultra. Being able to do that in a body that’s only slightly larger than the Max 2 and a price that’s around the same as the others is definitely impressive. 

The back of the DJI Osmo 360 with its 2-inch OLED touchscreen.

Geoffrey Morrison/CNET

To start, the 1/1.1-inch sensors are some of the largest you can find in a consumer 360 camera. Larger than the X5’s 1/1.28 and far larger than GoPro’s 1/2.3-inch. They’re paired with a fast lens, too, at f/1.9, so it’s unsurprising that the Osmo 360 does well in low light.

A side view of the DJI Osmo 360 showing both lenses.

Geoffrey Morrison/CNET

The photo and image specs are impressive, too. Other cameras max out at 8K30 for video and 96 megapixels for photos, and the Osmo 360 can do more frames per second and higher-resolution photos. That doesn’t tell the entire story, though, as I’ll discuss in the next section. If you have the ability and need for such resolutions and framerates, you can get a lot out of this camera.

The DJI Osmo 360 with its silicone lens cover on a black background.

The Osmo 360 comes with a single-piece silicone lens cover that’s more convenient than GoPro’s 2-piece covers.

Geoffrey Morrison/CNET

There are 105 usable gigabytes of internal storage. That’s not something super necessary in this age of cheap microSD cards, but it certainly doesn’t hurt. The wide 2-inch screen feels responsive in use, and while the X5’s screen is larger and makes it easier to see what you’ve shot, the DJI’s is good enough for normal use, such as to access the camera’s various modes and settings. In addition to a standard tripod mount, the Osmo 360 has DJI’s magnetic grip mount for fast attachment to its accessories. Speaking of cross-compatibility, the 360 uses the same batteries as the Action 6 action camera, so if you’re all-in on DJI, you can use a lot of the same gear as well as the same app.

Ah yes. The app. We definitely need to talk about the app. I have a whole section about it below.

Usability and photo quality

A Tiny Planet image from the DJI Osmo 360 in Asakusa, Tokyo.

None of the images in this section or the next have been modified beyond cropping and standard 360 image processing.

Geoffrey Morrison/CNET

As you’d hope from the impressive hardware, the images and videos from the Osmo 360 look great. They’re bright and vibrant, arguably too vibrant. They’re somewhere between the contrasty GoPro look and the brighter Insta360 look. You can enable a manual mode to dial in the exposure, shutter speed and white balance. Even with everything set to auto, the image quality is good, if a little overexposed. If only one lens is facing the sun, the camera will struggle to get an accurate exposure, leading to a noticeable stitch line between the hemispheres. However, this is something all 360 cameras struggle with to greater or lesser degrees. 

A sample image taken with the DJI Osmo 360 taken in Asakusa, Tokyo.

The same image as above in equirectangular panoramic form. Normally you’d just select the section of the image you want to show and not share them directly like this.

Geoffrey Morrison/CNET

While 8K50 video and 120-megapixel images are certainly eye-catching specs, the reality is a bit more nuanced. Most people will never use 8K video for the simple reason that most phones can’t edit it. So, unless you plan on using your computer for editing, the 8K videos will be useless. This is true for Insta360 and GoPro’s 8K video as well. The actual, usable maximum resolution of these cameras is 6K60 for the Osmo 360, 5.7K60 for the X5 and 5.6K60 for the Max 2. In practice, this means that you can zoom in slightly more with the DJI, but it’s not a meaningful difference in the real world. 

A DJI Osmo 360 sample image of Tokyo station.

Processed with DJI’s Studio app.

The same is true for the 120-megapixel photos, which seem impressive, but just like the high-resolution mode on the X5, the images don’t look much better than the lower-resolution modes. In fact, in some situations, they can look worse because you lose HDR. So it becomes a question of “better” pixels versus more pixels. For what it’s worth, I’ve been using 360 cameras from the beginning, and I basically never use the max resolution mode for photos, not the least because some phones balk at massive images like that and might require desktop software to edit correctly or even just open them.

A sample image from the DJI Osmo 360 of a Japanese garden in Pasadena, CA.

Processed with DJI’s Studio app.

