DJI Osmo 360 Review and Hands-On – A Bikepacking Trip through Kyrgyzstan

Camera Review

by Mascha DeikovaNovember 17^th, 2025

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This autumn, I fulfilled a huge dream of mine and went on a bikepacking trip into the wild nature of Kyrgyzstan. To say that it was an incredible adventure would be an understatement. Sometimes, it felt as unreal as if we had traveled to another planet. My husband and I are filmmakers, so we decided to film a short documentary along the way. Apart from a small mirrorless cam and a compact drone, we also took with us a DJI Osmo 360 and gave it a thorough test drive. How it survived our journey, what pictures we could capture with it, and what our genuine impression of the camera and post-production workflow was – read in a detailed Osmo 360 review below!

The Osmo 360 is DJI’s first-ever 360 camera. Generally, the Osmo series is known for strong performance in action and blogging, as well as professional documentary work. (As an example, watch Johnnie try out the DJI Osmo Pocket 3). Yet, entering the market segment, which already has a well-established leader, was a bold move. (I’m talking about Insta360, of course.) So, the company had to introduce some features that would make their product stand out. These include large square-shaped image sensors, 8K 50fps recording, and claimed 13.5 stops of dynamic range. (If you want to read about all of the technical specifications, head over here to our dedicated article.)

DJI Osmo 360 review: our field trip conditions

A description of DJI Osmo 360’s capabilities sounded like the perfect match for our use case. Let me give you a quick overview of our trip conditions, and you’ll know why. During our journey, we spent a considerable amount of time in the mountains, with temperatures ranging from 0 °C (32 °F) to +24 °C (75 °F). Precipitation-wise, we mostly got lucky, though we did have to push through hail and snow on one of the steepest ascents.

Our longest streak off-grid, with no access to civilization, electricity, or mobile reception, lasted for five consecutive days. The key from the start was simple: since we had to carry everything on our regular (not electric!) mountain bikes, it was essential to take as little as possible. We needed an action camera that was tough, adaptable, and light. The DJI Osmo 360, along with its accessories, seemed like the perfect fit.

Our setup with the Osmo 360 for the tour

Our Osmo 360 setup for the tour included:

• The Osmo 360 itself, with a soft pouch for carrying it when not in use.
• Transparent lens protectors – we rarely used them. I preferred keeping the lenses uncovered in good, dry weather to avoid any loss of image quality.
• Osmo Motorcycle Heavy-Duty Mount – mostly used to rig the camera on the handlebars, and it felt 100% secure.
• Osmo Dual Heavy-Duty Clamp for further rigging options.
• Osmo Hanging Neck Mount Max, which we applied for all the point-of-views, shot from the chest. (On an important note, if you want to use this accessory with the Osmo 360, you will need an action cam quick-release adapter mount, which DJI also offers but is sold separately.)
• Osmo Action Multifunctional Battery Case with additional batteries. Luckily, DJI made Osmo 360 compatible with Action 5 batteries, and we had some spares in CineD’s storage. I’ll touch on battery life later, but without this case, we wouldn’t have been able to keep filming through the entire bikepacking trip.
• Osmo 1.2m Invisible Selfie Stick with magnetic quick-release mount. The quick-release worked wonderfully, but the mount came loose and was lost during a long, bumpy downhill section, so I’d recommend removing it from the bike when not filming.
• DJI OM Grip Tripod – for all the stationary situations, like interviews, timelapses, and such.
• 2x Lexar SILVER PLUS 512 GB. Compatibility-wise, these microSD cards are among those specifically recommended by DJI. We managed to fill up both of them during 14 days (mostly filming on 360 8K mode, 25fps, in D-Log M). The DJI Osmo 360 also has 105GB of built-in storage. We didn’t have to use it, but it’s great to know that you have a safety net, just in case.

It looks like a lot, yet it actually made a pretty compact kit, which didn’t take up much space or add much weight compared to our camping gear and clothing. With this setup, we were able to cover all the shots and angles we wanted for our documentary, and almost everything worked out perfectly. (Below, we’ll also talk about what didn’t).

Rigging the DJI Osmo 360 on a bike

Naturally, most of our time on the trip was spent on the bikes, so we had to experiment with different filming angles and rigging setups. After some testing, we settled on three main configurations and rotated between them along the way.

