We Review the DJI Osmo 360 II: A Refinement From the Previous Generation and Proof They Listen.

Getting my hands on the new DJI Osmo 360 II was an interesting experience, largely because the first generation was already so well-built. The original gave us solid specs that made it a serious contender right out of the gate. Because it set that bar so high, a quick glance at the Osmo 360 II’s spec sheet might initially feel like a letdown. But if you look past the paper specs, there are clear hints that DJI actually listened. Instead of chasing blind spec bumps, they focused on further refinements, better core image quality, and real-world usability. In this review, we’ll dive into whether these targeted improvements actually make for a better tool on set.

Build Quality

At first glance, the Mark II retains the familiar design that made the original ergonomic and instantly recognizable: the same compact 61 mm × 36.3 mm × 81 mm body shape made with tough textured plastic, the same dual-lens placement, the same 2.0-inch 314 × 556 resolution horizontal 800-nit touchscreen display, and the same clip-lock sliding battery and ports. And they also appear to weigh the same at 183 grams. That means you can actually use a lot of the accessories that you have on the first generation if you choose to upgrade it. 

Now, you might ask, how can this be categorized as an upgrade if there are no visible changes? Well, good news: there are, just in subtle ways that refine its aesthetics and usability. This generation has a noticeably more rugged, industrial look that gives you a sense of maturity. DJI has incorporated visible exterior screws and subtle silhouette DJI branding at the back. Assuming those screws are functional, they may also increase the repairability of the Osmo 360 II. You will also notice a larger microphone mesh grille at the rear, which I think doubles as passive thermal dissipation in addition to recording better ambient audio. The new quick-release adapter mount now works magnetically in either direction, so you don’t have to find the right direction to align the magnetic pole before mounting it.

Depending on your preference, you may or may not like this renewed aesthetic. Aside from the prominent “OSMO 360 II” label on the side, I personally like the look. If there is one design quirk I wish they had changed, it’s the position of the microSD card slot—it’s still tucked inside the battery compartment. Because space is tight, swapping cards almost always requires removing the battery first. Still, it’s better to have it than not. Speaking of batteries, there is a welcome bump in capacity. It goes from a 1,950 mAh Li-ion battery on the Mark I to 2,150 mAh on the Mark II, keeping the exact same physical footprint while improving recording time to up to 100 minutes of continuous 8K/30 fps capture.

Optically, the camera houses dual f/1.9 lenses built with ultra-hard, scratch-resistant glass and a new user-replaceable front element design. You can now easily swap the lens with DJI’s replacement kit if you happen to crack it. There is also an inner glass layer that protects the sensor from dust and scratches when the outer lens is removed, making the replacement process stress-free. (Though it’s worth noting that the extra layer of glass could potentially cause flaring since there are more glass elements.) Just like the previous generation, DJI applied an oleophobic and hydrophobic coating, making it easy to wipe away fingerprints, water droplets, and smudges.

The Osmo 360 II holds an IP68 rating, making it natively waterproof down to 10 meters (33 feet) without a housing and up to 50 meters with the optional Invisible Waterproof Case. Note that while the camera is capable of going underwater on its own, the convex fisheye design will cause light refraction and stitching errors without the case. When using the waterproof case, keep in mind that the physical safe stitching distance for subjects increases from ≥75 cm to 1 meter. It is rated to operate reliably in extreme temperatures spanning from -20 °C to 45 °C, though charging is restricted to a narrower 5 °C to 40 °C window.

Features

Under the hood, the Osmo 360 II still features dual 1/1.1-inch square CMOS sensors with large 2.4 μm pixels. While not officially stated, I believe it's the exact same sensor, given the matching specifications. I was hoping to see LOFIC technology implemented here following its use in the Osmo Pocket 4P, where DJI credits it with helping the wide-angle camera achieve 17 stops of dynamic range, but perhaps that’s reserved for the next generation. The square layout, specifically designed for 360° capture, increases sensor utilization by 25% compared to traditional rectangular 1-inch sensors, improving power efficiency and low-light fidelity. Built-in internal storage also remains a generous 105 GB.

Looking past the incremental updates is where you find significant architecture improvements for better usability. Despite having the same sensor specs, the dynamic range on the Osmo 360 II has been bumped to 14.5 stops—a one-stop improvement over its predecessor. This gain comes from the smart computational algorithms that DJI uses when merging footage from both lenses—and from what I know, in single-lens mode, the dynamic range remains at 13.5 stops. This is immediately visible on the screen, especially in bright highlight zones. DJI also added a new “Front and Back” metering mode, which uses information from both lenses when determining exposure. This is incredibly useful for backlit vlogging, as you can better balance yourself against the surrounding background. Additionally, AI SuperNight 2.0 introduces new noise reduction processing for extreme low-light environments, pushing usable ISO up to 51,200.