Geoffrey Morrison/CNET

Low-light situations have long been difficult for 360 cameras. The Insta360 X5 was the first one I’ve tested that’s been able to capture usable footage at night or in dark spaces. The Osmo 360, with its marginally larger sensors and marginally faster lenses, is able to record… about as well in low light. The results are more similar than they are different. In fact, most likely due to the X5’s image processing, its low-light captures tend to have less noise. Which is to say, beyond the specs, the results are similar. Both are good, at least compared to other 360 cameras.

As far as broader usability aspects go, the OLED screen looks great, the camera turns on and navigates menus quickly. Overall, it feels like a solid, well-made camera. 

The app and global politics

DJI Osmo 360 sample image of cherry blossoms in Ueno Park, Tokyo.

Processed with DJI’s Studio app.  

Geoffrey Morrison/CNET

I wish I could judge the Osmo 360 camera as just a camera, but that’s not the world we live in. For reasons far beyond my interest in writing about it, the US government has restricted the sale of drones from certain companies, and tied up with that are some cameras. Products approved by the Federal Communications Commission before the ban went into effect, like the Osmo 360, are still available for sale. It’s impossible to say what will happen in future days, weeks or whenever. Does that directly affect the Osmo 360? Not exactly, but to me it’s still something to consider. How much of a factor it is in your calculations is entirely up to you.

DJI Osmo 360 sample image in Shibuya Crossing in Tokyo.

Processed with DJI’s Studio app.

Geoffrey Morrison/CNET

The more direct issue is that Google also has an effective ban on DJI. The DJI Mimo app, which is required to use the camera, is not available on the Google Play Store. In order to use it, you have to go to DJI’s website, disable security protections on your phone and download an APK that contains the app. This is probably fine, but Google blocks the Mimo app for some reason, and this bypasses that. I don’t think DJI is up to anything nefarious, but Google sure seems to think so, and one of us is a multibillion-dollar global conglomerate, and the other writes books about how easy it is to travel when you’re broke. So again, feel free to do your own calculations on that one. Apple doesn’t seem to have a problem with DJI, however, and you can get the app if you’re on iOS.

A screen grab from a 8K video of the PCH near Malibu, CA.

A screengrab from an 8K50 video captured using DJI’s Studio software.

Geoffrey Morrison/CNET

The app itself is generally decent. It has the same editing functions as Insta360 and GoPro, letting you choose the angle of view, speed and so on. You can even edit multiple 360 clips together into a longer video. However, I regularly had issues trying to load the app at all. It would hang on the loading screen, and neither waiting nor force-closing it would solve the issue. I can’t even tell you what worked, as I’d give up, check it later and it would open fine. So maybe there’s some loading or something happening in the background, but without any visual indication of that, it just seems like the app doesn’t work. I also got occasional error messages in Chinese. I hope they weren’t important.

There’s also the DJI Studio desktop software for editing 360 photos and videos. It does most of what the mobile app does, but in a more streamlined way. I also got slightly better results with photos using the desktop software, with a bit more detail and fewer jagged diagonals.

Impressive hardware, but…

The DJI Osmo 360 on a black background.

Geoffrey Morrison/CNET

There are a few simple, declarative things I can say. Competition is good. DJI makes some good cameras. The Osmo 360 is a good 360 camera. I can also say the Osmo 360 takes great-looking photos and videos, and it does so in a compact, easy-to-handle form.

If I judge these 360 cameras solely on the hardware in hand, I’d be hard-pressed to say whether the Osmo 360 or the Insta360 X5 is better. While the former is technically capable of higher framerates and photo resolutions, for most people, that difference won’t be noticeable. Not least because their phones can’t handle 8K video anyway, and for sharing to social media, the extra resolution is rarely going to make a huge difference. 

Professional content creators — especially those who’ve already invested in the DJI ecosystem by buying batteries, mounts and so on — might be able to get some shots with the DJI that they couldn’t with the X5. However, the X5’s user-replaceable lenses should absolutely be considered a major factor in its overall package. So, even beyond the nonsense I’ll get to next, I’d still say most people should probably get the X5, if for no other reason than the fact that everyone inevitably drops a 360 camera, and they always seem to land face-down.