The first one was fixing the Osmo 360 on a handlebar by using the DJI’s Motorcycle Heavy-Duty Mount. This setup captured all the landscape shots during the ride and turned out to be the best angle for filming my teammates from behind. Apart from that, it was the easiest camera position for deep talks or angry rants during the most challenging parts of our trip. (Or at least, that’s how I used it.)

To capture me (or other riders) in action in a wide view from above, we built a seatpost rig, using the Heavy-Duty Clamp, a selfie stick, and some lashing straps to increase stability. I do NOT recommend this setup. First off, the invisible selfie stick that we had with us is not made for environments with strong vibrations (and DJI officially recommends it for handheld use only), so it wobbled a lot. (According to DJI, for vehicle-mounted applications, you should use a High-Strength Carbon Fiber Invisible Selfie Stick.) Secondly, after some time on a bumpy road, the clamp tended to loosen, causing the stick and camera to tilt until they nearly touched the ground. Lastly, DJI offers a dedicated Bike Rear Mount Kit, which we couldn’t get before the trip, but would have been a better way to mount the Osmo 360 under the saddle.

Point-of-view shots

Our third go-to set-up was the chest rig for downhill sequences or other point-of-view shots. To me, the flexible Hanging Neck Mount felt very comfy. My husband would disagree. So, I guess, you should try it on and move around in it before taking it on a long ride. On this rig, we always used single-lens mode because that was the only option that made sense. In retrospect, I wish I had had more reframing flexibility. Yet, generally, it’s a great angle to create a visceral, immersive feeling. See for yourself:

User-friendly interface

As you are aware, the primary advantage of a 360-degree camera is that it captures everything around it. Meaning: You don’t have to point the cam in the correct direction straight away, and can reframe and export as many clips as you need afterwards. Normally, I’m a fan of intentional filmmaking, planning shots in advance, and framing each composition carefully, so I don’t have much experience with panoramic recording.

However, for this particular kind of documentary, it was a good choice. When so much action happens unexpectedly, you don’t always have time to set up a beautiful frame. Also, it works well in terms of editing. Just click the record button, and you have several angles to cut to, captured in one moment. Here, for example:

Keeping in mind that I didn’t have much prior experience with 360 cameras, I must say that the Osmo 360 felt super user-friendly and easy to understand and explore. Its interface is self-explanatory, and the settings are flexible. If you forget which button to press to change the recording mode, there is a corresponding icon on the touchscreen that triggers the same function. I did watch a tutorial prior to our journey, but I would have understood how to set it up even without.

First impressions from the Osmo 360

My impression of the DJI Osmo 360 is that it’s remarkably robust. It handled every kind of weather, from freezing cold to scorching sun, as well as heavy dust and a few drops to the ground, all with only minor scratches on the coating. Both lenses look like new after the journey, even though, as I mentioned, we rarely used lens protectors.

On the other hand, I often wished for a longer battery life. It did hold up to the standards promised by DJI (“up to 100 minutes of runtime in 8K 30fps”), but it was not always sufficient in our case. Notably, this was particularly evident during time-lapses. I would set one up to run for roughly one hour, and the battery would be almost empty afterward. When your only energy source is a small, foldable solar panel, you will definitely think twice before switching the camera on, all things considered.

Go-to modes

One of the practical features of the DJI Osmo 360 is that it allows users to set up custom modes and switch between them whenever they like. Personalization is key when you want to film something specific, and it definitely saves a lot of time.

In our case, we filmed everything in D-Log M to allow for further grading flexibility, and went for 25 fps (to match recorded clips with other footage down the editing line). Mostly, I would switch between:

• 8K 360 mode, 25fps – for riding and action sequences;
• single-lens 5K mode (16:9), set to super-wide field of view, 25fps – for POVs, nature, and static shots;
• and time-lapse in 360 mode, also at 25fps.

Initially, I also manually set the shutter speed to 1/50 and defined the ISO limits for correct exposure, but I quickly changed these to automatic. As weather conditions were unpredictable, we were always on the move, and I often had to hit record spontaneously; it was a simpler solution than diving into precise settings each time. However, if you were to use the DJI Osmo 360 for more accurate work, you’d be able to manually set everything you need.