Video tops out at native 8K/60 fps 360° panoramic capture (7,680 × 3,840), alongside the ability to capture massive 120-megapixel (15,520 × 7,760) 360° HDR JPEGs. You can now save 360° images in DNG raw format, though this is restricted to the 30-megapixel mode. Still, this is a massive improvement compared to the first generation, which lacked raw recording or 120 MP HDR capabilities entirely. I do wish they had implemented auto-bracketing, as it’s a crucial function for interior real estate or HDR shooting. Standard video records at bitrates up to 220 Mbps, while the 16K Timelapse mode pushes data rates to a staggering 600 Mbps. You can record in 10-bit color (both D-Log M and standard color) across all video modes except SuperNight and Timelapse, which are restricted to standard color. I was hoping DJI would introduce the standard D-Log profile for a more consistent workflow with their high-end devices.

The Osmo 360 II improves upon specialized shooting modes as well. Vortex mode can now record dynamic spinning shots at 8K/120 fps or 6K/200 fps. A new slow-motion mode allows users to shoot 4K 360° video at an impressive 240 fps. The new Spotlight Follow mode acts as a virtual gimbal, automatically keeping subjects perfectly centered in the frame. It's also worth mentioning the 5-minute pre-recording cache, which drastically reduces the chances of missing an unscripted moment. For those who frequently shoot in single-lens mode, Boost Video allows recording 4K and 2.7K at up to 120 fps with native in-camera aspect ratios of 1:1, 4:3, 16:9, and vertical 9:16. Thankfully, the menu system remains intuitive, with some smart refinements—aspect ratios are now grouped in their own tab, saving you from scrolling through a long, cluttered list of resolution and crop options.

For stabilization, DJI utilizes its proven RockSteady 3.0 and HorizonSteady algorithms to eliminate motion blur and keep the horizon level across single-lens recording modes. For 360° video, full horizon leveling and stabilization are applied during the export phase via the DJI Mimo app or DJI Studio software, rather than being baked into the file. Connectivity is excellent, featuring tri-band Wi-Fi 6 (2.4/5.1/5.8 GHz), Bluetooth 5.4, and NFC Quick Connect for instant, seamless mobile pairing. Finally, the four-microphone array captures immersive 48 kHz 16-bit AAC spatial audio.

Real-World User Experience

If we look past the spec sheets and actually experience shooting with a 360-degree camera, you know that it requires a fundamental shift in mindset. It isn’t about chasing traditional corner-to-corner image perfection or painstakingly locking in framing on location. It is entirely about operational flexibility and capturing the context of an idea that can be creatively directed in post. Therefore, when evaluating the Osmo 360 II in the field, I predominantly judge how effortlessly it removes friction during capture and how cleanly those files translate into a finished timeline.

The Osmo 360 II has kept the near-instantaneous wake time, suggesting that DJI probably implemented an optimized sleep state when powered down between scenes rather than a complete power cycle. This allows you to jump from standby to recording almost instantly when action unfolds. However, the previous generation seems to have a slightly faster wake time compared to the second-generation model—a firmware optimization is probably needed, but again, the differences are so minimal that you might not notice them.

The initial pairing process with the DJI Mimo app is also now simpler thanks to NFC support. All you need to do is tap your phone against the display to initiate the connection. Connectivity via Bluetooth 5.4 seems to also deliver a significantly more stable preview connection. Within the app, you can do most of the editing, including the new dual-recording mode, directly in the Mimo app itself, and it does feel very intuitive to use. You will also be blessed with up to 800 MB/s transfer speed when you record and offload those massive files from its 105 GB internal memory using the provided USB-C cable. On the audio front, as you can expect, you still get the same seamless DJI wireless mic connectivity under the OsmoAudio ecosystem that we had with the original Osmo.

Same as the first generation, the Quick Switch/Power button is invaluable. Personally, I like to customize it to toggle rapidly between standard video and high-resolution photo modes. This ensures that we can swap between different modes when we need to move through a fast-paced environment. However, Quick Switch still remains locked to your current shooting format—if you are in Single-Lens mode, you can only toggle between other Single-Lens options and can't jump directly over to 360 mode.