The GoPro Max 2, DJI Osmo 360, and Insta360 X5 on a black background.

Geoffrey Morrison/CNET

The nonsense has to be part of the conversation, though. I wish it weren’t, but so it goes. Since the Osmo 360 is available for sale, the FCC ban isn’t an issue. (Note, though, that DJI has said that if repairs are necessary, it may take longer than usual as getting parts into the US is more difficult than it once was.) Some people won’t care that they need to disable security features on their phone to download an app. But I wouldn’t tell my parents, for instance, to do that, so I can’t in good conscience say it’s fine for anyone. Your comfort level with the idea should definitely be a factor, especially since there are two other excellent 360 cameras available that don’t have this issue. 

In other words, the Osmo 360 has some great hardware and is a worthy competitor to the Insta360 X5 and GoPro Max 2. But there’s a big asterisk at the end of that statement, which leads to 1,000 words of fine print that basically says, “It’s complicated.” 





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  • Law establishes national prohibition against nonconsensual online publication of intimate images of individuals, both authentic and computer-generated.
  • First federal law regulating AI-generated content.
  • Creates requirement that covered platforms promptly remove depictions upon receiving notice of their existence and a valid takedown request.
  • For many online service providers, complying with the Take It Down Act’s notice-and-takedown requirement may warrant revising their existing DMCA takedown notice provisions and processes.
  • Another carve-out to CDA immunity? More like a dichotomy of sorts…. 

On May 19, 2025, President Trump signed the bipartisan-supported Take it Down Act into law. The law prohibits any person from using an “interactive computer service” to publish, or threaten to publish, nonconsensual intimate imagery (NCII), including AI-generated NCII (colloquially known as revenge pornography or deepfake revenge pornography). Additionally, the law requires that, within one year of enactment, social media companies and other covered platforms implement a notice-and-takedown mechanism that allows victims to report NCII.  Platforms must then remove properly reported imagery (and any known identical copies) within 48 hours of receiving a compliant request.

Support for the Act and Concerns

The Take it Down Act attempts to fill a void in the policymaking space, as many states had not enacted legislation regulating sexual deepfakes when it was signed into law. The Act has been described as the first major federal law that addresses harm caused by AI. It passed the Senate in February of this year by unanimous consent and passed the House of Representatives in April by a vote of 409-2. It also drew the support of many leading technology companies.

Despite receiving almost unanimous support in Congress, some digital privacy advocates have expressed some concerns that the new notice-and-takedown mechanism could have some unintended consequences for digital privacy in general.  For example, some commentators have suggested that the statute’s takedown provision is written too broadly and lacks sufficient safeguards against frivolous requests, potentially leading to the removal of lawful content –especially given the short 48-hour time to act following a takedown request.  [Note: In 2023, we similarly wrote about abuses of the takedown provision of the Digital Millennium Copyright Act]. In addition, some have argued that the law could undermine end-to-end encryption by possibly forcing such companies to “break” encryption to comply with the removal process.  Supporters of the law have countered that private encrypted messages would likely not be considered “published” under the text of the statute (which uses the term “publish” as opposed to “distribute”).

Criminalization of NCII Publication for Individuals

The Act makes it unlawful for any person “to use an interactive computer service to knowingly publish an intimate visual depiction of an identifiable individual” under certain circumstances.[1] It also prohibits threats involving the publishing of NCII and establishes various criminal penalties. Notably, the Act does not distinguish between authentic and AI-generated NCII in its penalties section if the content has been published. Furthermore, the Act expressly states that a victim’s prior consent to the creation of the original image or its disclosure to another individual does not constitute consent for its publication.