DJI Osmo 360: action-ready

Among other things I enjoyed in Osmo 360 is how quickly it reacts and jumps into action. My feeling: It takes a mere second from being completely switched off to shooting, provided you don’t need to change the mode. Also, when it’s shut down, you can push the record button, and a micro-moment later, it’s already up and running. This felt good because we encountered so many magical moments, wild animals, and unexpected scenes, and were able to capture them without hesitation.

Another feature I used often was voice control. When the camera was fixed in one position on the bike and I didn’t plan to move it, voice commands were very convenient. However, they didn’t always work reliably. It might have been my accent, as I’m not a native speaker, or perhaps it’s something that could be refined in a future firmware update.

Further features

What else? In my opinion, the Osmo 360’s stabilization and horizon locking systems work very well. Sure, in 360 mode, you can stabilize the footage however you like in post, but I also didn’t have any issues in single-lens mode with this.

The DJI Osmo 360 is waterproof and can be used underwater (according to DJI, at a depth of up to 10 meters). We didn’t dive that deep, but we were still able to capture some shots during the river crossings. However, it is not recommended to film 360 in these kinds of scenarios without special housing; otherwise, the underwater light refraction might cause image distortion and stitching errors. Furthermore, some test reports warn against using this cam underwater without the case altogether, as the lenses can get condensation inside. Well, we did. This is what a clip shot from a single lens without a cage looks like. (By no means ideal and clean, but will work for a quick transition):

The Osmo 360’s dynamic range and video quality

Okay, that’s not a lab test! Thus, we won’t be able to scientifically either verify or disprove the said 13.5 stops of dynamic range. What we can do, however, is show you the resulting clips, shot by the DJI Osmo 360 in different lighting scenarios, and let you judge.

Heads-up! All the shots below use the automatic “Color Recovery” feature in DJI Studio. I applied it to D-Log M during post-production to convert it to Rec. 709.

Here’s a video from the sunset swim at the Son-Kul lake:

The next shot was taken around midday in the shade, as we tried to escape the dazzling sun.

And here’s an interior shot from the airport, with a keyframe animation to create movement:

What do you think? To me, it looks decent. Maybe I just have very low expectations when it comes to 360 cameras, but this is definitely not the worst dynamic range I’ve seen so far.

D-Log M 10-bit flat color recording

As already mentioned, we recorded in D-Log M 10-bit color profile whenever it was possible. (It isn’t on a Super Night mode, or for time-lapses, for example). For us, it was important to preserve the highest possible flexibility for grading, as the documentary will also include other footage from different sources. All the shots shown so far were exported using the automatic Color Recovery tool in DJI Studio. Now let’s see how much further they can be taken with professional grading in DaVinci Resolve.

Here’s the same lake shot, exported in flat D-Log M profile. (Unfortunately, not as ProRes – I’ll talk about it down below):

And here’s how it looks after the first grading tests:

You’ve already seen the export of this shot with an automatically applied Rec709 LUT above, so it’s easy to compare them.

In the next example, I’ve cropped in on the 360 footage (which visibly degraded the quality), added some keyframes for slight motion, and exported the result applying the Color Recovery and automatic Noise Reduction features in DJI Studio:

Now, the same shot, but exported in D-Log M, and then graded in DaVinci Resolve:

I guess a professional eye will always notice the noise, blur, and other artifacts. Still, that’s fine. These shots will work for our documentary and can even hold up on a cinema screen. After all, when the story is engaging, most viewers won’t dwell on minor quality issues.

Super Night mode on the Osmo 360

The next clip is shot using the Super Night mode, a preset provided in the Osmo 360 out of the box.

Due to its larger sensor, DJI claims the Osmo 360 has pretty nice “night vision,” capturing a higher amount of light. Naturally, it applies to the normal modes as well, so, in my opinion, you don’t always need to switch to Super Night. Super Night is a preset that mainly helps to minimize the amount of noise. Its disadvantage, though, is that it doesn’t allow the use of a D-Log M color mode, which we discussed earlier.

Built-in audio tested

The Osmo 360 has the OsmoAudio Direct Microphone Connection. This means you can connect the cam directly to up to two DJI microphone transmitters and use it as a receiver. So, if you already work within the DJI ecosystem and have a DJI Mic 2 or Mic Mini, good for you!