If you are like me and have played with the first-generation Osmo 360 a lot, you might notice that the color preview on the touchscreen appears to be noticeably duller than its predecessor. That got me judging it immediately, but upon closer inspection, I think DJI has tuned the colors to render more naturally instead of oversaturating them. Colors in the red channel especially now seem far more neutral and realistic out of the box. Color rendition is exceptionally pleasing, with minimal post-grading work needed when converting the footage in DJI Studio and the Mimo app. DJI also provides an official D-Log M to Rec. 709 conversion LUT for the Osmo 360 II. Shadow recovery does retain clean colors and details too.

In low-light scenarios, performance holds up remarkably well. I have shot 360° video up to ISO 3,200, and it still yields pretty clean files. The ceiling ISO 6,400 serves as the workable limit for emergency situations. You can still film with ISO 12,800 to ISO 51,200 in SuperNight mode, but don’t expect the footage to contain much detail—especially after you de-warp the 360° footage. Raw file quality from the single-lens mode seems to also have been improved, especially in the 12 MP format, but there is evidence of low-level hardware noise reduction baked into the files that cannot be toggled off. While purists might prefer a completely untouched file, this background processing is a practical compromise for shooting with a camera of such a format.

Despite the improved performance, I still avoid relying on the 12 MP format for stills, as it is derived by digitally cropping and de-warping the 30 MP image, resulting in higher noise levels. Personally, I prefer sticking to the full 30 MP mode for framing so I’m not fooled into getting closer to a subject than I should. Because ultra-wide fisheye optics rely on deep hyperfocal distance, there is no focus point selection system—and none is needed, as everything beyond extreme close-up distance remains naturally in focus. When shooting single-lens stills, shutter responsiveness across all modes (including 30 MP) is much faster than on the original generation. The 120 MP 360° image still takes a long time to save. 

I was excited to test the new Front & Back Metering mode. My initial impression based on the name was that the camera might be taking two separate exposure values and somehow stitching them together. In practice, however, the mode is designed to meter the scene using information from both the front and rear views. It reacts smoothly as you transition between bright sunlight and dark shade without jarring exposure steps. In my testing, I saw no downside to leaving it on constantly, and I highly recommend using it as your default metering mode since it is considerably better—though you are still going to need to compensate for your exposure for darker scenes manually, as the metering seems to bias toward preserving highlights.

Optically, flare handling shows clear progress over the Mark I. Where the original camera suffered from heavy veiling flare that washed out scene contrast when pointed near strong light sources, the Mark II is capable of maintaining good local contrast and significantly reduces that veiling effect. Given the extreme convex nature of 360° lenses, shooting straight into harsh sun will definitely introduce some optical reflections, so tactically minding your camera angles remains necessary.

One disappointing trade-off on this generation is the removal of 5K single-lens recording—capping single-lens video at 4K/60 fps instead of the Mark I's 5K 4:3 option. I have checked with DJI, and this is their response: “With Osmo 360 II, we doubled down on what truly defines a 360 camera: the 360° experience itself. We dedicated the chip's processing power to push the boundaries of 8K/60fps, stitching quality, and low-light imaging. Single-Lens Mode remains a flexible secondary angle, with 4K perfectly tuned for everyday capture and social sharing.” This probably suggests that it might not be coming back anytime soon.

Despite that shortcoming, a great addition on the video side is the new Spotlight Follow mode. It is genuinely good—acting as a virtual gimbal to automatically track and keep you perfectly centered in the frame. Another workflow nuance involves the interval shooting modes. The standard Time-Lapse mode outputs exclusively as a compressed MP4 video file, completely lacking the ability to export a raw/JPEG photo sequence or utilize the D-Log M color profile. Hyperlapse mode, on the other hand, retains full support for the flat D-Log M profile, granting much-needed latitude for color grading in post. Because of this, even for short, stationary time-lapse setups on set, using Hyperlapse mode might be the smarter choice if you intend to color match the footage alongside other production cameras.

On the editing front, the official DJI Reframe plugin for DaVinci Resolve is a major workflow improvement over unstable third-party tools. Panoramic footage still needs to be preprocessed in DJI Studio first, where you select the dedicated DaVinci Resolve format when exporting. You can then import that footage into Resolve and use DJI Reframe to reframe the 360° footage directly in your editing workflow. For the best results, I would suggest performing your reframing on Resolve's Fusion page.