New Notice-and-Takedown Requirement for “Covered Platforms”

Along with punishing individuals who publish NCII, the Take it Down Act requires covered platforms to create a notice-and-takedown process for NCII within one year of the law’s passage. Below are the main points for platforms to consider:

  • Covered Platforms. The Act defines a “covered platform” as a “website, online service, online application, or mobile application” that serves the public and either provides a forum for user-generated content (including messages, videos, images, games, and audio files) or regularly deals with NCII as part of its business.
  • Notice-and-Takedown Process. Covered platforms must create a process through which victims of NCII (or someone authorized to act on their behalf) can send notice to them about the existence of such material (including a statement indicating a “good faith belief” that the intimate visual depiction of the individual is nonconsensual, along with information to assist in locating the unlawful image) and can request its removal.
  • Notice to Users. Adding an additional compliance item to the checklist, the Act requires covered platforms to provide a “clear and conspicuous” notice of the Act’s notice and removal process, such as through a conspicuous link to another web page or disclosure.
  • Removal of NCII. Within 48 hours of receiving a valid removal request, covered platforms must remove the NCII and “make reasonable efforts to identify and remove any known identical copies.”
  • Enforcement. Compliance under this provision will be enforced by the Federal Trade Commission (FTC).
  • Safe Harbor. Under the law, covered platforms will not be held liable for “good faith” removal of content that is claimed to be NCII “based on facts or circumstances from which the unlawful publishing of an intimate visual depiction is apparent,” even if it is later determined that the removed content was lawfully published.

Compliance Note: For many online service providers, complying with the Take It Down Act’s notice-and-takedown requirement may warrant revising their existing DMCA takedown notice provisions and processes, especially if those processes have not been reviewed or updated for some time.  Many “covered platforms” may rely on automated processes (or a combination of automated efforts combined with targeted human oversight) to fulfill Take It Down Act requests and meet the related obligation to make “reasonable efforts” to identify and remove known identical copies.  This may involve using tools for processing notices, removing content and detecting duplicates. As a result, some providers should consider whether their existing takedown provisions should also be amended to address these new requirements and how they will implement these new compliance items on the backend using the infrastructure already in place for the DMCA.

What about CDA Section 230?

Section 230 of the Communications Decency Act (“CDA”), 47 U.S.C § 230, prohibits a “provider or user of an interactive computer service” from being held responsible “as the publisher or speaker of any information provided by another information content provider.” Courts have construed the immunity provisions in Section 230 broadly in a variety of cases arising from the publication of user-generated content. 

Following enactment of the Take It Down Act, some important questions for platforms are: (1) whether Section 230 still protects platforms from actions related to the hosting or removal of NCII; and (2) whether FTC enforcement of the Take It Down Act’s platform notice-and-takedown process is blocked or limited by CDA immunity. 

On first blush, it might seem that the CDA would restrict enforcement against online providers in this area, as decisions regarding the hosting and removal of third party content would necessarily treat a covered platform as a “publisher or speaker” of third party content. However, a deeper examination of the text of the CDA suggests the answer is more nuanced.

It should be noted that the Good Samaritan provision of the CDA (47 U.S.C § 230(c)(2)) could be used by online providers as a shield from liability for actions taken to proactively filter or remove third party NCII content or remove NCII at the direction of a user’s notice under the Take It Down Act, as CDA immunity extends to good faith actions to restrict access to or availability of material that the provider or user considers to be “obscene, lewd, lascivious, filthy, excessively violent, harassing, or otherwise objectionable.” Moreover, the Take It Down Act adds its own safe harbor for online providers for “good faith disabling of access to, or removal of, material claimed to be a nonconsensual intimate visual depiction based on facts or circumstances from which the unlawful publishing of an intimate visual depiction is apparent, regardless of whether the intimate visual depiction is ultimately determined to be unlawful or not.” 

Still, further questions about the reach of the CDA prove more intriguing. The Take It Down Act appears to create a dichotomy of sorts regarding CDA immunity in the context of NCII removal claims.  Under the text of the CDA, it appears that immunity would not limit FTC enforcement of the Take It Down Act’s notice-and-takedown provision affecting “covered platforms.” To explore this issue, it’s important to examine the CDA’s exceptions, specifically 47 U.S.C § 230(e)(1).   

Effect on other laws

(1) No effect on criminal law

Nothing in this section shall be construed to impair the enforcement of section 223 or 231 of this title [i.e., the Communications Act], chapter 71 (relating to obscenity) or 110 (relating to sexual exploitation of children) of title 18, or any other Federal criminal statute.