As we tried to be frugal with the items we took with us during the trip, we decided to rely on Osmo’s internal 360-degree audio recording. Here’s how the speech sounds with a river in the background and without any enhancement or post-processing whatsoever:

In a second clip, my teammates walk further away from the camera and talk to each other in the city of Bishkek. (Please, ignore the glitch in the video – I tried the “Intelligent Tracking” feature, and it didn’t work properly here.)

That’s impressive, considering the city noise and the distance from the camera – we could still clearly hear their dialogue. For our documentary-style recordings and live sound, the Osmo’s internal mic was sufficient. For interviews or more focused conversations, though, I’d definitely choose DJI’s lavalier mics.

Time-lapses, made by the DJI Osmo 360

Just a few notes on time-lapses. What definitely lacks, in my opinion, is the ability to record time-lapse footage in single-lens mode. For some reason, the cam doesn’t offer this option (at least, at the moment of writing this review). To me, if you only need one lens and one direction, it feels like wasted space and battery to record it in a 360 mode.

Yet, of course, the possibility of making a time-lapse in 360 can inspire you to try out fun ideas, so I would definitely keep it as an option.

For those who are fond of hyperlapses, they are also available on the Osmo 360.

Post-production in the DJI Studio

DJI Osmo 360 video files are either saved in MP4 (with HEVC compression) when filmed through a single lens or OSV, which is DJI’s panoramic mode video format. The latter requires post-production with DJI software – either in the DJI Mimo mobile app or DJI Studio on your Mac or PC.  

The smartphone app is very easy to navigate and also allows you to control the camera during the recording. I haven’t used it for post-production much because I prefer to view the clips on a larger screen. So, instead, most of the shots you’ve seen in this article were exported using DJI Studio.

I’m sure, for most use cases, DJI Studio is a perfect fit. It’s quick, simple, and has all the functions one might need for basic edits. Yet, I wasn’t happy with it at all and will try to avoid using it for our documentary post-pro. Here’s why:

1. Only one timeline (with one video and audio track) per project. Imagine importing 1,000 OSV clips that need to undergo selection and reframing processes before being exported for grading. That would be a cumbersome task to tackle all this in one timeline. Especially taking into account that you can’t set in- and out-points for the export. On top of that, the software lacks a batch export function for professional workflows.
2. When you drag one clip on the timeline and reframe it, everything works perfectly. However, if you want to split it and then reframe the clip sections differently, the DJI Studio has a weird glitch. (By the way, the same happens when you pull various clips onto one timeline.) All the adjustments that you make to the first clip seem to be completely deleted once you go to the next one. And just like that, you’re back to Step 1. The only workaround I found is to place one keyframe at the beginning of each clip, locking in place the reframing you made. That’s not how editing is supposed to work, though. So, I really hope that this will be fixed in one of the later software updates.
3. My biggest issue with DJI Studio, however, is that it doesn’t allow users to export shots in high-quality codecs for further post-production, such as ProRes or DNxHR. Yes, you can preserve the D-Log M flat 10-bit color profile, disable automatic Noise Reduction, and set your export bitrate to up to 160 Mbps (click “Custom” for that), but it’s still not the same when it spits out the compressed H. 264 MP4.

The only other option we currently have is a free Adobe Premiere Pro plugin called DJI Reframe. Its advantage is that you can work directly with DJI OSV files on the timeline, allowing you to access the original video quality and use your familiar editing approach (for instance, pancake editing) as you proceed.

However, it is currently only available for Mac users. And to be honest, we’re planning on editing our bikepacking documentary in DaVinci Resolve. So, it would be great if DJI considered further NLE integrations. Otherwise, I’m afraid, we’d have to establish a complicated and painful workflow.

Hands-on with DJI Osmo 360: conclusion

So, here it is, our honest (and thorough) account of using the DJI Osmo 360 on a bikepacking adventure through Kyrgyzstan. I’ve highlighted the features we appreciated and pointed out where there’s still room for improvement.

Overall, we were happy with the camera. It feels like a great choice for our particular type of journey and documentary. Let’s hope that DJI will continue working on the Osmo 360 and, especially, on the DJI Studio software, and also consider other integrational possibilities with the major NLEs.

What about you? Have you already had the opportunity to test this cam in action? What were your impressions so far? Let us know in the comments! Additionally, if you have any remaining questions about our Osmo 360 review, please don’t hesitate to submit them below.

Feature image credit: Imanuel Thallinger.