Summary

What I Liked

• Front and Back Metering: By using information from both views when metering the scene, the Osmo 360 II handles sudden shifts in lighting smoothly as you move through high-contrast environments.
• Native Aspect Ratios (Boost Video): Delivering in 1:1, 4:3, 16:9, or 9:16 natively in-camera is a huge workflow upgrade. It saves you from having to aggressively crop into a standard file later, preserving maximum image quality.
• User-Replaceable Front Elements: A practical necessity for action cameras that provides genuine peace of mind when mounting the camera in risky locations.
• Better Dynamic Range, Color & Low-Light Rendition: Produces a very pleasing look straight out of the camera with minimal work required in post. Dynamic range and color rendering see noticeable improvements, and low-light performance is particularly impressive—even when pushing the camera up to ISO 3,200 on set, the footage remains clean, noise-controlled, and highly usable.
• 10-Bit Color & D-Log M: Support for 10-bit color and D-Log M is available across most video recording modes, offering strong latitude for color grading (even if the standard D-Log profile is notably absent).
• Slow-Motion & High-Frame-Rate 360° Video: Normal 360° video is now capable of shooting up to a smooth 60 fps. Furthermore, the addition of slow-motion 360° recording pushes an impressive 4K at 240 fps, opening up entirely new creative possibilities for fast-paced sports and action.
• Improved Photo Mode: The ability to shoot raw 360° photos finally gives photographers the post-production latitude they've been asking for. Images from the single-lens mode are also noticeably better. The shooting experience is much snappier when paired with the reduced shutter lag.
• Built-In Storage Safety Net: Packing 105 GB of usable internal storage allows filming right out of the box without installing a microSD card.
• Deep Ecosystem Integration: Total compatibility with the "Osmo All-Scenario Ecosystem." You don't have to re-buy mounts or accessories—it seamlessly integrates with DJI wireless mics and even shares batteries with the DJI Osmo Action 5 Pro. Both the DJI Mimo mobile app and the DJI Studio desktop software constantly receive usability updates improving the workflow.
• Smart Multifunctional Battery Case: An excellent way to manage and charge multiple batteries efficiently on location.
• Seamless Connectivity: Upgrading to Bluetooth 5.4 and adding NFC makes the connection with the Mimo app noticeably faster and more stable. 
• DaVinci Resolve Integration: DJI Reframe provides a native workflow inside Resolve after panoramic footage is preprocessed in DJI Studio and exported using the dedicated DaVinci Resolve format.
• Improved Optical Performance: Flare control seems to have improved too compared to the Mark I, which had more veiling flare. The Mark II is capable of retaining more contrast in the scene when direct light shines on it.

What Could Be Improved

• Missing 5K Single-Lens Mode: For some reason, the 5K single-lens recording option is completely absent from this generation, which feels like an odd step backward.
• Raw Photo Limitations: Raw is only available at the standard 30 MP resolution, completely missing out on the massive 120 MP mode. Furthermore, there is no auto-bracketing feature—if you want to bracket, you are forced to manually change the exposure and trigger it, which is tedious on set.
• The SD Card Slot: Still hidden inside the battery compartment. Extracting the card on the fly almost always requires pulling the battery out, which introduces unnecessary friction.
• Flare Control: The optical coatings handle smudges well, but flare control could still be improved when shooting into direct light sources.
• Missing Standard D-Log: It lacks the standard D-Log profile found across other modern DJI devices, which breaks color-matching continuity if you are flying on a Pocket series camera on the same project.
• File Format Bottlenecks: Giving us the option to record 360° video directly into standard MP4 format would drastically simplify file management and processing.
• No LOFIC Sensor Tech: Implementing a LOFIC (Lateral Overflow Integration Capacitor) architecture would have been the perfect solution for handling extreme highlight clipping in bright environments.
• Weight: While 183 grams is good enough, a lighter build is always welcome because it is still a lot when it is sitting at the end of a 3-meter-long stick.

Final Thoughts

The Osmo 360 II proves exactly why the old adage in product design, “don't fix what isn't broken,” holds true. Rather than tearing down a successful formula just to generate new marketing headlines, DJI took everything that already worked so well on the first generation and meticulously refined the edges. They addressed the real-world friction points, elevated the core image rendition, and smoothed out the software ecosystem. The result is a camera that doesn't just look good on paper but removes the friction between you and content creation. 

For those looking to add it to their kit, the Standard Combo is priced at €589, while the Adventure Combo retails for €739. However, note that due to pending authorization applications, the Osmo 360 II will not be available in the United States market at launch.