Pocket 4 vs Pocket 3 and the Luna Lineup: Which Pocket Camera to Buy

The reviewer says the DJI Pocket 4 feels very familiar to anyone who has used the Pocket 3. It remains a small, single-lens camera that is easy to pick up and film with, but it adds several upgrades that make it easier to use.

The most valued change is 107 GB of built-in storage. The reviewer says he no longer has to check whether a microSD card is in the camera before recording. He notes that 107 GB is enough to shoot without an SD card at all, by recording to internal storage and transferring files to a computer.

Dedicated zoom and custom buttons mean fewer adjustments need the touchscreen, which he finds a little faster. The camera also gains improved subject tracking, higher resolution, better frame rates in slow motion, and the full D-Log profile in place of the Pocket 3's D-Log M, a step up for color grading.

When the reviewer placed the Pocket 3 and Pocket 4 side by side, he had expected a bigger gap. He says both look very good and it is not always easy to tell which is better.

The Pocket 3 does retain some advantages: more dynamic range and a cleaner, brighter image in low-light conditions. In automatic mode and decent lighting, however, he says the difference between the two is hard to tell.

The reviewer says the Pocket 4 is a really good first pocket camera where it can be readily bought. Its built-in storage, extra controls and D-Log flexibility add up to a better everyday experience.

For owners of the Pocket 3, he suggests upgrading only if those specific features matter to them. He also mentions that the Storyblocks stock media library, a sponsor of the video, is what he turns to when he needs extra B-roll; the library offers 15% off annual plans through a link in the description.

The Pocket 4P is described as sharing several practical upgrades with the Pocket 4, including built-in storage, fast file transfers, quick charging and extra customization buttons. It also stays compatible with DJI mics and other Pocket accessories.

The 4P adds D-Log 2 on the main camera, which the reviewer says can capture up to 17 stops of dynamic range. He says that figure is hard to believe at first but holds up when he uses it, giving room to work with highlights and shadows. With the right settings and filters, he feels the image comes close to what he expects from his larger mirrorless setup.

The reviewer points out a quirk of the Pocket 4P: D-Log 2 is available only on the main camera. Switching to the telephoto camera means shooting in regular D-Log, which on its own is not a problem, but switching quickly between the two cameras requires changing the color profile each time, which he finds annoying.

A workaround is to shoot regular D-Log on both cameras, which he says match reasonably well. He concludes the 4P demands more technical know-how to get the most image quality, although the auto profile still produces a nice image. For him, the biggest reason to choose the 4P over the Pocket 3 or Pocket 4 is the secondary telephoto camera, which makes it more versatile and easier to use for portraits, even when taking photos.

The Insta360 Luna Ultra is presented as the direct competitor to the Pocket 4P, with both a wide and a telephoto camera. That lets a filmer shoot a wide self-shot and switch to a tighter view for portraits or detail shots.

In footage comparisons, both cameras produce great-looking video. The reviewer says the Luna often gives a clean, vibrant image straight out of camera, while the Pocket 4P delivers more detail, dynamic range and sometimes a more natural look, though he preferred the Luna Ultra's image in a few shots.

Image quality is not the only factor. The Luna Ultra's removable screen can be used as a remote monitor, letting a creator place the camera across the room, see the frame, and change settings from where they stand. The remote also has a built-in microphone, so speaking directly into it yields decent audio when filming oneself.

For viewers who want the removable screen without the second camera, the Luna Pro is the option. The reviewer says it keeps much of what makes the Ultra appealing but is somewhat cheaper and has only one wide camera, which makes it the closer alternative to the Pocket 4.

The main appeal of the Luna Pro is setting up a shot for oneself and monitoring it from a distance via the removable screen. It is also the first camera to unlock 4K vertical filming for higher-quality social media video. The reviewer notes this feature has since rolled out to the Luna Ultra as well, so creators who mainly shoot vertical video may want to consider both.

The reviewer says the image quality of the Luna Pro is very close to that of the Luna Ultra. Pixel-peeping reveals some color differences, but the gap is small.

The Luna Pro is more prone to lens flare. He says he might not notice this if he only used the Pro, but comparing it with the Ultra shows the Ultra's flares are much more controlled. Losing the telephoto camera also means fewer close-ups and less variety in B-roll. Digital zoom up to 4x is available, but it costs some image quality and does not offer the range of the Ultra.

Having only one camera brings a benefit: longer battery life. In the reviewer's testing, the Luna Pro lasted about 45 minutes longer than the Ultra. Both cameras recharge quickly, so the gap may not be a deal breaker. The reviewer says a viewer who mainly shoots with the main camera and only occasionally zooms could save money by choosing the Pro.

The reviewer suggests four questions. First, does the viewer already own a Pocket 3? If so, the newer cameras are an upgrade, and the Pocket 4P is the most logical one since it works with existing accessories. The Pocket 3 remains easy to use and produces footage he is happy to publish, so for a tight budget a used or discounted Pocket 3 is a strong first pocket camera. Viewers looking for an upgrade without interest in these other models should skip the Pocket 4 and Luna Pro and consider the bigger Pro models.

Second, is the telephoto camera needed? He says he would use it, citing B-roll, high-frame-rate slow motion and the wide angle for self-shots, and that without it the single-lens models feel limiting. If yes, the choice narrows to the 4P and the Luna Ultra.

Third, how does the viewer usually film? A filmmaker who thinks about shots behind the camera and grades later may lean toward the DJI models, while a creator who appears on camera benefits from the Luna's removable screen. Fourth, price varies by country: the Pocket 4 and 4P are not officially sold in the US, though they can be bought there at extra cost, while the Insta360 models are available in the US at a higher price, and the Luna Ultra is the most expensive of the group.

Asked which camera he keeps reaching for, the reviewer says the Pocket 4P. He says it fits how he shoots: it works as a simple camera when filming himself, and its secondary telephoto camera adds useful visual variety for B-roll.

He also likes the image he can get from D-Log-M when color grading to the look he wants, and the 4P works with the microphones and accessories he already uses. He invites viewers to say which camera they would choose, and points to a separate video comparing the 4P and the Luna Ultra in depth.