Under the text of the CDA’s exception, Congress carved out Section 223 and 231 of the Communications Act from the CDA’s scope of immunity.  Since the Take It Down Act states that it will be codified at Section 223 of the Communications Act of 1934 (i.e., 47 U.S.C. 223(h)), it appears that platforms would not enjoy CDA protection from FTC civil enforcement actions based on the agency’s authority to enforce the Act’s requirements that covered platforms “reasonably comply” with the new Take It Down Act notice-and-takedown obligations.

However, that is not the end of the analysis for platforms.  Interestingly, it would appear that platforms would generally still retain CDA protection (subject to any exceptions) from claims related to the hosting or publishing third party NCII that have not been the subject of a Take It Down Act notice, since the Act’s requirements for removal of NCII by platforms would not be implicated without a valid removal request.[2]  Similarly, a platform could make a strong argument that it retains CDA immunity from any claims brought by an individual (rather than the FTC) for failing to reasonably comply with a Take It Down Act notice.  That said, it is conceivable that litigants – or event state attorneys general – might attempt to frame such legal actions under consumer protection statutes, as the Take It Down Act states that a failure to reasonably comply with an NCII takedown request is an unfair or deceptive trade practice under the FTC Act.  Even in such a case, platforms would likely contend that such claims by these non-FTC parties are merely claims based on a platform’s role as publisher of third party content and are therefore barred by the CDA. 

Ultimately, most, if not all, platforms will likely make best efforts to reasonably comply with the Take It Down Act, thus avoiding the above contingencies.  Yet, for platforms using automated systems to process takedown requests, unintended errors may occur and it’s important to understand how and when the CDA would still protect platforms against any related claims.

Looking Ahead

It will be up to a year before the notice-and-takedown requirements become effective, so we will have to wait and see how well the process works in eradicating revenge pornography material and intimate AI deepfakes from platforms, how the Act potentially affects messaging platforms, how aggressively the Department of Justice will prosecute offenders, and how closely the FTC will be monitoring online platforms’ compliance with the new takedown requirements.

It also remains to be seen whether Congress has an appetite to pass more AI legislation. Less than two weeks before the Take it Down Act was signed into law, the Senate Committee on Commerce, Science, and Transportation held a hearing on “Winning the AI Race” that featured the CEOs of many well-known AI companies. During the hearing, there was bipartisan agreement on the importance of sustaining America’s leadership in AI, expanding the AI supply chain and not burdening AI developers with a regulatory framework as strict as the EU AI Act. The senators listened to testimony from tech executives calling for enhanced educational initiatives and the improvement of infrastructure needed for advancing AI innovation, alongside discussing proposed bills regulating the industry, but it was not clear whether any of these potential policy solutions would receive enough support to be signed into law.

The authors would like to thank Aniket C. Mukherji, a Proskauer legal assistant, for his contributions to this post.


[1] The Act provides that the publication of the NCII of an adult is unlawful if (for authentic content) “the intimate visual depiction was obtained or created under circumstances in which the person knew or reasonably should have known the identifiable individual had a reasonable expectation of privacy,” if (for AI-generated content) “the digital forgery was published without the consent of the identifiable individual,” and if (for both authentic and AI-generated content) what is depicted “was not voluntarily exposed by the identifiable individual in a public or commercial setting,” “is not a matter of public concern,” and is intended to cause harm or does cause harm to the identifiable individual. The publication of NCII (whether authentic or AI-generated) of a minor is unlawful if it is published with intent to “abuse, humiliate, harass, or degrade the minor” or “arouse or gratify the sexual desire of any person.” The Act also lists some basic exceptions, such as publications of covered imagery for law enforcement investigations, legal proceedings, or educational purposes, among other things.

[2] Under the Act, “Upon receiving a valid removal request from an identifiable individual (or an authorized person acting on behalf of such individual) using the process described in paragraph (1)(A)(ii), a covered platform shall, as soon as possible, but not later than 48 hours after receiving such request—

(A) remove the intimate visual depiction; and

(B) make reasonable efforts to identify and remove any known identical copies of such depiction.



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